[Dixielandjazz] Wild Bill and Art Hodes was "Copyin' Louis"

[john petters]

Jim said

>Thank you for relating this.  I wish that more musicians had the respect
for these precious originals in their elder years that they deserve.  That
was a very poignant thing  to say at the end of that concert.  I worked with
Art a lot over a period of years and Wild Bill, as well.  Sadly, Wild Bill
had no respect for Hodes, or for any other musician, for that matter. And
you are right in saying that those two had more depth even in their late
years than players on the >scene today.

It was a very great homour to work with these two and have them as house
guests. Art stayed with me for several days - Bill only visited. They were
like chalk and cheese. My impression of Bill as a human being was of a
rather shallow character, the opposite of Art, who was a deep thinker and
cared greatly for the music. Two days  before the tour ended, we were
playing at Oxford and Bill missed the first note on Hindustan and glared at
Art. He then made a remak about the godam piano player bringing it in too
fast. Since were were travelling to Cornwall the next night, I had arranged
for a fast car to take Anne and Bill together with Art and Jan to a hotel
half way. Art refused to travel in the same car as Bill.. I broached the
subject with Anne and she ticked him off saying that Art was a sick old man.
Bill replied, "Yeah, sick in the Godam brain - besides which , he's a
communist". I was puzzeled and asked Bill to elaborate. "He booked me for a
godam parade in 1941 and it was for the godam Reds". Seems Bill had not
forgotten that.
Next day all was well.

These two giants made wonderful music together over a period of well over 40
years. Their records with Bechet helped to form me musically, they were
among the first I bought when I discovered jazz.  Each had his own unique
voice which is identifiable almost instantly. No white performer got as
close to the Blues as Art Hodes - that may still be true. Perhaps  that is
why Lester was so keen to work with him.As for Bill, that cornet had a sound
totally different to anyone else. That is what sums it up - individuality.
I don't think either posessed a great technique on the instrument - but when
they played you heard their voices not a mere copy of anything else.
As to Bill's lack of respect for other musos - he didn't care for Pee Wee
but he liked Ed Hall. He did tell me his favourite drummer was Cliff Leeman.
While was with me, I played Bill the hillbilly sides he did with Krupa in 49
with that awful singer. He was knocked out - he said he had not heard them
since they were made.

Although I had limited exposure to only a few of the great names from the
early days, I think I learned more from them than anyone else. With Art and
Bill it was economy of notes. Many Brit and Euro bands play too many. I did
a nice session with Yank Lawson - still blowing a storm in his mid 70s - but
each note was measured. Its a case of less is more.

John Petters
Amateur Radio Station G3YPZ
www.traditional-jazz.com
----- Original Message -----
From: JimDBB at aol.com
To: jpettjazz at btinternet.com
Sent: Friday, July 18, 2003 10:09 PM
Subject: Re: [Dixielandjazz] "Copyin' Louis"


In a message dated 7/18/2003 3:44:05 AM Central Standard Time,
jpettjazz at btinternet.com writes:


On another tack, I was listening to a recording my band made in 89 with Art
Hodes and Wild Bill Davison. It was the final day of a 15 or 16 day tour. We
played at the Albert Hall in Bolton. Here were two more of the great voices
of jazz, both totally original and both saying things in their own way. At
the age of 85 and 83 respectively, they still had more depth than any of us
or any of the players I hear on our scene these days. We were in the
presence of royalty.
I announced to the audience at the end of the show that they were witnessing
jazz history and said that we would be back with the Legends of American
Dixieland 1990. Sad to say Bill was gone within months and Art was ill after
that.
John Petters


   Thank you for relating this.  I wish that more musicians had the respect
for these precious originals in their elder years that they deserve.  That
was a very poignant thing  to say at the end of that concert.  I worked with
Art a lot over a period of years and Wild Bill, as well.  Sadly, Wild Bill
had no respect for Hodes, or for any other musician, for that matter. And
you are right in saying that those two had more depth even in their late
years than players on the scene today.

I remember on a two month tour with Hodes and Wild Bill...they both turned
65 on that tour and both played their butts off each night.  I remember
marveling...'cripes, these guys are 65 and still playing magnificently.'

Regards,  Jim Beebe