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Re: Willie Joseph Johnny Dodds and the Klezmer Sound

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  • Albert Haim
    We have been discussing Klezmer in jazz (I apologize for misspelling it as Klezmar) in the Bix forum. Early examples are Blues My Naughty Sweetie Gives to Me
    Message 1 of 48 , Feb 4, 2009
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      We have been discussing Klezmer in jazz (I apologize for misspelling
      it as Klezmar) in the Bix forum. Early examples are "Blues My Naughty
      Sweetie Gives to Me" (Sep 5, 1919, Columbia A-2798) by Ted Lewis, and
      "Palesteena" (Dec 4, 1920, Vic 18717) by the ODJB.

      Albert

      --- In RedHotJazz@yahoogroups.com, Howard Rye <howard@...> wrote:
      >
      > I have long been convinced that klezmer plays a much more important
      part in
      > the ancestry of jazz than it has been given credit for. However, I don¹t
      > think we need concern ourselves with the distribution of Hebrew
      communities.
      > If we did need to, we would need to know whether they were Ashkenazi or
      > Sephardic also.
      >
      > However, I don¹t believe we do. The klezmer does not come from
      overhearing
      > Ashkenazi weddings and bar mitzvahs. It comes via the vaudeville
      stage from
      > some Jewish novelty act or from musicians who like Harry Raderman had
      > actually played in klezmer bands in Eastern Europe before immigrating to
      > America.
      >
      > This is of course only a hypothesis. No one has done the research but it
      > might be fruitful if anyone is looking for a subject fior a
      dissertation.
      >
      >
      > on 04/02/2009 10:00, David Brown at johnhaleysims@... wrote:
      >
      > >
      > >
      > >
      > > Hello Albert
      > >
      > > 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 yet
      > > 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
      > > return.
      > >
      > > 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.
      > >
      > > Dave
      > >
      > > [Non-text portions of this message have been removed]
      > >
      > >
      > >
      >
      >
      > Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
      > howard@...
      > Tel/FAX: +44 20 8521 1098
      >
      >
      >
      >
      > [Non-text portions of this message have been removed]
      >
    • levi.marco@libero.it
      ... From : RedHotJazz@yahoogroups.com To : RedHotJazz@yahoogroups.com Cc : Date : Mon, 2 Mar 2009 11:12:21 +0000 (GMT) Subject : Re
      Message 48 of 48 , Mar 2, 2009
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        From : RedHotJazz@yahoogroups.com
        To : RedHotJazz@yahoogroups.com
        Cc :
        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
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