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Hello Charles,
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<div>Some very good points. </div>
<div>Joe Rushton of course was a very fine player. I have written evidence where he stated very clearly that Adrian Rollini was his example. (Got some letters from Rushton's son) </div>
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<div>To make this a little bit more interesting:</div>
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<div>- Harry Carney stated in 3 different interviews that Adrian Rollini was his idol. (One of these interviews done by Valerie Wilmer, you can check online) </div>
<div>- In Jazz Masters of the '30 , Rex Stewart is very clear , that Rollini also had a big impact on Coleman Hawkins. (Rollini's best jazz solo is on San, two days before Hawkins first good solo on Stampede, San is a better solo) </div>
<div>- Very late in life, Gerry Mulligan stated in two different interviews, that Adrian Rollini most certainly had a huge impact on his playing, not through records, but through radio. </div>
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<div>Rollini , and Bechet who played totally different, were the first to record Jazz solos on a saxophone. </div>
<div>Although Rollini recorded many dance records, between 1923 and 1928 there were also a lot of jazz tracks involved. </div>
<div>The best of these, like the 1926 record of San, and Milenburg joys from 1925 have solos that are as original as it gets, and have tremendous swing. </div>
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<div>Another very interesting point:</div>
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<div>- in Gunther Shullers book, early jazz, one of Armstrong favourite phrase ending devices is mentioned. </div>
<div>What is not mentioned is that Rollini allready recorded exactly this phrase ending in January 1924, that is 8 months before Armstrong came to New York in the first place and, (I checked all the records,) a year before Armstrong recorded it himself. </div>
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<div>Rollini was the most creative and original developper of bass lines, until Jimmy Blanton came along in 1940. Check Tiger Rag, f.i.</div>
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<div>He also recorded on vibraphone , before Hampton and Red Norvo did (And with 4 mallets instead of the 2 hamp used)</div>
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<div>Then in 1927 started recording sweet solos, many years before Tommy Dorsey would become famous with this device.</div>
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<div>Rollini also used multiphonics often and sometimes toptones. John Coltrane got fame or credit for this, sadly it is totally ignored that Rollini was the first to record multiphonics on a saxophone, also ahead of any classical player. </div>
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<div>Kind regards,</div>
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<div>Bert Brandsma</div>
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<div id="x_divRplyFwdMsg" dir="ltr"><font face="Calibri, sans-serif" color="#000000" style="font-size:11pt"><b>From:</b> Charles Suhor <csuhor@zebra.net><br>
<b>Sent:</b> Thursday, April 13, 2017 2:58 AM<br>
<b>To:</b> Bert Brandsma<br>
<b>Cc:</b> Dixieland Jazz Mailing List<br>
<b>Subject:</b> Re: [Dixielandjazz] Buddy Bolden, was Armstrong-Eldridge</font>
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<div class="PlainText">Good points, Anton. Lineages are “soft,” for sure. Some players state who influenced them. ...................., Joe Rushton, (Ed Blackwell), and a few others.<br>
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