[Dixielandjazz] RE: Dixielandjazz Digest, Vol 35, Issue 46
Judi K
Heartsjazz at charter.net
Mon Nov 21 12:53:30 PST 2005
Best wishes to Don and Mrs Ingle. Many more years of happiness to you both.
Judi K
Also want to wish Chuck Hedges the very best at this time.
Judi K
www.judikjazz.com
-----Original Message-----
From: dixielandjazz-bounces at ml.islandnet.com
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To: dixielandjazz at ml.islandnet.com
Subject: Dixielandjazz Digest, Vol 35, Issue 46
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Today's Topics:
1. Quote (Fred Spencer)
2. Re: FW: song (dingle at baldwin-net.com)
3. DO YOU HEAR THE PEOPLE SING? (Steve barbone)
4. Fifty year and holding. (dingle at baldwin-net.com)
5. Re: [Dixielandjazz]Mangled Titles , was " Lyrics..Girl of my
Dreams" (Louis Lince)
6. Chuck Hedges (BillSargentDrums at aol.com)
7. Re: Fifty year and holding. (Aad Overeem)
8. Mangled Titles (Steve barbone)
9. Jonathan Russell (Steve barbone)
10. Ish Kabibble (Dan Augustine)
11. Yarra Yarra Band (pat ladd)
12. Re: Jonathan Russell (John Mills)
13. Re: Fifty year and holding. (tcashwigg at aol.com)
----------------------------------------------------------------------
Message: 1
Date: Mon, 21 Nov 2005 10:25:57 -0500
From: "Fred Spencer" <drjz at bealenet.com>
Subject: [Dixielandjazz] Quote
To: "dixieland jazz mail list" <dixielandjazz at ml.islandnet.com>
Message-ID: <000601c5eeaf$f1a33660$9a764ecf at Spenfred>
Content-Type: text/plain; charset="iso-8859-1"
To be fair to the respected authors and columnists, the Peters (Clayton and
Gammond) of the humorous "Bluffer's Guide to Jazz", this is from the
latter's "Oxford Companion to Popular Music", which is the best "popular
music" encyclopedia by content, accuracy, weight, and price: "Dixieland
jazz. Name given to the brash, marching style that emerged in New Orleans at
the turn of the century. Essentially a black jazz, a confusion arose through
the association of the term with white groups such as the 'Original
Dixieland Jazz Band', and hence the term was often applied to such groups
playing in the revivalist tradition." Cheers.
Fred
------------------------------
Message: 2
Date: Mon, 21 Nov 2005 10:34:42 -0500
From: dingle at baldwin-net.com
Subject: Re: [Dixielandjazz] FW: song
To: Bill Gunter <jazzboard at hotmail.com>
Cc: jazzmin at actcom.net.il, Dixielandjazz at ml.islandnet.com
Message-ID: <4381E912.9090108 at baldwin-net.com>
Content-Type: text/plain; charset=us-ascii; format=flowed
Bill Gunter wrote:
> GIRL OF MY DREAMS, I love you. Honest I do
> You are so sweet
> If I could just hold your charms again in my arms
> Then life would be complete.
> Since you've been gone, dear, life don't seem the same
> Please come back again.
> And after all's said and done, there's only one,
> GIRL OF MY DREAMS, It's you!
>
> No charge . . . sing it with passion and verve.
>
> Best,
>
> Bill "Thimbles" Gunter
> jazzboard at hotmail.com
>
>
>
>
>
> _______________________________________________
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>
>
Not mentioned is that this is a waltz. However, many bands play in 4/4
and swing it. Dual purpose song.
Don Ingle
------------------------------
Message: 3
Date: Mon, 21 Nov 2005 10:47:58 -0500
From: Steve barbone <barbonestreet at earthlink.net>
Subject: [Dixielandjazz] DO YOU HEAR THE PEOPLE SING?
To: DJML <dixielandjazz at ml.islandnet.com>
Message-ID: <BFA7565E.41AC%barbonestreet at earthlink.net>
Content-Type: text/plain; charset="ISO-8859-1"
CAVEAT - LONG, NOT ABOUT OKOM UNLESS YOU CAN READ BETWEEN THE LINES. IT IS
HOWEVER ABOUT WHAT A MUSICAL ILLITERATE CAN ACCOMPLISH.
SOME WILL LOVE IT, SOME WILL HATE IT SO DELETE NOW OR READ, DEPENDING UPON
WHO YOU ARE.
Interesting that Roger Waters, who cannot read music, a rocker, etc., (all
the musical things many of us disparage) is able to do what this article
credits him with.
Golly gee, imagine what we music literati could do if we would only set our
"superior" minds to it. :-) VBG.
Cheers,
Steve
Do You Hear the People Sing? Isn't That Puccini? Or Pink Floyd?
By ALAN RIDING - NY TIMES - November 21, 2005
ROME, Nov. 18 - Aging rockers don't fade away; nor, apparently, do their
followers. So two decades after Roger Waters broke with Pink Floyd, as
bassist, lead singer and composer, fans flew here from across Europe to hear
his latest creation. And it seemed to matter little that he had written a
19th-century-style opera called "Ga Ira," or "There Is Hope."
Before the semistaged concert premiere began on Thursday in Renzo Piano's
new Auditorium Parco Della Musica, Mr. Waters was received with whoops and
cheers as he welcomed the public in halting Italian. Then, at the
intermission and the curtain call, there was more enthusiastic applause for
the cast as well as for the composer, at 62 still a striking figure with
flowing gray locks.
True, one young Englishwoman wondered, "I don't understand why an opera
about the French Revolution is being sung in English in Rome." But she
quickly added, "You can hear lots of Pink Floyd in it: the children's choir,
the bird sounds."
Well, perhaps. Still, if Mr. Waters can draw young audiences to an opera -
one far more mainstream than Pink Floyd's quasi-operatic album, "The Wall" -
he is already achieving more than most contemporary composers. By his own
admission, he leaned on Brahms, Puccini and Prokofiev for inspiration.
The work is written for full orchestra and chorus, and if staged, it would
require 12 solo singers. In a Sony Classical recording released in
September, the baritone Bryn Terfel, the tenor Paul Groves and the soprano
Ying Huang each sang several roles. Here John Relyea and Keel Watson
replaced Mr. Terfel, and Mr. Groves and Ms. Huang were joined by five other
singers.
How Mr. Waters came to write this opera dates back to the 200th anniversary
of the French Revolution in 1989, when a friend, the French lyricist Itienne
Roda-Gil, showed him a libretto, illustrated with drawings by Mr. Roda-Gil's
wife, Nadine. It covered the period from early 1789 to Marie Antoinette's
execution in 1793.
"I fell in love with the original manuscript in French," Mr. Waters said in
an interview in Paris some weeks before the premiere. "I spoke enough French
to get it. I liked the idea embodied in it, that 200 years ago, people sat
around and decided not only that the ancient rigime had had its day but that
people should have rights - but not just the French, people everywhere."
Mr. Waters promptly prepared a short demonstration tape, which, he said,
President Frangois Mitterrand of France heard and liked. Then nothing
happened, and the project was shelved for almost a decade. Eventually, Mr.
Waters and Mr. Roda-Gil resumed work and recorded a section with an
orchestra. That won over Sony, which, however, insisted on an
English-language version as well as the French one.
What made this project doubly unusual was that Mr. Waters could not read
music when he began writing "Ga Ira." In his Pink Floyd days, he composed by
singing and improvising with instruments. But here he could count on
computer programs that enabled him to write the score. Rick Wentworth, a
British musicologist who conducted the Roma Sinfonietta on Thursday, helped
him with orchestration.
"So I didn't need to be able to sit down at a piano with a pencil and a
piece of manuscript," Mr. Waters said. "I don't sight-read. If you sit me
down with a piece for the piano, I can't play it, but I can now tell you
what the notes are."
The libretto, which Mr. Waters expanded and adapted to English, inevitably
shapes the score, since it imagines the story being recounted and re-enacted
in a circus. The Ringmaster provides the principal narrative, and different
players, notably Louis XVI and Marie Antoinette, either watch events unfold
from a box or enter the arena themselves.
But because the libretto is trying to cover so much ground, from the hungry
masses and the gluttonous court before Bastille Day to the guillotining of
first king, then queen, the narrative imposes a kind of declamatory
recitative that leaves little room for soaring arias or even catchy duets
and trios. Only occasionally do the chorus and orchestra slow the pace.
And since Mr. Waters and Mr. Roda-Gil, who died last year, both appear
consumed by the ideals contested in the Revolution, the opera's characters
are more symbolic than real: not least, Marie Marianne, sung here by Ms.
Huang, as the personification of the French Republic. So this is an opera
without a love story, and as operagoers know, that can be a problem.
The music certainly has echoes of Puccini ("Tosca" is Mr. Waters's favorite
opera) and Prokofiev (Mr. Waters said he had had in mind Prokofiev's score
for Eisenstein's movie "Ivan the Terrible"). Reviewing the Sony recording in
The New York Times, Allan Kozinn said he was reminded of Claude-Michel
Schvnberg's music for "Les Misirables," and some Italian critics drew a
parallel with the musicals of Andrew Lloyd Webber.
A full staging of the opera would no doubt add raucous scenes and rich
costumes, but images projected onto a large screen above the chorus helped
give context to the story here. Some were historical paintings and drawings;
others, recent photographs evoking a circus and using actors to depict Louis
XVI and Marie Antoinette.
"We're pretending we're projecting photographs of a production," Mr. Waters
said, "a visual representation of my idea of a production."
But for the moment, a staging remains an idea. More likely, Mr. Waters said,
are fresh concert versions in other cities. Why did Rome come first? "It was
simple," Mr. Waters said. "Flavio Severini, the artistic adviser of the
Musica per Roma Foundation, has always been a fan of my work. He wanted to
do it. We did the sums, and it worked out."
------------------------------
Message: 4
Date: Mon, 21 Nov 2005 10:58:43 -0500
From: dingle at baldwin-net.com
Subject: [Dixielandjazz] Fifty year and holding.
To: Dixieland Mailing List <dixielandjazz at ml.islandnet.com>
Message-ID: <4381EEB3.8030905 at baldwin-net.com>
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Good day friends of the list. I just wanted all to know that my wife
Jean and I are celebrating our 50th wedding anniversary today. And a
lot of those years were road years -- so we are survivors for sure.
We spent the evening talking about the places and people we have known
over these years, especially the many musicians and entertainers we have
been fortunate to know and call friends, from my mentor and first
teacher Red Nichols to the gentle gentlemen Matty MAtlock and Eddie
Miller, and the "mythical beast" as Jean called him before she met him,
Joe Rushton. Moving about from Michigan where we met to New Orleans
where we were married when I was with Ted Weems and played a WHOLE month
at the Old Roosevelt Hotel. Jean's folks couldn't be there so Ted was
proxy father and gave the bride away. A nervous Jean had breakfast the
day of our wedding in the New Orleans Hotel and a friend named Merwyn
Pogue sat with her to calm her down -- you might better have known him
as ish Kabibble. His small group was playing a club in town at the same
time.
Characters galore. We worked a season in Aspen in ;59 and'60 with
Freddie Schnicklefritz Fisher, and with Joe and Adele Marsala. Freddie
was the character of characters. Joe was a great clarinetist but has a
quick fuse Italian temper after a few toddies and he once got in a fight
with the bartender at Trader Ed's ii Aspen and I had to peel the two
apart, getting a fat lip from a stray waving arm in the process.
Worked in House bandf at Jazz Ltd. in Chicago for five years with our
late listee Jim Beebe for part of that time and with drummers Freddy
Kohlman and Barrett Deems. Deem goes to the top of the character list,
but could drive a band.
So many places, so many moves, L.A., Denver, Aspen, Chicago, Vegas,
Reno, and "One Thousand and One-nighters," the title of the book I may
get a round to writing some day. Through it all, with support and TLC is
my little gal from way up north in Michigan that I was fortunate enough
to meet, curt, convince to marry me, and keep me for making too big a
damn fool of myself over the fifty years we've been hitched.
I have been blessed in wife, friends, experiences and through it all the
music we share.
A most happy and wonderful Thanksgiving ahead this week to all. For me,
my biggest reason to give thanks is my wife and my best friend Jean.
May you all be so lucky.
Don Ingle
------------------------------
Message: 5
Date: Mon, 21 Nov 2005 16:03:36 -0000
From: "Louis Lince" <louislince at neworleansmusic.demon.co.uk>
Subject: Re: [Dixielandjazz]Mangled Titles , was " Lyrics..Girl of my
Dreams"
To: <tduncan at bellatlantic.net>, "'Len Nielsen'"
<lennielsen at telus.net>, "'DJML'" <dixielandjazz at ml.islandnet.com>
Message-ID: <005201c5eeb5$21655ef0$2d85b050 at owner51kjarzk6>
Content-Type: text/plain; format=flowed; charset="iso-8859-1";
reply-type=original
Hi Tom,
Howabout the following:-
Oh Mahoney (Alexanders Ragtime Band)
Teresa Green (What a wonderful world)
Snot the pail ( The nearness of you)
A Jazz Chord (I just called to say I love you)
Jewever (Willie the weeper)
best
Louis
------------------------------
Message: 6
Date: Mon, 21 Nov 2005 11:09:37 EST
From: BillSargentDrums at aol.com
Subject: [Dixielandjazz] Chuck Hedges
To: dixielandjazz at ml.islandnet.com
Message-ID: <267.2e59d6.30b34b41 at aol.com>
Content-Type: text/plain; charset="US-ASCII"
>From Eric Schneider in Chicago:
All,
I spoke with Chuck this morning and he seems in great spirits.
The surgery lasted six hours and went as well or better than one could have
hoped for. Half his pancreas was removed and they did the "Whipple
Procedure," where organs and stuff are rerouted.
His direct number in the hospital is (414) 805 1862.
There's a good chance I inadvertently omitted some people who want to know,
so please forward this to those I might have missed.
Eric Schneider
------------------------------
Message: 7
Date: Mon, 21 Nov 2005 17:40:11 +0100
From: "Aad Overeem" <aad.overeem at wanadoo.nl>
Subject: Re: [Dixielandjazz] Fifty year and holding.
To: <dingle at baldwin-net.com>, "Dixieland Mailing List"
<dixielandjazz at ml.islandnet.com>
Message-ID: <005501c5eeba$3e471220$a87ba8c0 at 96.96.33.195.96.96.97>
Content-Type: text/plain; charset="iso-8859-1"
Don and Jean,
Congratulations, have a great day and wish you both many happy years in good
health!
Aad Overeem
-
---- Original Message -----
From: <dingle at baldwin-net.com>
To: "Dixieland Mailing List" <dixielandjazz at ml.islandnet.com>
Sent: Monday, November 21, 2005 4:58 PM
Subject: [Dixielandjazz] Fifty year and holding.
> Good day friends of the list. I just wanted all to know that my wife
> Jean and I are celebrating our 50th wedding anniversary today. And a
> lot of those years were road years -- so we are survivors for sure.
<snip>
------------------------------
Message: 8
Date: Mon, 21 Nov 2005 12:15:25 -0500
From: Steve barbone <barbonestreet at earthlink.net>
Subject: [Dixielandjazz] Mangled Titles
To: <dixielandjazz at ml.islandnet.com>
Message-ID: <BFA76ADD.41B1%barbonestreet at earthlink.net>
Content-Type: text/plain; charset="US-ASCII"
"Tom Duncan" <tduncan at bellatlantic.net> wrote (polite snip)
About Len Neilsen's line:
You just don't want to get it mixed up with "Gorilla my Dreams" :)<<<
>
> Indeed. And a recent post referred to "Mahoney's Lovin' Arms"
>
> How about "Butt Beautiful?"
>
> Any other mangled titles ?
Sure, "Butt Love" by McHugh circa 1928.
Cheers,
Steve
------------------------------
Message: 9
Date: Mon, 21 Nov 2005 12:29:44 -0500
From: Steve barbone <barbonestreet at earthlink.net>
Subject: [Dixielandjazz] Jonathan Russell
To: DJML <dixielandjazz at ml.islandnet.com>
Message-ID: <BFA76E38.41B2%barbonestreet at earthlink.net>
Content-Type: text/plain; charset="US-ASCII"
Played with Jonathan Russell Sunday for the Tri State Jazz Society in NJ. He
was superb as usual, even though tired from playing with 7 bands at the
Suncoast Jazz Festival in Clearwater and flying back to make this gig. The
audience (relatively large even though a Giant-Eagles football game
competed for audience) enjoyed him and he got a standing O. We were tired
too, driving 250 miles, playing 8 hours on Saturday, last set ending at 2
AM. But, we all operated on adrenaline and were well received.
WARNING to reed players: He quotes the opening bars of Alphonse Picou's High
Society, in solos and when trading 4s these days so look out. I suspect if
Andy Stein teaches him the Picou part of the trio, the kid will at 10 years
old, soon out do us all on that tune on obbligato and variations.
Jonathan, if you are listening, learn the full tune "High Society" and play
it at Sacramento 2006.
Any list mates see him at Clearwater? Feedback?
Cheers,
Steve
------------------------------
Message: 10
Date: Mon, 21 Nov 2005 11:52:49 -0600
From: Dan Augustine <ds.augustine at mail.utexas.edu>
Subject: [Dixielandjazz] Ish Kabibble
To: DJML <dixielandjazz at ml.islandnet.com>
Message-ID: <p06230900bfa7b95390f6@[192.168.0.100]>
Content-Type: text/plain; charset="us-ascii" ; format="flowed"
DJML and others--
Don Ingle's post on his 50th wedding-anniversary
(congratulations, Don!) triggered a forgotten synapse in my noggin
when he mentioned the name "Ish Kabibble", and this in turn got me
trolling around on the web for info on him (Ish, not Don).
See, the connection is that, back in about 1958, in Carson City,
Nevada, my parents were interested in (and finally bought) a house on
Elm Street. I was 16 and knew nothing about entertainers from the
1930's. After we bought the house, my father said that one of the
people looking at the house was--Ish Kabibble. Since my father had
had false teeth since he was 18 (got 'em all pulled one fine icy day
in western Pennsylvania and then rode 50 miles home on his
Pennsylvania State Highway Police motorcycle, grinning grimly), i
attributed this pronouncement to a sudden slippage in his dentures,
but later discovered my error. (I was born and lived in Washington
PA until 1952.)
Anyhow, now i'm curious about Ish Kabibble, and i found out some
interesting stuff about him, which of course i have to tell you folks
or bust:
-------------------------
"Everyone's heard the name, but from where? Ish (Merwyn Bogue) got it
from his comedy version of an old Yiddish song, "Isch Ga Bibble"
(loosely translated, it means "I should worry?"), which he performed
after joining Kay in 1931. The public (and band) began calling HIM
Ish and the name stuck. Raised in Erie, Penn., the fine cornetist
developed the rural "Ish" character with pudding bowl hair, who
constantly interrupted the show to recite nonsensical poems to a
frustrated Kay, becoming his onstage comedy foil. But he was no dummy
offstage- he handled the payroll! Ish stayed with the band 'til Kay's
retirement. He then went on to a solo career, sold real estate, and
played Vegas with his fine Dixieland outfit, The Shy Guys. LSU Press
published his autobiography written w/ his sister in 1989. No book
has been published on Kay himself. Ish died shortly after Ginny in
1994." (http://www.kaykyser.net/band.html)
---------------------------
"In his autobiography, entitled "Ish Kabibble" (written with his
sister Gladys Bogue Riley), published by Louisiana State University
Press in 1989, he states the name derived from a song he performed
with the band and had become identified with. The song was titled
"Isch Gabibble (I Should Worry)," words by Sam M. Lewis, music by
George W. Meyer, copyright 1913. Bogue says he changed the spelling
to make it easier to say. A sample of the lyrics:
I never care or worry...Ish Kabibble...Ish Kabibble
I never tear or hurry...Ish Kabibble...Ish Kabibble
When a friend says he's feelin' blue
When a friend says his room rent's due
Just tell him in a friendly way
Get used to it
Get used to it
When I owe people money...Ish Kabibble...Ish Kabibble
If they befriend or lend me...that's their lookout
They shouldn't yell or shout
I should worry if they steal my wife
And let a pimple grow on my young life
Ish Kabibble...I should worry? No! Not me!
What, me worry? (to quote a modern variant)
Lawrence Rungren Bedford Fre Public Library, MA lrungren at mln.lib.ma.us"
(http://listserv.dom.edu/cgi-bin/wa.exe?A2=ind9403&L=stumpers-l&O=D&F=&S=&P=
24969)
------------------------
So there you go. You now know some more useless information
about someone you probably never heard of before, but on the other
hand, maybe (like me) you'll get intrigued by him and his
performances (he also appeared in eight films), and you'll get some
pleasure out of knowing about him. Would that someone in the future
will do the same about us, eh?
Dan
--
**--------------------------------------------------------------------**
** Dan Augustine -- Austin, Texas -- ds.augustine at mail.utexas.edu
** "I don't jog. If I die I want to be sick." -- Abe Lemons
**--------------------------------------------------------------------**
------------------------------
Message: 11
Date: Mon, 21 Nov 2005 14:09:59 -0000
From: "pat ladd" <pj.ladd at btinternet.com>
Subject: [Dixielandjazz] Yarra Yarra Band
To: "Bill Haesler" <bhaesler at bigpond.net.au>
Cc: jazz <dixielandjazz at ml.islandnet.com>
Message-ID: <017401c5eea5$41dbde30$0c00a8c0 at home81j5felsgn>
Content-Type: text/plain; format=flowed; charset=iso-8859-1;
reply-type=original
Hi Bill,
spent the weekend at a small town on the north coast of Devon. Looking
around the local market I found a stall selling books etc., I bought a book
on The Big Bands and the guy in charge told me that he had a few jazz CD`s.
To my surprise the first one in the stack proved to be a 2CD issue of the
Don Ewell OZ tour of 1975 with the Yarra Yarra Band at the Nicholas Hall and
the second was Frank Johnsons Fabulous Dixielanders `Jazz from Down under
1952-1956.`
I have played them through and there is some good stuff, unfortunately let
down by pretty indifferent recording, but then it was 1950.
Graeme Bell, and Bob Barnard are with Frisco Joe`s Jazz Band apparently a
separate band with Frank Johnson.
I thought the drummer spoiled some numbers by being too`busy`, particularly
playing as a trio with Ewell and clarinet on Rose Room.
Rose Room is a number which cries out for some tasteful brushwork and there
is this guy laying about him with sticks particularly on the blocks when
Ewell is trying to do take his solo.Poor.
Interesting couple of pickups to be found in the heart of the English
countryside though. I wonder how they got there. Some collector had picked
them up I suppose and now they were being got rid of, perhaps by his family.
Who knows?.
Cheers to you both
Pat
--
No virus found in this outgoing message.
Checked by AVG Free Edition.
Version: 7.1.362 / Virus Database: 267.13.1/169 - Release Date: 15/11/2005
------------------------------
Message: 12
Date: Mon, 21 Nov 2005 13:09:19 -0500
From: "John Mills" <jpmills at strato.net>
Subject: Re: [Dixielandjazz] Jonathan Russell
To: "Steve barbone" <barbonestreet at earthlink.net>, "DJML"
<dixielandjazz at ml.islandnet.com>
Message-ID: <00e401c5eeca$e44ea150$6ddc2d40 at HOME>
Content-Type: text/plain; format=flowed; charset="iso-8859-1";
reply-type=original
Hi Steve and listmates,
Jonathan "Jazz" Russell was fantastic !
We saw him in 5 of his guest appearances,
just could not believe that a 10 year old has that much talent.
Also met his Mom and Dad, they are wonderful folks.
Also met listmates, Kaye Wade, Jerry Gordon and Barney McDowell.
It was a great festival and a very enjoyable weekend.
John Mills
----- Original Message -----
From: "Steve barbone"
Sent: Monday, November 21, 2005 12:29 PM
Subject: [Dixielandjazz] Jonathan Russell
> Played with Jonathan Russell Sunday for the Tri State Jazz Society in NJ.
> He
> was superb as usual, even though tired from playing with 7 bands at the
> Suncoast Jazz Festival in Clearwater and flying back to make this gig.
>
>
> Any list mates see him at Clearwater? Feedback?
>
> Cheers,
> Steve
>
>
>
>
>
> _______________________________________________
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
------------------------------
Message: 13
Date: Mon, 21 Nov 2005 14:35:49 -0500
From: tcashwigg at aol.com
Subject: Re: [Dixielandjazz] Fifty year and holding.
To: dingle at baldwin-net.com, dixielandjazz at ml.islandnet.com
Message-ID: <8C7BCE9E90A9E43-13DC-6C61 at FWM-M27.sysops.aol.com>
Content-Type: text/plain; charset="iso-8859-1"; format=flowed
Congratulations Don & Jean:
Seems I can faintly hear a great band with Jim Beebe, Charlie Hooks,
Bob Craven and Don Gumpert playing,
The Anniversary Waltz for you two.
May you live to dance it for another 50 years :))
Cheers,
Tom Wiggins
-----Original Message-----
From: dingle at baldwin-net.com
To: Dixieland Mailing List <dixielandjazz at ml.islandnet.com>
Sent: Mon, 21 Nov 2005 10:58:43 -0500
Subject: [Dixielandjazz] Fifty year and holding.
Good day friends of the list. I just wanted all to know that my wife
Jean and I are celebrating our 50th wedding anniversary today. And a
lot of those years were road years -- so we are survivors for sure.
We spent the evening talking about the places and people we have known
over these years, especially the many musicians and entertainers we
have been fortunate to know and call friends, from my mentor and first
teacher Red Nichols to the gentle gentlemen Matty MAtlock and Eddie
Miller, and the "mythical beast" as Jean called him before she met him,
Joe Rushton. Moving about from Michigan where we met to New Orleans
where we were married when I was with Ted Weems and played a WHOLE
month at the Old Roosevelt Hotel. Jean's folks couldn't be there so Ted
was proxy father and gave the bride away. A nervous Jean had breakfast
the day of our wedding in the New Orleans Hotel and a friend named
Merwyn Pogue sat with her to calm her down -- you might better have
known him as ish Kabibble. His small group was playing a club in town
at the same time.
Characters galore. We worked a season in Aspen in ;59 and'60 with
Freddie Schnicklefritz Fisher, and with Joe and Adele Marsala. Freddie
was the character of characters. Joe was a great clarinetist but has a
quick fuse Italian temper after a few toddies and he once got in a
fight with the bartender at Trader Ed's ii Aspen and I had to peel the
two apart, getting a fat lip from a stray waving arm in the process.
Worked in House bandf at Jazz Ltd. in Chicago for five years with our
late listee Jim Beebe for part of that time and with drummers Freddy
Kohlman and Barrett Deems. Deem goes to the top of the character list,
but could drive a band.
So many places, so many moves, L.A., Denver, Aspen, Chicago, Vegas,
Reno, and "One Thousand and One-nighters," the title of the book I may
get a round to writing some day. Through it all, with support and TLC
is my little gal from way up north in Michigan that I was fortunate
enough to meet, curt, convince to marry me, and keep me for making too
big a damn fool of myself over the fifty years we've been hitched.
I have been blessed in wife, friends, experiences and through it all
the music we share.
A most happy and wonderful Thanksgiving ahead this week to all. For
me, my biggest reason to give thanks is my wife and my best friend
Jean.
May you all be so lucky.
Don Ingle
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End of Dixielandjazz Digest, Vol 35, Issue 46
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