[Dixielandjazz] Dixielandjazz Digest, Vol 114, Issue 39
Jeff Matthews
jeffmatthews111 at aol.com
Wed Jun 27 08:14:18 PDT 2012
Dear List,
With reference to Johnny Dodds, clarinetist, has anyone made sheet music transcriptions of his work and published them?
Regards,
Jeff
Sent from my iPhone
On 27 Jun 2012, at 15:43, dixielandjazz-request at ml.islandnet.com wrote:
> Send Dixielandjazz mailing list submissions to
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>
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> or, via email, send a message with subject or body 'help' to
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> dixielandjazz-owner at ml.islandnet.com
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> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of Dixielandjazz digest..."
>
>
> Today's Topics:
>
> 1. Pee Wee Bizouam (Stephen G Barbone)
> 2. Re: Dixielandjazz Digest, Vol 114, Issue 38 (Judi K)
> 3. Re: Pee Wee Bizouam (Marek Boym)
> 4. Re: Dixielandjazz Digest, Vol 114, Issue 38 (Marek Boym)
> 5. Auto-Tune (Robert Ringwald)
> 6. Franz Jackson project (Bill Haesler)
> 7. Articles on "Captain" John Handy (Joe Carbery)
> 8. Re: Pee Wee Bizouam (Stephen G Barbone)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Tue, 26 Jun 2012 15:43:50 -0400
> From: Stephen G Barbone <barbonestreet at earthlink.net>
> To: dixielandjazz at ml.islandnet.com
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Pee Wee Bizouam
> Message-ID: <D19646BD-623F-46A5-A864-2BEADE95D7CB at earthlink.net>
> Content-Type: text/plain; charset=us-ascii
>
>
>> Marek Boym <marekboym at gmail.com> wrote: (polite snip)
>>
>> Who the hell is Pee Wee Bizouarn?
>
> Probably related to John Galt.
>
> Cheers,
> Steve Barbone
> www.myspace.com/barbonestreetjazzband
>
>
>
>
>
>
>
> ------------------------------
>
> Message: 2
> Date: Tue, 26 Jun 2012 14:53:02 -0500
> From: Judi K <heartsjazz at gmail.com>
> To: dixielandjazz at ml.islandnet.com
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: Re: [Dixielandjazz] Dixielandjazz Digest, Vol 114, Issue 38
> Message-ID:
> <CAJaHPje3L23KeCxwP2hLk52SwPB33Ftv2-Z8WNDc2BN5Za12-A at mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> RE Last Franz Jackson recording
>
> Michelle's project to execute her dad's final recording (a live
> concert) is a huge undertaking; and she really can use everyone's
> help. If she doesn't reach the goal
> the entire project gets scrapped and everyone get's their pledge back unused.
> BUT, if everyone would simply pledge $25, it would be the same as
> pre-ordering the double CD, plus a couple of other benefits. So, how
> about ordering the CDs in advance, which is a pledge of $25--couldn't
> be easier!! just go to this link and help preserve this piece of jazz
> history! http://www.kickstarter.com/projects/1749558063/franz-jackson-milestone-a-historic-cd-project
>
> You won't be disappointed!! (unless the project gets scrapped)
>
> Thanks, always
>
> Judi K
>
> On Tue, Jun 26, 2012 at 2:00 PM,
> <dixielandjazz-request at ml.islandnet.com> wrote:
>> Send Dixielandjazz mailing list submissions to
>> ? ? ? ?dixielandjazz at ml.islandnet.com
>>
>> To subscribe or unsubscribe via the World Wide Web, visit
>> ? ? ? ?http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>> or, via email, send a message with subject or body 'help' to
>> ? ? ? ?dixielandjazz-request at ml.islandnet.com
>>
>> You can reach the person managing the list at
>> ? ? ? ?dixielandjazz-owner at ml.islandnet.com
>>
>> When replying, please edit your Subject line so it is more specific
>> than "Re: Contents of Dixielandjazz digest..."
>>
>>
>> Today's Topics:
>>
>> ? 1. The Lazy Man's You Tube of OKOM. (Stephen G Barbone)
>> ? 2. Re: The Lazy Man's You Tube of OKOM. (Marek Boym)
>> ? 3. Re: The Lazy Man's You Tube of OKOM. (Marek Boym)
>> ? 4. Re: The Lazy Man's You Tube of OKOM. (Marek Boym)
>> ? 5. Re: The Lazy Man's You Tube of OKOM. (Bob Smith)
>> ? 6. Re: Trad jazz in London (Judy Eames)
>> ? 7. Last Recording of Franz Jackson Depends on YOU
>> ? ? ?(mjewell at franzjackson.com)
>> ? 8. A message from Bria in Ascona (Stephen G Barbone)
>>
>>
>> ----------------------------------------------------------------------
>>
>> Message: 1
>> Date: Mon, 25 Jun 2012 15:12:28 -0400
>> From: Stephen G Barbone <barbonestreet at earthlink.net>
>> To: DJML <dixielandjazz at ml.islandnet.com>
>> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
>> Subject: [Dixielandjazz] The Lazy Man's You Tube of OKOM.
>> Message-ID: <C381DE45-1CAF-453E-A06E-71B9C4D8C4FD at earthlink.net>
>> Content-Type: text/plain; charset=us-ascii
>>
>> Came across an interesting compilation of OKOM on you tube.
>>
>> For example, go to:
>>
>> http://www.youtube.com/artist/johnny_dodds
>>
>> You see 13 tracks for Johnny Dodds.
>>
>> Then look on the right side of the screen and see a whole bunch of "related artists".
>>
>> Click on any one of them and you get a new set of videos for that artist.
>>
>> Also note that when you choose a related artist, the list of related artists on his page changes to reflect his style. For example the list of related artists for George Lewis is different from that of Bix Beiderbecke.
>>
>> I'm not sure just how many OKOM you tubes one can access this way but no doubt one could keep occupied for quite a while.
>>
>> Probably no earth shattering new discoveries here, but for those who do not have extensive record collections, this is an easy way to access the music.
>>
>> Cheers,
>> Steve Barbone
>> www.myspace.com/barbonestreetjazzband
>>
>>
>>
>>
>>
>>
>>
>>
>> ------------------------------
>>
>> Message: 2
>> Date: Tue, 26 Jun 2012 00:13:27 +0300
>> From: Marek Boym <marekboym at gmail.com>
>> To: Stephen G Barbone <barbonestreet at earthlink.net>
>> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
>> Subject: Re: [Dixielandjazz] The Lazy Man's You Tube of OKOM.
>> Message-ID:
>> ? ? ? ?<CABGvO8AZvGJuFu5QkOL7KZow-=mjgh1=rRGF0Zu+K+69tuzGfA at mail.gmail.com>
>> Content-Type: text/plain; charset=ISO-8859-1
>>
>> The strangest thing is that Armstrong's name appears in Hebrew on my
>> screen (all the others are in English).
>> I have all this stuff in my collection (can't do much about age, can I?).
>> Cheers
>>
>> On 25 June 2012 22:12, Stephen G Barbone <barbonestreet at earthlink.net> wrote:
>>> Came across an interesting compilation of OKOM on you tube.
>>>
>>> For example, go to:
>>>
>>> http://www.youtube.com/artist/johnny_dodds
>>>
>>> You see 13 tracks for Johnny Dodds.
>>>
>>> Then look on the right side of the screen and see a whole bunch of "related artists".
>>>
>>> Click on any one of them and you get a new set of videos for that artist.
>>>
>>> Also note that when you choose a related artist, the list of related artists on his page changes to reflect his style. For example the list of related artists for George Lewis is different from that of Bix Beiderbecke.
>>>
>>> I'm not sure just how many OKOM you tubes one can access this way but no doubt one could keep occupied for quite a while.
>>>
>>> Probably no earth shattering new discoveries here, but for those who do not have extensive record collections, this is an easy way to access the music.
>>>
>>> Cheers,
>>> Steve Barbone
>>> www.myspace.com/barbonestreetjazzband
>>>
>>>
>>>
>>>
>>>
>>>
>>> _______________________________________________
>>> To unsubscribe or change your e-mail preferences for the Dixieland Jazz Mailing list, or to find the online archives, please visit:
>>>
>>> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>>>
>>>
>>>
>>> Dixielandjazz mailing list
>>> Dixielandjazz at ml.islandnet.com
>>
>>
>>
>> ------------------------------
>>
>> Message: 3
>> Date: Tue, 26 Jun 2012 00:16:55 +0300
>> From: Marek Boym <marekboym at gmail.com>
>> To: Stephen G Barbone <barbonestreet at earthlink.net>
>> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
>> Subject: Re: [Dixielandjazz] The Lazy Man's You Tube of OKOM.
>> Message-ID:
>> ? ? ? ?<CABGvO8CvNTQgtNdeZRqqa9vx3eCoy4zLbNMS8mUD+UYgyggtHA at mail.gmail.com>
>> Content-Type: text/plain; charset=ISO-8859-1
>>
>> Oh, well...
>> Upon looking again, I've ?founed out that the names of Bechet and
>> Jelly Roll are also in Hebrew!
>> Of course, on my screen the "related artists" are on the left side of
>> the screen (if you don't know - Hebrew is written from right to left).
>> Cheers
>>
>> On 25 June 2012 22:12, Stephen G Barbone <barbonestreet at earthlink.net> wrote:
>>> Came across an interesting compilation of OKOM on you tube.
>>>
>>> For example, go to:
>>>
>>> http://www.youtube.com/artist/johnny_dodds
>>>
>>> You see 13 tracks for Johnny Dodds.
>>>
>>> Then look on the right side of the screen and see a whole bunch of "related artists".
>>>
>>> Click on any one of them and you get a new set of videos for that artist.
>>>
>>> Also note that when you choose a related artist, the list of related artists on his page changes to reflect his style. For example the list of related artists for George Lewis is different from that of Bix Beiderbecke.
>>>
>>> I'm not sure just how many OKOM you tubes one can access this way but no doubt one could keep occupied for quite a while.
>>>
>>> Probably no earth shattering new discoveries here, but for those who do not have extensive record collections, this is an easy way to access the music.
>>>
>>> Cheers,
>>> Steve Barbone
>>> www.myspace.com/barbonestreetjazzband
>>>
>>>
>>>
>>>
>>>
>>>
>>> _______________________________________________
>>> To unsubscribe or change your e-mail preferences for the Dixieland Jazz Mailing list, or to find the online archives, please visit:
>>>
>>> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>>>
>>>
>>>
>>> Dixielandjazz mailing list
>>> Dixielandjazz at ml.islandnet.com
>>
>>
>>
>> ------------------------------
>>
>> Message: 4
>> Date: Tue, 26 Jun 2012 00:26:40 +0300
>> From: Marek Boym <marekboym at gmail.com>
>> To: Stephen G Barbone <barbonestreet at earthlink.net>
>> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
>> Subject: Re: [Dixielandjazz] The Lazy Man's You Tube of OKOM.
>> Message-ID:
>> ? ? ? ?<CABGvO8CQdhBeoz3aND2W6VMmun82n6e4uFtJd7sWsb=Czkr-Og at mail.gmail.com>
>> Content-Type: text/plain; charset=ISO-8859-1
>>
>> One of the things I've found for Al Nicholas was a medley by him ?and
>> Pee Wee Bizouarn.
>> Who the hell is Pee Wee Bizouarn? ?I treid googling him, but came up
>> with this recordin again and again!
>> Cheers
>>
>> On 25 June 2012 22:12, Stephen G Barbone <barbonestreet at earthlink.net> wrote:
>>> Came across an interesting compilation of OKOM on you tube.
>>>
>>> For example, go to:
>>>
>>> http://www.youtube.com/artist/johnny_dodds
>>>
>>> You see 13 tracks for Johnny Dodds.
>>>
>>> Then look on the right side of the screen and see a whole bunch of "related artists".
>>>
>>> Click on any one of them and you get a new set of videos for that artist.
>>>
>>> Also note that when you choose a related artist, the list of related artists on his page changes to reflect his style. For example the list of related artists for George Lewis is different from that of Bix Beiderbecke.
>>>
>>> I'm not sure just how many OKOM you tubes one can access this way but no doubt one could keep occupied for quite a while.
>>>
>>> Probably no earth shattering new discoveries here, but for those who do not have extensive record collections, this is an easy way to access the music.
>>>
>>> Cheers,
>>> Steve Barbone
>>> www.myspace.com/barbonestreetjazzband
>>>
>>>
>>>
>>>
>>>
>>>
>>> _______________________________________________
>>> To unsubscribe or change your e-mail preferences for the Dixieland Jazz Mailing list, or to find the online archives, please visit:
>>>
>>> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>>>
>>>
>>>
>>> Dixielandjazz mailing list
>>> Dixielandjazz at ml.islandnet.com
>>
>>
>>
>> ------------------------------
>>
>> Message: 5
>> Date: Mon, 25 Jun 2012 23:30:23 +0200
>> From: Bob Smith <robert.smith at tele2.no>
>> To: Stephen G Barbone <barbonestreet at earthlink.net>
>> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
>> Subject: Re: [Dixielandjazz] The Lazy Man's You Tube of OKOM.
>> Message-ID: <A0BB4FFACFBD407C87D450C8D78A361E at RobertSPC>
>> Content-Type: text/plain; CHARSET=US-ASCII; format=flowed;
>> ? ? ? ?reply-type=original
>>
>> Dear Steve,
>>
>> Thanks for the Johnny Dodds compilation.
>>
>> I have what I think is a complete collection of his recordings (maybe
>> missing one or two alternate takes), and several photographs.
>>
>> Johnny was a very serious individual - and I think rather shy - and all the
>> photos I have are of an unsmiling Johnny, so it was interesting to see the
>> 'Pencil Papa' photo where he's actually laughing.
>>
>> I must say that I've always had a soft spot for clarinet players - present
>> company not excepted!
>>
>> Kind Regards
>>
>> Bob Smith
>>
>>
>>
>>
>> ------------------------------
>>
>> Message: 6
>> Date: Tue, 26 Jun 2012 00:12:53 +0100
>> From: Judy Eames <jude at judyeames.co.uk>
>> To: dixielandjazz at ml.islandnet.com
>> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
>> Subject: Re: [Dixielandjazz] Trad jazz in London
>> Message-ID: <4FE8F075.9080700 at judyeames.co.uk>
>> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>>
>> On 25/06/2012 00:43, John Petters wrote:
>>
>> Marek only seems to be interested in a couple of sundays....and as
>> John's list indicates most of the traditional stuff isn't on sundays and
>> the only truly central venue is "The Spice" on Friday lunchtimes .....
>> if you're still in London on Sept 7th Marek then it's close to ?Covent
>> Garden where there are some good shops.:-)
>>
>> So Hornchurch seems the best option or If you can make it from Bude to
>> Colchester on Sept 2nd , come and see us with the Big Bear Stompers at
>> their friendly, well patronised club
>>
>> Cheers ? Jude
>>
>> judyeames.co.uk
>>
>>
>>
>> ------------------------------
>>
>> Message: 7
>> Date: Mon, 25 Jun 2012 19:21:56 -0700 (PDT)
>> From: "mjewell at franzjackson.com" <mjewell at franzjackson.com>
>> To: dixielandjazz <dixielandjazz at ml.islandnet.com>
>> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
>> Subject: [Dixielandjazz] Last Recording of Franz Jackson Depends on
>> ? ? ? ?YOU
>> Message-ID:
>> ? ? ? ?<2128092712.258991340677316002.JavaMail.root at mail14.homesteadmail.com>
>> Content-Type: text/plain; charset=utf-8
>>
>>
>> Dixieland Friends,
>>
>> With 2 weeks left in the fundraising campaign for "Franz Jackson:? Milestone"?- the recording from Franz's 95th birthday concert in 2007 - we've hit a plateau at 35% of the necessary funding pledged.?
>>
>> The success of the campaign and, thus, the CD, depends solely on the people who love this music.? My father, Franz Jackson, was a living, breathing encyclopedia of jazz history.? He could recount first-hand stories of working with the legends of the jazz era.? He was there at the beginning and he stayed as long as he possibly could.? His history was on full display the night of his 95th birthday concert and he gave a master class in the spirit and soul of music with each note he played that night.
>>
>> If you haven't yet pledged to support this project, I urge you to do so now.? There are numerous pledge levels and great?incentives attached to each.? ?For example, a $25 pledge gets you a physical copy of the CD plus a digital download of the album ?- both prior to the official release date.? That's a small price to pay for over 2 hours of extraordinary music AND the opportunity to be part of preserving jazz history.?
>>
>> You can find the project by going to www.kickstarter.com and searching "Franz Jackson".?? No pledges will be fulfilled if the project does not meet its funding goal by July 10th.? Of course, that also means the CD won't get made.
>>
>> Thank you to everyone who has pledged their support and thank you in advance to those of you who will.
>>
>> God Bless,
>>
>>
>> Michelle Jewell
>>
>> --
>> Michelle Jewell
>> mjewell at franzjackson.com
>> (269) 684-6386
>> www.franzjackson.com
>>
>> We do not share your personal information with any third-parties. ?If you wish to be removed from this mailing list, please reply to this message indicating your desire to be removed.
>>
>> Become a fan of Franz's on Facebook! ? ?
>>
>> http://www.facebook.com/franzjackson
>>
>>
>> ------------------------------
>>
>> Message: 8
>> Date: Tue, 26 Jun 2012 11:59:08 -0400
>> From: Stephen G Barbone <barbonestreet at earthlink.net>
>> To: DJML <dixielandjazz at ml.islandnet.com>
>> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
>> Subject: [Dixielandjazz] A message from Bria in Ascona
>> Message-ID: <A3BFBF92-AC2D-4B69-9D76-C5341529EED7 at earthlink.net>
>> Content-Type: text/plain; charset=us-ascii
>>
>> Check out the latest from Bria.
>>
>> www.youtube.com/watch?v=TnR8P9tMRK8&feature=youtu.be
>>
>>
>> Cheers,
>> Steve Barbone
>> www.myspace.com/barbonestreetjazzband
>>
>>
>>
>>
>>
>> ------------------------------
>>
>> _______________________________________________
>> To unsubscribe or change your e-mail preferences for the Dixieland Jazz Mailing list, or to find the online archives, please visit:
>>
>> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>>
>>
>>
>> Dixielandjazz mailing list
>> Dixielandjazz at ml.islandnet.com
>>
>>
>> End of Dixielandjazz Digest, Vol 114, Issue 38
>> **********************************************
>
>
>
> --
> Judi Klinsky
>
> You-Tube: ?judikbelle
> Face Book: ?Judi K Jazz
>
>
>
> ------------------------------
>
> Message: 3
> Date: Tue, 26 Jun 2012 22:54:18 +0300
> From: Marek Boym <marekboym at gmail.com>
> To: Stephen G Barbone <barbonestreet at earthlink.net>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: Re: [Dixielandjazz] Pee Wee Bizouam
> Message-ID:
> <CABGvO8BsDK0tUEshza+Uwd92eRTctDbNrm9fo6WSu5kxQt+RSA at mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> Perhaps.
> But he is on one of the videos I've found when clicking on the Albert
> Nicholas link that arrived with your Dodds you tubes.
> Cheers
> P.s.
> Who sings what on your CD? Both you and Paul Grant are listed as vocalists.
>
> On 26 June 2012 22:43, Stephen G Barbone <barbonestreet at earthlink.net> wrote:
>>
>>> Marek Boym <marekboym at gmail.com> wrote: (polite snip)
>>>
>>> Who the hell is Pee Wee Bizouarn?
>>
>> Probably related to John Galt.
>>
>> Cheers,
>> Steve Barbone
>> www.myspace.com/barbonestreetjazzband
>>
>>
>>
>>
>>
>> _______________________________________________
>> To unsubscribe or change your e-mail preferences for the Dixieland Jazz Mailing list, or to find the online archives, please visit:
>>
>> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>>
>>
>>
>> Dixielandjazz mailing list
>> Dixielandjazz at ml.islandnet.com
>
>
>
> ------------------------------
>
> Message: 4
> Date: Tue, 26 Jun 2012 23:02:27 +0300
> From: Marek Boym <marekboym at gmail.com>
> To: Judi K <heartsjazz at gmail.com>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: Re: [Dixielandjazz] Dixielandjazz Digest, Vol 114, Issue 38
> Message-ID:
> <CABGvO8Do80EV77n3HEA+g8RLpfFM+JRQxdO1QWodB995miY==g at mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> Hello,
> I have already pledged a donation. Only less than two days are left,
> and if more people do not participate, the project will be scrapped.
> So hurry up!
> Cheers
>
> On 26 June 2012 22:53, Judi K <heartsjazz at gmail.com> wrote:
>> RE Last Franz Jackson recording
>>
>> Michelle's project to execute her dad's final recording (a live
>> concert) ?is a huge undertaking; and she really can use everyone's
>> help. ?If she doesn't reach the goal
>> the entire project gets scrapped and everyone get's their pledge back unused.
>> BUT, if everyone would simply pledge $25, it would be the same as
>> pre-ordering the double CD, plus a couple of other benefits. ?So, how
>> about ordering the CDs in advance, which is a pledge of $25--couldn't
>> be easier!! ?just go to this link and help preserve this piece of jazz
>> history! ?http://www.kickstarter.com/projects/1749558063/franz-jackson-milestone-a-historic-cd-project
>>
>> You won't be disappointed!! ?(unless the project gets scrapped)
>>
>> Thanks, always
>>
>> Judi K
>>
>
>
>
> ------------------------------
>
> Message: 5
> Date: Tue, 26 Jun 2012 13:59:25 -0700
> From: "Robert Ringwald" <rsr at ringwald.com>
> To: "DJML" <dixielandjazz at ml.islandnet.com>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Auto-Tune
> Message-ID: <4D803FABFB65433FA06C3A3AB519EABA at BobPC>
> Content-Type: text/plain; charset="UTF-8"
>
> This is a long read so if not interested, delete now.
>
> A couple years ago I heard this demonstrated on NPR. They took a horrible singer, put him/her (can?t remember which) voice through this auto-tune program, added reverb (echo), added a band and back up singers and you would have thought you were listening to the next super-pop singer.
>
> --Bob Ringwald
>
>
>
> Imperfect Pitch
> by David Hajdu
> New Republic, July 12, 2012
> The ur-text of Auto-Tune, the narrative that established the use of technology for
> pitch correction as a nexus of ethical debate, predates the digital age by half a
> century. That text is "Singin' in the Rain," the movie musical produced for MGM by
> Arthur Freed, the Tin Pan Alley tunesmith turned production unit chief, in 1952.
> Set on the cusp of the silent and sound eras, the film pokes gentle, toe-tapping
> fun at Hollywood's first panic at the prospect of technological change -- a crisis
> embodied in the character of Lina Lamont, a shrewish, shellac-haired silent movie
> queen who can barely speak in English sentences, let alone sing on key, as she needs
> to do to meet the demands of the new all-talking, all-singing pictures. Technology,
> having started the problem, provides a nettlesome solution as Donald O'Connor hatches
> a scheme to have a perky unknown with a pretty voice, Kathy Selden (played by the
> 19-year-old Debbie Reynolds), dub Lamont's voice off-screen. Lamont mouths the words
> to the Arthur Freed and Nacio Herb Brown ballad "Would You," and the movie audience
> within the movie hears Debbie Reynolds trilling sweetly in perfect intonation --
> until the upending of things in the happy ending, when O'Connor and his pals literally
> pull the curtain on the scam. The good girl, who can really sing, triumphs over the
> bad one, who had betrayed the public with electronic trickery.
> Since the late 1990s, digital sound processing has made pitch correction possible
> without the necessity of hiding Debbie Reynolds. The method commonly referred to
> as Auto-Tune -- the brand name for the first and best-known of several software programs
> for the manipulation of pitch, tone, and other aspects of sound -- does Reynolds's
> work with improved efficiency and flexibility, if less perkiness. Meanwhile, most
> of the discussion today over the use of technology to fix the sound for off-tune
> singing has the same thematic content as an old movie musical. The natural voice
> stands for virtue; technology stands for vice. Vocal technique -- specifically, the
> skill sufficient to produce notes in accord with the twelve-tone tempered scale --
> is perceived as evidence of legitimacy. Digital processing, when employed to accomplish
> something that used to be the exclusive domain of living beings, is taken as a cheat.
> Sixty years after MGM's Technicolor vindication of vocal and moral purity in the
> form of Kathy Selden, undoctored singing is still thought of as right as the rain
> that splashed under Gene Kelly's tap shoes. Yet just like manufactured showers, that
> conception is more complicated than it appears.
> Invented as an afterthought, the by-product of research in a related field, Auto-Tune
> was developed by Harold Hildebrand, a one-time engineer for Exxon, as an outgrowth
> of his research in the analysis of seismic data for the purpose of finding oil. The
> quasi-accidental nature of Auto-Tune's origin makes for a cute story, one that puts
> the invention broadly in the company of Teflon, the microwave oven, and the Frisbee,
> while offsetting any suspicion of Machiavellian intent on the part of Hildebrand,
> who left Exxon to start the company that introduced and still markets Auto-Tune.
> (Founded as Jupiter Systems in 1990, the firm is now called Antares Audio Technologies.)
> Hildebrand, an amateur flutist who got his undergraduate education on a music scholarship
> and later earned a Ph.D. in electrical engineering, goes by the nickname Andy and
> likes to be called "Dr. Andy," in the manner of a self-help author or a pediatric
> dentist. In interviews he gives Auto-Tune a sagely public face, talking with non-critical
> affection for both music and technology, shrugging off ethical questions with folksy
> humor. "Well, I don't know if it's bad or good," Hildebrand said in an interview
> with The Seattle Times. "I'm not a judge of that. It's very popular, so in that sense
> it's good. I don't place value judgments on things like that.... Someone asked me
> at one point in time if I thought that Auto-Tune was evil. I said, 'Well, my wife
> wears make-up. Is that evil?' And yeah, in some circles that is evil. But in most
> circles, it's not."
> To the extent that use is a measure of popularity, Hildebrand is correct about Auto-Tune.
> (Attitudes are a different kind of measure, of course, since users of things can
> have mixed feelings about the things they use.) Auto-Tune is a fixture in popular
> music today, employed far more widely than most people realize. There are no hard
> statistics to quantify the use of digital pitch correction; Antares declines to release
> its sales figures, and so does its main competitor, the German company Celemony,
> which calls its software Melodyne. In recording studios, pitch correction tends to
> be employed discreetly, if not surreptitiously, to preserve the reputation of singers.
> Each day, meanwhile, less and less pop recording takes place in the foam-padded studios
> of the old-paradigm record industry, and more and more is done in private, at home,
> with laptop software. Pitch-correction plug-ins are all but standard accessories
> for home recording, as the old lines between professionalism and amateurism, vocation
> and avocation, dissolve. The physics are simple: the lower the singers' levels of
> skill, experience, or talent, the higher the value of Auto-Tune. The fact that one
> can or cannot sing no longer has much bearing on whether one will or will not sing.
> When most of us think of Auto-Tune, the sound we likely conjure in our minds is not
> the sound that Auto-Tune provides on the pitch-corrected hits that dominate the pop
> charts today. We probably think of the novelty uses of pitch correction that first
> brought Auto-Tune attention and made it the subject of high-profile controversy several
> years ago. It is fourteen years now since Cher and her producers pushed Auto-Tune
> past its safety settings on the single "Believe," producing that quavering, metallic
> chipmunk sound -- "the Cher effect" -- that established Auto-Tune as a gimmick in
> the public consciousness. Over the years since, dozens of acts prominent in pop and
> hip-hop have followed Cher and pushed Auto-Tune further for conspicuous effect or
> stunt purpose: Lil Wayne, with "Lollipop," his juvenile fantasy of cheap sex; the
> Black Eyed Peas, with their unctuously catchy "Boom Boom Pow"; Kanye West, almost
> approaching irony with the plastic crooning on "Heartless"; Daft Punk, the electronic
> dance-music duo, with their spacey "One More Time"; T-Pain on "Buy U a Drank" and
> twenty or thirty other tracks that wallow in Auto-Tune as an aural equivalent to
> the extravagant excesses in his lyrics; Rihanna, exulting in multiple modes of disorientation
> on "Disturbia"; and Ke$ha, whose voice gains most of its character from the electronic
> aura imposed by Auto-Tune -- a digital essence that neatly inverts Walter Benjamin's
> formulation to give electronic creations an aura that is non-existent in life.
> Yet none of the music I just mentioned has much to do with the way Auto-Tune now
> dominates contemporary pop. Since the rise and decline of Auto-Tune as a popular
> gimmick, digital pitch correction has pervaded recorded music, but in a way more
> significant and even creepier than "Buy U a Drank": in stealth. If we don't think
> of Auto-Tune when we hear the pop songs wafting around the shampoo aisle as we shop,
> it's only because we don't recognize it. We don't hear what we're hearing. As Dr.
> Andy has explained in an online interview, he intended his invention to be imperceptible,
> and it is to most ears, most of the time. "Auto-Tune can be used very gently to nudge
> a note more accurately into tune," Hildebrand says. "In these applications, it is
> impossible for skilled producers, musicians, or algorithms to determine that Auto-Tune
> has been used."
> What does it mean to say that someone "can sing"?
> My wife, the cabaret singer Karen Oberlin, is a third-generation musician. Her parents
> met at Tanglewood when they were playing in a youth orchestra under Leonard Bernstein.
> Her paternal grandparents were vaudeville performers who sang and played light classics
> and comedy songs on the Chautauqua circuit. Karen and I have a nine-year-old son,
> and since he was in pre-school, his teachers have been telling us that the kid has
> musical talent. But what are they saying, exactly?
> As I just suggested by relaying that family history, it is natural to think of musical
> ability as naturally ingrained, a gift -- something endowed, if not by genetic inheritance,
> then by God. There is evidence of the inheritability of artistic talent in gene research,
> and there is a case for the divine in every concert review that describes a piece
> of music as transcendent or miraculous. Not that no one believes that creative skills
> (in music or any of the arts) cannot be learned, to some degree, or developed through
> training and experience. Without such a faith, where would the MFA industry be? Still,
> the Nietzschean conception of talent as a natural endowment -- and more than that,
> a supernatural one -- persists, only bolstered and gussied up now in DNA lingo.
> This line of thinking underlies the widespread contempt for Auto-Tune as an extra-natural
> method of accomplishing what should supposedly come naturally, and it helps preserve
> our enduringly romantic conception of artists as special creatures, anointed or made
> differently than the rest of us. We resent Auto-Tune not so much because it is non-human
> -- we put our faith (and, increasingly, our affection) in electronic devices every
> day -- but more because the power it applies, in providing a way to sing in perfect
> intonation, seems superhuman and, in practice, indiscriminate. Auto-Tune defies the
> myth of the creative gift.
> To say that someone can sing suggests a physical endowment, and maybe a metaphysical
> one, though technology has influenced the physical process of singing in the past.
> When my wife's grandmother performed "Under the Greenwood Tree" on stage in Pittsburgh,
> part of the proof that she could sing was her ability to project her voice from the
> footlights to the balcony. That skill became considerably less important after the
> invention of the microphone and electronic amplification, along with the development
> of radio and records, and the commensurate relocation of popular entertainment from
> the public sphere to the home. The microphone, in a sense, was the Auto-Tune of its
> day, doing for amplitude what Hildebrand's invention has done for pitch. In fact,
> the first vocalists to exploit the potential of the microphone -- Rudy Vallee and
> Bing Crosby, early among them -- were once taken as incompetent for their failure
> to project, with gusto, from the diaphragm. In a quickie film called "Crooner," made
> in 1932, a critic of the leading man snaps, "He can't sing. He only croons."
> Yet the analogy between the mic and pitch correction is imprecise -- or perhaps still
> incomplete. With the microphone, singers did not simply sing quietly and sound loud;
> they sang differently than Al Jolson, Bessie Smith, and other song-belters of the
> proscenium era. In the electronic age, singers learned to work more intimately, conversationally,
> sensually, and subtly, establishing a new set of aesthetic standards for pop vocalists.
> Auto-Tune has not much changed the way singers sing, though it may well end up doing
> so in ways I cannot foresee. Digital pitch correction is a technology more active
> than the microphone: rather than capturing a singer's voice passively, it alters
> it, raising or lowering the tone to match the settings on the controls. It is, indeed,
> all about control -- specifically, about conforming strictly to a traditional standard
> of correctness, the Western tempered scale.
> There, to me, lies the tyranny of Auto-Tune. To say that someone can sing can mean
> simply that the person can sing on key, and it is elementally important to hit the
> right notes. The trouble with Auto-Tune is that it applies too rigid a definition
> of rightness. It adjusts every tone with unyielding, unvarying precision, squarely
> in the mathematical center of the note. But no one sings that way -- not even the
> world's most esteemed opera singers. In every form of vocal music, the scale is a
> framework for expressive interpretation, not a system of regimentation. What it means
> above all to say that someone can sing is that the person can communicate the content
> of the words and music; and emotional expression, in vocal music, involves the deft,
> intelligent manipulation of pitch. A skilled singer knows how to shade a moment in
> a song by, say, hovering near the bottom of a note -- within the note, in tune, but
> just below the center of the tone. A great blues singer may use three chords, but
> find countless possibilities for tonal variation in a single note. The music, the
> art, is contained in those variations. Bessie Smith, processed through Auto-Tune,
> would have all the soul of Siri.
> It is easy to see the problem with the "auto" in Auto-Tune. Automation is inhuman;
> still, automation is merely a method of production, and even automated music can
> be interesting intellectually. The emphasis on tuning is a problem, too. What matters
> most in music -- what music is -- is sound, and I can think of no sound quite as
> oppressive as the systematic execution of technical perfection. Auto-Tune, by making
> every song perfectly correct, makes every song wrong.
> More than being correct, music has to sound right; and, to this date, few works in
> any art exemplify the distinction between reality and perception better than "Singin'
> in the Rain." After all, when Kathy Selden is dubbing for the voice of Lina Lamont,
> and we hear the sound of Debbie Reynolds crooning "Would You," we are not really
> hearing Debbie Reynolds. We are actually hearing a ghost singer named Betty Noyes,
> who dubbed Reynolds's voice on the song, without credit.
> Some years ago, I learned about this at a press event for one of the video releases
> of the film, and Reynolds was on hand for pictures and a few questions. When the
> subject of Noyes's once-secret dubbing came up, Reynolds smiled her Kathy Selden
> smile and said, "Oh -- my singing was too good to use."
>
> ------------------------------
>
> Message: 6
> Date: Wed, 27 Jun 2012 08:23:03 +1000
> From: Bill Haesler <bhaesler at bigpond.net.au>
> To: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Franz Jackson project
> Message-ID: <12677804-4508-46ED-A5D3-E564D7C1726D at bigpond.net.au>
> Content-Type: text/plain; charset=us-ascii
>
>>> So, how about ordering the CDs in advance, which is a pledge of $25--couldn't be easier!! just go to this link and help preserve this piece of jazz history!
> http://www.kickstarter.com/projects/1749558063/franz-jackson-milestone-a-historic-cd-project
>
> Dear Jazzmates,
> Well that was easy, using the Amazon link.
> Let's hope the project gets off the ground.
> Very kind regards,
> Bill.
>
>
> ------------------------------
>
> Message: 7
> Date: Wed, 27 Jun 2012 13:22:13 +1200
> From: Joe Carbery <joe.carbery at gmail.com>
> To: Dixieland Jazz Mailing List <Dixielandjazz at ml.islandnet.com>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Articles on "Captain" John Handy
> Message-ID:
> <CAEKK+EwH6egT5vg3jGGa5qD4rjM9G3aJ4Kq1eAknJvgPH_VmqQ at mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> Dear Listmates,
>
> Do any of you have available copies of any of the following articles (or
> indeed any articles) on John Handy?
>
> "Handy: New Orleans Alto? I Played as if I was Playing Trumpet." By M.
> Jones. *Melody Maker *(2nd April 1966), 6
> "'Captain' John Handy." T. Stagg.*Jazz Times *iii/3 (1966), 7
> "Captain John Handy: A Personal Appreciation." T.Stagg. *Footnote *ii/4
> (1971), 18.
>
> Regards,
>
> Joe Carbery.
>
>
> ------------------------------
>
> Message: 8
> Date: Wed, 27 Jun 2012 10:40:07 -0400
> From: Stephen G Barbone <barbonestreet at earthlink.net>
> To: Marek Boym <marekboym at gmail.com>
> Cc: DJML <dixielandjazz at ml.islandnet.com>
> Subject: Re: [Dixielandjazz] Pee Wee Bizouam
> Message-ID: <785AB9C9-74C0-4582-B89A-7D0113725B95 at earthlink.net>
> Content-Type: text/plain; charset=us-ascii
>
>
> I do 't know who Bizouam is other than the clarinetist on that Albert Nicholas video. I don't know that band either, but since they are playing in St Germain Des Pres. I'll make a SWAG that it is a French band and Bizouam is a French clarinetist. Perhaps a french listmate can help with more information?
>
> Onb the CDs, I sing "I Want a Little Girl" and Paul Grant sings "Someday You'll Be Sorry", What A Wonderful World" etc.
>
> Cheers,
> Steve Barbone
> www.myspace.com/barbonestreetjazzband
>
> On Jun 26, 2012, at 3:54 PM, Marek Boym wrote:
>
>> Perhaps.
>> But he is on one of the videos I've found when clicking on the Albert
>> Nicholas link that arrived with your Dodds you tubes.
>> Cheers
>> P.s.
>> Who sings what on your CD? Both you and Paul Grant are listed as vocalists.
>>
>> On 26 June 2012 22:43, Stephen G Barbone <barbonestreet at earthlink.net> wrote:
>>>
>>>> Marek Boym <marekboym at gmail.com> wrote: (polite snip)
>>>>
>>>> Who the hell is Pee Wee Bizouarn?
>>>
>>> Probably related to John Galt.
>>>
>>> Cheers,
>>> Steve Barbone
>>> www.myspace.com/barbonestreetjazzband
>
>
>
>
> ------------------------------
>
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> End of Dixielandjazz Digest, Vol 114, Issue 39
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