[Dixielandjazz] Sound & Mics
Rob Wright
rwright at siatucson.com
Mon Sep 10 09:16:52 PDT 2007
Hi All,
You must learn to use a microphone just as you learn to play your
instrument. Musicians are often equally responsible for sound problems
along with the techs. In my experience, really seasoned players can often
compensate for poor sound just as great sound techs can compensate for
amaturish players. I performed outdoors last night with an orchestra for
6,000 people. This can be a sound nightmare, and last time I performed in
this venue it was. This time around I was much more assertive in the sound
check. Most people don't know how to mic a banjo so it is my responsibility
to help. I did face some resistance at first but I was respectful and
assertive. It seems we were both worried about different things. We worked
at it until we were both satisfied and wound up with a really nice result.
I expect it will always be right in future events with this sound tech.
It is unfair to expect any sound tech to be perfect the first time out of
the gate. Your professional, respectful, attitude and experience will
prevail in the end most of the time. I have never met a sound man who
wanted to do a poor job. Too often I see musicians bite the tech's head
off right at the get go. My mom called that biting off your nose to spite
your face. I always arrive early and discuss my wishes with the sound techs
with all due respect. Believe me, I have experienced all the difficulties
previously mentioned. I am merely hoping to add some perspective and
encouragement here.
Rob Wright
-----Original Message-----
From: dixielandjazz-bounces at ml.islandnet.com
[mailto:dixielandjazz-bounces at ml.islandnet.com] On Behalf Of
dixielandjazz-request at ml.islandnet.com
Sent: Sunday, September 09, 2007 7:44 AM
To: Rob Wright
Subject: Dixielandjazz Digest, Vol 57, Issue 15
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"Re: Contents of Dixielandjazz digest..."
Today's Topics:
1. Re: More from the Alternate Lyrics dept (Bill Haesler)
2. Public Domain Tunes (Bruce Stangeland)
3. Re: Pat Yankee & Page Cavanaugh-info? (Jeanne Brei)
4. Re: More from the Alternate Lyrics dept (David Richoux)
5. Re: sound gripes (Ministry of Jazz)
6. Re: More from the Alternate Lyrics dept (Bill Haesler)
7. Sound gripes (Ministry of Jazz)
8. Re: How did key tunes get into the standard dixieland
repertoire? (Marty Nichols) (Bill Haesler)
9. Re: How did key tunes get into the standard dixieland
repertoire (Bill Haesler)
10. Empire City Six (Bill Haesler)
11. Play your copy today (Hans en Corrie Koert)
12. SM58's (Jim Kashishian)
13. Chords (Bill Salmond)
14. What is jazz? (Brian Harvey)
15. Public Domain (Gerard Bielderman)
16. Thoughts about Sound and Standard Dixieland Tunes (Steve Barbone)
17. hello (Cebuisle2 at aol.com)
----------------------------------------------------------------------
Message: 1
Date: Sun, 9 Sep 2007 11:39:47 +1000
From: Bill Haesler <bhaesler at bigpond.net.au>
Subject: Re: [Dixielandjazz] More from the Alternate Lyrics dept
To: "Phil O'Rourke" <philor at webone.com.au>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Message-ID: <8CBBE306-5E75-11DC-8752-000A958B1370 at bigpond.net.au>
Content-Type: text/plain; charset=US-ASCII; format=flowed
Regarding the request:
>> there's a set of lyrics for "Put On Your Old Grey Bonnet"...something
> about "Let's have a good time singin' 'bout Abraham Lincoln" or
> something.
and my Oz mate Phil O'Rourke's reply.
> "Put on your old grey bustle
> Get your body out and hustle
> Tomorrow there's a mortgage payment due"
Dear Phil,
I had all my money on you being able to provide them, but lost.
I will now have to rely on that other oracle - Dave Richoux.
Regards,
Bill.
------------------------------
Message: 2
Date: Sat, 08 Sep 2007 21:55:12 -0700
From: Bruce Stangeland <stangeland at earthlink.net>
Subject: [Dixielandjazz] Public Domain Tunes
To: dixielandjazz at ml.islandnet.com
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Message-ID: <46E37CB0.7000405 at earthlink.net>
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Kevin,
You can check the Charles Anderson collection on the web.
The index to over 9000 tunes is at Tune Index
<http://www.andersonfakebook.com/>
These include tune titles, composers, and dates.
Good luck,
Bruce Stangeland
----------------------
Message: 8
Date: Sat, 8 Sep 2007 15:58:54 -0700 (PDT)
From: Kevin Yeates <kyeates at yahoo.com>
Subject: [Dixielandjazz] Public Domain Tunes
To: dixielandjazz at ml.islandnet.com
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Message-ID: <85729.28620.qm at web50906.mail.re2.yahoo.com>
Content-Type: text/plain; charset=utf-8
I appreciate this can result in a massive response but here goes anyway.
I am trying to identify as many OKOM tunes (especially New Orleans stuff)
that are in the public domain. I have been using the pre-1923 rule but
can't always identify for sure when a piece was written.
Does anyone know of a list somewhere or has anybody already started to put
together a list of PD tunes? I am quite willing to compile it if people
want to send me what they know to be PD.
Kevin Yeates
Vancouver, Canada
------------------------------
Message: 3
Date: Sat, 8 Sep 2007 22:07:59 -0700
From: "Jeanne Brei" <TinPanAlleyCat at cox.net>
Subject: Re: [Dixielandjazz] Pat Yankee & Page Cavanaugh-info?
To: "Kaye Wade" <kaye at kayewade.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Message-ID: <008b01c7f29f$648d6b60$0202a8c0 at Jeanne>
Content-Type: text/plain; format=flowed; charset="iso-8859-1";
reply-type=response
Hey Kaye,
Pat Yankee only spent a few hours in the hospital (she was back at the
hotel by 2 AM - having been taken to the hospital around 6 pm (she doesn't
remember anything from her afternoon set) She was slightly dizzy and
disoriented and couldn't remember people's names (which is why the ambulance
was called). When she returned, she said it was only a potassium deficiency
and she attended the last day's finale and looked great -- she spoke to
everyone who inquired how she was and seemed to be back good as new.
As for Page Cavanaugh - we were simply told he wasn't up to performing
on Monday and so a sub performed instead.
Jeanne
Jeanne Brei
Tin Pan Alley Cat Entertainment
Las Vegas, NV
702.254.3832
http://www.jeannebrei.com
NEW! I'm on YouTube! Click here to sing John & I singing!
http://www.youtube.com/profile?user=tinpanalleycat
EVEN NEWER! Check out my BLOG! http://jazzinwithjeanne.blogspot.com
http://www.viewnews.com/2002/VIEW-Jun-28-Fri-2002/Summerlin/19044673.html
----- Original Message -----
From: "Kaye Wade" <kaye at kayewade.com>
To: <tinpanalleycat at cox.net>
Cc: "Dixieland Jazz Mailing List" <dixielandjazz at ml.islandnet.com>
Sent: Friday, September 07, 2007 10:26 PM
Subject: [Dixielandjazz] Pat Yankee & Page Cavanaugh-info?
> Pat was taken to the hosp. during the Sweet & Hot and Page was in an
> accident on his way to it. Does anyone know how they are doing? Page
> does not answer his home phone.
> TThanks,
> Kaye
> ------
> Kaye Wade
> Stuntwoman-Actress, Vocalist & Bandleader
> ( also *Kaye Wade's Riverboat Ramblers, *The Tinsel Town Ten Minus - 3,
> *Jazz Holiday Band @ Sardo's, Burbank, Ca.
> Former San Fernando Valley Banjo Bnd Now-*Jazz'n Banjos,
> and a *Reflexologist)
> PO Box 1068 Studio City CA. 91614-1068
> http://www.KayeWade.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
------------------------------
Message: 4
Date: Sat, 8 Sep 2007 22:16:23 -0700
From: David Richoux <tubaman at tubatoast.com>
Subject: Re: [Dixielandjazz] More from the Alternate Lyrics dept
To: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Message-ID: <80AFFFBD-BD41-42FA-A9CB-9400000DC42B at tubatoast.com>
Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed
maybe this one? does not quite scan to "Grey Bonnet" but is very close.
THE CONFEDERATE VICTORY SONG
Cindy Lee don't bring your hanky
I just shot me a Yankee
Tell the slaves to keep a-working in the fields
Soon Abe Lincoln will surrender
And the Rebel Yell we'll render
As we set the Union Army on its heels
Jefferson Davis don't you worry
We'll be winning in a hurry
You'll be sitting in the White House by and by
Cindy Lee don't bring your hanky
Cause I just shot me a Yankee
And the South is gonna win so don't you cry
http://tmazanec1.xepher.net/smashflops.html
also has my favorite song that the late Dave Cotter used to sing:
There'll be a hot, hot time in Lakehurst, New Jersey
When the Hindenburg lands today
All the band is gonna play
And we'll all hip hip hurray
When the Hindenburg lands today
All the way from Germany you've flown to us
And we know that your motto is "New Jersey or bust!"
(there is more - adapted by Phil Ochs
http://web.cecs.pdx.edu/~trent/ochs/lyrics/smash-flop-hits.html )
Dave Richoux
On Sep 8, 2007, at 6:39 PM, Bill Haesler wrote:
> Regarding the request:
>>> there's a set of lyrics for "Put On Your Old Grey
>>> Bonnet"...something
>> about "Let's have a good time singin' 'bout Abraham Lincoln" or
>> something.
>
> and my Oz mate Phil O'Rourke's reply.
>> "Put on your old grey bustle
>> Get your body out and hustle
>> Tomorrow there's a mortgage payment due"
>
> Dear Phil,
> I had all my money on you being able to provide them, but lost.
> I will now have to rely on that other oracle - Dave Richoux.
> Regards,
> Bill.
>
------------------------------
Message: 5
Date: Sun, 9 Sep 2007 08:53:03 +0200
From: "Ministry of Jazz" <jazzmin at actcom.net.il>
Subject: Re: [Dixielandjazz] sound gripes
To: "Dixieland Jazz Mailing List" <dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Message-ID: <GCEMKDJIDPOOIABFPAMCGEJKPKAA.jazzmin at actcom.net.il>
Content-Type: text/plain; charset="us-ascii"
Shalom Jazz Fans,
At the risk of stating the obvious, I could never figure out why a brass
band needs to be amplified at all, in most circumstances that most of us
perform in. My Doctor Jazz band does nearly all of our performances
unplugged, with only a battery operated portable amp to boost the vocals. We
have performed in this configuration for as many as 300 people, even
outdoors, with no problem. On the rare occasions (so far anyhow) where we
perform in a larger venue, the venue has their own system, and sometimes
even has someone who knows how to run it. On several occasions we have had
sound system problems during setup or even during a show, and "have had to"
play (in my book, we "got to play") acoustic, and invariably the audience
expressed enthusiastic appreciation for our sound, saying it was better
without the PA system. And I repeat, I have almost NEVER had a gig that
involved a sound system without having problems either with the system or
the people who run it.
Two specific problems I run into frequently with amplification (besides when
it doesn't work!):
1) I find it drives me crazy when a sound guy fiddles with my volume while
I'm playing. When I hear changes in my volume or tone, I instinctively try
to compensate. Volume goes up, I move farther from the mic and/or play
softer, and vice versa. So rather than working together, the sound guy and I
are fighting each other, and the audience suffers for it. I was once miked
so loud that every little move I made reverberated through the outdoor
venue. The sound guy was G-d knows where after setting up and it was time to
go on (fortunately it was just a solo gig), so I moved several feet back
from the microphone until I felt the sound was tolerable.
As someone pointed out, monitors usually prevent you from hearing what the
audience hears. I'm sorry, but I don't trust ANY sound man enough to leave
my performance to a large crowd in his fidgety little hands. Somehow, I need
to hear the mix that is going out into the room, or I will not use the
system. Period. If it means not using monitors, so be it. In my limited
experience, if you're miked properly, you can hear all the instruments and
the balance as it goes out into the room. If I can't hear everyone without a
monitor, I wonder what the audience hears! [Note: the way I taught my
players to play balanced is, when they complained to me that we need a sound
system because they couldn't hear this or that instrument or voice, I would
tell them, "Do you know what that means? It means YOU are playing too loud.
Play so you can hear everyone else, and then we will work on raising the
overall volume when we need to."]
2) I often sit in with a friend's band that uses an electronic keyboard. The
players are Russian, conservatory trained, and excellent musicians. My
problem is, and maybe it's the onset of old age or maybe it's raw prejudice,
I have trouble hearing accurately what the keyboard player is doing. In an
acoustic band, I can usually hear chords and bass with no problem, and fit
myself into the mix. But with the synthesized sound, I find it much more
difficult to discern chords and bass. Unless I am well familiar with the
song(s) being played, I often cannot find my place in the mix, and so I play
much less accompaniment than I normally would, and stick with melody when
it's my turn. Or one of them will complain that I am playing different
chords from the keyboard. (It certainly is possible that I would use
different chords, but I can usually hear it and either make the correction
or lay out.) What bothers me is that I feel less able to hear accurately
when playing in the electrified audio soup.
About sound men who turn microphones off and don't pay attention to when
they need to be on, you don't want to get me started. The day this ever
happens to me during a show when I am leading the band, I will personally
unplug every @#&#@ mic on the stage and do the rest of the show unplugged.
And if I have any say in the matter, that sound person will be saying "Would
you like fries with that?" in his next job.
Elazar "call me a fanatic" Brandt
Doctor Jazz Dixieland Band
Tekiya Brass Ensemble
Jerusalem, Israel
www.israel.net/ministry-of-jazz
+972-2-679-2537
------------------------------
Message: 6
Date: Sun, 9 Sep 2007 15:57:34 +1000
From: Bill Haesler <bhaesler at bigpond.net.au>
Subject: Re: [Dixielandjazz] More from the Alternate Lyrics dept
To: David Richoux <tubaman at tubatoast.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Message-ID: <8F4C0C60-5E99-11DC-8752-000A958B1370 at bigpond.net.au>
Content-Type: text/plain; charset=US-ASCII; format=flowed
David Richoux wrote:
> maybe this one? does not quite scan to "Grey Bonnet" but is very close.
> THE CONFEDERATE VICTORY SONG
> Cindy Lee don't bring your hanky
> I just shot me a Yankee
> Tell the slaves to keep a-working in the fields
> Soon Abe Lincoln will surrender.......etc...........
No good enough David.
I've lost my money - again!
Besides, "Put On Your Old Grey Bonnet" was not written until in 1909
(Percy Wenrich, music - Stanley Murphy, lyrics)
Your uncivil war was being fought in 1861-1965, while our house was
being built here in Sydney, Australia.
8>)
Kind regards,
Bill.
------------------------------
Message: 7
Date: Sun, 9 Sep 2007 08:58:56 +0200
From: "Ministry of Jazz" <jazzmin at actcom.net.il>
Subject: [Dixielandjazz] Sound gripes
To: "DJML" <Dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Message-ID: <GCEMKDJIDPOOIABFPAMCOEJKPKAA.jazzmin at actcom.net.il>
Content-Type: text/plain; charset="iso-8859-1"
Hello again,
I just opened the morning paper and found this headline:
"Arab Israeli shot during scuffle over music's volume in Lod"
I suppose that's one solution to our amplification problem? (By the way, he
was injured, but not killed.)
Elazar
Doctor Jazz Dixieland Band
Tekiya Brass Ensemble
Jerusalem, Israel
www.israel.net/ministry-of-jazz
+972-2-679-2537
------------------------------
Message: 8
Date: Sun, 9 Sep 2007 17:05:19 +1000
From: Bill Haesler <bhaesler at bigpond.net.au>
Subject: Re: [Dixielandjazz] How did key tunes get into the standard
dixieland repertoire? (Marty Nichols)
To: dwlit at cpcug.org
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Message-ID: <064CFFEB-5EA3-11DC-8752-000A958B1370 at bigpond.net.au>
Content-Type: text/plain; charset=US-ASCII; format=flowed
On Sunday, September 9, 2007, at 03:52 AM, dwlit at cpcug.org wrote [in
part]:
> By "standard Dixieland repertoire" I mean today's most commonly played
> tunes.
> Actually, my initial concern was tunes such as "When you're smiling",
> which dates from 1928. Perhaps Armstrong's record was the jazz spark,
> perhaps Noone's. How widely was Coon Sanders Orch. listened to by
> jazzers?
> If the tune was popular, why don't we have more records of it?
Dear Sheik,
How many more do you want? 8>)
Louisiana Rhythm Kings (I assume that this is the Coon-Sanders' version
you are referring to), Zach Whyte, King Oliver, Duke Ellington, Mills
Merry Makers, Nat Gonella, Cab Calloway, Sharky Bonano, Teddy Wilson
(with and without Billie Holiday), Julia Lee, Eddie Condon, Benny
Goodman, Woody Herman, Jimmy Dorsey, Ralph Sutton.
Australian jazz bands were playing and recording the song in the
40-50s, including the Port Jackson Jazz band, Graeme Bell, Roger Bell,
and Frank Coughlan.
> It's not enough to identify the tunes as pop tunes. "I'm looking over a
> 4-leaf clover" was recorded by Goldkette and Al Jolson, but not picked
> up
> by jazzers, yet it was a well-known "sing-along" tune even in the 50s.
Don't overlook the wonderful Gowans Rhapsody Makers rendition (20 Jan
1927) with great clarinet playing throughout by Brad Gowans. Check it
out on <redhotjazz.com>
[While there listen to "I'll to Hawaii" with a hot Gowans' cornet solo.]
It just predates the Goldkette (with Bix) version too.
Once again Oz bands played and recorded "Four Leaf Clover" in the 40s
There is a roaring Frank Johnson's Fabulous Dixielanders version and
one by the Graeme Bell band).
Kind regards,
Bill.
------------------------------
Message: 9
Date: Sun, 9 Sep 2007 17:19:38 +1000
From: Bill Haesler <bhaesler at bigpond.net.au>
Subject: Re: [Dixielandjazz] How did key tunes get into the standard
dixieland repertoire
To: dwlit at cpcug.org
Cc: dwlit at patriot.net, Dixieland Jazz Mailing List
<dixielandjazz at ml.islandnet.com>
Message-ID: <067C6178-5EA5-11DC-8752-000A958B1370 at bigpond.net.au>
Content-Type: text/plain; charset=US-ASCII; format=flowed
Apologies,
I wrote this a few days ago in response to the above thread, parked it
in my 'drafts' folder and forgot it.
Dear Sheek,
So far as your comment regarding Jimmie Noone is concerned where you
said:
> Speaking of Noone, I keep forgetting just how wonderful many of his
> records were. I looked in Worlds Records yesterday and found two 4-CD
> sets
> l. JSP (selected works incl. Noone as side person)
> 2. Definitive (complete works, ie records under his name)
I certainly agree.
However, it needs to be pointed out that neither of these 4-CD sets is
'complete' so far as diehard collectors are concerned, because
alternate masters of some tunes have been left out.
A small point, but important to some of us.
Even for the general collector, who only needs a 'best of' CD, the
above sets may be an overload.
Fortunately, the cost of these sets is quite modest.
And both are very well remastered.
Kind regards,
Bill.
------------------------------
Message: 10
Date: Sun, 9 Sep 2007 17:23:42 +1000
From: Bill Haesler <bhaesler at bigpond.net.au>
Subject: [Dixielandjazz] Empire City Six
To: Dixielandjazz at ml.islandnet.com
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Message-ID: <97DAF454-5EA5-11DC-8752-000A958B1370 at bigpond.net.au>
Content-Type: text/plain; charset=WINDOWS-1252; format=flowed
Dear friends,
Further to an earlier thread regarding the personnel for the Empire
City Six, I came across the following, which may be of interest.:
'Allegro'. Volume CVI? No. 2?
February,? 2006
HARRY DiVITO
"Harry DiVito, 81, a trombonist and an 802 member since 1940, died on
Feb. 12.
Mr. DiVito began his professional career at 16 when he joined the Tommy
Reynolds orchestra. After his stint with Reynolds he played with the
big bands of Isham Jones, Les Brown, Harry James, Benny Goodman,
Charlie Spivak, Stan Kenton, Sam Donahue, and Gene Krupa. From 1950 to
1956 he was a member of Phil Napoleon?s Memphis Five.
A lifelong lover of big band and Dixieland music, Mr. DiVito became a
successful and respected bandleader of the Empire City Six and the 7
Shades of Jazz.
From 1959 to 1988 he appeared with the orchestras of numerous shows on
Broadway including "On a Clear Day You Can See Forever," "Over Here,"
"Sugar Babies" and the original Broadway production of "Chicago." He
performed with various artists including Frank Sinatra, Bobby Darin,
Tony Bennett, Barbara Streisand, Peggy Lee and Paul Anka. Mr. DiVito
also lent his talents to the soundtrack recordings of hundreds of TV
and radio commercials and numerous record albums.
During his military service in World War II, Mr. DiVito was a member of
the Glenn Miller Army Air Force Band.
He is survived by his wife of 57 years, Virginia (Gini), his son Jeff,
his daughter Debra Senn and his granddaughter Bianca."
Kind regards,
Bill.
------------------------------
Message: 11
Date: Sun, 9 Sep 2007 09:31:02 +0200
From: "Hans en Corrie Koert" <koerthchkz at zeelandnet.nl>
Subject: [Dixielandjazz] Play your copy today
To: "Dixieland List" <dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Message-ID: <NGEHIDJHCNAFAENHKFEHMEMGFIAA.koerthchkz at zeelandnet.nl>
Content-Type: text/plain; charset="iso-8859-1"
In A Mist: 80 years young !!
<http://keepswinging.blogspot.com/2007/09/in-mist-bixology.html>
Keep swinging
Hans Koert
------------------------------
Message: 12
Date: Sun, 9 Sep 2007 10:47:00 +0200
From: "Jim Kashishian" <jim at kashprod.com>
Subject: [Dixielandjazz] SM58's
To: <dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Message-ID: <000001c7f2bd$fcc2bcf0$2301a8c0 at JIM>
Content-Type: text/plain; charset="us-ascii"
Bill wrote:
Dear Steve (Hoog), And thanks for the information contained in the last part
of the paragraph "DO NOT use SM-58s for horns -- they are VOCAL mics, with
an intentional "proximity effect", which increases bass response as the mic
is closer to the source. Thus, pop singers eating the mic."
Goes to show you, Steve & Bill....there's options for everyone! I
personally like to use the SM58 particularly because of that attribute. You
can get real up close with a trombone bell & play really, really quiet, and
get this sorta "whispering in your ear" sound, or you can pull back and the
mic will nicely pick up at least two horns coming in at angles. It's all in
knowing how to use the mic.
I set the mic up for eq & level for my voice, and then if the trumpet &
trombone stand back away from the mic it is a perfect level (& eq!) to pick
both of us up. For vocals, I grab the mic off the stand. This is normally
for club use, or even for big concerts when I'm not happy with the mixer
having his hand into our balance by giving us separate mics. We move around
the mic to get the balance we want for what is being played at the moment.
Jim
------------------------------
Message: 13
Date: Sun, 9 Sep 2007 10:23:27 +0100
From: "Bill Salmond" <williamsalmond at btinternet.com>
Subject: [Dixielandjazz] Chords
To: <Dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Message-ID: <000c01c7f2c3$148762f0$0201a8c0 at nonedf4cd09969>
Content-Type: text/plain; charset="iso-8859-1"
Just heard a nice recording by the Crawford-Ferguson Night Owls of 'Bedelia'
anyone help with chords for this tune.
Thanks,
Bill Salmond.
------------------------------
Message: 14
Date: Sun, 9 Sep 2007 10:54:18 +0100
From: "Brian Harvey" <brer.rabbit at tiscali.co.uk>
Subject: [Dixielandjazz] What is jazz?
To: "DJML" <dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Message-ID: <MCBBLAFDKBIBDHLDLGALGEIOFCAA.brer.rabbit at tiscali.co.uk>
Content-Type: text/plain; charset="iso-8859-1"
Phil Wilking wrote......
May I suggest that at least part of the definition refers to what it is NOT.
If the number does not a melody which can be whistled or hummed, it is not
jazz.
Wrong. Jazz is a language.
Any tune can be played in that language.
Understanding the language is the hard part.
Brian Harvey
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Message: 15
Date: Sun, 9 Sep 2007 12:50:37 +0200
From: "Gerard Bielderman" <gerard.bielderman at tiscali.nl>
Subject: [Dixielandjazz] Public Domain
To: "DJM List" <dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Message-ID: <009301c7f2cf$41da0df0$03eda852 at bielderman>
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There is a website with lots of information:
http://www.pdinfo.com/list.htm
Gerard Bielderman
Leie 18
8032 ZG ZWOLLE
Netherlands
Publisher of jazz discographies
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Message: 16
Date: Sun, 09 Sep 2007 10:36:07 -0400
From: Steve Barbone <barbonestreet at earthlink.net>
Subject: [Dixielandjazz] Thoughts about Sound and Standard Dixieland
Tunes
To: DJML <dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Message-ID: <C3097D17.A19A%barbonestreet at earthlink.net>
Content-Type: text/plain; charset="US-ASCII"
Simply my opinion.
SOUND: Sound depends upon the individual. Everyone is an "expert" regarding
what he/she thinks the correct sound is. And there will be various opinions
that range all over the lot. So, what to do?
The band leader is responsible for the sound being corrected to his/her
preferences. It is a given that not everyone in the band or audience will
agree. Too bad, but that's the way it is. And so band leaders like me will
smile, but politely ignore individuals who tell us we are too loud, too soft
etc., at the same performance. My view is that the sound has to carry to the
last row in the venue. That will make it too loud for the folks up front in
a large venue. So if one has sensitive ears, don't sit up front. <grin>
I'll never forget sitting in the 6th row, right side near a speaker bank at
a Harry Connick Jr. Big Band Concert in a 5000 seat open air venue. Couldn't
hear properly for 2 days afterwards.
It is also a given that not all sound crews will understand you and/or be
the professionals that you hope for. In that case, do the best you can. It
is my experience that sound crews want to do right by the band leader.
Sometimes they lack the expertise to do so. Hopefully that's rare.
Basically, Barbone Street has worked with experienced and helpful crews. My
post earlier this year about an inexperienced crew was the exception. And
when we get an inexperienced amateur, we find they want to help but
sometimes cannot. One solution for us is to mic the bass and guitar amps,
and if using monitors, only put the front line into the mix so the rhythm
section can hear us in large venues.
Foreign sound crews? Well in Eilat, Israel, Tom Wiggin's Ambassadors of New
Orleans did one sound check on a large stage, 3400 seat outdoor venue. That
crew did a fantastic job for the band if the audience reaction was any
measure. Tom and I both went out to the last row to hear both the individual
mics and overall mix during the check. The crew did exactly what we asked
for and couldn't have been more helpful.
Plus, each stage manager was fluent in the band language and Hebrew and made
sure we were satisfied. And since there were 6 acts on that stage, the his
band played Mon and Wed nights there, they were amazing because the crew had
everything written down and changed both mic placement, sound levels and
monitor mix to suit each band over the 3 day period.
STANDARD DIXIELAND TUNES: Again, from my opinion. Goes back to what the
individual band likes to play. What tunes swing and what tunes do not. For
example, others have said "Four Leaf Clover" works well for them. OK, but it
does not work for us and so we do not play it.
But we do play "I Got Rhythm" because it swings from the first 4 bars.
Played it yesterday with Jonathan Russell at our High Profile Equestrian
Event. Will play it again today there in a few hours. Why? Because we can
trade unrehearsed 8s, 4s, and 2s with Jonathan while he swings his little
butt off. Those who have played with him know exactly what I mean.
I think bands just found the popular tunes that they like to play. They may
have heard Louis do them, they may have heard Bix do them, they may have
heard Assunto do them, etc. But where they heard them is less important than
how they play them. E.G. I heard "If I were a Bell" at the original B'Way
show. Added it to our song list 15 or so years later when I resumed playing
because I liked the tune and it swings right out of the box. I choose our
band tune selection based upon what I think the audience will react
favorably too, what swings, and what we can have fun with. I don't think
Bunk, or A.J. Piron, or Buddy Bolden did it any differently.
By the same token, many current band leaders have told me that they don't
play "Hello Dolly" or "Indiana" because they are "boring". Disregarding the
fact that Louis Armstrong played them at virtually every program since he
made Dolly famous in 1963. And that current audiences love them. Go figure!
We play them often, but we never play them the same way twice. <grin>
Cheers,
Steve Barbone (going now to challenge Jonathan with bebop 8s, 4s, and 2s, as
well as High Society quotes)
------------------------------
Message: 17
Date: Sat, 8 Sep 2007 13:33:54 EDT
From: Cebuisle2 at aol.com
Subject: [Dixielandjazz] hello
To: dixielandjazz at ml.islandnet.com
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Message-ID: <bbf.161fb6ef.34143702 at aol.com>
Content-Type: text/plain; charset="US-ASCII"
Hey Hot Jazz lovers-
I'll be in the Castroville-Prunedale - Monterey area visiting daughter and
her family for six days from Sept 12 to 18. Any jazz within driving distance
of
those towns???? Would like to bring the daughter and family along. Please
e-mail me off line, I am not presently a member-having left a few months
ago
due to clogged mailbox
Tradjazz Ted (
the man with the plunger---------mute., that is---)
_cebuisle2 at aol.com_ (mailto:cebuisle2 at aol.com) or---------
_ted_blackington at yahoo.com_ (mailto:ted_blackington at yahoo.com)
************************************** See what's new at http://www.aol.com
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