8543Re: R: [RedHotJazz] Sources on Pre War European Jazz
- Mar 17, 2011Yes, let¹s us say in fairness that Godbolt¹s second book is much better
because he was an eye and ear witness of many of the events he recounts. I¹d
go so far as to say it is indispensible to anyone wanting to understand
British trad. So probably is Jim¹s autobiography, though I have never read
it, having been throroughly put off by the Storyville review!
However, these are primary sources rather than what our enquirer was
Vorzanger¹s band is in Rust. The records are variable and anyone is at
liberty to regard them or anything else as of merely historical importance,
but history is what we are talking about here. Vorzanger himself was
certainly not a jazz musician. He continued to provide music for bar
mitzvahs and weddings from his Whitechapel base well into the 50s, long
after his brief flirtation with jazz. Curiously he continued to appear in
the London Phone Book as a band contractor until 1959. Curiously, because he
died in 1957. Assumably someone carried the business on for a bit. The band
on Scala was not really his band. It was the band from Moody¹s Club and its
real leader was the African-American trombonist Ellis Jackson, later a
pillar of Billy Cotton¹s band. (Have you heard the 1936 sessions by Billy
Cotton¹s Cotton Pickers? Well worth seeking out.) There isa film made at
Moodyt¹s (unfortunately silent) showing the band in action.
on 16/03/2011 18:27, David Brown at johnhaleysims@... wrote:
>Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
> Thanks Howard.
> At 50 odd nicker a throw, all I'm ever likely to read is what is up Google
> books but this is sure a scholarly work. I'm very pleased to see that Ms
> Parsonage enthuses over the ODJB's lovely 'I'm Forever Blowing Bubbles'.
> Victor Vorzanger's Broadway Band is new to me -- is it jazz ? --so its
> absence does not really explain your disagreement but I understand what you
> I had no idea -- would never have thought in fact -- that M.M. ever had a
> coherent and consistent view of jazz history.
> I guess it's the 'black contribution to British jazz was slight' that makes
> you angry all over again. But obviously, as regards numbers of musicians,
> this was so.
> I must defend Godbolt. 'There is nothing dry or pedantic about this work. It
> is enlivened throughout by the author's passion for the music itself ' --
> George Melly
> I would also observe that Godbolt goes as far 1950 in this volume and that
> there is a second, from 1950-70, which is even more enlivened because he
> himself was part of the scene.
> [Non-text portions of this message have been removed]
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