[Dixielandjazz] Bach and OKOM?

[Charles Suhor]

The first link, with Tony Spargo and Eddie Edwards in “I’ve Got a Secret” followed by them jamming with Phil Napoleon and Tony Parenti, is great fun. Gary Moore, as I recall, was a jazz fan. Interesting that the producers thought that the ODJB was well enough known that the panel might guess the secret, and that the sophisticated panel didn’t succeed. Thanks for posting, Andrew. 

Charlie



> On Aug 19, 2015, at 2:58 AM, Andrew Homzy <andrew.homzy at gmail.com> wrote:
> 
> You can see Tony Spabaro really swinging here -
> 
> https://www.youtube.com/watch?v=kTZiM3v_OiQ <https://www.youtube.com/watch?v=kTZiM3v_OiQ>
> 
> And don’t forget Nick Fatool -
> 
> And other I’ve got a secret - jazz shows
> 
> https://www.youtube.com/watch?v=PnvAu3C0Gb4 <https://www.youtube.com/watch?v=PnvAu3C0Gb4>
> 
> https://www.youtube.com/watch?v=x3QKVZsopfU <https://www.youtube.com/watch?v=x3QKVZsopfU>
> 
> The following has marginal jazz content -
> 
> https://www.youtube.com/watch?v=GJTqNmk4jmQ <https://www.youtube.com/watch?v=GJTqNmk4jmQ>
> Cheers,
> 
> Andrew Homzy
> 180 Pirates Lane
> Nanaimo, BC
> V9R 6R1
> 250-667-0238     www.homzy.ca <http://www.homzy.ca/>
>> On Tue, Aug 18, 2015, at 4:40 PM, Charles Suhor <csuhor at zebra.net <mailto:csuhor at zebra.net>> wrote:
>> 
>> 
>>> On Aug 18, 2015, at 4:00 PM, Jim O'Briant <jobriant at garlic.com <mailto:jobriant at garlic.com>> wrote:
>>> 
>>> As a Trad Jazz player and listener, I really enjoy it when, during a solo, one or two other band members will improvise around what the soloist is doing. I really feel that the essence of Traditional Jazz is the improvised counterpoint. Nothing wrong with solos, and some of them can be absolutely great, but tasteful contrapuntal support of one's fellow musician is, I think, more difficult for the player and more rewarding for players and audience alike.
>> 
>> Yes, Jim I agree that both in ensemble and in counterpointing with soloists, listening and playing together can be both an art and a form of cameraderie. And the rhythm section?…As a drummer I’ll add that my favorites were both fine timekeepers and colorists. That is, they treated the set as a sonic ensemble and their fill-ins and backups were a voice in the musical setting. The also were fine woodblock players in ensemble and behind solos. Baby Dodds was the first master IMO—though Tony Sbarbaro with the ODJB showed a great sense of form, as much as we could tell from the recording technology of the time. Ray Bauduc was another, and the great George Wettling. In bop and most modern jazz, the colorist function of drummers came to be accepted, but it often tempted drummers into the role of percussive “butterflying” or even bullying. Max Roach and Ed Blackwell were models of brilliant modern backup (and soloing, too). Swing era drumming was, to me, by and large a four-on-the-floor bore. Other than “kicking with the brass,” too many drummers thumped away then got fancy on boring solos. There are exceptions all over the place to my claims (”Oh, yeah? Well, what about….?), but it’s useful to recognize that and stand back and look for dominant traits in jazz.
>> 
>>> 
>>>> There’s a story about how he won a hands-down victory in .  
>>>> competition with another great organist (I forget who) when 
>>>> they were each given a theme to embellish. Oh, to be a fly on 
>>>> the wall at that session!
>>> 
>>> These Baroque-era events (rather like ragtime "cutting contests") took place from time to time. There's a story of at least one of these, at which one organist snuck into the back of a church to spy on J. S. Bach as he was practicing. He listened, and then he packed up and left town in the middle of the night rather than face Bach in the competition the next day. 
>>> 
>> 
>> Yes, that’s probably the story I was thinking of.
>> 
>> Charlie
>> 
>> 
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