RE: [RedHotJazz] Thomas Morris Past Jazz Masters
- Hello everybody and a special belated warm welcome to KB.
I agree KB on the N.O. sound of the alto. And is there any better jazz
saxophone playing by this time ? Also the trombone on the first two
sessions. Also, although more arguably, the mystery second trumpet(s).
However, it is very difficult to see how these players can be N.O.
especially considering the cliquey nature of jazz musicians.
The problems of hearing all the solos as Tom have been pointed out by John
and Yves, most notably on 'When The Jazz Band --- '. Maybe detailed analysis
of this side is where to start. I hear :-
Tpt1 lead with tpt2 second including growl
0-50 piano solo
1-04 short tpt2 entry in mute into open solo tpt1
1-40 tpt2 entry in mute shortly joined by tpt1 in tight mute behind which he
removes first and leads out.
Which is Tom? Well I hear the superb open solo as him, confirmed by his
identification as the typically far more tightly muted player behind the far
looser muted style of tpt2. Not sure I hear tpt2 as 'western', although
looser, but we hear both players here in mute and neither sounds at all like
Serapion -- I see that Big Charlie cannot be kept down but wonder why he is
relevant to 40s 'speculation'. I thought he was strictly a JRT -- er --
On regional style, I reckon still an important influence in 1923 and
arguably forever. A musician's primary influence is his peer group,
PS the opening theme of 'Bull Blues' appears as the 1942 Ellington
'composition' 'What Am I Here For'.
[Non-text portions of this message have been removed]
- The only reason I mentioned Big Charlie is that Yves was asking how some now potentially discreditable personnel listings were arrived at long ago: the answer is by listening hard in the dark. Perhaps also Brian Rust's wife, Mary, got tired typing question-marks?
Of course the ropiest mis-attributions simply assumed there were fewer jazz musicians than there were.
--- In RedHotJazz@yahoogroups.com, "kbrau44" <kbrau44@...> wrote: