The Bixography Discussion Group

A vehicle for Bixophiles and other interested individuals to ask questions, make comments and exchange information about Bix Beiderbecke and related subjects.

Any views expressed in the Bixography Forum represent solely the opinions of those expressing them and are not necessarily endorsed or opposed by Albert Haim unless he has signed the message.

I started archiving some of the threads that have been inactive for some time. The archived threads can be found at http://ms.cc.sunysb.edu/~alhaim/archivesforum.htm

Albert Haim, Forum Owner

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Bix, Pres, and the Count

In his current weekly show, Hot Jazz Saturday Night, Rob Bamberger spends a couple of hours highlighting Lester Young with the Count Basie Orchestra from 1936 to 1940. One selection is a number entitled “Tickle Toes.” Rob points out that a passage in that piece is an allusion to a Bix’ solo on Paul Whiteman’s “When.” The exerpts from each tune as well as the entire take of “Tickle Toes” can be found by going to http://wamu.org/programs/hjsn/ , and clicking on one of the available players, and going to about 2:39:20 of the program. This week’s program will probably be replaced this weekend.

Bamberger suggests that incorporating Bix’ passage here reflected Lester’s affection for Bix’ music. This is probably the case. Given the immense talents of both musicians, I wouldn’t consider that this would fall into the category of “stealing.”

Posted on Oct 7, 2008, 3:53 AM

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Sudhalter on the "Influence" of Bix and Tram on Young.

From "Lost Chords,"

When listening to him [Trumbauer]in each of these settings ["Should I?," "Running Ragged," "Apple Blossoms"], it's easy to understand what caught Lester Young's fancy one snowy night in Bismarck, North Dakota, when Eddie Barefield first played him a copy of "Singin' the Blues." As Young told Nat Hentoff:

"I tried to get the sound of a C-Melody on tenor. That's why I don't sound like other people. Trumbauer always told a little story. And I liked the way he slurred the notes. He'd play the melody first and then after that, he'd play around the melody."

There seems to be little point in seeking direct links between Trumbauer and Young based on phrasing methods or rhythmic approach. As Bernard Cash established in a closely reasoned 1982 master's degree thesis, "The improvising methods of the two players are in most ways disparate." Cash seeems to view Trumbauer's frequently discussed "influence" on Young as more a matter of tone and execution than of substance. It's a productive line of thought, but he doesn't follow it far enough. What Young seems to have derived from Trumbauer is the stance, the emotional positioning, a way of viewing himself in an aesthetic looking glass--like the "method actors" of a later day.
It's worth remembering that Young, as reported by Eddie Barefield and others was taken with both Trumbauer and Beiderbeke. When things turn serious (as on "I Must Have That Man" or the stunning "When You're Smiling," with Billy Holiday and Teddy Wilson), the manner may be Trumbauer, but the phrasing is Beiderbecke. It is not without significance that Lester's own composition "Tickle-Toe" borrows its last eght bars verbatim from Bix's solo on "When" with Whiteman.

Here are the excerpts from "When" and "Tickle-Toe" and Bamberger's introduction.

http://bixography.com/TickleToeBamberger.ram

Interesting that the segment that quotes Bix's solo is repeated.

Note that Sudhalter encloses the word influence between quotation marks. It is important to distingish clearly between "influence" and "inspiration." I have discussed this in a posting but I can't find it searching in the forum. I may post on this again later.

Albert

Posted on Oct 7, 2008, 5:17 AM

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Another Obituary of Richard Sudhalter

British bixophile Michael V alerts me to an obituary in the Guardian. Here is the link

http://www.guardian.co.uk/music/2008/oct/02/jazz.popandrock

Thanks Mike.

Albert

Posted on Oct 7, 2008, 9:29 AM

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Profits from Sales of the CD set "The Bix Beiderbecke Influence."

As you probably remember, profits from the sales were initially sent to Richard Sudhalter to help him with his medical expenses. With Richard's passing, profits are now being sent to the Jazz Foundation of America, an organization that provided considerable help to Richard during his prolonged illness.

Here is an account of profits.

Prior to Richard's passing: $1545.31 deposited to Richard's account.

After Richard's passing: $760 donated to the Jazz Foundation of America.

We are grateful to all who already ordered the CD set. If you have not ordered your set yet, visit

http://bixography.com/BixInfluenceFinal2.html

and place an order. Thank you.

Albert

Posted on Oct 8, 2008, 10:32 AM

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The Richard Sudhalter Memorial Celebration

The Nov 2, 2008 date is out. At this point, it looks like early next year in New York City.

I will provide details as soon as they become available.

Albert

Posted on Oct 8, 2008, 2:59 PM

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“Impressions of Art Tatum at the Grand Piano” is ….

.... the title of an article published in Down Beat in October 1935 by George Duning.

From George Duning’s Obituary in the LA Times,

George Duning, a prolific composer of music for television and motion pictures who was nominated for Academy Awards five times, has died at the age of 92.

Duning, who scored such classic films as “From Here to Eternity” and “Picnic,” died Sunday at Alvarado Hospital in San Diego of cardiovascular disease.

The former jazz trumpeter was nominated for Oscars for those two films in 1953 and 1955, respectively. He also was nominated for “Jolson Sings Again” in 1949, two years after he began his contract with Columbia Pictures; for “No Sad Songs for Me” in 1950; and for “The Eddy Duchin Story” in 1956.

During his 15 years with Columbia, Duning composed music for about half a dozen motion pictures a year. Among them were “Let No Man Write My Epitaph,” “My Sister Eileen,” “3:10 to Yuma,” “Houseboat,” “That Touch of Mink” and “Bell, Book and Candle.”
Duning also composed extensively for television series, including “The Big Valley,” “Alcoa-Goodyear City Theatre,” “Naked City” and “Star Trek.” He wound up his long career as musical director of Aaron Spelling Productions.

Born in Richmond, Ind., a center for early jazz recording, Duning grew up hearing music. His father was a conductor and sang in oratorios, and his mother gave organ and piano lessons. He studied music theory at the Cincinnati Conservatory of Music and studied composition with Mario Castelnuovo-Tedesco.

Duning started his own band at age 15, and after college joined various jazz bands as a trumpeter. He also played with marching bands and concert bands.

In the 1930s, Duning got his initial career boost when he was hired as musical director of the radio game show “Kay Kyser’s Kollege of Musical Knowledge.” In 1939, when Kyser signed with RKO to do a series of films, Duning went along as musical arranger.

The work was interrupted by World War II, which put Duning in the Navy as conductor and arranger for the Armed Forces Radio Service.
Throughout his Hollywood career, Duning worked in musicians’ organizations. He served on the Board of Directors of the American Society of Composers, Authors and Publishers from 1972 to 1985 and as the organization’s vice president from 1978 to 1979. He also served on the board of the Academy of Motion Picture Arts and Sciences.

The article mentioned above has the following headline, “Changes of Key Reminiscent of Bix Beiderbecke’s Brain Children.” The relevant text, a review of Art Tatum’s performance at the Three Deuces, reads,

It seems to us that his {Tatum] right hand is even faster and more interesting than that of the great “Father” Hines which is saying a lot. But we think Hines’ left hand is more versatile than Tatum’s, who sticks to straight rhythm most of the time,.whereas Hines goes for those weird off-beat , out of tmpo, left-hand accompaniments. But Tatum’s right hand is something to behold. “Moonglow” variations show a remarkable keen and active mind with a great conception of the possibilities of elaboration on thematic material. A novelty number suggestive of a Confrey solo, with an interesting left hand accompaniment that sounds like the pizzicato of a full string section. “East of the Sun” with pianissimo passages reminiscent of a Debussy. Nocturne. A chord passage that might have been taken from Stravinsky’s “Firebird.” Changes of key that are reminiscent of one of Beiderbecke’s brain children.

Albert

Posted on Oct 5, 2008, 4:01 PM

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Duning

by Klaus H

A real pro; he also scored for Three Stooges shorts, and more people may be familiar with them than "Picnic" or "The Eddie Duchin Story". Unfortunately.

He also served on the Board of Directors of ASCAP well into his '70s.

Posted on Oct 5, 2008, 4:16 PM

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George Dunning

by George Ferrick

About 12 years ago I was sitting at the piano at the Bistro Garden, Studio City, Ca. In those days I only occaisionally played the "Theme from Picnic". Six months or more could go by without ever playing that song. It was a hot July evening and I decided to play it, it was quite a warm eveing and I thought that song fit the moment. Just as I started in walked, hesitantly, a man who turned to me with tears in his eyes. He introduced humself as George Dunning, the composer. He had recently suffered a stroke and spoke with some difficulty and was especially moved that I was playing his song. It was his first night out since the stroke and he believed I had purposely played it, when it was purely by chance.

Posted on Oct 5, 2008, 11:08 PM

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George Marsh or Stan King?

by Frank van Nus

After listening to Trumbauer's OKeh recordings from 8 March 1929 until 8 September 1930, I'd like to put the following before you. George Marsh has always been credited with the drumming on Tram's OKeh sessions from 15 May 1929 onwards. This opinion has been shared by all discographers and biographers, but I believe it is time to re-assess. I believe that the drummer on all of Trumbauer's sides recorded during those 18 months is Stan King, and that George Marsh didn't play on any Trumbauer sides at all!

Here's what I found. King had an excellent and very distinctive technique, whether handling brushes or sticks. His firm and steady brushes technique can be heard to great advantage on March 8, 1929, for instance (presence confirmed). During that session, on Futuristic Rhythm take B at 0:49 (partly hidden by a piano note), he uses a little trademark accented roll which sounds like something of a 5-stroke roll to me (that's a guess!). That same roll can be heard on the 17 april 1929 session: in Louise at 0:56, in Baby Won't You at 0:46, and in Wait 'Till You See at 1:14.

Then, on 30 April 1929, there's the same distinctive brushwork again. And in I Like That, there's the same little 5-stroke roll, at 0:54, 1:08 and 1:13, and a couple of times during Rank's trombone solo.

This same technique can be heard on the following sessions:
- 21 May 1929, in Nobody but you at 1:31, at 1:58 and other spots; Gotta Feeling at 1:26 and 1:55.
- 22 May 1929, Reaching For Someone, at 0:58.
- 18 September 1929, Love Ain't Nothing, all over the vocal comping and more distinctly at 2:20.

During the next few sessions there appears to have been a shift in the studio balance, and the drummer is heard much less clearly. It also sounds as if he's trying to stay out of Eddie Lang's way, who, together with Venuti, is heard ever more prominently as the year goes on.

However, on 10 May 1930, there again are the little brush rolls, during Tram's solo, and again on 22 July 1930, in What's The Use a number of times during Natoli's solo, and again in Hittin' the Bottle at 1:32.

Now, when King played with sticks, he often used clear and smooth backbeat rolls, creating a firm 2-beat feel. These rolls can be heard on most of his Dorsey Brothers and Rube Bloom recordings. And the very same rolls are all over the place on every Trumbauer session between March 8, 1929 and September 8, 1930, starting with Baby Won't You, on to I Like That, What A Day, Alabammy Snow, Nobody But You, etc., ending with Choo Choo on September 8, 1930.

Also omnipresent during this period is King's distinctive use of rim shots: a technique where the head and the rim of the snare drum are hit at once - the rim by the shaft, the head by the tip (or brush), creating a loud accent. These rim shots too can be heard throughout the whole 18-month period.

George Marsh, when recording with Whiteman, hardly distinguished himself as a jazz drummer. Instead, he did do a lot of rather shaky cymbal work (as did his predecessor Hal McDonald). No backbeat rolls, let alone rim shots - in fact, his snare drum was inaudible for most of the time. On all the post-April 1928 Whiteman recordings I know, Marsh's snare can only heard twice: during the ride-out of China Boy, and playing accents in My Ohio Home - both times none too rhythmical either.

So, King has my vote.

Frank

Posted on Oct 5, 2008, 3:24 PM

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Rim Shots vs. Stick Shots

by Frank van Nus

A small addition: after some more listening, I'm pretty sure those signature snare drum accents I mentioned aren't all rim shots; most of them actually sound more like a "stick shot": the tip of one stick is placed on the head of the drum, and its shaft is hit with the other stick. Stick shots tend to sound less sharp than rim shots. My guess is, they'd also record better back in 1929.

One very clear example of stick shots: the back beats during the ride-out on What A Day, at ca. 3:00.

Another note: I can't think of any other 1920s drummer beside Stan King who used a large China cymbal on recordings like the one that can be heard on the intro of "Love Ain't Nothing..." and "What Wouldn't I Do...". This one surely has to be identical to the one used on the intro of "Baby Won't You....", if not actually the very same object, i.e. the one belonging to Stan King, which is so often heard on his non-Trumbauer recordings.

Frank

Posted on Oct 6, 2008, 6:37 AM

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Re: George Marsh or Stan King?

It may not be Marsh, but I find it hard to accept that it's Stan King, especially on the 1930 Tram sides. The drummer on these sounds pretty loose and "modern" to me and, at least on the contemporaneous Rube Bloom and His Bayou Boys recordings, King is powerful, yet fairly stiff, with his press rolls and cymbal work ("The Man from the South" is a good example). I don't hear much, if any, resemblance between these drummers.

Dave

Posted on Oct 6, 2008, 7:48 AM

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Re: George Marsh or Stan King?

In my article about drummers in Bix and Tram recordings published a few years ago in the International Association of Jazz Records Collectors Journal, I pointed out an anomaly and offered a hypothesis to explain it.

http://bixography.com/bixdrummers.html

The anomaly and hypothesis were described as follows,

Frank Trumbauer and His Orchestra and Bix Beiderbecke and His Gang were bands within the Jean Goldkette and Paul Whiteman bands. As is customary in these instances, the musicians in the smaller bands were subsets of the musicians in the bigger bands. This generalization applies to the Trumbauer and Bix bands with one major exception. George Marsh, the drummer of the Paul Whiteman orchestra, was never used by Bix when he recorded as Bix and His Gang and by Trumbauer when he recorded as the Frank Trumbauer orchestra while Bix was a member of the orchestra. However, once Bix stopped recording with Tram, Marsh was the drummer in all Trumbauer recordings through 1930. This observation led me to suggest a falling-out between Bix and Marsh when Bix asked his long-time buddy Harry Gale to play with him in the July 1928 Chicago recording sessions of Frank Trumbauer and His Orchestra and of Bix Beiderbecke and His Gang: ordinarily, Marsh, the regular drummer with Whiteman, would have been the drummer of choice.

My hypothesis was based on statements by Burnie, Bix’s older brother. According to Evans and Evans, Burnie in a telephone interview in 1958 stated, “I was present in the studio when “Ol’ Man River” was being recorded [July 7, 1928; the other recording made in this session was “Wa-Da-Da”]. There was somewhat of an argument as to who would play drums.” In a letter dated 12/12/59, Burnie writes, “I don’t recall much about the drummers. There were two of them available, but which was used, I don’t remember.”

The assignment of Marsh in Trumbauer’s recordings without Bix is given by Sudhalter and Evans, Evans and Evans, Rust, Lion and the booklet accompanying the Mosaic set on Bix, Tram and Teagarden.

If Frank’s reassignment (from George Marsh to Stan King) of the drummer in the May 1929 to Sep 1930 recordings of Frank Trumbauer (without Bix) is accepted, my hypothesis would require some modification. In my article, I stated that the argument was between Bix and George Marsh. To accommodate Frank’s suggestion that Marsh did not record with Tram (without Bix) from May 1929 to Sep 1930, it would be necessary to propose that the argument was between Trumbauer and Bix, on one side and Marsh, on the other. Trumbauer was the leader of the July 5, 1928 recording session where Harry Gale, rather than George Marsh, was the drummer. I remind you that Paul Whiteman allowed his musicians to record on their own as leaders, as long as they used Whiteman musicians. In fact, as far as I can tell from a quick perusal of discographies, all recordings of Frank Trumbauer and His Orchestra and of Bix and His Gang while members of the Whiteman orchestra included, except for Marsh (and Eddie Lang, who was a regular in Tram’s recordings and was, later, a member of the Whiteman orchestra), Whiteman musicians.

An interesting observation. On May 22, 1929, Eddie Lang recorded three sides for OKeh, as Ed Lang and His Orchestra. His drummer was Stan King. However, on Oct 5, 1929, when Eddie Lang was a member of the Whiteman Orchestra, Ed Lang and His Orchestra recorded three sides for OKeh with George Marsh as drummer. These are the only two recording sessions of Eddie Lang as a band leader.

I will try to listen to the various points that Frank points out, and if I have something useful to report, I wil post again.

Albert

Posted on Oct 6, 2008, 1:00 PM

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RIP - ALFRED J. GALLODORO, musician, 95

by Enrico Borsetti

http://www.algallodoro.com/in_memorium.htm

Alfred J. Gallodoro, birth name Fortunato Gallodoro, musician, 95 (Born June 20, 1913) passed away peacefully Oct 4, 2008 due to complications of a very old age. Having lived an extraordinarily rich life, he leaves behind the legacy of his music and the distinction of having been one of the world's longest continually active performing musicians. Starting his professional career at the age of 13, and having had his last performance at the Corning Jazz and Harvest Festival on September 20, 2008 his professional career spanned over an amazing nine decades. Born in Chicago to Antonio and Frances Gallodoro, Al spent his childhood years in Alabama and New Orleans, with most of his later career spent in New York City. He relocated to Oneonta, New York in 1981 where he lived until his death.

Alfred J. Gallodoro played his saxophone, clarinet and bass clarinet with his great strength lying in his technique, gorgeous tone and moving expressiveness. He appeared in all forms and venues of music - - - from vaudeville houses to New Orleans speak-easies, from nightclubs to symphonies, and from Carnegie Hall to more recently, international jazz festivals. (New Orleans Jazz Festival to the North Sea at The Hague, and Breda Jazz Festivals in Holland!) His longest association (nearly four decades) was with the ?King of Jazz? Paul Whiteman, where Gallodoro played lead 1st alto sax, as well as clarinet and bass clarinet for the orchestra. Hence, the nickname, Triple Threat! At Al's death, his brother Frank remains the only surviving member of the Paul Whiteman Orchestra. Gallodoro was a regularly featured ?front stage? soloist on live broadcasts spanning from the 1930?s through the 1970?s, and even continued those live radio performances up until May of 2008 with regular appearances on Public Radio Stations including WSKG, and WAMC.

Gallodoro performed classical music as well as jazz under famed conductors Isham Jones, Arturo Toscanini, Leopold Stokowski, Alfredo Antonini, Leonard Bernstein, Andre Kostelanetz., Johnny Green, Tutti Camarata, Arthur Fiedler, Percy Faith, Skitch Henderson and Dr. Frank Black. George Gershwin, Victor Borge, Dina Shore, Sid Caesar, Raphael Mendez, Les Paul, Bob Hope, Edgar Bergen, Duke Ellington, Tommy Dorsey, Mario Lanza, Frank Sinatra and Milton Berle are amongst some of the greats he appeared with. He also recorded countless movie and cartoon soundtracks. He also had music composed for him, with the most notable piece being the Gallodoro Serenade. Recently recorded in 2004, the piece was written in 1958 by composer Ferde Grofè.

AL GALLODORO was featured in 2002 on CBS? Sunday Morning, and has also been the topic of a PBS documentary, the Al Gallodoro Story. In 2005 Alfred J. Gallodoro received an Honorary Doctoral Degree from Hartwick College in recognition of a lifetime of extraordinary achievement in music performance and teaching. His admirers include more than just saxophone aficionados - - -- he recently appeared twice at Cornell University's Weill Medical College for concerts and as the subject of an extensive interview on longevity and vitality. Holding the distinction of having the worlds record for the most performances of the clarinet slide in Gershwins Rhapsody in Blue (OVER 10,000 TIMES), Gallodoro was called upon in April 2006 to perform and record the piece in NYC with the Grammy-nominated, Harmonie Ensemble Orchestra, under conductor Steven Richman. A classical vein ran throughout Gallodoro's art of improvisation and interpretation of jazz. Perhaps it was this unique ability to effortlessly bridge both the idioms of jazz and classical music that so endears him to such a broad variety of fans young and old. Unmatched in his virtuosity, even at 95 years young, Gallodoro continued to thrill his listeners with his impeccable musicianship and incredible mastery of his instruments. He can arguably be regarded as the greatest saxophone/clarinet virtuoso in history. Al Gallodoro was a life member of the American Federation of Musicians Union Local 443, Oneonta, New York, local 802, New York, NY, and 369, Las Vegas, Nevada.

With 8 CDs and a music video to his credit, as well as numerous recordings with other artists, Al Gallodoro was also an independent producer of his own music under Chmusic Productions/Golden Rooster Records. With a bit of Southern flair, credited to his Birmingham and New Orleans roots, the Mediterranean influence of his Sicilian heritage, and the sounds attributed to nearly six decades of working in New York City, Dr. Alfred J. Gallodoro (born June 20, 1913) will remain absolutely inimitable! For more information on Al Gallodoro go to his website at www.algallodoro.com

He is survived by daughters Mary Bruggeman, Joann Gallodoro, Alice Gallodoro, and brother Frank Gallodoro, sisters Frances Nyhan and Catherine Gagliano, as well as 18 grandchildren, 29 great-grandchildren, and 8 great-great grandchildren. And by his manager Joann Chmielowski and dear grandson, producer and best friend Kevin Wood.

He was predeceased by his wife Mary, his son Alfred, daughter Rita, sister Marie and brother Peter.

FUNERAL ARRANGEMENTS TBD

Contact:
Kevin Wood, Grandson
631-764-6950

Posted on Oct 5, 2008, 2:07 AM

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Connections of Al Galladoro to Bix via Whiteman, Miff Mole, and Jimmy Dorsey.

1. Whiteman.Al Galladoro was an important member of the Paul Whiteman orchestra in the 1930s and 1940s. From the official Al Galadoro website,

In the spring of 1936 he joined the Paul Whiteman Orchestra as first chair alto sax/clarinet and featured soloist. The orchestra disbanded in 1940 In 1947 Paul Whiteman became the Musical Director for WJZ Radio ( which later became ABC radio) Paul Whiteman asked Frank Vangnoni, who was the Musical Contractor for Wiz to contact Al and ask him to join the staff as a soloist. Al joined, and over twenty arrangements were written for him. He performed up to four live solos per week for WJZ and stayed with them until 1967. He doubts that any other musician has played as may live solos on the air as he has.

In October of 1948 , under the direction of Paul Whiteman, Al went on a 29 day tour. On the tour he performed an extremely elaborate three-way concerto (music by George Gershwin) The concerto consisted of the following:

1st Movement Summertime on Alto Sax
2nd Movement Bess, you is my Woman on Bass Clarinet
3rd Movement Liza on B flat Clarinet

Al Galladoro was in New Orleans in 1928. I wonder if he attended Whhiteman's concerts at the St. Charles Theatre on Oct 29, 1928. Several New Orleans white musicians attended the concert and insisted that Whiteman feature Bix's cornet work. Granted that Al Galladoro was only 15, but he had been playing professionaly for a couple of years. From the official site, "In the fall of 1927 he was hired to play in the Forest Club in New Orleans, where his parents relocated from Birmingham, AL. In 1927 age 15, he became the first alto sax/clarinet in the Orpheum Theater house orchestra in New Orleans, doing big time vaudeville acts (Bob Hope, Edgar Bergen, Milton Berle, Olsen and Johnson, Blackston (magician) Joan Davis, Ritz bros., among them After the last show he would play from 11:30pm to 5 am at a night club called the Frolics. This lasted until July 1933."

Al Gallaodor's first commercial recording was Vic 25552, March 26, 1937 with Paul Whiteman's orchestra. The band included the foolowing musicians who had recorded with Bix: Harry Goldfield, Bill Rank, Jack Teagarden, Frankie Trumbauer, Roy Bargy, Matty Malneck and Mischa Russell.
2. Miff Mole.
Richard Sudhalter in "Lost Chords."
Mole is visible on screen during Goodman's "Minnie in the Money" feature in the 1943 movie "The Gang's All Here." ... The circumstances surrounding Miff's departure are unclear: one story presists that Benny took offense when the trombonist praised Whiteman's longtime alto sax virtuosos Al Galladoro in his presence, and that relations went downhill from there.

3. Jimmy Dorsey.
Richard Sudhalter in "Lost Chords."
When his [Jimmy's] full chorus, party-piece solo on the chords of "Tiger Rag" appeared, first on Nichols's "That's No Bargain" and then interpolated into Don Redman's arrangement of "Sensation" for Whiteman, saxophonists all over the country learned it note for note.
Rehearsing for a 1976 Whiteman commemorative concert under the author's [Sudhalter] leadership, saxophonists Al Gallodoro (Whiteman's alumnus), Johnny Mince (soloist with Tommy Dorsey;s 1930 orchestra), and Eddie Barefield (star of the Cab Calloway and Chick Webb bands) astonished fellow-bandsmen by reeling off the chorus from memory, in faultless unison.

Listen to

"That's No Bargain." http://redhotjazz.com/songs/nichols/ThatsNoBargin1.ram http://redhotjazz.com/songs/nichols/ThatsNoBargin2.ram

"Sensation Stomp." Takes 1 and 3 http://www.redhotjazz.com/Songs/Whiteman/senstmp1.ram http://www.redhotjazz.com/Songs/Whiteman/senstmp3.ram

Albert

PS A coincidence. Al Galladoro's real first name was Fortunato. One of my grandmother's (from my mother's side) brothers was also named Fortunato. He was my grandmother's favorite brother out of about a dozen!!

Posted on Oct 5, 2008, 6:09 AM

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Al's surname corrigenda

by Enrico Borsetti

Al's last name is GALLODORO (golden rooster) not Galladoro...
Al is of Sicilian descents and Gallodoro is the name of an eastern Sicilian town, see

http://www.comunegallodoro.com/

a touching and soulful Al Gallodoro bossa nova rendition of Bernice Petkere's CLOSE YOUR EYES

http://www.youtube.com/watch?v=Rr6ynMTuHn4

Posted on Oct 5, 2008, 7:33 AM

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My speculation turned out to be fact!

In my previous post I wrote, "Al Galladoro was in New Orleans in 1928. I wonder if he attended Whiteman's concerts at the St. Charles Theatre on Oct 29, 1928." Indeed, Al Gallodoro did.

From http://jazzbackstory.blogspot.com/2008/10/he-played-with-king-of-jazz.html

In an interview by Monk Rowe, Al Galladore stated,

I have to tell you this story. It must have been early 1928. See I moved to New Orleans from Pensacola, Florida in October of ’27. It could have been late ’27 or early ’28 the St. Charles Theater on St. Charles Street — there’s an Avenue and a Street — The Paul Whiteman Band was coming through. And God I’m only about 15 years old, or 15-1/2 years old. And I waited outside. And who gets out of a cab? The Dapper Dan Paul Whiteman, dressed with the afternoon clothes and striped pants and all. I’m looking — I was too bashful to say anything. I finally went in the theater and Frankie Trumbauer was with the band, Bix Beiderbecke was with the band, Chester Hazlett was lead alto, Charlie Margulis. And anyway I just marveled at it. But what I want to say is back then, let’s say 1928, who ever thought that in 1936 I would become the lead alto man in New York with Paul Whiteman? This was something. It was unbelievable.

Indeed, the Whiteman concerts were in the St. Charles Theatre, but it was late 1928.

Albert

This message has been edited by ahaim on Oct 6, 2008 1:08 PM

Posted on Oct 6, 2008, 1:07 PM

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The Evans Collection of Beiderbecke Items

Phil Evans collected tapes and letters about Bix during 50 years. When he died, the collection was given to Scott Black.

The latest issue (Oct 2008) of Down Beat has an article by John McDonough on this subject. Here is a scan.

John McDonough is a jazz critic who has written numerous articles in Down Beat and other magazines. John evaluated Liz's collection of Bix material.

John gave one of the lectures at the last Bix Festival in Davenport. My wife and I had dinner with him and Julia and Dick Hyman one night in Davenport. Very interesting fellow and great conversationalist. Of course, so are Julia and Dick.

Albert

Posted on Oct 4, 2008, 5:00 PM

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Re: The Evans Collection of Beiderbecke Items

This is the same problem I have in doing my Edythe Wright research (here is where Hal inserts "third-rate singer")- everyone is rapidly dying off.

Posted on Oct 5, 2008, 11:55 AM

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Of interest: DVD of Ondřej Havelka and Original Prague Syncopated Orchestra

by Enrico Borsetti

Available on DVD a collection of videos by Ondřej Havelka with the great Original Prague Syncopated Orchestra.

DVD title:
"Ondřej Havelka - Téměř kompletní almanach filmových písní"
EMI Czech. rep. s.r.o
533001-2

see an extract on on youtube
http://www.youtube.com/watch?v=v88gAjMUP5U&feature=related

DVD tracklist
1. Beat Me, Daddy, Eight-To-The-Bar
2. Sám s děvčetem v dešti
3. Charlie, My Boy
4. Až tě tvá dívenka zklame
5. Blue Moon
6. Jingle Bells
7. Vzpomínka na Svatojánské proudy
8. To záleží na vás
9. Bláznivý den
10. Mě to tady nebaví
11. Děkuji, bylo to krásné...
12. High Water Blues
13. You Tell Her I Stutter
14. Cheek To Cheek
15. My Cuttie´s Due At Two-To-Two-Today
16. Vendelíne, co děláš?
17. Sunshine
18. That´s Be All Right
19. Lookin´ Good, But Feelin´Bad
20. Kalendář
21. She´s Funny That Way
22. Sing, Sing, Sing

Posted on Oct 4, 2008, 3:32 PM

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Profits from sales of the CD set "The Influence of Bix Beiderbecke."

When the CD set "The Influence of Bix Beiderbecke" was first conceived by Nick Dellow, his intention was to contribute net profits from sales to help Richard Sudhalter with his medical expenses. This has been accomplished. A report on sales and profits will be published here.

With the passing of Richard, a decision had to be made regarding what to do with the profits. We consulted with the Sudhalter family and with his companion. It turns out that "The Jazz Foundation of America" provided considerable support for Richard during his prolonged illness. Therefore, the decision was made to send the profits from sales to this charitable foundation.

The text for the press release and the form for ordering the cd set has been modified and now reads as follows.

"Profits raised from the sale of this CD set were initially sent to a fund established to help meet the medical expenses for author and jazz musician Richard Sudhalter, who did much to bring Bix’s life and music to wider audiences. Sadly, Richard passed away on September 19th, 2008 at the New York Presbyterian Hospital, after a long period of illness. It has therefore been decided, after consultation with the Sudhalter family, that all further donations will be sent to the Jazz Foundation of America (www.jazzfoundation.org), an organization that helped Richard during his illness. The Jazz Foundation currently cares for approximately 1000 musicians, with 1600 emergency cases each year."

To read more about the Jazz Foundation of America and their wonderful programs visit

http://www.jazzfoundation.org/

Some of the individuals associated with the foundation in various capacities (these are the names I recognized) are actor Danny Glover, jazz critic and author Nat Enthoff, musicians Wynton Marsalis and Marian McPartland, jazz impresario George Wein, and jazz scholar and broadcaster Phil Schaap.

Albert

Posted on Oct 4, 2008, 5:39 AM

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Your Favorite Tram Solo?

Forumites have mentioned their favorite Bix solo. I don't remember a thread about your favorite Tram solo.

It is hard to choose one from so many terrific Tram solos. But yesterday, as I was talking my daily walk and listening to the tunes in my mp3 player, I was struck by the terrific Tram solo in Paul Whiteman's recording of "The Man I Love." Perhaps, in part, because of the fact that it is a beautiful George Gershwin tune with lovely lyrics by Ira, an imaginative Grofe arrangement, and a show piece for the musicianship of Whiteman men? There are two takes, and Tram changes his solo from take to take. Listen

http://www.redhotjazz.com/songs/whiteman/themanilove2.ram

http://www.redhotjazz.com/songs/whiteman/maniluv4.ram

Which is your favorite Tram solo?

Albert

Posted on Oct 3, 2008, 4:54 AM

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I Have Two

by Frank van Nus

Can't choose between "Don't Leave Me, Daddy" (1929) and "Georgia On My Mind" (1931). They both show Tram's genius for melodic invention, coupled with a breathtaking command over his horn.

These two records always remind me of Lester Young's comment, "When Tram made that recording of "Singin' The Blues", it just wounded my heart".

In the case of "Don't Leave Me Daddy", I think this solo is easily on a par with his "Singin' The Blues" solo for its high level of melodic virtuosity.
http://www.redhotjazz.com/songs/tram/dontleavemedaddy.ram

In the case of "Georgia...", the first two bars of this solo must be among the most beautiful openings in ballad improvisation ever recorded. This opening statement is so strong, it's not just an improvisation, but an improvement on the original melody. It's a real shame this one couldn't be included in the Mosaic Bix/Tram/Tea set.
http://www.redhotjazz.com/songs/tram/georgia.ram

Frank

Posted on Oct 3, 2008, 4:19 PM

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I never listened carefully to ....

.... "Don't Leave Me Daddy" because I am turned off by Bee Palmer's singing. But now that you called attention to Tram's solo, I listened carefully and, indeed, it is a great solo. Thanks!

"Georgia On My Mind" is one of my favorite -if not my favorite- tunes composed by Hoagy Carmichael. Let me digress to Hoagy's 1929 version with a Bix solo which is, at least, as poignant as the one in "I'll Be A Friend With Pleasure."

Albert

Posted on Oct 3, 2008, 4:50 PM

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Fav Tram solo

I agree about "Man I Love". My liner notes for "Tram vol.1" indicate Bee Palmer to be the vocalist? If so, she's much more restrained than on "Don't Leave Me Daddy" and "Singin' the Blues". The music is pitched so low she barely makes the lowest notes. I find Ferde Grofe's arrangement a little frantic. I've always preferred Bill Challis' arrangements.
My candidate, from many Tram solos I love, is "Let's Do It". The whole track is great beginning to end and Tram's solo work to quote the notes "has just the right insouciance" for this great Cole Porter classic.
Jim

http://www.redhotjazz.com/songs/whiteman/letsdoit.ram

This message has been edited by ahaim on Oct 4, 2008 11:22 AM

Posted on Oct 4, 2008, 11:08 AM

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The vocalist in ....

.... Whiteman's recording of "The Man I Love" is Vaughn DeLeath.

I agree about Tram's excellent solo in Cole Porter tune "Let's Do It."

The Dorsey Brothers with the great Bing Crosby as vocalist have a terrific version,

http://www.jazz-on-line.com/a/ramc/OKe401561-B.ram

There are three trumpet players, Leo McConville, Fuzzy Farrar and Phil Napoleon, plus Tommy Dorsey. Are there two or three trumpets leading after Bing Crosby's solo? Terrific leads with the trumpeteers playing off the beat for a great Bixian effect. Are they playing in unison? Brad and others, help! And of course, the great Eddie Lang adding a musical dimension behind Bing's superb vocal.

I like the Cole Porter tune "Let's Do It" so much that I can listen to all available versions without getting indigestion. Listen to a few interesting versions

Irving AAronson http://www.jazz-on-line.com/a/rama/VIC47749-3.ram

Bill Wirges http://www.jazz-on-line.com/a/rama/BRUE28398.ram

Bunny Berigan http://www.jazz-on-line.com/a/ramc/BRU20697-2.ram

Albert

Posted on Oct 4, 2008, 3:29 PM

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Alanis Morissette version

Albert, thanks for the singer name correction. Imagine the "Tram Vol.1" liner notes getting screwed up! They list as vocalist DeLeath at the start of the band personnel and Bee at the end.
Those are all great versions of "Let's Do It". I like the Berigan one very much. Bing with the Dorseys is wonderful with all that terrific brass.
There's also a nice version by Alanis Morissette in the movie, "De-lovely" starring Kevin Kline and Ashley Judd. I highly recommend this movie. There's a dearth lately of musicals, so this refreshingly nice bio of Cole Porter is a welcome addition to the genre and has about 30 Porter songs. Albeit, some are only a few bars long. I think you can see most of the "De-Lovely" musical numbers on uTube. Here's Alanis, as a start:
Jim

http://www.youtube.com/watch?v=5z4zFI-eQdo&feature=related

Posted on Oct 5, 2008, 11:09 AM

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Re: The vocalist in ....

Benny Goodman also had an interesting version of "Let's Do It" with the vocal by Peggy Lee. 1941 or 1942

Posted on Oct 5, 2008, 11:54 AM

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Re: Your Favorite Tram Solo?

Too many to pick one favorite, but I do love his solo on Whiteman's "Do I Hear You Saying (I Love You)."

Dave

Posted on Oct 4, 2008, 8:56 PM

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"'Way Down Yonder in New Orleans"

Tram acquits himself marvellously on OKeh 40843, playing with probity and depth, harmonic, melodic and dynamic surprises, beautiful tone. I like his solo equally as much as Bix's contribution. If only Tram could have sustained this level of invention!

-Brad Kay

Posted on Oct 7, 2008, 2:15 AM

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WBIX # 155 Has Been Uploaded

Radio Program # 155. (loaded on 10/31/08) Sam Lanin takes on all challengers. Juxtaposition of recordings of a tune by Sam Lanin and recordings of the same tune by other bands. 1 hour 4 minutes.

Real Audio

Streaming audio file. http://www.bixography.com/wbix155.ram
Download file. 15.7 MB. http://www.bixography.com/wbix155.rm

mp3 files

Streaming mp3 file http://bixography.com/wbixmp3/wbix155.m3u
Download file 61.4 MB Copy and paste bixography.com/wbixmp3/wbix155.mp3 61.4 MB

Too Busy. Coon-Sanders Nighthawks. 1928.
Too Busy. A Sam Lanin Band. 1928.
Jimtown Blues. Cotton Pickers. 1924.
Jimtown Blues. A Sam Lanin Band. 1925.
What A Day! Frank Trumbauer. 1929.
What A Day! A Sam Lanin Band. 1929.
Flag that Train. Varsity Eight. 1925.
Flag that Train. A Sam Lanin Band. 1925.
Stomp Off, Let's Go. Fred Hamm. 1925.
Stomp Off, Let's Go. A Sam Lanin Band. 1925.
How Long Has This Been Going On? Fred Elizalde. 1927.
How Long Has This Been Going On? A Sam Lanin Band. 1927.

Enjoy.

Albert

Posted on Oct 2, 2008, 1:52 PM

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An Interview of Richard Sudhalter and Some Recordings of the New Paul Whiteman Orchestra

Malcolm, a good friend of the forum and frequent, thoughtful contributor, generoulsy sent an interview of Jazz Scholar/Musician Richard Sudhalter in London, about 1973-74. Thanks a lot, Malcolm. Listening to the interview is a good way of celebrating Richard's life.

Malcolm writes,

I was very saddened to learn of the death of Richard Sudhalter. Although I was already a confirmed Bixophile before "Man and Legend" was published, it was that book that really lit up my life and reconfirmed what I personally wanted to do with music.
At the time of publication, the New Paul Whiteman Orch. was formed and produced two LPs as you know. There was also a long radio broadcast of the band on the BBC, of which I have still got a poor quality tape recording. I also have a half hour radio interview with Dick about Bix and the New Paul Whiteman Orch (better quality). So, knowing that he was a friend of yours I have transcribed these onto CDs and will be pleased to send them to you.

http://bixography.com/SudhalterInterviewEngland.ram

Albert

PS Interviews of other musicians and radio programs about Bix are available in

http://ms.cc.sunysb.edu/%7Ealhaim/audiotapes.htm

Posted on Oct 2, 2008, 8:16 AM

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Re: An Interview of Richard Sudhalter and Some Recordings of the New Paul Whiteman Orchestra

by Klaus H

Much appreciated, thank you.

Posted on Oct 2, 2008, 9:57 AM

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The Last Videos of Spiegle Wilcox

Lino Patruno kindly sent these links and writes,

"I send you the last two video that Spiegle recorded with my band in 1999 in Ascona some months before he died.
Spiegle played two Goldkette's tunes recorded in 1926 (Idolizing) and 1927 (My Pretty Girl) and, without rehersal, 72/73 years after, he remembered the arrangements.

Idolizing
http://www.youtube.com/watch?v=R-Tp_QWghNk

My Pretty Girl:
http://www.youtube.com/watch?v=3IU7AsZIRRY

Enjoy,

Albert

Posted on Oct 2, 2008, 4:16 AM

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off-topic shameless plug-- 1920s dance in NJ

by Sue Fischer

Hi everyone,

For those of you who live anywhere near Clifton, NJ --

There's going to be a 1920s dance on Saturday Nov. 8th, and the band will no doubt be playing some tunes that Bix recorded. Come see the kind of event the Wolverines might have played for back in 1924 -- lots of the dancers will be in period costume too. Some of the band should be familar to you from the Forum:

Vince Giordano, bass
Dan Levinson, clarinet
Ken Salvo, banjo
Andy Schumm, cornet
Dave Bock, trombone
and me, drums

for more info, visit www.acornhall.org and go to the "Armistice Ball" page

I'd love to see some of you (besides the band members)there. And if you want to learn the steps, there will be a workshop the afternoon of the ball.

Sue

Posted on Oct 1, 2008, 6:33 PM

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Peter Ecklund Bix cd In Stock at amazon

by carl

The Further Adventures of Bix Beiderbecke is available at Amazon.com, maybe has been for quite awhile. I've had it bookmarked for months on Amazon.ca but it's always shown up as 'temporary out of stock'. Glad I finally checked .com. I'll only play Virginia and Singin' for a while, sensory overload, but it's interesting to hear what a loose feeling Peter gets out of Bix' more formal approach, and so nice to have some transcriptions.

Posted on Oct 1, 2008, 2:43 PM

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If anyone is interested in reading ....

.... my review of "The Further Adventures of Bix Beiderbecke" published in the IAJRC Journal a few months ago, visit

http://bixbeiderbecke.com/reviewpeterecklundmmodraft2.doc

Albert

Posted on Oct 1, 2008, 4:25 PM

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Thanks for review!

To: Albert Haim

Thanks for your thoughtful and comprehensive review of the Bix MMO book/CD.

You're right, a set of transcriptions of every note played by everybody on the Bix recordings might be more useful.
But not as much fun to create, and full of additional copyright problems.

There's a new one--the "Back to Basie Back to Basics series from MMO.

--Peter Ecklund

Posted on Jun 16, 2009, 10:58 PM

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Speaking of amazon ....

.... the following book is available.

The Beiderbecke Name in History (Paperback)
by Ancestry.com (Author)

Product Details

* Paperback: 82 pages
* Publisher: Ancestry.com (July 1, 2007)
* Language: English
* ASIN: B000WRR89W

It sells for $29.95. About 36 cents a page. A rip-off? If Sudhalter's fabulous tome "Lost Chords" (nearly 900 pages) sold at 36 cents a page, it would cost $324!!!

Has anyone seen this book?

Albert

Posted on Oct 1, 2008, 4:54 PM

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Not only Beiderbecke

Interesting. And still more interesting if you on amazon.com change the name Beiderbecke to another name on their seek engine. Then you will find the same tasteful 1 page cover with names such as Teagarden, Murray, Dorsey, Goodman, Rank, Nichols and also typical Swedish names like Johansson and Svensson. Even Hitler and Stalin function and best of all - Haim. Curiosly the name Eekhoff doesn´t function.

Don´t buy it - it´s rubbish from robbin people, who will take a chance. I bought such a "Palm name" book several years ago for plenty of money. The first cover was excellent, the rest nothing.

Posted on Oct 2, 2008, 12:26 PM

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1. Bix and Tram Recordings with Vocals . 2. Bix’s solos in Bix and Tram Recordings.

The first recording session of the Frank Trumbauer Orchestra (with Bix) took place on Feb 4, 1927 at the OKeh studios in New York City. Three recordings were made, all instrumental, each a classic: “Trumbology,” “Clarinet Marmalade” and “Singin’ the Blues." The last recording session of Bix and Tram took place on Apr 30, 1929. Between the two dates, a total of 40 recordings were waxed. (Brad, check my arithmetic.

)

Here are all the recordings of Bix with the Frank Trumbauer Orchestra

Feb 4, 1927
1. Trumbology NO VOCAL
2. Clarinet Marmalade NO VOCAL
3. Singin’ the Blues NO VOCAL

May 9, 1927
4. Ostrich Walk NO VOCAL
5. Riverboat Shuffle NO VOCAL

May 13, 1927
6. I’m Coming Virginia NO VOCAL
7. Way Down Yonder in New Orleans NO VOCAL

Aug 25, 1927
8. Three Blind Mice NO VOCAL
9. Blue River VOCAL Seger Ellis
10. There’s A Cradle In Caroline VOCAL Seger Ellis

Sep 28, 1927
11. Humpty Dumpty NO VOCAL
12. Krazy Cat NO VOCAL
13. Baltimore NO VOCAL

Sep 30, 1927 (as Benny Meroff and His Orchestra)
14. Just An Hour of Love VOCAL Irving Kaufman
15. I’m Wonderin’ Who VOCAL Irving Kaufman

Oct 25, 1927
16. Cryin’ All Day NO VOCAL
17. A Good Man Is Hard to Find NO VOCAL

Oct 26, 1927 (as Russell Gray and His Orchestra)
18. Sugar VOCAL Ed Macy and John Ryan

Jan 9, 1928
19. There’ll Come A Time NO VOCAL
20. Jubilee NO VOCAL

Jan 20, 1928
21. Mississippi Mud VOCAL Bing Crosby and Frank Trumbauer

April 3, 1928
22. Our Bungalow of Dreams VOCAL Irving Kaufman as Noel Taylor
23. Lila VOCAL Irving Kaufman as Noel Taylor

April 10, 1928
24. Borneo NO VOCAL
25. My Pet VOCAL Scrappy Lambert

Jul 5, 1928
26. Bless You! Sister VOCAL Frank Trumbauer, Dee Orr, Harry Barris, Marlin Hurt
27. Dusky Stevedore VOCAL Frank Trumbauer, Dee Orr, Harry Barris, Marlin Hurt

Sep 20, 1928
28. Take Your Tomorrow VOCAL Frank Trumbauer and Scrappy Lambert
29. Love Affairs VOCAL Scrappy Lambert

Oct 5, 1928
30. The Love Nest VOCAL Charles Gaylord
31. The Japanese Sandman VOCAL Frank Trumbauer
32. High On A Hilltop VOCAL Charles Gaylord
33. Sentimental Baby VOCAL Charles Gaylord

Mar 8, 1929
34. Futuristic Rhythm VOCAL Frank Trumbauer
35. Raisin’ the Roof NO VOCAL

Apr 17, 1929
36. Louise VOCAL Smith Ballew
37. Wait Till You See “Ma Cherie” VOCAL Smith Ballew
38. Baby, Won’t You Please Come Home? VOCAL Smith Ballew

Apr 30, 1929
39. No One Can Take Your Place VOCAL Smith Ballew
40. I Like That NO VOCAL

1. Bix and Tram Recordings with Vocals.

Of the 40 recordings waxed by Bix with the Frank Trumbauer Orchestra, a little over half, 22 or 55%, had vocals. This is useful information.

However, the interesting figure is not the total fraction of recordings with vocals, but their distribution in time. Of the first 10 recordings (Feb 4, 1927 to Aug 25, 1927), only 2 (10%) had vocals. Of the next 10 (Sep 8, 1927 to Jan 9, 1928), 3 (30 %) had vocals. Of the next 10 recordings (21-30, Jan 20, 1928 to Oct 5, 1928)), 9 (90 %) had vocals. Of the last 10 recordings (Oct 5, 1928 to Apr 30, 1929), 8 (80%) had vocals. This is depicted graphically in the following chart. The ordinate (y axis) gives the number of recordings with vocals. The abscissa (x axis) gives the number of Bix and Tram recordings divided, arbitrarily but conveniently, into groups of 10 in chronological order.

It is clear what is going on. For the first half of their recordings, Bix and Tram were waxing jazz or jazz-oriented tunes, and only 5 of 20 recordings (25%) had vocals. In the next half, Bix and Tram were recording mostly popular songs and 85% of the recordings had vocals.

An alternative analysis measures the percentage of recording with vocals before and after Whiteman switched from Victor to Columbia. Whiteman moved from Victor to Columbia. on April 25, 1928. Before that date, Bix and Tram, while being members of the Whiteman Orchestra, waxed 7 recordings, 4 with vocals, or 57%. After the Whiteman move, 13 of 15 recordings or 86.7% had vocals. Again, the same trend is observed: as time goes by, a higher and higher percentage of recordings make use of vocalists.

2. Bix’s solos in Bix and Tram Recordings.

Bix has solos and/or leads in most of the recordings. Two of the notable exceptions are
“There’s A Cradle In Caroline” and “Jubilee.”

“Jubilee” is a modernistic arrangement with practically no solos.

http://redhotjazz.com/songs/tram/Jubilee.ram

But “There’s A Cradle in Caroline” has solos/breaks by Murray, Tram, and Rollini. Bix has a couple of short breaks. Listen.

http://redhotjazz.com/songs/tram/TheresACradle1.ram

It is highly disappointing that Bix had no solo here. I wanted to compare the Bix solo in the Sep 29, 1927 recording of the same tune by the Broadway Bellhops. Listen

http://redhotjazz.com/songs/bellhops/cradle.ram

Albert

This message has been edited by ahaim on Oct 1, 2008 5:21 PM

Posted on Oct 1, 2008, 1:21 PM

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Back from vacation. Some news.

1. Sudhalter.

Obituary. Enrico and Nick sent a link to Richard's obituary in the Independent newspaper.

http://www.independent.co.uk/news/obituaries/dick-sudhalter-cornettist-whose-career-was-founded-on-his-beiderbecke-connection-944135.html

Tribute Concert. The tentative date is Nov 2, 2008. Details will be supplied as they become available.

Obit in Wahsington Post. Enrico is apalled by the comments in this obituary. So was I when I read it before I went on vacation. Enrico wants me to send a response and I will in the next day or two, as soon as I get several urgent things done at home and in my lab at the university.

I have been asked by the editor of the Mississippi Rag to write an obituary. I will later in the week.

2. Responses to some postings.

Carl wrote, "I really hope Albert will present an isolated solo of the month especially since this repeat feature exists. What a glorious opportunity to wallow and absorb." I will try later this week. The first will be a Joe Venuti solo. I have one in mind.

Jim's posting on Tom and Stu Pletcher. Welcome to the Bixography Forum. I point out that there is a recent CD with recordings by Stu.

Stu Pletcher:
The Story Of Stewart Pletcher 1924-1937
Audio CD (February 19, 2008)
Original Release Date: February 19, 2008
Number of Discs: 1
Label: Jazz Oracle

Description: A thorough review of trumpeter Stu Pletcher's career, with recordings by the Yale Collegians, Red Norvo, Ben Pollack, Smith Ballew, as well as two privately-recorded piano solos by Pletcher. The detailed liner notes are by Tom Pletcher, Stu's son and a jazz musician in his own right. The 40 page booklet features photographs from the Pletcher family's archives.

Jon. Thanks for pointing out the existence of two takes of the ODJB "Darktown Strutters' Ball." They are available in the Red Hot Jazz Archive.
http://redhotjazz.com/songs/ODJB/darktownstruttersball3.ram Take 3

http://redhotjazz.com/songs/ODJB/darktownstruttersball4.ram Take 4

And I recommend the version by Fred Elizalde and His "Hot" Music. (a sextet

http://redhotjazz.com/Songs/elizalde/darktownstruttersball.ram

Great trumpet and bass sax solos. The bass sax solo is by Adrian Rollini and the trumpet solo by Chelsea Quealey.

Miff Mole's Molers have a great version also. Not available in the redhotjazz archive or jazz-on-line. I'll upload it in a few days.

Albert

Posted on Sep 29, 2008, 11:19 AM

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Stewart Pletcher

Albert, thanks for the heads up on the CD. It looks wonderful.
I am concerned about Stew being "Stu", and only Tom can straighten this out.
Dick Sudhalter in "Lost Chords" has him as "Stew" as does Columbia records in their liner notes for a 1930's Jazz album.
I think this is really important and should be resolved. Maybe it could be an "either or" situation.
Welcome back to the real world! Hope your vacation was refreshing and that you are well rested?
Jim

Posted on Sep 29, 2008, 2:55 PM

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I'll ask Tom ....

.... the next time I talk to him.

Albert

Posted on Sep 30, 2008, 6:31 AM

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Tribute concert

by Rob Rothberg

Welcome back, Albert. Where is the November 2 tribute concert that you mentioned? (New York, I hope.)

Posted on Sep 30, 2008, 6:12 PM

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Thanks, Rob, for the kind welcome.

I do not have details of time and place. However, I am almost 100% certain that it will be in New York City. Richard lived in Manhattan or nearby for the last 30 plus years.

I will make the announcement as soon as I learn the coordinates.

Albert

Posted on Oct 1, 2008, 10:47 AM

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Tom Pletcher

There are so many messages, so this has probably been touched on before. As Albert points out in his review of "If Bix Played Gershwin", cornetist Tom Pletcher and the rest of the band really do a fine job on this CD. I just wanted to mention that Tom is the son of trumpeter Stew Pletcher who was a member of Red Norvo's great orchestra in the late 'thirties. Stew is heard beautifully soloing on Irving Berlin's "Remember", along with Herbie Haymer (ts) and Hank d'Amico (cl) and Norvo on harpsichord. Recorded in Chicago on March 22, 1937 (Brunswick 7896.) One critic referred to this side as "one of the most precious three minutes to come out of the Swing Era".
How proud Tom must be of his Dad, just as his father must have been of him!
Tom, your playing is superb. I can't get enough of it!
Jim Bruce (Montreal)

Posted on Sep 28, 2008, 10:12 AM

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Red Norvo and the Harpsichord

Whoops! I guess by now many of you are questioning Red Norvo's playing the "harpsichord" after reading my message of Sept 28. Must have found it easier to spell than xylophone, which is what Red of course played on this recording date.
Sorry! I spotted my mistake after Albert put it up so don't email me!

Posted on Sep 29, 2008, 11:59 AM

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Not a Harpsichord nor a ....

... xylophone. Red Norvo played a marimba.

Sorry I did not spot the reference to the harpsichord when I posted your comment.

I have the excuse that I was on vacation and gave only a cursory reading to the postings I approved.

Albert

Posted on Sep 29, 2008, 12:33 PM

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Marimbas and Xylophones

I beg to differ, Albert, as does Michael Brooks, who wrote the liner notes for Columbia Jazz Masterpieces' "1930's Jazz", which includes "Remember" (Red Norvo Orchestra); also Leonard Feather and Ira Gitler who list in their "Encyclopedia of Jazz" Norvo as "Vib., xyl". The marimba and xylophone are similar, so it gets confusing. The Encyl. Britt. says he played marimba in the '20's in vaudeville and dance bands. So, then came the xylophone and later, he switched to vibes. In 1937, it was the xylophone for sure when he recorded "Remember".
To quote from Brook's liner notes: (Norvo) "is the only man to take the xylophone, hitherto a novelty instrument, and turn it into a solo force in jazz".
Your radio programs are terrific! I listen to them while I paint (pictures).

Jim

Posted on Sep 29, 2008, 2:07 PM

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Conflicting Information

Richard Sudhalter in the booklet that accompanies "Bix Restored, Vol 5" gives the following information,

"Newly arrived in New York, Red Norvo (1908-1999) used his xylophone to plumb the depths of Bix's "In A Mist." better in fact, than had the composer in a hurried, less reflective piano record."

However in the discographical section by Brian Rust and Michael Kieffer, we find,

RED NORVO
New York, Nov 21, 1933
Personnel: Red Norvo, marimba; Benny Goodman, bcl; Dick McDonough, g; Artie Bernstein, sb.
B-14361-A In a Mist (Bix Beiderbecke) Br 6906

So marimba or xylophone? I think it is a marimba. Listen to the recordings of "In A Mist" and "Remember."

http://www.jazz-on-line.com/a/ramc/BRU14361-A.ram

http://www.jazz-on-line.com/a/ramh/BRUC1853-1HX2-8.ram

I think that a xylophone sounds in a higher range than the marimba.

Albert

Thanks for your kind comments about WBIX.

Posted on Sep 29, 2008, 3:48 PM

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Norvo in 1937

I agree pretty much with your sources, Albert. "In a Mist" was played on a marimba. "Remember", 4 years later. was played on a xylophone, which sounds higher (as you point out) and to my ears, brighter.
According to Dick Sudhalter in "Lost Chords", in the section on Red Norvo, the timeline seems to have been: 1. Marimba (vaudeville) 2. Deagan Marimba-Xylophone, 5 octave range, 7' long (club dates, bands) 3. Xylophone (his orchestra) 4. Vibes (1940's orchestra.)
Norvo's first instrument as a young boy was a "$137.50 Deagan table model xylophone" (p.654).
In March 1937, when "Remember" was recorded, and Eddie Sauter was arranging for Norvo, Red "kept playing with the sound, even trying the marimba on some numbers. But its lower pitch put it right in the middle of the reed section's most frequently used register, and it tended to be lost in all but the lightly scored passages." (p.689)
Jim

Posted on Sep 30, 2008, 8:49 AM

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Re: Marimbas and Xylophones

by Klaus H

I always thought marimbas (marimbi?) were wood, and xylophones (xylophi?) were metal, which would account for the brighter tone; but apparently both can be made of wood.

Also, $137 in the '20s, when Norvo was a kid was quite an investment.

Posted on Sep 30, 2008, 9:33 AM

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Images

From Oxford Music Online

Marimba

Xylophone

Albert

Posted on Sep 30, 2008, 10:43 AM

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Red Norvo. Help!

To try to get back on track, my original message was to state that Red played xylophone on "Remember" on March 22, 1937. We seem to be veering off topic a bit. I have found some references that substantiate this and none that refute it. Has anyone any reference(s) that indicate Red played marimba on that particular record?
Jim

Posted on Sep 30, 2008, 12:28 PM

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Re: Red Norvo. Help!

by Klaus H

The Bruyninckx discography has xylophone also.

Posted on Sep 30, 2008, 10:20 PM

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Norvo in Brian Rust Discography

Brian Rust in "Jazz Records 1932-1942" lists him as "xyl" and also has Pletcher as "Stew" on the record "Remember."
I don't know why I didn't check here first!
Jim

Posted on Sep 30, 2008, 12:42 PM

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I'm In a Mist

Albert, you don't have to post this. It's a P.S. to my last one. Rust also lists in "Jazz Records 1932-1942", for "In a Mist", "Xylophone or marimba soli." (Nov 21, 1933.)
Interesting? Maybe that's why the two solo selections sound so much like the same instrument being played?
Jim

Posted on Sep 30, 2008, 12:53 PM

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Cost of Instrument

by Jim Bruce

Good point on the price Klaus. The story goes that he worked for the railroad all summer and used his pet pony to make up the cost. This was the early '20's, so that would be a lot of money. Must have been a terrific xylophone!
Jim

Posted on Sep 30, 2008, 11:52 AM

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O/T--ODJB and Darktown Strutters' Ball

This is being posted more out of curiosity than anything else.

Given all the recent discussion of the ODJB, I thought I'd replace my old Jazz Archives ODJB disc (volume 2) with the more recent Retrieval disc (Pioneer Recording Bands 1917-1920) for the band's 1917 Columbia and Aeolian titles. I expected, at least, to be able to enjoy better fidelity on the Columbia sides.

While that did indeed occur, I rather quickly became aware that the "Darktown Strutters' Ball" on the Retrieval disc varied in several subtle ways from the take on the Jazz Archives Disc. Indeed, the former disc contains take 4, and the latter take 3. I had never been aware of the fact that two takes of this title existed. Was anyone else? Not a major revelation, of course, but for such an early recording, it was of great interest to me. Thanks.

Posted on Sep 28, 2008, 7:37 AM

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2009 Bix Youth Band

I have agreed to direct the 2009 Bix Youth Band at next summer's Bix Festival in Davenport.

After the trials of last year, I have planned major initiatives to put the band where it should be, as a premier youth trad jazz performing group. We will start this November with auditions, and begin rehearsals in January. I promise a wonderful, enthusiastic, talented band that will be a joy to hear and see.

We will establish a website for the band in October, and I'll let everyone here know about when it goes up. Meanwhile, I have posted my email address here, and I invite any comments and contributions from anyone on the forum.

One problem that I will be addressing immediately is the funding of the band. The Bix Society can only do so much; we are going to create our own funding to allow for real life professional experience for the fine young people we will recruit between now and January.

I know it seems like it's all a long way off, but every day the calendar ticks over another day, and we have a lot to do.

Be ready to enjoy the result!

Posted on Sep 22, 2008, 6:39 PM

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Let's all rally and support the Bix Youth Band!!!

by Liz Beiderbecke-Hart

I strongly encourage everyone who visits this website to financially support this worthy cause. What finer tribute to Bix could there be than to support the next generation in pursuing traditional jazz? I can only imagine how enthusiastic Bix would be to know that there are young people out there able and willing to pursue music of any kind, especially trad jazz. Bix was a very humble man, but I feel that he would be especially proud to know that the Youth Band carries his name.
Kudos to Bruce Bogen for his enthusiasm, hard work and foresight in the leadership of this dedicated band. Kudos also to all the musicians who are the core of this wonderful band.
Thank you.

Posted on Sep 29, 2008, 10:28 PM

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Re: Let's all rally and support the Bix Youth Band!!!

Wow, Liz! What a wonderful thing to say! We will do our best to live up to the spirit of your comments.

As to any financial support, there will be some information about that coming out next month. We are setting up a website just for the Youth Band, and we are setting up proper accounting and procedures. That's not done yet, but within a few weeks there will be a way to help that allows for independent monitoring and oversight so that people can have confidence that their generosity will never be abused.

Posted on Sep 30, 2008, 11:13 AM

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R.I.P. - Richard Sudhalter

by Enrico Borsetti

Richard Merrill Sudhalter

December 28th, 1938
Boston, Massachusetts

September 19th, 2008
New York, New York

Sudhalter grew up in Newton, Massachusetts with his father who played the saxophone and 'clearly defined' the quality of music expected of him at a young age. At 12 he took up the cornet and by his teens was playing in Boston nightclubs.

Sudhalter obtained his degree in music and English Lit. at Oberlin College before relocating to Europe in 1960, where he pursued careers in music and broadcasting. He joined the United Press International (UPI) as a news correspondent reporting on the Soviet invasion of Czechoslovakia.

In 1974, Sudhalter performed as a sideman for cornettist Bobby Hackett with his band Commodore on Hackett's only UK tour forming the New Paul Whiteman Orchestra.

Sudhalter’s music career continued to flourish in the 80's, winning Grammy Awards for his annotations as well as producing and playing on many albums through the 90's and releasing aforementioned books in 1999 and 2001

Sudhalter's biography of Bix Beiderbecke, entitled "Bix: Man and Legend" was published in 1974 (Sudhalter played Bix Beiderbecke's cornet solos during his stint with Hackett.) A quarter-century later, his award winning book “Lost Chords: White Musicians and Their Contribution to Jazz, 1915-1945" published in 1999, followed two years later by “Stardust Melody: The Life and Music of Hoagy Carmichael” published in 2001.

Posted on Sep 19, 2008, 3:53 AM

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Re: R.I.P. - Richard Sudhalter

I am sure all of Richard's friends and admirers feel a profound sorrow at the sad news.

For the time being no funeral arrangements, as per Richard's wishes, have been made. However, a celebration of his life will be made in the near future.

Early this year, I wrote a brief biographical sketch. You can read it in

http://bixbeiderbecke.com/SudhalterBiographicalSketch.html

Albert

Posted on Sep 19, 2008, 5:25 AM

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Obituaries

No time to comment. Just a bunch of links.

http://www.artsjournal.com/aboutlastnight/2008/09/tt_richard_m_sudhalter_rip.html

http://www.artsjournal.com/rifftides/2008/09/dick_sudhalter_19382008.html

http://www.washingtonpost.com/wp-dyn/content/article/2008/09/19/AR2008091903832_pf.html

http://www.nytimes.com/2008/09/20/arts/music/20sudhalter.html

http://blogs.chicagoreader.com/news-bites/2008/09/19/dick-sudhalter/

https://securesite.chireader.com/cgi-bin/Archive/abridged2.bat?path=1999/991119/HOTTYPE&search=richard%20sudhalter

Albert

Posted on Sep 20, 2008, 5:25 AM

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Sympathy Cards can be sent to ....

Dorothy Kellogg
355 East 72nd St.
New York NY 10021

Albert

Posted on Sep 21, 2008, 6:46 AM

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Re: R.I.P. - Richard Sudhalter

Richard's untimely illness and death is terribly sad and tragic. It is fitting that he passed on the 80th anniversary of the recording of "Sweet Sue" by Bix with Paul Whiteman.

Dave Weiner

Posted on Sep 19, 2008, 6:40 AM

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Re: R.I.P. - Richard Sudhalter

by hal smith

Very sad indeed. I first got to know Richard when he was with Vince Giordano's New California Ramblers in the early 1970's. He will be missed.

Posted on Sep 19, 2008, 11:12 PM

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For George F

George,

I inadvertently erased your message about Richard Sudhalter.
Please, post again.

Apologies

Albert

Posted on Sep 23, 2008, 4:45 AM

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Sudhalter

by George Ferrick

If for no other reason, he will be remembered for his great book, Lost Chords.

Posted on Sep 24, 2008, 9:16 AM

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My Response to the Washington Post Obituary on Richard Sudhalter

Editor
The Washington Post

Dear Editor:

I was appalled by the one-sided obituary of Richard Sudhalter published by Mr. Matt Schudel in the Sep 20, 2008 issue of your newspaper.

The title, “Jazz History Left Bitter Note,” already gives a preview of the biased comments and views to follow. The jazz history referred to is Richard Sudhalter’s book “Lost Chords: White Musicians and Their Contribution to Jazz, 1915-1945.”

If Sudhalter’s magnificent tome “left bitter note,” it is because some did not bother to read the book beyond the first few pages, or, perhaps, even beyond the title. The essence of the book was not a political discourse about the relative importance of black and white contributions to jazz. Sudhalter’s book (890 + xxii pages) used at least 98% of the space to provide biographies of several white jazz giants, technical analyses of the music they created (several transcriptions are included), commentaries by the author, bibliographic references and notes. I estimate that less than 1% of the space is devoted to the racial questions raised Mr. Schudel.

Mr. Schudel quoted only from highly negative sources, Branford Marsalis, Gerald Early and unnamed sources who likened Richard Sudhalter to conservative commentator Pat Buchanan. Why were there no quotes from favorable reviews of the book?

In order to counteract the negative impression left by Mr. Schudel’s unrepresentative quotes, I wish to provide quotes from favorable reviews of “Lost Chords.”

Mr. Phillip D. Atteberry, Professor of Music at the University of Pittsburgh, wrote in the April 1999 issue of The Mississippi Rag, “It is not possible, in a single review, to touch upon all the excellences of this book. Suffice to say that the chapters on Artie Shaw, Red Norvo and Mildred Bailey, Pee Wee Russell and Jack Teagarden are as intelligent and insightful as anything I've read on the topic. Most books embellish or refine an existing way of thinking. Only a few books prompt us to think in fundamentally new ways, to see a subject through an entirely new lens. “Lost Chords” is one of those rare books.”

Mr. William Youngren wrote in the February 1999 issue of Atlantic Magazine, “In these politically correct times any explicit recognition of white achievement in certain areas of endeavor, of which jazz is one, is in danger of being taken as a backhanded attempt to denigrate black achievement. Nothing could be further from Sudhalter's intent.” “Lost Chords is a lifetime guide to its subject -- the sort of book that in a sense one never finishes.”

In his obituary for Richard Sudhalter, distinguished music critic and author Terry Teachout wrote, “Dick Sudhalter wrote three of the most important books ever published about jazz and American popular music, Bix: Man and Legend, Lost Chords: White Musicians and Their Contribution to Jazz, 1915-1945, and Stardust Melody: The Life and Music of Hoagy Carmichael.”

In his obituary of Richard Sudhalter, print and broadcast journalist Doug Ramsey wrote, “Because of its subtitle, “Lost Chords: White Musiicans and Their Contributions to Jazz, 1915-194.” was reflexively attacked by partisans who chose to see it as an effort to diminish the importance of black musicians. Had they bothered to read the book, they would have found that Sudhalter does quite the opposite while balancing the historical record of achievement in jazz and providing deep insights into the nature of the music.”

Clearly, Richard Sudhalter’s book was misinterpreted by some critics and musicians. It is unfortunate that Mr. Matt Schudel chose to quote only from those who misinterpreted Sudhalter’s aim in writing the book. In Sudhalter’s own words, “[This book] is anything but an exercise in one-upsmanship or retaliation: any attempt to look at the music without regard to such seminal figures as Armstrong, Ellington, Coleman Hawkins, Lester Young, Henry Allen, Sid Catlett, Benny Carter, and the rest would be folly. Their primacy, and the reverence in which they are held, belong to the unquestioned foundation on which the whole edifice rests.”

Albert Haim

Department of Chemistry
State University of New York
Stony Brook NY 11794-3400
Voice (631)751-5602
e-mail alhaim@notes.cc.sunysb.edu

Albert Haim is Professor Emeritus at the State University of New York at Stony Brook and founder and webmaster of the site entirely devoted to jazz musician Bix Beiderbecke

http://bixbeiderbecke.com

Posted on Sep 29, 2008, 1:49 PM

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The Review of "Lost Chords" in the New York Times and My Response

The Review in the New York Times

July 11, 1999

White Men Can Jam Jazz, the author argues, is not just the music of black America.

By JASON BERRY
LOST CHORDS
White Musicians and Their Contribution to Jazz, 1915-1945.
By Richard M. Sudhalter.
Illustrated. 890 pp. New York:
Oxford University Press.

This is a mountainous, flawed, vast reach of a book that promotes a color-blind interpretation of jazz history. ''The music may not be so much a black American experience as an American experience, with various racial and ethnic groups playing indispensable and interlocking roles,'' Richard M. Sudhalter, a trumpeter and the co-author of a biography of Bix Beiderbecke, writes in ''Lost Chords,'' a gold mine of information on white jazzmen, many of whom deserve a better spotlight. Sudhalter's profiles of Beiderbecke, Emmett Hardy, Red Nichols, Artie Shaw, Jack Teagarden and Pee Wee Russell meld elegant musical analysis with a passion for the personalities and for how some artists managed to find personal harmonies despite the chasm of racial segregation.

There is, for example, a poignant account of the final years of Pee Wee Russell, who struggled with alcoholism and in his twilight years also became an abstract painter. In 1951, Sudhalter writes, ''a Life magazine photo, widely circulated at the time,'' showed Louis Armstrong and Jack Teagarden, ''concern etched on their faces, bending over the bedside of an emaciated, grievously ill Russell. What millions of Life readers didn't see was what editors had discreetly cropped out: a lit, half-smoked cigarette in the sick man's hand.''

The image of Armstrong, who rose from a ghetto to global celebrity, joining a white trombonist to visit a white clarinetist on his sickbed seems a cameo for Sudhalter's thesis of the ''interlocking roles'' of ethnic groups. How much social intercourse among musicians was there across the racial divide? Sudhalter cites some examples, like Jelly Roll Morton recording in Chicago with the white New Orleans Rhythm Kings in the 1920's; but his assimilationist theory of jazz comes off as a strained polemic.

''Jazz, says the now-accepted canon, is black: there have been no white innovators, few white soloists of real distinction,'' he writes. He quotes Barbara Tuchman on the temptations of judging one era by the standards of a later one and Arthur Schlesinger Jr. on the dangers of the ''noble lie'' in multiculturalism. Eminent historians, both -- but to what end? For the most part, Sudhalter does not attack the standard jazz histories or show them to be skewed. Instead, he personifies the ''black creationist canon'' in its alleged architect, the cultural critic Albert Murray. Sudhalter denounces Murray's celebrated 1976 book, ''Stomping the Blues,'' for ''the thesis, much discussed and written about in the 1920's, that what has come to be called jazz music is only an outgrowth, an extension, of the blues.'' But ''Stomping the Blues'' is a much more nuanced exploration of the blues as a cultural sensibility. Among other things, Murray draws a fascinating link between Saturday night dances fueled by a blues worldview and Sunday morning church services with rolling sermons and people swaying in pews -- a river flowing between secular haunts and sacred spaces. The role of religious memory in the black folkways that led to jazz does not fit Sudhalter's thesis. At one point, he casually remarks that spirituals are ''a tradition now known to be shared almost equally by black and white'' -- a stunning statement, if taken at face value.

Compositions are indeed a common cultural property, but performing styles can range so greatly as to alter the impact if not the meaning of many lyrics. The late-19th-century tours of the Fisk Jubilee Singers exposed white audiences in the United States and Europe to songs shaped by Christian witness through the experiences of slavery. Is that a tradition ''shared almost equally by black and white''? If indeed Sudhalter has a revisionist take on the spirituals, it is worth more than a sentence.

In the section on New Orleans, he writes: ''A growing body of research has now begun to place early accounts by all parties in an accurate temporal and factual matrix. . . . Such figures as the cornetist Buddy Bolden, once imbued with almost superhuman powers, have gradually been stripped of their veneer of legend.'' New Orleans in the early 1900's was quite a melting pot; however, it never would have been the birthplace of jazz had it not been for the fertile black culture that teemed with churches, street parades and funeral celebrations, a culture that gave voice to the stirrings of freedom and created a body of cultural memory.

Jazz arose from the march of African polyrhythm into European instrumentation and melody. Sicilian musicians like Nick LaRocca and Leon Roppolo, among other whites, advanced a line of New Orleans music that drew off brass band traditions. ''Interlocking roles'' suggests a parity of stylistic inventiveness among such players and Buddy Bolden, the hard-driving, bluesy cornet player who had a galvanizing effect on black dancers and paved the way for more illustrious players like the young Armstrong.

In one of his stranger assertions, Sudhalter cites Donald Marquis as one of several scholars responsible for ''the true history of New Orleans jazz'' that ''has begun to emerge.'' Marquis's 1978 biography, ''In Search of Buddy Bolden,'' disproved some colorful stories (like the notion that Bolden published a scandal sheet) but hardly unpeeled the ''veneer of legend.'' Subtitled ''The First Man of Jazz,'' the book endorsed Bolden's musical prowess and gave substance to the legend.

Had Sudhalter written a straightforward history of white jazzmen, he might well have made a contribution to the debate about culture and national identity. But his notion that each strand in the tapestry of jazz holds comparable weight devalues the genius of African polyphony, not to mention the powerful presence of black church music as a catalytic force in the early years.

Sudhalter is right to assert a role for white musicians in jazz history. If only he had used more light and less heat to make his case.

Jason Berry's books include ''Up From the Cradle of Jazz: New Orleans Music Since World War II.'' He is a jazz scholar at the Historic New Orleans Collection and is working on a history of brass band funerals.

************************************************************

My Response (The editor did not publish it, darn!)

July 13, 1999

The New York Times
229 West 43rd Street
New York NY 10836

Attention: Editor of Book Review

Dear Editor:

In my opinion, a book review of a non-fiction work must provide general information about the overall content of the book and an objective critique of the author’s approach, accuracy, completeness, etc. After reading Mr. Jason Berry’s review (Sunday Book Review 7/11/99) of Richard Sudhalter’s scholarly tome “Lost Chords: White Musicians and Their Contribution to Jazz, 1915-1945”, I only had a vague idea of the factual content of the book. Had I not read the book, I would have thought that the essence of the book was a political discourse about the relative importance of black and white contributions to jazz. I estimate that 90% of Mr. Berry’s review analyzes socio-political questions; less than 10% refers to the substantive content of the book. In contrast, Sudhalter’s book (890 + xxii pages) uses at least 98% of the space to provide biographies of several white jazz giants, technical analyses of the music they created (several transcriptions are included), commentaries by the author, bibliographic references and notes. I estimate that less than 1% of the space is devoted to the questions raised by Mr. Berry. Most of what Mr. Berry quotes and criticizes is taken from the 8-page introduction. The reader of the review is left in the dark (or at best in very dim light) as to the real essence of Sudhalter’s contribution.
Perhaps, had Mr. Berry ventured beyond the first few pages with an open mind, he would have realized that he was dealing with a masterpiece of jazz history that presents an accurate and highly technical analysis of the seminal contributions of white musicians to the development of jazz. “Lost Chords” is not an essay on the relative influence on jazz of black and white musicians. Rather, it is an account of the outstanding creativity of white jazz artists. As stated by Phillip D. Atteberry, Professor of Music at the University of Pittsburgh, in the April 1999 issue of The Mississippi Rag: " It is not possible, in a single review, to touch upon all the excellences of this book. Suffice to say that the chapters on Artie Shaw, Red Norvo and Mildred Bailey, Pee Wee Russell and Jack Teagarden are as intelligent and insightful as anything I've read on the topic. Most books embellish or refine an existing way of thinking. Only a few books prompt us to think in fundamentally new ways, to see a subject through an entirely new lens. “Lost Chords” is one of those rare books. It takes a large investment of time, but it's worth it. In most respects, this is a book that jazz lovers will never finish but will keep returning to as their listening trails expand." Obviously, Mr. Berry is unable, or unwilling, to view the history of jazz from a fresh point of view.
For readers who want an in-depth and balanced critique of Sudhalter’s book, I recommend the review by William H. Youngren in the February issue of Atlantic Monthly (available on the web at http://www.theatlantic.com/atlantic/issues/99feb/jazz.htm).

Sincerely,

Albert Haim

Posted on Sep 29, 2008, 2:43 PM

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More Obituaries.

In the London Times

http://www.timesonline.co.uk/tol/comment/obituaries/article4811984.ece

German Bixophile Friedrich sends this bit of news in the Jazzinstitut Darmstadt Jazz News.

22. September 2008

Richard Sudhalter

Der Kornettist und Jazzforscher Richard Sudhalter starb am 19. September in New York nach langer Krankheit im Alter von 69 Jahren. Als Kind war er auf eine Bix-Beiderbecke-Platte seines Vaters gestoßen und hatte daraufhin begonnen Kornett zu spielen. 1960 zog er nach Österreich, wo er als Englischlehrer unterrichtete, und spielte von 1960-66 außerdem regelmäßig in München mit der Riverboat Seven. Von 1962 bis 1976 lebte er in München und London, arbeitete als Musiker und Journalist. Nach seiner Rückkehr nach New York spielte er mit der New York Jazz Repertory Company und dem Classic Jazz Quartet, das er mit dem Pianisten Dick Wellstood leitete. Er war Mitautor eines Buches über Bix Beiderbecke (1974) und veröffentlichte 1999 das Buch "Lost Chords", das sich mit der weißen Frühgeschichte des Jazz befasste und in der Jazzszene für einigen politischen Wirbel sorgte. 2002 veröffentlichte er sein letztes Buch, "Stardust Road" über Leben und Werk von Hoagy Carmichael. Nachrufe: Washington Post, New York Times, The Independent, Los Angeles Times.

Albert

Forum Owner

Posted on Oct 1, 2008, 6:01 AM

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Norman Payne.

"The Influence of Bix Beiderbecke CD set includes, in volume 2, several tracks by British trumpeteer Norman Payne, a great admirer of Bix.

German Bixophile Friedrich H kindly sent two Norman Payne items.

1. An article by Nick Dellow ("our" Nick). To read the article go to

http://ms.cc.sunysb.edu/%7Ealhaim/ArticlesinMagazines.htm#NormanPayne

2. An mp3 file of Spike Hughes' "Cinderella Brown" recorded in London on Jul 16, 11930 with
Norman Payne, Bill Gaskin t
Jock Fleming tb
Phil Cardew cl
Harry Hines cl, bar
Philip Buchel as
George Hurley vn
Gerry Moore p
Spike Hughes sb
Bill Harty d
To listen to this thune

copy and paste bixography.com/CinderellaBrownSpikeHughes.mp3 (for Bob K: can you hear this file?)

Another page of interest about Norman Payne is

http://www.jabw.demon.co.uk/npayne.htm

And don't forget Norman Payne's interview by Nick. Go to

http://ms.cc.sunysb.edu/%7Ealhaim/audiotapes.htm#interviewnormanpayne

Many, many fascinating titbits in Nick's article. The ones I want to highlight are

"He [Chelsea Quealey] used to work his solos out, like a lot of the musicians at the time.
He was a great admirer of Bix, and Bix had the habit of keeping a hip flask in his back pocket. So Chelsea followed suite and had a hip flask in his back pocket too."

"One of the most impressive performances from Norman with Fred during this period with Elizalde is a long solo on "How Long Has This Been Going On?", way ahead of any British trumpet playeractive at the time."

You can hear this recording in http://www.redhotjazz.com/Songs/elizalde/howlong.ram

Parenthetically, you can hear this tune played by Harry Hudson's man with Sylvester Ahola on trumpet, short solo but pure Hooley. Go to WBIX 1-50 http://bixography.com/wbix1to50.html and click on "Streaming Audio File" for program # 12. The tune comes in at exactly 5:00 min.

"[Arthur] Lally played bass sax uncannily like Rollini, and his work has often been mistaken as Rollini's."

"Adrian [Rollini] had brought over with him a whole pile of Bill Challis arrangements written for Whiteman and Trumbauer."

The Challis arrangements for Bix with Whiteman are well documented in Don Rayno's book on Whitemena. While I am on vacation, maybe an enterprising young (or old) man can prepare a list of all Challis arrangements for Bix and Tram.

Albert

Posted on Sep 18, 2008, 11:35 AM

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Vacation

I will be gone late tomorrow and will return on Sep 29. I will check the forum daily, but not often. So please be patient if your post is not approved for a few hours. Those of you who are registered users can have your post appear on the page immediately by doing the following.

Go to http://network54.com
login
Go to http://www.network54.com/Forum/27140/

Now you are ready to post (new or response): your message will be visible as soon as you click on "post."

If you forgot your login name/password, please let me know at

ahaim@bixography.com

Albert Haim
Forum Owner

Posted on Sep 18, 2008, 10:06 AM

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Another Photo of a Band in the Apeda Studio

Thanks to the generosity of Nick, here is a photo of the Georgians in the Apeda Studio.

We discusssed photos of bands in the Apeda studio quite extensively in the forum. To find old postings, search under "Apeda."

The Georgians with Frank Guarente as leader was a band within the Paul Specht band. The band with Guarente recorded between Nov 1922 and May 1924. Guarente went to Europe in May 1924 and led "The New Georgians." The recordings of the Georgians post May 1924 feature other trumpet players, Leo McConville , Red Nichols, Charlie Spivak and Sylvester Ahola. There are also recordings by bands named the Georgians on Cameo. Lincoln, and Romeo but they are by a band led by Bob Haring. The Georgians on Silvertone are Al Mayer's Collegians, and the Georgians on Pathe and Perfect are by Sam Lanin or Willard Robison. (This info from Rust Jazz Records).

Let's identify the musicians. One per person, please.

I'll start the ball rolling. The first guy on the left in the second row is Chauncey Morehouse (later with Goldkette).

Albert

Posted on Sep 17, 2008, 1:32 PM

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Georgians photo ID

by John Leifert

Well, I can add two more: the chap standing in the center in front of the window and just behind the sarrusaphone (??) is PAUL SPECHT himself, and the fellow on the bottom right with his hand on the piano is ARTHUR SCHUTT.

John L

Posted on Sep 17, 2008, 3:45 PM

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instrument ID

Hi, John, and all--

The instrument in front of Paul Specht is a bass clarinet, which means that Johnny O'Donnell is somewhere in this picture. Some of the early Georgians sides have hot bass clarinet soloes. What a neat and interesting sound!

Mike

Posted on Sep 18, 2008, 5:06 AM

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I agree, I agree!

I love the sound of the bass clarinet. If I was 10 years old and had a chance to learn a musical instrument, I would choose the bass clarinet.

According to Rust, Paul Specht's Society Serenaders consisted of

Paul Specht - vn, dir
Frank Guarente, Donald Lindlay - t
Ray Stilwell - tb
Harold Saliers - cl, bcl, as
Johnny O'Donnell - cl, as
Frank Smith - cl, ts
Al Monquin - bsx, a
Arthur Schutt - p
Ruseel Deppe - bj
Joe Tarto - bb
Chauncey Morehouse - d

A total of 12 musicians. The photo has only 9. So maybe Johnny O'Donnell is not in the picture. But, but ... Rust tells us that Saliers was the bass clarinet player?

Albert

Posted on Sep 18, 2008, 6:22 AM

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Re: Another Photo of a Band in the Apeda Studio

by Klaus H

Back row, second from right is Russell Deppe, banjo, I believe.

Posted on Sep 17, 2008, 5:19 PM

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It just dawned on me that the band in the photo in ....

.... the home page of the American Dance Bands Yahoo group

http://launch.groups.yahoo.com/group/American-Dance-Bands/

is that of Paul Specht.

There was quite a bit of discussion about this photo in the first few postings of the group. The photo came from Rust's "The Dance Bands." Rust gives 1926 as the date and the following personnel, Charlie Spivak, Sylvester Ahola -trumpet, Al Philburn - trombone, Ernie Warren, Foster Morehouse - Clarinet, soprano & alto sax, Jack Cressy - Clarinet & alto sax, Phil Wall - piano, Lou Calabrese - banjo, Billy Wolfe - brass bass, Johnny Morris - drums.

However, as the discussion proceeded, it became clear that Rust's assignment of musicians was wrong. Joe Moore wrote on Aug 27, 2006,

"I have a very similar photo to this in a Buescher "house magazine" dated about April 1923. At this time Specht was playing at the Hotel Astor, which had the distinctive stone (?) railings around the bandstand. The personnel of that band was given in the magazine as:

Johnny O'Donnell -Reeds

Russell Morgan -Trombone

Harold Saliers -Reeds

Donald Lindley -Trumpet

Francis Smith -Reeds

Frank Guarente -Trumpet

Chauncey Morehouse -Drums

Arthur Schutt- Piano

Russell Deppe- Banjo

Joe Tarto- Buescherphone (sic!)

Paul L. Specht- Director/Composer/Arranger (also sic....)

The accompanying article also states "...his own personally conducted orchestra is booked for a London season opening in May 1923." Donald Lindley didn't come on the London trip, which was to play at the opening of Lyons Corner House at Coventry St, London."

I was unable to decipher the name of the studio in the lower right hand corner of the photo in the yahoo site. I looked up in my copy of "Dance Bands" and report that it reads "National, NY."

From http://www.saxgourmet.com/buescher.htm

The very first saxophone manufactured in the United States was made by Gus Buescher (it's properly pronounced "Bisher") in 1888 when he was employed by the C. G. Conn Company. In 1895, Gus started his own company, and before long he was making an excellent and highly regarded line of saxophones. He continued to manage the affairs of the company until his retirement in 1929.

What is a "Buescherphone"? A sousaphone manufactured by Buescher?

Joe Tarto played all kinds of bass instruments. Here is one of the most unusual ones, an 8-foot tuba!.

Here is a photo of the Paul Specht band in the Columbia recording studio in 1922.

Here is a better copy from http://www.mainspringpress.com

Finally, I found in http://www.nfo.net/usa/s3.html the same photo kindly sent by Nick. It is a photo of Paul Specht and His Society Serenaders.

Albert

Posted on Sep 18, 2008, 5:59 AM

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Date

by Veniero Molari

The picture in the Columbia Studio is 1929,because the banjo is a Suoer Patamount,introduced only in that year.Veniero Molari

Posted on Sep 18, 2008, 2:55 PM

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Cannot be 1929.

Morehouse and Schutt are in the photo. Morehouse was gone by 1924 and Schutt by 1925. I think 1922 is right.

Albert

Posted on Sep 18, 2008, 4:41 PM

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Super Paramount Banjo

by Veniero Molari

Sorry,but the banjo with its characteristic "multilayer cake" was produced only starting in 1929,see [url]http://www.whitetreeaz.com/vintage/banjomfg.htm[/url] See also the page of the Paramount catalog.
Banjos started to have a resonator in 1921 (Paramount),followed by Vega and Bacon after two or three years.
What about an occasional meeting in 1929 or later? (in the site it is written "date unknown"
Good holiday,Veniero

[IMG]

[/IMG]
P.S.This is my first essay to send an image with my messages

Posted on Sep 19, 2008, 4:53 AM

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Re: Super Paramount Banjo

by Nick Dellow

The Specht photo may be later than 1922, but it can't be later than 1924, as Guarente has left to tour Europe by mid-1924 and never returned to play in the band - period! (and Morehouse also left by the end of 1924, as Albert says). As for the Paramount banjo, there were several earlier models than the "Super" with the same "multilayer cake", such as the Type C:-

This message has been edited by ahaim on Sep 19, 2008 7:03 AM

Posted on Sep 19, 2008, 6:47 AM

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Paramount type "C"

by Veniero Molari

Sorry,but Paramount style C has a simple resonator.The only banjo with the double resonator is the Super Paramount.Please check with Banjo Hall of fame or any good banjo dealer.I repeat that in 1924 they were no banjos like that,check other 1924 pictures.Be kind,let me win for once... Veniero

Posted on Sep 20, 2008, 1:48 PM

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Weymann Style 1500 banjo

by Nick Dellow

I sent the photo of the Paul Specht Band to Johnny Baier of the American Banjo Museum and he kindly sent the following response:-

"The banjo is a Weymann Style 1500. It's an unusual design for Weymann, with a deep wooden shell (which gives a look similar to the Super Paramount banjos). Anyway, it is consistent with the timeframe you mentioned."

So, therefore, it fits the 1922-1924 timeframe for the photo.

Posted on Sep 23, 2008, 10:05 AM

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Date

by Veniero Molari

Apologies and shame on me.The Weymann banjo is"late 1924" as per following URL http://www.whitetreeaz.com/vintage/banjomfg.htm#WEYMANN
Thanks for your patience,all the best,Veniero

Posted on Sep 24, 2008, 11:32 AM

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It's Definitely Pre-1925...

... Note the acoustic recording horn at the back of the musicians! -Brad K

Posted on Sep 24, 2008, 6:47 PM

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Apeda Studios

by Klaus H

Although I'm sure it has been dealt with and is in the archives somewhere, here is a nice website with a background of Apeda Studios;

http://broadway.cas.sc.edu/index.php?action=showPhotographer&id=57

Posted on Sep 25, 2008, 9:06 AM

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Lou Calabrese family member looking for info

Hello,
My wife is Lou Calabrese's grand daughter. Lou's daughter, Gloria is still alive and lives near Denver. I have learned a lot about Lou from them, but still want more.
Many of the statements they make are seemingly based of hazy recollection and second hand. For instance, my wife has a wrist watch that was supposedly given to Lou by Paul Whiteman while he was playing fiddle for him. It seems so small, but it's hard to resist the ring of truth to the story.
What I am looking for is dates and places for his career. I have been able to work out most of his later life. I also know he was in the Capitolians from 25-28 and he is seen in the movie shorts playing banjo, guitar and horn.
They have a news clip that says he went to Europe with Specht that I have yet to see. There is reference on the web that he played for Burt Lown, but I have not been able to find any info on that either.
Did he work with Biederbeck?
Thanks for what ever you folks can tell me.
Mark L. Bardenwerper, Sr.

Posted on Oct 23, 2008, 3:50 PM

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Move

I moved your posting to the first page. Few people look at old messages.

Albert

Posted on Oct 24, 2008, 12:02 PM

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The News About Richard Sudhalter Is Not Encouraging.

Richard was admitted to NY Presbyterian Hospital after two horrible days at the nursing home. He is now being treated in the hospital for very severe pneumonia. The physicians taking care of Richard in the hospital are not very optimistic.

Albert

Posted on Sep 16, 2008, 2:17 PM

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Benny Goodman Honored Bix Beiderbecke in his radio program of Sep 6, 1938.

From the Wisconsin State Journal of Sep 6, 1938.

WBBBM - Benny Goodman honors memory of Bix Beiderbecke playing his "In A Mist." "

From the Mason City Globe-Gazette, Tuesday Sep 6, 1938.

Goodman Honors Bix Beiderbecke.
Benny Goodman and His Swingsters will play a memorial to the late Bix Beiderbeke, one of music's greatest "hot" trumpeters and pianists during their Caravan broadcast over KGLO Tuesday at 7:30 pm.
Although it is not generally known, Goodman played in the same bands with Beiderbecke during their early days in Chicago. Other features of the broadcast will be "Chicago" and "Margie" by the band; the quartet's own arrangement of "Shine" and Martha Tilton's swing singing of "You Go to My Head."

WBBM was the Chicago radio station that was part of the Columbia Broadcasting System network. It is now an all-news station like many CBS stations in big cities around the US.

KGLO was a radio station in Mason City, Iowa, that was part of the Columbia Broadcasting System network. It is now a farm, news, weather and sports station.

Here is BG in the 1930s, from jazzinamerica.org

Albert

Posted on Sep 16, 2008, 6:01 AM

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Addendum

The complete Camel Caravan shows of Sep 6 and 13, 1938 are available in

http://www.mtraks.com/artist/benny_goodman/release/42307-complete_camel_caravan_shows_september_1938

You can hear fragments of each track free, buy one track (mp3 format) for $0.99 or the whole works for $9.99.

Albert

Posted on Sep 16, 2008, 6:39 AM

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Did you recognize the voice of the announcer?

http://wc06.allmusic.com/cg/amg.dll?p=amg&sql=50:fjfuxblrldke~T

Could it be Bob Hope? Agree? Disagree?

Albert

Posted on Sep 16, 2008, 9:29 AM

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Re: Did you recognize the voice of the announcer?

by Klaus H

It seems to be some generic radio announcer voice but, I think, definitely not Bob Hope. The show was broadcast from Chicago, and at that time Hope was in California preparing for his upcoming Pepsodent show.

Cite: Bob Hope
By William Robert Faith, pp. 102-14

Posted on Sep 16, 2008, 10:50 AM

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Camel Caravan announcer

by John Leifert

I think the announcer is Bill Goodwin - I have some of these Camel Caravan broadcasts where he mentions his name at the end of the broadcast. I think by this time Bob Hope had bigger fish to fry!!

John L

Posted on Sep 16, 2008, 12:28 PM

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More on "that announcer"

by John Leifert

Re the September 6, 1938 Camel Caravan, it still sounds like Bill Goodwin to me, however here is a past from radiogoldindex.com (David Goldin's index of vintage radio shows in his collection) in which he mentions the Sept. 6, 1938 announcer as one DAN SEYMOUR:

72852. The Camel Caravan. September 6, 1938. CBS net. Sponsored by: Camels, Prince Albert Pipe Tobacco. The program originates from Chicago. The first tune is, "Chicago." Benny Goodman and His Orchestra, Martha Tilton (vocal), Dan Seymour (announcer), Jess Stacy (piano), Davey Tough (drums), Lionel Hampton (vibes). 29:59. Audio condition: Excellent. Complete.

John L

Posted on Sep 16, 2008, 12:35 PM

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Re: Did you recognize the voice of the announcer?

Definitely Bill Goodwin - the regular announcer of the show - later a movie actor.

Dave

Posted on Sep 17, 2008, 10:37 PM

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Re: Did you recognize the voice of the announcer?

I said Bill Goodwin, but I meant Dan Seymour - oopsie!

Dave W.

Posted on Sep 17, 2008, 10:38 PM

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Bill Goodwin

by Steve Zalusky

By the way, the announcer Bill Goodwin is the father of jazz drummer Bill Goodwin. http://en.wikipedia.org/wiki/Bill_Goodwin_(jazz_drummer)

Posted on Sep 18, 2008, 7:43 AM

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Announcer

I remember Dan Seymour as one of the top radio announcers of the 1930s and '40s and I am pretty sure it was not him. I'll go along with Bill Goodwin.

Posted on Sep 19, 2008, 7:41 PM

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Paul Bocciolone Strandberg

by Gilbert M. Erskine

My hat is off to you for your outstanding post on 09/04/08, NORK INFLUENCE IN ENGLAND, especially regarding the NORK recording of TIGER RAG, 08/30/22].

A while back I was putting on tape what I regard as the very best of early jazz. Already very familiar with Armstrong, Bix, Jelly Roll, Joe Oliver, Teschemacher, etc., I had not paid all that much attention to the NORK.

As George Brunis once told me, "those records sound funny these days." I was definitely put off by the stiff playing of Paul Mares.

Anyway, I am now absolutely floored by Roppolo's playing on MAPLE LEAF RAG, and, especially, TIGER RAG [Gennett 4968, 08/30/22]. What a superb jazz musician!

You are undoubtedly correct in pointing out that the NORK's TIGER RAG was the basis for subsequent band recordings of this tune. In any event, the Wolverine's recording of the tune on 06/20/24 went unissued until the Hot Record Society put it out in the 1930s, and hence had no influence on anyone in the 1920s. Bix no doubt heard the NORK side, but probably was more familiar with the ODJB version [Victor 18472, 03/25/18].

Many years ago, a writer for a weekly news magazine [I think it was TIME] was commenting on Benny Goodman recordings, and referred back to Leon Roppolo as "the King of Kings." How right he was!

Posted on Sep 14, 2008, 6:38 PM

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Re: Paul Bocciolone Strandberg

by Klaus H

Any recommendations of a representative CD?

Posted on Sep 14, 2008, 6:48 PM

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This is the best set

by Paul Bocciolone Strandberg

This is the best set: New Orleans Rhythm Kings 1922-1925 The Complete Set, Retrieval RTR79031 (double CD).

Posted on Sep 15, 2008, 4:59 AM

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Bix's solo in "Tiger Rag."

Indeed, the Wolverines recording of "Tiger Rag," waxed on June 20, 1924 was not released commercially until 1936, English Brunswick and HRS.

However, the recording had an enormous influence in 1925-27. Bix's cornet solo was copied almost note for note in recordings by the the following bands.

May 4, 1925. California Ramblers (under various pseudonyms depending on the record label: Five Birmingham Babies, Goldie’s Syncopators, etc.). Red Nichols and Frank Cush on trumpet.

May 12, 1926. University Six. Chelsea Quealey on trumpet.

May 1926. Purple Pirates Orchestra. Unknown cornetist.

December 1927. Devine’s Wisconsin Roof Orchestra. Dick Happe and Alec Alexander on trumpet.

I presented a hypothesis to explain this puzzling fact in an article published in the Mississppi Rag several years ago. The article is available on line. See

http://bixbeiderbecke.com/copyingbixfinalnoreferences.htm

I also presented this material in lectures at the Tribute to Bix in Racine and The Bix Festival in Davenport.

You can hear Bix's solo followed by the solos in two takes of "Tiger Rag" by Devine's Wisconsin Roof Orchestra in

http://bixography.com/tigerragsolos.ram (interesting aside: the second take by Devine's Wisconsin Roof Orchestra is different from the first)

You can hear the University Six version in

http://bixography.com/tigerragusix.ram

The California Ramblers version is track 6 in volume 1 in the "The Influence of Bix Beiderbecke" CD set. Th liners include a discussion.

Since you are interested in Leon Roppolo I highly recommend Sue Fischer's book in progress. Sue, is the publication date available?

Gilbert, your memory is terrific. Here is what Time wrote about Rappolo [sic, misspelled] on May 12, 1961.

New Orleans Rhythm Kings: Tin Roof Blues (Riverside). Chicago style—blary, jagged, and rough around the edges—by one of the two bands (along with King Oliver's Creole Jazz Band) that ruled the North and South Sides in the old days. Put on wax in the early '20s, these performances are a reminder that the King of the Kings was the late Clarinetist Leon Rappolo, whose solos in such numbers as Tiger Rag and the title song (also known as Jazzin' Babies) are taut as a bent bow.

Here is Roppolo's clarinet solo in the NORK "Tiger Rag."

http://bixography.com/tigerragsolonork.ram

Albert

Posted on Sep 15, 2008, 5:20 AM

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Bix, Pres, and the Count

Sudhalter on the "Influence" of Bix and Tram on Young.

Another Obituary of Richard Sudhalter

Profits from Sales of the CD set "The Bix Beiderbecke Influence."

The Richard Sudhalter Memorial Celebration

“Impressions of Art Tatum at the Grand Piano” is ….

Duning

George Dunning

George Marsh or Stan King?

Rim Shots vs. Stick Shots

Re: George Marsh or Stan King?

Re: George Marsh or Stan King?

RIP - ALFRED J. GALLODORO, musician, 95

Connections of Al Galladoro to Bix via Whiteman, Miff Mole, and Jimmy Dorsey.

Al's surname corrigenda

My speculation turned out to be fact!

The Evans Collection of Beiderbecke Items

Re: The Evans Collection of Beiderbecke Items

Of interest: DVD of Ond&#345;ej Havelka and Original Prague Syncopated Orchestra

Profits from sales of the CD set "The Influence of Bix Beiderbecke."

Your Favorite Tram Solo?

I Have Two

I never listened carefully to ....

Fav Tram solo

The vocalist in ....

Alanis Morissette version

Re: The vocalist in ....

Re: Your Favorite Tram Solo?

"'Way Down Yonder in New Orleans"

WBIX # 155 Has Been Uploaded

An Interview of Richard Sudhalter and Some Recordings of the New Paul Whiteman Orchestra

Re: An Interview of Richard Sudhalter and Some Recordings of the New Paul Whiteman Orchestra

The Last Videos of Spiegle Wilcox

off-topic shameless plug-- 1920s dance in NJ

Peter Ecklund Bix cd In Stock at amazon

If anyone is interested in reading ....

Thanks for review!

Speaking of amazon ....

Not only Beiderbecke

1. Bix and Tram Recordings with Vocals . 2. Bix’s solos in Bix and Tram Recordings.

Back from vacation. Some news.

Stewart Pletcher

I'll ask Tom ....

Tribute concert

Thanks, Rob, for the kind welcome.

Tom Pletcher

Red Norvo and the Harpsichord

Not a Harpsichord nor a ....

Marimbas and Xylophones

Conflicting Information

Norvo in 1937

Re: Marimbas and Xylophones

Images

Red Norvo. Help!

Re: Red Norvo. Help!

Norvo in Brian Rust Discography

I'm In a Mist

Cost of Instrument

O/T--ODJB and Darktown Strutters' Ball

2009 Bix Youth Band

Let's all rally and support the Bix Youth Band!!!

Re: Let's all rally and support the Bix Youth Band!!!

R.I.P. - Richard Sudhalter

Re: R.I.P. - Richard Sudhalter

Obituaries

Sympathy Cards can be sent to ....

Re: R.I.P. - Richard Sudhalter

Re: R.I.P. - Richard Sudhalter

For George F

Sudhalter

My Response to the Washington Post Obituary on Richard Sudhalter

The Review of "Lost Chords" in the New York Times and My Response

More Obituaries.

Norman Payne.

Vacation

Another Photo of a Band in the Apeda Studio

Georgians photo ID

instrument ID

I agree, I agree!

Re: Another Photo of a Band in the Apeda Studio

Of interest: DVD of Ondřej Havelka and Original Prague Syncopated Orchestra