[Dixielandjazz] Tears

Mon Jun 4 14:40:36 PDT 2012

I beg to disagree!
Bixhardly ever played the blues, and ws among the greatest!
Many early white bands played tunes labelled "blues," but not sounding it.
On the other hands, the late Sandy Brown, Humph, Keith Smith, Chris
Barber (still luckily with us), Bob Wilber, the New Blck Eagles, and
others, have long been masters of the blues.
Cheers
P.S.
I do not like "blues" bands - cannot stand the wailing and noisy
electric guitars!

On 5 June 2012 00:20, Dixiejazzdata <dixiejazzdata at aol.com> wrote:
> Alain:
>
> Your English is fine, and I agree with your ears about the soul and feeling of the music, that is what is wrong with a large percentage of
> so called Dixieland bands and musicians,  they think they swing but they really do not, because they long ago turned up their noses at BLUES
> and refuse to play them.  Unfortunately they needed to play the for as long as Louis and Oliver and Bunk did to really feel them and understand how to make their inner feelings come out of their own instruments.    Any trained musician can play written notes in front of them, and if they practice them long enough and play them over and over can actually give the impression to the unwashed ears that they really do swing.   Many however simply do not and never will really Swing.   Those few that have been on stages when large Audiences roared to life at their performances know the difference.   They then and only then know and realize that their music has indeed touched the inner souls of the audience.    This is also the primary reason that many Major Jazz festivals around the world Hire BLUES Musicians and Bands to perform, because they sell more tickets and get usually better crowd responses and send the people home with a Positive feeling about the Music and the Festival.    Many of the other great Jazz players just BORE the audience.    The Blues Players are generally also better Entertainers and can communicate with the entire audience.    That is what in my opinion made the Greats that we love to worship on this list, Actually Great, they simply stood out amongst a field of players who simply did not have "IT".     "It" is what it is and if more of us could be "IT"   it would be a great thing for music.   :  "IT" is that indescribable word that simply means  whatever "IT" is,  some have "IT" and the rest of us wish we had "IT" :))    LOL
>
> Cheers,
>
> Tom Wiggins
> Saint Gabriel's Celestial Brass Band
>
>
>
>
>
>
>
> -----Original Message-----
> From: jazz-en-ville <jazz-en-ville at orange.fr>
> To: B.B. Buffington <dixiejazzdata at aol.com>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Sent: Mon, Jun 4, 2012 11:26 am
> Subject: Re: [Dixielandjazz] Tears
>
>
> 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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