Dear list

Has anybody done research on Mamie Smith's 1936 European tour? If so, has an
approximate itinerary been established?

Thanks in advance.

Best regards,
Agustín Pérez
Madrid 
------------------------------------------------
Mule Walk & Jazz Talk:  http://thereisjazzbeforetrane.blogspot.com/




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

This is a jam session between the oldest Japanese jug band, the Old Southern Jug
Blowers (in uniform), and the Sweet Hollywaiians. It is such a relaxed and fun
session, and the musicians really seem to enjoy themselves without taking
themselves seriously, all with excellent results.  The humility and team playing
of the jug band is extraordinary. Every time I watch and listen to this clip I
notice and hear new things. These guys are the best!

244


http://www.youtube.com/watch#playnext=1&playnext_from=TL&videos=z24Z8JtFSyE&v=gT\
ScDq5voAk





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

The Japanese have their own tradition of Hawaiian-type music dating from the
inter-war years when they held League of Nations mandates for chunks of
Polynesia. It often crops up in Japanese films of the 1930s and I hope
someone is documenting it, but it¹s safe from me. There were a couple of
examples in the recent Ozu season at London¹s National Film Theatre.

While we¹re here the Japanese reissue (Buffalo BUF127) of the Kapakahi Jug
Band is worth picking up if you¹re interested in that kind of thing as it is
the only recorded legacy as far as I know of the African-American spoons
player Pee Wee Drake, who was something else, and a rare instance of
African-American involvement with revivalists, but it was in Hawaii. The
rest of the band are enormous fun as well. There are some videos on You Tube
of the Kapakahi Jug Band, but they are recent and lack the youthful
enthusiasm of the old recordings. Drake, who became something of a mentor to
the young folks, joined Gabriel¹s band years ago.



on 04/03/2010 19:51, Mordechai Litzman at folke613@... wrote:

>
>
>
>
>
> This is a jam session between the oldest Japanese jug band, the Old Southern
> Jug Blowers (in uniform), and the Sweet Hollywaiians. It is such a relaxed and
> fun session, and the musicians really seem to enjoy themselves without taking
> themselves seriously, all with excellent results.  The humility and team
> playing of the jug band is extraordinary. Every time I watch and listen to
> this clip I notice and hear new things. These guys are the best!
>
> 244
>
> http://www.youtube.com/watch#playnext=1&playnext_from=TL&videos=z24Z8JtFSyE&v=
> gTScDq5voAk
>
> [Non-text portions of this message have been removed]
>
>
>
>
>


Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
howard@...
Tel/FAX: +44 20 8521 1098




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

Hi Everyone!

The first show in the West-End was a great success! Thanks to all of you that
attended!

http://www.youtube.com/watch?v=QGN_aqBWIO0

...bringing Big Band Jazz back to the heart of London!

Tonight at Volupte, the clock goes back to the Jazz Age, courtesy of Alex
Mendham and the Rhythm Boys - a Time Machine Orchestra featuring 11 of the
country finest musicians, who'll be heating things up for your listening and
dancing pleasure...

1920's and 30's hot jazz, pop and dance!

NEXT SHOW IS MARCH 15th!

Doors: 6pm - 1am

Tickets: £15 in advance or on the door

Please come out and support live big band music in London and help keep this
wonderful music alive.

Best

Alex Mendham

When interviewed in 1987 about his earliest recordings for a book by Benjamin
Franklin V. about Jazz and Blues Musicians of South Carolina, Jabbo Smith had
this to say (p. 19):
BF: Was your first recording in 1926 with Thomas Morris?
JS: I can't remember, but that's what everybody seems to remember. At that time,
my first recording was with Clarence Williams. Charlie Irvis, he was playing
trombone with Clarence Williams. So he got me the date. In any event, I made
that thing with Eva Taylor, "If I Could Be with You One Hour Tonight". That was
a big hit for her at that time. (Interview at the home of Lorraine Gordon, New
York City, 14 March 1987.

Does anyone know where the information on the recording with Morris originated?

Michael Rader, Karlsruhe, Germany

Hi Everyone!

The first show in the West-End was a great success! Thanks to all of you that
attended! Here we are running through Lulu's Back In Town..even have a bass sax!

http://www.youtube.com/watch?v=kAtq-1O1TEk

NEXT SHOW 15th MARCH!!

...bringing Big Band Jazz back to the heart of London!

Tonight at Volupte, the clock goes back to the Jazz Age, courtesy of Alex
Mendham and the Rhythm Boys - a Time Machine Orchestra featuring 11 of the
country finest musicians, who'll be heating things up for your listening and
dancing pleasure...

1920's and 30's hot jazz, pop and dance!

Doors: 6pm - 1am

Tickets: £15 in advance or on the door

Please come out and support live big band music in London and help keep this
wonderful music alive.

Best

Alex Mendham

What Jabbo actually said was:
I can't remember, but that's what everybody seems to remember. *I don't
remember.* At that  time, my first recording was with Clarence Williams. Charlie
Irvis, he  was playing trombone with Clarence Williams. So he got me the date.
In  any event, I made that thing with Eva Taylor, "If I Could Be with You  One
Hour Tonight". That was a big hit for her at that time. (Interview  at the home
of Lorraine Gordon, New York City, 14 March 1987.
Michael
___________________________________________________________
GRATIS für alle WEB.DE-Nutzer: Die maxdome Movie-FLAT!
Jetzt freischalten unter http://movieflat.web.de

For his book "Voices of the Jazz Age", Chip Deffaa interviewed Jabbo Smith
twice: at Lorraine Gordon's apartment (Nov. 2, 1985) and at Jabbo's (Nov. 27,
1988). Jabbo recalls the Clarence Williams/Eva Taylor date, but no mention of
the Thomas Morris recording.

Best regards,
Agustín Pérez
Madrid 
------------------------------------------------
Mule Walk & Jazz Talk:  http://thereisjazzbeforetrane.blogspot.com/




________________________________
From: Michael <Rader.Michael@...>
To: RedHotJazz@yahoogroups.com
Sent: Tue, March 9, 2010 2:24:49 PM
Subject: [RedHotJazz] Jabbo Smith with Tom Morris

 
When interviewed in 1987 about his earliest recordings for a book by Benjamin
Franklin V. about Jazz and Blues Musicians of South Carolina, Jabbo Smith had
this to say (p. 19):
BF: Was your first recording in 1926 with Thomas Morris?
JS: I can't remember, but that's what everybody seems to remember. At that time,
my first recording was with Clarence Williams. Charlie Irvis, he was playing
trombone with Clarence Williams. So he got me the date. In any event, I made
that thing with Eva Taylor, "If I Could Be with You One Hour Tonight". That was
a big hit for her at that time. (Interview at the home of Lorraine Gordon, New
York City, 14 March 1987.

Does anyone know where the information on the recording with Morris originated?

Michael Rader, Karlsruhe, Germany







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

Dear list

Does anyone know if the project on Frank Guarente (of Paul Specht's Orchestra
and the Georgians fame) is still alive?

http://www.frankguarente.com/

I have tried to contact Angelo Marchese and John Misso, but have got no reply.

Thanks in advance,
Agustín Pérez
Madrid 
------------------------------------------------
Mule Walk & Jazz Talk:  http://thereisjazzbeforetrane.blogspot.com/




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

I'd like to know as well as I had an album of Isham Jones and he was on it.Tommy
Dorsey wanted to use
him on his own recordings.It's like me trying to find any info on trumpeter
Billy Regis,a fat toned trumpeter
with Prez Prado.He had an impact on my own trumpet tone along with Bunny
Berigan,Satchmo and a nu-
mber of other fat toned trumpeters I heard on record but had no idea as to who
they were.The late Sonny
Berman was one along with the late Freddie Webster and Fats Navarro.Navarro I
head by way of a boot-
leg LP of Eckstine's big band playing a the Plantation Club somewhere in
Southern California.The label was
Alamac and I bought it new in Denver back in '75.I now have a CD reissue of it
on some minor label.I've
read that the album was the only extant recording of the live Eckstine
band.Navarro was great:his solo on
"Together" was terrific as was Gene Ammon's rather angry.Ben Webster influenced
tenor.Ammons captu-
red the essence of  the song quite well.I also play tenor sax in a Coleman
Hawkins-Ben Webster-Don
Byas style.I also enjoyed Frank Socolow as well.The reissue I have of him with
Raeburn on a Musicraft
LP is horrible;the sound quality of the LP stinks.



________________________________
From: Agustin Perez Gasco <ekebbbapg@...>
To: RedHotJazz yahoo group <RedHotJazz@yahoogroups.com>
Sent: Wed, March 10, 2010 3:52:49 PM
Subject: [RedHotJazz] Research on Frank Guarente


Dear list

Does anyone know if the project on Frank Guarente (of Paul Specht's Orchestra
and the Georgians fame) is still alive?

http://www.frankguarente.com/

I have tried to contact Angelo Marchese and John Misso, but have got no reply.

Thanks in advance,
Agustín Pérez
Madrid
------------ --------- --------- --------- ---------
Mule Walk & Jazz Talk:  http://thereisjazzb eforetrane. blogspot. com/

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







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

The fourth edition of Rust already shows Jabbo on the Morris session and in the
"Frog Annual", Richard Rains says that Jabbo told him in 1977 that his first
recordings had been with "Tommy Morris", even mentioning the titles. The
question is whether Jabbo had forgotten about Morris by the mid-1980s, or was
simply repeating what others had told him during his tours in the 1970s.

It would thus be interesting to know when Jabbo was first put on the Morris
session and on what grounds: documentary evidence, statements by other musicians
involved in the session or simply aural identification by early collectors?

Michael Rader



*************
For his book "Voices of the Jazz Age", Chip Deffaa interviewed Jabbo Smith
twice: at Lorraine Gordon's apartment (Nov. 2, 1985) and at Jabbo's (Nov. 27,
1988). Jabbo recalls the Clarence Williams/Eva Taylor date, but no mention of
the Thomas Morris recording.

  Best regards,
  Agustín Pérez
  Madrid
  ------------------------------------------------

  When interviewed in 1987 about his earliest recordings for a book by Benjamin
Franklin V. about Jazz and Blues Musicians of South Carolina, Jabbo Smith had
this to say (p. 19):
  BF: Was your first recording in 1926 with Thomas Morris?
  JS: I can't remember, but that's what everybody seems to remember. At that
time, my first recording was with Clarence Williams. Charlie Irvis, he was
playing trombone with Clarence Williams. So he got me the date. In any event, I
made that thing with Eva Taylor, "If I Could Be with You One Hour Tonight". That
was a big hit for her at that time. (Interview at the home of Lorraine Gordon,
New York City, 14 March 1987.

  Does anyone know where the information on the recording with Morris originated?

  Michael Rader, Karlsruhe, Germany

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



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hi Michael
     When I knew Jabbo (1981/2) his health was in less strong of shape than
it was in 1977,  When you read Chip's book that you mentioned you will see the
reference of strokes, starting with touring on the production of "One Mo Time".
It could be that the first stroke lessened his ability to remember distant
events (it usually does). I know that in the case of Franz Jackson (and I should
also note my mother in recent years - this is a standard procedure as one gets
older in most cases) that events that were clear as yesterday to them when he
told me in the 1980's were not as clear in the last few years of his life. Jabbo
did not mention the Morris session to me when I asked about his first recording
session either, but he did have his first stroke whilst touring on the
production of "One Mo' Time" before knowing me- we may be able to consider
Raines notes as being that he did record with Morris on his first
  session - now was it w Morris' combo or with Johnson's band is the question to
be asked (and were the titles remembered because of his memory or because he was
given the information by the interviewer can also be asked, a very important
point that Howard Rye made a few weeks ago regarding interviewing) ...
Yves
 

--- On Fri, 3/12/10, Michael Rader <Rader.Michael@...> wrote:


From: Michael Rader <Rader.Michael@...>
Subject: Re: [RedHotJazz] Jabbo Smith with Tom Morris
To: RedHotJazz@yahoogroups.com
Date: Friday, March 12, 2010, 1:54 AM


 



The fourth edition of Rust already shows Jabbo on the Morris session and in the
"Frog Annual", Richard Rains says that Jabbo told him in 1977 that his first
recordings had been with "Tommy Morris", even mentioning the titles. The
question is whether Jabbo had forgotten about Morris by the mid-1980s, or was
simply repeating what others had told him during his tours in the 1970s.

It would thus be interesting to know when Jabbo was first put on the Morris
session and on what grounds: documentary evidence, statements by other musicians
involved in the session or simply aural identification by early collectors?

Michael Rader

************ *
For his book "Voices of the Jazz Age", Chip Deffaa interviewed Jabbo Smith
twice: at Lorraine Gordon's apartment (Nov. 2, 1985) and at Jabbo's (Nov. 27,
1988). Jabbo recalls the Clarence Williams/Eva Taylor date, but no mention of
the Thomas Morris recording.

Best regards,
Agustín
  Pérez
Madrid
------------ --------- --------- --------- ---------

When interviewed in 1987 about his earliest recordings for a book by Benjamin
Franklin V. about Jazz and Blues Musicians of South Carolina, Jabbo Smith had
this to say (p. 19):
BF: Was your first recording in 1926 with Thomas Morris?
JS: I can't remember, but that's what everybody seems to remember. At that time,
my first recording was with Clarence Williams. Charlie Irvis, he was playing
trombone with Clarence Williams. So he got me the date. In any event, I made
that thing with Eva Taylor, "If I Could Be with You One Hour Tonight". That was
a big hit for her at that time. (Interview at the home of Lorraine Gordon, New
York City, 14 March 1987.

Does anyone know where the information on the recording with Morris originated?

Michael Rader, Karlsruhe, Germany

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

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Jetzt freischalten unter http://movieflat. web.de

Hi Yves,
I'm not necessarily suggesting that Raines told Jabbo anything, more
that others already had. Jabbo seems to have toured Europe quite
extensively in the mid-late 1970s and my guess is that many collectors
he met during this period told him that his first session had been with
Morris and told him the titles "Ham Gravy" and "Georgia Grind". When
Jabbo encountered Gaines, he just repeated what he had been told by
others. Maybe when he had time to think about the matter, he realised
that he didn't remember the session himself.

Thus the question, where the entries in the discography originally came
from. Quite complicated, so I hope I've been able to explain.

All the best,

Michael

yves francois schrieb:

>
>
> hi Michael
>      When I knew Jabbo (1981/2) his health was in less strong of shape
> than it was in 1977,  When you read Chip's book that you mentioned you
> will see the reference of strokes, starting with touring on the
> production of "One Mo Time". It could be that the first stroke
> lessened his ability to remember distant events (it usually does). I
> know that in the case of Franz Jackson (and I should also note my
> mother in recent years - this is a standard procedure as one gets
> older in most cases) that events that were clear as yesterday to them
> when he told me in the 1980's were not as clear in the last few years
> of his life. Jabbo did not mention the Morris session to me when I
> asked about his first recording session either, but he did have his
> first stroke whilst touring on the production of "One Mo' Time" before
> knowing me- we may be able to consider Raines notes as being that he
> did record with Morris on his first
> session - now was it w Morris' combo or with Johnson's band is the
> question to be asked (and were the titles remembered because of his
> memory or because he was given the information by the interviewer can
> also be asked, a very important point that Howard Rye made a few weeks
> ago regarding interviewing) ...
> Yves
>
>
> -
>
>
>
>

I remember very vividly a concert at the Breda Jazz Festival in 1972 by - I
think - Marc van Nus´ Hot Dogs. Everything was in honour of Jabbo Smith who was
the admired hero of the whole festival. Jabbo had been imported to Europe for
the first time, and everybody was looking up at him and he really was "King",
although his playing was rather thin then, but his singing was most charming.
But, I think, he must have been in heaven there. Jabbo sat in the first row and
listened intensely to all the bands playing, and then van Nus announced a tune
by the Georgia Strutters, "Rock, Jennie, Rock", which he was going to play in
Jabbo´s honour as he "was the trumpet player on that item". Accordingly, Jabbo
nodded approvingly with his head. Only, that he certainly is NOT the trumpet
player on that one, but he had been listed in Rust for decades. Jabbo did not
know it any better, and van Nus did not know it any better as well, but I think
that at that date Chris Hillman had already stated rightly that it was Ladnier
on this recording (that´s why I remember it so well).  Musicians in the 20s
usually did not care for tunes recorded or for personnels, and so Jabbo
certainly thought that it must have been right if this was stated by those
knowing people in Europe. He certainly did not know (he COULD not). And ... if
someone had told him that his first recording was with Buster Keaton, he
certainly would have approved if been asked.

Moving on from the Thomas Morris session, and since you mention the Georgia
Strutters date:

The editions I own of Rust & Bruyninckx, and the online Lord discography, all
list Jabbo Smith as the cornet player in the May 23, 1927 session of the Georgia
Strutters for the Harmony label ("Rock, Jenny, Rock" and "It's Right Here For
You").

But Dan Vernhettes's & Bo Lindström's recent biography of Tommy Ladnier,
"Travelling Blues" denies this, stating that Jabbo was "at this time much more
Armstrong-influenced, surrendering himself to fireworks" and "must be
ommited". Vernhettes, a trumpeter himself, also denies that it could be Rex
Stewart, because "Rex Stewart at this time had a very nasty vibrato that is not
present in the Georgia Strutters session". He also excludes Joe Smith.

According to Vernhettes, "of the circa 50 possible name trumpeters active in
Harlem in May 1927, only two have the faintest resemblance to this trumpeter:
Tommy Ladnier and Bobby Stark".

He then detailedly describes both tunes, trying to link each passage with his
vast knowledge of Ladnier's style (if needed, I could copy those paragraphs).
His conclusion is that "Tommy Ladnier can neither be excluded nor included as
the cornetist at this Georgia Strutters session. Suffice to say, it's more
likely he is playing than that there should be anybody else. In any case, this
is not a very good or important session as such".

Best regards,
Agustín Pérez 
------------------------------------------------
Mule Walk & Jazz Talk:  http://thereisjazzbeforetrane.blogspot.com/


From: kbrau44 kbrau44@...

(...) Jabbo sat in the first row and listened intensely to all the bands
playing, and then van Nus announced a tune by the Georgia Strutters, "Rock,
Jennie, Rock", which he was going to play in Jabbo´s honour as he "was the
trumpet player on that item". Accordingly, Jabbo nodded approvingly with his
head. Only, that he certainly is NOT the trumpet player on that one, but he had
been listed in Rust for decades. Jabbo did not know it any better, and van Nus
did not know it any better as well, but I think that at that date Chris Hillman
had already stated rightly that it was Ladnier on this recording (that´s why I
remember it so well). (...)




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

Rex Stewart was never a favourite of mine.I found his playing rather sloppy.I
found a French RCA LP of
Fletcher Henderson and,as with the stuff he did with Ellington,he never
impressed me.I have a nice Blue-
bird 78 of "Passion Flower".Nice tune,sloppy playing.



________________________________
From: Agustin Perez Gasco <ekebbbapg@...>
To: RedHotJazz@yahoogroups.com
Sent: Tue, March 16, 2010 2:43:32 PM
Subject: [RedHotJazz] Georgia Strutters - May 23, 1927 Harmony session


Moving on from the Thomas Morris session, and since you mention the Georgia
Strutters date:

The editions I own of Rust & Bruyninckx, and the online Lord discography, all
list Jabbo Smith as the cornet player in the May 23, 1927 session of the Georgia
Strutters for the Harmony label ("Rock, Jenny, Rock" and "It's Right Here For
You").

But Dan Vernhettes's & Bo Lindström's recent biography of Tommy Ladnier,
"Travelling Blues" denies this, stating that Jabbo was "at this time much more
Armstrong-influence d, surrendering himself to fireworks" and "must be ommited".
Vernhettes , a trumpeter himself, also denies that it could be Rex Stewart,
because "Rex Stewart at this time had a very nasty vibrato that is not present
in the Georgia Strutters session". He also excludes Joe Smith.

According to Vernhettes, "of the circa 50 possible name trumpeters active in
Harlem in May 1927, only two have the faintest resemblance to this trumpeter:
Tommy Ladnier and Bobby Stark".

He then detailedly describes both tunes, trying to link each passage with his
vast knowledge of Ladnier's style (if needed, I could copy those paragraphs).
His conclusion is that "Tommy Ladnier can neither be excluded nor included as
the cornetist at this Georgia Strutters session. Suffice to say, it's more
likely he is playing than that there should be anybody else. In any case, this
is not a very good or important session as such".

Best regards,
Agustín Pérez
------------ --------- --------- --------- ---------
Mule Walk & Jazz Talk:  http://thereisjazzb eforetrane. blogspot. com/

From: kbrau44 kbrau44@yahoo. com

(...) Jabbo sat in the first row and listened intensely to all the bands
playing, and then van Nus announced a tune by the Georgia Strutters, "Rock,
Jennie, Rock", which he was going to play in Jabbo´s honour as he "was the
trumpet player on that item". Accordingly, Jabbo nodded approvingly with his
head. Only, that he certainly is NOT the trumpet player on that one, but he had
been listed in Rust for decades. Jabbo did not know it any better, and van Nus
did not know it any better as well, but I think that at that date Chris Hillman
had already stated rightly that it was Ladnier on this recording (that´s why I
remember it so well). (...)

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







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

I suspect Rex's musical priorities might have differed from Dan's, I don't know
for sure, but SLOPPY doesn't seem to match any notion I have ever gathered as to
Rex's playing.
What does Dan believe Rex ought to have been doing which he wasn't doing???
I don't want to start an argument, pn the contrary I want a little more
clarification. I wonder what Guy Barker, composer-performer of a reverential
pastiche of Rex, would make of "sloppy"?

blue skies and warm weather to all us deprived Europeans anyway!

Rr





--- In RedHotJazz@yahoogroups.com, Dan Van Landingham <danvanlandingham@...>
wrote:
>
> Rex Stewart was never a favourite of mine.I found his playing rather sloppy.I
found a French RCA LP of
> Fletcher Henderson and,as with the stuff he did with Ellington,he never
impressed me.I have a nice Blue-
> bird 78 of "Passion Flower".Nice tune,sloppy playing.
>
>
>
> ________________________________
> From: Agustin Perez Gasco <ekebbbapg@...>
> To: RedHotJazz@yahoogroups.com
> Sent: Tue, March 16, 2010 2:43:32 PM
> Subject: [RedHotJazz] Georgia Strutters - May 23, 1927 Harmony session
>
>
> Moving on from the Thomas Morris session, and since you mention the Georgia
Strutters date:
>
> The editions I own of Rust & Bruyninckx, and the online Lord discography, all
list Jabbo Smith as the cornet player in the May 23, 1927 session of the Georgia
Strutters for the Harmony label ("Rock, Jenny, Rock" and "It's Right Here For
You").
>
> But Dan Vernhettes's & Bo Lindström's recent biography of Tommy Ladnier,
"Travelling Blues" denies this, stating that Jabbo was "at this time much more
Armstrong-influence d, surrendering himself to fireworks" and "must be ommited".
Vernhettes , a trumpeter himself, also denies that it could be Rex Stewart,
because "Rex Stewart at this time had a very nasty vibrato that is not present
in the Georgia Strutters session". He also excludes Joe Smith.
>
> According to Vernhettes, "of the circa 50 possible name trumpeters active in
Harlem in May 1927, only two have the faintest resemblance to this trumpeter:
Tommy Ladnier and Bobby Stark".
>
> He then detailedly describes both tunes, trying to link each passage with his
vast knowledge of Ladnier's style (if needed, I could copy those paragraphs).
His conclusion is that "Tommy Ladnier can neither be excluded nor included as
the cornetist at this Georgia Strutters session. Suffice to say, it's more
likely he is playing than that there should be anybody else. In any case, this
is not a very good or important session as such".
>
> Best regards,
> Agustín Pérez
> ------------ --------- --------- --------- ---------
> Mule Walk & Jazz Talk:  http://thereisjazzb eforetrane. blogspot. com/
>
> From: kbrau44 kbrau44@yahoo. com
>
> (...) Jabbo sat in the first row and listened intensely to all the bands
playing, and then van Nus announced a tune by the Georgia Strutters, "Rock,
Jennie, Rock", which he was going to play in Jabbo´s honour as he "was the
trumpet player on that item". Accordingly, Jabbo nodded approvingly with his
head. Only, that he certainly is NOT the trumpet player on that one, but he had
been listed in Rust for decades. Jabbo did not know it any better, and van Nus
did not know it any better as well, but I think that at that date Chris Hillman
had already stated rightly that it was Ladnier on this recording (that´s why I
remember it so well). (...)
>
> [Non-text portions of this message have been removed]
>
>
>
>
>
>
>
> [Non-text portions of this message have been removed]
>

I just got off the phone with Bob Erdos (of Stomp Off Records). He's
trying to ID a tune played by the Prague Syncopated Orchestra on a
cassette from the late 1970s. He played it over the phone for me. I
couldn't name it, but I recorded it and told him I'd post it here to
see if anyone else can name it. It's a pleasant "hot dance" tune.
Please give it a listen and if you can identify it, please let me
know! (I'm sorry for the low-fi, I recorded this from speakerphone!)

http://www.claxtonola.com/mystery/mystery-jazz-piece.mp3

If the file fails to load completely in your browser, you can download
it by going here:

http://www.claxtonola.com/mystery/

and right-clicking the filename to download.

Thanks,
Bryan W.

Hello Bryan,

Pavel Klikar, the conductor of the Original Prague Syncopated
Orchestra says that it is a recording of Pretty Baby, arranged by
himself, some 30+ years ago, indeed.

Hope this helps...

Cheers,  Pavel

---
>I just got off the phone with Bob Erdos (of Stomp Off Records). He's
>trying to ID a tune played by the Prague Syncopated Orchestra on a
>cassette from the late 1970s. He played it over the phone for me. I
>couldn't name it, but I recorded it and told him I'd post it here to
>see if anyone else can name it. It's a pleasant "hot dance" tune.
>Please give it a listen and if you can identify it, please let me
>know! (I'm sorry for the low-fi, I recorded this from speakerphone!)
>
>http://www.claxtonola.com/mystery/mystery-jazz-piece.mp3
>
>If the file fails to load completely in your browser, you can download
>it by going here:
>
>http://www.claxtonola.com/mystery/
>
>and right-clicking the filename to download.
>
>Thanks,
>Bryan W.

Problem with redhotjazz.com, does anyone recognize it?
I have been streaming and downloading music for years but have got problems
the last months. Ca 4 Mbit/s should be enough, but  it gets interupted
several times pro minute like buffering. When listening to Youtube I don´t
have this problem.
cgaxelsson@...

2010/3/16 Agustin Perez Gasco <ekebbbapg@...>

>
>
> Moving on from the Thomas Morris session, and since you mention the Georgia
> Strutters date:
>
> The editions I own of Rust & Bruyninckx, and the online Lord discography,
> all list Jabbo Smith as the cornet player in the May 23, 1927 session of the
> Georgia Strutters for the Harmony label ("Rock, Jenny, Rock" and "It's Right
> Here For You").
>
> But Dan Vernhettes's & Bo Lindström's recent biography of Tommy Ladnier,
> "Travelling Blues" denies this, stating that Jabbo was "at this time much
> more Armstrong-influenced, surrendering himself to fireworks" and "must be
> ommited". Vernhettes, a trumpeter himself, also denies that it could be Rex
> Stewart, because "Rex Stewart at this time had a very nasty vibrato that is
> not present in the Georgia Strutters session". He also excludes Joe Smith.
>
> According to Vernhettes, "of the circa 50 possible name trumpeters active
> in Harlem in May 1927, only two have the faintest resemblance to this
> trumpeter: Tommy Ladnier and Bobby Stark".
>
> He then detailedly describes both tunes, trying to link each passage with
> his vast knowledge of Ladnier's style (if needed, I could copy those
> paragraphs). His conclusion is that "Tommy Ladnier can neither be excluded
> nor included as the cornetist at this Georgia Strutters session. Suffice to
> say, it's more likely he is playing than that there should be anybody else.
> In any case, this is not a very good or important session as such".
>
> Best regards,
> Agustín Pérez
> ------------------------------------------------
> Mule Walk & Jazz Talk:  http://thereisjazzbeforetrane.blogspot.com/
>
> From: kbrau44 kbrau44@... <kbrau44%40yahoo.com>
>
> (...) Jabbo sat in the first row and listened intensely to all the bands
> playing, and then van Nus announced a tune by the Georgia Strutters, "Rock,
> Jennie, Rock", which he was going to play in Jabbo´s honour as he "was the
> trumpet player on that item". Accordingly, Jabbo nodded approvingly with his
> head. Only, that he certainly is NOT the trumpet player on that one, but he
> had been listed in Rust for decades. Jabbo did not know it any better, and
> van Nus did not know it any better as well, but I think that at that date
> Chris Hillman had already stated rightly that it was Ladnier on this
> recording (that´s why I remember it so well). (...)
>
> [Non-text portions of this message have been removed]
>
>
>


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

I was reading about this in Eddie Condon's autobiography:

http://books.google.co.uk/books?id=l08EAAAAMBAJ&pg=PA58&dq=eddie+condon&lr=&as_d\
rrb_is=b&as_minm_is=0&as_miny_is=&as_maxm_is=0&as_maxy_is=1945&as_brr=0&as_pt=MA\
GAZINES&cd=6#v=onepage&q=eddie%20condon&f=false

I can't get the link to work, unfortunately, so you'll have to copy and paste
the above into the address bar.  Either that or do a google magazine search for
LIFE 8 Aug 1938.

In the above link, scroll up to the beginning of the article (pretty
comprehensive).

My first post.   My first encounter with jazz was as a listener.  Big band swing
was
the fashion---lots of it on the radio in the 40's when I was young---I lived in
LA then
and would travel on streetcars and buses to the Orpheum theater to hear the big
name bands as they alternated with a B movie.  I discovered Bunk Johnson and
George
Lewis by 1946 and became a dedicated mouldy figge for several years.  Later I
became
less restricted and now am a fan of just about any version of pre-bop jazz. 
I've tried to
"dig" the "modern" forms  but so far it hasn't rung my chimes.  At age 70 I took
up the
clarinet and I play just well enough to sit in on jam sessions at a level where
I can make
a contribution without causing embarrassment.

So much for that for now.  I'm trying to track down when and where "Sweet
Fields" was
introduced into the trad jazz songlist.  I assume it is a hymn.  It shows up on
an Eagle Brass
Band recording I have of about 197x (I think).  I've heard current bands such as
Grand
Dominion and New Black Eagle JB do it at festivals.  A search of hymns on the
internet
shows one composed by Isaac Watts (1674-1748) that possibly is it.  The lyrics
seem
to fit melody I've heard---but that seems like a long shot.   My questions are--

...Is it a song from the church?
...Was it played by the very early brass bands of New Orleans?
...Who made the first jazz recording of it--and when?

Thanks in advance for any information---

Ken Gates   Ventura, California

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

Wow this is a fantastic article (by the way I also read the article on Mao, very
interesting the changing opinions from then to now).  My uncle, Ben Pickering,
played trombone with both Dorsey brothers and knew many of the guys mentioned
here.  It's too bad that it's taken me so long to take a real interest in all
this and now that he's been gone for several years, I'll never be able to hear
him retell stories about his glory years.  I have a ton of old articles,
letters and photos that he left behind that I am slowly getting together to get
a picture of what his life must have been like.  I have an interest in the rock
bands of today and all of the exciting stuff they must do, and I imagine things
must have been much the same for him.  I am putting together a website of my
own that will have this as one part of it.  I have a draft copy up at
http://home.comcast.net/~rbilleaud/jazz.html  not too much there currently, 
sort of a germ seed, but I
  have just begun to get some high-res images thumbnailed and this will be much
cooler once I do some further development, possibly as early as this weekend. 
Thanks again for providing this link.




________________________________
From: gerry.paton <gerry.paton@...>
To: RedHotJazz@yahoogroups.com
Sent: Wed, March 17, 2010 3:21:16 PM
Subject: [RedHotJazz] Life Magazine Article

 
I was reading about this in Eddie Condon's autobiography:

http://books. google.co. uk/books? id=l08EAAAAMBAJ& pg=PA58&dq= eddie+condon&
lr=&as_drrb_ is=b&as_minm_ is=0&as_miny_ is=&as_maxm_ is=0&as_maxy_ is=1945&as_
brr=0&as_ pt=MAGAZINES& cd=6#v=onepage& q=eddie%20condon &f=false

I can't get the link to work, unfortunately, so you'll have to copy and paste
the above into the address bar. Either that or do a google magazine search for
LIFE 8 Aug 1938.

In the above link, scroll up to the beginning of the article (pretty
comprehensive) .







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

As to recordings, any advance on Eureka Brass Band, December 1955 (New
Orleans Rarities 4)?


on 27/03/2010 01:36, Ken Gates at kwg28@... wrote:

>
>
>
>
>
> My first post.   My first encounter with jazz was as a listener.  Big band
> swing was
> the fashion---lots of it on the radio in the 40's when I was young---I lived
> in LA then
> and would travel on streetcars and buses to the Orpheum theater to hear the
> big
> name bands as they alternated with a B movie.  I discovered Bunk Johnson and
> George
> Lewis by 1946 and became a dedicated mouldy figge for several years.  Later I
> became
> less restricted and now am a fan of just about any version of pre-bop jazz.
> I've tried to
> "dig" the "modern" forms  but so far it hasn't rung my chimes.  At age 70 I
> took up the
> clarinet and I play just well enough to sit in on jam sessions at a level
> where I can make
> a contribution without causing embarrassment.
>
> So much for that for now.  I'm trying to track down when and where "Sweet
> Fields" was
> introduced into the trad jazz songlist.  I assume it is a hymn.  It shows up
> on an Eagle Brass
> Band recording I have of about 197x (I think).  I've heard current bands such
> as Grand
> Dominion and New Black Eagle JB do it at festivals.  A search of hymns on the
> internet
> shows one composed by Isaac Watts (1674-1748) that possibly is it.  The lyrics
> seem
> to fit melody I've heard---but that seems like a long shot.   My questions
> are--
>
> ...Is it a song from the church?
> ...Was it played by the very early brass bands of New Orleans?
> ...Who made the first jazz recording of it--and when?
>
> Thanks in advance for any information---
>
> Ken Gates   Ventura, California
>
> [Non-text portions of this message have been removed]
>
>
>
>
>


Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
howard@...
Tel/FAX: +44 20 8521 1098




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

Ye-es, Howard, but wasn't the NO Rarities issue from around the mid-sixties?
Sweet Fields was a part of Ken Colyer's repertoire from the mid-fifties. It's
probable that he heard the Eureka performing it in NO in 1952/53 and brought it
back to Blighty, since when it has been, as Ken Gates puts it, part of the trad
jazz songlist.
Robert Greenwood

--- In RedHotJazz@yahoogroups.com, Howard Rye <howard@...> wrote:
>
> As to recordings, any advance on Eureka Brass Band, December 1955 (New
> Orleans Rarities 4)?
>
>
> on 27/03/2010 01:36, Ken Gates at kwg28@... wrote:
>
> >
> >
> >
> >
> >
> >   I'm trying to track down when and where "Sweet
> > Fields" was
> > introduced into the trad jazz songlist.  I assume it is a hymn.  It shows up
> > on an Eagle Brass
> > Band recording I have of about 197x (I think).

Er, yes, I guess you are right about this. It certainly isn¹t comtemporary
with the recording.


on 27/03/2010 18:38, Robert Greenwood at robertgreenwood_54uk@...
wrote:

>
>
>
>
>
> Ye-es, Howard, but wasn't the NO Rarities issue from around the mid-sixties?
> Sweet Fields was a part of Ken Colyer's repertoire from the mid-fifties. It's
> probable that he heard the Eureka performing it in NO in 1952/53 and brought
> it back to Blighty, since when it has been, as Ken Gates puts it, part of the
> trad jazz songlist.
> Robert Greenwood
>
> --- In RedHotJazz@yahoogroups.com <mailto:RedHotJazz%40yahoogroups.com> ,
> Howard Rye <howard@...> wrote:
>> >
>> > As to recordings, any advance on Eureka Brass Band, December 1955 (New
>> > Orleans Rarities 4)?
>> >
>> >
>> > on 27/03/2010 01:36, Ken Gates at kwg28@... wrote:
>> >
>>> > >
>>> > >
>>> > >
>>> > >
>>> > >
>>> > >   I'm trying to track down when and where "Sweet
>>> > > Fields" was
>>> > > introduced into the trad jazz songlist.  I assume it is a hymn.  It
>>> shows up
>>> > > on an Eagle Brass
>>> > > Band recording I have of about 197x (I think).
>
>
>
>
>


Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
howard@...
Tel/FAX: +44 20 8521 1098




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

Laurie Wright, editor and publisher of Storyville magazine from 1965 to
1995, died in London on 28 March 2010. He was also author of the standard
bio-discographies of Jelly Roll Morton, King Oliver, and Fats Waller,
publisher of several editions of both Jazz Records 1897-1942 and Blues &
Gospel Records 1902-1943 and many other serious contributions to
scholarship. After his ³retirement², he produced and published several
volumes of similar research material on vintage jazz and blues. He was 81.


Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
howard@...
Tel/FAX: +44 20 8521 1098

a very nice man, with whom I had too little contact, and without whom, indeed, a
great deal wouldn't have happened. I remember the attempts to co-ordinate or
connect collectors and those with knowledge and archives, so that rare things
wouldn't get lost.
I also remember his expression of gratitude to his parents for giving him the
same name as a music publisher, which in time led to people of interest to
researchers contacting him in their search for Lawrence Wright & co., and us
reaping the benefit of his assiduous following-up of the leads this provided.
I'm sure quite a number of people would want their gratitude to be expressed to
his family and closer friends
as I do,

Robert R. Calder




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

Very sad news. Laurie was responsible for a lot of work which will
continue to give pleasure for many years to come. All "Storyville"
publications are a mine of information which rewards careful reading, as
I've realised yet again only recently. My sympathies go out to his family.

Michael Rader
Karlsruhe, Germany

I'm not familiar with Laurie Wright.Who was he?



________________________________
From: Michael Rader <Rader.Michael@...>
To: RedHotJazz@yahoogroups.com
Sent: Sun, April 4, 2010 2:01:30 AM
Subject: Re: [RedHotJazz] Laurie Wright


Very sad news. Laurie was responsible for a lot of work which will
continue to give pleasure for many years to come. All "Storyville"
publications are a mine of information which rewards careful reading, as
I've realised yet again only recently. My sympathies go out to his family.

Michael Rader
Karlsruhe, Germany






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