Playing Together. His Father Has Been Dead Abou& Forty-Three Years;
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Whicl-I Band-Probably Sam; Cf
A VERY "KID" HOWARD SUMMARY Reel I--refcyped December 22, 1958 Interviewer: William Russell Also present: Howard's mother, Howard's daughter, parakeets Howard was born April 22, 1908, on Bourbon Street, now renamed Pauger Street. His motTier, Mary Eliza Howard, named him Avery, after his father w'ho di^d in 1944* She sang in church choir/ but not professionally. She says Kid used to beat drum on a box with sticks, when he was about twelve years old. When he was sixteen/ he was a drummer. They lived at 922 St. Philip Street When Kid was young. He has lived around tliere all of his life . Kid's father didn't play a regular instrument, but he used to play on^ a comb, "make-like a. trombone," and he used to dance. Howard's parents went to dances and Tiis mother remembers hearing Sam Morgan's band when she was young, and Manuel Perez and [John] Robichaux . The earliest band Kid remembers is Sam Morgan's. After Sam died, he joined the Morgan band/ witli Isaiah Morgan. He played second trumpet. Then he had his own band » The first instrument he.started on was drums . Before his first marriage, when he got his first drums/ he didn't know how to put them up. He had boughtfhem at Werlein's. He and his first wife had a time trying to put them together * Story about }iis first attempt at the drums (see S . B» Charters): Sam Morgan had the original Sam Morgan Band; Isaiah Morgan had l:J^^i', the Young Morgan Band. -
Newsletternewsletter March 2015
NEWSLETTERNEWSLETTER MARCH 2015 HOWARD ALDEN DIGITAL RELEASES NOT CURRENTLY AVAILABLE ON CD PCD-7053-DR PCD-7155-DR PCD-7025-DR BILL WATROUS BILL WATROUS DON FRIEDMAN CORONARY TROMBOSSA! ROARING BACK INTO JAZZ DANCING NEW YORK ACD-345-DR BCD-121-DR BCD-102-DR CASSANDRA WILSON ARMAND HUG & HIS JOHNNY WIGGS MOONGLOW NEW ORLEANS DIXIELANDERS PCD-7159-DR ACD-346-DR DANNY STILES & BILL WATROUS CLIFFF “UKELELE IKE” EDWARDS IN TANDEM INTO THE ’80s HOME ON THE RANGE AVAilable ON AMAZON, iTUNES, SPOTIFY... GHB JAZZ FOUNDATION 1206 Decatur Street New Orleans, LA 70116 phone: (504) 525-5000 fax: (504) 525-1776 email: [email protected] website: jazzology.com office manager: Lars Edegran assistant: Jamie Wight office hours: Mon-Fri 11am – 5pm entrance: 61 French Market Place newsletter editor: Paige VanVorst contributors: Jon Pult and Trevor Richards HOW TO ORDER Costs – U.S. and Foreign MEMBERSHIP If you wish to become a member of the Collector’s Record Club, please mail a check in the amount of $5.00 payable to the GHB JAZZ FOUNDATION. You will then receive your membership card by return mail or with your order. As a member of the Collector’s Club you will regularly receive our Jazzology Newsletter. Also you will be able to buy our products at a discounted price – CDs for $13.00, DVDs $24.95 and books $34.95. Membership continues as long as you order one selection per year. NON-MEMBERS For non-members our prices are – CDs $15.98, DVDs $29.95 and books $39.95. MAILING AND POSTAGE CHARGES DOMESTIC There is a flat rate of $3.00 regardless of the number of items ordered. -
Ernie Joseph Cagnolatti Was Born April 2, 1911^ in Madison
. ERNIE CAGNOLATTI 1 Reel I [of 3]-Digest-Retype April 5/ , 1961 / » .^. Interview conducted at EC'S home, 3651 Buchanan, 1, New Orleans. Also present: William Russell, Ralph Collins, Harold Dejan. Ernie Joseph Cagnolatti was born April 2, 1911^ in Madison- ville, Louisiana; his parents did not play music, tout were music- ally-inclined; his older brother, Klebert Cagnolatti, drummer, who died in 1941, played with Bunk Jotoson during World War I, at ship- yards in Madisonville? EC was inspired to play trumpet toy hearing Bunk, tlie first trumpet player he had ever heard. EC began playing drums at age 5, on his brother's extra set; when the brother was away playing, EC would play on the extra set at the Sons of Labor HaU in Madilsonville, where movies were shown; when the movies ^- ?>-» ^^n^? - -A.^ .^ were over, EC accompanied the pianist, Leona Behan [sp?], who ( ^f\ 1, -t \ p <^ \ b played only when the movies were not being shown; moviea were aceom-^cff .w % >^ *. ^' Tt y panied by pianola. EC moved to New Orleans with Klebert in 1919. » Klebert's wife has a picture of the band Bunk was in? personnel: *Tpe Fritz, leader and bass7 Earl Fritz, trombone; Isidore Fritz, clarinetist; [and teacher of George Lewis]; Leon Pyrone [sp?], guitar; Klebert Cagnolatti, drums? Bunk Johnson, trumpet. The "band would come back to Madisonville for each ship launching by Jahncke company, and would rehearse afterward, and play jobs near- by. EC knew Andy Anderson, cousin of Earl Foster, both of whom lived in Mandeville at the time; Anderson also heard Bunk then . -
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. -
Or Oi^Eipj-A"? , ^W the Olympic^Baridi Had Lib/I^Ewton on Bass (Lie Started BB on Bass, in A
BUDDY BURNS Also presents I [only] -Digest- Retyped William Russell .^ August 14, 1958 / 4 / [cf. Buddy'Burns' interview/ Sept. 23, 1968.] Nelson Buddy Burns was born August 28, 1900. [Where? R.B.A-] His first instrument was piano; there was one at his home, although ^ V \ ^ his parents weren't musical. The first Dixieland band BE heard (not < [or Oi^EipJ-a"? , ^W [i. e . - y3biiber ty ] the Olympic^Baridi had Lib/I^ewton^ on bass (lie started BB on bass, in A 1910) ; Nini was on drums; Tig Chambers played trumpet; Yank [JohnsonJ played trombone; Emmett played guitar; Freddy Keppard played comet; Ishman [spelling?] Tureaud played alto horn. -It was a dance band. The reason BB started playing music was that the band rehearsed at his house once a week; Lib Newton was the boy friend of BB's oldest ^ t * .f sister. J BB was Methodist in his youth, but became Catholic, his wife's religion, when he married. They came from around Seventh and Howard [now LaSalle] and moved downtown when they married. Bass players BB liked when he was young: Alee: [Scott? R.B-A.] (BB always wanted to play bass like him when he grew up); George "Pops" Foster [same comment as for Alec applies]. Starting with Newton, BB later "got hooked up" with Chester Zardis, who showed BB how to swing- Richard McLean taught BB "the music" [i.e., to read?], and Pinchback Tureaud also taught BB. Most of the bass players of that time, indluding BB, played mostly with a bow; they did very little picking. -
Andrew Morgan [Tenor Sax and Clarinet]; [Isaiahj "Young
< AVERY "KID" HOWARD 1 Reel I [of 4]--Digest-- Retype May 22, 1961 Also present: Anders Dyrup, Richard B. Alien. Kid Howard was born April 11, 1908 [in New Orleans] on (he thinks) Bourbon (now Pauger) Street near St. Claude. He lived in Phoenix, Louisiana from about age 5 until about age 12. He remem- bers little of the music he heard when living in Phoenix; there were only guitar players/ who played [and sang?] the blues. KH attended (a Baptist) church/ where the choir, unaccompanied by instruments, sang standard hymns (i.e./ "Nearer My God To Thee" and "What A Friend We Have In Jesus"). Upon his return to New Orleans, he got a porter's job in a curio store on Canal Street, * next to Werlein's [music store-]; he became interested in music then [about age 12] / and began playing drums when he was 14. KH heard bands on the street playing to advertise some occasio n [dance/ prize fight, etc,]. Answering a question about bands in stores/ KHsays Manuel Perez and others played at various clothing stores on [South] Rampart; Sam Morgan played at Maison Blanche/ both inside and on a truck. With Morgan during that time were: Jim "Big Jim" Robinson [trombone] ; Sidney "Little Jim" Brown [bass]; Johnny Dave, [banjo]; Alfred Williams [drums]; Earl Fouche' [alto sax]; Andrew Morgan [tenor sax and clarinet]; [isaiahj "Young Moicgan/ 2nd trumpet* KHtook his first [trumpet] lesson from Chris Kelly. He began playing drums just by talking about it, saying that he could play AVERY "KID" HOWARD 2 Reel I [of 4]-Digest-Retype May 22, 1961 drums; one night, at a dance where Isaiah Morgan's band (with Jim Robinson) was playing, the band needed a drummer; when KH walked in, he was forced to play. -
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. -
Third Annual New Orleans Jazz & Heritage Festival
lOLMES HOLMES ORIGINAL STORE 1842 As traditional as New Orleans jazz, Creole cooking or southern hospitality, D. H. Holmes has been part of the beat of New Orleans since 1842. We're New Orleans' own honne-owned department store, right on the edge of the French Quarter. While in New Orleans we invite you to join an old tradition in New Orleans . arrange to meet your friends "under the clock" at Holmes ... to shop ... or to lunch or dine in our famous Creole restau• rant. In our record department you'll find one of the finest selections of true New Orleans Dixieland music on records. Holmes, itself proud to be a New Orleans tradition, salutes the Jazz and Heritage Festival and welcomes its international supporters to the birthplace of Jazz. Third Annual New Orleans Jazz & Heritage Festival HONORARY PRESIDENT MARDI-GRAS INDIAN CO-ORDINATOR Mayor Moon Landrieu Emile Dollis OFFICERS SECRETARIES Arthur Q. Davis, President Virginia Broussard, Suzanne Broussard Lester E. Kabacoff, Vice-Pres. Winston Lill, Vice-Pres. EVENING SECURITY Clarence J. Jupiter, Vice-Pres., Treasurer Jules Ursin Roy Bartlett 11, Secretary BOARD OF DIRECTORS THE HERITAGE FAIR Archie A. Casbarian, Dr. Frederick Hall, William V. Music Director - Quint Davis Madden, Larry McKinley, George Rhode 111, Charles B. Rousseve, Harry V. Souchon PROGRAM DIRECTOR Karen Helms - Book-keeper Allison Miner PRODUCER PERSONNEL George Wein Mark Duffy ASST. PRODUCER DESIGN Dino Santangelo - Curtis & Davis Architects; AO Davis, Bob Nunez DIRECTOR ' ' CONSTRUCTION Quint Davis Foster Awning; -
Collection of Jazz Articles
1 Table of Contents Adams, Dolly 3 Albert, Don 6 Alexis, Richard 12 Allen, Red 14 Almerico, Tony 16 Anderson, Andy 27 Bailey, Buster 38 Barbarin, Paul 39 Barnes, “Polo” 43 Barrett, Emma 48 Barth, George 49 Bauduc, Ray 50 Bechet, Sidney 65 Bechet, Leonard 69 Bigard, Barney 70 Bocage, Peter 53 Boswell, Sisters 84 Boswell, Connie 88 Bouchon, Lester 94 Braud, Wellman 96 Brown, Tom 97 Brownlee, Norman 102 Brunies, Abbie 104 Brunies, George 106 Burke, Ray 116 Casimir, John 140 Christian, Emile 142 1 2 Christian, Frank 144 Clark, Red 145 Collins, Lee 146 Charles, Hypolite 148 Cordilla, Charles 155 Cottrell, Louis 160 Cuny, Frank 162 Davis, Peter 164 DeKemel, Sam 168 DeDroit, Paul 171 DeDroit, John 176 Dejan, Harold 183 Dodds, “Baby” 215 Desvigne, Sidney 218 Dutrey, Sam 220 Edwards, Eddie 230 Foster, “Chinee” 233 Foster, “Papa” 234 Four New Orleans Clarinets 237 Arodin, Sidney 239 Fazola, Irving 241 Hall, Edmond 242 Burke, Ray 243 Frazier, “Cie” 245 French, “Papa” 256 Dolly Adams 2 3 Dolly‟s parents were Louis Douroux and Olivia Manetta Douroux. It was a musical family on both sides. Louis Douroux was a trumpet player. His brother Lawrence played trumpet and piano and brother Irving played trumpet and trombone. Placide recalled that Irving was also an arranger and practiced six hours a day. “He was one of the smoothest trombone players that ever lived. He played on the Steamer Capitol with Fats Pichon‟s Band.” Olivia played violin, cornet and piano. Dolly‟s uncle, Manuel Manetta, played and taught just about every instrument known to man. -
Guide to the Duncan P. Schiedt Photograph Collection
Guide to the Duncan P. Schiedt Photograph Collection NMAH.AC.1323 Vanessa Broussard Simmons, Franklin A. Robinson Jr., and Craig A. Orr. Processing and encoding funded by a grant from the Council on Library and Information Resources. 2016 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 2 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Background Information and Research Materials, 1915-2012, undated..................................................................................................................... 4 Series 2: Photographic Materials, 1900-2012, -
Newsletter 2015
1 It’s been another exciting year here at Upbeat – Upbeat Jazz sales are still increasing – we’re so glad you like our releases – and sales of the American jazz label Jazz Crusade are also increasing,Newsletter and so we now2015 have embarked on a round of redesigns and reprints on many of the titles. You will find a feature page of new releases and redesigns on the back cover of 2018 this Newsletter. We have lots of new releases and special offers across the labels which we are sure you will enjoy! Here’s to 2018 – keep jazzin’! Liz Biddle NEW! NEW ORLEANS – Original Soundtrack and Out-takes from the 1947 Cult Movie featuring Louis Armstrong, Billie Holiday, Kid Ory, Barney Bigard, Mutt Carey and Zutty Singleton URCD276 1 CD £12.99 A much anticipated re-release of a long out of print title. It was a fabulous idea which in true Hollywood fashion ended up a fiasco! However, there remains the music which, unlike the film, is just plain wonderful! The list of artists here is an A-Z of jazz royalty and there are 29 great tracks for you to enjoy. So close your eyes and be transported back to 1947 and the birth of jazz in New Orleans! NEW! NEW! NEW! NEW! THE ORIGINAL CRANE RIVER SAMMY RIMINGTON – A LOUIS ARMSTRONG & HIS ALL KEN COLYER – Colyer at JAZZ BAND with KEN COLYER: Snapshot of his American STARS – Live in Vancouver 1951 Wimbledon Reunited URCD272 1 CD £12.99 Recordings 1995-1999 URCD277 1 CD £12.99 URCD275 1 CD £12.99 URCD274 1 CD £12.99 The Crane River Jazz Band is one of the Featuring Jack Teagarden and Earl Ken Colyer includes several numbers most revered jazz bands of the 20th This selection of recordings by Hines, this CD pre dates the two Jack he had used over the years but Century. -
Retyped I (Of 2]--Nigest- November 11, 1962 Also Present Richard B
S'OMNEtl 1.ABA'1' 1 I (of 2]--nigest- Retyped November 11, 1962 Also present� Richard B. Allen, Harold nejan, Mrs. Carmen Labat, Joe Jackson, Harry Fairconnetue (Recorded at 309 Easterbroo�, Bay St. Louis, Mississippx) Sumner Labat (husband of Carmen Labat) was born February 23, 1894; in Bay St. Louis; a cousin of his operates a funeral home in New @:leans, and has the same last name; RBA mentions Danny Barker, whose grandfather worked f,c@ the Labat funeral home; Barker says even the horses would cry at the fnnerals; one of the drmvers was called "Joe Never Smile," [i. e., Isidore Barbarin, cf. Danny Barker interview) as he looked sad. SL was born at 3o7 Easterbrool, next door to the recording site. His father played baritone horn in the Promo [sp?) Brass band, which was a part of the [benevolent?] society of the same name; the band was about nine pieces. SL mentions Lorenzo Tio, Sr., who did not play in the Promo Band; Tia's son, Lorenzo, Jr. ,-·played (in the A. J. Piron band] with Peter Bocage in New Orleans. SL thinks the [elder?] Tics were born and rea8ed in Bay St.· Louis; they were there when SL arrived in that wown. Lorenzf} sr.;s brother, Louis "Papa" Tio, is also mentioned. RBA says it is rumored that the Tios came from Mexico th study. [Harold Dejan enters.I HD says "Papa" Tio was living in Bay st. Louis when Lorenzo, Jr., was young; Lorenzo, Jr., was about the same age as SL. SL too� a few lessons on clarinet when he attended tailoring school (he is a tailor by trade) in Royal Castle, Virginia, which is about 40 miles from Richmond.