[Dixielandjazz] RE: Jonathan "Jazz" Russell
Phebe Wehr
pnwehr at earthlink.net
Sat Jul 2 14:48:42 PDT 2005
We are excited to have young Jonathan at the Great CT Traditional Jazz
Festival the end of the month -- and sure hope we get lots of young girls
attending, too ! Young is good -- and just maybe we can spread OKOM to his
generation yet !
> [Original Message]
> From: <dixielandjazz-request at ml.islandnet.com>
> To: <dixielandjazz at ml.islandnet.com>
> Date: 7/2/2005 3:00:28 PM
> Subject: Dixielandjazz Digest, Vol 31, Issue 2
>
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>
>
> Today's Topics:
>
> 1. Glory, Hallelujah (luis daniel flores)
> 2. Re: Stroh violin (Steve barbone)
> 3. Vol. 2 of Dixieland Fake Book can be ordered
> (David W. Littlefield)
> 4. GIGGING WITH 10 YEAR OLD JONATHAN RUSSELL (Steve barbone)
> 5. Re: Glory, Hallelujah (luis daniel flores)
> 6. Re: Stroh violin (Bill Haesler)
> 7. Re: Re: Stroh violin (dingle at baldwin-net.com)
> 8. New books on jazz (Anton Crouch)
> 9. RE: Glory, Hallelujah (Bill Gunter)
> 10. RE: Glory, Hallelujah (Burt Wilson)
> 11. FW: Pop and the singers (Bill Haesler)
> 12. Re: Re: Stroh violin (Steve barbone)
> 13. Where is The Music Going? (Steve barbone)
> 14. "Playing for Change" documentary film (only slightly off
> topic) (David Richoux)
> 15. Re: Re: Stroh violin (Charlie Hooks)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Fri, 1 Jul 2005 18:21:04 -0300
> From: "luis daniel flores" <luda at arnet.com.ar>
> Subject: [Dixielandjazz] Glory, Hallelujah
> To: <stridepiano at tesco.net>, "DJML" <dixielandjazz at ml.islandnet.com>
> Message-ID: <000801c57e82$ca1a59e0$12d5fcc9 at KAX>
> Content-Type: text/plain; charset="iso-8859-1"
>
> Is there two Glory, glory Hallelujah? or one is the Battle hymns of
> republic'?, with differente lyric
>
> Dr. Luis Daniel Flores FRCOG
> www.jazzysentimientos.com.ar
> domingos/Sundays 9:30/12:30 GMT
>
>
>
>
> ------------------------------
>
> Message: 2
> Date: Fri, 01 Jul 2005 17:42:09 -0400
> From: Steve barbone <barbonestreet at earthlink.net>
> Subject: [Dixielandjazz] Re: Stroh violin
> To: Tamas Ittzes <bohem at fibermail.hu>,
> <dixielandjazz at ml.islandnet.com>
> Message-ID: <BEEB30F1.2E07%barbonestreet at earthlink.net>
> Content-Type: text/plain; charset="US-ASCII"
>
> on 7/1/05 12:35 PM, Tamas Ittzes at bohem at fibermail.hu wrote:
>
> > Steve and all,
> >
> > I, too, own a Stroh violin and play it in my band. It's funny that you
> > had a link to an URL of an Australian band that plays Irish music with
> > the Stroh violin invented in England by a German, and I am a Hungarian
> > who plays American music with a Stroh violin made in Rumania (and they
> > use it there in folkish wedding bands). Music still seems to be a really
> > international language. If you look up our web site at
> > www.bohemragtime.com, find the Early Hungarian Jazz CD (should be
> > entitled Early Jazz in Hungary) on our Discography page and you'll see
> > me playing that Stroh violin on the cover of the CD.
>
> The world is a small place. The inventor of the Stroh violin, a German
> living in England was a distant cousin to a friend of mine, now deceased,
> who was an executive with Ford Motor Company in Detroit. Ed Stroh. Another
> cousin of his was the owner of a beer company that brews Stroh's Beer here
> in the USA.
>
> Cheers,
> Steve Barbone
>
>
>
>
> ------------------------------
>
> Message: 3
> Date: Fri, 01 Jul 2005 18:04:21 -0400
> From: "David W. Littlefield" <dwlit at cpcug.org>
> Subject: [Dixielandjazz] Vol. 2 of Dixieland Fake Book can be ordered
> To: dixielandjazz at ml.islandnet.com
> Message-ID: <4.1.20050701124927.00b0e330 at cpcug.org>
> Content-Type: text/plain; charset="us-ascii"
>
> Hi Gang. "Dixieland Fake Book Vol. 2" will go to the printer early next
> week, so you can order it when you wish.
>
> Please visit my website
> http://americanmusiccaravan.com
> Click on Books for complete ordering information
> Click on the book in the left frame for contents list.
>
> Basically it contains transcriptions of part or all of records by:
> Armstrong Hot 5-7s
> Oliver 1923 and some of his later tunes. Between this and Vol. 1, all of
> Oliver's 1923 records are now covered
> Morton Red Hot Peppers and other compositions
> Bix
> Johnny Dodds 1926-28
> Bessie Smith and other blues singers whose tunes are part of the Dixieland
> repertoire. Includes a bunch of Bessie's naughty novelties.
> 1940s New Orleans Revival classics by George Lewis, Bunk, Kid Ory
> 1940s-50s Bechet compositions
> Some West Coast classics
>
> Traditionally when I received an order, I acknowledged it via eMail,
> attaching the lyrics .zip file, and mailed the book the next day or the
> following Monday.
> HOWEVER, for several reasons service will be slower for the first 2-3
> weeks, depending on the volume of orders.
> I have to finish up the lyrics .zip file, but I won't delay mailing the
books.
> I punch and bind the books myself, so there's a limit on how many orders I
> can handle each day.
> I have back orders for the Vol. 1 Bb edition, which needs reprinting, but
I
> need to upgrade some sheets first. Dunno whether I can finish that task
> before Vol. 2 is delivered; if not, then I'll split the time.
>
> As soon as I can, I'll start work on the Bb edition of Vol. 2. No idea how
> long that will take.
>
> Cheers!
> --Sheik
> David W. Littlefield, Piano, Guitar, Banjo, Washboard
> http://americanmusiccaravan.com (Fake Books, Chord Books, Bands)
> "BOOK NEWS: click on "Books" click on "Book News"
> http://cpcug.org/user/dwlit (Dixie playalong list, other tools)
> eMail: dwlit at cpcug.org
>
>
>
>
> ------------------------------
>
> Message: 4
> Date: Fri, 01 Jul 2005 18:11:56 -0400
> From: Steve barbone <barbonestreet at earthlink.net>
> Subject: [Dixielandjazz] GIGGING WITH 10 YEAR OLD JONATHAN RUSSELL
> To: DJML <dixielandjazz at ml.islandnet.com>
> Message-ID: <BEEB37EC.2E0A%barbonestreet at earthlink.net>
> Content-Type: text/plain; charset="US-ASCII"
>
> Last night we did a concert in the park (Bucks County PA) with young
> Jonathan. Several hundred in attendance including many young people his
age.
> At the end he was besieged by young girls asking for autographs etc.
>
> Wonder if it is because he now sings "I Want A Little Girl" whenever he
gigs
> with us. :-) VBG
>
> Oh my, to do it all over again. :-) VBG.
>
> Ah well, he'll do it again tomorrow at the Riverfront Park in Wilmington
DE
> preceding the Fireworks. This time he will play lead on all the tunes
> because our trumpet player got hit in the trumpet at the Showboat by
> accident and has a really fat lip and some pain.
>
> No doubt the girls will surround Jonathan again.
>
> Cheers,
> Steve Barbone
>
>
>
>
> ------------------------------
>
> Message: 5
> Date: Fri, 1 Jul 2005 21:01:52 -0300
> From: "luis daniel flores" <luda at arnet.com.ar>
> Subject: Re: [Dixielandjazz] Glory, Hallelujah
> To: "luis daniel flores" <luda at arnet.com.ar>, <stridepiano at tesco.net>,
> "DJML" <dixielandjazz at ml.islandnet.com>
> Message-ID: <001a01c57e99$40e25d00$54b42dc8 at KAX>
> Content-Type: text/plain; charset="iso-8859-1"
>
> Here it is the answer of the original versions, posted by this page:
> http://www.pbs.org/wgbh/amex/brown/sfeature/song.html
>
> During a visit to Washington in the autumn of 1861, poet Julia Ward Howe
> attended a public parade and review of Union troops. On her way back to
> Willard's Hotel she found her carriage delayed by marching regiments. To
> spend some time, she and her cohorts in the carriage sang a few of the war
> songs so popular those days, among them, "John Brown's Body," which
> contained the provocative words, "John Brown's body lies-a-mouldering in
the
> ground.... His soul is marching on."
>
> Howe would have assumed that the John Brown of the song was the famous
> abolitionist. But the song belonged to a young Scotsman in the
Massachusetts
> Volunteer Militia who shared Brown's name.
>
> The Scotsman was well aware of John Brown the abolitionist. Having the
same
> name made him a prime target for many good-natured jokes. As the soldiers
> marched, they would hammer out, in folk-song fashion, the tune that Julia
> Ward Howe would later hear. Lines like "His Soul's Marching On" were meant
> to tease the Scotsman. But as the catchy verse traveled to other units, it
> was known only as a song about the John Brown who was captured at Harpers
> Ferry. New verses were constantly added:
> Old John Brown's body is a-mouldering in the dust,
> Old John Brown's rifleís red with blood-spots turned to rust,
> Old John Brown's pike has made its last, unflinching thrust,
> His soul is marching on!
>
> The morning after hearing the song, Julia Ward Howe wrote her own words to
> the tune. Soon after, it was published in the "Atlantic Monthly" as "The
> Battle Hymn of the Republic."
>
> John Brown the Scotsman would not live to hear this version. He died early
> in the war, drowned in the Shenandoah River at Front Royal, Virginia.
> Here are two more versions of "John Brown's Body"
> Old John Brown's body lies a-mouldering in the grave,
> While weep the sons of bondage whom he ventured all to save;
> But though he lost his life in struggling for the slave,
> His truth is marching on.
>
> Chorus:
> Glory, Glory, Hallelujah!
> His truth is marching on!
>
> John Brown was a hero, undaunted, true and brave;
> Kansas knew his valor when he fought her rights to save;
> And now though the grass grows green above his grave,
> His truth is marching on.
> Chorus
>
> He captured Harpers Ferry with his nineteen men so few,
> And he frightened "Old Virginny" till she trembled through and through,
> They hung him for a traitor, themselves a traitor crew,
> But his truth is marching on.
> Chorus
>
> John Brown was John the Baptist for the Christ we are to see,
> Christ who of the bondsman shall the Liberator be;
> And soon throughout the sunny South the slaves shall all be free.
> For his truth is marching on.
> Chorus
>
> The conflict that he heralded, he looks from heaven to view,
> On the army of the Union with its flag, red, white, and blue,
> And heaven shall ring with anthems o'er the deeds they mean to do,
> For his truth is marching on.
> Chorus
>
> Oh, soldiers of freedom, then strike while strike you may
> The deathblow of oppression in a better time and way;
> For the dawn of old John Brown was brightened into day,
> And his truth is marching on.
> Chorus
>
> John Brown's body lies a-mouldering in the grave,
> John Brown's body lies a-mouldering in the grave,
> John Brown's body lies a-mouldering in the grave,
> But his soul goes marching on.
>
> Chorus:
> Glory, Glory, Hallelujah!
> Glory, Glory, Hallelujah!
> Glory, Glory, Hallelujah!
> His soul goes marching on.
>
> He's gone to be a soldier in the Army of the Lord
> He's gone to be a soldier in the Army of the Lord
> He's gone to be a soldier in the Army of the Lord
> His soul goes marching on.
> Chorus
>
> John Brown's knapsack is strapped upon his back
> John Brown's knapsack is strapped upon his back
> John Brown's knapsack is strapped upon his back
> His soul goes marching on.
> Chorus
>
> John Brown died that the slaves might be free
> John Brown died that the slaves might be free
> John Brown died that the slaves might be free
> But his soul goes marching on.
> Chorus
>
> The stars above in Heaven now are looking kindly down
> The stars above in Heaven now are looking kindly down
> The stars above in Heaven now are looking kindly down
> On the grave of old John Brown.
> Chorus
>
>
>
> Sources
>
> "Story of John Brown's Song," an article writen by Edwin Cotter, published
> in Lake Placid News.
> "John Brown, The Thundering Voice of Jehovah," by Stan Cohen
> "John Brown's Body" by Benet; Quoted in "His Soul Goes Marching On" by
Paul
> Finkelman
>
> Dr. Luis Daniel Flores FRCOG
> www.jazzysentimientos.com.ar
> domingos/Sundays 9:30/12:30 GMT
>
>
>
>
> ------------------------------
>
> Message: 6
> Date: Sat, 02 Jul 2005 10:35:39 +1000
> From: Bill Haesler <bhaesler at bigpond.net.au>
> Subject: [Dixielandjazz] Re: Stroh violin
> To: Tamas Ittzes <bohem at fibermail.hu>, dixieland jazz mail list
> <dixielandjazz at ml.islandnet.com>
> Cc: Stephen Barbone <barbonestreet at earthlink.net>
> Message-ID: <BEEC1E7B.94F1%bhaesler at bigpond.net.au>
> Content-Type: text/plain; charset="US-ASCII"
>
> Dear Tamas and Steve,
> As a matter of interest, we Oz jazz and dance band enthusiasts have been
> aware of the Stroh violin for many years.
> They were popular here, as indicated on the website for the 'Fiddle Tunes
> Band', posted by Steve. (This popular group is based in the Hunter Valley
> area about 80 miles north of Sydney (where I live) - the local winery
area.)
> The Stroh violin is well featured in an early Australian silent film where
> the heroine does a 'charleston' sequence with a jazz band (the Crystal
> Palace Orchestra) comprising trumpet; two saxophonists (alto and tenor
> doubling soprano); banjo; a full-kitted drummer and Stoh violin. We know
it
> is supposed to be a jazz band, as they perform the playing gestures
> associated, in the public mind, with our music.
> The film is 'Greenhide' (1926), the second feature directed by the
> celebrated Australian film maker Charles Chauvel.
> Unfortunately, the only print of the film, held by ScreenSound Australia
> (our national film and sound archive) is incomplete.
> Chauvel's musical synopsis has survived, in which he suggests that "That
> Certain Party" (1925. Gus Kahn-Walter Donaldson) be played by the cinema
> pianist at this point.
> This song would have been known to film audiences at that time, as it had
> just been recorded and issued here by the Palais Royal Californians, a
> visiting 'jazz' band from the US.
> Kind regards,
> Bill.
>
>
>
>
>
>
> ------------------------------
>
> Message: 7
> Date: Sat, 02 Jul 2005 00:12:36 -0400
> From: dingle at baldwin-net.com
> Subject: Re: [Dixielandjazz] Re: Stroh violin
> To: Bill Haesler <bhaesler at bigpond.net.au>
> Cc: Stephen Barbone <barbonestreet at earthlink.net>, dixieland jazz mail
> list <dixielandjazz at ml.islandnet.com>, Tamas Ittzes
> <bohem at fibermail.hu>
> Message-ID: <42C61434.5050504 at baldwin-net.com>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> Bill Haesler wrote:
>
> >Dear Tamas and Steve,
> >As a matter of interest, we Oz jazz and dance band enthusiasts have been
> >aware of the Stroh violin for many years.
> >They were popular here, as indicated on the website for the 'Fiddle Tunes
> >Band', posted by Steve. (This popular group is based in the Hunter Valley
> >area about 80 miles north of Sydney (where I live) - the local winery
area.)
> >The Stroh violin is well featured in an early Australian silent film
where
> >the heroine does a 'charleston' sequence with a jazz band (the Crystal
> >Palace Orchestra) comprising trumpet; two saxophonists (alto and tenor
> >doubling soprano); banjo; a full-kitted drummer and Stoh violin. We know
it
> >is supposed to be a jazz band, as they perform the playing gestures
> >associated, in the public mi
> >
>
> >nd, with our music.
> >The film is 'Greenhide' (1926), the second feature directed by the
> >celebrated Australian film maker Charles Chauvel.
> >Unfortunately, the only print of the film, held by ScreenSound Australia
> >(our national film and sound archive) is incomplete.
> >Chauvel's musical synopsis has survived, in which he suggests that "That
> >Certain Party" (1925. Gus Kahn-Walter Donaldson) be played by the cinema
> >pianist at this point.
> >This song would have been known to film audiences at that time, as it had
> >just been recorded and issued here by the Palais Royal Californians, a
> >visiting 'jazz' band from the US.
> >Kind regards,
> >Bill.
> >
> >
> >
> >
> >_______________________________________________
> >Dixielandjazz mailing list
> >Dixielandjazz at ml.islandnet.com
> >http://ml.islandnet.com/mailman/listinfo/dixielandjazz
> >
> >
> >
> >
> The Stroh violin is most familiar to this fellow. My dad had one -- it
> seems to have disappeared somewhere in years past, but he had it from
> his days with Goldkette units in Detroit -- many of the smaller bands
> of that office also recorded. Red was trained to be a concert violinist,
> but got handed an alto sax by a cousin when he was 14 and that, as they
> say, was that. But I can see that odd Stroh -- a neck and finger board
> and a metal megaphone-like horn which would allow the fiddle to be
> recorded on a volume par with voices and reeds.
> I still have two of Red's violins, plus his curved Conn soprano sax --
> none of which I play. Heirlooms you might say. Dust catchers my wife says.
> Charlie Hooks said he might buy the sax if it ever came to market. But I
> think I will hang onto it. I thought it would be neat to put the violins
> and sax, and an old metal clarinet I bought from Barrett Deems (for a
> buck just to shut him up...long story,) and have them set up in front of
> me along with my cornet and trombone in a band picture. Our trombone
> player can also legitimately lay out his clarinet, alto saz and
> mellophone, and our reed man plays alto, clarient, and baritonr sax.
> It would make a send up of the old classic Wolverine Jazz Band picture.
> Of course I would have to part my hair in the middle and use some black
> shoe polish to cover th whitee thatch of skull cover I have - plus shed
> about 60 pounds so I can fit in my old Chicago gigging days tux.
> Ah, hell with it...but that mention of the Stroh violin does bring
> memories. (Besides, Stroh made a pretty good beer, too!)
> Don -- this nostalgia stuff is fun but I'd rather have some steady work
> -- Ingle
>
>
>
>
>
>
> ------------------------------
>
> Message: 8
> Date: Sat, 02 Jul 2005 14:54:52 +1000
> From: Anton Crouch <anton.crouch at optusnet.com.au>
> Subject: [Dixielandjazz] New books on jazz
> To: DJML <dixielandjazz at ml.islandnet.com>
> Message-ID: <3.0.1.32.20050702145452.0079f400 at mail.optusnet.com.au>
> Content-Type: text/plain; charset="iso-8859-1"
>
>
> Hello all
>
> WARNING: Longish post, which may not be of interest to some listmates.
>
> Apologies to Fred Spencer for perhaps stealing his thunder, but I want to
> comment on some new books that I've received. What follows is not intended
> to be reviews but, rather, overviews which I hope will cause people to at
> least have a look at the books. All three are somewhat "specialised" but
> all contain a lot of material on early jazz and all are good reads (to use
> a literary cliché).
>
> First up is the long awaited book by Lawrence Gushee on the (Original)
> Creole Band - "Pioneers of jazz, the story of the Creole Band", Oxford
> University Press, 2005. The book has been about 20 years in the making and
> those who know of Larry Gushee's work as a jazz historian will know what
to
> expect. To put it simply, there is not (and may not yet have been) anyone
> like him when it comes to scrupulous jazz research. Mike Meddings and
other
> Morton-o-philes (including me) treasure Gushee for clearing up the matters
> of Jelly Roll Morton's actual birth date and name, after 40 years of myth
> and mischief.
>
> In this book Gushee gives us the history of a band which can now be seen
as
> the earliest ambassador of New Orleans jazz. The critical point is that
the
> band began widespread touring on the west coast, in middle America, and as
> far north as Canada long before the "closing of Storyville/jazz went up
the
> river" simplification of jazz history. Some of the band's members are now
> part of the iconography of jazz, eg Freddie Keppard, Jimmy Noone and Bill
> Johnson.
>
> Next is Tim Brooks' "Lost sounds, blacks and the birth of the recording
> industry, 1890-1919", University of Illinois Press, 2004. This is a large
> tome, worthy of the description "encyclopaedic". Brooks is a discographer
> as well as social historian and is well known to the handful of
> discographically-inclined people on this list, because of his "Columbia
> Master Book". You can run, but you can't hide, Steve :-)
>
> As Brooks puts it, the story of early recording is as much about how
> African-Americans overcame the barriers to recording as the barriers
> themselves and I was surprised to learn that almost 800 recordings were
> made by African-Americans in the period under consideration. At least half
> still exist and more than 100 are available as re-issues, including some
by
> George W. Johnson, the first successful black recording artist.
>
> The book also includes an appendix on Caribbean and South American
> recordings (by Dick Spottswood).
>
> Finally, we have William Howland Kenney's "Jazz on the river", University
> of Chicago Press, 2005. The "river" is, of course, the Mississippi and
> those that know Kenney's earlier book "Chicago jazz: a cultural history,
> 1904-1930", Oxford University Press, 1993 won't need any prompting to read
> this one.
>
> All the great names are here and I need do no more than quote part of the
> back cover - "We are treated here to a heady mix of local history,
> riverboat mythology, trends in the making of jazz, and even biographies of
> its leading luminaries".
>
> All the best
> Anton
>
>
>
>
>
> ------------------------------
>
> Message: 9
> Date: Sat, 02 Jul 2005 05:32:56 +0000
> From: "Bill Gunter" <jazzboard at hotmail.com>
> Subject: RE: [Dixielandjazz] Glory, Hallelujah
> To: dixielandjazz at ml.islandnet.com
> Message-ID: <BAY17-F3278B6873E3998E85B9516BEE50 at phx.gbl>
> Content-Type: text/plain; format=flowed
>
> Hi Luis,
>
> That song (Battle Hiymn of the Republic) is an old American Civil War
song
> dating back to about 1861 and was written by Julia W. Howe. But Julia
Howe
> got the melody and the concept from an older song about an American
> abolitionist (one who wanted to end slavery) who died earlier. The
original
> lyrics about John Broiwn went as follows:
>
> John Brown's body lies a-mouldering in the grave,
> John Brown's body lies a-mouldering in the grave,
> John Brown's body lies a-mouldering in the grave,
> But his soul goes marching on.
> Chorus:
> Glory, glory, hallelujah,
> Glory, glory, hallelujah,
> Glory, glory, hallelujah,
> His soul goes marching on.
>
> Julia took that song and rewrote the lyrics and composed several original
> verses to the melody. The first verse and chorus by Julia goes as follows:
>
> Mine eyes have seen the glory of the coming of the Lord
> He has trampled out the vintage where the grapes of wrath are stored.
> His has loosed the fateful lightning of his terrible swift sword
> His truth goes marching on . . .
>
> (chorus)
> Glory, glory, haleluja
> Glory, glory, haleluja
> Glory, glory, haleluja
> His truth goes marching on.
>
> There are also some silly parodies of the the song - for example, here's
one
> set to the same melody:
>
> We wear our pink pajamas in the summer when it's hot
> We wear our flannel undies in the winter when it's not
> ANd sometimes in the springtime and sometimes in the fall
> We jump right in between the sheets with nothing on at all!
>
> (Chorus)
> Glory glory halitosis, (halitosis is a word that means having bad breath)
> Glory glory halitosis,
> Glory glory halitosis,
> with nothing on at all!
>
> Now you know more than you need to know about the song.
>
> You can also do a google search and come up with even more information.
>
> Respectfully submitted,
>
> Bill "Glory glory" Gunter
> jazzboard at hotmail.com
>
>
>
>
>
> ------------------------------
>
> Message: 10
> Date: Fri, 1 Jul 2005 23:07:30 -0700 (GMT-07:00)
> From: Burt Wilson <futurecon at earthlink.net>
> Subject: RE: [Dixielandjazz] Glory, Hallelujah
> To: Bill Gunter <jazzboard at hotmail.com>,
> dixielandjazz at ml.islandnet.com
> Message-ID:
> <20917604.1120284450606.JavaMail.root at wamui-polski.atl.sa.earthlink.net>
>
> Content-Type: text/plain; charset=us-ascii
>
> Hey Bill!
>
> How about:
>
> She waded in the water 'til she got her ankles wet
> She waded in the water 'til she got her ankles wet
> She waded in the water 'til she got her ankles wet
> But she hasn't got her (whump - whump) wet....yet!
>
> Burt
> Courtesy of Shakey's, 1954
>
> -----Original Message-----
> From: Bill Gunter <jazzboard at hotmail.com>
> Sent: Jul 1, 2005 10:32 PM
> To: dixielandjazz at ml.islandnet.com
> Subject: RE: [Dixielandjazz] Glory, Hallelujah
>
> Hi Luis,
>
> That song (Battle Hiymn of the Republic) is an old American Civil War
song
> dating back to about 1861 and was written by Julia W. Howe. But Julia
Howe
> got the melody and the concept from an older song about an American
> abolitionist (one who wanted to end slavery) who died earlier. The
original
> lyrics about John Broiwn went as follows:
>
> John Brown's body lies a-mouldering in the grave,
> John Brown's body lies a-mouldering in the grave,
> John Brown's body lies a-mouldering in the grave,
> But his soul goes marching on.
> Chorus:
> Glory, glory, hallelujah,
> Glory, glory, hallelujah,
> Glory, glory, hallelujah,
> His soul goes marching on.
>
> Julia took that song and rewrote the lyrics and composed several original
> verses to the melody. The first verse and chorus by Julia goes as follows:
>
> Mine eyes have seen the glory of the coming of the Lord
> He has trampled out the vintage where the grapes of wrath are stored.
> His has loosed the fateful lightning of his terrible swift sword
> His truth goes marching on . . .
>
> (chorus)
> Glory, glory, haleluja
> Glory, glory, haleluja
> Glory, glory, haleluja
> His truth goes marching on.
>
> There are also some silly parodies of the the song - for example, here's
one
> set to the same melody:
>
> We wear our pink pajamas in the summer when it's hot
> We wear our flannel undies in the winter when it's not
> ANd sometimes in the springtime and sometimes in the fall
> We jump right in between the sheets with nothing on at all!
>
> (Chorus)
> Glory glory halitosis, (halitosis is a word that means having bad breath)
> Glory glory halitosis,
> Glory glory halitosis,
> with nothing on at all!
>
> Now you know more than you need to know about the song.
>
> You can also do a google search and come up with even more information.
>
> Respectfully submitted,
>
> Bill "Glory glory" Gunter
> jazzboard at hotmail.com
>
>
>
> _______________________________________________
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>
>
>
>
> ------------------------------
>
> Message: 11
> Date: Sat, 02 Jul 2005 19:18:24 +1000
> From: Bill Haesler <bhaesler at bigpond.net.au>
> Subject: [Dixielandjazz] FW: Pop and the singers
> To: dixieland jazz mail list <dixielandjazz at ml.islandnet.com>
> Message-ID: <BEEC9900.9510%bhaesler at bigpond.net.au>
> Content-Type: text/plain; charset="US-ASCII"
>
> Dear friends,
> I found this an interesting read.
> >From an Australian musicologist friend, John Whiteoak.
> A sign of our times, with an intelligent nod to the glorious past.
> Not OKOM, but it helps explain where the 'kids' are going wrong musically.
> Kind regards,
> Bill.
>
> http://www.spiked-online.com/Articles/0000000CAC21.htm
>
>
>
>
> ------------------------------
>
> Message: 12
> Date: Sat, 02 Jul 2005 08:44:02 -0400
> From: Steve barbone <barbonestreet at earthlink.net>
> Subject: Re: [Dixielandjazz] Re: Stroh violin
> To: <dingle at baldwin-net.com>
> Cc: dixieland jazz mail list <dixielandjazz at ml.islandnet.com>
> Message-ID: <BEEC0452.2E1E%barbonestreet at earthlink.net>
> Content-Type: text/plain; charset="US-ASCII"
>
> Don Ingle at dingle at baldwin-net.com wrote: (polite snip
>
> > Don -- this nostalgia stuff is fun but I'd rather have some steady work
> > -- Ingle
>
> Hey Don, fire up the travel trailer and come East. I need a trumpet player
> for a few gigs this month and next because our regular guy is doing 4
days a
> week at the Showboat in Atlantic City and had to beg off some of mine.
>
> Pay range between $100 and $400 per gig. Avg $100/per hour.
>
> Better yet, if you can play reeds, you can sub for me at the Showboat for
> another 5 or 6 @ $150 per gig plus all you can eat.
>
> Cheers,
> Steve Barbone
>
>
>
>
> ------------------------------
>
> Message: 13
> Date: Sat, 02 Jul 2005 09:05:17 -0400
> From: Steve barbone <barbonestreet at earthlink.net>
> Subject: [Dixielandjazz] Where is The Music Going?
> To: DJML <dixielandjazz at ml.islandnet.com>
> Message-ID: <BEEC094D.2E1F%barbonestreet at earthlink.net>
> Content-Type: text/plain; charset="US-ASCII"
>
> Just when you think you've seen/heard it all. See below articles, both
> snipped for brevity. (write me off list for full articles)
>
> Hey Tamas, what is this Gypsy Punk Rock stuff we're hearing in NYC? Sounds
> like the Stroh violin would be a natural. :-) VBG. Beautiful picture of a
> bearded Gypsy Punk Rocker playing accordeen printed with this article.
>
> And now, the NY Pops is lip synching? Be sure to watch NBC TV Monday
night.
> See America's largest fireworks display as well as Skitch & the boys
> pretending to play.
>
> Musical Lesson? "There's No Business Like Show Business."
>
> Cheers,
> Steve Barbone
>
>
> THE RISE OF GYPSY PUNK ROCKERS ???
>
> Mr. Hutz's crew is not the only band exploring the punk side of Eastern
> European music. In the last several years a high-kicking,
accordion-wailing,
> drum-pounding scene has developed in New York, with groups like Slavic
Soul
> Party!, Romashka, the Hungry March Band and Guignol playing in small clubs
> and restaurants and, more and more, alongside one another on big multiple
> bills at places like the Knitting Factory. . . .
>
>
>
> SKITCH & NY POPS FAKING THE JULY 4TH "AMERICA'S MUSIC" !!!!!
>
> It was supposed to be a breakout moment in the history of the New York
Pops
> and its music director, Skitch Henderson. On Monday night, on seven barges
> along the East River, Macy's will present what it is calling the largest
> Fourth of July fireworks display in America. It will be precisely
> coordinated to a soundtrack performed by the New York Pops, a 30-minute
> medley of American music. And the whole show will be televised nationwide
on
> NBC.
>
> This is just the kind of exposure the New York Pops, which Mr. Henderson
> founded in 1983, has longed for. Over the years, with outdoor concerts
from
> the Charles River Esplanade, the hugely successful Boston Pops has been
> America's orchestra of note for Fourth of July festivities. (CBS will
carry
> its concert live at 10 p.m. on Monday.)
>
> But officials at the New York Pops may now be thinking, "Be careful what
you
> wish for." Viewers who look closely at the NBC broadcast on Monday night
at
> 9 may notice something strange. If the musicians of the New York Pops
look a
> little sheepish and seem less than fully engaged, it's because they will
be
> shown doing the instrumental equivalent of lip-synching. Officials from
the
> orchestra call it "synchronizing."
>
>
>
>
> ------------------------------
>
> Message: 14
> Date: Sat, 2 Jul 2005 08:09:33 -0700
> From: David Richoux <tubaman at tubatoast.com>
> Subject: [Dixielandjazz] "Playing for Change" documentary film (only
> slightly off topic)
> To: DJML Jazz <dixielandjazz at ml.islandnet.com>
> Message-ID: <76df75947aa8402d8020b424433d13c0 at tubatoast.com>
> Content-Type: text/plain; charset=US-ASCII; format=flowed
>
> Hi all,
>
> I just watched a film about street musicians playing this week on the
> Sundance Channel - - http://www.playingforchange.com/home.html has
> more info. There are at least 3 more showings in July, if you get the
> channel.
>
> The musicians are from LA, New Orleans and New York - not all OKOM -
> but mostly very good.
>
> I spotted several musicians in the film I have met in New Orleans
> over the years...
>
> Dave Richoux
>
>
>
>
> ------------------------------
>
> Message: 15
> Date: Sat, 2 Jul 2005 11:21:45 -0500
> From: Charlie Hooks <charliehooks2 at earthlink.net>
> Subject: Re: [Dixielandjazz] Re: Stroh violin
> To: dingle at baldwin-net.com
> Cc: Stephen Barbone <barbonestreet at earthlink.net>, dixieland jazz mail
> list <dixielandjazz at ml.islandnet.com>, Tamas Ittzes
> <bohem at fibermail.hu>, Bill Haesler <bhaesler at bigpond.net.au>
> Message-ID: <6224F39C-EB15-11D9-9D8B-00039345A398 at earthlink.net>
> Content-Type: text/plain; charset=US-ASCII; format=flowed
>
>
> On Friday, July 1, 2005, at 11:12 PM, dingle at baldwin-net.com wrote:
>
> > bought from Barrett Deems (for a buck just to shut him up...long story
>
>
> Wait a minute! You managed to shut Barrett Deems up?? Now that's a
> story worth telling! I guarantee no one else has ever done that!
>
> Charlie
>
> PS. And that Conn curved soprano has a marvelous sound--an especially
> large bell, if it's the model I'm thinking of.
>
>
> "Conservatives saw the savagery of 9/11 in the attacks and prepared
> for war; liberals saw the savagery of the 9/11 attacks and wanted to
> prepare indictments and offer therapy and understanding for our
> attackers." --Karl Rove
>
>
> ------------------------------
>
> _______________________________________________
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>
>
> End of Dixielandjazz Digest, Vol 31, Issue 2
> ********************************************
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