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Re: gus arnheim video 1929 - Ray Lopez mute

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  • uli
    You can hear and see Ray Lopez (born 1889) three times muting his trumpet. First in the beginning of the Video in a closeup with the trombone, working with a
    Message 1 of 9 , Aug 5, 2008
      You can hear and see Ray Lopez (born 1889) three times muting his
      trumpet. First in the beginning of the Video in a closeup with the
      trombone, working with a metal hat.
      Second after the vocal trio and the saxophonetrio about 1.56 he picks
      up a mute. Is he using a plunger over the mute?
      Last in "Tiger Rag" after the Violinsolo with a Plunger (over a mute?
      Can´t see it right).

      This Vitaphoneclip is special to me, because on the records made by
      Arnheim isn´t much to nothing solowork of Lopez.
      These solos on the clip must be the last in Lopez recordingcareer.

      He also is on of the earliest I knew working with mutes on records.
      I listen to his work with Abe Lyman. Right on the first record (of
      Lopez and Lyman) "Those Longing for you Blues" he opens the first 12
      bars with something sound to me like a derby hat as a mute, after the
      clarinet he takes another muted solo.
      The record dates c.mid 1922 for Nordskog in Los Angeles.
      Louis Pancino also recorded this tune with Isham Jones in March 1922
      with mutes, but the Lyman/Lopez Version is an out and out Jazz tune.
      Pancino has some muted work with Isham Jones from mid 1921, there is
      Johnny Dunns work prior to mid 1922. Paul Mares muted work with the
      NORK dates from August 1922 on.
      (Pancino in his book "The Novelty Cornetist" copyright 1923 writes:
      "The hat over the bell of the cornet has been in use for not less than
      thirty years as a means producing orchestral effects, and particulary
      in imitation of the French Horn")

      Almost every record by Lopez with Lyman has muted solos. The most of
      them are good jazzrecords.
      Of course on some previous records like the ODJB sides some muted
      work, but most of them as special effects like on the "Livery Stable
      Blues" (Is LaRoccas Solo on "I´ve lost my heart in Dixieland"
      London/1920 muted?)

      From 1922 to 1926 Lopez recorded with Lyman, little open horn, the
      most muted and some with fine Wa-wa like "Sally´s got the Blues-
      1924", "Everybody Stomp-1925", "Shake that thing-1926" with different
      mutes, chosen by Lopez as his best record. On one of his last
      recordings with Lyman "New St. Louis Blues-1926" he really is
      preaching with his wa-wa solo.

      Nothing of that till the 1929 Vitaphone clip with Arnheim. It´s a pity
      that Lopez did so little on record.

      In the Storyville (No. 64) article "Mr. Jazz Himself" about the life
      of Ray Lopez, on page 147 is an nice photo from Lopez with a Band in
      Chicago 1916. And that is he doing? He mutes his horn with a hat! I
      know only one earlier example of a photo with muted horns in an
      Danceband/Ragtime context: Happy Schilling´s Orchestra - 1915 - Two
      trumpets, in front of the Band are 3 mutes (New Orleans Jazz - A
      family album - third edition page 135) Trumpets in this photo:
      Johnny Lala (b.1893) and Henry Knecht (b.1898).

      Uli

      Sorry with my english :)
    • Gilber M. Erskine
      Your English is fine. I haven t heard those Lyman sides and will be looking for them. Incidentally, Richard M. Sudhalter s
      Message 2 of 9 , Aug 5, 2008
        <<Sorry with my english---Uli>>
        Your English is fine. I haven't heard those Lyman sides and will be looking for them. Incidentally, Richard M. Sudhalter's LOST CHORDS has a picture of Tom Brown's band in New York 1915 after they left Chicago. Bill Lambert, Tom Brown, Larry Shields, Ray Lopez, and Deacon Loyocano. Ray has a mute in his cornet.
        According to Sudhalter, Johnny Stein's band in Chicago in 1916 needed a cornet player, so Stein asked Eddie Edwards to find one back home in New Orleans. All of Edwards' first choices declined, so he finaly asked Nick LaRocca to come. Ray Lopez later asked Edwards why he had picked LaRocca when there were so many better cornet players in New Orleans, like Frank Christian or Joe Lala, and Edwards said it was because Nick had the money to pay for the musician's trip to Chicago...
        Crazy!
        ---GILBERT M. ERSKINE----- Original Message -----
        From: uli
        To: RedHotJazz@yahoogroups.com
        Sent: Tuesday, August 05, 2008 5:45 PM
        Subject: [RedHotJazz] Re: gus arnheim video 1929 - Ray Lopez mute



        You can hear and see Ray Lopez (born 1889) three times muting his
        trumpet. First in the beginning of the Video in a closeup with the
        trombone, working with a metal hat.
        Second after the vocal trio and the saxophonetrio about 1.56 he picks
        up a mute. Is he using a plunger over the mute?
        Last in "Tiger Rag" after the Violinsolo with a Plunger (over a mute?
        Can´t see it right).

        This Vitaphoneclip is special to me, because on the records made by
        Arnheim isn´t much to nothing solowork of Lopez.
        These solos on the clip must be the last in Lopez recordingcareer.

        He also is on of the earliest I knew working with mutes on records.
        I listen to his work with Abe Lyman. Right on the first record (of
        Lopez and Lyman) "Those Longing for you Blues" he opens the first 12
        bars with something sound to me like a derby hat as a mute, after the
        clarinet he takes another muted solo.
        The record dates c.mid 1922 for Nordskog in Los Angeles.
        Louis Pancino also recorded this tune with Isham Jones in March 1922
        with mutes, but the Lyman/Lopez Version is an out and out Jazz tune.
        Pancino has some muted work with Isham Jones from mid 1921, there is
        Johnny Dunns work prior to mid 1922. Paul Mares muted work with the
        NORK dates from August 1922 on.
        (Pancino in his book "The Novelty Cornetist" copyright 1923 writes:
        "The hat over the bell of the cornet has been in use for not less than
        thirty years as a means producing orchestral effects, and particulary
        in imitation of the French Horn")

        Almost every record by Lopez with Lyman has muted solos. The most of
        them are good jazzrecords.
        Of course on some previous records like the ODJB sides some muted
        work, but most of them as special effects like on the "Livery Stable
        Blues" (Is LaRoccas Solo on "I´ve lost my heart in Dixieland"
        London/1920 muted?)

        From 1922 to 1926 Lopez recorded with Lyman, little open horn, the
        most muted and some with fine Wa-wa like "Sally´s got the Blues-
        1924", "Everybody Stomp-1925", "Shake that thing-1926" with different
        mutes, chosen by Lopez as his best record. On one of his last
        recordings with Lyman "New St. Louis Blues-1926" he really is
        preaching with his wa-wa solo.

        Nothing of that till the 1929 Vitaphone clip with Arnheim. It´s a pity
        that Lopez did so little on record.

        In the Storyville (No. 64) article "Mr. Jazz Himself" about the life
        of Ray Lopez, on page 147 is an nice photo from Lopez with a Band in
        Chicago 1916. And that is he doing? He mutes his horn with a hat! I
        know only one earlier example of a photo with muted horns in an
        Danceband/Ragtime context: Happy Schilling´s Orchestra - 1915 - Two
        trumpets, in front of the Band are 3 mutes (New Orleans Jazz - A
        family album - third edition page 135) Trumpets in this photo:
        Johnny Lala (b.1893) and Henry Knecht (b.1898).

        Uli

        Sorry with my english :)




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        [Non-text portions of this message have been removed]
      • uli
        Dear Gilbert, for these records you may look at the Chris barber collection No.CBC1059 - Abe Lyman & his California Orchestra TIMELESS HISTORICAL » CBC1059
        Message 3 of 9 , Aug 6, 2008
          Dear Gilbert,

          for these records you may look at the Chris barber collection
          No.CBC1059 - Abe Lyman & his California Orchestra TIMELESS HISTORICAL
          » CBC1059

          "Shake that thing" you may find also at Youtube, search Abe Lyman.

          I also read the story why LaRocca had become the cornet-player with
          the ODJB. :)
          But Ray Lopez is in many ways not better than LaRocca as a
          "Story-teller".
          Bouth claimed to involved jazz, or better took it to a broader
          audience of dancing people, bouth claimed to changed the New Orleans
          way of playing for the dancing folk outside of NO. Lopez in Chicago
          and LaRocca in New York. LaRocca sayed he involved (the music) Jazz,
          Lopez sayed he involved the word jazz (for the music - with the help
          from other resources.)

          LaRocca didn´t getting mad of telling that he and the ODJB devised
          Jazz (with the help from others, for example Horst H. Lange), and
          Lopez didn´t say "NO" then he was called and billed as "Mr. Jazz himself".
          Both are from the same generation, born 1889. Very proud of that they
          are doing.

          LaRocca recorded from 1917 till (privat) near the end of his life, but
          definitively to the 30´s, more than over a 100´s of sides.
          Lopez only 1922 to c.1929. Sadly only with (society) Dance Bands.
          (But with Lyman some really hot sides!!)

          Both knew each other, but didn´t like each other very much, - LaRocca
          had an much more better sense for business.He "Did it", but
          Lopez missed the opportunity. And yes, only to myself, I think that
          Lopez is the better and "hotter" cornetist of both.
          And one of the earliest to record hot solos with a mute and wa-wa effects.
          Uli





















          >
          > <<Sorry with my english---Uli>>
          > Your English is fine. I haven't heard those Lyman sides and will be
          looking for them. Incidentally, Richard M. Sudhalter's LOST CHORDS has
          a picture of Tom Brown's band in New York 1915 after they left
          Chicago. Bill Lambert, Tom Brown, Larry Shields, Ray Lopez, and Deacon
          Loyocano. Ray has a mute in his cornet.
          > According to Sudhalter, Johnny Stein's band in Chicago in 1916
          needed a cornet player, so Stein asked Eddie Edwards to find one back
          home in New Orleans. All of Edwards' first choices declined, so he
          finaly asked Nick LaRocca to come. Ray Lopez later asked Edwards why
          he had picked LaRocca when there were so many better cornet players in
          New Orleans, like Frank Christian or Joe Lala, and Edwards said it was
          because Nick had the money to pay for the musician's trip to Chicago...
          > Crazy!
          > ---GILBERT M. ERSKINE----- Original Message -----
          > From: uli
          > To: RedHotJazz@yahoogroups.com
          > Sent: Tuesday, August 05, 2008 5:45 PM
          > Subject: [RedHotJazz] Re: gus arnheim video 1929 - Ray Lopez mute
          >
          >
          >
          > You can hear and see Ray Lopez (born 1889) three times muting his
          > trumpet. First in the beginning of the Video in a closeup with the
          > trombone, working with a metal hat.
          > Second after the vocal trio and the saxophonetrio about 1.56 he picks
          > up a mute. Is he using a plunger over the mute?
          > Last in "Tiger Rag" after the Violinsolo with a Plunger (over a mute?
          > Can´t see it right).
          >
          > This Vitaphoneclip is special to me, because on the records made by
          > Arnheim isn´t much to nothing solowork of Lopez.
          > These solos on the clip must be the last in Lopez recordingcareer.
          >
          > He also is on of the earliest I knew working with mutes on records.
          > I listen to his work with Abe Lyman. Right on the first record (of
          > Lopez and Lyman) "Those Longing for you Blues" he opens the first 12
          > bars with something sound to me like a derby hat as a mute, after the
          > clarinet he takes another muted solo.
          > The record dates c.mid 1922 for Nordskog in Los Angeles.
          > Louis Pancino also recorded this tune with Isham Jones in March 1922
          > with mutes, but the Lyman/Lopez Version is an out and out Jazz tune.
          > Pancino has some muted work with Isham Jones from mid 1921, there is
          > Johnny Dunns work prior to mid 1922. Paul Mares muted work with the
          > NORK dates from August 1922 on.
          > (Pancino in his book "The Novelty Cornetist" copyright 1923 writes:
          > "The hat over the bell of the cornet has been in use for not less
          than
          > thirty years as a means producing orchestral effects, and particulary
          > in imitation of the French Horn")
          >
          > Almost every record by Lopez with Lyman has muted solos. The most of
          > them are good jazzrecords.
          > Of course on some previous records like the ODJB sides some muted
          > work, but most of them as special effects like on the "Livery Stable
          > Blues" (Is LaRoccas Solo on "I´ve lost my heart in Dixieland"
          > London/1920 muted?)
          >
          > From 1922 to 1926 Lopez recorded with Lyman, little open horn, the
          > most muted and some with fine Wa-wa like "Sally´s got the Blues-
          > 1924", "Everybody Stomp-1925", "Shake that thing-1926" with different
          > mutes, chosen by Lopez as his best record. On one of his last
          > recordings with Lyman "New St. Louis Blues-1926" he really is
          > preaching with his wa-wa solo.
          >
          > Nothing of that till the 1929 Vitaphone clip with Arnheim. It´s a pity
          > that Lopez did so little on record.
          >
          > In the Storyville (No. 64) article "Mr. Jazz Himself" about the life
          > of Ray Lopez, on page 147 is an nice photo from Lopez with a Band in
          > Chicago 1916. And that is he doing? He mutes his horn with a hat! I
          > know only one earlier example of a photo with muted horns in an
          > Danceband/Ragtime context: Happy Schilling´s Orchestra - 1915 - Two
          > trumpets, in front of the Band are 3 mutes (New Orleans Jazz - A
          > family album - third edition page 135) Trumpets in this photo:
          > Johnny Lala (b.1893) and Henry Knecht (b.1898).
          >
          > Uli
          >
          > Sorry with my english :)
          >
          >
          >
          >
          > No virus found in this incoming message.
          > Checked by AVG - http://www.avg.com
          > Version: 8.0.138 / Virus Database: 270.5.12/1592 - Release Date:
          8/5/2008 6:03 AM
          >
          >
          > [Non-text portions of this message have been removed]
          >
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