[Dixielandjazz] Dixielandjazz Digest, Vol 113, Issue 12
CHARLES ENLIND
cenlind at msn.com
Tue May 8 12:37:00 PDT 2012
I saw Dick Baker's reference to a number titled "At the Hooker's Ball" Quite a few years back the Potomac River Jazz Club used to
have jazz cruises out of Annapolis on the Severn River. As we pulled away from the dock one night the Tarnished Six Jazz Band rendered At the Hooker's Ball" complete with lyriics over our sound system which apparently covered quite a bit of Annapolis.
Next year the contract for chartering the Harbor Queen for another jazz cruise stated the band was not to play until some
distance away from the dock.
Chas Enlind
> From: dixielandjazz-request at ml.islandnet.com
> Subject: Dixielandjazz Digest, Vol 113, Issue 12
> Date: Tue, 8 May 2012 12:00:01 -0700
> To: cenlind at msn.com
>
> Send Dixielandjazz mailing list submissions to
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> Today's Topics:
>
> 1. To Robert Calder about Rock 'n' Roll (Kent Murdick)
> 2. Re: To Robert Calder about Rock 'n' Roll (RickeyZ)
> 3. Israeli Jazz in NYC (Bill Haesler)
> 4. Re: Israeli Jazz in NYC; (Robert Ringwald)
> 5. Jazz History (Bill Haesler)
> 6. A new look at jazz from Israel, please read. (Glen Page)
> 7. RIP Jim Savage (kaye Wade)
> 8. Woody Allen - was - Israeli Jazz in NYC (Stephen G Barbone)
> 9. Whence "Hey Engineer"? (Dick Baker)
> 10. Re: A new look at jazz from Israel, please read. (Marek Boym)
> 11. Re: Jazz History (Marek Boym)
> 12. Re: Jazz History/ Viva la difference redux (Shaw, Tim)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Mon, 07 May 2012 14:39:34 -0500
> From: Kent Murdick <kmurdick at jaguar1.usouthal.edu>
> To: dixielandjazz at ml.islandnet.com
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] To Robert Calder about Rock 'n' Roll
> Message-ID: <4FA824F6.9090002 at jaguar1.usouthal.edu>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> Rock music is not capable of evolving because it is predicated on
> musical illiteracy. It is much easier to learn the horn or the piano
> through reading notation. It is difficult to read on the guitar (for
> reasons I won't get into here) and therfore guitarist don't read or
> study music. After several generations of illiterate listeners/players,
> the art of listening and playing is lost.
>
> I'm not a particularly good sax player - I started when I was 60 years
> old - but because I can play the changes, much better players look at me
> like I'm a sorcerer.
>
> Kent
>
>
>
>
>
>
>
>
>
> ------------------------------
>
> Message: 2
> Date: Mon, 07 May 2012 15:25:40 -0600
> From: RickeyZ <rickz at usermail.com>
> To: Kent Murdick <kmurdick at jaguar1.usouthal.edu>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: Re: [Dixielandjazz] To Robert Calder about Rock 'n' Roll
> Message-ID: <4FA83DD4.8000803 at usermail.com>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> I taught guitar for twenty or thirty years. (Back when most of you were
> puppies.) I taught youngsters
> to read, both chords and notes. I don't think it's difficult. There
> are several places on the neck
> to play each note. (True also of bass, viola and other stringed
> instruments) but you play
> in a /position/ and the notes are laid out nicely there.
>
> The guitar is the most sought out, purchased, and played of all
> instruments. It is very easy to
> play just a little bit. I always said, when you start to get serious,
> it gets harder and maybe
> you're better off on the piano. Keyboard is not hard once you get the
> hang of it, but you
> do need to understand scales and you should read a little. Lots of
> young guitar players
> never get that far... they don't have to... three chords and you can
> play a thousand songs!!!
>
> Rock music is based on the blues, which evolved from African music.
> Much of it is
> based on a pentatonic scale, which makes the solos easier, and
> (unfortunately) similar.
> Rock CAN be very elegant, as witness McCartney, Van Halen et al. I'm
> sure you would find
> elegance if you looked, but I'm afraid you're stuck.
>
> Rick Jolley
> Guitar/Banjo/Bass/Dobro/Washboard
>
>
> Kent Murdick wrote:
> > Rock music is not capable of evolving because it is predicated on
> > musical illiteracy. It is much easier to learn the horn or the piano
> > through reading notation. It is difficult to read on the guitar (for
> > reasons I won't get into here) and therfore guitarist don't read or
> > study music. After several generations of illiterate
> > listeners/players, the art of listening and playing is lost.
> >
> > I'm not a particularly good sax player - I started when I was 60 years
> > old - but because I can play the changes, much better players look at
> > me like I'm a sorcerer.
> >
> > Kent
> >
> >
> >
> >
> >
> >
> >
> > _______________________________________________
> > 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, 8 May 2012 07:59:10 +1000
> From: Bill Haesler <bhaesler at bigpond.net.au>
> To: Stephen G Barbone <barbonestreet at earthlink.net>, Dixieland Jazz
> Mailing List <dixielandjazz at ml.islandnet.com>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Israeli Jazz in NYC
> Message-ID: <F7E0BC8A-5F04-4478-A518-72FB6DACE551 at bigpond.net.au>
> Content-Type: text/plain; charset=us-ascii
>
> Stephen G Barbone opined in the above thread:
> > Since this festival includes lots of local Jewish and some Israeli musicians, who would be there in NYC to play Dixieland?
> > Woodie Allen? Let's not forget that many on this list consider his music an embarrassment to jazz.
>
> Dear Steve,
> Really?
> How many DJMLers consider that?
> Or is it a small handful of our regular contributors out of a membership that exceeds (as I recall) 600 members?
> Please do not include me in that off-the-cuff claim.
> *>)
> Very kind regards,
> Bill.
>
>
> ------------------------------
>
> Message: 4
> Date: Mon, 7 May 2012 15:07:42 -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: Re: [Dixielandjazz] Israeli Jazz in NYC;
> Message-ID: <EFE46CD24F2C40FD950A2C0D143035CC at BobPC>
> Content-Type: text/plain; charset="utf-8"
>
> Jim Kash wrote:
>
>
> Bob wrote:
> >And, it is too bad that some people did not choose August 4 as
> International Jazz Day, for obvious reasons.
>
>
> Jim Kash answered:
>
>
>
> 'Cause it's my wife's birthday?
> Yup, how?d you guess?
>
> --Bob Ringwald
>
>
> ------------------------------
>
> Message: 5
> Date: Tue, 8 May 2012 08:43:52 +1000
> From: Bill Haesler <bhaesler at bigpond.net.au>
> To: Tim Shaw <Tim.Shaw at mh.org.au>, Dixieland Jazz Mailing List
> <dixielandjazz at ml.islandnet.com>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Jazz History
> Message-ID: <505617F0-97A4-4B59-A761-D7DB148207DC at bigpond.net.au>
> Content-Type: text/plain; charset=us-ascii
>
> Shaw, Tim wrote [in part]:
> > And how could you ignore King Oliver's Creole Jazz band (the greatest of all) - and their white counterparts New Orleans Rhthym Kings - both recorded in the early 20s (in Chicago, but they were NO bands).
>
> Dear Tim,
> Sorry, but after intense listening during my formative jazz years in the 40s-50s in Melbourne with my one jazz eyed mates, and owning all the records made in New Orleans in the 20s, I came to the conclusion way back then that King Oliver and his cohorts in Chicago were the melting pot for what I call 'Chicago Jazz'.
> I note that lately musicologists appear to agree with a belief we formulated all those years ago.
> Unless I am misreading people like Thomas Brothers, Lawrence Gushee, etc.
> Youngsters, with more musicology degrees than I can poke a stick at.
> Oliver (who left New Orleans in 1919 and never returned), Keppard, Dodds, Noone, Louis et al took 'the sound' out of New Orleans to Chicago and beyond, embellished it, influenced the young white Austin High School gang and friends, passed it on to New York and...
> The recorded music of South Side Chicago in the 1920s owes more to these expats that it does to those who stayed home in NOLA.
> Just a thought.
> *>)
> Very kind regards,
> Bill.
>
>
> ------------------------------
>
> Message: 6
> Date: Mon, 7 May 2012 17:25:33 -0700
> From: "Glen Page" <gpage at shaw.ca>
> To: "'DJML'" <dixielandjazz at ml.islandnet.com>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] A new look at jazz from Israel, please read.
> Message-ID: <000301cd2cb1$150d7750$3f2865f0$@ca>
> Content-Type: text/plain; charset="us-ascii"
>
> I'm going to take a different approach to this.I was not excited about the
> previous posts however I have before me evidence that some of the jazz that
> has inspired me and countless others on the site came from Israel.
> To wit, I have 2 Document CDs that the notes say 'Made In Israel". They were
> Bunk from 1942 to 1946.
>
> I have a number of other Document CDs , all of blues singers but all of
> these are made in Austria or the E.U.There is a wealth of music available
> from Document and I have my share
>
> Cheers.
>
> Glen Page
>
>
>
>
> ------------------------------
>
> Message: 7
> Date: Mon, 7 May 2012 18:28:33 -0700 (PDT)
> From: kaye Wade <kaye at kayewade.com>
> To: djml <dixielandjazz at ml.islandnet.com>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] RIP Jim Savage
> Message-ID:
> <1336440513.57852.YahooMailClassic at web184502.mail.ne1.yahoo.com>
> Content-Type: text/plain; charset=iso-8859-1
>
> Sad News- Jim seccumbed to Cancer yesterday at his home.
>
> No arrangements info yet. Will let you know ASAP
>
>
> Please pass this info on to those who knew him
> He reached so far - I don't have eveyones e-mail or phones
> ?Thanks,
>
> K
>
> ------
>
> Kaye Wade
>
> Stuntwoman-Actress, Vocalist & Bandleader
>
> 1st. Honorary Stunt Woman in Stuntmens Assoc.of M.P.
>
> (also *Kaye Wade's Riverboat Ramblers, *The Tinsel Town Ten Minus - 3,
>
> *Jazz Holiday Band @ Sardo's, Burbank, Ca, Washboards International.com
>
> Former San Fernando Valley Banjo Band NOW -*Jazz'n Banjos,*Reflexologist, and "THIMBLES" The Clown)
>
>
>
> http://www.KayeWade.com
>
> ------------------------------
>
> Message: 8
> Date: Mon, 7 May 2012 23:24:22 -0400
> From: Stephen G Barbone <barbonestreet at earthlink.net>
> To: Bill Haesler <bhaesler at bigpond.net.au>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Woody Allen - was - Israeli Jazz in NYC
> Message-ID: <FACB1430-F47A-48BD-81E7-CE1F1C95E839 at earthlink.net>
> Content-Type: text/plain; charset=US-ASCII; format=flowed; delsp=yes
>
>
>
> > Stephen G Barbone opined in the above thread:
>
> >> Woodie Allen? Let's not forget that many on this list consider his
> >> music an embarrassment to jazz.
> >
> > Dear Steve,
> > Really?
> > How many DJMLers consider that?
> > Or is it a small handful of our regular contributors out of a
> > membership that exceeds (as I recall) 600 members?
> > Please do not include me in that off-the-cuff claim.
> > *>)
> > Very kind regards,
>
> Dear Bill:
>
> Not so off the cuff. No doubt you remember the Woody Allen thread of a
> year or two ago? Of those who posted opinions I believe there was an
> even split of those who enjoyed his playing and those who thought he
> was awful. Some felt they had been ripped off after paying the ticket
> price to see him in concert. Some musicians said he couldn't play at
> all. As usual, not too many people posted. Maybe 8 opinions or so. If
> that is typical of the total membership, and I don't see why it
> wouldn't be. then many dislike him.
>
> Like you, I enjoy Woody Allen's band. While he is not as accomplished
> a musician as many members of the DJML, he draws a larger paying
> audience that any of them. And yes, no doubt, some go to see him as a
> personality and not for his playing. But so what. Paying audience is
> what it's all about.
>
> I've seen him play a number of times and enjoyed the music each time.
> And I enjoy his band mates who are excellent musicians.
>
> But we'll never find out how many on the DJML like or dislike him as a
> OKOM musician unless they speak up. Thus I stand by "many".,
>
> Cheers,
> Steve Barbone
> www.myspace.com/barbonestreetjazzband
>
>
>
>
>
>
>
>
> ------------------------------
>
> Message: 9
> Date: Mon, 07 May 2012 21:00:31 -0700
> From: Dick Baker <djml at dickbaker.org>
> To: dixielandjazz at ml.islandnet.com
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Whence "Hey Engineer"?
> Message-ID: <auto-000381451706 at wavecable.net>
> Content-Type: text/plain; charset="us-ascii"; format=flowed
>
> At the Chattanooga festival this weekend, an old friend asked if I
> could help her find a song she remembered about a train going south
> and Georgia peaches, etc. I quickly replied that that's an old Ernie
> Carson song called "Hey Engineer" and was sure that I had a recording
> of it by him that I could send her.
>
> Well, when I got home, I found that my only recording of it is by the
> Tarnished Six of State College, PA. I then headed for George Buck's
> Jazzology web site, knowing that George is the Prime Mover of Ernie
> Carson in jazz recording history. I did find "Hey Engineer" there,
> but only once, on a Carson Castle Jazz Band recording called "At the
> Hooker's Ball."
>
> Now I'm wondering: Do the rest of you associate that song with
> Carson, or is my memory incorrect?
>
>
> --
> ---------------------
> Dick Baker
> djml at dickbaker.org
>
>
>
>
> ------------------------------
>
> Message: 10
> Date: Tue, 8 May 2012 10:35:35 +0300
> From: Marek Boym <marekboym at gmail.com>
> To: Glen Page <gpage at shaw.ca>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: Re: [Dixielandjazz] A new look at jazz from Israel, please
> read.
> Message-ID:
> <CABGvO8AcEZJrtRhb5oroaqGOPp08SFnRUaCDXiHj8BAqzTjj1Q at mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> Hi Glen,
> Could you give more details? I've never known that Document were made
> here. There was a cheap series of very good CDs, History, that were
> manufactured here for a foreign company. However, something must
> havehappened to either the issuer or the manufacturer, because a few
> years ago the whole series was available at a very cheap price, mostly
> without the original jewel boxes.
> Otherwise, very few jazz CDs are issued here, mostly compilations that
> may appeal to non-jazz audiences.
> However, there is quite a lot of jazz activity. I am not at all
> interested in "modern jazz," so I won't refer to that, but we have
> three very active OKOM bands: New Orleans Function, Swing de Gitanes
> (if you count Gypsy swing as OKOM - I do) and the veteran Isradixie.
> In addition, there are the Tel-Aviv Museum and Opera jazz series,
> which usually feature at least one OKOM concert (we're expecting Evan
> Christopher towards the end of the current series, with Swing de
> Gitanes), listmate Larry's Dr. Jazz, and other less active bands. Not
> too bad for a country of about 7 million, including a large
> ultra-religious minority that does not listen to music as a matter of
> principle and certainly does not attend concerts or clubs, as it
> practices gender segregation, and an about 20% Arab population which
> hardly listens to jazz, although young Arabs do go to clubs and
> discoes.
> Cheers
>
> On 8 May 2012 03:25, Glen Page <gpage at shaw.ca> wrote:
> > I'm going to take a different approach to this.I was not excited about the
> > previous posts ?however I have before me evidence that some of the jazz that
> > has inspired me and countless others on the site came from Israel.
> > To wit, I have 2 Document CDs that the notes say 'Made In Israel". They were
> > Bunk from 1942 to 1946.
> >
> > I have a number of other Document CDs , all of blues singers but all of
> > these are made in Austria or the E.U.There is a wealth of music available
> > from Document and I have my share
> >
> > Cheers.
> >
> > Glen Page
> >
> >
> > _______________________________________________
> > 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: 11
> Date: Tue, 8 May 2012 10:43:03 +0300
> From: Marek Boym <marekboym at gmail.com>
> To: Bill Haesler <bhaesler at bigpond.net.au>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: Re: [Dixielandjazz] Jazz History
> Message-ID:
> <CABGvO8COWRgzjw0OzbHqeNcK=xdt3OwmiWWe7yaCAvQ1bm1jpg at mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> Dear Bill,
> This time I must agree with Tim. True, those bands played in Chicago,
> but they came from New Orleans. The band members came from New
> Orleans (In King Oliver's case - except for Lil Hardin), and even
> brought musicians from the home town when they needed replacement. At
> that very early stage, they had little time to have absorbed any
> influences. And when one listens to the bands that recorded in New
> Orleans, they do not sound anything like the George Lewis band. I am
> sure that not all New Orleans musicians played like King Oliver, but
> he and Dodds and some others were apparently themost accomplished
> ones. The 'revival" bands were organized by white folklorists, and I
> have for the longest time had the feeling that, being professionals,
> played what their publicand sponsors wished to hear.
> Cheers
>
> On 8 May 2012 01:43, Bill Haesler <bhaesler at bigpond.net.au> wrote:
> > Shaw, Tim wrote [in part]:
> >> And how could you ignore King Oliver's Creole Jazz band (the greatest of all) - and their white counterparts New Orleans Rhthym Kings - ?both recorded in the early 20s (in Chicago, but they were NO bands).
> >
> > Dear Tim,
> > Sorry, but after intense listening during my formative jazz years in the 40s-50s in Melbourne with my one jazz eyed mates, and owning all the records made in New Orleans in the 20s, I came to the conclusion way back then that King Oliver and his cohorts in Chicago were the melting pot for what I call 'Chicago Jazz'.
> > I note that lately musicologists appear to agree with a belief we formulated all those years ago.
> > Unless I am misreading people like Thomas Brothers, Lawrence Gushee, etc.
> > Youngsters, with more musicology degrees than I can poke a stick at.
> > Oliver (who left New Orleans in 1919 and never returned), Keppard, Dodds, Noone, Louis et al took 'the sound' out of New Orleans to Chicago and beyond, embellished it, influenced the young white Austin High School gang and friends, passed it on to New York and...
> > The recorded music of South Side Chicago in the 1920s owes more to these expats that it does to those who stayed home in NOLA.
> > Just a thought.
> > *>)
> > Very kind regards,
> > Bill.
> > _______________________________________________
> > 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: 12
> Date: Tue, 8 May 2012 20:38:57 +1000
> From: "Shaw, Tim" <Tim.Shaw at mh.org.au>
> To: Marek Boym <marekboym at gmail.com>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: Re: [Dixielandjazz] Jazz History/ Viva la difference redux
> Message-ID:
> <E7156B88658965408E80E25DA9745C902DE392E56C at RMHMAIL3.ssg.org.au>
> Content-Type: text/plain; charset="us-ascii"
>
> Dear Bill, Marek & friends
>
> Bill, I have to agree with you about Oliver himself - in any case, his style and sound were both pretty unique amongst NO trumpeters, at least those on record) - no "French-style" fast vibrato, (Armstrong has more vibrato than Oliver) very sparse and economical style (based on a minimum of cleverly timed and harmonically placed notes).
>
> I think that Oliver was also the first to play up to high Bb (The break in "Sweet Lovin Man") - even when he was alledgedly past his prime (1923) by most accounts.
> Keppard and others made more noise and were flashier, but Oliver wins hands down just on the basis of musical taste, IMO.
>
> I think the most remarkable thing about the great early New Orleans players is that they are so utterly different.
> For example, Lorenzo Tio is supposed to have taught all great clarinetists - none of whom sound like Tio or like each other.
> Dodds', Noones' and Bechet's sounds and styles seem to have been formed very early; I doubt their travels after leaving NO affected them much. Dutrey likewise.
>
> That's why I think the KOCJB is really a NO band; it's sound is probably a bit tighter and more arranged than it might have been in NO, (but several people who heard it live are on record as saying that the recordings don't capture the live sound well.)
>
> I don't think there's any doubt about the NORKS/half-way house ork being a bona fide (white) NO sound.
>
> I think of the Austin High gang and early Benny Goodman as the first "Chicago" Jazz;
>
> The South Side stuff is pretty much NO (or from other places further up river like St Loius - eg Charles Creath).
>
> If I had to nominate early black group(s) that have a "Chicago" sound, I think the Jimmy Blythe/Bertrand groups fit the Bill.
>
> cheers
> tim
>
>
> From: dixielandjazz-bounces at ml.islandnet.com [dixielandjazz-bounces at ml.islandnet.com] On Behalf Of Marek Boym [marekboym at gmail.com]
> Sent: 08 May 2012 17:43
> To: Shaw, Tim
> Cc: Dixieland Jazz Mailing List
> Subject: Re: [Dixielandjazz] Jazz History
>
> Dear Bill,
> This time I must agree with Tim. True, those bands played in Chicago,
> but they came from New Orleans. The band members came from New
> Orleans (In King Oliver's case - except for Lil Hardin), and even
> brought musicians from the home town when they needed replacement. At
> that very early stage, they had little time to have absorbed any
> influences. And when one listens to the bands that recorded in New
> Orleans, they do not sound anything like the George Lewis band. I am
> sure that not all New Orleans musicians played like King Oliver, but
> he and Dodds and some others were apparently themost accomplished
> ones. The 'revival" bands were organized by white folklorists, and I
> have for the longest time had the feeling that, being professionals,
> played what their publicand sponsors wished to hear.
> Cheers
>
> On 8 May 2012 01:43, Bill Haesler <bhaesler at bigpond.net.au> wrote:
> > Shaw, Tim wrote [in part]:
> >> And how could you ignore King Oliver's Creole Jazz band (the greatest of all) - and their white counterparts New Orleans Rhthym Kings - both recorded in the early 20s (in Chicago, but they were NO bands).
> >
> > Dear Tim,
> > Sorry, but after intense listening during my formative jazz years in the 40s-50s in Melbourne with my one jazz eyed mates, and owning all the records made in New Orleans in the 20s, I came to the conclusion way back then that King Oliver and his cohorts in Chicago were the melting pot for what I call 'Chicago Jazz'.
> > I note that lately musicologists appear to agree with a belief we formulated all those years ago.
> > Unless I am misreading people like Thomas Brothers, Lawrence Gushee, etc.
> > Youngsters, with more musicology degrees than I can poke a stick at.
> > Oliver (who left New Orleans in 1919 and never returned), Keppard, Dodds, Noone, Louis et al took 'the sound' out of New Orleans to Chicago and beyond, embellished it, influenced the young white Austin High School gang and friends, passed it on to New York and...
> > The recorded music of South Side Chicago in the 1920s owes more to these expats that it does to those who stayed home in NOLA.
> > Just a thought.
> > *>)
> > Very kind regards,
> > Bill.
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> End of Dixielandjazz Digest, Vol 113, Issue 12
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