DOCSLIB.ORG

Morgenstern, Dan. [Record Review: the Original Dixieland Jazz Band

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Morgenstern, Dan. [Record Review: the Original Dixieland Jazz Band ·J 7-9, 1968, :liust a little more than a month bined and unsuspected powers of the dance music of the period, there is an before Mo~tgomery'~ death at th~ age of phonograph, press agentry arid a "strange" enormous difference. 45. They tj!present1 his final recordmgs and new music catapulted the band ..to fame. , That difference is chiefly based in the like everydhing the guitarist put his hand Though the sobriquet "Inventor$· of Jazz" rhythm-two-beat, yes; jerky, yes, but to, are marked11 wit h taste, restramt,. a fi ne- was hyperbole, they were the first popu­ much more lively. and rousing than the ly honed f elodicism and rhythmic sense, larizers of the music and of the term, stiff, metronomic · beat of · one-steps and · and of col~irse the distinctive touch of the initially speHed "jass." most ragtime-but also in the exuberance master sty ist that Montgomery so patently After nearly 52 years, what does their and energy generated by the five-piece en­ was. It's a.Ithoroughly ingratiating program music sound like? Though the primitive semble with its prototypical cornet-trom­ of what lu(s come to be called "mood jazz", acoustic recording process does not fully bone-clarinet front line. an idiom!i/to which ·the guitarist was· in­ convey what the band must have been like La Rocca, trombonist Edwards and clar­ creasingly . drawn in his· later years af!d in person, · a fairly accurate portrait in inetist Shields were all well versed in the through t e mastery of ·which he attained sound does emerge, especially since this collective ensemble ·style that already was phenome al, deserved popular acceptance. LP brings 1 out all there is to get from the a tradition in their native New Orleans, This al 1 um is very much on a· par with ancient records. To the unschooled ear, and pianist Ragas and drummer Sbarbaro earlier 6ntgomery efforts in the genre, the musici sounds jerky, shrill, crude and (later Spargo) knew exactly how to back starting '1th his recordings on the Verve perhaps closer to marching .music than to them properly. The routines were well label an I continuing with the previous anything ,now thought of as jazz. Yet, if .worked out. These young men were not, . A&M col · borations with orchestrator Don one is at all •familiar with other popular as their publicity had it, some new species Sebesky ; ho did the charts for this al­ ,,,,,,,,,.,.,, bum as ell), A Day in the Life (3006) ' 'I ' , \ I \ I \ \ \ f I f ' I I and Dow Here on t/ze Ground (3001). It pro-duce (pr -doos', pr -dus'); produere; pro-, forward+ ducere, is not, st1 ctly speaking, a jazz al!¥1m,, but the pulse and the flavor of jazz color it to lead, to draw. 1. to bring to view. 2. to bear; bring forth; I distinctiv y. With Montgomery as ·soloist ,,- creflte; yield. 3. to cause; give rise to. 4 to get ready and present. -even ;pe largely restricted to simple melodic ftatements and variations that 5. ip. geometry to extend ( a line or p_lane). 6. to bring forth and 1 ' never st · y very far from them-they ~- . extend, lead forward (as an ESP artist). '- would h e to, of course: the man was a zman. He couldn't play uninter­ . he wanted to. Time and time :ughout this collection his supple sense of '.hythm, his choice and placement of notes ; his touch and tone raise what might ·h, , e been in lesser hands merely mundan to the plane of something special, distinctiv , masterful. Sebesk 's ·arrangements are g·enerally ex­ cellent, · aming Montgomery's contribu­ tions ha somely, and moving easily from the stand rd lush kind of backdrop one ex­ pects of i his idiom to .the baroqueish or­ chestra~i9 s that enhance Greensleeves, Yesterda-y, aiia\}.Scarborough Fair. Sebesky is facile I nougli to 0ring them off fairly well, tho gh he occasionally veers uncom­ fortably ,I ose to bathos. 1 While ontgomery's place m Jazz his- ESP I ARTISTS are domposers performing their own works,, arned through his early record­ jazz recordings-his talent was and I every ESP ARTIST has ful I control of his recording, ing enough to enable him to take and I he ,alone deddes whether 'his rec_ord is suitable for irements of "commercial" music cute it '«ith-utter elan, unerring relebse. Write for FREE catalogue to ESP-DISK',LTD., taste, m icianship, cfndtrue distinction. 156 -j5th Avenue, New York, N .Y. 10010, Dept. DB This albu is a model of its type. All hail I Wes Mori gomery. We'll not see his like again. \ · -Welding ~«~- 1--·fl,r-- Summer Jazz Clinics Doc Severinsen: "Don't miss the chance to work ..with Original '~ixieland Jazz B-and the best jazz faculty I've seen. An exciting week." THE OR GINA DIXIELAND JAZZ BAND -RCA Vi ~tor L}V-547: Livery Stable Blues; I .. - Dixie ]dss ~and One Ste/1; Tiger Rag,· Sensation Rag; Clarinet Marmalade-· Blues: Lazy Daddy,· 111th Great Season ... Home Aga1), Blues; Margie; Palesteena: Broad­ Now on 5 Campuses! Mail Today! way .Rose; ~_;arnyard Blues; Oritdnal Dixielancl I r- .-------- _--7 One Ste/1; 'iKer Rag; Skeleton Jangle; Clarinet MILLIKEN UNIV~ (Decatur, ILL.) National Stage Band Camps, Inc. · 1 I Marmalade/; Bluin' the Blues. * I August 10-16, 1969 I Box 221, South Bend, Indiana 46624 I'ersonnelj 1 Tracks 1.-6 (1917-18): Nick [a Rocca, cornet; Jfrldie Edwards, trombone; -Larry * SACRAMENTO STATE COLLEGE (Cal.) I Please rush application form and free bro- I Shidds, clar,jnet: Henry Ragas, piano; Tony Sbar­ I August 10-16, 1969 baro, drurtls, Tracks 7-10 0920-21) : Dennie j chur~ on the 1969 SUMMER JAZZ CLINICS. I Krueger, al#o saxophone added; J. Russell Rob­ * UNIV. OF CONNECTICUT (Storrs) j D Also send Music Educators pr_ogram. I inmn rcpl;icts Hag;rn. Tracks 12-16 (1936): Krue­ ; August 17-23, · 1969 ger out; unknown bass added. I Name------'----------- I * UNIV. OF UTAH (Sait Lake City) I Street _____________ I '': Rating: * * * * August 17-23, 1969 The OI))JB, as every student of jazz I City ______ Stale ___ Zip -- I knows, m~de the first jazz records in early * UNIV. OF WASHINGTON (Seattle) i August 24-30, 1969 I Age ___ Instrument -------J l 91.7 and ii bGcame a sensation. The com- ~---------~--------------------- January 9 D 25 of/ musical primitives, but rather, by the no bassist has been listed. in any discog­ standards of the day, accomplished pro­ raphy, nor is his presence hinted at in the fe~sionals-several cuts above the imita­ notes to this album. He was probably tors that almost instantly. sprang up· in Harry Barth, who worked with the band their wake. in public. This confirms my long-standing In contemporary terms, none of the men suspicion that traditional jazz discographers except Shields ahd Spargo were really im­ have tin ears.) . provisers. They followed a fairly rigid for- Oveq)faised and ballyhooed at first, then •mula, and (heir music was 'an ensemble neglected and underestimated, the ODJB's music with no solo excursions, as a rule, pioneering records, viewed objectively, except short . breaks. Most of the latter contain enough of musical value to be as­ w~re handled by Shields. sured of a meritorious place in jazz his­ La Rocca played a steady, syncopated tory. They are more than curiosities, and lead, usually sticking close to the melody. it wasn't the ODJB's fault that no authen­ Edwards played a bass line, and did it tic black New Orleans jazz was recorded expertly. His "tailgating" (with its broad until 1921. (Victor tested and rejected the smears and glissandi) may at times sound Original Creole Band in 1918; according clumsy to the modern ear, but his notes· to legend, cornetist Freddie Keppard didn't were perfectly placed. Shields embellished want the band to record because others freely with agility and a liquid tone, pierc­ might "steal their stuff," but an informed ing but not shrill. Ragas, underrecorded, contemporary source denies this, stating supplied a steady vamp and occasional that Keppard merely wanted more money fills, and Spargo used woodblock, cowbelt than Victor was prepared to pay.) cymbals and snare (bass drum did not Be that as it may, the fact remains that record well in those days, but I cqn't agree such Negro dance bands as James Reese that it wasn't used at all, qS. it see~1s clear­ Europe's, Wilbur Sweatman's, and W.C. ly audible at times) to create an intricate Handy's recorded during, after ( and in but steadily propulsive beat, using swinging some cases, befqre) the reign of the ODJB, patterns that still sound fresh. but produced little, if anything;· that can Most of the band's early repertoire was be called· jazz. It was not until King Oliver of their own making, though much of it recorded in 19~3 that jazz substantially certainly was pieced together from tradi­ superior to the' ODJB found its way to tional New Orleans materials, which earli­ wax, Kid Ory's 1921 Sunshine records not­ er jazzmen in turn had borrowed from withstanding. diverse sources (marches, polkas, quad­ Generally, hi$torians have been kindest rilles, etc.). But they put it together well, to Shields, perhaps because his role in the and no doubt Shields and La Rocca also ensemble allowed for the lion's share of had a flair for· original melodies. The first improvisation (he's fine on Lazy Daddy).
Load more

Recommended publications
  • Original Dixieland Jazz Band & "Nick" Larocca of New Orleans, Creator
    Jack "Papa" Laine (Sicilian native George Vitale), Leader of his famous Reliance Brass Military Marching Band of New Orleans. Nick LaRocca was a regular member from 1910 to 1916. Original Dixieland Jazz Band & "Nick" LaRocca of New Orleans, Creator of Jazz Original Dixieland Jazz Band Members Victor release of "Livery Stable Blues" 1917. Victor release of "Dixie Jass Band One-Step" 1917. Original Dixieland Jazz Band - A 1918 promotional postcard showing (from left), drummer Tony Sbarbaro (aka Tony Spargo), trombonist Edwin "Daddy" Edwards, cornetist Dominick James "Nick" LaRocca, clarinetist Larry Shields, and pianist Henry Ragas 1917 Nick LaRocca Bust Courtesy Nick LaRocca Cultural Arts Center in Salaparuta, Sicily Dominic James "Nick" LaRocca Jimmy LaRocca 1889-1961 Continuing the Tradition In 1917, under the leadership of Nick LaRocca, the Original Dixieland Jazz Band (ODJB) made the first jazz recording. This first and many to follow were instant sensational “Hits” that were inspirational and influential beyond imagination. The success of the ODJB recordings was immense and musicians worldwide changed instrumentation to emulate the sound and style they made famous. From 1917 to 1938 they recorded fifty-two 78’s that are still sold today on various CD compilations. (Click on the photo below for a printable 8 X 10.) On February 8, 2006 the Original Dixieland Jazz Band was inducted into the Grammy Hall of Fame for their 1917 recording of the “Darktown Strutter’s Ball.” The ODJB is back in full swing under the direction of the original leader’s son, Jimmy LaRocca, on trumpet and vocals, with a fine ensemble of New Orleans musicians.
    [Show full text]
  • Number 101 • Winter 2003
    Newsletter Association For Recorded Sound Collections Number 101 • Winter 2003 th Philadelphia Hosts 37 ARSC Conference Events th The 37 annual ARSC conference will be held in Philadelphia, on the May 28-31, 2003. 37th Annual ARSC campus of the University of Pennsylvania, May 28-31, 2003. Founded by Conference, Philadelphia, PA. Benjamin Franklin in 1749, the University offered the nation’s first modern http://www.library.upenn.edu/ARSC/ liberal arts curriculum and now supports 4 undergraduate and 12 graduate and professional schools with a total enrollment of over 22,000 students. March 22-25, 2003. 114th 2003 AES Conven- Conference sessions will be held in Houston Hall, located in the center of tion, Amsterdam, The Netherlands. campus. The country’s first student union, Houston Hall was built in 1894 http://www.aes.org/events/114/ and was recently re- April 27, 2003. Mechanical Music stored, opening in Extravaganza, Wayne, New Jersey. 2000 with new stu- http://www.antique-sound.com/MME/show.html dent lounges, reno- vated meeting space, May 23-25, 2003. 23rd International AES and a food court. Conference—Signal processing in audio re- The opening recep- cording and reproduction, Helsinger, Denmark. http://www.aes.org/events/23/ tion will be hosted by the University of June 19-25, 2003. ALA Annual Conference, Pennsylvania Librar- Toronto, Ontario. ies and will be held in http://www.ala.org/events/annual2003/ the Van Pelt-Dietrich Library Center’s June 14-15 28th, 2003. Annual Phonograph Kamin Gallery, where & Music Box Show and Sale, Union, Illinois. University of Pennsylvania Campus.
    [Show full text]
  • The Original Dixieland Jass Band
    The Original Dixieland Jass Band April 1967 organiseerde platenmaatschppij RCA-Victor, voor genodigden, een feestje in het Nieuwe De La Mar Theater in Amsterdam, t.g.v. het uitbrengen van een heruitgave op single (vi- nyl) van de eerste ‘jass’ (lees ‘jazz’) gram- mofoonplaat op 26 februari 1917, met daarop de titels ‘That Teasing Rag’en ’Ori- ginal Dixieland One Step’. Het ongedwon- gen feestje van dit 50- jarige jubileum bleek voor veel Nederlandse jazzmusici en -liefhebbers aanleiding om aanwezig te zijn. Als vaste bezoeker van de Amster- damse Jazzclub ‘De Blokhut’ wilde ik dit beslist niet laten schieten, temeer daar er ook nog een orkest geformeerd was o.l.v. Frithjof Sterrenburg, de onlangs over- leden leider van het roemruchte orkest ‘Charley’s Novelty Orkest The Growths’, dat de nummers van de Original Dixie- land Jass Band (O.D.J.B.) op originele wijze zou gaan vertolken. Het werd een ongedwongen middag en de vele verza- melaars en liefhebbers amuseerden zich kostelijk. Zelf heb ik die middag nog met Een uniek exemplaar uit de Wim Keller collectie. Joop Schrier van de Dutch Swing College gesproken. Na het boekje over de eerste jazzplaat en het bewuste singletje gekregen te heb- ben, verliet ik met een voldaan gevoel het theater, stapte op mijn fiets en toog huiswaarts. Als beginnend liefhebber en grammofoonplaten verzamelaar van jazzmuziek hield ik alle publica- ties over dat onderwep in de gaten en zo had ik ook een uitgave van ‘The Story of the Original Dixieland Jass Band’- met harde kaft - in mijn bezit (een collectors item), geschreven door H.O.
    [Show full text]
  • Finding Aid for the Sheldon Harris Collection (MUM00682)
    University of Mississippi eGrove Archives & Special Collections: Finding Aids Library November 2020 Finding Aid for the Sheldon Harris Collection (MUM00682) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Recommended Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. University of Mississippi Libraries Finding aid for the Sheldon Harris Collection MUM00682 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Biographical Note Creator Scope and Content Note Harris, Sheldon Arrangement Title Administrative Information Sheldon Harris Collection Related Materials Date [inclusive] Controlled Access Headings circa 1834-1998 Collection Inventory Extent Series I. 78s 49.21 Linear feet Series II. Sheet Music General Physical Description note Series III. Photographs 71 boxes (49.21 linear feet) Series IV. Research Files Location: Blues Mixed materials [Boxes] 1-71 Abstract: Collection of recordings, sheet music, photographs and research materials gathered through Sheldon Harris' person collecting and research. Prefered Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi Return to Table of Contents » BIOGRAPHICAL NOTE Born in Cleveland, Ohio, Sheldon Harris was raised and educated in New York City. His interest in jazz and blues began as a record collector in the 1930s. As an after-hours interest, he attended extended jazz and blues history and appreciation classes during the late 1940s at New York University and the New School for Social Research, New York, under the direction of the late Dr.
    [Show full text]
  • Red Hot Songs
    Red Hot Songs 1 2 4 5 A B C D E F G H I J K L M N O P Q R S T U V W Y Z Red Hot Songs - ['] Song Title Artist/Group or Commentary 'Lasses Candy Original Dixieland Jass Band 'Round My Heart Coon Sanders Nighthawks Orchestra 'S Wonderful 'Tain't Clean Boyd Senter Trio http://cij-assoc.com/jazzpages/alphasonglist.html [2003-02-19 00:49:52] The Red Hot Jazz Archive - Songs Red Hot Songs - [1] Song Title Artist/Group or Commentary 1-2-1944 (intro, song - "Valencia") 12-24-1944 (intro, Bing, Pops & The King's Men) 12-28-1938 (intro) 12th Street Blues Anthony Parenti's Famous Melody Boys 12th Street Blues Anthony Parenti's Famous Melody Boys 12th Street Rag Richard M. Jones 18th Street Stomp Fats Waller 18th Street Strut The Five Musical Blackbirds 18th Street Strut The Bennie Moten's Kansas City Orchestra http://cij-assoc.com/jazzpages/Red_Hot_Songs_files/rhsongs/1.html (1 of 2) [2003-02-19 00:50:48] The Red Hot Jazz Archive - Songs 1919 Rag Kid Ory's Creole Orchestra 1943 (Gracie's "Concerto for Scales and Clinker") 19th Street Blues Dodds And Parham http://cij-assoc.com/jazzpages/Red_Hot_Songs_files/rhsongs/1.html (2 of 2) [2003-02-19 00:50:48] The Red Hot Jazz Archive - Songs Red Hot Songs - [2] Song Title Artist/Group or Commentary 29th And Dearborn Johnny Dodds and his Chicago Boys 29th And Dearborn Richard M. Jones' Three Jazz Wizards http://cij-assoc.com/jazzpages/Red_Hot_Songs_files/rhsongs/2.html [2003-02-19 00:51:05] The Red Hot Jazz Archive - Songs Red Hot Songs - [4] Song Title Artist/Group or Commentary 47th Street Stomp Jimmy Bertrand's
    [Show full text]
  • 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.
    [Show full text]
  • Guide to the Martin Williams Collection
    Columbia College Chicago Digital Commons @ Columbia College Chicago CBMR Collection Guides / Finding Aids Center for Black Music Research 2020 Guide to the Martin Williams Collection Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/cmbr_guides Part of the History Commons, and the Music Commons Columbia COLLEGE CHICAGO CENTER FOR BLACK MUSIC RESEARCH COLLECTION The Martin Williams Collection,1945-1992 EXTENT 7 boxes, 3 linear feet COLLECTION SUMMARY Mark Williams was a critic specializing in jazz and American popular culture and the collection includes published articles, unpublished manuscripts, files and correspondence, and music scores of jazz compositions. PROCESSING INFORMATION The collection was processed, and a finding aid created, in 2010. BIOGRAPHICAL NOTE Martin Williams [1924-1992] was born in Richmond Virginia and educated at the University of Virginia (BA 1948), the University of Pennsylvania (MA 1950) and Columbia University. He was a nationally known critic, specializing in jazz and American popular culture. He wrote for major jazz periodicals, especially Down Beat, co-founded The Jazz Review and was the author of numerous books on jazz. His book The Jazz Tradition won the ASCAP-Deems Taylor Award for excellence in music criticism in 1973. From 1971-1981 he directed the Jazz and American Culture Programs at the Smithsonian Institution, where he compiled two widely respected collections of recordings, The Smithsonian Collection of Classic Jazz, and The Smithsonian Collection of Big Band Jazz. His liner notes for the latter won a Grammy Award. SCOPE & CONTENT/COLLECTION DESCRIPTION Martin Williams preferred to retain his writings in their published form: there are many clipped articles but few manuscript drafts of published materials in his files.
    [Show full text]
  • 04 Syncopatin' Modernity Jazz in the Jazz Age.Key
    © Michael J. Kramer Warning: These slides are intended for student reference only. Distributing these slides to others, whether on campus or off, is a violation of Northwestern University’s Academic Integrity Policy. Subject to removal if lecture attendance declines. Syncopatin' Modernity: Jazz In "The Jazz Age" Joe Oliver’s Creole Jazz Band, “Dippermouth Blues” (1923) Scott Joplin b. 1867/8? d. 1917 Dick Hyman, “Maple Leaf Rag” (1989) marching through red light districts? What is modernity? WWI, 1914-1918, US enters 1917 1920: Urban Americans outnumber rural Technology Rise of the phonograph 1877, Edison - 1887 Berliner’s discs 1890s - nickelodeons Columbia Records, 1887 Victor Talking Machine Company, 1901 1902: 12” 78s 1909: 26 million discs & cylinders per year By early 1920s: 100 million per year ! Film/“Talkies” - Radio Standardizations & Mobilities Standardization example: ASCAP - American Society of Composers, Authors, and Publishers, 1914 (Supreme Court case 1917) Mobilities: City, automobile, mass transit, train, airplane Prohibition speakeasies, cabarets, nightclubs — Ragtime, dance crazes, jazz What does it mean to be dehumanized? Or redefine the human? Louis Armstrong & His Hot Five, “West End Blues” (1928) What do you hear? “West End Blues” famous opening credenza starts straight rhythm, then syncopates virtuosic balance in the “grid” of modernity Louis Armstrong b. 1901 d. 1971 James Reese Europe b. 1881 d. 1919 “Castle House Rag” (1914) -fusion of ragtime and Sousa military marching band Original Dixieland Jazz Band “Tiger Rag” (1917) -the pleasure of confusion? Paul Whiteman b. 1890 d. 1967 -changing dance -changing technology, changing music -pop music as “modern” (though it sounds old to us) “Whispering” (1920) Paul Whiteman & the Ambassador Orchestra “Rhapsody in Blue” (1927) written by George Gershwin -fusion of jazz and orchestral “classical” music Duke Ellington b.
    [Show full text]
  • Soundies Research
    Soundies Disc 1 Golden Oldies Opening & © notice Listed in the order they appear on the disc: Del Casino Surrender 1946 Three Suns with Artie Dunn Beyond the Blue Horizon 1944 Emil Coleman with June Barton Gotta Be This or That 1945 Six Hits and a Miss Sweet Sue, Just You 1941 Harry Cool Stardust 1945 Yvonne De Carlo with Spike Jones band Lamp of Memory 1942 Ray Bloch with Carolyn Marsh I Can’t Give You Anything But Love Baby 1941 Seven Sarongs Heaven Help a Sailor 1941 Zarek and Zarina Male Order 1941 3 Car Hops At Your Service 1941 Juvenile Jubilee with Merle Pitt I Don’t Want to Walk W/out You 1942 Thelma White Hollywood Boogie 1946 Andy Iona Orchestra Tropical Swingaroo 1941 Johnny Long and Orchestra Maria Elena 1943 Varios and Vida (dancers) Begin the Beguine 1943 Larry Clinton Semper Fidelis 1943 Johnny Long In a Shanty In Old Shanty Town 1943 Billy MacDonald & His Highlanders Playmates 1944 Jimmy Dorsey Bar Babble 1943 Jimmy Dorsey with Helen O’Connell Man That’s Groovy 1943 Jimmy Dorsey La Rosita 1943 Gene Krupa with Anita O’Day Let Me Off Uptown 1942 Gene Krupa with Anita O’Day Thanks for the Boogie Ride 1942 Al Donahue with Ellen Connor Java Jive 1943 Al Donahue with Phil Brito Lonesome Road 1943 Victor Young Hold That Tiger 1940 Al Donahue Anvil Chorus 1943 Al Donahue with Ellen Connor Jumpin’ at the Juke Box 1943 Will Bradley Boardwalk Boogie 1941 Will Bradley Barnyard Bounce 1941 Johnny Long Boogie Man 1943 Charlie Spivak Hop, Skip and Jump 1942 Johnny Long It Must Be Jelly 1946 Nat King Cole Frim Fram Sauce 1945 Nat King Cole Calypso Girl (?) Mills Brothers Cielito Lindo 1944 Cab Calloway Minnie the Moocher 1942 Soundies Disc 2 All of these are Soundies except the Artie Shaw number from Second Chorus.
    [Show full text]
  • The Recordings
    Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr.
    [Show full text]
  • King Porter Stomp" and the Jazz Tradition* Jazz Historians Have Reinforced and Expanded Morton's Claim and Goodman's Testimony
    JEFFREY MAGEE 23 "King Porter Stomp" and the Jazz Tradition* Jazz historians have reinforced and expanded Morton's claim and Goodman's testimony. The Palomar explosion and its aftershocks have By Jeffrey Magee led some historians to cite it as the birth of the Swing Era, most notably Marshall W. Stearns, who, after tracing jazz's development in 1930-34, could simply assert, "The Swing Era was born on the night of 21 August 1935" (Stearns 1956:211; see echoes of this statement in Erenberg Fletcher won quite a few battles of music with "King Porter Stomp." 1998:3-4, and Giddins 1998:156). Gunther Schuller has called "King And Jelly Roll Morton knew this, and he used to go and say "I made Porter Stomp" one of the "dozen or so major stations in the development Fletcher Henderson." And Fletcher used to laugh . and say "You of jazz in the twenty years between 1926 and 1946" (Schuller 1989:840). did," you know. He wouldn't argue. (Henderson 1975, 1:69) And Goodman's recording, he wrote elsewhere, "was largely responsible for ushering in the Swing Era" (Schuller 1985). One of Morton's many Toward the end of his life in May 1938, Ferdinand "Jelly Roll" Morton recordings of "King Porter Stomp" appeared on the canon-shaping (1890-1941) walked into the Library of Congress's Coolidge Auditorium Smithsonian Collection of Classic Jazz (now out of print), and Henderson's sporting an expensive suit, a gold watch fob and rings, and a diamond- and Goodman's versions may be found on the Smithsonian's Big-Band Jazz studded incisor (Lomax 1993:xvii).
    [Show full text]
  • 234 October 26, L959i Reel I 2218 Constance Street, New Orleans., Louisiana
    234 NICK LAROCCAINTERVIEWS October 26, l959i Reel I r'laoei 2218 Constance Street, New Orleans., Louisiana Voicees HoganJ I 2.35 NICK LAROCCA Reel I Ootober 26; 19$9 [Hogans] My name ia w. R. Hogan. I'm chairman of the History Department at Tulane University. Mr. D. Clive Hare;,-., of Tulane University staff and I are interviewing Mr, Nick LaRocca, the leader of the Original Dixieland Jazz Band. My purpose in coming here to Mr. LaRocoa•a home is to sort of wind up the tape recordings 'Which have been conducted over a period of sane months. Mr. LaRooca has been ill and he has .very kindly gotten up out of a eick bed in order to talk to us. The first questions I have arise out of some inquirl.es that came from a reading of Mr. L~oeca 1 e tape recordings., and the first question has to do with his early life. In his statement about his father he said that hie father spoke four different langua1~s. M;y first question is1 what four languages did he speak? [LaRocoa.i] He spoke German, he spoke French; and Italian and Portuguese. And he had trade with these boats--not boats., they were barksJ they were sailing veeaela. At that time of my early 11.f'e the:ty hadr).1 t no steamships; they had steam boa.ts, but not steamships. The wharfs used to be open. [~:lgam] He needed these languages in bis business. [LaRoocas ) That I e oorreotJ he used 1 t to go and do bu.einess with these people.
    [Show full text]