Jelly Roll Blues - Ralph Sutton, Morton, Jelly Roll
Cannon Ball Blues - Ralph Sutton, Morton, Jelly Roll
Black Bottom Stomp - Ralph Sutton, Morton, Jelly Roll
Cataract Rag - Ralph Sutton, Hampton, Rob
Shoe Shine Boy - Ralph Sutton, Cahn, Sammy
Christopher Columbus - Ralph Sutton, Berry, Chu
Hindustan - Ralph Sutton, Wallace, Oliver G.
Villain - Ralph Sutton, Kay
Frog Legs Rag - Ralph Sutton, Scott, James [1]
Chromatic Rag - Ralph Sutton, Held, Will
Grace and Beauty - Ralph Sutton, Scott, James [1]
The Cascades - Ralph Sutton, Joplin, Scott
Black and White Rag - Ralph Sutton, Botsford, George
Three Little Words - Ralph Sutton, Kalmar, Bert
No Local Stops - Ralph Sutton, Smith, Willie The L
Oh Baby - Ralph Sutton, De Silva, Buddy
Concentrating - Ralph Sutton, Smith, Willie The L
Drop Me Off in Harlem - Ralph Sutton, Ellington, Duke
Morning Air - Ralph Sutton, Smith, Willie The L
Blues for Chuck - Ralph Sutton, Sutton, Ralph [Pian
African Ripples - Ralph Sutton, Waller, Thomas Fats
These are amongst the earliest of pianist Ralph Sutton's solo recordings. The first fifteen selections come from a session in San Francisco in 1949 originally issued on Down Home Records. Even less known are the final eigh... more »t tracks recorded in London in 1952 and originally issued on the Lyragon label. At the time, Sutton was performing as a jazz concert artist, but still found time to put down on wax these brief interpretations of material he was to rework through his long career. The highlights include three Willie 'The Lion' Smith compositions - Concentratin' and Morning Air remained staples of Sutton's repertoire, but his version here of No Local Stops may well be its only recorded performance.« less
These are amongst the earliest of pianist Ralph Sutton's solo recordings. The first fifteen selections come from a session in San Francisco in 1949 originally issued on Down Home Records. Even less known are the final eight tracks recorded in London in 1952 and originally issued on the Lyragon label. At the time, Sutton was performing as a jazz concert artist, but still found time to put down on wax these brief interpretations of material he was to rework through his long career. The highlights include three Willie 'The Lion' Smith compositions - Concentratin' and Morning Air remained staples of Sutton's repertoire, but his version here of No Local Stops may well be its only recorded performance.
jive rhapsodist | NYC, NY United States | 07/22/2009
(3 out of 5 stars)
"Even though the recording sounds old, there would be no trouble in recognizing Sutton as a "revivalist" here. Why? So many elements: groove, attack...a certain literalness in the phrasing which evokes the player piano. An absence of anything crazy or quirky - all of the stride greats had this. Such a heavy first beat in the left hand, which is so much more Barrelhouse than Stride. The greats did use this, but only occasionally, for emphasis. Sutton sounds like he never thought about playing for dancers from the Georgia or Carolina Coast - that background is what gives James P. Johnson his special lift. But the Post-War listener to Pre-War Jazz generally is not so involved with this music's more Afro-American elements; they're usually happy enough if there's no traces of Bop or Beyond. More's the pity...But, hey, at least Sutton figured it out, to a large extent; his later playing is a lot groovier! Thus, this issue is really for completists only."