Louisiana Repertory Jazz Ensemble | Moods Of Old New Orleans | Sweet Willie Singleton Jazz Cornet

Sweet Willie Singleton Plays cornet with the Louisiana Repertory Jazz Ensemble recording entitled Moods Of Old New Orleans. Although Sweet Willie Singleton is best known for his exemplary lead trumpet work throughout his 55 year career, see: BIO and ARTIST TESTIMONIALS his remarkable musical versality to perform traditional New Orleans jazz is on display on this fine recording. and RECORDINGS Sweet Willie Singleton performed with the Louisiana Repertory Jazz Ensemble from 1994-20 Track List: 00:04 1. Do You Know What It Means To Miss New Orleans 05:40 2. While We Danced At The Mardi Gras 09:44 3. Snag It 13:05 4. Canal Street Blues 15:38 5. Tampeekoe 18:45 6. Sugarfoot Stomp 21:41 7. Mississippi Rag 24:45 8. Sweet Lovin’ Man 27:38 9. Mad 30:22 10. Ophelia 33:58 11. Just A Closer Walk With Thee 37:26 12. Buddy’s Habit 40:25 13. Eccentric 43:27 14. Jackass Blues 46:29 15. Discontented Blues 49:39 16. Mama’s Gone Goodbye 52:31 17. Clarinet Marmalade ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: Personnel Fred Starr – Leader, Clarinet, Tenor Sax, Joe Muranyi – Clarinet, Sax Ray Taranto – Sax, Clarinet Lou Green – Cornet Sweet Willie Singleton – Featured Jazz Cornetist Tom Ebert – Trombone John Chaffe – Banjo Terry Waldo – Piano John Joyce – Drums Tom Saunders – Bass, Tuba Carol Leigh – Vocal ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: Jazz began in New Orleans. Contrary to popular understanding, it did not go “up the river” to Chicago, for the Mississippi doesn’t go near the Windy City. But as early as the 1920s jazz did begin to evolve and change, and has continued to do so ever since. Swing, bop, cool jazz, fusion, and free jazz each followed in succession. Amidst these exciting transformations, the early days of the New Orleans pioneers were all but forgotten. There are exceptions to be sure. Louis Armstrong, for one, remains alive in memory, as do a handful of others. But what of Armand J. Piron or Leon Rappolo? Or the fine players who made the New Orleans Owls? Or the Halfway House Orchestra? These are scarcely household names! Oh yes, when this volume was recorded in 1994 there were still some old timers in New Orleans who once danced to the music of these great players and who recall their names with a twinkle. And there are a few fanatically loyal record collectors worldwide. But beyond these limited circles, the Golden Age has slipped from memory. In this collection the renowned Louisiana Repertory Jazz Ensemble of New Orleans offers a sampler of classic from the heroic years before 1930. This was a period when few New Orleanians referred to the music as “jazz’’ preferring to describe it instead as “our dance music!’ Founded in 1980, the “Rep” quickly established itself as the band of choice among New Orleans’ musical insiders. Today it concertizes throughout the world, having appeared in major jazz festivals from Hong Kong to Chicago, Warsaw, and St. Petersburg. It has given the prestigious Doubleday Concern at the Smithsonian Institute and has appeared at the Grammy Awards in Hollywood. About this Recording: An exceptional example of true concert hall realism, this album was recorded directly to stereo using the “Head Acoustics” Binaural Recording System. In order to preserve the natural ambience and spatial integrity, no dubbing, remixing, echo artificial enhancement of any kind was employed. The result is a true listening experience that puts you in the “best seat in the house” (to capture all the spatial nuances, headphones are suggested). Whether you choose to listen with headphones or speakers, just sit back and enjoy the very special sound of the Louisiana Repertory Jazz Ensemble. Technical Notes: Recording location: Fairfield, CT University Quick Center Date: June 25, 26, and 27, 1995 Engineer: Wade Bray FAIR USE DISCLAIMER: I do not own copyright for this copyrighted music, but under Section 107 United States Copyright Law as noted by the United States Copyright Office (Copyright Act 1976), allowance is made for fair use for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. I state here in a good faith that I have made and uploaded here this copy of this copyrighted music completely for the purposes of teaching and research, that my action - i.e. my production of the copy of this copyrighted music and sharing of it here on Youtube in this particular case - is totally non-profit, and that I believe that my production of this copy of this copyrighted music and sharing of it here in Youtube in this particular case can only increase value of this copyrighted music and produce only positive effects for this copyrighted music in its potential market. #sweetwilliesingleton #louisianarepertoryjazzensemble