[Dixielandjazz] Pensacola & Archaejazzology

[Steve Voce]

It means that Donald Lambert didn't make enough records.


On 08/01/2018 22:04, Marek Boym wrote:
> Represented inadequately by Donald Lambert?!  He was one of the best!
> Cheers
>
> On 8 January 2018 at 18:58, ROBERT R. CALDER <serapion at btinternet.com 
> <mailto:serapion at btinternet.com>> wrote:
>
>     https://www.youtube.com/watch?v=fylxor4zo0w
>     <https://www.youtube.com/watch?v=fylxor4zo0w>
>     Art Tatum plays Chopin (Valse in C# Minor, Op. 64, No. 2)
>
>     I'm not saying Tatum had necessarily much to do with Pensacola --
>     but this sort of operation with Chopin or whoever had something to
>     do with certainly the son of the Father and Son team of Paul
>     Seminole and, well, Paul Seminole, of the under-recorded or even
>     unrecorded generations of pre-jazz to pretty well pre-bop piano,
>     as represented inadequately on disc by Clarence Profit and Donald
>     Lambert, or not at all. I finally did track down a recording on
>     which one of the legendary Seminoles plays, I can't remember
>     whether he is audible, but that's only because he played ...banjo
>     rather than piano ... not the instrument I was interested in.  It
>     would be interesting to know what relationship there was between
>     some of the raggier items Speckled Red recorded when prior to the
>     now recently deceased and evr to be admired Paul Oliver's amazing
>     1960 filed-trip to the USA the also ever to be admired Bob Koester
>     had made recordings of Speckled Red, raggy barrelhouse pianist and
>     a man who learned from the elder Seminole, who seems to have
>     reached New York when Stride piano was starting to hit its kick .
>     It's an amusing business jazz archaeology, and probably a few
>     recordings exist which would be relevant, people playing really
>     new things of maybe a mickey mouse level of interest after other
>     people had found in them new things which exposed their lack of
>     interest other than for some novelties which really did feed the
>     rise of jazz as better music. Of course with the rise of
>     commercial pressures the improvements were gradually taken in hand
>     and musical standards were allowed to degenerate into more
>     lucrative Mickey Mouse.  And thus although it should be clear to
>     anybody knowledgeable about stride piano that Blanche Merrill was
>     a considerable stride pianist, the signs of her extraordinary
>     competence are mere markers for the cognoscenti and cancelled out
>     very much as music qua music by the misuse of the music (what else
>     was a doctored piano for) not to mention the services of Milt
>     Hinton on bass and the guitarist/ banjoist (alas restricted to
>     banjo, though he did a very nice CD on that implement) in whose
>     band Ellington was the piano player -- Elmer Snowden, who is
>     considerably more interesting on his duo recordings with Lonnie
>     Johnson than Johnson was capable of being by the time Prestige was
>     further inflating his discography.
>     Well, at least I mentioned Elmer Snowden's recordings with Lonnie
>     Johnson on which nobody sings and Snowden takes the guitar lead,
>     just lovely guitar jams . But when Pensacola was mentioned, I
>     remembered mentioning the Seminoles before, and their extensive
>     touring milieu, and why not represent the early player and his son
>     who died young by making an excuse to play Donald Lambert's
>     Beethoven, and maybe Speckled Red's "Wilkins Street Stomp"?
>     "Dad's Piece" be unto you too!
>     Robert R. Calder
>
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