Louis Prima The Wildest Show At Tahoe (LP, 180g Vinyl)
- catalog number: LP6785496
- weight in Kg 0.3
Louis Prima: The Wildest Show At Tahoe (LP, 180g Vinyl)
Italian-American singer, actor, songwriter, bandleader, and trumpeter, Louis Prima (1910-1978) was rooted in New Orleans jazz. swing, and jump blues, but he touched on various genres throughout his career. From the 1940s through the 1960s, when these recordings were made, his music further encompassed early R&B, rock & roll, boogie-woogie, and even Italian folk music, such as the tarantella. In 1954 Prima was offered an extended engagement at The Sahara in Las Vegas to open his new act with singer Keely Smith (born in 1932. she is 85 at this writing). He enlisted New Orleans saxophonist Sam Butera (1927-2009) and his backing musicians, 'The Witnesses'. The act was a hit, and ultimately led Prima to sign with Capitol Records in 1955. This release presents the complete original LP The Wildest Show at Tahoe (Capitol Records T-908). taped live at Harrah's Club with Smith and Butera in 1957.
Original Liner Notes:
When Louis Prima heard his 'The Wildest' album played back some months ago and exclaimed. 'That's us, man!' he meant that for the first time the recording sounded like the band on the job -blowing for a live audience, the sounds and the smiles leaping back and forth between the tables and the bandstand. And it was them, because the Prima personality effervesces whether in a studio or in a night club. So what more could there be'? Well, there is something more -that feeling in a night club where the clapping hands echo the beat, and the laughing faces wail just as Louis and the boys are wailing on the handstand. And here it is in this album, that extra dimension of the live show. Now you can share with those who dug it live, the full measure of kicks put out one night in a rustic bistro called Harrah's Club. up at Lake Tahoe, on the Califonia-Nevada border.
Side one starts with a bonanza, with Louis roaring out his own ingenious version of the lyrics to Sunny Side of the Street and Exactly Like You. Then his lovely and lively Mrs., Keely Smith, sends A Foggv Dew stealing through the crowd on little cat feet. Fact is, she seems to send the crowd, too. Trombonist Jimmie 'Little Red' Blount blows his own version of history-of-jazz seldom found in a single album, let alone in one solo, with his soaring Ho.. High the Moon. By this time the crowd is hoarse, and you'll wonder whether they have any energy left, until you hear them respond to Louis finish off side one with his personal colossus, Angelina and Zooma Zooma. After a cold shower, brave one, flip to side two and pour lemonade for all those neighbors piled up at your door. Keely Smith sends you for an extra ice cube with her singing. in duet with Louis. of Don i Worry 'Bout Me and I'm ln the Mood for Lore. Sam Butera on tenor sax bids you to Come Back to Sorrento. Those nice people could have just...danced to this, but somehow they preferred to listen. Keely swings with ire Got a Right to Sing the Blues, and then hubby Louis leaves you limping at the end with his famous and wild saga Robin Hood and Oh Babe, featuring his mad. mad trumpet and his mad, mad voice.
Video von Louis Prima - The Wildest Show At Tahoe (LP, 180g Vinyl)
Article properties: Louis Prima: The Wildest Show At Tahoe (LP, 180g Vinyl)
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Interpret: Louis Prima
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Album titlle: The Wildest Show At Tahoe (LP, 180g Vinyl)
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Label VINYL LOVERS
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Genre Rock'n'Roll
- Geschwindigkeit 33 U/min
- Vinyl record size LP (12 Inch)
- Record Grading Mint (M)
- Sleeve Grading Mint (M)
- Vinyl weight 180g Vinyl
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Artikelart LP
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EAN: 8436544170978
- weight in Kg 0.3
| Prima, Louis - The Wildest Show At Tahoe (LP, 180g Vinyl) LP 1 | ||||
|---|---|---|---|---|
| 01 | On The Sunny Side Of The Street - Exactly Like You | Louis Prima | ||
| 02 | A Foggy Day | Louis Prima | ||
| 03 | How High The Moon | Louis Prima | ||
| 04 | Angelina - Zooma Zooma | Louis Prima | ||
| 05 | Don't Worry 'Bout Me - I'm In The Mood For Love | Louis Prima | ||
| 06 | Come Back To Sorrento | Louis Prima | ||
| 07 | I Gotta Right To Sing The Blues | Louis Prima | ||
| 08 | Robin Hood - Oh Babe | Louis Prima | ||
Louis Prima
For decades, those afflicted with the need to categorize, apologize and explain Louis Prima have argued over how, where or even whether to place him in the pantheon of American music.
Intellectuals cringe at the very thought of him, write him off as a buffoon and generally look down their pointy noses in disgust at his onstage antics. They decry--and would deny him--his popularity with those they see as below themselves on the food chain, the ones who, far from the safety of tenured professorships and boring, lifeless lives in academia, actually work for a living.
Ironically, it is Prima's déclassé vulgarity which others find so appealing, for the root of the word vulgar means 'of the common people.' The dictionary defines vulgar as "lacking sophistication or good taste, marked by a lack of good breeding; boorish, ostentatious, obscene; lewd, crude, coarse." Indeed Louis Prima was all these things…and that's why he was, and continues to be loved.
Prima's fans have always been working people, those who toil, week in and week out, at jobs that do not excite, hard working guys who dig ditches, build buildings, drive trucks, deliver pizza or gals who answer telephones, type letters or cut and style other women's hair for a living. Other of Louie's fans engage in different, often illicit vocations. Regular folks, the kind you never see expressing their opinions on television panel shows, because nobody cares what they think. Consequently, neither do Prima's people care what the snobs think about their tastes in music, movies, or sartorial style. They live in different worlds, speak different languages and lead very different lives.
The world Louis Prima lived in was that of Show Biz in all its tinsel, glitter and hard knocks. His was a career that had more ups and downs than a Las Vegas hooker on a Saturday night.
Born in the Little Palermo section of that most musical of American cities, New Orleans on December 7, 1910 into the Sicilian family of Anthony and Angelina Caravella Prima, Louis was destined to be in music. Angelina was a loud, brassy singer and older brother Leon played, first coronet, then trumpet. Mother Prima initially assigned Louis to the violin, which won him first prize in a fiddling contest at the age of ten. He hated the instrument…it wasn't loud enough.
Struggling to make himself heard in a loud Italian family, 'loud' would become a hallmark of the Prima style and personality. And in a town crawling with talented musicians, the competition to be noticed was stiff. Those who made themselves heard were the ones who got the jobs.
Brother Leon was out on the road with his trumpet for a year and while he was away, Louis developed into a player to be reckoned with. With Sharkey Bonano, he formed the Sharkey-Prima Orchestra. He worked at the city's famed Saenger Theater in the pit band and doing a solo bit. When Leon returned, opening his first of several night clubs, the Beverly Gardens, his little brother was the first act he booked.
New Orleans was the home of jazz, the loud, happy boisterous kind, the kind that appealed to people, not just other musicians and egg heads. Crescent City jazz combined Creoles' formal musical training with the blues of uptown blacks and the enthusiasm of local white players to form a unique, populist approach to party music: music to drink, dance, fight and fuck to. Decades later, rock 'n' roll would serve the same needs and become the functional music of its time.
Meanwhile, in 1934, Guy Lombardo, a fellow Sicilian and leader of one of the nation's most popular bands, was performing locally. One night after work, strolling through the French Quarter, he heard Louie's trumpet blasting out of Leon's Club Shim Sham. He went inside to find out who was making those sounds and offered to help Louis, if he'd move to New York. A record contract and a booking at the Famous Door on 52nd Street followed and Prima was an overnight success, especially with the women who came to see him move his hips, wearing specially tailored slacks that revealed his special gifts. Twenty years hence, the wiggling hips of another young man, a sideburned truck driver from Tupelo, would have a similar effect on a younger, less sophisticated group of girls, girls who weren't quite sure what it was that was making their panties moist and made them scream with emotions and desires they'd never felt before.
Prima's female fans were older, grown-up women, women with dirty thoughts of doing dirty things with this olive-skinned Sicilian who stood, spread-legged onstage, grinding his hips and using his lips on his trumpet in ways that left little to the imaginations of experienced women of the kind who drank liquor and smoked cigarettes, wearing tight dresses in Mafia-owned nightclubs on 52nd Street in the city that never sleeps.
Louis Prima Louis Prima - Rocks
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