[Dixielandjazz] Bobbie Silverman address for condolences
Eli Newberger
enewberger at attbi.com
Mon Jun 9 14:07:44 PDT 2003
Dear List,
Can someone give me an address (any kind) to send Bobbie a note of
sympathy?
Thanks,
Eli Newberger
-----Original Message-----
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Sent: Monday, June 09, 2003 12:50 PM
To: dixielandjazz at ml.islandnet.com
Subject: Dixielandjazz Digest, Vol 6, Issue 13
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When replying, please edit your Subject line so it is more specific
than "Re: Contents of Dixielandjazz digest..."
Today's Topics:
1. PEEWEE KIWI (Tom Wood)
2. Re: Wow on WING... (Bill Haesler)
3. Re: Al Washington (was Memphis Nighthawks) (Bill Haesler)
4. (Dave Washburn)
5. DJML, Vol 6, Issue 12 Radio OKOM (anichols)
6. Miss Wing (Stephen Barbone)
7. Re: Miss Wing (Russ Guarino)
8. Re: "OKOM" on Public Radio (Don Mopsick)
9. The Smugtown Stompers - 6/15/03 in PA
10. Mike Silvrman
11. Re: Re: Wow on WING... (Charlie Hooks)
12. RE: Wow on WING... (Bill Gunter)
13. RE: Wow on WING...; humor in music (Dan Augustine)
14. Re: RE: Wow on WING...; humor in music
15. Re: Re: "Hot" music on Riverwalk
16. Re: RE: Wow on WING...; humor in music (Bill Gunter)
17. Disaster recovery (Brian Harvey)
----------------------------------------------------------------------
Date: Mon, 9 Jun 2003 19:12:57 +1000
From: "Tom Wood" <zenith at ans.com.au>
To: "Dixieland Jazz" <Dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] PEEWEE KIWI
Message-ID: <000a01c32e67$51b60b60$09f4fea9 at tomwood>
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I don't know why but Wing from New Zealand reminded me of a great =
newspaper headline story a few years ago:
The peewee kiwi incident concerns a different kind of music being =
presented to a normal audience by an unusual performer. One year, =
whilst the band was playing in Edinburgh, Scotland a newspaper headline
=
article about a musical act in the Festival Fringe read 'Pee-Wee Kiwi no
=
great shakes'. For a bit of light sport some of the band went to the =
next performance. Basically it concerned a New Zealand soloist who had
=
developed a mechanical contraption that emitted unusual amplified sounds
=
to present an improvised/avangarde style of music. For performances the
=
mechanical device was connected to his penis. He controlled the "water"
=
flow into a series of organ type (excuse the pun) pipes from which the =
sound was amplified to create his own live (would it be OKOM or perhaps
=
cutting edge?) 'music'. The boys could not secure any front row seats =
for his performance and unfortunately had to sit at the back. The front
=
seats were booked out to interested female music lovers presumably =
curious about when and how this musical device/instrument was attached =
to the performer. =20
=20
When interviewed about his unusual 'organ' the Kiwi performer explained
=
that his greatest concern was always whether he could muster up a 'wee'
=
for each performance commenting that encores were always a worry for =
him. [another extract from our band book]
Cheers
Tom Wood
zenith at ans.com.au
------------------------------
Date: Mon, 09 Jun 2003 19:17:46 +1000
From: Bill Haesler <bhaesler at nsw.bigpond.net.au>
To: jazzfact <jazzfact at ozemail.com.au>
Cc: dixieland jazz mail list <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] Re: Wow on WING...
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Dear Richard,
I'll save me mate Farrell the bother of answering this one when he gets
up in
the morning.
8>)
Pull up Google, type in Florence Foster Jenkins and you have it all.
I must be the only one on the DJML who could not down-load the Wing
sound clips
from the site (which I did get ok).
Messages said something about 'out of date' and 'errors'!
Kind regards,
Bill.
------------------------------
Date: Mon, 09 Jun 2003 20:24:40 +1000
From: "Bill Haesler" <bhaesler at nsw.bigpond.net.au>
To: Charlie Hooks <charliehooks at earthlink.net>
Cc: dixieland jazz mail list <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] Re: Al Washington (was Memphis Nighthawks)
Message-ID: <E19PJp7-000AxQ-00 at ml.islandnet.com>
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Dear Charlie,
Mention of Al Washington reminds me that he recorded on cl/ts with the
Louis
Armstrong orch in Chicago on 11 sessions between 20 April 1931 (my birth
date)
and 11 March 1932.
He is mentioned twice and has a half chorus solo on "Lonesome Road" from
6 Nov
1931.
Also solos and gets another mention on "I Got Rhythm" from the same
session.
I haven't rechecked all the 24 titles involved but recall that he solos
on a few
others.
There is a lot of great reed work throughout them all from Al
Washington, Lester
Boone and George James.
Kind regards,
Bill.
PS: I am playing some of them now and just heard brief AW solos on
"Home", "All
Of Me", "Keeping Out Of Mischief Now".
------------------------------
Date: Mon, 9 Jun 2003 12:50:13 GMT
From: Dave Washburn <tootn4u at juno.com>
To: dixielandjazz at ml.islandnet.com
Subject: [Dixielandjazz]
Message-ID: <20030609.085051.1645.294156 at webmail04.nyc.untd.com>
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Message: 4
I checked out Ms. Wing. I,m glad I don't have her nerve in my tooth.
Dave in Dallas
tootn4u at juno.com
www.mp3.com.au/davewashburn
________________________________________________________________
The best thing to hit the internet in years - Juno SpeedBand!
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------------------------------
Date: Mon, 9 Jun 2003 09:16:56 -0400
From: anichols at gis.net (anichols)
To: dixielandjazz at ml.islandnet.com
Subject: [Dixielandjazz] DJML, Vol 6, Issue 12 Radio OKOM
Message-ID: <v01550100bb0a344dab28@[67.75.16.138]>
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>It is too late today, but check out WGBH.org, Sunday nights at 7:00
for
>Ray Smith, the Jazz Decades.
To add to Ron L'Herault's reporting:
Also, stay tuned for the 'Jazz Songbook' which follows Ray Smith sunday
nights from 8-10PM on WGBH. More in the swing era, there was lots of
Louis
last night.
Norm Nichols
------------------------------
Date: Mon, 09 Jun 2003 09:31:25 -0400
From: Stephen Barbone <barbonestreet at earthlink.net>
To: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] Miss Wing
Message-ID: <3EE48C2D.9FAC21C6 at earthlink.net>
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Message: 6
About the new Ms. Wing singing sensation: I think she must be Tiny
Tim's and Miss Vicki's long lost son, in drag. What a fantastic
discovery. Can she get here in time for the Clifford Brown Jazz
Festival? We'd love to have her sing with us.
Cheers,
Steve.
------------------------------
Date: Mon, 09 Jun 2003 06:41:15 -0700
From: Russ Guarino <russg at redshift.com>
To: barbonestreet at earthlink.net,
Dixieland Jazz Mail <dixielandjazz at ml.islandnet.com>
Subject: Re: [Dixielandjazz] Miss Wing
Message-ID: <3EE48E7B.C8EA136 at redshift.com>
References: <3EE48C2D.9FAC21C6 at earthlink.net>
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There really is a charm and intense sincerity about Miss Wing's
singing. Once she starts, you just can't stop listening. Listen to
"Do-Re-Me" for a short speech before she sings. It's wonderful.
Russ Guarino
Stephen Barbone wrote:
> About the new Ms. Wing singing sensation: I think she must be Tiny
> Tim's and Miss Vicki's long lost son, in drag. What a fantastic
> discovery. Can she get here in time for the Clifford Brown Jazz
> Festival? We'd love to have her sing with us.
>
> Cheers,
> Steve.
>
> _______________________________________________
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
------------------------------
Date: Mon, 9 Jun 2003 09:10:16 -0500
From: "Don Mopsick" <mophandl at landing.com>
To: "DJML" <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] Re: "OKOM" on Public Radio
Message-ID: <03a901c32e90$dfa114f0$b27c4542 at johnuqzxsguzua>
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Charles Coleman writes:
<<And speaking of PBS, where else can you find OKOM on radio? Let's
support the NPR stations that carry what we like!
Charlie (Support Live Jazz) Coleman>>
Charlie, I couldn't agree with you more on this one. It seems to me from
reading your post (and also those who responded to it) that you are not
yet
aware of "Riverwalk, Live From the Landing," a jazz show on the OTHER
public radio network, Public Radio International (PRI). Most public
radio
stations carry programming from both NPR and PRI. (For more on PRI, go
to
www.pri.org) It looks like you're in the Midwest, so to hear the show on
the
air, go to www.riverwalk.org and click on Station List in the left-hand
navigation bar for a list of stations carrying the show.
(By the way, the term "PBS," the Public Broadcasting System, can refer
to
both TV and radio, but has come to mean mainly Public TV).
To echo Charlie's thought, if your station plays Riverwalk (or any other
kind of good jazz), please go the extra mile and send email or snail
mail to
the Program Director expressing your thanks. And, don't forget to
support
the station with your membership $$$$.
The station carriage for Riverwalk, now in its 13th year on the air, is
down
from previous years, but is still quite substantial. Slightly less than
1
million loyal listeners still tune in each week. And, if you don't find
a
station that plays the show, in a few weeks you will be able to stream
Riverwalk on demand from anywhere on the planet. I will announce this
when
the service goes online, in our monthly e-newsletter Jazz Me News. There
will be a link on our home page directly to the stream.
(To subscribe to Jazz Me News, for which I am the Editor, send a blank
message to jazzmenews at landing.com?subject=subscribe . To see this
month's
issue, go to http://www.riverwalk.org/new.htm)
I personally prefer not to use "OKOM" to define our music, and this list
is
a good example of why not. From lurking and contributing to DJML from
its
beginning, I've come to understand that there is not as much unanimity
of
style preference as many here evidently think. I've described Riverwalk
as a
"jazz" show, and I believe that's the most appropriate word to describe
the
music we present each week. It's true that our jazz is mainly from the
pre-WWII era, and indeed our preferred way of differentiating ourselves
from
boppers is to say "hot prewar jazz."
On Riverwalk, we regularly and faithfully feature the music of the
Original
Dixieland Jazz Band, New Orleans Rhythm Kings, King Oliver, Jelly Roll
Morton, Louis Armstrong, Bix Beiderbecke, Sidney Bechet, and others not
so
quite orthodox trad such as Eddie Condon, Muggsy Spanier, Bill Coleman,
Django Reinhardt, Jack Teagarden, Duke Ellington (20s), Artie Shaw,
Benny
Goodman, Bob Cats, etc. We've even ventured out recently into the
post-war
era with shows about Nat Cole and Al Cohn/Zoot Sims.
My point is: there are many, many on DJML who do not like at least ONE
of
the above, or who take issue with the Jim Cullum Jazz Band's
interpretation
of same. That's not a problem, but using "Our Kind of Music" to describe
Riverwalk's musical output is.
Again, in my humble opinion (IMHO), there is no better term to use than
simply "jazz." These days, there are so many kinds of non-swinging (and
non-stomping) music out there that are very popular that call themselves
"jazz," and it's up to the listener to be discriminating. If there's any
music in the world that has the right to be known simply as "jazz," it's
Our
Kind, and that's OK in my book.
mopo
------------------------------
Date: Mon, 9 Jun 2003 11:08:08 EDT
From: SelmerFudd at aol.com
To: dixielandjazz at ml.islandnet.com
Subject: [Dixielandjazz] The Smugtown Stompers - 6/15/03 in PA
Message-ID: <139.20d681cd.2c15fcd8 at aol.com>
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Hiya Listmates,
If you are in the area, check out this great band!
MC
The Smugtown Stompers
Sunday, June 15, 2003
Time 2pm to 6pm, doors open at 12:30
price $12 members, $15 non-members, $5 students
tickets available at the door
Easton Moose Lodge, 3320 Fox Hill Rd, Easton PA 18045=20
info call : 610-253-5781
<A HREF=3D"www.PAJazzSociety.org">www.PAJazzSociety.org</A>
THE SMUGTOWN STOMPERS
JUNE 15, 2003
The Smugtown Stompers is a traditional Dixieland jazz band devoted to=20
preserving the early jazz heritage, with an emphasis on providing some
old-t=
ime fun.=20
Led by trombonist Dave Sturmer, the band=E2=80=99s instrumentation is
patter=
ned on the=20
small bands of the 1900-1930=E2=80=99s: Tom Bridges, cornet; Keith
Clark, cl=
arinet;=20
Darius Terefenko, piano; Bob Worden, banjo; Al Santillo, drums; and Bud
Tayl=
or,=20
tuba. A special treat is vocalist Carol Mulligan, who sings the early
blues=20
and pop-tunes with a gusty style that has the audience shouting for
more! Ja=
zz=20
music is America=E2=80=99s cultural invention, and Stompers=E2=80=99
concert=
s are formatted=20
to highlight the many forms that comprise traditional Dixieland: rags,
blues=
,=20
stomps, one-steps, two-steps, cakewalks, tin-pan songs, and vaudeville.
------------------------------
Date: Mon, 9 Jun 2003 08:35:34 -0700 (PDT)
From: jimuhl at earthlink.net
To: dixielandjazz at ml.islandnet.com
Subject: [Dixielandjazz] Mike Silvrman
Message-ID:
<1314075.1055172917260.JavaMail.nobody at bigbird.psp.pas.earthlink.net>
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I have been having e-mail problems. I attempted to put this on the list
yes=
terday, but I never saw it there. My apologies if this is a repeat. --
Jim =
Uhl=20
^^^^^^^^^^^^^^^
Jazz trumpeter Mike Silverman died yesterday afternoon (June 6, 2003).
He w=
as 59. For two decades he was co-leader of the Hot Frogs Jumping Jazz
Band,=
one of the prime attractions on the Dixieland festival circuit. He was
not=
ed for the clear brass sound of his horn, for his clean easy-to-follow
lea=
d in ensembles, and for the inventive logic of his solos.=20
He was backing his car into the covered driveway alongside his house in
Vi=
sta Del Monte Mobile Home Park in Monrovia, California, after visiting
a d=
octor when apparently he collapsed. The car struck a storage shed. His
wife=
, Bobbie, found him and called 911, but it was too late. .=20
Mike considered that he was living on borrowed time once he had passed
age =
49 at which his father had died. He had the same congenital ailment
=E2=80=
=93 arteries too small to carry the load that the heart pumps. Mike also
ha=
d a number of other health problems, including diabetes.=20
A form of dyslexia made it very difficult for him to read anything, much
le=
ss music, forcing him to rely on his improvisational skills.=20
He frequently played while in pain. Following one of his several bypass
ope=
rations, he asked if it would be all right to practice his horn and
fulfill=
an engagement a few days later. =E2=80=9CWhy not?=E2=80=9D the doctor
sai=
d, =E2=80=9CBlowing through a horn is no different from blowing up
balloons=
, which is what I=E2=80=99d have you doing to keep your lungs in
shape.=E2=
=80=9D=20
Plans are being made for a memorial service on the evening of July 19.
The =
location is still to be determined..=20
The Hot Frogs were formed by a group who had played in the 1977
Sacramento =
Jubilee representing the Valley Jazz Club of Los Angeles. They could
never =
remember who thought up the name. At first, the band was a cooperative,
but=
in time Mike and clarinetist Joe Ashworth inherited the leadership as
per=
sonnel changed. Over the years, some 30 or more top players passed
through =
the Hot Frogs ranks. Mike used to boast that they were the training
ground=
for the best festival bands.=20
The Frogs were playing in banjoist Art Leon=E2=80=99s Tourist Trap on
Holly=
wood Boulevard when comedy writer Sheldon Keller wandered in. He was
holdin=
g jam sessions at his house in Beverly Hills with, among others,
actor/banj=
oist George Segal and actor/trombonist Conrad Janis. He invited Mike and
Jo=
e to join what was later to evolve into the Beverly Hills Unlisted Jazz
Ban=
d.=20
Sheldon got the Frogs a weekly job with a TV show, Hizzonor, starring
David=
Huddleston, on NBC. It lasted all of six weeks.=20
Mike played frequently with Beverly Hills Unlisted over the years. He is
on=
four of its recordings. The Hot Frogs issued 11 albums.=20
Mike was known for the stomping West Coast style of the bands with which
h=
e played .But on his own album, =E2=80=9CSweet and Soaring,=E2=80=9D
with =
the Mike Silverman Quartet, he showed off his command of Swing-era
ballads.=
They are what he liked to play most of all, he said. =20
After the breakup of the Hot Frogs, he put together a similar band that
he =
called the =E2=80=9CSilver Frogs,=E2=80=9D but he had a hard time
finding g=
igs for it.=20
In the last few months, Mike had developed a hobby of using his home
comput=
er to update and reissue Hot Frogs recordings as CDs. The day before
he d=
ied, he completed a two-CD set that surveys the history of the Hot Frogs
wi=
th tunes selected from each album plus three that were never issued.
Bobbie=
intends to follow through on Mike=E2=80=99s intention of putting this
on s=
ale.=20
One reason for the Frog=E2=80=99s popularity was their reputation for
humor=
, especially Mike=E2=80=99s slow sardonic delivery, what might be called
th=
e Jack Benny style.=20
=E2=80=9CIt=E2=80=99s a very driving band,=E2=80=9D Mike said of the
Frogs.=
=E2=80=9CWe need =E2=80=93 I need =E2=80=93 time to recover between
numbe=
rs. I=E2=80=99m a natural-born ham. I began throwing in some funny
stuff. I=
=E2=80=99ve done it all my life.=E2=80=9D=20
Mike was born in Hollywood but grew up farther east near Griffith Park
on =
the border with Glendale. Piano lessons, beginning at age 6, bored
him.=20
=E2=80=9CMy introduction to Dixieland came when I was 10,=E2=80=9D he
told =
a reporter 10 years ago. I went to a Cub Scout Jamboree at the Shrine
Audit=
orium. The entertainment was the Firehouse Five Plus Two. I thought they
we=
re the most incredible thing I had ever heard.=E2=80=9D
=E2=80=9CIn the Scouts, I earned a merit badge by teaching myself to
play b=
ugle. When I was in junior high (Washington Irving), I decided I wanted
to =
play like the Fire House Five. So my parents rented a cornet and hired a
te=
acher. I opted for cornet because I was intrigued by the wah-wah sound
and =
I thought my arms weren=E2=80=99t long enough to hold a mute to the bell
of=
a trumpet.=E2=80=9D
His progress was typical =E2=80=93 No. 1 horn in school orchestras and
marc=
hing bands, playing Dixieland and dance music for school affairs in
junior =
and senior high school, spots in a variety of groups while in Los
Angeles C=
ity College and the University of California.
One stint he was particularly proud of. He had developed a hernia and
had t=
o lay off trumpet. Ex-Ellington cornetist Rex Stewart hired him to play
gui=
tar for several months in a quartet. Mike=E2=80=99s father played
ukulele =
and had taught Mike the first four strings on the guitar, which are the
sam=
e as on a baritone uke. .
=E2=80=9CI figured out the two bass strings for myself,=E2=80=9D Mike
said.=
=20
Among other of his fond memories: jamming with Isaac Perlman while
touring =
in Israel; making it onto the screen in a Jackie Gleason movie; being
pictu=
red alongside President Clinton; being featured in a Bil Keane Family
Circu=
s cartoon;, playing =E2=80=9Cstump the trumpet=E2=80=9D in the final
sessi=
ons of famed reedman Rosy McHargue, who had a phenomenal memory for
obscure=
songs.=20
Despite his reading problems, Mike got a degree in math and went to work
as=
a computer programmer, turning down a six-nights-a-week trumpet job.=20
=E2=80=9CI was married and wanted security,=E2=80=9DMike said somewhat
regr=
etfully. =E2=80=9CMy whole upbringing told me that music was a great
hobby,=
but you have to get an education and earn a living.=E2=80=9D
He did just that until health forced him to retire on disability. =20
------------------------------
Date: Mon, 09 Jun 2003 10:37:13 -0500
From: Charlie Hooks <charliehooks at earthlink.net>
Cc: dixieland jazz mail list <dixielandjazz at ml.islandnet.com>
Subject: Re: [Dixielandjazz] Re: Wow on WING...
Message-ID: <BB0A13D9.7830%charliehooks at earthlink.net>
In-Reply-To: <0HG7009H8J516P at mta07bw.email.bigpond.com>
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Message: 11
on 6/9/03 4:17 AM, Bill Haesler at bhaesler at nsw.bigpond.net.au wrote:
> Pull up Google, type in Florence Foster Jenkins
I did, and I loved it! Thanks much, Bill. She must have been
priceless, and the writer of the article did a first class
job--especially
the ending where he sums her up. I would very much like to have seen
and
heard in person Ms. Florence Foster Jenkins!
Charlie
------------------------------
Date: Mon, 09 Jun 2003 15:52:34 +0000
From: "Bill Gunter" <jazzboard at hotmail.com>
To: jazzfact at ozemail.com.au, stridepiano at tesco.net,
dixielandjazz at ml.islandnet.com
Subject: RE: [Dixielandjazz] Wow on WING...
Message-ID: <Law9-F126gpHgldajmD0009576d at hotmail.com>
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Listmates,
The question was asked:
>Do you know something we don't, who is Foster Jenkins?
Florence Foster Jenkins was a lovely lady - loved the arts (especially
opera) and fancied herself a soprano of the first order. Her wealthy
husband, deeply in love with Florence, catered to her every whim. For a
few
years he would rent out Carnegie Hall for a special recital featuring
Florence.
The recitals were well attended and everyone showed Florence the
greatest
respect and always applauded politely at the end of each aria. Florence
dressed up in these recitals as an angel, complete with gauze wings and
a
flowing gossamer gown. It sort of because a "cult" - "In" sort of thing
to
attend a Florence Foster Jenkins recital.
Actually, the poor dear could not sing a note and if it weren't for the
fact
that she was such a sweet lady the whole concept would never have
developed.
See also Mrs. Miller from (I believe) the 50s.
You can't include Jonathan and Darlene Edwards in this genre because
they
were actually engaged in a comic put-on deliberately performed to make
people laugh. Foster Jenkins and Mrs. Miller, on the other hand,
actually
believed they were blessed with a great talent.
Respectfully submitted,
Bill "More Power to Wing" Gunter
jazzboard at hotmail.com
_________________________________________________________________
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------------------------------
Date: Mon, 9 Jun 2003 11:19:29 -0500
From: Dan Augustine <ds.augustine at mail.utexas.edu>
To: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] RE: Wow on WING...; humor in music
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Message: 13
>From: "Bill Gunter" <jazzboard at hotmail.com>
>Subject: RE: [Dixielandjazz] Wow on WING...
>Date: Mon, 09 Jun 2003 15:52:34 +0000
>
>Listmates,
>The question was asked:
>>Do you know something we don't, who is Foster Jenkins?
>Florence Foster Jenkins was a lovely lady - loved the arts (especially
opera) and fancied herself a soprano of the first order. Her wealthy
husband, deeply in love with Florence, catered to her every whim. For a
few years he would rent out Carnegie Hall for a special recital
featuring Florence.
><snip>
>You can't include Jonathan and Darlene Edwards in this genre because
they were actually engaged in a comic put-on deliberately performed to
make people laugh. Foster Jenkins and Mrs. Miller, on the other hand,
actually believed they were blessed with a great talent.
>Respectfully submitted,
>Bill "More Power to Wing" Gunter
>jazzboard at hotmail.com
**-------------------------------------------------------------------**
Folks--
And, as long as we're talking about humor in music, let's not forget
(if in fact we ever knew) the famous Guckenheimer Sour Kraut Band of San
Francisco, and their LP "Music for Non-Thinkers". They did polka and
band music exactly wrong, but it was so funny because they sounded like
a lot of bad bands we've all played in (terrible intonation, wrong
entrances, fluctuating tempi, poor dynamics, etc.). You actually have
to be a pretty good player (or singer, as in Jo Stafford) to sound as if
you're accidentally playing something wrong (she was great at singing
about a quarter-step sharp), but doing it in such a way that it's
humorous (at least to those who know what it should sound like).
Hoffnung Music Festival, of course, injected humor into classical
music, as did Spike Jones, Stan Freberg, and others for popular music.
However (and here's the ticklish point), who has done this for
dixieland? I'm afraid that people wouldn't recognize intentionally bad
dixieland as being humorous--in fact, some might (gasp) like it (at
least as much as they like other 'good' dixieland). So why is this?
I'm not talking about humor in the band's introductions to their tunes,
but humor in the music itself. The Firehouse Five sometimes did
humorous things with their music (like the siren, or the duck-quacks),
but i don't recall that they ever deliberately played out of tune (or
did other similarly wrong things) to be funny. Lots of bands (in fact,
some of the best bands) use humor, but do any deliberately play badly
for a comic effect?
Dan
--
**----------------------------------------------------------**
** Dan Augustine - ds.augustine at mail.utexas.edu **
** Office of Admissions, University of Texas; Austin, Texas **
**----------------------------------------------------------**
------------------------------
Date: Mon, 09 Jun 2003 12:40:24 -0400
From: RAHBerry at aol.com
To: ds.augustine at mail.utexas.edu, dixielandjazz at ml.islandnet.com
Subject: Re: [Dixielandjazz] RE: Wow on WING...; humor in music
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The Black Dogs used to be playing along in their tight, swinging way,
when one would feel that the music, somehow, was unravelling. Then,
after a few bars, it would all come together again. They did this very
deliberately and I'm not sure everybody noticed it. I am still nutty
about this now-defunct band and I enjoyed everything they did.
Rae Ann
------------------------------
Date: Mon, 09 Jun 2003 12:41:13 -0400
From: JimDBB at aol.com
To: dixielandjazz at ml.islandnet.com
Subject: Re: [Dixielandjazz] Re: "Hot" music on Riverwalk
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Message: 15
In a message dated 6/9/2003 9:10:16 AM Eastern Standard Time,
mophandl at landing.com writes:
> The station carriage for Riverwalk, now in its 13th year on the air,
is down
> from previous years, but is still quite substantial. Slightly less
than 1
> million loyal listeners still tune in each week. And, if you don't
find a
> station that plays the show, in a few weeks you will be able to stream
> Riverwalk on demand from anywhere on the planet. I will announce this
when
> the service goes online, in our monthly e-newsletter Jazz Me News.
There
> will be a link on our home page directly to the stream.
>
>
> I personally prefer not to use "OKOM" to define our music, and this
list is
> a good example of why not. From lurking and contributing to DJML from
its
> beginning, I've come to understand that there is not as much unanimity
of
> style preference as many here evidently think. I've described
Riverwalk as a
> "jazz" show, and I believe that's the most appropriate word to
describe the
> music we present each week. It's true that our jazz is mainly from the
> pre-WWII era, and indeed our preferred way of differentiating
ourselves from
> boppers is to say "hot prewar jazz."
>
> On Riverwalk, we regularly and faithfully feature the music of the
Original
> Dixieland Jazz Band, New Orleans Rhythm Kings, King Oliver, Jelly Roll
> Morton, Louis Armstrong, Bix Beiderbecke, Sidney Bechet, and others
not so
> quite orthodox trad such as Eddie Condon, Muggsy Spanier, Bill
Coleman,
> Django Reinhardt, Jack Teagarden, Duke Ellington (20s), Artie Shaw,
Benny
> Goodman, Bob Cats, etc. We've even ventured out recently into the
post-war
> era with shows about Nat Cole and Al Cohn/Zoot Sims.
>
> My point is: there are many, many on DJML who do not like at least ONE
of
> the above, or who take issue with the Jim Cullum Jazz Band's
interpretation
> of same. That's not a problem, but using "Our Kind of Music" to
describe
> Riverwalk's musical output is.
>
> Again, in my humble opinion (IMHO), there is no better term to use
than
> simply "jazz." These days, there are so many kinds of non-swinging
(and
> non-stomping) music out there that are very popular that call
themselves
> "jazz," and it's up to the listener to be discriminating. If there's
any
> music in the world that has the right to be known simply as
> "jazz," it's Our
> Kind, and that's OK in my book.
>
> mopo
_______________________________________________
Dick Sudhalter prefers and uses the term "Hot music" to denote
the classic end of jazz that we all love so much. I throw my hat in for
"Hot" music.
One of the problems with Riverwalk is the 'Public' radio stations throw
it on at odd hours...apparently hours that they need to fill something
in with.
A bigger problem with Riverwalk is that it comes off too much as 'Jazz
appreciation 101'. I"ve had to turn it off more than once.
If Jim Cullum would get rid of David Holt and producer Margaret Pick and
just do some relaxed shows of good swinging 'Hot' music, and forget the
lectures and other BS I think that the listenership would increase
dramatically.
Jim beebe 101
------------------------------
Date: Mon, 09 Jun 2003 16:42:35 +0000
From: "Bill Gunter" <jazzboard at hotmail.com>
To: ds.augustine at mail.utexas.edu, dixielandjazz at ml.islandnet.com
Subject: Re: [Dixielandjazz] RE: Wow on WING...; humor in music
Message-ID: <Law9-F72Brp22gQBjNE0000647a at hotmail.com>
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Listmates,
Dan Augustine askes:
>Lots of bands (in fact, some of the best bands) use humor, but do any
>deliberately play badly for a comic effect?
Oh yes . . . especially the band I'm associated with (The Boondockers) -
on
one of our tunes we resurected a comic bit we heard the Gaylords (Ronnie
Gaylord and Burt Holiday) do on the old Reno/Tahoe/Vegas circuit back in
the
70s when lounge acts were popular. It features the song "Fascination"
and it
involves an outrageous French accent and what is perhaps the worlds
worst
violin playing. -
I play the violin (having taken violin lessons in my youth) with just
enough
accuracy to make the tune recognizable but with enough bad intonation
and
bowing to make it absurd. It always gets a big laugh.
Also, Gary Church (a Boondocker sideman), who is a fine
cornet/trombone/keyboard/guitar player who spent years on the road with
Merle Haggard and also in Branson with the Mel Tillis band, does really
funny things with the horn (reaching for impossibly high notes with
disastrous results in the lower intestinal tract, making his horn sound
like
a car with a dying battery in the song "I Can't Get Started" etc.).
Generally speaking, however, we play fine dixieland what with the likes
of
Jim Maihack, Gary Church, Bob in the band and we normally play our music
straight but we have been known to digress for the sake of a laugh.
Check us out at the Washboard festival in Logan, Ohio this weekend.
Cheers,
Bill "Perfect Pitch" Gunter
jazzboard at hotmail.com
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------------------------------
Date: Mon, 9 Jun 2003 17:49:48 +0100
From: "Brian Harvey" <brian.harvey5 at ntlworld.com>
To: "DJML" <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] Disaster recovery
Message-ID: <MCBBLAFDKBIBDHLDLGALOEIICAAA.brian.harvey5 at ntlworld.com>
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Message: 17
My computer has been attacked by a virus (now disinfected and deleted)
which
destroyed my email files and address book.
Could I please therefore ask everyone on the list who knows me to mail
me in
order that I may reinstate their addresses?
In passing I can announce that the biography of Kid Howard that I have
been
working on for two years is now virtually complete with only a few
additions
remaining to be made. With luck it will be published in 2005.
Brian Harvey - England
------------------------------
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End of Dixielandjazz Digest, Vol 6, Issue 13
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