[Dixielandjazz] NBEJB WICN Streaming Live
tonypringle
tonypringle at comcast.net
Mon Apr 6 05:08:28 PDT 2015
Hi Listmates,
This is a bit of crass commercialism, but if any of you might be
interested in listening to the NBEJB try this link between noon and
1:00pm East Coast time on Wednesday April 8th.
Our lunchtime gig on Wednesday 8th April will be streamed live by WICN,
Worcester, MA - give us a listen at -
http://tunein.com/radio/WICN-905-s29518/
Cheers, Tony Pringle
On 4/4/15 3:00 PM, dixielandjazz-request at ml.islandnet.com wrote:
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> Today's Topics:
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> 1. Re: Monterey Hot Jazz Society (Meg)
> 2. Fwd: [New post] BOILERMAKERS, FRENCH FRIES, AND SORROW
> (Jazzman joe)
> 3. Willie Hightower. (Was CD query: Blue Steele, Vintage Music
> Prod.) (Bill Haesler)
> 4. 'Bessie' the film. (Bill Haesler)
> 5. Billie Holiday - Another Day in the Sun (Robert Ringwald)
> 6. Marek (ROBERT R. CALDER)
> 7. Charleston City All-Stars Go Dixieland (Marek Boym)
> 8. "There Ain't Nothin' Doin' What You're Thinkin' About"
> (Bruce Stangeland)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Fri, 3 Apr 2015 12:11:21 -0700
> From: Meg <meggraf at hotmail.com>
> To: "dixielandjazz at ml.islandnet.com" <dixielandjazz at ml.islandnet.com>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: Re: [Dixielandjazz] Monterey Hot Jazz Society
> Message-ID: <COL128-W42C6E7A2B43608220060F3B2F10 at phx.gbl>
> Content-Type: text/plain; charset="iso-8859-1"
>
> Hello, listmates:
>
> Calamity Jazz is honored to be the guest band at the April session of the Monterey [California]
> Hot Jazz Society on April 12. If you are in the area, won't you please come join us for a great
> afternoon in a beautiful setting? If you want more information, or directions to the Monterey
> Elks Lodge, feel free to contact me.
>
> The Calamity Jazz musicians for the April session are: Vicki Cox [leader; trumpet], Norm Gary
> [reeds], Bill Badstubner [trombone], Jeff Green [banjo; guitar], Debera McIrving [percussion],
> Don Irving [bass], and yours truly on piano.
>
> Hope to see you there!
>
> Best regards, and keep jazzin'!
>
> Meg and Big George
> www.calamityjazz.com
>
>
>
> ------------------------------
>
> Message: 2
> Date: Fri, 3 Apr 2015 15:45:30 -0400
> From: Jazzman joe <jazzmnjoe at aol.com>
> To: dixielandjazz at ml.islandnet.com
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Fwd: [New post] BOILERMAKERS, FRENCH FRIES,
> AND SORROW
> Message-ID: <14c80d11d38-3466-29607 at webprd-a11.mail.aol.com>
> Content-Type: text/plain; charset=utf-8
>
>
>
>
> -----Original Message-----
> From: JAZZ LIVES <comment-reply at wordpress.com>
> To: jazzmnjoe <jazzmnjoe at aol.com>
> Sent: Fri, Apr 3, 2015 12:10 pm
> Subject: [New post] BOILERMAKERS, FRENCH FRIES, AND SORROW
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> New post on JAZZ LIVES
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> BOILERMAKERS, FRENCH FRIES, AND?SORROW
> by jazzlives
>
>
>
>
>
> Let us remember, mourn, and celebrate Richard McQueen Wellstood in three ways, for he was too expansively singular to be contained in one alone.
>
> The first is a blessing -- the man himself -- on a 1981 BBC video, the program called Pebble Mill At One," where Wellstood plays AIN'T MISBEHAVIN' and RUSSIAN RAG, then we have the immense happiness of Dick, Kenny Davern, and Kenny Clare for A PORTER'S LOVE SONG and BLUE MONK:
>
>
>
> The second is prose -- what my briefly-known friend, the late Leroy "Sam" Parkins, reedman and thinker, called "random mutterings" wrote about Dick in 2002:
>
> Dick Wellstood, pianist / catalyst, died in 1987. ?Died of boilermakers, french fries, and sorrow.
>
> In somewhat over 50 years of playing this music, there's only been two accompanists that gave me the vitamins I need. ?Roger Kellaway . . . and Dick. On 6 of the 9 records I've made - well - let's take it from wherever the top is. ?Oh yeah - the boilermakers. Tapered tall glass of Guinness Dark, and a 3 oz. glass of Wild Turkey. ?Repeat ad libitum . . .
>
> Some random mutterings about Dick. ?The basics. ?Law School; Editor, Columbia Law Review [that's what he told me. ?His biographer says NYU]. Folks, that's big time. ?Passed the bar exam, went right back to the Metropole to play with Red Allen.
>
> Brilliant. ?Funny. ?Fast forward. Late in his life, with considerable saloon burn-out, he took up an offer from some customers from a Wall St. law firm to join them at work. ?The first thing he learned was that lunch was billable time. ?You don't do lunch. ? They put him to beginners' shit work, but he was so brilliant that after about six weeks got the class stuff. ?Hated it. ?After eleven months he returned to Hanratty's and his beloved piano. ?Dick Sudhalter went to visit him real soon at the club. ?Wellstood said, sitting down at the piano, "The law don't take no fucking brains. ?This [plays piano] takes brains."
>
> One weekend night that summer of '86 I stayed to the end and closed the joint. Remember it's six nights a week. ?He got paid. $500.00. ?For the week. ?Got it? This is a superstar in Europe, the tippy top of his craft, raved about in newspapers in 5 languages. Making 1/10th - wrong - make it 1/20th - of what he would have been making by then in law . . . .
>
> Third, Wellstood in an excerpt from a 1977 CBC documentary, THEY ALL PLAY RAGTIME, offering CAROLINA SHOUT and his own SNATCHES. ?At several points in the second performance, his left hand is a blur:
>
>
>
> I think we only intermittently understand ourselves, so our comprehension of what is going through another person's mind and heart can be at best empathic guesswork.
>
> So although I prize Sam Parkins' recollections of Dick Wellstood, friend and hero, I hope Sam was wrong.
>
> I hope that Wellstood, someone who created so much joy -- a joy that continues now -- was not sorrowful, that there was not a direct causal relationship between the low pay and insufficient recognition and his too-brief life. ?But only he could tell us, and he might not even have known it fully for himself. ?His ebullient quirky music and his singular personality remain, and they are too large and too beautiful to be quantified in any small way. ?He gave generously of himself, and that lives on.
>
> May your happiness increase!
>
>
>
> jazzlives | April 3, 2015 at 1:10 PM | Tags: boilermakers, Dick Sudhalter, Dick Wellstood, Hanratty's, Jazz Lives, Kenny Clare, Kenny Davern, Leroy "Sam" Parkins, Michael Steinman, Red Allen, Roger Kellaway, sorrow, Stride piano, the law | Categories: "Thanks A Million", Awful Sad, Bliss!, Generosities, Hotter Than That, Irreplaceable, It's A Mystery, It's All True, Jazz Titans, Pay Attention!, Swing You Cats!, The Heroes Among Us, The Real Thing, The Things We Love | URL: http://wp.me/pckf2-7tN
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> ------------------------------
>
> Message: 3
> Date: Sat, 4 Apr 2015 10:11:46 +1100
> From: Bill Haesler <bhaesler at bigpond.net.au>
> To: Marek Boym <marekboym at gmail.com>, Dixieland Jazz Mailing List
> <dixielandjazz at ml.islandnet.com>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Willie Hightower. (Was CD query: Blue Steele,
> Vintage Music Prod.)
> Message-ID: <9873B7A7-5060-496B-9551-D855FA54F849 at bigpond.net.au>
> Content-Type: text/plain; charset=us-ascii
>
> Marek Boym wrote:
>> I wonder what people who worry about poor sound would think of the HIghtower reissues?
> Dear Marek,
> When I started collecting in earnest back in the late 1940s, that Willie Hightower Black Patti "Boar Hog Blues/Squeeze Me" record was considered the rarest of all jazz classics. Along with King Oliver's "Zulus' Ball".
>
> Willie Hightower's Night Hawks.
> Willie Hightower (c) John Lindsay (tb) Fred Parham (cl/as) Richard M. Jones (p) Bud Scott (g) Rudy Richardson (d)
> Chicago. c. July, 1927
>
> When the Hightower sides finally came out on LP Historical (HLP 30), we were not disappointed with the remastered sound quality.
> Because it was as bad as we had anticipated.
> However, after the long wait, what did let us down was the actual music.
> We had been expecting (hoping for) was an unheard Joe Oliver - Freddie Keppard style New Orleans cornet pioneer.
> As my friend John RT Davies once said, "All jazz classics should be remastered from the original 78 every ten years to take advantage of technology."
> I have the Hightower on the Historical LP, a Hot 'n' Sweet CD and the latest Archeophone OTRMM10 CD "Cabaret Echoes".
> John RT was right.
> The Archeophone is excellent plus.
> To these old ears.
> Kind regards,
> Bill.
>
>
>
>
> ------------------------------
>
> Message: 4
> Date: Sat, 4 Apr 2015 10:29:14 +1100
> 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] 'Bessie' the film.
> Message-ID: <799890BC-6BED-45AC-8EE7-88BCF42FFA6B at bigpond.net.au>
> Content-Type: text/plain; charset=us-ascii
>
> Dear Listmates.
> DJMLer Helen Thompson has alerted me to the latest update on the long-awated Queen Latifah Bessie Smith film.
> The one we have been waiting for (along with Forest Whitaker's Louis Armstrong bio-film) for quite a few years.
> "Bessie" is scheduled to premiere on HBO (US) on Saturday, 16 May 2015.
> http://blogs.indiewire.com/shadowandact/this-teaser-trailer-for-hbos-bessie-smith-biopic-looks-good-check-it-out-20150313
> We aliens will have to wait for our cable channels to pick it up.
> The following link is the latest update I could find on the Louis' film:
> http://www.heyuguys.com/interview-forest-whitaker-the-butler-louis-armstrong-biopic/
> Very kind regards,
> Bill
>
>
>
>
> ------------------------------
>
> Message: 5
> Date: Fri, 3 Apr 2015 21:31:12 -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] Billie Holiday - Another Day in the Sun
> Message-ID: <5D19937BFAC4437CA7DD7710F071D83E at BobPC>
> Content-Type: text/plain; charset="UTF-8"
>
> 100 Years Later, Lady Day Gets Another Day in the Sun
>
>
> by Elysa Gardner
>
> USA Today, April 1, 2015
>
>
> NEW YORK -- One-hundred years ago next Tuesday, Eleanora Fagan was born into poverty in Philadelphia. She would only live to be 44, but Billie Holiday, as she later became known, would have an impact on jazz and pop music that remains unsurpassed.
>
>
> Holiday?s voice was limited in size and range. But the emotional breadth of her singing -- her ability to transmit desire and despair with utter clarity, and without sentimentality -- was astonishing.
>
>
> ?It was her phrasing that captured my imagination the most,? says Cassandra Wilson, whose new album, Coming Forth By Day (out Tuesday) is a tribute to Holiday. ?She?s one of the first singers who started really digging deeply into the emotional subtext of a song, and that influenced artists across the boards.?
>
>
> Indeed, WNYC radio host Jonathan Schwartz, who knew Frank Sinatra and has championed his and Holiday?s work for decades, says that Holiday ?started to do what Frank would finish, which is to sing a song from the inside rather than the outside, so that the song became a part of the flesh and blood of the singer. That?s why they?re the two greatest intimate singers.?
>
>
> Says Schwartz Sinatra, who was born the same year as Holiday: ?It took him longer. Billie did it right out of the gate.?
>
>
> On Monday, New York?s storied Apollo Theater will acknowledge Holiday?s greatness by inducting her into its Walk of Fame. (Wilson will appear at the ceremony, and pay homage with a concert on April 10.) Holiday first sang at the Apollo as a teenager in 1934, and returned to the venue more than 20 times throughout a career plagued by personal and legal troubles -- including a stint in prison, after a 1947 arrest for narcotics possession, that cost the singer her cabaret card.
>
>
> Mikki Shepard, the Apollo?s executive producer, believes that Holiday?s struggles ?reflected what the average person was going through -- not necessarily her problems with drugs, but with other challenges. She was broke a lot of the time, she had abusive relationships.?
>
>
> At the same time, Shepard says, Holiday was ?a woman who went her own way. Jazz had been a man?s world, and she was fighting her way through.?
>
>
> Music historian Michael Brooks, who produced the new compilation Billie Holiday: The Centennial Collection, an anthology of recordings from 1935-1945, says of Holiday, ?She was hard-nosed, there?s no doubt about it. She didn?t care who she fought with or how it affected her career.?
>
>
> Those she clashed with included the legendary bandleaders Count Basie and Artie Shaw. Traveling with Shaw?s band, Holiday also endured racial discrimination: At one hotel the management demanded that she use the freight elevator, so as not to offend white clientele.
>
>
> In 1939, the year after that episode, Holiday confronted racism in song with the still-bone-chilling Strange Fruit, inspired by a lynching. The recording itself -- for Commodore Records, after Holiday?s label at the time, Columbia, declined to release it -- was an act of defiance, says Shepard. ?It was really protest music.?
>
>
> But Brooks figures there was also a more pragmatic side to Holiday. ?If you look at all of her material, there are a lot of mediocre songs... From what I?ve gathered, she would go into the studio and songs would be handed to her that she?d never even heard of before. That was true of a lot of musicians, particularly black musicians. It?s amazing she got as much out of them as she did.?
>
>
> Wilson, for her part, prefers not to focus on Holiday?s personal and professional hardships.?It was very difficult for a black woman in the music business, and she was hounded,? Wilson allows. ?The important thing is to live your life and have control, and I think Lady Day did that, to the extent she could. She should be an inspiration.?
>
> ___________________________________
>
>
> For Billie Holiday?s 100th Birthday, Tributes and New Releases
>
>
> by Ben Ratliff
>
> New York Times, April 3, 2015
>
>
> In Billie Holiday?s ?I Cried for You,? recorded at Clark Monroe?s Uptown House in Harlem in 1941, time feels unimportant. She?s flooding the entire thing, doing a long yell, a game of phrasing and pitch, with words delayed and shaken and skywritten.
>
>
> She sounds unbothered by the placement of the bar lines but grounded by her relationship with the song?s form and the band?s groove. (The audience knows: It is screaming.) At 26, she sounds as if she has been on this particular stage all her life, playing with the song?s possibilities, and isn?t ready to leave. ??I Cried? was my damn meat,? she wrote in her memoir, ?Lady Sings the Blues.? The song connects backward to Louis Armstrong?s phrasing and silences and Bessie Smith?s volcanic projection; it connects forward to purposeful, idiosyncratic, brash or subtle or sideways vocal phrasers in the jazz and blues aesthetic and beyond: Abbey Lincoln, Betty Carter, Shirley Caesar, James Brown, Bob Dylan, Sly Stone, Erykah Badu. Holiday died in June 1959, at 44, sounding twice that age. This Tuesday she would have turned 100. This is as good a reason as any to think about her essence, and it makes her the focus of concerts and albums over the next several weeks by singers who have been doing their own thinking, as well as a critical biography by the jazz historian John Szwed, ?Billie Holiday: The Musician and the Myth,? published this week.
>
>
> Cassandra Wilson has a completely different vocal tone from Billie Holiday?s: broad and dark rather than thin and piercing. Her new record, ?Coming Forth by Day? (Ojah/Legacy), presents songs that Holiday recorded, but revised beyond recognition, with a band including the guitarist Kevin Breit and the rhythm section of the Bad Seeds, Nick Cave?s band. There?s no attempt at an impersonation of Holiday?s sound, whether with a small swing band or a string orchestra. There?s a reason for this.
>
>
> ?She was the kind of woman who did things her way,? Ms. Wilson said recently, speaking about Holiday and often slipping into present tense. We were in Woodstock, N.Y., in the barn formerly owned by the drummer Levon Helm, where Ms. Wilson was rehearsing her band for a tour. (She will play the new music in a concert at the Apollo in Harlem next Friday, after a ceremony that will put a Holiday plaque under the marquee.) ?And so I think the music has to match that. She was very defiant, very stubborn. But it?s not a rebel-without-a-cause-type stubbornness. I think deep down she feels certain inequalities in her world, she senses the balance of power, and she?s part of that energy that challenges that.?
>
>
> ?Coming Forth by Day? is part of the post-tragic phase in the history of the perception of Billie Holiday. It?s not enough to see her as a passive or static entity -- a victim, a sufferer, a collection of vocal mannerisms. The closer you look, the less she seems stuck in her time. She sang with Count Basie, Artie Shaw and Benny Goodman in the 1930s, and recorded ?Strange Fruit? in 1939, a brave and piercing meditation on American racism. But she wasn?t widely known outside jukeboxes and jazz circles, among either black or white audiences, until the mid-?40s. In 1947 she was convicted on drug charges, spent almost a year in jail and lost her cabaret card, preventing her from performing anywhere that sold alcohol. It is generally known that she was targeted by the Federal Bureau of Narcotics, which was looking for a splashy arrest; her conviction started more than a decade of almost constant law-enforcement surveillance.
>
>
> ?Lady Sings the Blues,? written by Holiday and William Dufty -- long tainted by its inaccuracies but a much better book than its reputation suggests -- was candid about drug use, which gave it an underworld allure. But Mr. Szwed argues that it was meant to help restore her reputation and get her cabaret card back; she was controlling her own story. It ends on a note of rehabilitation and argues progressively for addiction to be seen as an illness. ?The story of her life was made public as part of the first war against drugs,? Mr. Szwed writes. He adds, ?Yet she quickly realized that it was possible for her to use some of the same media and methods to defend and redefine herself.?
>
>
> Socially, Holiday lived with purpose and curiosity, hanging out with musicians, Hollywood stars, professors, female impersonators. But she also sang dark songs about sorrow and loving bad men. For decades after her death, she was understood as a doomed hero, especially through the tragic narrative of the Diana Ross movie version of ?Lady Sings the Blues.? The change in that understanding has come slowly ever since, partly thanks to books that go beyond biography and look into her meaning and reception: Mr. Szwed?s, as well as others by Farah Jasmine Griffin and Robert G. O?Meally.
>
>
> But it?s also partly thanks to musicians who have made records around Holiday and talked about her publicly, including Abbey Lincoln -- whose thoughts about Holiday cycled through admiration, skepticism (in a 1962 interview, she called Holiday a masochist) and finally a full, complex respect -- and Ms. Wilson.
>
>
> Holiday was a wicked maker of sound. Many have compared her voice to a horn, but Ms. Wilson compares it to the generalized sound of a jazz ensemble of the 1930s as heard on record, flattened out through mono and single-microphone technology. (She stands by ?Strange Fruit? as Holiday?s greatest accomplishment.) The pianist and educator Ran Blake, who has taught courses on Holiday?s music at New England Conservatory for many years, particularly loves her moody recordings for Decca in the mid-?40s, including ?No More? and ?Deep Song?; he praises the rhythmic and harmonic confidence she found through subtlety, without overemoting. ?Students who try to notate ?Deep Song,?? he told me in a recent conversation, ?find it vastly harder than five or six bars of a Bartok piece.?
>
>
> ?Lady Sings the Blues,? written by Holiday and William Dufty -- long tainted by its inaccuracies but a much better book than its reputation suggests -- was candid about drug use, which gave it an underworld allure. But Mr. Szwed argues that it was meant to help restore her reputation and get her cabaret card back; she was controlling her own story. It ends on a note of rehabilitation and argues progressively for addiction to be seen as an illness. ?The story of her life was made public as part of the first war against drugs,? Mr. Szwed writes. He adds, ?Yet she quickly realized that it was possible for her to use some of the same media and methods to defend and redefine herself.?
>
>
> Socially, Holiday lived with purpose and curiosity, hanging out with musicians, Hollywood stars, professors, female impersonators. But she also sang dark songs about sorrow and loving bad men. For decades after her death, she was understood as a doomed hero, especially through the tragic narrative of the Diana Ross movie version of ?Lady Sings the Blues.? The change in that understanding has come slowly ever since, partly thanks to books that go beyond biography and look into her meaning and reception: Mr. Szwed?s, as well as others by Farah Jasmine Griffin and Robert G. O?Meally.
>
>
> But it?s also partly thanks to musicians who have made records around Holiday and talked about her publicly, including Abbey Lincoln -- whose thoughts about Holiday cycled through admiration, skepticism (in a 1962 interview, she called Holiday a masochist) and finally a full, complex respect -- and Ms. Wilson.
>
>
> Holiday was a wicked maker of sound. Many have compared her voice to a horn, but Ms. Wilson compares it to the generalized sound of a jazz ensemble of the 1930s as heard on record, flattened out through mono and single-microphone technology. (She stands by ?Strange Fruit? as Holiday?s greatest accomplishment.) The pianist and educator Ran Blake, who has taught courses on Holiday?s music at New England Conservatory for many years, particularly loves her moody recordings for Decca in the mid-?40s, including ?No More? and ?Deep Song?; he praises the rhythmic and harmonic confidence she found through subtlety, without overemoting. ?Students who try to notate ?Deep Song,?? he told me in a recent conversation, ?find it vastly harder than five or six bars of a Bartok piece.?
>
>
> The baritone singer Jose James has also made a record inspired by Holiday, ?Yesterday I Had the Blues,? which Blue Note released last week. He says that Holiday?s Verve recordings in the 1950s taught him everything he knows about phrasing and harmony in jazz singing; he singles out ?I Don?t Want to Cry Anymore,? from 1955, for its sudden drop into a tonality that sounds almost Middle Eastern. (He pinpoints the spot: It?s on the line ?some careless thing you would do.?)
>
>
> Like Ms. Wilson, Mr. James felt a strong obligation to make his record original, and the only way to do that was for himself and his band -- including the pianist Jason Moran, the bassist John Patitucci and the drummer Eric Harland -- to slow down. The record has an after-hours, outside-the-clock feeling, a bit like ?I Cried for You.? But he saved some of his strongest praise for ?Lady in Satin,? which he compared to late Coltrane in its depth and mystery, and which scared him at first too. ?At that point she couldn?t lean on anything except her spirit,? he figured. ?To me, that album more than any other proves how committed she was to really expressing the sort of maze of the human heart. She was really a professor. And she was trying to figure it out for herself too. Yeah, she?s super-real. She?s somebody who I need to study with for the rest of my life. Not just as a singer, but as a person.?
>
> __________
>
>
> Lady Day, Celebrated
>
>
> Cassandra Wilson
>
> Next Friday at 8 p.m., Apollo Theater, 253 West 125th Street, Harlem; apollotheater.org.
>
>
> Cecile McLorin Salvant
>
> Next Friday and Saturday at 7 and 9:30 p.m., Appel Room, Frederick P. Rose Hall, Jazz at Lincoln Center, 60th Street and Broadway, jazz.org.
>
>
> Andy Bey, Molly Johnson and Sarah Elizabeth Charles in ?Celebrating Lady Day?
>
> Next Friday and Saturday at 8 p.m., Rose Theater, Frederick P. Rose Hall, Jazz at Lincoln Center; jazz.org.
>
>
> ?Queen Esther Sings Billie Holiday: The Rare Sides?
>
> Tuesdays, April 14, 21 and 28 from 6 to 11 p.m., Minton?s, 206 West 118th Street, Harlem; mintonsharlem.com.
>
>
> ?When the Moon Turns Green: The Myth and Music of Billie Holiday?
>
> A discussion with the writers John Szwed, Farah Jasmine Griffin and Robert G. O?Meally on April 28 at 7:30 p.m., Harlem Stage Gatehouse, 150 Convent Avenue, at 135th Street, Hamilton Heights; harlemstage.org.
>
>
> Jose James
>
> May 7 and 8 at 7:30 p.m., Harlem Stage Gatehouse; harlemstage.org.
>
>
> WKCR?s Billie Holiday Centennial Festival
>
> This radio station?s weeklong programming examines her life, career and sound from Sunday through next Friday.
>
>
>
>
>
> -30-
>
>
> -Bob Ringwald
> Bob Ringwald Solo Piano, duo, Trio, Quartet
> Fulton Street Jazz Band
> 916/ 806-9551
> Amateur (ham) Radio station K 6 Y B V
>
> If 4 out of 5 people suffer from diarrhea, does that mean that 1 out of 5 enjoys it?
>
>
>
> ------------------------------
>
> Message: 6
> Date: Sat, 4 Apr 2015 15:24:57 +0100
> From: "ROBERT R. CALDER" <serapion at btinternet.com>
> To: "dixielandjazz at ml.islandnet.com" <dixielandjazz at ml.islandnet.com>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Marek
> Message-ID:
> <1428157497.11284.YahooMailNeo at web172306.mail.ir2.yahoo.com>
> Content-Type: text/plain; charset=utf-8
>
> May our pal win!
>
>
> well, it used to say "kosher for passover" on the label --
> Palwin purchased from a Jewish vintner in Edinburgh
> Long ago.
>
> cheers to Marek!
>
>
> ------------------------------
>
> Message: 7
> Date: Sat, 4 Apr 2015 19:32:03 +0300
> From: Marek Boym <marekboym at gmail.com>
> To: Dixielandjazz at ml.islandnet.com
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Charleston City All-Stars Go Dixieland
> Message-ID:
> <CABGvO8BMkMMgmhW7zJxy+3QrnfgX+WW15rVSt2H-3of4Q3LEhQ at mail.gmail.com>
> Content-Type: text/plain; charset=UTF-8
>
> I have an LP titled Charleston City All-Stars Go Dixieland
> <http://www.johnnyvarro.com/charlestoncity.jpg>, Grand Award 33-411. The
> liner does not list a trumpeter, but I inferred it was Pee Wee Erwin. The
> other musicians listed are:
> Lou McGarity, trombone
> Kenny Davern, clarinet
> John Montillaro, piano
> Lee Blair, banjo
> Harvey Phillips, tuba
> Jack Lesberg, bass
> Mousie Alexander, drums
> I tried to find it on the web, and it appeared in Johnny Varro discography,
> naming the trupeter as Pee Wee Erwin indeed. It does not mention "Varro as
> John Montillaro," like Pee Wee ERwin (as Big Jeb Dooley) in the case of The
> Dixie Rebels. It also states that it was recorded 1958.
> Comments anybody?
> Cheers
>
>
> ------------------------------
>
> Message: 8
> Date: Sat, 04 Apr 2015 10:33:26 -0700
> From: Bruce Stangeland <stangeland at earthlink.net>
> To: dixielandjazz at ml.islandnet.com
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] "There Ain't Nothin' Doin' What You're
> Thinkin' About"
> Message-ID: <55202066.8020706 at earthlink.net>
> Content-Type: text/plain; charset=utf-8; format=flowed
>
> Fellow listmates,
>
> I've been trying to understand the background of a song called "There
> Ain't Nothin' Doin' What You're Thinkin' About".
>
> 1. The Charles Anderson collection contains music for a tune by this name:
> 1932 - James White & Billy Johnson in G. It's only 16 bars, and
> sounds like a chorus.
>
> 2. On grainger.de
> <http://www.grainger.de/dbe/asm/asmwhitejam.html#tabb0000d530r> I found
> a reference to the same title and composers, but done in 1912.
>
> *There Ain't Nothin' Doin' What You're Thinkin' About* - Song: Music by
> *James White* Words by *Billy Johnson*
> Publisher: C. W. Thompson & Co.
> <http://www.grainger.de/music/publishers/thompsoncw.html>
> Printed: 1912. Sheet Music 5 pages. Currently unavailable.
>
> 3. At Indiana University I found music by Chris Smith and Cecil Mack,
> 1912 for a tune called
> "There Ain't Nuthin' Doin' What You're Thinkin' About"
> <http://webapp1.dlib.indiana.edu/inharmony/detail.do?action=detail&fullItemID=/ihs/sheetmusic/ihs-SHMU_30_17&queryNumber=1>,
> published by Harry von Tilzer. The music for the first line in its
> chorus is quite different from the one in Charles Anderson.
>
> 4. In the US copyright archives
> <https://archive.org/stream/catalogofcopyri72libr/catalogofcopyri72libr_djvu.txt>
> I found this tune:
>
>
> Full text of"Catalog of Copyright Entries, 1912 Musical Compositions
> Last Half of 1912 Jul-Dec New Series Vol 7 Part 2"
> <https://archive.org/stream/catalogofcopyri72libr/catalogofcopyri72libr_djvu.txt>
>
>
> August 1912
>
> There ain't nothin' doin' what you're thinkin' about ;
> words by Billy Johnson, music by James White. [16951
>
> ==================
>
> Does anyone know if these are two different tunes, and if the one by
> White and Johnson was written in 1932 (as Anderson says) or in 1912 as
> listed in the Copyright archives (and on grainger.de)?
>
> Thanks,
> Bruce Stangeland
> Berkeley banjoist
>
>
>
>
> ------------------------------
>
> Subject: Digest Footer
>
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> ------------------------------
>
> End of Dixielandjazz Digest, Vol 148, Issue 4
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