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Guy Kelly

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  • Tony Standish
    Peter Haby has sent me a photocopy of an excellent article by Paige van Vorst in Miss. Rag, March 1976, on Guy Kelly. Quite exhuastive and I doubt if, all
    Message 1 of 8 , Apr 3, 2007
      Peter Haby has sent me a photocopy of an excellent article by Paige van Vorst in Miss. Rag, March 1976, on Guy Kelly. Quite exhuastive and I doubt if, all these years later, my limited talent for research can add very much.
      However, I've added Paige's work to the file. I've started to collate the known and "possible" recorded examples of Guy's workand will report further as I go along.
      From what I've heard so far (and that's what aroused my curiosity) Kelly was a very talented player. Like his friend Punch Miller he gave credence to the argument that, great as he undoubtedly was, Louis Armstrong was not the only catfish in the New Orlean sea!
      I well recall one of the old New Orleans players telling me that "Armstrong was a great player, but Punch had the fastest fingers."
      Anyone who listens to those trio recordings that John Steiner made - particularly High Society - would have to agree.
      Who's next?
      Tig Chambers?
      B.T. Wingfield?
      Horsecollar Draper?
      Murph Steinberg?
      Martin Finn?
      And thanks, Robert, or your assistance on Guy...
      Tony Standish




      [Non-text portions of this message have been removed]
    • Robert Greenwood
      ... Kelly was a very talented player. Like his friend Punch Miller he gave credence to the argument that, great as he undoubtedly was, Louis Armstrong was not
      Message 2 of 8 , Apr 4, 2007
        > From what I've heard so far (and that's what aroused my curiosity)
        Kelly was a very talented player. Like his friend Punch Miller he
        gave credence to the argument that, great as he undoubtedly was,
        Louis Armstrong was not the only catfish in the New Orlean sea!
        > I well recall one of the old New Orleans players telling me
        that "Armstrong was a great player, but Punch had the fastest
        fingers."
        > Anyone who listens to those trio recordings that John Steiner made -
        particularly High Society - would have to agree.
        > Who's next?
        > Tig Chambers?
        > B.T. Wingfield?
        > Horsecollar Draper?
        > Murph Steinberg?
        > Martin Finn?
        > And thanks, Robert, or your assistance on Guy...
        > Tony Standish


        My pleasure, Tony. Our friend Michael Rader also contributed some
        very useful information.
        For those interested in the Punch Miller tracks referred to by Tony,
        they can be found on Prelude to the Revival Volume 1 on AMCD-40.
        This CD consists of non-commercial recordings made in New Orleans
        from 1937 – 1941 (rescued from obscurity by Barry Martyn) and gives
        us a brief, tantalising, and largely lo-fi glimpse into a lost
        period, as far as recording was concerned, for New Orleans music,
        although the Punch tracks, made in Chicago, have reasonably good
        sound. The bands featured include Kid Howard's Band, Andy Anderson's
        Pelican State Jazz Band, the line –up of which includes one Leonard
        Mitchell on guitar and vocal, presumably the same Leonard Mitchell
        who plays banjo and sings on the 1927 Louis Dumaine Victors, Duke
        Derbigny's Orchestra, Joe Thomas' Dixieland Band, and the Punch
        Miller session recorded at the H&T Tavern, Chicago on 28th January
        1941. Recent comments in defence of William Russell notwithstanding,
        none of the bands featured on this CD sounds anything like a
        revivalist band. The sleeve includes a photograph of Kid Howard's pre-
        war band with Howard wearing a very cool pair of two-tone shoes and
        standing next to a sign that assures us that as long as the kitty is
        kept well-fed, the band will play any tune requested. Contrast this,
        if you will, with the list of approved tunes painted on the wall
        behind the bar at the Dawn Club.
        Robert Greenwood.
      • ikey100
        I have seen Guy Kelly listed as the possible trumpet on a 1935 Art Tatum session in Chicago ( Take Me Back To My Boots And Saddle ), with the rest of the
        Message 3 of 8 , Apr 4, 2007
          I have seen Guy Kelly listed as the "possible" trumpet on a 1935 Art
          Tatum session in Chicago ("Take Me Back To My Boots And Saddle"), with
          the rest of the band unknown. Does anyone know the basis, other than
          the location, for this speculative attribution?

          Warren
        • Michael Rader
          Well, I did say that it was the Ammons Rhythm Kings with Tatum in place of Ammons in my recent mail on Kelly. The source was an article by Chris Hillman in the
          Message 4 of 8 , Apr 4, 2007
            Well, I did say that it was the Ammons Rhythm Kings with Tatum in place of Ammons in my recent mail on Kelly. The source was an article by Chris Hillman in the online Jazz Gazette (thejazzgazette.be):

            "... an obscure title by the pianist Art Tatum, who normally preferred to play solo. This one was never issued, and has only turned up via a test pressing. On examination, it seems to be the same group as the one in which Kelly recorded a month later with Albert Ammons, though with the pianist and leader replaced by Tatum. That would make Delbert Bright his partner on clarinet and alto, with Ike Perkins guitar, Israel Crosby bass and Jimmy Hoskins on drums. The title Take Me Back To My Boots and Saddle indicates that the vocal is not to be taken seriously."

            Michael Rader

            > -----Ursprüngliche Nachricht-----
            > Von: RedHotJazz@yahoogroups.com
            > Gesendet: 04.04.07 20:05:09
            > An: RedHotJazz@yahoogroups.com
            > Betreff: [RedHotJazz] Re: Guy Kelly


            >
            >
            >
            >
            > I have seen Guy Kelly listed as the "possible" trumpet on a 1935 Art
            > Tatum session in Chicago ("Take Me Back To My Boots And Saddle"), with
            > the rest of the band unknown. Does anyone know the basis, other than
            > the location, for this speculative attribution?
            >
            > Warren
            >
            >
            >
            >


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          • ikey100
            Indeed, I somehow missed it in your earlier post, Micheal. Thanks for the reply. Warren ... place of Ammons in my recent mail on Kelly. The source was an
            Message 5 of 8 , Apr 4, 2007
              Indeed, I somehow missed it in your earlier post, Micheal. Thanks for
              the reply.

              Warren

              --- In RedHotJazz@yahoogroups.com, Michael Rader <Rader.Michael@...>
              wrote:
              >
              > Well, I did say that it was the Ammons Rhythm Kings with Tatum in
              place of Ammons in my recent mail on Kelly. The source was an article
              by Chris Hillman in the online Jazz Gazette (thejazzgazette.be):
              >
              > "... an obscure title by the pianist Art Tatum, who normally
              preferred to play solo. This one was never issued, and has only
              turned up via a test pressing. On examination, it seems to be the
              same group as the one in which Kelly recorded a month later with
              Albert Ammons, though with the pianist and leader replaced by Tatum.
              That would make Delbert Bright his partner on clarinet and alto, with
              Ike Perkins guitar, Israel Crosby bass and Jimmy Hoskins on drums.
              The title Take Me Back To My Boots and Saddle indicates that the
              vocal is not to be taken seriously."
              >
              > Michael Rader
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