[Dixielandjazz] What is Jazz?

Fri Jun 16 12:13:07 PDT 2006

My take on the question is a slight revision of Louis' response:

"If you knew, you wouldn't have to ask."

Regards,
Harold "STill Asking" Smith

-----Original Message-----
From: dixielandjazz-request at ml.islandnet.com
Sent: Friday, June 16, 2006 1:29 PM
To: dixielandjazz at ml.islandnet.com
Subject: Dixielandjazz Digest, Vol 42, Issue 31

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Today's Topics:

   1. Re: Re-creations - is it jazz? (patcooke77 at yahoo.com)
   2. Re: New Music Definitions (patcooke77 at yahoo.com)
   3. RE: Trombone Veteran Bob Havens Joins the	JimCullumJazz Band
      (Hal Vickery)
   4. RE: Trombone Veteran Bob Havens Joins the Jim Cullm	Jazz Band
      (Don Mopsick)
   5. Re: Live365.>> Programming Classics (BudTuba at aol.com)
   6. A Re-creation of Judy Garland's 1961 Carnegie Hall	Concert
      (Steve Barbone)
   7. An Interesting Festival Approach (Steve Barbone)
   8. Choro (Steve Barbone)
   9. Re: Dixieland Re-Creations
      (Larry Walton Entertainment - St. Louis)
  10. Re: Choro (Fr M J (Mike) Logsdon)
  11. Mariachi & Dixieland  (tcashwigg at aol.com)
  12. Mariachi & Dixieland -- Mexican Banda Music (Dan Augustine)
  13. Choro (Hans en Corrie Koert)

----------------------------------------------------------------------

Message: 1
Date: Fri, 16 Jun 2006 06:12:14 -0700 (PDT)
From: <patcooke77 at yahoo.com>
Subject: Re: [Dixielandjazz] Re-creations - is it jazz?
To: "Fr M J \(Mike\) Logsdon" <mjl at ix.netcom.com>,	DJML
	<dixielandjazz at ml.islandnet.com>
Message-ID: <20060616131214.39222.qmail at web35411.mail.mud.yahoo.com>
Content-Type: text/plain; charset=us-ascii

Louis was once asked "what is jazz?"  He doged the question with the reply "if you got to ask, you'll never know"

Oscar Peterson asked to define jazz called it "instant composition."

For peoople like Oscar, instant composition was no big challenge.  But most of us at least rehearse licks in different keys and modes, store them in our mental repertoire, and sort of glue them together in a performance.  True "instant composition" is a little rarer than most of us would like to think.

I'm not going to attemt to define jazz.  There are at least as many definitions as there are people on this list.  Whatever it means to you....enjoy it.

Feel free to post your definition.

Pat Cooke 

----- Original Message ----
From: Fr M J (Mike) Logsdon <mjl at ix.netcom.com>
To: DJML <dixielandjazz at ml.islandnet.com>
Sent: Thursday, June 15, 2006 11:11:17 AM
Subject: Re: [Dixielandjazz] Re-creations - was Marsalis - was Wax Cylinders

>>>To me, at least, a note for note re-creation is not really jazz<<<

A wee bit overly hair-splitting, eh, Steve?  If what's being preserved is a jazz performance or style, surely it can be called jazz, just not deliberately impromptu/innovative jazz?

--
Etc,

Fr M J (Mike) Logsdon, Vicar-general
North American Old Roman Catholic Church (Utrecht Succession)
Archdiocese of California
www.naorc.org

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------------------------------

Message: 2
Date: Fri, 16 Jun 2006 06:23:26 -0700 (PDT)
From: <patcooke77 at yahoo.com>
Subject: Re: [Dixielandjazz] New Music Definitions
To: Will Connelly <willconnelly at bellsouth.net>,
	dixielandjazz at ml.islandnet.com
Message-ID: <20060616132326.43387.qmail at web35411.mail.mud.yahoo.com>
Content-Type: text/plain; charset=us-ascii

Thanks for that one, Will.  Started my day with a good laugh.....

Pat

----- Original Message ----
From: Will Connelly <willconnelly at bellsouth.net>
To: dixielandjazz at ml.islandnet.com
Sent: Thursday, June 15, 2006 4:50:20 PM
Subject: [Dixielandjazz] New Music Definitions

Swiped from another list where it was posted by Sean Dennis:

In order to keep you abreast of the ever-developing
world of musical terminology, we provide herewith the
latest additions to the esteemed Harvard Dictionary of
Music:

ALLREGRETTO
When you're 16 measures into the piece and realize you
took too fast a tempo

ANGUS DEI
To play with a divinely beefy tone

A PATELLA
Accompanied by knee-slapping

APPOLOGGIATURA
A composition that you regret playing

APPROXIMATURA
A series of notes not intended by the composer, yet
played with an "I meant to do that" attitude

APPROXIMENTO
A musical entrance that is somewhere in the vicinity
of the correct pitch

CACOPHANY [aka CACOUGHONY -psl]
A composition incorporating many people with chest
colds

CORAL SYMPHONY
A large, multi-movement work from Beethoven's
Caribbean Period

DILL PICCOLINI
An exceedingly small wind instrument that plays only
sour notes

FERMANTRA
A note held over and over and over and over and ...

FERMOOTA
A note of dubious value held for indefinite length

FIDDLER CRABS
Grumpy string players

FLUTE FLIES
Those tiny mosquitos that bother musicians on outdoor
gigs

FRUGALHORN
A sensible and inexpensive brass instrument

GAUL BLATTER
A French horn player

GREGORIAN CHAMP
The title bestowed upon the monk who can hold a note
the longest

GROUND HOG
Someone who takes control of the repeated bass line
and won't let anyone else play it

PLACEBO DOMINGO
A faux tenor

SCHMALZANDO
A sudden burst of music from the Guy Lombardo band

THE RIGHT OF STRINGS
Manifesto of the Society for the Prevention of Cruelty
to Violists

SPRITZICATO
An indication to string instruments to produce a
bright and bubbly sound

TEMPO TANTRUM
What an elementary school orchestra is having when
it's not following the conductor

TROUBLE CLEF
Any clef one can't read: e.g., alto clef for pianists

VESUVIOSO
An indication to build up to a fiery conclusion

VIBRATTO
Child prodigy son of the concertmaster

Kindly,
Will Connelly

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------------------------------

Message: 3
Date: Fri, 16 Jun 2006 08:29:36 -0500
From: "Hal Vickery" <hvickery at svs.com>
Subject: RE: [Dixielandjazz] Trombone Veteran Bob Havens Joins the
	JimCullumJazz Band
To: <dixielandjazz at ml.islandnet.com>
Message-ID: <000101c69148$e9cc9710$61a00f18 at half3c5e1da4be>
Content-Type: text/plain;	charset="us-ascii"

Oops...Checked the schedule again today.  Now he's on it.  Never mind....

I just LOVE responding to my own email.  It means I've done something dumber
than normal.

Hal Vickery

-----Original Message-----
From: dixielandjazz-bounces at ml.islandnet.com
[mailto:dixielandjazz-bounces at ml.islandnet.com] On Behalf Of Hal Vickery
Sent: Friday, June 16, 2006 6:21 AM
To: dixielandjazz at ml.islandnet.com
Subject: RE: [Dixielandjazz] Trombone Veteran Bob Havens Joins the
JimCullumJazz Band

I assume that means Havens won't be coming to Elkhart next week.  I noticed
his name was missing from the schedule when I checked it a few days ago.

Hal Vickery

-----Original Message-----
From: dixielandjazz-bounces at ml.islandnet.com
[mailto:dixielandjazz-bounces at ml.islandnet.com] On Behalf Of Don Mopsick
Sent: Friday, June 16, 2006 2:03 AM
To: DJML
Subject: [Dixielandjazz] Trombone Veteran Bob Havens Joins the Jim
CullumJazz Band

Trombone Veteran Bob Havens Joins the Jim Cullum Jazz Band

Bob Havens, a virtuoso jazz trombonist known for his many appearances at
jazz festivals and concerts worldwide, has joined forces with the Jim
Cullum Jazz Band. Kenny Rupp, whom Havens replaces, will continue to
play with the band at the Landing in San Antonio two nights a week. 
Havens was born in 1930 in Quincy, Illinois and received formal musical
training on violin, piano, trombone, and composition. After serving in
the Illinois National Guard as a bandsman during the Korean conflict, He
left Quincy in 1955 to tour with the Ralph Flanagan Orchestra. In 1956
he joined the George Girrard Jazz Band in New Orleans at the Famous Door
where he met his mentor, Jack Teagarden. 

Bob left Girrard in 1957 to join the newly formed Al Hirt band which
appeared at Dan's Pier 600 on Bourbon Street. The front line of that
band was Hirt, Bob, and Pete Fountain.

During the time in New Orleans, he recorded albums for the Good Times
Jazz and Vic labels with the Girrad band and on Verve and Audio Fidelity
with Hirt. He also recorded about a dozen albums for the Southland label
with many other New Orleans musicians.
Havens is among a handful of top jazz players such as Peanuts Hucko and
Pete Fountain who rose to fame via the long-running Lawrence Welk Show
TV series. 

During the 1980s, Bob found his services very much in demand. He worked
often with the Bob Crosby Bob Cats and the Benny Goodman Orchestra.
Bob says, "I'm absolutely thrilled to have the opportunity to join the
Jim Cullum Jazz Band." 

Don Mopsick, charter member of DJML says, "We're having an almost
illegal amount of fun playing jazz with Bob. At age 76 his playing shows
no sign of slowing down in the least. I have to pinch myself to make
sure that I'm not dreaming that Bob is a member of our band, and that I
get to appear nightly with him on the stand. I hope we get to lay down
some tracks with him soon."

Also, there have already been a few nights when both Kenny and Bob
played together--it's really awesome, like what it must have been like
to witness Lou and Cutty together in their prime. To paraphrase Eddie
Condon, 'I hope I get stuck with Havens forever!'

mopo

Don Mopsick, Riverwalk Webmaster

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http://ml.islandnet.com/mailman/listinfo/dixielandjazz

------------------------------

Message: 4
Date: Fri, 16 Jun 2006 08:38:54 -0500
From: "Don Mopsick" <mophandl at landing.com>
Subject: RE: [Dixielandjazz] Trombone Veteran Bob Havens Joins the Jim
	Cullm	Jazz Band
To: "DJML" <dixielandjazz at ml.islandnet.com>
Message-ID: <001401c6914a$35fba710$d19a0b43 at desktop>
Content-Type: text/plain;	charset="us-ascii"

Hal Vickery  writes:

<<I assume that means Havens won't be coming to Elkhart next week.  I
noticed his name was missing from the schedule when I checked it a few
days ago.>>

Hal, I don't know the particulars of this gig, however my understanding
is that since Bob and Kenny are now sharing the JCJB trombone chair, Bob
is able to honor whatever commitments he had prior to joining us. So he
will be in and out of San Antonio for a few months at least until his
calendar clears. 

mopo

Don Mopsick, Riverwalk Webmaster

------------------------------

Message: 5
Date: Fri, 16 Jun 2006 11:55:43 EDT
From: BudTuba at aol.com
Subject: Re: [Dixielandjazz] Live365.>> Programming Classics
To: dixielandjazz at ml.islandnet.com
Message-ID: <4ce.1adfa13.31c42e7f at aol.com>
Content-Type: text/plain; charset="US-ASCII"

I have enjoyed Dixieland Gumbo and the European station on Live365 several  
times.  It makes great background music while doing other mundane tasks  around 
the home, but I wonder if any one of you hosts have considered including  
some of the classic recordings of the 1950's-80's that never made it to the CD  
level?  Perhaps that is because it would take a long time to convert said  
78>LP recordings to digital files so that they could be included in the play  
lists and necessitates that the host already has access to the records.

I have done a bunch of these for my own enjoyment and have some modest  sales 
of same available at band gigs for pocket change.  Anyone interested  should 
contact me for a catalog list.  I will give radio hosts a special  deal...let 
me know what station you broadcast over.

I also have many recordings that I don't sell to anyone but would  be of 
interest in the broadcasting scene.  These are great recordings  of the same time 
period that probably will never see the light of day as  CDs.  There may be 
others on DJML who also could contribute there  grass-roots CD conversions.  

Roy (Bud) Taylor
Smugtown Stompers Jazz Band
'we ain't just  whistlin' dixie!"
585-415-3985  Cell

------------------------------

Message: 6
Date: Fri, 16 Jun 2006 12:44:47 -0400
From: Steve Barbone <barbonestreet at earthlink.net>
Subject: [Dixielandjazz] A Re-creation of Judy Garland's 1961 Carnegie
	Hall	Concert
To: DJML <dixielandjazz at ml.islandnet.com>
Message-ID: <C0B8583F.628A%barbonestreet at earthlink.net>
Content-Type: text/plain; charset="US-ASCII"

Yes, there is an audience for re-creations, tributes and/or homages.

Judy Garland's 1961 concert was a tour de force. Those of us who saw this
concert or bought the album will most likely never forget the electricity of
Judy's performance and that of the band. Rufus Wainwright's 2 day homage at
Carnegie this week sold out, captivating an eclectic audience.

Cheers,
Steve Barbone

Rufus Wainwright Pays Tribute to Judy Garland at Carnegie Hall

NY TIMES - By STEPHEN HOLDEN - June 16, 2006

They came to commune with a legend and to pay their respects to the singer
channeling her. "They" would be the heavily gay, mostly male, mostly over-30
audience that sold out Carnegie Hall on Wednesday and Thursday evenings; the
legend would be Judy Garland; and the gawky, flouncing pop shaman conjuring
her would be Rufus Wainwright, the 32-year-old singer-songwriter and opera
maven descended from folk-music royalty.

It doesn't matter that Mr. Wainwright sounds nothing like Garland or that
his voice, an astringent drone with a quavering edge, uncertain intonation
and slightly garbled diction, isn't half as good an instrument as Garland's.
The spirit was there. At the very least, his loving song-by-song re-creation
of Garland's brilliant concert of April 23, 1961, which became "Judy at
Carnegie Hall," the most beloved of all prerock concert albums, was a
fabulous stunt. Not even Madonna, pop music's ultimate provocateur, has
attempted anything so ambitious.

What unfolded onstage Wednesday was a tour de force of politically
empowering performance art in which a proudly gay male performer paid homage
to the original and most durable gay icon in the crowded pantheon of pop
divas. Accompanying him was a 36-piece orchestra conducted by Stephen Oremus
playing the original 1961 arrangements, transposed several notes lower to
suit Mr. Wainwright's voice.

The concert was a two-family affair, with Garland's clan represented by her
daughter Lorna Luft, who arrived onstage late in the two-and-a-half-hour
marathon to put her seal of approval on the project by joining Mr.
Wainwright in a duet of "After You've Gone." (Garland's other daughter, Liza
Minnelli, was conspicuously absent.)

Besides Rufus, the Wainwrights were represented by his sister, Martha, who
brought down the house with a whooping and swooping "Stormy Weather"; and by
his mother, Kate McGarrigle, who accompanied him on piano on "Over the
Rainbow" and an encore of "Ev'ry Time We Say Goodbye" that is not on the
Garland album. 

Because Garland's stamina onstage was legendary, Mr. Wainwright's biggest
challenge was to build and sustain the kind of electrical connection between
performer and audience that, in Garland's case, approached a vampirish
emotional symbiosis. In contrast to the go-for-broke emotional immediacy
Garland churned up like a great actress, Mr. Wainwright is an arch bohemian
dandy who is far too self-conscious to give himself heart and soul to
standards he obviously admires, but finds technically daunting, and in many
cases doesn't know that well.

But there are also deep similarities. Like Garland, Mr. Wainwright is a
natural clown and showman who deftly turned his many little flubs into
endearing comic bits of business. Like Garland, he is a witty storyteller
with a keen sense of the absurd who is not afraid to make fun of himself. In
one of many amusing anecdotes on Wednesday, he remembered his childhood
identification with "The Wizard of Oz." On good days, he said, he imagined
he was Dorothy, and on bad ones the Wicked Witch of the West.

Scattered through a concert, some of whose two-dozen-plus songs he hadn't
fully memorized, were some memorable performances. Mr. Wainwright rode the
famous bongo-propelled arrangement of "Come Rain or Come Shine" to glory.
His tender, reflective "Over the Rainbow" evoked the vocal sound of Harry
Nilsson's nearly forgotten 1973 album, "A Little Touch of Schmilsson in the
Night," one of the first records in which a rock singer broke ranks to gaze
wistfully into the past. An eerie falsetto version of "Do It Again," in
Garland's key, almost worked, except for some tonal slips. "The Trolley
Song" elicited cheers. He also talked about the album that inspired the
concert, citing "If Love Were All" as his favorite song in the set.

For those who came to worship, Mr. Wainwright could do no wrong. If there
were no boos, an audience clearly primed to go crazy never exploded into
cathartic pandemonium. Still, Mr. Wainwright's courage to stand as a
surrogate for every Garland fan who ever gazed into the mirror and
fantasized about stepping into her ruby slippers spoke for itself. Simply
for doing it, he was a hero.

------------------------------

Message: 7
Date: Fri, 16 Jun 2006 12:53:56 -0400
From: Steve Barbone <barbonestreet at earthlink.net>
Subject: [Dixielandjazz] An Interesting Festival Approach
To: DJML <dixielandjazz at ml.islandnet.com>
Message-ID: <C0B85A64.628B%barbonestreet at earthlink.net>
Content-Type: text/plain; charset="US-ASCII"

An interesting read, especially for Festival Producers. Several New Orleans
Jazz musician here in addition to the Rockers.

Cheers,
Steve Barbone

FESTIVAL AIMING FOR STAYING POWER
NY TIMES - by Jon Pareles the chief pop music critic for The New York Times.

The Bonnaroo Music Festival June 16-18 is a multi-stage camping festival
held on a 700-acre farm in Manchester, Tenn. This year's lineup includes Seu
Jorge, Radiohead, Beck, Tom Petty and Devendra Banhart, Preservation Hall,
Dr. John and The Neville Brothers.

MANCHESTER, Tenn. - A 21st-century music festival, like the fifth annual
Bonnaroo, starts long before the first note. It's a brand, a logo, a
website, and a commandeered local radio station broadcasting music and
(cheerful) traffic reports. It's a campground, a playground, an invitation
to cut loose. It's an environmental statement; Bonnaroo is using biodiesel
fuel and solar power (along with conventional power sources) and compostable
paper plates and utensils at the concession stands, and it plans to recycle
250 tons of garbage as construction material. This year, it was observable
from afar, announced by a device that shot giant dark smoke rings - or
Bonnaroo O's - into the clouds.

In its fifth year at its chosen location - a farm with enough open land for
two large stages, four large tents and plenty of side attractions - Bonnaroo
is aiming for longevity. "We want to be something that's around for 30
years, like a Glastonbury or a New Orleans Jazzfest," said Rick Farman, 30,
one of the partners in Superfly Productions and a founder of Bonnaroo. "We
want to be an iconic event."

Bonnaroo sold out its limit of 80,000 tickets this year. The 2004 Bonnaroo
drew 90,000 people, but the organizers decided afterward that bigger wasn't
better. The festival also restrains corporate sponsors, Mr. Farman said.
There are no "presented by" signs anywhere near the big stages, and sponsors
who set up exhibits have to provide some service to the fans, like the
telephone company that is offering webcasts of much of the festival (through
links from www.bonnaroo.com).

Bonnaroo started as a jam-band festival, selling 70,000 tickets its first
year by word-of-internet, without advertising. Past headliners have included
the Grateful Dead, Widespread Panic, the Allman Brothers Band, the Dave
Matthews Band and members of Phish. Today's audience was still a tie-dyed,
dreadlocked, backpacking crowd that came to dance.

But Bonnaroo decided, wisely, not to depend on one scene, even one as
organized as the jam-band community. Jam bands borrow from all over the
place, and Bonnaroo's producers have operated on the assumption that the
fans are happy to follow the music to its sources: bluegrass, funk,
electronica, jazz, hip-hop, world music, avant-rock. Bonnaroo has also
presented the likes of Ween, Herbie Hancock and Mouse on Mars. And this
year, the big draw isn't exactly a head-bobbing, hippie-flavored band: it's
Radiohead, a band of malaise connoisseurs and sonic experimenters, which is
due to perform on Saturday night.

Putting Radiohead on the bill has changed Bonnaroo's demographics; in ticket
sales, this year's second-largest state contingent (after Tennessee) came
from New York.

Still, it's the same festival, with confusingly named stages (Which and
What) and tents (This, That, and the Other) that promise disorientation and
unintentional comedy.

There's also a jam-band finale: Sunday's last set is three and a half hours
of Phil Lesh (the Dead's bassist) and Friends. But the lineup in between
includes hip-hop (Common, Blackalicious, the Streets), blues (Buddy Guy),
country (Bobby Bare Jr.), African music (Amadou et Mariam), Brazilian music
(Seu Jorge) and teenage punk (Be Your Own Pet). There's also a strong New
Orleans contingent, including the Neville Brothers and Dr. John (who had a
1974 album called "Desitively Bonnaroo"). The Preservation Hall Jazz Band,
and other groups that also perform at the hallowed, recently reopened New
Orleans club, has its own tent through Saturday.

------------------------------

Message: 8
Date: Fri, 16 Jun 2006 13:00:48 -0400
From: Steve Barbone <barbonestreet at earthlink.net>
Subject: [Dixielandjazz] Choro
To: DJML <dixielandjazz at ml.islandnet.com>
Message-ID: <C0B85C00.628C%barbonestreet at earthlink.net>
Content-Type: text/plain; charset="US-ASCII"

Snipped from an Australian "on line" publication. (theage.com.au) How about
it, Luis and Tito, does choro correlate to Dixieland as this article opines
in the 3rd paragraph?

Cheers,
Steve Barbone 

Craig Mathieson discovers Brazil's urban beat, choro.

THERE are, according to filmmaker Mika Kaurismaki, two things that cut
through the social and political divide in Brazil: football, and music. With
the World Cup now highlighting Brazil's supremacy on the pitch, the latter
is fittingly recognised with the release of Brasileirinho, a documentary
about choro, an infectious and intrinsically Brazilian style of music
enjoying a resurgence.

"Choro is now played on the street in Rio and it wasn't 15 years ago," says
Kaurismaki . A bluff, hearty Finn, he's been living in Brazil for 12 years,
the first decade in Rio de Janeiro, the home of choro, where he owned a bar
that hosted many of the scene's best musicians.

Influenced by European melodies and African rhythms, choro is known as
Brazil's first urban music. With a correlation to Dixieland jazz, it
coalesced in the 1870s, eventually sitting alongside bossa nova and samba in
the Brazilian canon. Braced by guitars and percussion, it's fuelled by deft
variations on established chords and themes.

"There's a kind of dialogue when people play it together," explains
Kaurismaki. "You have to respect the rules but you can improvise."

------------------------------

Message: 9
Date: Fri, 16 Jun 2006 12:04:29 -0500
From: "Larry Walton Entertainment - St. Louis"
	<larrys.bands at charter.net>
Subject: Re: [Dixielandjazz] Dixieland Re-Creations
To: "Steve Barbone" <barbonestreet at earthlink.net>,
	<macjazz at se.rr.com>,	"DJML" <dixielandjazz at ml.islandnet.com>
Message-ID: <007e01c69166$eebf3d40$e7fdb844 at COMPACSR1320NX>
Content-Type: text/plain; format=flowed; charset="iso-8859-1";
	reply-type=original

>From Steve Barbone.
> I hear you. Early in this thread was the thought that re-creations succeed
> because there is an audience for them. And that is the most important
> ingredient for the viability of a musician and/or band. Play what the
> audience comes to hear...... The re-creation, or the modern band that
> repeats more or less are very much the same. That would be stultifying to
> me........

L.W. --Recreating your own hits is the reason, I believe, that groups like 
the Beatles break up.  Being forced to do the same thing over and over is 
boring.  Creative people just can't stand it.  The public just wants to hear 
the familiar.  A good example is the riff in the middle of In the Mood.
>
>
> Our band frequently records performances for our own amusement and we 
> always
> chuckle at the "newness" of even the old war horses like Indiana, Sweet
> Georgia Brown or Lady Be Good which we play for audience recognition. When
> the band is "on", it's like we are playing a brand new tune.

L.W ---This is as it should be and makes music fun and interesting for the 
musician.
>
> Fully realizing that there are some list mates who might think; "Oh no, if 
> I
> hear Lady Be Good one more time I'll die."
>
L.W.--- There is a good friend of mine who is a fine and very creative 
musician but there was a time when he repeated the same solo riffs to a 
point I knew what was going to happen.  I thought I would scream if I heard 
it one more time and then he played it again almost the same way.  It got so 
bad the other guys started to parody the riffs.   All of a sudden the old 
creativity and style broke through and he never looked back.  I don't know 
why this happens but musicians like ball players get in a slump.  Another 
variation of this is doing quotes.  Some guys throw the same quote into a 
tune in the same place. BORING!!!  I know only one guy that actually can 
bring off doing a quote because  they are spontainious, don't show up 
regularly and are always different.
>
> Yet they all, including a tune like What a Wonderful World, allow an
> inventive musician virtually unlimited possibilities for improvisation.
>
L.W. --- that's a tune that I really don't care for much.  I work with a 
wedding band that plays it as a closer.  There is no jazz and after 
screaming for three or four hours and  are tired we have to play that piece 
of crap arrangement.  The people seem to like it though.

Larry
St. Louis 

------------------------------

Message: 10
Date: Fri, 16 Jun 2006 10:16:41 -0700 (GMT-07:00)
From: "Fr M J (Mike) Logsdon" <mjl at ix.netcom.com>
Subject: Re: [Dixielandjazz] Choro
To: DJML <dixielandjazz at ml.islandnet.com>
Message-ID:
	<5074521.1150478201802.JavaMail.root at elwamui-rubis.atl.sa.earthlink.net>

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This site (& it may have been the one you were at, Steve) has a couple samples down at the bottom:

http://saintpaulsunday.publicradio.org/features/0109_choro/ ,

--
Etc,

Fr M J (Mike) Logsdon, Vicar-general
North American Old Roman Catholic Church (Utrecht Succession)
Archdiocese of California
www.naorc.org

------------------------------

Message: 11
Date: Fri, 16 Jun 2006 13:37:31 -0400
From: tcashwigg at aol.com
Subject: [Dixielandjazz] Mariachi & Dixieland 
To: dixielandjazz at ml.islandnet.com
Message-ID: <8C85F82ADC86994-438-3A81 at mblk-d47.sysops.aol.com>
Content-Type: text/plain; charset="us-ascii"; format=flowed

Hi folks:

Yesterday I was driving and switching radio stations as I went to find 
something different than the normal station tuned in on the car, and I 
hit a Spanish station playing some really great Mariachi Music  with a 
TUBA whomping alon g at a nice funky pace.

Probably List mate Dave Richoux knows more about this kind of Mariachi 
music and maybe even Dan Augustine,  I found it very pleasing and I 
think the OKOIM audiences at Festivals would as well.   Especially in 
California where we have a large Hispanic population that would attend 
the festivals if it had something to attract them.

I know I have witnessed packed houses at all performances of Paco 
Gatsby  act Sacramento in the past and the audiences loved his show, 
even though it is not Traditional Dixieland by any means.   It is 
however some very high energy and beautiful music that is certainly 
akin to Dixieland.

It certainly could start to swell those attendance figures back 
upwards,  and it could have it's own venue, as could Traditional Jazz,  
just like the festival Steve posted about Bonneroo,  which has a 
Special Tent just for Preservation Hall Jazz Band.

Food for thought guys.   There is a tremendous market of Great 
Entertainment out there in the world to choose from,  so why do we 
often limit our festivals to only Dixieland?   expand your horizons and 
your audience base,  music lovers are music lovers and they show up 
with money for interesting acts, as they get bored with the same ole 
same ole every festival.    Festivals need to keep that flow of NEW 
acts to keep attracting new audiences, even though they still maintain 
their old audience and cater to them proportionately, the counter 
exposure to differing music will cross pollinate if done tastefully.

Some of those Hippies and Yuppies are your Kids and grand kids, so how 
can they be all that bad? :))

with" Music we CAN All get along"

Musical content: " Play it again Sam "  :))

Cheers,

Tom Wiggins
________________________________________________________________________
Check out AOL.com today. Breaking news, video search, pictures, email 
and IM. All on demand. Always Free.

------------------------------

Message: 12
Date: Fri, 16 Jun 2006 12:50:06 -0500
From: Dan Augustine <ds.augustine at mail.utexas.edu>
Subject: [Dixielandjazz] Mariachi & Dixieland -- Mexican Banda Music
To: DJML <dixielandjazz at ml.islandnet.com>
Message-ID: <p06230903c0b89f1a5a34@[192.168.0.100]>
Content-Type: text/plain; charset="us-ascii" ; format="flowed"

Tom and DJML--
     This is called 'banda' music if there is a tuba/sousaphone 
(almost always a sousaphone) in the band.  Here's a post about it 
that i sent to the Tuba-Euphonium list.       Dan
-----------------
To: tubaeuph at smartgroups.com
Subject: [TubaEuph] Banda Music
From: Dan Augustine <ds.augustine at mail.utexas.edu>
Subject: Banda Music

Folks--
     I've been desultorily collecting banda music the last couple of 
years, and believe me, some of the sousaphone players are monsters. 
The first time i heard this kind of music was on TV in the music 
video by Gabriela Beltran, and i bought the CD with the song i liked 
so much: "Hasta Que Amanezca" on _La Reina Del Pueblo_ (EMI Latin H2 
72438 21434 2.0, from 1997); there are even some extra beats in some 
of the measures, which was rather enjoyable.  Basically, any 
recording that says it has a 'banda' will probably have a 
sousaphone-player in it (if it's from Sinaloa, at least).
     There's also the Banda Sinaloense del El Recodo's CD called 
_Sinfonola con Tambora Volumen 1_ (BMG Music/RCA 74321-46942-2 from 
1997), with a nice rendition of "Peanuts" ("La Cacahuata").  And 
these others by the same band: _Coleccion Original_ (BMG Music/RCA 
74321-56503-2 from 1998)(with "El Barrillito", otherwise known as 
"Beer Barrel Polka").  And _De Cruz Lizarraga_ (BMG Music/RCA 
3294-2-RL from 1991).  A collection of various bandas is on _Todo 
Banda_ (BMG Music/RCA 74321-74338-2 from 2000) with "El Sinaloense" 
by Juan Gabriel con Banda El Recodo, "Dos Hojas Sin Rumbo" by Julio 
Preciado, "El Disgusto" by Julio Preciado, and "Costena Y Ahora Que" 
by Banda La Costena.
     This last CD inspired me to find more recordings by Julio 
Preciado and his band, which has a fantastic tuba-player, so in 
October in San Francisco i bought _Cadetazos_ by Julio Preciado y Su 
Banda Perla del Pacifico (BMG Music/RCA 82876-58418-2, from 2004). 
The unnamed sousaphone player plays up above middle C a lot, does 
double- and triple-tonguing, and does intricate rhythmic figures on a 
number of tunes, notably #7 "El Palomito", #12 "La Entalladita", and 
#13 "El Sinaloense y El Cora".
     Check 'em out.  You won't believe 'em.  Fly a whole German band 
over to Mexico a century ago and make them play Mexican songs--you'll 
get beer-garden two-steps and waltzes in Mexican culture, and it's 
unlike anything you've ever heard before.  I like it a lot.

     Dan
----------------------------------------------------------------------------------------------------
>Date: Fri, 16 Jun 2006 13:37:31 -0400
>From: tcashwigg at aol.com
>To: dixielandjazz at ml.islandnet.com
>Subject: [Dixielandjazz] Mariachi & Dixieland
>
>Hi folks:
>
>Yesterday I was driving and switching radio stations as I went to 
>find something different than the normal station tuned in on the 
>car, and I hit a Spanish station playing some really great Mariachi 
>Music  with a TUBA whomping alon g at a nice funky pace.
>
>Probably List mate Dave Richoux knows more about this kind of 
>Mariachi music and maybe even Dan Augustine,  I found it very 
>pleasing and I think the OKOIM audiences at Festivals would as well. 
>Especially in California where we have a large Hispanic population 
>that would attend the festivals if it had something to attract them.
>
>I know I have witnessed packed houses at all performances of Paco 
>Gatsby  act Sacramento in the past and the audiences loved his show, 
>even though it is not Traditional Dixieland by any means.   It is 
>however some very high energy and beautiful music that is certainly 
>akin to Dixieland.
>
>It certainly could start to swell those attendance figures back 
>upwards,  and it could have it's own venue, as could Traditional 
>Jazz,  just like the festival Steve posted about Bonneroo,  which 
>has a Special Tent just for Preservation Hall Jazz Band.
>
>Food for thought guys.   There is a tremendous market of Great 
>Entertainment out there in the world to choose from,  so why do we 
>often limit our festivals to only Dixieland?   expand your horizons 
>and your audience base,  music lovers are music lovers and they show 
>up with money for interesting acts, as they get bored with the same 
>ole same ole every festival.    Festivals need to keep that flow of 
>NEW acts to keep attracting new audiences, even though they still 
>maintain their old audience and cater to them proportionately, the 
>counter exposure to differing music will cross pollinate if done 
>tastefully.
>
>Some of those Hippies and Yuppies are your Kids and grand kids, so 
>how can they be all that bad? :))
>with" Music we CAN All get along"
>Musical content: " Play it again Sam "  :))
>
>Cheers,
>Tom Wiggins

-- 
**--------------------------------------------------------------------**
** Dan Augustine  --  Austin, Texas  --  ds.augustine at mail.utexas.edu
**     "I often ask myself how Beethoven would have written a
**      particular passage if he had wanted it to sound the way
**      I'm playing it."  --  Robert Shaw when at Cleveland Orchestra
**--------------------------------------------------------------------**

------------------------------

Message: 13
Date: Fri, 16 Jun 2006 20:28:46 +0200
From: "Hans en Corrie Koert" <koerthchkz at zeelandnet.nl>
Subject: [Dixielandjazz] Choro
To: "Dixieland List" <dixielandjazz at ml.islandnet.com>
Message-ID: <NGEHIDJHCNAFAENHKFEHEEOECHAA.koerthchkz at zeelandnet.nl>
Content-Type: text/plain;	charset="us-ascii"

I love to introduce you to choro at:
http://www.keepswinging.opweb.nl/choro.htm
Joergen Larsen wrote an article about choro: Enjoy it:
http://www.keepswinging.opweb.nl/choro4a.htm

For me choro has the same spirit as dixieland and I read somewhere that it
is called Brazilian Dixieland.

Enjoy my daily weblog: http://keepswinging.blogspot.com

Keep swinging

Hans Koert
http://www.keepswinging.opweb.nl

-----Oorspronkelijk bericht-----
Van: dixielandjazz-bounces at ml.islandnet.com
[mailto:dixielandjazz-bounces at ml.islandnet.com]Namens Steve Barbone
Verzonden: vrijdag 16 juni 2006 19:01
Aan: DJML
Onderwerp: [Dixielandjazz] Choro