Langston Hughes Rhythms of the World Folkways Records 1955

Langston Hughes Rhythms of the World Folkways Records 1955 CAT# FC 7340

The fact that Folkways Records saw enough importance in Langston Hughes' poetry to record it is a pretty fantastic thing. The Lawrence, KS raised poet's voice is now with us, reading in his soft, but confident voice, some of the very poems that made him famous. This album is based and contains parts of his bock, "The First Book of Rhythms", by Hughes.

As the title implies, it's rhythmic poetry and the recording contains numerous sound effects to provide examples of rhythm. From a Kentucky folk song, to washboard, to just nature sounds, it's all used here to empathize the music in poetry.

The album was designed for children. In fact, this copy was once housed in the Somerset School Library of Overland Park, KS. The school no longer exists, but I imagine the record left the library long before it closed its doors. The idea of school children sitting in a circle around a tiny little record player, listening to Langston Hughes, that's a pretty great thought.

Rhythms of the World

Count Basie & Joe Williams Count Basie Swings Joe Williams Swings Verve/Polygram 1955

Count Basie & Joe Williams Count Basie Swings Joe Williams Swings Verve/Polygram 1955 Japanese Press CAT #825 770-1

Pretty incredible album.  It was the first of several albums Basie did with blues singer, Joe Williams.  Basie had quite a string of discovering amazing vocal talent and Williams was no different.  Williams was born in Georgia, but spent most of his youth in Chicago, so outside of Basie, he has no Kansas City connections.

Previously, Basie was working with featured vocalist, Jimmy Rushing.  Rushing was a fantastic shouter and while Williams couldn't match Rushing in that regard, he could sing circles around him.  Joe Williams brought a whole new dimension to Basie's big band, providing soulful ballads that would prove influential in the development of soul music years later.  Further, Williams could handle up-tempo numbers and the blues, his baritone gliding effortlessly in front of Basie's band.

This album, hands down, is a classic.  5 stars, A+, whatever you want to term it, it's an absolute smoker.  You don't have to understand big band, early R&B, or this form of the blues to get it, it's undeniable.  Basie directs the band and keeps the groove, his piano is loose, but keeps everyone in check.  Williams just floats over the top, taking songs in directions Basie couldn't go before.  "Everyday I Have the Blues," "The Comeback," "Roll Em' Pete" are incredible, stand out tracks.  The version of "Alright, Okay, You Win", is a just as classic and the big hit from the LP.

Alright, Okay, You Win

Langston Hughes The Dream Keeper & other poems of Langston Hughes Folkways Records 1955 CAT# FC7104

Langston Hughes is one of the most important Kansans both historically and socially.  He was born in Joplin, Missouri and at a young age after the separation of his parents, he was moved to Lawrence, Kansas to be raised by his grandmother.  Most of his childhood was spent in Lawrence, until the passing of his grandmother at which point he spent the remainder of his late-teens in various homes' of relatives.

He would travel to New York and become a crewman traveling on his ship across the globe.  He'd work various jobs thereafter and obtained a degree from Lincoln University in Pennsylvania.  In 1921, his first poem, "The Negro Speaks of Rivers" was published.  In 1926, the same poem would be published in his first book, The Weary Blues.  As an accomplished author, he took up residence in Harlem, NY.  His work would become pivotal and some of the most influential work of the Harlem Renaissance.  He would work with other artists such as Wallace Thurman, Countee Cullen, and Aaron Douglas, to push, explore, and promote African-American artists.

He was an interesting individual and it is often stated that he was homosexual.  Not that sexuality matters, what does matter is his devotion to African American culture.  While colleges teach the works of W.E.B. Dubois now-a-days (Hughes is taught in Academia as well), the Hughes' camp was criticizing Dubois for being to apologetic for white European culture.  He wanted to record black life in America, the working class, and he wanted to record the American Experience.  He accomplishe it in all his writing.  His simple, jazz poetry catches it best.  He was brought up by activist parents who fought for equality long before a popularized movement.  In Lawrence, he was given the pride of his culture.  Fitting that the seed was planted in Kansas-The Freestate.

This record was produced in 1955 by Folkways Records.  It features Langston Hughes reading poems from his book, The Dream Keeper.  The Dream Keeper is a great collection, but it's certainly fit for a spoken word album as it was intended for young adults as an introduction to his poetry.  It's a very interesting recording as Hughes introduces his poems at every interval.  He briefly explains either where the poem is from, how it came to be, where he wrote it, or who it is about.  His simple wording and rhythmic delivery let you understand the term jazz poetry, especially true on his "blues" poems.  Despite that I will rarely listen to this, since you get to hear one of the most famous and influential American poets read his poems, it's easily one of my favorite finds.

I, Too

Chris Connor Chris Bethlehem 1955

Chris Connor Chris Bethlehem 1955 CAT # BCP 56

Kansas City Native, Chris Connors was born Mary Loutsenhizer. She started going by Chris Connor while working as a stenographer and performing as a singer in the Kansas City area. She stuck around KC for awhile but would later move to New York City with the intention of making it as a super star vocalist. Of course, hitting the big time right away was a bit far fetched and she had to start small. She sung harmonies in a background capacity with local New York big bands until she was heard singing on the radio by June Christy. Christy had been singing with Stan Kenton's band and was leaving to pursue her own solo career. She recommended Connor to Kenton and Connor was booked singing for Kenton's big band in the early 50's. By 1953, Connor grew tired of constant touring with Kenton and abruptly quit. She stayed in New York City and was able to secure a gig at Birdland. Legend goes, that during her stay at Birdland the owner of Bethlehem records, Gus Wildi, heard her and offered a recording contract on the spot.

She stayed on Bethlehem for a number of albums before leaving to Atlantic Records in 1956. The Bethlehem albums are far stronger. The Atlantic stuff is a bit toned down, less swing, more pop, whereas the Bethlehem catalog offers more punch and showcases Connors' cool jazz delivery far better. It's still vocal jazz, so the differences sound slight and torch songs are found throughout her catalog.

This album also features some key players, Kai Winding, J.J. Johnson, Osie Johnson, and a young Herbie Mann on flute to name a few. Her early music education from the University of Missouri pay dividends as she's a signer that is in tune with her supporting band, not just bashing out vocal tracks. She finds the tone of the band and replicates it vocally, distinguishing herself not just as torch singer, but a cool jazz vocalists.
I Hear Music