8285Re: [RedHotJazz] Goldkette band and McKinney's Cotton Pickers
- Jan 24, 2011on 24/01/2011 15:32, David Brown at johnhaleysims@... wrote:
>Not really, Dave, just a little local difficulty in their application.
> More importantly perhaps is what the fact that these sides have been in
> dispute for over 70 years has to say for racial theories of jazz history.
Traditions don¹t cease to exist because they overlap at times.
No one doubts that there are separate white and black traditions in the
string band music of the American South, but there are dozens of records
(many more than in jazz) which taken in isolation could hardly be assigned
with confidence to one tradition or the other, though there are not many
bands which recorded any significant number of sides where it is not obvious
which tradition they belong to. This comes about for a lot of reasons, black
bands played in white styles to extract change from white passers by, white
bands played in black styles when they wanted to sound down and dirty,
people copied records or performances which particularly appealed to them,
and many more.
You could perfectly well substitute jazz in the above. The Goldkette and
McKinney bands are easy to distinguish ninety per cent of the time (well 98%
actually) and the differences are due in part to their different cultural
heritages. The occasions when perhaps the Goldkette band played a Don Redman
arrangement in the McKinney manner, or McKinney¹s played a Goldkette
arrangement because the audience they were playing for asked for it, or
whatever, isn¹t that significant.
I do not want to enter the main controversy, nor will I until I find out
what Don Redman actually said, rather than what Daniel Nevers reported that
Charles Delaunay said he said. I have done a lot of looking for this, and so
has Nick Dellow to my certain knowledge, and neither of us has any axe to
grind, which is not true of Delaunay or Nevers.
I¹m afraid I have provisionally concluded that Delaunay conveniently took
this information to the grave. But his papers are in the Bibliothèque
Nationale, where they are not very accessible to anyone other than French
academics. Someone could go and look at them. Maybe the actual interview
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