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Re: [RedHotJazz] Re: Boyd Atkins Quinn Wilson

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  • Patrice Champarou
    ... From: Bob Eagle To: Sent: Thursday, August 27, 2009 1:51 PM Subject: Re: [RedHotJazz] Re: Boyd
    Message 1 of 12 , Aug 27, 2009
      ----- Original Message -----
      From: "Bob Eagle" <prof_hi_jinx@...>
      To: <RedHotJazz@yahoogroups.com>
      Sent: Thursday, August 27, 2009 1:51 PM
      Subject: Re: [RedHotJazz] Re: Boyd Atkins Quinn Wilson


      > hello, I feel a discussion about "rhythmic complexity" coming on.

      > The vast majority of blues players (notable exceptions acknowledged) were
      > basic musicians who were strong on feeling. > Sometimes they had no other
      > option.

      I've always trusted that what everyone calls "feeling" (or lack of feeling)
      can be resolved by technical explanations more clearly than by some
      misterious and purely mental process.
      I don't know if McClennan should be called a "basic" musician, I'm sure he
      was not aware of the complexity of what he was doing, but I'm not surprised
      Ransom Knowling felt so comfortable backing him.
      As many Mississippians, he had inherited two types of rhythms, which can be
      "felt" at the same time in his playing : the apparent, typical ternary
      "shuffle" - probably a urban feature, learnt from pianists and early jazz
      bands by some (and not all) of the first blues guitarists - and the binary
      support on which pre-depression Delta artists had built very tricky
      syncopations, probably resulting from African reminiscences. McClennan's
      guitar often skips from one to the other, and sometimes stays in-between,
      with such amazing easiness and regularity that he seems to have two virtual
      metronomes working at the same time.
      That type of "swing" is obviously different from what was achieved by the
      Basie band, but I think it resulted from an equally subtle alchemy, applied
      to a rock-steady rhtythm.

      Patrice
    • yves francois
      RobertOne addendum. i was looking for pictures of trumpeter Jacques Butler, when I suddenly found a photo of Boyd Atkins from 1931, consult the book Black
      Message 2 of 12 , Sep 28, 2009
        RobertOne addendum. i was looking for pictures of trumpeter Jacques Butler, when I suddenly found a photo of Boyd Atkins from 1931, consult the book "Black Beauty White Heat" (p 175 soft bound ed) the Eli Rice band has a picture of Mr Atkins from 1931 (talk about a band that should have recorded - Edwin Tompkins, Joe Thomas on trumpets and Keg Johnson on trombone!), he is on the picture between Victoria Layne (piano) and banjoist Stanford Beatty - make you own conclusions) - I will have to look at his pics w Elmore in the 50's againhope this helpsYves Francois Smierciak
        --- On Wed, 8/26/09, robertgreenwood_54uk <robertgreenwood_54uk@...> wrote:

        From: robertgreenwood_54uk <robertgreenwood_54uk@...>
        Subject: [RedHotJazz] Re: Boyd Atkins - note: sax player on Oct 53 Little Johnny Jones session as well
        To: RedHotJazz@yahoogroups.com
        Date: Wednesday, August 26, 2009, 3:34 AM




        I am grateful for everyone's response so far to this enquiry, and yes, please, Yves, do ask Bob Koester for me. I'm afraid that the post-war blues group has so far supplied only a Chadbourne (like Bowdler, his name could perhaps enter the language and be forever associated with cobbled together & unreliable information) , but ignorant until now of his lack of credibility my reply to that group may seem misplaced.



        The reason for my interest in Atkins, quite apart from my high regard for Elmore James' Broomdusters, is that I am researching material for a proposed article on trumpeter Guy Kelly. Kelly once played with Atkins' band and I would like to include some information on him; Atkins, that is. As for Guy Kelly, expect more pestering enquiries...

        Robert.




































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