[Dixielandjazz] Re: stomp of lets go

[Bill Haesler]

Dear Luis,
"Stop Off, Let's Go" featuring King Louis with Erskine Tate's Vendome
Orchestra is near the top of MY favourite 20 jazz records, and one I would
rate as one of the best jazz records of all time!
But you all know that I am a one-eyed mouldy fygge.
[I'm playing it and its session mates at I write.]
The pianist is Teddy Weatherford, as Phil O'Rourke, and Bob Smith, have
already advised. 
But then the controversy kicks in.
In the 1940s, as an enthusiastic  teenager, I suggested to my mentors, John
RT Davies, Brian Rust, Walt C Allen, and several others, that there were two
pianists (one piano?) on the Tate recordings.
There was a lot of disagreement at the time, but some were convinced.
[Likewise on the Dixie Four (Jimmy Blythe) records, but that's another
story.]
I could always hear the two pianists on the Tates (still can) but several of
my heroes disagree.
On the assumption that there are four hands, the logical choice is Lil
Armstrong. And I believe that I can feel her touch throughout.
She was in the Vocalion studio at the time (Chicago  28 May 1926) as the
famous Lil's Hot Shots sides "Georgia Bo Bo" and "Drop That Sack" followed
the two Erskine Tate titles "Static Strut" and "Stomp Off, Let's Go".
I had them all (including alternate takes of "Stomp Off, Let's Go" and
"Georgia Bo Bo") on 78, then LP and now the magnificently John RT remastered
Frog DGF39 CD.
Unfortunately, Eddie Ripley's notes to the Frog CD muddy the water again,
using alledged quotes from Miss Lil and Johnny St Cyr disputing the matrix
chronology and studio time (PM) on the recording sheets.
However, nearly sixty years on, I still maintain that there are two
pianists.
I always believe that studio recording sheets (master numbers, etc) take
precedence over musician's much later memories.
(An argument Anton Crouch and I have debated with our dear friend Steve
Barbone in the past!)
But listen for yourself.
There is also some wonderful washboard playing on "Stomp Off, Let's Go by
the master himself, Jimmy Bertrand.
And the cause of lots more discussion in my jazz youth.
Listening carefully, Oz drummer Len Barnard and I came up with the theory
that on these Tate records, Bertrand uses sticks, not thimbles, on the
washboard. The quick change-over from washboard to woodblocks/cymbal points
to this. 
What say John Petters?
Len, one of Australia's great jazz drummers and washboardists, would
occasionally demonstrate this with his band by switching from drums to
washboard then back.
Kind regards,
Bill.
PS: The Frog CD also lists Johnny Dodds, cl; and Johnny St Cyr, bj on the
Tate sides!
Mmmmmmmmmmm?
Less likely, aurally, than my belief about the two pianists.
B.