[Dixielandjazz] Dixielandjazz Digest, Vol 152, Issue 13
ROBERT R. CALDER
serapion at btinternet.com
Sat Aug 15 12:49:42 PDT 2015
sending links --- PREEVUE BY YAHOOOO OOOO
anyone wanting to send a link and suffering from the same (cough!)updating that now gets my e-mails in twists should now and in the future make sure they convert the mail they are working on to TEXT ONLY before trying to add a link.
otherwise Yahoo, behaving like the creatures so named by Jonathan Swift, will convert their link into a pretentious picture and text design which will be turned by our standard method into nothing much more than the phrase "preview by Yahoo" and no use whatever as a link.
Anyone seeking to oblige by identifying something in a YouTube clip linked to by a listmate may have discovered the mysterious "preview by Yahoo" rubbish and other odds and ends of no utility. Grrrr.....
Robert R. Calder
On Saturday, 15 August 2015, 20:00, "dixielandjazz-request at ml.islandnet.com" <dixielandjazz-request at ml.islandnet.com> wrote:
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Today's Topics:
1. Re: Slim Gaillard (Marek Boym)
2. Re: Slim Gaillard (Ken Mathieson)
3. Fw: Harold Ousley?sunup, 1/23/29 sundown, 8/13/15
(ROBERT R. CALDER)
4. BBC's Jazz Score (Ken Mathieson)
5. Re: Slim Gaillard (Charles Suhor)
6. Re: Slim Gaillard (domitype .)
7. Fwd: Fw: Fw: Singin' the Blues (Marek Boym)
8. Going to Oz (Judy Eames)
9. Re: Going to Oz (Marek Boym)
10. Name That Tune (Kevin Yeates)
11. Re: Name That Tune (Jim O'Briant)
----------------------------------------------------------------------
Message: 1
Date: Fri, 14 Aug 2015 22:07:56 +0300
From: Marek Boym <marekboym at gmail.com>
To: Charles Suhor <csuhor at zebra.net>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: Re: [Dixielandjazz] Slim Gaillard
Message-ID:
<CABGvO8D9ji5F+zAiAgXnjP4N2mZAm=T7AU4jFc4mbMkx6ksfQQ at mail.gmail.com>
Content-Type: text/plain; charset=UTF-8
Weren't we lucky to have access to the beeb? Oh, BBC for the
non-cognoscenti.
The broadcast were available in very good quality, and I'd almost always
run away from the office with a small portable radio to listen to that one
and to "Jazz for the Asking," a request programme which, as long as Peter
Clayton was alive, and then - with Digby Fairweather - played mostly OKOM.
Later it was practically killed by a new editor-announcer who broadcast
mostly modern music, not addressing most of the programme's listeners.
Those were the days (probably because we were so much younger then)!
Cheers
On 14 August 2015 at 21:31, Charles Suhor <csuhor at zebra.net> wrote:
> The JAZZ SCORE program sounds great?wish we?d had it in the States. I
> missed out on that, and on a lot of live jazz beyond New Orleans during my
> youth. Because of the laws against integrated performers on stage and the
> lack of decent facilities for black artists in the the Deep South, we
> weren?t on the tour stops for many bands and singers until the early/mid
> sixties, when Al Belletto at the Playboy and AL Hirt at his club had
> integrated bands and imported national stars into the clubs. Prior to that,
> the Jim Crow laws were often ignored by musicians, sometimes with humorous,
> sometimes bloody, consequences. You listmates elsewhere lived in the more
> accepting environments than were found anywhere in the U.S., and reaped
> great benefits. Plus, the popular trad revival in the US had faded by the
> mid fifties, overtaken by R&B and rock, but was kept alive, as I
> understand, in England and elsewhere. Not until Preservation Hall in 1961
> and the marching band revival that followed did earlier jazz forms get wide
> attention again, beyond individuals like Fountain and Hirt. Interwoven
> ironies.
>
> Charlie
>
>
> On Aug 14, 2015, at 12:33 PM, ROBERT R. CALDER <serapion at btinternet.com>
> wrote:
> >
> > I forgot to include in my rhapsody over Slim's rhapsody over the tiple
> that its magnificence was immediately recognised.
> > As soon as Slim had ended his description of the balmy scene, where the
> music and atmosphere was such that the people present would M E L T the
> chairman of this magnificent neo-quiz (whose real purpose was to elicit
> comic stories, banter and reminiscences) the
> journalist-novelist-saxophonist Benny Green awarded in a loud voice
> >
> > ELEVEN POINTS!
> > A modest award for a monologue of such transcendent glory!I also recall
> that Slim did disappoint people by failure to recognise the alto saxophone
> of Ernie Henry.
> >
> > Vout-O'Rooney!
> > _______________________________________________
> > 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
>
>
> _______________________________________________
> 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: 2
Date: Fri, 14 Aug 2015 21:08:36 +0100
From: Ken Mathieson <ken at kenmath.free-online.co.uk>
To: dixielandjazz at ml.islandnet.com, nvickers1 at cox.net
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: Re: [Dixielandjazz] Slim Gaillard
Message-ID: <55CE4AC4.2000007 at kenmath.free-online.co.uk>
Content-Type: text/plain; charset=utf-8; format=flowed
Hi All,
I've been following the Slim Gaillard thread with interest and Robert R
Calder's mention of my ancient posting about gigging with Slim got me
wondering what I had written. A visit to the DJML Archive yielded the
following message: "*Note: /Searching capabilities are temporarily
disabled." /*Given the Norman's Pensacola list is also discussing Slim
and was unlikely to have carried my ancient posting, I was about to
squeeze my memory cells and try to rewrite it when I had a brainwave and
fired up my old and retired computer and there found this mail in 2012
(the squirrel's morale: never chuck anything out!):
The recent thread about Slim jolted my memory about incidents from the gigs I played with him on his visits to Scotland. A Slim gig always had its memorable moments and sometimes these even involved music!
For instance, on his visit to the Black Bull Jazz Club in Milngavie, near Glasgow, the first set consisted of him talking to a mystified audience, singing a few songs (from memory they were all I Got Rhythm changes) and played a guitar which was not only out of tune with the piano, but was wildly out of tune with itself. At the interval, he left his guitar on the stage and the pianist and I took him to another bar so that the bassist could tune the guitar before the second set. If Slim noticed the difference he never said anything. During the second set, he played Satin Doll on piano. The people at the front tables were in hysterics, but those further back were strangely quiet. The upright piano had its back to the drums so I couldn't see what was going on, but it was his famous back-of-the-hands piano-playing shtick where he played melody and accompaniment palms-up, striking the keys with his finger knuckles. It's a good trick and even more impressive when you consider that the norm
al finger positions are reversed, so that the left thumb is playing roots and its little finger is playing the top note of the chord. Meanwhile the right thumb has the top line of the melody.
Another gig was for the Glasgow Jazz Festival on an old ferryboat which had been converted into a bar-restaurant-entertainment venue. When Slim arrived for the sound check he refused to go on board, saying he would never go on another ship since his stranding on Crete in his childhood. He was fond of telling this story about being taken by his father, who was a ship's steward, on a trip from USA to the Mediterranean and being separated from his father on the day the ship left for the return voyage. He was allegedly found wandering around the port and was taken in by a local family and looked after until his father returned a year later, but whether any of this was true or not is highly debatable. Anyway, back at the gig in Glasgow, he was taken by his driver to a riverside pub to take his mind off the whole ship business and never appeared for the sound-check or rehearsal. Meanwhile, back on the ferryboat, the audience had arrived, the band was set-up and ready and, with the clock t
icking and no Slim in sight, the audience were told they would get their money back if Slim failed to show.
Just before the gig was due to hit, Slim appeared on board in very relaxed form (as relaxed as a newt in fact) and explained to the waiting audience that he didn't like going on ships because "water wasn't his favourite vegetable!" The gig's sponsor was Southern Comfort and, when Slim discovered this, he started hinting to the guy on the Southern Comfort dispense bar that it would be good for his business if he and the band could have a little taste from time to time. Every time a waitress passed the band stand, Slim would remind her that the band and he had a special deal with the bar boss and that our glasses were all empty. The bar boss could only grin and pretend it wasn't hurting. Pretty soon, Slim started hitting on the waitresses about "a bottle for my friends at this table over here" and before long he was looking for drinks on the house for everyone. The bar boss went along with it for a while, but pretty soon it was a pretty chaotic gig and I suspect he got fired for giving
the stuff away. But then, I've tasted it and suspect it would be quite hard to give the stuff away.
Happy Days!
Ken
------------------------------
Message: 3
Date: Fri, 14 Aug 2015 20:15:10 +0000 (UTC)
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] Fw: Harold Ousley?sunup, 1/23/29 sundown,
8/13/15
Message-ID:
<364855627.4993540.1439583310227.JavaMail.yahoo at mail.yahoo.com>
Content-Type: text/plain; charset=UTF-8
Like others who get mails from there, I was notified of a veteran tenor player's departure by Jazz Promo Services
>
>Harold Ousley sunup, 1/23/29 sundown, 8/13/15
I remembered some nice playing in a variety of loci not too far from OKOM. Delmark records do deserve the occasional mention. I was amused, decades after reading in an interview how Count Basie was encouraging Sonny Cohn to listen to Joe Smith with Bessie Smith, to find Sonny in a blues personnel on Delmark, with the pianist known as Detroit Junior.
Rather better might have been done than the following, cut and pasted from a standard reference source. George Benson isn't so far as I know an R&B performer. I am reliably informed that when in the right mood Al Casey could deliver a deadly impersonation of Benson...
Now the RIP
>
>Harold Lomax Ousley, born January 23, 1929 in Chicago, Ill.
>
>After studying in high school, Ousley became a professional musician working with circus bands for a number of years from the late 40s. Concurrently, in the early 50s, he played with Gene Ammons, King Kolax and also, in vivid demonstration of his versatility and stylistic range, with Miles Davis. Through the 50s, mostly playing tenor saxophone, Ousley was often in company with artists of note, among them, Billie Holiday, Brother Jake McDuff, Howard McGhee, Joe Newman, Bud Powell, Clark Terry (the last two playing at the 1959 trip to Paris with a song revue),Dinah Washington (appearing with her at the 1958 Newport Jazz Festival), and Joe Williams. In the 70s, Ousley had a brief spells playing in the big bands of Count Basie, Duke Ellington and Lionel Hampton. His eclectic versatility was also displayed during engagements with pop, blues and R&B performers, such as George Benson, Big Maybelle, Charles Brown, Ruth Brown, Percy Mayfield, Sunnyland Slim and Jimmy Witherspoon.
>
>Ousley?s obvious love for many years has been jazz education. He has presented jazz programs to schools and also became involved in the use of music as therapy with the Groves Therapeutic Counseling Service owned and run by his late wife Alice Groves Ousley. Ousley who also played flute and digital horn, has made some film and television appearances, including appearing in Cotton Comes To Harlem (1970) and hosting his own early 90s cable television show, Harold Ousley Presents.
------------------------------
Message: 4
Date: Fri, 14 Aug 2015 22:37:03 +0100
From: Ken Mathieson <ken at kenmath.free-online.co.uk>
To: dixielandjazz at ml.islandnet.com, Norman Vickers <NVickers1 at cox.net>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] BBC's Jazz Score
Message-ID: <55CE5F7F.3020703 at kenmath.free-online.co.uk>
Content-Type: text/plain; charset=utf-8; format=flowed
Hi Folks,
Further squeezing of the memory cells led me to a book on my shelves
entitled "The Best of Jazz Score" compiled by Roy Pellett (ISBN
0-563-36326-6) and a quick google showed that it had run On BBC RADIO 2
in numerous short series between 3 Oct 1981 and 26 Aug 1997. The book is
also currently listed by both amazon.co.uk and amazon.com if anyone
wants to go chasing it. Either Roy Pellett had recorded huge swathes of
the programme privately or he had access to BBC Library recordings when
compiling the book. I know I've got a few cassette recordings of the
show somewhere and, if I can find them, I'll have a listen to see if
Slim's tiple monologue is there. What I did find in my copy of the book
is Roy Pellett's brief precis of Slim's tiple story (I suspect Slim's
tale was long, rambing, very relaxed and a lot funnier than it appears
in the precis):
"Tiples were miniature guitars with ten strings - something like a
mandolin. The brothers Wilbur and Douglas Daniels used to play them with
the Spirits of Rhythm. Actually they were very popular with singers and
singing groups in the 1930s." That's it and, if that's all he said, I'm
sure it sounded better in Slim's mellow tones. In truth, all the
anecdotes sounded better in the words of the speakers on air - all very
spontaneous and with natural comic timing that doesn't translate easily
into the written word.
Regards,
Ken
------------------------------
Message: 5
Date: Sat, 15 Aug 2015 00:48:01 -0500
From: Charles Suhor <csuhor at zebra.net>
To: Ken Mathieson <ken at kenmath.free-online.co.uk>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: Re: [Dixielandjazz] Slim Gaillard
Message-ID: <4ED48051-B182-472A-BABB-F9DD739F78CC at zebra.net>
Content-Type: text/plain; charset=utf-8
Maybe he was late because he was nailing watermelon seeds to the roof. Great line: ?Water wasn?t his favorite vegetable>?
Charlie
> On Aug 14, 2015, at 3:08 PM, Ken Mathieson <ken at kenmath.free-online.co.uk> wrote:
>
> Hi All,
>
> I've been following the Slim Gaillard thread with interest and Robert R Calder's mention of my ancient posting about gigging with Slim got me wondering what I had written. A visit to the DJML Archive yielded the following message: "*Note: /Searching capabilities are temporarily disabled." /*Given the Norman's Pensacola list is also discussing Slim and was unlikely to have carried my ancient posting, I was about to squeeze my memory cells and try to rewrite it when I had a brainwave and fired up my old and retired computer and there found this mail in 2012 (the squirrel's morale: never chuck anything out!):
>
> The recent thread about Slim jolted my memory about incidents from the gigs I played with him on his visits to Scotland. A Slim gig always had its memorable moments and sometimes these even involved music!
>
> For instance, on his visit to the Black Bull Jazz Club in Milngavie, near Glasgow, the first set consisted of him talking to a mystified audience, singing a few songs (from memory they were all I Got Rhythm changes) and played a guitar which was not only out of tune with the piano, but was wildly out of tune with itself. At the interval, he left his guitar on the stage and the pianist and I took him to another bar so that the bassist could tune the guitar before the second set. If Slim noticed the difference he never said anything. During the second set, he played Satin Doll on piano. The people at the front tables were in hysterics, but those further back were strangely quiet. The upright piano had its back to the drums so I couldn't see what was going on, but it was his famous back-of-the-hands piano-playing shtick where he played melody and accompaniment palms-up, striking the keys with his finger knuckles. It's a good trick and even more impressive when you consider that the no
rmal finger positions are reversed, so that the left thumb is playing roots and its little finger is playing the top note of the chord. Meanwhile the right thumb has the top line of the melody.
>
> Another gig was for the Glasgow Jazz Festival on an old ferryboat which had been converted into a bar-restaurant-entertainment venue. When Slim arrived for the sound check he refused to go on board, saying he would never go on another ship since his stranding on Crete in his childhood. He was fond of telling this story about being taken by his father, who was a ship's steward, on a trip from USA to the Mediterranean and being separated from his father on the day the ship left for the return voyage. He was allegedly found wandering around the port and was taken in by a local family and looked after until his father returned a year later, but whether any of this was true or not is highly debatable. Anyway, back at the gig in Glasgow, he was taken by his driver to a riverside pub to take his mind off the whole ship business and never appeared for the sound-check or rehearsal. Meanwhile, back on the ferryboat, the audience had arrived, the band was set-up and ready and, with the clock
ticking and no Slim in sight, the audience were told they would get their money back if Slim failed to show.
>
> Just before the gig was due to hit, Slim appeared on board in very relaxed form (as relaxed as a newt in fact) and explained to the waiting audience that he didn't like going on ships because "water wasn't his favourite vegetable!" The gig's sponsor was Southern Comfort and, when Slim discovered this, he started hinting to the guy on the Southern Comfort dispense bar that it would be good for his business if he and the band could have a little taste from time to time. Every time a waitress passed the band stand, Slim would remind her that the band and he had a special deal with the bar boss and that our glasses were all empty. The bar boss could only grin and pretend it wasn't hurting. Pretty soon, Slim started hitting on the waitresses about "a bottle for my friends at this table over here" and before long he was looking for drinks on the house for everyone. The bar boss went along with it for a while, but pretty soon it was a pretty chaotic gig and I suspect he got fired for givi
ng the stuff away. But then, I've tasted it and suspect it would be quite hard to give the stuff away.
>
> Happy Days!
>
> Ken
>
>
> _______________________________________________
> 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: 6
Date: Sat, 15 Aug 2015 00:45:55 -0700
From: "domitype ." <domitype at gmail.com>
To: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: Re: [Dixielandjazz] Slim Gaillard
Message-ID:
<CAO_WAAXJ=3epvRY6wSHLS1DHiTpm-=A72emccmTNGtUmb0Vfeg at mail.gmail.com>
Content-Type: text/plain; charset=UTF-8
My somewhat tenuous connection to Slim Gaillard came when I met a young
woman who was watching my band play at a local Thanksgiving Day "sporting
event" ( I won't get into the weeds on that.) She invited me to
Thanksgiving Dinner and since I had no other plans, I went. Her mother was
quite an interesting character and I soon learned that Slim had been a
close friend of the family. She was a registered nurse but somehow happened
to to meet Slim at some performance and she somehow became his disciple.
Taking the stage name Marion Vee, she learned to play the Conga Drums and
she also sang. She didn't tour (or record) extensively with Slim, but she
did perform with him off and on for many years. Slim would crash at her
house when he was in Northern California, cook Caribbean and Cuban food for
her young family (her husband was a doctor, by the way - I still don't know
what HE thought about the whole thing...) Anyway, I did a 3 hour Slim
Gaillard radio special soon after he died and I got all sorts of
interesting insights into his character(s) and personalities with "Marion
Vee" as my guest commentator!
Dave Richoux
------------------------------
Message: 7
Date: Sat, 15 Aug 2015 14:33:57 +0300
From: Marek Boym <marekboym at gmail.com>
To: Ken Mathieson <ken at kenmath.free-online.co.uk>,
Dixielandjazz at ml.islandnet.com
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] Fwd: Fw: Fw: Singin' the Blues
Message-ID:
<CABGvO8CftF_yc0-rQ=2jpK4Q2wJSNiztKqFLCOUeg57bTjfL4A at mail.gmail.com>
Content-Type: text/plain; charset=UTF-8
Hi Ken,
Below is a comment by an Israeli jazz reeds player (originally a Mancunian)
on your arrangement.
Cheers
----- Original Message -----
*From:* Merton Cahm <merton.cahm at gmail.com>
<mnboym at 012.net.il>
*Sent:* Saturday, August 15, 2015 1:31 PM
*Subject:* Re: Fw: [Dixielandjazz] Singin' the Blues
Hi Marek,
Now thats what I call great wrting !! Thanks.. Merton
On Fri, Aug 14, 2015 at 9:12 PM, marek wrote:
>
>
>
> From: Ken Mathieson
>
> Hi Marek,
>
> The audio is on Youtube UK and maybe isn't available in Israel, so I've
> attached mp3s of *Singin' the Blues* and *In a Mist *from our 2008 CD *CJO
> Salutes the Kings of Jazz.* I hope you enjoy them. Thanks for letting me
> know.
>
> Regards,
> Ken
>
> On 13/08/2015 15:17, Marek Boym wrote:
>
> Hi Ken,
> The CD version triggers "this video is not available."
> I'm nevertheless forwarding your email to my jazz friends.
> Slainte
>
>
> I'll chip in while this is an active thread: I've always heard the melody
>> of Singin' the Blues as a natural for trombone lead - it sits in a very
>> mellow part of the trombone's range and it's easy-going phrasing lends
>> itself to smears and the general "playing around with pitch" that comes so
>> easily to the trombone. Then there's Bix's classic solo which has almost
>> become part of the piece, so I put the two together, voiced the solo up for
>> 5 horns and left most of the rest to our fine trombonist Phil O'Malley in
>> an arrangement which typifies my Classic Jazz Orch's approach to early jazz
>> material: plenty of space for soloists to express themselves and plenty of
>> cross-references to iconic recordings - entirely recognisable but not quite
>> as you heard them on your treasured records.
>> There's also a studio recording (audio only) from one of our CDs at:
>>
>>
>>
>>
>>
>
>
>
>
>
------------------------------
Message: 8
Date: Sat, 15 Aug 2015 15:08:53 +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: [Dixielandjazz] Going to Oz
Message-ID: <55CF47F5.8030602 at judyeames.co.uk>
Content-Type: text/plain; charset=utf-8; format=flowed
It's all fixed, Tony D and I are heading off to see friends in Melbourne
in November and, /thanks to Bill Haesler for telling us about it/, we've
moved our dates so that we can go to Phillip Island Jazz Festival.
Anyone on the list going? Playing? They seem to have a good varied
programme which suits us well.
This is NOT primarily a jazz trip but we do intend to drop in and see
Ross Anderson at one of his gigs and please tell us if there's anything
happening that we should know about, we're very flexible and might turn
up. After the festival on Nov 16th we'll spend a couple of nights in the
hills, taking a leisurely drive back to Melbourne and will probably be
in Sydney for a few days from Nov 24th; then back to Melbourne for a
while before leaving Oz on December 3rd. It'd be very tempting to miss
all the UK Xmas fuss and stay on for the convention but that's not
possible. Besides, Selfridges in London has already opened it's Xmas
department so the fuss has started!!
Looking forward to a new adventure,
Jude
--
www.judyeames.co.uk
------------------------------
Message: 9
Date: Sat, 15 Aug 2015 18:36:37 +0300
From: Marek Boym <marekboym at gmail.com>
To: Judy Eames <jude at judyeames.co.uk>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: Re: [Dixielandjazz] Going to Oz
Message-ID:
<CABGvO8ASFij=9fgdrZh-J4s4LwP=Ru_wz9r+Gj6YDreja6mHUA at mail.gmail.com>
Content-Type: text/plain; charset=UTF-8
????? ???? ????
Enjoy your trip!
I jope that you'll find some opportunities to play, too.
And I hear that there is good Australian beer besides Foster's.
Cheers
On 15 August 2015 at 17:08, Judy Eames <jude at judyeames.co.uk> wrote:
> It's all fixed, Tony D and I are heading off to see friends in Melbourne
> in November and, /thanks to Bill Haesler for telling us about it/, we've
> moved our dates so that we can go to Phillip Island Jazz Festival. Anyone
> on the list going? Playing? They seem to have a good varied programme which
> suits us well.
>
> This is NOT primarily a jazz trip but we do intend to drop in and see Ross
> Anderson at one of his gigs and please tell us if there's anything
> happening that we should know about, we're very flexible and might turn up.
> After the festival on Nov 16th we'll spend a couple of nights in the hills,
> taking a leisurely drive back to Melbourne and will probably be in Sydney
> for a few days from Nov 24th; then back to Melbourne for a while before
> leaving Oz on December 3rd. It'd be very tempting to miss all the UK Xmas
> fuss and stay on for the convention but that's not possible. Besides,
> Selfridges in London has already opened it's Xmas department so the fuss
> has started!!
>
> Looking forward to a new adventure,
>
> Jude
>
>
>
>
> --
> www.judyeames.co.uk
>
> _______________________________________________
> 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: 10
Date: Sat, 15 Aug 2015 17:49:02 +0000 (UTC)
From: Kevin Yeates <kyeates at yahoo.com>
To: Dixie Mailing List <dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] Name That Tune
Message-ID:
<1693411875.5092428.1439660942158.JavaMail.yahoo at mail.yahoo.com>
Content-Type: text/plain; charset=UTF-8
Can anyone help me sleep at night by telling me the name of the tune at 7:17? on this video?? Thanks in advance,
Kevin YeatesVancouver, Canada
Kenny Ball and his Jazzmen
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| Kenny Ball and his Jazzmen |
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| View on www.youtube.com | Preview by Yahoo |
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Message: 11
Date: Sat, 15 Aug 2015 11:12:56 -0700
From: "Jim O'Briant" <jobriant at garlic.com>
To: "'Kevin Yeates'" <kyeates at yahoo.com>
Cc: 'Dixieland Jazz Mailing List' <dixielandjazz at ml.islandnet.com>
Subject: Re: [Dixielandjazz] Name That Tune
Message-ID: <01c301d0d786$02ddbc60$08993520$@garlic.com>
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Kevin, your link leads to YouTube's home page, and not to a specific video.
We need the link to the specific video in order to help you.
Jim O'Briant
Gilroy, CA
Tuba & Leader, The Zinfandel Stompers Vintage Jazz Band
-----Original Message-----
From: Dixielandjazz [mailto:dixielandjazz-bounces at ml.islandnet.com] On Behalf Of Kevin Yeates
Sent: Saturday, August 15, 2015 10:49 AM
To: Jim O'Briant
Cc: Dixieland Jazz Mailing List
Subject: [Dixielandjazz] Name That Tune
Can anyone help me sleep at night by telling me the name of the tune at 7:17 on this video? Thanks in advance, Kevin YeatesVancouver, Canada
Kenny Ball and his Jazzmen
| |
| | | | | | | |
| Kenny Ball and his Jazzmen |
| |
| View on www.youtube.com | Preview by Yahoo | |
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