[Dixielandjazz] Dixielandjazz Digest, Vol 85, Issue 27

[mike olson]

Too Funny!!
 
> From: dixielandjazz-request at ml.islandnet.com
> Subject: Dixielandjazz Digest, Vol 85, Issue 27
> Date: Fri, 15 Jan 2010 12:00:00 -0800
> To: clarinetjassman at hotmail.com
> 
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> Today's Topics:
> 
> 1. Re: Pre-rock popular music in England (Judy Eames)
> 2. Hanging out with the big timers (Stephen G Barbone)
> 3. Birthday dates (billsharp)
> 4. Nat Gonella (Ivor Jones)
> 
> 
> ----------------------------------------------------------------------
> 
> Message: 1
> Date: Fri, 15 Jan 2010 16:28:15 +0000
> From: Judy Eames <jude at judyeames.co.uk>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: Re: [Dixielandjazz] Pre-rock popular music in England
> Message-ID: <4B50979F.2050708 at judyeames.co.uk>
> Content-Type: text/plain; charset=windows-1252; format=flowed
> 
> Marek Boym wrote:
> > .
> > There are early (mid- and late twenties) recordings of British bands
> > that compare quite favourably to their American counterparts. Fred
> > Elizalde, Ambrose, and others turned out numerous hot "swingers," in
> > addition to the lachrymose ballads. A good part of Harry Roy's output
> > swings, and the band led by Nat Gonel
> For some reason I'd assumed that the Elizalde brothers were 
> Italian/Americans... not so according to this biography I just 
> found....not British either
> 
> Jude
> 
> 
> 
> Biography
> 
> 
> Connections between the Philippines and the jazz scene are
> slight ? but here is one for sure, half of a pair of brothers
> born into one of that island nation's wealthiest families. Both
> Fred Elizalde and Manuel Elizalde led dance bands in London,
> England, beginning in the second half of the '20s; they were
> sent there to attend posh Cambridge, naturally. The Elizalde
> brothers eventually dipped into the pool of brilliant New York
> City recording session players to bolster the staff of their
> band, certainly one reason that an ensuing Savoy Hotel stint was
> such a smash.
> 
> *Both brothers were shipped around to only the best schools ? besides 
> the aforementioned Cambridge there was Stanford University in California 
> where, at only 16, Elizalde assumed leadership of the Stanford 
> University Band for a Biltmore Hotel gig in Los Angeles. Moving from 
> there to England only furthered his career as a bandleader and arranger: 
> but his parents had meant otherwise, apparently horrified at their sons' 
> interest in performing popular music. *
> 
> *An ensemble bravely called the Quinquaginta Ramblers was the first 
> group Fred Elizalde took over upon arrival in England. The noted 
> bandleader Bert Ambrose, often credited under just his surname, took a 
> liking to the Filipino lad's piano playing as well as his ideas for 
> compositions, and was an early employer. Near the end of the '20s, 
> Elizalde disbanded his British-American ensemble and moved elsewhere in 
> Europe, studying classical music in Spain and working privately with 
> Ravel in France. In the early '30s there were some further Elizalde 
> recordings done in England, but in later years he would return there 
> only for classical concerts, basically settling back in the Philippines 
> where he ran his own radio stati*on.
> 
> 
> 
> 
> ------------------------------
> 
> Message: 2
> Date: Fri, 15 Jan 2010 11:58:51 -0500
> From: Stephen G Barbone <barbonestreet at earthlink.net>
> To: dixielandjazz at ml.islandnet.com
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Hanging out with the big timers
> Message-ID: <DBFD6606-2D70-4FC7-A4F4-1305EA620F61 at earthlink.net>
> Content-Type: text/plain; charset=US-ASCII; format=flowed; delsp=yes
> 
> > "Phil Wilking" <philwilking at bellsouth.net> wrote
> >
> > As for what he sees that others don't, could it be that Mr. Marsalis
> > remembers that many of the legendary giants of jazz actually started 
> > out by
> > hanging around adult musicians - carrying instrument cases and running
> > errands, in exchange for lessons - and he wants to continue the 
> > tradition?
> >
> > As for why more youngsters don't grab that opportunity with both 
> > hands AND
> > feet, there are so many more mindless distractions (video games, 
> > etc.) now
> > than 100 years ago that most of them probably are unwilling to make 
> > the
> > effort. Learning music is real work, some physical but more mental. 
> > On a
> > percentage of total population basis, how many adults in this 
> > country, much
> > less children, are willing to make an effort now for future benefit?
> 
> I think you nailed it with your first paragraph above. It reminded me 
> of a story Billy Taylor likes to tell about when he was a teen 
> wannabe. He stopped by a little jazz club in NYC owned by a friend of 
> his dad's. After introducing himself to the owner, he was invited to 
> play something and so he played "Lullaby in Rhythm", with the rhythm 
> section of the house trio.
> 
> He notices that the piano player sitting out, is looking at him a 
> little funny. (Unbeknownst to Taylor It was Clarence Profit composer 
> of the tune he just played). Not bad says Profit, lets go over to my 
> friends pad, some guys over there would like to hear you. Oh wow, 
> thinks Taylor, I'm a hit.
> 
> They go into the apartment and Profit says I've go a piano player here 
> guys, give him a listen.(Taylor still did not know his escort was 
> Profit, didn't know this was James P Johnson's apartment and didn't 
> know that the 6 or so guys there were all piano players)
> 
> So Taylor starts to play a Teddy Wilson like China Boy. About 16 bars 
> into the tune, a guy gets up (Willie the Lion Smith) and says let me 
> have some of that. Taylor is astonished at what the Lion does with the 
> tune. Then another guy gets up to relieve Lion and proceeds to amaze 
> Taylor with unbelievable left hand energy. (James P Johnson).
> 
> By that time, Taylor is beginning to realize that these piano players 
> are the big timers and he has a lot to learn.
> 
> Finally, Willie The Lion Smith asks a guy Taylor's age (Thelonious 
> Monk) to play. Monk starts playing Tea For Two sounding very much like 
> Art Tatum (Yeah, he could do that according to Taylor and later Monk's 
> band mate Johnny Griffin) James P Johnson yells out, Come on Monk play 
> yourself and so he does.
> 
> Then Taylor was introduced to all these legends. He went back often 
> with Monk to sit at the feet of JPJ, WTLS, Profit and others and like 
> Monk he never forgot the first lesson he (and Monk earlier) had 
> learned from these legends . . . Play Yourself.
> 
> Monk, of course, went on to become a legend and make his apartment 
> available to all those who seriously wished to learn about jazz. As 
> did Billy Taylor.
> 
> As to why that doesn't happen today. Perhaps regarding OKOM, it is 
> because there are few, if any, OKOM legends left? (How many there were 
> when I was a kid) Perhaps it happens more often than we know in more 
> modern genres of jazz where the current jazz legends are?
> 
> Cheers,
> Steve Barbone
> www.myspace.com/barbonestreetjazzband
> 
> 
> 
> 
> 
> 
> 
> ------------------------------
> 
> Message: 3
> Date: Fri, 15 Jan 2010 08:50:37 -0800
> From: billsharp <sharp-b at clearwire.net>
> To: dixielandjazz-request DJML <dixielandjazz at ml.islandnet.com>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Birthday dates
> Message-ID: <f648c228f113d27f32abf70a95876c71 at clearwire.net>
> Content-Type: text/plain; charset=US-ASCII; format=flowed
> 
> I think you post those dates to show that there actually are musicians 
> in this genre, though dead, who are older than you!!!! ha ha
> 
> B.Sharp
> Email tag:
> Boycott shampoo! Demand the REAL poo!
> 
> 
> ------------------------------
> 
> Message: 4
> Date: Fri, 15 Jan 2010 18:10:38 -0000
> From: "Ivor Jones" <banjones at sapo.pt>
> To: "DJML" <dixielandjazz at ml.islandnet.com>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Nat Gonella
> Message-ID: <1DAF42C907D544629207178C4822E715 at ivor3055a4b7c1>
> Content-Type: text/plain; charset="Windows-1252"
> 
> Nat Gonella was one of the first British musicians to establish a major reputation as a jazz soloist.
> He became a household name in the decades between his emergence as a star in the 1930s and the 
> end of the Trad Boom in the early 1960s, and remained active in music until the end of his life
> becoming a hugely popular draw as well as occupying a pioneering role in the development of jazz in the UK.
> I don't think that he played a lot of 'swing' Marek
> He was a Londoner and my father used to employ him for charity events he used to run for a London Busmens
> Health Fund. This was in the '30s. My first introduction to jazz. The terms of contract with my Dad included 
> two bottles of good whisky. Later dad employed Harry Gold and his Pieces of Eight, with Ivor Mairants, he knew both men.
> These I met again later at some airmans camp celebration when I was conscripted into the Royal Air Force.
> .
> 
> Regards from 
> 
> Ivor Jones in Portugal
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> ------------------------------
> 
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> End of Dixielandjazz Digest, Vol 85, Issue 27
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