KID ORY Vol. 2
120769bk Kid Ory2 9/6/05 11:51 AM Page 2
1. Maryland, My Maryland 2:41 9. The World’s Jazz Crazy, Lawdy So Am I 16. South Rampart Street Parade 3:25 19. Creole Love Call 3:21 (Traditional) 3:18 (Bob Haggart–Ray Bauduc) (Duke Ellington–Bubber Miley–Rudy Jackson) Crescent 3, mx CRE 1014 (Trixie Smith) Good Time Jazz L-21, mx LKL 61 Good Time Jazz L-21, mx LKL 62 Recorded 8 September 1945 Columbia 37277, mx HCO 2108 Recorded 17 July 1953 Recorded 1 December 1953 2. Down Home Rag 2:51 Recorded 21 October 1946 17. St. James Infirmary 3:15 20. Milenburg Joys 3:12 (Wilbur Sweatman) 10. Creole Bo Bo 2:44 (Joe Primrose) (Jelly Roll Morton) Crescent 4, mx CRE 1015 (Cecile Ory–Edward Ory) Good Time Jazz L-21, mx LKL 61 Good Time Jazz L-21, mx LKL 62 Recorded 8 September 1945 Kid Ory, vocal Recorded 17 July 1953 Recorded 1 December 1953 Columbia 37276, mx HCO 2109-2 3. 1919 Rag 3:04 18. Aunt Hagar’s Blues 2:56 Kid Ory’s Creole Jazz Band Recorded 21 October 1946 (Traditional) (W. C. Handy) All selections recorded in Los Angeles Crescent 4, mx CRE 1013 11. At a Georgia Camp Meeting 3:01 Good Time Jazz L-21, mx LKL 62 Transfers & Production: David Lennick Recorded 8 September 1945 (Kerry Mills) Recorded 1 December 1953 Digital Restoration: Graham Newton 4. Original Dixieland One-Step 2:56 Columbia 38957, mx RHCO 4111 Recorded 27 June 1950 Discographical information courtesy of The Jazz (O. J. LaRocca) Discography by Tom Lord (www.lordisco.com) Crescent 6, mx CRE 1022 12. The Glory of Love 2:38 Recorded 3 November 1945 (Billy Hill) 5. Ory’s Creole Trombone 3:06 Lee Sapphire, vocal Also available in the Naxos Jazz Legends series ... (Edward Ory) Columbia 38955, mx RHCO 4109 Crescent 6, mx CRE 1025 Recorded 27 June 1950 Recorded 3 November 1945 13. Mahogany Hall Stomp 2:55 6. Maple Leaf Rag 3:05 (Spencer Williams) (Scott Joplin) Columbia 38956, mx RHCO 4111 Crescent 8, mx CRE 1023 Recorded 27 June 1950 Recorded 3 November 1945 14. Go Back Where You Stayed Last Night 7. Weary Blues 3:16 3:19 (Artie Matthews) (Ethel Waters–Sidney Easton) Crescent 8, mx CRE 1024 Lee Sapphire & Joe Darensbourg, vocal Recorded 3 November 1945 Columbia 38958, mx RHCO 4127-1 Recorded 6 July 1950 8. Joshua Fit the Battle of Jericho 2:55 8.120587 8.120666 8.120735 15. Yaaka Hula Hickey Dula 3:06 (Traditional) These titles are not for retail sale in the USA Helen Andrews & Bud Scott, vocal (E. Ray Goetz–Joe Young–Pete Wendling) Columbia 37275, mx HCO 2088-2 Columbia 38958, mx RHCO 4129-1 Over 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia Recorded 15 October 1946 Recorded 6 July 1950 NAXOS RADIO www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 5 8.120769 6 8.120769 120769bk Kid Ory2 9/6/05 11:51 AM Page 1
KID ORY wanted to feature an authentic sounding New repertoire of the Original Dixieland Jazz Band Joe Darensbourg was in Bigard and Howard’s section and was arguably the band’s finest Vol. 2 Orleans band during a five-minute slot in each and Ory’s Creole Trombone was one of the two place (filling a similar role) and Ory always soloist. These standards are all given the Kid ‘Ory’s Creole Trombone’ Original Recordings 1945-1953 program. Kid Ory’s name was suggested and numbers recorded by Ory in 1922 and was also played in his own unique style. The band, driven Ory treatment and even though South Rampart since he had regained his former form during a previously recorded by the trombonist with Louis by Buckner, performs joyous versions of At A Street Parade, St. James Infirmary, Aunt Kid Ory was a New Orleans jazz pioneer who was some top New Orleans players with him and stint with clarinettist Barney Bigard’s group, Ory Armstrong’s Hot Five. Maple Leaf Rag was the Georgia Camp Meeting and Mahogany Hall Hagar’s Blues, Duke Ellington’s Creole Love Call considered the most important trombonist in helping to introduce freewheeling jazz to San was enlisted to put together a band. As it turned greatest hit of the ragtime era (and nearly the Stomp, and even tears into the pop song The and Milenburg Joys were recorded many times 1915. As with some of the more fortunate of the Francisco, Los Angeles and Oakland. With Mutt out, the radio show was the perfect launching only rag to become a standard) and Weary Blues Glory Of Love which has a highly expressive through the years, the Ory band made them early New Orleans legends, he survived into the Carey on cornet, Ory recorded two numbers in band for Kid Ory’s Creole Jazz Band for their had been immortalized by Louis Armstrong’s Hot vocal by Lee Sapphire. Later in the year, the sound lively, fresh and just a little unpredictable. 1920s, moved up North and appeared on some 1922 as the leader of a band called Spike’s Seven weekly feature was considered the highlight of Seven, a band that Ory missed playing with. contrast and blend between Buckner and Ory Kid Ory’s Creole Jazz Band continued famous recordings. Unlike most of his Pods Of Pepper Orchestra; these are considered the show. Soon Ory was playing regularly in Los The same edition of the Creole Jazz Band in (who really sings through his horn) during the making enjoyable records into 1961 and the contemporaries, Ory had a very busy later career, the earliest recordings by a black New Orleans Angeles clubs and appearing on records again. 1946 with Barney Bigard succeeding Howard first chorus of Go Back Where You Stayed Last trombonist did not officially retire until he making a full comeback during 1944-45 and jazz band. In 1925 he relocated to Chicago and ‘Ory’s Creole Trombone’ has twenty of Kid performs some unusual material. Joshua Fit The Night before another winning Lee Sapphire vocal moved to Hawaii in 1966. He passed away on leading one of the most popular New Orleans during the remainder of the decade appeared on Ory’s finest recordings of the 1945-53 period. Battle Of Jericho has a very familiar melody is memorable while Yaaka Hula Hickey Dula has 23 January 1973 at the age of 86, one of the jazz groups of the next fifteen years. an impressive assortment of classic recordings in This is very easy music to enjoy, filled with though it has rarely been played in a jazz setting; some percussive slap tongue clarinet by most beloved of the New Orleans jazz pioneers Edward ‘Kid’ Ory was born 25 December such bands as Louis Armstrong’s Hot Five, King colorful ensembles and personable solos. It Helen Andrews and banjoist Bud Scott have the Darensbourg. and one whose music still sounds very much 1886 in La Place, Louisiana. He first started Oliver’s Dixie Syncopators, Johnny Dodds and could be called dixieland, New Orleans jazz or vocals. Blues singer Trixie Smith’s The World’s The final five selections feature the 1953 alive today. playing music on banjo when he was ten, soon Jelly Roll Morton’s Red Hot Peppers. Even after just plain happy high quality music. Jazz Crazy, Lawdy So Am I will sound familiar to version of Ory’s band, with Buckner and clarinet- began doubling on valve trombone and the rise of more modern trombonists, most The first ten selections have Mutt Carey, who dixieland fans for it is the same song as “Ballin’ tist Bob McCracken being strong assets. The Scott Yanow – author of nine jazz books including Jazz eventually settled on the slide trombone. Ory notably Miff Mole and Jack Teagarden, Ory’s was like Ory had come out of retirement, joining his The Jack.” Creole Bo Bo is a childlike tune biggest addition was the great stride pianist Don On Film, Swing, Classic Jazz (on the 1920s), Trumpet visited nearby New Orleans several times early considered the definitive New Orleans style. old boss in the front line. With former Jelly Roll written by Kid Ory and his wife Cecile that has a Ewell, who added a powerful lift to the rhythm Kings and Jazz On Record 1917-76 on, moving to the Crescent City in 1912 when he With the rise of the Depression and the coll- Morton clarinettist Darnell Howard aboard for resemblance to “Mary Had A Little Lamb” but was already 25. He quickly established himself as apse of the recording industry, job opportunities the first seven numbers, the well-integrated band with some extensions and a vocal by Ory in Personnel one of the city’s top bandleaders, heading a began to become scarce after 1930. Ory moved swings hard on Maryland, My Maryland, Wilbur French. Tracks 1-7: Mutt Carey, trumpet; Kid Ory, Tracks 14-15: Teddy Buckner, trumpet; Kid series of groups during the next seven years that back to Los Angeles, freelanced for a bit and then Sweatman’s Down Home Rag and 1919 Rag (a Although the Kid Ory group only had one trombone; Darnell Howard, clarinet; Buster Ory, trombone; Joe Darensbourg, clarinet; featured many of the major players in town in 1933 dropped out of music altogether to help song that they successfully revived) on the 8 record date during 1947-49, its popularity Wilson, piano; Bud Scott, banjo; Ed Garland, Lloyd Glenn, piano; Ed Shrivanek, guitar; including cornetist King Oliver, his successor his brother run a chicken farm. He hardly played September 1945 session. The music probably actually grew during this period and the Creole bass; Minor Hall, drums Morty Corb, bass; Minor Hall, drums Louis Armstrong, and clarinettists Johnny Dodds, music at all for a decade and, since he turned 55 sounds similar to the jazz played in New Orleans Jazz Band was now thought of as one of the top Sidney Bechet and Jimmie Noone. During this in 1942, it would not have been surprising if he’d when Ory left in 1919 except that there is more representatives of vintage New Orleans jazz. Tracks 8-10: Mutt Carey, trumpet; Kid Ory, Tracks 16-20: Teddy Buckner, trumpet; Kid period Ory’s ‘tailgate’ style of trombone was never returned to the music scene. space for solos. It is certainly light years away With the exception of the leader and trombone; Barney Bigard, clarinet; Elzie Ory, trombone; Bob McCracken, clarinet; Don considered definitive. He used his horn to play However things turned out much different. from the big swing bands or the new bebop drummer Minor Hall, the sextet’s personnel had Cooper, piano; Bud Scott, banjo; Ed Garland, Ewell, piano, celeste (track 19 only); Julian rhythmic bass lines and harmonies behind the New Orleans jazz made a comeback in the 1940s music of Charlie Parker and Dizzy Gillespie that changed completely by 1950 but the band’s style bass; Minor Hall, drums Davidson, guitar; Morty Corb, bass; Minor trumpet and clarinet, defining how the trombone and there was an audience who wanted to hear was emerging that same year. stayed consistent. The biggest change was that Tracks 11-13: Teddy Buckner, trumpet; Kid Hall, drums would be used in traditional New Orleans and the older surviving jazz pioneers. One of the fans The 3 November 1945 date has the same the relatively primitive cornetist Mutt Carey had Ory, trombone; Joe Darensbourg, clarinet; dixieland ensembles from then on. of the music was actor-director Orson Welles personnel performing four dixieland standards. been succeeded by the powerful Louis Lloyd Glenn, piano; Julian Davidson, guitar; Original monochrome photo of Kid Ory from In 1919 Ory moved to California, taking who was hosting a radio show during the era and Original Dixieland One-Step was from the Armstrong-inspired trumpeter Teddy Buckner. Morty Corb, bass; Minor Hall, drums Michael Ochs Archives / Redferns
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KID ORY wanted to feature an authentic sounding New repertoire of the Original Dixieland Jazz Band Joe Darensbourg was in Bigard and Howard’s section and was arguably the band’s finest Vol. 2 Orleans band during a five-minute slot in each and Ory’s Creole Trombone was one of the two place (filling a similar role) and Ory always soloist. These standards are all given the Kid ‘Ory’s Creole Trombone’ Original Recordings 1945-1953 program. Kid Ory’s name was suggested and numbers recorded by Ory in 1922 and was also played in his own unique style. The band, driven Ory treatment and even though South Rampart since he had regained his former form during a previously recorded by the trombonist with Louis by Buckner, performs joyous versions of At A Street Parade, St. James Infirmary, Aunt Kid Ory was a New Orleans jazz pioneer who was some top New Orleans players with him and stint with clarinettist Barney Bigard’s group, Ory Armstrong’s Hot Five. Maple Leaf Rag was the Georgia Camp Meeting and Mahogany Hall Hagar’s Blues, Duke Ellington’s Creole Love Call considered the most important trombonist in helping to introduce freewheeling jazz to San was enlisted to put together a band. As it turned greatest hit of the ragtime era (and nearly the Stomp, and even tears into the pop song The and Milenburg Joys were recorded many times 1915. As with some of the more fortunate of the Francisco, Los Angeles and Oakland. With Mutt out, the radio show was the perfect launching only rag to become a standard) and Weary Blues Glory Of Love which has a highly expressive through the years, the Ory band made them early New Orleans legends, he survived into the Carey on cornet, Ory recorded two numbers in band for Kid Ory’s Creole Jazz Band for their had been immortalized by Louis Armstrong’s Hot vocal by Lee Sapphire. Later in the year, the sound lively, fresh and just a little unpredictable. 1920s, moved up North and appeared on some 1922 as the leader of a band called Spike’s Seven weekly feature was considered the highlight of Seven, a band that Ory missed playing with. contrast and blend between Buckner and Ory Kid Ory’s Creole Jazz Band continued famous recordings. Unlike most of his Pods Of Pepper Orchestra; these are considered the show. Soon Ory was playing regularly in Los The same edition of the Creole Jazz Band in (who really sings through his horn) during the making enjoyable records into 1961 and the contemporaries, Ory had a very busy later career, the earliest recordings by a black New Orleans Angeles clubs and appearing on records again. 1946 with Barney Bigard succeeding Howard first chorus of Go Back Where You Stayed Last trombonist did not officially retire until he making a full comeback during 1944-45 and jazz band. In 1925 he relocated to Chicago and ‘Ory’s Creole Trombone’ has twenty of Kid performs some unusual material. Joshua Fit The Night before another winning Lee Sapphire vocal moved to Hawaii in 1966. He passed away on leading one of the most popular New Orleans during the remainder of the decade appeared on Ory’s finest recordings of the 1945-53 period. Battle Of Jericho has a very familiar melody is memorable while Yaaka Hula Hickey Dula has 23 January 1973 at the age of 86, one of the jazz groups of the next fifteen years. an impressive assortment of classic recordings in This is very easy music to enjoy, filled with though it has rarely been played in a jazz setting; some percussive slap tongue clarinet by most beloved of the New Orleans jazz pioneers Edward ‘Kid’ Ory was born 25 December such bands as Louis Armstrong’s Hot Five, King colorful ensembles and personable solos. It Helen Andrews and banjoist Bud Scott have the Darensbourg. and one whose music still sounds very much 1886 in La Place, Louisiana. He first started Oliver’s Dixie Syncopators, Johnny Dodds and could be called dixieland, New Orleans jazz or vocals. Blues singer Trixie Smith’s The World’s The final five selections feature the 1953 alive today. playing music on banjo when he was ten, soon Jelly Roll Morton’s Red Hot Peppers. Even after just plain happy high quality music. Jazz Crazy, Lawdy So Am I will sound familiar to version of Ory’s band, with Buckner and clarinet- began doubling on valve trombone and the rise of more modern trombonists, most The first ten selections have Mutt Carey, who dixieland fans for it is the same song as “Ballin’ tist Bob McCracken being strong assets. The Scott Yanow – author of nine jazz books including Jazz eventually settled on the slide trombone. Ory notably Miff Mole and Jack Teagarden, Ory’s was like Ory had come out of retirement, joining his The Jack.” Creole Bo Bo is a childlike tune biggest addition was the great stride pianist Don On Film, Swing, Classic Jazz (on the 1920s), Trumpet visited nearby New Orleans several times early considered the definitive New Orleans style. old boss in the front line. With former Jelly Roll written by Kid Ory and his wife Cecile that has a Ewell, who added a powerful lift to the rhythm Kings and Jazz On Record 1917-76 on, moving to the Crescent City in 1912 when he With the rise of the Depression and the coll- Morton clarinettist Darnell Howard aboard for resemblance to “Mary Had A Little Lamb” but was already 25. He quickly established himself as apse of the recording industry, job opportunities the first seven numbers, the well-integrated band with some extensions and a vocal by Ory in Personnel one of the city’s top bandleaders, heading a began to become scarce after 1930. Ory moved swings hard on Maryland, My Maryland, Wilbur French. Tracks 1-7: Mutt Carey, trumpet; Kid Ory, Tracks 14-15: Teddy Buckner, trumpet; Kid series of groups during the next seven years that back to Los Angeles, freelanced for a bit and then Sweatman’s Down Home Rag and 1919 Rag (a Although the Kid Ory group only had one trombone; Darnell Howard, clarinet; Buster Ory, trombone; Joe Darensbourg, clarinet; featured many of the major players in town in 1933 dropped out of music altogether to help song that they successfully revived) on the 8 record date during 1947-49, its popularity Wilson, piano; Bud Scott, banjo; Ed Garland, Lloyd Glenn, piano; Ed Shrivanek, guitar; including cornetist King Oliver, his successor his brother run a chicken farm. He hardly played September 1945 session. The music probably actually grew during this period and the Creole bass; Minor Hall, drums Morty Corb, bass; Minor Hall, drums Louis Armstrong, and clarinettists Johnny Dodds, music at all for a decade and, since he turned 55 sounds similar to the jazz played in New Orleans Jazz Band was now thought of as one of the top Sidney Bechet and Jimmie Noone. During this in 1942, it would not have been surprising if he’d when Ory left in 1919 except that there is more representatives of vintage New Orleans jazz. Tracks 8-10: Mutt Carey, trumpet; Kid Ory, Tracks 16-20: Teddy Buckner, trumpet; Kid period Ory’s ‘tailgate’ style of trombone was never returned to the music scene. space for solos. It is certainly light years away With the exception of the leader and trombone; Barney Bigard, clarinet; Elzie Ory, trombone; Bob McCracken, clarinet; Don considered definitive. He used his horn to play However things turned out much different. from the big swing bands or the new bebop drummer Minor Hall, the sextet’s personnel had Cooper, piano; Bud Scott, banjo; Ed Garland, Ewell, piano, celeste (track 19 only); Julian rhythmic bass lines and harmonies behind the New Orleans jazz made a comeback in the 1940s music of Charlie Parker and Dizzy Gillespie that changed completely by 1950 but the band’s style bass; Minor Hall, drums Davidson, guitar; Morty Corb, bass; Minor trumpet and clarinet, defining how the trombone and there was an audience who wanted to hear was emerging that same year. stayed consistent. The biggest change was that Tracks 11-13: Teddy Buckner, trumpet; Kid Hall, drums would be used in traditional New Orleans and the older surviving jazz pioneers. One of the fans The 3 November 1945 date has the same the relatively primitive cornetist Mutt Carey had Ory, trombone; Joe Darensbourg, clarinet; dixieland ensembles from then on. of the music was actor-director Orson Welles personnel performing four dixieland standards. been succeeded by the powerful Louis Lloyd Glenn, piano; Julian Davidson, guitar; Original monochrome photo of Kid Ory from In 1919 Ory moved to California, taking who was hosting a radio show during the era and Original Dixieland One-Step was from the Armstrong-inspired trumpeter Teddy Buckner. Morty Corb, bass; Minor Hall, drums Michael Ochs Archives / Redferns
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KID ORY wanted to feature an authentic sounding New repertoire of the Original Dixieland Jazz Band Joe Darensbourg was in Bigard and Howard’s section and was arguably the band’s finest Vol. 2 Orleans band during a five-minute slot in each and Ory’s Creole Trombone was one of the two place (filling a similar role) and Ory always soloist. These standards are all given the Kid ‘Ory’s Creole Trombone’ Original Recordings 1945-1953 program. Kid Ory’s name was suggested and numbers recorded by Ory in 1922 and was also played in his own unique style. The band, driven Ory treatment and even though South Rampart since he had regained his former form during a previously recorded by the trombonist with Louis by Buckner, performs joyous versions of At A Street Parade, St. James Infirmary, Aunt Kid Ory was a New Orleans jazz pioneer who was some top New Orleans players with him and stint with clarinettist Barney Bigard’s group, Ory Armstrong’s Hot Five. Maple Leaf Rag was the Georgia Camp Meeting and Mahogany Hall Hagar’s Blues, Duke Ellington’s Creole Love Call considered the most important trombonist in helping to introduce freewheeling jazz to San was enlisted to put together a band. As it turned greatest hit of the ragtime era (and nearly the Stomp, and even tears into the pop song The and Milenburg Joys were recorded many times 1915. As with some of the more fortunate of the Francisco, Los Angeles and Oakland. With Mutt out, the radio show was the perfect launching only rag to become a standard) and Weary Blues Glory Of Love which has a highly expressive through the years, the Ory band made them early New Orleans legends, he survived into the Carey on cornet, Ory recorded two numbers in band for Kid Ory’s Creole Jazz Band for their had been immortalized by Louis Armstrong’s Hot vocal by Lee Sapphire. Later in the year, the sound lively, fresh and just a little unpredictable. 1920s, moved up North and appeared on some 1922 as the leader of a band called Spike’s Seven weekly feature was considered the highlight of Seven, a band that Ory missed playing with. contrast and blend between Buckner and Ory Kid Ory’s Creole Jazz Band continued famous recordings. Unlike most of his Pods Of Pepper Orchestra; these are considered the show. Soon Ory was playing regularly in Los The same edition of the Creole Jazz Band in (who really sings through his horn) during the making enjoyable records into 1961 and the contemporaries, Ory had a very busy later career, the earliest recordings by a black New Orleans Angeles clubs and appearing on records again. 1946 with Barney Bigard succeeding Howard first chorus of Go Back Where You Stayed Last trombonist did not officially retire until he making a full comeback during 1944-45 and jazz band. In 1925 he relocated to Chicago and ‘Ory’s Creole Trombone’ has twenty of Kid performs some unusual material. Joshua Fit The Night before another winning Lee Sapphire vocal moved to Hawaii in 1966. He passed away on leading one of the most popular New Orleans during the remainder of the decade appeared on Ory’s finest recordings of the 1945-53 period. Battle Of Jericho has a very familiar melody is memorable while Yaaka Hula Hickey Dula has 23 January 1973 at the age of 86, one of the jazz groups of the next fifteen years. an impressive assortment of classic recordings in This is very easy music to enjoy, filled with though it has rarely been played in a jazz setting; some percussive slap tongue clarinet by most beloved of the New Orleans jazz pioneers Edward ‘Kid’ Ory was born 25 December such bands as Louis Armstrong’s Hot Five, King colorful ensembles and personable solos. It Helen Andrews and banjoist Bud Scott have the Darensbourg. and one whose music still sounds very much 1886 in La Place, Louisiana. He first started Oliver’s Dixie Syncopators, Johnny Dodds and could be called dixieland, New Orleans jazz or vocals. Blues singer Trixie Smith’s The World’s The final five selections feature the 1953 alive today. playing music on banjo when he was ten, soon Jelly Roll Morton’s Red Hot Peppers. Even after just plain happy high quality music. Jazz Crazy, Lawdy So Am I will sound familiar to version of Ory’s band, with Buckner and clarinet- began doubling on valve trombone and the rise of more modern trombonists, most The first ten selections have Mutt Carey, who dixieland fans for it is the same song as “Ballin’ tist Bob McCracken being strong assets. The Scott Yanow – author of nine jazz books including Jazz eventually settled on the slide trombone. Ory notably Miff Mole and Jack Teagarden, Ory’s was like Ory had come out of retirement, joining his The Jack.” Creole Bo Bo is a childlike tune biggest addition was the great stride pianist Don On Film, Swing, Classic Jazz (on the 1920s), Trumpet visited nearby New Orleans several times early considered the definitive New Orleans style. old boss in the front line. With former Jelly Roll written by Kid Ory and his wife Cecile that has a Ewell, who added a powerful lift to the rhythm Kings and Jazz On Record 1917-76 on, moving to the Crescent City in 1912 when he With the rise of the Depression and the coll- Morton clarinettist Darnell Howard aboard for resemblance to “Mary Had A Little Lamb” but was already 25. He quickly established himself as apse of the recording industry, job opportunities the first seven numbers, the well-integrated band with some extensions and a vocal by Ory in Personnel one of the city’s top bandleaders, heading a began to become scarce after 1930. Ory moved swings hard on Maryland, My Maryland, Wilbur French. Tracks 1-7: Mutt Carey, trumpet; Kid Ory, Tracks 14-15: Teddy Buckner, trumpet; Kid series of groups during the next seven years that back to Los Angeles, freelanced for a bit and then Sweatman’s Down Home Rag and 1919 Rag (a Although the Kid Ory group only had one trombone; Darnell Howard, clarinet; Buster Ory, trombone; Joe Darensbourg, clarinet; featured many of the major players in town in 1933 dropped out of music altogether to help song that they successfully revived) on the 8 record date during 1947-49, its popularity Wilson, piano; Bud Scott, banjo; Ed Garland, Lloyd Glenn, piano; Ed Shrivanek, guitar; including cornetist King Oliver, his successor his brother run a chicken farm. He hardly played September 1945 session. The music probably actually grew during this period and the Creole bass; Minor Hall, drums Morty Corb, bass; Minor Hall, drums Louis Armstrong, and clarinettists Johnny Dodds, music at all for a decade and, since he turned 55 sounds similar to the jazz played in New Orleans Jazz Band was now thought of as one of the top Sidney Bechet and Jimmie Noone. During this in 1942, it would not have been surprising if he’d when Ory left in 1919 except that there is more representatives of vintage New Orleans jazz. Tracks 8-10: Mutt Carey, trumpet; Kid Ory, Tracks 16-20: Teddy Buckner, trumpet; Kid period Ory’s ‘tailgate’ style of trombone was never returned to the music scene. space for solos. It is certainly light years away With the exception of the leader and trombone; Barney Bigard, clarinet; Elzie Ory, trombone; Bob McCracken, clarinet; Don considered definitive. He used his horn to play However things turned out much different. from the big swing bands or the new bebop drummer Minor Hall, the sextet’s personnel had Cooper, piano; Bud Scott, banjo; Ed Garland, Ewell, piano, celeste (track 19 only); Julian rhythmic bass lines and harmonies behind the New Orleans jazz made a comeback in the 1940s music of Charlie Parker and Dizzy Gillespie that changed completely by 1950 but the band’s style bass; Minor Hall, drums Davidson, guitar; Morty Corb, bass; Minor trumpet and clarinet, defining how the trombone and there was an audience who wanted to hear was emerging that same year. stayed consistent. The biggest change was that Tracks 11-13: Teddy Buckner, trumpet; Kid Hall, drums would be used in traditional New Orleans and the older surviving jazz pioneers. One of the fans The 3 November 1945 date has the same the relatively primitive cornetist Mutt Carey had Ory, trombone; Joe Darensbourg, clarinet; dixieland ensembles from then on. of the music was actor-director Orson Welles personnel performing four dixieland standards. been succeeded by the powerful Louis Lloyd Glenn, piano; Julian Davidson, guitar; Original monochrome photo of Kid Ory from In 1919 Ory moved to California, taking who was hosting a radio show during the era and Original Dixieland One-Step was from the Armstrong-inspired trumpeter Teddy Buckner. Morty Corb, bass; Minor Hall, drums Michael Ochs Archives / Redferns
2 8.120769 3 8.120769 4 8.120769 120769bk Kid Ory2 9/6/05 11:51 AM Page 2
1. Maryland, My Maryland 2:41 9. The World’s Jazz Crazy, Lawdy So Am I 16. South Rampart Street Parade 3:25 19. Creole Love Call 3:21 (Traditional) 3:18 (Bob Haggart–Ray Bauduc) (Duke Ellington–Bubber Miley–Rudy Jackson) Crescent 3, mx CRE 1014 (Trixie Smith) Good Time Jazz L-21, mx LKL 61 Good Time Jazz L-21, mx LKL 62 Recorded 8 September 1945 Columbia 37277, mx HCO 2108 Recorded 17 July 1953 Recorded 1 December 1953 2. Down Home Rag 2:51 Recorded 21 October 1946 17. St. James Infirmary 3:15 20. Milenburg Joys 3:12 (Wilbur Sweatman) 10. Creole Bo Bo 2:44 (Joe Primrose) (Jelly Roll Morton) Crescent 4, mx CRE 1015 (Cecile Ory–Edward Ory) Good Time Jazz L-21, mx LKL 61 Good Time Jazz L-21, mx LKL 62 Recorded 8 September 1945 Kid Ory, vocal Recorded 17 July 1953 Recorded 1 December 1953 Columbia 37276, mx HCO 2109-2 3. 1919 Rag 3:04 18. Aunt Hagar’s Blues 2:56 Kid Ory’s Creole Jazz Band Recorded 21 October 1946 (Traditional) (W. C. Handy) All selections recorded in Los Angeles Crescent 4, mx CRE 1013 11. At a Georgia Camp Meeting 3:01 Good Time Jazz L-21, mx LKL 62 Transfers & Production: David Lennick Recorded 8 September 1945 (Kerry Mills) Recorded 1 December 1953 Digital Restoration: Graham Newton 4. Original Dixieland One-Step 2:56 Columbia 38957, mx RHCO 4111 Recorded 27 June 1950 Discographical information courtesy of The Jazz (O. J. LaRocca) Discography by Tom Lord (www.lordisco.com) Crescent 6, mx CRE 1022 12. The Glory of Love 2:38 Recorded 3 November 1945 (Billy Hill) 5. Ory’s Creole Trombone 3:06 Lee Sapphire, vocal Also available in the Naxos Jazz Legends series ... (Edward Ory) Columbia 38955, mx RHCO 4109 Crescent 6, mx CRE 1025 Recorded 27 June 1950 Recorded 3 November 1945 13. Mahogany Hall Stomp 2:55 6. Maple Leaf Rag 3:05 (Spencer Williams) (Scott Joplin) Columbia 38956, mx RHCO 4111 Crescent 8, mx CRE 1023 Recorded 27 June 1950 Recorded 3 November 1945 14. Go Back Where You Stayed Last Night 7. Weary Blues 3:16 3:19 (Artie Matthews) (Ethel Waters–Sidney Easton) Crescent 8, mx CRE 1024 Lee Sapphire & Joe Darensbourg, vocal Recorded 3 November 1945 Columbia 38958, mx RHCO 4127-1 Recorded 6 July 1950 8. Joshua Fit the Battle of Jericho 2:55 8.120587 8.120666 8.120735 15. Yaaka Hula Hickey Dula 3:06 (Traditional) These titles are not for retail sale in the USA Helen Andrews & Bud Scott, vocal (E. Ray Goetz–Joe Young–Pete Wendling) Columbia 37275, mx HCO 2088-2 Columbia 38958, mx RHCO 4129-1 Over 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia Recorded 15 October 1946 Recorded 6 July 1950 NAXOS RADIO www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 5 8.120769 6 8.120769 120769bk Kid Ory2 9/6/05 11:51 AM Page 2
1. Maryland, My Maryland 2:41 9. The World’s Jazz Crazy, Lawdy So Am I 16. South Rampart Street Parade 3:25 19. Creole Love Call 3:21 (Traditional) 3:18 (Bob Haggart–Ray Bauduc) (Duke Ellington–Bubber Miley–Rudy Jackson) Crescent 3, mx CRE 1014 (Trixie Smith) Good Time Jazz L-21, mx LKL 61 Good Time Jazz L-21, mx LKL 62 Recorded 8 September 1945 Columbia 37277, mx HCO 2108 Recorded 17 July 1953 Recorded 1 December 1953 2. Down Home Rag 2:51 Recorded 21 October 1946 17. St. James Infirmary 3:15 20. Milenburg Joys 3:12 (Wilbur Sweatman) 10. Creole Bo Bo 2:44 (Joe Primrose) (Jelly Roll Morton) Crescent 4, mx CRE 1015 (Cecile Ory–Edward Ory) Good Time Jazz L-21, mx LKL 61 Good Time Jazz L-21, mx LKL 62 Recorded 8 September 1945 Kid Ory, vocal Recorded 17 July 1953 Recorded 1 December 1953 Columbia 37276, mx HCO 2109-2 3. 1919 Rag 3:04 18. Aunt Hagar’s Blues 2:56 Kid Ory’s Creole Jazz Band Recorded 21 October 1946 (Traditional) (W. C. Handy) All selections recorded in Los Angeles Crescent 4, mx CRE 1013 11. At a Georgia Camp Meeting 3:01 Good Time Jazz L-21, mx LKL 62 Transfers & Production: David Lennick Recorded 8 September 1945 (Kerry Mills) Recorded 1 December 1953 Digital Restoration: Graham Newton 4. Original Dixieland One-Step 2:56 Columbia 38957, mx RHCO 4111 Recorded 27 June 1950 Discographical information courtesy of The Jazz (O. J. LaRocca) Discography by Tom Lord (www.lordisco.com) Crescent 6, mx CRE 1022 12. The Glory of Love 2:38 Recorded 3 November 1945 (Billy Hill) 5. Ory’s Creole Trombone 3:06 Lee Sapphire, vocal Also available in the Naxos Jazz Legends series ... (Edward Ory) Columbia 38955, mx RHCO 4109 Crescent 6, mx CRE 1025 Recorded 27 June 1950 Recorded 3 November 1945 13. Mahogany Hall Stomp 2:55 6. Maple Leaf Rag 3:05 (Spencer Williams) (Scott Joplin) Columbia 38956, mx RHCO 4111 Crescent 8, mx CRE 1023 Recorded 27 June 1950 Recorded 3 November 1945 14. Go Back Where You Stayed Last Night 7. Weary Blues 3:16 3:19 (Artie Matthews) (Ethel Waters–Sidney Easton) Crescent 8, mx CRE 1024 Lee Sapphire & Joe Darensbourg, vocal Recorded 3 November 1945 Columbia 38958, mx RHCO 4127-1 Recorded 6 July 1950 8. Joshua Fit the Battle of Jericho 2:55 8.120587 8.120666 8.120735 15. Yaaka Hula Hickey Dula 3:06 (Traditional) These titles are not for retail sale in the USA Helen Andrews & Bud Scott, vocal (E. Ray Goetz–Joe Young–Pete Wendling) Columbia 37275, mx HCO 2088-2 Columbia 38958, mx RHCO 4129-1 Over 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia Recorded 15 October 1946 Recorded 6 July 1950 NAXOS RADIO www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 5 8.120769 6 8.120769 KID ORY Ory’s Creole Trombone 8.120769 I ORY KID “ORY’S CREOLETROMBONE” www. NOTES ANDFULLRECORDING DETAILS INCLUDED Newton byGraham Restoration Digital Transfers andProductionbyDavid Lennick h 0 MilenburgJoys 20. CreoleLove Call 19. AuntHagar’sBlues 18. StJamesInfirmary 17. StreetParade SouthRampart 16. Yaaka HulaHickey Dula 15. GoBackWhereYou Stayed LastNight 14. MahoganyHallStomp 13. OfLove TheGlory 12. CreoleBo 10. 1 At AGeorgiaCampMeeting 11. .TheWorld’s JazzCrazy, Lawdy SoAmI 9. JoshuaFitTheBattleOfJericho 8. Weary Blues 7. MapleLeafRag 6. CreoleTrombone Ory’s 5. OriginalDixielandOne-Step 4. 1919Rag 3. DownHomeRag 2. 1. Maryland, My Maryland MyMaryland Maryland, 1. & g 05NxsRgt nentoa t Design:RonHoares 2005 NaxosRightsInternationalLtd naxos.com 3:04 3:16 2:44 3:12 3:05 3:21 2:51 2:38 3:15 2:56 Vol.2 Vol.2 2:55 3:06 3:06 2:41 2:56 3:01 Made inCanada 3:25 2:55 3:19 3:18 61:57 ADD Total Time Recordings 1945-1953 Original
8.120769
KID ORY Ory’s Creole Trombone Creole Ory’s ORY KID 8.120769