Dance music of the twenties and thirties: dreary, colorless and filled with musicians diligently playing dull written parts, until an improvised break or solo allowed them to display their individuality and inject a brief moment of “jazz” amidst all that “commercial” music.
Except when it wasn’t.
with Chester Hazlett’s lead alto on “Lila”
the difference isn’t just about instrument or arrangement. These are two entirely different approaches to timbre, phrasing and section balance: Trumbauer’s dry tone sliding in and out of the theme from between his reed section colleagues, versus Hazlett’s buttery, vibrato-laden and slightly (deliciously) nasal sound providing a lush melody statement on top of the other saxophones.
Both players fashion entirely distinct and deeply personal approaches despite (perhaps even through!) written parts. Neither tune was the cream of the compositional crop, and the chance to shine with multiple improvised choruses on Rhythm changes was a few years and at least one stylistic revolution away. Yet whatever the difference between “jazz” and “commercial” music, there’s clearly a difference between the music on paper and the music at work in these two recordings.