Who is bubber miley

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Hide Show Soundtrack 15 credits. Louis Toodle-Oo". Louis Toodle-Oo" - as Bub Miley. Louis Toodle-Oo" - uncredited. Louis Toodle Oo" - as Bub Miley. Seuss Louis Toodle-ooo". Louis Toodle-O" - as Bub Miley. Edit Did You Know? Trivia: Bubber Miley had a profound influence on his successors and his style is emulated to this day.

For Duke Ellington and members of his band, Bubber's playing style was a revelation. In fact, without Bubber Miley's trumpet and the compositions he wrote, it is arguable whether the jazz See more ».

Nickname: Bub Miley See more ». We must remember that what is admired and what is accepted as a guide can be two quite different things. Among the non-New Orleans men there was no attitude of prostrate emulation such as existed in the Chicago school, where in the beginning the white boys were so cut off from the sources of jazz that they were forced to sit down and absorb the best from records before exposing themselves to a milieu that might prove stronger than their will to musicianship.

For Armstrong, only three years older than Bubber, to sit in with Oliver's band was a priceless advantage, something denied any player gigging around in Harlem. The atmosphere of the late 'twenties in Harlem was probably one of the worst possible atmospheres for a young musician. What with semi-arranged jump bands, jungle bands and the emergence of the arranged big bands, a player had no decent background in which to grow.

These vitiating influences were so powerful that the players received little initiative for individual choice of direction. The frantic playing that we have now at such places as the Metropole, the late Stuyvesant and Central Casinos, or wherever the older players congregate, was not in evidence then. Collective improvisation had given way to the arranger, and did not come back into vogue until much later—a little hectic then perhaps, but still and all collective. Bubber had none of this collective improvisation, at least on records or in his professional work.

Although the Duke certainly featured him and together they gave a stamp to a pres Ellingtonia, the Duke was not good for Bubber. I do not say that gigging around in Harlem or that playing in any other Harlem band of the time would have been better for him, but I am thinking of how Bubber's great talents would have blossomed in an atmosphere of less jungle pastiche.

He and Tricky Sam helped the Duke play a kind of jazz which Orin Keepnews berates as an "emphasis of the Harlem clubs on a pseudo-savage motif in their floor shows and music Bubber had that spark. Even so, the murk was never completely banished. Bubber's own style was far removed from that of the popular music he was playing.

It was packed with changes of timbre that included some of the most searing tones. But only when his melodic structure was in a category of music removed from the popular song did this searing intonation have real musical meaning.

Otherwise he resorted to a series of cliches kept on tap for ordinary occasions. These cliches were a result of Bubber's mannerisms; he used them more and more to distort the melodic line of popular tunes. They consisted of sudden interjected barks or strident dissonances which come at us violently. He makes these interjections in order, it would seem, to break down the bland easiness of a popular tune. Built into his earlier compositions such as the Black and Tan they took their place with great musical meaning-fulness.

But I must say that when arbitrarily strewn about a catchy tune they become extremely boring. The less strident style of other great jazzmen seemed more appropriate to popular tunes than did Bubber's.

They either were frank in their off-straight or luxuriant renditions, or they melodically varied the original line. If they did not achieve true creativeness, at least they did not sink to horseplay. Bubber's playing was rarely relaxed.