[Dixielandjazz] Tears

[Robert Ringwald]

Dear Alain,



Very nice, well thought out post. Of course everyone has their own opinion.  



I just want to make one comment. You said:



“””

also marginal musicians as Bix,Mezzrow).

“””



By using the word “marginal” Did you mean that Bix was not a very good musician? If so, I have to disagree with you. Bix was a great musician who was far ahead of his time. He was also a far better musician than Mezzrow. 



Perhaps because of the language difference you meant something else, rather than marginal?



Best,



--Bob Ringwald

www.ringwald.com







Hi everybody,

(My english has not improve)

I do not want to start a controversy .Everyone makes his proper choices.

But, a question remains for me: why, since 80 years, the whole world

from NO to America, Australia, Japan and Europe is so deeply fond of

that old music made of blues (fifty per cent of jazz repertoire, from

Oliver, Morton, Dodds, Mitchell and others), and ordinary, even banal

melodies played by muscians  poorly regarded in the great music circles?

   Art is made, at least, with two ingredients : pure aesthetic, (made

of technical ability) and human culture, experience , expression.

Paul Whiteman band had pretty good musicians. His music was well done.

However, it remains nothing but a music for dancers.

Besides him were coloured men, negroes or creole, rather mistreated

people. (also marginal musicians as Bix,Mezzrow). They had something

insides. Something to say. Music was the best way to do it and what was

amazing was that their music was not an expression of rebellion, but

peaceful resignation and strength of youth. Blues tells dramas,

tragedies,but the way they were told was a very human way, able to reach

the heart of every people in the world. Resignation and jubilant swing,

strength and primitive emotion. Quite new. Quite moving. Poetry. Even

genious.

That's what I feel when I  hear Bessie or Billie, Joe Oliver and hundred

of others, from Morton to Louis or Ellington, from Hot Lips Page to Fats

Waller. The way they speak to me is that of Art.

So,  today, when new artists play an old title (that's my case), even if

it is the way they do it is all right,(not always my case) the result

cannot be  the same... Another language. Not the same content. A tribute

to the Masters.

My point of view. That's all.

Alain de La Simone

03/06/2012 10:23, Robert Ringwald a écrit :

> Alain de La Simone wrote

> 

> I'm sorry, I'm not impressed by this interpretation. The question is why

> very able revivalists miss the essential stuff: poetry.

> May be, because they are not coloured people of the twenties. ..

> To day, many white musicians can do very hard work. I know very few able

> to play with soul and flame.

> I completely disagree.

> Oliver and Louis have a marvellous  sound.

> Every note is pure , every musical sentence is inventive, exciting,

> spontaneous, full of poetry. I don't find any

> of that in the heavy vibrato of the New Eagle trumpet player even if he

> is a brilliant instrumentist.

> 

> You may not like Tony’s heavy vibrato, but that recording swings.

> I would share your enthousiasm. I can't, in spite of the very ability of

> every musician...

> (I beg your pardon for my very bad english)

> Friendly

> 

> Alain de La Simone

> 

> --Bob Ringwald

> 

>> Steve Barbone wrote:

>> 

>> Check out this wonderful version by the New Black Eagles.   Wonderful

>> IMHO. Just posted a month or so ago on you tube:

>> 

>> 

http://www.youtube.com/watch?v=_DZedus74oQ

>> 

>> Thanks Steve.  What a swinging version.

>> --Bob Ringwald

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