[Dixielandjazz] DeParis Dickenson et al was Buck Clayton & Terrassi's
rwade1947 at comcast.net
Sat Oct 10 18:37:24 PDT 2009
Steve and Marek,
According to Tom Lord's Jazz Discography there was this date:
Sidney DeParis (tp) Wilbur DeParis (tb) Edmond Hall (cl) Clyde Hart
(p) Billy Taylor, Sr. (b) Specs Powell (d)
New York, February 5, 1944
from which came Commodore 552 - I've found a new baby / Black and blue,
and Commodore 567 - Change o' key boogie / The Sheik of Araby.
I'm looking at my copy of Commodore 567 right now. Great record.
Really Old Records
On Oct 10, 2009, at 8:10 PM, Stephen G Barbone wrote:
> On Oct 10, 2009, at 6:46 PM, Marek Boym wrote:
>>> Clayton's experiences were similar to those of a lot of black,
>>> big band
>>> "swing" musicians around that time
>>> in New York City. Big band swing gigs virtually disappeared and
>>> so guys like
>>> Clayton, Vic Dickenson, Jonah Jones, Wilbur DeParis, Sidney DeParis,
>> I though so, too, until I heard the DeParis Brothers' Commodores, and
>> later - Sidney de Pris' Blue Notes. Other swing musicians (Webster,
>> Eldridge) recorded swing for Commodore. Not so the de Paris Brothers
>> - they recorded Dixieland. The de Paris band on Blue Note also
>> played dixieland. So it seems that, for them, it was a matter of
>> choice, not lack thereof.
>> As to Dickenson and Sandy Williams - I don't know. I first
>> both as Dixieland players (although, on some records, the numbers are
>> Dixieland warhorses, but the playing is hardly Dixieland; for example
>> - listen to The Golden Era of Dixieland Jazz on Design).
> Dear Marek:
> To what Commodore records do you refer? Here is Yanow's bio of
> Wilbur DeParis:
> Begin quote: "Wilbur DeParis, an adequate soloist, was an excellent
> ensemble player and an important bandleader who helped keep New
> Orleans jazz alive in the 1950s. He started out on alto horn and in
> 1922 played C-melody sax while working with A.J. Piron before
> switching permanently to trombone. In 1925, DeParis led a band in
> Philadelphia and then had stints in the orchestras of Leroy Smith
> (1928), Dave Nelson, Noble Sissle, Edgar Hayes, Teddy Hill
> (1936-1937), the Mills Blue Rhythm Band, and Louis Armstrong
> (1937-1940). Not as well-known as his brother, the talented trumpet
> soloist Sidney DeParis, Wilbur was with Roy Eldridge's big band and
> Duke Ellington (1945-1947) and recorded with Sidney Bechet during
> 1949-1950. However, it was in 1951 when he put together a band to
> play at Ryan's that included his brother and clarinetist Omer
> Simeon that he found his niche. Wilbur DeParis' New New Orleans
> Jazz Band did not just play Dixieland standards but marches, pop
> tunes, and hymns, all turned into swinging and spirited jazz.
> Throughout the 1950s, the group recorded consistently exciting sets
> for Atlantic (all of which are unfortunately long out of print) and
> they were the resident band at Ryan's during 1951-1962, touring
> Africa in 1957. DeParis continued leading bands up until his death,
> but his last recordings were in 1961". ~ Scott Yanow, All Music
> Guide: End quote>
> DeParis, put his Dixieland Band together in 1951. He modeled it
> partly on what Conrad Janis was doing with New Orleans Revival
> music in NYC at Jimmy Ryans. The he cut the price and took the gig
> from Janis. Prior to 1948, he was clearly a big band trombonist.
> Then the big band business ceased to exist for most musicians. He
> sat in Ryan's for a while soaking up what Janis was doing, even to
> copying routines and then formed his own New Orleans/Dixieland Band
> using a real New Orleans clarinetist (Omer Simeon) to make it
> "authentic". List mates who know Conrad Janis can get his take on
> that situation.
> The reason DeParis formed a Dixieland Band is because that's where
> the jazz work was in NYC from 1947 or so on, not because after 25
> years of big band work, he suddenly decided he preferred to play
> Dixieland. He, like many others, had to play Dixieland in order to
> make a living. Ryan's was a long running steady gig when big band
> steady gigs had become virtually non-existent for him.
> You may disagree, however, the above is what really happened, not
> what you or others may infer from record collecting.
> Also for your edification, here is a short Vic Dickenson bio. He
> was also clearly a big band player who switched to Dixieland in NYC
> when the big band business died.
> "Like most working jazz musicians of the era, Dickenson played with
> many different bands in many different cities during his career. He
> worked with Speed Webb in 1927, Zack Whyte in 1932, Blanche
> Calloway (legendary band leader Cab Calloway's successful sister)
> from 1933 to 1936, Claude Hopkins from 1936 to 1939, and Benny
> Carter in 1939 and again in 1941. Count Basie hired Dickenson in
> 1940, when his band was at the height of its success. He then
> worked with Frankie Newton in 1941 and again from 1942 to 1943, and
> with Eddie Heywood from 1943 to 1946. He worked as a freelance
> trombonist on the West Coast in 1947 and 1948. In 1949 he relocated
> to Boston, leading his own band and working as "house trombonist"
> at the Savoy until the mid-1950s. He then settled in New York City,
> playing with Henry "Red" Allen, in 1958. He led, with Red Richards,
> the successful group the Saints and Sinners, toured with George
> Wein's All Stars, and worked regularly at Eddie Condon's club in
> the 1960s. He played with Wild Bill Davison from 1961 to 1962.
> Dickenson's tours abroad include Europe with George Wein several
> times in the 1960s, and again as a soloist. He also toured Europe
> with Bobby Hackett and the quintet they led together from 1968 to
> 1970. He toured Australia and Asia with Eddie Condon in 1964.
> During the 1970s he performed frequently with the World's Greatest
> Jazz Band, and mostly played freelance through the 1970s and 1980s".
> Steve Barbone
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