[Dixielandjazz] Sigurd Rasher - was Nazi Band Rules

[Stephen G Barbone]

Bert Brandsma wrote:

> As a saxophonist who studied both classical music and jazz, I'm in a  
> strange situation of having saxophone "idols" from totally different  
> fields.
>
> It is my feeling that (besides Adolphe Sax himself!) that the really  
> important early (alto) sax players are :
>
> Classical :
> Sigurd Rasher (I had so much profit from his book about toptones. I  
> studied it after finishing conservatory and it made me so much a  
> better musician)
> Marcel Mule (important teacher in Paris, wrote numerous books to  
> improve your technique)
>
> Jazz
> Johnny Hodges (Most beautifull sound of them all. When a man can say  
> important things with just a few words, why need too much talking?)
> Charlie Parker (the most influential sax player ever, creative  
> genius influencing not only saxists.)
>
> There is a truth in what you say about jazz players that could learn  
> from Rasher.
> However, I certainly want to put it the other way around as well. I  
> met so many classical players that are totally unflexible. Just one  
> embouchure, just one vibrato, only able to play from notation.
> If you listen to Hodges at the 1938 Carnegy Hall concert on soprano.  
> How many sax players are able to tell such a story??? And that  
> rhythm he plays there sure is free art.
>
> Kind regards,
>
> Bert Brandsma
> www.dixielandcrackerjacks.com

I agree completely Bert. I was fortunate enough to have trombonist  
Glenn Dodson in my jazz band for several years before he passed. He  
was a world renowned classical player, 28 years principal trombone  
with the Philadelphia Orchestra, teacher at Curtis Institute of Music  
and mentor to at least 8 principal TBs in US Classical Orchestras  
today etc., etc. He loved to play jazz and urged his students to play  
jazz. One student at least, loves to play jazz. Joe Alessi, principal  
at the NY Philharmonic. They were great friends and Glenn passed away  
in Joe's arms while showing him his new Porsche.

When Eugene Ormandy conducted the Philadelphia, he forbade Glenn and  
other orchestra members from recording jazz on pain of dismissal. He  
actually had a record label cease production of a jazz record with  
Glenn on it. After Ormandy died, he was buried in the  graveyard at  
the Old Pine Street Church in Philadelphia.  A short time later, my  
band played a jazz vesper service there. Afterwards, we stood by  
Ormandy's grave and played one chorus of "When The Saints Go Marchin  
In".

Hodges could weave magic. I saw him frequently with Ellington's Band  
at Birdland and other NYC clubs. Such self assurance, and how he  
charmed the women in the audience. There was a story about him, eyes  
closed, relaxing on the band bus  in transit to a gig, where a young  
sax man got his horn out and blew every Charlie Parker riff known to  
man at Hodges. Whereupon slowly opened one eye and said softly, "Yeah,  
young man, but can you sing me a song."

Hear Joe Alessi and Wycliffe Gordon learn from each other and jazz up  
Mozart's Requiem with the Juilliard trombone choir at;

http://www.youtube.com/watch?v=Aqpjf65FpV0   (part 1) and

http://www.youtube.com/watch?v=8TafjhFlg4M&feature=related   (part 2)

Cheers,
Steve Barbone
www.myspace.com/barbonestreetjazzband