[Dixielandjazz] Charlie Parker ~ Dixieland?

Tue Jul 20 20:33:50 PDT 2010

Dear Jazz Fans,

I don't chime in too often, but rather sit back and read with admittedly evil amusement at various opinions expressed on this site. Most of them have little to do with my own thoughts and opinions about the music I've loved since having discovered it in about eighth grade--and which I play for a livelihood. 

Many writers refer to how jazz "developed" over the years. I object to that term, and prefer the word "changed." "Development" implies improvement. The music didn't necessarily "improve," but it certainly changed since Buddy Bolden's cornet could be heard for..what was it? A gazillion miles across the delta.

To me, there are as many "styles" of jazz as there are (and were) men and women playing it. Remember, it's the critics, writers, and--yes--fans such as those who subscribe to the DJML who came up with the labels and "schools." Eddie Condon's comment on the subject was the title of his book, We Called It Music.

I learned a valuable lesson when I moved to New York City in 1983 (where I lived for almost fourteen years) and began hanging out--and playing at--at Eddie Condon's jazz club. The house band (led by cornetist Ed Polcer) played what is known as "Condon" style, or "Chicago" style jazz. However, the musicians who heartily supported the bar there alongside the fans came from a wide variety of jazz "styles." On any given evening, depending on who was in town that week, one could see: Woody Herman; Clark Terry; Roy Eldridge; Vic Dickenson (who played there regularly); Kenny Davern; Terry Waldo; Joe Muranyi; Jow Williams; Ruby Braff; and so many others, of seemingly disparate musical backgrounds.

They were all musicians, playing their own "style" of jazz, and they were all trying to make a living in a mercurial business. It's largely only the fans who disparage musicians who play in a style other than what they like. The musicians themselves get along with each other just fine, and (with a few exceptions) generally respect each other, and enjoy each other's company. (That last sentence reminds me that the arrangement of Mack the Knife, recorded by Louis Armstrong's All-Stars, was penned by Turk Murphy!)

In a famous mid-'50s Down Beat magazine "Blindfold Test," Leonard Feather played a recording of Louis's All-Stars for Miles Davis. Miles identified everyone in the band (which included Jack Teagarden and Big Sid Catlett). I reclal that either in that "Blindfold Test," or on another occasion, Davis had some nice things to say about Bobby Hackett's playing. Whether Miles knew that Wally Rose played piano with Lu Watters is a moot point; the real point is, Miles Davis--like many other pro players--knew about and tried to stay on top of what's happening outside his own circle.

I just saw clarinetist Mike Baird in a rare (for me) close-to-home gig. We reminisced about the month I subbed for Frank Demond at the Club New Orleans, in Fullerton, California. The band was co-led by Frank and the late Ron Going, for whom Mike Baird subbed occasionally. I was sixteen or seventeen, and had talked my parents into letting me play for a month at the club (five nights a week!) while Frank was himself subbing for an ailing Big Jim Robinson in New Orleans. (Bless Frank and Ron for giving me that chance at such an early age). The band was called the Salutation Tuxedo Band, and included: Andy Blakeney on trumpet; Alton Purnell, piano; Teddy Edwards, drums; Ed "Montudie" Garland, bass; Vince Saunders, banjo; and--that night--Mike and me.  Andy Blakeney had played trumpet with King Oliver in Chicago (replacing Bob Schoffner), and later played and recorded with Kid Ory's band. Alton Purnell is famous for his tenure with George Lewis's New Orleans Jazz Band. Ed Garland, the eldest of these men, had been in King Oliver's band when they traveled from New Orleans to California in 1922! He too had played with Ory, and many others. I was in the big leagues, man.

Someone requested Perdido, which I'd heard before, but at that time hadn't ever played. (I kind of wish I could say that now! But I digress). We launched into it, and I did the best I could. I was probably all right for the first chorus; the melody isn't exactly rocket science, you know. However, when we came to the last chorus, Andy looked over at Mike Baird, and they started in on a wild (to me) "be-bop" riff. I ducked for cover, and waited until the last eight bars, when they returned to the melody. That number closed the set.

I immediately ran over to Mike Baird, and probably shouted, "What WAS that? That was so NEAT!! Please, Mister Baird, would you write that out for me? I'll learn it for next time." Mike has been a big help over the years, and that night was no exception. He chuckled, and while he got a pencil and a sheet of manuscript paper out of his case, he told me that it was an "old bebop thing that kind of goes with the song." I was surprised. "But...if it's bebop, how did Andy and Alton know it? not to mention Tudie Garland..."

Mike smiled at me and my naive question, and said in his quiet voice, "Y'know Danny...they've been around a while." I nodded at that, and went off to have a chocolate milk, or something.  That was my first clue that many pro musicians bridge several styles, and often try to take and use the best of what they hear going on around them. 

I am blessed and cursed with appreciating a fairly wide variety of jazz. Blessed because I have so many sources for listening enjoyment; cursed because that appreciation has cost me a small fortune (maybe not so small) in 78s; Lps; CDs; and--more recently--"downloads."  If my tastes were limited to Wooden Joe Nicholas and Speckled Red, I'd have saved a whole lot of money on recordings over the years! Trouble is, I like: Wooden Joe, Speckled Red, Bix, Louis, Ellington, Turk, Lester Young, Basie, Gerry Mulligan, Billie Holiday, Ory, Teagarden, Dicky Wells, Pee Wee Russell, Lawrence Brown, Bechet, James P., Waller, Eddie Lang, Django, Teddy Wilson, Dave McKenna, Johnny Hodges, Ralph Sutton, Dick Wellstood, Bob Mielke, Bill Bardin, Leon Oakley, Burt Bales, Sidney De Paris, Jim Goodwin, Tommy Ladnier, King Oliver, Fletcher (and Horace) Henderson, Johnny Dodds, Baby Dodds, Jo Jones, Eddie Condon, Big Joe Turner, Lucky Thompson, Goodman, Frank Teschmaker, Jimmie Noone, Eddie Miller, Glenn Miller, Sonny Stitt, Billy Butterfield, Charlie Parker, Clifford Brown...well, you get the idea.

It's all out there to be enjoyed. Or disparaged, if that's how you have fun.

I hope to see you at a jazz event sometime soon. The wonderful thing is, though some of you out there might actually enjoy my playing, it will nonetheless be too "modern" for some of you, and hopelessly "old-fashioned" for the rest of you. Me, I can't wait!

--Dan Barrett, Itinerant Jazz Trombonist.

> Date: Tue, 20 Jul 2010 23:37:04 +0100
> From: richard.flecknell at ntlworld.com
> Subject: [Dixielandjazz] Charlie Parker ~ Dixieland?
> CC: dixielandjazz at ml.islandnet.com
> To: danpbarrett at hotmail.com
> 
> Charlie Parker is not a Dixieland/ Swing player so should we be debating him
> on this site?
> 
> That's that out of the way - Bill & Jack & Marek switch off or over now.
> 
> Right I'm a Bunk Johnson, Kid Howard, Bobby Hackett, Ben Webster fan too
> (and more)
> 
> Embraceable You ... A Beauty (first 30s - technical brilliance you're joking
> ... simple and to the point - elegant)
> 
> 73 years on and Bird still causes problems. My daughter, 19, had no problem
> with it. She also said it wasn't elegant but sophisticated.
> 
> Paul & Steve I'm in agreement with - but everyone is entitled to there
> opinion of course.
> 
> Look I don't rate Al Hirt as a jazz musician or the FH5 or Mickey Mouse.
> 
> I get to Cornet Oleman but not beyond him.
> 
> And finally an old thought,
> If Charlie Parker Was a Gunslinger, There'd Be a Whole Lot of Dead Copycats
> 
> Richard
> back to Punch Miller - try Cock Robin
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