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

[D and R Hardie]

Hi Again
  Perhaps it should be a joint project Steve. You are the obvious 
choice. Perhaps working with Fred who is
a meticulous researcher. Incidentally, was clarinettist Tony Parenti a 
Cajun? I always thought his tone on record  leant towards the European 
Italian School.
regards
Dan Hardie
Quicklink at
http://tinyurl.com/nqaup

On Monday, August 6, 2007, at 08:24  AM, Fred Spencer wrote:

> Anyone wishing to write about  these ethnic jazzmen might wish to 
> begin on page 217 of "Wait Until Dark. :Jazz and the 
> Underworld.1880-1940." by Ronald L.
> Morris (Bowling Green University Popular Press,1980),
> which lists more than 90 "Italian Jazz Musicians in the Early Period  
> in New Orleans." Cheers.
> Fred
> Orleans ----- Original Message ----- From: "D and R Hardie" 
> <darnhard at ozemail.com.au>
> To: <drjz at bealenet.com>
> Cc: "Dixieland Jazz Mailing List" <dixielandjazz at ml.islandnet.com>
> Sent: Sunday, August 05, 2007 3:04 AM
> Subject: Re: [Dixielandjazz] re Mexican,Sicilian and Creole Reedmen and
> others clarinet solo
>
>
> 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
>>
> _______________________________________________
> 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
>