From: noring@netcom.com (Jon Noring)
Subject: Re: CFD: Enough Interest Out There To...
Organization: Netcom Online Communications Services (408-241-9760 login: guest)
Date: Wed, 23 Dec 1992 00:53:07 GMT

In article jerry@hnrc.tufts.edu (Jerry Dallal) writes:

>> So what is the _true_ 20s-30s sound?  

>I hope that any new group, if one is deemed necessary, will permit discussion
>of classic pop as well as jazz.  That said, the _true_ 20s-30s sound might
>include but not be exclusive to
>
>        Irving Aaronsen, Henry "Red" Allen, Ambrose, Ivie Anderson, 
>        Andrews Sisters, Harold Arlen, Louis Armstrong, Gus Arnheim, 
>        Fred Astaire, Mildred Bailey, Josephine Baker, Charlie Barnet, 
>        Bix Beiderbecke, Bunny Berigan, Ben Bernie, Boswell Sisters, 
>        Al Bowlly, Fanny Brice, Brox Sisters, Chic Bullock, 
>        California Ramblers, Cab Calloway, Eddie Cantor, 
>        Hoagy Carmichael, Benny Carter, Casa Loma Orchestra, 
>        Carmen Cavallaro, Maurice Chevalier, Chocolate Dandies, 
>        Nat King Cole, Russ Columbo, Coon-Sanders Nighthawks, 
>        Billy Cotton, Noel Coward, Bing Crosby, Bob Crosby, 
>        Dolly Dawn, Vaughn DeLeath, Marlene Dietrich, Johnny Dodds, 
>        Jimmy Dorsey, Tommy Dorsey, Cliff Edwards, Duke Ellington, 
>        Ruth Etting, Alice Faye, Gracie Fields, Shep Fields, 
>        Ella Fitzgerald, Roy Fox, Jan Garber, Judy Garland, Geraldo, 
>        George Gershwin, Caroll Gibbons, Jean Goldkette, Nat Gonella, 
>        Benny Goodman, Glen Gray, Adelaide Hall, George Hall, 
>        Lionel Hampton, Annette Hanshaw, Coleman Hawkins, Joe Haymes, 
>        Chick Henderson, Fletcher Henderson, Harriet Hilliard, 
>        Billie Holiday, Judy Holiday, Leslie Hutchinson, Jack Hylton, 
>        Ink Spots, Ipana Troubadours, Al Jolson, Isham Jones, 
>        Dick Jurgens, Roger Wolfe Kahn, Helen Kane, Gene Kardos, 
>        Hal Kemp, Andy Kirk, Gene Krupa, Kay Kyser, Frances Langford, 
>        Sam Lanin, Gertrude Lawrence, Lotte Lenya, Ted Lewis, 
>        Beatrice Lillie, Sydney Lipton, Guy Lombardo, Joe Loss, 
>        Jimmie Lunceford, Jeanette MacDonald, Wingie Manone, 
>        Jessie Matthews, McKinney's Cotton Pickers, George Melachrino, 
>        Ethel Merman, Glen Miller, Mills Brothers, Irving Mills, 
>        Carmen Miranda, Helen Morgan, Russ Morgan, Jelly-Roll Morton, 
>        Bennie Moten, Ozzie Nelson, Red Nichols, Ray Noble, 
>        King Oliver, George Olsen, Original Dixieland Jazz Band, 
>        Jack Payne, Molly Picon, Ben Pollack, Cole Porter, Don Redman, 
>        Leo Reisman, Harry Reser, Rhythm Boys, Harry Richman, 
>        Paul Robeson, Ginger Rogers, Adrian Rollini, Harry Roy, 
>        Savoy Orpheans, Ben Selvin, Artie Shaw, Nat Shilkret, 
>        Bessie Smith, Jabbo Smith, Kate Smith, Whispering Jack Smith, 
>        Spirits of Rhythm, Lew Stone, Jack Teagarden, Arthur Tracy, 
>        Frank Trumbauer, Sophie Tucker, Rudy Vallee, Van and Schenck, 
>        Fats Waller, Waring's Pennsylvanians, Ethel Waters, 
>        Chick Webb, Anson Weeks, Ted Weems, Mae West, Paul Whiteman, 
>        Lee Wiley, Victor Young 

Wow!  A Who's Who of the 1925-35 World of Music!

Yes, my intent is to discuss just about all the pop music of the 20's-30's
which was very heavily influenced by jazz.  It would include Swing Bands as
well.  The discussion should also talk about modern orchestras recreating
the original sound from that period of time (this is to reply to another
poster who was led to believe this would not be so).

BTW, though I am a BG&Tea fan, I do love some of the orchestras of the period,
including the Ellington "Jungle Band" (1927-31), as well as the Isham Jones
Orchestra of the early 30's (typified by the excellent Victor recordings).  I
also like some of the "Novelty Jazz" typified by Gene Kardos, especially the
Victor recordings from 1931 to 1933.  But my "Desert Isle" record is from the
outstanding 1931 "All-Stars" recording session featuring Benny Goodman, Jack
Teagarden, Joe Venuti, Eddie Lang, etc.:  Someday Sweetheart/Farewell Blues.
These two recordings are by far the finest expression of pre-war white jazz to
be waxed on record.  In fact, I would assert that they are the finest
expression of pre-war jazz in general, both black and white (a statement
guaranteed to start a flame war).  These recordings are reissued on a recent
MCA CD issue entitled, I believe, "BG and Tea".


>Perhaps not, but there's no denying that the sound of the sweet bands of the 
>20s and 30s is quite different from that of the swing bands that followed 
>them.  Also, there's no denying that the umbrella of jazz encompasses a 
>number of styles that at first listen would seem to bear no relation to each 
>other.  The evolution may have been in small increments, but those small 
>increments add up to some giant leaps.

Excellent point.  Could not have said it better myself.  There is definitely
a wall, whether we like it or not, between post-war and pre-war jazz in terms
of style, etc.


Jon Noring


-- 

Charter Member of the INFJ Club.

Now, if you're just dying to know what INFJ stands for, be brave, e-mail me,
and I'll send you some information.  It WILL be worth the inquiry, I think.

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