[78-L] Happy 100th, Prez!

[Ate van Delden]

I like to add Jack Pettis to this list. He was filmed by Lee Deforest 
playing the first sax solo with the Ben Bernie band. Before that he recorded 
with the NORK. He always had a light tone. His instrument at the time may 
have been the so-called C-melody sax, but he is basically regarded as 
probably the first major white jazz saxophonist. Chilton's Who's Who has him 
as a tenor player who started out on C-mel. But Rust's personnels ususally 
have him playing clt/Cmelsax/ten for all sessions. Has it ever been figured 
out if he really ever stopped using his C-mel?

----- Original Message ----- 
From: "Julian Vein" <julianvein at blueyonder.co.uk>
To: "78-L Mail List" <78-l at klickitat.78online.com>
Sent: Friday, August 28, 2009 12:45 AM
Subject: Re: [78-L] Happy 100th, Prez!


> David Lewis wrote:
> Thanks Cary! I greatly enjoyed reading that, though I do take issue with
> what I feel is the fact that there was far greater variety of tone among
> sax players, even before the advent of Coleman Hawkins, than Dave Gelly
> suggests. His description of a "low mooing noise" fits some Rudy
> Wiedoeft and Nathan Glantz jams, perhaps: I couldn't tell you what a
> "rubbery belch" sounds like, and I'm sure I've never heard it.
>
>
>
> Otherwise, it was a great tribute piece.
>
> Uncle Dave Lewis uncledavelewis at hotmail.com
> ==============
> Even as late as 1929, Hawk was still playing in that belchy way (e.g.
> "Hello Lola"), but he was sufficiently inventive for us to overlook it.
>
> I think Babe Russin was the first tenor player to use a "dry" tone, and
> avoid a "flabby" lower sound. In fact, he seems to have been the first
> to remove any sentimentality from tenor sax playing, concentrating on
> pure invention, rather like Sonny Rollins many years later. In his own
> way Russin could play a "structured" solo, but in a different way from
> Hawk. I can't recall Russin ever using arpeggios like Hawkins, or other
> early tenor players for that matter. Like Rollins, he would take a
> melody apart and put it together again. Considering his age, his playing
> was quite remarkable.
>
> There weren't that many quality tenor saxists before 1930, apart from
> Bud Freeman and Pee Wee Russell. The rest were pretty mediocre: Prince
> Robinson, Teddy Hill, Greely Walton, Bingie Madison, Happy Cauldwell,
> Hymie Wolfson, Cecil Scott etc.These seem to fall into the "rubbery
> belch" group, and tended to use a "bumbling" approach. Fud Livingston
> was OK by me though.
>
> Having said that, I have a soft spot for them all--they are like old
> friends, whose names have been become so familiar over the last 53 years
> of listening.
>
>      Julian Vein
>
>
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