Word: trumpeteers
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Dates: during 1940-1949
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...before an informal and appreciative crowd. There was Sandy Williams, one of the lesser known but very individual Negro trombonists; there were some fairly fair local boys, each of whom at times had some interesting things to say on their little instruments; and there were Max Kaminsky, the stubby trumpet player who is right in his element in front of a small band, and semi-legendary Peewee Russell, who painfully extorted a half-hour's worth of intoxicated notes from his ram-shackle clarinet, after playing most of the afternoon at the Ken's rival session. Peewee hadn't been...
...Mammy Grayson croons a pair of standout melodies (Goin' To Chicago and Only Worry For a Pillow), and the picture's other Negro artists are first-rate- especially a young Negro boy with a trumpet, knee-deep in Bach at a New Orleans music academy. He loathes the formalized Bach exercises, wants to play his kind of music. After a few bars he does, riding away, loud and low, right out of the academy...
...their brilliant rivalry on the tenor sax later in the week when Andy Kirk came to town, but there were some others whom I'd like to mention here who played more than one fine chorus that night. The ones I have in mind particularly are George Springer, whose trumpet led the rideout finals with much gusto, and who played some nice obligato during Rushing's blues numbers; Stu Grover, easily the best of the three drummers; and Ed Hunt on guitar and Bud Wentworth on trombone, both of whom suffered from the lack of an amplifier. It might...
...clock, however, there is something to be heard almost every night. Within the past two weeks, for instance, I have, through adroit manipulation of the dials, found Louis Armstrong, Duke Ellington, and Jay McShaun, not to mention some people called the Six Korn Kobblers who had a good muted trumpet in their midst...
...dramatized the story as simply as possible, and produced a delightful blend of humor and fantasy. Musically his work is no less simple, being based on a halfdozen or so leading melodies. The music at times smacks strongly of Handel, especially in the spirited little military prelude with its trumpet flourishes, and in the long sensuous string melodies that recur so frequently. At other times it recalls the jazz idiom of composers like Kern and Gershwin. On occasion it is extremely lovely, but it is always ingratiating and vocal, and expertly matched to the text. The vocal line alternates roughly...