| Year | The Jazz Side Of Things | The Classical Side Of Things |
|---|---|---|
| 1869 | Hungarian Dance No. 5 in G minor (Brahms, 1869) - Yehudi Menuhin, p. Adolph Baller - 1947 | |
| 1902 | On Emancipation Day (from In Dahomey, Will Marion Cook & Paul Lawrence Dunbar) - Len Spencer, banjo Vess L. Ossman - 1902 | |
| 1903 | I'm A Jonah Man (from In Dahomey, Will Marion Cook & Paul Lawrence Dunbar) - Arthur Collins - 1903 | |
| 1904 | Smoky Mokes (Cakewalk) - Peerless Orchestra - 1904 | Allegro Marcato (Three Pieces) (Frank Bridge, 1904) - Phantasie Quartet - 1994 |
| 1905 | Bethena (Concert Waltz) (Scott Joplin, 1905) - Joshua Rifkin - 1970 | |
| 1906 | Central Park in the Dark (Ives, 1906) - Vladimir Cherniavsky & the Polymusic Chamber Orchestra - 1951 | |
| 1908 | Golliwogg’s Cakewalk (Debussy, 1908) - Sergei Rachmaninov - 1921 | |
| 1909 | In Dahomey (Cakewalk Smasher) (Percy Grainger, 1909) - Marc-Andre Hamelin - 1996 | |
| 1910 | Dere was a man (from Treemonisha, Scott Joplin, 1910) - Gunther Schuller - 1976 | |
| 1911 | Polka de W.R. for piano in A flat major (Behr arr. Rachmaninov, 1911) - Sergei Rachmaninov - 1929 | |
| 1914 | Swing Along (Will Marion Cook) - The Afro-American Folk Singers - 1914 | |
| Castle House Rag (James Reese Europe) - Europe’s Society Orchestra - 1914 | ||
| 1915 | Chinese Blues (1915) - Sousa's Band - 1916 | |
| 1916 | That Funny Jas Band from Dixieland (Edison, first recording) - Collins and Harlan - 1916 | |
| 1917 | That Funny Jas Band from Dixieland (Victor, second recording) - Collins and Harlan - 1917 | Rag-time du paquebot (edited) (from Parade, Erik Satie, 1917) - p. Georges Auric & Frances Poulenc - 1937 |
| Livery Stable Blues - The Original Dixieland Jass Band - 1917 | ||
| 1918 | Rag-Time (Stravinsky, 1918) - Marcelle Meyer - 1925 | |
| 1919 | Rose Room - Art Hickman’s Orchestra - 1919 | Piano Rag Music (Stravinsky, 1919) - Stravinsky - 1938 |
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| ABOVE: A rare and dangerous example of the urethra flute. |
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| It would be doing the merely obvious to include such gimmicky instruments as the trapezoidal harp (ABOVE). |
| Jungle Flute – Don Tracy & the Voodoo Family | Flute |
| (Dance to the Music of) The Ocarina – Irving Berlin | Ocarina |
| The Twisted Nerve – Bernard Hermann | Harp |
| Jan Pahechan ho – Mohammed Rafi | Electric guitar |
| Got a Match – Frank Gallop | Harpsichord |
| I Touch Myself – Rolf Harris | Wobble board |
| A Day In The Life – The Koto Ensemble | Koto |
| K.G.’s Half Way Tree – Augustus Pablo & The Simplicity People | Violin |
| Yaman (The Colonel’s Lady) – The Indo-British Ensemble | Sitar |
| Donna Lee – Tom Slavicek | Banjo |
| Prodigy Medley – The Banana Sessions | Sousaphone |
| Take Five – Cayman Islands Steel Pan Jazz Trio | Steel pans |
| Bag’s Groove – Leon Thomas | The yodel |
| Oboe Mambo – Machito And His Afro-Cuban Orchestra | Oboe |
| It’s A Long Way To The Top (If You Wanna Rock ’N’ Roll) – AC/DC | Bagpipes |
| Twelve Days Of Christmas - Peter Brogs | “On the first day of Christmas my Jah Jah gave to me/ A garden full of sensi.” And what says ‘Christmas’ like highly potent cannabis plants? |
| Swingin’ Them Jingle Bells - Fats Waller | The wonderful thing about Waller is that every record is a chance for a party, so a novelty record by him swings as hard as Twelfth Street Rag. |
| Sleigh Ride - The Avalanches | The Avalanches recreate the feeling of a good sleigh ride, but with more acid involved. |
| God Rest Ye Merry Gentlemen - Jimmy Smith | I defy you to find a record where such an atmosphere of pomp and circumstance dissolves so blithely into utter coolness. |
| Please Come Home for Christmas - The Platters | This is an incredibly short song that conjures up images of cardigan-clad crooners — until the surprisingly soulful chorus hits you. |
| Nikon Small World Photomicrography Competition A selection of photographs created using a microscope. The objects are sometimes shown 2000 times their original size. |
| Bizarre Love Triangle – Frente Lovely cover of an already beautiful song. The soaring melody is sung against guitar arpeggios. |
 | The Composer as Accompanist This site posts some astounding classical 78s, including a solo piano piece by John Ireland. The Shellackophile have some really nice pieces. |
Many musicians who’ve gone over to electronics have tended to use them for either novelty or bizarre effects. Not so Mike Timoney; he displays restraint, discretion and impeccable taste.If you’re a regular reader of this site, you can imagine how my heart sank.
Turns out Timoney is an accordion prodigy who, when he saw this Leslie-speaker-clad beast, had to have one — at a cost of over £2,000.I mean, look at some of this kit:
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“He’s here on tour from the city – “Powerhouse and His Keyboard” – “Powerhouse and His Tasmanians” – think of the things he calls himself! There’s no one in the world like him. You can’t tell what he is. [...] He’s not coal black – beverage colored – looks like a preacher when his mouth is going every minute: like a monkey’s when it looks for something. Improvising, coming on a light and childish melody – smooch – he loves it with his mouth.”Whitney Balliett, eat your heart out!
“It’s a white dance, and nobody dances, except a few straggling jitterbugs and two elderly couples. Everybody just stands around the band and watches Powerhouse. Sometimes they steal glances at one another, as if to say, Of course, you know how it is with them–Negroes–band leaders–they would play the same way, giving all they've got, for an audience of one... When somebody, no matter who, gives everything, it makes people feel ashamed for him.”
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The only real tribute to Lennon worth listening to is this one. Because ragga is the perfect medium for such a tribute. |  |
But Norman Candler's wonderfully oxymoronic idea of doing an easy listening Lennon tribute is also fraught with genius. | |
Want to rub salt in the wound a little more? Here's an equally awful – no, unbelievably shitty – imaginary interview with a 70-year-old Lennon (from Vanity Fair). |  |
As these, er, remarkable songwriting demos show, Meek had a definite ear for a catchy tune. He could also create simple, clever turns of pop-song phrase. Unlike, say, Carole King or Burt Bacharach, however, Joe couldn't convey his songs in a clean, clear, easy-to-get manner.Go and listen to them at the Free Music Archive.
