> Is anyone familar with the book Le Jazz En France by Olivier Brard &
> Daniel Nevers? Is it a French Jazz discography?

According to the date, it should closely follow a very long film (4 parts)
released by Jean-Cristophe Averty for the French TV - I've still got a copy,
but nothing to play it with, I should borrow and old camcorder ;). If it was
actually a discography, I would be interested in the first place, so I'll
inquire...

(I'll also try to understand why we get duplicates of your messages,
something wrong with Yahoo again;)

Patrice

According to the web page:
http://www.positifs.org/jazz-passion/20-FAQs/E.Musiciensindex.htm it seems to be
a discography.
"- Olivier Brard & Daniel Nevers : Le Jazz en France / Jazz and Hot Dance Music
Discography, M.A.D., Paris, 1989."
I searched for it on abebooks (usually a reliable source), but to no avail.
Best wishes,
Michael

-----Ursprüngliche Nachricht-----
Von: Patrice Champarou [mailto:pmchamp@...]
Gesendet: Dienstag, 28. September 2004 11:15
An: RedHotJazz@yahoogroups.com
Betreff: Re: [RedHotJazz] Le Jazz En France by Olivier Brard & Daniel Nevers


> Is anyone familar with the book Le Jazz En France by Olivier Brard &
> Daniel Nevers? Is it a French Jazz discography?

According to the date, it should closely follow a very long film (4 parts)
released by Jean-Cristophe Averty for the French TV - I've still got a copy,
but nothing to play it with, I should borrow and old camcorder ;). If it was
actually a discography, I would be interested in the first place, so I'll
inquire...

(I'll also try to understand why we get duplicates of your messages,
something wrong with Yahoo again;)

Patrice



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> According to the web page:
> http://www.positifs.org/jazz-passion/20-FAQs/E.Musiciensindex.htm
> it seems to be a discography.
> "- Olivier Brard & Daniel Nevers : Le Jazz en France / Jazz and Hot Dance
> Music Discography, M.A.D., Paris, 1989."

It should, although they declare that any book including a discography is
listed under this entry. Nothing on ebay, or online shops selling
second-hand books either. I couldn't even find any trace of the publisher
(but you can imagine the result of a Google search for M.A.D., even on
French websites;)
I've asked for some friends' help on other groups (Hé, Jean-Michel, since
you're here too, tu as une idée?)

Patrice

I`m Rob Dewar and I guess an intro would be a nice way to start. I am
47 yrs. old, grew up in a small Northern Ontario town in Canada where
I was exposed to jazz from a relatively young age. My best friend had
an uncle who loved piano music of all descriptions. He had a small
(probably under a 100 LP`s) but choice collection of records. It was
there that I first learned of Fats Waller (knocked me out), Duke
Ellington, Earl "Fatha" Hines, various blues guys like Roosevelt Sykes
and the boogie woogie practitioners and "God" (as my friends uncle
referred to him)...Art TAtum.  :)

Another friend played piano and had a father who was conversant in
many early jazz styles. He played acoustic bass, piano, flute and a
little bit of everything else! He had an endless cache of records
which helped me enormously to get a handle on all things jazz. To
actually hear the acoustic bass live at an impressionable age was a
treasure. I never forgot how the sound seemed to sink into your very
bones.

Over the years, I`ve explored other musics as my budget/time
constraints have allowed. So much music is availabel to us now and I`m
sure it must irk people who spent a lifetime collecting 78`s to watch
someone like me plunk down 20 bucks for one of those JSP boxes and
walk away with the whole catalogue remastered by John RT Davies.  :)

Geez, I`m long winded today... Anyhow, I would say I have a somewhat
patchy knowledge of early jazz but I love Django, Armstrong, Hines,
Bigard, Bechet, Morton. The thing that has really grabbed me recently
is the JSP collection on Louis Armstrong`s Big Band stuff. I can`t
stop playing it. It may not be the greatest stuff he ever did and the
bands are perhaps not the best (at least that`s what I can glean from
online sources).. but it is absolutely killing me. For many of us,
Armstrong was the guy who sang "Hello, Dolly" and "We Have All The
Time IN The World". Of course, you eventually find his HOt Fives and
Sevens but I really didn`t know about this period in his life.
Ignorance? No question about it. Perhaps this group can help.  ;0

Robert J Dewar
(who will do more listening than talking)

Dear Scott,

Thank you so much for adding those "Sparks: to the website.

"Red Hot Hottentot" literally burnt me up. Whatever the merits of J.C.
[passion not withstanding], his side-men are very good. Such control of both
instruments and material = equals = musicality.

Who are these guys? NYC - Long Island, 1929.

The clarinetist has the funky-ness of Dodds yet the control of Bigard. Omer
Simeon?

The trumpeter has the brilliance of Jabbo. Could it be Cootie or (gasp)
Freddie Jenkins?

The trombonist really cuts the mustard. The aggressiveness of Higginbotham
without the trademark snake-shake. Big Charlie Green?

The saxophonist is advanced beyond what Hawkins was doing at the time. He
plays one chord wrong in his solo and seems to have the technique of a
clarinetist. Almost like Bechet on alto - imagine that.

The banjoist plays whole-tone scales in his first break and demonstrates a
blusey-ness that is rarely heard on the instrument. Bela Fleck?

The composition/arrangement is also quite sophisticated - some unusual
harmonic twists here and there and very interesting orchestration in
general. I can't imagine that they played this piece much - probably
sight-reading it in the studio.

In some ways, the piece is like Arthur Schutt meets Jelly Roll Morton.

"Crying For You (Baby Mine)" is not as impressive - but it does have some
very good moments. The theme has an unusually wide ranging melody and there
are some interesting harmonies - but not radical as in RHH.

Any comments on personnel?

Cheers,

Andrew Homzy, Montréal

On 28/9/04 5:46 pm, "Andrew Homzy" <homzy@...> wrote:

> Dear Scott,
>
> Thank you so much for adding those "Sparks: to the website.
>
> "Red Hot Hottentot" literally burnt me up. Whatever the merits of J.C.
> [passion not withstanding], his side-men are very good. Such control of both
> instruments and material = equals = musicality.
>
> Who are these guys? NYC - Long Island, 1929.
>
> The clarinetist has the funky-ness of Dodds yet the control of Bigard. Omer
> Simeon?
>
> The trumpeter has the brilliance of Jabbo. Could it be Cootie or (gasp)
> Freddie Jenkins?
>
> The trombonist really cuts the mustard. The aggressiveness of Higginbotham
> without the trademark snake-shake. Big Charlie Green?
>
> The saxophonist is advanced beyond what Hawkins was doing at the time. He
> plays one chord wrong in his solo and seems to have the technique of a
> clarinetist. Almost like Bechet on alto - imagine that.
>
> The banjoist plays whole-tone scales in his first break and demonstrates a
> blusey-ness that is rarely heard on the instrument. Bela Fleck?
>
> The composition/arrangement is also quite sophisticated - some unusual
> harmonic twists here and there and very interesting orchestration in
> general. I can't imagine that they played this piece much - probably
> sight-reading it in the studio.
>
> In some ways, the piece is like Arthur Schutt meets Jelly Roll Morton.
>
> "Crying For You (Baby Mine)" is not as impressive - but it does have some
> very good moments. The theme has an unusually wide ranging melody and there
> are some interesting harmonies - but not radical as in RHH.
>
> Any comments on personnel?
>
Rust gives Walter Bennett, c[ornet]; J.C. Higginbotham, tb; unknown; cl;
unknown, as; Mabel Horsey, p; unknown, bj.

Chris Smith
(chris@...)
The Schoolhouse
OUT SKERRIES
Shetland ZE2 9AS
Scotland UK
Phone +44 1806 515206
Fax +44 1806 515261

I wrote:

> Rust gives Walter Bennett, c[ornet]; J.C. Higginbotham, tb; unknown; cl;
> unknown, as; Mabel Horsey, p; unknown, bj.

Having read the small print, I see that Rust lists all these as
possibilities only. (Well, I guess he means the unknowns really are
unknowns, but you know what I mean.)

Chris Smith
(chris@...)
The Schoolhouse
OUT SKERRIES
Shetland ZE2 9AS
Scotland UK
Phone +44 1806 515206
Fax +44 1806 515261

Dear Chris,

Thanks for the info.

I was on the mark with Higginbotham - he did leave out his trademark
snake-shake.

Who is cornetist/trumpeter Walter Bennett? This guy deserved wonderful
career.

Mabel Horsey on piano? What did J.C. do?

Any other guesses about the clarinet, alto & banjo?

* The clarinetist has the funky-ness of Dodds yet the control of Bigard.
Omer Simeon?

* The saxophonist is advanced beyond what Hawkins was doing at the time. He
plays one chord wrong in his solo and seems to have the technique of a
clarinetist. Almost like Bechet on alto - imagine that.

* The banjoist plays whole-tone scales in his first break and demonstrates a
blusey-ness that is rarely heard on the instrument. Bela Fleck?

* The composition/arrangement is also quite sophisticated - some unusual
harmonic twists here and there and very interesting orchestration in
general. I can't imagine that they played this piece much - probably
sight-reading it in the studio.

* In some ways, the piece is like Arthur Schutt meets Jelly Roll Morton.

Cheers,

Andrew Homzy, Montreal

From: Chris Smith <chris@...>
Reply-To: RedHotJazz@yahoogroups.com
Date: Tue, 28 Sep 2004 17:25:42 +0100
To: RedHotJazz@yahoogroups.com
Subject: Re: [RedHotJazz] NEW SONGS - J.C. Johnson and his Five Hot Sparks
> Any comments on personnel?
>
Rust gives Walter Bennett, c[ornet]; J.C. Higginbotham, tb; unknown; cl;
unknown, as; Mabel Horsey, p; unknown, bj.

Chris Smith
(chris@...)
The Schoolhouse
OUT SKERRIES
Shetland ZE2 9AS
Scotland UK



[Non-text portions of this message have been removed]

The latest Rust guesses that the following personnel played on the record:
Walter Bennett - Cornet
Mabel Horsey - Piano (but then says that J.C. Johnson's other records are of
no jazz interest?)
Charlie Vincento - Banjo
Everyone else is unknown.

The Biograph LP that the songs came from has the following guesses but is
not sure of any of it:
Jabbo Smith - Cornet
Roy Palmer - Trombone
George James - Clarinet or Alto Sax or both
Omer Simeon - Clarinet
Mabel Horsey or J.C. Johnson - Piano (they acknowledge Rust's guess of Mabel
being the pianist but wonder why J.C. Johnson is not listed when his name is
on the label)
Ikey Robinson - Banjo


----- Original Message -----
From: "Andrew Homzy" <homzy@...>
To: <RedHotJazz@yahoogroups.com>
Cc: "yves francois" <aprestitine@...>
Sent: Tuesday, September 28, 2004 9:46 AM
Subject: Re: [RedHotJazz] NEW SONGS - J.C. Johnson and his Five Hot Sparks


Dear Scott,

Thank you so much for adding those "Sparks: to the website.

"Red Hot Hottentot" literally burnt me up. Whatever the merits of J.C.
[passion not withstanding], his side-men are very good. Such control of both
instruments and material = equals = musicality.

Who are these guys? NYC - Long Island, 1929.

The clarinetist has the funky-ness of Dodds yet the control of Bigard. Omer
Simeon?

The trumpeter has the brilliance of Jabbo. Could it be Cootie or (gasp)
Freddie Jenkins?

The trombonist really cuts the mustard. The aggressiveness of Higginbotham
without the trademark snake-shake. Big Charlie Green?

The saxophonist is advanced beyond what Hawkins was doing at the time. He
plays one chord wrong in his solo and seems to have the technique of a
clarinetist. Almost like Bechet on alto - imagine that.

The banjoist plays whole-tone scales in his first break and demonstrates a
blusey-ness that is rarely heard on the instrument. Bela Fleck?

The composition/arrangement is also quite sophisticated - some unusual
harmonic twists here and there and very interesting orchestration in
general. I can't imagine that they played this piece much - probably
sight-reading it in the studio.

In some ways, the piece is like Arthur Schutt meets Jelly Roll Morton.

"Crying For You (Baby Mine)" is not as impressive - but it does have some
very good moments. The theme has an unusually wide ranging melody and there
are some interesting harmonies - but not radical as in RHH.

Any comments on personnel?

Cheers,

Andrew Homzy, Montréal





Yahoo! Groups Links

The only other Walter Benett session on the site:
http://www.redhotjazz.com/bennett.html

Scott Alexander
The Red Hot Jazz Archive
www.redhotjazz.com

----- Original Message -----
From: "Chris Smith" <chris@...>
To: <RedHotJazz@yahoogroups.com>
Sent: Tuesday, September 28, 2004 9:32 AM
Subject: Addendum to Re: [RedHotJazz] NEW SONGS - J.C. Johnson and hisFive
Hot Sparks


>I wrote:
>
>> Rust gives Walter Bennett, c[ornet]; J.C. Higginbotham, tb; unknown; cl;
>> unknown, as; Mabel Horsey, p; unknown, bj.
>
> Having read the small print, I see that Rust lists all these as
> possibilities only. (Well, I guess he means the unknowns really are
> unknowns, but you know what I mean.)
>
> Chris Smith
> (chris@...)
> The Schoolhouse
> OUT SKERRIES
> Shetland ZE2 9AS
> Scotland UK
> Phone +44 1806 515206
> Fax +44 1806 515261
>
>
>
>
>
> Yahoo! Groups Links
>
>
>
>
>
>
>

Dear Scott,

Thank you for more details.

To my last post, I also ask:

Who is George James and if he played alto sax so well, why isn't he better
known,

It also seems I was on-the-mark with Simeon & Jabbo.

Is Ikey Robinson really that good on banjo? What other recordings come to
mind where he is so prominent?

Cheers,

Andrew Homzy, Montréal

From: Scott Alexander <scott@...>
Reply-To: RedHotJazz@yahoogroups.com
Date: Tue, 28 Sep 2004 09:39:42 -0700
To: RedHotJazz@yahoogroups.com
Subject: Re: [RedHotJazz] NEW SONGS - J.C. Johnson and his Five Hot Sparks


The latest Rust guesses that the following personnel played on the record:
Walter Bennett - Cornet
Mabel Horsey - Piano (but then says that J.C. Johnson's other records are of
no jazz interest?)
Charlie Vincento - Banjo
Everyone else is unknown.

The Biograph LP that the songs came from has the following guesses but is
not sure of any of it:
Jabbo Smith - Cornet
Roy Palmer - Trombone
George James - Clarinet or Alto Sax or both
Omer Simeon - Clarinet
Mabel Horsey or J.C. Johnson - Piano (they acknowledge Rust's guess of Mabel
being the pianist but wonder why J.C. Johnson is not listed when his name is
on the label)
Ikey Robinson - Banjo


[Non-text portions of this message have been removed]

Dear Scott,

This is getting interesting.

"Jet Black Blues"  is the same as "Crying For You (Baby Mine)" - both
composed by J.C. Johnson.

I need more listening time, but at one hearing, it seems:

The trumpet players are different  - presumably Walter Benett, on Jet Black
Blues, has more of the Armstrong touch while the trumpeter/cornetist on
"Crying For You (Baby Mine)" has other qualities.

However, both clarinetist and trombonist seem to be the same.

More details when I've had more time to listen carefully.

Cheers,

Andrew Homzy, Montréal






The only other Walter Benett session on the site:
http://www.redhotjazz.com/bennett.html

Scott Alexander
The Red Hot Jazz Archive
www.redhotjazz.com


[Non-text portions of this message have been removed]

Bennett was, I think, of Caribbean origin. He recorded with Gerald
Clark's Night Owls and can be heard in that context on Poor But
Ambitious, an Arhoolie CD by the calypso singer Wilmoth Houdini.
Robert Greenwood.

Welcome Robert

> So much music is availabel to us now and I`m
> sure it must irk people who spent a lifetime collecting 78`s to watch
> someone like me plunk down 20 bucks for one of those JSP boxes and
> walk away with the whole catalogue remastered by John RT Davies.  :)

On the contrary, I wish this group to become a link between hardcore
collectors or specialists, and people (like myself) for whom pre-war jazz is
just one of the various kinds of music they were lucky to "meet".
I'm not going to elaborate, but I confess I didn't have the same attitude
towards jazz fifteen years ago, considering Bix as a genius but fearing
Whiteman's arrangements like hell! ;))) It always takes something like a
shock to actually "hear" what you've been passing by for decades, and maybe
a couple of friends or long-time freaks to help you getting in.

Patrice - proud owner of some JSP 600's, but that's another story

(er... what about Louis Armstrong? I didn't get your suggestion...)

I'm not sure which on-line sources you are referring to, Robert, but
it sounds like they are sticking with the rather tired theory that
after the Hot Fives and Sevens it was downhill all the way to What a
Wonderful World as far as Louis was concerned. There is, as always,
another way of looking at it: after he had established jazz as a
soloist's art, Louis, by the mid-thirties, is playing better than
ever. His material is largely drawn from popular song of the era and
a true lyricism enters his playing. For me, the big band period
represents some of the very best Louis on record. And I don't know
about the bands not always being the best: eventually, he just about
took over fronting the Luis Russell Orchestra, who really were among
the best.
Robert Greenwood.

robertgreenwood_54uk wrote:

> I'm not sure which on-line sources you are referring to, Robert, but
> it sounds like they are sticking with the rather tired theory that
> after the Hot Fives and Sevens it was downhill all the way to What a
> Wonderful World as far as Louis was concerned. There is, as always,
> another way of looking at it: after he had established jazz as a
> soloist's art, Louis, by the mid-thirties, is playing better than
> ever. His material is largely drawn from popular song of the era and
> a true lyricism enters his playing. For me, the big band period
> represents some of the very best Louis on record. And I don't know
> about the bands not always being the best: eventually, he just about
> took over fronting the Luis Russell Orchestra, who really were among
> the best.
> Robert Greenwood.
>
>
>
> *hoo! Groups Sponsor*
> ADVERTISEMENT
>
>
<http://us.ard.yahoo.com/SIG=129gfvrhn/M=315388.5455589.6541277.2248467/D=grplch\
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bank.com/hcs/hcsapplication?pf=PLApply&media=EMYHNL40WL1004SS>
>
>

This is one of the great controversies.  On one hand you have tunes like
"Wild Man Blues" and on the other there's "Swing That Music"  or any
number of ballads.  Then there's another phase--the All Stars groups
with Teagarden, Earl Hines, and the rest.  I like the Hot Five and Seven
recordings best, but it's a personal choice.  I like lyrical Louis too.

--
Hear Barrelhouse Solly on the internet--that's me

  http://www.soundclick.com/barrelhousesolly

George James replaced Omer Simeon with Jabbo Smith's Aces. Mabel Horsey is
mentioned as having been contracted by JC Johnson to play on the Sparks
recordings in the liner notes to an Arcadia LP "Jazz in Harlem", which includes
Bennett's Swamplanders and Horsey's Hot Five. At first listen, I don't think it
is Jabbo Smith on the Johnson sides, but haven't compared the playing on the
Swamplanders or the Wilmoth Houdini sides (wonderful).

Best regards,

Michael Rader
Karlsruhe, Germany

-----Originalnachricht-----
Von: robertgreenwood_54uk
An: RedHotJazz@yahoogroups.com
Gesendet: 28.09.2004 19:06
Betreff: [RedHotJazz] Walter Bennett

Bennett was, I think, of Caribbean origin. He recorded with Gerald
Clark's Night Owls and can be heard in that context on Poor But
Ambitious, an Arhoolie CD by the calypso singer Wilmoth Houdini.
Robert Greenwood.




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ps://www.orchardbank.com/hcs/hcsapplication?pf=PLApply&media=EMYHNL40FF1
004SS> click here

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At 11:32 AM 9/28/2004 -0700, Joel Fritz wrote:
>This is one of the great controversies.  On one hand you have tunes like
>"Wild Man Blues" and on the other there's "Swing That Music"  or any
>number of ballads.  Then there's another phase--the All Stars groups
>with Teagarden, Earl Hines, and the rest.  I like the Hot Five and Seven
>recordings best, but it's a personal choice.  I like lyrical Louis too.

The bottom line for me is that I love EVERYTHING the man ever did.  He was
incapable of a half effort.  All the way to the Hello Dolly/Ed Sullivan
days he gave his all, and never turned in a lackluster performance.  I love
the guy.  I can count myself among the lucky people who saw him on Broadway
in the "All Black" "Hello Dolly".  The night I saw him, he was late
arriving for the show, so Pearl Bailey and the pit orchestra put on an
impromptu concert to keep us happy until Satch finally made it.  One of the
great nights of my life.

P.W. Fenton
New Port Richey, FL
http://BluesLand.Net - A comprehensive network of Blues related resources

I've added six new OM5 songs to the site. They were sent in by Carl Rose.
Thanks Carl.

http://www.redhotjazz.com/om5.html
I WISH I COULD SHIMMY LIKE MY SISTER KATE
INDIANA STOMP
LOOSE FEET
PICKLES
SHUFFLIN' MOSE
ST LOUIS GAL

George James also played with Louis Armstrong and later in his life,
with the Harlem Blues and Jazz Band, the outfit I saw him with in the
1970s.  Even at that somewhat advanced age, he was playing fine sax.

Ron L

-----Original Message-----
From: Rader, Michael [mailto:Michael.Rader@...]
Sent: Tuesday, September 28, 2004 2:51 PM
To: RedHotJazz@yahoogroups.com
Subject: AW: [RedHotJazz] Walter Bennett/Mabel Horsey/George James

George James replaced Omer Simeon with Jabbo Smith's Aces. Mabel Horsey
is mentioned as having been contracted by JC Johnson to play on the
Sparks recordings in the liner notes to an Arcadia LP "Jazz in Harlem",
which includes Bennett's Swamplanders and Horsey's Hot Five. At first
listen, I don't think it is Jabbo Smith on the Johnson sides, but
haven't compared the playing on the Swamplanders or the Wilmoth Houdini
sides (wonderful).

Best regards,

Michael Rader
Karlsruhe, Germany

-----Originalnachricht-----
Von: robertgreenwood_54uk
An: RedHotJazz@yahoogroups.com
Gesendet: 28.09.2004 19:06
Betreff: [RedHotJazz] Walter Bennett

Bennett was, I think, of Caribbean origin. He recorded with Gerald
Clark's Night Owls and can be heard in that context on Poor But
Ambitious, an Arhoolie CD by the calypso singer Wilmoth Houdini.
Robert Greenwood.




Yahoo! Groups Sponsor

ADVERTISEMENT

<http://us.ard.yahoo.com/SIG=129ofen34/M=315388.5455589.6541277.2248467/
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ps://www.orchardbank.com/hcs/hcsapplication?pf=PLApply&media=EMYHNL40FF1
004SS> click here

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Yahoo! Groups Links

Yes, I can remember seeing the Harlem Blues and Jazz Band too. It's sometimes
remarkable how many of these vintage players managed to even improve with
advancing age.

James is precisely on those Louis Armstrong recordings praised elsewhere on this
list. He is also on the Alex Hill 1929 Orchestra recordings, which provide
another possibility to compare his playing on the JC Johnson sides. There is
also the possibility of overlap of personnel with the Moonlight Revellers,
another JC Johnson group. These are also up on the Red Hot Jazz site for all to
hear.

Coming back to the J.C. Johnson sides, I think there is only one reed player,
who might well be James. It's probably not Simeon, since there are some "corny"
phrases that Simeon never used elsewhere (to my knowledge). The trombone doesn't
really sound like Higginbotham to me - a little more like Roy Palmer, although I
doubt that it really is him. The Bennett Swamplanders have a player called Isiah
Robinson (at least according to the Frog CD), whom I would like to compare with
the trombonist on the JC Johnson sides before making up my mind.

Someone raised a question about Ikey Robinson. IMO Ikey was probably one of the
best banjo players ever to record. He had the misfortune to emerge at a time
when the banjo was going out of fashion, but there are still enough samples
around to enjoy, in particular the Jabbo Smith Aces and some Clarence Williams
Washboard/Jug Band sides.

Incidentally, Jazz Oracle has announced the intention to produce a CD devoted to
JC Johnson so that we can expect some discussion of the personnels in the liner
notes when that appears: Jazz Oracle usually commissions liner notes from
experts... That should also contain recordings by the JC Johnson trio, which are
really fine. Frog will be releasing a CD containing some Clarence Williams odds
and ends, including the Alabama Jug Band, which have great examples of Ikey
Robinson's playing.

Best regards,

Michael Rader



-----Ursprüngliche Nachricht-----
Von: Ron L'Herault [mailto:lherault@...]
Gesendet: Mittwoch, 29. September 2004 03:55
An: RedHotJazz@yahoogroups.com
Betreff: RE: [RedHotJazz] George James


George James also played with Louis Armstrong and later in his life,
with the Harlem Blues and Jazz Band, the outfit I saw him with in the
1970s.  Even at that somewhat advanced age, he was playing fine sax.

Ron L

>  The bottom line for me is that I love EVERYTHING the man ever did. 
> He was
   incapable of a half effort.

I heartily agree that there is no such thing as a mediocre performance
by Pops, who could sing a tuna casserole recipe and make you taste it.
Louis had more music in his toenail clippings than ANYONE before or
since.
And praise god for the miracle of recorded sound which has enabled us
to experience these priceless sonic treasures.
I also LOVE the duets with H.L. Crosby, there is such a fierce sense of
shared swinging whenever they shared a mike. The playfullness and
obvious joy in each others talents is so heartwarming.
Louis  claimed that he learned how to "sing from the heart" by hearing
Jewish cantors in his youth.
Oy ! what a Mitzvah for us.
-- Mugg Muggles, "the ofay goy boy"

The Man With the Jive

Patrice,

When I first read this, I though you wrote you had some 600 JSP CDs and was
going to ask you how you found that many ;-). Then I realised you meant their
vintage blues reissues like Gus Cannon or the Memphis Jug Band.

JSP has been *extremely* prolific in reissuing blues and American roots music in
the shape of 4-5 CD boxes. My most recent acquisition is a 4-CD set called
"Paramount Masters" which is a sort of panorama of the Paramount blues
catalogue, usually omitting the "big names" like Blind Blake, Blind Lemon
Jefferson or Charlie Patton who are covered by separate JSP boxes (although
there is an alternate take of Patton's "I Shall Not Be Moved"). The set includes
some well-known things like Blind Joe Reynolds' "Outside Women Blues" (in
extremely good sound) and rarities like Reynolds' recently discovered "Ninety
Nine Blues". I wouldn't care to guess about the origin of such sides, since
there is only one known copy of the last-mentioned track. On the down-side, some
of the originals are very poor and there's a very irritating pre-echo (probably
from a tape) on Bo Weavil Jackson's "Some Scream High Yellow". If I didn't have
it twice on other CDs one recording that I would sorely miss is Geeshie Wiley's
"Last Kind Words", but even so the JSP Box is a real cornucopia of 20s/early 30s
blues. JSP has reissued a few other boxes containg similar music, e.g. a Memphis
Blues Masters, a Texas Blues and a "Legends of Country Blues", each of which is
probably well worth having if you don't have the recordings already. I don't
know who has done the restoration work on these boxes: in the past you could
rely on it having been done by John RT Davies or Ted Kendall, but more recent
efforts have rather obscure references, the most definite being "the Masked
Marvel".

Since Patrice mentions his interest in other kinds of music, JSP also has
several boxes of "roots" music, such as Jimmie Rodgers, Uncle Dave Macon, Bill
Monroe or cajun music. That's not to mention a British ukelele player/comic
singer called George Formby. If you have a continuing interest in the Beatles,
you will know who that is, but Patrice is an English teacher, he might have
known him anyway.

Best regards,
Michael Rader


-----Ursprüngliche Nachricht-----
Von: Patrice Champarou [mailto:patrice.champarou@...]
Gesendet: Dienstag, 28. September 2004 19:25
An: RedHotJazz@yahoogroups.com
Betreff: Re: [RedHotJazz] Hello! and Louis Armstrong...


Welcome Robert

> So much music is availabel to us now and I`m
> sure it must irk people who spent a lifetime collecting 78`s to watch
> someone like me plunk down 20 bucks for one of those JSP boxes and
> walk away with the whole catalogue remastered by John RT Davies.  :)

On the contrary, I wish this group to become a link between hardcore
collectors or specialists, and people (like myself) for whom pre-war jazz is
just one of the various kinds of music they were lucky to "meet".
I'm not going to elaborate, but I confess I didn't have the same attitude
towards jazz fifteen years ago, considering Bix as a genius but fearing
Whiteman's arrangements like hell! ;))) It always takes something like a
shock to actually "hear" what you've been passing by for decades, and maybe
a couple of friends or long-time freaks to help you getting in.

Patrice - proud owner of some JSP 600's, but that's another story

(er... what about Louis Armstrong? I didn't get your suggestion...)

Sometime in the mid 1980's I attended a performance at the Rheem
Theatre in California's Contra-Costa County by a group of veteran cats
including Eddie Durham, Al Casey, I THINK Alton Purnell and maybe
Illinois Jacquet.
They were billed something like "The Harlem Blues All-Stars" or
something.
Can anyone out there in Cyberspace verify the name and personnel?  Did
they perchance make it into a recording studio?
This experience was a major highlight of my life,only somewhat blighted
by my misfortune in being deprived of the opportunity to schmooze with
them while transporting them (by a nice, comfy 1973 4-door Buick) from
their hotel to Berkeley for an appearance on Chris Strachwitz's KPFA
radio show then making a mad dash to the S.F. Airport, because their
manager thought that they needed an extra hour of sleep !!!
The band was all for it, but this little shmuck put the kibosh on it.
Opportunity was knocking at my door and this fool went and nailed it
shut. Oh well .  .  .
But, back to the real question- Anybody know about this particular
line-up?
Perspiring minds need to know.
--- Mugg Muggles

The Man With the Jive

Hello Michael

>Then I realised you meant
> their vintage blues reissues like Gus Cannon or the Memphis Jug Band.

I'm afraid I'm always a bit elliptic, whatever the language;)
Actually - and without any regards to the series numbers - I was thinking of
the shock I had when I first heard the quality of the sound; just after
Frank Stokes I came across their Lonnie Johnson (335) which included his
sides with Armstrong and my "top three" Ellingtons, it was just as if I
heard them for the first time!
I know about their more recent releases and keep buying, they take more and
more room on my shelves, but I suppose that comments upon these should
rather go to the pre-war-blues group ;)

> If you have a continuing interest in the Beatles,
The what? ;)

Patrice (sorry about possible typos, lost my glasses)

This is the group mentioned in the postings on George James. It was a group of
veteran swing-era musicians, some of whom started their careers in the 1920s and
organised by a New England enthusiast, an orthodondist of Swedish origin called
Albert Vollmer (who played soprano sax on a solitary track on one of their LPs).
The earliest incarnation featured two blues singers: Princess White, a
previously unrecorded ninety-year old, who died shortly after recording and
while touring with the group and Miss Rhapsody (Viola Wells), who first recorded
in the 1940s. I think the original leader was Clyde Bernhardt, a trombonist, and
their first recordings also had veteran alto saxophonist Charlie Holmes. They
recorded several LPs and I think isolated tracks were also issued on CD. The
personnel varied a lot, so it's not impossible that Jacquet and Purnell toured
with them, although if I recall correctly, it might have been Eddie Chamblee
(have to dig out my LPs). The original pianist was Reuben Jay Cole and at
another time it was Briton Dill Jones.

There's plenty about them if you search via Google, including a review:
http://ubl.artistdirect.com/store/artist/album/0,,1594200,00.html


Best wishes,
Michaek Rader
-----Ursprüngliche Nachricht-----
Von: Mugg Muggles [mailto:muggmuggles@...]
Gesendet: Mittwoch, 29. September 2004 09:49
An: RedHotJazz@yahoogroups.com
Betreff: Re: [RedHotJazz] my memory needs some prodding


Sometime in the mid 1980's I attended a performance at the Rheem
Theatre in California's Contra-Costa County by a group of veteran cats
including Eddie Durham, Al Casey, I THINK Alton Purnell and maybe
Illinois Jacquet.
They were billed something like "The Harlem Blues All-Stars" or
something.
Can anyone out there in Cyberspace verify the name and personnel?  Did
they perchance make it into a recording studio?
This experience was a major highlight of my life,only somewhat blighted
by my misfortune in being deprived of the opportunity to schmooze with
them while transporting them (by a nice, comfy 1973 4-door Buick) from
their hotel to Berkeley for an appearance on Chris Strachwitz's KPFA
radio show then making a mad dash to the S.F. Airport, because their
manager thought that they needed an extra hour of sleep !!!
The band was all for it, but this little shmuck put the kibosh on it.
Opportunity was knocking at my door and this fool went and nailed it
shut. Oh well .  .  .
But, back to the real question- Anybody know about this particular
line-up?
Perspiring minds need to know.
--- Mugg Muggles

The Man With the Jive


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Bonjour Patrice,

Maybe this is slightly OT, but anyway you're the moderator (;-) and I know
exactly what you mean: there was a partwork series by Orbis called "The Blues
Collection", which covered the entire range of blues from the 20s to the 90s. My
wife bought me the first issue and encouraged me to subscribe(!). The CDs are
something of a mixed bag with some recordings that have been reissued to death.
But at one time, I was doing work in the basement and put on a newly arrived CD
in the series called the "Thirties Blues" or it might have been the Texas Blues
set. The latter includes some sides accompanied by jazz musicians (just to get
back on topic). Anyway, I was immediately struck by the quality of th sound
coming from my speakers - not what you would expect of a cheap magazine. After
donning my glasses (;-(), I found that the credits included transfers by John
R.T. Davies. In fact he did several CDs for this series, which are really hidden
treasures.

As for the Beatles, it seems that George Harrison always took a ukelele with him
on his travels (at least after the Beatles split) and Paul McCartney does a
tribute (I think "Something") to this on the Concert for George DVD (which my
wife bought, I must hasten to add ;-). The JSP box, restored by Ted Kendall,
refers to Harrison's love for Formby.

To get back on topic, and since I know that you like Django, do you have the JSP
"Django in Rome" set and what is your opinion on the music (latter-day Django)?
I know that Frémeaux has an extremely comprehensive Django reissue, but I also
know that many people prefer Ted Kendall's restoration work.

Michael



-----Ursprüngliche Nachricht-----
Von: Patrice Champarou [mailto:patrice.champarou@...]
Gesendet: Mittwoch, 29. September 2004 10:16
An: RedHotJazz@yahoogroups.com
Betreff: Re: [RedHotJazz] JSP 600s


Hello Michael

>Then I realised you meant
> their vintage blues reissues like Gus Cannon or the Memphis Jug Band.

I'm afraid I'm always a bit elliptic, whatever the language;)
Actually - and without any regards to the series numbers - I was thinking of
the shock I had when I first heard the quality of the sound; just after
Frank Stokes I came across their Lonnie Johnson (335) which included his
sides with Armstrong and my "top three" Ellingtons, it was just as if I
heard them for the first time!
I know about their more recent releases and keep buying, they take more and
more room on my shelves, but I suppose that comments upon these should
rather go to the pre-war-blues group ;)

> If you have a continuing interest in the Beatles,
The what? ;)

Patrice (sorry about possible typos, lost my glasses)



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To visit your group on the web, go to:
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Michael- that's service !! Thirty minutes to answer a question which
has bugged me for almost 20 years.
A thousand thanks.
-- Mugg

The Man With the Jive

Good morning everybody!
First,let me introduce myself: Jean Michel Borello,french (nobody's
perfect), 57 and retired (almost) ,long time jazz/blues enthusiastic. Since
1960,actually,a Louis Armstrong concert in Nice,my hometown.Thanks Dad!
Talking about Louis,as the subject came on the list,what do you think about
the several re-editions of his Hot five/hot seven which are on the market
today ?: the first Sonys ,the luxuous Sony 5 cd package, the french
Dreyfus,the  english JSP package, the BBC stuff and so on (probably)...
For me, talking about  sound,JSP did the best job....
Some other advices?
Some of you had the chance to listen to the original 78 and compare with the
modern CD?
Red beans and ricely yours!
Jean Michel

Patrice,I heard about "the jazz en France" but I dont have it. It's on the
the Amazon site but not available.

Dear Scott:

This is a work in progress, I think. I was lucky enough to find the first
three parts when I bought the papers of a deceased argentine collector. Each
part has an alphabetical order from A-Z. So, if you want to find for
example: "Orchestre Jazz Du Moulin Rouge", you must look in the "O" letter
of the three parts.

The work I have is typed with a typewriter (not PC) and printed in 237 A-4
pages. I don't know if there are more parts available.

The copyright is 1989-1991. For those interested there is an address: M.A.D
(Musique Archives Documents) B.P. Nş 9, F-65700 CASTELNAU-RB, France.
For those who speak french, can phone to: 62 31 90 61 or fax 62 31 90 60. Be
ware that this information is from 1991.

It's a great work, with plenty of information about the jazz recorded in
France, not only by the french musicians but for others that recorded there
(Rex Stewart, Lud Gluskin, Bill Coleman, and so on)

Full personnel when is known, matrix number, title, vocal, date and issue
(78 and LP/CD)

Luis Contijoch


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