Word: cornet
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Bill Davison stands by the old Chicago tradition of using a cornet instead of a trumpet, but that hardly precludes comparison with James. Bill may not rake in the shekels, but he plays good music far more consistently. Those who have been attracted to the Ken by Pee Wee Russell's fame and clarineting have invariably stayed to hear Davison. On the basis of tone alone, or ideas alone, he is undoubtedly a top-ranking musician. James may play more obviously difficult pieces, but Davison occasionally gets off some amazingly technical stuff himself, and this always in good taste...
...fine form and his famous "dirty" clarinet had many of his listeners' feet tapping in time. Davison's cornet solos and Schraeder's piano barrelhouse also drew plenty of cheers from the crowd. But two Harvard musicians, Stu Grover '45, on drums, and Pamelia, whose saxophone playing George Frazier, Boston Herald swing columnist, called in "the Bud Freeman tradition," stayed right in there with them...
...Savoy, and differently than Red Allen or Frankic Newton, whose bands were recently in Boston. They play old Dixieland tunes like "Fidgety Feet" and "Oh Baby," and blow the roof off in the process. But you don't mind the plaster falling all around you. Not when Davison plays cornet out of the side of his mouth, with's wonderful husky flavor like Berigan or Spanier. Not when PeeWee chortles his notes sometimes with an amazingly dirty tone and sometimes with a tone like molten silver. Not when Gene Schracder bangs out a fine barrel-house piano...
...sizes of audiences (up to 60,000) in his 1,398 concerts, was unruffled by the wet evening. He knew that of the hardy hundreds who braved the rain, some were there to hear the light, pleasant band numbers: a grand march, a Strauss waltz, a fantasy for cornet. Others came for the tangier items by modern composers: Aaron Copland's An Outdoor Overture (led by the composer), a suite for band by the late British composer Gustav Hoist, works by Percy Grainger, Philip James, Stravinsky. Bandmaster Goldman caters to varied tastes, puts on music undreamed-of in oldtime...
Edwin Franko Goldman, 64, took up the cornet at 8, at 17 became solo cornettist of the Metropolitan Opera House orchestra. Goldman might have lived out his days as a virtuoso, but for his experience tootling in summer bands. Shocked at their slipshod playing, their lack of rehearsals, he bowed to an ambition-to bring orchestral nuances to band music. At the first rehearsal of Goldman's own band, the players found their parts a mass of hen tracks in red ink, detailed instructions for phrasing, etc. Said one musician: "This is just like a kindergarten." But one rehearsal...