Re: Arnett Nelson
- I was party to Ernest's deliberations over many years and like to think that I among others managed to temper his opinions somewhat. With hindsight, many of his conclusions now seem surprisingly valid even though arrived at in a less than scholarly manner. What confuses the issue is that his approach alienated some who now tend to discount all his efforts.
I am working particularly on Chicago Blues bands in the thirties and have found his work invaluable if treated with further evaluation and comparison. Aurally I find Nelson's work from one session to another (including those positively identified in B&GR) to have many consistent characteristics along with the superficial technical and stylistic vagaries - when it is not Owsley or Moliere or A.N. Other, of course.
Ernest's efforts in the Jimmy Wade area are equally valid given the same qualifications.
--- In RedHotJazz@yahoogroups.com, "Patrice Champarou" <patrice.champarou@...> wrote:
> This reminds me of some early blues LP's on which any unidentified pianist
> had to be Cripple Clarence Lofton, even when it was obvious that he, or even
> she, was the singer ;-)
> ----- Original Message -----
> From: "Howard Rye" <howard@...>
> To: "red hot jazz" <RedHotJazz@yahoogroups.com>
> Sent: Monday, August 03, 2009 10:27 AM
> Subject: 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.
>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.