[Dixielandjazz] Introduction to Dixieland Music

[Ron L'Herault]

I have to take exception to your characterization of the Firehouse Five
+ 2. and I must admit that I am way more fond of them than the Dukes.
For some reason, to me the FF+2 exuded joy when they played.  They just
seemed more interesting somehow.  I'd go with the recommendation given
and add to it rather than dismiss it.  After all, what speaks to one's
soul may not be heard by another's.

Ron L 

-----Original Message-----
From: dixielandjazz-bounces at ml.islandnet.com
[mailto:dixielandjazz-bounces at ml.islandnet.com] On Behalf Of John
Petters
Sent: Saturday, February 08, 2003 9:45 AM
To: James Kashishian; dixielandjazz at ml.islandnet.com
Subject: Re: [Dixielandjazz] Introduction to Dixieland Music

Jim Said in reply to new member David,
>Second, for beginners listening, and even for old >timers....any Dukes
of
>Dixieland (early) recordings are great.  Same with >Firehouse Five Plus
Oh dear Jim, with all the great music around in traditional jazz
history,
how can you seriously lead a newcomer to listen to the Dukes (competant
though they may be) or the circus music of the Fire House Five. Then
after
that, Louis Armstrong.
Louis should have come first, peferably the 1920s Hot Fives & Sevens,
then
King Oliver, Jelly Roll Morton, Bix Beidrerbecke, Original Dixieland
Jazz
Band, Eddie Condon, Wild Bill Davison Comnodores, Sidney Bechet's New
Orleans Feetwarmers (1932 sessions and beyond) the Bechet & Bill Blue
Notes - all real jazz of the highest calibre.
Your suggestion to David could be compared to me in the UK recommending
Chris Barber, Kenny Ball or Acker Bilk recordings as a starting point.
This
is what happened to a lot of players over here and in Europe who missed
out
getting the real jazz from the masters, settling for a third hand
version.
My advice to David and any other new comer to the music is go back to
the
roots and the roots were in the recordings of the 20s, 30s and 40s. Most
of
what came after does not come close. There are many fine musicians both
in
the States and other places playing very good jazz today, but the
innovators
have gone. There recordings remain however to be enjoyed, studied and
absorbed.
Welcome to traditional jazz David, listen and enjoy.
John Petters
www.traditional-jazz.com
Amateur Radio Station G3YPZ
----- Original Message -----
From: "James Kashishian" <kash at ran.es>
To: <dixielandjazz at ml.islandnet.com>
Sent: Friday, February 07, 2003 10:01 PM
Subject: RE: [Dixielandjazz] Introduction to Dixieland Music




-----Original Message-----
From: dixielandjazz-bounces at ml.islandnet.com
[mailto:dixielandjazz-bounces at ml.islandnet.com] On Behalf Of David Marut
Sent: viernes, 07 de febrero de 2003 19:41
To: dixielandjazz at ml.islandnet.com
Subject: [Dixielandjazz] Introduction to Dixieland Music

>Hi - new member here. What's a good CD intro to Dixieland music?

Welcome, David.  I was waiting for some other members to pop up first,
but there seems to be a slight distraction from our main theme
(Dixieland Jazz) at the moment, and people are responding to other
matters.  Sorry.  Hope you stick around for awhile.  There are some good
people here, and some interesting subjects.

First off, before you ask, if you see OKOM  mentioned on DJML, it means
Our Kind Of Music.  Keeps people from arguing over what title to use
where!

2.  And, for more in depth, of course, anything from Louis Armstrong.
I'm sure others will come up with longer, more serious lists, but that's
a good starter course.  Really, anything you enjoy will be enjoyable!
There are different styles from all over which make up OKOM.

Jim



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