[Dixielandjazz] Thread-- Charlie Suhor's post "New Rules for Jazz Bands"--Charlie Suhor sums up

[Marek Boym]

Although a little younger than Charles (71), I also remember days when
"The Saints" was not a "must," and when bands did not march around the
hall while playing it.
However, when I was still a teenager in Poland (I left in 1957), all
bands playing for dancing had to play "Rock Around the Clock," and
jazz bands were no exception.  Sometimes we had jazz at school dances,
and they all played it.
Cheers (just having a fantastic Israeli boutique beer, Jem's 8.8 - and
the figures stands for its alcohol by volume content!)

On 3 June 2012 21:51, Norman Vickers <nvickers1 at cox.net> wrote:
> To: DJML and Musicians and Jazzfans list
>
> From: Norman Vickers, Jazz Society of Pensacola
>
>
>
> Charlie Suhor sums us.  Thanks Charlie.  Your moderator suggests that you
> should be the last word on this and that we’ve more than adequately
> discussed it.  Hence, your moderator further suggests that  midnight tonight
> we’ll put a moratorium on the Musicians and Jazzfans list.  As most DJML-ers
> know, discussions can, and do on that list, go on ad infinitum!  (smile)
>
>
>
> Charlie’s other post about the International Association of Jazz Record
> Collectors ( IAJRC) convention in New Orleans in September intrigues me.  He
> has a talk about famous New Orleans strippers.  When I was a Medical
> Resident in New Orleans ( Charity Hospital, Tulane Service---‘59-‘61) there
> was an exotic  tassel dancer( 4 tassels—one on each breast and one on each
> buttock) called “Alouette” who was part of the show at the 500 Club (
> Address, 500 Bourbon Street). Al Hirt played there when he was in town.  She
> always had the same show—she’d find some baldheaded guy sitting near the
> stage—she’d lean down and dust off the top of his scalp with one of her
> breast tassels.  The finale was having all four tassels twirling
> simultaneously while she did the back-bend.
>
> Understood that Alouette was a good Catholic girl with several kids;
> consequently she didn’t travel.  Always wondered what happened to her—did
> the retire and live a quiet life thereafter?  Pete Fountain came back to New
> Orleans about the time I moved there and I believe he played at the 500 Club
> until he got his own club. Other good musicians passed through the 500 club.
>
> Likely some New Orleans Jazz history buffs will clarify about the musicians
> who passed through the 500 club.  Maybe someone knows the later history on
> Alouette.  This would be welcome and interesting data.
>
>
>
> From: Charles Suhor [mailto:csuhor at zebra.net]
> Sent: Sunday, June 03, 2012 1:30 PM
> To: Norman Vickers
> Subject: Re: Thread-- Charlie Suhor's post "New Rules for Jazz Bands"--
> various responses collated
>
>
>
> Guess I stirred up some stuff beyond my expectattions. First, let me clarify
> that, as Marek said, I wasn't putting down "What a Wonderful World" or
> "Hello, Dolly" at all--but those are the two songs that are most often
> called up for a Louis imitation. I've played both those songs enjoyably with
> combos for decades. As for "Saints," I'm old enough (77 today) to remember
> when it was just another tune in the band's repertoire and not "must
> play...must march..." mandate. All three tunes are crowd-pleasers, but when
> the Louis imitations start, if it's not outright insulting, as Bob Ringwald
> suggests, it's discomfiting, at least to me. I suggested, only half
> facetiously, that a musician might earn the privilege by not going for the
> cheap applause but credibly imitating the Armstrong performance on "Hotter
> Than That"--a true work of genius.
>
>
>
> Charlie
>
> _____________________________________________End__________________________________