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[ADMIN] Tommy Ladnier (was re: Hughes Panassie}

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  • Patrice Champarou
    Sorry to interfere again, but this time I think there is some kind of... emergency (yep! unsubscriptions and all...) I am afraid the latest contributions to
    Message 1 of 44 , Jul 3, 2008
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      Sorry to interfere again, but this time I think there is some kind of...
      emergency (yep! unsubscriptions and all...)

      I am afraid the latest contributions to this discussion have nothing to do
      with either Ladnier or PanassiƩ, unless one thinks that actually reviving
      old quarrels is a way of discussing PanassiƩ's contribution to the history
      of jazz.
      Likes or dislikes for post-war jazz are definitely off-topic on this group,
      and until now everyone carefully avoided confusing their love and interest
      for pre-war jazz with general, contemptuous considerations regarding not
      only modern music, but also the people (and incidentally, members) who enjoy
      different kinds of jazz. With one, insisting exception three years ago, who
      happened to be the only person I ever banned from this group. Let's say the
      previous messages were OK, but now that everyone have spoken their minds at
      least once, no further argument please, we all know a dead end by looking at
      the sign.

      There are no "forbidden" topics here and there has never been any censorship
      either. We all wish this could go on, so I strongly suggest that everyone
      really interested should carry on with the "Mezzrow/Coleman" topic
      privately, instead of displaying it to the whole group under a wrong subject
      line.

      Merci

      Patrice
    • Mordechai Litzman
      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
      Message 44 of 44 , Jul 3, 2008
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        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@...>
        To: RedHotJazz@yahoogroups.com
        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.

        Cheers,
        Chris Tyle






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