[78-L] Alto sax style (mostly Lem Davis and Booker Pittman)

[simmonssomer]

Let us not forget Howard "The Swan" Johnson the great altoist who played in 
the bands of Teddy Hill, Benny Carter, Claude Hopkins and Dicky Wells.
He was selected by the Englishman Spike Hughes to play in both American 
recording sessions for his "All Star Negro Orchestra."
Decca F-3563, 3606. 3639, 3836, 3972, 3717, 3972, 5101
April and May 1933 NYC.
Just to give an example of the respect he enjoyed in the jazz community, 
others selected for that band were Benny Carter, Coleman Hawkins, Chu Berry, 
Dicky Wells, Henry "Red" Allen and Sidney Catlett.

No jokes pliz about 39 flavors or anything even vaguely close.

Al Simmons

----- Original Message ----- 
From: "yves francois" <aprestitine at yahoo.com>
To: "78-L Mail List" <78-l at klickitat.78online.com>
Sent: Saturday, January 02, 2010 9:39 AM
Subject: Re: [78-L] Alto sax style (mostly Lem Davis and Booker Pittman)


> Interesting-
> Where is Booker Pittman on this list?? I would place him as angular as 
> well - think he fits with Davis, Brown and Rudy Williams (dream musicians 
> of mine!!)
> Julian - I would have put Lem Davis as lyrical - but you are right, his 
> jump pieces are angular (was with Boyce's Harlem Serenaders ca 1941 - long 
> 16 bar solos on "HARLEM AFTER MIDNIGHT" and "GET IN THE GROOVE" may be his 
> best solos along with "GUMPEY" on Savoy), his lead work is sweeter (rather 
> like Tab Smith) - and again, like tab Smith made a few 78's in that lead 
> alto style (commercial pressure?). I guess that since Pete Brown, Rudy 
> Williams and Booker Pittman are my favorite altos (alonmg with the very 
> under rated Charlie Holmes - I am quite fanatical of him), one could say I 
> prefer driving, angular altos.
>    Pittman was one of the most impetuous jazzman ever, both angular and 
> driving - think Panassie saw a lot of the trombonist Jimmy Harrison in him 
> (another musician I love), the break on Ahmed Ratip's 78 of "Somebody 
> Stole My Gal" (after the male scat vocal) or his solo on the Ratip 78 of 
> "Sweet Georgia Brown" are amongst my favorite moments in alto. Where does 
> that leave Earl Bostic (angular, driving), Horsecollar Williams (very 
> angular), George James (very good in 1951/3 78's for Victor BTW, fared 
> better than most altos - and don't judge him on his poor sax section work 
> on the last Louis Armstrong Okeh's - but does anyone remember the King 
> 78's by Bernie Peacock??) and Louis Jordan ...
>
> Yves François
>
> PS anyone have any of the Boyce 78's from the first session - I am in a 
> hunt for those, as well as the Belasco Decca's from 1937 ...
>
>
>
>> > From: Julian Vein <julianvein at blueyonder.co.uk>
>> > Subject: [78-L] Alto sax styles
>> > To: 78-L Mail List <78-l at klickitat.78online.com>
>> > Message-ID: <4B3CE458.4040104 at blueyonder.co.uk>
>> > Content-Type: text/plain; charset=ISO-8859-1;
>> format=flowed
>> >
>> > I was thinking about various jazz alto styles, and
>> decided there are
>> > four main categories, with some proponents listed
>> below.
>> >
>> > Lyrical: Johnny Hodges, Charlie Holmes, Tab Smith.
>> > Craggy (angular): Toots Mondello, Pete Brown, Earl
>> Warren, Lem Davis,
>> > Rudy Williams.
>> > Melodic: Benny Carter, Jimmy Dorsey, Pete Pumiglio,
>> > Driving: Willie Smith (Tab Smith and Rudy Williams
>> could be here
>> > also).
>
> There was another school I forgot to mention, the plaintive or pretty
> style: Dave Matthews (his tenor sax was more in the Hawkins tradition).
> The guy on some of the Jelly Roll Morton big band sides. The guy on the
> Ferrari & Son Ensemble’s Fox-Musette No.301 (w. Oscar Aleman).
>
>
>
>
>
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