[Dixielandjazz] Basin st six

[Mario Filippini]

Hello .

I was "googling"about GEORGE GIRARD and I found something interesting here:

https://jazzlives.wordpress.com/2011/07/23/looking-for-uncle-george/

The NEW ORLEANS MUSEUM files:

http://www.pontchartrain.net/495601

and ...a japanese blog:

http://www.sakura.cc.tsukuba.ac.jp/~jazzsp/menu/left2.htm

Last but not least:GIRARD also played and recorded with ARMAND HUG N.O.JAZZMEN .

Some of these were a the MOSAIC BOX:CAPITOL JAZZ CLASSICS .

Greetings
Mario


2011/9/14, dixielandjazz-request at ml.islandnet.com
<dixielandjazz-request at ml.islandnet.com>:
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> Today's Topics:
>
>    1. The City's Decision? (Stephen G Barbone)
>    2. Re: The City's Decision? (M J (Mike) Logsdon)
>    3. Re: Alan Barnes (Ken Mathieson)
>    4. James Lincoln Collier (Stephen G Barbone)
>    5. Monk Piano Competition-- NYTimes,	Ben Ratliff's piece
>       (Norman Vickers)
>    6. Basin Street Six (Jim Kashishian)
>    7. Monk Piano Competition-- Mike Vax compares two	articles
>       (Norman Vickers)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Wed, 14 Sep 2011 09:59:39 -0400
> From: Stephen G Barbone <barbonestreet at earthlink.net>
> To: DJML <dixielandjazz at ml.islandnet.com>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] The City's Decision?
> Message-ID: <97E5397A-49D8-427F-9763-385D5C2250DC at earthlink.net>
> Content-Type: text/plain;	charset=US-ASCII;	format=flowed;	delsp=yes
>
>  From The Capital Public Radio blog. (KXJZ 90.9 FM Sacramento)
>
> "Sacramento Music  Festival The Sacramento's bedrock Memorial Day
> festival, the Jazz Jubilee, is now the Sacramento Music Festival,
> although Dixieland will still have a strong presence.  We'll speak
> with Mike Testa of the Sacramento Conventions and Visitors Bureau
> about the city's decision to jettison the all-things-jazz approach to
> the festival in order to attract a younger, more diverse audience."
>
> Cheers,
> Steve Barbone
> www.myspace.com/barbonestreetjazzband
>
>
>
>
>
>
>
> ------------------------------
>
> Message: 2
> Date: Wed, 14 Sep 2011 07:16:25 -0700 (GMT-07:00)
> From: "M J (Mike) Logsdon" <mjl at ix.netcom.com>
> To: DJML <dixielandjazz at ml.islandnet.com>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: Re: [Dixielandjazz] The City's Decision?
> Message-ID:
> 	<21668163.1316009785839.JavaMail.root at elwamui-norfolk.atl.sa.earthlink.net>
> 	
> Content-Type: text/plain; charset=UTF-8
>
> I'm sure it was "the city's decision" to merely consult with the Fest to let
> it know what it, the city, wanted in order to draw more dollars, er, I mean
> people.  The Fest, I'm sure, was free to accept or reject accordingly.
>
>
>
> ------------------------------
>
> Message: 3
> Date: Wed, 14 Sep 2011 15:31:53 +0100
> From: "Ken Mathieson" <ken at kenmath.free-online.co.uk>
> To: "Dixieland Jazz Mailing List" <dixielandjazz at ml.islandnet.com>,
> 	"Allan Brown" <allanbrown at dsl.pipex.com>,	"Judy Eames"
> 	<jude at judyeames.co.uk>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: Re: [Dixielandjazz] Alan Barnes
> Message-ID: <002101cc72eb$0d191390$4001a8c0 at amd2500>
> Content-Type: text/plain;	charset="iso-8859-1"
>
> Hi Jude and Allan,
>
> Many thanks, Allan, for the mention of Observer newspaper's review of the CD
> by Alan Barnes with my band of Benny Carter's music, and thanks too to Jude
> for her kind words on my band's appearances at the recent Bude Jazz
> Festival.
>
> The record, on Alan Barnes's Woodville label, was released to the
> distributor network on 22 August, so reviews and airplays are only just
> beginning to surface. So far, the comments have been marvellously supportive
> and I've had an advance tip-off from Jazz Journal International magazine
> that its forthcoming edition will carry a review that is quote very positive
> unquote. It seems unimaginable that Benny Carter's wonderfully crafted music
> should be played so rarely nowadays, which was one of the reasons for
> starting the project. Alan and I were looking for a way of generating gigs
> together and, since Benny's music seemed in danger of being forgotten, and,
> since nobody is better equipped to play the lead role in re-interpreting
> that music than Alan, it was a no-brainer. I spent a winter transcribing and
> reducing some of Benny's big-band charts and writing some originals on his
> tunes and we premiered the project at the Edinburgh Jazz Festival in 2008.
> It's not easy music to play, as Benny wrote for the top of the profession,
> but it's marvellously rewarding to play. I'll keep the list posted about
> future reviews, honest!
>
> It was lovely meeting Jude at Bude (poetry at no extra charge!) and it's
> just a pity I didn't get the chance to hear her sing. We drove 500 miles to
> do 3 gigs in 2 days, then shot back up the road right after the final
> concert, so there was no time for hanging-out after hours. I'm not sure what
> the audiences knew of us or what they were expecting from our opening
> concert of Jelly Roll Morton's music.We cross-refer a lot to the history of
> individual pieces, but my charts are driven more by the character of the
> piece and by a desire to say something original about it. Hence a Jungle
> Blues that involves all of Jelly's thematic material, but also some modal
> jazz soloing and a passage of hard-bop ensemble. It all makes some sort of
> musical sense, at least to me, and there's a perverse thrill in leading a
> traddy audience by the ear into territory they would probably shun in the
> normal course of events. In any event, they appeared to like it, so we
> weren't threatened with charges of heresy.
>
> The concert with Alan Barnes was a marvellous celebration of Benny Carter's
> music in which we played some of the music from the new CD but also a lot of
> other things which we haven't recorded. Again the audience was very
> enthusiastic, the band played its socks off and Alan was in scorching form.
> Our final gig, with guest and old pal Duke Heitger, was a programme of music
> associated with Louis Armstrong. Much of the material was drawn from our CD
> together on Lake Records, but there were also some brand new charts I'd
> written for Duke. We hadn't seen Duke or played with him for over a year and
> there was no time for a rehearsal, so the gig had that edge to it when
> everyone is sight-reading stuff for the first time, at tempo and in front of
> a seated concert audience. Adrenalin by the bucketful was available to the
> medics, but none showed up. Duke was on fire, as was the band, and
> fortunately there is a recording of the whole gig. Alas it's nowhere near
> studio quality, but good enough to enjoy once one's ears adjust to the
> lop-sided balance.
>
> Incidentally the new CD appears to be on Napster, buy I've no idea whether
> it's available for free listeniing or just download purchase.
>
> Regards,
>
> Ken Mathieson
>
> ------------------------------
>
> Message: 4
> Date: Wed, 14 Sep 2011 10:49:23 -0400
> 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] James Lincoln Collier
> Message-ID: <41F4F15A-4A95-4289-8A63-CDB84AB57665 at earthlink.net>
> Content-Type: text/plain;	charset=US-ASCII;	format=flowed;	delsp=yes
>
>
> On Sep 14, 2011, at 8:56 AM, dixielandjazz-request at ml.islandnet.com
> wrote:
>
>> Marek Boym <marekboym at gmail.com> wrote:
>>
>>
>>> (Eric H. wrote)I certainly have no problems with amateur musicians
>>> as such, and have worked
>>> with many such people during my career. Some of them were quite
>>> gifted
>>> players.
>>>
>>> But I don?t recall any of them writing books full of twenty five
>>> dollar
>>> words.
>>
>> Perhaps Mr. Collier is a lot smarter?
>
>
> He probably is A LOT smarter, Marek:
>
> Hamiliton College, his alma mater, is one of the top US colleges for
> above average intellects. After he graduated, and  then finished his
> Army service, his first gig was as a magazine editor. He then, being a
> part of a family of writers and literati,  took up writing as his full
> time day gig.
>
> Jazz Trombone is his part time gig and he is a gifted player. Just
> another outlet for his creativity I guess. But his main generator of
> MONEY is writing.
>
> His most read books are fictional accounts of historical events. Many
> of his books are written for children.
>
> Regarding his writing he has been described as a "master of the
> historical fiction  genre". Perhaps that extended to his biography of
> Armstrong?
>
> He and brother Christopher Collier have co-written many Historical
> Novels (fiction) that are used to teach History. Most famous is "My
> Brother Sam Is Dead" It is one of the most frequently banned book in
> US School Libraries because of the truthful nature of this
> Revolutionary War story, but that's for political chat lists, not
> music chat lists.
>
> In any event, JLC is a writer first and a musician second. Very smart,
> creative guy who like the rest of us, sometime has feet of clay. And
> remember he neither writes nor plays specifically for any one of us so
> let's adopt that famous Bix line: "It doesn't bother me" <grin>
>
> Cheers,
> Steve Barbone
> www.myspace.com/barbonestreetjazzband
>
>
>
>
>
>
>
> ------------------------------
>
> Message: 5
> Date: Wed, 14 Sep 2011 11:24:32 -0500
> From: "Norman Vickers" <nvickers1 at cox.net>
> To: <dixielandjazz at ml.islandnet.com>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Monk Piano Competition-- NYTimes,	Ben
> 	Ratliff's piece
> Message-ID: <00ad01cc72fa$cb497080$61dc5180$@cox.net>
> Content-Type: text/plain;	charset="iso-8859-1"
>
> To:  DJML;  Musicians & Jazzfans lists
>
> From:  Norman Vickers, Jazz Society of Pensacola
>
>
>
> Here is Ben Ratliff?s piece on the Monk Jazz Piano competition.  At least he
> starts out listing the winners and describes their performance?  FYI.
> Optional reading.
>
>
>
>
>
>
>
>   _____
>
> September 13, 2011  New York Times
>
>
> At Monk Competition, a Sound Worth Returning To
>
>
> By
> <http://topics.nytimes.com/top/reference/timestopics/people/r/ben_ratliff/in
> dex.html?inline=nyt-per> BEN RATLIFF
>
>
> WASHINGTON ? Hod Moshonov, a 22-year-old pianist from Israel, had already
> loosened his tie by 1 p.m. on Sunday, and his wine-colored dress shirt was
> coming loose from his waist. Super-revved, he seemed to dump his whole
> conception of jazz on his instrument.
>
> He leaned into the grand piano and damped the strings, playing muted
> percussive melodies with his right hand alone. Then some classical Romantic
> fantasias, leading into aggressive versions of Thelonious Monk?s ?Think of
> One? and Freddie Hubbard?s ?Birdlike.? He sang along to his rhapsodic
> improvising and beatboxed against his rhythms. It was an exhausting 10
> minutes.
>
> Mr. Moshonov was the first of 12 to compete in the
> <http://www.monkinstitute.org/competition/2011competition.php> Thelonious
> Monk International Jazz Piano Competition here on Sunday, presented by the
> Thelonious Monk Institute of Jazz. Despite his abundant talent, he was the
> first to fall. He did not make the finals. Kris Bowers, 22, from Los Angeles
> but now a New Yorker, played a little after the halfway point on Sunday, and
> the next day he won the $25,000 first prize.
>
> What did Mr. Bowers have that the judges wanted? Polish, understatement,
> breadth. He made the piano sound clear and pleasing, and he got along with
> the rhythm section. He played ?The Summer Knows,? from Michel Legrand?s
> ?Summer of ?42? soundtrack, and then turned ?Blue Monk? three ways:
> reharmonized, stride-style and as a stomping shuffle. It was the only time
> all afternoon that the audience started to clap and shout.
>
> Aside from the imposing panel of judges ? Herbie Hancock, Ellis Marsalis,
> Danilo P?rez, Renee Rosnes, and Jason Moran ? Aretha Franklin was sitting in
> the auditorium at the Smithsonian Institution?s National Museum of Natural
> History. (She would be awarded the Monk Institute?s Maria Fisher Founder?s
> Award, and sing in the gala concert on Monday night at the Kennedy Center
> for the Performing Arts.) She sought out Mr. Bowers backstage, got his
> telephone number and suggested they work together. She told him that ?Summer
> of ?42? meant a lot to her because she was born that year.
>
> The Monk competitions are many things: thrilling, strange, boring. Musicians
> play unaccompanied and with a trio, with one Monk tune required. The process
> can become an unsolvable puzzle. It is a performance, an occasion to
> demonstrate presence of mind, but for each contestant it is also a canned
> and unnatural 10 minutes. You must be memorable, but you can?t overdo it.
> Most people agree that jazz lives on originality, but you must prove
> yourself a proper custodian of the past. You want to create immediate
> gratification, but the implication of the first prize is that you?ll be a
> responsible bandleader, carrying jazz forward.
>
> The event ? the most visible part of the institute?s educational initiative,
> which includes high school programs and a tuition-free master?s program at
> U.C.L.A. for eight students at a time ? began 25 years ago, in 1986. At
> first it was piano-only, and soon the featured instrument began to change
> each year. This was the seventh piano competition; winners have included
> Marcus Roberts, Jacky Terrasson and Eric Lewis. Winning first prize does not
> guarantee fame, but it helps, especially at a time when many jazz
> bandleaders do their own publicity via Twitter, and a deal with Concord
> Records, a label with a publicity department, comes with it.
>
> The two-year master?s program has yielded visible results. New York jazz
> aficionados will have noticed a clump of excellent performers who all seem
> to play in other people?s bands: Gerald Clayton, Joe Sanders, Ambrose
> Akinmusire, Walter Smith III, Chris Dingman. What they have in common is
> their recent involvement with the Monk Institute.
>
> Pianists do it all: they?re leaders, composers, rhythm-section players and
> unaccompanied soloists. In this Monk competition some pianists created a
> sleek and battened-down European mood, as if auditioning for ECM Records;
> they weren?t so interested in the feeling of swing. Most of the solos were
> built of prefabricated lines and licks, without much melodic improvisation.
> Few pianists accompanied a bass or drum solo; they just shut down for a
> little while. And some were nervously overeager to show how good they were
> with tricky rhythmic patterns: perhaps that?s why Monk?s ?Evidence,? with
> its unusual pattern of rests, like potholes in a road, was presented three
> times.
>
> Emmet Cohen, a senior at the University of Miami, placed third on Monday,
> and one of the competition?s most memorable musicians came in second. Joshua
> White, 26, from San Diego, had one overriding style: he embedded a song in
> thick, unbroken clumps of chords. He pressed hard against the rhythm section
> and improvised with form, telling the bassist Rodney Whitaker and the
> drummer Carl Allen what to do and when, accelerating and decelerating,
> suddenly going free. (Nobody else did that.)
>
> Mr. White used a lot of dissonance and clutter, but it was provocative,
> chord-related clutter, not the brilliant-soloist kind made mostly with the
> right hand. It was a sound worth returning to, one that had more to do with
> Monk than that of the rest of the pianists ? although emulating Monk per se
> is not a competition requirement.
>
> Ms. Franklin was the star of Monday?s 25th-anniversary gala concert, the
> most extreme and complicated example of an event that has historically
> brought together a surreal mixture of inward improvisers, outward pop stars
> and government officials.
>
> Dozens of personages shuttled on and off stage. Among them were Colin L.
> Powell and Madeleine K. Albright, who participated on the institute?s
> anniversary committee; executives from sponsors, including Cadillac,
> Northrop Grumman and United Airlines, who all gave grandiloquent speeches;
> former competitors, not all of them winners; Mr. Hancock and Wayne Shorter;
> the ?American Idol? star Jennifer Hudson, who sang ?Oh Me Oh My (I?m a Fool
> for You Baby)?; the rapper Doug E. Fresh; Chaka Khan, Dianne Reeves, Dee Dee
> Bridgewater, Kurt Elling and Jane Monheit, who strung together a half-dozen
> Franklin hits; and Ms. Franklin herself, who sang ?Moody?s Mood for Love,?
> dramatically, with lots of cries and asides, dancing her way offstage,
> letting a stagehand untangle a long, gauzy shoulder wrap from her microphone
> cord.
>
>
>
>
>
> ------------------------------
>
> Message: 6
> Date: Wed, 14 Sep 2011 19:01:26 +0200
> From: "Jim Kashishian" <jim at kashprod.com>
> To: <dixielandjazz at ml.islandnet.com>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Basin Street Six
> Message-ID: <EE98EAA39C074ACAB8DD7FB34A1C7B6A at JIM>
> Content-Type: text/plain;	charset="us-ascii"
>
> We do a song that I took off of an old LP I've had since I was a kid that is
> called "Basin Street Stomp".  It is credited as being written by the Basin
> Street Six, and is on their Mercury album MG20151 called "Strictly Dixie".
> It's a real crowd pleaser & is on our latest CD.
>
> The Basin Street Six features George Girard on trumpet...who died in 1956 at
> the age of 26.  Another youngster on the album is Pete Fountain on clarinet.
> I found out (don't remember how) that the trombonist is Jim Rotus...someone
> I have little knowledge of, nor have I found any information about him.  The
> band was based in New Orleans according to the notes.
>
> How come no one has ever commented on George Girard on djml?  He was
> excellent!   The notes on the LP cover are quite poetic, extolling the early
> death of the trumpeter, but little information is actually given.  The note
> writer was Bernard Asbell who, if it is the same writer, died at age 77 &
> was acredited with writing many books.
>
> Jim
>
>
> ------------------------------
>
> Message: 7
> Date: Wed, 14 Sep 2011 13:46:25 -0500
> From: "Norman Vickers" <nvickers1 at cox.net>
> To: <dixielandjazz at ml.islandnet.com>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Monk Piano Competition-- Mike Vax compares
> 	two	articles
> Message-ID: <010401cc730e$9d5a77f0$d80f67d0$@cox.net>
> Content-Type: text/plain;	charset="UTF-8"
>
> To:  DJML  ; Musicians & Jazzfans lists
>
> >From Norman Vickers, Jazz Society of Pensacola
>
>
>
> Trumpeter Mike Vax, leader of the Stan Kenton Alumni Band, writes comparing
> the NYTimes article by Ben Ratliff to the Washington Post article about the
> Monk Jazz Piano Competition.
>
> Thanks, Mike.
>
>
>
> From: vaxtrpts [mailto:vaxtrpts at aol.com]
> Sent: Wednesday, September 14, 2011 12:50 PM
> To: nvickers1 at cox.net
> Subject: Re: Monk Piano Competition-- NYTimes, Ben Ratliff's piece
>
>
>
> Here is a good example of some of what is wrong in our "jazz world" these
> days.  What a difference the two articles show!  Ben Ratliff's article is
> about JAZZ and EDUCATION and the Washington Post could care less about the
> music and the educational value of what went on.  It only cared about names
> and glitz.
>
>
>
>
>
> Mike Vax
>  <http://www.mikevax.net> www.mikevax.net
>  <http://www.bigbandjazz.net> www.bigbandjazz.net
>  <http://www.prescottjazz.com> www.prescottjazz.com
>  <http://www.getzen.com> www.getzen.com
>
>
>
>
>
> ------------------------------
>
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> End of Dixielandjazz Digest, Vol 105, Issue 22
> **********************************************
>