early big band transcriptions

Al: Funny . . . I know exactly what she meant by that. We share strong opinions.

Yes, that was the same Anna I knew. I recall meeting them one night in D.C. while I was attending the FBI National Academy at Quantico, and was visiting a band's gig.

You and I may have been at the same festivals - I did Helena and Great Falls several years while living in Whitefish and later after returning to SoCal. I played with Montana's Good Tyme Jazz band out of the Flathead Valley. Did Sun Valley, too.

I grew up on the FH5+2 - spent every Friday evening sitting right in front of them at the Beverly Caverns in L.A. I have everything they recorded (I think . . .).

During the past two years, I had occasion to play twice with George Probert (FH5+2 sop sax), who was subbing in the band with whom I play, once he was a guest artist at a festival and once when our leader asked him to play a gig with us when we couldn't find a decent trombone - I switched to alto for the day. I owe my whole life of soprano saxophone playing to George Probert.

I also met Danny Alguire (FH5+2 trumpet) once when our MT band played a jazz club near Portland. The FH5+2 was a wonderful band. Frank Thomas's son Ted plays cornet locally with a nice TRAD group (called Gremoli).

For other readers NOT familiar with the Firehouse Five plus Two, they were a group of animators and other such film people originally from the Disney Studios. Their leader, Ward Kimball was an Academy Award winner and trombonist. Their pianist was Frank Thomas - Ward and Frank were the among the original "old men" of the Disney animation team. DAVE
 
To get back on track here (well, sorta) . . . I took some time yesterday to conver some of my LPs to CD so I could put the music into my iTunes and iPods.

One was an LP I hadn't listened to for years . . . it was the Louisiana Repertory Jazz Ensemble. The band, comprised mostly of New Orleans-based jazzers, was obviously playing from transcriptions or original manuscripts (I suppose I'm guessing somewhat, but they were VERY close to the original recordings, all of which I own on CDs and other records). It was recorded in the 1980's at Oberlin College and released on Stomp Off Records. I have another LP of this band and will load it soon.

I loved it. It wasn't stilted at all, even though they seemed to be playing from charts (just because of the accuracy of their playing). After putting it into iTunes, I listened to the LRJE and then the original recordings - amazing.

One cut was OLD FASHIONED LOVE as originally done by Clarence Williams with Sidney Bechet. The LRJE version was amazingly accurate, including Jacques Gauthe's soprano. That is the closest I'd ever heard anyone come to Bechet in tone and style, plus it was almost note-for-note. Too bad Gauthe is no longer with us.

I'm guessing it would be of interest to those who like to do transcriptions to try to find out how this was done and what happened to the paperwork. The liner notes allude to the U.S. Mint in Louisiana as well as Tulane University. DAVE
 
The latest thing I'm noticing in old charts in the use of the flatted or blue 3rd over major chords.

We've been kind of conditioned into thinking of this as a #9 on a dominant chord by latter day jazz theoreticians. It's used as an altered third in a lot of these charts - so you'll see what looks like a m6 chord over a major6 chord quite frequently. Very cool sound.
 
The second trumpet in our little big band has transcribed two Fletcher Henderson band tunes. Christopher Columbus and Yeah! Man. CC is pretty straigtforward.

Yeah! Man is similar to rhythm changes, except that it's in F.

I find it interesting that it's much easier to play at tempo rather than below tempo. If we have dancers, the slow tempo kills me and the section!!!!
 
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