[Dixielandjazz] obscure

[Bert Brandsma]

This is not always neccesairely so. (Almost Gershwin)

 

Last week there was a discussion on this forum about Ellington.

When he originally wrote Diminuendo end Crescendo in blue it almost went unnoticed. 

I first heard the 1937 and found it interesting already.

 

Almost 20 years later, in a new version with the sax solo in between, (Something that would have been impossible to record in 1937 in the first place) it was a huge succes, giving Ellington back his rightfully deserved place in the spotligts.

 

So, music has to be played at the right time and the right place.

 

Ellington's piece was too avant-garde in 1937. The Jazz crowd was not yet ready for such a revolution then.

Happily Ellington was able to stay in business long enough to enjoy this succes.

 

A lot of artists had the big successes after their career was over or after they died. J.S. Bach, Vincent van Gogh, just to name two people.

 

Kind regards,

 

Bert
 
> From: jim at kashprod.com
> Date: Sat, 5 Dec 2009 13:10:08 +0100
> Subject: [Dixielandjazz] obscure
> CC: dixielandjazz at ml.islandnet.com
> To: dixieorkest at hotmail.com
> 
> Steve wrote:
> >OKOM is obscure enough vis a vis "music" and I have no desire to make it
> more obscure by searching out tunes which didn't make it the first time
> around.
> 
> 
> I've found myself in the same position many times. When I think an obscure
> song might work, I then remember all the well-known tunes we still don't do!
> "So many, so little time" sort of thing.
> 
> Depends, I suppose, in a band's audience, also. We play to the "unwashed
> masses", so obscure would really be obscure!
> 
> That doesn't mean we don't work out some pretty clever head arrangements to
> make the well-knowns more interesting. But, mostly...when we've tried an
> obscure tune, we've collectively decided to leave it in obscurity after one
> or two tries. Often seems that there is a reason it was there in the first
> place!
> 
> Jim 
> 
> 
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