SCM Music Player

domenica 29 marzo 2009

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


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...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. www.harlemramblers.ch

venerdì 27 marzo 2009

St Louis Blues-Muggsy Spanier


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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


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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.

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


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China Boy - Lino Patruno and Oscar Klein


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

http://www.linopatruno.it
http://www.cambiamusica.it
http://www.michaelsupnick.com

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.
http://en.wikipedia.org/wiki/Muggsy_Spanier

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.
http://en.wikipedia.org/wiki/Sidney_Bechet

giovedì 26 marzo 2009

Panama - Bob Cats


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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
tutti

Bob Cats Who's Sorry Now


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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


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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


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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


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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.

Singin' the blues - Billy Butterfield


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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


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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


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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.
tutti

Bye and Bye - Dukes of Dixieland 1962


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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


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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


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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 )


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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


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The CJ5 - email: pagaio1@virgilio.it
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 )


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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"

Photobucket


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?

mercoledì 18 marzo 2009

Hotel Columbia Terme -Abano Terme



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Ottobre 2001
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Front Line

Gastone Bortoloso/tromba
Francesco Ganassin/clarinetto
Beppe Calamosca/trombone
Renzo De Rossi/sax tenore & Baritono & soprano

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Seconde Line

Fabio Reguzzoni/pianoforte
Beppe Pilotto/contrabbasso
Riccardo Baggio/batteria

Alberto Maria Cipolli/jazz singer & Leader



Old River Jazz Society


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Una rara fotografia della dixieland Band scattata durante un concerto jazz al Cockney London Pub
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Francesco Ganassin/clarinetto
Roberto Beggio/sax soprano
Renzo De Rossi/sax tenore & baritono
Nino Corsaro/chitarra
Beppe Pilotto/contrabbasso
Riccardo Baggio/batteria
Alberto Maria Cipolli/leader

lunedì 16 marzo 2009

Baby Won't You Please Come Home


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Yank Lawson,Billy Butterfield-trumpet,Ralph Sutton-piano,Bob Haggart-bass,Gus Johnson -drum

After You've Gone - Polish Swedish Connection 2008


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After You’ve Gone – Polish Swedish Connection 2008
A fine reedplayer is featured in this clip. Mikael Cithio, on clarinet, vocal, to finish on the alto sax, plays a hot version of this tune. This band was put together to perform at the Golden Washboard Festival in Ilawa, Poland, on August 9th 2008
Others in the band are Dymitr Markiewicz trombone, from Malmo Sweden, Eric Berndalen on trumpet, pianist Wojtek Kaminski, banjo Viktor Zydrow and Pawel Tartanus and bassist Kuba Olejnik

bobby Hackett:jazz me blues


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Jazz me blues Hackett 1938

Bobby Hackett and his Dixieland Band. This was part of a show called Saturday Night Swing Club in 1938, usually a presentation of the big bands from that time, but once in a while a jazz band was added as well.
The musicians I recognize in this clip are Bobby Hackett trumpet, Ernie Caceres clarinet, Brad Gowens on the valve trombone and Eddie Condon on the tenor guitar.
If anyone recognizes other musicians, let me know, I can edit the text of this comment.Yes, I've got control.

Wally's Warehouse Waifs - HOT JAZZ MUSIC


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http://www.wallysjazz.com
Wally's Warehouse Waifs perform some great Traditional Jazz in California.
Check the website above for the band's CD's and appearance schedule.
This appearance was at the Orange County Classic Jazz Festival in Costa Mesa, California. Videoed on August 4th, 2007.
Musicians -
Dave Tatrow - trumpet & leader
Keith DeWitt - trombone
Dave Bennett - clarinet
Randy Morris - piano
Dave Miller - banjo
Frank Steed - bass
Milt Sernick - drums
Charlie Morris - vocals

Bing Crosby and Louis Armstrong


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Immortal jazz greats performing magic together, Bing, Satchmo and other greats on CBS TV 1950's,"Edsel Show". You'll never see this again! Two of the most important and influential musicians of the 20th Century. In addition to Bing and Louis we have:
Trummy Young - Trombone
Edmond Hall - Clarinet
Billy Kyle - Piano
Barrett Deems - Drums

Internet Archive
Prelinger Collection
Classic Television
Public Domain Certification

Mercatone Uno




Inizia nella magica estate del 1995 la nostra collaborazione con la ditta "Mercatone Uno".
Collaborazione che si protrarrà per circa tre anni.
Ingaggiati per intrattenere ed allietare con il nostro dixieland il pubblico che interveniva alle inaugurazioni di nuove sedi , abbiamo avuto modo di ammirare diverse stupende città italiane : Ferrara,Rovigo,Padova,Treviso,Venezia,Verona,Viareggio,Carrara,Lucca,Parma, Bologna, -tanto per citarne alcune .
L'immagine mostra la dixieland band posizionata su un classico bus inglese a due livelli.
Nell'occasione siamo a Bassano Del Grappa: meravigliosa città veneta !
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Sono riconoscibili, a partire da sinistra , nell'ordine:Fabio Bettelle,Roberto Beggio,Dario Prisco,Federico Ranzato,Alberto Maria Cipolli,Giancarlo Tombesi,Riccardo Ranzato ed Andrea Napolitano.



sabato 14 marzo 2009

LINO PATRUNO CHICAGO SOUND:Sugar


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LINO PATRUNO CHICAGO SOUND
Michael Supnick (cornet), Gianni Sanjust (clarinet), Alberto Collatina (trombone), Lino Patruno (guitar and leader), Silvia Manco (piano), Guido Giacomini (bass), Carlo Battisti (drums).

LINO PATRUNO & THE JAZZ STARS OF ITALY


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LINO PATRUNO & THE JAZZ STARS OF ITALY
"Rosetta"
Guido Pistocchi (trumpet)
Alberto Collatina (trombone)
Gianni Sanjust (clarinet)
Bruno Longhi (tenor saxophone)
Carlo Bagnoli (baritone saxophone)
Romano Mussolini (piano)
Lino Patrono (guitar)
Carlo Loffredo (bass)
Gil Cuppini (drums).
San Marino, September 12, 1993
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Earl Kenneth Hines, universally known as Earl "Fatha" Hines, (28 December 1903 Duquesne, Pennsylvania -- 22 April 1983 in Oakland, California) was one of a small number of pianists whose playing shaped the history of jazz.

Earl Hines was born in the Pittsburgh suburb of Duquesne, Pennsylvania. His father was a cornetist and leader of Pittsburgh's Eureka Brass Band, his stepmother a church organist. Hines at first intended to follow his father's example and play cornet but "blowing" hurt him behind the ears — while the piano didn't. He took classical piano lessons but also developed an ear for popular show tunes and was able to remember and play songs he heard in theaters. Hines claimed that he was playing piano around Pittsburgh "before the word 'jazz' was even invented".
http://en.wikipedia.org/wiki/Earl_Hines

LINO PATRUNO Jazz Show :Ja-Da


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Ja-da
LINO PATRUNO Jazz Show
Oscar Klein (cornet)
Marcello Rosa (trombone)
Bruno Longhi (clarinet)
Gianni Sanjust (clarinet)
Francesco Forti (clarinet)
Romano Mussolini (piano)
Lino Patruno (guitar)
Rolf Cizmeck (bass)
Rolf Rebmann (drums)
April 1985
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chiudiRampart Street Paraders George Van Eps Musica Durata: 03:26Girato: 02 giugno 2008
Località:Rome, Lazio, ItaliaAggiungi i sottotitoliJa-da
LINO PATRUNO Jazz Show
Oscar Klein (cornet)
Marcello Rosa (trombone)
Bruno Longhi (clarinet)
Gianni Sanjust (clarinet)
Francesco Forti (clarinet)
Romano Mussolini (piano)
Lino Patruno (guitar)
Rolf Cizmeck (bass)
Rolf Rebmann (drums)
April 1985

http://www.linopatruno.it
http://www.cambiamusica.it
http://www.michaelsupnick.com

Ja-Da (Ja Da, Ja Da, Jing, Jing, Jing!) was a hit song written in 1918 by Bob Carleton (surname is often misspelled as Carlton). The title is sometimes rendered as "Jada". Ja-Da has flourished through the decades as a jazz standard.

Carleton penned the 16-bar tune when he was club pianist in Illinois and first popularized it with singer Cliff Edwards. The sheet music for Ja-Da was published in 1918 by Leo Feist, Inc., New York.

The tune was briefly famous, then spent 35 years as a well known standard.

Sonny Rollins 're-invented it' using the Ja-Da chords for his composition Doxy in 1954.

LINO PATRUNO & THE ROMAN NEW ORLEANS JAZZ BAND


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LINO PATRUNO & THE ROMAN NEW ORLEANS JAZZ BAND
"Between the Devil and the Deep Blue Sea"
Giovanni Borghi (trumpet), Alberto Collatina (trombone), Marcello Riccio (clarinet), Lino Quagliero (piano),
Lino Patruno (guitar), Pino Liberati (bass), Paolo Rossi (drums).
Roma 1993

Riverside Jazz Band /Original Lambro Jazz Band /Bovisa New Orleans Jazz Band


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Lino Patruno
Riverside Jazz Band
Original Lambro Jazz Band
Bovisa New Orleans Jazz Band

Street parade, on a boat, on a car.
Lecco, Italy
mid 1960's

La tradizione vuole che una parte importante fosse giocata dai musicisti formatisi nelle "second line" delle bande che suonavano ai funerali. Durante il viaggio verso il cimitero, la banda "ufficiale" suonava una marcia funebre; dopo la sepoltura, il repertorio diventava considerevolmente più allegro, e la second line, in cui poteva partecipare praticamente chiunque avesse uno strumento e si sentisse di suonarlo in pubblico, si scatenava in una musica estemporanea che avrebbe dato origine alla musica poi chiamata jazz. A fenomeni simili si assisteva durante una tipica kermesse di New Orleans la parata del "Mardi Gras" che inugura tuttora l'apertura del carnevale.
http://it.wikipedia.org/wiki/Storia_del_jazz

Ib Kai Olsen jazz band: Messin´Around


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Ib Kai Olsen (IKO), born june 1919 in Copenhagen, is one of the pioneers of danish traditional jazz. After WW2 he joined the then newly established Hot Club of Denmark, among whose members a club band - the first danish trad band - was formed around 1948, mainly inspired from the early british jazz clubs.

As could be expected the beginning was rather mediocre, so Ib felt he could do better than that and bought himself a cornet. After having practised for some time he joined Hot Club Jazz Band and started playing 1. cornet. Later on it separated itself from the now fading Hot Club and became Ib K. Olsen’s Jazz Band.

The Band managed to stay together with only few changes in personnel for more than a quarter of a century, playing with great power and enthusiasm and with a large and varied book of tunes. The set-up usually consisted of two cornets, clarinet, trombone, banjo, string bass and drums. At times a piano was added.

IKO is, however, a Jack of many trades, and to most of the Copenhagen jazz fraternity his daily whereabouts were rather unknown. Ib is a skilled lithographer by trade and worked for many years with graphic designs for books, magazines and ads as well as an illustrator and painter, also running a studio of his own. In a recent TV portrait program (Feb ’07) his artistic as well as musical legacy was highlighted.

Since the late seventies the declining public interest in traditional jazz has forced Ib and his men into periods of inactivity, but whenever possible a new group would emerge again. IKO’s present band - his Jazz Friends - has a Hot Five line-up, occasionally increased with a bass player. IKO is a modest and highly estimated Gentleman, and hopefully his horn, reflecting the sound of King Oliver, Papa Celestin and Sam Morgan, shall be with us for still many years.

Bennie Carling family jazz Band


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Tulsa Blues – Carlings 1986
In this clip you hear two performances of this obscure blues. First the performance by the Carling family as they perceived it and second the original recording as played in 1924 by Bennie Moten’s Kansas City Orchestra. I had never heard this tune before and I’m always amazed how father Hans must have picked this in his training to have the young family become comfortable with early jazz material.
I wish I had known of this tune in my days with the Climax Jazz Band. It would have gotten it a permanent spot on our repertoire. I hope that many today’s trad bands after listening to these two versions decide to do so.
Even though the Carling Family is so young in these 1986 clips they show a maturity in their performance level that is far beyond most bands I have listened to in my life.
A great future is in store for them which is now proven when you see and hear them in today’s clips

Ib Kay Olsen’s Jazz Band.


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Ib Kai Olsen (IKO), born june 1919 in Copenhagen, is one of the pioneers of danish traditional jazz. After WW2 he joined the then newly established Hot Club of Denmark, among whose members a club band - the first danish trad band - was formed around 1948, mainly inspired from the early british jazz clubs.

As could be expected the beginning was rather mediocre, so Ib felt he could do better than that and bought himself a cornet. After having practised for some time he joined Hot Club Jazz Band and started playing 1. cornet. Later on it separated itself from the now fading Hot Club and became Ib K. Olsen’s Jazz Band.

Since the late seventies the declining public interest in traditional jazz has forced Ib and his men into periods of inactivity, but whenever possible a new group would emerge again. IKO’s present band - his Jazz Friends - has a Hot Five line-up, occasionally increased with a bass player. The group has been together, virtually unchanged, since 1998, and although the average age of the band members now exceeds 70 years, the musical standard is remarkable. Along with the Jazz Friends Ib has also been a key member of Rhythm Gang during nearly the same period.

IKO is a modest and highly estimated Gentleman, and hopefully his horn, reflecting the sound of King Oliver, Papa Celestin and Sam Morgan, shall be with us for still many years.

giovedì 12 marzo 2009

Golden Gate Rhythm Machine, "Emmaline"


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Golden Gate Rhythm Machine plays "Emmaline" at South Bay Traditional Jazz Society in Sunnyvale CA on June 22, 2008.
Musicians are leader Scott Anthony banjo, Bob Schulz cornet and vocal, Jim Rothermel sax, Gary Reynolds trombone, Jim Maihack tuba, Bob Hirsch piano, Bill Maginnis drums.
Visit: http://www.santhony.com/ggrm/

Emaline - Portena Jazz Band 1991


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Emaline - Portena Jazz Band 1991
Solista Carlo Caiati (sax contalto)

Martin Muller and his Portena Jazz Band from Buenos Aires in Argentina has been the leading band from South America to play the early big band jazz music. The band started in the mid sixties and I believe is still together
In this clip we see the band in an performance in Spain in 1991

sabato 7 marzo 2009

Mostra: "L'arte della pubblicità"


Grandi artisti e manifesti pubblicitari in mostra
di Donata Marrazzo

27 febbraio 2009
Galleria fotografica


La birra Bosio Caratsch, la Coppa Perugina, gli amaretti di Saronno, la Thais Talizhy di Enrico Trampolini, il Bitter Campari di Leonetto Cappiello: manifesti pubblicitari, stampe litografiche a colori su carta, che agli inizi del Novecento rappresentano un nuovo ambito di ricerca e sperimentazione in cui si avventurarono grandi artisti, da Adoflo Wild a Balla e Depero, da Mario Sironi, padre del monumentalismo e muralismo italiani, a Lucio Fontana. Per Fortunato Depero, del resto, arte e pubblicità insieme sono il compimento di un'estetica totale. I segni essenziali, i colori arditi, i più vari caratteri grafici, i continui giochi formali e linguistici fanno della pubblicità l'arte «che marcia di pari passo alla moda del tempo». La racconta la mostra "L'arte della pubblicità. Il manifesto italiano e le avanguardie 1920-1940": un'esposizione di documenti storici, proveniente dal Massimo & Sonia Cirulli Archive con sedi a New York e Bologna, che illustra l'evoluzione dell'arte della pubblicità attraverso manifesti, bozzetti, libri delle avanguardie artistiche tra il 1920 e il 1940.I cavalieri dell'industria cercano nuove strategie di comunicazione e nuove politiche economiche: con i primi cartelloni e i manifesti affissi sui muri Olivetti, Fiat, Campari reclamizzano le aziende e i propri prodotti con messaggi evocativi. Voli, corse, effetti stroboscopici, scomposizioni cubiste, suggestioni futuriste: i manifesti sono il segno dell'Italia che cambia, l'Italia della modernità che ha bisogno di una nuova immagine, di un linguaggio figurativo audace che le faccia propaganda.
Il percorso espositivo si articola in sei sezioni per raccontare "La donna e l'uomo moderni", ovvero l'evoluzione dell'arte pubblicitaria dall'idealizzazione ottocentesca verso realismo, dinamismo e vivacità cromatica, "La meccanizzazione giocosa della figura umana di ascendenza futurista", "Velocità e confini"e "Il Volo" per ripercorrere il nuovo mito del movimento e infine "Le sperimentazioni del disegno e della grafica" e "L'astrazione della forma".Al valore artistico delle opere si abbina quello storico che fa del manifesto pubblicitario una testimonianza viva della situazione politica del secolo scorso, del costume, delle grandi imprese industriali italiane del ‘900 e del loro sviluppo economico.
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L'arte della pubblicità. Il manifesto italiano e le avanguardie 1920-1940 Villa TorloniaCasino dei Principi , RomaFino al 24 maggioCatalogo: SilvanaEditoriale Info: Tel. 060608 http://www.museivillatorlonia.it/

Autostop per New Orleans

Anno Domini 1994
Terminato il "matinée" all'Hotel Leonardo Da Vinci di Abano Terme la Jazz Band ha pensato di trasferirsi idealmente nella "culla" del Jazz .
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Da sinistra a destra ,nell'ordine:
Marcello Massellani...Andrea Napolitano...Fabio Bettelle (con la cornetta) Riccardo Ranzato...Federico Ranzato(dentro la macchina in "panne") Dario Prisco ( trombone) Giancarlo Tombesi(contrabbasso)ed Alberto Maria Cipolli che con il cartello tra le mani chiede un improbabilissimo autostop per New Orleans.

Robert Hansson:Star Dust


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Scandinavian Rhythm Boys' recording (Oct. 2008) of Hoagy Carmichael's famous song 'Stardust'

Robert Hansson, trumpet
Hans Jorgen Hansen, bass sax
Michael Boving, banjo
Paul Waters, bass

Website: http://www.srbjazz.com

Video by Flemming Thorbye, Denmark
http://www.thorbye.net
Categoria: Musica

venerdì 6 marzo 2009

Wolverine Blues - Eddie Condon


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Wolverine Blues Condon Eddie 1959

The grand finale with a one minute clip of Wolverine Blues by Eddie Condon's All Stars. Actually 65 seconds, but every second is worth that double impact of seeing and hearing at the same time, simply called movie. Youtube made it possible that this clip came out of my video cabinet. My film jazz collection doesn't do much good sitting neatly catalogized on one of my shelves. Thank you Youtube to have made it possible to share this with all of you
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.

Mc Portland & Pee Wee Russell:China Boy


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China Boy Hodes Art 1968
In a series of TV broadcasts in 1968 Chicago pianist Art Hodes presented Chicago styled musicians who had made fame in the thirties and forties. Art plays piano and features cornet player Jimmy McPartland and clarinettist Pee Wee Russell in "China Boy."
Pee Wee Russell ( 1906-1969)
From his earliest career, Russell's style was distinctive. The notes he played were somewhat unorthodox when compared to his contemporaries, and he was sometimes accused to playing out-of-tune. Though often labelled a dixieland musician by virtue of the company he kept, he tended to reject any label.
From the 1940s on, Russell's health was often poor, exacerbated by alcoholism - which led to a major medical breakdown in 1951 - and he had periods when he could not play.
He played with Art Hodes, Muggsy Spanier and occasionally bands under his own name in addition to Condon.
In his last decade, Russell often played at jazz festivals and international tours organized by George Wein
Russell's unique, and sometimes derided approach was praised as ahead of its time, and cited by some as an early example of free jazz. Coleman Hawkins, who considered Russell to be color-blind, at the time of the 1961 Jazz Reunion (Candid) record date - they had originally recorded together in 1929 - dismissed any idea that Russell was now playing modern, saying that he had always played that way.
By this time, encouraged by Mary, his wife, Russell had taken up painting abstract art as a hobby. Mary's death in the spring of 1967 had a severe effect on him.

George Brunies Art Hodes Film clip pt 3


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Jazz Me Blues. Nappy Trottier on trumpet, Jimmy Grenato on clarinet and Truck Parham on bass.

George Brunies Art Hodes Film clip pt 2


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Nappy Trottier on trumpet, Jimmy Grenato on clarinet & Truck Parham on bass.

George Brunies Art Hodes Film clip


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i've found a new baby
performing I've Found a New Baby. In case you don't know, Georg(e) is on Trombone, Hodes on Piano. Love the line he says right at the end of this clip!

Bud Freeman with Art Hodes pt1


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You Took Advantage of Me, Dinah, and Three Little Words(Which is continued on pt 2)

Sidney Bechet, "AT THE JAZZ BAND BALL" (1949)


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"At the Jazz Band Ball" Sidney Bechet's Bluenote Jazzmen
Recorded 1949 for Bluenote 561

First introduced by the Original Dixieland Jazz Band in 1918, written by Larry Shields and Nick LaRocca.

Sidney Bechet was born in New Orleans in 1897 and was a child prodigy on the clarient and soon surpassed his teachers and even as a child, he was playing with some of the top bands in New Orleans. At the age of 20, he arrived in Chicago and played with King Oliver and in 1919 he was touring Europe where he was a great sensation. It was in London that he bought his first soprano saxophone. Back in the United States, he began his recording career and worked with Clarence Williams, Louis Armstrong, Nobel Sissel, and even had a short stint with Duke Ellington.

It was in Europe that he achieved his greatest success and where eventually made his home, but he never forgot the New Orleans tradition that nurtured and inspired him. Bechet died in Paris, France, on his 62nd birthday, May 14, 1959.

Castelbrando Cison di Valmareno









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5° anniversario Ditta "TEGOLA CANADESE"
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Partenza da Padova con Fabio Reguzzoni alle ore 10 di mattina...
Arrivo a Cison di Valmareno alle ore 13.Scarichiamo leggii,impianto voce e partiture.
Nel frattempo arrivano i musicisti della jazz band.
Alle 15 attacchiamo "Strutting with some barbecue" sullo scalone esterno del maniero: sembrava d'essere in paradiso.
Alle 17 ci trasferiamo nel salone principale del Castello: 500 ospiti.
Le note di Fidgety Feet,Tiger Rag ,Original Dixieland One Step..etc carambolavano come bocce di biliardo da una parete all'altra....l'atmosfera era diventata in breve tempo surriscaldata. Indaffarati camerieri con il volto serio ci passavano davanti portando vassoi colmi di "flutes" di Prosecco,mentre belle signore ingioiellate ci guardavano con occhi languidi...
Smoking...profumi ...quel cicaleccio tipico delle occasioni importanti.
Che opulenza!
Pareva d'essere a Chicago negli anni d'oro del Jazz.
Che bel ricordo...
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Front Line
Gastone Bortoloso/cornetta
Francesco Ganassini/clarinetto
Beppe Calamosca/trombone
Renzo De Rossi/sax tenore&baritono&soprano
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Second Line
Fabio Reguzzoni/piano
Stefano Lionello(sostituiva Beppe Pilotto)al contrabbasso
Riccardo Baggio/batteria
Alberto Maria Cipolli/leader & jazz singer
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Original Dixieland Jazz Band® - Fidgety Feet