[Dixielandjazz] Re: Bechet's Vibrato
Patrick Cooke
amazingbass at cox.net
Fri Jun 10 06:56:55 PDT 2005
Steve said:
> And some, like Bechet, used vibrato to good effect to
cover up the tuning problems. With his W I D E vibrato, part of the note was
bound to be in tune. :-) VBG.
Thank you Steve...I always wondered why he used that terrible nanny-goat
vibrato. He had some gread ideas, but I had to mentally filter out the
vibrato to appreciate them.
Pat Cooke
----- Original Message -----
From: <dixielandjazz-request at ml.islandnet.com>
To: <dixielandjazz at ml.islandnet.com>
Sent: Thursday, June 09, 2005 10:20 PM
Subject: Dixielandjazz Digest, Vol 30, Issue 27
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> Today's Topics:
>
> 1. Re: Re: Dixielandjazz Digest, Vol 30, Issue 19 (Charles Suhor)
> 2. Palm Court Jazz Cafe (Kathleen Edegran)
> 3. Re: DJ in Ont? (TCASHWIGG at aol.com)
> 4. Jazz Sunday, Sacramento Area (Robert S. Ringwald)
> 5. RE: Jan Sutherland contact info (Williams, Bob)
> 6. Re: Ken Colyer (Judy Eames)
> 7. STJS Jazz Sunday, Correction (Robert S. Ringwald)
> 8. RE: Sop Sax George Probert and Canal St. Blues (Bill Gunter)
> 9. Re: 'Flumpet'? (was 'Nuther dumb question) (David Livingston)
> 10. Re: 'Flumpet'? (was 'Nuther dumb question)
> (LARRY'S Signs and Large Format Printing)
> 11. CT Jazz (baglady4 at juno.com)
> 12. Re: Ukulele tuning for a whole set (Talegatorz at aol.com)
> 13. Re: Bechet on soprano sax (Mike C.)
> 14. Soprano sax vs. clarinet (Rick Knittel)
> 15. RE: Sop Sax George Probert and Canal St. Blues (Jim O'Briant)
> 16. Soprano Sax & Bechet (Steve barbone)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Thu, 9 Jun 2005 17:27:07 -0500
> From: Charles Suhor <csuhor at zebra.net>
> Subject: Re: [Dixielandjazz] Re: Dixielandjazz Digest, Vol 30, Issue
> 19
> To: "Patrick Cooke" <amazingbass at cox.net>
> Cc: dixielandjazz at ml.islandnet.com
> Message-ID: <0a088fea6e2375b4946e3e71c901ed1e at zebra.net>
> Content-Type: text/plain; charset=US-ASCII; format=flowed
>
> On Jun 9, 2005, at 3:38 PM, Patrick Cooke wrote:
>> Judy writes:
>>> Chris reckons that jazz in New Orleans has moved on
>>> since the days when Ken Colyer was there.
>>
>> I have to admit I don't know who Ken Colyer is/was, but I was
>> living California and Florida for about 45 years, and just returned to
>> New Orleans 11 years ago. New Orleans has advanced to using PA
>> systems, and there are a few purists who even stay to listen when
>> there is more than one microphone in use. There are still a few smug
>> "elitists" who still would rather hear an out-of-tune acoustic piano
>> than an in-tune electronic one, even though the new keyboards can
>> sound like a concert grand. There are a few other silly notions
>> harbored by a few that make them feel they are above those of us who
>> live in a world of electric refrigerators, TV, computers, and
>> automatic transmissions.
>> But basically the music has survived and even advanced a little,
>> somewhat to the dismay of a few who feel that improvement is
>> impossible. Come to the French Quarter Festival.....It's mostly local
>> New Orleans musicians. They still play a lot of the old chestnuts,
>> but most of the musicianship is superb.
>> Pat Cooke
>
> English trumpeter Colyer was in N.O. in '52 or '53, just as the local
> popular revival of early & Dixieland jazz was starting to wind down. A
> noteworthy point about N.O. players "moving on" is that the
> international revival of the 40s and 50s took a very specialized form
> in the city. First generation black players were revived, some of them
> mainly to record on labels like American Music, a few (like Papa
> Celestin and George Lewis' bands) getting gigs and exposure. (Bunk
> rarely played in town.) Seasoned white players, mainly a little younger
> (Sharkey Bonano's and Tony Almerico's bands), did very well.
>
> The point is that the younger players didn't emulate Oliver or the Red
> Hot Peppers. Nothing resembling Lu Watters, Turk Murphy, or Claude
> Luter, or the Firehouse Five. Tubas and banjos were seen as old or
> corny, or even commercial, suggesting minstrelsy. The fluidity and
> invention they were seeking weren't as easily achieved, the youngsters
> felt, with the insistence of a strummed banjo and the enforced "2"
> feeling of a tuba. And marching and brass bands were years from getting
> the attention of young players.
>
> Most black and white kids were in fact attracted to modern jazz, many
> black youngsters to the new R&B as well. The was cultivated in the city
> by a good number of white youngsters who took up the Dixieland style
> and "moved on" with it--Fountain, the Assunto brothers, George Girard,
> Roy Liberto, Connie Jones, Murphy Campo, Al McCrossen, Pee Wee
> Spitelera, Paul Ferrara, and others. Exceptions existed, of course. Dr.
> John was a young white R&B comer. The Last Straws used a banjo but the
> band in its early incarnations wasn't taken seriously. Like many
> revivalist bands, they could "play hot," but they didn't swing.
>
> It was the largely the influx of young foreign musicians in the 60s
> that turned interest back to earliest jazz styles, instrumentation, and
> repertoire. Many of them hung out with Preservation Hall veterans after
> it opened in 1961. Lars Edergan, Barry Martyn, and others contributed
> greatly to this. (Tom Sancton was one of the few locals.) Danny Barker
> later worked to bring kids into marching bands, which also "moved" on,
> sometimes nicely, sometimes in R&B and other strange directions, and
> regressing at times to the glorification of arrested amateurism.
>
> The local jazz scene today is a very mixed bag, but updated Dixieland,
> though sometimes too facile, is often the most driving and interesting
> force. I don't get the N.O. that often, but typical bands I've heard at
> the Palm Court are a good example. Musicians integrate many styles into
> the ensembles and solos--listening to each other very well, often
> sounding very modern, all the while keeping the spirit of freewheeling
> Dixieland jazz. You can hear a lot of Clifford Brown in Leroy Jones'
> trumpet, Ray Brown in Bill Huntington's bass, etc. It's good, deep,
> feelingful jazz. Another way of saying that: it's to my taste!
>
> Charlie Suhor
>
>
>
>
> ------------------------------
>
> Message: 2
> Date: Tue, 7 Jun 2005 19:54:10 -0500
> From: "Kathleen Edegran" <edegran at earthlink.net>
> Subject: [Dixielandjazz] Palm Court Jazz Cafe
> To: <dixielandjazz at ml.islandnet.com>
> Message-ID: <00ac01c56bc4$9507b700$0a0110ac at 51a8m>
> Content-Type: text/plain; charset="Windows-1252"
>
> Hello:
> Dick Redmond suggested I contact you regarding being on your listings for
> jazz clubs.
> Palm Court Jazz Cafe is located at 1204 Decatur Street, New Orleans, LA
> 70116 phone 50-525-0200 fax 523-2629. web site www.palmcourtjazzcafe.com
> We are open wednesday thru sunday from 7p-11p for fine dining and live
> traditional jazz. We have 6 piece jazz bands with some of the best
> traditional musicians in the world. Guests can dine whilst enjoying the
> music.
> Please contact me if you need any further information.
> Best regards,
> Kathy Edegran.
>
>
> ------------------------------
>
> Message: 3
> Date: Thu, 9 Jun 2005 18:47:07 EDT
> From: TCASHWIGG at aol.com
> Subject: Re: [Dixielandjazz] DJ in Ont?
> To: johnbird at sympatico.ca, dixielandjazz at ml.islandnet.com
> Message-ID: <105.62a81861.2fda20eb at aol.com>
> Content-Type: text/plain; charset="US-ASCII"
>
> In a message dated 6/9/05 2:45:39 PM Pacific Daylight Time,
> johnbird at sympatico.ca writes:
>
>>
>> Just wondering if anyone can recommend where I mighe find some DJ music
>> in
>> south central Ontario, particularly the Peterborough/Lindsay area, but
>> also in
>> Mecca, I mean Toronto.
>>
>> Cheers,
>> John (aka Ukulele Shoni in Bobcaygeon)
>>
>>
>>
>
> Well John:
>
> If it's A DJ you are looking for, any Discotech will fill your needs, The
> DJ
> word is not acceptable on this list, as it translates to NO LIVE MUSIC
> PLAYED
> HERE. :))
>
> However if it is actually Dixieland Jazz that you are looking for I am
> certain one or more of our good buddies on the list in that area can give
> you the
> names of some good places to go.
>
>
> Cheers,
>
> Tom Wiggins
>
> Save live music, Kill a DJ a Day,
>
>
> ------------------------------
>
> Message: 4
> Date: Thu, 9 Jun 2005 15:39:30 -0700
> From: "Robert S. Ringwald" <robert at ringwald.com>
> Subject: [Dixielandjazz] Jazz Sunday, Sacramento Area
> To: "DJML" <dixielandjazz at ml.islandnet.com>
> Message-ID: <039a01c56d45$838500f0$5702fea9 at laptop1>
> Content-Type: text/plain; format=flowed; charset="iso-8859-1";
> reply-type=original
>
> You are invited to the Sacramento Traditional Jazz Society's jazz Sunday
> concert, June 12, 2005, noon - 5:00 PM.
>
> Where? At the Dante Club,
> 2330 Fair Oaks Blvd., Sacramento, CA.
>
> Be aware that there is overflow parking next door at McDonalds.
>
> Our featured guest star will be the Australian born clarinet and sax
> player,
> Anita Thomas. Anita has recently moved to the Southern California area
> and
> is making quite a name for herself. She is a wonderful, hot player.
>
> Anita will be featured on 2 sets on the Main stage, with some of
> Sacramento's finest musicians.
>
> There will be jazz in 3 rooms all day long.
>
> For more information, see http://www.sacjazz.com
>
> --Bob Ringwald K6YBV
> Placerville, CA USA
>
> "There are three kinds of men:
> The ones that learn by reading.
> The few who learn by observation.
> The rest of them have to pee on the electric fence and find out for
> themselves."
> --William Penn Adair (Will) Rogers B: 11/4/1879 D: 8/15/1935
>
>
>
>
>
> ------------------------------
>
> Message: 5
> Date: Thu, 9 Jun 2005 15:47:32 -0700
> From: "Williams, Bob" <robert.c.williams at eds.com>
> Subject: RE: [Dixielandjazz] Jan Sutherland contact info
> To: "Williams, Bob" <robert.c.williams at eds.com>, "DJML"
> <dixielandjazz at ml.islandnet.com>
> Message-ID:
> <B670522B05B4244A81F51799CF0EC820D64A64 at ussam232.amer.corp.eds.com>
> Content-Type: text/plain; charset="us-ascii"
>
> I think I have the information I need. Thanks to all who responded, and
> to those who were thinking about it.
>
> -----Original Message-----
> From: dixielandjazz-bounces at ml.islandnet.com
> [mailto:dixielandjazz-bounces at ml.islandnet.com] On Behalf Of Williams,
> Bob
> Sent: Thursday, June 09, 2005 1:42 PM
> To: DJML
> Subject: [Dixielandjazz] Jan Sutherland contact info
>
>
> Someone has asked me how to get Jan Sutherland CDs. Does anyone know if
> she has a website or email address?
>
> Barring that, can someone give me her phone number offline?
>
> Bob Williams
> Trombonist Extraordinaire and
> The Worlds's Most Modest Man
> mailto:slushpump1 at comcast.net
>
>
>
> _______________________________________________
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>
>
>
> ------------------------------
>
> Message: 6
> Date: Fri, 10 Jun 2005 00:02:39 +0100
> From: "Judy Eames" <jude at judyeames.co.uk>
> Subject: [Dixielandjazz] Re: Ken Colyer
> To: "DJML" <dixielandjazz at ml.islandnet.com>
> Message-ID: <005601c56d48$113201d0$a300a8c0 at Jude>
> Content-Type: text/plain; charset="iso-8859-1"
>
> Pat Cooke doesn't know who Ken Colyer was...... well sort of England's
> answer to California's Turk Murphy except he played trumpet He died some
> time ago but still has become a saint of English jazz, partly because he
> spent time in New Orleans ...... There is still a band calling itself the
> Ken Colyer Trust. I have to state my bias, I heard him play frequently in
> the late 70s/early 80s in London and couldn't understand what all the fuss
> was about but hell what does a singer know? He was not a person to
> project
> his personality, never said a word to the audience and when a good friend
> of
> mine subbed with the band, Ken didn't say a word to him all evening.
>
> Jude
>
>
>
> as Judy Eames
> Kaminsky Connection
> Aston, Oxfordshire
> UK
> www.judyeames.co.uk
> ----- Original Message -----
> From: "Patrick Cooke" <amazingbass at cox.net>
> To: <dixielandjazz at ml.islandnet.com>
> Sent: Thursday, June 09, 2005 9:38 PM
> Subject: [Dixielandjazz] Re: Dixielandjazz Digest, Vol 30, Issue 19
>
>
>> Judy writes:
>>
>> >The thing that I find irritating in the UK is that so many festivals
> devote
>> >themselves to what we here call "New Orleans" music and disdain
>> >anything
>> >else.
>>
>> Many of the festivals in the U.S. do the same thing. Sometimes I
>> think all the musicians at a festival get on the same plane and go to the
>> next festival......and play the same tunes the same way we've all heard
> them
>> a thousand times before. The "all stars", I find are particularly guilty
> of
>> this, in their desire to "play something we all know". I know they are
>> extremely capable of playing something different. I would not like to
> hear
>> the same tune more than three times in one day.
>> If you want to hear something that is a little more creative, you
>> almost have to go to a different kind of festival. Some of the "trad"
>> festivals seem to hire a few token "all stars" in a half-hearted attempt
> at
>> a more varied line-up, but they're still basically trad festivals.
>>
>> >Chris reckons that jazz in New Orleans has moved on
>> > since the days when Ken Colyer was there.
>>
>> I have to admit I don't know who Ken Colyer is/was, but I was living
>> California and Florida for about 45 years, and just returned to New
> Orleans
>> 11 years ago. New Orleans has advanced to using PA systems, and there
>> are
> a
>> few purists who even stay to listen when there is more than one
>> microphone
>> in use. There are still a few smug "elitists" who still would rather
>> hear
>> an out-of-tune acoustic piano than an in-tune electronic one, even though
>> the new keyboards can sound like a concert grand. There are a few other
>> silly notions harbored by a few that make them feel they are above those
> of
>> us who live in a world of electric refrigerators, TV, computers, and
>> automatic transmissions.
>> But basically the music has survived and even advanced a little,
>> somewhat to the dismay of a few who feel that improvement is impossible.
>> Come to the French Quarter Festival.....It's mostly local New Orleans
>> musicians. They still play a lot of the old chestnuts, but most of the
>> musicianship is superb.
>> Pat Cooke
>>
>> ----- Original Message ----- > Message: 13
>> > Date: Wed, 8 Jun 2005 12:01:14 +0100
>> > From: "Judy Eames" <jude at judyeames.co.uk>
>> > Subject: Re: [Dixielandjazz] Lurkers reacting.... and does size really
>> > matter:-)
>> > To: "DJML" <dixielandjazz at ml.islandnet.com>
>> > Message-ID: <002b01c56c19$64515080$a300a8c0 at Jude>
>> > Content-Type: text/plain; charset="iso-8859-1"
>> >
>> > Cees Van Heuvel thinks he's got problems with negative reaction to
>> > postings
>> > about Jazz in Holland just imagine being English, a singer and female
>> > on
>> > this list:-)
>> >
>> > Those Americans who do make it to Europe are usually surprised at the
>> > quality of some of our bands; not something that can always be captured
> in
>> > recording.
>> >
>> > The thing that I find irritating in the UK is that so many festivals
>> > devote
>> > themselves to what we here call "New Orleans" music and disdain
> anything
>> > else. I love the music when it's played well but it can become very
> solemn
>> > (some) musicians of the genre take themselves far too seriously.
>> >
>> > Last year I was asked to arrange a gig with Chris Burke and Les Muscutt
>> > from
>> > New Orleans. I was dreading a restricted diet of blues and gospel (Oh
> I
>> > forgot to mention my 4th listy drawback, I'm an atheist) BUT we and the
>> > audience had a wonderful time and Chris and Les knew the songs from Lee
>> > Wiley's repertoire. Chris reckons that jazz in New Orleans has moved
>> > on
>> > since the days when Ken Colyer was there.
>> >
>> > So my question is do other countries/areas have a dominant (fossilised)
>> > form
>> > of the music? .
>> >
>> > As to size .... it was an allusion to Uncle Bob's strange ambition for
> the
>> > list, (just imagine 500 people posting every day) and also an
>> > invitation
>> > to
>> > some off-topic banter that will send him apoplectic:-)
>> >
>> > Judy Eames
>> > Kaminsky Connection
>> > Big Bear Stompers
>> > Aston, Oxfordshire
>> > UK
>> > www.judyeames.co.uk
>> > ----- Original Message -----
>> >
>> >
>> >
>> >
>> > ------------------------------
>> >
>> > Message: 14
>>
>>
>>
>> _______________________________________________
>> Dixielandjazz mailing list
>> Dixielandjazz at ml.islandnet.com
>> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>>
>
>
>
>
> ------------------------------
>
> Message: 7
> Date: Thu, 9 Jun 2005 16:02:33 -0700
> From: "Robert S. Ringwald" <robert at ringwald.com>
> Subject: [Dixielandjazz] STJS Jazz Sunday, Correction
> To: "DJML" <dixielandjazz at ml.islandnet.com>
> Message-ID: <043801c56d48$24cdd7f0$5702fea9 at laptop1>
> Content-Type: text/plain; format=flowed; charset="iso-8859-1";
> reply-type=original
>
> The correct URL for the Sacramento Traditional Jazz Society is
> http://www.sacjazz.org not .com
>
>
> --Bob Ringwald K6YBV
> Placerville, CA USA
>
> "There are three kinds of men:
> The ones that learn by reading.
> The few who learn by observation.
> The rest of them have to pee on the electric fence and find out for
> themselves."
> --William Penn Adair (Will) Rogers B: 11/4/1879 D: 8/15/1935
>
>
>
>
>
> ------------------------------
>
> Message: 8
> Date: Thu, 09 Jun 2005 23:12:26 +0000
> From: "Bill Gunter" <jazzboard at hotmail.com>
> Subject: RE: [Dixielandjazz] Sop Sax George Probert and Canal St.
> Blues
> To: Artwoo at aol.com, dixielandjazz at ml.islandnet.com
> Message-ID: <BAY17-F10BE8442FEA3BBF54EA0D5BEFC0 at phx.gbl>
> Content-Type: text/plain; format=flowed
>
> Hi All,
>
> Art Wood writes (regarding Probert's Soprano Sax):
>
>>Hi: I invite anyone who has an aversion to the Sop Sax to listen to George
>>Probert's version of Canal St Blues on track 4 of "Firehouse Five +2"
>>Dixieland
>>Favorites.
>>
>>His solo starts out with a pianissimo plaintive cry and tells a sad
>>story...no fish-horn blats here. Listen and become a convert.
>
> As a matter of fact, at the jazz festival in Chilliwack, B.C. last month,
> Probert and his sax played that very same song (Canal St. Blues) with us
> (Cell Block 7). It was the second time he has done so. The first time was
> at
> the Sacramento Jazz Jubilee a couple of years ago.
>
> It was a "musical moment" for me which I'll remember for a long time.
>
> In Chilliwack there was a member of the audience who came up to the band
> stand while I was introducing George and talking about his recording on
> the
> old Firehouse Five + 2 LP and he had that very same LP in his hand. He had
> brought it along knowing Probert was going to be with us and he wanted to
> get it autographed.
>
> I pointed it out to George in the course of my introduction and George
> yelled out "Well, hell - why don't we just play the record!" We had a
> good
> laugh and then we proceded to play Canal Street which once again brought
> George and the band a standing "O" -
>
> It was great fun!
>
> Cheers,
>
> Bill Gunter
> jazzboard at hotmail.com
>
>
>
>
>
> ------------------------------
>
> Message: 9
> Date: Thu, 9 Jun 2005 16:19:14 -0700 (PDT)
> From: David Livingston <snargi01 at yahoo.com>
> Subject: Re: [Dixielandjazz] 'Flumpet'? (was 'Nuther dumb question)
> To: dixielandjazz at ml.islandnet.com
> Message-ID: <20050609231914.14079.qmail at web80213.mail.yahoo.com>
> Content-Type: text/plain; charset=us-ascii
>
> You are correct. A flumpet is a somewhat of a cross
> between a trumpet and a flugelhorn. It has the warmth
> of a flugelhorn with the projection of a trumpet. It
> is made by Dave Monette http://www.monette.net and
> will only cost you about $10,000. ;)
>
>
>
> David (doesn't play on a Monette) Livingston
> Dixieland Gumbo Internet Radio
> The BEST place on the web to hear Traditional Jazz
>
> To inquire about getting your band on the station
> contact Dave at snargi at dixielandgumbo.com
>
>
> --- Aad Overeem <aad.overeem at wanadoo.nl> wrote:
>> What a list, I almost every day learn something!
>>
>> Some time ago I learned that the great late Art
>> Farmer played a "Flumpet"
>> and IMHO he had a nice 'warm' sound on it, somewhat
>> like a Flugelhorn.
>>
>> Perhaps some expert can explain me what a "Flumpet"
>> is? Perhaps sort of a
>> cross between a Flugelhorn and a Trumpet?
>>
>> Aad Overeem
>> Netherlands
>>
>>
>> http://www.hammerfieldstompers.nl
>>
>>
>> ----- Original Message -----
>> From: "LARRY'S Signs and Large Format Printing"
>> <sign.guy at charter.net>
>> To: <johnbird at sympatico.ca>;
>> <dixielandjazz at ml.islandnet.com>
>> Sent: Thursday, June 09, 2005 9:01 PM
>> Subject: Re: [Dixielandjazz] 'Nuther dumb question
>>
>>
>> > snip:
>> > > Now I have another silly question, but what
>> better place to get a good
>> > answer. What I'm wondering is how trumpet and
>> cornet differ from one
>> > another, and why might one prefer one instrument
>> over the other? Anyone
>> care
>> > to jump in?
>> >
>> >
>> > Cornet is a conical bore instrument, that is it
>> starts out small and
>> > gradually gets larger like a sax. the trumpet is
>> a straight bore and it
>> > stays essentially the same size until it gets to
>> the last crook just
>> before
>> > the bell. The sound of a cornet is more mellow
>> and has less projection.
>> I
>> > personally prefer the cornet to the trumpet.
>> Trumpets are usually used in
>> > orchestras whereas bands starting with Sousa uses
>> cornets. However having
>> > said that kids will almost always select the
>> trumpet over the cornet. The
>> > cornet is easier to hold in a horizontal position
>> because the elbows can
>> be
>> > held closer to the body and is more restful.
>> Since cornets were used in
>> > bands (military and other) around the turn of the
>> century they became a
>> part
>> > of the Dixie band and is usually used today in
>> trad bands.
>> >
>> > The flugelhorn (sp?) is a conical instrument and
>> produces a very mellow
>> tone
>> > but little projection. If I were king of the
>> world you would need a
>> special
>> > permit to play trumpets. That's personal
>> preference. I find the
>> flugelhorn
>> > to be a very cool instrument. This horn was
>> actually outlawed during WWI
>> by
>> > General Pershing. He would have no German
>> instruments in his bands. The
>> > rest of the country followed suit and the
>> instrument fell out of favor
>> until
>> > jazz players re-discovered it. You still won't
>> find them in American
>> > concert bands, however, English brass bands use a
>> flugelhorns as part of
>> > their standard instrumentation to our loss.
>> >
>> > Larry Walton
>> > St. Louis
>>
>>
>>
>>
>>
>> _______________________________________________
>> Dixielandjazz mailing list
>> Dixielandjazz at ml.islandnet.com
>>
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>>
>
>
>
> ------------------------------
>
> Message: 10
> Date: Thu, 9 Jun 2005 18:59:43 -0500
> From: "LARRY'S Signs and Large Format Printing" <sign.guy at charter.net>
> Subject: Re: [Dixielandjazz] 'Flumpet'? (was 'Nuther dumb question)
> To: "David Livingston" <snargi01 at yahoo.com>,
> <dixielandjazz at ml.islandnet.com>
> Message-ID: <002701c56d4f$51bb4ac0$64edd918 at gateway2000>
> Content-Type: text/plain; charset="iso-8859-1"
>
> Some people call them cornets
> ----- Original Message -----
> From: "David Livingston" <snargi01 at yahoo.com>
> To: <dixielandjazz at ml.islandnet.com>
> Sent: Thursday, June 09, 2005 6:19 PM
> Subject: Re: [Dixielandjazz] 'Flumpet'? (was 'Nuther dumb question)
>
>
>> You are correct. A flumpet is a somewhat of a cross
>> between a trumpet and a flugelhorn. It has the warmth
>> of a flugelhorn with the projection of a trumpet. It
>> is made by Dave Monette http://www.monette.net and
>> will only cost you about $10,000. ;)
>>
>>
>>
>> David (doesn't play on a Monette) Livingston
>> Dixieland Gumbo Internet Radio
>> The BEST place on the web to hear Traditional Jazz
>>
>> To inquire about getting your band on the station
>> contact Dave at snargi at dixielandgumbo.com
>>
>>
>> --- Aad Overeem <aad.overeem at wanadoo.nl> wrote:
>> > What a list, I almost every day learn something!
>> >
>> > Some time ago I learned that the great late Art
>> > Farmer played a "Flumpet"
>> > and IMHO he had a nice 'warm' sound on it, somewhat
>> > like a Flugelhorn.
>> >
>> > Perhaps some expert can explain me what a "Flumpet"
>> > is? Perhaps sort of a
>> > cross between a Flugelhorn and a Trumpet?
>> >
>> > Aad Overeem
>> > Netherlands
>> >
>> >
>> > http://www.hammerfieldstompers.nl
>> >
>> >
>> > ----- Original Message -----
>> > From: "LARRY'S Signs and Large Format Printing"
>> > <sign.guy at charter.net>
>> > To: <johnbird at sympatico.ca>;
>> > <dixielandjazz at ml.islandnet.com>
>> > Sent: Thursday, June 09, 2005 9:01 PM
>> > Subject: Re: [Dixielandjazz] 'Nuther dumb question
>> >
>> >
>> > > snip:
>> > > > Now I have another silly question, but what
>> > better place to get a good
>> > > answer. What I'm wondering is how trumpet and
>> > cornet differ from one
>> > > another, and why might one prefer one instrument
>> > over the other? Anyone
>> > care
>> > > to jump in?
>> > >
>> > >
>> > > Cornet is a conical bore instrument, that is it
>> > starts out small and
>> > > gradually gets larger like a sax. the trumpet is
>> > a straight bore and it
>> > > stays essentially the same size until it gets to
>> > the last crook just
>> > before
>> > > the bell. The sound of a cornet is more mellow
>> > and has less projection.
>> > I
>> > > personally prefer the cornet to the trumpet.
>> > Trumpets are usually used in
>> > > orchestras whereas bands starting with Sousa uses
>> > cornets. However having
>> > > said that kids will almost always select the
>> > trumpet over the cornet. The
>> > > cornet is easier to hold in a horizontal position
>> > because the elbows can
>> > be
>> > > held closer to the body and is more restful.
>> > Since cornets were used in
>> > > bands (military and other) around the turn of the
>> > century they became a
>> > part
>> > > of the Dixie band and is usually used today in
>> > trad bands.
>> > >
>> > > The flugelhorn (sp?) is a conical instrument and
>> > produces a very mellow
>> > tone
>> > > but little projection. If I were king of the
>> > world you would need a
>> > special
>> > > permit to play trumpets. That's personal
>> > preference. I find the
>> > flugelhorn
>> > > to be a very cool instrument. This horn was
>> > actually outlawed during WWI
>> > by
>> > > General Pershing. He would have no German
>> > instruments in his bands. The
>> > > rest of the country followed suit and the
>> > instrument fell out of favor
>> > until
>> > > jazz players re-discovered it. You still won't
>> > find them in American
>> > > concert bands, however, English brass bands use a
>> > flugelhorns as part of
>> > > their standard instrumentation to our loss.
>> > >
>> > > Larry Walton
>> > > St. Louis
>> >
>> >
>> >
>> >
>> >
>> > _______________________________________________
>> > Dixielandjazz mailing list
>> > Dixielandjazz at ml.islandnet.com
>> >
>> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>> >
>>
>> _______________________________________________
>> Dixielandjazz mailing list
>> Dixielandjazz at ml.islandnet.com
>> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>
>
>
> ------------------------------
>
> Message: 11
> Date: Fri, 10 Jun 2005 00:39:51 GMT
> From: "baglady4 at juno.com" <baglady4 at juno.com>
> Subject: [Dixielandjazz] CT Jazz
> To: dixielandjazz at ml.islandnet.com
> Message-ID: <20050609.174019.4600.35517 at webmail28.lax.untd.com>
> Content-Type: text/plain
>
>
> Listers:
>
> Curious to find out how many DJMLers plan to attend either Hot Steamed
> Jazz in Essex, Ct (June 24, 25 & 26) and/or Greater CT Jazzfest in Moodus,
> Ct (July 29, 30 & 31st)?
>
> Response off-list probably best idea.
>
> Thanks....Nancie Beaven
> Bloomfield, NJ
> (Professional OKOM Appreciator)
>
>
>
> ------------------------------
>
> Message: 12
> Date: Thu, 9 Jun 2005 21:49:08 EDT
> From: Talegatorz at aol.com
> Subject: [Dixielandjazz] Re: Ukulele tuning for a whole set
> To: dixielandjazz at ml.islandnet.com
> Message-ID: <80.2968836c.2fda4b94 at aol.com>
> Content-Type: text/plain; charset="US-ASCII"
>
> Yes, there is nothing worse than an out of tune uke, but keeping a uke in
> tune for a whole gig is no great challenge.
> Buy a quality uke, one that is strait and solid.
> Use quality strings, (I like Aquila though I'm going to try the Worth
> Fluorocarbon).
> Inexpensive peg tuners are problematic and can loosen or be stiff. Replace
> with quality pegs or get a uke set up with decent geared tuners.
> Stretch and break in nylon strings properly. They will stretch out for
> many
> days, so be patient.
> Use an electronic tuner.
>
> Gus Bloch
>
>
> ------------------------------
>
> Message: 13
> Date: Thu, 09 Jun 2005 20:16:45 -0600
> From: "Mike C." <mike at michaelcryer.com>
> Subject: Re: [Dixielandjazz] Bechet on soprano sax
> To: Dixieland Jazz <dixielandjazz at ml.islandnet.com>
> Message-ID: <42A8F80D.6020400 at michaelcryer.com>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> I've heard that the curved neck works really well for bossa nova music.
> At least that's what a soprano player told me.
>
> Mike
>
>
>
> > The curved horn looks like a toy and it's almost impossible to get a
>> stand for one. I do note that there is a slight tonal difference with a
>> curved neck vs. a straight.
>>
>
>
>
>
> ------------------------------
>
> Message: 14
> Date: Thu, 9 Jun 2005 22:18:46 -0400
> From: Rick Knittel <knittelsportland at juno.com>
> Subject: [Dixielandjazz] Soprano sax vs. clarinet
> To: dixielandjazz at ml.islandnet.com
> Message-ID: <20050609.221846.1336.0.knittelsportland at juno.com>
> Content-Type: text/plain; charset=us-ascii
>
>
> I am surprised no one has mentioned Bob Wilbur (sp?) regarding the
> soprano sax. He and Sidney Bechet were like father & son and were often
> referred to as Bat & Shay. IMHO Wilbur plays a terrific sounding curved
> soprano sax.
>
>
> Rick Knittel - JAZZBONE
> 37 Ship Channel Road; South Portland, Maine 04106-5136
> Bus phone; (207)-741-2407; fax 2409; Cell: (207)-233-3480; Home;
> (207)-799-6382
> E-mail; Knittelsportland at juno.com; Winter Office; 7657 Bergamo Ave;
> Sarasota, FL 34238-4765; Phone/Fax; (941)-924-5186
>
>
>
> ------------------------------
>
> Message: 15
> Date: Thu, 9 Jun 2005 20:14:13 -0700
> From: "Jim O'Briant" <jobriant at garlic.com>
> Subject: RE: [Dixielandjazz] Sop Sax George Probert and Canal St.
> Blues
> To: <dixielandjazz at ml.islandnet.com>
> Message-ID: <20050610031422.0D05131B1 at sequoia.garlic.com>
> Content-Type: text/plain; charset="US-ASCII"
>
> Art Wood wrote, in part:
>
>> Hi: I invite anyone who has an aversion to the Sop Sax
>> to listen to George Probert's version of Canal St Blues
>> on track 4 of "Firehouse Five +2" Dixieland Favorites.
>
>> His solo starts out with a pianissimo plaintive cry and
>> tells a sad story...no fish-horn blats here. Listen and
>> become a convert.
>
> I didn't hear that particular tune, but I heard George Probert for the
> first
> time at Sacramento this year. For a fellow who claims he doesn't know any
> tunes, he sure plays good. I've ordered some CD reissues of the Firehouse
> 5+2 to hear more.
>
> Jim O'Briant
> Tuba
> Gilroy
>
>
>
>
>
> ------------------------------
>
> Message: 16
> Date: Thu, 09 Jun 2005 23:20:34 -0400
> From: Steve barbone <barbonestreet at earthlink.net>
> Subject: [Dixielandjazz] Soprano Sax & Bechet
> To: DJML <dixielandjazz at ml.islandnet.com>
> Message-ID: <BECE7F42.2AD7%barbonestreet at earthlink.net>
> Content-Type: text/plain; charset="US-ASCII"
>
> Someone asked why a straight Soprano Sax? Probably because the straight
> horn
> is sooooo much sexier. Bechet was a master at using his as a chick magnet.
> He would see a gal looking at him, make eye contact and then point the
> horn
> at her abdomen. He would then weave it around, up and down, while wailing.
> Worked every time as the gals would start to weave and dance about. He
> would
> then chat up the gal on break.
>
> I just got back from our Casino gig where we get lots of interaction with
> the audience. I admit to doing the same thing with my clarinet. It gets
> the
> ladies moving, grinding and dancing about also. We had a group of about a
> dozen gals, mixed races, dancing about to the clarinet solo today which
> just
> about broke everybody up. Sure puts to rest those myths about "no audience
> for OKOM", or "Black & Hispanics don't dig Dixieland / New Orleans Jazz".
>
> Also, intonation on Bechet's Sax was a bastard. All those early straight
> horns were IMPOSSIBLY out of tune. You had a choice, either the upper
> register was correctly tuned, or the lower register was. In either case,
> the
> opposite register was completely out of tune. When you bought a Sop Sax
> back
> then, you would specify which register you wanted correctly pitched and
> they
> would supply the requisite horn.
>
> Some guys compensated by adjusting the mouthpiece so that both registers
> were out of tune. And some, like Bechet, used vibrato to good effect to
> cover up the tuning problems. With his W I D E vibrato, part of the note
> was
> bound to be in tune. :-) VBG.
>
> Even today, just about all clarinets are slightly out of tune up and down
> the horn. Players automatically compensate with their chops to cover the
> deficiencies. This was brought home to me this week when I put my wide
> bore
> Selmer 10G in the shop for air leaks and took out my trusty 60 year old
> narrower bore Buffet. First thing the guitarist, who has excellent ears,
> said was: "Hey, that horn is a little out of tune with itself." But by the
> second gig, he also noticed that I had corrected it with changes of
> embouchure.
>
> Cheers,
> Steve Barbone
>
>
>
>
> ------------------------------
>
> _______________________________________________
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>
>
> End of Dixielandjazz Digest, Vol 30, Issue 27
> *********************************************
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