How Low Can You Go-Anthology Of The String Bass - How Low Can You Go: Anthology of the String / Various vinyl record cover

1

Milenberg Joys - Ted Lewis & His Band

2

Dinah - Jean Goldkette & His Orchestra

3

Black Bottom Stomp - Jelly Roll Morton

4

My Pretty Girl - Jean Goldkette & His Orchestra

5

Wash-Board Cut Out - Leecan Bobbie Need-More Band

6

Bogalusa Strut - Sam Morgan's Jazz Band

7

Down by the Riverside - Sam Morgan's Jazz Band

8

Bull Frog Blues - Charles Pierce and His Orchestra

9

China Boy - Charles Pierce and His Orchestra

10

Voice of the Southland - Thelma Terry & Her Playboys

11

Mama's Gone, Goodbye - Thelma Terry & Her Playboys

12

I'd Like to Go Back to That Old Pal of Mine - Halfway House Danc

13

Goose Creek-Stomp - Mart Britt

14

Waiting for a Train - Jimmie Rodgers

15

Texas and Pacific Blues - Frenchy's String Band

16

So Tired - Coley Jones/Dallas String Band

17

Freeze and Melt - Joe Turner & His Memphis Men

18

Hot Heels - Eddie Lang & His Orchestra

19

Beggar's Blues - Sonny Greer

20

Where the Sweet Magnolias Bloom - Taylor Griggs Louisiana Melody

21

En Sens Unique S.V.P. - L'Orchestra Antillais

22

Squabblin' - Walter Page's Blue Devils

23

Duet Stomp - Jones & Collins Astoria Hot Eight

24

Poor Li'l Me - Luis Russell & His Orchestra

25

Panama - Luis Russell & His Orchestra

26

Chinatown, My Chinatown - Fletcher Henderson & His Orchestra


Item UPC: 880226000424

Date First Available:

Label: DUST TO DIGITAL

How Low Can You Go-Anthology Of The String Bass

How Low Can You Go: Anthology of the String / Various

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ABOUT THE ALBUM


The first anthology ever of the string bass; a 3 CD box set in a cardboard box; 96 page book. Original recordings from 1925-1941, from the legendary archival label Dust To Digital (that previously brought the world the beyond elaborate Goodbye, Babylon and Fonotone Records boxsets). 'Not so long ago, the string bass stood tall and proud roughly the length and breadth of a poor man's pine coffin in every musical aggregation throughout the land from Bangor to Buenos Aires, from the highest high life to the lowest lowdown: From tuxedoed symphony ensembles to tipsy Calypso bands to honky-tonkers in oil field dives, from elegantly gelled tango orchestras to Jazz combos in unspeakable speak easys to methed out rockabilly trios right off some flatbed: you can be damned sure Johnny Cash wouldn't have been able to walk the line without bassist Marshall Grant keeping him honest. But somewhere along the line, the upright acoustic bass was snatched from it's hallowed place atop the sedans (special carriage) and show stages and relegated to the trash heap of history in favor of Leo Fender's sleek electric cousin, plugged in to compete with amplified guitar and drums. Now the stand up bass makes it's appearance mostly in limousine liberal Lincoln Center Jazz benefits and hardcore Bluegrass bands or as a comical Hayseed Prop in retro Hillbilly outfits. And yet in that span between the turn of the century tuba blaring from an Edison cylinder and today's synthesized bass loops heaving from every SUV on the pike, the hypnotic pull of the old school string bass remains. A musical craft handed down by calloused, bandaged fingers, it wrought a mighty saga of bottom heavy rhythms that rattled the walls of many a venue and anchored many an historic recording session. Without it, the revolutionary sound of American mongrel music of the last century would have been thin gruel indeed.'

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