Two Day Jag by Graeme Bell

Title:
Two Day Jag by Graeme Bell
Category:
NFSA ID:
232811
Year:
1944
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This excerpt from Two Day Jag is among the first jazz recording of Graeme Bell’s Dixieland Band, from a session in January 1944.

Summary by Ian Gilmour

Performers:
Graeme Bell’s Dixieland Band

Released with Swanston St Shamble, this track refers to a two-day celebration, with the upbeat and lively tone in contrast to the hangover to come! In classic Dixieland style the first verse presents the tune with the full band, with subsequent verses featuring each of the band members soloing in turn. Graeme Bell plays a fine piano solo in the Dixieland style in the second verse, while drums and banjo maintain the rhythm.

 

Two Day Jag synopsis

Graeme Bell and his younger brother Roger have been key players in Australian jazz for over 60 years and these historic recordings are their first commercially released tracks. They were made three years before their pioneering tours to Europe in the late 1940s.

 

Curator’s notes

Two Day Jag is among Graeme Bell’s Dixieland Band’s first published recordings, made in Melbourne in 1944. Written by Bell, the titles refer to traffic conditions and hangovers respectively, while the Dixieland style is inspired by the music that started in New Orleans in the first decades of the twentieth century.

Dubbed the ‘father of Australian jazz’, Graeme Bell has been a central figure in the Australian jazz scene for over 60 years. From the mid-1930s, various formations of the Bell brothers’ bands played both in mainstream dance venues such as the Heidelberg Town Hall, and the Palais Royale at the Exhibition Buildings, as well as performing more groundbreaking jazz in smaller venues in St Kilda and Portsea.

Some of their first, unreleased 78 rpm discs were recorded in 1940 and 1942, as ‘Graeme Bell’s Jazz Band’, with a line-up including Ade Monsborough, Norm Davies, Tom Crowe, Norm Blackmore, Lou Silbereisen, Frank Coughlan, Lin Challen and Charlie Blott. These recordings were followed by a series of sessions from January 1944, cut by William H Miller, a Melbourne lawyer who had started his small Ampersand label the year before.

Notes by Ian Gilmour