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9244Re: Carmelo Jari with Jelly Roll Morton?

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  • anthony coleman
    Sep 9, 2012
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      Stop the presses!

      I just heard Big Ben by Bennett's Swamplanders (thank you Rich Connaty - WFUV), and there is no question in my mind that the clarinetist on this session (Sept. 9, 1930) is the same as one of those unknown Morton guys. The problem is...He is listed as Alberto Socarras, and as far as I know, Socarras was exclusively a flutist - but maybe not? Which Morton guy? I'll go further and listen again - I have the sound in my head, but I can't match it up right now. But it's the right time, the right place, fits in w/people's memories of his being somehow Hispanic...Thoughts? One of my reed player friends says he sounds like he's playing clarinet w/ a flutist's embouchure.

      More Later,

      Anthony Coleman

      Hello to the group - I found the group because Morton minutiae keeps me up at night...



      The solo starts at 1:35

      --- In RedHotJazz@yahoogroups.com, "David Brown" <johnhaleysims@...> wrote:
      >
      > Hello Michael
      >
      > I hear five different clarinets on these problematic 1930 Morton sides. I
      > exclude obviously the session with Albert Nicholas.
      >
      > 5 March. From Morton himself 'a white Victor house man' -- 'Eddie' -- who
      > 'tried hard but didn't have it in him to play good jazz'. The playing here
      > certainly fits that description although I wonder if it is technically
      > proficient enough to be a studio musician, even if the doubling on
      > bass-clarinet adds weight to this theory. Interestingly, the player has a
      > sound and phrasing at times reminiscent of Albert. Wilbur de Paris
      > remembered the name as 'Ernie' and Rust came up with either or both Ernie
      > Bullock and Eddie Scarpa. By the last sessions on which we hear him, Jari
      > was a much better player than this.
      >
      > 19 & 20 March. From 'Mr Jelly Roll' -- 'so eager was he to prove that his
      > 'little black dots' contained the essence of jazz that he brought in Nat
      > Shilkret's sweet clarinet player for one recording date and, working from
      > Jelly's arrangements, he played so much hot clarinet that ever since the
      > fans have been arguing about who this mystery man was'.
      >
      > That would mean Andy Sannella, who appears on scores of rather anonymous
      > sessions but an exposed example of whom I have been unable to find. Anybody
      > ? The playing here, obviously from Morton's dots, which echo substantially
      > the work of Simeon on earlier RHPs, would fit this description. This player
      > does trill but without bounce. This is the session on which Addison
      > identified 'Jajo' -- 'A Cuban Boy'. The photo linked below raises the
      > possibility that Sannella could pass for Cuban and maybe Addison, not
      > expecting a white this context, assumed him so to be.
      >
      > http://bixography.com/Sannella/1931AndySannellaHomePiano.jpg
      >
      > However, Sannella did also double bass clarinet and could therefore be a
      > possible for the 3 March session although we would then have to try and
      > rationalise Morton's apparently contradictory views of his ability.
      >
      > 2 June. Despite Rust placing Scarpa here, I hear only two reeds. There are
      > few clarinet parts and those are very poor and suggest saxophonists
      > doubling. Northing here either good enough for Jari. Rust reinstates the
      > Bros Thomas, who were definitely present, from photographic evidence, on the
      > sessions with Baquet of nearly a year earlier.This must be open to some
      > doubt.
      >
      > 9 October. Clarinet here only chalumeau, possibly to disguise his
      > ineptitude, and so very difficult to identify. But certainly a technically
      > less than fluent player. The nearest parallel in sound is Bigard.
      >
      > Conclusion, no Jari and I see no reason to doubt the firm evidence of his
      > death.
      >
      >
      > Dave



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