SCM Music Player

mercoledì 22 aprile 2009

The Sheik of Araby - Louisiana Jazz Band


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

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


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

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

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

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

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

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

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

martedì 21 aprile 2009

Storia del Jazz-origini

Storia del jazz. Gli schiavi neri, deportati dall'Africa dal 1500 al 1865, si incontrarono con gli europei giunti a colonizzare le Americhe, e dall'incrocio di forze sotterranee di un popolo considerato istintivo (gli africani) e dall'idealismo occidentale nato dalla Grecia classica e dal mondo germanico fiorì una nuova forma culturale basata sulla creatività istintività conviviale e sull'improvvisazione; vocale e strumentale. Nel sud degli Stati Uniti gli schiavi neri si mantennero legati alla loro musica e innanzitutto al canto; gli strumenti musicali portati dall'Africa, in particolare i tamburi, furono infatti confiscati in quanto i bianchi credevano che fossero usati per comunicare e per incitarsi alla ribellione. Le canzoni, work songs, le plantation songs, avevano vita per vincere la condizione di inferiorità e assoggettamento al quale erano costretti e per non dimenticare la propria identità delle quale i black codes (codici per i neri) li avevano privati. La tradizione musicale africana era collegata ad avvenimenti della vita quotidiana agricola e pastorale e manifestazioni guerresche. La tradizione europea fornì l'impulso per attingere da altre forme musicali: la musica classica, i canti religiosi, le canzoni folcloristiche, le musiche da ballo, le marce, le opere liriche, e infine gli strumenti musicali dal pianoforte agli strumenti a fiato. Tra le musiche sacre mutuate, un esempio è Oh Tannenbaüm, successivamente adattato a marcia e suonato in stile jazz Infine il jazz definito New Orleans è basato sull'improvvisazione collettiva normalmente a tre voci; tromba, clarinetto e trombone. I temi provengono dal ragtime, dal blues, dalle marce, dalle canzoni popolari dell'epoca. Il termine dixieland spesso indica opere interpretate da musicisti bianchi come, per esempio, l'Original Dixieland band. C'erano delle piccole orchestre che si potevano incontrare nelle strade di New Orleans; i cosiddetti street parade. Erano delle parate musicali che venivano utilizzate per le feste pubbliche come il Mardì Gras, per le manifestazioni, e a scopo pubblicitario: l'arrivo o la partenza di un battello, campagne elettorali, o l'apertura di un nuovo locale. Si accompagnava con ritmi lenti un funerale, per poi lanciarsi in ritmi scatenati al ritorno dalla sepoltura. Durante la Prima Guerra Mondiale, a seguito della chiusura dei bordelli di New dalla parte del Ministro della Marina Militare, i musicisti, trovandosi senza lavoro, cercarono fortuna al Nord, risalendo il Mississippi. A Chicago, King Oliver, Louis Armstrong e altri fecero conoscere questa musica ad un vasto pubblico, ed alcuni giovani, come il cornettista Bix Beiderbecke ne furono attratti. Le prime importanti incisioni fatte da musicisti neri risalgono al 1923, dalla King Oliver's Creole Jazz Band, gruppo che incluse alcuni dei più importanti musicisti di New Orleans a Chicago. Duranti gli Anni '20 il jazz conobbe negli USA una grande popolarità. I centri più importanti per le incisioni discografiche erano a Chicago e a New York, ma in tutto il resto dell'America e in Europa furono di gran voga i balli associati a questa musica. Fu allora che nacque THE JAZZ AGE. Storia del jazz. L'etimologia della parola JAZZ, e' sconosciuta, ma il grande Dizzy Gillespie diceva che "jasi", in un dialetto africano, significa Vivere ad un ritmo accelerato. Nella realta' esistono molte versioni sulle origini di questa parola, forse deriva da "chase" (caccia), o dall'inglese "jasm" (energia) o addirittura ancora da "jazz-belles", con il quele venivano chiamate le prostitute di New Orleans. I musicisti venivano chiamati infatti "jasbo" e "jass", parola sconcia con la quale (nelle case di tolleranza dell'epoca) si incitavano i clienti a ballare. Il jazz è un linguaggio musicale estremamente emozionale, nato dall'improvvisazione, ma che necessita allo stesso tempo di notevole tecnica; basato sulla varietà ritmica e del fraseggio, su giri armonica e splendide melodie. Pur essendo principalmente musica strumentale, il jazz ha espresso nel tempo, a cominciare da quella di Bessie Smith, voci straordinarie per intensità, calore interpretativo e tecnica. Il jazz nasce e prende forma con l'affermarsi nella società americana della minoranza nera, ma discende da quando gli schiavi neri d'America si erano inventati la loro musica: memorie di ricordi africani trapiantate sulle sonorità popolari dei bianchi e contaminate dai canti religiosi cristiani. Dapprima il canto accompagna il lavoro (il blues) quindi diviene preghiera (spiritual e gospel). Ma possiamo dire che l'inizio si puo' identificare in New Orleans. La città di New Orleans, sul finire dell'800, era un insieme di popoli e razze, essendo stata dominata, nel tempo da spagnoli, francesi, inglesi e anche italiani. Qui e' nato il jazz, anche se in molte zone degli Stati Uniti, contemporaneamente, il particolare modo di vivere la musica da parte dei neri era presente sin da epoche remote. New Orleans costituì, però, il baricentro delle tendenze e degli stilemi originari del jazz. I worksongs che i neri cantavano nelle campagne durante il lavoro, gli spirituals nelle funzioni religiose, i blues, si riversarono tutte assieme nelle originarie e primitive forme del jazz. Per questo New Orleans rappresentò il centro di riferimento nel quale le varie tendenze della musica nera trovarono il loro sbocco naturale. Fino agli anni trenta i principali musicisti di jazz provenivano da New Orleans e la maggior parte di loro aveva iniziato lì la sua carriera musicale. Una delle caratteristiche sicuramente più interessanti di New Orleans è che nella città convivevano due comunità nere profondamente diverse tra loro, ognuna con il proprio patrimonio etnico e culturale: i creoli e quelli che possiamo definire più genericamente i neri americani. Mentre i neri americani costituivano la parte più povera del proletariato di New Orleans, molti creoli erano ben integrati nella realtà economico-sociale della città e avevano una estrazione piccolo borghese. Lo stile di New Orleans nacque dall'incontro tra questi diversi gruppi: nello Storyville, "http://www.thestoryvilledistrict.com/", il quartiere riservato alle case di tolleranza, che con i suoi innumerevoli locali costituiva un incredibile punto di ritrovo e la rampa di lancio per i molti musicisti e cantanti; nelle strade della città, dove si esibivano le "bands" dei cortei funebri che accompagnavano i defunti al cimitero suonando musiche di circostanza. Quando tornavano in città suonando musiche colorite e allegre; durante i festeggiamenti del carnevale. la caratteristica principale dello stile di New Orleans e' l' esecuzione di linee melodiche improvvisate in collettivo su semplici e tradizionali progressioni armoniche, con la presenza centrale di tre strumenti tromba, trombone e clarinetto accompagnati da una sezione ritmica, che si inseguono alternarnamdosi e innestandosi tra loro. Tappa fondamentale quanto consequenziale a New Orleans fu Chicago. Infatti, dopo la chiusura dello Storyville di New Orleans (voluta dalle autorità militari statunitensi all'entrata in guerra degli U.S.A. per non turbare i militari di leva nella città), i musicisti rimasero senza lavoro, rifugiandosi a Chicago dove trovarono ospitalità nei numerosi club, music-hall e locali, nell'ambito della più generale migrazione delle popolazioni nere verso le terre del Nord.Durante gli anni '20, l'originario stile di New Orleans trovò la sua vera fioritura in Chicago, e qui si affermò definitivamente. Nella southside di Chicago, il quartiere nero, si sviluppò una fervente attività musicale e jazzistica. Qui vennero incisi i primi capolavori del jazz da parte delle bands e qui si affermò definitivamente. Nella southside di Chicago, il quartiere nero, si sviluppò una fervente attività musicale e jazzistica. Qui vennero incisi i primi capolavori del jazz da parte delle bands guidate da King Oliver, poi da Louis Armstrong ( http://www.satchmo.net/index1.html ), Johnny Dodds, Jelly Roll Morton, Jimmie Noone . Contemporaneamente a questa affermazione dello stile di New Orleans a Chicago, un gruppo di musicisti bianchi, dilettanti e professionisti maturò una propria interiorizzazione del jazz suonato dai neri, dando vita ad uno stile proprio, lo stile di Chicago. gli elementi della cultura occidentale e bianca contaminarono il jazz nero. guidate da King Oliver,poi da Louis Armstrong, Johnny Dodds, Jelly Roll Morton, Jimmie Noone .partendo dal modello di improvvisazione collettiva dello stile New Orleans, a poco a poco, la sensibilità bianca derivata dai modelli musicali europei introdusse soluzioni armoniche più raffinate e sempre crescendo, la valorizzazione dell'elemento solistico che all'apice dello stile di Chicago, si tradurrà nella preponderanza dell'improvvisazione del singolo e nella dominazione del sassofono, nonché nella nascita delle grosse formazioni (Big Bands ), annunciando il jazz degli anni trenta e lo stile Swing. Chicago fu, dunque, un centro che segnò profondamente l'evoluzione del jazz e rimase costantemente un importante punto di riferimento per i musicisti, tanto è vero che, negli anni '60, diverrà uno dei più importanti luoghi in cui si solidificheranno le tendenze d'avanguardia musicalmente e politicamente più radicali della cultura nero-americana, delle quali l'Art Ensemble of Chicago Fonte :http://docenti.lett.unisi.it/files/12/2/4/20/Gruppo_5_Storia_del_Jazz.doc

sabato 11 aprile 2009

Tin Roof Blues - Jack Teagarden 1950


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

Jack Teagarden Basin Street Blues


Basin Street Blues Teagarden Jack 1958

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

Tin Roof Blues - The Harlem Ramblers, Humphrey Lyttelton


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

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

venerdì 10 aprile 2009

Edward Hopper



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

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

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

martedì 7 aprile 2009

Eddie Condon Band 1938


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

lunedì 6 aprile 2009

Kustbandet-Someday Sweetheart-Benny Carter in Stockholm, Sweden


Someday Sweetheart Carter 1980

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

Melancholy Blues - Portena Jazz Band 1972


Melancholy Blues - Portena Jazz Band 1972

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

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

Mezzrow - Lyttleton 1986


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

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


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

Mike Daniels' Delta Jazzmen -Aunt Hagar's Blues


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

sabato 4 aprile 2009

Fidgety Feet - LINO PATRUNO


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

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

Lino Patruno & his Hot Five:Muskrat Ramble


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

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

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

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

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

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

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



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

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

Squeeze Me - Oscar Klein and Lino Patruno


Oscar Klein (trumpet)
Lino Patruno (guitar)

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

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

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

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

"Jazz Me Blues" KENNY DAVERN, OSCAR KLEIN, LINO PATRUNO


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

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

giovedì 2 aprile 2009

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


KENNY DAVERN, OSCAR KLEIN, LINO PATRUNO
"At the Jazz Band Ball"
Kenny Davern (clarinet), Oscar Klein (cornet), Lino Patruno (guitar), Roy Crimmins (trombone), Isla Eckinger (bass), Gregor Beck (drums).
October 11 and 12, 1983

http://www.linopatruno.it
http://www.cambiamusica.it
http://www.michaelsupnick.com
Original Dixieland Jass Band (ODJB) was a New Orleans band that made the first jazz recording in 1917. The group made the first recordings of many jazz standards, probably the most famous being "Tiger Rag." In late 1917 it changed the name's spelling to "Jazz."

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

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

Someday Sweetheart - Hodes Art 1968(Eddie Condon)


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

Tyree Glenn : Jeepers Creepers


Jeepers Creepers Glenn Tyree 1958

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

mercoledì 1 aprile 2009

Rose Room-Albert Nicholas


***************************************
Rose Room Nicholas Albert 1958

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