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459:"Nope. This guy is seated, one leg crossed casually over the other, drink on an upended barrel in front of him. He sweeps the cornet into the side of his mouth to expel some supercharged phrase, then jerks it away as if it's too hot to keep there. And I realize, awe-struck, he's chewing *gum*! Where in the world does he *keep* that stuff when he's blowing?
406:"All the same, his stylistic mannerisms-the deep hoarse blurrings, the athletic in-front-of-the-beat timing, the flaring shakes-are highly conscious (the 'Wild' is more a personal than a musical sobriquet), and, imposed as they are on a conventional Armstrong basis, make Davison one of the most exciting of white small-band cornetists. His sessions with
464:"In short, he looked just the way he sounded - like a guy from Ohio (a town named, aptly, Defiance) with a fierce, uninhibited way of attacking the beat, driving a band of whatever size halfway into tomorrow. The music comes out as from a flame-thrower, but with a density and momentum only suggested by even the best (of his) records".
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are collisions of two furious jazz talents which at the same time were oddly sympathetic, and prove his ability to play in any kind of milieu; his numerous sides in the Condon tradition show him uniting with (Pee Wee) Russell in the same way. But solo after solo demonstrates that he is not a 'wild'
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374:, with whom he worked and recorded from the mid-1940s until Condon's last concert at the New School for Social Research in New York in April 1972 (Chiaroscuro Records, CRD 110).
442:"Up there, incredibly, is Bill Davison himself, looking like anything *but* the standard image of the cornet or trumpet player. Not like
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has compared him with the kind of reveler who throws his arm round your neck one moment and tries to knock you down the next."
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player: each note is perfectly shaped and pitched as if the cornet were his speaking voice, in the style of his favorites
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His nickname of "Wild Bill" reflected a reputation for heavy drinking and womanizing in his younger years.
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William Edward "Wild Bill" Davison papers, photographs, and ephemera
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546:. New York, NY: W.W. Norton & Company. p. 304.
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Wild Bill
Davison: The Commodore Master Takes, 1997
347:(January 5, 1906 ā November 14, 1989), nicknamed "
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366:in a cover band where they played the music of
163:. Consider transferring direct quotations to
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68:Learn how and when to remove these messages
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194:Learn how and when to remove this message
125:Learn how and when to remove this message
19:For other people with similar names, see
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88:This article includes a list of general
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483:Wild Bill Davison: A Celebration
49:This article has multiple issues.
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665:London Records artists
345:William Edward Davison
250:William Edward Davison
240:Background information
222:Davison performing at
630:Savoy Records artists
615:Dixieland cornetists
601:, Rutgers University
428:Richard M. Sudhalter
519:Guinness Publishing
485:(Leith Music, 1991)
432:Eddie Condon's club
351:", was an American
521:. pp. 115/6.
517:(First ed.).
399:Humphrey Lyttelton
364:Frank Teschemacher
553:978-0-393-06582-4
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321:Years active
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640:1989 deaths
635:1906 births
330:Formerly of
325:1920sā1980s
107:introducing
609:Categories
490:References
310:Instrument
302:Occupation
261:1906-01-05
246:Birth name
169:Wikisource
90:references
54:improve it
412:Blue Note
385:The poet
381:Reception
356:cornetist
349:Wild Bill
234:June 1946
177:July 2021
165:Wikiquote
152:contains
115:July 2021
60:talk page
305:Musician
228:New York
469:Sources
395:vibrato
103:improve
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478:(1996)
314:Cornet
292:Genres
92:, but
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548:ISBN
523:ISBN
419:and
410:for
362:and
353:jazz
296:Jazz
287:, US
275:Died
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255:Born
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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