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  1. Er spielte in Red Nichols' Five Pennies und Red McKenzie's Mound City Blue Blowers und nahm 1929 mit Louis Armstrong and his Savoy Ballroom Five auf. In der Depression bildete er die Windy City Seven mit Pee Wee Russell und nahm mit Artie Shaw, Bobby Hackett und mit All Star Groups unter eigenem Namen auf. Eddie Condon – Strut Miss ...

  2. en.wikipedia.org › wiki › Eddie_CondonEddie Condon - Wikipedia

    Years active. 1921–1973. Labels. Commodore, OKeh, Victor, Brunswick, Columbia. Albert Edwin Condon (November 16, 1905 – August 4, 1973) was an American jazz banjoist, guitarist, and bandleader. A leading figure in Chicago jazz, he also played piano and sang. He also owned a self-named night club in New York City .

  3. 24. Jan. 2019 · January 24, 2019. Profiles In Jazz. Eddie Condon took extremely few guitar solos in his career (all very early), did not sing after the 1920s, and only wrote a couple of songs and arrangements. But despite that, he was one of the most important figures in classic jazz.

  4. Albert Edwin Condon (November 16, 1905 – August 4, 1973) was an American jazz banjoist, guitarist, and bandleader. A leading figure in Chicago jazz, he also played piano and sang. Show Less... Continue reading at Wikipedia... Birth and Death Data: Born 1905 ( Indiana ), Died July 4, 1973 ( New York City) Date Range of DAHR Recordings: 1926 ...

  5. Condon expressed some reservations about the idea. By 1938 he has been playing his music professionally for over fifteen years and had few illusions about public support for polyphonic improvisation. He was not cynical but dubious: the music was indelibly marked by its early association with speakeasies, illegal alco-hol, and the criminal ...

  6. Early Hamp (1929-1938) by Lionel Hampton released in 1991. Find album reviews, track lists, credits, awards and more at AllMusic.

  7. 30. Apr. 2023 · The interracial session organized by Eddie Condon on February 8, 1929, resulted in this classic, featuring a vocal by Jack Teagarden. Over the last 20 years, the trend has been to interpret jazz history through the lens of current critical thinking about race and gender—a necessary corrective to writing that elided or made short ...