[Dixielandjazz] Tears

Tue Jun 5 04:29:09 PDT 2012

Indeed.  Blues comes in many fiorms.  I love the blues as played by
jazz bands, and sometimes the "classic"  blues.  I still cannot take
"blues bands," which DO feature wailing guitars.  Even Chris Barber,
when he add3d "and Blues" to his band's name added a wailing guitar.
I, too, grew up in the rock and roll period, but somehow never fell in
love with it, although I did enjoy Bill Haley and some early Elvis.  A
personal taste.
Cheers

On 5 June 2012 00:58, Dixiejazzdata <dixiejazzdata at aol.com> wrote:
>
>  Dear Marek:   Blues just like Jazz comes in many styles and variations,
> not all of it has wailing Guitars :))
>
> When we try to play Blues festivals with our band, we are often shunned
> because they view us as a JAZZ Band,  go figure !!
> yet we play a lot of great Blues on our Jazz gigs which the audiences
> love, and we are happy to back up ANY blues Singer who wishes to
> step onto our stages.   We all grew up playing the Blues & Rhythm & Blues,
> in the 60's when Dixieland Jazz started fading away in America as far as
> Good Paying Gigs were concerned.   The Better Blues cats moved upwards to
> FUNK  which is a hibrid version of Blues Rock.    Just like Jazz Blues and
> even Rock & roll is an ever evolving genre of music with many sub genres
> created for marketing.  I still just like to call music two kinds  Good &
> Bad.  :))
>
> The underling description however in my opinion is that The audiences
> relate to the Blues better because it is almost always danceable, and often
> contains human drama translated into musical communication.
>
> Cheers,
>
> Tom Wiggins
>
>
>
>
>
> -----Original Message-----
> From: Marek Boym <marekboym at gmail.com>
> To: Dixiejazzdata <dixiejazzdata at aol.com>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Sent: Mon, Jun 4, 2012 2:40 pm
> Subject: Re: [Dixielandjazz] Tears
>
>
> 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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>>
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