Twenties Sweetheart

( 1 )

Editorial Reviews

All Music Guide - Arwulf Arwulf
Released in 1995 on the Jasmine label, Annette Hanshaw The Twenties Sweetheart might easily be confused with Sweetheart of the Twenties, issued in 2006 by Halcyon/Sounds of Yesteryear. The two compilations have 11 titles in common. While Halcyon includes two excerpts from a Hanshaw interview with Brian Rust, the Jasmine disc contains 21 musical tracks, compared with Halcyon's fourteen. Annette Hanshaw 1901-1985 was one of the first white female singers to make authentic jazz records. She did this in collaboration with some of the best Caucasian improvisers active in New York during the '20s; had the entertainment industry's racially segregated policies not been in place, ...
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Editorial Reviews

All Music Guide - Arwulf Arwulf
Released in 1995 on the Jasmine label, Annette Hanshaw The Twenties Sweetheart might easily be confused with Sweetheart of the Twenties, issued in 2006 by Halcyon/Sounds of Yesteryear. The two compilations have 11 titles in common. While Halcyon includes two excerpts from a Hanshaw interview with Brian Rust, the Jasmine disc contains 21 musical tracks, compared with Halcyon's fourteen. Annette Hanshaw 1901-1985 was one of the first white female singers to make authentic jazz records. She did this in collaboration with some of the best Caucasian improvisers active in New York during the '20s; had the entertainment industry's racially segregated policies not been in place, it is quite likely that she'd have collaborated regularly with some of the top Afro-American artists of the day. This did happen once, according to Hanshaw herself, who claimed to have recorded two titles with pianists James P. Johnson and Clarence Williams in December 1929. The Twenties Sweetheart begins with the singer's two earliest commercially released records, which were cut on September 12, 1926, and closes with two titles waxed at a session that took place in May 1928. The 1926 material tracks one-three with accompaniments by a group fronted by trumpeter Red Nichols and trombonist Miff Mole. 1927 was a magnificent year for Hanshaw as her backing bands grew ever more solid and interesting. On tracks four and five she sings with pianist Irving Brodsky and Jimmy Lytell, a capable clarinetist who reappears on tracks 20 and 21 with pianist Rube Bloom. Tracks six-eight find Hanshaw working with the Original Memphis Five, which in this case meant Red and Miff with clarinetist George Bohn, pianist Frank Signorelli, and drummer Ray Bauduc. But the heart of this collection exists in tracks nine-fifteen, whereby Hanshaw does some of her all-time best singing in the company of a quartet billed either as Four Instrumental Stars or the Sizzlin' Syncopators. This amazing group consisted of violinist Joe Venuti, guitarist Eddie Lang, bass saxophonist Adrian Rollini also heard playing goofus, hot fountain pen, piano, and celeste and drummer Vic Berton who, on the cheerfully optimistic and rhythmically invigorating "I'm Somebody's Somebody Now," executes what must be the first phonographically recorded jazz tympani solo.
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Product Details

  • Release Date: 6/20/1995
  • Label: Jasmine Music
  • EAN: 5013727254224
  • Catalog Number: 2542
  • Sales rank: 57,529

Album Credits

Performance Credits
Annette Hanshaw Primary Artist, Vocals
Technical Credits
Irving Berlin Composer
Ruth Etting Composer
Milton Ager Composer
Lew Brown Composer
Julian Davidson Composer
Joe Davis Composer
Buddy DeSylva Composer
Ray Henderson Composer
Jack Yellen Composer
Charles Tobias Composer
Paul Pelletier Liner Notes
William Jerome Composer
Larry Shay Composer
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Customer Reviews

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  • Anonymous

    Posted October 1, 2010

    An album covering the first years of an outstanding singer's career.

    Annette Hanshaw possibly had the sweetest and softest voice and the most instinctive "feel" for music of any popular female vocalist ever recorded. OK, I may be slightly prejudiced. But among female vocalists of mid-1920s to mid-1930s nobody else can touch her. The selections on this CD were recorded from Sept. 1926 to May 1928, and unfortunately recording equipment in those years left something to be desired. Later recordings of Annette Hanshaw reflect the remakable beauty of her voice somewhat better. Yet these selections are redolent of the 1920s and display her musicality to great advantage. Most of the items exemplify the bouncy lightheartedness for which the "roaring twenties" are known. Yet some of the tracks show that even a 26-year old Annette Hanshaw could plumb the very depths of human feeling. It is difficult to imagine any song more poignant than the softly lyrical yet emotionally devastating number "The Song is Ended." Fortunately for the emotional health of listeners, the album does not end on that bleak note but with the cheerful "We love it," a song reminds our material age, as it did hers, that though our clothes might be old and our checks might bounce, life with the one you love can still be a source of pleasure.

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Sort by: Showing 1 Customer Reviews