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6186Re: Jejo/Jari

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  • uli
    Aug 10, 2008
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      No, not THE Bandleander Moten. They are talking ´bout an
      clarinetplayer who only recorded in the mid 1920´s, mostly with
      Clarence Williams Groups.
      Really nothing to do with the pianoplayer and bandleader of
      Kansas!!
      Good start with the new week!
      Uli
      Dan Van Landingham <danvanlandingham@...> wrote:

      > I take it that the Bennie Moten you mentioned regarding Carmello
      Jejo was NOT the Bennie
      > Moten who worked in Kansas City in the '20s until his death in 1935
      following a tonsillecto-
      > my on a pool table in Kansas City.The Bennie Moten I know of did
      make a couple of trips
      > to Camden,New Jersey to record for RCA in 1932.

      Taking of Ramon Usera:
      he made recordings with all the Noble Sissle Bands between 1929 to
      1924. Sissle made an shortie to the British Pathe , Jan. 1930.
      According to the list of Bandmembers by the Sissle Band, Usera is with
      the Pathefilm (the film is on youtube).

      http://www.youtube.com/watch?v=hiTHBP3NP08

      Also with this Band is Arthur Briggs on tp., a star of his own in
      Europe of the 20´s.


      Re: Bennie Moten a Bennie Motton is listed as the clarinet player on a
      Joe Jordan big band from 1926 in the same page of McCarthy's book,
      presume it to be Bennie Moten, who played clarinet and alto on some
      1926 Clarence Wiiliams sessions (usually mid 1926, I believe moist
      sources pin Bennie for the Blue Grass Footwarmers' sessions, ex.
      Harmony 248, a really nice version of "Old Folks Shuffle" fine
      clarinet). Jari is usually listed for the first couple Williams
      sessions in 1927, before Leon Abbey went to South America. Both
      clarinet players are above the grade we usually find in NYC, though I
      am beginning to think (after hearing the Bearcats again) that Jari was
      actually a first rank player, good reader and a fine soloist on the
      clarinet, we may have our man for Flo (and "One O Clock Blues", he is
      in town and was possible able for the session), had he not died in 1929.
      > One other bit, the LeRoy Tibbs 78 ("One O Clock Blues"/"I Got Worry"
      Columbia 14309), has a clarinet solo on One O Clock that matches
      somewhat the approach to Jari's work ands RHF, more interesting is
      that the clarinet on "I Got Worry" matches Arville Harris, but there
      is a baritone sax solo of some quality, could Jari be the third reed
      player on this session? The Tibbs band was one that LeRoy inherited
      because of Ollie Ross had a disagreement with the management on what
      drummer was to play in the band. One should note that Ollie Ross is
      identified with the Lew Leslie Blackbird revues, that Jari, Usera etc
      played with- and recorded 2 78's for Brunswick, one backing Adeline
      hall, the other instrumental) . The instrumental 78 on Brunswick
      (issued so well on Harrison LP R) has a fantastic clarinet solo by
      Jari on "Bandana Babies", I think he may well be the same man as on
      Red Hot Flo and One O Clock Blues (but do not discount the possibilty
      of Moten, if
      > he is the clarinet on Harmony 248. Like the Leslie band very much,
      BTW (the flip side has a nice unison clarinet section, but rather odd
      solos by Socrras on flute and Usera on tenor)
      > Kudos to both Michael and Howard on this one, I am fascinated by all
      of this, thanks Yves
      >
      > BTW Michael, was it Jim Europe who searched for clarinet players
      from PR in the late teens for the marching band, because there were
      not proficient enough clarinet players in NYC in 1917, I seem to
      remember this, and I think the connections of Puerto Rico and Harlem
      goes back much further than salsa and Machito (indeed, one of the
      reedmen Howard mentioned from the Blackbirds band of 1928, Ramon
      Usera, is directly responsible for the arrangements on the Victor
      recordings of Daniel Santos, a superstar of proto salsa music), all
      the best

      > > Jejo's (he also play baritone sax), although Demas Dean
      > > says Otto Mikell played the baritone sax solos and that Jejo
      > > was responsible for the clarinet. The Abbey band arrived in
      > > Rio de Janiero on 25 May 1927, which means that Jejo/Jari
      > > could have been on any of the Clarence Williams recordings
      > > before May 1927.
      > >
      > > Jejo was also in the band for Lew Leslie's Blackbirds
      > > of 1928. His section mates also had latin-American names -
      > > Albert Socarras and Raymond Or Ramon) Usera. The third
      > > member of the Bearcats reed section was tenor
      > > saxist/clarinetist Ramon Hernandez - which indicates a
      > > concentration of Caribbean reed players in New York in the
      > > 1920s.
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