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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. -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 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]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation 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 Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
EB and Bechet Were Buddies, and They Would Go to Dances, Taking Their
r. * EMILE BARNES 1 Reel I [of 2]-Digest-Retype December 20, 1960 * Also present: William Russell, Ralph Collihs. .\ There is discussion of clarinets and mouthpieces; EB says that he first started playing using a wooden mouthpiece, which he found better than any other kind of mouthpiece; it was stolen, with his clarinet, and he finally became accustomed.to hard-rubber mouth- piecesr which he formerly sandpapered to fit his requirements. RC mentions that Raymond Burke also makes adjustments on his own mouth- pieces* WB says that Professor [Manuel] Manetta had a Buffet clari- net which he got from George Baquet; WR asks EB if he can tell any- thing about B&quet, EB says that Baquet had fire in his playing, that he had a loud tone, played a lot of variations. EB says Sidney Bechet played somewhat like early Baquet [c£. their records] EB tells how Eechet could take his clarinet apart, joint by joint from the bottom, and still play it. EB says that Bechet used to ^ ^ r, -1 f i^ f .-Ji \. "cut hay'\ [perhapsh this means that he would search for someone to 'beat. playing the clarinet], that he would go around to places where there were good clarinetists-like Baquet, [Alphonse] Picou and [Lorenzo] Tio, [Jr,]-[the inference is that Bechet could play better.] EB and Bechet were buddies, and they would go to dances, taking their clarinets in their back pockets, anywhere there was one. EB was about 17 years old at the time, Bechet a little younger; both wore short pants; S^ys Bechet was a'bout 63 [when he died in 1959]. -
The Strutter 2008 - 2011!
“Best•of South•Jersey” The Strutter 2008 - 2011! VOLUME 24 NUMBER 1 Traditional Jazz in the Philadelphia Tri-State Area JULY 2013 OUR NEXT CONCERT will feature material by Armstrong, Oliver, Bechet, New Black Eagles Jazz Band Morton and Ellington as well as other early masters of the form. Tony Pringle is a founding member of the NBEJB. Originally from Liverpool, England, he's been playing cornet in traditional jazz bands since the 1950s. He was with Tommy Sancton's Black Eagle Jazz Band before the NBEJB, the New Climax Jazz Band in Leicester, UK, and the Druids Jazz Band at The Cavern in Liverpool in the early 1960s. The New Black Eagles Jazz Band consists of: Tony Pringle - Cornet, Leader Bob Pilsbury - Piano, Vocals Stan Vincent - Trombone Billy Novick - Clarinet & Reeds Peter Bullis - Banjo Sunday, July 7, 2013 Barry Bockus - Bass 3:30 – 6:00 p.m. C.H. "Pam" Pameijer - Drums Haddonfield Methodist Church You can read more about each musician by visiting 29 Warwick Road our website, “www.tristatejazz.org”. Haddonfield, NJ 08033 This is a “Not to be missed” concert! Directions on Page 7 Please note the later than usual start time for the The New Black Eagles Jazz Band is "in many concert - starting at 3:30 p.m. to accommodate the people's view, the premier traditional jazz band in band’s touring schedule. the world." ~ JAZZTIMES. The New Black Eagles ripped the rafters off at last year’s concert and this Concert Admissions $10 First-time attendees and members year's encore will be at our New Jersey location. -
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. -
Official Souvenir Programme £3.00
Tranquillity starts here Sea Jade is a family run business located in Bude on the North Cornwall coast. It is located in a quiet spot opposite the golf course, with rooms overlooking the fairway, we are still only 2 minutes walk from the centre of Bude. The beautiful child friendly beaches and a large open air seawater pool are only a few minutes walk away from where you can paddle or swim or go further out and enjoy the excellent surfing. Official Souvenir An ideal place to stay during the Bude Jazz Festival. Programme £3.00 GRAND OPENING Bude Area Tourist Board Invite you to Bude Jazz Festival 2014 WOODA FARM JAZZ PICNIC The National Jazz Archive, supported by The National Lottery through the Heritage Lottery Fund, is based in Loughton, Essex, North London and was founded by Digby Fairweather. The BRING YOUR OWN PICNIC patrons include Kenny Ball, Dame Cleo Laine and Sir Michael Park- inson and as their leaflet says, they are “Preserving our Jazz Heritage”. The National Jazz Archive will be present at Bude 2013 with a selection of materials from their collection. They’ll have their back catalogue of Bude ma- terial as well as Jazz publications from the 40s, 50s and 60s. Visit their Archive Exhibition at The Falcon Hotel to handle a wide range of material, journals and see part of their extensive poster collection. We at Bude Jazz 2013 believe the National Jazz Archive is a most worthwhile charity and WINDOW DRESSING COMPETITIOn that jazz aficionados throughout the country should help them to preserve the music we love for all time. -
Sample Library Catalog 2006
AMG | ART VISTA | BARDSTOWN AUDIO | BELA D MEDIA | BEST SERVICE | BIG FISH AUDIO | BOLDER SOUNDS | CKSDE DAN DEAN PRO | DISCOVERY SOUND | EASTWEST | FIXED NOISE | GARRITAN | NATIVE INSTRUMENTS | NUMERICAL SOUND POST MUSICAL INSTRUMENTS | PRECISIONSOUND | SONIC IMPLANTS | SONIC REALITY | SONICCOUTURE | SOUNDLABEL SPIRIT CANYON AUDIO | TAP SPACE | VIENNA SYMPHONIC LIBRARY | ZERO-G SAMPLE LIBRARY CATALOG 2006 ForFor more more information: information: www.native-instruments.com www.native-instruments.com Welcome Welcome to the first sample library catalog for the Native Instruments samplers Kontakt, Battery, Kompakt, and Intakt. This catalog features a huge selection of over 130 professional and award winning sample libraries from various sample developers. You will find anything from Orchestral to Electronic, featuring the best available sample libraries in the world. All libraries are specifically designed for the Native Instruments software samplers Kontakt, Battery, Intakt and Kompakt. Some of these libraries contain special versions of Kompakt, Intakt or Kontakt Player and don´t necessarily need the full version of the sampler. Since 2003, Kontakt has fast become the standard in software sampling. Over 50 companies all over the world chose Kontakt or Battery to be their favourite platform for developing sample libraries and over 100.000 users are currently using the Kontakt engine with Kontakt, Kompakt, Intakt, Battery or Kontakt Player. If you want to know more about the sampler products or sample libraries, please visit the Native -
Summer Jazz Weekend 2018 Friday 6Th - Sunday 8Th July 2018 Friday 6Th - Sunday 8Th July 2018 Friday 6Th - Sunday 8Th July 2018
Summer Jazz Weekend 2018 Summer Jazz Weekend 2018 Summer Jazz Weekend 2018 Friday 6th - Sunday 8th July 2018 Friday 6th - Sunday 8th July 2018 Friday 6th - Sunday 8th July 2018 This will be the eighteenth consecutive Summer Jazz Weekend ENTERTAINMENT PROGRAMME JEREMY HUGGETT’S SWINGZING and it is being is being hosted here at the Langstone Cliff Hotel Friday 6th July - Evening Session - Washington SwingZing captures the Jump, Jive & Swing sounds of the by Jeremy Huggett and his band. Ballroom 40s & 50s including Louis Prima, Louis Jordan, Fats Domino Dinner served - 7.00 to 9.00pm & Nina Simone to name but a few. JEREMY HUGGETT RICHARD LEACH’S 7 STARS OF JAZZ Led by Jeremy Huggett Jeremy’s early musical career saw him receive a number Entertains between 8.30pm and 11.30pm of awards - 1989 he was nominated on saxes & vocals Saturday 7th July - Lunchtime Session - Lincoln the band features the by musicians from the famous “Old Restaurant Duke” in Bristol for a place at Johnny vocal talents of one of Country Buffet Lunch available -1.00 to 2.00pm Dankworth’s Summer School the UK’s rising stars, (Wavendon). In May 1992 he was ROGER MARKS’ BRASS FARTHINGS Sinead McCabe – they invited to guest in concert at the Entertains between 12.30 and 3.00pm are joined by Gethin Colston Hall in Bristol with the US Evening Session - Washington Ballroom Liddington on trumpet/vocals, John Martin on piano/organ, 76th Army Band and in 1993 he Dinner served - 7.00 to 9.00pm Federico Leonori on bass and Eddie John on drums. -
Black Music Research Journal How the Creole
Black Music Research Journal Center for Black Music Research Columbia College Chicago Volume 8, #1 (Spring 1988) How the Creole Band Came to Be By Lawrence Gushee and Harry Carr © 1988 Lawrence Gushee and Harry Carr Reprinted by permission of the Black Music Research Journal All rights reserved HOW THE CREOLE BAND CAME TO BE LAWRENCE GUSHEE In the two years between the spring of 1914 and the spring of 1916, three ragtime bands consisting of New Orleans musicians began to dis- seminate the popular-music performing style of their native city to the country at large. The first of these was the Creole Band, which was or- ganized in Los Angeles and toured in vaudeville and musical comedy for nearly four years. It has been referred to briefly by practically all com- prehensive histories of jazz, almost always with important inaccuracies concerning dates and activities. The sole surviving photograph of the group has often been published, also usually incorrectly dated (see Fig- ure I). The performers you see are, in the front row, drummer Ollie "Dink Johnson, who only worked with the group before it began to tour, leader and violinist James Palao, and guitarist Norwood Williams. Standing in the back row are Edward Vincent, trombonist, often still in- correctly listed as Vinson or Venson, cornetist Freddie Keppard, clarinet- ist George Baquet, and string bassist William Manuel Johnson. The second ragtime group was Brown's Band, which, after working as a unit in New Orleans for approximately three years, had a small success in Chicago, then went on to fail in New York City. -
New Orleans Jazz Tour (#2) Ride the Canal Street/Algiers Point Ferry from the French Quarter Across the Mighty Mississppi River To
NEW ORLEANS JAZZ TOUR (#2) RIDE THE CANAL STREET/ALGIERS POINT FERRY FROM THE FRENCH QUARTER ACROSS THE MIGHTY MISSISSPPI RIVER TO HISTORIC ALGIERS, “THE BROOKLYN OF THE SOUTH” TAKE A FREE SELF-GUIDED WALKING TOUR, AND VISIT THE FORMER HOMES OF ALGIERS’ JAZZ MUSICIANS, THE VENUES THEY PLAYED IN, AND THE ROBERT E. NIMS JAZZ WALK OF FAME, AND GET THE BEST VIEW OF NEW ORLEANS’ SKYLINE COPYRIGHT © 2016, KEVIN HERRIDGE www.risingsunbnb.com Jazz musicians of the 1920s referred to Algiers as “over da river” or the “Brooklyn of the South,” the latter for its proximity to New Orleans as compared to New York and Brooklyn, both separated by a river. This tour straddles the Algiers Point and Algiers Riverview neighborhoods, both integral parts of historic Algiers, and both having a long, rich history of African American, French, Spanish, German, Irish, and Italian/Sicilian residents. This was the site of the slave holding areas, newly arrived from Africa, and the powder magazine of the early 18th century. John McDONOGH, the richest man in New Orleans, lived here. The earliest account of music on the West Bank is to be found here. The Riverview area contains many African American churches, and some have over one hundred-year histories, one of which was the scene in days gone by of the fiery sermons of “Black Billy Sunday,” and many Jazz funerals, held for musicians, and benevolent society members. Several of the local musicians are interred in the nearby St. Bartholomew, St. Mary, and McDonogh cemeteries. Some of the earliest brass bands that influenced the birth of Jazz, including the Pickwick, the Excelsior, and the Pacific, employed Algiers’ musicians. -
Sn ¨Ü8ô,Nidyúäw
120741bk Bechet4 11/12/04 11:14 PM Page 8 The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings. Also available in the Naxos Jazz Legends series 8.120699* 8.120700* 8.120735* 8.120743* 8.120744* 8.120760 * Not available in the USA NAXOS RADIO Over 50 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 120741bk Bechet4 11/12/04 11:13 PM Page 2 SIDNEY BECHET Personnel Vol.4 Tracks 1-2: SIDNEY BECHET AND HIS NEW Tracks 14-16: SIDNEY BECHET with HUMPHREY ‘House Party’ Original Recordings 1943-1952 ORLEANS FEETWARMERS. Sidney Bechet, LYTTLETON & HIS BAND. Sidney Bechet, soprano sax; Vic Dickenson, trombone; Don soprano sax; Humphrey Lyttelton, trumpet; Donaldson, piano; Wilson Myers, bass; Wilbur Keith Christie, trombone; Wally Fawkes, Sidney Bechet had such a direct and passionate appeared on records opposite Louis Armstrong Kirk, drums clarinet; George Webb, piano; Buddy Wallis, tone on the soprano-sax that he was both loved and backing blues singers, in addition to having Tracks 3-4: MEZZROW-BECHET SEPTET. banjo; John Wright, bass; Bernard Seward, and detested by various listeners. Both Duke an unrecorded stint with Duke Ellington’s early Sidney Bechet, soprano sax; Hot Lips Page, drums; Duke Of Iron, vocals on ‘Box Car Shorty’ Ellington and John Coltrane considered him orchestra. -
Eddie Joseph Dawson, "Born in New Orleans
» » f EDDIE DAWSON 1 Reel I [of 2]--Digest--Retype August~Li 11, 1959 Also present: William Russell, Ralph Collins, Manuel Manetta. Eddie Joseph Dawson, "born in New Orleans. Began playing in 1904 [later in reel makes tentative correction to 1903], at Fewclothes [Foucault] Dance Hall, Franklin near Iberville, with O'Neil Levasseur's band. 1905, at Tom Anderson's, Basin and Iber- ville, with [Sam] Moran's [sp?] band. 1907 [later tentatively corrected to 1904]/ at Harry Parker's Dance Hall, Franklin between Iberville and Bienville, Dawson and Manetta's band for 3 [or 4] years . 1910, Billy Phillips'/ Franklin near Iberville, with Cornelius Jackson's band. 1912, at Hunt's and Nagel's Dance :iall/ L iberty near Iberville/ with Joe Oliver's band. 1915, with Chris Kelly. 1918, with Kid Rena. 1921, with Hypolite Charles. [Cf. 'below]- In the first band, Levasseur, a violinist was leader; ED played tenor banjo; ED doesn't remember the names of the players of the other three pieces in the group-piano/ sax and trumpet. ED was born July 24, 1884. None of his family/ or any relatives/ were musical. ED'S first instrunent was guitar, which he "just picked up"; he was 19 or 20 years old c'.t the time. ED played with Kid Clayton and his Happy P?,ls in reconc years, about 7 or 8 years ac^o. ED shows a photocrrapl-i (.'f Claytun's band (in part) r besides .t n II Clnyton and ED, there were Erile Ril&y c^ u it a r and " Jo ck on -1 <_<.