DOCSLIB.ORG

JC PICNIC Spedfiel NEW BLOOD for P.R.J.C

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
JC PICNIC Spedfiel NEW BLOOD for P.R.J.C I WISH ^COULD SHIMMY LIKE SISTER KflTE ♦ BASIN STREET BLUES ♦ JAPA » I'M A HEAL KIND Or PAPPY « SAN M Oeg eg 3 JC PICNIC SPEdfiEL NEW BLOOD FOR P.R.J.C. Eight P.R.J.C. members have volun­ teered to comprise a working Board of Directors for the club. These hardy souls are Ozzie Barr, Shannon and Germaine Clark, Tony Hagert, Dan Priest, Ed and Anna Wahler, and Gary Wilkinson. Dan will serve as Activities Chairman of the P.R.J.C., at least through the remainder of 1971, aided by Shannon Clark and his Magic Mimeo­ graph Machine. Anna Wahler and Ger­ maine Clark will take some of the typ­ ing load off Fran Lewis; and Ozzie Barr is going to help Tony Hagert beat the bushes for new P.R.J.C. members. If you know a bush or two they might flail away at with good results, phone Tony at 524-2707. Ed Wahler and Gary Wilkinson will also lend a hand in recruitment. AT THE JAZZ BAND BALL The scholarly band profile which follows had to be omitted from the first issue of TAILGATE RAMBLINGS because it was 231 lines longer than any of the other band profiles in that issue. Jazz literati will immediately The blast at. Blob's will be the recognize the pungent style of author/ first chance for most of us to get to trumpeter Bob English. Herewith, then, know each other» As advertized, the we proudly present everything you want­ picnic will run from 1:00 PH until ed to know about BUZZY'S DIXIELAND 5:00 PM but if it doesn’t rain (and BAND...but were afraid to ask. we should all do sun dances the night before)that day we just could run on Buzzy's Dixieland Band entertains a wee bit more (beer supply is re- at Buzzy's Restaurant, just outside plenishable) o Understand many guys the U.S. Naval Academy in Annapolis bringing instruments so there should on Friday and Saturday nights from be plenty of sit-in action in addition 9-12 PM and features a varied program to the feature attraction of three played in an exciting, contemporary great jazz bands© Dixieland style. Clarinettist John Report from the treasurer indi­ Skillman is also a proficient ban- cates money action a little slow so joist and occasionally can be persu­ be sure to get your checks for your­ aded to vocalize. John has played selves and guests into the mail aarly0 with many prominent Dixieland units Hake the checks out to The Potomac in the Midwest. His preferences in­ River Jazz Clubo Mail 'em to: clude such greats as Edmond Hall, Harold Farmer, 11806 Georgia Ave«, Albert Nicholas, Jelly Roil Morton, Wheaton, Md„ 20902 no later than Sent. and Elmer Snowden. 10t Trumpeter Bob English worked with Rain or shine, the show will go various jazz and non-jazz outfits in ont So Comet And bring friends! the area before joining the Buzzy's We're goin' to have a ball® band. An ex-saxophone player, Bob has memories of the big band era with - 2- Chester Leighton and his Sophomores, A pianist of considerable accom­ Sleepy Laser and his Moonbeams, Rex plishment, John has a Master's King and his Sovereigns. Bob can't degree in Music Education from recall all his many recordings, but Indiana U. of Penna. He worked does remember he was featured on one with the Jon Eardly Sextet in 1959, session with Shorty Fleece and the four years at the Sunnyhanna Country Shepherds. The title was "I Got Club in Johnstown, Pa., local (Penna) Plenty o' Mutton." TV accompanying Don Cherry, Jill Bassist Rick Miller studied tympani Corey, Lu Ann Sims, among others. and percussion under Prof. Alfred Among his influences he lists Artur Frieze of the New York Philharmonic. Rubestein, Emil Gilels, Svatislov Originally from Tennessee, he has Richter, Oscar Peterson, Paul Smith, played with the San Antonio Civic and Billy Taylor. John's ambitions Symphony. His jazz experience in­ are to be successful as a performer cluded work with members of Jim and as a teacher. Cullum's Happy Jazz Band, Nick's in Bob English old N.Y., Joanne and Frank Severino Trio (Frank later worked with Les McCann), and singer Toby Reynolds. I KNEW BIX WHEN: Rick's favorites are Billy Taylor, Les McCann, and Maynard Ferguson. Lewis H. Lederer Drummer Stix Lipschitz has a With so much Bix-lore available, unique style which has been the sub­ I am always surprised to find a gap ject of several articles, the most concerning the introduction of the recent being by Masters and Johnson. famed Wolverines. It happened that It is perhaps best described as a I had the good fortune of eye-and blend of the Hungarian percussion ear-witnessing the first night that school and East Baltimore Street. Bix blew that great combo into the Stix. has many credits to his musical pages of jazz history. background, including tours with Lyle It happened half way between Cin­ Twill and the Haberdashers, Benny cinnati and Hamilton, Ohio, at a typi­ Arnold and the Turncoats, Rocky Quartz cal prohibition-era roadhouse called and the Stoned Men. The latter was a the Stockton Club. The joint was a rock band. Stix has made music his hangout for local gangsters and career and his ultimate ambition is sported a dining-dancing room and a someday "to form an all-drum orches­ gambling casino. During this early tra." 1920's date, the 5-piece Bernie Marty Wolf, one of the outstand­ Cummins band manned the bandstand. ing trombonists anywhere, is a One evening, however,•some shooting schooled musician with an impressive took place across the dance floor background. He studied with Dr. that prompted Bernie to leave the Remington of the Eastman School of place flat. Music, Bob Gooder of the National The hasty departure of the Symphony Orchestra, and with Don Cummins band created a problem that Rinehart of the Curtis Conserva­ resulted in an S.O.S. to a Hamilton tory. He was a member of the Air drummer and a tuba player to whip Force Band 1962-64 and played with up a band pronto. A frantic call the Airmen of Note. He was inactive to pianist Dick Voynow in Chicago musically until 1969 but has since to rush musicians to the Ohio spot earned a growing reputation in the brought Bix and the group we know Washington area. Marty's influences now as the Wolverines. include Jack Teagarden and Urbie Where do I fit into the picture? Green. His ambition is "to be as I was then a high school jazz pianist proficient a jazz trombonist as a jobbing around Cincinnati, who, along first chair lead trombonist." with my fellow musicians, made every Native Annapolitan John Pencola effort to see and hear visiting bands. has added a contemporary flavor to Unknown to our parents (who would the band's strong Dixieland style. have had fits had they known) we fre- - 3- quented the Stockton Club to dig the extra bit of verve brought out by the Cummins band. By a stroke of pure ham in all of them. Brunis is at his luck, we visited the place the night rambunctious best, whether playing, the Wolverines made their debut. manhandling vocals, or bellowing en­ Little did we know the importance of couragement to other soloists. Dodds, that occasion. Foster, Nicholas, Barker and Brunis So intrigued were we kids with the are New Orleanians; Spanier and Sulli­ Wolverines we even attended their re­ van Chicagoans; and Roberts and Queener hearsals. Bix and the others were were associated with the Harlem and very kind and patient and even coached Nicksieland schools of jazz. Call it our own playing. Chicago style, New Orleans or Dixie­ At this time the Wolverines left land, it adds up to memorable tradi­ the Stockton Club to play a seedy tional jazz. dime-a-dance spot in Cincinnati call­ ed the Cinderella Ballroom. While engaged there, the band took time off HALLS FOR BALLS to make their early Gennett recordings in Indiana and graciously allowed With fall and colder weather com­ Yours Truly and a couple of our other ing up, we'll be looking for halls, boys to carry their instruments. lodges, clubs, and whatnot for indoor jazz blasts. And ideas from members On what became an historic occa­ on this score are welcomed. sion, the Wolverines played a date at If any of you know of a good spot Hoagey Carmichel's fraternity dance with a piano in reasonable shape at the University of Indiana. That (Prez Niemann says, "No, top shape!"), led to Hoagey's close relationship preferably in the suburbs and able to with Bix and the other Wolverines hold a 150 or so people for a dance, and resulted in jumping the Cinder- alla Ballroom contract and calling write or phone Dan Priest, our new "finis" to my personal contact with Activities Chairman. His home add­ ress is: 6808 Brookville Rd., Chevy the Wolverines. In retrospect, I Chase, Md. 20015. Home phone: now sit back smugly and brag that OL 6-5217. I not only knew Bix personally but If the joint has a bar, all to the also heard the Wolverines the night good. Some of the playing members of they played their first steady job. P.R.J.C. have been known to take a drop. WAX IN MY EARS THEY CALLED IT 'DIXIELAND' If any readers are old enough to remember Rudi Blesh's magnificent By Shannon D.
Load more

Recommended publications
  • The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr.
    [Show full text]
  • Louis Armstrong
    A+ LOUIS ARMSTRONG 1. Chimes Blues (Joe “King” Oliver) 2:56 King Oliver’s Creole Jazz Band: King Oliver, Louis Armstrong-co; Honore Dutrey-tb; Johnny Dodds-cl; Lil Hardin-p, arr; Arthur “Bud” Scott-bjo; ?Bill Johnson-b; Warren “Baby” Dodds-dr. Richmond, Indiana, April 5, 1923. first issue Gennett 5135/matrix number 11387-A. CD reissue Masters of Jazz MJCD 1. 2. Weather Bird Rag (Louis Armstrong) 2:45 same personnel. Richmond, Indiana, April 6, 1923. Gennett 5132/11388. Masters of Jazz MJCD 1. 3. Everybody Loves My Baby (Spencer Williams-Jack Palmer) 3:03 Fletcher Henderson and his Orchestra: Elmer Chambers, Howard Scott-tp; Louis Armstrong-co, vocal breaks; Charlie Green-tb; Buster Bailey, Don Redman, Coleman Hawkins-reeds; Fletcher Henderson-p; Charlie Dixon- bjo; Ralph Escudero-tu; Kaiser Marshall-dr. New York City, November 22-25, 1924. Domino 3444/5748-1. Masters of Jazz MJCD 21. 4. Big Butter and Egg Man from the West (Armstrong-Venable) 3:01 Louis Armstrong and his Hot Five: Louis Armstrong-co, voc; Edward “Kid” Ory-tb; Johnny Dodds-cl; Lil Hardin Armstrong-p; Johnny St. Cyr-bjo; May Alix-voc. Chicago, November 16, 1926. Okeh 8423/9892-A. Maze 0034. 5. Potato Head Blues (Armstrong) 2:59 Louis Armstrong and his Hot Seven: Louis Armstrong-co; John Thomas-tb; Johnny Dodds-cl; Lil Hardin Armstrong-p; Johnny St. Cyr-bjo; Pete Briggs-tu; Warren “Baby” Dodds-dr. Chicago, May 10, 1927. Okeh 8503/80855-C. Maze 0034. 6. Struttin’ with Some Barbecue (Armstrong) 3:05 Louis Armstrong and his Hot Five.
    [Show full text]
  • Rudolph Beaulieu I
    1 RUDOLPH BEAULIEU Also present: William Russell I [of 3]--Digest--Retyped Ralph Collins May 31, 1961 Rudolph Peter Beaulieu was born in New Orleans, on Derbigny ·. between Kerlerec and Columbus (about where Artisan Hall is), on July 23, 1899. RB had two brothers who also played music; Arnold Depass (actually, a half-brother) played drums. (George Guesnon, shown in a photograph, is mentioned.) Depass played with "some of the old aces." RB learned to play on Depass's drums, on the sly until Depass caught him; then Depass told him it was all right for him to play them, told him he should learn to play, and later began sending him on jobs. RB began getting work on his own, and he ( made up a band (he says he has made up four or five bands in his career). RB says he and Martin Gabriel (now away from here) "carried I ' on plenty•). [wofked together a lot?]. WR says a Gabriel married the \ bass player, [August] Lanoix; RB says that she is a sister of Martin; there were other Gabriels in that family; one, Clarence Gabriel, was a fine piano player •.•• [Restricted] RB says he and others, incluiling Clarence Gabriel, Charlie Armstead, and Maurice Durand, [trumpet,] had a band which played "back of Desire Street." He [owner of the place there?] died not long ago. The band worked there about three years. Talk of Durand, who lives [and died] in. California. RB also worked with various other bands, including that of Papa Celestin. RB began playing just about the time Louis Armstrong went to Chicago [1922].
    [Show full text]
  • Albert Nicholas, Art Hodes, Bobby Greene and Papa Bue's Viking Jazzband Mp3, Flac, Wma
    Albert Nicholas A Tribute To Jelly Roll Morton Featuring Albert Nicholas, Art Hodes, Bobby Greene And Papa Bue's Viking Jazzband mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: A Tribute To Jelly Roll Morton Featuring Albert Nicholas, Art Hodes, Bobby Greene And Papa Bue's Viking Jazzband Country: Denmark Released: 1972 MP3 version RAR size: 1763 mb FLAC version RAR size: 1396 mb WMA version RAR size: 1749 mb Rating: 4.8 Votes: 178 Other Formats: XM MP4 DMF RA MOD WAV MPC Tracklist Hide Credits Winin' Boy Blues A1 –Albert Nicholas Quartet 3:16 Written-By – Morton* Wolverine Blues A2 –Albert Nicholas Quartet 3:12 Written-By – Morton* Don't You Leave Me Here A3 –Albert Nicholas Quartet 3:25 Written-By – Morton* Someday Sweetheart A4 –Albert Nicholas Quartet 3:07 Written-By – Spikes* Grandpa's Spell A5 –Art Hodes 2:06 Written-By – Morton* Buddy Bolden's Blues A6 –Albert Nicholas Quartet 3:30 Written-By – Morton* Mamie's Blues B1 –Albert Nicholas Quartet 4:14 Written-By – Desdume* Tiger Rag B2 –Albert Nicholas Quartet 3:58 Arranged By – Morton*Written By – French Quadrille Sweet Substitute B3 –Albert Nicholas Quartet 4:00 Written-By – Morton* King Porter Stomp B4 –Bobby Greene* 2:34 Written-By – Morton* Doctor Jazz B5 –Papa Bue's Viking Jazz Band 4:25 Written-By – Morton* Credits Bass – Jens Sølund (tracks: A1 to A4, A6 to B3, B5) Clarinet – Albert Nicholas (tracks: A1 to A4, A6 to B3), Jørgen Svare (tracks: B5) Drums – Knud Ryskov Madsen* (tracks: A1 to B3, B5) Liner Notes – Ron Brown Piano – Art Hodes (tracks: A5, B5), Bobby
    [Show full text]
  • Frisco Cricket Published by the San Francisco Traditional Jazz Foundation Fall 2013 INTERNATIONAL = NATIONAL = LOCAL by William Carter
    Frisco Cricket Published By The San Francisco Traditional Jazz Foundation Fall 2013 INTERNATIONAL = NATIONAL = LOCAL by William Carter We’re reminded, once again, of the perma- spent decades in Europe and South America. nent power of jazz to syncopate itself across time Our media-savvy correspondent Dave Ra- zones. From the earliest years, Storyville’s “ragtime” dlauer has rendered future jazz historians a service and “jazz” bands quickly reproduced themselves on by painstakingly tracking the elusive career of this San Francisco’s Barbary Coast, then in Los Angeles, peripatetic reedman (and sometime trumpeter). After Chicago, New York, Paris... Seeking jobs -- even on you peruse the Goodie story in this issue, be sure to ocean liners -- jazzmen tune your digital device joined the flood of their to his streaming site, recordings in seamlessly jazzhotbigstep.com for blanketing the planet more info and sound with a music that would recordings. come to be recognized as Another ex- America’s great cultural ample of the increas- gift to the world. ingly two-way com- Yet jazz also merce between national remains, a century later, and local events have firmly anchored to its been the appearances hometown venues. This of Loren Schoenberg in issue of your Cricket the South Bay. Once a celebrates the little- year for three years, this known career of Frank Director of the National “Big Boy” Goodie. His Jazz Museum in Harlem compelling life story has been presenting begins in Creole New fascinating free public Orleans and ends (like lectures at Stanford that of many another University’s Cantor classic jazz pioneer: Museum.
    [Show full text]
  • Newsletternewsletter March 2015
    NEWSLETTERNEWSLETTER MARCH 2015 HOWARD ALDEN DIGITAL RELEASES NOT CURRENTLY AVAILABLE ON CD PCD-7053-DR PCD-7155-DR PCD-7025-DR BILL WATROUS BILL WATROUS DON FRIEDMAN CORONARY TROMBOSSA! ROARING BACK INTO JAZZ DANCING NEW YORK ACD-345-DR BCD-121-DR BCD-102-DR CASSANDRA WILSON ARMAND HUG & HIS JOHNNY WIGGS MOONGLOW NEW ORLEANS DIXIELANDERS PCD-7159-DR ACD-346-DR DANNY STILES & BILL WATROUS CLIFFF “UKELELE IKE” EDWARDS IN TANDEM INTO THE ’80s HOME ON THE RANGE AVAilable ON AMAZON, iTUNES, SPOTIFY... GHB JAZZ FOUNDATION 1206 Decatur Street New Orleans, LA 70116 phone: (504) 525-5000 fax: (504) 525-1776 email: [email protected] website: jazzology.com office manager: Lars Edegran assistant: Jamie Wight office hours: Mon-Fri 11am – 5pm entrance: 61 French Market Place newsletter editor: Paige VanVorst contributors: Jon Pult and Trevor Richards HOW TO ORDER Costs – U.S. and Foreign MEMBERSHIP If you wish to become a member of the Collector’s Record Club, please mail a check in the amount of $5.00 payable to the GHB JAZZ FOUNDATION. You will then receive your membership card by return mail or with your order. As a member of the Collector’s Club you will regularly receive our Jazzology Newsletter. Also you will be able to buy our products at a discounted price – CDs for $13.00, DVDs $24.95 and books $34.95. Membership continues as long as you order one selection per year. NON-MEMBERS For non-members our prices are – CDs $15.98, DVDs $29.95 and books $39.95. MAILING AND POSTAGE CHARGES DOMESTIC There is a flat rate of $3.00 regardless of the number of items ordered.
    [Show full text]
  • Palm Garden. DH Says B^/Was Fourteen Then, That the Year Was 192 0 F ^0^ [?]
    OARNELL HOWARD 1 I [of 3]-Digest-Re typed April 21, 1957 Also present: Nesuhi Ertegun, Robert Campbell Darnell Howard was born July 25, 1906, in Chicago [Illinois]. NE says Muggsy [Spanier] told him he [also] was born that year, but DH says Muggsy is older. DH was born at 3528 Federal Street (two bloclcs from Armour Institute, which is now Illinois Institute of Technology). DH began studying his first instrument, violin,, at age seven; he studied with the same teacher who gave his father some lessons; his fatlaer played ciolin, comet and piano, and worked in night clubs around Chicago; he was working at [Pony?] Moore's at 21st and Wabash/ when he became il-1. DH says Bob Scobey or Turk [Murphy] told him that NE was a first-rate photographer. DH's father played all kinds of music, as DH has. EH studied violin until he was fourteen years old, when he ran away from home. His violin teacher was anj:,old man named Jol-inson. DH joined the union when he was twelve; h^s was sponsored by Clarence Jones; DH wente to worX [with Jones?] at the Panorama Theater; instumnentation was violin, pianc^ comet and drums. The school board made DH i^uit because of his age. The band played for motion pictures; they read their music. DH made 1-iis musical debut when he was nine years old, playing in a chsrch/ with his mother playing fhe piano. DH was induced to run away from 'home because be couldn't work in Chicago; to went with John Wycliffe's [c£.
    [Show full text]
  • Bandinfo English 2018.Indd
    Jazz, from New Orleans to Swing, presented in an entirely original form by the leading Classic Jazz group in Germany: BARRELHOUSE JAZZBAND www.barrelhouse-jazzband.com Founded in 1953 and active ever since, the BARRELHOUSE JAZZBAND has gai- ned national and international renown and ranks among the top groups of the Euro- pean scene. The BARRELHOUSE JAZZBAND presents a special blend of elements from all phases of traditional jazz, with predominant accents from the early big band style of the twenties, the small band style around 1930 and the New Orleans Renaissance. All numbers are played in new original arrangements. The band also plays many original titles written by members of the band. Some of them became very popular, like „The Barrelhouse Showboat“ and „Take Us To The Mardi Gras“ (by Horst Schwarz). The band has toured more than 50 countries on 4 continents and appeared at all major jazz festivals in Europe, e.g. The Hague, Breda, Nice, Paris, San Sebastian, Ascona, Zurich, Lucerne, Cracow, Cork, Birmingham, Copenhagen, Oslo, Berlin and many more. When the Barrelhouse Jazzband played at the New Orleans Jazz Festival - rits, received the honorary citizenship of the birthplace of jazz. in1968, they were one of the first bands from Europe who, in recognition of their me The band has recorded more than 30 albums and has received - beside other awards - the „German Phono Academy Award“ for the Best Traditional Jazz Record of the year (Quotation: „Highly intelligent old jazz, full of vitality, enlightened music, al- ways with that beautiful black feeling“). Eubie Blake, the famous ragtime pianist and composer, heard the band and commented: „Everything that I write I mean from the bottom of my heart: This is one of the best for a small orchestra that I have ever heard.
    [Show full text]
  • Primary Sources: an Examination of Ira Gitler's
    PRIMARY SOURCES: AN EXAMINATION OF IRA GITLER’S SWING TO BOP AND ORAL HISTORY’S ROLE IN THE STORY OF BEBOP By CHRISTOPHER DENNISON A thesis submitted to the Graduate School-Newark Rutgers University, The State University of New Jersey In partial fulfillment of the requirements of Master of Arts M.A. Program in Jazz History and Research Written under the direction of Dr. Lewis Porter And approved by ___________________________ _____________________________ Newark, New Jersey May, 2015 ABSTRACT OF THE THESIS Primary Sources: An Examination of Ira Gitler’s Swing to Bop and Oral History’s Role in the Story of Bebop By CHRISTOPHER DENNISON Thesis director: Dr. Lewis Porter This study is a close reading of the influential Swing to Bop: An Oral History of the Transition of Jazz in the 1940s by Ira Gitler. The first section addresses the large role oral history plays in the dominant bebop narrative, the reasons the history of bebop has been constructed this way, and the issues that arise from allowing oral history to play such a large role in writing bebop’s history. The following chapters address specific instances from Gitler’s oral history and from the relevant recordings from this transitionary period of jazz, with musical transcription and analysis that elucidate the often vague words of the significant musicians. The aim of this study is to illustratethe smoothness of the transition from swing to bebop and to encourage a sense of skepticism in jazz historians’ consumption of oral history. ii Acknowledgments The biggest thanks go to Dr. Lewis Porter and Dr.
    [Show full text]
  • Walter Bennett
    THE RECORDINGS OF WALTER BENNETT An Annotated Tentative Personnello-Discography WCAllen WALTER A. „Jock“ BENNETT (trumpet) Reportedly from Pittsfield, Mass., or Chicago. An older man, knew FH from New York days. Reportedly recorded with J.C. Johnson (Feb/29), Bennett´s Swamplanders (Sep/30), Wilmoth Houdini (1931). Played with Fats Pichon (1931); Allie Ross (1931); Savoy Bearcats (1932-33); Eli Rice (1934-37). Joined FH c Sep/42 to c June/43; played lead horn, high notes, was “tremendous” according to fellow musicians; doubled on piano. Believed to be deceased; not listed in 1961 Local 802 Directory. When in 1969 STORYVILLE issued a most interesting piece called "The Other Take" by John R.T. Davies and Laurie Wright, I first became aware of a trumpet player called Walter Bennett. Only very few of the cited recordings were in my collection then, although I had been keen in purchasing every long-playing record in the field of Classic Jazz. (Wisely I decided then not to start collecting 78 records!) Through the great services of Dick M. Bakker of Deventer / The Netherlands I got hold of RISTIC 26 "J.C.Johnson" and from then on Walter Bennett was one of the musicians on top of my list of interest. Getting in contact with John R.T. I received a list of his collection which really left me breathless in those days. Following his advice: "How to make the best out of John R. T.", I had him transcribe the "Bennett´s Swamplanders" titles for me. These titles, together with the J.C.Johnson Five Hot Sparks sides, left a lasting mark in my audio-memory, which in turn made me compiling anything I could find regarding Walter Bennett.
    [Show full text]
  • Doctor Jazz: Jelly Roll Morton
    Doctor Jazz: Jelly Roll Morton John Szwed Hello, Central, give me Doctor Jazz He’s got what I need, I’ll say he has. Jelly Roll Morton’s life had all the makings of tragedy: born shortly after the chaos of Reconstruction in the racially ambiguous Creole community of New Orleans, he turned against the wishes of his family and crossed class and racial lines to become a leading pianist in Storyville, the sporting district of New Orleans that provided the laboratory for the generation of musicians who invented jazz. But being a piano player, acclaim escaped him because trumpeters and clarinetists, and not pianists, were the recognized stars of early jazz, and it took years for his importance as a composer and bandleader to be appreciated. Then came what the fans of early jazz would later regard as the Fall: the closing of the district by the U.S. government, and the music Morton had helped create scattered across the earth, taken up by the forces of commerce, diluted and refined. Worse yet, Morton had the bad fortune to record his finest work in the mid- to late 1920’s, when the fashion in music was turning away from the complex, multi-thematic forms Jelly originated to embrace the much simpler 32 bar, AABA popular songs that the popular younger musicians like Louis Armstrong were playing and singing. Morton resisted this trend for as long as he could, but it cost him an audience and dated him prematurely. Finally, just when a revival of New Orleans music was underway in the early 1940’s and Morton was being rediscovered, death deprived him of a second chance at fame.
    [Show full text]
  • Chronological Discography
    Chronological Discography arranger g guitar as alto saxophone 0 pipe organ bb brass bass (sousaphone/tuba) p piano bj banjo ss soprano saxophone bs baritone saxophone t trumpet c comet tb trombone cl clarinet ts tenor saxophone d drums v vocals db double bass vib vibraphone dir director vn violin f flute This chronological list contains most known releases on which Danny Barker plays and sings. Titles are given as they appear on the record labels. Where possible, the first issue number is given, but the complexity of subsequent reissues is such that these are not shown. In preparing the list much use has been made of the works cited in the acknowledgment section as well as Stagg and Crump: New Orleans: the Revival (Dublin, 1973). 1931 Ward Pinkett (t, v); Albert Nicholas (cO; Jack Russin (p); Danny ]une9 NewYork Barker(g);Joe Watts (db); Sam Weiss (d) Dave's Harlem Highlights 95337-1 Everything is okey-dokey (WP:v) Bluebird B-6144 Dave Nelson (1, v); Clarence Brereton (t); Melvin Herbert/Harry 95338-1 I'm on a see-saw (WP:v) Bluebird B-6130 Brown (t); Wilbur de Paris (tb); Buster Bailey (cl, as); Glyn Paque (cl, 95339-1 Red sails in the sunset (WP:v) Bluebird B-6131 as); Charles Frazier (ts); Wtryman Caroer (ts, f); Sam Allen (p); 95340-1 Tender is the night (WP:v) Bluebird B-6131 •Danny Barker (bj); Simon Marrero (bb); Gerald Hobson (iii 95341-1 I'mpaintingthetownred 69905-1 Somebody stole my gal Timely Tunes C-1587 (to hide a heart that's blue) Bluebird B-6130 69906-1 Rockin' Chair Timely Tunes C-1576 95342-1 Tap Room Special (Panama) Bluebird B-6193 69907-2 Loveless Love Timely Tunes C-1577 69908-2 St.
    [Show full text]