Re: [RedHotJazz] Re: Tommy Ladnier (was re: Hughes Panassie}
There was a brief moment when I and a few others thought that Ornette and
Don would lead the way out of the impasse between tradition and moving
sensibly on. About the time of "Empty Foxhole".
There were other players, too - Ray Bryant, Tommy Flanagan, Clifford Brown,
Fathead Newman, Junior Mance, and others - who gave us hope..
Something happened to short circuit the movement.
Seems the only levels at which the traditions have been preserved are in the
churches and their disciples (Aretha, et al),and, to a lesser extent, the
blues - although those who have succeeded Muddy, Wolf, Berry, Dixon and
Little Walter seem to be pale and limp keepers of the flame.
I feel strongly that the music that captured our ageing hearts has a use-by
date - that the qualities that captivated us have changed to the point where
we can no longer respond with enthusiasm.
Also - I often reflect that if I started to play my 78s, LPs, tapes and CDs
tomorrow, for eight hours a day, I'd only get half way through before I
karked it! Like trying to have a pint in every pub in the U.K.!
About Mezz - One afternoon, 'way back, I was alone in the Jazz Journal
office. My boss, Sinclair Traill, was off having lunch at Lord's or some
such. The phone rang. "Hello, Jazz Journal", I said. A heavy American voice
asked me if Sinclair was there. No, he's out.
"OK - can you tell him Mezzrow called?"
And he hung up, before I could say "Hey, Mezz, it's me, Tony Standish, and I
loved your book!".
I went around for weeks telling my mates how I spoke to Mezz!
----- Original Message -----
From: "David Brown" <johnhaleysims@...>
Sent: Thursday, July 03, 2008 5:58 PM
Subject: RE: [RedHotJazz] Re: Tommy Ladnier (was re: Hughes Panassie}
>I always think it better -- more constructive -- to exchange enthusiasms
> rather than animosities. Bests rather than worsts.
> I used the term 'the arrogance of pontificating from a position of
> ignorance' earlier this week in reference to H.P. but I feel it also
> too often on this list.
> Also this week I extolled the beautiful, emotive blues playing of Ornette
> and Don Cherry in 1959.
> Bruce. Listen to 'Turnaround' and then give us your reasons for finding
> Ornette 'the worst saxophone player ever to record with a jazz group'.
> Gratuitous, unfounded and unsubstantiated invective is what we need to
> Let's also try to seek and discuss the best things in Mezz -- as I
> we have already done -- and others.
> [Non-text portions of this message have been removed]
> Yahoo! Groups Links
- Growing up in Sweden I met Orjan Kjellin (and Lars Ivar Edegran, p) in 1962 playing in the Imperial Band. This band was modeled on the early American revival bands from the 40's and 50's. They recorded their first titles on Sture Hallstom's Pirate Records. On a pre Katarina visit to New Orleans a few years ago I found a CD issued on GHB BCD-144 with all their 17 recorded titles. These recordings have stood the test of time. How a bunch of Swedish teenagers aged 17-18 could sound almost as good as the 1953 Delmark recordings of Geo Lewis is beyond me.
----- Original Message ----
From: silverleafjb <silverleafjb@...>
Sent: Wednesday, July 2, 2008 6:58:32 PM
Subject: [RedHotJazz] Orange Kellin
Yes, I'm aware that Orange Kellin was born and spent his early years in
Sweden. But, he has spent most of his life in New Orleans playing New
Orleans jazz. Hence, in my mind, he's a New Orleans clarinetist.
BTW, I work and have worked with Orange quite a bit. He was a member of
my Silver Leaf Jazz Band in New Orleans and I work with his group the
New Orleans Blues Serenaders. I will be playing the Edinburgh jazz
festival later this month with Orange.
[Non-text portions of this message have been removed]