[Dixielandjazz] Re: Vibrato (was: Bechet's Vibrato)
LARRY'S Signs and Large Format Printing
sign.guy at charter.net
Sun Jun 12 16:34:12 PDT 2005
Trombone vibrato is produced by the slide but it's also a pressure vibrato
which is used in varying ways by brass players. Pressure vibrato can be
produced by caressing the valves (trumpet) in a forward backward motion and
I have seen guys do it by nodding the head up and down thus varying the
pressure. This can't be done on woodwinds although I have seen guys try it.
What is really happening with them is by nodding the head or wiggling the
horn is producing a jaw vibrato through the back door so to speak. I have
never heard any woodwind player successfully produce a good vibrato that
way. Some singers are able to produce vibrato by nodding the head. Some of
them sound OK but not so on woodwinds. Brass instruments can produce
vibrato with the jaw but I think it's pretty uncommon in the higher brass.
I have seen low brass players use jaw vibrato.
Larry Walton
St. Louis
----- Original Message -----
From: "Stan Brager" <sbrager at socal.rr.com>
To: "LARRY'S Signs and Large Format Printing" <sign.guy at charter.net>
Cc: "DJML" <dixielandjazz at ml.islandnet.com>
Sent: Saturday, June 11, 2005 12:29 PM
Subject: Re: [Dixielandjazz] Re: Vibrato (was: Bechet's Vibrato)
> Larry;
>
> A belated thanks for your excellent discussion of vibrato. By the way, a
> trombonist has 3 kinds of vibrato - in addition to the 2 you mentioned,
> there is also slide vibrato which is very commonly used. Jaw vibrato is
not
> quite as common. I don't know of any trombonist who uses diaphragm vibrato
> but maybe this will bring someone out of the vibrato closet.
>
> Stan
> Stan Brager
> Trombonist-in-Training
> ----- Original Message -----
> From: "LARRY'S Signs and Large Format Printing" <sign.guy at charter.net>
> To: "Patrick Cooke" <amazingbass at cox.net>;
<dixielandjazz at ml.islandnet.com>
> Sent: Friday, June 10, 2005 10:32 AM
> Subject: Re: [Dixielandjazz] Re: Bechet's Vibrato
>
>
> > Vibrato has gone through several style changes over the years. It has
> > ranged from the Minnie Mouse to nothing. In the 1940's depending on the
> > band the vibrato was wide and usually a medium fast, in unison and
tended
> to
> > be continuous ala Glen Miller. Earlier vibrato tended to be rapid to
very
> > rapid like Minnie Mouse, Dolly Parton and most mountain singers. Then
> there
> > was the West Coast Jazz era Bud Shenk, Paul Desmond, here vibrato was
> > virtually non existent.
> >
> > Vibrato is produced in several ways on woodwinds. Jaw vibrato and
> Diaphragm
> > vibrato or a combination of each. Actually a good player should be able
> to
> > slip between the two without detection. Jaw vibrato is an intonation
> > vibrato while Diaphragm is one of intensity. Jaw vibrato tends to be
> faster
> > and can vary from shallow to wide. Diaphragm vibrato is the only way a
> > flute can produce vibrato and is used by most Oboe players. Sax and
> > clarinet players tend to use jaw vibrato because it's the most versatile
> but
> > diaphragm is best used for slow ballads (Polkadots and Moonbeams) etc.
> >
> > Today players use a variable approach to vibrato, that is, starting the
> note
> > straight and getting wider as the note lasts and may taper off too.
> >
> > It's just plain wrong to assume that players use vibrato to fix
intonation
> > problems although it does somewhat have that effect. Flat is still
flat.
> >
> > There is a more practical reason why it's used and why so many clarinet
> > players have poor tones on sax. If you were to hold a brick out at
arm's
> > length it wouldn't take long for the muscles to start screaming. The
> reason
> > for this is that the blood supply is cut off when a muscle contracts and
> > after a while you start getting pain in that muscle. The arm muscle is
a
> > large muscle and the muscles in your lips chin and jaw are fairly weak
and
> > will cry out faster. What usually happens is that the player will
relieve
> > the muscle strain by biting. Guitar players must constantly flex their
> left
> > hand or else they get very and sometimes painfully tired in that hand.
> You
> > just can't simply grab on for dear life.
> >
> > By using a jaw vibrato (chewing on gum with the front teeth motion) the
> > muscles are flexed and allows blood to flow in the lips and surrounding
> > muscles thus lengthening and enhancing endurance. To do this the jaw is
> > pulled down while the muscles support producing a superior tone. Of
curse
> > you can get that tone without vibrato but it produces a freer more
> flexible
> > tone and of course any intonation benefits you get are a plus. It does
> this
> > by getting the teeth away from the mouthpiece and requires flexible
> support
> > by the facial muscle structure especially the chin muscles. Another
plus
> is
> > that the mouth cavity is more open.
> >
> > The other vibrato used by some singers is the thought vibrato. This is
an
> > absolute NO NO on instruments. It tightens the thought and restricts
the
> > air and oral cavity size. It sometimes produces sounds in the thought
and
> > is almost uncontrollable. Once a student starts this it's hard to get
> them
> > to stop.
> >
> > Unfortunately this is not a skill taught to clarinet players. The
reason
> > for this is that most judges in High school music contests are not
> tolerant
> > of vibrato in the classical setting. High school band directors don't
> teach
> > it because you would have to teach section vibrato or only teach it to
> > soloists so they simply don't. So what happens is the kids clamp on
like
> > snapping turtles thrusting their face and tongue forward which produces
a
> > pinched tight small sound which carries on into adult bands.
> Unfortunately
> > it carries over into saxophone playing that just is not tolerant of that
> > kind of embouchure. This produces the Highschooly sound that you hear
so
> > often. The old school taught that you learn clarinet first then the sax
> and
> > that sax was easy. The problem is that Sax is an incredibly subtle
> > instrument whereas the clarinet is one more of brute force getting
tighter
> > and tighter as you go higher.
> >
> > I think it depends on what you are going for. The classic clarinet
sound
> or
> > the freer sax sound. I started on the sax and learned clarinet in high
> > school. One time a guy told me that I sounded like a sax player on
> > clarinet. He didn't mean it in a nice way but I have always regarded it
> as
> > an extreme compliment because I knew that what I was doing was right and
> was
> > exactly what I wanted.
> >
> > To be a well rounded woodwind player both techniques must be used and a
> lot
> > of junk has to be unlearned to produce good tone and intonation.
> >
> > Vibrato styles come and go but people like it and it gives a lot of
warmth
> > to the music. It also adds another dimension to the solo.
> >
> > Larry Walton
> > St. Louis
> >
> >
> > ----- Original Message -----
> > From: "Patrick Cooke" <amazingbass at cox.net>
> > To: <dixielandjazz at ml.islandnet.com>
> > Sent: Friday, June 10, 2005 8:56 AM
> > Subject: [Dixieland] Re: Bechet's Vibrato
> >
> >
> > > 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
> > >
> > >
> > > > Send Dixielandjazz mailing list submissions to
> > > > dixielandjazz at ml.islandnet.com
> > > >
> > > > To subscribe or unsubscribe via the World Wide Web, visit
> > > > http://ml.islandnet.com/mailman/listinfo/dixielandjazz
> > > > or, via email, send a message with subject or body 'help' to
> > > > dixielandjazz-request at ml.islandnet.com
> > > >
> > > > You can reach the person managing the list at
> > > > dixielandjazz-owner at ml.islandnet.com
> > > >
> > > > When replying, please edit your Subject line so it is more specific
> > > > than "Re: Contents of Dixielandjazz digest..."
> > > >
> > > >
> > > > 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
> > > > *********************************************
> > > >
> > >
> > >
> > >
> > > _______________________________________________
> > > Dixielandjazz mailing list
> > > Dixielandjazz at ml.islandnet.com
> > > http://ml.islandnet.com/mailman/listinfo/dixielandjazz
> >
> >
> >
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