[Dixielandjazz] Miff Mole

[Don Ingle]

On 12/2/2010 10:16 PM, Stephen G Barbone wrote:
> I love the way Miff Mole played those staccato 8th notes early in his 
> career. But later on, after Teagarden came on the scene, Mole modified 
> his style and played much more legato.
>
> I can't point to any recorded evidence of this, but do remember, 
> seeing/hearing/talking to him, numerous times at various joints in NYC 
> and at the Mandalay on Long Island in the 1950s. He was playing a much 
> more relaxed swinging trombone style having been influenced by T jazz 
> wise, and by the NBC studio orchestra he had joined in the 1930s, 
> music wise.
>
> Cheers,
> Steve Barbone
> www.myspace.com/barbonestreetjazzband
>
>
>
>
>
>
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I was playing in the house band at Jazz Ltd. in Chicago (1963-68) and 
was an honorary pallbearer at George Wettling's Funeral. My dad and 
Wettling had worked together as teens in a summer gig in Michigan at 
Clark's Lake, 1925, (Joe Sullivan was on the band as well). Miff Mole 
was there for George's funeral. He looked quite old and frail but he was 
quite kind in taking time to talk to me about my mentor and first 
teacher Red Nichols and their time in NY in the 20's to early 30's. He 
and Red made about four or more recording sessions weekly under many 
names, and also for some for the Lannins, Richmond, and several other 
"society" bands of that time. Miff said George had sets of drums in four 
or five studios all ready to use when a call came in, and other guys did 
much the same. Recordings were not supposed to last more than a few 
weeks after release in popular demand and they just cranked new ones out 
one after another, often sold in 5&Dime stores on labels owned by  the 
publishers of the songs they did _ some songs just awful crap, but made 
listenable because of the players, not the material.
Miff played at Jazz Ltd in the early 1950's as did Muggsy and Bechet 
until Bill Rhinehardt, the club owner and clarinetist, went to a regular 
house band. They made a few recordings while he was there - mostly singles.
I heard him on a college break on 1951 when he came in for a short stay, 
and he was still a fine player, but indeed he had modified his style 
from the Little Molers and Charleston Chasers/Five Pennies days. I was 
one lucky newbie to hear so many of the great "teachers" of the style I 
loved.
Thanks to having a dad who was knee deep in the early jazz scene, I had 
opportunities most never got at an early age. When I was still active, I 
always took a few young  guys under my wing to try to pass on a bit of 
what I had been taught, and I think many others do the same. Certainly 
Steve has done his part in that way. We that got the knowledge have an 
obligation to pass it on.
Don Ingle -  (still in the forests of North Michigan and what do you 
know, the snow has finally arrived and all the car doors froze tight. 
Had to get a pry bar to get them open to drive to  the package store as 
my Aberlour  jug seemed to have evaporated. Happy Hanukkah to our Jewish 
listees and a most happy holiday season ahead as we near Christmas.) 
Slainte!