Re: [RedHotJazz] Re: Arnett Nelson
- But fantasizing by discographers seems a much more likely explanation.
I don¹t know who ³scottlededoo² is but I wish him joy of working on Arnett,
whose discography has been so fatally confused by the activities of an
over-enthusiastic and cloth-eared enthusiast, now deceased, who basically
heard every unknown clarinettist on a pre-1940 record as his hero, that most
serious discographers now routinely strike his name out ³pending
I was unfortunately not present on a famous occasion when he presented his
findings, but I was given many accounts of how he played records by at least
ten different clarinettists and responded to gentle attempts to suggest that
they all sounded different essentially by saying that this proved Arnett¹s
genius that he was able to play in so many different styles.
Good luck, mate, you¹ll need it.
on 03/08/2009 09:02, David Brown at johnhaleysims@... wrote:
>Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
> If everything attributed to Arnett is, then the degree of imbibition might
> account for the wild fluctuations in quality.
Tel/FAX: +44 20 8521 1098
[Non-text portions of this message have been removed]
>Don't forget, Gerry, that many bands had tuba and string bass side by side
> So now limiting the discussion to "big band/large ensemble" and avoiding
> string-bands, quartets/quintets: I had always assume that this
> setting--for recordings--generally had tuba. As such I was looking for who
> began using string bass as a replacement for tuba, if it concentrated in
> one or a few individual groups.
> -- Gerry
at the same time - this is readily apparent in many of the Vitaphone shorts
of 1927-30 - often, a band also had a banjoist and a guitarist playing
simultaneously, too. There are numerous records - like Gus Arnheim's "One
More Time," from 1931, where tuba is in use on the first half of the disc,
with a switchover to string bass for the "hot" final choruses to add an
extra measure of excitement to the performance.