Subject: I have found a CD that I think you would enjoy
|Dixieland Jug Blowers|
Genres: Country, Folk, Jazz, Pop
Boodle-Am Boodle-Am Boo!
"Gimpy" Peach Johnson | 02/20/2006
(4 out of 5 stars)
"Don't let the amateurish look of the packaging discourage you--this is one great CD! It collects all the extant issued recordings and alternates by the Dixieland Jug Blowers--a studio group that recorded for Victor on a couple sessions in 1926 and 1927. This is hot jazz mixed with old-time country music. As the name of the group suggests, the star attraction here is the empty gallon stone jug played to perfection by jug virtuoso Henry Clifford. Despite its wheezy fart-like sounds, it's actually a difficult instrument to master, and Clifford really goes to town with it (working in a few short solo breaks here and there to great effect!). Jazz fans will be interested to know that clarinestist Johnny Dodds is featured on tracks 8-13. The sound quality is fantastic--all tracks were transferred and restored by legendary engineer John R. T. Davies. These tracks have never sounded better! A few label scans, photos, or additional notes (there are onyl three panels' worth) would have been appreciated, but this is not a major flaw. The music's the thing here, and it's just great. Forget "high-brow" music for the moment--this is about as "low-brow" as it gets, but it will have you smiling and tapping your foot, and that's what's important. This isn't one of those discs I put on and listen to from start to end, but I pull it out from time to time and get a real thrill from five or six cuts before putting it away again. Fun stuff! Recommended!"
Louisville Country Meets Blues In Chicago
Barry McCanna | Normandy, France | 08/12/2007
(5 out of 5 stars)
"The best-known track in this compilation is "Boodle-Am-Shake", which was issued in England on HMV 78, as was "Carpet Alley" and Hen Party Blues". If you've heard any of those titles you'll know what to expect; an earthy music-making, in which the leader's violin floats above a trio of banjos, the whole underpinned by the resonant sound of a bass melody being blown across the mouth of a large jug.
Despite the Louisville tag, these sides were all cut in Chicago in late 1926 and mid-1927, which had the advantage that the basic line-up was augmented for the subsequent sessions, the most noteworthy addition being that of Johnny Dodds on the second session. Elizabeth Washington provides a country blues style vocal on four of the mid-1927 tracks, and Prince la Vaughan does the same on the final two titles.
This compilation gathers together not only all the five issued alternate takes, but also an unissued test. For a collector of these distinctive sides this has to be the reissue of choice.