[Dixielandjazz] Applause and Bud Freeman

[Marek Boym]

Bud Freeman has been my all-time favourite tenor player almost from the
first time I heard him.
Cheers

On 27 December 2015 at 09:12, Charles Suhor <csuhor at zebra.net> wrote:

> Speaking of Bud, I’m just catching up with the strand that discussed the
> box set of Condon with Freeman Commodore sessions—I just got through
> hearing the entire set. Thanks for recommending.
>
> I was never a huge fan of Freeman but I came away with a greater
> appreciation of his invention. And the vintage Chicago jazz of Wild Bill,
> Kaminsky, Pee Wee, Wettling, and the less raw but fine performances of
> Hucko, Hackett, and Dixon were a joy to hear. In some cases, to revisit. I
> had several of the sides on 78 rpm in my teens. I wasn’t converted, though,
> from my bias against the tenor sax in the Dixieland front line. It still
> seems to obscure the wonderful clarity of the trumpet/bone/clary interplay.
>
> Re applause between solos, that has never bothered me except when it’s an
> automatic after every solo, with no difference in intensity proportionate
> to the excitement or originality of the solo. When audiences do show some
> spontaneity, it’s a sign of authentic response--I’m encouraged that they’re
> actually listening. This is confounded, of course, when a soloist gyrates
> and grimaces a lot, whether naturally or as a showcasing antic, or too
> often quotes cutely from other tunes as a crowd-gooser.
>
> I’ve long found myself wishing that at classical music concerts, the
> convention of not applauding between movements would give way to earnest
> applause, especially when the performance is brilliant. Let joy ring out.
> There’s no question of drowning out the next movement, since there’s a
> pause in between anyway. In operas, a fine aria often meets with applause
> and bravos. Double standard there.
>
> Charlie
>
>
>
> > On Dec 26, 2015, at 9:36 PM, ROBERT R. CALDER <serapion at btinternet.com>
> wrote:
> >
> > I remember dear Bud, when he was caught out by a polite audience, for
> rather than dive in when the preceding soloist was still being applauded he
> would play softly, saving his breath, with a few notes audible over the
> noise, and have his breath available to cut through as the volume of
> applause tapered off. So in fact rather than people missing the start of
> his solo he began with a late start like a long pause.
> >
> > Of course if he had been following Doc Cheatham he might well not have
> needed that, for Doc could shape a solo to conclude with an introduction
> for the next soloist.
> >
> > Listening to Doc, I was always conscious that whichever band he was with
> sounded less noisy than before he was brought on -- of course I was once
> asked, before Doc had taken to playing with his trumpet almost vertical,
> why he lowered it when playing louder. Being very tall I could see over the
> crown around the bandstand, and quite simply he was lowering the bell of
> the horn closer to a microphone the man who asked couldn't see.
> >
> > Dynamics, dynamics,
> >
> > Robert R. Calder
> >
> > _______________________________________________
> > 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
>