"His playing was a kind of sad and childish piping and a musical nonsense set forth in phlegmy, rasping, 'spit' and 'growl' tones."
[Rudi Blesh]
"He was merely an imitator of Jimmie Noone, a constant part of Eddie Condon's two-beat repertory company" (...) "a company always featuring the wry squeaks and sometimes amusing departures from pitch of Pee Wee Russell's clarinet."
[Barry Ulanov]
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"Su forma de tocar no es más que un soplido triste e infantil, además de un disparate musical basado en sonidos 'growl', llenos de flema, ásperos y similares a escupitajos de saliva."
[Rudi Blesh]
"No era más que un imitador de Jimmie Noone, un componente habitual de los 'grupos de repertorio' y ritmo binario de Eddie Condon" (...) "grupos en los que siempre destacan los irónicos chirridos y la forma de desafinar, a veces divertida, del clarinete de Pee Wee Russell."
[Barry Ulanov]
Those comments come from both sides of the invented ideological argument of the Forties - - -sad that PWR was attacked by both sides, but his music has outlived them. This reminds us, once again, how deep the gap between most jazz criticism and the music itself can be. Cheers, Michael
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