3828Re: Bill Russell (Was: New book: In Search of the Blues by Marybeth Hamilton)
- Feb 15, 2007Hello
I'm a musician from Portugal and recently got to know this group,
which I find interesting.
I recently have been to Guildford UK, and bought this wonderful book
of John Chilton "JAZZ", and I think this quote confirms what you
"In 1940, Heywood Hale Broun, a jazz magazine editor, decided it was
time that he visited New Orleans to record other musicians, like
Bunk, who had played a part in early jazz history. Bunk Johnson was
offered the chance to play on the session, but he was busy
rehabilitating himself [ ].Instead, a younger man, Henry (Kid) Arena,
who had been in the Waif's Home Band with Louis Armstrong, played the
trumpet on the recordings [ ].
Bill Russell, one of the few writers who could then justifiably be
called an expert on New Orleans jazz, wrote in his initial review of
the records: `New Orleans music is played by groups of any size
specified by an employer, and ranges from the single piano player in
the tonks and whorehouses to the bands of twenty or more used for
funerals and Mardi Gras parades.' He went on to say: `although the
records featured a line-up similar to that used by Buddy Bolden's
band, they were not a deliberate attempt to recreate the traditional
jazz style of the 20's or even the 30's. They contained a variety of
New Orleans music: marches, folk-tunes, composed pieces and
improvised blues played by a group of outstanding musicians.' All
this made sense, as there never had been a de rigueur instrumentation
for New Orleans jazz."
--- In RedHotJazz@yahoogroups.com, "Robert Greenwood"
> I have never found any evidence to support this. The most reliable
> way to find out if Bill had any preconceptions that may have
> determined the music heard on the AMs must be in Bill's journals
> at the time of the AM recordings and published in 1993 by GeorgeBuck
> as "Bill Russell's American Music." I don't think Bill set out tofeasible,
> create an accurate and complete documentary record of New Orleans
> music of the mid-1940s (even supposing such a project were
> or would in itself avoid charges of "preconceptions") so he cana
> hardly be criticised for failing to achieve something he never set
> out to achieve in the first place.
> I think he wanted to record Bunk in the best setting he could find
> for him. Bunk had been off the scene for some years by then and so
> band had to be put together for him made up of musicians who maynot
> have been Bunk's first choice and with whom some compromises mayhave
> had to be made.for
> --- In RedHotJazz@yahoogroups.com, "David Brown" <johnhaleysims@>
> > Robert
> > I bow to no man, expect maybe your good self, in my admiration
> > Russell but I suggest that what Bill expected to find in N.O. in
> the 40s was
> > music of the 'classic' era, or even earlier, somehow preserved.
> However, the
> > music of N.O. -- as everywhere -- had evolved and altered. I
> > that, to some extent, by his choice of musicians and repertoire
> > his own vision and produced an artificial hybrid --- marvellous
> indeed --
> > which was not representative of N.O music of that time.
> > Dave
> > [Non-text portions of this message have been removed]
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