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<DIV>Very nice post. I’d certainly like to see more discussion of this type here
on DJML. </DIV>
<DIV> </DIV>
<DIV>I am curious, who is Bert?</DIV>
<DIV> </DIV>
<DIV>-Bob Ringwald</DIV>
<DIV>DJML Moderator</DIV>
<DIV> </DIV>
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<DIV style="font-color: black"><B>From:</B> <A
title=mister_bertje@hotmail.com>Bert</A> </DIV>
<DIV><B>Sent:</B> Thursday, April 13, 2017 1:02 AM</DIV>
<DIV><B>To:</B> <A title=rsr@ringwald.com>Bob Ringwald</A> </DIV>
<DIV><B>Cc:</B> <A title=dixielandjazz@ml.islandnet.com>Dixieland Jazz Mailing
List</A> </DIV>
<DIV><B>Subject:</B> Re: [Dixielandjazz] Influence Adrian Rollini on Joe
Rushton</DIV></DIV></DIV>
<DIV> </DIV></DIV>
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style='FONT-SIZE: small; TEXT-DECORATION: none; FONT-FAMILY: "Calibri"; FONT-WEIGHT: normal; COLOR: #000000; FONT-STYLE: normal; DISPLAY: inline'>
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<P> </P>Hello Charles,
<DIV> </DIV>
<DIV>You're right, Rushton <SPAN
style='FONT-SIZE: 16px; FONT-FAMILY: calibri, arial, helvetica, sans-serif, emojifont, "Apple Color Emoji", "Segoe UI Emoji", notocoloremoji, "Segoe UI Symbol", "Android Emoji", emojisymbols'>hasn’t
been given his due. </SPAN></DIV>
<DIV><SPAN
style='FONT-SIZE: 16px; FONT-FAMILY: calibri, arial, helvetica, sans-serif, emojifont, "Apple Color Emoji", "Segoe UI Emoji", notocoloremoji, "Segoe UI Symbol", "Android Emoji", emojisymbols'></SPAN>I
just put up this story, since to my opinion influences are way more complicated
and wider than usually mentioned. </DIV>
<DIV>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. </DIV>
<DIV>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. </DIV>
<DIV>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.
</DIV>
<DIV> </DIV>
<DIV>But quite clear lines like Django Reinhardt on American guitar players (Who
himself got his dose of Eddie Lang) are not too often mentioned. </DIV>
<DIV>And also Steve Brown and his effect on bass playing in 1926. Well it is
mentioned sometimes, but to my feeling is largely overlooked. </DIV>
<DIV> </DIV>
<DIV>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. </DIV>
<DIV>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. </DIV>
<DIV>So from this only it is understandable why Armstrong developped so much
into a great blues player, whereas Bix didn't. </DIV>
<DIV>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. </DIV>
<DIV>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.
</DIV>
<DIV> </DIV>
<DIV>Somehow, a simple clear understandable line, N.O. - Chicago - N.Y. without
complexing factors seems to be preferred in history books. </DIV>
<DIV> </DIV>
<DIV>Isn't jazz in general, just one melting pot of influences stemming from all
kind of different corners?</DIV>
<DIV> </DIV>
<DIV>Have a nice day,</DIV>
<DIV> </DIV>
<DIV>Bert<BR><BR>
<DIV style="COLOR: rgb(0,0,0)">
<HR tabIndex=-1 style="WIDTH: 98%; DISPLAY: inline-block">
<DIV id=divRplyFwdMsg dir=ltr><FONT style="FONT-SIZE: 11pt" color=#000000
face="Calibri, sans-serif"><B>From:</B> Charles Suhor
<csuhor@zebra.net><BR><B>Sent:</B> Thursday, April 13, 2017 7:12
AM<BR><B>To:</B> Bert<BR><B>Cc:</B> Dixieland Jazz Mailing
List<BR><B>Subject:</B> Re: [Dixielandjazz] Influence Adrian Rollini on Joe
Rushton</FONT>
<DIV> </DIV></DIV>
<DIV>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.
<DIV> </DIV>
<DIV>Charlie</DIV>
<DIV> </DIV>
<DIV>
<BLOCKQUOTE type="cite">
<DIV></DIV></BLOCKQUOTE></DIV>
<DIV> </DIV></DIV></DIV></DIV></DIV>
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