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<p>It means that Donald Lambert didn't make enough records.<br>
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<div class="moz-cite-prefix">On 08/01/2018 22:04, Marek Boym wrote:<br>
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<div>Represented inadequately by Donald Lambert?! He was one of
the best!<br>
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Cheers<br>
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<div class="gmail_extra"><br>
<div class="gmail_quote">On 8 January 2018 at 18:58,
ROBERT R. CALDER <span dir="ltr"><<a
href="mailto:serapion@btinternet.com"
target="_blank" moz-do-not-send="true">serapion@btinternet.com</a>></span>
wrote:<br>
<blockquote class="gmail_quote" style="margin:0 0 0
.8ex;border-left:1px #ccc solid;padding-left:1ex"><a
href="https://www.youtube.com/watch?v=fylxor4zo0w"
rel="noreferrer" target="_blank"
moz-do-not-send="true">https://www.youtube.com/watch?<wbr>v=fylxor4zo0w</a><br>
Art Tatum plays Chopin (Valse in C# Minor, Op. 64, No.
2)<br>
<br>
I'm not saying Tatum had necessarily much to do with
Pensacola --<br>
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 .<br>
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.<br>
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"?<br>
"Dad's Piece" be unto you too!<br>
Robert R. Calder<br>
<br>
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