{"id":35704,"date":"2018-03-23T12:00:36","date_gmt":"2018-03-23T11:00:36","guid":{"rendered":"https:\/\/www.tomajazz.com\/web\/?p=35704"},"modified":"2022-09-08T21:45:11","modified_gmt":"2022-09-08T19:45:11","slug":"razones-para-el-jazz-the-complete-recordings-of-sam-wooding-1922-31-400","status":"publish","type":"post","link":"https:\/\/tomajazz.com\/web\/razones-para-el-jazz-the-complete-recordings-of-sam-wooding-1922-31-400\/","title":{"rendered":"Razones para el jazz: The Complete Recordings of Sam Wooding 1922-31 [400]"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-35705 size-medium\" src=\"https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2018\/03\/Sam-Wooding_The-Complete-Recordings-1922-1931-200x200.jpg\" alt=\"\" width=\"200\" height=\"200\" title=\"\" srcset=\"https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2018\/03\/Sam-Wooding_The-Complete-Recordings-1922-1931-200x200.jpg 200w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2018\/03\/Sam-Wooding_The-Complete-Recordings-1922-1931-150x150.jpg 150w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2018\/03\/Sam-Wooding_The-Complete-Recordings-1922-1931-55x55.jpg 55w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2018\/03\/Sam-Wooding_The-Complete-Recordings-1922-1931-50x50.jpg 50w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2018\/03\/Sam-Wooding_The-Complete-Recordings-1922-1931.jpg 500w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/>Un disco (1).\u00a0<strong>Sam Wooding<\/strong>:\u00a0<em>The Complete Recordings of Sam Wooding 1922-31\u00a0<\/em>(Jazz Oracle)<\/p>\n<p>Triple \u00e1lbum con las grabaciones completas de <strong>Sam Wooding<\/strong>, realizadas en Nueva York, Berl\u00edn, Barcelona y Par\u00eds, aunque lo m\u00e1s interesante son las grabaciones realizadas durante sus ocho a\u00f1os en el continente europeo; Wooding y su orquesta fueron un elemento muy importante en la difusi\u00f3n y popularizaci\u00f3n del jazz en toda Europa y Rusia en la d\u00e9cada de 1920. Si, \u00a1un hist\u00f3rico! Durante este tiempo realizaron varias sesiones de grabaci\u00f3n en Alemania (Berl\u00edn, 1925-26), Espa\u00f1a (Barcelona, 1929) y Francia (Par\u00eds, 1929 y 1931). Este \u00e1lbum re\u00fane esas grabaciones, incluyendo varias tomas alternativas no publicadas anteriormente. El CD se acompa\u00f1a de un folleto de 60 p\u00e1ginas, presentando al m\u00fasico y su m\u00fasica y sus paseos por Europa, escritas por el investigador Rainer Lotz.<\/p>\n<p>La banda de Sam Wooding fue una popular orquesta de jazz en Nueva York a principios de la d\u00e9cada de 1920 \u2013aunque sin llegar a la altura de sus m\u00e1s afamados coet\u00e1neos, Louis Armstrong, Fletcher Henderson o King Oliver. Tocaron en el circuito de vodevil Fox y en 1923 en el Club Alabam. En 1925, la compa\u00f1\u00eda de vodevil de Rufus Greenlee y Teddy Drayton contrat\u00f3 a Wooding y su banda para tocar en un espect\u00e1culo musical que estaban organizando para presentar en Europa: la revista musical <em>The Chocolate Kiddies<\/em>. La compa\u00f1\u00eda contaba con treinta coristas, bailarinas y comediantes, adem\u00e1s de los once m\u00fasicos que integraban la orquesta de Wooding, que ten\u00eda al trompetista Tommy Ladnier como solista estrella. La m\u00fasica del espect\u00e1culo inclu\u00eda tres composiciones de Duke Ellington.<\/p>\n<p>La orquesta de Wooding estuvo con la compa\u00f1\u00eda de Rufus Greenlee y Teddy Drayton alrededor de a\u00f1o y medio, luego recorrieron extensamente Europa, ya sin la revista pero present\u00e1ndose como <em>The Chocolate Kiddies<\/em>, tocando en Alemania, Suecia, Espa\u00f1a, Francia, Suiza, Turqu\u00eda, Rumania, Italia, Checoslovaquia, Holanda, B\u00e9lgica y Rusia. En 1927 fueron a Sudam\u00e9rica y tocaron en Buenos Aires. Volvieron a Europa en 1928 y continuaron tocando por el continente hasta que se separaron en B\u00e9lgica en 1931. Mientras estuvo en Berl\u00edn con la compa\u00f1\u00eda de revista, la banda grab\u00f3 varios temas para el sello Vox, contando con m\u00fasicos como Doc Cheatham, Willie Lewis, Tommy Ladnier, Gene Sedric y Herb Flemming. En 1929, con algunos cambios entre los m\u00fasicos, hizo nuevas grabaciones en Barcelona y Par\u00eds para Parlophone y Path\u00e9 respectivamente.<\/p>\n<p>Wooding regres\u00f3 a Estados Unidos y en 1932 reform\u00f3 la banda con la que continu\u00f3 tocando en p\u00fablico hasta 1935; durante este per\u00edodo, Sidney Bechet estuvo en la orquesta un breve periodo de tiempo. Despu\u00e9s de 1935, Wooding, abandon\u00f3 el negocio de la m\u00fasica por unos a\u00f1os para asistir a la universidad y obtener una maestr\u00eda en m\u00fasica de la Universidad de Pensilvania, dedic\u00e1ndose a la ense\u00f1anza.<\/p>\n<p>Seleccionado y comentado por \u00a9<strong> Juli\u00e1n Ruesga Bono<\/strong>, 2018<\/p>\n<p>Nota:<\/p>\n<p>(1) La entrega n\u00famero 400 de\u00a0<em>Razones para el jazz<\/em> bien podr\u00eda haber sido:<br \/>\nUn m\u00fasico: Sam Wooding.<br \/>\nUn tema: \u201cBull Foot Stomp\u201d (Grabado en 1929 en Barcelona).\u00a0<a href=\"https:\/\/www.youtube.com\/watch?v=Y-oGmh2EwRU\" target=\"_blank\" rel=\"noopener\">https:\/\/www.youtube.com\/watch?v=Y-oGmh2EwRU<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Un disco (1).\u00a0Sam Wooding:\u00a0The Complete Recordings of Sam Wooding 1922-31\u00a0(Jazz Oracle) Triple \u00e1lbum con las grabaciones completas de Sam Wooding, realizadas en Nueva York, Berl\u00edn, Barcelona y Par\u00eds, aunque lo m\u00e1s interesante son las grabaciones realizadas durante sus ocho a\u00f1os en el continente europeo; Wooding y su orquesta fueron un<span class=\"more-link\"><a href=\"https:\/\/tomajazz.com\/web\/razones-para-el-jazz-the-complete-recordings-of-sam-wooding-1922-31-400\/\">Contin\u00faa leyendo<\/a><\/span><\/p>\n","protected":false},"author":1,"featured_media":35705,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[17854,5,20689,15517,1038],"tags":[21077,603,10393],"class_list":["entry","author-pachi","post-35704","post","type-post","status-publish","format-standard","has-post-thumbnail","category-julian-ruesga-bono","category-grabaciones","category-razones-para-el-jazz","category-textos","category-contenidos","tag-jazz-oracle","tag-julian-ruesga-bono","tag-sam-wooding"],"jetpack_featured_media_url":"https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2018\/03\/Sam-Wooding_The-Complete-Recordings-1922-1931.jpg","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":101324,"url":"https:\/\/tomajazz.com\/web\/gareth-lockrane-box-of-tricks-2025\/","url_meta":{"origin":35704,"position":0},"title":"The Gareth Lockrane Big Band: Box of Tricks (Whirlwind Recordings; 2025) Por Pachi Tapiz [Grabaci\u00f3n de jazz]","author":"Tomajazz","date":"7 noviembre, 2025","format":false,"excerpt":"Box of Tricks (Whirlwind Recordings; 2025) es la nueva grabaci\u00f3n de The Gareth Lockrane Big Band. 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