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JSngry
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Everything posted by JSngry
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There it is.
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Many things are "something". -
Is that supposed to be a compliment? Like that was time well-spent?
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It was a European version. British maybe? In the US, you could have 78 and/or 45! Land of the free, baby!
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Bud Freeman had his own thing. A strong thing, not a follower but a creator. Sometimes you find people like that in this type of music, players with their own voice. Wild Bill Davison was another one. Flayva!!!
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Jackie Paris seems to me to be more of a Billy Eckstine (on his most stretchy vocals) or ballad/early Sinatra than Frankie Laine. But I don't consider myself to be an expert. I do know that I like Jackie Partis quite a bit, that I can say with certainty! One thin I it seems like though, is that most white pop/jazz vocalists were doing is, in fact, more of a Eckstine/Sinatra ballad style. In fact, Laine was the only one I can think of (off the type of my head) who was engaging in all-out/overt swing material to any meaningful degree in the early 1950s. Sinatra came along and switched all that over a few years later, but the records show that Laine was there first and quite comfortably there at that! 1951: Hey, that's just good, period. I think a big thing to consider is that Laine was very influenced by Black pop music, especially in his earliest days. Once stardom came (and Mitch Miller) came, he would record literally anything. But something like this (and there's a good (enough) amount of it) show a certain bounce that the other guys - including Sinatra - had to figure out (if they ever did).
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It took me a long time to appreciate, never mind understand, but that "white" way of landing a beat is its own kind of swing, at least when it is. It's different, sure, and it's not "black". God knows there's a difference, but not necessarily a "deficiency". THAT only occurs when outright imitation is attempted. The Hirt record that I posted, the other players are actually quite facile, expressive players. They can all play! Let me throw another name out there - trombonist Bob Havens. Featured for years on the Lawrence Welk show and for year I thought he was some cornball. But later on in the Welk show, there would be some kind of "jazz" features on the show, and Havens caught my ear then as somebody who could actually play jazz. Come to find out, he was a highly respected trad/swing player who went full time into that world after the Welk gig ended. Not at all rambunctious, but...why would it be in that time/place? What is there to say? Well-played (enough), lively (enough), and then what? There it is, it ain't never going to be any different than that.
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The clips on the Davenport site are really, REALLY lame btw. But the Jim Cullum band played with spirit often enough.
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Chedder Gooshay - I Don't Know What You're Saying, But You Might Be Right
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Stiff is relative... whatever else those guys were or were not, they could be as boisterous as they wanted to be. And boisterous is a core element of so much of this stuff. Do you know about Jim Cullem Jr.? https://en.m.wikipedia.org/wiki/Jim_Cullum_Jr. You mention Bix... there's a Bix Festival evet year in Davenport, Iowa. If you want to see who's playing that music today, look there: https://bixsociety.org/festival.php and https://bixsociety.org/index.php
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I think most of it does to one degree or another.
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@webbcity Your ears do not deceive you, there is a guitar comping.
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Blisterin' Bill Brannion - Winners All!!!
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Carla was from Oakland. She went east as a teen, hooked up with Paul in NYC, and then they came back to LA together. And then they went back.
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Yes to Kharma, please.
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https://www.discogs.com/artist/752421-Marvin-Pattillo
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Skint McGiggles - Bleep Blop Blunt!!!
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Was the OST on ESP?
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My understanding is that both Hirt & Fountain made a "splash" in trad circles when they first hit the scene. Not necessarily a warm one, but still... Not sure about Fountain, but Hirt's first records were on Verve & Audio Fidelity, and were all strictly New Orleans(style) repertoire. Both him and Fountain were natives, and whatever future directions they went, neither can be accused of being ignorant or hardly aware of their hometown traditions. You could make a half-ass case that this type of music was not part of a revival, but was instead an evolution of one current of native New Orleans jazz that never died. Both Hirt & Fountain opened and sustained their own clubs in New Orleans after their pop glories were over, and both played trad New Orleans music almost exclusively. That's one side of the coin, but the other is that it was "tourist-friendly" trad. But isn't it all in some form or fashion?
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Fountain got famous as part of the Welk orchestra. That lasted a few years. At some point he left. At some other point, Peanuts Hucko came on the band and stayed a while. I guess this is as good as they did:
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Early Fountain and early Al Hirt, ok. But not too far in, it goes off someplace else..
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Pee Wee Hunt?
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Not everybody like the business.
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Good player. He's from Montana!