Re: [RedHotJazz] Re: Willie Joseph Johnny Dodds and the Klezmer Sound
- It is said that, unlike Alcide Nunez, Larry Shields quickly recognised the
role of the clarinet in the cornet-led Dixieland ensemble - a role that has
remained fixed ever since. Nunez saw the clarinet as the lead instrument,
carrying the melody rather than supplying the weaving counter melody as
Shields did, which explains why the Louisiana Five's recordings do not
feature a cornet (except for one session)! Having said that, it was probably
his drinking and unreliability that led to Nunez being fired by the highly
ambitious and business-like La Rocca. Interestingly, while a member of the
Louisiana Five, Nunez was regularly billed as "The World's Greatest Jazz
Clarinetist", and though this title undoubtedly owes much to advertising
hyperbole it at least demonstrates that Nunez possessed skills that could be
sold to the public.
Johnny Dodds replaced Nunez at Kelly's Stables!
According to Emile Barnes, in his formative years Johnny Dodds used to run
away when he saw Sidney Bechet approaching a bandstand on which he was
working, though it should be noted that Dodds did eventually became one of
Bechet's favourite clarinettists. Unlike Dodd's, Sidney Bechet's severe case
of global wanderlust kept him out of the studios for many a year, and during
a crucial period too (1926-1930). This only goes to demonstrate that one
must proceed carefully when handing out the laurels to those musicians who
visited the recording studios on a regular basis while compatriots of
equally venerated status were not, or were rarely, captured by the cutting
head and the wax!
When discussing all these great New Orleans clarinettists, mention should be
made of Lorenzo Tio Jr, who gave lessons to Bechet, Dodds, Noone, Nichols,
Bigard and Simeon (some list of pupils!) and helped to formulate the big
"woody" Albert system sound as evinced by those same former students! Also
important is "Big Eye" Louis Nelson Delisle, who was taught by Lorenzo Tio
Sr, but who only entered the recording studios in the 1940s when his health
was already quite poor.
2009/2/4 David Brown <johnhaleysims@...>
> Hello Albert[Non-text portions of this message have been removed]
> Yes, I hear what you mean but I think we have to put it down to coincidence
> for I assume there was no substantial Jewish community in N.O.
> Dodds on 'High Society' is essaying, rather approximately, the standard
> Picou solo transcribed from the piccolo part.
> Jazz and Kletzmer cross with Ted Lewis and it has also been suggested as
> another influence on Goodman and even Artie Shaw. But Lewis was influenced
> primarily by the raucous novelty style of Shields, to whom, yet again, we
> I have concluded that his influence was large and, due to his ODJB context
> and race, underrated.
> We are still left with where he got this shrill novelty style. I have on
> behind me now Nunez who was born in 1884 and, although care is needed
> because these sides postdate ODJB, it is probable that Nunez was playing in
> this style earlier and that, as his replacement with ODJB, Shields also
> assumed his style.
> I also speculate that Dodds unique style also drew on these elements. One
> can further ask whether Nunez represents a form of the posited 'black blues
> Uptown' clarinet.
> [Non-text portions of this message have been removed]
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From : RedHotJazz@yahoogroups.com
To : RedHotJazz@yahoogroups.com
Date : Mon, 2 Mar 2009 11:12:21 +0000 (GMT)
Subject : Re : [RedHotJazz] Re: Willie Joseph Johnny Dodds and the Klezmer Sound
Hello Mr. Litwak. Could I get out of you the mp3 featuring "Veseliy Kazak" played by N. Brandwein? I'm just discovering the connection between Jazz and Klezmer, through the Woody Allen's clarinet. Thank you very much. Marco Levi