Search - James Reese Europe :: Hell Fighters

James Reese Europe
Hell Fighters
Genres: Jazz, Pop

Track Listings (24) - Disc #1
1. That Moaning Trombone
2. Memphis Blues
3. On Patrol In No Man's Land
4. How Ya Gonna Keep 'Em Down On The Farm?
5. All Of No Man's Land Is Ours
6. My Choc'late Soldier Sammy Boy
7. Dixie Is Dixie Once More
8. Plantation Echoes
9. St. Louis Blues
10. Jazz Baby
11. Ja Da
12. The Darktown Strutters' Ball
13. Missouri Blues
14. Jazzola
15. Russian Rag
16. That's Got 'Em
17. Clarinet Marmalade
18. When The Bees Make Honey
19. Mirandy
20. The Dancing Deacon
21. Arabian Nights
22. Indianola
23. Hesitating Blues
24. Broadway Hit Medley

CD Details

All Artists: James Reese Europe
Title: Hell Fighters
Members Wishing: 0
Total Copies: 0
Label: Memphis Archives
Original Release Date: 11/12/1996
Re-Release Date: 11/19/1996
Genres: Jazz, Pop
Style: Swing Jazz
Number of Discs: 1
SwapaCD Credits: 1
UPC: 781371702020

Synopsis

Album Description

James Reese Europe was the world's most accomplished black bandleader before 1920. he was internationally famous as the founder of New York's Clef Club, and as music director for Vernon and Irene Castle. During World War I, he organized and led the all-black 369th U.S. Infantry "Hell Fighters" Band. They fought in the trenches, introduced that new music "Jazz" to the Continent, and were acclaimed in France and America as the greatest-ever regimental band. In May, 1919, the "Hell Fighters" were on the last leg of their triumphal U.S. victory concert tour when Europe was murdered at age 39. All 24 recordings he made for Pathe in the last two months of his life are collected on this CD as well as a 44 page booklet with rare photographs and liner notes.

CD Reviews

The transitional music mostly hints at jazz

The Dixieland Man | 10/26/2000

(5 out of 5 stars)

"Shortly after the IAJRC label came out with a CD reissuing all of the music recorded by James Reese Europe's unusual band during their four 1919 sessions, Memphis Archives put out a CD with the exact same material. The difference between the sets is that while IAJRC put out the material in strict chronological order, Memphis Archives instead chose to simulate a Europe concert. The liner notes of course differ greatly on these two competing sets, and the edge is given to Memphis Archives for Tim Gracyk's very extensive essay. The transitional music mostly hints at jazz but does not contain much improvisation. Europe's brand of dance music occupied its own category, including some Noble Sissle vocals, marching music, rags, waltzes, novelties and future jazz standards, and either of his sets (recorded just a short time before his murder) are recommended. Now if only Europe's eight groundbreaking titles of 1913-1914 would be reissued"