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Re: [RedHotJazz] Keep Shufflin' Trio (was: Waller)

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  • Howard Rye
    ... This is a deliciously mysterious record. James P. Johnson himself insisted (to Walt Allen) that Teddy Bunn was on guitar and banjo, and most people who
    Message 1 of 56 , Nov 2, 2005
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      on 3/11/05 3:24, spacelights at spacelights@... wrote:

      > --- In RedHotJazz@yahoogroups.com, "spacelights" <spacelights@y...> wrote:
      >>
      >> --- In RedHotJazz@yahoogroups.com, Howard Rye <howard@c...> wrote:
      >>>
      >>> Most listeners think he was also one of The Keep Shufflin' Trio on James
      > P.
      >>> Johnson's You Don't Understand/You've Got To Be Modernistic (18
      >> November
      >>> 1929, Victor V38099), but we'll never know for sure.
      >>
      >> Who knows, indeed, but that's one (aural) identification I don't
      >> understand(!)...
      >> The vocals are quite clear, and sound not a bit like Fats to me, not even
      > close.
      >
      > I've been listening closely to these sides on headphones: the lower register
      > sounds distinctly like Andy Razaf (compared to "Nobody Knows (How Much I
      > Love You)" by Johnny Thompson [pseudonym], 17 January 1928). The middle
      > register vocal is non-descript and faint, inaudible on the first side except
      > for the
      > final refrain. The upper register may well be Clarence Todd (good examples of
      > his upper register harmonizing appear on "Papa De-Da-Da" and "Baby Won't
      > You Please Come Home" by Clarence Williams and His Orchestra, 31 October
      > 1930). Both Razaf and Todd worked on the show 'Keep Shufflin' (as did
      > Waller)--circumstantial evidence, but aurally I'd certainly favor them over
      > Fats.


      This is a deliciously mysterious record. James P. Johnson himself insisted
      (to Walt Allen) that Teddy Bunn was on guitar and banjo, and most people who
      knew Bunn apparently identify his as one of the voices, but Bunn himself was
      quite clear it wasn't him and pointed out that even if he had forgotten the
      gig, he had in fact never played banjo.

      I would expect that on financial grounds we could rule out people who were
      not members of the band, but on the other hand the fact that the vocal group
      is called the Keep Shufflin' Trio may indeed be trying to tell us something.

      Why two pianists anyway?

      Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
      howard@...
      Tel/FAX: +44 20 8521 1098
    • spacelights
      ... James ... It seems to have been a stunt they (Johnson and Waller) enjoyed--they used the same approach the previous year on another Johnson date (18 June
      Message 56 of 56 , Nov 4, 2005
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        --- In RedHotJazz@yahoogroups.com, Howard Rye <howard@c...> wrote:
        >
        > >> --- In RedHotJazz@yahoogroups.com, Howard Rye <howard@c...>
        wrote:
        > >>>
        > >>> Most listeners think he was also one of The Keep Shufflin' Trio on
        James
        > > P.
        > >>> Johnson's You Don't Understand/You've Got To Be Modernistic (18
        > >> November
        > >>> 1929, Victor V38099), but we'll never know for sure.
        >
        > Why two pianists anyway?

        It seems to have been a stunt they (Johnson and Waller) enjoyed--they used
        the same approach the previous year on another Johnson date (18 June 1928),
        and also with Dunn's Original Jazz Hounds (26 March 1928)!

        Cheers,

        John
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