[Dixielandjazz] Tears

[Marek Boym]

Dear Bill,
"American jazz?"
Ever since European musicians took up jazz, they've made it their own!
Moreover, I do not know about Australia, but French, British and
German musicians were playing jazz already in the 1920's, and by the
1930's thre were European originals (Django, Grappelly, Alix Combelle,
George Chisholm. Tommy McQuater, et al).  So jazz did not start in the
"the formative years of the 1940s jazz revival," and those people, in
addition to records, heard "the real thing."  Moreover, jazz records
long out of catalogue in the States were often available in Europe (at
least - in the UK); many were issued in the States only in vocal
version, while non-vocal versions were issued by British Parlohone.
Of course, thre was a whole new generation of revivalists like you,
who first heard the records (so, by the way, did Bix and quite a few
others, albeit a wee bit earlier).  Still, there are recordings of
American musicians jamming with the locals, made in England during
WWII (Jimmy McPartland, for example); likewise, American musicians
played and recorded in France.  Thus, in those countries at least
there was live American jazz in the mid-40's.
I do not quite know about Eastern (or rather - Central) Europe,  Addy
Rosner played jazz in Poland in the 1930's, but that was after he was
banned from Germany where he hitherto lived.  I do know that quite a
few Czech musicians quote Gaeme Bell as their inspiration and
influence, He played in both Czechoslovakia and East Grmany, and the
East German Amiga even issued his records before East Germany became
officially communist (and before jazz became non-kosher).

Still, I know that records by the revivalist bands jad great impact on
both French and British musicians.
Anyway, by the time the members of the Red Hot Reedwarmers were even
born, the main influecnes thereon were European, and Sidney Bechet, of
course, even though he had been dead for quite a few years.
Cheers



>>  European Musicians play American Jazz differently, because they actually hear it differently.
>

> Spot on.
> So do the English, South Americans and Australians.
> Because, in the formative years of the 1940s jazz revival, all we had were the original 78rpm recordings.
> We would have loved to have been able to experience the New York scene at that time.
> But few of us did.
> I also believe that the tradition is still currently more alive outside the US than in it.
> With a few minor exceptions.
> For instance, how many US groups today can take an ordinary tune like "There's Is Going To Be The Devil To Pay" (Billy Hueston-Bob Emmerich) recorded by Fats Waller in June 1935
>   http://www.youtube.com/watch?v=OkrUpBf9yr8
> and, in September 2007, turn it into a performance like this one from the wonderfully young Les Red Hot Reedwarmers:
>   http://www.youtube.com/watch?v=nHgBkSnXljQ
> Very kind regards,
> Bill (the old mouldy, who was going to keep away from this long thread).
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