Word: mcpartland
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Dates: during 1940-1949
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...then Nick's isn't the place for you, because you'll be saying "Why that's old-fashioned stuff. It's corny, nobody plays that way any more. Give me the Andrews Sisters!" Well, there's a lot of truth that. Very few bands play the way Jimmy McPartland plays today, and more's the pity. Certainly it's an old-fashioned style; and if you prefer the stereotyped, lifeless riff tunes of Glenn Miller, Les Brown, and Artie Shaw, that's your prerogative. Me, I'll take the old stuff, and if you're on my side...
...section led by George Wetting's drums and Eddic Condon's guitar, is giving the boys a wonderful beat to work around. It's the climax, now, and you think it's all over. They can't play any better than this, but at the end of the chorus McPartland raises his hand signalling for one more, and everybody comes in and they really take the finish a part, and you say It's Too Much and start throwing chairs at people. Then they sign off with a slow blues, and it's intermission. You walk across the street...
...well, Joe has created such tunes as Little Rock Gateway and Gin Mill Blues. . . . DECCA has issued an album of "white Jazz," consisting chiefly of small band jobs done several years ago, and featuring pretty nearly every white musician worth listening to. Among the offerings are Panama by Jimmy McPartland, Jazz Me Blues by the Bob Crosby Bob Cats, Swingin' on the Famous Door by the Delta Four (how did Roy Eldridge get into this), Decca Stomp by Red Norve, and Tin Roof Blues by the New Orleans Rhythm Kings including Wingy Mannone and George Brunies. There's a small...