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Reviewers: Don Mather, Dick Stafford, Marc Bridle, John Eyles, Ian Lace, Colin Clarke

Profoundly Blue
ASV Mono Living Era
CD AJA 5410
    Edmond Hall & His Celeste Quartet
  1. Edmond Hall Blues
  2. Jamminí in Four
  3. Profoundly Blue

  4. Billy Holiday Orchestra
  5. Me Myself & I

  6. Lionel Hampton Orchestra
  7. My Buddy

  8. Red Allen Orchestra
  9. Down in Jungle Town
  10. Canal St. Blues
  11. Zutty Singleton Orchestra
  12. King Porter Stomp
  13. Shim-Me-Sha-Wabble
    Edmond Hall and his Blue Note Jazz Men
  1. High Society
  2. Night Shift Blues

  3. Coleman Hawkins with The Leonard Feather All Stars
  4. Esquire Blues

  5. Edmond Hall Sextet
  6. The Man I Love
  7. Downtown Café Boogie

  8. Edmond Hall & his All Star Quintet
  9. Rompiní in 44
  10. Smooth Sailiní

  11. Edmond Hall Swingtet
  12. Itís Been So Long
  13. Big City Blues

  14. Edmond Hall & his Quartet with Teddy Wilson
  15. Sleepy Time Girl
  16. It Had to be you
  17. Caravan
  18. Showpiece

This album is loaded with other famous jazzmen as well as Ed Hall, Red Allen, Emmett Berry, Harry Carney, Benny Carter, Charlie Christian, Vic Dickenson. Lionel Hampton, Coleman Hawkins, James P Johnson, Meade Lux Lewis, Red Norvo, Zutty Singleton, Art Tatum, Teddy Wilson and Lester Young all put in appearances. This gives some idea of the awe Ed was held in by his fellow musicians.

He is famous for two reasons, one he played throughout the world with the Louis Armstrong All stars, and secondly he turned down the opportunity to join the Duke Ellington Orchestra when Barney Bigard left! He played in the Armstrong Band for 3 years and afterwards was a firm favourite of the crowd at Condonís in New York. He played Alto Sax as well and played in many of the popular dance bands of the thirties before becoming a jazz specialist. He always played an Albert system clarinet even when the majority of his contemporaries had changed to the Boehm System. This type of clarinet does not have all the alternative fingerings of the newer system, which makes his fluent technique on the instrument even more remarkable.

In the grand scheme of things Ed Hall was not a New Orleans clarinet player, he was more modern and had more technique than that, on the other hand he was not a Benny Goodman either. His tone was warmer than Goodmanís but nobody has been able to match Goodman for sheer technique. Ed was a force to be reckoned with, he had a neat style and strong improvisational ability and was highly regarded by his colleagues, ASV has done us all a favour in bringing his music back to our attention.


Don Mather






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