SCM Music Player

venerdì 31 luglio 2009

Villa Contarini

Correva l'anno 1998
Villa Contarini
Piazzola sul Brenta
Front Line
Fabio Bettelle/cornetta
Dario Prisco/trombone
Francesco Ganassin/clarinetto
Renzo De Rossi/sax tenore & baritono
Second Line
Fabio Reguzzoni/pianoforte
Nino Corsaro/chitarra
Giancarlo Tombesi/contrabbasso
Andrea Napolitano/batteria
Alberto Maria Cipolli/leader & jazz singer

The Forest Jazz Band

The forest jazz band was founded in 1977 in the middle of Holland in the neighborhood of Apeldoorn.
The band performed at many jazz clubs in Holland and all over Europe. This performance was recorded at
a concert in the jazz club of The Hague on the 2nd of December 2007. The band will go on tour in
February 2008 to Australia.

Ton Bos (trombone, band leader)
Peter Ivan (cornet and flugelhorn)
Gerrit Brouwer (clarinet)
Harald Haverkorn (piano)
Ton van Bergeijk (guitar)
Ludo Deckers (bas)
Peter den Boer (drums)

Ton Bos Productions

sabato 25 luglio 2009

Noale In Fiore

1 domenica di aprile  1997
Noale in Fiore
Front Line
Fabio Bettelle/cornetta
Antonio Ferro/trombone
Francesco Ganassin/clarinetto
Renzo De Rossi/Sax tenore & Baritono
Second Line
Enrico Maniero/pianoforte
Nino Corsaro/chitarra
Giancarlo Tombesi/contrabbasso
Andrea Napolitano/batteria
Alberto Maria Cipolli/leader & jazz singer

Hotel La Rosa Alpina-San Cassiano

San Cassiano
Hotel La Rosa Alpina
31 dicembre 1997

La famiglia Pizzinini
Desidero ringraziare la Famiglia Pizzinini della loro squisita cortesia ; in modo particolare Hugo, che ci ha accolti a braccia aperte

Terminato il veglione di Capodanno, i musicisti della jazz band si rilassano nuotando spensierati e felici nelle acque tiepide della piscina.
Front Line
Renzo De Rossi/sax Tenore & Baritono
Fabio Bettelle/cornetta
Francesco Ganassin/clarinetto
Second Line
Fabio Reguzzoni/pianoforte
Nino Corsaro/chutarra
Giancarlo Tombesi/contrabbasso
Andrea Napolitano/batteria
Alberto Maria Cipolli/leader & jazz singer

venerdì 24 luglio 2009

Bourbon Street Jazz Club

Bourbon Street Jazz Club

Correva l'anno 1997...credo....
L'obiettivo della macchina fotografica fissa per l'eternità l'immagine della Jazz Band durante il Check Sound che precede il concerto Jazz.
Questi i componenti

Front Line
Fabio Bettelle/cornetta
Francesco Ganassin/clarinetto
Dario Prisco/trombone
Renzo De Rossi/sax tenore & Baritono
Second Line
Fabio Reguzzoni/pianoforte
Nino Corsaro/chitarra
Giancarlo Tombesi/contrabbasso
Andrea Napolitano/batteria
Alberto Maria Cipolli/leader & jazz singer

martedì 21 luglio 2009

Benny Waters & Hot Antic Jazz Band

Some of these days – Benny Waters 1982
Benny Waters & Hot Antic JB 1982.
In the summer of 1982 The Hot Antic Jazz Band played a concert in the town of Uzes just west of Avignon in the southern part of France.
It was just fantastic that they had been able to contract famous alto player Benny Waters to join them, even more fantastic that there was a cameraman with camcorder in the audience.
Michel Bastide, trumpetplayer and leader send me a set of films from this event and we like to share this with you. Benny Waters had a long career, he was born in 1902 in Baltimore, Maryland. He attended the New England conservatory of music where he gave lessons to Harry Carney. He worked with King Oliver, Fletcher Henderson and many others. In 1952 he moved to Paris , from where he performed until his 95th birthday.
John McDonough wrote in Down Beat, "Waters plays it straight down the middle with a sympathetic but contemporary rhythm section, and his strong, gritty-on-demand sound in all registers neither asks nor gives any quarter. His intonation and control are clear and hard as a rock as he twists notes with a raw lyricism. It's that sound more than his ideas that regularly carries his solos to a boil on track after track."
In this tune Hot Antic Jazz Band consists of Michel Bastide on trombone, Jean Francois Bonnel trumpet, Gilles Berrut piano, Jean-Pierre Dubois banjo and Christian Lafevre tuba.


sabato 18 luglio 2009

Willie Ashman Original Jazzband

Band from Holland:
Bob Wulffers (tp, voc), John Boeree (tb), Wim Vreeburg (cl, ts), Rob ten Seldam (bj, g, voc), Geert van Hoften (db), Louis van der Heiden (dr, wb).
Filmed on 06.03.2009 at Jazzclub Mülheim (Germany).
Look at

giovedì 16 luglio 2009

Exactly Like You - Jazz Vipers

New Orleans Jazz Vipers, live at the AAO National Conference, New Orleans, November 2007

giovedì 2 luglio 2009

Alajmo Resort- La Montecchia Golf Club

9 marzo 1999
 La Montecchia  Golf Club  (Padova)
Alajmo Resort
Rassegna : "invito a cena con il Jazz"

Moreno Castagna/sax soprano
Renzo De Rossi/sax baritono e tenore
Francesco Ganassin/clarinetto
Fabio Reguzzoni/pianoforte
Nino Corsaro/chitarra
Beppe Pilotto/contrabbasso
Roberto Beggio/batteria
Arrangiatore e conduttore -Alberto Maria Cipolli 

Settembre 1999

Golf Club La Montecchia

Alajmo Resort

Marco Zambon/sax soprano
Renzo De Rossi/Sax baritono e tenore
Moreno Castagna/clarinetto
Fabio Reguzzoni/pianoforte
Nino Corsaro/chitarra
Beppe Pilotto/contrabbasso
Roberto Beggio/batteria
Arrangiatore e conduttore - Alberto Maria Cipolli 

lunedì 8 giugno 2009

Every Tub Scaniazz

Paul Bocciolone Strandberg (co,voc) Arne Höjberg (tb) Jan Nilsson (cl/ ) Björn Ekman (bjo) Anette Strauss(p) Stefan Kärfve(tuba)Hans Bendroth(wb) Och det var i Dec.1981 SCANIAZZ, was a legendary band from the south of Sweden performing worldwide within the original jazz idiom in the 70's-80's. Anyone interested in their recordings and music can get in touch with their former leader Paul Bocciolone Strandberg through
Propongo a tutti gli amici appassionati di jazz classico il video Clip di questa favolosa Jazz Band svedese:la ScanJazz

mercoledì 22 aprile 2009

The Sheik of Araby - Louisiana Jazz Band

Extrait d'un concert donné par le Louisiana Jazz Band, le 13 octobre 2006, au théâtre Jacques-Coeur de Bourges (France), en faveur d'Amnesty International. (images François Galland)

Ory's Creole Trombone - Turk Murphy/Climax JB 1979

Ory's Creole Trombone - Turk Murphy/Climax JB 1979

Climax Jazz Band in a TV performance in 1979 featuring trombonist Turk Murphy.
Climax Jazz Band with Bob Erwig cnt, Jim Buchmann clt, Geoff Holmes tbne, Jack Vincken bjo, Chris Daniels bass and Max Littlejohns drums

I started playing trumpet in Holland in 1951 and I became interested in jazz. 'Ory's Creole trombone' was a tune (first recorded in 1927 by Louis Armstrong's Hot Five with composer Kid Ory on trombone) which always intrigued me.
Trumpetplayer Bunk Johnson was also an early influence. In the mid fifties I came across a recording of Bunk with members of the west coast revival band of Lu Watters from San Francisco who recorded in 1944 Ory's Creole Trombone as well.
I still have the LP on the Good Time Jazz label (L-12024) in my collection.The trombonist was Turk Murphy.

Many years later after having moved to Canada I joined Toronto's Climax Jazz Band in 1971 and our band did well. When we were invited to play several TV shows hosted by famous vibraphone player Peter Appleyard it was of course, especially for me, a great honour to have, some 25 years after I heard him for the first time, Turk Murphy being a guest on one of Peter's shows with our band. To my amazement Turk suggested to try Ory's Creole Trombone. Fortunately we had the tune in our repertoire and even Peter, on the vibes, was familiar with the tune. We tried it once and what you see and hear is the first take with all the excitement of playing together for the first time and with the feeling that it works. Turk took the tempo somewhat faster then we were used to, but.... what a treat it was.
After it was all done we had lunch with Turk. It was a great day.Turk Murphy, a superb jazz trombonist and a wonderful person.

( I just got an email from the leader/trombonist of Peruna Jazzmen in Denmark:

Hej Bob
Ory´s Creole trombone with Turk Murphy
You write it was first recorded in 1926 with Armstrongs Hot Five.
I think you know, but forgot it was recorded, june 1922.
Spike´s Seven Pods Of Pebber / Ory´s Sunshine Orchestra.
All The Best
Arne Hojberg

I did not know and thank you for making me aware.Now I have to search and try to find a copy of that first recording which, i found out, even has Mutt Carey on cornet)

martedì 21 aprile 2009

Storia del Jazz-origini

Storia del jazz. Gli schiavi neri, deportati dall'Africa dal 1500 al 1865, si incontrarono con gli europei giunti a colonizzare le Americhe, e dall'incrocio di forze sotterranee di un popolo considerato istintivo (gli africani) e dall'idealismo occidentale nato dalla Grecia classica e dal mondo germanico fiorì una nuova forma culturale basata sulla creatività istintività conviviale e sull'improvvisazione; vocale e strumentale. Nel sud degli Stati Uniti gli schiavi neri si mantennero legati alla loro musica e innanzitutto al canto; gli strumenti musicali portati dall'Africa, in particolare i tamburi, furono infatti confiscati in quanto i bianchi credevano che fossero usati per comunicare e per incitarsi alla ribellione. Le canzoni, work songs, le plantation songs, avevano vita per vincere la condizione di inferiorità e assoggettamento al quale erano costretti e per non dimenticare la propria identità delle quale i black codes (codici per i neri) li avevano privati. La tradizione musicale africana era collegata ad avvenimenti della vita quotidiana agricola e pastorale e manifestazioni guerresche. La tradizione europea fornì l'impulso per attingere da altre forme musicali: la musica classica, i canti religiosi, le canzoni folcloristiche, le musiche da ballo, le marce, le opere liriche, e infine gli strumenti musicali dal pianoforte agli strumenti a fiato. Tra le musiche sacre mutuate, un esempio è Oh Tannenbaüm, successivamente adattato a marcia e suonato in stile jazz Infine il jazz definito New Orleans è basato sull'improvvisazione collettiva normalmente a tre voci; tromba, clarinetto e trombone. I temi provengono dal ragtime, dal blues, dalle marce, dalle canzoni popolari dell'epoca. Il termine dixieland spesso indica opere interpretate da musicisti bianchi come, per esempio, l'Original Dixieland band. C'erano delle piccole orchestre che si potevano incontrare nelle strade di New Orleans; i cosiddetti street parade. Erano delle parate musicali che venivano utilizzate per le feste pubbliche come il Mardì Gras, per le manifestazioni, e a scopo pubblicitario: l'arrivo o la partenza di un battello, campagne elettorali, o l'apertura di un nuovo locale. Si accompagnava con ritmi lenti un funerale, per poi lanciarsi in ritmi scatenati al ritorno dalla sepoltura. Durante la Prima Guerra Mondiale, a seguito della chiusura dei bordelli di New dalla parte del Ministro della Marina Militare, i musicisti, trovandosi senza lavoro, cercarono fortuna al Nord, risalendo il Mississippi. A Chicago, King Oliver, Louis Armstrong e altri fecero conoscere questa musica ad un vasto pubblico, ed alcuni giovani, come il cornettista Bix Beiderbecke ne furono attratti. Le prime importanti incisioni fatte da musicisti neri risalgono al 1923, dalla King Oliver's Creole Jazz Band, gruppo che incluse alcuni dei più importanti musicisti di New Orleans a Chicago. Duranti gli Anni '20 il jazz conobbe negli USA una grande popolarità. I centri più importanti per le incisioni discografiche erano a Chicago e a New York, ma in tutto il resto dell'America e in Europa furono di gran voga i balli associati a questa musica. Fu allora che nacque THE JAZZ AGE. Storia del jazz. L'etimologia della parola JAZZ, e' sconosciuta, ma il grande Dizzy Gillespie diceva che "jasi", in un dialetto africano, significa Vivere ad un ritmo accelerato. Nella realta' esistono molte versioni sulle origini di questa parola, forse deriva da "chase" (caccia), o dall'inglese "jasm" (energia) o addirittura ancora da "jazz-belles", con il quele venivano chiamate le prostitute di New Orleans. I musicisti venivano chiamati infatti "jasbo" e "jass", parola sconcia con la quale (nelle case di tolleranza dell'epoca) si incitavano i clienti a ballare. Il jazz è un linguaggio musicale estremamente emozionale, nato dall'improvvisazione, ma che necessita allo stesso tempo di notevole tecnica; basato sulla varietà ritmica e del fraseggio, su giri armonica e splendide melodie. Pur essendo principalmente musica strumentale, il jazz ha espresso nel tempo, a cominciare da quella di Bessie Smith, voci straordinarie per intensità, calore interpretativo e tecnica. Il jazz nasce e prende forma con l'affermarsi nella società americana della minoranza nera, ma discende da quando gli schiavi neri d'America si erano inventati la loro musica: memorie di ricordi africani trapiantate sulle sonorità popolari dei bianchi e contaminate dai canti religiosi cristiani. Dapprima il canto accompagna il lavoro (il blues) quindi diviene preghiera (spiritual e gospel). Ma possiamo dire che l'inizio si puo' identificare in New Orleans. La città di New Orleans, sul finire dell'800, era un insieme di popoli e razze, essendo stata dominata, nel tempo da spagnoli, francesi, inglesi e anche italiani. Qui e' nato il jazz, anche se in molte zone degli Stati Uniti, contemporaneamente, il particolare modo di vivere la musica da parte dei neri era presente sin da epoche remote. New Orleans costituì, però, il baricentro delle tendenze e degli stilemi originari del jazz. I worksongs che i neri cantavano nelle campagne durante il lavoro, gli spirituals nelle funzioni religiose, i blues, si riversarono tutte assieme nelle originarie e primitive forme del jazz. Per questo New Orleans rappresentò il centro di riferimento nel quale le varie tendenze della musica nera trovarono il loro sbocco naturale. Fino agli anni trenta i principali musicisti di jazz provenivano da New Orleans e la maggior parte di loro aveva iniziato lì la sua carriera musicale. Una delle caratteristiche sicuramente più interessanti di New Orleans è che nella città convivevano due comunità nere profondamente diverse tra loro, ognuna con il proprio patrimonio etnico e culturale: i creoli e quelli che possiamo definire più genericamente i neri americani. Mentre i neri americani costituivano la parte più povera del proletariato di New Orleans, molti creoli erano ben integrati nella realtà economico-sociale della città e avevano una estrazione piccolo borghese. Lo stile di New Orleans nacque dall'incontro tra questi diversi gruppi: nello Storyville, "", il quartiere riservato alle case di tolleranza, che con i suoi innumerevoli locali costituiva un incredibile punto di ritrovo e la rampa di lancio per i molti musicisti e cantanti; nelle strade della città, dove si esibivano le "bands" dei cortei funebri che accompagnavano i defunti al cimitero suonando musiche di circostanza. Quando tornavano in città suonando musiche colorite e allegre; durante i festeggiamenti del carnevale. la caratteristica principale dello stile di New Orleans e' l' esecuzione di linee melodiche improvvisate in collettivo su semplici e tradizionali progressioni armoniche, con la presenza centrale di tre strumenti tromba, trombone e clarinetto accompagnati da una sezione ritmica, che si inseguono alternarnamdosi e innestandosi tra loro. Tappa fondamentale quanto consequenziale a New Orleans fu Chicago. Infatti, dopo la chiusura dello Storyville di New Orleans (voluta dalle autorità militari statunitensi all'entrata in guerra degli U.S.A. per non turbare i militari di leva nella città), i musicisti rimasero senza lavoro, rifugiandosi a Chicago dove trovarono ospitalità nei numerosi club, music-hall e locali, nell'ambito della più generale migrazione delle popolazioni nere verso le terre del Nord.Durante gli anni '20, l'originario stile di New Orleans trovò la sua vera fioritura in Chicago, e qui si affermò definitivamente. Nella southside di Chicago, il quartiere nero, si sviluppò una fervente attività musicale e jazzistica. Qui vennero incisi i primi capolavori del jazz da parte delle bands e qui si affermò definitivamente. Nella southside di Chicago, il quartiere nero, si sviluppò una fervente attività musicale e jazzistica. Qui vennero incisi i primi capolavori del jazz da parte delle bands guidate da King Oliver, poi da Louis Armstrong ( ), Johnny Dodds, Jelly Roll Morton, Jimmie Noone . Contemporaneamente a questa affermazione dello stile di New Orleans a Chicago, un gruppo di musicisti bianchi, dilettanti e professionisti maturò una propria interiorizzazione del jazz suonato dai neri, dando vita ad uno stile proprio, lo stile di Chicago. gli elementi della cultura occidentale e bianca contaminarono il jazz nero. guidate da King Oliver,poi da Louis Armstrong, Johnny Dodds, Jelly Roll Morton, Jimmie Noone .partendo dal modello di improvvisazione collettiva dello stile New Orleans, a poco a poco, la sensibilità bianca derivata dai modelli musicali europei introdusse soluzioni armoniche più raffinate e sempre crescendo, la valorizzazione dell'elemento solistico che all'apice dello stile di Chicago, si tradurrà nella preponderanza dell'improvvisazione del singolo e nella dominazione del sassofono, nonché nella nascita delle grosse formazioni (Big Bands ), annunciando il jazz degli anni trenta e lo stile Swing. Chicago fu, dunque, un centro che segnò profondamente l'evoluzione del jazz e rimase costantemente un importante punto di riferimento per i musicisti, tanto è vero che, negli anni '60, diverrà uno dei più importanti luoghi in cui si solidificheranno le tendenze d'avanguardia musicalmente e politicamente più radicali della cultura nero-americana, delle quali l'Art Ensemble of Chicago Fonte :

sabato 11 aprile 2009

Tin Roof Blues - Jack Teagarden 1950

Tin Roof Blues –Jack Teagarden 1950
An All Star Jazz session in the early fifties featuring trombonist Jack Teagarden
Other band members in this piece of jazz history are Jack’s brother Charlie on trumpet, Eddie Miller on tenor, Matty Mattlock clarinet, Stan Wrightsman piano, Phil Stephens bass and Nick Fatool drums. Probably recorded in California

Jack Teagarden Basin Street Blues

Basin Street Blues Teagarden Jack 1958

Jack Teagarden sings and plays Basin Street Blues. Recorded at a 1958 Timex sponsored TV show Jack's band consists of the following great jazz musicians. Ruby Braff trumpet, Toni Parenti clarinet, Marty Napoleon piano, Chubby Jackson bass and Cozy Cole drums.

Tin Roof Blues - The Harlem Ramblers, Humphrey Lyttelton

TV show 1978, «20 Jahre Harlem Ramblers» with guest star Humphrey Lyttelton on Trumpet
The Harlem Ramblers Dixieland Jazzband from Zurich, Switzerland was founded in 1955, and, after various changes, settled down in 1969 to a well knit group. The band members were Guenter Sellenath (Tp), Tabis Bachmann (Cl), Thedy Schuetz (Tb), Chris Mitchell (Bj), John Treichler (B), and Gerry Ceccaroni (Dr).

The band is still going strong with the hard core of Guenter, Thedy, Chris, and Gerry. The newest members are Hans Schlaepfer on Bass since 2002, and since 2005, Wastl Berger, Clarinet and Saxophone. For more information, please visit the Homepage.

venerdì 10 aprile 2009

Edward Hopper

Edward Hopper painted Night Hawks as an oil on canvas in 1942. It was purchased with the help of the Friends of American Art Collection for the Art Institute of Chicago, Illinois.

The museum writes: "Hopper explained that Nighthawks was inspired by 'a restaurant on New York's Greenwich Avenue where two streets meet.' The diner has since been destroyed, but the image, with its carefully constructed composition and lack of narrative, has a timeless quality that transcends any particular location. The painting reveals three customers lost in their own private thoughts. The anonymous and uncommunicative night owls seem as remote from the viewer as they are from one another. Although Hopper denied that he purposely infused any of his paintings with symbols of isolation and emptiness, he acknowledged of Nighthawks that, 'unconsciously, probably, I was painting the loneliness of a large city.'

"In selecting his vantage point, Hopper eliminated any reference to the diner's entrance. The viewer, drawn to the light shining from the interior, is shut out from the scene by a seamless wedge of glass, a characteristic of Art Deco design. Hopper's understanding of the expressive possibilities of light playing upon the simplified shapes gives the painting its beauty. Fluorescent lights had just come into use in the early 1940s, and the eerie glow flooding the dark street corner may be attributed to this innovation. The moody contrast of light against dark and the air of menace inside has been linked to film noir, a movement in American cinema that featured stories of urban crime and moral corruption."

martedì 7 aprile 2009

Eddie Condon Band 1938

Eddie Condon and his dixieland band, including Bobby Hackett (trumpet) and Brad Gowans (valve trombone) with "Jazz Me Blues".

lunedì 6 aprile 2009

Marc Chagall:un maestro del 900

Celebre artista russo (Vitebsk 1887 — St. Paul de Vence 1985), Marc Chagall esordì nel 1908. Nel 1911 arrivò a Parigi, dove — scrive Claudia Beltramo Ceppi Zevi - diventò amico di Apollinaire, di Cendrars, di Delaunay, conobbe il mondo delle avanguardie ed entrò in contatto con il Cubismo. Successivamente, rientrando in Russia (dove inizialmente si lascerà affascinare dalla Rivoluzione), sfiorerà il Suprematismo e l’Astrattismo.

Nel 1924 il dissenso politico lo indusse a trasferirsi in Francia. A Parigi, un ritorno che «segna una vera e propria rottura stilistica nel modo di dipingere di Chagall», parteciperà dell’atmosfera del Surrealismo da cui poi si staccherà definitivamente. La tragedia della Seconda Guerra mondiale spingerà poi l’ebreo Chagall al lungo esilio negli Stati Uniti, prima del definitivo rientro in Francia.

«Nelle sue opere rimarrà però sempre un’ambivalenza fondamentale, tra l’esigenza di rappresentare il proprio mondo originario russo ed ebraico e la necessità di dipingere in modo moderno», afferma ancora Claudia Beltramo Ceppi Zevi. Che aggiunge: in questa mostra «cercheremo di dimostrare come proprio il tentativo di risolvere questa ambiguità rimanendo sempre nell’ambito tradizionale del “fare pittura”, eppure con il massimo dell’apertura al mondo esterno, costituisca il segno originalissimo di Chagall e il suo contributo linguistico e formale all’arte del Novecento».

Kustbandet-Someday Sweetheart-Benny Carter in Stockholm, Sweden

Someday Sweetheart Carter 1980

Benny Carter in Stockholm, Sweden.
Kustbandet is a big band from the Stockholm area of Sweden. They play in the style of the late twenties and the thirties and do it better than any band I've ever heard. Initially under the leadership of reedplayer Kenneth Arnstrom they started in 1965 or 66 as the Detta Kust Band. In 1969 the name was changed to Kustbandet and today, the band, with many of the same musicians from the seventies, is still playing festivals and concerts all over the world.
These clips are from a midnight concert in the summer of 1980 and the band has Carter as a special guest.
Benny, (1907-2003) played in the late twenties with Don Redman's McKinney's Cottonpickers and started his own band in 1932.
This tune is an piece recorded by King Oliver's Dixie Syncopators in 1926 and must have had a big impact on the then 19 year old Benny Carter.
Kustbandet more or less follows the original Oliver arrangement and Carter is all smiles while taking it in, then the musicians invite him to solo and off it goes, Benny must feel some 50 years younger.
Isn't it beautiful
il miracolo della musica e del jazz in particolare ! Bianchi,neri,gialli,rossi,verdi etc...Tutti avvertono dentro la loro anima di appartenere ad un'unica , grande,immortale famiglia :
la famiglia dell'uomo
VIVA la musica1Viva il jazz!

Melancholy Blues - Portena Jazz Band 1972

Melancholy Blues - Portena Jazz Band 1972

Tito Martino and leader Martin Muller announce the band’s playing of the Armstrong classic ‘Melancholy Blues’. Portena plays it a somewhat smaller setting with only one cornet and two saxes in the frontline. An excellent soprano sax solo by Ignacio Mazzanti. I particalarily like the ending in the manner of Louis’ recording but Portena stretches this to good effect.

Youtube is such a wonderful medium for international communucation. I like to mention that without another Brazilan cornet player’s input I would not have been able to get in touch with Tito Martino or Martin Muller, which whom I had some correspondence before he died last July of 2007.
I like to recognize a youtube friend also from Brazil by the name of Joao Massali. Joao is a fine conet player, an educator, he trains young musicians and makes them aware of the beauty of early jazz.
See him play Jelly Roll Morton’s Tom Cat Blues with pianist Alexandre Hage. A fine display of the early jazz approach ( check user alehage)

Mezzrow - Lyttleton 1986

Humphrey Lyttleton and his Band in 1986.
Humph is one of the most unique jazz musicians from the UK.
The tune "Mezzrow" is a 32 bar tune with a wonderful chord pattern to improvise on. One reason or another clarinettist Mezz Mezzrow recorded a tune with these chord patterns several times with his good friend Sidney Bechet
It has always been one of my favourite tunes and wherever we played I tried to fit it into the program. I learned it from one of Humph's recordings.Obviously it was one of Humph's favourites as well.
Here he has set an interesting head arrangement and eventually he changes to clarinet and so do Bruce Turner and Johnny Barnes and the tune ends up with a three clarinet ensemble.This tune is also known as Revolutionary Blues

A good man is hard to find.-Mike Daniels w/- Doreen Beatty

This photograph, and the recording of 'A Good Man', dates from the late 1950's. The recording was made in 'The Dancing Slipper', Nottingham, England on the 13th. June 1959 and features Mike Daniels and his Delta Jazzmen. The line-up comprises (L to R in the photograph) Des Bacon:pno, Arthur Fryatt:dms, John Barnes:clt, Doreen Beatty:voc, Mike Daniels:tpt, Gordon Blundy:tmb, Jeff Walker:bjo, and Don Smith:bss.

Mike Daniels' Delta Jazzmen -Aunt Hagar's Blues

This band was one of the significant contributors to the New Orleans 'revival' in the U.K. between 1955 and 1965. (And they are still playing). Aunt Hagar's Blues was recorded in around 1957 when the line-up was Mike Daniels tpt. Gordon Blundy tmb. John Barnes clt. Des Bacon pno. Geoff Over bnj. Don Smith bs. and Arthur Fryatt dms.
The photograph must have been taken soon after Don Smith and Arthur Fryatt joined the band in 1956 from the 'Pheonix Jazz Band' -as Arthur still has its logo on his bass drum!
More about the Pheonix band will follow when I have completed some more fact finding

sabato 4 aprile 2009

Fidgety Feet - LINO PATRUNO

Fidgety Feet
LINO PATRUNO & his Bix Sound
Giorgio Alberti (cornet)
Carlo Bagnoli (baritone saxophone)
Lino Patruno (guitar)
Marco Ratti (bass)
September 1982

Lino Patruno & his Hot Five:Muskrat Ramble

Muskrat Ramble
LINO PATRUNO & his Hot Five
Oscar Klein (cornet)
Marcello Rosa (trombone)
Bruno Longhi (clarinet)
Ettore Zeppegno (piano)
Lino Patruno (banjo)
September 1984


Edward "Kid" Ory (December 25, 1886 -- January 23, 1973) was a jazz trombonist and bandleader. He was born in Woodland Plantation near LaPlace, Louisiana.

Ory started playing music with home-made instruments in his childhood, and by his teens was leading a well regarded band in South-East Louisiana. He kept La Place as his base of operations due to family obligations until his 21st birthday, when he moved his band to New Orleans, Louisiana.

He had one of the best-known bands in New Orleans in the 1910s, hiring many of the greats, including cornetists Joe "King" Oliver, Mutt Carey, and Louis Armstrong; and clarinetists Johnny Dodds and Jimmie Noone.

In 1919 he moved to Los Angeles, one of a number of New Orleans musicians to do so at about that time, and he recorded there in 1922 with a band including Mutt Carey, clarinetist (also a pianist) Dink Johnson, and string bassist Ed Garland. (Garland and Carey were longtime associates who were still with Ory during his 1940s comeback.) In 1925, Ory moved to Chicago, where he was very active, working and recording with Louis Armstrong, Jelly Roll Morton, "King" Oliver, Johnny Dodds, and many others.

LINO PATRUNO JAZZ SHOW "Baby Won't You Please Come Home"

"Baby Won't You Please Come Home"
Michael Supnick (cornet, vocals), Alberto Collatina (trombone), Gianni Sanjust (clarinet), Adriano Urso (piano), Lino Patruno (guitar), Guido Giacomini (bass), Gianluca Perasole (drums).
Roma, Auditorium Parco della Musica, 2004

Squeeze Me - Oscar Klein and Lino Patruno

Oscar Klein (trumpet)
Lino Patruno (guitar)

Oscar Klein (born January 5, 1930 in Graz, Austria; died December 12, 2006 in Baden-Württemberg) was an Austrian born jazz trumpeter who also played clarinet, harmonica, and swing guitar. His family fled the Nazis when he was young. He became known for "older jazz" like swing and Dixieland. He played with Lionel Hampton, Joe Zawinul, and others. In 1996 he was honored by then President Thomas Klestil.

Fats Waller (born Thomas Wright Waller on May 21, 1904, died December 15, 1943) was an American jazz pianist, organist, composer and comedic entertainer.

A skilled pianist -- widely recognized as a master of stride piano -- Waller was one of the most popular performers of his era, finding critical and commercial success in his homeland and in Europe. Waller was also a prolific songwriter, with many songs he wrote or co-wrote still known to modern audiences, such as "Honeysuckle Rose", "Ain't Misbehavin'" and "Squeeze Me". Fellow pianist and composer Oscar Levant dubbed Waller "the black Horowitz" in a favorable comparison to Russian pianist Vladimir Horowitz[1] A prolific composer of novelty swing tunes in the 1920s and 30s, Waller sold many of his compositions for relatively small sums, and as they became hits, other songwriters had already claimed them as their own. Thus many standards are alternatively, controversially attributed to Waller.


"Jazz Me Blues"
Kenny Davern (clarinet), Oscar Klein (cornet), Lino Patruno (guitar), Roy Crimmins (trombone), Isla Eckinger (bass), Gregor Beck (drums). Oct. 11/12, 1983

giovedì 2 aprile 2009

At the Jazz Band Ball - KENNY DAVERN, O, KLEIN, L. PATRUNO

"At the Jazz Band Ball"
Kenny Davern (clarinet), Oscar Klein (cornet), Lino Patruno (guitar), Roy Crimmins (trombone), Isla Eckinger (bass), Gregor Beck (drums).
October 11 and 12, 1983
Original Dixieland Jass Band (ODJB) was a New Orleans band that made the first jazz recording in 1917. The group made the first recordings of many jazz standards, probably the most famous being "Tiger Rag." In late 1917 it changed the name's spelling to "Jazz."

The band consisted of five white musicians who had previously played in the Papa Jack Laine bands, a diverse and racially integrated collection of musicians who played for parades, dances, and advertising in New Orleans.

The O.D.J.B. were billed as the "Creators of Jazz." Trumpeter Nick LaRocca convinced himself (Brunn, 1960), in his old age, that this was literally true, but there is no evidence from the interviews and writings of the other O.D.J.B. members that the rest of the band ever considered it anything more than a snappy advertising slogan.

Someday Sweetheart - Hodes Art 1968(Eddie Condon)

Someday Sweetheart Hodes Art 1968
With a piano introduction by session leader Art Hodes this groups jams through "Someday Sweetheart". We see and hear Smokey Stover on trumpet, Toni Parenti on clarinet and J.C. Higginbotham on trombone. Eddie Condon is this performance as well. They must have found a banjo for him. Usually he is not heard playing the 4 string guitar. He is fairly quiet on the banjo as well. Bassist Rails Wilson and I don't know the drummer.
ottimo l'assolo del trombettista Smokey Stover

Tyree Glenn : Jeepers Creepers

Jeepers Creepers Glenn Tyree 1958

Tyree Glenn, who had the unusual double of trombone and vibes, was an important asset at various times to both Duke Ellington and Louis Armstrong. Glenn became a longtime member of the Cab Calloway Orchestra (1939-1946). Glenn visited Europe with Don Redman's big band (1946). During his association with Ellington (1947-1951), he was an effective wah-wah trombonist in the Tricky Sam Nanton tradition and Ellington's only vibraphonist, being well-featured on the "Liberian Suite." During the 1950s, Glenn worked in the studios, led his quartet at the Embers, and freelanced in swing and Dixieland settings. Other than some European dates in 1947, Glenn's only extensive opportunity to record was for Roulette (1957-1958 and 1961-1962). During 1965-1968, he toured the world with Louis Armstrong's All-Stars. After leaving Armstrong, Tyree Glenn led his own group during his last few years.

mercoledì 1 aprile 2009

Rose Room-Albert Nicholas

Rose Room Nicholas Albert 1958

Albert Nicholas at the Cannes Jazz Festival, France July 1958
Nicholas clarinet, Joe Turner piano, Arvell Shaw bass and J.C.Heard drums
Better known for his clarinet playing, but did also play saxophones, Albert Nicholas was born in New Orleans on May 27th, 1900, and died in Basle, Switzerland on September 3rd, 1973.
One of the mellowest of New Orleans clarinettists, he played with all the early stars in his home town, served for three years in the U.S. Navy, where his comrades included Zutty Singleton and Charles Bolden. Was back in New Orleans in 1923 and lead his own band which included Luis Russell and Barney Bigard. By early 1925 all three were working with King Oliver's Dixie Syncopaters, but Nicholas eventually left to go to the Far East with Jack Benny Carter's band. Rejoining Russell in 1928, he stayed with the band for ten years then left to work in New York City, part of the time there was spent playing in John Kirby's quartet, then with Louis Armstrong's big band (where he played tenor) and then in 1939 with Jelly Roll Morton.
By 1945 he was working with Art Hodes, Buck Johnson and later (1948) with Ralph Sutton's Trio at Jimmy Ryan's club.
He settled in France in 1953 and, like his childhood friend Sidney Bechet, maintained a solo career until his passing.

domenica 29 marzo 2009

Struttin' With... - The Harlem Ramblers 1982, H. Lyttelton

...Some Barbecue, 1982, featuring Humphrey Lyttelton tp and Henry Chaix p.

The Harlem Ramblers Dixieland Jazzband from Zurich, Switzerland was founded in 1955, and, after various changes, settled down in 1969 to a well knit group. The band members were Guenter Sellenath (Tp), Tabis Bachmann (Cl), Thedy Schuetz (Tb), Chris Mitchell (Bj), John Treichler (B), and Gerry Ceccaroni (Dr).

The band is still going strong with the hard core of Guenter, Thedy, Chris, and Gerry. The newest members are Hans Schlaepfer on Bass since 2002, and since 2005, Wastl Berger, Clarinet and Saxophone. For more information, please visit the Homepage.

venerdì 27 marzo 2009

St Louis Blues-Muggsy Spanier

St Louis Blues Spanier 1964
Trumpet player Muggsy Spanier is specially renowned through his 1939 recordings which were called "The Great Sixteen".
When I was in my late teens I heard most of it on 78's and many of the bands used these 16 tunes as the basis of their repertoire, including our Dutch Swing College Band.
They say that Muggsy played predictably, this might be true to some extent, but he certainly had his own style.
In this clip we have Darnell Howard on clarinet, Ralph Hutchinson (maybe?) on trombone, certainly Joe Sullivan on piano and also some unique bass work by the one and only Pops Foster. I don't recognize the drummer.
Sorry about the picture quality, but the combination of these historic pictures with reasonably good sound is certainly worth this display

Muggsy Spanier Beale Street blues

Beale Street blues Spanier 1964

The band sets in with W.C. Handy's Beale Street Blues. Muggsy stopped the playing, wasn't happy with the 'sloppy' start and off they go again
Darnell Howard on clarinet played in the King Oliver Dixie Syncopator's in the late twenties.
He plays in that wonderful New Orleans style of Barney Bigard and Albert Nicholas who were in that Oliver band as well. They probably all played the Albert system clarinet.
You have to ask clarinettist Woodie Allen.
There is some terrific slapping by bassist Pops Foster. This kind of playing is not heard much any more in jazz,but Pops was the master.
Another forgotten obscurity is Joe Sullivan. He is probably one of the most creative and original early jazz style players.
In the early seventies Time-Life Records produced a set of 28 LP sets ( 3 albums plus a book in each set) called the Giants of Jazz. Featured pianists were Fats Waller, Jelly Roll Morton, Duke Ellington but Time Life ( and these specialists working for them at the time certainly knew) also produced a 3 record set featuring Joe Sullivan.
Very little on film that I know, but yes....Here is Joe.

Mugsy Spanier with Bob Crosby -Dippermouth Blues-1940's


China Boy - Lino Patruno and Oscar Klein

Tribute to Muggsy Spanier and Sidney Bechet
Oscar Klein (trumpet)
Bruno Castracucchi (clarinet)
Marco Ratti (bass)
Lino Patruno (guitar)

Francis Joseph Julian "Muggsy" Spanier (1906–1967) was a prominent white cornet player based in Chicago. He was renowned as the best trumpet/cornet in Chicago until Bix Beiderbecke entered the scene.
Muggsy led several traditional / "hot" jazz bands, most notably Muggsy Spanier and His Ragtime Band (which did not, in fact, play ragtime but, rather, "hot jazz" that would now be called Dixieland. This band set the style for all later attempts to play traditional jazz with a swing rhythm section. It's key members, apart from Muggsy, were: George Brunies - later Brunis- (trombone and vocals), Rodney Cless (clarinet), George Zack or Joe Bushkin (piano), Ray McKinstry, Nick Ciazza or Bernie Billings (tenor sax), and Bob Casey (bass). A number of competent but unmemorable drummers worked in the band.

Sidney Bechet (May 14, 1897 – May 14, 1959) was an American jazz saxophonist, clarinetist, and composer.
He was one of the first important soloists in jazz (beating cornetist/trumpeter Louis Armstrong to the recording studio by several months and later playing duets with Armstrong), and was perhaps the first notable jazz saxophonist of any sort. Forceful delivery, well-constructed improvisations, and a distinctive wide vibrato characterized Bechet's playing.
Shortly before his death in Paris, Bechet dictated his poetic autobiography, Treat It Gentle. He died on his 62nd birthday.

giovedì 26 marzo 2009

Panama - Bob Cats

Panama Bob Cats 1951

The Bob Cats are swinging nicely through this old standard. At the end it gives a good view of drummer Ray Bauduc's enthusiasm and skills. Unfortunately the last bar of the tune was lost when I got this video many years ago, so... I can't give it back to you either.
The 1935-1942 period was Crosby's heyday, with his band featuring such classic soloists as Yank Lawson, Billy Butterfield, Eddie Miller, Matty Matlock, Irving Fazola, Joe Sullivan, Bob Zurke, Jess Stacy, and Muggsy Spanier. During an era when swing was the thing and New Orleans jazz was considered by many to be ancient history, Crosby's crew led the way to the eventual New Orleans revival. Such classic recordings as "South Rampart Street Parade" and "What's New" (both composed by bassist Bob Haggart) along with the many Dixieland stomps kept the band quite popular. The orchestra broke up in late 1942,
At times the Bob Cats were together again in different personnel settings.
In these film clips 1951 bassist Bob Haggart organized a session that consisted out of the following musicians:
Billy Butterfield trumpet, Matty Matlock clarinet, Eddie Miller tenor sax, Warren smith trombone, Jess Stacy piano, Nappy Lamare guitar, Bob Haggart bass and Ray Bauduc drums

Bob Cats Who's Sorry Now

Who's Sorry Now Bob Cats 1951

The 1935-1942 period was Crosby's heyday, with his band featuring such classic soloists as Yank Lawson, Billy Butterfield, Eddie Miller, Matty Matlock, Irving Fazola, Joe Sullivan, Bob Zurke, Jess Stacy, and Muggsy Spanier. During an era when swing was the thing and New Orleans jazz was considered by many to be ancient history, Crosby's crew led the way to the eventual New Orleans revival. Such classic recordings as "South Rampart Street Parade" and "What's New" (both composed by bassist Bob Haggart) along with the many Dixieland stomps kept the band quite popular. The orchestra broke up in late 1942,
At times the Bob Cats were together again in different personnel settings.
In these film clips 1951 bassist Bob Haggart organized a session that consisted out of the following musicians:
Billy Butterfield trumpet, Matty Matlock clarinet, Eddie Miller tenor sax, Warren smith trombone, Jess Stacy piano, Nappy Lamare guitar, Bob Haggart bass and Ray Bauduc drums

King Porter Stomp Dutch Swing College

King Porter Stomp Dutch Swing College 1970
One of the first live concerts I ever attended was in 1951 and I believe it was in Amsterdam's concertgebouw. It was a performance of Sidney Bechet with the Dutch Swing College Band.
Later in the studio two tunes were recorded with Bechet: The King Porter Stomp and the D.S.C. Blues. Soon after I bought that 78 record.
Here in a broadcast in 1970 they pay tribute to that early recording and leader Peter Schilperoort on soprano sax leads his band in the King Porter Stomp.

I Ain't Got Nobody - Lizzie Miles and Bob Scobey

I Ain’t got Nobody - Lizzy Miles with Bob Scobey 1956

Lizzy Miles was born in the Faubourg Marigny neighborhood of New Orleans, Louisiana, in a dark skinned Francophone Creole ("Creole of Color") family. She traveled widely with minstrel and circus shows in the 1910s, and made her first phonograph recordings in New York of blues songs in 1922 - although Miles did not like to be referred to as a 'blues singer', since she sang a wide repertory of music.
In the mid 1920s she spent time performing in Paris before returning to the United States. She suffered a serious illness and retired from the music industry in the 1930s. In the 1940s she returned to New Orleans, where Joe Mares encouraged her to sing again - which she did, but always from in front of, or beside the stage, since she said she had vowed in a prayer not to go on stage again if she recovered from her illness. Miles was based in San Francisco, California in the early 1950s, then again returned to New Orleans where she recorded with several Dixieland and traditional jazz bands and made regular radio broadcasts, often performing with Bob Scobey or George Lewis.
In 1958 Miles appeared at the Monterey Jazz Festival. In 1959 she quit singing, except for gospel music. ( from Wikipedia)

Chicago Eddie Condon 1964

Chicago Condon 1964
Under the leadership of Eddie Condon we see an all star group playing "Chicago" Next to Eddie playing his 4 string tenor guitar we see Wild Bill Davison, Wingy Manone and Billy Butterfield on trumpets, Edmund Hall clarinet, Vic Dickenson and Cutty Cutshall trombones, Henry Duncan piano, Al Hall bass and George Wettling drums. There is a vocal by Thelma Middleton especially written for this occassion by Johnny Mercer. An ad-in vocal as well by Sammy Davis Jr This is from special feature film called a "Tribute to Eddie Condon". It appears that this 1964 music movie which I received from a collector friend in New Jersey has actually never been issued.

Singin' the blues - Billy Butterfield

Singin' the blues Butterfield Billy 1964
Billy Butterfield plays the first chorus of Singin' the blues, one of the tunes Bix Beiderbecke recorded in the late twenties.
In the following chorus we see some solos by Edmund Hall on clarinet and Cutty Cutshall on trombone. This is one of these clips that hasn't been around much before and it is certainly a great pleasure to post it on youtube, thanks to one of my youtube friends, who found this in his video collection and sent it to me to share with all of you jazz lovers.

High Society Hodes Bigard 1968

High Society Hodes Hodes Art/Barney Bigard 1968
In 1968 in Chicago pianist Art Hodes was the host in a series of jazz films from some small jazz club. He would be able to feature one or more jazz musicians in a program called Jazz Alley.
In this clip Art Hodes presents New Orleans clarinettist Barney Bigard who in his early years played with the Duke Ellington Orchestra and later in the forties and early fifties was the reedplayer with Louis Armstrong's All Stars.
Going back to Barney's roots, New Orleans, he plays "High Society"
On piano host Art Hodes, on bass Rails Wilson (?) and Bob Cousins on drums.

I've found a new baby Art Hodes

I've found a new baby Hodes Art 1968
Pianist Art Hodes in his 1968 TV series "Jazz Alley" presents trombonist George Brunies. He also invited several established Chicago musicians including Nappy Trottier on trumpet, Jimmy Grenato on clarinet and Truck Parham on bass. The band jams through the standard "I've found a new baby"
George Clarence Brunies was born in New Orleans, Louisiana in 1902 into a very musical family. He played with many jazz, dance, and parade bands in New Orleans. He never learned to read music, but could quickly pick up tunes and invent a part for his instrument.
In 1921 he moved to Chicago and joined a band of his New Orleans friends playing at the Friar's Inn; this was the band that became famous as the New Orleans Rhythm Kings. Brunies's trombone style was influential to the young Chicago players, and his records were much copied. In this era Brunies was never bested; he could play anything any other trombonist could play as well or better. He would often end battles of the bands or "cutting contests" by outplaying other trombonists while operating the slide with his foot!
In 1939 he joined Muggsy Spanier's band, with whom he made some of his most famous recordings. The following year he returned to Nick's, where he remained through 1946. Brunies then worked with Eddie Condon.
In 1949 Brunies moved back to Chicago to lead his own band. Brunies often showed off his unusual technical abilities and bizarre sense of humor at the same time; for example he would lie on the floor and invite the largest person in the audience to sit on his chest while he played trombone.
On the advice of a numerologist, he changed his name to Georg Brunis in the 1960s in the belief that this would increase his good luck.
Georg Brunis died in Chicago on November 19, 1974.

Bye and Bye - Dukes of Dixieland 1962

Bye and Bye Dukes of Dixieland 1962

Obviously on tour in Great Britain ,the American Dukes of Dixieland were just in time to be part of a movie made in 1962 featuring traditional jazz. A lot of spectacle and continuous keychanges appeared to be the answer from the Dukes to let the Europeans know how jazz should be played. Unfortunately, even today, many jazzbands believe this to be the way to go. Just too bad.

Firehouse Five plus Two

Everybody loves my Baby Firehouse Five plus Two 1951
One of the American West Coast Dixieland Jazz Bands in the fifties was the Firehouse Five Plus Two. Here you see a filmclip from 1951 of Ward Kimball's very popular band. Ward on trombone, with Danny Alguirre on cornet, and Clarl Mallory on clarinet. In the rhythm group we see Frank Thomas piano, Harper Goff on banjo, Ed Penner on tuba and Monte Mountjoy on drums. They play "Everybody Loves my Baby"

mercoledì 25 marzo 2009

That's A Plenty - December Band 1965


That's A Plenty - December Band 1965
Many of you might wonder " What's a band like this doing here?" Well, members of a jazz club in Connecticut decided to organize a concert and invite several musicians from New Orleans who were all there together with the great jazz musicians like Louis Armstrong, King Oliver, Sidney Bechet and others. These musicians still lived in New Orleans and more or less kept the tradition alive. So here is a sample how jazz was played in the twenties and still in the sixties.
Kid Thomas Valentine trumpet, Jim Robinson trombone, Capt John Handy alto sax and Sammy Penn drums
They were accompanied with local musiciaans who were a full generation younger but had great appreciation, respect and the ability to play in style with these grand old jazz masters.
Sammy Rimmington clarinet, Bill Sinclair piano, Dick Griffith banjo, and Dick McCarthy bass.

martedì 24 marzo 2009

When You're Smiling

Michael Supnick (cornet), Lino Patruno (guitar and leader), Adriano Urso Michael Supnick (cornet), Lino Patruno (guitar and leader), Adriano Urso (piano), Guido Giacomini (bass), Gianluca Perasole (drums).

Riverboat Shuffle -New York All Stars (1993 )

Riverboat Shuffle New York All Stars 1993
I have listened to and played the tune "Riverboat Shuffle" for more than 50 years. Of course the Bix versions, the great Condon recordings and those from many others. I have played it in many different band combinations but I never heard it played so well, so inspired, so precise and so complete as here by the New York All Stars at the 1993 Bern Jazz Festival. Thank you Randy Sandke, Ken Peplowsky, Dan Barrett, Mark Shane, Marty Gross and the other three fabulous sidemen.
Absolutely marvellous!!

the CLASSIC JAZZ FIVE - You' re driving me crazy

The CJ5 - email:
Paolo Gaiotti (cornet,washboard), Claudio Perelli (alto sax), Carlo Marchesi (Piano), Nanna Freddi (banjo), Claudio Nisi (tuba).

The CLASSIC JAZZ FIVE è un quintetto di jazz tradizionale che rivisita i temi più noti e non della musica afroamericana, dai primi del '900 agli "anni trenta".
Lo scopo dei CLASSIC JAZZ FIVE è quello di ricreare con un organico snello e swingante pur con sonorità soft, le diverse atmosfere
del JAZZ classico, dalle origini di New Orleans e Chicago al COTTON CLUB di New York.
Questo gruppo è costituito da alcuni musicisti di prestigiose bands del panorama italiano che, in molti anni di attività, hanno partecipato ai festival trad più importanti del mondo come SACRAMENTO, N.ORLEANS, DRESDA, WHITLEY BAY, S.RAPHAEL, ASCONA, BIEL, JENA, TARRAGONA, QUEDLINBURG e tanti altri

Sorry -New York All Stars (1993 )

I'm sitting with tears in my eyes of going through the emotional pleasure of hearing and watching one of Bix's most famous tunes being played by this team of musicians in a most spectacular manner.
They are the New York All Stars at the 1993 Bern Jazz Festival.
Among them Randy Sandke trumpet, Ken Peplowski clarinet, Dan Barrett trombone, Mark Shane piano and Marty Gross guitar.

domenica 22 marzo 2009

Al Jolson e l'epiteto " Jazz Singer"


Se qualcuno avesse il dubbio, è un insulto pesante :-). Siamo nel ghetto di Manhattan Lower, nella cui sinagoga il "cantor" Rabinowitz vuole che il figlio Jack prosegua la tradizione di famiglia, quella di essere da molte generazioni il cantor, ovvero il rettore della cantoria, che accanto alle sacre scritture doveva istruire i fedeli nel canto solistico e corale. Per esempio, Johann Sebastian Bach era Thomaskantor, cioè il rettore della cantoria del duomo di S. Tommaso.
Per farla breve, Jakie Rabinowitz scappa dalla cantoria e si esibisce nel Muller's Beer Garden.
Non manca chi dopo averlo notato va ad avvertire il padre, che infuriato dalla notizia strappa il figlio dal palcoscenico e lo riporta a casa per la collottola.
"Gli insegnerò io a rispettare la voce che Dio gli ha donato" e si toglie la cinghia. "Se seguiti a battermi, io scappo di casa e non tornerò mai più". E infatti scappa di casa. "You, jazz singer!" gli grida il padre.
Non racconterò tutta la trama.
Però, come tradurreste quell'imprecazione? tu, cantante di strada! accattone! mendicante!
In realtà, ha un significato diverso. Avete presente quelle maison, dove fra le avvenenti signorine che la popolavano c'era sempre anche una come minimo duchessa russa o altra gentildonna europea?
Un jazz singer, in tono ingiurioso, è un cantante da bordello. Ma lo sapete che da fanciullo tal Johannes Brahms suonava in una di queste maison tedesche, quel jazz singer fannullone poco di buono?