[Dixielandjazz] jazz 1900-1940's

[tcashwigg at aol.com]

Hi Ed: and all:

  Here is another free tip for you to increase your Festival and monthly 
event attendance and get new faces, if indeed you really want some new 
ones. Send out an invitation to every Arthur Murray Dance Studio within 
100 miles of your event and invite their teachers and all of their 
students to ONE of your events for FREE Yep that's right FREE 
(especially if they agree to show up in period costume) and have them 
dance in costume which many of them have. They might even give a 1/2 
hours worth of Free lessons to your club so they could recruit some new 
members as well. Now they would put on a great show and expose OKOM 
Dancing to not only the non dancers in your club, but the youth bands 
and the younger folks who accidentally find their way into your 
festivals. Gotta be careful however cause all that dancing may lead to 
lascivious behavior and even an major shortage in Viagra locally.


Musical content:   "Your Mama don't Dance and your Daddy Don't Rock & 
Roll"
                            Who'll come a Waltzin' Mathilda with Me" ?   

Cheers,

Tom "Tip toein' thru the Tulips"  Wiggins


 -----Original Message-----
 From: EDWIN COLTRIN <boreda at sbcglobal.net>
 To: dixielandjazz at ml.islandnet.com <dixielandjazz at ml.islandnet.com>
 Sent: Wed, 8 Feb 2006 17:32:33 -0800 (PST)
 Subject: [Dixielandjazz] jazz 1900-1940's

  Steve, I was weaned on Lu Watters and his YBJB when they were 
practicing at the
  BIG BEAR INN up Redwood CAnyon Road, circa 1941 and followed them to 
the DAWN
  CLUB in San Fransicko until the war took part of the band and then 
greeted them
 on their return to the Dawn Club and on over to Hambone Kellys.

  I basically was referring to the people who supported the display of 
chops,
  fingering length to hold a note. the lack of a rythym that could be 
danced to or
 hummed after you left the club.

  As a veteran of WW II, dancing at the USO or at different canteens in 
Europe,
  or an occasional dance at the field house in camps was a pleasure and 
with the
  revival of the West Coast Jazz in 1940's where dancing to the YBJB 
plus just
 listening.

  I remember a rather onerous detail at one of the camps was made easy 
by my
 ability to recall many of Bessie's tunes whistle many of the Watters'
 repertoire, and forget the crap that I was assigned .

  I know there were many revivalist throughout the US after the war and 
many
  still continue today, Howevah, to be hip or current at the time, you 
had to
 follow the crowd.
  Ergo, Bebop and the rest. True there was some excellent musical 
content but
  until Disco, Elvis and the R&B, there was no dancing, at least in the 
general
  public, I can recall going to a black club and watching the patrons 
dance in the
  fifties but a as rule most of the white clubs sat and thought they 
were hearing
 the REAL JAZZ..

  The purveyors of OKOM have always been around, but not in force. 
Festivals
  such as Sacto, on the west coast as opposed to the Monterey Jazz 
scene, which
  had a large attendance , was supported by a bunch of eventually Blue 
haired
  Ladies and balding, paunchy old men. Who are trying to re-live their 
youth.

  Most of the Festival patrons are made up from the above, but there is 
also a
  growing contingent of baby boomers who make up a good part of the 
audience, many
  don't know how to dance to the beat, and would love to have some one 
teach them.
  My late lady friend was a product of the 60's/70/s and had never 
learned to
  dance ballroom or swing and after many nights caressing the kitchen 
floor
  dancing to TD,BG, and others she was able to swing on the floor like a 
30/40s
 hep-cat. What a great time

  Larry, I know that OKOM was live and doing well in the Mid-USA, it's 
just that
  when there are great voids in the US where OKOM/MKOM is not listened 
to as a
 rule, then it is hard to reconcile everything

 Slainte

 An Olde Mouldy Fygge

 Ed Coltrin
 WA6FWU
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