Note: Alphonse Picou and Paul Dominguez, Jr., discuss "playing hot." Dominguez demonstrates the difference between standard playing and playing hot ("ragtime band") by humming the William Tell Overture, and they explain how hot playing adds more notes to the bar and introduces syncopation (for which Dominguez offers an unclear definition). Picou recalls playing with Buddy Bolden, with whom he never used a sheet of music: "Nothing but head stuff, head music." He describes Bolden as: "Very jolly… dressed common… used to blow that trumpet that you could hear it for blocks… that's what put him to his grave – women." Mentions Bolden's demise in the "crazy house." "He was a big man, a big fish. Used to call him King Bolden!"
About the session: Interviews with clarinetist Alphonse Picou and Paul Dominguez, Jr.; with several fragments of "La Misere" sung by Picou's brother Ulysseus. Clarinetist Picou (1878-1961) is best remembered for his solo in “High Society”, a song widely held to be pivotal in the evolution of early jazz. He played in Freddie Keppard's Olympia Orchestra, the Excelsior, Columbia, and Tuxedo brass bands, and his own Independence Band. Dominguez (c. 1888-c. 1978) was a Creole violinist and guitarist who played in many Storyville cabarets and with Louis Armstrong in 1923 at Anderson’s on Rampart Street. A one-time concert musician, he considered himself and his father, bass player Paul Dominguez, Sr., to be "real musicians [who] were all educated in music and knew [their] instruments” — as opposed to the "rough element” of black Uptown that played by ear and did not read music."
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