[Dixielandjazz] Re: Dixielandjazz Digest, Vol 21, Issue 31

[john petters]

Steve said
"Louis, The Oliver Years" Stomp Off Records, Independence Hall Jazz Band

The players on the album, are pros . . . jazz musicians one and all. IMO the
current OKOM audience misses out by not keeping up with OKOM as played by
contemporary musicians of this caliber and that is a shame.

Thanks Steve, I'll look out for it


John Petters
Amateur Radio Station G3YPZ
www.traditional-jazz.com
-----Original Message-----
From: dixielandjazz-bounces at ml.islandnet.com
[mailto:dixielandjazz-bounces at ml.islandnet.com] On Behalf Of Steve barbone
Sent: 14 September 2004 06:02
To: dixielandjazz at ml.islandnet.com
Subject: [Dixielandjazz] Re: Dixielandjazz Digest, Vol 21, Issue 31


"john petters" <johnpetters at tiscali.co.uk>
> 
> 
> Brian said
>> As a guide to how good bass players can sound - unamplified - even on
> relatively primitively recorded sources try Pops Foster with the "This Is
> Jazz" series on Jazzology. Baby Dodds on the same series is also an object
> lesson - no ride cymbal - no hi hat but superb driving rhythm and
wonderful
>> press rolls.
> 
> Hi Brian - you and I agree about most things - but Baby did play ride, I'm
> pretty sure on the Blesch recordings. The CD is in my car so I can't
> immediately double check it. He certainly played ride on the Mutt Carey
New
> Yorkers session and on the Worlds Greatest Jazz Concert CDs on Jazzology
> with Wild Bill, Brunies etc.  There is a clip of him doing so on my
website
> http://www.traditional-jazz.com/pge_dod2.htm
> select Jazz Band Ball.
> 
> The drumming on the Blesch shows is a real lesson in how to play
traditional
> jazz percussion properly.

Yes indeed Dodds played the ride cymbal later in his career. Certainly on
those records that you mention. Plus on the Blesch radio programs. He kept
modernizing his style until he stopped playing. He was the precursor of much
of the modern style. EG., getting away from the 1,2,3,4 time and accenting,
as well as 2 beat on the bass drum and 4 with the right hand (or left?)
stick or brush as the case may be. Modern jazz drummers who picked up on his
odd accenting were Art Blakey, Joe Morello, Elvin Jones among others.
> 
> Steve said about an Oliver Recreation band
>> Now, this is essentially a pick-up band, with an excellent modern jazz
> drummer who is adapting. (our second call sub). CD theme is a celebration
of
> those few short years that Louis and Oliver spent in Chicago influencing
>> each other 

They are not recreating, but rather paying homage. Definitely using their
own voices.
> 
> I'd be interested in hearing this. It is as difficult for a modern jazz
> drummer to play old style as it would be for me to play modern. The
> technique of playing the instrument is the same but the vocabulary is
> different. Does he play press rolls, does he understand Baby's time (I
doubt
> it - nobody does) does he play a solid two or four (or a mixture) on the
> bass drum (Baby did both), does he play rims and blocks and choke cymbals?

He is very muted on the CD. As I hear it a mix of two and four. Some rim and
blocks, high hat rather than choke. But very muted. Does not drive the band
the way Dodds did with Davison, and on those Blesch radio broadcasts in the
1940s. That was something else and those that never heard it should google
search for Dodds as I am sure the clips must be on the internet. In the
40sw, Dodds was not playing the classic jazz of Oliver, but rather hard,
swinging, visceral jazz of the Condon type. And he drove the bands, pushed
hard with his accenting and even inter-played with the soloists when doing
so. That's my favorite type of drummer.
 
> From a personal point of view these things are essential components of
> classic jazz. Then there will be the ensemble playing. I have not heard a
> trombone player who can capture the phrasing of Dutrey. His trombone part
is
> different to others of his time. So does this band succeed in getting
inside
> Oliver's music or is it another pick-up band playing the tunes? Nothing
> wrong with that and I am in no way denigrating the band as I have not
heard
> them, I'm just curious.

I am enthralled with the overall band sound. The trumpets (Kellso & Heitger)
do a fabulous job. They are not trying to sound exactly like Oilver & Louis,
however the ensemble is marvelous, as are the breaks, some in unison harmony
etc. Kellso, as you may know, was Heitger's hero early on and so there is an
emotional tie between them, same as Louis and The King. It is worth a
listen, not as a cover band trying to duplicate, but as a new voice paying
homage. The arrangements are by trombonist Doug Finke. To my ears, they get
inside the music as well as any band I've ever heard, other than the
original. And to me, in some respects, the music is as good as the original.
We all hear differently but I think it should be in every Oliver fan's
collection. 

"Louis, The Oliver Years" Stomp Off Records, Independence Hall Jazz Band

The players on the album, are pros . . . jazz musicians one and all. IMO the
current OKOM audience misses out by not keeping up with OKOM as played by
contemporary musicians of this caliber and that is a shame.

Cheers,
Steve Barbone 

 


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