[Dixielandjazz] The Chant is not dixieland, etc. etc.

[Marvin Ipswich]

I have found this little discussion very enlightening, for a number of
reasons.

First, in my original post, my comment was, basically, that it's not the
tune itself that makes it dixieland, it's the performance. What fascinates
me is how the original subject was steered into a description of the word
dixieland. Perhaps some felt that relevant, but I consider it very secondary
to the original subject. So let me rephrase:

A song/tune/piece cannot be jazz, but the performance can.

In the musical examples I cited, I mostly picked versions that I felt were
not dixieland nor could even be considered such, to illustrate my original
comment.

Just for the record, I find the word "dixieland" ambiguous. Ditto "early New
Orleans jazz." I recall one time a bandleader describing the band's music
that way, and an audience member quipping "it sounds like dixieland to me."

I was a little surprised at Mr. Barbone's comment - "Oh, here we go again."
I suppose it implies that the subject "dixieland" has been discussed at
length here. The attitude seems a little strange to me since, I believe,
this is the "Dixieland Jazz Mailing LIst." You'll excuse me for bringing the
subject up, but, by way of explanation, I am not a long time subscriber, and
have not been privy to previous discussions. Perhaps some courtesy to other
members might be prudent. I can see now why out of the close to 600 members
here there are just a handful that contribute.

I also had a nice chuckle when Steve Barbone lumped me into an certain ago
bracket - especially since he doesn't know me, and has only assumed,
erroneously I might add, that by suggesting I enjoy a little more about the
song than the title and composer, it somehow puts me into a certain age
bracket. Naughty, naughty, age stereotyping. But, I suppose, forgivable
since that his belief.

Just as a follow up to the last, I attended a performance last week by a
band of performers very much under 40, who gave some nice, concise history
when announcing tunes, to a mixed age audience. And no one seemed put out by
it.

I like to mention  I have several acquaintances who are among the "younger"
swing dance group. Every one I've met has indicated a great interest in the
history of jazz, especially swing and before, and several have spoken to me
about ways of preserving the heritage of the music. So the position that
young people are not interested in the history of the music is yet another
sad stereotype.

Respectfully,
Marvin