Old School Band • King Of The Zulus

Swiss jazz band playing New Orleans style.
The orchestra was founded in 1958 by six friends who were fans of Jazz New Orleans. Founding members are: François Pesse, Jean-Claude Pesse, Jean-Luc Piller and Reynold Gysin nicknamed "Pops" accompanied by Jean-Pierre Guyot and Paulet Magro.
https://www.discogs.com/es/artist/1456221-Old-School-Band

///////

Banda de jazz suiza que toca al estilo de Nueva Orleans.
La orquesta fue fundada en 1958 por seis amigos aficionados al jazz de Nueva Orleans. Los miembros fundadores son: François Pesse, Jean-Claude Pesse, Jean-Luc Piller y Reynold Gysin apodado "Pops" acompañado por Jean-Pierre Guyot y Paulet Magro.
https://www.discogs.com/es/artist/1456221-Old-School-Band

Eddie Condon • Bixieland

Eddie Condon was on of the young 'White' Chicagoans who, during the 1920s, were instrumental in creating a new, hard driving type of “Chicago Dixieland Jazz”. His career started at just age 17 when he played Banjo (his original instrument) with the 'Hollis Peavey Jazz bandits', and he even played briefly with some members of the now fabled “Austin High School Gang”.

In 1927 he co-led the McKenzie-Condon Chicagoans on a record that was popular in Chicago. In 1929, after organizing some other recording sessions, Condon switched cities and instruments. He moved to New York, and began playing the guitar. In New York, he worked with Red McKenzie's Mound City Blue Blowers and with Red Nichol's and His Five Pennies. He appeared on one record (1929) with Louis Armstrong and His Savoy Ballroom 5.

In New York (ca. 1930), fellow Chicagoan Joe Marsala had a band that played at John Popkin's Hickory House on 52nd Street in New York for nearly ten years. Condon became Marsala's guitar player, and, between sets, spent a good deal of time at the bar. Between 1937 and 1944, he worked nightly at a famous New York Jazz club, Nick's, in New York 's Greenwich Village section. It may be said that Condon's “big break” came in 1938 when he led a group on some recording sessions for Milt Gabler's Commodore Label. These recording made Eddie a New York icon.

From 1944 to 1945, Condon was involved in a series of weekly broadcasts (and recordings) from New York's Town Hall . In 1945, Condon and Pete Pesci - manager of Julius's Bar - came up with a plan to open a jointly owned Club and this became the first “Eddie Condon's” (on West 3rd Street - Greenwich Village area). Eddie had excellent qualifications for a nightclub operator, - he was a sociable man who could hold his liquor, and was a very fine musician with many musician friends who could come in and help out.

Condon loved what he called “our particular brand of Jazz”, by which he meant 'Dixieland Jazz' with a strong rhythmic beat. His groups never used tubas or banjos and this was curious because Eddie's very first instrument was the Banjo. Sidemen that were often heard with him included Pee Wee Russell on clarinet, Gene Schroeder on piano, Big Sid “Rim Shots” Catlett on drums, as well as Muggsy Spanier or Bobby Hackett or Wild Bill Davison on trumpets.

In 1947, H.Holt Company published his biography”We Called It Music: A Generation of Jazz”. In the 1950s, he recorded for the Columbia label, these were a series of live recordings that are some of his best work.

In 1961, the club lost the 3rd Street lease to New York University. Condon and Pesci then relocated to the posh Hotel Sutton on East 56th. Street, where the club continued until 1967. Referring to his clubs, Condon once said that his policy was, “We don't throw anybody in, and we don't throw anybody out”.

Eddie Condon was a real character and a strong supporter of jazz. He always had racially mixed bands and fought for that cause as well. His playing was fiercely rhythmic, and he set the tempo for his outfits. He rarely took solos, and preferred to give the spotlight to the other players, but it was his band for sure.

Condon left a generous discography, and many of his prime era recordings have been reissued on several labels as Jazzology, Mosaic, Collectables, Storyville and others.

Eddie Condon passed away at age 68, in 1973

///////

Eddie Condon fue uno de los jóvenes "blancos" de Chicago que, durante los años 20, fue instrumental en la creación de un nuevo tipo de "Chicago Dixieland Jazz". Su carrera comenzó a la edad de 17 años cuando tocó el banjo (su instrumento original) con los bandidos de Hollis Peavey Jazz, e incluso tocó brevemente con algunos miembros de la ahora legendaria "Banda de la Escuela Secundaria de Austin".

En 1927 codirigió a los Chicagoanos de McKenzie-Condón en un disco que fue muy popular en Chicago. En 1929, después de organizar otras sesiones de grabación, Condon cambió de ciudad y de instrumento. Se mudó a Nueva York y comenzó a tocar la guitarra. En Nueva York, trabajó con Red McKenzie's Mound City Blue Blowers y con Red Nichol's and His Five Pennies. Apareció en un disco (1929) con Louis Armstrong y His Savoy Ballroom 5.

En Nueva York (alrededor de 1930), el chicagüense Joe Marsala tuvo una banda que tocó en John Popkin's Hickory House en la calle 52 de Nueva York durante casi diez años. Condon se convirtió en el guitarrista de Marsala, y, entre los sets, pasó mucho tiempo en el bar. Entre 1937 y 1944, trabajó todas las noches en un famoso club de jazz de Nueva York, Nick's, en la sección de Greenwich Village de Nueva York. Se puede decir que la "gran oportunidad" de Condon llegó en 1938 cuando dirigió un grupo en algunas sesiones de grabación para el sello Commodore de Milt Gabler. Estas grabaciones hicieron de Eddie un icono de Nueva York.

De 1944 a 1945, Condon participó en una serie de transmisiones semanales (y grabaciones) desde el Ayuntamiento de Nueva York. En 1945, Condon y Pete Pesci - gerente del Julius's Bar - idearon un plan para abrir un Club de propiedad conjunta y éste se convirtió en el primer "Eddie Condon's" (en la calle 3 Oeste - zona de Greenwich Village). Eddie tenía excelentes calificaciones para ser operador de un club nocturno, - era un hombre sociable que podía sostener su licor, y era un músico muy fino con muchos amigos músicos que podían entrar y ayudar.

A Condon le encantaba lo que él llamaba "nuestra marca particular de Jazz", con lo que se refería al 'Dixieland Jazz' con un fuerte ritmo. Sus grupos nunca usaron tubas o banjos y esto era curioso porque el primer instrumento de Eddie fue el Banjo. Los sidemen que se escuchaban a menudo con él incluían a Pee Wee Russell en el clarinete, Gene Schroeder en el piano, Big Sid "Rim Shots" Catlett en la batería, así como Muggsy Spanier o Bobby Hackett o Wild Bill Davison en las trompetas.

En 1947, la compañía H.Holt publicó su biografía "We Called It Music": Una generación de Jazz". En los años 50, grabó para el sello Columbia, una serie de grabaciones en vivo que son algunos de sus mejores trabajos.

En 1961, el club perdió el contrato de la calle 3 con la Universidad de Nueva York. Condon y Pesci se mudaron al elegante Hotel Sutton en la 56 Este. Street, donde el club continuó hasta 1967. Refiriéndose a sus clubes, Condon dijo una vez que su política era: "No echamos a nadie dentro, y no echamos a nadie fuera".

Eddie Condon era un verdadero personaje y un gran partidario del jazz. Siempre tuvo bandas de mezcla racial y también luchó por esa causa. Su forma de tocar era muy rítmica y marcaba el ritmo de su ropa. Rara vez hacía solos, y prefería dar el protagonismo a los otros músicos, pero era su banda, seguro.

Condon dejó una generosa discografía, y muchas de sus grabaciones de la época de la primacía han sido reeditadas en varios sellos como Jazzology, Mosaic, Collectables, Storyville y otros.

Eddie Condon falleció a los 68 años, en 1973

Pete Fountain • New Orleans All Stars

 

Pete Fountain:

Peter Dewey Fountain, Jr. was born July 3, 1930 in New Orleans, the cradle of American music, Jazz. He was a skinny kid who spent too much time hanging around the front stoop of the Top Hat Dance Hall near his home. The Top Hat was a stronghold of Dixieland Jazz and Jazz already had a strong hold on Pete Fountain. But, oh the sounds! This was music straight from the soul. Sounds that would never be written in stone, that would always be brand new because they were purely personal. Pete heard all the greats in New Orleans and he knew he wanted to play Jazz.

After endless hours of practicing and listening to the recordings of Benny Goodman and Irving Fazola, the personal sound of Pete Fountain began to emerge and it was “Fat.” By the time Pete was 16, he had already gained a reputation on Bourbon Street. Through these formative years of his musical training, Pete performed with several sensational bands. One such band was the Junior Dixieland Band which performed in the famous Parisian Room-often performing for legendary jazz men. A few years later Pete joined Phil Zito's International Dixieland Express. They were playing the El Morocco on the street. Pete was performing with some of the best known jazz bands in the country—The Basin Street Six, The Dukes of Dixieland, and Al Hirt.

Until 1956...Be-Bop and Rock & Roll were the hot new sounds, and the music that Pete loved could not provide him or anybody else with a living. Jazz, in its own birthplace New Orleans, was definitely asleep. He gave up music. He had no choice. With a wife and three small children to support, music was a luxury he could not afford.

In 1957, Lawrence Welk, host of the nation's most popular television program, wanted Pete on the show, and for two years, Pete was the most famous Jazz musician on television. Pete Fountain became a household name and New Orleans Jazz made a comeback that has never faded.

After two years in California, Pete came home to New Orleans. He had learned what every New Orleanian has to accept as a fact of life. you can leave New Orleans, but it never leaves you. Pete immediately opened his own jazz club in the heart of the French Quarter. His national fame and fans followed him to New Orleans which allowed Pete's club to expand, through many years, into the largest jazz club in the city. Pete has always been considered an ambassador of New Orleans Jazz as he performs his music on guest appearances on network television and specials. Some of the highlights have been such classics as the Ed Sullivan, Bing Crosby, Bob Hope and Andy Williams specials. More recently his credits include A Close up of Pete Fountain, Super Bowl Saturday Night and the National Memorial Day Concert. He also performed 59 times on Johnny Carson's “The Tonight Show.”

Pete has performed at four U.S. State Dinners by command performance for four Presidents of the United States. He has also performed for Pope John Paul II at the New Orleans Papal Mass with an attendance of over 400,000 people.

During Pete's career, he has recorded 56 albums and has been a featured performer on 44 additional albums for a total of 100 recordings. Three of Pete's albums have gone gold, “Pete Fountain's New Orleans,” “The Blues,” and “Mr. New Orleans.” He also received a gold record for his hit single “Just A Closer Walk With Thee.”

Through Pete's career he has received numerous awards and honors including a Doctorate of Music from the College of Santa Fe; he was voted the #1 Jazz Clarinetist for 13 consecutive years in the Playboy Readers Poll; he was King of Bacchus; he received an Emmy for the 1990 Super Bowl Pre-Game Music; and he was awarded the 1993 Louisiana Legends Award.

Pete has performed with music legends ranging from Louis Armstrong and Harry James to Harry Connick, Jr. 

 

 

 

Biography by Scott Yanow
One of the most famous of all New Orleans jazz clarinetists, Pete Fountain had the ability to play songs that he performed countless times (such as "Basin Street Blues") with so much enthusiasm that one would swear he had just discovered them. His style and most of his repertoire remained unchanged from the late '50s into the new millennium, yet he never sounded bored. In 1948, Fountain (who was heavily influenced by Benny Goodman and Irving Fazola) was a member of the Junior Dixieland Band and this was followed by a stint with Phil Zito and an important association with the Basin Street Six (1950-1954), with whom the clarinetist made his first recordings. In 1955, Fountain was a member of the Dukes of Dixieland, but his big breakthrough came when he was featured playing a featured Dixieland number or two on each episode of The Lawrence Welk Show during 1957-1959. After he left, he moved back to New Orleans, opened his own club, and played there regularly up until retiring from the nightclub business in early 2003. Fountain's finest recordings were a lengthy string for Coral during 1959-1965 (they turned commercial for a period after that). Fountain died in New Orleans in August 2016 at the age of 86.
https://www.allmusic.com/artist/pete-fountain-mn0000312140#biography

 

///////

 

Pete Fountain:

Peter Dewey Fountain, Jr. nació el 3 de julio de 1930 en Nueva Orleans, la cuna de la música americana, el Jazz. Era un niño flaco que pasaba mucho tiempo colgado en la entrada del Top Hat Dance Hall cerca de su casa. El sombrero de copa era un bastión del Dixieland Jazz y el Jazz ya tenía una fuerte influencia sobre Pete Fountain. Pero, ¡oh, los sonidos! Esto era música directamente del alma. Sonidos que nunca serían escritos en piedra, que siempre serían nuevos porque eran puramente personales. Pete escuchó a todos los grandes de Nueva Orleans y sabía que quería tocar Jazz.

Después de horas interminables de practicar y escuchar las grabaciones de Benny Goodman e Irving Fazola, el sonido personal de Pete Fountain comenzó a emerger y fue "Fat". Para cuando Pete tenía 16 años, ya se había ganado una reputación en Bourbon Street. Durante estos años de formación musical, Pete tocó con varias bandas sensacionales. Una de ellas fue la Junior Dixieland Band, que actuó en la famosa Parisian Room, a menudo para hombres de jazz legendarios. Unos años después, Pete se unió al International Dixieland Express de Phil Zito. Estaban tocando El Morocco en la calle. Pete tocaba con algunas de las bandas de jazz más conocidas del país: The Basin Street Six, The Dukes of Dixieland y Al Hirt.

Hasta 1956... el Be-Bop y el Rock & Roll eran los nuevos sonidos calientes, y la música que a Pete le encantaba no le permitía ganarse la vida ni a él ni a nadie más. El jazz, en su lugar de nacimiento, Nueva Orleans, estaba definitivamente dormido. Dejó la música. No tenía otra opción. Con una esposa y tres hijos pequeños que mantener, la música era un lujo que no podía permitirse.

En 1957, Lawrence Welk, conductor del programa de televisión más popular del país, quería a Pete en el programa, y durante dos años, Pete fue el músico de jazz más famoso de la televisión. Pete Fountain se convirtió en un nombre muy conocido y el Jazz de Nueva Orleans tuvo un regreso que nunca se ha desvanecido.

Después de dos años en California, Pete volvió a Nueva Orleans. Había aprendido lo que todo New Orleanian tiene que aceptar como un hecho de la vida. Puedes dejar Nueva Orleans, pero nunca te deja. Pete inmediatamente abrió su propio club de jazz en el corazón del Barrio Francés. Su fama nacional y sus seguidores lo siguieron a Nueva Orleans, lo que permitió que el club de Pete se expandiera, a través de muchos años, hasta convertirse en el club de jazz más grande de la ciudad. Pete siempre ha sido considerado un embajador del Jazz de Nueva Orleans, ya que interpreta su música en apariciones como invitado en la televisión de la cadena y en programas especiales. Algunos de los puntos culminantes han sido clásicos como los especiales de Ed Sullivan, Bing Crosby, Bob Hope y Andy Williams. Más recientemente, sus créditos incluyen A Close up of Pete Fountain, Super Bowl Saturday Night y el National Memorial Day Concert. También actuó 59 veces en "The Tonight Show" de Johnny Carson.

Pete se ha presentado en cuatro Cenas de Estado de los Estados Unidos por comando para cuatro Presidentes de los Estados Unidos. También ha actuado para el Papa Juan Pablo II en la Misa Papal de Nueva Orleans con una asistencia de más de 400,000 personas.

Durante su carrera, Pete ha grabado 56 álbumes y ha participado en 44 álbumes adicionales para un total de 100 grabaciones. Tres de los álbumes de Pete se han convertido en oro, "Pete Fountain's New Orleans", "The Blues" y "Mr. New Orleans". También recibió un disco de oro por su exitoso sencillo "Just a Closer Walk With Thee".

A lo largo de la carrera de Pete ha recibido numerosos premios y honores, incluyendo un Doctorado en Música del Colegio de Santa Fe; fue elegido Clarinetista de Jazz #1 por 13 años consecutivos en la Encuesta de Lectores de Playboy; fue Rey de Baco; recibió un Emmy por la Música de Pre-Juego del Super Bowl de 1990; y fue galardonado con el Premio de Leyendas de Louisiana de 1993.

Pete ha tocado con leyendas de la música que van desde Louis Armstrong y Harry James hasta Harry Connick, Jr. 

 

 

 

Biografía de Scott Yanow
Pete Fountain, uno de los clarinetistas de jazz más famosos de Nueva Orleans, tenía la habilidad de tocar canciones que había interpretado innumerables veces (como «Basin Street Blues») con tanto entusiasmo que uno juraría que acababa de descubrirlas. Su estilo y la mayor parte de su repertorio permanecieron inalterados desde finales de los años 50 hasta el nuevo milenio, y sin embargo nunca sonó aburrido. En 1948, Fountain (muy influido por Benny Goodman e Irving Fazola) fue miembro de la Junior Dixieland Band, a lo que siguió una temporada con Phil Zito y una importante asociación con los Basin Street Six (1950-1954), con los que el clarinetista realizó sus primeras grabaciones. En 1955, Fountain fue miembro de los Dukes of Dixieland, pero su gran éxito llegó cuando apareció tocando un número o dos de Dixieland en cada episodio de The Lawrence Welk Show durante 1957-1959. Tras su marcha, regresó a Nueva Orleans, abrió su propio club y tocó allí con regularidad hasta que se retiró del negocio de los clubes nocturnos a principios de 2003. Las mejores grabaciones de Fountain fueron una larga serie para Coral durante 1959-1965 (después se volvieron comerciales durante un tiempo). Fountain falleció en Nueva Orleans en agosto de 2016 a la edad de 86 años.
https://www.allmusic.com/artist/pete-fountain-mn0000312140#biography

 

 

 

Sidney Bechet • The Legendary Sidney Bechet

Earl Hines • Fatha's Day 2019

 

Muggsy Spanier • Chicago Jazz

 

Description from The Syncopated Times:
Cornetist Muggsy Spanier was one of the most consistent of all jazz musicians. While sometimes called "Chicago style," in reality he was a masterful and always-enthusiastic Dixieland player. His solos were mostly predictable, but it did not matter because he played with such power, authority, and sincerity that he uplifted every ensemble in which he took part. His playing never became tired or uninspired.

///////

Descripción de The Syncopated Times:
El cornetista Muggsy Spanier fue uno de los músicos de jazz más consistentes de todos. Si bien a veces se lo llamó "estilo Chicago", en realidad fue un magistral y siempre entusiasta músico de Dixieland. Sus solos eran en su mayoría predecibles, pero no importaba porque tocaba con tal poder, autoridad y sinceridad que elevaba cada conjunto en el que participaba. Su interpretación nunca se volvió cansada o sin inspiración.

Earl Hines Jack Teagarden Peanuts Hucko • Keep Moving

 

Tuba Skinny • Six Feet Down

 Formed in in 2009, Tuba Skinny has steadily evolved from a loose collection of street musicians into a solid ensemble dedicated to bringing the traditional New Orleans sound to audiences around the world. Drawing on a wide range of musical influences—from spirituals to Depression-era blues, from ragtime to traditional jazz—their sound evokes the rich musical heritage of their New Orleans home. The band has gained a loyal following through their distinctive sound, their commitment to reviving long-lost songs, and their barnstorming live performances.

///////

Fundada en 2009, Tuba Skinny ha evolucionado constantemente de una colección suelta de músicos callejeros a un sólido conjunto dedicado a llevar el sonido tradicional de Nueva Orleans a audiencias de todo el mundo. Basándose en una amplia gama de influencias musicales -desde espirituales hasta blues de la época de la Depresión, desde ragtime hasta jazz tradicional-, su sonido evoca la rica herencia musical de su hogar en Nueva Orleáns. La banda ha ganado un seguimiento leal a través de su sonido distintivo, su compromiso de revivir canciones perdidas hace mucho tiempo, y sus actuaciones en vivo.

 

tubaskinny.com ...

Tuba Skinny • Tuba Skinny

Formed in in 2009, Tuba Skinny has steadily evolved from a loose collection of street musicians into a solid ensemble dedicated to bringing the traditional New Orleans sound to audiences around the world. Drawing on a wide range of musical influences—from spirituals to Depression-era blues, from ragtime to traditional jazz—their sound evokes the rich musical heritage of their New Orleans home. The band has gained a loyal following through their distinctive sound, their commitment to reviving long-lost songs, and their barnstorming live performances.

///////

Fundada en 2009, Tuba Skinny ha evolucionado constantemente de una colección suelta de músicos callejeros a un sólido conjunto dedicado a llevar el sonido tradicional de Nueva Orleans a audiencias de todo el mundo. Basándose en una amplia gama de influencias musicales -desde espirituales hasta blues de la época de la Depresión, desde ragtime hasta jazz tradicional-, su sonido evoca la rica herencia musical de su hogar en Nueva Orleáns. La banda ha ganado un seguimiento leal a través de su sonido distintivo, su compromiso de revivir canciones perdidas hace mucho tiempo, y sus actuaciones en vivo.

 

tubaskinny.com ...

Eddie Burleton's Band • Unexpurgated Jazz

 

Clarinetist active in the 50's and 60's.

Chicago Jazzː A Cultural History, 1904-1930

The setting is the Royal Gardens Cafe. It's dark, smoky. The smell of gin permeates the room. People are leaning over the balcony, their drinks spilling on the customers below. On stage, King Oliver and Louis Armstrong roll on and on, piling up choruses, the rhythm section building the beat until tables, chairs, walls, people, move with the rhythm. The time is the 1920s. The place is South Side Chicago, a town of dance halls and cabarets, Prohibition and segregation, a town where jazz would flourish into the musical statement of an era.

In Chicago Jazz, William Howland Kenney offers a wide-ranging look at jazz in the Windy City, revealing how Chicago became the major center of jazz in the 1920s, one of the most vital periods in the history of the music. He describes how the migration of blacks from the South to Chicago during and after World War I set the stage for the development of jazz in Chicago; and how the nightclubs and cabarets catering to both black and white customers provided the social setting for jazz performances. Kenney discusses the arrival of King Oliver and other greats in Chicago in the late teens and the early 1920s, especially Louis Armstrong, who would become the most influential jazz player of the period. And he travels beyond South Side Chicago to look at the evolution of white jazz, focusing on the influence of the South Side school on such young white players as Mezz Mezzrow (who adopted the mannerisms of black show business performers, an urbanized southern black accent, and black slang); and Max Kaminsky, deeply influenced by Armstrong's "electrifying tone, his superb technique, his power and ease, his hotness and intensity, his complete mastery of the horn." The personal recollections of many others--including Milt Hinton, Wild Bill Davison, Bud Freeman, and Jimmy McPartland--bring alive this exciting period in jazz history.

Here is a new interpretation of Chicago jazz that reveals the role of race, culture, and politics in the development of this daring musical style. From black-and-tan cabarets and the Savoy Ballroom, to the Friars Inn and Austin High, Chicago Jazz brings to life the hustle and bustle of the sounds and styles of musical entertainment in the famous toddlin' town.

 

 

William Howland Kenney (Author)  

Jack Teagarden-Don Goldie & Friends • The Classic Tracks-1959 to 1962

 

Hot Club of Baltimore • Place de Brouckère

 

 

Hot Club of Baltimore is a top Django Reinhardt style Hot Jazz band that takes on many forms from the early acoustic format featuring violin, to larger big bands for swing dances which include drums and horns. The band often features vocalist Alexis Tantau. 

hotclubofbaltimore ...

Herb Hall • Old Tyme Modern

Artist Biography by Scott Yanow
Overshadowed throughout his life by his older brother, Edmond Hall, Herb Hall had a softer and smoother tone on the clarinet and was talented in his own right. The son of a clarinetist (Edward Hall) and one of five musical brothers, Herb started out playing banjo with the Niles Jazz Band during 1923-25 before switching to clarinet and alto. He played with Kid Augustin Victor's band in Baton Rouge in 1926 and in 1927 moved to New Orleans. After performing with Sidney Desvigne, Hall had a longterm association with Don Albert (1929-37 and 1938-40) including a relocation to San Antonio that lasted until 1945. Hall freelanced in Philadelphia (with Herman Autrey) and New York, was with Doc Cheatham in 1955 and toured Europe with Sammy Price (1955-56). The clarinetist frequently played at Jimmy Ryan's and Eddie Condon's club in New York during the next decade. He toured with Wild Bill Davison's Jazz Giants (1968-69), worked often with Don Ewell and in the 1970's was frequently part of Bob Greene's World of Jelly Roll Morton show. Always a reliable player, Herb Hall led an album apiece for Sackville (1969), Storyville (1970) and GHB (an 1980 set shared with Louis Cottrell).


From Wikipedia, the free encyclopedia
Herbert "Herb" Hall (March 28, 1907 – March 5, 1996) was an American jazz clarinetist and alto saxophonist.
Herb was the brother of Edmond Hall and the son of clarinetist Edward Hall. He began on banjo with the Niles Jazz Band (1923–25), then settled on reeds. In 1926 he played with Kid Augustin Victor in Baton Rouge, and moved to New Orleans the following year. He played briefly with Sidney Desvigne, then played for many years with Don Albert (1929–40), moving to San Antonio with him and remaining there until 1945.
After this he moved to Philadelphia, where he played with Herman Autrey; a few years later he was in New York, working with Doc Cheatham (1955) and did a European tour with Sammy Price (1955–56). He played often in the New York clubs of Jimmy Ryan and Eddie Condon in the late 1950s and 1960s. In 1968-69 he toured with Wild Bill Davison's Jazz Giants, and then a stint with an offshoot band of The Jazz Giants, called "Buzzy's Jazz Family" which included Herman Autrey, Benny Morton, Sonny Drootin, Eddie Gibbs and leader Buzzy Drootin on drums. He did work with Don Ewell in the 1970s. He also appeared in Bob Greene's Jelly Roll Morton revue show that decade.

 

///////

 

Biografía del artista por Scott Yanow
Eclipsado durante toda su vida por su hermano mayor, Edmond Hall, Herb Hall tenía un tono más suave y liso en el clarinete y era talentoso por derecho propio. Hijo de un clarinetista (Edward Hall) y uno de los cinco hermanos musicales, Herb comenzó tocando el banjo con la Niles Jazz Band durante 1923-25 antes de cambiar al clarinete y al alto. Tocó con la banda de Kid Augustin Victor en Baton Rouge en 1926 y en 1927 se mudó a Nueva Orleans. Después de tocar con Sidney Desvigne, Hall tuvo una larga asociación con Don Albert (1929-37 y 1938-40) incluyendo un traslado a San Antonio que duró hasta 1945. Hall actuó como freelance en Filadelfia (con Herman Autrey) y en Nueva York, estuvo con Doc Cheatham en 1955 y realizó una gira por Europa con Sammy Price (1955-56). El clarinetista tocó con frecuencia en el club de Jimmy Ryan y Eddie Condon en Nueva York durante la siguiente década. Hizo giras con los Gigantes del Jazz de Wild Bill Davison (1968-69), trabajó a menudo con Don Ewell y en los años 70 formó parte con frecuencia del espectáculo World of Jelly Roll Morton de Bob Greene. Siempre un jugador confiable, Herb Hall dirigió un álbum cada uno para Sackville (1969), Storyville (1970) y GHB (un set de 1980 compartido con Louis Cottrell).


De Wikipedia, la enciclopedia libre
Herbert "Herb" Hall (28 de marzo de 1907 - 5 de marzo de 1996) fue un clarinetista y saxofonista alto de jazz americano.
Herb era hermano de Edmond Hall e hijo del clarinetista Edward Hall. Comenzó en el banjo con la Niles Jazz Band (1923-25), y luego se estableció en las cañas. En 1926 tocó con Kid Augustin Victor en Baton Rouge, y se mudó a Nueva Orleans al año siguiente. Tocó brevemente con Sidney Desvigne, luego tocó durante muchos años con Don Albert (1929-40), trasladándose a San Antonio con él y permaneciendo allí hasta 1945.
Después de esto se trasladó a Filadelfia, donde tocó con Herman Autrey; unos años más tarde estuvo en Nueva York, trabajando con Doc Cheatham (1955) e hizo una gira europea con Sammy Price (1955-56). Tocó a menudo en los clubes neoyorquinos de Jimmy Ryan y Eddie Condon a finales de los años 50 y 60. En 1968-69 realizó una gira con los Jazz Giants de Wild Bill Davison, y luego una temporada con una banda derivada de The Jazz Giants, llamada "Buzzy's Jazz Family" que incluía a Herman Autrey, Benny Morton, Sonny Drootin, Eddie Gibbs y el líder Buzzy Drootin en la batería. Trabajó con Don Ewell en los años 70. También apareció en la revista Jelly Roll Morton de Bob Greene en esa década.

 

 

 

McKinney's Cotton Pickers • 1928-30

 

Papa Bue's Viking Jazzband • Papa Bue & his American Friends

 

Papa Bue Jensen Biography by Scott Yanow
Leader of the Viking Jazz Band beginning in 1956, Papa Bue Jensen is an excellent Dixieland trombonist who has been active for decades in Denmark. He had recorded with Chris Barber before forming his group (which, during 1956-1958, was known simply as the New Orleans Jazz Band). Through the years, the band has recorded (sometimes for Storyville or Timeless) with such American guests as George Lewis, Wingy Manone, Wild Bill Davison, Edmond Hall, Champion Jack Dupree, Albert Nicholas, and Art Hodes.
https://www.allmusic.com/artist/papa-bue-jensen-mn0000745354#biography

///////

Biografía de Papa Bue Jensen por Scott Yanow
Líder de la Viking Jazz Band desde 1956, Papa Bue Jensen es un excelente trombonista de dixieland que lleva décadas en activo en Dinamarca. Grabó con Chris Barber antes de formar su propio grupo (que, entre 1956 y 1958, se conocía simplemente como New Orleans Jazz Band). A lo largo de los años, la banda ha grabado (a veces para Storyville o Timeless) con invitados estadounidenses como George Lewis, Wingy Manone, Wild Bill Davison, Edmond Hall, Champion Jack Dupree, Albert Nicholas y Art Hodes.
https://www.allmusic.com/artist/papa-bue-jensen-mn0000745354#biography

The Story of the Original Dixieland Jazz Band

 

Papa Bue's Viking Jazzband • A Tribute To Finn Otto Hansen

 

Editorial Reviews
62 minutes of traditional jazz, swing, blues and ragtime by one most popular jazzbands in Europe, even today! Recorded between the years of 1970-71, this is the first time these German radio broadcasts by Papa Bue?s Viking Jazzband have been made available. Fin Otto Hansen is one of Denmark?s finest trumpet players and the instruments combine to make some seriously stylish dynamic and laid back music. 

Dutch Swing College Band • Dutch Samba

Biography by Craig Harris

The Dutch Swing College Band has endured numerous personnel changes in its more than fifty-year history as one of the Netherlands' top jazz ensembles. Although no members remain from the original group, the latest lineup continues to honor the tradition-rooted approach of the founders.

Bob Kaper (1939- ) replaced clarinet player Peter Schilperoort during an illness in 1966, and remained with the band; he has led the Dutch Swing College Band since Schilperoort's death in 1990. The fourth leader in the group's history, Kaper succeeds Frans Vink, Jr. (1945-46), Joop Schrier (1955-60), and Schilperoort (1946-55; 1960-1990). Kaper previously led the Beale Street Seven, a group he founded in 1957.

An amateur group from 1945 until turning professional in 1960, the Dutch Swing College Band reached their early peak in the late '40s, when they were tapped to accompany such jazz musicians as Sidney Bechet, Joe Venuti, and Teddy Wilson.

The New Melbourne Jazz Band recorded an album, A Tribute to the Dutch Swing College Band, featuring music associated with the Holland-based group.

///////

Biografía de Craig Harris

Dutch Swing College Band ha sufrido numerosos cambios de personal en sus más de cincuenta años de historia como uno de los mejores conjuntos de jazz de los Países Bajos. Aunque no quedan miembros del grupo original, la última alineación continúa honrando el enfoque arraigado por la tradición de los fundadores.

Bob Kaper (1939-) reemplazó al clarinete Peter Schilperoort durante una enfermedad en 1966, y permaneció con la banda; dirigió la  Dutch Swing College Band desde la muerte de Schilperoort en 1990. El cuarto líder en la historia del grupo, Kaper sucede a Frans Vink, Jr. (1945-46), Joop Schrier (1955-60) y Schilperoort (1946-55); 1960-1990). Anteriormente, Kaper dirigió la Beale Street Seven, un grupo que fundó en 1957.

Un grupo amateur desde 1945 hasta que se convirtió en profesional en 1960, el Dutch Swing College Band llegó a su punto más alto a finales de los años 40, cuando fueron elegidos para acompañar a músicos de jazz como Sidney Bechet, Joe Venuti y Teddy Wilson.

La New Melbourne Jazz Band grabó un álbum, A Tribute to the Dutch Swing College Band, con música asociada al grupo con sede en Holanda.

 

dsc.nl ...

Pete Kelly's Big 7 - Jack Webb • Pete Kelly At Home

 

Pete Kelly And His Big Seven
Pete Kelly's Big Seven came from Pete Kelly's Blues, which was an American radio drama which aired over NBC as an unsponsored summer replacement series on Wednesday nights at 8pm(et) from July 4 through September 19, 1951. The series starred Jack Webb as Pete Kelly and was created by writer Richard L. Breen, who had previously worked with Webb on Pat Novak for Hire; James Moser and Jo Eisinger wrote most of the other scripts. Set in Kansas City in the 1920s, the series was a crime drama with a strong musical atmosphere (Webb was a noted Dixieland jazz enthusiast).

Pete Kelly was a musician, a cornet player who headed his own jazz combo, "Pete Kelly's Big Seven." They worked at 417 Cherry Street, a speakeasy run by George Lupo, often mentioned but never heard. Kelly, narrating the series, described Lupo as a "fat, friendly little guy." The plots typically centered on Kelly's reluctant involvement with gangsters, gun molls, FBI agents, and people trying to save their own skins. The endings were often downbeat.
https://www.discogs.com/artist/335522-Pete-Kelly-And-His-Big-Seven

///////

Pete Kelly y sus siete grandes
Pete Kelly's Big Seven proviene de Pete Kelly's Blues, que fue una radionovela estadounidense que se emitió en la NBC como una serie de reemplazo de verano no patrocinada los miércoles por la noche a las 8pm(et) desde el 4 de julio hasta el 19 de septiembre de 1951. La serie estaba protagonizada por Jack Webb en el papel de Pete Kelly y fue creada por el escritor Richard L. Breen, que había trabajado anteriormente con Webb en Pat Novak for Hire; James Moser y Jo Eisinger escribieron la mayoría de los otros guiones. Ambientada en Kansas City en la década de 1920, la serie era un drama criminal con una fuerte atmósfera musical (Webb era un destacado entusiasta del jazz Dixieland).

Pete Kelly era músico, tocaba la corneta y dirigía su propio combo de jazz, "Pete Kelly's Big Seven". Trabajaban en el 417 de Cherry Street, un bar clandestino regentado por George Lupo, a menudo mencionado pero nunca escuchado. Kelly, narrando la serie, describía a Lupo como un "gordito simpático". Las tramas solían centrarse en la renuente relación de Kelly con gángsters, pistoleros, agentes del FBI y personas que intentaban salvar el pellejo. Los finales solían ser sombríos.
https://www.discogs.com/artist/335522-Pete-Kelly-And-His-Big-Seven