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8803RE: [RedHotJazz] Re: Noone on Oliver's Camp Meeting Blues

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    Sep 1, 2011
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      Hi Folks,
                    If you want blues feeling from a clarinet player look no further than Russell Procope or Barney Bigard. The former is on Jelly Roll Morton's 'Deep Creek' and his short clarinet passage there has more blues feeling than I would have credited to any man. Bigard, of course, spent all those years with Duke Ellington and his chair was latterly taken by Russell Procope who added another value to the rich tapestry of the Ellington band. Neither of them were 'flashy' technical players either and both paid homage to Buster Bailey at one time or another.
      TTFN - 007

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

      From: David Brown <johnhaleysims@...>
      Subject: RE: [RedHotJazz] Re: Noone on Oliver's Camp Meeting Blues
      To: RedHotJazz@yahoogroups.com
      Date: Thursday, 1 September, 2011, 15:46

      Right Howard

      There are indeed a few late examples of Buster playing a good blues but his
      normal blues mode was rather too glib. However, this style totally suited
      the 'tight arsed' Kirby band of which he was the best part.

      I can't remember source but Buster was extremely jealous of Goodman,
      considering himself the better player and this was the reason for the rather
      dreadful 'Man With A Horn Goes Berserk' in which he displays his speed at
      the sacrifice of music and any semblance of jazz tone or even decent
      classical tone.

      Goodman reported playing duets with Buster for Schoepp but I doubt if
      either, or Noone, had their jazz playing enhanced. Noone also became rather
      glib although even late could play a sublime blues.

      Goodman's jazz was even more damaged by his studies with Kell and I posit
      that 'proper' classical technique is really inimical to jazz and certainly
      jazz tone, whatever that is.

      I also conjecture that the riches that we have within our 'red hot' period
      are due, in no small part, to the fact that the musicians were self, or
      badly, taught and often had 'faulty' technique.


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