What an amazing site:

http://www.britishpathe.com/record.php?id=26220

Try the search function and it throws up all sorts of stuff.

Apologies if this has been posted before, but this is an incredible resource
(thousands of vintage recordings accessible on line):

http://www.loc.gov/jukebox/

Try the search function.

-----Message d'origine-----
From: gerry.paton
Sent: Saturday, November 05, 2011 4:50 PM
To: RedHotJazz@yahoogroups.com
Subject: [RedHotJazz] Library of Congress Jukebox

> Apologies if this has been posted before, but this is an incredible
> resource (thousands of vintage recordings accessible on line):

> http://www.loc.gov/jukebox/

> Try the search function.

Yes, I briefly mentioned it, but I completely forgot to send the address.
What I wonder is if their arrangement with Sony also means a late and
unexpected copyright on previously "public domain" material (the All Star
Trio being the first example I have in mind).

Patrice

Concerning the copyrights.... on one of the All Star Trio songs the site states
under "rights & access" tab the following:

"This recording is protected by state copyright laws in the United
States. The Library of Congress has obtained a license from rights
holders to offer it as streamed audio only. Downloading is not
permitted."

So they must have obtained rights to stream it, but not offer it for download.
Hope that helps.


--- On Sat, 11/5/11, Patrice Champarou <patrice.champarou@...> wrote:

From: Patrice Champarou <patrice.champarou@...>
Subject: Re: [RedHotJazz] Library of Congress Jukebox
To: RedHotJazz@yahoogroups.com
Date: Saturday, November 5, 2011, 10:58 AM



-----Message d'origine-----
From: gerry.paton
Sent: Saturday, November 05, 2011 4:50 PM
To: RedHotJazz@yahoogroups.com
Subject: [RedHotJazz] Library of Congress Jukebox

> Apologies if this has been posted before, but this is an incredible
> resource (thousands of vintage recordings accessible on line):

> http://www.loc.gov/jukebox/

> Try the search function.

Yes, I briefly mentioned it, but I completely forgot to send the address.
What I wonder is if their arrangement with Sony also means a late and
unexpected copyright on previously "public domain" material (the All Star
Trio being the first example I have in mind).

Patrice



------------------------------------

------------------------------------

Yahoo! Groups Links





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

Received opinion is that once a song falls into Public Domain, it does not get
out.
 
What seems to be the situation here is that US national copyright has ceased,
but someone has claimed that state copyright (essentially a common-law concept)
may continue, and that the limited licence has been granted to ensure that there
is no state copyright infringement for streamed audio, but the possibility still
exists for suing for (state) copyright infringement in the case of downloading.
 
Bob


________________________________
From: "jparker777@..." <jparker777@...>
To: RedHotJazz@yahoogroups.com
Sent: Sunday, 6 November 2011 12:32 AM
Subject: Re: [RedHotJazz] Library of Congress Jukebox


 
Concerning the copyrights.... on one of the All Star Trio songs the site states
under "rights & access" tab the following:

"This recording is protected by state copyright laws in the United
States. The Library of Congress has obtained a license from rights
holders to offer it as streamed audio only. Downloading is not
permitted."

So they must have obtained rights to stream it, but not offer it for download.
Hope that helps.

--- On Sat, 11/5/11, Patrice Champarou <patrice.champarou@...> wrote:

From: Patrice Champarou <patrice.champarou@...>
Subject: Re: [RedHotJazz] Library of Congress Jukebox
To: RedHotJazz@yahoogroups.com
Date: Saturday, November 5, 2011, 10:58 AM

-----Message d'origine-----
From: gerry.paton
Sent: Saturday, November 05, 2011 4:50 PM
To: RedHotJazz@yahoogroups.com
Subject: [RedHotJazz] Library of Congress Jukebox

> Apologies if this has been posted before, but this is an incredible
> resource (thousands of vintage recordings accessible on line):

> http://www.loc.gov/jukebox/

> Try the search function.

Yes, I briefly mentioned it, but I completely forgot to send the address.
What I wonder is if their arrangement with Sony also means a late and
unexpected copyright on previously "public domain" material (the All Star
Trio being the first example I have in mind).

Patrice

------------------------------------

------------------------------------

Yahoo! Groups Links

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




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

-----Message d'origine-----
From: Bob Eagle

> What seems to be the situation here is that US national copyright has
> ceased, but
> someone has claimed that state copyright (essentially a common-law
> concept) may
> continue, and that the limited licence has been granted to ensure that
> there is no state
> copyright infringement for streamed audio, but the possibility still
> exists for suing for
> (state) copyright infringement in the case of downloading.

When the grey zone gets thicker, does it make it lighter or darker? ;)

P.

As some of you might know, KB Rau and I recently published an article on Puerto
Rican reed player Carmelo Jarí in the Second Frog Blues and Jazz Annual. In this
we state that Jarí died at the beginning of 1929. Our source was a quote by Walt
Allen from the death roll of AFM local 802 in "Hendersonia" (p.565). From Demas
Dean, we know that Jarí died of appendicitis.

Reide Kaiser, in his liner notes to the excellent new Jelly Roll Morton Rarities
CD on Jazz Oracle states that Jarí, sometimes known as Jejo is "clearly the
unknown clarinettist on most if not all of the later Red Hot Peppers sessions
for Victor". In a footnote, he explicitly mentions the March 5, 19, 20 and June
2 1930 sessions and possibly the October 9, 1930 session. He also states "Jejo's
presence is obvious, as a comparison with the Savoy Bearcats sides for Victor
will immediately reveal.

An important source for this identification is an interview with Bernard Addison
in "Oh, Mister Jelly" in which Addison identifies "Jajo" as the clarinet player
on "Pontchartrain Blues" (P. 520). I won't evaluate Addison's statement at this
point.

I discussed the matter in a couple of e-mails with Reide Kaiser, presenting Walt
Allen's evidence. Reide, who studied history among other things, thought that
the evidence about the death roll was probably mistaken.

His main point is that the man on the Mortons sounds like the clarinettist on
the Bearcats. A brief survey among the members of our Clarence Williams
listening team did not agree.

So, do others on this list hear Jarí on the Mortons, and if not, who could it
be? Addison first wasn't sure but then remembered "a Cuban boy by the name of
Jajo".

Incidentally, Rex Stewart in Jazz Masters of the Thirties edscribes a jam
session with Jarí as one of the listeners, but this is fairly unspecific and
might well have been in the late 1920s.

Michael Rader

Karlsruhe, Germany

My grandfather was James "Toots" Mendello, the cornet player (not the sax
player) who was in Ben Bernie's orchestra for many years and then formed his own
band, The Five Gee Gees aka the Mendello Dance Orchestra.  Glenn Miller and Fud
Livingston were in his band.  There is a grand total of 9 recordings made on the
Banner label (now Arc-Plaza) and 6 of them were recently featured on the Fud
Livingston compilation released in 2009.  On track has been featured on the Best
of Glenn Miller compilation that has been available for years.

I am investigating this group and wanted to see if I couldn't find who the other
members of the group, the Five Gee Gees, and any other information that anyone
might know.  My grandfather died in 1931 at the age of 27 from viral meningitis
and my father was 3 at the time so there wasn't much information passed down.

Regards,

Gina Mendello

Hello Michael

I hear five different clarinets on these problematic 1930 Morton sides. I
exclude obviously the session with Albert Nicholas.

5 March. From Morton himself  'a white Victor house man' -- 'Eddie' -- who
'tried hard but didn't have it in him to play good jazz'. The playing here
certainly fits that description although I wonder if it is technically
proficient enough to be a studio musician, even if the doubling on
bass-clarinet adds weight to this theory. Interestingly, the player has a
sound and phrasing at times reminiscent of Albert. Wilbur de Paris
remembered the name as 'Ernie' and Rust came up with either or both Ernie
Bullock and Eddie Scarpa. By the last sessions on which we hear him, Jari
was a much better player than this.

19 & 20 March.  From 'Mr Jelly Roll' -- 'so eager was he to prove that his
'little black dots' contained the essence of jazz that he brought in Nat
Shilkret's sweet clarinet player for one recording date and, working from
Jelly's arrangements, he played so much hot clarinet that ever since the
fans have been arguing about who this mystery man was'.

That would mean Andy Sannella, who appears on scores of rather anonymous
sessions but an exposed example of whom I have been unable to find. Anybody
? The playing here, obviously from Morton's dots, which echo substantially
the work of Simeon on earlier RHPs, would fit this description. This player
does trill but without bounce. This is the session on which Addison
identified 'Jajo' --   'A Cuban Boy'. The photo linked below raises the
possibility that Sannella could pass for Cuban and maybe Addison, not
expecting a white this context, assumed him so to be.

   http://bixography.com/Sannella/1931AndySannellaHomePiano.jpg

However, Sannella did also double bass clarinet and could therefore be a
possible for the 3 March session although we would then have to try and
rationalise Morton's apparently contradictory views of his ability.

2 June.  Despite Rust placing Scarpa here, I hear only two reeds. There are
few clarinet parts and those are very poor and suggest saxophonists
doubling. Northing here either good enough for Jari. Rust reinstates the
Bros Thomas, who were definitely present, from photographic evidence, on the
sessions with Baquet of nearly a year earlier.This must be open to some
doubt.

9 October. Clarinet here only chalumeau, possibly to disguise his
ineptitude, and so very difficult to identify. But certainly a technically
less than fluent player. The nearest parallel in sound is Bigard.

Conclusion, no Jari and I see no reason to doubt the firm evidence of his
death.


Dave


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

"Firm evidence of his death" is the issue.  Where was his death said to have
taken place?
 
He was counted as a "musico" in Puerto Rico in 1920 and travelled aboard ship
until the late 1920s, but seems not be counted in 1930. 
 
There is no sign of him in an Italian-oriented website dealing with NYC deaths
up to 1948.
 
Bob.
 


________________________________
From: David Brown <johnhaleysims@...>
To: RedHotJazz@yahoogroups.com
Sent: Tuesday, 8 November 2011 4:44 PM
Subject: RE: [RedHotJazz] Carmelo Jari with Jelly Roll Morton?


 
Hello Michael

I hear five different clarinets on these problematic 1930 Morton sides. I
exclude obviously the session with Albert Nicholas.

5 March. From Morton himself 'a white Victor house man' -- 'Eddie' -- who
'tried hard but didn't have it in him to play good jazz'. The playing here
certainly fits that description although I wonder if it is technically
proficient enough to be a studio musician, even if the doubling on
bass-clarinet adds weight to this theory. Interestingly, the player has a
sound and phrasing at times reminiscent of Albert. Wilbur de Paris
remembered the name as 'Ernie' and Rust came up with either or both Ernie
Bullock and Eddie Scarpa. By the last sessions on which we hear him, Jari
was a much better player than this.

19 & 20 March. From 'Mr Jelly Roll' -- 'so eager was he to prove that his
'little black dots' contained the essence of jazz that he brought in Nat
Shilkret's sweet clarinet player for one recording date and, working from
Jelly's arrangements, he played so much hot clarinet that ever since the
fans have been arguing about who this mystery man was'.

That would mean Andy Sannella, who appears on scores of rather anonymous
sessions but an exposed example of whom I have been unable to find. Anybody
? The playing here, obviously from Morton's dots, which echo substantially
the work of Simeon on earlier RHPs, would fit this description. This player
does trill but without bounce. This is the session on which Addison
identified 'Jajo' -- 'A Cuban Boy'. The photo linked below raises the
possibility that Sannella could pass for Cuban and maybe Addison, not
expecting a white this context, assumed him so to be.

http://bixography.com/Sannella/1931AndySannellaHomePiano.jpg

However, Sannella did also double bass clarinet and could therefore be a
possible for the 3 March session although we would then have to try and
rationalise Morton's apparently contradictory views of his ability.

2 June. Despite Rust placing Scarpa here, I hear only two reeds. There are
few clarinet parts and those are very poor and suggest saxophonists
doubling. Northing here either good enough for Jari. Rust reinstates the
Bros Thomas, who were definitely present, from photographic evidence, on the
sessions with Baquet of nearly a year earlier.This must be open to some
doubt.

9 October. Clarinet here only chalumeau, possibly to disguise his
ineptitude, and so very difficult to identify. But certainly a technically
less than fluent player. The nearest parallel in sound is Bigard.

Conclusion, no Jari and I see no reason to doubt the firm evidence of his
death.

Dave

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




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

He was probably a resident of New York at the time, but possibly died while
travelling with the Blackbirds of 1928 revue - his last known job.

Michael Rader


------------------------------------------------------------
Von: "Bob Eagle" <prof_hi_jinx@...>
Gesendet: 08.11.2011 13:22:56
An: "RedHotJazz@yahoogroups.com" <RedHotJazz@yahoogroups.com>
Betreff: Re: [RedHotJazz] Carmelo Jari with Jelly Roll Morton?

 

"Firm evidence of his death" is the issue.  Where was his death said to have
taken place?
 
He was counted as a "musico" in Puerto Rico in 1920 and travelled aboard ship
until the late 1920s, but seems not be counted in 1930. 
 
There is no sign of him in an Italian-oriented website dealing with NYC deaths
up to 1948.
 
Bob.
 

________________________________
From: David Brown
<johnhaleysims@...[mailto:johnhaleysims%40yahoo.co.uk]>
To: RedHotJazz@yahoogroups.com[mailto:RedHotJazz%40yahoogroups.com]
Sent: Tuesday, 8 November 2011 4:44 PM
Subject: RE: [RedHotJazz] Carmelo Jari with Jelly Roll Morton?

 
Hello Michael

I hear five different clarinets on these problematic 1930 Morton sides. I
exclude obviously the session with Albert Nicholas.

5 March. From Morton himself 'a white Victor house man' -- 'Eddie' -- who
'tried hard but didn't have it in him to play good jazz'. The playing here
certainly fits that description although I wonder if it is technically
proficient enough to be a studio musician, even if the doubling on
bass-clarinet adds weight to this theory. Interestingly, the player has a
sound and phrasing at times reminiscent of Albert. Wilbur de Paris
remembered the name as 'Ernie' and Rust came up with either or both Ernie
Bullock and Eddie Scarpa. By the last sessions on which we hear him, Jari
was a much better player than this.

19 & 20 March. From 'Mr Jelly Roll' -- 'so eager was he to prove that his
'little black dots' contained the essence of jazz that he brought in Nat
Shilkret's sweet clarinet player for one recording date and, working from
Jelly's arrangements, he played so much hot clarinet that ever since the
fans have been arguing about who this mystery man was'.

That would mean Andy Sannella, who appears on scores of rather anonymous
sessions but an exposed example of whom I have been unable to find. Anybody
? The playing here, obviously from Morton's dots, which echo substantially
the work of Simeon on earlier RHPs, would fit this description. This player
does trill but without bounce. This is the session on which Addison
identified 'Jajo' -- 'A Cuban Boy'. The photo linked below raises the
possibility that Sannella could pass for Cuban and maybe Addison, not
expecting a white this context, assumed him so to be.

http://bixography.com/Sannella/1931AndySannellaHomePiano.jpg[http://bixography.c\
om/Sannella/1931AndySannellaHomePiano.jpg]

However, Sannella did also double bass clarinet and could therefore be a
possible for the 3 March session although we would then have to try and
rationalise Morton's apparently contradictory views of his ability.

2 June. Despite Rust placing Scarpa here, I hear only two reeds. There are
few clarinet parts and those are very poor and suggest saxophonists
doubling. Northing here either good enough for Jari. Rust reinstates the
Bros Thomas, who were definitely present, from photographic evidence, on the
sessions with Baquet of nearly a year earlier.This must be open to some
doubt.

9 October. Clarinet here only chalumeau, possibly to disguise his
ineptitude, and so very difficult to identify. But certainly a technically
less than fluent player. The nearest parallel in sound is Bigard.

Conclusion, no Jari and I see no reason to doubt the firm evidence of his
death.

Dave

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

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


___________________________________________________________
SMS schreiben mit WEB.DE FreeMail - einfach, schnell und
kostenguenstig. Jetzt gleich testen! http://f.web.de/?mc=021192

Hi all

According to my - too old - Brian Rust Jabbo Smith did not record his tune: Wake
Up Sinners.
Did he as an accomponist in an other band?
If not who did record this song in those days?
Redhotjazz search engine seems not to work on my system.

Any one?

Thanks
Wouter M.

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

Lloyd Smith¹s Gut Bucketeers, Vocalion, Chicago, 30 July 1930, assuming it
is the same tune because the composer crefit to ³Smith² might refer to the
bandleader.

It¹s reissued on Frog DGF7, That¹s My Stuff.


on 10/11/2011 13:50, Wouter Maréchal at wouter.marechal@... wrote:

>
>
>
>
>
>
> Hi all
>
> According to my - too old - Brian Rust Jabbo Smith did not record his tune:
> Wake Up Sinners.
> Did he as an accomponist in an other band?
> If not who did record this song in those days?
> Redhotjazz search engine seems not to work on my system.
>
> Any one?
>
> Thanks
> Wouter M.
>
> [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]

As accurate as ever
Thanks Howard
W.





Lloyd Smith¹s Gut Bucketeers, Vocalion, Chicago, 30 July 1930, assuming it
is the same tune because the composer crefit to ³Smith² might refer to the
bandleader.

It¹s reissued on Frog DGF7, That¹s My Stuff.

on 10/11/2011 13:50, Wouter Maréchal at wouter.marechal@... wrote:

>
>
>
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]

[ADMIN: apologies for the delay again, Yahoo never warned me of this
unexpectedly pending message - Patrice]



--- In RedHotJazz@yahoogroups.com, "Gina" <showbizmanager@...> wrote:
>
> My grandfather was James "Toots" Mendello, the cornet player (not the sax
player) who was in Ben Bernie's orchestra for many years and then formed his own
band, The Five Gee Gees aka the Mendello Dance Orchestra.  Glenn Miller and Fud
Livingston were in his band.  There is a grand total of 9 recordings made on the
Banner label (now Arc-Plaza) and 6 of them were recently featured on the Fud
Livingston compilation released in 2009.  On track has been featured on the Best
of Glenn Miller compilation that has been available for years.
>
> I am investigating this group and wanted to see if I couldn't find who the
other members of the group, the Five Gee Gees, and any other information that
anyone might know.  My grandfather died in 1931 at the age of 27 from viral
meningitis and my father was 3 at the time so there wasn't much information
passed down.
>
> Regards,
>
> Gina Mendello
>
I don't own this book, but I managed to obtain the following info from an
advanced google book search:

Swing, 1920-1985
Walter Bruyninckx
1985

MENDELLO AND HIS FIVE GEE-GEES
Toots Mendello ( cnt ) Glenn Miller ( tb ) Fud Livingston ( cl ) Arthur Schutt
(p) Carl Kress (g) Vic Berton (d) Dick Holmes (= Jack Kaufman) (vcl)

New York, July 3, 1928

8071 Dancing eyes (unissued)
8072 A mad mean mama -
8073 You can have him if you want him -

New York, August 15, 1928

That's all I'm afraid.  Maybe try to track down this book via amazon?  There are
tricks you can do to get more info from these on-line scans.  Very time
consuming though.  If you don't get better replies and can't trace the book, let
me know and I'll see if I can chisel more info using advanced search tricks.

Here is the whole entry as it appears in 93 Years of Recorded Jazz. I assume
the entry is just copied from Rust apart from the reissue details but have
not checked it for accuracy.  The band is not in earlier discographies than
Rust¹s Jazz Records so far as I can discover, so I have no immediate
theories about the source of the personnel  but there are several names here
who have been pretty thoroughly researched. I am sure the personnel does not
come from file data since ³surviving² ARC file cards from this era seemed
pretty clearly to have recreated from collector sources at a later date.

MENDELLO AND HIS FIVE GEE-GEES

Toots Mendello (cnt) Glenn Miller (tb) Fud Livingston (cl) Arthur Schutt (p)
Carl Kress (g) Vic Berton (d) Dick Holmes (= Jack Kaufman)(vcl)

      New York, July 3, 1928

  8071  Dancing eyes               (unissued) ARC

  8O72  A mad mean mama                 -

  8073  You can have him if you want him -



      New York, August 15, 1928

  8148-1 Cool papa (you'd better warm up)(jk vcl) Or 1371, Ban 6206, Must
M-8004

  8149-1 Sunday afternoon (jk vcl)(*)   1387,    7248,     -

  8150-1 High-hattin' Hattie (jk vcl)   1363,    6213,     -

Note : (*) This title on Avid AMBX139 (4 CD set) entitled "The Glenn Miller
Story", rest by other

   Artists and Glenn Miller Orchestra.



      New York, October 16, 1928

  8260-1 Easy (jk vcl)  Ban 7246, Or 1368, Para 20754

  8260-2 Easy (jk vcl)  Broadway 1213

  8261-1 Dixie drag (Blue bottom) Crown 81020, Ban 6214

  8261-2 Dixie drag (Blue bottom)         Jewel 5446, Apex 8877, Or 1396,
Harrison LP-M

  8262-1 Baby's coming back (jk vcl) Ban 6205, Or 1360, Chal 919, Jewel
5405, Dom 31010, Apex 8863, Micro 23368

  8262-2 Baby's coming back (jk vcl) Must M-8004

Note : Entire session on Must M-8004. Must M-8004 gives mx. 8261-1 and
Harrison LP-M gives mx. 8261-2

        but from aural evidence they seem to be the same. All Banner's as
"Mendello's Dance Orchestra".

        Challenge 919, Jewel 5405 & 5406 + all Oriole's as "Dixie Jazz Band".
Broadway 1213 & Paramount

        20754 as "Marks and his Five Oh My's". Crown 81020 as "Pierrot
Syncopators". Microphone 22368 as

        "Jenkins' Black Aces".



on 08/11/2011 10:57, gerry.paton at gerry.paton@... wrote:

>
>
>
>
>
>
>
> [ADMIN: apologies for the delay again, Yahoo never warned me of this
> unexpectedly pending message - Patrice]
>
> --- In RedHotJazz@yahoogroups.com <mailto:RedHotJazz%40yahoogroups.com> ,
> "Gina" <showbizmanager@...> wrote:
>> >
>> > My grandfather was James "Toots" Mendello, the cornet player (not the sax
>> player) who was in Ben Bernie's orchestra for many years and then formed his
>> own band, The Five Gee Gees aka the Mendello Dance Orchestra.  Glenn Miller
>> and Fud Livingston were in his band.  There is a grand total of 9 recordings
>> made on the Banner label (now Arc-Plaza) and 6 of them were recently featured
>> on the Fud Livingston compilation released in 2009.  On track has been
>> featured on the Best of Glenn Miller compilation that has been available for
>> years.
>> >
>> > I am investigating this group and wanted to see if I couldn't find who the
>> other members of the group, the Five Gee Gees, and any other information that
>> anyone might know.  My grandfather died in 1931 at the age of 27 from viral
>> meningitis and my father was 3 at the time so there wasn't much information
>> passed down.
>> >
>> > Regards,
>> >
>> > Gina Mendello
>> >
> I don't own this book, but I managed to obtain the following info from an
> advanced google book search:
>
> Swing, 1920-1985
> Walter Bruyninckx
> 1985
>
> MENDELLO AND HIS FIVE GEE-GEES
> Toots Mendello ( cnt ) Glenn Miller ( tb ) Fud Livingston ( cl ) Arthur Schutt
> (p) Carl Kress (g) Vic Berton (d) Dick Holmes (= Jack Kaufman) (vcl)
>
> New York, July 3, 1928
>
> 8071 Dancing eyes (unissued)
> 8072 A mad mean mama -
> 8073 You can have him if you want him -
>
> New York, August 15, 1928
>
> That's all I'm afraid.  Maybe try to track down this book via amazon?  There
> are tricks you can do to get more info from these on-line scans.  Very time
> consuming though.  If you don't get better replies and can't trace the book,
> let me know and I'll see if I can chisel more info using advanced search
> tricks.
>
>
>
>
>


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]

Came across this great piano recording by a young lady protege - Stephanie
Trick. Perhaps somebody has the name of the tune - possible a Waller piece?


http://www.youtube.com/watch?v=8m62dyaTCmM&feature=related


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

Came across this great piano recording by a young lady protege - Stephanie
Trick. Perhaps somebody has the name of the tune - possibly a Waller
piece?


http://www.youtube.com/watch?v=8m62dyaTCmM&feature=related

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

Hello Mordechai,

another terrific performance by Stephanie Trick! ;-)
The piece is called "Nothin'" and is one of the earliest (known!) cutting
contest pieces of the transitional period between Ragtime and Jazz, written in
1908 and usually performed by Luckey Roberts himself.

http://www.trachtman.org/ragtime/tomroberts.htm

Best Regards,
Markus Leuthel

--- In RedHotJazz@yahoogroups.com, Mordechai Litzman <folke613@...> wrote:
>
> Came across this great piano recording by a young lady protege - Stephanie
> Trick. Perhaps somebody has the name of the tune - possibly a Waller
> piece?
>
>
> http://www.youtube.com/watch?v=8m62dyaTCmM&feature=related
>
> [Non-text portions of this message have been removed]
>

Thanks for the info! Stephanie is just getting better and better!



________________________________
From: Markus Leuthel <wallerism@...>
To: RedHotJazz@yahoogroups.com
Sent: Monday, November 14, 2011 2:50 AM
Subject: [RedHotJazz] Re: Anybody knows the name of the tune?


 
Hello Mordechai,

another terrific performance by Stephanie Trick! ;-)
The piece is called "Nothin'" and is one of the earliest (known!) cutting
contest pieces of the transitional period between Ragtime and Jazz, written in
1908 and usually performed by Luckey Roberts himself.

http://www.trachtman.org/ragtime/tomroberts.htm

Best Regards,
Markus Leuthel

--- In RedHotJazz@yahoogroups.com, Mordechai Litzman <folke613@...> wrote:
>
> Came across this great piano recording by a young lady protege - Stephanie
> Trick. Perhaps somebody has the name of the tune - possibly a Waller
> piece?
>
>
> http://www.youtube.com/watch?v=8m62dyaTCmM&feature=related
>
> [Non-text portions of this message have been removed]
>




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

Brotherly Love - 9/17/26 - Elgar's Creole Orchestra -

I'm wondering about the title - given all the collective improvisation and,
especially the duets and, especially the trumpet duet which seems a tribute to
KOCJB's Mabel's Dream.



Lawson Buford may be the greatest tubaist of the 1920s - pace, Joe Tarto & Bill
Bell.



  Poss pers Emmanuel Perez, Joe Sudler (cnt) Harry Swift (tb) Darnell Howard
(cl,as) prob Omer Simeon (cl,as) Jimmy Dudley (cl,ts) Charles Elgar (vln,ldr)
Logan Thomas (p) Bill Shelby (bj) Lawson Buford (tu) Ben Thigpen (d)
 	 Chicago, September 17, 1926
E-3835,
E-20244 Brotherly love (*) Voc 15478, Br 3404, A356
E-3836,
E-20245 Nightmare              -      -   , BYG (F)529075
E-3837,
E-20246 Nightmare (*)    -
E-3838,
E-20247 When Jennie does that lowdown dance ( vcl)     15477,          A229
E-3840,
E-20249 Cafe capers    -                -
E-3841,
E-20250 Cafe capers    -
Note: (*) Also on Hist HLP16. Entire session also on Arcadia 2011.

First, many thanks to everybody who has offered me input.

I have now further researched this, in conjunction with Laurie Wright's seminal
'Mr Jelly Lord'.

05 March.  The player is most likely Ernie Bullock, a second or third rank black
player. No white session man would be so technically fallible.

19/20 March.  Definitely the same player on both sessions. On aural evidence of
the Pirons, very far from Tio, whose daughter remembered a proposed session with
Morton. Also aurally not Baquet. Also not Andy Sannella, Nat Shilkret's clarinet
soloist, who was actually a fine musician on several instruments but whose sound
and style and technical competence exclude him from any of these sessions. Also,
on evidence of clarinet work with Wooding, not Jerry Blake, whose name appears,
probably because he was of Latin American or Spanish or Caribbean extraction, in
some discographies. Also NOT Jari on evidence of his work Clarence or Savoy
Bearcats. The player here is following Morton's dots, especially 'Ponchatrain',
and we are left with Addison's remembrance of 'a Cuban boy' he mistook for
deceased Jari. There were many Latino, and especially Puerto Rican, musicians
active NYC at this time.

02 June.  unk saxophonists doubling clarinet. Cozy Cole suggested at different
times both Bullock and Ernest Elliot. The playing on the session 05 March,
accepted Bullock, is better than this and Elliot was a clarinet specialist who
played in a style instantly recognisable.

09 Oct.  The only possible candidate for Morton's  'Victor house man' -- 'Eddie'
but the playing here is technically the weakest of all on these sessions. Laurie
Wright suggests this possible for the Tio session. If so, it would show him much
amended and sadly declined .

I confirm again absence of Jari on these sides.

The question which remains, apart from the identities of the clarinettists, is
why Morton apparently concocted two stories of white musicians with
diametrically opposed abilities. The specific mention of Shilkret is, if a lie,
maybe an elaboration too far which could have led to contradiction.

Morton specialists ?

Dave

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

--- In RedHotJazz@yahoogroups.com, Andrew Homzy <andrew.homzy@...> wrote:
> Lawson Buford may be the greatest tubaist of the 1920s - pace, Joe Tarto &
Bill Bell.

You should listen to other great tube soloists:
From Dallas...Octave Gaspard

Unknown tuba from Butte Montana in Ernest Loomis Orch

Steven Abrams
SWan Francisco

Just an update.  I managed to track down a July 1940 metronome and I can confirm
that the photo in question is the one shown in Ralph Berton's book (at a
railroad station).  In short, it's a photo of Bix and Billings and not 'Tram'.

Apologies for reviving this old thread, but I just posted a lengthy article
about Frank Billings on my website.  For those interested, here's the direct
link (PDF format):

http://brushbeat.org/documents/FrankJoshBillings.pdf

Also accessible via the articles section of my site:

http://brushbeat.org/Articles.php

The "train station" photograph reproduced in your excellent article on Josh
Billings was almost certainly taken on October 28th, 1928, when Paul
Whiteman and his Orchestra - including Bix Beiderbecke and Frank Trumbauer
- visited New Orleans during a long tour. Both Philip Evans in "Bix: The
Leon Bix Beiderbecke Story" and Jean Paul Lion in "Bix: The Definitive
Biography of a Jazz Legend" give the date of the photograph as October
28th, 1928, and state that it shows Bix and Trumbauer, not Bix and
Billings. In the earlier biography "Bix: Man And Legend" (by Richard
Sudhalter and Philip Evans) the photo is stated to have been taken during
the Spring of 1929, when the Whiteman Orchestra was en route to Hollywood
to make "The King Of Jazz", but other photographs taken during the same
period show Whiteman to be fatter and older-looking.

Another photograph taken a few minutes earlier (or later) than the one
reproduced in your article shows the Whiteman band's clarinettist Irving
Friedman, Bix and Whiteman himself on the same train platform.
Incidentally, Bix, Whiteman and Trumbauer are wearing identical hats, and
all except Whiteman are wearing similar grey suits. This may signify that
the apparel was bought by the Whiteman office for the band members to wear
during the tour. Whiteman is wearing a white suit.

I am sure that it is Frank Trumbauer not Josh Billings in the photo in your
article, and the evidence available suggests that this is the case. Another
clue is the fact that in the Metronome article the photo of Bix and
Trumbauer was reproduced courtesy of Frank Trumbauer.

Finally, I'd like to extend my gratitude to Albert Haim for his help in
providing important information concerning this photograph.


Nick


On 29 November 2011 22:58, gerry.paton <gerry.paton@...> wrote:

> **
>
>
> Apologies for reviving this old thread, but I just posted a lengthy
> article about Frank Billings on my website. For those interested, here's
> the direct link (PDF format):
>
> http://brushbeat.org/documents/FrankJoshBillings.pdf
>
> Also accessible via the articles section of my site:
>
> http://brushbeat.org/Articles.php
>
>
>


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

Nick, many thanks for your input.  I'm going to have to do some rewriting it
seems!

Personally, Bix's companion doesn't look like 'Tram' to me, but the evidence
seems to be stacked in that direction so I need to clarify things and include
this info - I'll probably leave the photo in but with a serious question mark as
to whether it is actually Billings and then leave the reader to decide.

Again, thank you for your input.


--- In RedHotJazz@yahoogroups.com, Nick Dellow <nick.dellow@...> wrote:
>
> The "train station" photograph reproduced in your excellent article on Josh
> Billings was almost certainly taken on October 28th, 1928, when Paul
> Whiteman and his Orchestra - including Bix Beiderbecke and Frank Trumbauer
> - visited New Orleans during a long tour. Both Philip Evans in "Bix: The
> Leon Bix Beiderbecke Story" and Jean Paul Lion in "Bix: The Definitive
> Biography of a Jazz Legend" give the date of the photograph as October
> 28th, 1928, and state that it shows Bix and Trumbauer, not Bix and
> Billings. In the earlier biography "Bix: Man And Legend" (by Richard
> Sudhalter and Philip Evans) the photo is stated to have been taken during
> the Spring of 1929, when the Whiteman Orchestra was en route to Hollywood
> to make "The King Of Jazz", but other photographs taken during the same
> period show Whiteman to be fatter and older-looking.
>
> Another photograph taken a few minutes earlier (or later) than the one
> reproduced in your article shows the Whiteman band's clarinettist Irving
> Friedman, Bix and Whiteman himself on the same train platform.
> Incidentally, Bix, Whiteman and Trumbauer are wearing identical hats, and
> all except Whiteman are wearing similar grey suits. This may signify that
> the apparel was bought by the Whiteman office for the band members to wear
> during the tour. Whiteman is wearing a white suit.
>
> I am sure that it is Frank Trumbauer not Josh Billings in the photo in your
> article, and the evidence available suggests that this is the case. Another
> clue is the fact that in the Metronome article the photo of Bix and
> Trumbauer was reproduced courtesy of Frank Trumbauer.
>
> Finally, I'd like to extend my gratitude to Albert Haim for his help in
> providing important information concerning this photograph.
>
>
> Nick
>
>
> On 29 November 2011 22:58, gerry.paton <gerry.paton@...> wrote:
>
> > **
> >
> >
> > Apologies for reviving this old thread, but I just posted a lengthy
> > article about Frank Billings on my website. For those interested, here's
> > the direct link (PDF format):
> >
> > http://brushbeat.org/documents/FrankJoshBillings.pdf
> >
> > Also accessible via the articles section of my site:
> >
> > http://brushbeat.org/Articles.php
> >
> >
> >
>
>
> [Non-text portions of this message have been removed]
>

"Another clue is the fact that in the Metronome article the photo of Bix and
Trumbauer was reproduced courtesy of Frank Trumbauer."

There's no mention of this in the Metronome article Nick (I own a copy). 
Perhaps in one of the other publications that you mentioned?  Until I've checked
those references (will do so in the New Year) I'll leave the photo in.

I have rewritten that section, however, so that it's only a possibility that the
photo is of Josh (and not a certainty).  Will change things again if necessary
(once I've checked the other publications - thanks again!)

Sorry Gerry, I didn't give enough related information with respect to the
Metronome photo and the fact that it was originally reproduced in the
magazine courtesy of Frank Trumbauer.

There are actually two editions of Metronome that include this photo
- November 1938 and July 1940. On page 19 of the November 1938 edition,
there is an article entitled "Bix" by Frank Trumbauer. There are two photos
on that page. One is of Bix and Tram, which is the same as that given in
the July 1940 Metronome, reproduced in your article. The caption reads "Bix
and Trumbauer" (no credit specified). The other photo on the page is the
one of Friedman, Bix and Whiteman on the same train platform (as also
referred to in my previous message). The caption reads "Izzy Friedman
(clarinetist), Bix and Whiteman. (Pictures this page courtesy Frank
Trumbauer.)" As the caption specifies that both photos are "courtesy Frank
Trumbauer" we can safely assume that the original source of the Metronome
photo, as reproduced in your article, is Frank Trumbauer.


Nick


On 1 December 2011 23:08, gerry.paton <gerry.paton@...> wrote:

> **
>
>
> "Another clue is the fact that in the Metronome article the photo of Bix
> and Trumbauer was reproduced courtesy of Frank Trumbauer."
>
> There's no mention of this in the Metronome article Nick (I own a copy).
> Perhaps in one of the other publications that you mentioned? Until I've
> checked those references (will do so in the New Year) I'll leave the photo
> in.
>
> I have rewritten that section, however, so that it's only a possibility
> that the photo is of Josh (and not a certainty). Will change things again
> if necessary (once I've checked the other publications - thanks again!)
>
>
>


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

Many thanks for the clarification Nick.  It looks like I should pull the photo
as it's only going to muddy the waters.  I'll rewrite that section when I have a
moment.  I already have a known photo of Josh in the article, plus the info re
Bix still holds up, so not a huge loss.

Thanks again.

Gerry

--- In RedHotJazz@yahoogroups.com, Nick Dellow <nick.dellow@...> wrote:
>
> Sorry Gerry, I didn't give enough related information with respect to the
> Metronome photo and the fact that it was originally reproduced in the
> magazine courtesy of Frank Trumbauer.
>
> There are actually two editions of Metronome that include this photo
> - November 1938 and July 1940. On page 19 of the November 1938 edition,
> there is an article entitled "Bix" by Frank Trumbauer. There are two photos
> on that page. One is of Bix and Tram, which is the same as that given in
> the July 1940 Metronome, reproduced in your article. The caption reads "Bix
> and Trumbauer" (no credit specified). The other photo on the page is the
> one of Friedman, Bix and Whiteman on the same train platform (as also
> referred to in my previous message). The caption reads "Izzy Friedman
> (clarinetist), Bix and Whiteman. (Pictures this page courtesy Frank
> Trumbauer.)" As the caption specifies that both photos are "courtesy Frank
> Trumbauer" we can safely assume that the original source of the Metronome
> photo, as reproduced in your article, is Frank Trumbauer.
>
>
> Nick
>
>
> On 1 December 2011 23:08, gerry.paton <gerry.paton@...> wrote:
>
> > **
> >
> >
> > "Another clue is the fact that in the Metronome article the photo of Bix
> > and Trumbauer was reproduced courtesy of Frank Trumbauer."
> >
> > There's no mention of this in the Metronome article Nick (I own a copy).
> > Perhaps in one of the other publications that you mentioned? Until I've
> > checked those references (will do so in the New Year) I'll leave the photo
> > in.
> >
> > I have rewritten that section, however, so that it's only a possibility
> > that the photo is of Josh (and not a certainty). Will change things again
> > if necessary (once I've checked the other publications - thanks again!)
> >
> >
> >
>
>
> [Non-text portions of this message have been removed]
>