Customer Reviews

1923-26

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I largely agree with the previous reviewer, but a few additional points should be made.

First, Freddie Keppard was acknowledged by most New Orleans musicians as being on a par with King Oliver in the period between c. 1910 - 1920. Oliver's reputation with future generations was ensured by the 1923 Creole Jazz Band recordings, and even though he rapidly went into decline afterwards, his jazz immortality was never in question. Keppard on the other hand no longer led a band by the time that recording African American jazz bands became commonplace. Instead he was the lead trumpet in Cook's Dreamland Orchestra, a fine if somewhat bloated danceband. Keppard's contributions were limited, and the recordings have never enjoyed a good critical reputation.

Second, this CD, in excellent sound thanks to re-mastering by the unrivalled John R.T. Davies, enables us to hear more clearly than before that Keppard, although in decline by the time he recorded, was still on a good day an exciting musician. Tracks 9 - 12 feature Keppard leading a small group and reveal him to be an effective lead trumpet with the ability to play strong and imaginative breaks. The big band sides are perhaps less interesting, but track 13, "Hear Comes the Hot Tamale Man", features Keppard in electrifying form.

Keppard's recorded legacy in no way compares with that of Oliver, Morton, Dodds or the other New Orleans masters of Chicago in the 1920s. Given his great reputation though, he is worth hearing, and while these recordings vary in musical quality and in jazz interest, anyone who is concerned with the history of jazz should give them a hearing.

Freddie Keppard.A colossus born in New Orleans,probably between 1883 and 1890.A contemporary of Joe King Oliver (1885-1938).Freddie the giant,the most powerful trumpet players of all times,died in 1933;he drank as nobody could (he was called "whalemouth"),and couldn't survive the 1929 crisis.His music was too old.And maybe, he was too old too.He was very suspicious,and didn't want to be recorded,so that nobody could play like him.When he was performing,he always had an handkerchief on his right hand,so that nobody could see his playing.There are over 30 tunes currently issued under his name,and nobody's sure he plays on all of them.One thing is sure:he plays ,among others, in "here comes the hot tamale man", but this tune doesn't seem to reveal his true way of playing.If you want to have a glimpse of how great Keppard was, try his outstanding version of "moanful moan";of course,the recording quality is rather poor,but how great the trumpet playing!!!This record has to be bought only for this tune.If you want to have an idea of Freddie's power,listen to "spanish mama";the tune is not the greatest thing ever composed,but he plays with a terrifying authority during the last minute of the tune.I'm sad to say that,but it may be the only opportunity to realize how Freddie Keppard was great.Of course,there are great interventions in "scissor grinder Joe","the Memphis maybe man", or "messin' around'".But the greatness of Mr Keppard is,I think,only revealed in "moanful moan" and "spanish mama".

This is more of a CD for the 20s jazz aficionado than the casual listener. Keppard could have been the first artist to record jazz in the 1910s, but he said no when offered, and the Original Dixieland Jazz Band recorded first. According to everyone who knew him, by the time Keppard did record, his best years were behind him. However, you can still hear flashes of brilliance underneath the showy hokum. Among my favorites are the Gennett sides recorded with Cook's Dreamland Orchestra.