Todd Rhodes & His Orchestra - Blues For The Red Boy - The Early Sensation Recordings (2013)
BAND/ARTIST: Todd Rhodes & His Orchestra
- Title: Blues For The Red Boy - The Early Sensation Recordings
- Year Of Release: 2013
- Label: Ace Records
- Genre: Blues
- Quality: flac lossless
- Total Time: 01:19:10
- Total Size: 418 mb
- WebSite: Album Preview
Tracklist
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01. Bell Boy Boogie
02. Flying Disc
03. Dance Of The Red Skins
04. Blue Sensation
05. Jumpin' With The Mountain King
06. Annie Laurie
07. Bop Bop Sizzle
08. Oh Baby
09. I Want To Be Happy
10. Make It Good
11. I Love You Truly
12. Blues For The Red Boy aka OK Blues
13. Fool For You
14. Toddlin' Boogie
15. Sweetheart, Please Come Back To Me
16. Prelude in C Sharp Minor
17. Anitra's Jump
18. I'm Just A Fool In Love
19. It Ain't Right
20. Sportree's Jump
21. She Don't Love Me Anymore
22. Todd's Idea
23. It Couldn't Be True
24. (Oo-Wee) Walkie Talkie
25. Comin' Home
26. That Ain't Right
27. That's The Guy For Me
28. Rhapsody In Blue Parts 1 & 2
Although Rhodes' professional career stretched over several decades, it was as an R&B-jazz bandleader in the late '40s that he achieved his greatest visibility as a recording artist. This 28-track CD is an admirable summary of that era, all recorded from 1947 to 1951, with half of the cuts being previously unissued outtakes and alternates. Though "Todd Rhodes & His Orchestra" is the most frequent billing on these, and his band does play on all cuts, some are billed to "Todd Rhodes and His Septet" or "Todd Rhodes and His Toddlers"; on others, his band backs vocalists Kitty Stevenson or Louie Sanders. Regardless of the billing, it's lively early R&B from the brief postwar window when jazz and R&B were spilling over into each other. Like many such single-artist compilations in the genre, there's more similarity between many of the songs than is optimum, and too much reliance on stock R&B chord progressions for listeners who aren't aficionados of the style. From the standpoint of someone who's heard a good number of such compilations, the most jazz-oriented, instrumental material actually sounds fresher, with greater melodic invention and no sacrifice in energy. Tracks like "Dance of the Red Skins" and "Bop Bop Sizzle" sound more rooted in the big band era than the R&B one, with some R&B-blues influence filtering in with the honking sax; the more R&B-inclined numbers, particularly the ones featuring singers, are overall more routine. The sound is good, especially considering it was remastered from acetates.
---------
01. Bell Boy Boogie
02. Flying Disc
03. Dance Of The Red Skins
04. Blue Sensation
05. Jumpin' With The Mountain King
06. Annie Laurie
07. Bop Bop Sizzle
08. Oh Baby
09. I Want To Be Happy
10. Make It Good
11. I Love You Truly
12. Blues For The Red Boy aka OK Blues
13. Fool For You
14. Toddlin' Boogie
15. Sweetheart, Please Come Back To Me
16. Prelude in C Sharp Minor
17. Anitra's Jump
18. I'm Just A Fool In Love
19. It Ain't Right
20. Sportree's Jump
21. She Don't Love Me Anymore
22. Todd's Idea
23. It Couldn't Be True
24. (Oo-Wee) Walkie Talkie
25. Comin' Home
26. That Ain't Right
27. That's The Guy For Me
28. Rhapsody In Blue Parts 1 & 2
Although Rhodes' professional career stretched over several decades, it was as an R&B-jazz bandleader in the late '40s that he achieved his greatest visibility as a recording artist. This 28-track CD is an admirable summary of that era, all recorded from 1947 to 1951, with half of the cuts being previously unissued outtakes and alternates. Though "Todd Rhodes & His Orchestra" is the most frequent billing on these, and his band does play on all cuts, some are billed to "Todd Rhodes and His Septet" or "Todd Rhodes and His Toddlers"; on others, his band backs vocalists Kitty Stevenson or Louie Sanders. Regardless of the billing, it's lively early R&B from the brief postwar window when jazz and R&B were spilling over into each other. Like many such single-artist compilations in the genre, there's more similarity between many of the songs than is optimum, and too much reliance on stock R&B chord progressions for listeners who aren't aficionados of the style. From the standpoint of someone who's heard a good number of such compilations, the most jazz-oriented, instrumental material actually sounds fresher, with greater melodic invention and no sacrifice in energy. Tracks like "Dance of the Red Skins" and "Bop Bop Sizzle" sound more rooted in the big band era than the R&B one, with some R&B-blues influence filtering in with the honking sax; the more R&B-inclined numbers, particularly the ones featuring singers, are overall more routine. The sound is good, especially considering it was remastered from acetates.
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