Відео

Truly fantastic! What a clean transfer too!

Superb

Superbe, imaginez que les nazis occupent le pays et un musicien tzigane joue ceci sous le nez des amateurs de marches militaires.

🌹🌹🌹🌹🌹🌹🌹🌹🌹

I used to play this in a band I was in. Great tune to get audiences interest and involvement.

Jazz, Jugs, and Steel 240 chronological recordings (1923 ~ 1962) ua-cam.com/play/PLcKh5uvyw3hYxlnht2vlagu7XX8o2lLia.html

Jazz, Jugs, and Steel 240 chronological recordings (1923 ~ 1962) ua-cam.com/play/PLcKh5uvyw3hYxlnht2vlagu7XX8o2lLia.html

Amazing! Thanks for uploading this masterpiece!

Jazz, Jugs, and Steel 240 chronological recordings (1923 ~ 1962) ua-cam.com/play/PLcKh5uvyw3hYxlnht2vlagu7XX8o2lLia.html

Jazz, Jugs, and Steel 240 chronological recordings (1923 ~ 1962) ua-cam.com/play/PLcKh5uvyw3hYxlnht2vlagu7XX8o2lLia.html

Jazz, Jugs, and Steel 240 chronological recordings (1923 ~ 1962) ua-cam.com/play/PLcKh5uvyw3hYxlnht2vlagu7XX8o2lLia.html

Jazz, Jugs, and Steel 240 chronological recordings (1923 ~ 1962) ua-cam.com/play/PLcKh5uvyw3hYxlnht2vlagu7XX8o2lLia.html

Jazz, Jugs, and Steel 240 chronological recordings (1923 ~ 1962) ua-cam.com/play/PLcKh5uvyw3hYxlnht2vlagu7XX8o2lLia.html

Jazz, Jugs, and Steel 240 chronological recordings (1923 ~ 1962) ua-cam.com/play/PLcKh5uvyw3hYxlnht2vlagu7XX8o2lLia.html

Jazz, Jugs, and Steel 240 chronological recordings (1923 ~ 1962) ua-cam.com/play/PLcKh5uvyw3hYxlnht2vlagu7XX8o2lLia.html

true

I'm lookin' funny in my eyes, believe I'm fixin' to die, believe I'm fixin' to die. I'm lookin' funny in my eyes, believe I'm fixin' to die. I know I was born to die, but I hate to leave my children cryin’. . Just as sure as we live today, sure we's born to die, sure we's born to die. Just as sure as we live, sure we's born to die. I know I was born to die, but I hate to leave my children cryin’. Your mother treated me, children, like I was her baby child, was her baby child. Your mother treated me, like I was her baby child. That's why I tried, tried so hard to come back home to die. So many nights at the fireside, how my children's mother would cry, how my children's mother would cry. So many nights at the fireside, how my children's mother would cry. ‘Cause I ain’t told their mother I had to say good-bye. Look over yonder, on the buryin' ground, on the buryin' ground. Look over yonder, on the buryin' ground. Yonder stand ten thousand, standin' still to let me down. Mother, take my children back, before they let me down, before they let me down. Mother, take my children back, ‘fore they let me down. Ain't no need of them screamin' an’ cryin’, on the graveyard ground.

Jazz, Jugs, and Steel 240 chronological recordings (1923 ~ 1962) ua-cam.com/play/PLcKh5uvyw3hYxlnht2vlagu7XX8o2lLia.html

Similar to "Big Leg Woman" by Johnnie Temple. Great stuff - thanks for uploading.

Love this tune, enjoy it folks, much love from Ireland🍀💃

Excellent

Jazz, Jugs, and Steel 240 chronological recordings (1923 ~ 1962) ua-cam.com/play/PLcKh5uvyw3hYxlnht2vlagu7XX8o2lLia.html

This used to be the final song. Should it be 241?

This replaced Robert Johnson's 'Stop Breakin' Down'. Although it was recorded a few months earlier that this, it is my thinking that Johnson's song is a copy of 'Shake 'Em On Down'. There is a lot of discussion about why Johnson recordings sound like he was pitched up. I suspect that he was a fan of Bukka White, and he uses a falsetto when singing the blues. I wonder if Robert Johnson asked to have his recordings pitched up to make him sound more like Bukka White.... in fact it made him sound like a chipmunk, (which Johnson couldn't have known back in 1937).

Merci beaucoup pour les soli du grand Jelly Roll Morton que j'ai vraiment découvert depuis peu grâce, aussi, au livre extraordinaire d'Alan Lomax ("Mister Jelly Roll"). Bien à vous ! Thank you very much for the solos of the great Jelly Roll Morton that I really discovered recently thanks, also, to the extraordinary book by Alan Lomax ("Mister Jelly Roll"). Good to you!

Not if, but when. Remember that.

Nobody ever played this piece as well as Jelly Roll did. Nothing compares

Elvis Presley's favorite guitarist and performer. Sister Rosetta was the real deal. A groundbreaking guitarist and singer. RIP Sister Rosetta Tharpe.

The last two verses were swapped from the original... the song seems to flow better that way. Also in the original Tommy adds a fair amount of talking during guitar breaks that are a bit distracting... some of that talking was removed in this edit. Sorry Tommy.

Jazz, Jugs, and Steel 240 chronological recordings (1923 ~ 1962) ua-cam.com/play/PLcKh5uvyw3hYxlnht2vlagu7XX8o2lLia.html

Jazz, Jugs, and Steel 240 chronological recordings (1923 ~ 1962) ua-cam.com/play/PLcKh5uvyw3hYxlnht2vlagu7XX8o2lLia.html

Jazz, Jugs, and Steel 240 chronological recordings (1923 ~ 1962) ua-cam.com/play/PLcKh5uvyw3hYxlnht2vlagu7XX8o2lLia.html

Jazz, Jugs, and Steel 240 chronological recordings (1923 ~ 1962) ua-cam.com/play/PLcKh5uvyw3hYxlnht2vlagu7XX8o2lLia.html

Great tune; it was recorded by many groups! Love it.-

John zorn😂

Great . Thanks.

Ragtime was also considered low-brow piano, but boogie-woogie (or "Fast Western") was thought to be *lower* than low-brow.

It's probably Gray on flute, then switching to bass clarinet, up front and at the end. Clarence Hutchenrider plays hot clarinet.

I cried many times listening to this song

Beautiful beyond any music around nowadays ❤

Jazz, Jugs, and Steel 240 chronological recordings (1923 ~ 1962) ua-cam.com/play/PLcKh5uvyw3hYxlnht2vlagu7XX8o2lLia.html

This is one of the earliest recordings of the musical genre of boogie, aka barrelhouse or honky-tonk. This piano form originated in Texas following the Civil War and developed in the logging camps throughout the South. Originally considered low brow, (as opposed to high brow Ragtime), boogie piano was mostly played in saloons and at rent parties. Playlist: ua-cam.com/play/PLcKh5uvyw3hYxlnht2vlagu7XX8o2lLia.html

Very beautiful presentation of this classic, sound is pure and real!

😅😅

Moon Mullican is the Greatest

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I challenge all comers to accurately produce sheet music that denotes the appropriate changes in the number of beats per bar for this wonderful piece of music Fortunes must have been won and lost by betting on the possibility or impossibility of successfully accomplishing the completion of such a daunting task !

I challenge all comers to produce sheet music that ACCURATELY, with no margin for error, reproduces this work with the appropriate changes in the number of beats per bar. Fortunes must have been won and lost on bets that this was either possible or impossible. But this music does flow beautifully and seamlessly nonetheless Well done indeed !

original version. with Jimmy Martin. 112 BPM