SCM Music Player

giovedì 29 gennaio 2009

The Bad One (La Mala)


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memo

Date: 1/8/01

To: Carla Bertoncino

From: Ted Unseth

RE: Turin

Just a note to say that I enjoyed my last trip to Turin. I bumped into several of your associates who handed me the enclosed.They wanted to be sure that you're 'up' on all the new phrases.

Ciao, baby,

Ted

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An Annotated Criminal Slang Dictionary
[modified from "Vocabolari 'dla Mala", Torino, 1989]

The following list is but a small portion of the expressions used by the Turin criminal underworld. (La Mala, literally "The Bad One") through the years. The terms listed are the most general and (probably) the most useful to add a bit of colour to a Turin-based campaign. Words with a (*) are not restricted to the underworld, and are informally of general use among the population. Whenever possible a translation of the slang term has been provided. A note on pronunciation: Piedmontese is closely related to French, and therefore a French pronunciation of the following expressions might help to approximate the actual sounds.



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Italian Slang English
Ammattire bate le cuerce * Get Crazy
(to clang on pails)
Ammazzare barbé le ghete * Kill
(to steal the spats)
Arma tagliente sacagn Cutting implement

Arrestare beive (to drink) Grab/Arrest

Assassino sassin * Assassin
Aver Freddo pernisé (to stew) Get Cold
Beghina pepia * Bigot
Bello gansso Good
Bere cirì Drink
Bifolco barot * Redneck
Bisticciare botalé, cioché * Quarrell
Bocca gaiofa * Mouth
Borsaiolo pinsa (pliers) Pickpocket
Cane taboj, tabo Dog
Capo capataz Boss
Carabinieri fratelli branca Carabinieri
(famous distillery),
caramba, cagna (bitch)
Cimitero camp ed coj (cabbadge patch) Graveyard
Coltellata botonera (buttonhole) Knife Wound
Confidente canarin (canary) Police Spy
Debito gancio (hook), puf Debt
Delinquente brut (ugly) Criminal
Evitare schiné * To Avoid
Fabbrica boita * Factory
Ferire sacagné Hurt
FIAT la feroce (the fierce)* FIAT
Filar Via pedalé (to pedal) Run away
Fortuna cul (bottom), * Luck
paracqua (umbrella)
Furbastro falabrach * Smartass
Furto 'l ciòch (the mess) Robbery
Giornale busiarda (liar) * Newspaper
Gruppo chiassoso maraja Noisy group
Imbroglione zanzibar Con-man
Informazione drita (straight one) Information
In gamba en piota "On the ball"
Ladro grata (scrathcer) Thief
Lavorare ponté (to push), * To Work
Rusché (to scratch)
Lento/Pigro gargh * Slow/Lazy
Mangiare lapé, pité Eat
Mangiare a sbafo spòrze la gheuba To scrounge a meal
(show the bump)
Manicomio balengheria, Sanitorium
Babi (toad)
Mano pinsa (pliers) Hand
Manrovescio torcet( a hard biscuit) Slap
Matto gabia (cage), sonà(ringing), Crazy
garola
Mercato nero sciangai Black market
Morire saré ij ante * To Die
(to close the blinds)
Mussolini pera o oli (stone or oil) Mussolini
Ceruti (Mr Smith)
Nascondere ' pianté (to plant) To hide
Notte la bruna (the dark one) Night
Operaio FIAT barachin (lunch pail) * FIAT worker
Osteria tanpa (pit), piola * Ale house
Pagnotta grola * Bread loaf
Palo la cioca (the bell), Lookout
la nona (the granny)
Passaggio armari a mur (wall closet) Secret passage
Pedinare tapiné To track
Perquisire fogné, fe le pules To search
(to look for fleas)
Picchiare onse (to oil), To Beat
passé 'l buì (to offer dinner)
Pistola tron (thunder), canon, Gun
sciopet(blunderbuss)
Polizia pola (chick), madama (the Lady) Police
la giusta (the Right One)
Portafogli 'l quai (ulcer) Wallet
Postribolo el ciabot (the shack) Whorehouse
Prete cornajass (crow) Priest
Prigione stildo Jail
Raggiro bidon(barrell) * Swindle
Rapina la dura (the Hard One) Robbery
Refurtiva arponcia The booty
Robivecchi feramiù * Ragman
Rubare graté(to scratch), To steal
Cacé (to hunt), berliché (to lick)
Sacco di Botte volpin (a fox coat) A severe whack
Sbronza sumia(ape) Noisy drunkenness
Scansafatica fagnan * Lazy man
Sciocco gagio, ciola Fool
Sfortuna sgaro Ill luck
Soffitta colombera (pigeonhole) Attic
Sordido salop Sordid
Spia porta pachet * Spy
(parcel carrier)
Tacere buté berta en sach To be silent
(to put Berta, the Mouth, in the sack)
Truffa bidun (barrell), pachet (parcel) Swindle
Truffatore ` bidunista (barrel maker) Swindler
gabolista
Ubriacatura piomba (the Leaden One) Quiet drunkenness
Uccidere scursé (to shorten) To kill
Vecchia ciospa * Old woman
Veleno brod d'ondes ore Poison
(the late night soup)
Vestito tapo Suit
Zingaro sinto Gypsy


This text is (C) 1998 by Davide Mana; send comments to doctor.dee@libero.it



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Jabbo Smith:intervista





Cladys "Jabbo" Smith: Personal Interview
by: Mike Joyce for Cadence in May 1982



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Jabbo Smith on the Jenkins Orphanage Band:

Cadence: Let's begin way back with your days in the oprhanage.

Jabbo: I left there when I was about 16.

Cadence: It seems like you came out of there with a really good understanding of music. What kind of music teaching went on in the orphanage?

Jabbo: They had Alonzo Mills, he was my teacher there then. He was very good, started you off with the rudiments, before you get the horn. In a couple of months he'd give you that horn.

Cadence: Did you start off on the trumpet?

Jabbo: No, the trombone. You see, the way he taught you, he'd teach everybody in the same room. So you're hearing what he's telling everybody else. So you play all the instruments. I play all the brass instruments.

Cadence: The orphanage had a brass band.

Jabbo: Oh yeah, they had six brass bands. At the time he called me I was on the yard, they called me "yard boy," that's when you're not doing anything. They try to give you some sort of trade like carpenter or shoe making or bakery, you know. If you're not doing nothing they call you a yard boy - you're just out there picking sticks up (laughter). So one day Mr. Mills came out and he called "You come here - you come here." And you know how kids are, they'd be beating on pans and things; you'd want to be a drummer, everybody wanted to be a drummer. So I guess he must have thought you were musically inclined or something. He called me in that bunch that he had picked out. Then he'd just sit you down and give you a little lecture what music was all about. I have a book over here called "The Jazz Nursery" about these fabulous people. He's about the most famous person, to me. Martin Luther King was all right, but brother D.J. Jenkins was the man. He'd take these kids, just orphan kids, he'd take them from the jails, anywhere, everybody would just send the kids there, and that was fabulous, to keep the little kids out of jail. He would train them.

Cadence: Did you actually tour with these kids?

Jabbo: Oh yes. The idea for the band was to raise money for the orphanage. Jenkins was just a famous man, from the git-go he was just a born leader.

Cadence: What kind of music were you playing with the orphanage band?

Jabbo: That was something beautiful about the orphanage. They's start you off playing, after you learned your fingering and all, learned what music was all about, then you'd start to playing hyms, like "Nearer My God To Thee" and good things like that. They'd start you playing hymns, marches, then you'd graduate to overtures and things like that. By the tme you get out of there you're well versed, because he started you from the roots.

Cadence: Why did you leave?

Jabbo: Well, you know, everybody runs away. That's the only way you get out of there (laughter). That's one thing I appreciate (about the orphanage), so far I've been over this many times in school - New York, I've been to New York so many times as a kid. So when you get out you know where you want to go.

Cadence: When you got out of there you were pretty fast on that horn and you were only 16 or 17 years old.

Jabbo: 16



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Jabbo Smith on playing with other bands:

Cadence: How did that "Black and Tan Fantasy" come about with Ellington?

Jabbo: Well, I think Bubber must have been sick or something. And he needed somebody to substitute so he asked if I wanted to do it.

Cadence: Tell me about the Charlie Johnson band, and your own band, the Rhythm Aces.

Jabbo: The Rhythm Aces was Ikey Robinson's, it was just a pick up band. That's what I was sayin' about those guys back then, they didn't have to have all this music. It didn't have to be written down, we could go to the studio and I could hum these things to these cats and everybosy got it from there. They were fabulous, 'cause they had fabulous musicians, like Lawson Buford, Omer Simeon and Ikey Robinson and Cas Simpson, just fabulous cats. Charlie (Johnson) had the best band in New York, no doubt about it. He had Benny Waters, Benny Carter, and Edgar Sampson, that's the front line! I used to double on trombone with Charlie. In fact, I think we were the first to have two trombones 'cause I doubled with Charlie. Before that you could see one trombone in the band; now they got 4, 5. Anyway we had Cliff Bradenton (?), myself, Charlie in the brass section; Cyrus Sinclair on the tuba, Bobby Johnson playing guitar, Charlie himself on the piano. This was what was crazy, Charlie would come in in the night and start the band off, and he'd be gone, he'd go somewhere, he'd be gone all night and the band would be jumpin' (laughter). We had to play them shows and everything, that was a beautiful time. Small's Paradise was the spot.

Cadence: You recorded with Fats Waller and James P. Johnson.

Jabbo: Yes, we did this thing, "The Sugar Babies"... They were beautiful people, they were like brothers, just fabulous people. That's the thing I like about musicians, most of them are.

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CD001/Best of Early WCJO_Volume 1/Dave Sletten/Jabbo Smith

domenica 25 gennaio 2009

Padova Porsche Jazz Festival 2001












Old River Jazz Society Live at "Q" lounge Bar



Martedì 11 dicembre 2007 Veneto Jazz presenta Old River Jazz Society.

Lo stile di questa energica dixieland band veneta è lo stesso presente nella 'Windy City' ,Chicago,degli anni venti, memorabile per gli impulsi significativi e concreti che ha lasciato nella storia della musica jazz. Bix Beiderbecke, Jimmy McPortland, Eddie Condon, Muggsy Spanier sono alcuni degli artisti divenuti famosi proprio in quegli anni. La riproposizione dello spirito e degli schemi del jazz di Chicago è ciò che caratterizza l'intensa attività concertistica che la Old River Jazz Society svolge con instancabile entusiasmo da circa due decenni.
Due decenni:una longevità musicale che è testimonianza effettiva della stima e dell'affetto che nutrono per essa i tanti appassionati del jazz tradizionale.
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FRONT LINE
Gastone Bortoloso/cornetta
Beppe Calamosca/trombone
Francesco Ganassin/clarinetto
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SECOND LINE
Fabio Reguzzoni/pianoforte
Giancarlo Tombesi/contrabbasso
Andrea Napolitano/batteria
***********************
Alberto Maria Cipolli Leader & Jazz singer

PARCO DELTA JAZZ


Mercoledi' 1 agosto 2007
Ariano Polesine ore 21.30
OLD RIVER JAZZ SOCIETY

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Lo stile della Jazz Band si rifa al Dixieland di Scuola Chicago, cio a quello stile musicale che nel decennio Jazzistico 1920-1930 ricevette nella Windy City gli impulsi pi significativi e concreti. Lo scrittore americano Francis Scott Fitzgerald chiamò gli anni Venti: “ l'età del Jazz “.
La storia del Jazz a Chicago richiama alla memoria nomi di musicisti che in seguito sarebbero divenuti famosi. Ricordiamo Bix Beiderbecke, Jimmy McPortland, Eddie Condon, Muggsy Spanier. La riproposizione dello spirito e degli schemi del Jazz di Chicago è ciò che caratterizza l'intensa attività concertistica che la Old River Jazz Society svolge con instancabile entusiasmo da circa due decenni. Due decenni: una longevità musicale che è testimonianza effettiva della stima e dell'affetto che nutrono per essa i tanti appassionati di Jazz tradizionale e non solo.

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Rovigo
PARCO DELTA JAZZ
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OLD RIVER JAZZ SOCIETY
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Front Line
Gastone Bortoloso/cornetta
Francesco Ganassin/clarinetto
Gabriele Pavani/trombone
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Second Line
Fabio Reguzzoni/piano
Giancarlo Tombesi/contrabbasso
Andrea Napolitano/batteria
*************
Alberto Maria Cipolli /leader

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http://italia.allaboutjazz.com/php/news.php?id=1098

http://www.parcodeltajazz.net/programma-deltajazz.html

http://ilrestodelcarlino.ilsole24ore.com/rovigo/2007/08/01/28483-palco_spirito_anni_venti.shtml

giovedì 22 gennaio 2009

Castello del Catajo








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Correva l'anno 1996
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Fabio Bettelle/cornetta
Francesco Ganassin/clarinetto
Dario Prisco/trombone
Renzo De Rossi/sax tenore
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Nino Corsaro/chitarra
Stefano Lionello/contrabbasso
Andrea Napolitano/batteria
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Alberto Maria Cipolli/leader

Johnny Windhurst : Pennies from heaven


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Pennies from Heaven Windhurst Johnny 1958

Art Ford introduces Johnny Windhust. He then plays Pennies from Heaven during one of these Art Ford jazz parties recorded in 1958. Roland Hanna is on piano, Mary Osborne on guitar, Mark goldberg on bass and the drummer is Morley Feld.
In the spring of 1945, legendary soprano saxophonist Sidney Bechet formed a band to play an extended engagement at the Savoy Café in Boston. He chose the veteran Bunk Johnson to be his trumpeter. The irascible Johnson's erratic behavior proved more than Bechet had bargained for, however, so on the basis of a recommendation by members of the Boston Jazz Society he replaced him a few weeks into the gig with the 18-year-old Johnny Windhurst. Windhurst was a self-taught musician, influenced by Bix Beiderbecke and subsequent white trumpeters/cornetists like Bobby Hackett, Wild Bill Davison, and Bunny Berigan. Windhurst had only been playing professionally for a short time when tapped by Bechet, yet he quickly developed a reputation as a fine young musician. He played with the pianists Art Hodes and James P. Johnson at the Jazz at Town Hall concert in September 1946. He worked in Chicago for a time, then moved to California, where he played with clarinetist Edmond Hall. Other employers around this time included Louis Armstrong and Nappy Lamare. He also led his own band in Ohio and Boston, and was a latter day associate of Eddie Condon, playing and recording with the guitarist in the early '50s. He recorded with trumpeter Ruby Braff (1952-1953), singer Barbara Lea (1955-1957), trombonist Jack Teagarden (1955), and vocalist Lee Wiley. Windhurst made Jazz at Columbus Avenue for the Transition label in 1956, the first and only time he recorded under his own name.

Pat Halcox :Star Dust


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Stardust Barber Chris/ Halcox Pat 1990?
A wonderful rendition of Hoagy Carmichael's Stardust done by the Britisch cornetplayer Pat Halcox. Very good close-up camera work make you feel you're standing on stage right next to Pat.
Pat Halcox has been in the Chris Barber Band since the early days in 1954.
Pat was actually reluctant to join the band because he had finished his studies in chemistry and felt he owed it to his parents to stay in that profession, rather than joining a professional jazz band.
Today in January 2007, I just checked their website, Pat Halcox is still playing trumpet in the band and Chris Barber's band is doing 14 concerts in concert halls and theatres this month in the Netherlands and Germany, I think still the most succesfull jazz band in Europe, if not the world.
I've been following Pat's tasteful approach all my music-playing life and although I never met him personally, I learned a lot from him and he has always been a great inspiration.
Congratulations to Pat and his mate Chris who were both born in 1930 and managed to stay on top in their field all their working life!
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Una favola!

Jack Teagarden: Basin Street Blues


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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.

Jim Cullum Jazz Band



The Jim Cullum Jazz Band
circa 1992
l-r: Eddie Torres, Mike Pittsley, Alan Vache, Jim Cullum, John Sheridan and Don Mopsick. T

Presentazione di "Just Jazz"



Jack Buck, Bob Scobey, Trummy Young, Louis Armstrong
1954
Gene Norman's Southern California presentation of Just Jazz in the 1950s, a very well-run series of concerts.
l-r: George Probert (partially visible), Jack Buck, Marty Napoleon, Bob Scobey, Trummy Young, Louis Armstrong, and the hand of Freddie Higuera.

Preservation Hall Jazz Band



Preservation Hall Jazz Band
1980s
l-r: Cie Frazier, Frank Demond, Percy Humphrey, Allan Jaffe, Wille Humphrey, Narvin Kimball and Sing Miller

Pee Wee Russell-Degenza



Louis Armstrong, Jack Teagarden, and Pee-Wee Russell
1960s

Lu Watters



Lu Watters
1959
Photo of Lu Watters taken in Cotati by Walter Knight in 1959. By that time Lu had been out of the music business for sometime.

Frisco Jazz Band



Frisco Jazz Band
1940s
The Frisco Jazz Band. l-r: Jack Buck, Eddie Smith, Gordon "Grapma" Edwards, and Jack Crook. Not shown are Russ Bennett, Ray Jahnigen and Pat Patton.

Peacock Band


Peacock Melody Strutters
Oakland, ca. 1922
Alfed Levy, teno banjo; Alexander Levy, sax; Marcellus Levy, drums; Leroy Houston, trupet; Alvan Howard, five-string banjo; Alvin Slater, trombone.
From Jazz on the Barbary Coast.

Sid Leprotti


Sid LeProtti's So Different Jazz Band
San Francisco, ca. 1915
Clarence Williams, bass; Reb Spikes, baritone sax; Adam "Slocum" Mitchell, clarinet; Sid LeProtti, piano/leader; Gerald Wells, flute; Unkown, drums
From Jazz on the Barbary Coast.
Photographer unknown.

Louis & Joe







Louis Armstrong and Joe "King" Oliver
1920s
The great King Oliver Band influenced Lu Watters. Shown standing is Louis Armstrong with Joseph "King" Oliver. Other inspirations in that band were Johnny Dodds and Edward "Kid" Ory to name just two. In 1920, Paul Lingle (one of Lu Watters' early band members) used to hear King Oliver's Band at the Pagoda Ballroom on Market Street in San Francisco. Louis Armstrong influenced Bob Scobey even more than Oliver.

mercoledì 21 gennaio 2009

Bill Davison:Big Butter and Egg Man


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Big butter and egg man Davison Wild Bill 1983

Wild Bill Davison plays Big Butter and Egg Man in 1983 at the Hollywood Superbowl as the featured cornettist with a band of Californian musicians

Peanuts Hucko:After You've Gone


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After You've gone Dutch Swing College Hucko 1991

A year after Peter Schilperoort had died, new leader Bob Kaper had to replace a few members in the band. The new trumpet player is Klaas Wit and drummer Bob Dekker. Still in the band Fred Murray piano, Bert Buuren trombone and Adrie Braat bass.
In a concert in Berghausen, Germany the band is joined by American clarinettist Peanuts Hucko

Peanuts Hucko:Someday You'll be sorry


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Someday you'll be sorry Hucko Peanuts 1987
Peanuts Hucko and his All Stars in Germany.
Hucko clarinet, Randy Sandke trumpet, Dan Barrett trombone, Johnny Varro piano, Colin Green bass and Jake Hanna drums.
A very relaxed and swinging band of American All Stars on tour through Europe in 1987 play a live concert for German TV featuring some of the tunes of Armstrong and Goodman
Peanuts Hucko (1912-2003) was born Michael Andrew Hucko. The swing clarinettist's lifelong nickname stemmed from his childhood love of peanuts. In 1939 Hucko came to New York City, where he began playing tenor sax with the bands of Will Bradley, Joe Marsala, Bob Chester and Charlie Spivak.
He served in Europe with Glenn Miller's Army Air Force Band until the leader's disappearance in 1944. After Hucko began concentrating solely on clarinet he was featured in the trombonist's Dixieland combo, the Uptown Hall Gang. Fats Waller's hot-and-heavy "Stealin' Apples" became Hucko's signature tune, remaining in his repertoire from then on.
Following the war, Hucko did studio work for ABC and CBS while making the rounds of major jazz bands: Benny Goodman, Eddie Condon, Ray McKinley, Earl Hines, Jack Teagarden, the Louis Armstrong All-Stars. The clarinetist led his own combo at Condon's club in the mid-60s, then joined what evolved into The World's Greatest Jazz Band for annual gigs at Dick Gibson's Colorado Jazz Party. Hucko fell in love with Denver, opening his Navarre nightclub there in 1974. The club's featured performers included pianist Ralph Sutton and Hucko's wife, singer Louise Tobin (the ex-wife of Harry James).
In the 1970s Hucko's time was largely split between leading the Glenn Miller Orchestra on world tours and appearing on the Lawrence Welk Show. The 80s brought a career revival as Hucko worked regularly with his Pied Piper Quintet. He and Tobin later settled into semi-retirement in Denton, Texas

woody Herman: Basin Street Blues


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Peanuts Hucko:That's A Plenty


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That’s a Plenty – Peanuts Hucko All Stars 1986

This is one of these sessions musicians used to do in the night jazz clubs in New York and Chicago in the forties and fifties. Guests would come in the club and jam sessions would last into the early morning hours. Now they all have reached All Star status and usually it is impossible to get someting like that to happen. The Swiss do make that happen. At the famous Bern Jazz Festival the organizers just make that possible and it is of course lots of fun for the musicians as well. And what a gang it is! The oldest is Wild Bill Davison together with Yank Lawson, six years younger, on trumpets, joined by a youngster from the next generation, and one of the very best, Warren Vache on cornet. On trombones you see George Masso and Bill Allred. Peanuts Hucko plays clarinet, his collegue Bob Wilber is on curved soprano sax, while the great Danny Moss plays the tenor sax. One of the best rhythm groups around. One of the great stride players, Ralph Sutton piano, Bucky Pizzarelli guitar, Jack Lesberg bass and Gus Johnson drums. Not just some great jazz to listen to, but also the excitement of the spontanuous interaction between the players during the different solos.

Peanuts Hucko:That's A Plenty


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That’s a Plenty – Peanuts Hucko All Stars 1986

This is one of these sessions musicians used to do in the night jazz clubs in New York and Chicago in the forties and fifties. Guests would come in the club and jam sessions would last into the early morning hours. Now they all have reached All Star status and usually it is impossible to get someting like that to happen. The Swiss do make that happen. At the famous Bern Jazz Festival the organizers just make that possible and it is of course lots of fun for the musicians as well. And what a gang it is! The oldest is Wild Bill Davison together with Yank Lawson, six years younger, on trumpets, joined by a youngster from the next generation, and one of the very best, Warren Vache on cornet. On trombones you see George Masso and Bill Allred. Peanuts Hucko plays clarinet, his collegue Bob Wilber is on curved soprano sax, while the great Danny Moss plays the tenor sax. One of the best rhythm groups around. One of the great stride players, Ralph Sutton piano, Bucky Pizzarelli guitar, Jack Lesberg bass and Gus Johnson drums. Not just some great jazz to listen to, but also the excitement of the spontanuous interaction between the players during the different solos.

Peanuts Hucko: Strutting with some Barbecue


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Struttin with some Barbecue Hackett 1957

On December 30, 1957 in New York City, a TV show is recorded sponsored by a watch company. Timex Show No 1 featured Louis Armstrong and his All Stars, Jack Teagarden and a band with Bobby Hackett, June Christy, Woodie Herman and Dave Brubeck.
From this show is the dixieland feature "Struttin' with some Barbecue"
Jack Teagarden on trombone, Bobby Hackett cornet, Peanuts Hucko clarinet, Marty Napoleon piano, Arvell Shaw bass and Cozy Cole drums.

Peanuts Hucko

boberwig

martedì 20 gennaio 2009

Bernie Bigard : Rose Room


Rose Room
Caricato da boberwig

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Rose Room Bigard 1968

Barney Bigard with Art Hodes Quartet.
Clarinettist Barney Bigard was a member of the Duke Ellington Orchestra and later played for years with the Louis Armstrong All Stars. Barney plays in the traditional New Orleans sound similar to Omer Simeon, Darnell Howard and Albert Nicholas.
This is a session in 1968 from a TV program called Jazz Alley with pianist Art Hodes and his trio.
I just noticed that 3 DVD's are available via Amazon.com.
Jazz Alley I, II and III

Peanuts Hucko : Do You Know what it means to miss New Orleans


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Do you know whay it means to miss New Orleans Condon Memories 1985 Condon Memories at the Bern Jazz Festival 1985
Another All Star group to revive the loose feeling of playing relaxed jazz the way Eddie Condon promoted throughout his career as a bandleader, announcer and 4 string tenor guitar player. In this session we see and hear leader Peanuts Hucko on clarinet, Yank Lawson on trumpet, Danny Moss on tenor sax, George Masso on trombone, Ralph Sutton on piano, Jack Lesberg on bass and Gus Johnson on drums

Wilbur De Paris : Muskrat Ramble


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Muskrat Ramble deParis Wilbur 1958

Wilbur deParis and his New New Orleans Jazz
Muskrat Ramble is the first tune in a set of four from a TV broadcast in 1958. Only 4 members of the actual band were hired to do the broadcast. Next to Wilber deParis on trombone there are Sidney deParis on trumpet and cornet, Omer Simeon on clarinet and Wilbert Kirk on drums.
They were augmented by the studio house band. Excellent pianist Billy Taylor certainly plays some fine stride piano with Wendell Lowe on guitar and Eddie Safranski on bass. These are the only video clips that I know with Omer Simeon. What a treat to not only hear but also watch this formidable musician who was in the bands of King Olive, Jelly Roll Morton and Luis Russell in the twenties and thirties and certainly has set his stamp stylistically on the deParis Band in the fifties

Louis Armstrong : Basin Street Blues


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This is from the 1954 Colgate Comedy Hour filmed in New Orleans hosted by Gordon McRae

Muggsy Spanier: Beale Street Blues


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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.

George Lewis


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Burgundy Street Blues Lewis George 1962

George Lewis (13 July 1900 -- 31 December 1968) was an American jazz clarinetist who achieved his greatest fame and influence in his later decades of life.
He was born in the French Quarter of New Orleans, Louisiana. Lewis was playing clarinet professionally by 1917. He played with Buddie Petit, Chris Kelly regularly, and sometimes with Kid Ory and many other band leaders, seldom traveling far from the greater New Orleans area.
During the Great Depression he took a day job as a stevedore, continuing to take such music jobs after hours as he could find.
In 1942 some jazz fans and writers came to New Orleans to record the legendary older trumpeter Bunk Johnson, and Bunk picked Lewis for the recording session. Lewis, almost totally unknown outside of New Orleans, impressed many listeners, and he made his first recordings under his own name for American Music Records.
In 1944 he was badly injured in a stevedoring accident when a container fell on his chest. For a time it was thought that even if he recovered he would be unable to play clarinet. However he started playing again while convalescing in bed at home on Burgundy Street in the French Quarter. His friends banjoist Lawrence Marrero and string bass player Alcide Pavageau brought their instruments to Lewis' bedside, and Bill Russell of American Music brought his portable disc recorder, and they recorded the first version of what was to become George Lewis' most famous number, The Burgundy Street Blues.
The Burgundy Street Blues was titled by Russell (who also created new names for a number of Lewis's interpretations of old pop tunes). It was originally simply an improvised blues based on figures from the records of Louis Armstrong. Lewis was an enthusiastic admirer of Armstrong's music and collected his records (although Lewis's own jazz style remained solidly of the pre-Armstrong variety); the Armstrong Hot 5's "Savoy Blues" (credited to Kid Ory) is especially evident in "Burgundy Street"

Woody Allen New Orleans Jazz Band


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Woody Allen Jazz Band


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Koncert Woody'ego Allena w Sali Kongresowej w Warszawie

Dutch Swing College Band :Way down in New Orleans


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Way down yonder - Dutch Swing ollege 1990

Dutch Swing College Band at the 1990 Bern Jazz Festival.
Peter Schilperoort, the tall saxophonist in this clip was the leader of this band since 1945.
Peter wasn't feeling well and had already handed over the leadership of the band to reedplayer Bob Kaper. Peter died in November of that year.
Personally I believe that this last band with Peter was the best musical combination in it's famous history. The band's signature tune "Way down yonder in New Orleans"

Dutch Swing College Band :Way down in New Orleans


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Way down yonder - Dutch Swing ollege 1990

Dutch Swing College Band at the 1990 Bern Jazz Festival.
Peter Schilperoort, the tall saxophonist in this clip was the leader of this band since 1945.
Peter wasn't feeling well and had already handed over the leadership of the band to reedplayer Bob Kaper. Peter died in November of that year.
Personally I believe that this last band with Peter was the best musical combination in it's famous history. The band's signature tune "Way down yonder in New Orleans"

Roy Eldridge: Sunday


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Sunday Eldridge Roy 1961

Part of a 1961 movie promoting to place commercials in short jazz films. In this clip Roy Eldridge just walks in a club where the band is playing just for the staff after hours. Roy joins the session in a tune called Sunday. In the band are Coleman Hawkins tenor sax, Johnny Guarnieri piano, Barry Gailbraith guitar, Milt Hinton bass and Cozy Cole drums.

Eddie Condon: Nobody's Sweetheart


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Nobody’s Sweetheart – Eddie Condon 1929
Edie Condon made jazz history by recording 4 tunes in December 1927. Here in 1929 he recorded one of the tunes again but also made his singing debut. In those days every trumpet player was inspired by Bix Beiderbecke. In the 1927 recordings called McKenzie’s and Condon’s Chicagoans Eddie used Jimmy McPartland on trumpet and in this recording you’ll see another Bix fan called Red Nichols. Also notice that in the last few bars you can hear PeeWee Russell on clarinet

Eddie Condon:China Boy


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China Boy – Eddie Condon with Red Nichols 1929
When Eddie Condon recorded China Boy together with Jimmy McPartland tpt, Frank Teschemacher clt, Bud Freeman tenor sax, Joe Sullivan piano and Gene Krupa on drums on December 8 1927 he probably never realised he created a classic that some 80 years later is still a favourite tune played by bands today. Just a year later Eddie recorded it again, but here with Red Nichols on trumpet and Pee Wee Russell on clarinet. Pee Wee Russell admired Frank Teschemacher and musically followed in his footsteps. Both Red Nichols and Jimmy McPartland tried to play in the Bix Beiderbecke style which both enjoyed so much. Bix had joined the Paul Whiteman Band and also recorded this tune in 1929.

lunedì 19 gennaio 2009

Ruby Braff : You can depend on me


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You Can depend on Me Braff Ruby /Pee Wee Russell 1962
Ruby Braff and Pee Wee Russell in performance at the 1962 Newport Jazz Festival. From a film of this festival the producer slipped in just 4 chorusses with a solo by Ruby and one by Pee Wee. Marshall Brown is on Valve Trombone and John Neves on Bass
The drummer looks like Buzzy Drootin and the pianist probably is George Wein. George after all was the producer of the festival and he must have prompted the fim maker to put at least the most important part of at least one tune in the film reportage.

Jimmy Mc Partland: Ballin' the Jack


*Ballin’ The Jack – jimmy McPartland 1954
Obviously a little bit later during the evening at this jazz dance. The folks have become a bit looser, girls on guy’s laps, dancing barefeet and ties undone. The spirit is certainly there. And it should with the fabulous music of Jimmy McPartland trumpet, Pee Wee Russell clarinet, Jimmy Archey trombone, Willie “The Lion” Smith piano, Pops Foster bass and George Wettling drums.
The cineast at the time, for good reason of course, was more interested to show these folks having a good time than filming the members of the band. These clips would have made more of a historic impact later on by just showing the musicians, but at the time, and what counted most, was showing the pleasure a good band like this could create.

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Lino Patruno: Doctor Jazz


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Oscar Klein (trumpet), Bruno Longhi (clarinet), Luciano Invernizzi (trombone), Lino Patruno (guitar), Ettore Zeppegno (piano)
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Doctor Jazz is a popular tune and song originally written by Joe "King" Oliver. Publisher Walter Melrose got his name on it as co-composer, as was often his practice. It enjoyed its initial popularity in the 1920s. It continues to be played by Dixieland jazz groups. It has been performed by many notable acts, such as Jelly Roll Morton, Chris Barber and Harry Connick Jr.
http://en.wikipedia.org/wiki/Doctor_Jazz

Claude Luter

Louis Armstrong Biografia



LOUIS ARMSTRONG - Biography By virtue of the role he played in its evolution during the first quarter of the 20th century, Louis Armstrong is regarded as the most influential jazz musician in history. This distinction is coupled with his stewardship of jazz around the world over the next five decades as the earliest and greatest ambassador of America's first true musical art form. With the liberating effects of the Jazz Age reverberating on world culture since the 1930s, Satchmo's contributions to society are now measured alongside those of the greatest artists, philosophers and statesmen of the modern era. In the year 2000, we celebrate the centennial of his birth on July 4, 1900 - a date that Louis took with him throughout his life. While historical evidence discovered nearly two decades after his 1971 death suggested a different birth date, there has never been any conclusive reason to dispute Pops' own c.v. Vital and productive from the 1920s to the 1960s, Louis Armstrong provided jazz with its quantum leap forward - his Hot Five and Hot Seven group recordings for the OKeh Records label between 1925 and 1928. They were the culmination of all he had accomplished in music to that point. Born in abject poverty in the worst black slum in turn-of-the-century New Orleans, his father was a workman and his mother a maid and prostitute. Louis and his younger sister roamed the red light district of Storyville, until his delinquency landed him in the Colored Waifs Home around age 12. In the institution's band he learned several instruments, eventually settling on cornet. As a teenager with his sights set on becoming a musician, he worked odd jobs while playing in a variety of bands. His repertoire of songs grew under the influence of renowned cornetist Joe 'King' Oliver (himself a contemporary of Bunk Johnson), and Louis' own profile blossomed. When Oliver left for Chicago around 1919, Louis took his place in Kid Ory's band and started traveling widely. He worked on trains and riverboats as well as in local clubs in bands led by Ory, Fate Marable, and Zutty Singleton, and in street parade groups such as Papa Celestin's Tuxedo Band. Armstrong joined Oliver's Creole Jazz Band in Chicago in 1922, playing for mixed black and white audiences at the famed Lincoln Gardens ballroom. They made their first recordings together in 1923 (for the OKeh, Columbia and Gennett labels), with a combo that included (most of the) future members of the Hot Five and Hot Seven. Among them were Oliver's pianist Lillian Hardin, whom Armstrong wed in '24 (his second of four wives). It was Lil who convinced Louis to move to New York that year, to join Fletcher Henderson's Orchestra. By 1925, astute fans heard Armstrong's cornet on recordings done in New York and Chicago with Henderson, blues singers Ma Rainey and Clara Smith, Clarence Williams' Blue Five on OKeh, and Bessie Smith on Columbia. OKeh noticed certain Williams discs selling better than others, the ones featuring Armstrong's uncredited playing, and signed him to an exclusive contract in the fall of 1925. In the image of the Blue Five, OKeh began recording Louis Armstrong and His Hot Five in Chicago: Louis Armstrong (cornet and later trumpet, vocals), Kid Ory (trombone), Johnny Dodds (clarinet, occasional alto saxophone), Lillian Hardin Armstrong (piano, occasional vocals), and Johnny St. Cyr (banjo). The Hot Seven 'experiment' took place in 1927, when the Five's spare and awkward two piece rhythm section was augmented by Baby Dodds on drums and Pete Briggs on tuba. THE COMPLETE HOT FIVE AND HOT SEVEN RECORDINGS, the recently-issued Columbia/Legacy 4-CD box-set, not only chronicles the 60-plus seminal OKeh recordings of November 1925 to December 1928, but also includes some 30 sides of historic attendant material recorded (primarily) with the same musicians during the same period, though frequently under different group monikers, even on different labels. From the Hot Fives and Hot Sevens era, in which the music moved away from collective group playing and developed a new emphasis on individual solo improvisation, came such hits as "Heebie Jeebies," "Muskrat Ramble," "Big Butter And Egg Man," "Struttin With Some Barbecue," "Cornet Chop Suey," "Willie The Weeper," "S.O.L. Blues," "Potato Head Blues," "West End Blues," and many more. By early 1929, Louis had graduated to pop star status, recording standards and Tin Pan Alley hits with his orchestra or various big bands. He popularized such numbers as "Tiger Rag," "Shine," "The Peanut Vendor," "I Can't Give You Anything But Love," and "Stardust." Louis was brought back to New York to star in the Fats Waller/Andy Razaf Broadway revue, Hot Chocolates; "Ain't Misbehavin'" became the first of many Armstrong jukebox hits. His broad appeal led to recording with hillbilly star Jimmie Rodgers on the West Coast; and in 1932 and '34, Louis traveled to Europe for wildly successful tours. A consummate showman with comedic flair, he often performed 365 nights in a row during the '30s. He only rested when he began to sense the chronic lip problem from which he suffered over the next three decades, because he never acquired the proper embouchure. Life-long manager Joe Glaser took over Satchmo's career in 1935, and immediately negotiated a contract with Decca Records. Louis' pop profile was strengthened as a result of records with fellow Decca artists the Mills Brothers, Louis Jordan, Tommy Dorsey, and Ella Fitzgerald. The following year ('36) he made his Hollywood debut in Pennies From Heaven, co-starring Bing Crosby, who became another duet partner. Louis went on to make over 50 films, including Cabin In the Sky (1943), High Society (1956), The Five Pennies starring Danny Kaye as jazzman Red Nichols, and of course, Hello, Dolly! (1969) with Barbra Streisand. After World War II put the skids on the big band era, Louis and many others cast about for a new direction. A Carnegie Hall small combo date with Jack Teagarden and other veterans provided the solution. It was such a critical and commercial success that the 'All-Stars' (with varying line-ups over the next two decades) became Armstrong's regular touring and recording unit. The familiar '50s lineup was featured on such Columbia Lps as Satch Plays Fats, Ambassador Satch, and Satchmo the Great: Armstrong on trumpet and vocals, singer Velma Middleton, Trummy Young on trombone, Edmond Hall on clarinet, Billy Kyle on piano, bassist Arvell Shaw, and drummer Barrett Deems. Louis' ability to generate 'top 40' hits in every generation is one of the marvels of his career: "Blueberry Hill" (with Gordon Jenkins) in 1949, "Mack The Knife" (from Brecht-Weill's Threepenny Opera) in 1956, and the original "Hello, Dolly!" which unseated the Beatles' "Can't Buy Me Love" from #1 in May 1964 - to name a few. In 1988, 17 years after his death, Armstrong's "What AWonderful World" was bigger than ever as a top 40 single from Robin Williams' Good Morning, Vietnam movie soundtrack. Louis Armstrong demolished social barriers with the same offhanded grace that he brought to countless U.S. State Department-sponsored tours of foreign countries, especially Africa and Europe. Those who criticized his showbiz posturing were humbled by his outspoken views on Civil Rights issues, going back to the Eisenhower era of the '50s. Though sidelined by a heart attack in 1959, and perennially plagued by his lip problem, Pops nevertheless performed in concert and appeared on television and in film as much as health allowed, up until his death in New York on July 6, 1971. His influence - not only on every trumpet player from Fats Navarro and Dizzy Gillespie to Miles Davis, Wynton Marsalis and beyond, but also on jazz, blues, and pop musicians across the musical spectrum - is not likely to be equaled in our lifetime.

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http://louis-armstrong.net/bio.html

Blue and Broken hearted Eddie Condon


*******Blue and Broken Hearted Condon 1964
From a 1964 recording done somewhere in a studio in New York an Eddie Condon group plays "Blue and Broken Hearted", a feature for cornet player Wild Bill Davison. Next to Bill in the band we see Edmund Hall on clarinet, Cutty Cutshall on trombone. In the rhythm group we have Eddie Duncan piano, Al Hall bass and George Wettling drums.
In my years of collecting LP's of Wild Bill I remember many a time that he would select "Blue and Broken Heated" to be included on the recording. It was obviously one of Bill's favourites, and it so good to now also see him play that tune so effectiv*********************************************

Royal Garden Blues. Eddie Condon


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Royal Garden Blues Condon 1964
Eddie Condon and his All Stars .To me this was the most exciting band when I was in my twenties. We had a jazz band in the early sixties and we tried to play stylistically just like that. Obviously we managed reasonably good. We became winners of the Dutch AVRO radio jazz competiton with a special mention by famous jazz critic Michael de Ruyter on my playing in the Wild Bill Davison style. Our price was a concert in the The Hague Kurhaus Concert Hall with jazz clarinettist Albert Nicholas in 1965.
Naturally Wild Bill Davison was my hero, and even today, more than 40 years later I still get excited hearing him play, then with this clip also being able to see him in action is that extra dimension. Absolutely wonderful. Eddie had different musician combinations in his groups but particularly with Bill on trumpet, Edmund Hall on clarinet and Cutty Cutshall was their hottest one.
I wish I could sit with my trombonist from those years and see this clip together. Jan Meeuwisse, I lost contact, hope he is still alive, was totally addicted to Cutty Cutshall.
In this recording, which I had never seen before, was made around 1964. In the rhythm group are Willy The "Lyon" Smith on piano, Al Hall on the bass and one of the greatest dixieland drummers, you guessed it, George Wettling.
Typical of many of the Eddie Condon recordings. One doesn't hear much of Eddie's 4 string guitar playing. He was there, but probable just for encouragement, with a glass of whiskey working on his memoires.
Enough said. I'm going to listen to this hot "Royal Garden Blues" again

China Boy .Eddie Condon

China Boy - Eddie Condon's All Stars
Video inviato da boberwig

China Boy Condon All Stars 1959

In this film clip from 1959 the announcer names all these famous musicians, Jimmy McPartland trumpet, Pee Wee Russell clarinet, Bud Freeman tenor sax, Jack Teagarden trombone, Joe Sullivan piano, Eddie Condon guitar, Bob Haggart bass and Gene Krupa drums.
There are not enough films of a dreamband like this.

Eddie Condon: CHICAGO


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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.

South Firehouse Five plus Two


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South Firehouse Five plus Two 1951
In the early period of the Firehouse Plus Two a number of fimclips were issued. We see the band perform the classic jazz standard "South"
The Firehouse Five Plus Two was a Westcoast style Dixieland band, more or less based on the revival style set by Lu Watters, Turk Murphy and Bob Scobey in the 1940s. This band was popular in the 1950s, consisting of members of the Walt Disney Studios animation department; Danny Alguire, cornet, Harper Goff, banjo, Ward Kimball, trombone, Clarke Mallery, clarinet, Monte Mountjoy, drums, Ed Penner, tuba and Frank Thomas, piano.
Later, other Disney artists joined in; George Probert, Dick Roberts, Ralph Ball and George Bruns.
The band recorded at least thirteen LP albums, starting in 1955. The last album, "Live at Earthquake McGoon's" was recorded in 1970 in San Francisco.

Eddie Condon : JAZZ ME BLUES


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Jazz me Blues Condon Eddie 1964
Under the leadership of "conductor" Eddie Condon we see an all star group playing "Jazz me blues". Wild Bill Davison and Billy Butterfield on trumpets, Edmund Hall clarinet, Vic Dickenson and Cutty Cutshall trombones, Willie 'The Lion' Smith piano, Al Hall bass and George Wettling drums. Many of the famous recordings in the late fifties and early sixties were issued on LP's (I still enjoy 'em all) but hardly a film-recording was done. I have been collecting videos for more than twenty years but this is the first time I've seen a "Condon" band in such great picture and sound quality. Recorded in New York in 1964 but ever been issued?
Everybody, enjoy these great jazz masters!
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Jimmy Mc Portland:Avalon



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Avalon McPartland Jimmy jam 1975

From a 1975 club concert movie called At the Top we see a performance of a number of musicians who had been in some way been associated with Bix Beiderbecke. Jimmy McParland, Joe Venuti and Spiegle Wilcox played with him in the twenties and the other musicians certainly appreciated Bix's musical genius.
We see pianist Marion McPartland, alto horn player Dick Cary, Jack Mahue clarinet, drummer Cliff Leeman and bassist Major Holly.
Here goes Avalon

SOL Blues


Jim Cullum SOL Blues
Caricato da boberwig

S.O.L. Blues Cullum 1985 The Jim Cullum' Jazz Band. This is from the mid period in the career of this fabulous jazz band. Jim Cullum started in his father's band, the Happy Jazz Band around 1960 (JIm Cullum Sr was a clarinet player). In 80ies Jim Jr changed to the current name and the band is probably the best jazz band in the US. For the last number of years Jim has been broadcasting from his own club "The Landing" in San Antonio, Texas and these programs are available via the internet. Jim Cullum's website is http://landing.com/ and further directions come from that site In these Jim Cullum clips which were taped during an outside concert in 1985 Cullum had the following musicians in the band. Most of the musicians stayed with Cullum for several years and then often continued to start their own solo career. Next to Jim on cornet are Allen Vache clarinet, Randy Reinhart trombone and cornet, John Sheridan piano, Howard Elkins banjo and tenor guitar, (Howard is still in the band), James Hunter bass and Ed Torres drums.

Bobby Hackett



Bobby Hackett
The inscription: "To Jim Jr., (One of my favorite cornetists). With thanks and best wishes, Bobby Hackett"
Bobby Hackett was born in Providence, Rhode Island in 1915. As a child, he played guitar, violin, and occasionally cornet. He left school at 14 to play his first steady gig on guitar at a local Chinese restaurant. His early career found him playing guitar and violin in hotel ballroom bands in Providence, Boston, and Syracuse. Then in 1933, he played cornet in a trio with Pee Wee Russell and Teddy Roy at the Crescent Club, Boston, and by 1936 he was specializing in the cornet.
In 1937, Bobby moved to New York and began working with "society" bands such as Lester and Howard Lanin, Meyer Davis, etc. He appeared with Horace Heidt, with Joe Marsala at the Hickory House and led his own band at Nick's and the Famous Door. He was a guest at Benny Goodman's 1938 Carnegie Hall concert. Beginning in 1937, Bobby recorded prolifically as a free-lance artist including sessions organized by Leonard Feather.
From 1941-2, Bobby was with Glenn Miller, doubling on cornet and guitar. His famous cornet solo can be heard on the Miller hit A String of Pearls. After this, he worked as a staff musician at NBC and ABC as well as leading his own band and appearances with Katherine Dunham and Glen Gray.
Then in 1956, he led his own band at the Henry Hudson Hotel in New York for about a year, afterwards returning to studio work. He was the Musical Director for the hit recordings made under Jackie Gleason's name in the 50's and 60's. After stints with Benny Goodman and Ray McKinley, he toured with Tony Bennett beginning in 1965. Up until his death in 1976, Bobby led his own small bands in New York and Hyannis as well as guesting at jazz festivals internationally.
The first time I met Hackett was in Dallas in 1946--I was about 5 years old. The next time, about 1960, Bobby was a guest with Garner Clark's band. I sat in for a couple of tunes. Bobby was already famous by this time because of the Jackie Gleason records.
In 1967, we made the Audiophile album Goose Pimples with Bobby and our band. He came down from Denver to do the date and afterward stayed in San Antonio for a week. I hung around him every day. The last time I saw him was about '75 or so when he appeared with us at the Galveston Opera House.
He was a very easy, gentle guy. I visited him at his house in Queens just after he had made that great record of duets with Billy Butterfield. I remember his coffee table in his living room entirely filled with cornet mouthpieces standing on end. He had a retail business in New York City for a while called "Bobby Hackett's Sound Stage" where he sold high-end stereo equipment. I went to visit him in his office—he had a really nice mahogany file cabinet. When he opened the drawer, I saw that the cabinet was filled with cornets--there were no files in there!
Visit the Bobby Hackett website.

Icone del jazz tradizionale

http://landing.com/

Yellow Dog Blues

'Yellow Dog Blues'The Jim Cullum Jazz Band with Trumpeter Bria Skonberg

GRAND HOTEL OROLOGIO



Correva l'anno 1999
Grand hotel Orologio Abano Terme
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Serie di concerti Jazz con lo stilista francese Pierre Cardin
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Fabio Bettelle/cornetta
Francesco Ganassin/clarinetto
Renzo De Rossi/sax tenore
Dario Prisco/trombone
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Enrico Maniero/piano
Nino Corsaro/chitarra
Giancarlo Tombesi/contrabbasso
Andrea Napolitano/batteria
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Alberto Maria Cipolli/leader

Ristorante Ca' del Sole




Correva l'anno 2000

Ristorante Ca' del Sole
Selva del Montello

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Giannantonio Bresciani/tromba
Marco Zambon/sax soprano
Moreno Raggi/clarinetto
Beppe Calamosca/trombone
Renzo De Rossi/sax tenore
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Fabio Reguzzoni/piano
Nino Corsaro/chitarra
Beppe Pilotto/contrabbasso
Riccardo Baggio/batteria
Alberto Maria Cipolli/leader

Rassegna "JAZZ ALLE TERME"

Correva l'anno 1994
Cinema/Teatro Marconi in Abano Terme
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Fabio Bettelle/cornetta
Francesco Ganassin/clarinetto
Dario Prisco/trombone
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Enrico Maniero/piano
Nino Corsaro/chitarra
Giancarlo Tombesi/contrabbasso
Andrea Napolitano/batteria
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Alberto Maria Cipolli/leader

domenica 18 gennaio 2009

Hotel Leonardo Da Vinci

Correva l'anno 1995
Hotel Termale Leonardo Da Vinci
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Fabio Bettelle/cornetta
Francesco Ganassin/clarinetto
Dario Prisco/trombone
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Enrico Maniero/piano
Riccardo Ranzato/banjo
Giancarlo Tombesi/contrabbasso
Andrea Napolitano/batteria
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Alberto Maria Cipolli/leader

Make Me One Pallet

Trumpeter Bria Skonberg talks about the music and performs 'Make Me One Pallet' with Jim & the Band

Jim Cullum's Jazz Band

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http://www.riverwalkjazz.org/site/PageServer?pagename=VideoHighlights

Ricordo di Nick La Rocca