[Dixielandjazz] Re: Mosaic Condon (was Listening to Dead Musicians)

[Bill Haesler]

on 2/2/04 2:16 AM, Stephen Barbone at barbonestreet at earthlink.net wrote (in
part, about an Eddie Condon record date):

>Speaking about musical points, last night I remembered the Condon
reissue set by Mosaic. So I played some of it back and forth to my gig.
Lo and behold, there is an up tempo song, with a round robin 4 bar tag
ending. Bob Wilber, teenage clarinetist at the time, takes the first
tag, attempts more than he can handle resulting in squeaks and squawks.
The following 5 tags are perfect, then Wilber takes the final tag as an
extra, and attempts a less difficult one. It is perfect.

Mosaic, bless their heart, leaves it all there, as did the original LP I
guess. Doesn't distract at all from the record as I (and probably Pat
Ladd) hear it. Yes, there is something to be said for squeaks,
originality and reaching for the stars. I will learn more from that,
than from constantly rehearing the dead guys. If you have either the
original, or the reissue, give it a listen. Not telling you the title
because you might want to listen to all of the songs that a young Wilber
is on with Condon.<

Dear Steve,
I have quoted at length, as all of it is of interest and some DJMLers may
have missed the original.
Yes, I bought that Mosaic set 'The Complete CBS Recordings Of Eddie Condon
And His All Stars' when it came out in 1994. Also previously had most of the
original LPs from that 1953-62 series of sessions for Columbia. Love 'em
all, except perhaps the uninspired 1962 'Midnight In Moscow/Chicago, My Home
Town' sessions.
I assume that the tune you refer to is "That's a Plenty" from 19  Aug 1957
with Wild Bill, Bob Wilber, Vic Dickenson, Gene Schroeder, Eddie Condon,
Leonard Gaskin and George Wettling.
Bob Wilbur's 'squeaks and squawks' in the first break do not upset me at
all. Just as you describe. An attempt which did not quite make it.
Bob Wilber in his 1987 book 'Music Was Not Enough' (my copy Bayou Press
1989, sold to me by Mr Wilber (and inscribed "To Bill - best wishes") when
he was in Sydney in April 1990) mentions this session on pages 67-68 and
specifically refers to the four bar front line breaks in "That's a Plenty",
culimating in Wettling's enthusiastic kettle drum break.
Happy infectious stuff in one 'take', with everyone obviously having a great
time. . Take it as it was. I certainly can. Incidentally, Bob Wilber does
not mention his ' squeaks and squawks'
For what it is worth I would like to quote Bob Wilber on Condon's music from
his book. "Although I enjoyed working with Eddie [he was with the band for 2
years], I felt when I joined him in 1956 it was a step back musically for
me. By then the style had passed its great creative peak. Inevitably it has
become formularized, which is something that seems to happen to all creative
movements as time passes."
Mmmmmmmmm!
Very kind regards,
Bill.
PS: I should also add that Columbia was never slow in cutting and splicing
jazz performances during their Louis and Condon recording periods.
PPS: Bob Wilber was born on 15 March 1928, which in Aug 1957 would have made
him the oldest 'teenager' in New York. Sorry about that.     8>)