[Dixielandjazz] Early recordings by "Black bands"

[Dixiejazzdata]

Anton and All:


I stand corrected in my loose lipped statement, I was speaking in generalities of the times, passed down to me from Black Jazz musicians, over the years as at least their interpretation of the White Label and black band recording situations.   I am not a historian  or researcher  by any means, like my good and respected  friends  Anton, Crouch  and Bill Haesler.


And I have heard the Keppard story many times  from my longtime Black musicians.   They say he was not the only one to refuse to record for the same reasons at that time.   Many of the Black musicians wouild not do so because they wanted people to come and hear them live .   Turns out that was not such a bad idea after all, since now many people stay home and listen to their records and do not go out to support Live music any more.    :))


Cheers,


Tom Howler Wiggins   






-----Original Message-----
From: Anton Crouch <anton.crouch at optusnet.com.au>
To: B.B. Buffington <dixiejazzdata at aol.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Sent: Sun, Feb 9, 2014 10:09 pm
Subject: [Dixielandjazz] Early recordings by "Black bands"


Hello all

In his discussion of the "Dixieland vs Traditional" terminology, Tom 
Wiggins introduces an historical howler. Tom wrote

"The Original Dixieland Jazz Band did not invent Traditional Jazz they were 
simply the First Band allowed to record it by a White Label that would not even 
consider recording a Black band at that time in history."

No, no, no.

The matter of Freddie Keppard's/Original Creole Orchestra/  is the subject of 
Lawrence Gushee's book/Pioneers of jazz/  (Oxford University Press, 2005) and 
Gushee concludes that the Keppard band was invited by the Victor Talking Machine 
Company to make records, possibly as early as 1916. A straightforward case of a 
"White label" and a "Black band". The reasons for Keppard turning-down the offer 
are conjectural and include the well-known story of Keppard not wanting other 
bands to "steal his stuff". Other reasons include the perceived difficulty of 
recording the string instruments and the simple monetary matter of the band 
wanting to be paid to audition.

If we look at the pre and contemporary ODJB dance band period there are other 
"Black bands" who recorded for "White labels", eg

James Reese Europe, 1914
Wilbur Sweatman, 1916
Dan Kildare, 1916
Ford Dabney, 1917
Eubie Blake, 1917
W C Handy, 1917

All the best,
Anton

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