[Dixielandjazz] Condon/Freeman CDs-a query

[Charles Suhor]

The musicians, style, and time frame of the sessions are among my favorites in jazz history. I wonder if there are any listmates who don't like this Chicago/Dixieland style. What is it in the music that's off-putting? Why do so many bands today not emulate the free-wheeling, energetic ensembles and distinctive solos (by those noted in Steve's posting below). Why do they prefer the banjo-and-tuba rhythm to what strikes me as the more spacious, interactive and inventive backup of players like Stacy, Schroeder, Lesberg, Wettling, Drootin, etc.? I'm just askin'....

Charlie 

 
On May 21, 2015, at 11:39 AM, Steve Voce wrote:

> I've just reviewed this wonderful box for Jazz Journal. I've been playing it over and over for several days. The original material is all familiar to me - I've had it for many years - but here the sound is impeccable and all the alternative takes, new to me, have different solos from the originals, so they're particularly valuable -Teagarden's alternative solos, for instance, are refreshing. He wasn't set in his solos in those days. And those pianists! A horde of the world's best! Hackett, Bud, McGarity, Brad Gowans, Pee Wee..... Magnificent.
> I gave the set the maximum five stars.
> 
> Steve Voce
> 
> On 21/05/2015 16:07, Robert Ringwald wrote:
>> Review of ‘Eddie Condon and Bud Freeman: Complete Commodore and Decca Sessions’
>> 
>> 
>> by Marc Myers
>> 
>> Wall Street Journal, May 20, 2015
>> 
>> 
>> Jazz guitarist Eddie Condon and saxophonist Bud Freeman have been all but forgotten today, victims of jazz’s shifting sands and evolving generational tastes. But in the years just before World War II and up through the early 1970s -- when many jazz fans clung to the syncopated style of an earlier era -- Condon and Freeman were masters of a hot, bouncy form forged in Chicago in the late 1920s.
>> 
>> 
>> 
> 
> 
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