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Re: [RedHotJazz] The Cabin in the Cotton (1932)

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  • Howard Rye
    It¹s Les Hite and His Orchestra. Numbers performed are: Willie The Weeper (inst); Peckerwoods Wiggle; Willie The Weeper (Bette Davis, vocal) ... Howard Rye,
    Message 1 of 21 , Apr 30 5:55 AM
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      It¹s Les Hite and His Orchestra.

      Numbers performed are: Willie The Weeper (inst); Peckerwoods Wiggle; Willie
      The Weeper (Bette Davis, vocal)


      on 30/04/2013 12:54, Peter L Reid at reid1947@... wrote:

      >
      >
      >
      >
      >
      > Hi all,
      > Does anyone know the name of the "Jazz Band from Memphis" that plays at
      > Madge's (Bette Davis) party,
      > or who the musicians are?
      > IMDB has no information that I can find, neither does my "Jazz In The
      > Movies" book.
      > First time I have ever watched this film, thanks to You Tube.
      >
      > Peter L
      >
      >
      >
      >
      >

      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]
    • Peter L Reid
      ... Hi Jim, and thank you Howard. Jim try this -http://www.youtube.com/watch?v=FbpdOmbOnLQ Howard do you have any idea of the personnel of the band in the
      Message 2 of 21 , Apr 30 6:21 AM
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        On 30/04/2013 10:37 PM, Jim wrote:
        > What is the YouTube link?
        Hi Jim, and thank you Howard.

        Jim try this -http://www.youtube.com/watch?v=FbpdOmbOnLQ

        Howard do you have any idea of the personnel of the band in the film?
        My books tell me that Les Hite took over Paul Howard' Quality
        Serenaders in 1930
        and Louis later performed with them from 1930-32, and called it his New
        Sebastion
        Cotton Club Orchestra. (What a great name)
        The trumpeter on "Willie the Weeper" ( in the film) is worth a mention.

        Peter L



        [Non-text portions of this message have been removed]
      • David Weiner
        Hey! Lionel Hampton on drums! Dave Weiner
        Message 3 of 21 , Apr 30 7:00 AM
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          Hey! Lionel Hampton on drums!

          Dave Weiner

          On 4/30/13 8:55 AM, "Howard Rye" <howard@...> wrote:

          >It¹s Les Hite and His Orchestra.
          >
          >Numbers performed are: Willie The Weeper (inst); Peckerwoods Wiggle;
          >Willie
          >The Weeper (Bette Davis, vocal)
          >
          >
          >on 30/04/2013 12:54, Peter L Reid at reid1947@... wrote:
          >
          >>
          >>
          >>
          >>
          >>
          >> Hi all,
          >> Does anyone know the name of the "Jazz Band from Memphis" that plays at
          >> Madge's (Bette Davis) party,
          >> or who the musicians are?
          >> IMDB has no information that I can find, neither does my "Jazz In The
          >> Movies" book.
          >> First time I have ever watched this film, thanks to You Tube.
          >>
          >> Peter L
          >>
          >>
          >>
          >>
          >>
        • Howard Rye
          When I was working on these or the discography in Marshall Royal¹s autobiography we reached the essential conclusion that it is almost impossible to recover
          Message 4 of 21 , Apr 30 7:22 AM
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            When I was working on these or the discography in Marshall Royal¹s
            autobiography we reached the essential conclusion that it is almost
            impossible to recover personnels for these films. As Marshall pointed out,
            the band¹s presence on screen doesn¹t mean even that they are on the
            soundtrack, never mind with the same personnel, and when they are on the
            soundtrack they may be augmented by studio musicians.

            Klaus Stratemann didn¹t know about this one but in his ŒNegro Bands On Film¹
            (1981) he proposes for Taxi (dir Roy Del Ruth, 1932):
            George Orendorff, Harold Scott, James ŒKing¹ Porter, t; Luther ŒSonny¹
            Graven, Lawrence Brown, tb; Marshall Royal, Marvin Johnson, Charlie Jones,
            as/cl; Les Hite, as/bar; Henry Prince, Harvey Brooks, p; Bill Perkins, bj/g;
            Joe Bailey, sb; Lionel Hampton, d.

            However, this is essentially guess work in its application to any given
            performance.


            on 30/04/2013 14:21, Peter L Reid at reid1947@... wrote:

            >
            >
            >
            >
            >
            > On 30/04/2013 10:37 PM, Jim wrote:
            >> > What is the YouTube link?
            > Hi Jim, and thank you Howard.
            >
            > Jim try this -http://www.youtube.com/watch?v=FbpdOmbOnLQ
            >
            > Howard do you have any idea of the personnel of the band in the film?
            > My books tell me that Les Hite took over Paul Howard' Quality
            > Serenaders in 1930
            > and Louis later performed with them from 1930-32, and called it his New
            > Sebastion
            > Cotton Club Orchestra. (What a great name)
            > The trumpeter on "Willie the Weeper" ( in the film) is worth a mention.
            >
            > Peter L
            >
            > [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]
          • ROBERT R. CALDER
            Orendorf should be recognisable aurally from his nice King Oliver style -- I gathered he had an interesting later life, but don t know details. Lawrence Brown
            Message 5 of 21 , May 1, 2013
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              Orendorf should be recognisable aurally from his nice King Oliver style --
              I gathered he had an interesting later life, but don't know details.

              Lawrence Brown sounded like the Lawrence Brown Cab Calloway said

              was the one Ellingtonian he would most have liked in his band.


              And of course Harvey Brooks (an estimable player) should be aurally recognisable,

              he was the pianist Cary Grant was miming to around about the time
              he asked Mae West if she's ever met a menn she thought could make her

              really happy...
              Lotsa times, no doubt readers of this posting will chorus, word perfect with her.


              Of course Grant had a different miming style to that displayed by

              James Stewart in ANATOMY OF A MURDER ....
              (please don't tell me Stewart was fingering to a different pianist --
              the very man for whom Ruby Braff expressed a singular loathing when told this pianist
              had engaged Brown to do plunger mute work.

              "Lawrence? He had Lawrence do that?")

              I even saw Lawrence doing that, in person: life has not been entirely sour!
              cheers,
              Robert

              [Non-text portions of this message have been removed]
            • Andrew Taylor
              Hi all, Wondered if any of you had noticed the following and had any opinions or observations about the following. I was listening just now (on iTunes) to
              Message 6 of 21 , May 10, 2013
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                Hi all,

                Wondered if any of you had noticed the following and had any opinions or
                observations about the following.

                I was listening just now (on iTunes) to probably my favorite Armstrong
                tune, *Mahogany Hall Stomp* from 1929. It was the version from
                Columbia's /Vol V: Louis iin New York/ CD. Then out of curiousity I
                switched to the same recording included (as an additional track) on the
                Phil Schaap-produced /The Complete Hot Five and Hot Sevens Recordings/.
                4-volume set.
                In addition to being brighter than the Columbia CD version (too much
                so), the Schaap one was distinctly faster than the Columbia one.

                I just checked the length on iTunes, and indeed Schaap's clocks in at
                3:17, as opposed to Columbia's 3:27.

                I much prefer the Columbia one, but I grew up listening to that one
                (came out in 1990, Schaap's came out in 2000) so that doesn't
                necessarily make it better or more accurate. I'm 42, so the Columbia
                series was my first introduction to much of Armstrong's 1920s work. For
                me the Schaap Mahogany loses the perfectly measured groove of the
                Columbia one.

                Has anyone else noticed this, or have an opinion? I expect there are
                better recordings than either of these, but these are what I know.

                The first cassette of Hot Fives I got in the 1980s /was //all/ recorded
                at strange speeds!

                Thanks for any insights,

                Andrew Taylor


                [Non-text portions of this message have been removed]
              • Andrew Taylor
                Looking online, the cd set /Louis Armstrong : portrait of the artist as a young man, 1923-1934/ (which I don t have) has Mahogany Hall Stomp listed as 3:13,
                Message 7 of 21 , May 10, 2013
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                  Looking online, the cd set /Louis Armstrong : portrait of the artist as
                  a young man, 1923-1934/ (which I don't have) has Mahogany Hall Stomp
                  listed as 3:13, even shorter - Andrew
                  On 5/10/2013 3:55 PM, Andrew Taylor wrote:
                  > Hi all,
                  >
                  > Wondered if any of you had noticed the following and had any opinions
                  > or observations about the following.
                  >
                  > I was listening just now (on iTunes) to probably my favorite Armstrong
                  > tune, *Mahogany Hall Stomp* from 1929. It was the version from
                  > Columbia's /Vol V: Louis iin New York/ CD. Then out of curiousity I
                  > switched to the same recording included (as an additional track) on
                  > the Phil Schaap-produced /The Complete Hot Five and Hot Sevens
                  > Recordings/. 4-volume set.
                  > In addition to being brighter than the Columbia CD version (too much
                  > so), the Schaap one was distinctly faster than the Columbia one.
                  >
                  > I just checked the length on iTunes, and indeed Schaap's clocks in at
                  > 3:17, as opposed to Columbia's 3:27.
                  >
                  > I much prefer the Columbia one, but I grew up listening to that one
                  > (came out in 1990, Schaap's came out in 2000) so that doesn't
                  > necessarily make it better or more accurate. I'm 42, so the Columbia
                  > series was my first introduction to much of Armstrong's 1920s work.
                  > For me the Schaap Mahogany loses the perfectly measured groove of the
                  > Columbia one.
                  >
                  > Has anyone else noticed this, or have an opinion? I expect there are
                  > better recordings than either of these, but these are what I know.
                  >
                  > The first cassette of Hot Fives I got in the 1980s /was //all/
                  > recorded at strange speeds!
                  >
                  > Thanks for any insights,
                  >
                  > Andrew Taylor


                  --
                  Andrew Taylor, MLS
                  Associate Curator, Visual Resources
                  Department of Art History, Rice University
                  713-348-4836



                  [Non-text portions of this message have been removed]
                • Richard Fannan
                  I have three versions of Mahogany Hall Stomp on CD and loaded into iTunes. A The one from the Complete Hot Fives and Hot, according to the iTunes info, is
                  Message 8 of 21 , May 10, 2013
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                    I have three versions of Mahogany Hall Stomp on CD and loaded into iTunes. A

                    The one from the Complete Hot Fives and Hot, according to the iTunes info, is 3:17.

                    The one from Portrait of an Artist, according to the iTunes info, is 3:20

                    The one from History of Jazz, a set on Platco, according to the iTunes info, is 3:35

                    Listening to them, I couldn't detect any tempo differences.

                    Don't have the one on Louis in New York


                    On May 10, 2013, at 2:03 PM, Andrew Taylor <agt2@...> wrote:

                    > Looking online, the cd set /Louis Armstrong : portrait of the artist as
                    > a young man, 1923-1934/ (which I don't have) has Mahogany Hall Stomp
                    > listed as 3:13, even shorter - Andrew
                    > On 5/10/2013 3:55 PM, Andrew Taylor wrote:
                    > > Hi all,
                    > >
                    > > Wondered if any of you had noticed the following and had any opinions
                    > > or observations about the following.
                    > >
                    > > I was listening just now (on iTunes) to probably my favorite Armstrong
                    > > tune, *Mahogany Hall Stomp* from 1929. It was the version from
                    > > Columbia's /Vol V: Louis iin New York/ CD. Then out of curiousity I
                    > > switched to the same recording included (as an additional track) on
                    > > the Phil Schaap-produced /The Complete Hot Five and Hot Sevens
                    > > Recordings/. 4-volume set.
                    > > In addition to being brighter than the Columbia CD version (too much
                    > > so), the Schaap one was distinctly faster than the Columbia one.
                    > >
                    > > I just checked the length on iTunes, and indeed Schaap's clocks in at
                    > > 3:17, as opposed to Columbia's 3:27.
                    > >
                    > > I much prefer the Columbia one, but I grew up listening to that one
                    > > (came out in 1990, Schaap's came out in 2000) so that doesn't
                    > > necessarily make it better or more accurate. I'm 42, so the Columbia
                    > > series was my first introduction to much of Armstrong's 1920s work.
                    > > For me the Schaap Mahogany loses the perfectly measured groove of the
                    > > Columbia one.
                    > >
                    > > Has anyone else noticed this, or have an opinion? I expect there are
                    > > better recordings than either of these, but these are what I know.
                    > >
                    > > The first cassette of Hot Fives I got in the 1980s /was //all/
                    > > recorded at strange speeds!
                    > >
                    > > Thanks for any insights,
                    > >
                    > > Andrew Taylor
                    >
                    > --
                    > Andrew Taylor, MLS
                    > Associate Curator, Visual Resources
                    > Department of Art History, Rice University
                    > 713-348-4836
                    >
                    > [Non-text portions of this message have been removed]
                    >
                    >



                    [Non-text portions of this message have been removed]
                  • lastofthebarons
                    The version on, The Complete Louis Armstrong Vol. 5 Tight Like This 1928-1931 Disc 1 by Frémeaux et Cie is 3:22. One of the reasons for a disparity in,
                    Message 9 of 21 , May 11, 2013
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                      The version on, "The Complete Louis Armstrong Vol. 5 "Tight Like This" 1928-1931 Disc 1" by Fr�meaux et Cie is 3:22.

                      One of the reasons for a disparity in, apparent, length is where the engineer decided he had enough silence at both start and finish. You then have to add on the amount of silence that they decided to have between each track. There is usually at least 2 seconds and, very often more. Consequently tracks taken from the same original source can have up to around 10 seconds variation or more. Also to be factored in is the speed at which the original was played. Was pitch corrected by turntable speed or by electronic means.

                      In some ways, digitization has complicated the issue. The only way to get to the original timing is to get the original master and, knowing the key the piece was played in, to adjust the turntable speed to match the pitch. We have to put an awful lot of faith in, sometimes, unknowledgeable sound engineers.

                      Cheers,

                      Marc

                      On 11 May 2013, at 00:41, Richard Fannan <rfannan1@...> wrote:

                      > I have three versions of Mahogany Hall Stomp on CD and loaded into iTunes. A
                      >
                      > The one from the Complete Hot Fives and Hot, according to the iTunes info, is 3:17.
                      >
                      > The one from Portrait of an Artist, according to the iTunes info, is 3:20
                      >
                      > The one from History of Jazz, a set on Platco, according to the iTunes info, is 3:35
                      >
                      > Listening to them, I couldn't detect any tempo differences.
                      >
                      > Don't have the one on Louis in New York
                      >
                      > On May 10, 2013, at 2:03 PM, Andrew Taylor <agt2@...> wrote:
                      >
                      > > Looking online, the cd set /Louis Armstrong : portrait of the artist as
                      > > a young man, 1923-1934/ (which I don't have) has Mahogany Hall Stomp
                      > > listed as 3:13, even shorter - Andrew
                      > > On 5/10/2013 3:55 PM, Andrew Taylor wrote:
                      > > > Hi all,
                      > > >
                      > > > Wondered if any of you had noticed the following and had any opinions
                      > > > or observations about the following.
                      > > >
                      > > > I was listening just now (on iTunes) to probably my favorite Armstrong
                      > > > tune, *Mahogany Hall Stomp* from 1929. It was the version from
                      > > > Columbia's /Vol V: Louis iin New York/ CD. Then out of curiousity I
                      > > > switched to the same recording included (as an additional track) on
                      > > > the Phil Schaap-produced /The Complete Hot Five and Hot Sevens
                      > > > Recordings/. 4-volume set.
                      > > > In addition to being brighter than the Columbia CD version (too much
                      > > > so), the Schaap one was distinctly faster than the Columbia one.
                      > > >
                      > > > I just checked the length on iTunes, and indeed Schaap's clocks in at
                      > > > 3:17, as opposed to Columbia's 3:27.
                      > > >
                      > > > I much prefer the Columbia one, but I grew up listening to that one
                      > > > (came out in 1990, Schaap's came out in 2000) so that doesn't
                      > > > necessarily make it better or more accurate. I'm 42, so the Columbia
                      > > > series was my first introduction to much of Armstrong's 1920s work.
                      > > > For me the Schaap Mahogany loses the perfectly measured groove of the
                      > > > Columbia one.
                      > > >
                      > > > Has anyone else noticed this, or have an opinion? I expect there are
                      > > > better recordings than either of these, but these are what I know.
                      > > >
                      > > > The first cassette of Hot Fives I got in the 1980s /was //all/
                      > > > recorded at strange speeds!
                      > > >
                      > > > Thanks for any insights,
                      > > >
                      > > > Andrew Taylor
                      > >
                      > > --
                      > > Andrew Taylor, MLS
                      > > Associate Curator, Visual Resources
                      > > Department of Art History, Rice University
                      > > 713-348-4836
                      > >
                      > > [Non-text portions of this message have been removed]
                      > >
                      > >
                      >
                      > [Non-text portions of this message have been removed]
                      >
                      >



                      [Non-text portions of this message have been removed]
                    • Andrew Taylor
                      Sounds similar to editing old photos digitally, there may be a right answer but it d be hard to prove, even to yourself! Andrew Taylor (from my iPad)
                      Message 10 of 21 , May 12, 2013
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                        Sounds similar to editing old photos digitally, there may be a "right" answer but it'd be hard to prove, even to yourself!

                        Andrew Taylor (from my iPad)

                        On May 11, 2013, at 4:25 AM, lastofthebarons <lastofthebarons@...> wrote:

                        > The version on, "The Complete Louis Armstrong Vol. 5 "Tight Like This" 1928-1931 Disc 1" by Frémeaux et Cie is 3:22.
                        >
                        > One of the reasons for a disparity in, apparent, length is where the engineer decided he had enough silence at both start and finish. You then have to add on the amount of silence that they decided to have between each track. There is usually at least 2 seconds and, very often more. Consequently tracks taken from the same original source can have up to around 10 seconds variation or more. Also to be factored in is the speed at which the original was played. Was pitch corrected by turntable speed or by electronic means.
                        >
                        > In some ways, digitization has complicated the issue. The only way to get to the original timing is to get the original master and, knowing the key the piece was played in, to adjust the turntable speed to match the pitch. We have to put an awful lot of faith in, sometimes, unknowledgeable sound engineers.
                        >
                        > Cheers,
                        >
                        > Marc
                        >
                        > On 11 May 2013, at 00:41, Richard Fannan <rfannan1@...> wrote:
                        >
                        >> I have three versions of Mahogany Hall Stomp on CD and loaded into iTunes. A
                        >>
                        >> The one from the Complete Hot Fives and Hot, according to the iTunes info, is 3:17.
                        >>
                        >> The one from Portrait of an Artist, according to the iTunes info, is 3:20
                        >>
                        >> The one from History of Jazz, a set on Platco, according to the iTunes info, is 3:35
                        >>
                        >> Listening to them, I couldn't detect any tempo differences.
                        >>
                        >> Don't have the one on Louis in New York
                        >>
                        >> On May 10, 2013, at 2:03 PM, Andrew Taylor <agt2@...> wrote:
                        >>
                        >>> Looking online, the cd set /Louis Armstrong : portrait of the artist as
                        >>> a young man, 1923-1934/ (which I don't have) has Mahogany Hall Stomp
                        >>> listed as 3:13, even shorter - Andrew
                        >>> On 5/10/2013 3:55 PM, Andrew Taylor wrote:
                        >>>> Hi all,
                        >>>>
                        >>>> Wondered if any of you had noticed the following and had any opinions
                        >>>> or observations about the following.
                        >>>>
                        >>>> I was listening just now (on iTunes) to probably my favorite Armstrong
                        >>>> tune, *Mahogany Hall Stomp* from 1929. It was the version from
                        >>>> Columbia's /Vol V: Louis iin New York/ CD. Then out of curiousity I
                        >>>> switched to the same recording included (as an additional track) on
                        >>>> the Phil Schaap-produced /The Complete Hot Five and Hot Sevens
                        >>>> Recordings/. 4-volume set.
                        >>>> In addition to being brighter than the Columbia CD version (too much
                        >>>> so), the Schaap one was distinctly faster than the Columbia one.
                        >>>>
                        >>>> I just checked the length on iTunes, and indeed Schaap's clocks in at
                        >>>> 3:17, as opposed to Columbia's 3:27.
                        >>>>
                        >>>> I much prefer the Columbia one, but I grew up listening to that one
                        >>>> (came out in 1990, Schaap's came out in 2000) so that doesn't
                        >>>> necessarily make it better or more accurate. I'm 42, so the Columbia
                        >>>> series was my first introduction to much of Armstrong's 1920s work.
                        >>>> For me the Schaap Mahogany loses the perfectly measured groove of the
                        >>>> Columbia one.
                        >>>>
                        >>>> Has anyone else noticed this, or have an opinion? I expect there are
                        >>>> better recordings than either of these, but these are what I know.
                        >>>>
                        >>>> The first cassette of Hot Fives I got in the 1980s /was //all/
                        >>>> recorded at strange speeds!
                        >>>>
                        >>>> Thanks for any insights,
                        >>>>
                        >>>> Andrew Taylor
                        >>>
                        >>> --
                        >>> Andrew Taylor, MLS
                        >>> Associate Curator, Visual Resources
                        >>> Department of Art History, Rice University
                        >>> 713-348-4836
                        >>>
                        >>> [Non-text portions of this message have been removed]
                        >>
                        >> [Non-text portions of this message have been removed]
                        >
                        >
                        >
                        > [Non-text portions of this message have been removed]
                        >
                        >
                        >
                        > ------------------------------------
                        >
                        > For technical questions regarding the Red Hot Jazz website, please see http://launch.groups.yahoo.com/group/rhj-tech/
                        >
                        > To stop receiving mail from this group, send blank email to:
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                        >
                        >
                        >
                        >
                      • David Brown
                        For this -- and all vintage material -- seek out JRT Davies transcriptions. Speed correction is an art, not a science, especially as jazz musicians, especially
                        Message 11 of 21 , May 14, 2013
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                          For this -- and all vintage material -- seek out JRT Davies
                          transcriptions. Speed correction is an art, not a science, especially as
                          jazz musicians, especially at that time, did not play in tune.

                          JRT had a musician's ear and his own patent technology, as we have
                          previously discussed, for pitch correction.

                          Generally his transcriptions of vintage material cannot be bettered,
                          certainly not with intrusive digital technology which can produce
                          unmusical travesties.

                          Lossy MP3s offered online are also antithetical to real audio quality.


                          Dave
                        • ROBERT R. CALDER
                          jrt davies was indeed the speeds man his own writings on speeds topics ought to be available for reference. as I recall, he was very informative even when
                          Message 12 of 21 , May 14, 2013
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                            jrt davies was indeed the speeds man

                            his own writings on speeds topics ought to be available for reference.
                            as I recall, he was very informative even when hotly challenged.
                            His work is to be recommended - and considered



                            Robert R. Calder

                            [Non-text portions of this message have been removed]
                          • David Brown
                            Hello Robert JRT s website is, I regret, lost and gone. But Nick Dellow s excellent interview is still available at http://www.vjm.biz/articles9.htm All Best
                            Message 13 of 21 , May 14, 2013
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                              Hello Robert

                              JRT's website is, I regret, lost and gone.

                              But Nick Dellow's excellent interview is still available at

                              http://www.vjm.biz/articles9.htm

                              All Best

                              Dave
                            • Andrew Homzy
                              We ve had interesting discussions regarding re-creations of KOCJB and ODJB - but what about NORK? Besides Art Hodes Friars Inn Revisited , are there other
                              Message 14 of 21 , May 29, 2013
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                                We've had interesting discussions regarding re-creations of KOCJB and ODJB - but what about NORK?

                                Besides Art Hodes' "Friars Inn Revisited", are there other tributes or re-creations?

                                Cheers,

                                Andrew
                              • ALAN BOND
                                Just last year, Andy Schumm & Keith Nichols organised as session to re-create the work of the Halfway House Orchestra at the Whitley Bay Classic Jazz Party and
                                Message 15 of 21 , May 30, 2013
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                                  Just last year, Andy Schumm & Keith Nichols organised as session to re-create the work of the Halfway House Orchestra at the Whitley Bay Classic Jazz Party and some video of this is on Youtube.
                                  TTFN - 007




                                  ________________________________
                                  From: Andrew Homzy <andrew.homzy@...>
                                  To: RedHotJazz@yahoogroups.com
                                  Sent: Thursday, 30 May 2013, 2:12
                                  Subject: [RedHotJazz] Re-Norking -


                                  We've had interesting discussions regarding re-creations of KOCJB and ODJB - but what about NORK?

                                  Besides Art Hodes' "Friars Inn Revisited", are there other tributes or re-creations?

                                  Cheers,

                                  Andrew

                                  ------------------------------------

                                  For technical questions regarding the Red Hot Jazz website, please see http://launch.groups.yahoo.com/group/rhj-tech/

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                                • Robert
                                  Wingy Manone recorded in 1934 with Sidney Arodin & Santo Pecora (I think it was) under the name of the NORKs. The sides recorded certainly do not represent a
                                  Message 16 of 21 , May 31, 2013
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                                    Wingy Manone recorded in 1934 with Sidney Arodin & Santo Pecora (I think it was) under the name of the NORKs. The sides recorded certainly do not represent a recreation but may be seen as a tribute. Perhaps.

                                    Robert Greenwood.

                                    --- In RedHotJazz@yahoogroups.com, Andrew Homzy <andrew.homzy@...> wrote:
                                    >
                                    > We've had interesting discussions regarding re-creations of KOCJB and ODJB - but what about NORK?
                                    >
                                    > Besides Art Hodes' "Friars Inn Revisited", are there other tributes or re-creations?
                                    >
                                    > Cheers,
                                    >
                                    > Andrew
                                    >
                                  • Patrice Champarou
                                    Hello all I hate to use such a procedure, but I need to let you know that I have just deleted a message coming from Alan Bond’s account, publicly displaying
                                    Message 17 of 21 , Aug 21, 2013
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                                      Hello all

                                      I hate to use such a procedure, but I need to let you know that I have just deleted a message coming from Alan Bond’s account, publicly displaying the email addresses of several recipients.
                                      Be this intentional or not, it is not the first incident of the kind. A few months ago I had to suppress a couple of spam messages (porn ads, IIRC) sent to the group from this account. I tried to get in touch with Alan (twice), but neve received any reply.

                                      I hope the problem will be solved when, as stated in the message, BT has “abolished” (?) Alan’s email address... but I have no guarantee that this was not another fake, so I suggest email subscribers who may have received it to be careful (and please, never display lists of private addresses on a public website, use the CCi line if you really need to cross-post anything).

                                      Best wishes, and thanks to those who keep this group somewhat alive.

                                      Patrice

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                                    • ALAN BOND
                                      Hi Folks,                  Sorry about that but I have been trying to get my address book sorted before this Email address dies the death on
                                      Message 18 of 21 , Aug 21, 2013
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                                        Hi Folks,
                                                         Sorry about that but I have been trying to get my address book sorted before this Email address dies the death on 16th Sept.
                                        TTFN - 007




                                        ________________________________
                                        From: Patrice Champarou <patrice.champarou@...>
                                        To: RedHotJazz@yahoogroups.com
                                        Sent: Wednesday, 21 August 2013, 14:28
                                        Subject: [RedHotJazz] ADMIN: Alan Bond


                                        Hello all

                                        I hate to use such a procedure, but I need to let you know that I have just deleted a message coming from Alan Bond’s account, publicly displaying the email addresses of several recipients.
                                        Be this intentional or not, it is not the first incident of the kind. A few months ago I had to suppress a couple of spam messages (porn ads, IIRC) sent to the group from this account. I tried to get in touch with Alan (twice), but neve received any reply.

                                        I hope the problem will be solved when, as stated in the message, BT has “abolished” (?) Alan’s email address... but I have no guarantee that this was not another fake, so I suggest email subscribers who may have received it to be careful (and please, never display lists of private addresses on a public website, use the CCi line if you really need to cross-post anything).

                                        Best wishes, and thanks to those who keep this group somewhat alive.

                                        Patrice

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                                      • ROBERT R. CALDER
                                        What s happened with Alan s e-mail account, and my own, is that British Telecom have until now offered a free webmail account, tied in with the e-mail for
                                        Message 19 of 21 , Aug 22, 2013
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                                          What's happened with Alan's e-mail account, and my own, is that British Telecom have until now offered a free webmail account, tied in with the e-mail for their own customers. Now you have to become one of their customers if you want to hang on to your mail account as hitherto, with the archive of past e-mails, either a full customer or one who pays modestly for an e-mail service. I'm stuck paying for mine, at least for the time being.
                                          It is annoying that the notification of this was not accompanied by a warning that people with the same sort of account were liable to be spammed with fake messages advising about the change. At least the service is good enough to let subscribers discover that some supposed official mails come from Polish addresses, or even aol accounts (a free service which remains free).
                                          I shouldn't imagine anybody else will get mails associated with this changeover.
                                          I remember a few years ago there was a news story about a spamming centre closed down, and immediately after that spam reduced drastically. The volume does seem to have been increasing again more recently, though I have never had any experience like that of working within a German university, before the responsible parties realised they needed to block mails which went to absolutely everybody.  
                                          The current changeover is just a business wrinkle -- and I thought it worth while reassuring other list members. Since I am not changing my account I am not inconvenienced as Alan is.


                                          all the best,
                                          Robert R. Calder


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