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rate the Longshoreman's Hall atmosphere is thick on the record.
The test had to be cut for time—from five minutes down to three minutes, ten seconds. The engineer began to look annoyed because he was using one wax after another, . . .
"Come on," Zutty said, "Make a master this time. We using up aH the guy's wax." Cauldwell was getting impatient, "Let's go while spirit is on us."
Jelly's pickup note was a dischord and it didn't come over the mike too well. The Victor man protested about it, but Jelly defended himself, "It's a dischord, but it's supposed to be." Then, as if this would make it all right, "It's an E Flat diminished seventh'V-and that held all of them for a while.
"Watch for the pick-up," Jelly gave them the cue and they were off with Jelly singing, backed by Bechet, Nicholas, Jones, the rhythm and muted growls by Sidney de Paris. Jelly liked those growls, said, "He's coughin'" Cauldwell played a fine half chorus with a big tone for a tenor. Sidney got in some very dirty choruses . . . While they had been rehearsing Sidney looked blankly at the music and Jelly leaned from the piano and said, "You remember that, Sidney, don't you?" Sidney looked surprised and said, "Unh-uh." Yet he did remember it and his choruses sounded as if they came straight out of tin-type hall.
The Winin Boy is very fine, a slow simple blues, not so easy to play as the faster stuff. Jelly sang the long refrain, with fine backing by Sidney de Paris using his mute close to the mike. And there was a duet between Bechet and Jones which, as Jelly put it, was a "pretty refrain,"
During a pause Brand came over to us and said, "It wasn't a dance in New Orleans till they played High Society" for that was the next number. Jelly said he'd fixed it up the way the bands really played it and they started out like the "best-god-damned brass band you ever heard." The record turned out to be a duel between the two reeds, for, after a full brass opening, Sidney played