[Dixielandjazz] Modern Jazz vs Dixieland/Okom

[dingle at baldwin-net.com]

tcashwigg at aol.com wrote:

>
> Polite snip from Steve Barbone's REPLY TO MIKE
>
>  Let's see, the last time I looked, with the exception perhaps of "My 
> One &
>  Only Love -1953 by Mellin & Wood, the rest are Great American 
> Songbook Tunes
> or Gospel which surely qualify as OKOM even for the most square of us.
>
>
> Saint Gabriel's does three of these tunes that we fondly call OKOM.
>
> My Funny Valentine - 1937 Rodgers & Hart
>
>  We feature MINOR "FUNKY" aka "FROG" Williams on the vocals and he 
> delivers an awesome gut wrenching soulful rendition of it that would 
> make Rogers & Hart twinge but stand and cheer with the rest of the 
> audience.
>
>
>
> Summertime - 1935 Gershwin & Gershwin
>  Our version of this would make the Gershwins turn over in their 
> graves but heir heirs are loving it because it is a big hit for us and 
> one of our most requested songs in Europe and they are loving the 
> royalties
>
> There Will Never Be Another You - 1942 Gordon & Warren
>
>  Now we do draw our lines somewhere folks and Playing the 
> Sheepherder's Lament is where the line is drawn.
>  we do not play "There will Never be another Ewe" because it is just 
> not Politically correct as far as we are concerned because of it's 
> sexual under tones.
>
>  Take My Hand Precious Lord - (not sure but circa 1930s) Thomas A. Dorsey
>
>  This is a standard in our repertoire for both Funerals and concerts 
> and all Gospel Brunches and shows Riverbank Baptisms, camp meetin's 
> and wherever else good ole Gospel tunes are in good taste.
>
>
> We just love playing Feel Good Music.
>
> However we can't seem to get that Boondockers feel on a couple of 
> tunes, :))
>
> Maybe the four drummers are drowning out the washboard, :))
>
> Cheers,
>
> Tom Wiggins
>
> Saint Gabriel's Celestial Brass Band
>
> As live as it gets.
>
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>
>
"Summertime, " I might point out, was also used by the Bob Crosby 
Orchestra and a them song at one time. So I guess that would buy it 
entry into the OKOM
library.
But the Gershwin estate does not make money off your performances per 
se. They make it because they are a triple A member, and get a cut of 
everything that is collected except for the what the extortion 
collectors take off the top. Those who have enough stuff published to 
reach the higher membership ranking are going to receive $$ whether 
anyone plays their stuff any more. Sort of a pyramid club for composers. 
My dad had his compositions recorded and numbers redone by others and 
never, to the day of his death or since to his estate, every received a 
buck of ASCAP royalty. I have a signed picture of some of the Goldkette 
band members that  Paul Mertz sent me year ago. In it he notes that he 
got his quarterly ASCAP residual -- $0.43 cents. Paul had a number of 
his tunes recorded and by many bands, including "I'm Glad There Is You," 
and yet in spite of  many recordings and many airplays his income for 
these compositions was "pathetic."
 Don Ingle