[Dixielandjazz] What is Jazz?
Fred Spencer
drjz at bealenet.com
Sat Jun 24 07:31:05 PDT 2006
Dear Harold,
This from "Quotations" in a book on "Jazz References" I have been trying to
complete for years.If anyone wants the bibliographic data please email me
for them. Cheers.
Fred
"Two versions of the reply to the question, "What is jazz?" are listed:
"Madam, if you don't know by now, DON'T MESS WITH IT!" (Fats Waller in
Crofton and Fraser, and Watson); and "If you have to ask what jazz is,
you'll never know" (Louis Armstrong in Barber, and Watson)--but didn't Cab
Calloway say something like that? "Bartlett's Familiar Quotations" plays it
safe, saying it was Louis ("Man, if you gotta ask you'll never know),but
adding a footnote for Fats ("Lady, if you got to ask, you ain't got it")."
Cheers.
Fred
----- Original Message -----
From: "Harold Smith" <s3856lpa at webtv.net>
To: <dixielandjazz at ml.islandnet.com>
Sent: Friday, June 16, 2006 3:13 PM
Subject: [Dixielandjazz] What is Jazz?
> 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
>
> Send Dixielandjazz mailing list submissions to
> dixielandjazz at ml.islandnet.com
>
> To subscribe or unsubscribe via the World Wide Web, visit
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
> or, via email, send a message with subject or body 'help' to
> dixielandjazz-request at ml.islandnet.com
>
> You can reach the person managing the list at
> dixielandjazz-owner at ml.islandnet.com
>
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of Dixielandjazz digest..."
>
>
> 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
>
> _______________________________________________
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>
> ------------------------------
>
> 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
>
>
>
> _______________________________________________
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>
> ------------------------------
>
> 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
>
>
>
> _______________________________________________
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>
>
> _______________________________________________
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
> 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>
>
> Content-Type: text/plain; charset=us-ascii
>
> 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
>
>
> 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."
>
>
> _______________________________________________
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>
>
>
>
>
> ------------------------------
>
> _______________________________________________
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>
>
> End of Dixielandjazz Digest, Vol 42, Issue 31
> *********************************************
>
>
>
> _______________________________________________
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>
More information about the Dixielandjazz
mailing list