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Sorry Bob,
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<div>Bert Brandsma</div>
<div>clarinet/saxes - Big Chris Barber band (UK) </div>
<div>bass saxophone - Dixieland Crackerjacks (NL)</div>
<div>Lead alto sax - Bernard Berkhout Swing Orchestra (NL) </div>
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<div>www dot bertbrandsma dot com</div>
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<div>Besides I write CD reviews and sometimes articles in Dr. Jazz Magazine and other music magazines.</div>
<div>Usually in Dutch, however I was asked to do a very serious article on Adrian Rollini in English language. Which alas is not published yet. </div>
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<div>kind regards,</div>
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<div>Bert<br>
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<div id="divRplyFwdMsg" dir="ltr"><font face="Calibri, sans-serif" color="#000000" style="font-size:11pt"><b>From:</b> Robert Ringwald <rsr@ringwald.com><br>
<b>Sent:</b> Thursday, April 13, 2017 4:28 PM<br>
<b>To:</b> Bert Brandsma<br>
<b>Cc:</b> Dixieland Jazz Mailing List<br>
<b>Subject:</b> Re: [Dixielandjazz] Influence Adrian Rollini on Joe Rushton</font>
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<div>Very nice post. I’d certainly like to see more discussion of this type here on DJML.
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<div>I am curious, who is Bert?</div>
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<div>-Bob Ringwald</div>
<div>DJML Moderator</div>
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<div style=""><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>
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<div><b>Subject:</b> Re: [Dixielandjazz] Influence Adrian Rollini on Joe Rushton</div>
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Hello Charles,
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<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.
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<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.
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<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.
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<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.
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<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.
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<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.
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<div>So from this only it is understandable why Armstrong developped so much into a great blues player, whereas Bix didn't.
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<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.
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<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.
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<div>Somehow, a simple clear understandable line, N.O. - Chicago - N.Y. without complexing factors seems to be preferred in history books.
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<div>Isn't jazz in general, just one melting pot of influences stemming from all kind of different corners?</div>
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<div>Have a nice day,</div>
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<div>Bert<br>
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<div id="divRplyFwdMsg" dir="ltr"><font color="#000000" face="Calibri, sans-serif" style="font-size:11pt"><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>
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<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.
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<div>Charlie</div>
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