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The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr. -
Classical Studies. He Played In\^ Fraternity Band at College. He
WILLIAM RUSSELL also ptesent; August 31, 1962 Reel I-Digest-Retype William R. Hogan 1L Paul R. Crawford First Proofreading: Alma D. Williams William Russell was born February 26, 1905, in Canton, Missouri, on the Mississippi River. His first impressive musical experiences were hearing tlie calliopes on the excursion and show boats which ^ came to and by Canton. He first wanted to play bass drum when lie heard the orchestra in his Sunday School, but he began playing violin when he was ten. His real name is Russell William Wagner. In about 1929 Tne began writing music; Henry Cowell published some of his music in 1933 and WR decided the use of the name Wagner 6n music would be about equal to writing a play and signing it Henry [or Jack or Frank, etc,] Shalcespeare, so he changed his name for that professional reason. His parents are of German ancestry. His father had a zither, which WR and a brother used for playing at .r concerts a la Chautauqua. He remembers hearing Negro bands on the boats playing good jazz as early as 1917 or 1915, and he was fascinated by it, although he felt jazz might contaminate his classical studies. He played in\^ fraternity band at college. He y studied chemistry at college although his main interest was music, He went to Chicago to continue studying music in 1924, and he says 1^e didn't have sense enough to go to the places where King Oliver/ the New Orleans Rhythm Kings, and others were playing then, and he has since regretted that. -
A Researcher's View on New Orleans Jazz History
2 TABLE OF CONTENTS Introduction 6 Format 6 New Orleans Jazz 7 Brass & String Bands 8 Ragtime 11 Combining Influences 12 Party Atmosphere 12 Dance Music 13 History-Jazz Museum 15 Index of Jazz Museum 17 Instruments First Room 19 Mural - First Room 20 People and Places 21 Cigar maker, Fireman 21 Physician, Blacksmith 21 New Orleans City Map 22 The People Uptown, Downtown, 23 Lakefront, Carrollton 23 The Places: 24 Advertisement 25 Music on the Lake 26 Bandstand at Spanish Fort 26 Smokey Mary 26 Milneburg 27 Spanish Fort Amusement Park 28 Superior Orchestra 28 Rhythm Kings 28 "Sharkey" Bonano 30 Fate Marable's Orchestra 31 Louis Armstrong 31 Buddy Bolden 32 Jack Laine's Band 32 Jelly Roll Morton's Band 33 Music In The Streets 33 Black Influences 35 Congo Square 36 Spirituals 38 Spasm Bands 40 Minstrels 42 Dance Orchestras 49 Dance Halls 50 Dance and Jazz 51 3 Musical Melting Pot-Cotton CentennialExposition 53 Mexican Band 54 Louisiana Day-Exposition 55 Spanish American War 55 Edison Phonograph 57 Jazz Chart Text 58 Jazz Research 60 Jazz Chart (between 56-57) Gottschalk 61 Opera 63 French Opera House 64 Rag 68 Stomps 71 Marching Bands 72 Robichaux, John 77 Laine, "Papa" Jack 80 Storyville 82 Morton, Jelly Roll 86 Bolden, Buddy 88 What is Jazz? 91 Jazz Interpretation 92 Jazz Improvising 93 Syncopation 97 What is Jazz Chart 97 Keeping the Rhythm 99 Banjo 100 Violin 100 Time Keepers 101 String Bass 101 Heartbeat of the Band 102 Voice of Band (trb.,cornet) 104 Filling In Front Line (cl. -
![Atkins (A Veteran of [World War I?],[See Notes on His](https://docslib.b-cdn.net/cover/7772/atkins-a-veteran-of-world-war-i-see-notes-on-his-2197772.webp)
Atkins (A Veteran of [World War I?],[See Notes on His
HAMILTON, CHARLIE 1 Reel I [of 3] March 21j 1965 Also present: William Russell Charles Joseph Hamilton was born April ?8, 1904 in Ama, Louisiana, which is located on the west-side of the [Mississippi] River between West Kenner and Lulingj Ama is abou-b in or I? miles nearer ^Tew Orleans -fchan .^ Hahnville, the parish seat of [st. Charles] Parish, where Ama is located. CH's father was s clarinetist who played with a T^rass band in the area; Professor Jim Humphrey, grandfather of Percy [, Willle J-, and Earl] Humphrey, taught the band. Thelfa-bher told CH of men he played with, including Eddie Atkins [trombone]. whose home was Ama; A-fckins is buried there, Eddi e Atkins (a veteran of [World War I?],[see notes on his tombstone (in ANOJ?) RBA], had a brother named Freddie A-bklns who aspired to play drums, but he gave it up; Freddie new collects for -bhe Good Ci-bizens Insurance Company in New Orleans. A younger brother of Eddie was Garrett Atkins., who was a cooler; when he was about 20 years old, he came to N. 0. and became the chauffeur for Mrs. Edgar B. Stern; Gerrett died about 2 years ago. There 15 also a sister, married to Joe Bennett; the sister now lives in N. 0., and CH thinks she is the only surviving A-bkins [Cf. above] sibling, CH's mother, from Edgard, In S-fc. John [the Baptist] Parish, played piano. When CH was five or six years oldy the father moved the family to N. -
![F"Si-Mmr^ - ^^ January 6, 1959 Also Present: William Russell [Compare WR's Note on BJ]](https://docslib.b-cdn.net/cover/5011/f-si-mmr-january-6-1959-also-present-william-russell-compare-wrs-note-on-bj-2435011.webp)
F"Si-Mmr^ - ^^ January 6, 1959 Also Present: William Russell [Compare WR's Note on BJ]
* 1 f"Si-MMr^ - ^^ January 6, 1959 Also present: William Russell [Compare WR's note on BJ] Maude Balque Johnson was born August 21, 1908, in New Iberia, \ Louisiana. She thinks her father, John Balque, was the uncle of the father of George Baquet [sic], clarinetist. The Baquets lived in New Orleans, but all of them [Balques and Baquets?] originally came from Opelousas [La.]. MJ's sister, Georgia Balque Dickson [spelling?] is still living, in New Iberia, as is Georgia's husband, "Candy" Dickson. "Candy" [apparently has been ill] is doing pretty well/ can talk* M*T met Bunk Johnson [her husband, deceased] through"Candy"? MJ and family were living in Lake Charles, Louisiana in 1929 (she thinks as there was high water in New Fberia in 1927, and they had moved to Lake Charles); MJ would attend dances; she met Bunk at one of them, where be was playing with Tony Babin's "band, the first group he joined in Lake Charles- Bun:k had just come from Electra, Texas, Where he '. had been working at an undertaking place. Bunk got "Candy" Dickson, an old friend, to introduce him to MJ; Bunlc got MJ to launder some shirts for him; he liked her work so well that he continued his courting. MJ and family moved back to New Iberia in 1932, and MJ and Bunk were married after they arrived there. Bunk was with tile Babin band about 1 1/2 years? he played 2nd trumpet in that group; Charlie "something" [Secou?, Seger?] was playing 1st trumpet; Nellie Lutcher's father. -
ROY HAYNES NEA Jazz Master (1995)
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ROY HAYNES NEA Jazz Master (1995) Interviewee: Roy Haynes (March 13, 1925 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: May 15th, 1994 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 79 pp. Haynes: Can I swear on this? Brown: You can say whatever you like. Haynes: Damn, they’ll bleep it out. Brown: Today is May 15th, 1994. This is the Smithsonian Institution Jazz Oral History Program interview with Roy Haynes in his home in Roosevelt, Long Island, New York. Mr. Haynes, if we could start by you stating your full name, your birth date, and place of birth, please. Haynes: Roy Owen Haynes, Boston, Massachusetts, March 13th, 1925. Brown: If you could tell us your father’s full name, your mother’s full name. Haynes: My father was Gus Haynes. My mother was – her maiden name was Payne – Edna Gertrude Payne. Brown: P-a-y-n-e? For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Haynes: P-a-y-n-e. Brown: Where were they from? Haynes: They were from Barbados. Brown: Were they married in Barbados? Haynes: They were married in Barbados. Brown: What city in Barbados were they from? Haynes: What city? I think Barbados is the city. I think they call them parish – I think St. John. Brown: Your siblings, and their names? Haynes: Douglas Haynes. That was the oldest brother. -
William Russell: Jazz Lover, Collector, and Musicologist an Annotated Bibliography
William Russell: Jazz Lover, Collector, Musicologist An Annotated Bibliography Ben Wagner Born Russell William Wagner in 1905, William (Bill) Russell was a violinist; an avant-garde composer deeply interested in percussion; accompanist to a touring puppet troupe; a meticulous musical-instrument repairman; a jazz-record producer; an archivist; a writer; and, above all, a New Orleans jazz collector of extraordinary breadth. More than anything else, he simply loved classic New Orleans–style jazz, which he called the “best music I’d ever heard.”1 He sought out obscure, old-time jazz players and was instrumental in the revival of the career of Bunk Johnson. Russell privately showed many kindnesses to jazz musicians down on their luck, encouraging their careers. In an age of segregation, Russell had many close associations with African Americans, organizing recording sessions in houses and rented halls because blacks were not allowed in New Orleans recording studios, nor could they play openly with white musicians. He did much to document and advocate New Orleans as the true birthplace of jazz. Although there were some inaccuracies in his early writings—and the debate continues about the many-faceted origins of American jazz—Russell’s overall analysis has stood up well against later scholarship. He certainly was one of the first to note the importance of place in the development of jazz. From the early 1930s to the end of his life, Russell acquired and documented anything he could find related to jazz: oral-history recordings and transcripts, jam-session recordings, musical instruments, photographs, programs, postcards, ads, city guidebooks, correspondence, sheet music, magazines. -
Blues and Boogie Woogie Style
ELI H. NEWBERGER ARCHETYPES AND ANTECEDENTS OF PIANO BLUES AND BOOGIE WOOGIE STYLE Jazz is essentially an improvised music; it is simultaneously composed and performed. "Style" in jazz implies qualities of both composition and performance. "Idiom," "structure," "phrasing," and "tech- nique" are aspects of style, and a study of various jazz styles contrasts musical " personalities" in the fullest sense. The jazz piano is as old as jazz, and there have been as many jazz piano styles as there have been jazz pianists. Some , however , seem to show particular originality and imagination, and their work has been of influence. The piano blues stylists to whom one can look as archetypes for the piano blues and boogie-woogie school share these attributes. In general, the performers represented here exhibit an impressive technical command of the piano. This is not a prime requisite for the effective use of the instrument in jazz , however. For that reason , Cripple Clarence Lofton is present, while, for instance, Jose Iturbi is not. To capture a sense of style, and to demonstrate the characteristic features of this school of jazz pianism , each of the artists discussed in this article is represented by a typical 12-bar blues improvisation. Principal conceptual and methodologic issues pertaining to the tran- scription and notation of these choruses are reviewed in a previous study. 1 As did ragtime, piano blues and boogie-woogie derived from many sources. But where ragtime shows in its notated music and its mannered style the manifest influence of nineteenth century European and Ameri- Eli H. Newberger is writing several articles as part of a larger study on the evolution of jazz piano styles. -
Chronological Discography
Chronological Discography arranger g guitar as alto saxophone 0 pipe organ bb brass bass (sousaphone/tuba) p piano bj banjo ss soprano saxophone bs baritone saxophone t trumpet c comet tb trombone cl clarinet ts tenor saxophone d drums v vocals db double bass vib vibraphone dir director vn violin f flute This chronological list contains most known releases on which Danny Barker plays and sings. Titles are given as they appear on the record labels. Where possible, the first issue number is given, but the complexity of subsequent reissues is such that these are not shown. In preparing the list much use has been made of the works cited in the acknowledgment section as well as Stagg and Crump: New Orleans: the Revival (Dublin, 1973). 1931 Ward Pinkett (t, v); Albert Nicholas (cO; Jack Russin (p); Danny ]une9 NewYork Barker(g);Joe Watts (db); Sam Weiss (d) Dave's Harlem Highlights 95337-1 Everything is okey-dokey (WP:v) Bluebird B-6144 Dave Nelson (1, v); Clarence Brereton (t); Melvin Herbert/Harry 95338-1 I'm on a see-saw (WP:v) Bluebird B-6130 Brown (t); Wilbur de Paris (tb); Buster Bailey (cl, as); Glyn Paque (cl, 95339-1 Red sails in the sunset (WP:v) Bluebird B-6131 as); Charles Frazier (ts); Wtryman Caroer (ts, f); Sam Allen (p); 95340-1 Tender is the night (WP:v) Bluebird B-6131 •Danny Barker (bj); Simon Marrero (bb); Gerald Hobson (iii 95341-1 I'mpaintingthetownred 69905-1 Somebody stole my gal Timely Tunes C-1587 (to hide a heart that's blue) Bluebird B-6130 69906-1 Rockin' Chair Timely Tunes C-1576 95342-1 Tap Room Special (Panama) Bluebird B-6193 69907-2 Loveless Love Timely Tunes C-1577 69908-2 St. -
19. Traditional Jazz
19. Traditional Jazz uring the far-ranging jazz style experiments in the 1960s, jazz became more complex, more D fragmented and in some ways more exclusive. Some longtime jazz fans, who were turned off by such artists as Albert Ayler and Cecil Taylor, said the new forms ofjazz were creating an esoteric art reserved for only a few hip insiders, not the popular art form they had known in earlier years. Buddy DeFranco, who was leading the Glenn Miller ghost band at the time, and was a highly regarded bop clarinetist, said, "The more harmonically developed you get, the further away from the audience you're going to get and then, all ofa sudden, you have just a select few." But there were some musicians and listeners who Louisiana State Museum related the appreciation of jazz to the appreciation of Bunk Johnson (in back row with comet) posing classical music. They believed good music is timeless with the Superior Orchestra in 1910 regardless of the latest fads. The experiments of the the raucous Original Dixieland Jazz Band recordings, 1960s prompted some longtime jazz fans to revert to the were released September 17 by Delta Records in an roots ofthe music, just as others had done in the 1940s album of four 78 rpm records that sold for $6. The when the great popularity of the swing bands had records caused a sensation and triggered new interest in transformed jazz from an off-beat novelty into a serious earlyjazz and prompted further searches for the origins art form and research into the history ofjazz began. -
Mss 520 the William Russell Photographic Collection 1899-1992 Ca
Mss 520 The William Russell Photographic Collection 1899-1992 Ca. 6200 items Scope and Content Note: The William Russell Photographic Collection spans almost a century of jazz history, from Buddy Bolden’s band to the George Lewis Trio to the New Orleans Ragtime Orchestra. It is also a valuable resource in other areas of New Orleans cultural history. It includes photographs, both ones Russell took and those taken by others. Russell was interested in a complete documentation of jazz and the world it grew out of. He collected early photographs of some of the first performers of what became jazz, such as Emile Lacoume’s Spasm Band, and took photographs (or asked others to do so) of performers he met between 1939 and his death in 1992. These photographs show the musicians performing at Preservation Hall or in concert, marching in parades or jazz funerals, and at home with family and pets. He was also interested in jazz landmarks, and kept lists of places he wanted to photograph, the dance halls, nightclubs and other venues where jazz was first performed, the homes of early jazz musicians such as Buddy Bolden, and other places associated with the musicians, such as the site of New Orleans University, an African-American school which Bunk Johnson claimed as his alma mater. He took his own photographs of these places, and lent the lists to visiting jazz fans, who gave him copies of the photographs they took. Many of these locations, particularly those in Storyville, have since been torn down or altered. After Economy Hall was badly damaged in hurricane Betsy and San Jacinto Hall in a fire, Russell went back and photographed the ruins. -
How Jazz Musicians Develop a Unique Voice Within Academia
THE SHAPE OF JAZZ EDUCATION TO COME: HOW JAZZ MUSICIANS DEVELOP A UNIQUE VOICE WITHIN ACADEMIA by Jonathan I. Goldman Department of Music Research, Music Education McGill University, Montreal April 2010 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of MASTER OF ARTS © Jonathan Goldman 2010 Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-68369-9 Our file Notre référence ISBN: 978-0-494-68369-9 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L’auteur conserve la propriété du droit d’auteur ownership and moral rights in this et des droits moraux qui protège cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation.