[Dixielandjazz] Novelty Effect Dixieland - was Wilton Crowley

[Steve barbone]

on 1/5/06 3:00 PM, dixielandjazz-request at ml.islandnet.com at
dixielandjazz-request at ml.islandnet.com wrote:

> "Tom Duncan" <tduncan at bellatlantic.net>
> To: <dixielandjazz at ml.islandnet.com>
> Sent: Thursday, January 05, 2006 10:54 AM
> Subject: RE: [Dixielandjazz]Wilton Crawley . . . Was . . . Big Time Woman
> 
> Sorry if this has already been mentioned, but a check of the
> invaluable www.redhotjazz.com (or use of the song index feature for
> RedHotJazz developed by DJML's Craig Johnson .. .
> http://mainely-jazz.com/rhsongs/songframes.html)
> has a 1930 recording by Wilton Crawley & His Orchestra to hear the lyric
> and tune.
 
> Crawley was a new name to me and his clarinet on this cut is excessive,
> IMHO, in its bent notes and vocal effects. RedHotJazz opines that, "His
> style of playing was quite comical and a little heavy on the novelty
> effects."  Not that anyone on the list was hearing live performances 90
> years ago, but could this be the New Orleans style preceding those that we
> have heard on recordings? Or, could similar examples be found in other early
> clarinetists? Or, is it "novelty" clarinet?

Hi Tom & List mates:

Lest we forget Larry Shields, the rest of the ODJB and "Livery Stable
Blues."

Comical, heavy on novelty, etc., etc., etc. Meant, so most serious students
of jazz believe, to be hokey.

Yet now, we (the new jazz literati) revere it for the wrong reasons, as
"artistic".

Paul Whiteman circa 1924, Aeolian Hall, played "Livery Stable" complete with
"novelty effects" for 1920's "Jazz Literati". He meant it as a joke to show
how hokey and primitive jazz used to be. But he was absolutely astounded
that it got a huge positive ovation as an artistic achievement.

One never knows, do one. (As Fats Waller used to say) :-) VBG

Cheers,
Steve Barbone