Missy, age 20, student of music, aspiring vocalist and musicologist/music historian.
I have a lifelong passion for music that refuses to wane.
This blog is home to critical listening, to my thoughts and observations about all aspects of music and music history, to my music reviews, analyses, essays, playlists, and the like. It's an all-around appreciation of the aural art form.
Hello, everyone! First off, I’d like to wish you all a happy new year! I apologize for the lack of posts here recently and I hope to change that in 2014.
Today I’ll be writing up a little something about some of my favorite albums released in 2013.
In the near future, I hope to continue my Jazz Masters of the 1920s playlist series since I never got around to finishing those. I also just signed up an account with Spreaker and am thinking of doing my own little radio shows through them and links to those will obviously be posted here.
If you follow my personal blog, you know that I wrote a Role Model Report for my Applied Music class on Ella Fitzgerald but was having a hard time deciding between a number of jazz vocalists who inspire me greatly. One of those vocalists was Lee Wiley and so I may write up a little something about her to share here as well.
For anyone interested in jazz, there’s the live music, there’s the recordings, and—if you want to go way deeper—there are thousands of pages of books documenting early jazz recordings, lovingly cataloged.
The existence of these books is no small thing. In its early days, the jazz recording business was disorganized bordering on piratical: Copyright law was poorly enforced; a small label that got its hands on someone else’s master tapes might just pass off the music of one artist as that of another. A listener could be hearing a small-town dance hall band on a record purporting to be the latest from Louis Armstrong.
Enter a small group of obsessives: amateur jazz discographers. Working mainly in England and France after World War II, this small cadre of men would hunt through used record shops, scanning serial numbers and examining tiny details to figure out when the record was recorded and which musicians were really playing on it. They produced immense catalogs of jazz records that for the first time authoritatively sorted genuine from false.