Set forth below is the thirty-fifth "Texas Shout" column. The concluding installment of a two-part essay, it first appeared in the December 1992 issue of The West Coast Rag, now The Syncopated Times. Read the first part HERE. The following note was added when this column was reprinted in April 1999.
Because the text has not been updated, I should mention that I retired from reviewing records at the end of 1997, thereby closing down my "This Month's Records" column. Moreover, seeing no point in reprinting detailed comments on recordings issued in 1992, I have tacitly eliminated seven paragraphs that reviewed the two Uptown Lowdown Jazz Band recordings mentioned in the latter portion of the article. Because this deletion gives me a little extra space, I have added a note at the end of the essay explaining why the thirty-sixth "Texas Shout" will not be reprinted.
I was introduced to Dixieland jazz via the West Coast revival style, first through the Firehouse Five Plus Two and then Turk Murphy and Lu Watters. Turk is, as many of you know, my all-time favorite musician. Although I have come to enjoy all seven styles of Dixieland, plus certain closely-related music, I still feel a special response to a Yerba Buena-ish combo in full cry or to a rusty-gate Murphy-ish trombone solo.
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The full run of “Texas Shout” has been collected into a lavishly illustrated trade paperback entitled Texas Shout: How Dixieland Jazz Works. This book is available @ $20.00 plus $2.95 shipping from Tex Wyndham. On request, Tex will autograph the book and add a personalized note (be sure to tell him to whom the note should be addressed).
