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RE: [RedHotJazz] Keep The Spoon Out Of Your Cup was Button Up Your Overquote

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  • David Brown
    Hello Gilbert Always nice to hear from you especially as you were there whereas we only have the records and the books. What do you make of Uptown clarinet
    Message 1 of 7 , Feb 5, 2009
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      Hello Gilbert

      Always nice to hear from you especially as you were there whereas we only
      have the records and the books.

      What do you make of Uptown clarinet style ? Did it still exist -- assuming
      it ever did exist -- in your time in N.O. and if so what players ?

      You are spot on about N.O. clarinet players and blues and this could be
      extended to N.O. players generally.

      I know we discussed the wonderful Ray Burke before and your report of him
      listening to PWR. I had assumed he admired PWR but that is apparently not
      the case ?

      Yes, technique -- proper technique -- is stressed as paramount in accounts
      of early N.O. 'Illegitimate' tone was not prized maybe until Oliver whose
      use of mutes seems to have been widely admired. And maybe here we have the
      reason why Dodds left about no legacy in N.O.

      Dave





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    • Robert Greenwood
      ... wrote: First for the St Louis Blues overview and do you hear these as copies of the Shields or a previously existent traditional blues solo ?~ I don t
      Message 2 of 7 , Feb 6, 2009
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        --- In RedHotJazz@yahoogroups.com, "David Brown" <johnhaleysims@...>
        wrote:
        "First for the 'St Louis Blues' overview and do you hear these as
        copies of
        the Shields or a previously existent traditional blues 'solo' ?~

        I don't know what it is. How could I? The truth is that, by now,
        we'll never know what the truth is. One can only keep an open mind.
        Black American musicians used whatever they felt would make them
        better, even more employable, musicians whether it derived from
        klezmer, the cries of street vendors, or recordings of the ODJB.

        "David Brown" <johnhaleysims@...> wrote:
        "George did not start playing clarinet till 1916
        and Dodds left N.O. permanently in 1919 and was absent for periods
        before
        that. I wonder at the Dodds influence that has been ascribed to
        George and
        whether he was maybe not answering what he thought 'The Man' wanted
        to hear."

        Bethell quotes George Lewis as having heard Dodds in New Orleans in a
        band with Louis and Ory.
      • David Brown
        I don t know either but my informed opinion is that they were copying the Shields solo. How this so entered the public domain I have no idea. Possibly one
        Message 3 of 7 , Feb 6, 2009
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          I don't know either but my informed opinion is that they were copying the
          Shields solo. How this so entered the public domain I have no idea.
          Possibly one player copied it first -- Milé -- and the others copied him. I
          don't think they all sat round and studied the record. Maybe they heard it
          from brother Harry who reported that he copied it note for note and always
          played it. How did Picou's solo on 'High Society' become standard ?

          Did George ever claim Dodds influence ?





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        • Dan Van Landingham
          Just what is Uptown clarinette style?I ve never heard the term before.When I think of the likes of Nunez,Shields,Tio and the rest,I only know of Louisiana
          Message 4 of 7 , Feb 6, 2009
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            Just what is "Uptown" clarinette style?I've never heard the term before.When I think of the
            likes of Nunez,Shields,Tio and the rest,I only know of "Louisiana Traditional Jazz" versus
            the so-called "Chicago Style" type of jazz.At any rate,I really enjoy reading these blogs
            as I am constantly learning something new from this website.For Howard Rye:I used to
            have an old British Decca 78 by the Harry Roy band called "Stepping Out at Midnight" or
            something like that(the obverse is "Barrel House Boogie" not to be confused with a Harry
            "The Hipster" Gibson Musicraft 78 with the same title).It was a great band.As for the title,
            the hole in the center of the record was enlarged due to hard use by whomever owned the
            record years before I bought it in 1969 at a Salvation Army thirft store in Coos Bay,Oregon.
            The only other bands from England I was somewhat more familiar with were Ambrose,Ray
            Noble and his New Mayfair Orchestra(on HMV)and Jack Hylton.Somewhere I have an old
            CD of Coleman Hawkins circa 1939 and the very last track was Hawkins with Jack Hylton's
            band.The only other English bands I have heard were by  George Chisolm,Ted Heath and
            another band whose leader's name escapes me at present.His band appeared here some
            forty five or so years ago and a label called "Top Rank".It was another good band;the only
            cut I recall from the album was called "Blue Denham" and "London Derierre".

            --- On Fri, 2/6/09, David Brown <johnhaleysims@...> wrote:

            From: David Brown <johnhaleysims@...>
            Subject: RE: [RedHotJazz] Keep The Spoon Out Of Your Cup was Button Up Your Overquote
            To: RedHotJazz@yahoogroups.com
            Date: Friday, February 6, 2009, 1:53 AM






            Hello Gilbert

            Always nice to hear from you especially as you were there whereas we only
            have the records and the books.

            What do you make of Uptown clarinet style ? Did it still exist -- assuming
            it ever did exist -- in your time in N.O. and if so what players ?

            You are spot on about N.O. clarinet players and blues and this could be
            extended to N.O. players generally.

            I know we discussed the wonderful Ray Burke before and your report of him
            listening to PWR. I had assumed he admired PWR but that is apparently not
            the case ?

            Yes, technique -- proper technique -- is stressed as paramount in accounts
            of early N.O. 'Illegitimate' tone was not prized maybe until Oliver whose
            use of mutes seems to have been widely admired. And maybe here we have the
            reason why Dodds left about no legacy in N.O.

            Dave

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