Myrna/Jim Goodwin goodwinhawkins at cox.net
Mon Sep 19 12:22:38 PDT 2005

Well said, Steve.

----- Original Message ----- 
From: <dixielandjazz-request at ml.islandnet.com>
To: <dixielandjazz at ml.islandnet.com>
Sent: Monday, September 19, 2005 12:00 PM
Subject: Dixielandjazz Digest, Vol 33, Issue 39

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> Today's Topics:
>   1. OKOM in Italy? (Jerry Gordon)
>   2. Re: Al Hirt - Memories Of You URL (starwaterlogo)
>   3. Announcing Ruby Red's Band Web - Monte
>      Ballou-Turk-SF-NYC-NOLA (Bigbuttbnd at aol.com)
>   5. Re: Al Hirt - Memories Of You URL (starwaterlogo)
> ----------------------------------------------------------------------
> Message: 1
> Date: Sun, 18 Sep 2005 19:46:05 -0400
> From: Jerry Gordon <jerrygordon at juno.com>
> Subject: [Dixielandjazz] OKOM in Italy?
> To: dixielandjazz at ml.islandnet.com
> Cc: PegJazz at aol.com
> Message-ID: <20050918.194749.3656.4.jerrygordon at juno.com>
> Content-Type: text/plain; charset=us-ascii
> I have some friends who will be in northern Italy in general, and
> Tuscanny specifically, from Nov 4-12. Anybody have any leads on any OKOM
> in the area at that time?
> Thanks,
> Jerry Gordon, Troy, NY - Web master for
> http://timesunion.com/communities/jazz
> ------------------------------
> Message: 2
> Date: Sun, 18 Sep 2005 20:19:53 -0400
> From: "starwaterlogo" <starwaterlogo at mpinet.net>
> Subject: Re: [Dixielandjazz] Al Hirt - Memories Of You URL
> To: "DJML" <dixielandjazz at ml.islandnet.com>
> Message-ID: <002101c5bcaf$dbc8dd40$b61eeb04 at f3b5e9>
> Content-Type: text/plain; charset="iso-8859-1"
>> Now Don Goldie was a powerhouse trumpet player despite his diminutive
>> stature, and he was both a master of technique and dynamics. Not that he
>> was a ghigh note screamer  -  he was tasty enough to have worked quite a
>> while with Jack Teagarden and to follow Bobby Hackett in making Jackie
>> Gleason's gorgeous romance song albums. He was a whale of a player - and
>> had an ego of gigantic proportions to match.
> I didn't know about the ego issue with Goldie.  I've always marveled at 
> his
> ability to hit the pretty notes, and felt he was definitely in the 
> Pantheon
> of under-recognized musicians. Amazing that a distraction like that could
> cause him to bobble a solo.
> Hirt wasn't really a high note heavy hitter either (compared to the likes 
> of
> the young Maynard, Cat Anderson etc.) but what was interesting about him 
> was
> that he could knock the crap out of everything right to the top of his
> range. From years of listening to him, my estimate is he had up to a high 
> G
> in his back pocket. I've never heard him play any higher than that.
> Of course, Al had his moments of bobbled notes too. His performance of the
> Haydn concerto on the "Pops Goes The Trumpet" album with the Boston Pops 
> is
> best forgotten.
> ------------------------------
> Message: 3
> Date: Sun, 18 Sep 2005 22:05:15 EDT
> From: Bigbuttbnd at aol.com
> Subject: [Dixielandjazz] Announcing Ruby Red's Band Web - Monte
> Ballou-Turk-SF-NYC-NOLA
> To: dixielandjazz at ml.islandnet.com
> Message-ID: <1c4.3100ea0a.305f76db at aol.com>
> Content-Type: text/plain; charset="US-ASCII"
> Hey: I haven't been writing much lately... just lurking. Here's why.
> About a year ago I partnered with 2 Atlanta musicians - L.A. Tuten and 
> Marty
> Martin - to purchase the rights to the name "The Ruby Red's Band." The 
> band
> has been operating since 1966 in Atlanta, was house band for 4 
> incarnations of
> "The Ruby Red's Warehouse" over 40 years and has played for EVERYBODY 
> that's
> ANYBODY in the South.
> I've been playing banjo with this group since 1976 so I have some 
> status...
> not just an interloper. Anyway, many of you guys that have ties to the 
> west
> coast and some who have a background in New York as well as New Orleans 
> will
> especially appreciate the HISTORY PAGE of our new web site. The band's 
> founder,
> Hal "Shorty" Johnson, hails from Portland, Oregon and played for quite 
> some time
> in the bands of Monte Ballou and Turk Murphy as well as tours with Ernie
> Carson and Bob Greene's "World of Jellyroll Morton."
> Other veterans of the Ruby Red's Band include Ernie Carson, Bill Rutan, 
> Stew
> McGee, Ron Beisel, Terry Quinn, Dave Marty, Sammy Duncan, Herman Foretich,
> Dave Marty, Abe Vandermuhlin, Dargan "Peanuts" Fitch, Jerry Garcia (not 
> THE Jerry
> Garcia), Ken Clark, Ed Cuneo, Zim Zimmerman, Dave Hanson, Buddy Cooner, 
> Joe
> Grubbs, Dick Bowman, Don Gumpert, Van Paula Wilke, Skip Dirringer, Lee 
> Floyd,
> Rocky Ball, Lee King, Mike Puckett, Dick Mott, Marty Martin, L.A. Tuten 
> and
> many others.
> In the last 5 years Hal Johnson, although playing as much as ever, has
> stopped actively BOOKING the band and he and I came to terms to continue 
> the life of
> the band for another 40 years! Hal and I and Marty Martin were partners in 
> a
> crazy Dixieland-styled nightclub in Underground Atlanta for 4 years called
> "Fanny Moon's Beer Hall" and much of what we learned from entertaining the
> general public (not just the Dixieland or Jazz-fan public) is being 
> applied to this
> venture.
> For quite some time I have wholeheartedly agreed with Steve Barbone 
> regarding
> the METHODOLOGY and PRACTICALLITY of playing OKOM for the general public
> (especially the college crowd). We learned that it works, not from a 
> theoretical
> basis, but from the experience of doing it night after night. Steve and I
> differ only in the details.
> I invite and encourage all of you to take a look at out new site:
> http://www.rubyredsband.com
> ...and give us some feedback, either on-list or off-list. If you find
> mistakes please point them out. We want to get it right. Peruse the 
> HISTORY page and
> let me know if you find inaccuracies. Let me know if you like or dislike 
> the
> ideas we are implementing regarding RETAILING our services. We've tried to
> cover all of the bases but we can only see things from our own 
> perspective. Be our
> BETA-testers, our second set of eyes, if you will... tell us if and where
> things have gone wrong. (Of course, it doesn't hurt to let us know what 
> you might
> think are the things we've done RIGHT, too!)
> Live music in general and OKOM in particular have gone through a decline 
> in
> Atlanta in the last few years and we are determined to find some practical
> business solutions to this problem... first and foremost marketing 
> ourselves less
> like musicians have done in the past and more like retail operations do...
> with sales, specials, guerilla marketing techniques, mass mailings and 
> internet
> and email strategies.
> Our site is a work in progress and I'm sure we will add, subtract and 
> change
> things continuously in the next year. We will happily be the guinea pig 
> for
> the rest of you who are also struggling with the changing music 
> marketplace,
> sharing what we find that works, and identifying what doesn't, to all of 
> you on
> the list. I look forward to your feedback and to sharing our progress in 
> the
> coming year(s).
> Thanks,
> Rocky Ball, Banjo
> The Ruby Red's Band
> Atlanta, Georgia
> ------------------------------
> Message: 4
> Date: Mon, 19 Sep 2005 03:20:12 -0400
> From: Steve barbone <barbonestreet at earthlink.net>
> Subject: [Dixielandjazz] PBS HURRICANE RELIEF CONCERT
> To: <dixielandjazz at ml.islandnet.com>, <rebecca.e.thompson at verizon.net>
> Message-ID: <BF53DEEC.3961%barbonestreet at earthlink.net>
> Content-Type: text/plain; charset="US-ASCII"
> Rebecca Thompson wrote:
>> Gee, Steve... I suggest you attend more festivals......  Jim and I were 
>> not
>> impressed with  Marsalis and his 8 piece band... In fact, it was a 
>> pitiful
>> attempt.  Winton started off with his mute and after a few bars, took it
>> out.  They all looked lost and unsure of what they were supposed to be
>> playing.  "Oh play that thing" was very feeble and the rest of the band
>> almost played right over it.  It DIDN'T swing.
> I certainly agree that you have every right to hear what you hear. However
>respectfully disagree with what you hear as "it DIDN'T swing. I'll not 
> get blasted for this, but the reason I do not attend more OKOM festivals 
> is
> that most of the bands that play at them, neither swing nor know how to
> improvise coherently. They do copy, albeit poorly and without the fire of
> the originals.
>> Listen to Titan Hot 6's version of Dippermouth... Or better yet, listen 
>> to
>> King Oliver.
> Titan is an exceptional band that swings. Listen to King Oliver? Heck, 
> I've
> listened to King Oliver all that I care to. At this point in my life, King
> Oliver is boring. (No, I do not expect everybody to understand that. If
> anyone is interested, write me off list and I'll send a dissertation on 
> just
> why, at this point in my life K.O. bores me.)
> Nobody is going to do King Oliver better than King Oliver did. Yet folks
> still try to COPY note for note. Kudos to the Marsalis Group which did not
> do that. In my ears, they played their own take on the song. And they did 
> it
> well. Thank the powers that be, that they did not present a poor attempt 
> to
> copy K.O. And to my aged jazz musician's ears, they swung their collective
> asses off. No doubt barely rehearsed, maybe not at all, but then that's
> jazz.
>> Yep, Diana Krall was the nearest to OKOM that was presented.
> Depends upon who speaks for "OKOM". Even if that were accurate, so what? 
> New
> Orleans music is Jazz in its broadest sense, Blues, Rock & Roll, Gospel 
> and
> other musical genres. OKOM and its fan base are a miniscule segment so why
> should OKOM take center stage?
>> Where was Preservation Hall Band?  Where were the musicians from New
>> Orleans?  Duke Heitger, Connie Jones, Jacque Gauthe, Evan Christopher, 
>> Banu
>> Gibson, David Boudinhause, Tim Laughlin, Dukes of Dixieland ?....and you 
>> get
>> my drift.
> Yes, of course, but then why should the millions that watched the show 
> care
> much about the above? Except for Preservation Hall, the rest are 
> relatively
> unknown in the US of A.
>> The night turned way too political for an occasion seeking relief for the
>> displaced New Orleans musicians.  One wonders if any of the money would 
>> find
>> its way to any musician that is not black.
> They were not seeking money or relief for musicians, but for 500,000 
> people,
> or more who were displaced by the hurricane. And not only residents of New
> Orleans, but of the entire Gulf Coast area which was affected. Most of the
> displaced people are Black. Why the hell should any of us wonder that most
> of the money will go to Blacks? Is that a reason for us white folks not to
> help out? And of course, the agencies touted were Red Cross, Salvation 
> Army
> et al and they are usually color blind.
>> The music presented last night was not what we go to New Orleans to hear 
>> on
>> a regular basis.   I only hope all our friends who know we attend jazz
>> festivals don't think it is for TKOM.  (THAT kind of music).
> Ha ha. Why on earth should your friends be offended that you might like
> TKOM? And why should one care about what one's friends might think of a
> personal like or dislike? Sounds a bit like either elitism or insecurity.
> Let's face it. What you or I or the "We" on this list go to see and hear 
> in
> New Orleans has precious little to do with the overall "Hurricane Relief"
> effort. It is not about us, or OKOM. It is about New Orleans which is rich
> in history and culture, IN ADDITION TO our narrow little OKOM. It is about
> the Gulf Coast Devastation, and unparalleled disaster in American History.
> It is about living breathing people who suffered great losses. It is about
> the generosity of those of us who gave because of that program.
> And it is about "That Kind Of Music". New Orleans may have had 100 OKOM
> musicians there, but that leaves somewhere between 3000 and 4900 who 
> played
> TKOM there. (Source AP & NY Times) The other name by which that music goes
> is "New Orleans Music" and it's huge.
> Cheers,
> Steve
> ------------------------------
> Message: 5
> Date: Mon, 19 Sep 2005 04:21:02 -0400
> From: "starwaterlogo" <starwaterlogo at mpinet.net>
> Subject: Re: [Dixielandjazz] Al Hirt - Memories Of You URL
> To: "DJML" <dixielandjazz at ml.islandnet.com>
> Message-ID: <000901c5bcf3$13716300$0f48eb04 at f3b5e9>
> Content-Type: text/plain; charset="iso-8859-1"
>> Following the previous posts regarding Al Hirt, I put up a quickie web
> page
>> where you can hear an mp3 of "Memories Of You" off his "Horn A Plenty"
>> album
> There are many things to like about this chart (and all the other tracks 
> on
> the album). One interesting thing is the very first note. Very interesting
> sonic mix, sounds to me like the low piano blended with low brass, with 
> the
> piano very prominent. Gives a really interesting bed on which to layer the
> rest of the band. Then the extreme contrast between the whole introductory
> vamp and Al's entrance, and again as he slows it up and moves into the
> ballad. Super cool when the vibes come in to join Al and the superb French
> horn lines. Also note the super high French horns at the end. Billy May
> makes superb use of French horns throughout the album.
> I don't know if I've ever heard another album quite like this one and I
> never get tired of listening to it.
> ------------------------------
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> End of Dixielandjazz Digest, Vol 33, Issue 39
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