[Dixielandjazz] (no subject)

[Marek Boym]

Hello don, Listmates,
Actually, in addition to old records (only recently I listened, yet
again, to my double ODJB album on RCA and to a King Oliver one in
their Vinatge series), I have many of the numbers listed on recent
recordings (Singing the Blues and Black Bottom Stomp, for example).
But, when I could attend jazz festivals (my last festival abroad was
in 2005), I heard many of those tunes played (well, even "No Bargain,"
but that was a part of a Red Nicolls tribute).  Actually, most of
those tunes form a part of the regular repertoire of quite a few
European bands, and I've heard them many times.
Cheers

On 14/06/07, Don Mopsick <mophandl at landing.com> wrote:
> Dan Spink writes:
>
>
>
> <<To all the hard working bands out there, I'd love to hear your opinion
> about
>
> what I hope you won't call a dumb idea. It seems to me that OKOM's  appeal
>
> could be broadened considerably by augmenting the list of songs played.
> Does
>
> anyone venture into the 60's through 90's guitar-based repertoire and do it
> in
>
> Dixie style, for example? When I played piano in a Dixie band we would
>
> occasionally do Broadway show tunes in Dixie style (even before Louie's
> Hello
>
> Dolly) and it worked. Am I stating the obvious that everyone does already or
> is
>
> there room for new experimentation here?>>
>
>
>
> Dan: the problem is not that there is a lack of good tunes for jazz bands to
> play that come from the pre-war era, the problem is that you are not
> familiar with the existing ones that hardly ever get played by today's
> "Dixieland" bands. And I'm talking about great tunes that were played many
> times by many different great, swinging and stomping bands such as
> Armstrong, Bix, Eddie Condon, Muggsy Spanier, and the Bob Crosby Bob Cats,
> not un-jazz obscurities and novelty tunes that get played by
> banjo/ragtime/nostalgia/show bands today like "My Canary's Got Circles Under
> His Eyes" and "Radio."
>
>
>
> Here is a teeeny-weeny list of just a small fraction of the great tunes that
> you probably wouldn't have ever heard unless you listen to a lot of old
> records:
>
>
>
> Strut Miss Lizzie
>
> Oh, Sister, Ain't That Hot!
>
> Palesteena
>
> Mournin' Blues
>
> Big Boy
>
> Black Bottom Stomp
>
> Chicago Breakdown
>
> Delta Bound
>
> Dogtown Blues
>
> Eccentric Rag
>
> Eventide
>
> Fireworks
>
> Gypsy Love Song
>
> I Ain't Gonna Tell Nobody
>
> King Chanticleer
>
> Mahogany Hall Stomp
>
> Mandy, Make Up Your Mind
>
> Muddy Water
>
> New Orleans Stomp
>
> Oriental Strut
>
> Prince of Wails
>
> Rose of the Rio Grande
>
> She's Cryin' For Me
>
> Singin' the Blues
>
> Spain
>
> Susie
>
> That's No Bargain
>
> Weather Bird Rag
>
> Song of the Wanderer
>
>
>
> Anything worth having is worth working for. YOU must pay the dues, do the
> work of researching these and many, many other tunes, learing how to play
> them with the original melody and changes and finding out where they came
> from, who recorded them, and why they are great works of art. In my opinion
> this is the most noble work a musician can do. Again, these are NOT
> obscurities, they all were recorded repeatedly through many decades by the
> best in the business. The simple fact is that there is an OCEAN of good
> tunes right in the style bulls-eye of the most classic jazz that ever was,
> all there for you to play, without your having to resort to out-of-bounds
> inappropriate repertoire.
>
>
>
> (Where, you may ask, do I find this great stuff? Well, there's Google. And,
> here's another shortcut: www.riverwalkjazz.org
> <http://www.riverwalkjazz.org/> )
>
>
>
> It's just not enough for your band to play the Bourbon Street Top 10
> (Bourbon St. Parade, The Saints, Ain't She Sweet, If You Knew Susie, St.
> James Infirmary, Basin Street Blues, etc.) and sell yourselves as a JAZZ
> band. Further, with all the rich material available to you, why would you
> want Hostess Twinkies when you can have lobster tail?
>
>
>
> All I ask is this: I know that imitation is a most sincere form of flattery,
> but please write your own arrangements and don't steal ours. And, go find
> some different tunes than we play so WE can steal them.
>
>
>
> Curmudgeonly,
>
>
>
> mopo
>
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