Re: [RedHotJazz] 1923 Morris Past Jazz Masters (was Re: Frogspawn vol. 1),and a Piron question
- a few notes re Thomas Morris and the 1923 Okeh's
the Classics are good to use for documentation etc, but the sound is inferior the the Fountain LP - and i wonder what other kind of issue can be made in the future
thanks! I do have that CD - a lot of the personnel is an educated guess on them - Marlowe Morris, for instance would have been all of about 11 or 12 in 1927 (he was born in 1915). Irvis has pretty much been excluded from the 1923 sessions because of touring and at least to my ears, a different player at least on the first two sessions, the musician on the first 2 sessions is almost pure NOLA.
now to those interested in 1923 NYC ...
Here is a real question - when did Piron's band first hit NYC - when in 1923. if it is January or very early February - you may have the identity or at least an understanding of influence regarding the trombone and alto sax on the first coupling, Those alto and trombone sounds quite a bit like Warnecke and Lindsay - now I am NOT saying they ARE on these records this is very far from ANY sort of definite evidence at this point in time), but ... K-B, John, and all my friends here what do you think, and anyone any evidence of Piron being in NYC in January or early February of 1923??
PS K-B is this the research you are speaking about - I may need a copy of the article for my records. I do not buy that Irvis is on these records, for example (esp the first two sessions). How DID the personnel data on these sessions came forth anyways (R P Dodge??) - and the more I research Morris, the more important he becomes to my ears - and yes, I do hear him on the 1927 Charlie Johnson's
all the best
- --- In RedHotJazz@yahoogroups.com, yves francois <aprestitine@...>
I don't suppose there's any reason little Marlowe couldn't have been somewhere in the background of his uncle's session. There may be a note somewhere in somebody's files about his having said much later but long ago now that he'd sat at the piano during one of his uncle's dates. He's not mentioned in the 1969 Rust.
Perfectly explicable and of course there's no obvious piano contribution, let alone anything unthinkable from a twelve-year-old.
"Ham Gravy" from the next session does have some piano of an approximately Zez Confrey sort.
I suppose Irvis's name got in there with a question-mark, just as according to Rust forty years ago -- in rejecting the suggestion -- The Lion had done. The story of the Big Charlie Thomas CD is very instructive as a reprise of a lot of speculation which went on during the 1940s and subsequently. There's nothing surprising at such attributions as the Irvis currently under discussion. People have just forgotten how old some of the original attributions are, and of course how well some people managed to do with very limited resources.