Quel bonheur!!!! Clarinettiste moi-même, j'ai repris, il y a bien longtemps maintenant, la partie de Johnny Dodds avec l'orchestre les "HOT PEPPERS" à Marseille (France). Vieux souvenirs pour un vieil homme.... Cordialement
Young jazzers should listen. There's a lot to be learnt here. For example the attention with which these musicians "compose" each single note of their phrases and fit them into a coherent whole. Makes a much better effect than a thousand senseless, carelessly played notes per minute which are only intellectually interesting, but not emotionally.
I understand there is a wide gulf between "players" and "musicians." Musicians know they hear better when they are not playing. I can't hear very much when I hold my guitar.
musicians can just do what you can't. they can hear better while playing... when I play I hear almost all is happening around me. and I respond to everything. and I'm just a low rate performer
sorry my friend, but this is a common place. someone (I don't remember who, said to Mozart that he used too much notes...). there's plenty in the world of wonderful music made with thousand notes... and notes aren't all. in this piece, just according to notes, Kid Ory's solo is just an exposition of guide notes... the point is how he plays them... it's not a matter of how many, nor which notes, but how... timing, sound, attack, direction... (by the way this is obviously an inspiring masterpiece, with maybe best Dodds' solo on record. )
Ich wundere mich immer wieder, wie diese alten Säcke mit ihrer angeblich (!) so schlechten Technik das hingekriegt haben, mit Banjo/Gitarre und Piano einen schöneren, sichereren Rhythmus zu machen als heute die üblichen Rhythmusgruppen. Besonders bei Eddie-Lang-Aufnahmen fällt mir das auf, aber auch hier. Was St.Cyr und Lil Armstrong hier veranstalten, ist einfach klasse.
As someone has already pointed out, this is the Hot Five with Mitchell in Louis' place. I first experienced it seventy years ago and it remains one of my favorite recordings.
I understand you very well - I experienced it "only" 40 years ago and it's still among my favourite (and I've heard tons of music since - from baroque to avant garde...)
Louis was under contract to another record company and could not do the recording. Lil chose Mitchell to fill in. Notice the name Armstrong is on the label even though Louis did not play.
Thanks for your appreciation. It's left to we old guys nowadays to make sure that the pure artistry and musicality of these old recordings is broadcast to the world via youtube, in the face of the face of peurile pap that is dished up as an excuse for music these days.
J'ai transmis cette vidéo à un ami que j'ai connu grâce à ce thème de Dodds. Il m'a répondu "Deux émotions me parcourent : le cri de douleur de Johnny et la pérennité de notre amitié", je lui ai répondu "Cri de douleur", c'est exact. Tu vois, je n'avais jamais su définir son solo de clarinette...". Cet ami habite maintenant en Sicile et moi à Tahiti. Merci Johnny Dodds...
Very nice! This is the Armstrong Hot 5, but with GEORGE MICHELL REPLACING ARMSTRONG on the cornet. Still I prefere the Armstrong - Bechet version from 1940!
I prefer this one - Armstrong Bechet was an attempt to remake this, but with less feeling. it would have been fine to have Louis in the original version, but Dodds wouldn't be able to play so well with Armstrong close to him. I don't know why, but his solos are better out of hot five/hot seven context
My immediate response was 'would have been better with a drummer', but by the end I wasn't so sure. George Mitchell the perfect lead cornet/trumpet, and for me, Dodds is still the greatest of jazz clarinets - he was never trying to outdo anyone, but his creativity and taste are impeccable, nowhere better demonstrated as in the stop-time sections here. I believe the Chris Albertson at 10 months ago is the same CA who was a big name in the Scandinavian jazz scene in the 60s-70s and beyond? Erik Nystrom has drawn attention to the great Armstrong-Bechet version: 2 classic examples of how the tune might have been played in different eras.
I couldn't agree more ! These musicians came from an era when if you couldn't play well, you didn't eat. And they didn't have the technical equipment whereby you can feed in crap one end and get a reasonable recording out of the other. There wer no instant " stars " in those days. These guys came up the hard way. Practice, practice, and practice some more, until you were good enough to be worth listening to..
redhotjazz.com's biography of Mitchell has a picture of him with Jelly Roll Morton's Red Hot Peppers. Mitchell and Lil Hardin Armstrong are the 2 Wanderers not from New Orleans. Mitchell was from Louisville, KY which had a larger black music scene than most people realize. Lil was from Memphis. Both were in Chicago by the early 1920s and worked regularly there often with New Orleans muscans like Louis Armstrong and Jelly Roll Morton.
Gran año 1926, año de los Hot Five con Dodds, pero aqui muestra su vibrato criticado por algún maestro posterior pero que le agrega todo el sabor de New Orleans........
@wolfiejazz scwaysemwee monsieur but, i am son of an old father, i am 20 and this is some of the finest clarinetting i know besides peewee. Do not fear my man, jazz will survive for many many years to come, tho i do understand that the standard will never be the same. peace
@oldtimejazzfan Hello Peter. Yes, I am pretty sure I have heard this version but many years ago. I do not have a copy. If you can transfer a copy of this through the wonders of youtube I would really like to hear it again.
Jonathan Zielke, Yes the "ODJB" registered because they were "White"and they had money for recording this music, but at the same time many Black Jazz bands was better of the "ODJB" and they had no money to record a record. (sorry for my English i am just a Frenchman).
@@stephaneroze412 the odjb didn't record with their own money, and by the way they weren't rich at all. Freddy Keppard was asked to record before the odjb, but he refuses because he was worried about being imitate. Please stop all these romantic bullshits about white and black musicians...
Dodds was one of the first musicians who blew me away, when I was all of about 5 years old.
Heck: I've been listening to this for about 70 years!
Quel bonheur!!!! Clarinettiste moi-même, j'ai repris, il y a bien longtemps maintenant, la partie de Johnny Dodds avec l'orchestre les "HOT PEPPERS" à Marseille (France). Vieux souvenirs pour un vieil homme.... Cordialement
I could listen to this for days!❤️
Beautiful and Soulful and Passionate honest blues!!!!
Johnny St Cyr is a pure genius of the riff, listen to this riff in the middle of the title, no word for this gem...
Young jazzers should listen. There's a lot to be learnt here. For example the attention with which these musicians "compose" each single note of their phrases and fit them into a coherent whole. Makes a much better effect than a thousand senseless, carelessly played notes per minute which are only intellectually interesting, but not emotionally.
Wise words, but try as they might they will never come near to matching the emotion of this version
I understand there is a wide gulf between "players" and "musicians." Musicians know they hear better when they are not playing. I can't hear very much when I hold my guitar.
musicians can just do what you can't. they can hear better while playing... when I play I hear almost all is happening around me. and I respond to everything. and I'm just a low rate performer
sorry my friend, but this is a common place. someone (I don't remember who, said to Mozart that he used too much notes...). there's plenty in the world of wonderful music made with thousand notes... and notes aren't all. in this piece, just according to notes, Kid Ory's solo is just an exposition of guide notes... the point is how he plays them... it's not a matter of how many, nor which notes, but how... timing, sound, attack, direction...
(by the way this is obviously an inspiring masterpiece, with maybe best Dodds' solo on record. )
Ich wundere mich immer wieder, wie diese alten Säcke mit ihrer angeblich (!) so schlechten Technik das hingekriegt haben, mit Banjo/Gitarre und Piano einen schöneren, sichereren Rhythmus zu machen als heute die üblichen Rhythmusgruppen. Besonders bei Eddie-Lang-Aufnahmen fällt mir das auf, aber auch hier. Was St.Cyr und Lil Armstrong hier veranstalten, ist einfach klasse.
As someone has already pointed out, this is the Hot Five with Mitchell in Louis' place. I first experienced it seventy years ago and it remains one of my favorite recordings.
I understand you very well - I experienced it "only" 40 years ago and it's still among my favourite (and I've heard tons of music since - from baroque to avant garde...)
Louis was under contract to another record company and could not do the recording. Lil chose Mitchell to fill in. Notice the name Armstrong is on the label even though Louis did not play.
Stunning, note perfect, everyone. Thanks.
Couldn't have put it better myself ! ! ! My sentiments exactly..
From a 72 year old fan of PROPER jazz
this is the music of my childhood - and im talking about 15 years ago :)
My childhood too, and I'm talking about 50 years ago ! ah ah ah ...
As a young and coming clarinet player, Johnny is truly inspiring
Happy Birthday Johnny Dodds🎂🍾04-12-2022
Wonderful! True music from the heart...........
Johnny Dodds è il mio clarinettista jazz preferito. Ha una sonorità unica, morbida,coinvolgente. Grazie per il video
morbida non direi :) però concordo sulla preferenza. Morbido lo userei per Bigard, Noone, il Giuffrè degli anni '50
Absolute Heaven. I lost my original recording of this number some time ago during a move - what a delight to find it here. Thank you so much.
Great performance. Thank you. DerKlariNette
Finest New Orleans band next to King Oliver's Creole Jazz Band, beautifully recorded in sparkling fidelity.
Thank you for sharing this gem. It is absolutely fabulous.
Thanks for your appreciation. It's left to we old guys nowadays to make sure that the pure artistry and musicality of these old recordings is broadcast to the world via youtube, in the face of the face of peurile pap that is dished up as an excuse for music these days.
CLASSIC THANK YOU
I tried to Copy nr. Dodds solo ... I never hit tur nerve he got . Respect...oooh... Respect... what a clarinet Player.... ooh blues ...
On Columbia 608-D recorded 7/13/1926. Great jazz master here.
Get it mr. johnny dodds!!!
Wailing!
Love the 'who needs a drummer'...I believe it was George Wetling who said ,'Drummers should be felt and not heard.
Thank you for this jewel.
Johnny Dodds has a card in R. Crumb's "Early Jazz Greats" card set and is then included in the "R. Crumb's Heroes of Blues, Jazz, & Country" book.
thank you so much to upload this nice wonderfull music. Love it!
J'ai transmis cette vidéo à un ami que j'ai connu grâce à ce thème de Dodds. Il m'a répondu "Deux émotions me parcourent : le cri de douleur de Johnny et la pérennité de notre amitié", je lui ai répondu "Cri de douleur", c'est exact. Tu vois, je n'avais jamais su définir son solo de clarinette...". Cet ami habite maintenant en Sicile et moi à Tahiti. Merci Johnny Dodds...
Very nice! This is the Armstrong Hot 5, but with GEORGE MICHELL REPLACING ARMSTRONG on the cornet. Still I prefere the Armstrong - Bechet version from 1940!
I prefer this one - Armstrong Bechet was an attempt to remake this, but with less feeling. it would have been fine to have Louis in the original version, but Dodds wouldn't be able to play so well with Armstrong close to him. I don't know why, but his solos are better out of hot five/hot seven context
My immediate response was 'would have been better with a drummer', but by the end I wasn't so sure. George Mitchell the perfect lead cornet/trumpet, and for me, Dodds is still the greatest of jazz clarinets - he was never trying to outdo anyone, but his creativity and taste are impeccable, nowhere better demonstrated as in the stop-time sections here. I believe the Chris Albertson at 10 months ago is the same CA who was a big name in the Scandinavian jazz scene in the 60s-70s and beyond? Erik Nystrom has drawn attention to the great Armstrong-Bechet version: 2 classic examples of how the tune might have been played in different eras.
I couldn't agree more ! These musicians came from an era when if you couldn't play well, you didn't eat. And they didn't have the technical equipment whereby you can feed in crap one end and get a reasonable recording out of the other. There wer no instant " stars " in those days. These guys came up the hard way. Practice, practice, and practice some more, until you were good enough to be worth listening to..
that's true, a wonderful clainetist
Just one word: GREAT!
redhotjazz.com's biography of Mitchell has a picture of him with Jelly Roll Morton's Red Hot Peppers. Mitchell and Lil Hardin Armstrong are the 2 Wanderers not from New Orleans. Mitchell was from Louisville, KY which had a larger black music scene than most people realize. Lil was from Memphis. Both were in Chicago by the early 1920s and worked regularly there often with New Orleans muscans like Louis Armstrong and Jelly Roll Morton.
Thanks for pointing out the little-known Mitchell.
Gran año 1926, año de los Hot Five con Dodds, pero aqui muestra su vibrato criticado por algún maestro posterior pero que le agrega todo el sabor de New Orleans........
Peut être mon disque préféré de Dodds, et l'orchestre est parfait, très N.O.
@wolfiejazz scwaysemwee monsieur but, i am son of an old father, i am 20 and this is some of the finest clarinetting i know besides peewee. Do not fear my man, jazz will survive for many many years to come, tho i do understand that the standard will never be the same.
peace
Thank you so much. Sounds like my favorite clarinet-player of OK-Dreamband. Listen to "Clarinet Rag" (iTunes, amazon).
oh! my god!
pure bliss,
Andy you're so right, I saw Kid Ory when he visited the UK, Johnny and Baby Dodds were
they related. ??
brothers
Agree with you completely wolfiejazz.
@oldtimejazzfan Hello Peter. Yes, I am pretty sure I have heard this version but many years ago. I do not have a copy. If you can transfer a copy of this through the wonders of youtube I would really like to hear it again.
Thank you!!
love this, remeber the neverland
This is the real stuff, so incredibly superior to the sloppy "Dixieland Jazz" that tried to imitate it.
Dixieland Jazz was 10 years before bro, the ODJB recorded in 1917!
Jonathan Zielke, Yes the "ODJB" registered because they were "White"and they had money for recording this music, but at the same time many Black Jazz bands was better of the "ODJB" and they had no money to record a record. (sorry for my English i am just a Frenchman).
OF COURSE......but sadly with the masses it is blatantly obvious that 'where ignorance is bliss it is folly to be wise' if you get my meaning!!!
@@stephaneroze412 the odjb didn't record with their own money, and by the way they weren't rich at all. Freddy Keppard was asked to record before the odjb, but he refuses because he was worried about being imitate. Please stop all these romantic bullshits about white and black musicians...
@@dariolavizzari5957 You're right and I agree with you!
Ah, one of he early greats of the clarinet.
quel clarinettiste !!!!
Great counterpoint.
Maestro
IMMENSE !!!
Polo Barnes, Barney Bigard, Aurora Nealand and of course Sidney Bechet.
The group should actually be called the New Orleans-Kentucky Wanderers since Mitchell was from Louisville and Lil from Memphis
GENIOOOOOO!!!
suitable than armstrong's here, it has a rougher edge that goes well with Dodds' supreme clarinet.
Perfect. I think George Mitchell's style is more suitablex
a questo punto , tutto è già fatto!
RAYUELA!
BUSTER BAILEY!!!!