Ferdinand Joseph LaMothe (October 20, 1890 – July and were not legally married. No birth certificate has 10, 1941),[1] known professionally as Jelly Roll Mor- been found to date. ton, was an American and early pianist, ban- Ferdinand started playing music as a child, showing early dleader and composer who started his career in New Or- talent. After his parents separated, his mother married leans, Louisiana. a man named Mouton. Ferdinand took his stepfather’s Widely recognized as a pivotal figure in early jazz, Mor- name and anglicized it as “Morton”. ton is perhaps most notable as jazz’s first arranger, prov- ing that a genre rooted in improvisation could retain its essential spirit and characteristics when notated.[2] His 1.2 Musical career composition "Jelly Roll " was the first published jazz composition, in 1915. Morton is also notable for naming and popularizing the "Spanish Tinge"(habanera rhythm and tresillo), and for writing such standards as "King Porter Stomp", "Wolverine Blues", "Black Bottom Stomp", and “I Thought I Heard Say”, the last a tribute to musicians from the turn of the 19th century to 20th century. Reputed for his arrogance and self-promotion as often as recognized in his day for his musical talents, Mor- ton claimed to have invented jazz outright in 1902 — much to the derision of later musicians and critics.[3] The jazz historian, musician, and composer Gunther Schuller says of Morton’s “hyperbolic assertions” that there is “no proof to the contrary” and that Morton’s “consider- able accomplishments in themselves provide reasonable substantiation”.[4] However, the scholar Katy Martin has argued that Morton’s bragging was exaggerated by Alan Lomax in the book Mister Jelly Roll, and this portrayal has influenced public opinion and scholarship on Morton since.[5]

1 Biography

1.1 Early life and education Morton claimed to have written “Jelly Roll Blues” in 1905.

Morton was born into a creole of color family in the At the age of fourteen, Morton began working as a piano Faubourg Marigny neighborhood of downtown New Or- player in a brothel (or, as it was referred to then, a sporting leans, Louisiana. Sources differ as to his birth date: a house). In that atmosphere, he often sang smutty lyrics; baptismal certificate issued in 1894 lists his date of birth he took the nickname “Jelly Roll”, which was African as October 20, 1890; Morton and his half-sisters claimed American slang for female genitalia.[6][7] While working he was born on September 20, 1885. His World War I there, he was living with his religious, church-going great- draft registration card showed September 13, 1884, but grandmother; he had her convinced that he worked as a his California death certificate listed his birth as Septem- night watchman in a barrel factory. ber 20, 1889. He was born to F. P. Lamothe and Louise Monette (written as Lemott and Monett on his baptismal After Morton’s grandmother found out that he was play- ing jazz in a local brothel, she kicked him out of her certificate). Eulaley Haco (Eulalie Hécaud) was the god- [8] parent. Hécaud helped choose his christening name of house. Ferdinand. His parents lived in a common-law marriage He said:

1 2 2 MARRIAGE AND FAMILY

When my grandmother found out that I was as piano rolls, then on record, both as a piano soloist and playing jazz in one of the sporting houses in with various jazz bands.[12] the District, she told me that I had disgraced In 1926, Morton succeeded in getting a contract to record the family and forbade me to live at the house... for the largest and most prestigious company in the She told me that devil music would surely bring United States, Victor. This gave him a chance to bring a about my downfall, but I just couldn't put it be- [8] well-rehearsed band to play his arrangements in Victor’s hind me. recording studios. These recordings by Jelly Roll Morton & His are regarded as classics of Cornetist recalled that Morton had cho- 1920s jazz. The Red Hot Peppers featured such other sen “the nom de plume 'Morton' to protect his fam- New Orleans jazz luminaries as , Omer Simeon, ily from disgrace if he was identified as a whorehouse George Mitchell, Johnny St. Cyr, , Johnny 'professor'.”[6] Dodds, Baby Dodds, and Andrew Hilaire. Jelly Roll Mor- ton & His Red Hot Peppers were one of the first acts Tony Jackson, also a pianist at brothels and an accom- booked on tours by MCA.[13] plished guitar player, was a major influence on Morton’s music. Jelly Roll said that Jackson was the only pianist better than he was. 2 Marriage and family

1.3 Touring In November 1928, Morton married the showgirl Mabel Bertrand in Gary, Indiana. Around 1904, Morton also started touring in the Ameri- can South, working with minstrel shows, gambling and composing. His works "Jelly Roll Blues", “New Or- 2.1 leans Blues”, “Frog-I-More Rag”, “Animule Dance”, and "King Porter Stomp" were composed during this period. They moved that year to New York City, where Morton He got to Chicago in 1910 and New York City in 1911, continued to record for Victor. His piano solos and trio where future stride greats James P. Johnson and Willie recordings are well regarded, but his band recordings suf- “The Lion” Smith caught his act, years before the blues fer in comparison with the Chicago sides, where Mor- [9] were widely played in the North. ton could draw on many great New Orleans musicians for [14] In 1912–1914, Morton toured with his girlfriend Rosa sidemen. Although he recorded with the noted musi- Brown as a vaudeville act before settling in Chicago for cians clarinetists Omer Simeon, George Baquet, Albert three years. By 1914, he had started writing down his Nicholas, Wilton Crawley, Barney Bigard, Russell Pro- compositions. In 1915, his “Jelly Roll Blues” was ar- cope, Lorenzo Tio and Artie Shaw, trumpeters Bubber guably the first jazz composition ever published, record- Miley, Johnny Dunn and Henry “Red” Allen, saxophon- ing as sheet music the New Orleans traditions that had ists , Paul Barnes and Bud Freeman, bassist been jealously guarded by the musicians. In 1917, he Pops Foster, and drummers Paul Barbarin, Cozy Cole followed bandleader William Manuel Johnson and John- and Zutty Singleton, Morton generally had trouble find- son’s sister Anita Gonzalez to California, where Morton’s ing musicians who wanted to play his style of jazz. His [15] tango, “The Crave”, made a sensation in Hollywood.[10] New York sessions failed to produce a hit. With the Great Depression and the near collapse of the record industry, Victor did not renew Morton’s record- 1.4 Vancouver ing contract for 1931. Morton continued playing in New York, but struggled financially. He briefly had a radio Morton was invited to play a new Vancouver, British show in 1934, then took on touring in the band of a trav- Columbia, nightclub called The Patricia, on East Hast- eling burlesque act for some steady income. In 1935, ings Street. The jazz historian Mark Miller described Morton’s 30-year-old composition King Porter Stomp, as his arrival as “an extended period of itinerancy as a pi- arranged by Fletcher Henderson, became Benny Good- anist, vaudeville performer, gambler, hustler, and, as leg- man's first hit and a swing standard, but Morton received end would have it, pimp”.[11] no royalties from its recordings.[16]

1.5 Chicago 2.2 Washington, D.C.

Morton returned to Chicago in 1923 to claim authorship In 1935, Morton moved to Washington, D.C., to be- of his recently published rag, “The Wolverines”, which come the manager/piano player of a bar called, at vari- had become a hit as “Wolverine Blues” in the Windy City. ous times, the “Music Box”, “Blue Moon Inn”, and “Jun- He released the first of his commercial recordings, first gle Inn” in the African-American neighborhood of Shaw. 3

(The building that hosted the nightclub stands at 1211 U Worsening asthma sent him to a New York hospital for Street NW.) Morton was also the master of ceremonies, three months at one point. He continued to suffer from bouncer, and bartender of the club. He lived in Washing- respiratory problems when visiting with a se- ton for a few years; the club owner allowed all her friends ries of manuscripts of new tunes and arrangements, plan- free admission and drinks, which prevented Morton from ning to form a new band and restart his career. Morton making the business a success.[17] died on July 10, 1941, after an eleven-day stay in Los In 1938, Morton was stabbed by a friend of the owner and Angeles County General Hospital. suffered wounds to the head and chest. After this incident, According to the jazz historian David Gelly in 2000, his wife Mabel demanded that they leave Washington.[17] Morton’s arrogance and “bumptious” persona alienated so many musicians over the years that no colleagues or During Morton’s brief residency at the Music Box, the [19] folklorist Alan Lomax heard the pianist playing in the admirers attended his funeral. But, a contemporary bar. In May 1938, Lomax invited Morton to record mu- news account of the funeral in the August 1, 1941, issue sic and interviews for the Library of Congress. The ses- of Downbeat says that fellow musicians Kid Ory, Mutt sions, originally intended as a short interview with mu- Carey, Fred Washington and Ed Garland were among his sical examples for use by music researchers in the Li- pall bearers. The story notes the absence of Duke Elling- brary of Congress, soon expanded to record more than ton and , both of whom were appear- eight hours of Morton talking and playing piano. Lomax ing in Los Angeles at the time. (The article is reproduced also conducted longer interviews during which he took in Alan Lomax’s biography of Morton, Mister Jelly Roll, notes but did not record. Despite the low fidelity of these University of California Press, 1950.) non-commercial recordings, their musical and historical importance have attracted numerous jazz fans, and they have helped to ensure Morton’s place in jazz history.[18] 3 Piano style Lomax was very interested in Morton’s Storyville days in New Orleans and the ribald songs of the time. Although Morton’s piano style was formed from early secondary reluctant to recount and record these, Morton eventually ragtime and “shout”, which also evolved separately into obliged Lomax. Because of the suggestive nature of the the New York school of stride piano. Morton’s play- songs, some of the Library of Congress recordings were ing was also close to barrelhouse, which produced boogie [18] not released until 2005. woogie. In his interviews, Morton claimed to have been born in Morton often played the melody of a tune with his right 1885. He was aware that if he had been born in 1890, he thumb, while sounding a harmony above these notes with would have been slightly too young to make a good case as other fingers of the right hand. This added a rustic or the inventor of jazz. He said in the interview that Buddy “out-of-tune” sound (due to the playing of a diminished Bolden played ragtime but not jazz; this is not accepted 5th above the melody). This may still be recognized as by the consensus of Bolden’s other New Orleans contem- belonging to New Orleans. Morton also walked in major poraries. The contradictions may stem from different and minor sixths in the bass, instead of tenths or octaves. definitions for the terms ragtime and jazz. These inter- He played basic swing rhythms in both the left and right views, released in different forms over the years, were hand. released on an eight-CD boxed set in 2005, The Complete Library of Congress Recordings. This collection won two Grammy Awards.[18] The same year, Morton was hon- ored with the Grammy Lifetime Achievement Award. 4 Compositions

Some of Morton’s songs (listed alphabetically): 2.3 Later years Several of Morton’s compositions were musical trib- utes to himself, including “Winin' Boy”, “The Jelly Roll When Morton was stabbed and wounded, a nearby Blues”, subtitled “The Original Jelly-Roll"; and “Mr. whites-only hospital refused to treat him, as the city had Jelly Lord”. In the era, his “King Porter racially segregated facilities. He was transported to a Stomp”, which Morton had written decades earlier, was black hospital farther away. When he was in the hospital, a big hit for Fletcher Henderson and ; it the doctors left ice on his wounds for several hours before became a standard covered by most other swing bands of attending to his eventually fatal injury. His recovery from that time. Morton claimed to have written some tunes that his wounds was incomplete, and thereafter he was often were copyrighted by others, including "Alabama Bound" ill and easily became short of breath. Morton made a new and "Tiger Rag". “Sweet Peter,” which Morton recorded series of commercial recordings in New York, several re- in 1926, appears to be the source for the melody of the counting tunes from his early years that he discussed in hit song “All Of Me,” ostensibly written by Gerald Marks his Library of Congress interviews. and Seymour Simons in 1931. 4 9 REFERENCES

His musical influence continues in the work of Dick Hy- 7 Selected discography man and Reginald Robinson. • 1923/24 1923–1924 (Milestone Records)

4.1 Albums • Red Hot Peppers Session: Birth of the Hot, The Clas- sic Red Hot Peppers Sessions ( RCA Bluebird) 1926– • The Piano Rolls (Nonesuch, 1997) 1927

• Giants of Jazz (Collectables, 1998) • The Pearls 1926–1939 (RCA Bluebird Records)

• Mr. Jelly Roll (Tomato Music, 2003) • Jazz King of New Orleans 1926–1930 (RCA Blue- bird Records) 5 Legacy • (1938) The Complete Library of Congress Record- ings, Vol. 1-8 (8CD) ()

• Jelly Roll Morton was inducted in the Rock and Roll Hall of Fame and was elected as a charter member of the Walk of Fame. 8 See also

• In 2008, Jelly Roll Morton was inducted into The • List of ragtime composers Louisiana Music Hall of Fame.[20] • Chord names and symbols (popular music) – Jerry Gates, a professor of Berklee College of Music, tells that he has heard chord symbols came from Ferde 6 Representation in other media Grofé and Jelly Roll Morton.[23]

• Two Broadway shows have featured his music, Jelly Roll and Jelly’s Last Jam. The first draws heavily on Morton’s own words and stories from the Library of 9 References Congress interviews. [1] Scott Yanow (1941-07-10). “Jelly Roll Morton | Biogra- phy & History”. AllMusic. Retrieved 2015-10-05. • Jelly Roll Morton appears as the piano “professor” in Louis Malle’s Pretty Baby, where he is portrayed by [2] Giddins, Gary & Scott DeVeaux (2009). Jazz. New York: actor Antonio Fargas, with piano and vocals played W.W. Norton & Co, ISBN 978-0-393-06861-0 by James Booker. [3] Critic Scott Yanow writes, “Jelly Roll Morton did him- self a lot of harm posthumously by exaggerating his worth, • Jelly Roll Morton’s Last Night at the Jungle Inn: An claiming to have invented jazz in 1902. Morton’s accom- Imaginary Memoir (1984) was written by the ethno- plishments as an early innovator are so vast that he did not musicologist and folklorist Samuel Charters, embel- really need to stretch the truth.” lishing Morton’s early stories about his life.[21] [4] Schuller, Gunther (1986). The History of Jazz. Volume 2. • Morton and his godmother, Eulalie, appear as char- Oxford University Press US. p. 136. ISBN 0-19-504043- acters in David Fulmer's mystery novel Chasing the 0. Devil’s Tail. [5] Martin, Katy. “The Preoccupations of Mr. Lomax, In- • ventor of the 'Inventor of Jazz'", Popular Music and Soci- Jelly Roll Morton is featured in Alessandro Bar- ety 36.1, p. 30–39. Taylor and Francis, February 2013. icco's book Novecento. He is the “inventor of jazz” doi:10.1080/03007766.2011.613225. and the protagonist’s rival throughout the book. This book was adapted as a movie: The Legend of 1900, [6] Stewart, Rex. Boy Meets Horn, Claire P. Gordon, ed. U. directed by Giuseppe Tornatore. His character is of Mich. Press, 1991. Cited in Levin, Floyd (2000). played by the actor Clarence Williams III. Classic Jazz: A Personal View of the Music and the Mu- sicians. U. of Calif. Press. pp. 109–110. ISBN • The play Don't You Leave Me Here, by Clare Brown, 9780520213609. Retrieved 16 October 2015. which premiered at West Yorkshire Playhouse on 27 [7] Major, Clarence (1994). Juba to Jive: The Dictionary of September 2008, deals with Morton’s relationship African-American Slang. New York: Penguin. p. 256. with musician Tony Jackson. ISBN 9780140513066.

• Morton’s name is mentioned in “Cornet Man”, sung [8] “Culture Shock: The TV Series and Beyond: The Devil’s by Barbra Streisand in the Broadway musical Funny Music: 1920’s Jazz”. Pbs.org. 2000-02-02. Retrieved Girl (1964).[22] 2015-10-05. 5

[9] Reich, Howard; Gaines, William (2003). Jelly’s Blues: the 10 Sources Life, Music and Redemption of Jelly Roll Morton. Cam- bridge MA: Da Capo Press. pp. 39–41. ISBN 0-306- • Dapogny, James. Ferdinand “Jelly Roll” Morton: 81350-5. The Collected Piano Music. Washington, D.C., Smithsonian Institution Press, 1982. [10] Reich, Howard; Gaines, William (2003). Jelly’s Blues: the Life, Music and Redemption of Jelly Roll Morton. Cam- • The Devil’s Music: 1920s Jazz bridge MA: Da Capo Press. pp. 42–59. ISBN 0-306- 81350-5. • Ellison, Ralph. Invisible Man; page 486.

[11] “Jelly Rolled into Vancouver”. CBC Radio 2. 2010-03- • “Ferdinand J. 'Jelly Roll' Morton”, A Dictionary of 31. Retrieved 2010-09-09. Louisiana Biography (1988), pp. 586–587.

[12] Reich, Howard; Gaines, William (2003). Jelly’s Blues: the • “Jelly”, Time magazine, March 11, 1940. Life, Music and Redemption of Jelly Roll Morton. Cam- bridge MA: Da Capo Press. pp. 70–98. ISBN 0-306- • Ward, Geoffrey C., and Kenneth Burns. Jazz, a His- 81350-5. tory of America’s Music 1st Ed. Random House Inc.

[13] Reich, Howard; Gaines, William (2003). Jelly’s Blues: the Life, Music and Redemption of Jelly Roll Morton. Cam- bridge MA: Da Capo Press. pp. 114–127. ISBN 0-306- 11 Further reading 81350-5. • Lomax, Alan. Mister Jelly Roll, University of Cal- [14] Reich, Howard; Gaines, William (2003). Jelly’s Blues: the ifornia Press, 1950, 1973, 2001. ISBN 0-520- Life, Music and Redemption of Jelly Roll Morton. Cam- 22530-9 bridge MA: Da Capo Press. pp. 132–135. ISBN 0-306- 81350-5. • Wright, Laurie. Mr. Jelly Lord, Storyville Publica- tions, 1980. [15] Reich, Howard; Gaines, William (2003). Jelly’s Blues: the Life, Music and Redemption of Jelly Roll Morton. Cam- • Russell, William. Oh Mister Jelly! A Jelly Roll Mor- bridge MA: Da Capo Press. pp. 132–144. ISBN 0-306- ton Scrapbook, Jazz Media ApS, Copenhagen, 1999. 81350-5. • Pastras, Phil. Dead Man Blues: Jelly Roll Morton [16] Reich, Howard; Gaines, William (2003). Jelly’s Blues: the Way Out West, University of California Press, 2001. Life, Music and Redemption of Jelly Roll Morton. Cam- bridge MA: Da Capo Press. pp. 144–146. ISBN 0-306- • Dapogny, James. Ferdinand “Jelly Roll” Morton: 81350-5. The Collected Piano Music, Smithsonian Institution Press, 1982. [17] “U Street Jazz – Performers – Prominent Jazz Musicians: Their Histories in Washington, D.C”. Gwu.edu. Re- • Gushee, Lawrence. Pioneers of Jazz : The Story of trieved 2015-10-05. the Creole Band, Oxford University Press.

[18] “Library of Congress Recordings of Jelly Roll Morton • Martin, Katy. “The Preoccupations of Mr. Lo- Win at Grammys”. Library of Congress. 2006-01-14. max, Inventor of the 'Inventor of Jazz.'" Popular Retrieved 2009-12-27. Music and Society 36.1, p. 30-39. Taylor and Fran- cis, February 2013. DOI:10.1080/03007766.2011. [19] Gelly, David, Icons of Jazz: A History In Photographs, 613225 1900–2000, San Diego, Ca: Thunder Bay Books, 2000, ISBN 1-57145-268-0 • Pareles, Jon. “New Orleans Sauce For Jelly Roll Morton: 'He was the first great composer and jazz [20] “Louisiana Music Hall of Fame”. Louisiana Music Hall master.' Tribute to Jelly Roll Morton.” New York of Fame. Retrieved 2015-10-05. Times, 1989, sec. The Arts.

[21] Charters, Samuel Barclay (1984). Jelly Roll Morton’s Last Night at the Jungle Inn: An Imaginary Memoir. Marion Boyars. ISBN 0-7145-2805-6. 12 External links

[22] “Cornet Man Lyrics”. MetroLyrics. Retrieved 27 January • Ferd 'Jelly Roll' Morton 2015. • Genealogy of Jelly Roll Morton [23] Gates, Jerry (2011-02-16). “Chord Symbols As We Know Them Today – Where Did They Come From?". Berklee • Ferd Joseph Morton WWI Draft Registration Card College of Music. Retrieved 2013-10-13. and essay 6 12 EXTERNAL LINKS

• Jelly Roll Morton on RedHotJazz.com; biography with audio files of many of Morton’s historic record- ings

• Mister Jelly Roll, complete 1950 book by Alan Lo- max; chronicles the early days of jazz and one of its main developers • Free scores by Jelly Roll Morton at the International Music Score Library Project • Jelly Roll Morton at Find a Grave 7

13 Text and image sources, contributors, and licenses

13.1 Text

• Jelly Roll Morton Source: https://en.wikipedia.org/wiki/Jelly_Roll_Morton?oldid=686041273 Contributors: Mav, Ortolan88, Ben- Zin~enwiki, Jazz77, Infrogmation, Wapcaplet, Karada, Rossami, Theamer, Bookman~enwiki, RodC, Wik, Chuunen Baka, Bearcat, Jack- ofOz, Lupo, Oobopshark, DocWatson42, Alan W, BenFrantzDale, No Guru, Jorge Stolfi, Ferdinand Pienaar, Gyrofrog, LucasVB, Mis- fitToys, DragonflySixtyseven, Ganymead, Cab88, Skatejunkie, D6, Discospinster, Rich Farmbrough, Autiger, Dave souza, Flapdragon, CanisRufus, Shanes, RoyBoy, Dralwik, Martey, Superking, Cyrillic, Nsaa, Echuck215, Fawcett5, BanyanTree, SidP, Saga City, Richard Arthur Norton (1958- ), David Foster, Woohookitty, Camw, Jpers36, John Cardinal, MrDarcy, Cbustapeck, Bbatsell, SDC, DocRuby, Kb- dank71, Ted Wilkes, Canderson7, Rjwilmsi, Mayumashu, Mick gold, FlaBot, SchuminWeb, Crazycomputers, Gurch, Nicapicella, Srleffler, DVdm, AllyD, UkPaolo, TexasAndroid, Angus Lepper, RussBot, Gaius Cornelius, Havok, Wimt, Anomalocaris, TheGrappler, MosheA, NawlinWiki, Bachrach44, Kisch, FritzG, Welsh, Cholmes75, T, BOT-Superzerocool, DeadEyeArrow, Calvin08, [email protected], Peter, Kevin, T. Anthony, Andreuso, Algae, Crystallina, SmackBot, Dweller, Aim Here, DCGeist, Stepa, Zyxw, Xaosflux, Gilliam, Portillo, Hmains, Skizzik, Hraefen, Qtoktok, Amsibert, Dustimagic, Dr. Shaggeman, Can't sleep, clown will eat me, OrphanBot, Lu- cas gonze, Rrburke, Rsm99833, Addshore, DIDouglass, Khoikhoi, Tapered, Bigturtle, Derek R Bullamore, SashatoBot, Ser Amantio di Nicolao, Nareek, JzG, John, Rigadoun, Coastergeekperson04, Javit, Rizzleboffin, MarkSutton, Mr Stephen, Oscar O Oscar, Joelgl- ogowski, RMHED, LaMenta3, Eastfrisian, Aaronp808, Impy4ever, Majora4, Billy Hathorn, Tawkerbot2, Dlohcierekim, Pithecanthro- pus, HennessyC, Laonikoss, Markjoseph125, CmdrObot, KyraVixen, Drinibot, Lookingforgroup, Cydebot, Ryan, NorthernThunder, Thijs!bot, Epbr123, Pajz, BoffoHijinx, Marek69, James086, JustAGal, Grayshi, CamperStrike, Rees11, Chubbles, Baltimorecreole, Tjmayerinsf, Jessiejames, Sluzzelin, Dogru144, Jazzeur, Hut 8.5, Rag-time4, Cdg1072, Ain'tshesweet, Bongwarrior, VoABot II, Ed- ward Tambling, Waacstats, Misterkennedy~enwiki, Allstarecho, Spellmaster, Matt B., Kraxler, Turtlens, Xtifr, MartinBot, PadmeAmi- dala, Mschel, CommonsDelinker, Frontstcorner, Tgeairn, Gypsywalker, Paranomia, J.delanoy, 72Dino, Lhynard, Mind meal, AntiSpam- Bot, GS3, Migrated, Sarregouset, Wikieditor06, Hugo999, VolkovBot, FIRSTTeam2037, SherlockNash, Usernodunno, Philip Trueman, Steptb, Technopat, Qxz, Clarince63, Room429, Jelllyroll, Eulalie Écho, Tomaxer, Msw1002, Insanity Incarnate, Qworty, Munci, Cap- tain crooke, WereSpielChequers, Proscript, Calabraxthis, Keilana, Flyer22, GoldknightX, Steven Crossin, ELNUMERO1, Polbot, Ku- mioko (renamed), Monrovia, Struway2, Barkjon, ImageRemovalBot, Leahtwosaints, ClueBot, Binksternet, GorillaWarfare, Scottfan1, The Thing That Should Not Be, Drmies, MilesTrane21, TheOldJacobite, Boing! said Zebedee, CounterVandalismBot, Niceguyedc, Parkwells, Excirial, Quercus basaseachicensis, Jusdafax, O'connellj, SlickVicar, Stepheng3, Subash.chandran007, Markjmarkj, NERIC- Security, DumZiBoT, Helixweb, XLinkBot, SilvonenBot, Éovart Caçeir, Tim010987, EllisonCE, Addbot, Some jerk on the Internet, Jafeluv, Ronhjones, D.c.camero, 5 albert square, Aktsu, JumpBuckyJump, Tassedethe, Tide rolls, Lightbot, Mind abuse, Legobot, Luckas- bot, Yobot, Legobot II, Juliancolton Alternative, AnomieBOT, Morahman7vn, Ojorojo, IRP, Chris1000x, Vicnyc, Xqbot, Frosted14, Om- nipaedista, Belgianpride07, Piquant00, Shadowjams, BoomerAB, Redsox09, Pfart23, LAmusiclover, Singingdaisies, I dream of horses, Tinton5, Skyerise, RedBot, Mcduber, Tim1357, Kgrad, 3centsoap, R4Dt, BrownPK, Catinator, Archer27, Reaper Eternal, Joeweir38, Alansafe5, RjwilmsiBot, Ripchip Bot, Bossanoven, VernoWhitney, Look2See1, Tommy2010, BurtAlert, Dr clave, 369796far, Stanleytux, Spicemix, ClueBot NG, CactusBot, Iiii I I I, Masssly, Widr, Helpful Pixie Bot, Vitaliy haritonov, BG19bot, Freespacegalateus, United7471, MusikAnimal, Pehlavoon, Insidiae, MathewTownsend, Liam987, Tinmoran, Cyberbot II, Garydaigle, Neander123, Pwnagedude0046, Onemorekaty, Makecat-bot, VIAFbot, Faizan, EddieHugh, EvergreenFir, WIKILYM, Puckottini, Param Mudgal, Charge2charge, Jacky- low123, Comm12scucomm12scu, TheQ Editor, Yajie Fu, Emeraldpearl, Rtraffanti, StewdioMACK, DickMyBae, RanDumber, KasparBot and Anonymous: 413

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• File:Audio_a.svg Source: https://upload.wikimedia.org/wikipedia/commons/2/2b/Audio_a.svg License: Public domain Contributors: • 'A'_(PSF).png Original artist: 'A'_(PSF).png: Pearson Scott Foresman • File:Commons-logo.svg Source: https://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: ? Contributors: ? Original artist: ? • File:Gnome-mime-sound-openclipart.svg Source: https://upload.wikimedia.org/wikipedia/commons/8/87/ Gnome-mime-sound-openclipart.svg License: Public domain Contributors: Own work. Based on File:Gnome-mime-audio-openclipart. svg, which is public domain. Original artist: User:Eubulides • File:Jelly_Roll_Blues_1915.jpg Source: https://upload.wikimedia.org/wikipedia/commons/8/8b/Jelly_Roll_Blues_1915.jpg License: Public domain Contributors: JELLY ROLL MORTON - ON THE ROAD. Retrieved on 2007-10-22. Original artist: Publisher: Will Rossiter • File:Morton-Tiger_Rag.ogg Source: https://upload.wikimedia.org/wikipedia/en/b/b4/Morton-Tiger_Rag.ogg License: Fair use Contrib- utors: ? Original artist: ? • File:MortonBricktopRowCropMortonFace.jpg Source: https://upload.wikimedia.org/wikipedia/commons/3/35/ MortonBricktopRowCropMortonFace.jpg License: Public domain Contributors: Photograph from 1917 or 1918, scanned from reprint in book “Oh, Mister Jelly” by William Russell, JazzMedia Aps, 1999 Original artist: Photographer not credited. • File:Text_document_with_red_question_mark.svg Source: https://upload.wikimedia.org/wikipedia/commons/a/a4/Text_document_ with_red_question_mark.svg License: Public domain Contributors: Created by bdesham with Inkscape; based upon Text-x-generic.svg from the Tango project. Original artist: Benjamin D. Esham (bdesham)

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