[Dixielandjazz] re Mexican, Sicilian and Creole Reedmen and others clarinet solo

[D and R Hardie]

Hi Steve,
         I’m not a full bottle on clarinettist Nuncio Scaglione but 
Brian Wood lists him in ‘The Song for Me’ as born 1890 and died 1935 
having played in Jack Laine bands and recording with the Johnny 
Bayersdorffer band.
         Perhaps even more influential was violinist and Milneberg dairy 
farmer John (Giovanni?) Spariccio who owned a bar on Decatur Street and 
is believed to have taught many early Dixielanders to play jazz - 
including clarinetist Alcide Nunez the original clarinet player with 
the ODJB.

regards
Dan Hardie
Check out website
http://members.ozemail.com.au/~darnhard/EarlyJazzHistory.html

On Saturday, August 4, 2007, at 12:47  PM, Steve Barbone wrote:

> on 8/3/07 8:26 PM, D and R Hardie at darnhard at ozemail.com.au wrote:
>
>> Hi All.
>> As Steve suggests    there is an alternative to the
>> traditional   account retailed by Wikipedia.
>> Sam Charters  stated that the solo was created by piccolo
>> player Bab Frank then playing in John Robichaux's orchestra. Frank
>> passed it to George Baquet who made it into a clarinet feature.  (See 
>> p
>> 253 of Exploring Early Jazz)
>> Picou claimed he wrote it when playing in Manuel Perez
>> Imperial Orchestra around 1903. I had not heard the Tuxedo Brass Band
>> story, perhaps it was the Tuxedo Orchestra. Bab Frank too appears to
>> have played in the Tuxedo Orchestra ca 1910.
>> The Dodds version, published in a number of fakebooks,
>> differs from all the Picou recordings I have heard. Picou's version
>> also differs significantly from the  piccolo score (in D presumably
>> written for clarinet in A)
>> The earliest recording of I have heard of High Society ca
>> 1909/10 does not include the obbligato in the piccolo part supporting
>> the view put forward  in a previous post that it was a later addition.
>> regards
>
> Funny about how Baquet, Picou and others get so little press in the
> development of new Orleans Jazz and Dixieland. Couple of things about 
> them.
>
> The Baquet family, (Creoles) was legendary. For example, Achille 
> Baquet,
> George's brother was a "passant blanc" (creole expression for one who 
> lives
> as a white) and played in one version of ODJB, Jimmy Durante's 
> Dixieland
> Jazz Band, and Johnny Stein's Band from Dixieland. Yes indeed, 
> integration
> came early with jazz bands and jazz musicians. Well before 1920. 
> Someday the
> jazz scholars may even figure out who the guys were in the "Whiteway" 
> Jazz
> band and how many of them were passing for white. Rumored to have been 
> the
> Durante Band, with Baquet and other Creoles.
>
> George played with Bessie Smith as well as Jelly Roll Morton. Both, 
> who were
> clarinet stars in the New Orleans bands of 1905-10 are reputed to have
> influenced Sidney Bechet.
>
> They should be much more famous than they are.
>
> Best of all . . . They both, and Bechet too, studied clarinet under 
> Lorenzo
> Tio, a legendary clarinet player and teacher who was OF MEXICAN 
> LINEAGE. How
> about that for the "Spanish Tinge"? I guess we weren't so uptight about
> Mexicans coming to the USA in those days.
>
> I suspect Dan Hardie could tell us all a lot more about some of the 
> early
> Creole, Mexican, (and Italian) Clarinet Players in New Orleans. Like 
> who,
> besides him, knows about New Orleans clarinetist Nuncio Scaglione and 
> the
> Famed Sicilian School of Clarinet, which influenced some Creoles? 
> <grin>
>
> I guess history is, indeed, written by the winners. <grin>
>
> Cheers,
> Steve Barbone
>
>
>
>
> _______________________________________________
> To unsubscribe or change your e-mail preferences for the Dixieland 
> Jazz Mailing list, or to find the online archives, please visit:
>
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>
>
>
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
>