<div dir="ltr">Well, I have a Bachelor in Music, studied both tuba and upright bass, on the Tuba I mostly played B flats and C tubas, but I do play trumpet as well. I know about adding three sharps then playing the E flat tuba bass clef like reading trumpet music just that it is tuned in Eb instead of Bb. <div><br></div><div>Kirk</div></div><div class="gmail_extra"><br><div class="gmail_quote">On Mon, Aug 21, 2017 at 12:00 PM, <span dir="ltr"><<a href="mailto:dixielandjazz-request@ml.islandnet.com" target="_blank">dixielandjazz-request@ml.islandnet.com</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">Send Dixielandjazz mailing list submissions to<br>
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Today's Topics:<br>
<br>
1. Re: Dixielandjazz Digest, Vol 176, Issue 10 (Albankirk)<br>
2. Re: the question of Eb vs BBb tubas.... (Jim O'Briant)<br>
<br>
<br>
------------------------------<wbr>------------------------------<wbr>----------<br>
<br>
Message: 1<br>
Date: Sun, 20 Aug 2017 12:40:29 -0400<br>
From: Albankirk <<a href="mailto:bass4art@gmail.com">bass4art@gmail.com</a>><br>
To: <<a href="mailto:dixielandjazz@ml.islandnet.com">dixielandjazz@ml.islandnet.<wbr>com</a>><br>
Cc: Dixieland Jazz Mailing List <<a href="mailto:dixielandjazz@ml.islandnet.com">dixielandjazz@ml.islandnet.<wbr>com</a>><br>
Subject: Re: [Dixielandjazz] Dixielandjazz Digest, Vol 176, Issue 10<br>
Message-ID: <<a href="mailto:5999bb7e.a8876b0a.279d.a091@mx.google.com">5999bb7e.a8876b0a.279d.a091@<wbr>mx.google.com</a>><br>
Content-Type: text/plain; charset="utf-8"<br>
<br>
There should not be a problem using an e flat tuba instead of a b flat in group?<br>
<br>
-----Original Message-----<br>
From: "<a href="mailto:dixielandjazz-request@ml.islandnet.com">dixielandjazz-request@ml.<wbr>islandnet.com</a>" <<a href="mailto:dixielandjazz-request@ml.islandnet.com">dixielandjazz-request@ml.<wbr>islandnet.com</a>><br>
Sent: ?8/?20/?2017 12:30 PM<br>
To: "bass for ever" <<a href="mailto:bass4art@gmail.com">bass4art@gmail.com</a>><br>
Subject: Dixielandjazz Digest, Vol 176, Issue 10<br>
<br>
Send Dixielandjazz mailing list submissions to<br>
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Today's Topics:<br>
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1. DJML- search of early New Orleans videos in public domain<br>
(Norman Vickers)<br>
2. The Note (Steve Voce)<br>
<br>
<br>
------------------------------<wbr>------------------------------<wbr>----------<br>
<br>
Message: 1<br>
Date: Sat, 19 Aug 2017 11:46:23 -0500<br>
From: "Norman Vickers" <<a href="mailto:nvickers1@cox.net">nvickers1@cox.net</a>><br>
To: <<a href="mailto:dixielandjazz@ml.islandnet.com">dixielandjazz@ml.islandnet.<wbr>com</a>><br>
Cc: Dixieland Jazz Mailing List <<a href="mailto:dixielandjazz@ml.islandnet.com">dixielandjazz@ml.islandnet.<wbr>com</a>><br>
Subject: [Dixielandjazz] DJML- search of early New Orleans videos in<br>
public domain<br>
Message-ID: <002d01d3190a$b1476590$<wbr>13d630b0$@<a href="http://cox.net" rel="noreferrer" target="_blank">cox.net</a>><br>
Content-Type: text/plain; charset="us-ascii"<br>
<br>
To: DJML<br>
<br>
From: Norman Vickers, Jazz Pensacola<br>
<br>
<br>
<br>
Kevin Yeates of Vancouver is searching for early videos of New Orleans in<br>
public domain. I referred him, off-line, to US Library of Congress,<br>
Jukebox Project. They're collecting sound recordings in public domain-not<br>
just jazz but others as well. It's likely that they might be able to help.<br>
<br>
<br>
<br>
Suggestion by another DJML Listmate that he seek help from his own library<br>
in his search was also a good one.<br>
<br>
<br>
<br>
Good wishes. Give us a follow-up, Kevin!<br>
<br>
<br>
<br>
Norman<br>
<br>
<br>
<br>
> *From: *"Kevin Yeates" <<a href="mailto:kyeates@yahoo.com">kyeates@yahoo.com</a>><br>
<br>
> *Sent: *Friday, August 18, 2017 3:34:13 PM<br>
<br>
> *Subject: *[Dixielandjazz] New Orleans Videos<br>
<br>
><br>
<br>
> Does anyone know of a library of public domain videos of scenes in New<br>
<br>
> Orleans. I am looking for such footage for a music video about New Orleans<br>
<br>
> (music is easier to listen to when you have something to watch ;>). I'd<br>
<br>
> like to have scenes from early 1900's to present day.<br>
<br>
><br>
<br>
> Kevin Yeates<br>
<br>
><br>
<br>
> Vancouver, Canada<br>
<br>
<br>
<br>
<br>
<br>
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Message: 2<br>
Date: Sun, 20 Aug 2017 09:17:30 +0100<br>
From: Steve Voce <<a href="mailto:stevevoce@virginmedia.com">stevevoce@virginmedia.com</a>><br>
To: Dixieland Jazz Mailing List <<a href="mailto:dixielandjazz@ml.islandnet.com">dixielandjazz@ml.islandnet.<wbr>com</a>><br>
Cc: Dixieland Jazz Mailing List <<a href="mailto:dixielandjazz@ml.islandnet.com">dixielandjazz@ml.islandnet.<wbr>com</a>><br>
Subject: [Dixielandjazz] The Note<br>
Message-ID: <<a href="mailto:4a08cbc1-92da-6997-4b4f-3dc12ab11e70@virginmedia.com">4a08cbc1-92da-6997-4b4f-<wbr>3dc12ab11e70@virginmedia.com</a>><br>
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I have a piece entitled 'You Can't Get There From Here'? in the current<br>
issue of 'The Note'. Here are some stories from it that I hope you might<br>
find diverting.<br>
<br>
Steve Voce<br>
<br>
When the exquisite coda to the ballad ended, the tsunami of applause<br>
raged around the theatre as the tenor player bent to speak to his pianist.<br>
<br>
/?Now /who?s your favourite tenor player?? Stan Getz demanded.<br>
<br>
?Al Cohn,? said Lou Levy. ?Isn?t he yours??<br>
<br>
Zoot Sims famously described Stan Getz as being an interesting bunch of<br>
guys. I was lucky to meet the affable one of the pack that day in Nice<br>
during the 1980s.<br>
<br>
With an interview in mind I?d arranged during the evening beforeto meet<br>
Stan at eleven the following morning outside his hotel. Naturally it was<br>
one of the best hotels in town.<br>
<br>
As I stood there weighed down by a BBC portable tape recorder I thought<br>
it quite likely that he wouldn?t turn up. But he did, five minutes late,<br>
with his very attractive partner and a male friend who he introduced as<br>
an acupuncturist ?who does wonders for my back pains.?<br>
<br>
Stan led the way to the hotel?s private beach and paid for me, as a<br>
non-resident, to enter. He chose a good spot, pointed to the towels and<br>
we all lay down to sunbathe. After about 20 minutes Stan began to talk<br>
about music and I started up the Uher.<br>
<br>
He talked first about his early days and of the band he and Shorty<br>
Rogers had when they were eleven and how he left school when he was 16<br>
to join the Jack Teagarden band.<br>
<br>
?Teagarden was a wonderful man,? he said. ?The war was on and sidemen<br>
were hard to get. But my mother and father were anxious about me going,<br>
so Jack had to become my guardian to convince them that I?d be OK.?<br>
<br>
Stan quoted some of the things that Jack had said to him and suddednly I<br>
jumped. The voice he used was Teagarden?s and I thought for a moment<br>
that the Texan was lying on the beach with us.<br>
<br>
It turned out that Stan, who I knew had a perfect musical memory (he<br>
never forgot a tune once he?d played it) was also a brilliant mimic.<br>
<br>
The morning drifted on and the reels turned. I was ecstatic. I left them<br>
to it at lunchtime.<br>
<br>
I took the recorder back to my modest hotel and set up the tape. It was<br>
then I discovered that the battery had failed making the tape record<br>
slow and the playback like a bunch of white mice on a hot plate.<br>
<br>
The back pains turned out to be the lung cancer that eventually killed him.<br>
<br>
Another tenor player, Bud Freeman, was cited by Lester Young as one of<br>
his main influences. Bud liked to think of himself as a cultured man and<br>
a connoisseur of many arts besides his music making.<br>
<br>
Very much an anglophile, he had always affected an English accent, and<br>
was delighted when it became time for his first visit to England in 1960.<br>
<br>
When he stepped off the plane he was met by a Rolls Royce sent for him<br>
by the Hon Gerald Lascelles, a cousin of the Queen?s.<br>
<br>
Bud was swept through the beautiful English countryside to Fort<br>
Belvedere, ancestral home of the Lascelles family and other royals. The<br>
Rolls passed smoothly along the long winding drive with its beautiful<br>
poplar trees and up to the magnificent portal of the house, where, as a<br>
liveried footman held the car door open for him and others scurried with<br>
his luggage, he stepped out onto a red carpet.<br>
<br>
Bud stood and surveyed the scene with satisfaction.<br>
<br>
?Aaah,? he sighed. ?I always new England would be exactly like this.?<br>
<br>
<br>
A Canadian priest, Gerald Pocock, went to hear his friend Duke Ellington<br>
at New York?s Rainbow Grill in the early ?70s..<br>
<br>
'I sat at the bar to wait for Duke and the small band to arrive. Sonny<br>
Greer? (a childhood friend of Duke?s who had left the band in 1951)<br>
?joined me at the bar and we chatted. Ellington eventually arrived and<br>
approached me saying things like "Father Pocock! How wonderful to see<br>
you! You look wonderful! How have you been? We must get together!" and<br>
so forth.<br>
<br>
Ellington didn't say a word to his old friend Sonny Greer who was<br>
sitting next to me. Ellington eventually excused himself, saying that<br>
the band needed to start its set.<br>
<br>
Sonny Greer was understandably miffed; how could his old friend ignore<br>
him like that??Ellington and the band started to play, and at some point<br>
in the set Ellington made an announcement.<br>
<br>
"Ladies and gentlemen, we recently travelled to Ethiopia, where we were<br>
presented to their king, the man who has more titles than the Pope, His<br>
Imperial Majesty Haile Selassie,Menelik, the Lion of Judah. We were<br>
ushered into his his large royal chamber. We were on one side of the<br>
room and Selassie was at the other side on his throne, with an assistant<br>
standing at either side. Selassie turned and whispered something to one<br>
of his assistants. It was very suspenseful. The assistant walked all the<br>
way across the room, bowed and said to us: 'The emperor would like to<br>
know . . . . . . what the hell is Sonny Greer up to these days?'"<br>
<br>
Sonny Greer broke up laughing,'<br>
<br>
<br>
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Message: 2<br>
Date: Sun, 20 Aug 2017 10:33:03 -0700<br>
From: "Jim O'Briant" <<a href="mailto:jobriant@garlic.com">jobriant@garlic.com</a>><br>
To: "'Dixieland Jazz Mailing List'" <<a href="mailto:dixielandjazz@ml.islandnet.com">dixielandjazz@ml.islandnet.<wbr>com</a>><br>
Cc: Dixieland Jazz Mailing List <<a href="mailto:dixielandjazz@ml.islandnet.com">dixielandjazz@ml.islandnet.<wbr>com</a>><br>
Subject: Re: [Dixielandjazz] the question of Eb vs BBb tubas....<br>
Message-ID: <01dc01d319da$60b97c50$<wbr>222c74f0$@<a href="http://garlic.com" rel="noreferrer" target="_blank">garlic.com</a>><br>
Content-Type: text/plain; charset="UTF-8"<br>
<br>
Albankirk wrote:<br>
<br>
> There should not be a problem using an e flat tuba instead of a b flat in group?<br>
<br>
First of all, you wrote this as a reply to a digest that included multiple emails. As nearly as I can tell, neither message dealt with Eb vs BBb tubas.<br>
<br>
Therefore, am I guessing correctly that you're asking whether a Trad Jazz band can use an Eb tuba rather than a BBb tuba? If so, the answer is yes. I know a couple of players who also play classical stuff, and they use a CC tuba for Trad Jazz as well. Tom Holtz, who played with the Buck Creek Jazz Band (and whose "day job" was Principal Tuba in the US Marine Band in DC) played a Besson Eb with Buck Creek.<br>
<br>
Jim O'Briant<br>
Gilroy, CA<br>
Tuba & Leader, The Zinfandel Stompers Vintage Jazz Band<br>
<br>
<br>
<br>
<br>
<br>
------------------------------<br>
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End of Dixielandjazz Digest, Vol 176, Issue 11<br>
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</blockquote></div><br></div>