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8797RE: [RedHotJazz] Re: Noone on Oliver's Camp Meeting Blues

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  • ALAN BOND
    Sep 1, 2011
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      Hi Folks,
                      That sounds like a reasonable theory to me and I don't think we are going to get any closer unless new information surfaces.
                      I am afraid I can't agree that Buster Bailey was a better jazz player in 1923 than he was in, say, 1940. His work with John Kirby alone is proof of that. It's very like saying that Ian Wheeler was a better player when he was with Ken Colyer than when he was with Chris Barber. Musicians develop their skills over time just like anyone else who takes an interest in their craft and they are also subject to other musical influences.

      TTFN - 007

      --- On Thu, 1/9/11, David Brown <johnhaleysims@...> wrotIe:

      From: David Brown <johnhaleysims@...>
      Subject: RE: [RedHotJazz] Re: Noone on Oliver's Camp Meeting Blues
      To: RedHotJazz@yahoogroups.com
      Date: Thursday, 1 September, 2011, 9:52

      Many thanks Nick for the definitive discographical overview and history.

      You put your finger right on the nub -- why -- what source was there for --
      the continual discographical amendments ?

      Perhaps somebody with Storyvilles -- and an index -- could check for this
      topic.

      What this proves is that the clarinet on the Columbias has always been
      contentious and it is not so easy to pick and open to alternative aural
      interpretation. I myself have heard it both -- if not all -- ways over the
      years.

      The 7 rejected takes might also suggest a problem with the musicians rather
      than the equipment. Certainly Noone on 'Chattanooga' sounds less than his
      fluent best and the playing on the other three sides is stronger. I can't
      think there was any temperamental or musical clash between Oliver and Noone
      and maybe the latter was 'under the weather' and, for reasons of safety, an
      alternative was found for the next day's session.

      As to Buster, he was a better jazz player earlier, when his models were New
      Orleanian, and before his studies with Schoepp which I  consider the reason
      for his drastic change is style. But I also note that Noone studied with
      Schoepp.

      The tenuous and circumstantial documentary evidence would seem to come down
      for the Columbias having both Noone and Buster.

      Aurally, you pays your money and takes your choice but I believe, without
      doubt, that Noone is on 'Chattanooga'.


      Dave





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