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6 The Collected Writings of Michael Snow Frisco alone young Jazzmen appeared right and left (not only the present members of the Yerba Buena group but others like Bill Barden trombone, Benny Strickler trumpet and Burt Bayle piano. All over the country, groups began to appear and the future of Jazz became secure. But it's even bigger than that. It stretches all over the world Great Britain, Australia and many other places have produced Jazz bands that rank with the best. Australia, in particular, deserves mention; "Down Under" houses some of the most enthusiastic musicians around (see May '47 issue of J.R.) and has produced several men who seem to be very near greatness - in particular Ade Monsbourgh who plays trumpet, valve trombone, piano, clarinet and sings with equal competence. Then there's trumpeters Roger Bell, Bill Munro, clarinetists Kelly Smith, Don Roberts, trombonists Dave Dallwitz, Pete Law, pianists Graeme Bell, Willy "The Lion" Mclntyre and many, many more. England's George Webb band, though not in the same class as the Australian bands, does OK by itself. In the "Excited States" the bands of the late "Kid" Buell, now under Gene Mayl's leadership, the Walters band, Bob Wilber's "Wildcats" and the Frisco Jazz Band (both from reports and records) seem to stand out. Pianists Don Ewell, Johnny Wittwer, Knocky Parker, Bill Bailey, Dick Wellstood, Wally Rose, Ray Jannigan and George Hornsby (Seattle pianist just recorded by A.M.) are important. Clarinetists Jack Crook, Charley Stark, Ellis Home, Bob Helm, Herb Greggerson and Bob Wilber; trombonists Turk Murphy, Ed Hubble, Bill Barden and Chuck Sonnanstine;trumpeters Walters, Bob Scobey, Jerry Blumberg, Johnny Glasel, Johnny Windhurst and son on ad infmitum are all important in the story of the real "New Jazz." These musicians are all white - the negro has apparently and unfortunately disowned himself of his greatest possession: the ability to express himself deeply via the Jazz idiom. But that all these young men are very close to grasping those intangible qualities that make great Jazz is amply demonstrated on wax - Walters's Big Bear Stomp, Trombone Rag, Annie St.Rock, Pasadena Jazz Society 's Golf Coast Blues, Wilber's Willy the Weeper, Wildcat Rag, Graeme Bell's Australian gang on Alma St. Requiem, Georgia Bo Bo, Ewell on Manhattan Stomp, Albert's Blues, Frisco Jazz Band's Sensation, Copenhagen, George Webb's Dippermouth Blues, Wittwer's Jazzman sides and more. There's plenty more of this kind of "New Jazz" forthcoming too. In Australia the new Memphis label plans a number of fine releases featuring the Southern Jazz Group, whose instrumentation is trumpet, trombone, clarinet, banjo, tuba and washboard. Wow! William Russell will soon release on A.M. the Bunk Johnson trio records showcasing Ewell's piano, Bunk and the drums of, I believe, Alfonso Steele. While on this subject of recording I'd like to offer a suggestion to Rudi, Bill, Marilli and Nesuhi and their respective companies Circle, American Music, Crescent, and Jazzman and all the rest in the Jazz record field. Now, before it's too late, grab the following and slap their work in wax for the coming Jazz generation to study; offhand I can think of George Mitchell, Lee Collins, Punch Miller, Kid Shots Madison, Herb Morand, Doc Evans, Al Wynn, Roy Palmer, Preston Jackson, Alphonse Picou, Louis Nelson, Wade Whaley, Volly Defaut and so many others in "the city of dear old New Orleans." Sure, most of these men have recorded, some amply, but the supervision that Bill and Rudi and all the rest who know and love Jazz can give to their recording is poles apart from the cold supervision they've had on most of their former record dates. Youmight try some experiments - a mixture of young and old - Mutt Carey, Turk Murphy and Ellis Home or Walters, Ory, Joe Darensbourg, Wittwer, Bud Scott, The Real "New Jazz" 7 Dick Lammi and Minor Hall. The possible combinations are infinite and intriguing both on the West Coast and in the New York area. Don Ewell (with Nicholas and Dodds and the aforementioned Bunk trio records) is the only newcomer to have mixed on records with the old-timers (except for a wonderful "Test Pressing" of Bunk with the Walters boys). It is perhaps only through such contact that the "second-line" can get hold of those unexplainablethings that make Jazz - Jazz. 8 Poem 1957 One of many unpublished texts that the artist located in the process of assembling...


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