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AL HIRT


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Mobley27
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PostPosted: Sat Jan 21, 2006 1:02 pm    Post subject: AL HIRT Reply with quote

I picked up a copy of "Al Hirt: At the Mardi Gras" today from the library.

I have to admit my only previous exposure to his playing was the album "Cotton Candy" and seeing him perform in Greenville, SC about 15 years ago.

But I am completely amazed at how powerful and technical his playing is on this album.

Anyone else digging his playing?
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Pete
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PostPosted: Sat Jan 21, 2006 1:05 pm    Post subject: Reply with quote

He was a fantastic player!

Pete
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StevenPSparks
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PostPosted: Sat Jan 21, 2006 1:11 pm    Post subject: Reply with quote

Unfortunately, most people only remember the RCA years, which was much more elevator & commercially oriented music. His stuff prior to that, especially the pre-beard dixieland era, was truly great playing. His time at the Cinncinnati Conservatory really paid off.....lol
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jonalan
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PostPosted: Sat Jan 21, 2006 1:28 pm    Post subject: Reply with quote

Monster dixieland chops!! He's one of my top 5 favorite horn players.
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sweets
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PostPosted: Sat Jan 21, 2006 2:47 pm    Post subject: Reply with quote

In the early sixties, when I lived in England, a friend caught Al Hirt in New Orleans, and brought back a signed and dedicated album. I thought the music too commercial -- white Dixieland filled me with dread. No matter how well you play the horn, there are questions of art and originality, as well. I think Marsalis admired him, but then, he has IMHO some of the same problems, though he is more interesting musician, and a constantly developing one. But maybe I should give Hirt a listen after all these years.
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PRogers
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PostPosted: Sat Jan 21, 2006 3:25 pm    Post subject: Reply with quote

I've only heard Green Hornet off the Kill Bill Vol 1 soundtrack, but I like it. It's the only trumpet-chops-nerd stuff I have on there, so its kinda fun to listen to.
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StevenPSparks
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PostPosted: Sat Jan 21, 2006 3:44 pm    Post subject: Reply with quote

sweets wrote:
-- white Dixieland filled me with dread. No matter how well you play the horn, there are "questions" of art and originality, as well.

That's like saying there's no way that someone other than one of Germanic descent could properly play Bach's Brandenburg Concertos and be respected for it. I'm glad that I don't have those same kind of......uh...... "questions".....
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Forte
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PostPosted: Sat Jan 21, 2006 4:13 pm    Post subject: Reply with quote

Hello,
I heard a recording of Al Hirt playing Brassman's Holiday with Billy May's orchestra. Incidentally, Conrad Gozzo was playing lead. It was fantastic! I am looking for a copy of this recording, but have not been able to find it. I am worried that it is out of print. The closest thing I can find is the same song but with a different accompaniment.

Thanks,
Robert
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jazz_trpt
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PostPosted: Sat Jan 21, 2006 5:23 pm    Post subject: Reply with quote

Al Hirt was a great technician on the horn.

It was unfortunate what he did to the Carnival of Venice variations on his Carnegie Hall album.
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DaveH
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PostPosted: Sat Jan 21, 2006 5:37 pm    Post subject: Reply with quote

Oh, my, yes, Al Hirt is/was one of the greatest trumpet players of all time. His sonorous, flowing tone; wide range, technical mastery of tonguing, finger dexterity, and wonderful styling and musicianship are legendary.

He is one of my all time favorite players. A terrific dixieland player.
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jonalan
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PostPosted: Sat Jan 21, 2006 6:13 pm    Post subject: Reply with quote

sweets wrote:
white Dixieland filled me with dread. No matter how well you play the horn, there are questions of art and originality, as well.

Take a listen to "That's A Plenty" on the "Al Hirt: at the Mardi Gras" (Live)" album. Some of the most amazing horn control I've ever heard! As far as originality goes, I've never heard anyone play like that before - which would be my definition of original.
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Tom Straight
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PostPosted: Sat Jan 21, 2006 6:36 pm    Post subject: Reply with quote

jazz_trpt wrote:
Al Hirt was a great technician on the horn.

It was unfortunate what he did to the Carnival of Venice variations on his Carnegie Hall album.
I'll have to agree with you on this. What was he thinking? Other than Carnival of Venice, I always found his recordings inspiring.
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jazz_trpt
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PostPosted: Sun Jan 22, 2006 7:31 am    Post subject: Reply with quote

Tom Straight wrote:
Other than Carnival of Venice, I always found his recordings inspiring.


I have to say that, while I found his technique impressive, I never really got into Al Hirt. But then, I was never really into the pop-dixieland revival stuff that he was a part of.
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Mobley27
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PostPosted: Sun Jan 22, 2006 9:20 am    Post subject: Reply with quote

I'm so impressed because, though I was aware of his pop-orientation, a lot of the stuff on this album is oozing with that raw, bluesy New Orleans flavor which is sometimes hard to put into verbal description. It just happens to be coupled with monster chops and technique from all the musicians (and maybe a little showiness..... on this album.

There is what some may consider some smooth cheese on this album, and I'm not really familiar with his entire body of work, but most of the stuff is no less New Orleans or no more pop than Preservation Hall - and I love all those recordings of all the many groups that have played there (I love Wendell Brunious' playing).
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hotorangetrumpet
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PostPosted: Sun Jan 22, 2006 9:40 am    Post subject: Reply with quote

I have a recording on CD of Hirt playing the M. Hyden concerto.... its about the funniest thing Ive ever heard. I have heard a lot of people say he wasted his talent on his dixieland work and should have gone the classical route -- BOY WERE THEY WRONG... its played very badly..... not his thing.
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iambrassman
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PostPosted: Sun Jan 22, 2006 9:58 am    Post subject: Reply with quote

jazz_trpt wrote:
Al Hirt was a great technician on the horn.

It was unfortunate what he did to the Carnival of Venice variations on his Carnegie Hall album.


The first trumpet player album I ever owned was Al Hirt -- and the second and the third. He is my personal 'favorite', though I do agree he is not the 'best of all time'.

I take exception to your comment about his rendition of Carnival at Cernegie. (That album, by the way, is great in general). He prefaces what he does with a comment that Carnival is out of his normal genre, and instead of playing to be precise he plays to entertain. I think he does that very, very well -- and I have used that exact recording to introduce 'non classical listeners' to something legit; call it a 'soft entry into the legit world'.
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mafields627
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PostPosted: Sun Jan 22, 2006 10:11 am    Post subject: Reply with quote

I must be weird, but I prefer Hirt's version of Carnival of Venice to quite a few others. I get so tired for musical snobbery.
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mann
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PostPosted: Sun Jan 22, 2006 10:22 am    Post subject: Reply with quote

Despite conservatory training, Al Hirt never really considered himself a "legit" player. I encourage anyone who hasn't heard him in his prime to listen to "Horn o Plenty" recorded in or around 1962. Big swinging band playing Billy May charts with Conrad Gozzo and Mannie Klein in the section. Hirt sounds incredible: huge sound, absolutely unbelievable flexibility and scary technique. According to the liner notes, the band was in awe of Hirt's mastery.
Also, the late 50's swingin dixie albums have to be heard to be believed. This isn't the traditional dixie two beat style--these arrangements really swing. Hirt's playing is phenomenal with blistering technique all over the horn at some alarming tempos; his endurance seems unlimited. I've never heard any trumpet player display the kind of flexibility Hirt possessed.
Unfortunately, far too many people think of Hirt as "Java" and all the other light commercial fluff he recorded. It's too bad because if you find some of his old stuff and listen, you'll discover a monster player.
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jazz_trpt
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PostPosted: Sun Jan 22, 2006 1:58 pm    Post subject: Reply with quote

iambrassman wrote:
I take exception to your comment about his rendition of Carnival at Cernegie. (That album, by the way, is great in general).


"Great in general"...? I'm not sure what that means. Are you saying the album is uneven?

I merely would have preferred to hear him play more in his chosen genre than to use the COV to show off his technique, and to execute it in the manner he did. YMMV.
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chapahi
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PostPosted: Sun Jan 22, 2006 2:04 pm    Post subject: Reply with quote

I started trumpet just before my 11th birthday and for my birthday that year I got an Al Hirt Album. I used to play it everyday,

Revisiting Al Hirt after having gotten into to Miles, Clifford, Dizzy, etc. I notice he's got his own jazz lines and his own personal style.

His version of "I Can't Get Started" is the best ever in my opinion. No doubt he's one of the greatest....
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