26 tracks, recorded between 1911 and 1927, spanning the entire career of this saxophone troupe that started the "saxophone craze" of the 1910s, and comprising roughly half of their recorded output. Beautiful 24-page, full-color booklet contains extensive notes by Brown Brothers expert Bruce Vermazen, and it includes uncommon illustrations from Vermazen's personal collection. Of special note is the inclusion of three previously unreleased tracks, particularly one in which leader Tom Brown performs his legendary "abandoned-bride" routine--a humorous interplay between a full orchestra and the consummate saxophonist showing his full bag of tricks.
List price: $16.99 Sale price: $14.10
- Catalogue number: ARCH 6002
- UPC: 777215105508
- Original release date: February 24, 2004
- Running length: 26 tracks / 78 minutes
- Notes & packaging: Includes a 24-page full-color booklet
- Tracks recorded: 1911-1920 & 1927
- In Archeophone’s Jazz, Dance & Blues series
Sample all tracks
|1.||The Bullfrog and the Coon||Five Brown Brothers||1911|
|2.||American Patrol||Five Brown Brothers||1911|
|3.||That Moaning Saxophone Rag||Six Brown Brothers||1914|
|4.||Chicken Reel Comedy Medley||Six Brown Brothers||1915|
|5.||Chin Chin Medley||Six Brown Brothers||1916|
|6.||Bull Frog Blues||Six Brown Brothers||1916|
|7.||Chicken Walk||Six Brown Brothers||1916|
|8.||Walkin’ the Dog||Six Brown Brothers||1916|
|9.||Passion Dance (La Danza Appassionata)||Six Brown Brothers||1916|
|10.||Saxophone Sam||Six Brown Brothers||1917|
|11.||My Fox Trot Girl||Six Brown Brothers||1917|
|12.||Ghost of the Saxophone||Six Brown Brothers||1917|
|13.||The Darktown Strutters’ Ball||Six Brown Brothers||1917|
|14.||Smiles and Chuckles||Six Brown Brothers||1917|
|15.||For Me and My Gal||Six Brown Brothers||1917|
|16.||Peter Gink||Six Brown Brothers||1919|
|17.||Egyptland||Six Brown Brothers||1919|
|18.||I’ll Say She Does||Six Brown Brothers||1919|
|19.||Missouri Blues||Six Brown Brothers||1919|
|20.||Jazz Band Blues||Six Brown Brothers||ca. 1920|
|21.||Rainbow of My Dreams||Six Brown Brothers||ca. 1920|
|22.||Tip Top||Six Brown Brothers||1920|
|23.||If a Wish Could Make It So||Six Brown Brothers||1920|
|24.||Shivaree||Six Brown Brothers||1920|
|25.||Rosy Cheeks||Six Brown Brothers||ca. 1920|
|26.||Saxaphonic Jazz Masters and Orchestra||The Original Six Brown Brothers||1927|
A Family Affair
The Six Brown Brothers consisted of a changing assortment of six real-life brothers, sons of Canadian cornetist and bandmaster Allan W. Brown (1858-1947) and his wife Maria (1859?-1943). It’s unlikely all six brothers were in the group at the same time, but each did a stint at some point, and very possibly at least five of them are on almost all the sides issued by Victor and Emerson. The boys were William (1879-1945), Tom (1881-1950), Alec (1882-1978), Percy (1883-1918), Vern (1887-1964), and Fred (1890-1949). Another musician who is possibly on all the 1911-1920 discs is Harry Fink (1889-1951), who was born Harry Finklestein in Poland but used the name Harry Brown.
The Saxophone Craze
Tom Brown bought his first saxophone in 1904, when one was likely to hear the instrument only in military or large circus bands. A decade later, show-business newspapers were talking about a “saxophone craze.” The Brown Brothers were at the helm of the craze, centering their vaudeville act around the beautiful, distinctive voices of their saxophones—and the funny noises (squeaks, laughter, clucking, and sobs) they could make, such as on “The Bullfrog and the Coon.” Before long, entire sax-orchestras were formed, and sales of saxes skyrocketed. When jazz established itself by the 1920s, the saxophone would be a staple of jazz bands. This CD documents the meteoric rise of the sax in American music, its versatility and tone, and the extraordinary skill wielded by the leaders of the sax craze: the Six Brown Brothers.
Rags and Laughs
The Brown Brothers put their consummate abilities to use on the popular music and trends of the day, especially ragtime, and their performances, filled with clever twists and turns, always bring a laugh. At least one record, “That Moaning Saxophone Rag,” was a huge seller, written by Tom Brown himself. “Peter Gink” is by George L. Cobb, who made a career out of “ragging” the classics (as he did with “Russian Rag”, based on a piece by Rachmaninoff)—in this case the object of his adaptation is Grieg’s opera Peer Gynt. “Smiles and Chuckles” is one of the Six Brown Brothers’ best-known records, and although it was billed as a “Jazz Rag,” its sheet music calls it a “rag one-step.” Either way, the Brothers show their mastery of F. Henri Klickmann’s syncopations. Klickmann was a prolific arranger and composer who improved the Brothers’ sound considerably during his long tenure as chief orchestrator for the act.
The Browns could tear it up on a catchy dance tune such as “My Fox Trot Girl,” or they could ride the jazz and blues wave on songs like “Missouri Blues” with the best of them. But they made innovative contributions to the sax art that have lasting and historical significance. For instance, the dominant bass sax on “If a Wish Could Make It So” evidences the extent to which the Brothers boldly put that peculiar voice in their act. Perhaps the most stunning example of Tom Brown’s art on the CD has to be heard to be believed: it is on the 1927 offering, The Original Six Brown Brothers, Saxaphonic Jazz Masters and Orchestra, in the middle of which Tom plays the role of an abandoned bride having a musical “conversation” with the band in snatches of tunes that would have been well-known to his audience. You can hear Tom “talking” through his instrument in this incredible testiment to the talent of the Six Brown Brothers’ leader.
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