[Dixielandjazz] NY Times Jazz Review

[john petters]

Tom said

>Mr. Vaché got off some powerful high-register playing,
and Mr. Harper had the sense to made his own kind of ruckus without
ransacking Krupa's bag of tricks. But it was all merely amiable, where
>the originals are giddy with power.

.Yep:  Back to our original thoughts about  many of today's OKOM players:

No Fire in the Belly,  these guys are not having fun, they are being
>technicians.

I can't speak for the guys on that concert but I do know that doing the BG
small group repertoire does require fire in the belly unless it is to be
merely elevator music. I did a BG tribute cd a couple of years back (there
are sound clips on my web site) but we avoided the copy note for note
approach and the clarinet player (Trevor Whiting) does not sound like
Goodman and Nick Dawson, the pianist does not copy Teddy.
>From the drumming point of view, stylistically what Krupa did was suited to
that line up, so I played a lot of press rolls rim shots etc and 2 or 4 beat
bass drum so that the feel of the pre-be bop rhythm section was maintained.
We certainly put a lot of energy into the recording and it came out sounding
different to the BG trio. We had some good reviews too.
I also did a session with Kenny Davern in BG small group format and that
kicks because Kenny is a fiery player - but he does not sound like BG. He is
his own man. I have also heard recordings with him where the rhythm sections
have been too polite. Not so on a trio set he did with Art Hodes and Don
DeMichael some years back. That really caught fire
I do hear a lot of so called swing or mainstream jazz over here that is so
polite and blue blazer that I wonder if the performers have heard the early
stuff at all.

John Petters
Amateur Radio Station G3YPZ
www.traditional-jazz.com
----- Original Message ----- 
From: <TCASHWIGG at aol.com>
To: <dixielandjazz at ml.islandnet.com>
Sent: Monday, August 04, 2003 4:54 PM
Subject: Re: [Dixielandjazz] NY Times Jazz Review



In the concert's second half, a quintet played some of Goodman's much
more mature small-group recordings. This was the band with Teddy
Wilson, Lionel Hampton and Gene Krupa; their music smoked with voltage,
and few re-creations of it will do. A quintet — Allan Vaché on clarinet,
Dick Hyman on piano, Peter Appleyard on vibraphone, Sean Smith on bass
and Winard Harper on drums — gave a game try to tunes like "Seven Come
Eleven" and "The Man I Love." Mr. Hyman, the director of the concert
series, plays with impeccable time; even and precise, he gave the group
a subtle shove.

Bring on the Beads and wiggely butts!  What ever it takes to make people
smile and have fun again.

DIck Hyman is a brilliant Technician, but his playing bores me to death, but
there are many who adore him and his style, it is just not for me.

Big Tiny Little on the other hand is still having fun and playing good time
happy music and it ain't all Dixieland either.   His country music is as
good
as anybody's and better than most except maybe Ray Charles who just happens
to
be my favorite Country Artist, ( He has real Soul).

Cheers,

Tom Wiggins
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