Re: Digest Number 408: Henderson
- The excellent book "The Uncrowned King of Jazz: Fletcher Henderson and
Big Band Jazz' by Jeffery Magee, provides several examples of the
inluence of Whiteman and other white musicians on Henderson. Here are
some of the subtiles in the book:
The Revised Original Dixieland Jazz Band. Remarks about the 1927
recordings by Henderson of old ODJB tunes: Sensation, Livery Stable
Blues, and Fidgety Feet.
Whiteman Stomp. Magee refers to Henderson's recording of this tune as
the "apotheosis of symphonic jazz." Wang Wang Blues is also discussed.
Revisiting Bix and Tram (Bill Challis). Magee's analysis of Henderson
recordings in 1931 "Singin' the Blues" (twice) and "Clarinet
Marmalade." These are almost note for note copies of Bix and Tram's
recodings of the tunes.
Good musicians appreciate what other good musicians do.
PS I highly recommend Magee's book on Henderson.
--- In RedHotJazz@yahoogroups.com, David Lewis <udtv@...> wrote:
> > >
> > > Belatedly, but with regards to the question which
> > I proposed - in
> > reverse of
> > > the above - "Did Oliver steal from Whiteman?"
> > >
> > > What I am saying is in-a-way "yes" - because all
> > musicians
> > steal/borrow from
> > > each other.
> > Maybe you are right but I wonder how Oliver could
> > listen to Whiteman,
> > I mean , was he allowed to enter a record store that
> > is dedicated to
> > noncolored artists music and buy records ? Or maybe
> > he entered one of
> > Whiteman's gigs ? Is it possible ?
> > tommersl
> Oh certainly! In Sudhalter's book "Bix: Man and
> Legend" there is report of an incident where Fletcher
> Henderson's group and the Goldkette orchestra played
> at the same date. At the beginning of the date the
> guys in Henderson's band were a little standoffish in
> regard to Goldkette men. But once they got a load of
> Bix they became profound believers, and the feeling
> afterward was much more cordial between all of them.
> Henderson himself decided to start a band largely
> inspired by the example of Whiteman. He wanted to do
> as well as Whiteman, and if possible, to outdo
> Whiteman in whatever way he could. It was a feeling of
> healthy competition, cameraderie and mutual respect,
> and without regard to what the Stanley Crouches of the
> world might say, this crossed the color lines. We're
> talking specifically about relations among musicians,
> and not about any other aspect of the business of
> playing jazz in the 1920s.
> Uncle Dave Lewis
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