Re: gus arnheim video 1929 - Ray Lopez mute
- Dear Gilbert,
for these records you may look at the Chris barber collection
No.CBC1059 - Abe Lyman & his California Orchestra TIMELESS HISTORICAL
"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
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
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.
>looking for them. Incidentally, Richard M. Sudhalter's LOST CHORDS has
> <<Sorry with my english---Uli>>
> Your English is fine. I haven't heard those Lyman sides and will be
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 1916needed 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...
> ---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
> thirty years as a means producing orchestral effects, and particulary8/5/2008 6:03 AM
> 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).
> 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:
> [Non-text portions of this message have been removed]