Tag Archives: Jack Pettis

PAGES FROM THE DIARY OF DILLON OBER

I cannot find out much information about the drummer-xylophonist Dillon Ober.  John Chilton wrote no thumbnail biography of him; he does not appear in Sudhalter’s LOST CHORDS.  I have no photograph to share with you (although Don Ingle says that Ober looked like Robert Benchley, later went to work in the Hollywood studios, and was a superb drummer).

All I can ascertain is that he recorded with a Ted Weems small band in 1922, with Irving Mills, Ben Bernie, and Jack Pettis in the latter half of the Twenties.  After that . . . ?

But a jazz scholar who wishes to remain anonymous has been able to read a diary that Ober kept in that period.  Aside from the intriguing period data (gigs played, personnel of bands, wages, names of friends, telephone numbers and addresses) there are a number of strongly worded philosophical statements: Ober was obviously someone who observed the scene closely and expressed himself wittily.

Here are two gems:

I like jazz music and my girlfriends to be SOFT and HOT.  That FAST and LOUD that other people go for does nothing for me.

and

Those people who say they “like the music” are fine, I guess.  We need them.  But they want to talk to me before I’m playing, after I’m playing, sometimes even when I have the sticks in my hands.  Do I come up to a doctor or a lawyer while he’s in the operating room or the courtroom to tell him how he should have done that operation or won that case?  I can’t stand them.

More to come.

May your happiness increase.

MORE FROM THE BIX FEST (RACINE, March 2009)!

These videos are here (and on YouTube) through the generosity of Jamaica Knauer and her “little camera,”  suitably attired, “running around in the gaudy 1920’s outfit, and Cleopatra headpiece.  Anywhere Andy Schumm and Dave Bock were playing, I was somewhere around, filming them. Ha! Ha!”

I couldn’t have said it better myself, and we owe Jamaica and the Bixians a great deal: they are, besides Andy and Dave, John Otto, Paul Asaro, Vince Giordano, Leah Bezin, and Josh Duffee.  Here they are at Fitzgerald’s, with a truly rocking NOBODY’S SWEETHEART:

A little calmer, but still enthusiastic, is THAT’S THE GOOD OLD SUNNY SOUTH:

And a steady BABY, WON’T YOU PLEASE COME HOME? at one of the many “right” tempos, with a soulful vocal by Vince:

Walter Donaldson’s pretty AT SUNDOWN, again at a wonderful tempo, not too fast:

Finally, an exuberant FRESHMAN HOP (which I associate with Jack Pettis, Irving Mills, the Hotsy Totsy Gang, and Jack Teagarden), with Otto on bass sax and Kim Cusack on clarinet:

There are more delights on YouTube.  Everyone here is a wonderfully enthusiastic, gifted soloist, but one of the rare pleasures of these performances is the way the ensembles work together — Asaro’s striding piano behind a horn soloist, Vince, Leah, and Josh working together as a unit, the horn players trading phrases and humming behind one another.  Yes, “Bix lives!” but we shouldn’t forget just how alive and lively these players are — thanks to Jamaica!