[Dixielandjazz] Reading vs. not reading

[Edmetzsr at aol.com]

Listmates,
    I've watched this subject get kicked around rather  heavily for the past 
week and finally decided to weigh in on the subject. Being  involved with a 
band that is capable of doing both rather well, here's yet  another take.
    The Bob Crosby Bob Cats have been at it for nearly  70 years. They have 
always done both. The current version of the band certainly  does both. Here 
are some statistics and some supporting ideas.
    1) We carry upwards of 400 "charts" in our library.  About 1/2 are lead 
sheets, that is a one chorus (with verse sometimes)  representation of a tune 
that is in the book for a variety of reasons. It may be  an interesting tune 
(harmonically or melodically) from 1937 or 1940, or  1903, or 1924. It may be 
there because it was written by Bechet or Ellington or  by me and is not 
generally well known. It may be included because it was  recorded by one of the 
Crosby units, Bob Cats or Orchestra. The other 1/2 are  full fledged arrangements 
of tunes recorded by the Bob Cats or by the Orchestra  but rewritten for the 
Bob Cats. We happen to read South Rampart Street Parade  (based on Haggart's 
original arrangement) because we don't want it to sound like  every other band's 
faked version (most of which use the wrong chord changes  somewhere in the 
tune) and because we commited ourselves to do so in 1996. We  use adaptations of 
the Crosby big band arrangements for tunes like Boogie Woogie  Maxixe because 
we want it to swing like it should and besides, anyone out there  ever hear it 
faked? I could give you many more examples if necessary but I think  the 
point is made. We must read certain tunes, and I have yet to hear anyone  complain 
about it, except some pretty untrained small minded folks who insist  that 
"you're not a jazz band if you read". In summary, we carry charts and lead  
sheets so that everyone in the band plays the same chord changes (therefore we  
don't have ragged turnarounds like even the most accomplised fake  bands 
produce) or because we want full rich 4 note chords on ensembles. We leave  lots of 
space for solos.
    2) Everyone in the band is capable of playing  another 400 fake tunes (at 
least) and giving a world class performance. We  choose to do this at least 
once or twice a set. On certain occasions, we don't  get the music out at all 
and just "blow". 
    3) It's nice to be able to do both without having  to memorize. Many 
great jazz players are not such great memorizers. It's great  to be able to have 
substitute personnel come in and do the typical 60 or 70  tunes (including many 
obscure but frequently requested Crosby tunes) at a  festival with no 
repeats, and with no agida for the leader in the process. 
    4) What kind of position do you think I'd be in if  we didn't have charts 
on many of these tunes starting in January 2005, when our  trumpet player of 
25 years hangs it up for good? I've got it covered with one or  more of the 
best guys in the business, but none of them is up on many of the  tunes that we 
include in our programs.
 
It works both ways if you have the right players. The "Condon" way is one  
way. The "Night Hawks" way is another. For the Bob Cats and for Bill Allred,  
some of each works just fine, thank you. For those who want "visual", light  
shows, slapstick, stand-up comedy, etc., there certainly is a place for all of  
it. There is a place for New Orleans up town, down town, Chicago-style,  
Revival -style, etc. also. Just keep in mind what the band is trying to do.  If they 
do it well, and if they swing, they're credible and don't deserve to be  put 
down for their efforts. You may not agree, but don't forget, that's why they  
invented is chocolate and vanilla.  
Enough already!!!!   Ed Metz, Sr.