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Re: Arnett Nelson

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  • scottlededoo
    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
    Message 1 of 38 , Aug 3, 2009
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      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.

      Chris Hillman

      --- 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 ;-)
      >
      > P.
      >
      > ----- 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
      > investigation².
      >
      > 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.
      >
    • David Weiner
      ... Don t forget, Gerry, that many bands had tuba and string bass side by side at the same time - this is readily apparent in many of the Vitaphone shorts of
      Message 38 of 38 , Jul 26, 2010
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        >
        > 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
        >
        >
        Don't forget, Gerry, that many bands had tuba and string bass side by side
        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.

        Dave Weiner
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