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Re: [RedHotJazz] Re: BUDDY CHRISTIAN CREOLE FIVE

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  • Howard Rye
    Charlie Johnson came to Europe with Leon Abbey in 1927, arriving at Southampton on 14 December. According to the passenger list, he was 30. He was not a member
    Message 1 of 27 , Oct 14, 2009
      Charlie Johnson came to Europe with Leon Abbey in 1927, arriving at
      Southampton on 14 December. According to the passenger list, he was 30. He
      was not a member of Abbey¹s band on his previous trip to South America, from
      which the band arrived back on 28 September.

      He left Freddy Taylor in summer 1935 to go Bombay with Leon Abbey. At the
      end of 1936 he was leading at the Villa d¹Este in Paris but reported laid up
      with rheumatic ailments and when the band had to move to The Chantilly after
      a fire in the Villa d¹Este on Christmas morning it was actually being led by
      trumpeter Jimmie Bell.

      His problem was obviously worse than rheumatic ailments and he died in the
      American Hospital at Neuilly on 24 March 1937 in consequence of a kidney
      operation.

      He could obviously use a spot more research.



      on 14/10/2009 11:30, David Brown at johnhaleysims@... wrote:

      >
      >
      >
      >
      > Hello John
      >
      > Thanks. Several interesting points there. The notes to the 'Big Charlie'
      > have indeed Carter and Johnson as one and the same.
      >
      > I have the N.O. Blue 5 'South Rampart' in my ears now and super work from
      > wonderful Tom Morris. But, respect him and you though I do, he is not on the
      > Rippers nor on any other of the sides on the 'Big Charlie' except those
      > alongside Jabbo --- yes I know, Jabbo. 'Big Charlie' has far more chops, is
      > faster, lighter and, above all, shows profound Louis influence which Tom
      > never did. Also no use of mutes. I dug into 'Big Charlie' a few years back
      > and convinced myself that most of the sides on the album are by one man. All
      > other known possibilities, including Gaines, I eventually excluded. Coming
      > back to the album after a time, I still find it mostly convincing -- except
      > the Jabbos.
      >
      > The physical appearance of the man remembered by Eva Taylor sounds
      > strikingly close to Tom Morris, as does the name. My guess would be that
      > when played the side she, probably not being very interested nor having ears
      > to distinguish one cornet from another, misremembered Tom. But I would like
      > to think that whoever put the question -- where ? -- went on to exclude the
      > obvious, Morris. The 'Big Charlie' shout might yet again merely be a
      > fabrication to add 'colour'. Irvis is also supposedly on the Rippers but the
      > shout is at the end of a cornet solo and Charlie Irvis was very small. Maybe
      > an in-joke ?
      >
      > But I have one very hypothetical and circumstantial candidate for Big
      > Charlie. At the time of the Rippers session, according to Rust, Irvis was in
      > the Ellington band along with a trumpeter, Charlie Johnson, who coincidently
      > replaced Harry Cooper. I agree that I here make the assumption that the band
      > on record was also the working band. Charlie Johnson also appears on
      > (rejected) record in London with Leon Abbey, also coincidentally alongside
      > Harry Cooper, in January 1928 so I assume left USA with Abbey sometime in
      > 1927. Apparently he remained in Europe for he was imported from Paris for
      > Louis' UK touring band in 1933. He also appears on two Freddy Taylor Paris
      > sessions in 1935. His expatriation would account for the total disappearance
      > of 'Big Charlie' from the NYC studios from early 1927.
      >
      > He also recorded with Buddy Featherstonhaugh's Cosmopolitans, London 1933.
      > The solo on 'I've Got The World On A String' is probably him for, although
      > it is a three trumpet section, the others are Brits. There is not much here
      > for comparison, especially as he plays in tight mute, but there is enough to
      > observe that he has a fluent style not anomalous with that of Big Charlie.
      >
      > He also appears in Rust on two sides by Bill Brown And His Brownies NYC
      > March 1927. I conjecture the muted work on these sides as the other
      > trumpeter, listed as Billy Hicks, BUT at about 2.22 on 'Hot Lips',
      > especially take -1, there bursts out a bravura trumpeter who leads us out.
      > Nothing totally compatible with the supposed Big Charlies but near enough
      > for speculation. Which is all this is.
      >
      > Too much to expect there are any biographical details at all with such a
      > common name. Also I assume that all these Charlie Johnsons are the same man.
      >
      > All Best
      >
      > Dave
      >
      > [Non-text portions of this message have been removed]
      >
      >
      >
      >
      >>
      >
      >
      > Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
      > howard@...
      > Tel/FAX: +44 20 8521 1098
      >



      [Non-text portions of this message have been removed]
    • spacelights
      Hi Dave, The Big Charlie Thomas agenda seems something of a red herring... the name itself speculative, a conflation of disparate elements. Attributions of
      Message 2 of 27 , Oct 14, 2009
        Hi Dave,

        The "Big Charlie Thomas" agenda seems something of a red herring... the name itself speculative, a conflation of disparate elements. Attributions of Charlie Gaines and Thomas Morris on the Jazz Rippers (in Rust 3 and 4, respectively) imbue identifications of "Charlie Thomas" with a kind of winking caprice... In any case, the "Thomas" recalled by Eva as "a much older man than the rest of us" would seem to discount Gaines, Morris, and new candidate Johnson: from all evidence, younger than Eva and Clarence. I don't have the Timeless CD, would like to read the notes and listen in sequence (have heard most of the sides on other releases).

        I don't necessarily agree that the Rippers cornetist has "far more chops" than Morris: the former seems rather more brash and round-toned, yet his results I find even more erratic than typical Morris (who displays creditable chops in various bags on the Williams Stompers, Wallers, Dixie Jazzers Washboard Bands and elsewhere). Morris is strangely workmanlike under his own leadership in 1926 (OKeh was reportedly more accomodating than Victor) and seems to cut loose and experiment more with others. I agree the Rippers man sounds more Armstrong-influenced--not unlike Gaines at that time--though it's perhaps worth noting that the N.O. Blue Five date includes "King of the Zulus".

        Best wishes,

        John

        ps Have you heard the Elvira Johnson...?


        --- In RedHotJazz@yahoogroups.com, "David Brown" <johnhaleysims@...> wrote:
        >
        > I have the N.O. Blue 5 'South Rampart' in my ears now and super work from
        > wonderful Tom Morris. But, respect him and you though I do, he is not on the
        > Rippers nor on any other of the sides on the 'Big Charlie' except those
        > alongside Jabbo --- yes I know, Jabbo. 'Big Charlie' has far more chops, is
        > faster, lighter and, above all, shows profound Louis influence which Tom
        > never did. Also no use of mutes. I dug into 'Big Charlie' a few years back
        > and convinced myself that most of the sides on the album are by one man. All
        > other known possibilities, including Gaines, I eventually excluded. Coming
        > back to the album after a time, I still find it mostly convincing -- except
        > the Jabbos.
        >
        > The physical appearance of the man remembered by Eva Taylor sounds
        > strikingly close to Tom Morris, as does the name. My guess would be that
        > when played the side she, probably not being very interested nor having ears
        > to distinguish one cornet from another, misremembered Tom. But I would like
        > to think that whoever put the question -- where ? -- went on to exclude the
        > obvious, Morris.
      • David Brown
        Many thanks Howard I never cease to be amazed at what you can find. His sad early demise placed him beyond reach of the early discographers /collectors and may
        Message 3 of 27 , Oct 15, 2009
          Many thanks Howard

          I never cease to be amazed at what you can find. His sad early demise placed
          him beyond reach of the early discographers /collectors and may add a pinch
          more circumstantial evidence to his case as the unattributed 'Big Charlie'.

          Many thanks John

          Reading the JRT notes to the 'Big Charlie', I infer some self-subversion,
          particularly in the excerpt I quoted recently. But I do believe that JRT
          felt the work to be by one man. He, as a practising brass player, offers
          technical analysis of Charlie's style and I believe that what he is
          subverting is the name he has 'invented'. Howard's information would put
          Johnson's birth as almost definitely 1897. But the fact that he was
          described as being older has always grated on me because his style, heavily
          Louis influenced, suggests, rather, a young Turk. The linkage of the man
          described by Eva with that hailed by Carter as 'Big Charlie' is anyway, to
          me, very tenuous. It assumes that Eva had the ears and memory to recognise
          one cornettist on one session among so many that she made.

          My use of 'chops' was not qualitative. I am not saying that Charlie was
          better than Tom, just different. I agree with you, I observed recently the
          apparent variance in Tom's style but I would put this down to material as
          well as context.

          BUT. AS EVER. We run into the problem of provenance of the personnels we are
          working from. Rust mostly I mean. I have learned to work initially only from
          cast iron examples. Only this week I falsely designated work to Gus Aiken
          through relying on Rust. I do not have the Elvira, nor have I found it
          available online, but my Rust has unk. cornet. There is cast iron Gaines on
          the 1929 Waller Buddies. This is later than 'Big Charlie' and shows him to
          be an E.Coast stylist with about no Louis influence. I would therefore be
          surprised to hear that Gaines was playing in Louis style three years earlier
          on the Elvira and would thus doubt the attribution. I observe that the sides
          are smack in the middle of Big Charlie's time span although I assume that
          JRT must have heard and discounted.

          I think to hear the case for a 'Big Charlie' one has to hear the complete
          album, or the sides on the album, in sequence. Context is extremely
          important for comparative listening. I hear the same man -- mostly --
          although realistically there is so little cornet on some sides and/or so
          badly recorded that it is impossible to tell. But we are still left with the
          sides which sound like, and were claimed by, Jabbo. This must seriously
          undermine the case for Big Charlie but the playing is similar enough for it
          to be put down as mistake rather than piss-take.

          Dave






          [Non-text portions of this message have been removed]
        • Howard Rye
          This provoked me into digitizing my very old file on Leon Abbey¹s British stays (that old) and I can add one more detail about Charlie Johnson. Abbey was a
          Message 4 of 27 , Oct 15, 2009
            This provoked me into digitizing my very old file on Leon Abbey¹s British
            stays (that old) and I can add one more detail about Charlie Johnson.

            Abbey was a notorious poacher of other people¹s bands and the band he
            poached for his British trip was Bill Brown¹s Brownies, so we can be sure
            that it is the same Charles Johnson on their 17 March 1927 Vocalion, but the
            file card (which is reproduced in VJM 119) gives no personnel information.

            The Abbey band¹s main British gig was at the Olympia Dance Hall, which had
            three bandstands. The others were occupied by Herman Darewski¹s band and
            Gwen Rogers¹ Musical Dolls. I still have no idea who the Musical Dolls were,
            not that I¹ve tried very hard to find out, but they didn¹t take part in any
            of the broadcasts made by the other two bands.

            on 15/10/2009 10:04, David Brown at johnhaleysims@... wrote:

            >
            >
            >
            >
            > Many thanks Howard
            >
            > I never cease to be amazed at what you can find. His sad early demise placed
            > him beyond reach of the early discographers /collectors and may add a pinch
            > more circumstantial evidence to his case as the unattributed 'Big Charlie'.
            >


            Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
            howard@...
            Tel/FAX: +44 20 8521 1098




            [Non-text portions of this message have been removed]
          • David Brown
            Thanks again Howard Rust has a full personnel for the Brownies March 1927 -- no probs, poss.s or ?s. Jazz Directory has total unks. So I wonder where it came
            Message 5 of 27 , Oct 15, 2009
              Thanks again Howard

              Rust has a full personnel for the Brownies March 1927 -- no probs, poss.s or
              ?s. Jazz Directory has total unks. So I wonder where it came from ? By
              backdating what Abbey arrived with ?

              Not only Johnson but also, at least, Ralph James and Oliver Tines from the
              Brownies, and I guess thus also Leon Abbey, stayed in Europe. Tines is with
              Louis in both UK 1933 and Paris 1934 and James with Wooding in 1931. Life
              must surely have been sweeter this side of the Atlantic, or in Paris at
              least.

              Fascinating collateral information there. Research proves the Gwen Roger's
              Musical Dolls to have been a female quartet featuring the Japanese one
              string phonofiddle who recorded in 1926. The link below will also introduce
              the 'last great virtuoso of the bladder-and-string'. Burnt cork virtuoso.

              <http://www.jonroseweb.com/f_projects_phonofiddle.html>

              Dave








              [Non-text portions of this message have been removed]
            • Howard Rye
              Source is the New York Age of 28 January 1928 in a belated news item about Abbey taking the band (which astoundingly does tie up with the passenger list). ...
              Message 6 of 27 , Oct 15, 2009
                Source is the New York Age of 28 January 1928 in a belated news item about
                Abbey taking the band (which astoundingly does tie up with the passenger
                list).


                on 15/10/2009 16:07, David Brown at johnhaleysims@... wrote:

                >
                >
                >
                >
                > Thanks again Howard
                >
                > Rust has a full personnel for the Brownies March 1927 -- no probs, poss.s or
                > ?s. Jazz Directory has total unks. So I wonder where it came from ? By
                > backdating what Abbey arrived with ?
                >
                >


                Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
                howard@...
                Tel/FAX: +44 20 8521 1098




                [Non-text portions of this message have been removed]
              • David Brown
                Hello Yves I ll answer you on this thread. I m sure you never offend anybody and offer only stimulating topics for debate. It s in my head that Jabbo is
                Message 7 of 27 , Oct 16, 2009
                  Hello Yves

                  I'll answer you on this thread. I 'm sure you never offend anybody and offer
                  only stimulating topics for debate.

                  It's in my head that Jabbo is almost cast iron on the 'Ham Gravy' session
                  but I forget the source. Howard will know.

                  It certainly is more bravura playing and more technically without flaw,
                  although not flawless, than the other sides.

                  On Harry Cooper, I find not only the Fouad and Rostaing but three sessions
                  in Paris under his own name 1943 and 1947. Do you have these and/or know
                  where they were ever available ?

                  Dave




                  [Non-text portions of this message have been removed]
                • Howard Rye
                  The 1943 sessions are split across Jazz Time 799877-2: Americans In Paris Vol. 5 1939-1949; Jazz Time 789327-2: Americans In Paris Vol. 6 1942-1950, Jazz Time
                  Message 8 of 27 , Oct 16, 2009
                    The 1943 sessions are split across Jazz Time 799877-2: Americans In Paris
                    Vol. 5 1939-1949; Jazz Time 789327-2: Americans In Paris Vol. 6 1942-1950,
                    Jazz Time 781336-2: Antillles Jazz 1930-1954. (These were probably marketed
                    by EMI for about three weeks but the series does turn up from French on-line
                    dealers.

                    The 1947 titles were on Barclay 81.004/5: Le Jazz Parisien...liberé. Anyone
                    know a CD?

                    While we¹re here, I have a main title index to pre-war Jazz Hots and a
                    detailed index to Jazz-Tango Swing. If Charlie Johnson was interviewed by
                    contemporary French enthusiasts, I don¹t where the results were published.
                    Any ideas, Yves? These guys mostly played in upper-class watering holes to
                    which the young cognoscenti couldn¹t go and this probably accounts for the
                    very scant attention they devoted to them. Johnson is mentioned once in
                    Panassié¹s Douze Années de Jazz.

                    on 16/10/2009 10:13, David Brown at johnhaleysims@... wrote:

                    >
                    > On Harry Cooper, I find not only the Fouad and Rostaing but three sessions
                    > in Paris under his own name 1943 and 1947. Do you have these and/or know
                    > where they were ever available ?
                    >
                    > Dave
                    >
                    >


                    Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
                    howard@...
                    Tel/FAX: +44 20 8521 1098




                    [Non-text portions of this message have been removed]
                  • Patrice Champarou
                    ... From: David Brown To: Sent: Friday, October 16, 2009 11:13 AM Subject: RE: [RedHotJazz] Re:
                    Message 9 of 27 , Oct 16, 2009
                      ----- Original Message -----
                      From: "David Brown" <johnhaleysims@...>
                      To: <RedHotJazz@yahoogroups.com>
                      Sent: Friday, October 16, 2009 11:13 AM
                      Subject: RE: [RedHotJazz] Re: BUDDY CHRISTIAN CREOLE FIVE


                      > On Harry Cooper, I find not only the Fouad and Rostaing but three sessions
                      > in Paris under his own name 1943 and 1947. Do you have these and/or know
                      > where they were ever available ?

                      I've just read Howard's reply, but just in case some would match... 7
                      tracks, apparently issued under Harry Cooper's name, are available on Swing
                      Caraibe : Paris 1929-1946 by Frémeaux et associés, FA 069
                      http://tinyurl.com/yh8xgux (Inspiration, Nuages, La Cigale, Allegro, Nos
                      impressions, Caprice en Ut, Lune Rosse - tracks listing also on
                      Amazon.co.uk).

                      Patrice
                    • David Brown
                      To answer myself on Ham Gravy and save Howard s energy. It never Rains but it --. Richard Rains, again, is the source in the notes of the Frog Tom Morris. He
                      Message 10 of 27 , Oct 16, 2009
                        To answer myself on 'Ham Gravy' and save Howard's energy.

                        It never Rains but it --. Richard Rains, again, is the source in the notes
                        of the Frog Tom Morris. He claims to have confirmed this personally with
                        Jabbo.

                        It would certainly be nice if he joined us.

                        Dave





                        [Non-text portions of this message have been removed]
                      • Howard Rye
                        Yes, indeed. These are the 1943 sides. Can¹t recommend this double CD too strongly. Simply didn¹t think of it in this context. ... [Non-text portions of this
                        Message 11 of 27 , Oct 16, 2009
                          Yes, indeed. These are the 1943 sides. Can¹t recommend this double CD too
                          strongly. Simply didn¹t think of it in this context.


                          on 16/10/2009 11:38, Patrice Champarou at patrice.champarou@... wrote:

                          >
                          >
                          >
                          >
                          >
                          > ----- Original Message -----
                          > From: "David Brown" <johnhaleysims@...
                          > <mailto:johnhaleysims%40yahoo.co.uk> >
                          > To: <RedHotJazz@yahoogroups.com <mailto:RedHotJazz%40yahoogroups.com> >
                          > Sent: Friday, October 16, 2009 11:13 AM
                          > Subject: RE: [RedHotJazz] Re: BUDDY CHRISTIAN CREOLE FIVE
                          >
                          >> > On Harry Cooper, I find not only the Fouad and Rostaing but three sessions
                          >> > in Paris under his own name 1943 and 1947. Do you have these and/or know
                          >> > where they were ever available ?
                          >
                          > I've just read Howard's reply, but just in case some would match... 7
                          > tracks, apparently issued under Harry Cooper's name, are available on Swing
                          > Caraibe : Paris 1929-1946 by Frémeaux et associés, FA 069
                          > http://tinyurl.com/yh8xgux (Inspiration, Nuages, La Cigale, Allegro, Nos
                          > impressions, Caprice en Ut, Lune Rosse - tracks listing also on
                          > Amazon.co.uk).
                          >
                          > Patrice
                          >
                          >
                          >
                          >
                          >>
                          >
                          >
                          > Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
                          > howard@...
                          > Tel/FAX: +44 20 8521 1098
                          >



                          [Non-text portions of this message have been removed]
                        • yves francois
                              RE: HARRY COOPER The Mengo Blue Stars have not been reissued on CD - also a Mengo Swing that has not been reissued is on youtube right now. I also have
                          Message 12 of 27 , Oct 16, 2009
                                RE: HARRY COOPER The Mengo Blue Stars have not been reissued on CD - also a Mengo Swing that has not been reissued is on youtube right now. I also have the 78 - if you are curious e mail me personally I will send MP3 of the two sides in rather better sound than the youtube site - it is some of the best Cooper on record - SWING #187 BLUES DU MATIN PA 1 & 2.    Let me know if anyone needs them for their collection - they happen to be amongst my favorite records in the 40's (and I also highly recommend the 2 CD set "SWING CARIBE" - all 8 Cooper Swing's are on them, plus 2 others with him and Big Boy Goudie from 1946 or so)
                            Yves Francois Smierciak


                            --- On Fri, 10/16/09, Howard Rye <howard@...> wrote:

                            From: Howard Rye <howard@...>
                            Subject: Re: [RedHotJazz] Re: BUDDY CHRISTIAN CREOLE FIVE
                            To: "red hot jazz" <RedHotJazz@yahoogroups.com>
                            Date: Friday, October 16, 2009, 6:43 AM













                             





                            Yes, indeed. These are the 1943 sides. Can¹t recommend this double CD too

                            strongly. Simply didn¹t think of it in this context.



                            on 16/10/2009 11:38, Patrice Champarou at patrice.champarou@ free.fr wrote:



                            >

                            >

                            >

                            >

                            >

                            > ----- Original Message -----

                            > From: "David Brown" <johnhaleysims@ yahoo.co. uk

                            > <mailto:johnhaleysi ms%40yahoo. co.uk> >

                            > To: <RedHotJazz@yahoogro ups.com <mailto:RedHotJazz% 40yahoogroups. com> >

                            > Sent: Friday, October 16, 2009 11:13 AM

                            > Subject: RE: [RedHotJazz] Re: BUDDY CHRISTIAN CREOLE FIVE

                            >

                            >> > On Harry Cooper, I find not only the Fouad and Rostaing but three sessions

                            >> > in Paris under his own name 1943 and 1947. Do you have these and/or know

                            >> > where they were ever available ?

                            >

                            > I've just read Howard's reply, but just in case some would match... 7

                            > tracks, apparently issued under Harry Cooper's name, are available on Swing

                            > Caraibe : Paris 1929-1946 by Frémeaux et associés, FA 069

                            > http://tinyurl. com/yh8xgux (Inspiration, Nuages, La Cigale, Allegro, Nos

                            > impressions, Caprice en Ut, Lune Rosse - tracks listing also on

                            > Amazon.co.uk) .

                            >

                            > Patrice

                            >

                            >

                            >

                            >

                            >>

                            >

                            >

                            > Howard Rye, 20 Coppermill Lane, London, England, E17 7HB

                            > howard@coppermill. demon.co. uk

                            > Tel/FAX: +44 20 8521 1098

                            >



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