OLD RIVER JAZZ SOCIETY

Villa Contarini

2009-07-31T07:58:00.000-07:00

Alberto Maria Cipolli(con "GIGIA" la sua automobile),Dario Prisco e Giancarlo Tombesi :
i soliti noti che caricavano leggii,partiture,impianto di amplificazione al termine dei concerti
Correva l'anno 1998
Villa Contarini
Piazzola sul Brenta
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OLD RIVER JAZZ SOCIETY
^^^^^^^^^^^^^^^^^^^^^^
Front Line
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Fabio Bettelle/cornetta
Dario Prisco/trombone
Francesco Ganassin/clarinetto
Renzo De Rossi/sax tenore & baritono
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Second Line
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Fabio Reguzzoni/pianoforte
Nino Corsaro/chitarra
Giancarlo Tombesi/contrabbasso
Andrea Napolitano/batteria
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Alberto Maria Cipolli/leader & jazz singer

Louis Armstrong

2009-07-31T02:12:00.001-07:00

Louis Armstrong, On the Sunny Side of the Street.
At "Timex All Star Show," April 30, 1958

Louis Armstrong, tromba-voce
Trummy Young, trombone
Edmond Hall, clarinetto
Billy Kyle, piano
Mort Herbert, basso
Danny Barcelona, batteria

The Forest Jazz Band

2009-07-31T02:02:00.000-07:00

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

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

Website:
www.theforestjazzband.com.
Bookings:
Ton Bos Productions
a.r.bos@hetnet.nl

Noale In Fiore

2009-07-25T10:05:00.000-07:00

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

Hotel La Rosa Alpina-San Cassiano

2009-07-25T09:01:00.000-07:00

San Cassiano
Hotel La Rosa Alpina
31 dicembre 1997
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La famiglia Pizzinini
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Desidero ringraziare la Famiglia Pizzinini della loro squisita cortesia ; in modo particolare Hugo, che ci ha accolti a braccia aperte
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Terminato il veglione di Capodanno, i musicisti della jazz band si rilassano nuotando spensierati e felici nelle acque tiepide della piscina.
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Front Line
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Renzo De Rossi/sax Tenore & Baritono
Fabio Bettelle/cornetta
Francesco Ganassin/clarinetto
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Second Line
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Fabio Reguzzoni/pianoforte
Nino Corsaro/chutarra
Giancarlo Tombesi/contrabbasso
Andrea Napolitano/batteria
Alberto Maria Cipolli/leader & jazz singer

www.rosalpina.com/hotel_history_i.htm

Bourbon Street Jazz Club

2009-07-24T09:56:00.000-07:00

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

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

Benny Waters & Hot Antic Jazz Band

2009-07-21T02:57:00.000-07:00

Benny Waters - Some of these days 1982
Caricato da boberwig. - Watch more music videos, in HD!

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

tutti

Willie Ashman Original Jazzband

2009-07-18T07:19:00.000-07:00

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

Exactly Like You - Jazz Vipers

2009-07-16T10:40:00.000-07:00

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

Döhrener Jazz-Festival : Hot Jazz Orchestra Hannover

2009-07-16T02:10:00.000-07:00

Jedes Jahr am Samstag nach Himmelfahrt findet das schon traditionelle Döhrener Jazz-Festival statt. Es gehört zu den jährlichen Highlight im Hannoveraner Musikkalender. Für das familienfreundliche Rahmenprogramm bietet der Fiedeler Platz das passende Ambiente.

Gleich drei Jazzbands aus Hannover erfreuten in diesem Jahr die Zuschauer und Organisatoren. Zu Letzteren zählen das Karnevalscorp Döhren und die Hannoversche Funkengarde. Zu sehen und zu hören waren: die Black Point Jazzmen, die Jazz Buddies und das Hot Jazz-Orchestra Hannover.

Zu den wohl beeindruckendsten Jazzbands gehört das HOT JAZZ ORCHESTRA HANNOVER. Schöne Melodien, traumhafte Soli, packende Rhythmen, Spielfreude pur auf höchstem Niveau, das alles und noch viel mehr bietet das HOT JAZZ ORCHESTRA HANNOVER.

Zu seinen Mitgliedern gehören:
Wolfgang Moelle (trumpet)
Georg Hilsch (clarinet, sax, voc.)
Detlef Hacks (trombone, voc.)
Michael Ziegler (banjo)
Gerhard Bode-Labusch (banjo)
Arpad Schacht (piano)
Hajo Lehmann (drums, voc.)
und Frank Stöbener (sousaphone, doube bass)
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http://www.hot-jazz-orchestra-hannover.de/

Alajmo Resort-Golf Club Alla Montecchia

2009-07-02T09:21:00.001-07:00

9 marzo 1999
Golf Club Alla Montecchia (Padova)
Alajmo Resort
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Rassegna : "invito a cena con il Jazz"
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FRONT LINE
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Moreno Castagna/sax soprano
Renzo De Rossi/sax baritono e tenore
Francesco Ganassin/clarinetto
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SECOND LINE
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Fabio Reguzzoni/pianoforte
Nino Corsaro/chitarra
Beppe Pilotto/contrabbasso
Roberto Beggio/batteria
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Alberto Maria Cipolli/leader & Jazz Singer
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Settembre 1999
Golf Club La Montecchia
Alajmo Resort
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FRONT LINE
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Marco Zambon/sax soprano
Renzo De Rossi/Sax baritono e tenore
Moreno Castagna/clarinetto
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SECOND LINE
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Fabio Reguzzoni/pianoforte
Nino Corsaro/chitarra
Beppe Pilotto/contrabbasso
Roberto Beggio/batteria
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Alberto Maria Cipolli/leader & Jazz Singer
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Basin Street

2009-06-20T05:23:00.000-07:00

The expensive end of Basin Street, in New Orleans’s Storyville, Louisiana:

The townhouse brothels of Storyville

Postcard view of Canal Street, a bit before the middle of the 20th century.(1940)

View is looking riverwards from around Crozat Street. To left is big archway of the Southern Railway Terminal building at Basin Street. Marquees for Saenger and Loew's Theaters seen. Streetcars running in middle of neutral ground

Basin Street at intersection with Canal Street looking downriver; Kraus Department Store Building seen across street.1935

The Tom Anderson Annex in "The District."
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Alecia P. Long--------------------------------------------------------------------------------
In the depths of the Great Depression, the federal government, led by a president with a vision of social justice and some interest in the fate of the nation's poorest and most vulnerable, oversaw the passage of the U.S. Housing Act of 1937. For once, local New Orleans leaders had their act together, and the city was the first in the nation to qualify for funds. The city's first six housing projects were racially segregated—two for whites, four for blacks—as was the case throughout much of the South.1 One of the projects for whites was named Iberville, in homage to one of Louisiana's founders, Pierre Le Moyne, sieur d'Iberville. Located two blocks from both the French Quarter and Canal Street, Iberville is one of only four housing projects that have been reopened to a pitifully small percentage of former residents since Hurricane Katrina. The complex sits on a valuable, enticing, and contested piece of real estate, ardently desired by investors and developers who want to "clean up" the area adjacent to the French Quarter and make it more business and tourist friendly. Despite Katrina's tragic breadth, a closer look at this neighborhood's history reveals that contemporary events resonate with a depressingly familiar past. This is not the first time city leaders have acted to move poor blacks out of this area in the name of "progress." Unfortunately, New Orleans has seen it all before. The neighborhood that became the infamous vice district Storyville, and later a public housing project—built for whites but ultimately populated entirely by African Americans—started out as the low-lying swampy backside of New Orleans proper, the lowdown doppelgänger of the higher, drier French Quarter. 1
When Katrina struck, the Iberville Housing Project had 673 occupied apartments. Some of its residents walked to the nearby French Quarter and worked hard but often invisibly, as maids in hotels or as kitchen staff in the Quarter's many celebrated restaurants. Lacking cars, credit cards, or the several hundred dollars in ready cash necessary to stage any kind of evacuation from the city, many of them stayed behind because they had no other choice. As the water began to rise, many Iberville residents waded through the muck and then lived through the hellish aftermath in either the Superdome or the Convention Center. When they were finally rescued five days later, they were widely dispersed across the country in the chaotic evacuation that followed. The residents of public housing, just like the city's other renters and homeowners, also lost their homes and neighborhoods when the flimsy, federally underfinanced levee system collapsed. Many Americans seem not to realize that fact or to care, perhaps because the housing was federally owned and subsidized

View is looking lakewards, probably from vantage point above the upper French Quarter. The street running horizontally at the bottom of the photo is Basin Street, with the Southern Railway train sheds running down the neutral ground. Streets running vertically from left to right are Customhouse (now Iberville), Bienville, Conti, and St. Louis. The first full block on the left along Basin between Customhouse and Bienville has the most famous upscale houses of the district, including Tom Anderson's, the Arlington, and Mahogany Hall. St. Louis Cemetery #1 is seen at bottom right. St. Louis Cemetery #2 is near the top, in the row of three blocks, with tree-lined Claiborne Avenue behind it. At the top right, a bit of the Caronedelet Canal (Old Basin Canal) is visible beside the railroad yards. The whole of "the District" is seen, which ran from Basin to St. Louis #2, Customhouse to St. Louis.
www.historycooperative.org/.../94.3/long.htmlNew Orleans. Aerial photograph from balloon, 1914, showing "The District" aka "Storyville".

www.perfessorbill.com

Wont you come and go with me
Down that mississippi
Well take a boat to the land of dreams
Come along with me on, down to new orleans

Now the bands there to greet us
Old friends will meet us
Where all them folks goin to the st. louis cemetary meet
Heaven on earth.... they call it basin street

Im tellin ya, basin street...... is the street
Where all them characters from the first street they meet
New orleans..... land of dreams
Youll never miss them rice and beans
Way down south in new orleans

Theyll be huggin.... and a kissin
Thats what I been missin
And all that music....lord, if you just listen
New orleans....i got them basin street blues

(instrumental break)

Now aint you glad you went with me
On down that mississippi
We took a boat to the land of dreams
Heaven on earth...they call it basin street

http://www.lyricsfreak.com/

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Dancehalls, Dives and Bordellos: Where New Orleans Jazz was Born
www.riverwalkjazz.org/jazznotes/Dancehalls/
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1. The parlor of Lulu White's Mahogany Hall

Fabrizio Cattaneo

2009-06-19T06:55:00.001-07:00

Fabrizio Cattaneo comincia ad interessarsi al jazz all’età di circa dieci anni ascoltando alcune incisioni di Louis Armstrong avute dal padre, anch’egli appassionato di questa musica. Affascinato dalla tromba inizia, intorno ai quindici anni, a frequentare il Louisiana jazz club di Genova dove riceve i primi rudimenti dal trombettista Maurizio Burdese.Da autodidatta intraprende la sua carriera musicale in seno ai New Orleans Stompers di Genova, di cui tuttora fa parte, dedicandosi al jazz di New Orleans. Nel corso degli anni ha sviluppato uno stile che attualmente spazia dallo stile New Orleans a quello Swing. Oggi suona attivamente e regolarmente con i prima citati New Orleans Stompers, con i Jambalaya Six di Vittorio Castelli e la Pegasus Brass Band di Milano, oltre a far parte integrante del Lino Patruno Jazz Show. Compare su LP e CD dei gruppi prima menzionati ed ha al suo attivo la partecipazione a importanti jazz festivals europei, nonché alla colonna sonora del film “BIX” di Pupi Avati e ad alcune trasmissioni televisive.In questi anni di attività ha avuto l’onore di suonare al fianco di Louis Nelson, Gorge Masso, Spiegle Willcox Scott Hamilton, Kenni Davern, Bob Wilber, Yank Lawson, Bob Haggart, Walter Payton, Jimmy Woode, Barry Martin, Freddie Kohlman, Rudy Balliu, Teddy Riley, Rulph Sutton... Da alcuni anni fa anche parte della Barry Martin New Orleans Reunion Band il cui artefice italiano è il noto trombonista di Milano Luciano Invernizzi. Ha collaborato con Romano Mussolini, Carlo Loffredo e tuttora collabora saltuariamente con Luciano Milanese, Andrea Pozza, Dado Moroni e molti altri.

LINO PATRUNO & HIS NEW ORLEANS JAZZ BAND: NEW ORLEANS, NEW ORLEANS
Fabrizio Cattaneo (trumpet),
Lucio Capobianco (trombone),
Claudio Perelli (clarinet, alto saxophone),
Lino Patruno (banjo),
Luciano Milanese (bass),
Walter Ganda (drums)
Milano 1986

Dixieland alla Cantina Di Manuela (Milano)

2009-06-19T06:49:00.000-07:00

Venerdì 19 giugno 2009 (a partire dalle ore 19.00 e sino alle ore 22.00) La Cantina di Manuela di Via Raffaello Sanzio 16 a Milano festeggia i suoi primi 10 anni di attività.

Occasione un appuntamento diventato ormai fisso nelle "agende" milanesi: Jazz & Champagne animato come sempre da Luciano Invernizzi – storico fondatore della Bovisa Jazz Band – il quale, "armato" del suo trombone ravviverà di atmosfere Dixieland la serata in compagnia di Daniele Tortora al contrabbasso, Guido Cairo al pianoforte e Vittorio Castelli al clarinetto & sax tenore (per gli amici della buona musica sono i "Luciano Invernizzi Jazz Four")

Como:Swing Crash Festival

2009-06-19T00:41:00.001-07:00

Dal 18 al 21 giugno la quarta edizione dello Swing Crash Festival, le danze e la musica degli anni '30-'40
COMO – Da domani piazza Cavour ospiterà le danze dei ballerini che partecipano al Swing Crash Festival. Il 18 giugno comincia, infatti, la quarta edizione di questa manifestazione, organizzata in collaborazione con l’assessorato alla Cultura, rappresentato da Sergio Gaddi. “II festival rientra nell’animazione estiva di Es.Co, la programmazione organizzata per rendere viva la città. Le piazze di Como sono un palcoscenico naturale per ospitare questi eventi, eventi di qualità e di livello internazionale”. “L'idea - spiegano gli organizzatori Vincenzo Fesi e Isabella Gregorio - è venuta dal desiderio di aprire al vasto pubblico la musica e la cultura swing degli anni Trenta e Quaranta nella sua forma autentica ed originale”.

Il programma
Campionato del Mondo per Team: torna la battaglia di danza fra Gangs in vero street style. Le squadre formate da un minimo di quattro ballerini si scontreranno in un torneo senza regole e con coreografie libere a eliminazione diretta all’insegna della musica swing. I vincitori saranno coloro che arriveranno in fondo senza andare K.O.
Tributo al concerto del 16 gennaio 1938 al Carnegie Hall per celebrare Benny Goodman: quest'anno cade il centesimo anniversario della nascita di Benny Goodman. Per celebrare questa ricorrenza verrà riproposto il concerto del 16 gennaio 1938 al Carnegie Hall di New York, che diede ufficialmente inizio alla Swing Craze. Sarà Paolo Tomelleri con la sua Big Band ad avere l'onore di celebrare il 100° compleanno del celebre artista.
Lo Show: il 19 giugno si volgerà uno spettacolo dedicato alla morte, avvenuta lo scorso 27 aprile a New York, del padre del Lindy Hop: Frankie Manning.
Dopo Festival "All Night Long": da mezzanotte e mezza si continuerà a ballare con la musica di Steven Mitchell, Red Pellini e Giorgo Cuscito che si esibiranno in tributi a Bix Beiderbecke, Fats Waller e Duke Ellington. Oltre ai concerti anche una scatenata gara di Charleston.
Non solo festa, ma anche studio: da venerdì 29 a domenica 21, presso il Collegio Gallio, ballerini professionisti provenienti da tutto il mondo daranno lezioni di danza. Gli studenti saranno divisi in tre livelli, dai principianti agli avanzati.

I direttori artistici e produttori Vincenzo Fesi ed Isabella Gregorio nel panorama swing mondiale sono considerati due stelle della danza non solo per la loro tecnica e passione, ma anche per la loro dedizione e continua ricerca storica per preservare la danza swing nella sua forma autentica. Hanno insegnato e si sono esibiti in tutto il mondo, conquistando oltre all’Europa anche Corea del Sud, Autralia, Russia ed America. Sono gli ideatori, direttori artistici e produttori dello Swing Crash. Lo Swing Crash è un festival unico a livello mondiale, in quanto gratuito e capace di fondere musica dal vivo e danza ai massimi livelli artistici.

info@swingcrashfestival.com
www.swingcrashfestival.com

Ragtime Rick with the Cake Walking Jass Band

2009-06-11T23:03:00.001-07:00

The Cake Walken Jass Band

2009-06-11T23:00:00.000-07:00

The Cake Walken Jass Band

2009-06-11T22:58:00.000-07:00

Ricordo di BOBBY HACKETT

2009-06-08T21:59:00.000-07:00

Bobby Hackett, the cornetist whose mellow tone and graceful style made him a favorite of both jazz and pop music audiences.

Whitney Balliett described Bobby Hackett in The New Yorker as "a unique and extremely successful alloy of Beiderbecke and Armstrong."

"His tone." Mr. Balliett wrote "which is quiet and shining, resembles Beiderbecke's and so does his three-steps-up, two steps down method of improvising. But his sustained notes and way of playing just behind the beat and of occasionally slipping into double time are straight out of Loouis Armstrong."

Born in Providence, R.I. Bobby Hackett began his music caeer by studying the violin but switched to the trumpet and later to the cornet. He began playing professionally while in his teens and was soon appearing with some of the best known names of the "Big Band Era."

Bobby Hackett appeared with Benny Goodman, Louis Armstrong, Glenn Miller and Paul Whiteman among others.

"Music should be pretty," he said. "You should hear and recognize the melody. And real greatness is in the simplicity. Simple things are the hardest to play and the easiest to listen to."

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Bobby Hackett:il cornettista preferito da tanti appassionati di jazz per il timbro vellutato del suo strumento e lo stile elegante del suo fraseggio .

Il critico musicale Whitney Balliett lo descrive così nel "the New Yorker" : "una ottima sintesi degli stili di Beiderbecke e Armstrong."

Il motivo? Perchè "Il timbro" della sua cornetta è pacato e rotondo come quello di Beiderbecke ; ma sulle note alte e sul modo di suonare rilassato , che scivola occasionalmente in tempo doppio, ricorda quello del grande Louis Armstrong".

Nato a Providence, Hackett Bobby R.I. inizia gli studi musicali con il violino; successivamente passa alla tromba ed infine alla cornetta.
Ancora adolescente intraprende in modo professionale la carriera di musicista, e nel giro di pochi anni lo vediamo a fianco di alcuni dei nomi più prestigiosi della "Swing Era" :
Benny Goodman, Louis Armstrong, Glenn Miller e Paul Whiteman ,tanto per citarne alcuni.
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"Conoscere la musica non è sufficiente ".
"È necessario sentire e riconoscere la melodia".
"E la cosa più grande è la semplicità: le cose semplici sono le più difficili da suonare e le più godibili e facili da ascoltare".

Scusate la mia "libera" traduzione
Alberto Maria Cipolli

Every Tub Scaniazz

2009-06-08T08:17:00.000-07:00

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

Ricordo di Gorni Kramer

2009-05-23T22:39:00.000-07:00

Nell'immaginario collettivo degli italiani Gorni Kramer è stato soprattutto uno dei più prolifici compositori di musiche per spettacoli teatrali .Ma ben pochi sanno che
per ben 15 anni (1935 -1950)fu uno degli alfieri del jazz italiano.
Infatti già nel 1934 lo troviamo a Milano , all’Embassy Club.
Inizialmente si esibiva con un quintetto, poi formò una vera e propria orchestra, detta l’orchestra del Circolo dell’Ambasciata.
Nonostante l'ostracismo del regime fascista verso il nuovo genere musicale americano ,le evidenti sfumature jazzistiche della musica suonata da Kramer iniziarono a riscuotere un crescente interesse fra il pubblico più giovane ,ghiotto di novità musicali d'oltreoceano.
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http://www.ibs.it/disco/4010073000896/gorni-kramer/jazz-italy-the.html?shop=2057
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Vi proponiamo questa splendida esecuzione di Body and Soul (1940)di grande spessore artistico

The Sheik of Araby - Louisiana Jazz Band

2009-04-22T10:04:00.000-07:00

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

Linger Awhile - Tom Baker, Dan Barrett, Michael Supnick

2009-04-22T09:57:00.000-07:00

Ascona Jazz Festival (Switzerland)
Trombones - Tom Baker, Dan Barrett, Michael Supnick
Rossano Sportiello (piano), Lino Patruno (guitar), Guido Giacomini (bass), Giampalo Biagi (drums)

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

2009-04-22T09:52:00.000-07:00

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)

Storia del Jazz-origini

2009-04-21T22:59:00.000-07:00

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

Tin Roof Blues - Jack Teagarden 1950

2009-04-11T08:05:00.000-07:00

Tin Roof Blues - Jack Teagarden 1950
Caricato da boberwig

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

2009-04-11T07:58:00.000-07:00

Jack Teagarden Basin Street Blues
Caricato da boberwig

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

2009-04-11T07:05:00.000-07:00

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

Exactly Like You (Pour Vous) - Django Reinhardt

2009-04-11T06:58:00.000-07:00

Quintette du Hot Club de France: Stephane Grappelly (Vin), Joseph Reinhardt, Pierre Ferret (G), Louis Vola(b), Freddy Taylor (Vcl)

Paris, October 15th 1936

Georgia on My Mind - Django Reinhardt-Grappelli

2009-04-11T06:47:00.000-07:00

Georgia on My Mind - Carmichael-Gorrell Quintette du Hot Club de France: Stephane Grappelly (Vin), Joseph Reinhardt, Pierre Ferret (G), Louis Vola(b), Freddy Taylor (Vcl) Paris, May 4th 1936
*****
Regalino ...dello zio Alberto Maria

Edward Hopper

2009-04-10T03:03:00.001-07:00

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."

Eddie Condon Band 1938

2009-04-07T07:54:00.000-07:00

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

Marc Chagall:un maestro del 900

2009-04-06T23:40:00.000-07:00

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

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

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

Kustbandet-Someday Sweetheart-Benny Carter in Stockholm, Sweden

2009-04-06T23:21:00.000-07:00

Kustbandet-Someday Sweetheart
Caricato da boberwig

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!

Mabel’s Dream :Carlings 1985

2009-04-06T23:11:00.000-07:00

Carlings 1985
Caricato da boberwig

Mabel’s Dream – Carlings- Bent Persson 1985
During a jazz festival in Poland famous Swedish trumpetplayer Bent Persson came to sit in with the young Carling family. The Carlings had practiced and learned some of the early jazz classics. A totally amazing situation. Where do you find a family where the members are 16, 14, 10 and 6 who learned a tune as complicated as Mabel’s Dream and then able to perform this on an international jazz festival. Originally from the Oliver/Armstrong recordings from 1923, many of todays traditional jazz bands have tried and play this tune, but I have never seen or heard a group that young and so together stylewise making such an affort.
Bent Persson must have been totally impressed himself and joined them for a number of tunes.
A year later Bent, who was working on his project of recording all the Armstrong Hot Chorusses decided to use the Carlings and recorded with them some six tunes. Unfortunately these have now been replaced by re-recordings on CD’s and Bent or the producers decided to use different and more experienced musicians. That’s how it goes in the commercial world. I am glad I own the original recordings on the first issue on LP, and I’m also glad that my friend Dymitr Markiewicz, a fine trombonist who played with father Hans Carling in those years had collected and kept some videos from 1985 and send these to me just recently.
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questo è il "vero" New Orleans Style !
questi ragazzini sono favolosi...

Melancholy Blues - Portena Jazz Band 1972

2009-04-06T23:04:00.000-07:00

Melancholy Blues - Portena JB 1972
Caricato da boberwig

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

2009-04-06T10:22:00.000-07:00

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

2009-04-06T10:13:00.001-07:00

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

2009-04-06T10:02:00.000-07:00

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

Fidgety Feet - LINO PATRUNO

2009-04-04T00:33:00.000-07:00

Fidgety Feet - LINO PATRUNO
Caricato da supnick

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

2009-04-04T00:28:00.001-07:00

Muskrat Ramble - LINO PATRUNO & his Hot Five
Caricato da supnick

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

****************************************************************************

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

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

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

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

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

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

2009-04-04T00:22:00.000-07:00

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

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

2009-04-04T00:18:00.000-07:00

Squeeze Me - Oscar Klein and Lino Patruno
Caricato da supnick

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

2009-04-04T00:14:00.000-07:00

"Jazz Me Blues" KENNY DAVERN, OSCAR KLEIN, LINO PATRUNO
Caricato da supnick

******************************+
"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

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

2009-04-02T08:19:00.000-07:00

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

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)

2009-04-02T08:12:00.000-07:00

Someday Sweetheart - Hodes Art 1968
Caricato da boberwig

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

2009-04-02T06:28:00.000-07:00

Jeepers Creepers Tyree Glen
Caricato da boberwig

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.

Rose Room-Albert Nicholas

2009-04-01T10:31:00.000-07:00

Rose Room-Albert Nicholas
Caricato da boberwig

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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.

MILANO JAZZ GANG & Herbert Christ play "Sing You Sinners

2009-03-30T00:09:00.000-07:00

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This wonderful Jazz-group performed in Budapest at The Palace of Arts. Enjoy it !

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

2009-03-29T08:04:00.001-07:00

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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

St Louis Blues-Muggsy Spanier

2009-03-27T05:57:00.000-07:00

St Louis-Muggsy Spanier
Caricato da boberwig

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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

2009-03-27T05:55:00.000-07:00

Muggsy Spanier Beale Street blues
Caricato da boberwig

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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

2009-03-27T05:52:00.000-07:00

Mugsy Spanier with Bob Crosby -Dippermouth Blues-1940's
Caricato da redhotjazz

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China Boy - Lino Patruno and Oscar Klein

2009-03-27T05:44:00.000-07:00

China Boy - Lino Patruno and Oscar Klein
Caricato da supnick

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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

Panama - Bob Cats

2009-03-26T10:46:00.000-07:00

Panama - Bob Cats
Caricato da boberwig

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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

2009-03-26T10:43:00.000-07:00

Bob Cats Who's Sorry Now
Caricato da boberwig

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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

2009-03-26T10:37:00.000-07:00

King Porter Stomp D S C
Caricato da boberwig

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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

2009-03-26T10:31:00.000-07:00

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

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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

2009-03-26T10:28:00.000-07:00

Chicago Eddie Condon 1964
Caricato da boberwig

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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

2009-03-26T10:25:00.000-07:00

Singin' the blues - Billy Butterfield
Caricato da boberwig

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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

2009-03-26T10:17:00.000-07:00

High Society Hodes Bigard 1968
Caricato da boberwig

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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

2009-03-26T10:14:00.000-07:00

I've found a new baby Art Hodes
Caricato da boberwig

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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

2009-03-26T10:12:00.000-07:00

Bye and Bye - Dukes of Dixieland 1962
Caricato da boberwig

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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

2009-03-26T10:06:00.000-07:00

Everybody loves My Baby
Caricato da boberwig

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"

AnimaJazz News

2009-03-26T00:26:00.000-07:00

ANIMAJAZZ n° 345

ORARIO DI TRASMISSIONE: GIOVEDI dalle 20,30 alle 21,30, IN DIRETTA WEB
su: www.puntoradio.fm

DOWNLOAD PROGRAMMA: DAL VENERDI (per circa 3 settimane) DALLA HOME PAGE
DEL SITO DI ANIMAJAZZ: www.animajazz.it (cambiando estensione in MP3
durante la scelta di destinazione)

RICORDA IL SERVIZIO: "SEGNALA CONCERTO" PER LA PROMOZIONE DEI TUOI
CONCERTI.

INSERITE I DATI AVENDO CURA DI RIEMPIRE TUTTI GLI SPAZI OBBLIGATORI ED
INSERITE TESTI MOLTO SINTETICI NELLO SPAZIO FINALE "TESTO", ALTRIMENTI LA
NOTIZIA NON VERRA' PUBBLICATA.

Sulla destra della Home Page figureranno tutti i concerti segnalati,in
sintesi.Cliccandoci sopra si aprirà una intera pagina con tutti i
dettagli del concerto.

Per CD da promuovere, inviare il materiale discografico a questo
indirizzo:

BRUNO POLLACCI - "AnimaJazz" - Via G.Bonamici n° 8 - 56122 Pisa .

Ricordo che chiunque cerchi di comunicare con me via e-mail e riceva
indietro i messaggi per "Mail Box piena", può contattarmi sulla seconda,
alternativa e-mail di "emergenza": animajazzitalia@yahoo.it

Bruno Pollacci

"AnimaJazz" - "A Voice, A Soul" - Pisa

Notizie per JC News

2009-03-26T00:16:00.000-07:00

Notizie per JC News - 30.3.2009

La Redazione di Jazz Convention (www.jazzconvention.net) ricorda agli operatori del settore che il 30 marzo 2009 verrà inviato JC News agli iscritti alla mailing list del sito.

JC News riporta i nuovi articoli e le nuove recensioni pubblicate sul sito, insieme alle notizie e agli eventi presenti in Agenda e Comunicati.

Attraverso i form interattivi delle due sezioni, è possibile inserire, in modo autonomo, le date dei concerti, i programmi delle rassegne e tutte le attività legate al mondo del jazz. Le notizie saranno pubblicate direttamente su Jazz Convention, assieme al link, facoltativo, alle pagine web del musicista o del festival.

Il prossimo numero di JC News conterrà le notizie presenti sul sito al 29 marzo 2009 e coprirà il periodo che va dal 30 marzo 2009 al 15 aprile 2009.

Fabio Ciminiera
Jazz Convention Team
----------------------
www.jazzconvention.net
www.myspace.com/jazzconvention
e-mail: fabiociminiera@jazzconvention.net
mob: +39.347.4098632
skype: fabio.ciminiera

That's A Plenty - December Band 1965

2009-03-25T00:42:00.000-07:00

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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.

Jack Teagarden plays "Basin St Blues" and "That's a Plenty"

2009-03-25T00:35:00.000-07:00

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These 2 great jazz classic's are played by Jack, his brother Charlie on Trumpet, Pud Brown Sax, Marvin Ash piano, Ray Leatherwood Bass, Ray Bauduc drums, Matty Madlock clarinet,

When You're Smiling

2009-03-24T09:53:00.000-07:00

When You're Smiling
Caricato da supnick

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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 )

2009-03-24T09:51:00.000-07:00

New York All Stars Riverboat Shuffle
Caricato da boberwig

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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!!

Woody Allen New Orleans Jazz Band

2009-03-24T09:43:00.000-07:00

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Amateur footage of Woody Allen New Orleans Jazz Band in concert. The song is entitled "All The Girls Go Crazy'. Additional information can be found at http://www.woodyallenband.com

Flying to New Orleans - George Lewis Jazz Band - by Patruno

2009-03-24T09:36:00.000-07:00

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"Flying to New Orleans"
Documentary by Lino Patruno.
New Orleans 30 years ago
"When the Saints Go Marchin' in" - music by George Lewis Jazz Band

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

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. Gary Giddins describes him as "an affecting musician with a fat-boned sound but limited technique".

George Lewis' legal name was George Louis Francois Zenon. He was born in the French Quarter of New Orleans, Louisiana. Lewis was playing clarinet professionally by 1917. He played with Buddy Petit and Chris Kelly regularly, and sometimes with trombonist 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. Bunk picked Lewis for the recording session. Previously almost totally unknown outside of New Orleans, Lewis impressed many listeners, and he made his first recordings under his own name for American Music Records, a label created by Bill Russell to document the music of Bunk Johnson and other surviving older jazzmen in New Orleans.

Although purists such as Alan Lomax held Lewis up as an exemplar of what jazz was like before commercialism, Lewis was, in Gary Giddins words, "no dinosaur". When Lomax brought him on a Rudi Blesh's radio show in 1942, he proceeded to play the solo from Woody Herman's then-recent hit "Woodchopper's Ball"; his hosts had no idea that Lewis was applying his style to one of the latest hot tunes.[2]

In 1944 Lewis 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 "Slow Drag" Pavageau brought their instruments to Lewis' bedside, Russell brought his portable disc recorder, and they recorded, among other things, the first version of what was to become George Lewis' signature number, "Burgundy Street Blues."

"Burgundy Street Blues" was titled by Russell, who also created new names for some of Lewis's interpretations of pop tunes, for example, "New Orleans Hula" for "Hula Lou." (This was perhaps done for copyright reasons, or occasionally because the musicians themselves reported the titles incorrectly.) "Burgundy Street" was originally simply an improvised blues based on figures to be heard on the records of Louis Armstrong, specifically Armstrong's Hot Five recording of Kid Ory's "Savoy Blues." Lewis was an enthusiastic admirer of Armstrong's music; the Armstrong solo on "Savoy Blues" is especially evident in Lewis' playing on "Burgundy Street."

Lewis stayed with Bunk Johnson's newly popular band through 1946, including a trip to New York City, where they played for dancing at the Stuyvesant Casino on Second Avenue. At this point, the personnel included Johnson, Lewis, Marrero, Pavageau, trombonist Jim Robinson, pianist Alton Purnell, and drummer Baby Dodds. While in New York, they recorded for both the Decca and Victor labels.

After Bunk's final retirement, Lewis took over leadership of the band, usually featuring Robinson, Pavageau, Marrero, Purnell, drummer Joe Watkins, and a succession of New Orleans trumpet players including Elmer Talbert, Avery "Kid" Howard, and Percy Humphrey. Starting in 1949 he was a regular at the French Quarter's Bourbon Street entertainment clubs, and had regular broadcasts over radio station WDSU. The Lewis band was featured prominently in the June 6, 1950 issue of Look magazine, with photos by Stanley Kubrick (later famous as a film director). National touring soon followed, and Lewis became a symbol of the New Orleans jazz tradition, traveling ever more widely, and often telling his audiences that his touring band was "the last of the real New Orleans jazz bands."

In 1952 Lewis took his band to San Francisco for a residency at the Hangover Club, then began to tour around the United States. In the 1960s he repeatedly toured Europe and Japan, and many young clarinetists from around the world modeled their playing closely on his. While in New Orleans, he played regularly at Preservation Hall from its opening in 1961 until shortly before his death.

George Lewis is name-checked in the Bob Dylan song "High Water" from the album "Love and Theft".
http://en.wikipedia.org/wiki/George_L...(clarinetist)
Categoria: Musica

the CLASSIC JAZZ FIVE - You' re driving me crazy

2009-03-24T09:34:00.000-07:00

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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 )

2009-03-24T09:29:00.000-07:00

Sorry - New York all Stars
Caricato da boberwig

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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.

Al Jolson e l'epiteto " Jazz Singer"

2009-03-22T12:35:00.000-07:00

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?

Hotel Termale Columbia-Abano Terme

2009-03-18T08:01:00.000-07:00

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Fotografia scattata all'Hotel Termale Columbia di Abano Terme
Inverno 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

2009-03-18T07:54:00.000-07:00

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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

Baby Won't You Please Come Home

2009-03-16T23:58:00.000-07:00

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

Aristotele

2009-03-16T10:00:00.000-07:00

«Chi è incapace di vivere in società, o non ne ha bisogno perché è sufficiente a se stesso, deve essere una bestia o un dio.»

Aristotele

After You've Gone - Polish Swedish Connection 2008

2009-03-16T09:55:00.000-07:00

After You've Gone - Polish Swedish Connection 2008
envoyé par boberwig

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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

2009-03-16T09:40:00.000-07:00

Jazz me blues-Hackett
envoyé par boberwig

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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.

Struttin' with Some Barbecue - Yank Lawson & Milan College Jazz Society

2009-03-16T09:15:00.000-07:00

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"Struttin' with Some Barbecue"
by Lil Hardin Armstrong
YANK LAWSON with LINO PATRUNO
and the Milan College Jazz Society
Yank Lawson (trumpet), Lucio Capobianco (trombone), Bruno Longhi (clarinet), Carlo Bagnoli (baritone), Sante Palumbo (piano), Lino Patruno (guitar), Luciano Milanese (bass), Carlo Sola (drums).
Milan (Italy), Oct. 23, 1979

John Rhea Lawson (born May 3, 1911 in Trenton, Missouri; died 1995 in Indianapolis, Indiana) was a jazz trumpeter known for Dixieland and also some swing music. He was known as "Yank Lawson" for most of his life.

From 1933 to 1935 he worked in Ben Pollack's orchestra and after that became a founding member of the Bob Crosby Orchestra. He later worked with Benny Goodman and Tommy Dorsey, but also worked with Crosby again in 1941. Later in the 1940s he became a studio musician leading his own Dixieland sessions. In the 1950s he and Bob Haggart created the Lawson-Haggart band and they worked together in 1968 to form the the World's Greatest Jazz Band, a Dixieland group which performed for the next ten years. He remained an important figure in Dixieland music until his death.
He was inducted into the Big Band and Jazz Hall of Fame in 1998.

Wally's Warehouse Waifs - HOT JAZZ MUSIC

2009-03-16T09:11:00.000-07:00

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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

2009-03-16T09:04:00.000-07:00

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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

2009-03-16T00:11:00.000-07:00

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.

William Shakespeare (1564 – 1616), poeta, commediografo, drammaturgo e attore britannico

2009-03-15T00:56:00.000-07:00

Spegniti, spegniti, breve candela! La vita non è altro che un'ombra che cammina; un mediocre attore che si pavoneggia e si dimena sul palcoscenico per il tempo della sua parte e poi non si ode più oltre. È una favola narrata da un idiota, piena di strepito e furia e senza significato alcuno. (da Macbeth, atto V, scena V, Macbeth
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Chi non ha denaro, mezzi, né contentezza è senza tre cose buone.
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Il male fatto dagli uomini sopravvive a loro, il bene viene seppellito con le loro ossa. (da Giulio Cesare)
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E chi muore senza portare nella propria tomba almeno una pedata ricevuta in dono da un qualche amico?
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Bud Freeman - Oscar Klein - Lino Patruno "Sugar"

2009-03-15T00:33:00.000-07:00

Bud Freeman - Oscar Klein - Lino Patruno "Sugar" - More amazing video clips are a click away
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"Sugar" BUD FREEMAN (tenor saxophone), OSCAR KLEIN (guitar), LINO PATRUNO(bass). May 26, 1975 http://www.linopatruno.it http://www.cambiamusica.it http://www.michaelsupnick.com Lawrence "Bud" Freeman (April 13, 1906 in Chicago, Illinois - March 15, 1991 in Chicago) was a US jazz musician, known mainly for playing the tenor saxophone, but also able at the clarinet. His smooth and full tenor sax style with a heavy robust swing was the only strong alternative to Coleman Hawkins' harder toned

Smiles - Lino Patruno Jazz Show Live at Olympic Theatre

2009-03-15T00:28:00.000-07:00

Smiles - Lino Patruno Jazz Show Live at Olympic Theatre - Click here for the most popular videos
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Michael Supnick (cornet), Gianni Sanjust (clarinet), Alberto Collatina (trombone), Lino Patruno (guitar and leader), Adriano Urso (piano), Guido Giacomini (bass), Gianluca Perasole (drums). http://www.linopatruno.it http://www.cambiamusica.it http://www.michaelsupnick.com

Eddie Condon All Stars - Blue And Broken Hearted

2009-03-15T00:21:00.001-07:00

Eddie Condon All Stars - Blue And Broken Hearted - The best bloopers are here
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Wild Bill Davison (ct), Cutty Cutshall (tb), Peanuts Hucko (cl), J. Varro (p), Eddie Condon (g), Joe Williams (b), Buzzy Drootin (d). NYC, 1962

The Lady/China Boy - Condon 1944

2009-03-15T00:18:00.000-07:00

The Lady/China Boy - Condon 1944 - The funniest movie is here. Find it
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The Lady/China Boy - Condon 1944 In 1944 Eddie Condon and his All Stars began their scheduled radio broadcasts on the Blue Network. Every Saturday afternoon they did half hour shows at 1.30 pm from the Town Hall in New York. The shows were transcribed by the Armed Forces Radio Service and broadcast around the world. This show won the first price in the GI popularity poll. The shows continued until around 1947. I believe some 45-50 shows were recorded and are now available on CD's through the ...

LINO PATRUNO CHICAGO SOUND:Sugar

2009-03-14T09:35:00.000-07:00

Sugar - Lino Patruno Jazz Show Live New Orleans Cafè, Rome
Caricato da supnick

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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

2009-03-14T09:30:00.000-07:00

"Rosetta" LINO PATRUNO & THE JAZZ STARS OF ITALY
Caricato da supnick

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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

2009-03-14T09:24:00.000-07:00

"Ja-da" LINO PATRUNO Jazz Show
Caricato da supnick

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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

2009-03-14T09:19:00.000-07:00

L. PATRUNO & RNOJB "Between the Devil and the Deep Blue Sea"
Caricato da supnick

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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

2009-03-14T09:13:00.000-07:00

Lino Patruno, Riverside JB, Original Lambro JB, Bovisa NOJB
Caricato da supnick

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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

2009-03-14T09:06:00.000-07:00

Messin´Around
Caricato da Jazztos

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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

2009-03-14T09:02:00.000-07:00

Tulsa Blues - Carlings 1986
Caricato da boberwig

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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.

2009-03-14T08:55:00.000-07:00

Blue And Brokenheated
Caricato da Jazztos

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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.

THE ASCONA ALL STARS Bourbon Street Parade

2009-03-12T10:09:00.000-07:00

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***IF YOU LIKE THIS THEN PLEASE SUBSCRIBE***
THE ASCONA ALL STARS Bourbon Street Parade 9:09
Jon-Erik Kellso (cornet), Dan Barrett (trombone), Sammy Rimington (clarinet), Frank Robensheuten (tenor saxophone), Butch Thompson (piano),
Lino Patruno (banjo), Truch Parham (banjo), Trevor Richards (drums)
Ascona 1999
http://www.linopatruno.it
http://www.cambiamusica.it
http://www.michaelsupnick.com

Adolphe Paul Barbarin (May 5, 1899 Feb 17, 1969) was a New Orleans jazz drummer, usually regarded (along with Baby Dodds) as one of the very best of the pre-Big Band era jazz drummers.
Paul Barbarin's year of birth is often given as 1901, but his brother Louis Barbarin (born 1902) said he was quite sure that Paul was several years older than him, and Paul Barbarin simply refused to answer the year of his birth in an interview at Tulane's Jazz Archives.
From the late 1910s on, Barbarin divided his time between Chicago, New York City and New Orleans, and touring with such bands as those of Joe "King" Oliver, Luis Russell, Louis Armstrong, and Henry Red Allen. From the 1950s on he usually led his own band. He, along with Louis Cottrell, Jr. founded and led the second incarnation of the Onward Brass Band from 1960 to 1969.
Barbarin was an accomplished and knowledgeable musician, a member of ASCAP, and the composer of a number of pop tunes and Dixieland standards, including Come Back Sweet Papa, Don't Forget To Mess Around (When You're Doing The Charleston), Bourbon Street Parade, and (Paul Barbarin's) Second Line.
Paul Barbarin died on February 17, 1969 while playing a New Orleans Mardi Gras parade.
http://en.wikipedia.org/wiki/Paul_Bar...

Golden Gate Rhythm Machine, "Emmaline"

2009-03-12T10:04:00.001-07:00

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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/