Loading ...
Sorry, an error occurred while loading the content.
 

Re: [RedHotJazz] Millard G. Thomas / Charles Harris

Expand Messages
  • Mordechai Litzman
    Hi John, You will find Lazy Drag with Millard G. Thomas and his Chicago Orchestra on the RHJA, as well as the same tune with Thomas Morris. I listened to both,
    Message 1 of 18 , Jun 11, 2006
      Hi John,

      You will find Lazy Drag with Millard G. Thomas and his Chicago Orchestra on the RHJA, as well as the same tune with Thomas Morris. I listened to both, but can only say that the tunes sound similar - not sure if it is the same tune.
      A search of Charles Harris on the RHJA shows a number of recordings with Lovie Austin's Blues Serenaders accompanying three different singers, as well as recordings with W.C. Handy from 1917.
      Hope that this is helpful.

      Mordechai

      spacelights <spacelights@...> wrote: Hello my friends,

      I'm back from New York, where I stayed for two months (with no
      internet)... I just caught up on reading the April/May
      posts--fascinating and important threads on Armstrong and Bix, Oliver
      and Whiteman, New Orleans and the nature of Blues, and more.

      Jazz Oracle is requesting help for a projected reissue of Millard G.
      Thomas records on Ajax (1924). I've not heard these--does anyone know
      if the version of "Lazy Drag" is the Thomas Morris composition? Also,
      I'm interested in the participation of alto player Charles Harris,
      listed as the same man on Paramount sides with Jelly Roll Morton in
      1923 and (probably) with Ma Rainey in spring, 1924 (the Millard Thomas
      dates occurred in Montreal, starting June 6, 1924).

      Regards to all,

      John (in California)





      __________________________________________________
      Do You Yahoo!?
      Tired of spam? Yahoo! Mail has the best spam protection around
      http://mail.yahoo.com

      [Non-text portions of this message have been removed]
    • Prof_Hi_Jinx
      Here s some detail on Millard: MILLARD G. THOMAS (piano; music teacher; composer) was born at Collinsville, astride Madison and St. Clair counties,
      Message 2 of 18 , Jun 11, 2006
        Here's some detail on Millard:

        MILLARD G. THOMAS (piano; music teacher; composer) was born at
        Collinsville, astride Madison and St. Clair counties, Illinois, on 7
        September 1894.

        He was registered for the Military Draft on 7 June 1917, when he and his
        wife were residing at 2329 (South) Dearborn Street, Chicago, from which he
        worked as a music teacher "in business for self". The residence address is
        crossed out and replaced by 14 King Street, Toronto, Ontario, Canada. He
        was shown as of medium build and height. He had only a wife to support.

        The family had apparently moved to Canada by 1920.

        He recorded with his own jazz band during the 1920s. In 1924 he recorded
        the piano solos BLUE IVORIES and RECKLESS BLUES, released by (Austrian,
        later Scottish) Document CD #DOCD-5314.

        By 1930, he was residing at 102 119th Street, Manhattan, New York, and his
        occupation was "Composer, Music, Public". He was aged 35, having first
        married at 22, and had been born in Illinois. His wife was Hazel B. Thomas,
        aged 29, having first married at 16, "Hair Dresser, Beauty Parlor". She had
        been born in Louisiana.

        Their children were Millard J. (12, born in Illinois); Elma (11, born in
        Illinois); Gyrondlin (possibly Gwendolin - indexed as Gyeondin: aged 9
        years 3 months); Hazel M. (aged 8 years 3 months); and Vivian (daughter,
        aged 7 years 8 months). The last three children are shown as born in
        Canada, but to be American citizens - "Am. Cit."

        Millard's son, also Millard, was born on 7 October 1917, according to his
        social security details. His social security card was numbered 228-10-9454,
        and was issued in Virginia before 1951. He died in January 1975, and his
        last residence was at Chicago, Cook County, Illinois 60640. There seems to
        be no social security death index record for Millard G. Thomas or for his
        wife Hazel B. Thomas.



        Bob



        ----- Original Message -----
        From: "spacelights" <spacelights@...>
        To: <RedHotJazz@yahoogroups.com>
        Sent: Monday, June 12, 2006 9:05 AM
        Subject: [RedHotJazz] Millard G. Thomas / Charles Harris


        > Hello my friends,
        >
        > I'm back from New York, where I stayed for two months (with no
        > internet)... I just caught up on reading the April/May
        > posts--fascinating and important threads on Armstrong and Bix, Oliver
        > and Whiteman, New Orleans and the nature of Blues, and more.
        >
        > Jazz Oracle is requesting help for a projected reissue of Millard G.
        > Thomas records on Ajax (1924). I've not heard these--does anyone know
        > if the version of "Lazy Drag" is the Thomas Morris composition? Also,
        > I'm interested in the participation of alto player Charles Harris,
        > listed as the same man on Paramount sides with Jelly Roll Morton in
        > 1923 and (probably) with Ma Rainey in spring, 1924 (the Millard Thomas
        > dates occurred in Montreal, starting June 6, 1924).
        >
        > Regards to all,
        >
        > John (in California)
        >
        >
        >
        >
        >
        >
        >
        > Yahoo! Groups Links
        >
        >
        >
        >
        >
        >
        >
      • David Brown
        Hello John Nice to have you back. I wondered where you were. Yes, it s the same Lazy Drag which brings into question the compositional credit of Morris. In
        Message 3 of 18 , Jun 11, 2006
          Hello John

          Nice to have you back. I wondered where you were. Yes, it's the same 'Lazy
          Drag' which brings into question the compositional credit of Morris.

          In the Millard the' tune' sounds very much like a strain from a rag and the
          structure, to me, generally much like a ragtime piece.

          Thomas uses the same first two 'strains' then transports into a blues.

          The side also brings us back to the second cornet on the Morris which I have
          listed in different sources as both Stewart and Pinkett. I find it very hard
          to hear Rex here. Anybody know a contemporary Rex with which to compare ?

          Dave



          [Non-text portions of this message have been removed]
        • spacelights
          Thanks, Mordechai--difficulties with Real Audio sometimes prevent my listening to the site. I like the tone of Harris s solos on the 1923 Morton sides, also
          Message 4 of 18 , Jun 11, 2006
            Thanks, Mordechai--difficulties with Real Audio sometimes prevent my
            listening to the site. I like the tone of Harris's solos on the 1923
            Morton sides, also what he added (with Lovie Austin) to Ma Rainey's
            sound in 1924. The fact that he recorded with Handy makes his career
            even more interesting...

            John

            --- In RedHotJazz@yahoogroups.com, Mordechai Litzman <folke613@...> wrote:
            >
            > Hi John,
            >
            > You will find Lazy Drag with Millard G. Thomas and his Chicago
            Orchestra on the RHJA, as well as the same tune with Thomas Morris. I
            listened to both, but can only say that the tunes sound similar - not
            sure if it is the same tune.
            > A search of Charles Harris on the RHJA shows a number of recordings
            with Lovie Austin's Blues Serenaders accompanying three different
            singers, as well as recordings with W.C. Handy from 1917.
            > Hope that this is helpful.
            >
            > Mordechai
          • spacelights
            Thank you, Bob--Jazz Oracle might appreciate this information as well! John ... his ... which he ... address is ... Canada. He ... recorded ... (Austrian, ...
            Message 5 of 18 , Jun 11, 2006
              Thank you, Bob--Jazz Oracle might appreciate this information as well!

              John

              --- In RedHotJazz@yahoogroups.com, "Prof_Hi_Jinx" <prof_hi_jinx@...>
              wrote:
              >
              > Here's some detail on Millard:
              >
              > MILLARD G. THOMAS (piano; music teacher; composer) was born at
              > Collinsville, astride Madison and St. Clair counties, Illinois, on 7
              > September 1894.
              >
              > He was registered for the Military Draft on 7 June 1917, when he and
              his
              > wife were residing at 2329 (South) Dearborn Street, Chicago, from
              which he
              > worked as a music teacher "in business for self". The residence
              address is
              > crossed out and replaced by 14 King Street, Toronto, Ontario,
              Canada. He
              > was shown as of medium build and height. He had only a wife to support.
              >
              > The family had apparently moved to Canada by 1920.
              >
              > He recorded with his own jazz band during the 1920s. In 1924 he
              recorded
              > the piano solos BLUE IVORIES and RECKLESS BLUES, released by
              (Austrian,
              > later Scottish) Document CD #DOCD-5314.
              >
              > By 1930, he was residing at 102 119th Street, Manhattan, New York,
              and his
              > occupation was "Composer, Music, Public". He was aged 35, having first
              > married at 22, and had been born in Illinois. His wife was Hazel B.
              Thomas,
              > aged 29, having first married at 16, "Hair Dresser, Beauty Parlor".
              She had
              > been born in Louisiana.
              >
              > Their children were Millard J. (12, born in Illinois); Elma (11,
              born in
              > Illinois); Gyrondlin (possibly Gwendolin - indexed as Gyeondin: aged 9
              > years 3 months); Hazel M. (aged 8 years 3 months); and Vivian
              (daughter,
              > aged 7 years 8 months). The last three children are shown as born in
              > Canada, but to be American citizens - "Am. Cit."
              >
              > Millard's son, also Millard, was born on 7 October 1917, according
              to his
              > social security details. His social security card was numbered
              228-10-9454,
              > and was issued in Virginia before 1951. He died in January 1975,
              and his
              > last residence was at Chicago, Cook County, Illinois 60640. There
              seems to
              > be no social security death index record for Millard G. Thomas or
              for his
              > wife Hazel B. Thomas.
              >
              >
              >
              > Bob
            • spacelights
              Thanks Dave... Two contemporary Stewart sides to compare are The Stampede / Jackass Blues with Fletcher Henderson (5-14-26)--Rex solos on both of these.
              Message 6 of 18 , Jun 11, 2006
                Thanks Dave... Two contemporary Stewart sides to compare are "The
                Stampede"/"Jackass Blues" with Fletcher Henderson (5-14-26)--Rex solos
                on both of these. I'm pretty well convinced he's on the Morris
                session--the cornet solo (at around 1:48) on "Lazy Drag" sounds quite
                similar to the Hendersons. "Jackass Blues" appears on both
                dates--Stewart plays lead on the Morris version but doesn't solo.
                Reportedly, Stewart identified himself on hearing "Charleston
                Stampede" from the same date (7-13-26).

                Regards to all,

                John

                --- In RedHotJazz@yahoogroups.com, "David Brown" <johnhaleysims@...>
                wrote:
                >
                > Hello John
                >
                > Nice to have you back. I wondered where you were. Yes, it's the
                same 'Lazy
                > Drag' which brings into question the compositional credit of Morris.
                >
                > In the Millard the' tune' sounds very much like a strain from a rag
                and the
                > structure, to me, generally much like a ragtime piece.
                >
                > Thomas uses the same first two 'strains' then transports into a blues.
                >
                > The side also brings us back to the second cornet on the Morris
                which I have
                > listed in different sources as both Stewart and Pinkett. I find it
                very hard
                > to hear Rex here. Anybody know a contemporary Rex with which to
                compare ?
                >
                > Dave
              • Howard Rye
                ... There is an account of the band and its pre-history in the Caddo Orchestra of Shreveport, LA, in Mark Miller s Some Hustling This (pp.81-2). Charles Harris
                Message 7 of 18 , Jun 12, 2006
                  on 12/6/06 6:15, Prof_Hi_Jinx at prof_hi_jinx@... wrote:

                  >
                  > MILLARD G. THOMAS (piano; music teacher; composer) was born at
                  > Collinsville, astride Madison and St. Clair counties, Illinois, on 7
                  > September 1894.
                  >
                  > He was registered for the Military Draft on 7 June 1917, when he and his
                  > wife were residing at 2329 (South) Dearborn Street, Chicago, from which he
                  > worked as a music teacher "in business for self". The residence address is
                  > crossed out and replaced by 14 King Street, Toronto, Ontario, Canada. He
                  > was shown as of medium build and height. He had only a wife to support.
                  >
                  > The family had apparently moved to Canada by 1920.

                  There is an account of the band and its pre-history in the Caddo Orchestra
                  of Shreveport, LA, in Mark Miller's Some Hustling This (pp.81-2). Charles
                  Harris was in the Caddo Orchestra as early as 1914 for which Mark cites a
                  reference in the Freeman. Thomas joined before the band opened at the DeLuxe
                  Cafe, Chicago in June 1917.

                  Mark believes Harris and Thomas moved to Montréal "possibly as early as
                  December 1918". Looks like they moved to Canada even earlier, possibly when
                  they closed the DeLuxe in August.

                  It's good news that Jazz Oracle have embarked on a reissue though on the
                  basis of the few band sides I've heard Mark is right the band is not that
                  brilliant! Great feeling though and an important piece of history.



                  Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
                  howard@...
                  Tel/FAX: +44 20 8521 1098
                • David Brown
                  John --and anyone else interested -- I have listened intensively to the 3 Morris sides ( + 1 alt ) of 13 July 1926. Considering also the work of Rex on the 14
                  Message 8 of 18 , Jun 13, 2006
                    John --and anyone else interested -- I have listened intensively to the 3
                    Morris sides ( + 1 alt ) of 13 July 1926. Considering also the work of Rex
                    on the 14 May 1926 Dixie Stompers and especially ' Jackass Blues', and his
                    claim, I now think he is the second cornettist, who is certainly a Louis
                    influenced stylist. My breakdown of the cornet work is as follows.

                    LAZY DRAG
                    Tom straight lead into Rex wa-wa solo with Tom picking up the lead
                    immediately afterwards. Rex --very Louis ---unmistakably picks up the lead
                    at about 1:41 and carries it till a superb open Tom solo from about 1:48.
                    Rex leads out from about 2:30.

                    JACKASS BLUES ( A take although the alt. seems similar)
                    Rex lead into Tom wa-wa solo with a Rex 'whinny' at about 0:15. Rex picks up
                    the lead from about 0:30.The final lead is Tom.

                    CHARLESTON STAMPEDE
                    Rex lead till about 0:44 when you hear him drop out to pick up the mute for
                    the first wa-wa solo. Rex, again very Louis, has the lead from 1:41 till
                    Tom's wa-wa solo at about 2:08. Rex has the lead out from about 2:40.

                    This is my best opinion but I am open to other suggestions as it is quite
                    tight with Rex, I think, deliberately underplaying in places. The clue is in
                    the phrasing, Rex even in mute, post Louis. Also more vehement wa-wa. Also
                    Tom is a much more delicate and plaintive wa-wa player, more manipulative,
                    more vocal.

                    The second cornet on the subsequent 16 August 1926 session is much easier to
                    pick and on a more cursory listen sounds to me, notwithstanding my
                    admiration for JRT and 'Big Charlie Thomas' to be Jabbo, albeit in less
                    abrasive, pushy and keening mode than his later Louis covers.

                    Listening around Mitchell I find a supposed presence on a Nashville Jazzers
                    'St.Louis Blues' c 1927 for Van Dyke. No way do I hear him on this.
                    Anybody --Howard--details on this ?

                    Dave




                    [Non-text portions of this message have been removed]
                  • spacelights
                    Hi Dave--great breakdown of the Morris sides... I do agree with your identifications. Previously, Lazy Drag had me reversing the IDs at 1:41 and 1:48, as
                    Message 9 of 18 , Jun 13, 2006
                      Hi Dave--great breakdown of the Morris sides... I do agree with your
                      identifications. Previously, "Lazy Drag" had me reversing the IDs at
                      1:41 and 1:48, as Stewart is quite voracious with the wah-wah lead,
                      and Morris's (I agree, wonderful) solo at first seemed
                      uncharacteristic of him. He actually reverts to the style he'd used
                      with the Past Jazz Masters three years earlier--interesting, as this
                      was his first side as leader since then.

                      With regard to the Nashville Jazzers, I've gone back and forth in my
                      opinions. Listening again, I can't rule Morris out entirely. Some
                      people think it's Mike Mosiello, but I don't hear anything definitive
                      for or against... Since Rust states Morris firmly, I'm wondering
                      about the origin of this identification (then again, Rust's entries
                      for the Victor sides we've discussed seem quite inaccurate). 'Grey
                      Gull Rarities' (Jazz Oracle)--an excellent collection--includes fine
                      transfers of both takes, but also does not question Morris's presence.
                      Destined perhaps to be one of the perennial mysteries...

                      (I'm unclear as to the "Mitchell" reference at the end of your post
                      and in the subject line... Have you been listening to George
                      Mitchell?--another favorite!).

                      Regards,

                      John

                      --- In RedHotJazz@yahoogroups.com, "David Brown" <johnhaleysims@...>
                      wrote:
                      >
                      > John --and anyone else interested -- I have listened intensively to
                      the 3
                      > Morris sides ( + 1 alt ) of 13 July 1926. Considering also the work
                      of Rex
                      > on the 14 May 1926 Dixie Stompers and especially ' Jackass Blues',
                      and his
                      > claim, I now think he is the second cornettist, who is certainly a Louis
                      > influenced stylist. My breakdown of the cornet work is as follows.
                      >
                      > LAZY DRAG
                      > Tom straight lead into Rex wa-wa solo with Tom picking up the lead
                      > immediately afterwards. Rex --very Louis ---unmistakably picks up
                      the lead
                      > at about 1:41 and carries it till a superb open Tom solo from about
                      1:48.
                      > Rex leads out from about 2:30.
                      >
                      > JACKASS BLUES ( A take although the alt. seems similar)
                      > Rex lead into Tom wa-wa solo with a Rex 'whinny' at about 0:15. Rex
                      picks up
                      > the lead from about 0:30.The final lead is Tom.
                      >
                      > CHARLESTON STAMPEDE
                      > Rex lead till about 0:44 when you hear him drop out to pick up the
                      mute for
                      > the first wa-wa solo. Rex, again very Louis, has the lead from 1:41 till
                      > Tom's wa-wa solo at about 2:08. Rex has the lead out from about 2:40.
                      >
                      > This is my best opinion but I am open to other suggestions as it is
                      quite
                      > tight with Rex, I think, deliberately underplaying in places. The
                      clue is in
                      > the phrasing, Rex even in mute, post Louis. Also more vehement
                      wa-wa. Also
                      > Tom is a much more delicate and plaintive wa-wa player, more
                      manipulative,
                      > more vocal.
                      >
                      > The second cornet on the subsequent 16 August 1926 session is much
                      easier to
                      > pick and on a more cursory listen sounds to me, notwithstanding my
                      > admiration for JRT and 'Big Charlie Thomas' to be Jabbo, albeit in less
                      > abrasive, pushy and keening mode than his later Louis covers.
                      >
                      > Listening around Mitchell I find a supposed presence on a Nashville
                      Jazzers
                      > 'St.Louis Blues' c 1927 for Van Dyke. No way do I hear him on this.
                      > Anybody --Howard--details on this ?
                      >
                      > Dave
                    • David Brown
                      John. Glad we agree. Yes, the cornet at 1:41 on Lazy Drag is so Louis is has to be Rex. The cornet on the Nashvilles is stiff and faltering and just not
                      Message 10 of 18 , Jun 13, 2006
                        John. Glad we agree. Yes, the cornet at 1:41 on 'Lazy Drag' is so Louis is
                        has to be Rex.

                        The cornet on the Nashvilles is stiff and faltering and just not good enough
                        for Tom, especially by 1927. Also it seems to display stylistic
                        characteristics inconsistent with Tom.

                        Where is some Mosiello, of whom I have never heard ?

                        Yes, a healthy scepticism is always necessary when approaching the
                        discographies, all of which are in some way plagiaristic, feeding on
                        previous works, repeating errors, even as we have seen this week with the
                        Coleman Paris session, back to the 'First' discography, 'Jazz Directory'
                        emanating from around 1949. We are still left with the source for Rust's
                        Pinkett on these sides.

                        You did not comment on the Jabbo/Big Charlie issue. Can anybody reveal the
                        latest wisdom in respect to the latter JRT 'manifestation ' ?

                        Ah well, the Mitchell slip is really non-musical, a confusion of my
                        obsessions, my other being Film ( Movie to you) History. Thomas Mitchell,
                        fine actor, most famous role in 'Gone With The Wind'. But sure, I rate '
                        Little Mitch' very highly too.

                        All the best

                        Dave




                        [Non-text portions of this message have been removed]
                      • spacelights
                        ... He was trumpeter for the Grey Gull House Band, and appears on six or seven (possibly more) tracks on the Grey Gull Rarities CD. ... reveal the ... Jabbo
                        Message 11 of 18 , Jun 14, 2006
                          --- In RedHotJazz@yahoogroups.com, "David Brown" <johnhaleysims@...>
                          wrote:
                          >
                          > Where is some Mosiello, of whom I have never heard ?

                          He was trumpeter for the Grey Gull House Band, and appears on six or
                          seven (possibly more) tracks on the 'Grey Gull Rarities' CD.

                          >
                          > You did not comment on the Jabbo/Big Charlie issue. Can anybody
                          reveal the
                          > latest wisdom in respect to the latter JRT 'manifestation' ?

                          Jabbo volunteered to Richard Rains that his first session was "with
                          Tommy Morris"--this is it (8-17-26), almost certainly. Intriguingly,
                          in 1927 he would substitute for Miley, and in 1928 record with Waller
                          (both strong Morris cohorts).

                          Not sure about the latest 'Charlie Thomas' wisdom--sometimes I think
                          he's an amalgam of Charlie Gaines and Thomas Morris, created through
                          nebulous recollections some 40 years later (I've not heard the 'Big
                          Charlie Thomas' disc on Timeless, though I'm familiar with some of
                          those records).

                          Musicians' recollections often prove valuable, but I'm reminded of an
                          experience in a group I once played in with two singers. As we
                          listened to a song we'd recorded, one of the singers' comments
                          indicated she thought she had sung it, when in fact the other singer
                          had. I think we'd recorded it two months earlier!

                          >
                          > Ah well, the Mitchell slip is really non-musical, a confusion of my
                          > obsessions, my other being Film ( Movie to you) History. Thomas
                          Mitchell,
                          > fine actor, most famous role in 'Gone With The Wind'.

                          Also the Doctor in 'Stage Coach' ("Get me coffee. Black coffee...")
                          and Uncle Billy in 'It's A Wonderful Life' (not off-topic perhaps,
                          there's some jazz piano during a bar scene)...

                          John
                        • Howard Rye
                          ... Mike Mosiello presents intractable problems for the researcher. Most identifications are based on an interview with Andy Sanella conducted on Brian Rust s
                          Message 12 of 18 , Jun 14, 2006
                            on 14/6/06 7:20, David Brown at johnhaleysims@... wrote:

                            > Where is some Mosiello, of whom I have never heard ?

                            Mike Mosiello presents intractable problems for the researcher. Most
                            identifications are based on an interview with Andy Sanella conducted on
                            Brian Rust's behalf in 1962. The expectation that anyone would remember
                            details of pick-up dates of the kind that the Grey Gull house band did after
                            30 years is truly bizarre. Unfortunately Brian was pre-disposed to believe
                            him because of his ongoing embarrassment over the issue of Memphis Jazzers
                            sides under King Oliver's name in the 40s, for which he was apparently
                            responsible (though no one would know if he didn't insist on apologizing for
                            it!).

                            I feel particularly sour about this because I fell head first into the much
                            worse trap consequently set and attributed the playing on 'In Harlem's
                            Araby' to him in my Grove entry on Mosiello. I was hearing what I expected
                            to hear and should have known better. Attributing the playing to Oliver was
                            much less silly than attributing it to Mosiello.

                            Mosiello was born in Italy in July 1896 and died in Neptune, NJ on 6 June
                            1953. He is undoubtedly to be heard on a good many Grey Gull recordings.
                            Laurens Hertzdahl in his notes to the Grey Gull CD reckons that he is very
                            easily identifiable. He was later known as Michael Mells and apparently
                            worked for Mal Hallett. He is a hot-dance player.

                            You're right, David, that I cannot resist commenting on the Nashville
                            Jazzers. I am pretty convinced the clarinet is Bob Fuller, near the top of
                            his considerable form, on take -B especially. The trumpeter seems to display
                            Morris's characteristic quacking tone at times, but you will gather from
                            this that my neck is definitely not extended on this one!

                            Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
                            howard@...
                            Tel/FAX: +44 20 8521 1098
                          • Albert Haim
                            Several Years ago, I published a long article about Mike Mosiello in the Misissippi Rag. The article is available as a microsoft word document in
                            Message 13 of 18 , Jun 14, 2006
                              Several Years ago, I published a long article about Mike Mosiello in
                              the Misissippi Rag.

                              The article is available as a microsoft word document in

                              http://bixbeiderbecke.com/Mosiello Story.doc

                              Warning the document is 20 pages long and contains 27,791 characters.

                              I played several recordings that feature Mike Mosiello on trumpet in
                              one of my WBIX radio programs. Go to
                              http://bixography.com/wbix101to150.html
                              and scroll down to Program # 101. Click on the link "Streaming audio
                              file." You need Real Player.

                              Albert
                            • David Brown
                              Howard. Interesting. I fear I have no Mosiello with which to compare but he cannot poss. be the man on the Nashvilles, who is definitely black and no way a
                              Message 14 of 18 , Jun 14, 2006
                                Howard.

                                Interesting. I fear I have no Mosiello with which to compare but he cannot
                                poss. be the man on the Nashvilles, who is definitely black and no way a
                                professional dance band musician but a rather fallible and faltering 'naif.'
                                Morris was no great technician -- although 'quacking' is unkind -- but less
                                approximate than this normally. What other candidates ?

                                Dave



                                [Non-text portions of this message have been removed]
                              • Howard Rye
                                ... I didn t mean quacking to be unkind I assure you. To the contrary, distinctive tonal characteristics such as Morris displays are what real jazz is all
                                Message 15 of 18 , Jun 14, 2006
                                  on 14/6/06 13:58, David Brown at johnhaleysims@... wrote:

                                  > Interesting. I fear I have no Mosiello with which to compare but he cannot
                                  > poss. be the man on the Nashvilles, who is definitely black and no way a
                                  > professional dance band musician but a rather fallible and faltering 'naif.'
                                  > Morris was no great technician -- although 'quacking' is unkind -- but less
                                  > approximate than this normally. What other candidates ?

                                  I didn't mean "quacking" to be unkind I assure you. To the contrary,
                                  distinctive tonal characteristics such as Morris displays are what real jazz
                                  is all about.

                                  Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
                                  howard@...
                                  Tel/FAX: +44 20 8521 1098
                                • Albert Haim
                                  Because of the space between Mosiello and Story in the url, the link does not extend beyond Mosiello. To circumvent this, copy and paste
                                  Message 16 of 18 , Jun 14, 2006
                                    Because of the space between Mosiello and Story in the url, the link
                                    does not extend beyond Mosiello. To circumvent this, copy and paste
                                    bixbeiderbecke.com/Mosiello Story.doc
                                    in the address box.

                                    Albert

                                    --- In RedHotJazz@yahoogroups.com, "Albert Haim" <alberthaim@...> wrote:
                                    >
                                    > Several Years ago, I published a long article about Mike Mosiello in
                                    > the Misissippi Rag.
                                    >
                                    > The article is available as a microsoft word document in
                                    >
                                    > http://bixbeiderbecke.com/Mosiello Story.doc
                                    >
                                    > Warning the document is 20 pages long and contains 27,791 characters.
                                    >
                                    > I played several recordings that feature Mike Mosiello on trumpet in
                                    > one of my WBIX radio programs. Go to
                                    > http://bixography.com/wbix101to150.html
                                    > and scroll down to Program # 101. Click on the link "Streaming audio
                                    > file." You need Real Player.
                                    >
                                    > Albert
                                    >
                                  • David Brown
                                    Albert. Many thanks for the Mosiello material, written & aural, which I now have safely loaded and which is so substantial that it will take time to
                                    Message 17 of 18 , Jun 14, 2006
                                      Albert.

                                      Many thanks for the Mosiello material, written & aural, which I now have
                                      safely loaded and which is so substantial that it will take time to
                                      assimilate.

                                      Dave



                                      [Non-text portions of this message have been removed]
                                    Your message has been successfully submitted and would be delivered to recipients shortly.