[Dixielandjazz] trombone style change

[Don Ingle]

Paul Edgerton wrote:
> Part of the answer is Miff Mole. Even TD acknowledged his influence.
>
> -- Paul Edgerton
>
>
> On Sat, May 31, 2008 at 1:02 PM, eupher dude <eupher61 at hotmail.com> wrote:
>   
>> When did the trombone go from the raucaus "tailgate" style of Ory et al (and Murphy later) to the sweet, smooth style of Dorsey etc?  (et al, etc, I love 'em!)
>>
>> I've never seen a discussion of this.  It's such a huge difference that happened in a relatively short period of time I'd guess, no more than 5-6 years.
>>
>> steve "just one less thing for me to wonder about" hoog
>>
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To some extent,  would add a very young Spiegle Willcox. Example, 
Goldkette's MY PRETTY GIRL, with the straight, smooth sound of Spiegle's 
lead against the solo clarinet chorus. My dad (Red Ingle) always said 
that Spiegle, whom he worked with on several of the Goldkette Detroit 
units, had the best sound and smoothest style of anyone playing in that 
office 'stable.' Spiegle went to Whiteman with some of the Goldkette 
guys, but got homesick for the his hometown of Cincinnatus, NY and went 
back home to work in the family business. He still kept playing even 
into his 90's, often in late years with his buddy Joe Venuti, and became 
a dear friend of Jean's and mine as well in later years. (We actually 
drove to his home to spend some time with him a few years before his 
passing. The lawn was well covered with goose grease from all the Branta 
canadensis (Canada geese) that shared his pond with him.)
There were others: Jack Reid (Cecile Reid's brother), Walter Hunt (Pee 
Wee) who played it both smooth and sweet and hot and heavy with the 
Orange Blossoms (later Casa Loma) of the Goldkette staple. I would agree 
that Teagarden was a role model, but not the only one in that era.
This is an interesting thread - worth further exploration - and I will 
wait to see what is added on in freshly suggested names.
Don Ingle