[Dixielandjazz] Influence Adrian Rollini on Joe Rushton

[Robert Ringwald]

Very nice post. I’d certainly like to see more discussion of this type here on DJML. 

I am curious, who is Bert?

-Bob Ringwald
DJML Moderator


From: Bert 
Sent: Thursday, April 13, 2017 1:02 AM
To: Bob Ringwald 
Cc: Dixieland Jazz Mailing List 
Subject: Re: [Dixielandjazz] Influence Adrian Rollini on Joe Rushton



Hello Charles, 

You're right, Rushton hasn’t been given his due. 
I just put up this story, since to my opinion influences are way more complicated and wider than usually mentioned. 
And I do have the feeling, that many jazz historians (Shuller f.i.) were afraid to mention any influence from white players on black musicians, whereas the other way around is mentioned most of the time. 
Some shy report exists about Bix on Rex Stewart, Trumbauer on Lester Young and Benny Carter. And sometimes Goodman gets some credit,  listen how far he actually was at age 17, and how Jimmie Hamilton on his first recordings with Ellington sounds so close to Goodman's example. Goodman himself listened to all good players around, black AND white. 
And of course the huge success of the ODJB, 100 years ago now, opened up business oportunities for all kinds of jazz musicians, regardless of background. 

But quite clear lines like Django Reinhardt on American guitar players (Who himself got his dose of Eddie Lang) are not too often mentioned. 
And also Steve Brown and his effect on bass playing in 1926. Well it is mentioned sometimes, but to my feeling is largely overlooked. 

Where there is a huge difference in white and black musicians, is their business opportunities. Whites likely could demand higher wages, but on the other hand blacks were asked for recordings of slow blues. Whites were usually not invited, since these records were designed for Race Record series. 
When in New York blues singers were in the studio, it were Henderson, Redman, or Hawkins backing them, not members of the California Ramblers. Even if Ed Kirkeby was leading the sessions, and actually had the C.R. in his studio allready. Henderson and Hawkins seldom are mentioned as being blues specialists, but did all these sessions since Hendesron started for Black Swan, partly owned by W.C. Handy. Father of the blues, who actually didn't really compose many of these, but copyrighted them, a very common business practise also done by LaRocca, Ellington, Basie, Joe Garland, Goodman and many many others. 
So from this only it is understandable why Armstrong developped so much into a great blues player, whereas Bix didn't. 
later, esp. when the depression struck, Ellington could find quite steady employment in the Cotton Club, Henderson in similar venues like the Roseland. I get the impression these were the years when white players were forced to go more commercial, and drop a lot of jazz playing, just to find work. Simply because otherwise the were out of employment. 
On the other hand, Henderson seems to have had a huge live reputation for playing Waltzes, but never recorded one single waltz in his entire career. 

Somehow, a simple clear understandable line, N.O. - Chicago - N.Y. without complexing factors seems to be preferred in history books. 

Isn't jazz in general, just one melting pot of influences stemming from all kind of different corners?

Have a nice day,

Bert



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From: Charles Suhor <csuhor at zebra.net>
Sent: Thursday, April 13, 2017 7:12 AM
To: Bert
Cc: Dixieland Jazz Mailing List
Subject: Re: [Dixielandjazz] Influence Adrian Rollini on Joe Rushton 

Yes, Bert, I agree that Rollini was a great, as you showed so well. But he’s been widely acknowledged. Rushton isn’t pivotal, but he hasn’t been given his due. Maybe I just happen to like his playing more than others, in a quirky judgment call.  

Charlie



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