The Jelly Roll Jazz Band
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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. -
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. -
Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar
June 2011 | No. 110 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Dee Dee Bridgewater RIAM ANG1 01 Keeping The Tradition Y B 2 7- IN MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar It’s always a fascinating process choosing coverage each month. We’d like to think that in a highly partisan modern world, we actually live up to the credo: “We New York@Night Report, You Decide”. No segment of jazz or improvised music or avant garde or 4 whatever you call it is overlooked, since only as a full quilt can we keep out the cold of commercialism. Interview: Cooper-Moore Sometimes it is more difficult, especially during the bleak winter months, to 6 by Kurt Gottschalk put together a good mixture of feature subjects but we quickly forget about that when June rolls around. It’s an embarrassment of riches, really, this first month of Artist Feature: Orrin Evans summer. Just like everyone pulls out shorts and skirts and sandals and flipflops, 7 by Terrell Holmes the city unleashes concert after concert, festival after festival. This month we have the Vision Fest; a mini-iteration of the Festival of New Trumpet Music (FONT); the On The Cover: Dee Dee Bridgewater inaugural Blue Note Jazz Festival taking place at the titular club as well as other 9 by Marcia Hillman city venues; the always-overwhelming Undead Jazz Festival, this year expanded to four days, two boroughs and ten venues and the 4th annual Red Hook Jazz Encore: Lest We Forget: Festival in sight of the Statue of Liberty. -
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. -
Old Wine New Bottles
Why must he waste his talent and the Wilber was never able to command a sit talent of his sidemen on an outmoded uation as could Bechet. He evidently conception that was hardly necessary in lacked Bechet’s utter self-confidence His the first place? (D.DeM.) vibrato, while similar to his mentor’s, uiiiimiimiimiimitiimiimmitiiiiiiiiimiiitiiiiiiiiiiiuiiimiiiiimiiitiiiimutimiiiM sounded nervous; Bechet’s was an indis pensable adjunct to his playing and en hanced his expressiveness rather than de OLD WINE tracted from it, as Wilber’s did. The HRS Bechet-Spanier sides are not NEW BOTTLES only Bechet gems, but are some of the best mimiiiiiiHiiuuiiimimimmmimiiiiumiitiiitiHiiiiiiitmitiiiitiiiimiiuHmiiiuiiiiM jazz records ever made, though collectors have tended to ignore them. There was no Sidney Bechet effort to re-create days beyond recall Four « IN MEMOR1AM—Riverside RLP 138/139; Sweet Lorraine; Up the Lazy River; China Boy; excellent jazzmen got together and just Four or Five Times; That's Aplenty; If / Could played. Of course, some of the intros and Be with You; Squeeze Me; Sweet Sue; I Got Rhythm; September Song; Whot; Love Me with endings were no doubt rehearsed, but the Feeling; Baby, Won't You Please Come Hornet; lasting value of these records lies in the Blues Improvisation; I’m Through, Goodbye; Waste No Tears; Dardanella; I Never knew; breathless Bechet solos and the driving Broken Windmill; Without a Home. ensembles. And if any of the kiddies com Personnel: Tracks 1-8: Bechet, clarinet, soprano ing along these days think that drums are saxophone; Muggsy Spanier, cornet; Carmen Mas tern. guitar; Wellman Braud, bass. -
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. -
![Palm Garden. DH Says B^/Was Fourteen Then, That the Year Was 192 0 F ^0^ [?]](https://docslib.b-cdn.net/cover/5519/palm-garden-dh-says-b-was-fourteen-then-that-the-year-was-192-0-f-0-1165519.webp)
Palm Garden. DH Says B^/Was Fourteen Then, That the Year Was 192 0 F ^0^ [?]
OARNELL HOWARD 1 I [of 3]-Digest-Re typed April 21, 1957 Also present: Nesuhi Ertegun, Robert Campbell Darnell Howard was born July 25, 1906, in Chicago [Illinois]. NE says Muggsy [Spanier] told him he [also] was born that year, but DH says Muggsy is older. DH was born at 3528 Federal Street (two bloclcs from Armour Institute, which is now Illinois Institute of Technology). DH began studying his first instrument, violin,, at age seven; he studied with the same teacher who gave his father some lessons; his fatlaer played ciolin, comet and piano, and worked in night clubs around Chicago; he was working at [Pony?] Moore's at 21st and Wabash/ when he became il-1. DH says Bob Scobey or Turk [Murphy] told him that NE was a first-rate photographer. DH's father played all kinds of music, as DH has. EH studied violin until he was fourteen years old, when he ran away from home. His violin teacher was anj:,old man named Jol-inson. DH joined the union when he was twelve; h^s was sponsored by Clarence Jones; DH wente to worX [with Jones?] at the Panorama Theater; instumnentation was violin, pianc^ comet and drums. The school board made DH i^uit because of his age. The band played for motion pictures; they read their music. DH made 1-iis musical debut when he was nine years old, playing in a chsrch/ with his mother playing fhe piano. DH was induced to run away from 'home because be couldn't work in Chicago; to went with John Wycliffe's [c£. -
BACK AGAIN! the EVERGREEN CLASSIC JAZZ BAND MAKES ITS ANNUAL NOVEMBER APPEARANCE! by George Swinford and John Ochs the City’S South Side
November 2018 Volume 43, Number 9 BACK AGAIN! THE EVERGREEN CLASSIC JAZZ BAND MAKES ITS ANNUAL NOVEMBER APPEARANCE! by George Swinford and John Ochs the city’s South Side. Evergreen brings us the music of such Southsiders as Clarence Williams, Jimmy Noone, Tiny Parham and Junie Cobb, as well as that of more famous jazzmen. Leader Tom Jacobus will play tuba and string bass. Dave Loomis will play trombone and provide the vocals. Tom and Dave are the two founding members still with the band. Rick Holzgrafe (of the Black Swan band) will be up from Portland to play cornet. Long-time Evergreen member Steve Wright will play clarinet and sax. Once again Josh Roberts will be down from Vancouver, BC on banjo and guitar. Mike Daugherty, another long-time member, will supply appropriate 1920s-style percussion. Ever since the original pianist, Dan Grinstead retired from music in 2006, Andy continued on page 4 WHERE: Ballard Elks Lodge 6411 Seaview Ave. NW, Seattle WHEN: 1 p.m. - 4:30 pm November 18 ADMISSION: Pay only at door. Editor’s note: In the above photo, Dave Holo and Ray Skjelbred are shown. They will be replaced this time by Rick Holzgrafe and Andy Hall. $12 PSTJS members $15 non-members. Tom Jacobus brings his Evergreen Classic Jazz Band to the Ballard Elks’ bandstand Free admission for those under 21 who on November 18 for their tenth consecutive November appearance. Tom formed the band accompany a person paying admission. in 1985, intending to play hot music from the Prohibition era. In particular, he meant to feature quality tunes, which were being overlooked by most of the “Dixieland revival” FURTHER INFO: bands. -
Paramount Vol 1 800 Songs, 1.5 Days, 5.35 GB
Page 1 of 23 Paramount Vol 1 800 songs, 1.5 days, 5.35 GB Name Time Album Artist 1 Abounding Sin And Abounding Gr… 2:42 The Rise & Fall of Paramount Re… Rev. J. O. Hanes and Male Choir 2 Ada Jane's Blues (Pm 12232, 188… 3:06 The Rise & Fall of Paramount Re… Trixie Smith 3 Adams Apple (Pm 12376, 2603-1) 2:52 The Rise & Fall of Paramount Re… Jimmy Blythe and His Ragamuffins 4 African Blues (Pm 12229, 1864-) 2:53 The Rise & Fall of Paramount Re… Sam Manning 5 Aggravatin' Papa (Pm 12013, 132… 3:12 The Rise & Fall of Paramount Re… Alberta Hunter 6 Ain't Goin' Marry (Ain't Goin' Settl… 2:59 The Rise & Fall of Paramount Re… Ethel Waters 7 Ain't It A Shame (Pm 12104, P-14… 3:00 The Rise & Fall of Paramount Re… Four Harmony Kings 8 Aint It A Shame (Pm 12032, 1374-1) 3:00 The Rise & Fall of Paramount Re… Norfolk Jazz Quartette 9 Airy Man Blues (Pm 12219, 1851-2) 2:40 The Rise & Fall of Paramount Re… Papa Charlie Jackson 10 Alabamy Bound (Pm 20400, 2147… 2:43 The Rise & Fall of Paramount Re… Jimmy O'Bryant's Washboard Band 11 Alexander, Where's That Band? (… 2:57 The Rise & Fall of Paramount Re… Pickett-Parham Apollo Syncopators 12 All Birds Look Like Chicken To Me… 3:13 The Rise & Fall of Paramount Re… Sweet Papa Stovepipe 13 All I Want Is A Spoonful (Pm 1232… 2:39 The Rise & Fall of Paramount Re… Papa Charlie Jackson 14 All I Want Is That Pure Religion (… 3:12 The Rise & Fall of Paramount Re… Deacon L. -
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). -
NICK LAROCCA, Creator of Jazz
NICK LAROCCA, Creator of Jazz By Linda Serio Published 2007 Written in cooperation with the American Italian Renaissance Foundation Research Library. Nick LaRocca, leader of the Original Dixieland Jazz Band (ODJB), would have been 100 years old April 11, 1989. He died in 1961, but a handful of New Orleanians dedicated to his immortalization as the creator of jazz often speak of him in present tense. This group ignited my interest in the subject, and made possible this birthday tribute to Nick LaRocca. The individual who could best convince you that Nick lives on is his widow, Ruth LaRocca. Her blue eyes sparkle when she tells of being literally swept off her feet by a man known almost as well for his dancing as his trumpet playing. Musician and long-time friend Phil Zito has followed Nick's request to carve his rightful place in history and created the Nick LaRocca Original Dixieland Jazz Band Foundation. Bruce Raeburn, curator of Tulane University's jazz archive, is more objective and scholarly in his approach to Nick, but eagerly shares a wealth of knowledge and documentation on Nick's contributions to American musical and cultural history. Adrian Victor, at the music store “Werlein's For Music” knows the Nick LaRocca story by heart and provided a possible answer as to how Louisiana State University (LSU) acquired Nick's famous "Tiger Rag" as its fight song. Last, but not least, this article is dedicated to writer and historian Mike Palao, who, were it not for severe illness, would be offering his personal 100-year salute to Nick LaRocca on these pages. -
Clean” Version of the Index, with Just the Titles, Composers, and Recordings Listed
Updated 14 March 2021 INDEX of 3,836 TUNE TITLES and COMPOSERS (Stomp Off 1001 - 1436) Four-digit numbers are Stomp Off record numbers. Recordings may be available on CD or as MP3 downloads at stompoffrecords.com. A prefix of CD before the album number in this index means that that tune is found on the CD version only; C indicates that the tune is found on the cassette version only. Subtitles are shown in ( ); alternative titles are in [ ]; *indicates pseudonym for composer—see list at end. [NOTE: This is the “clean” version of the index, with just the titles, composers, and recordings listed. If you want to see the research notes that were behind this information, you can find them at http://stompoff.dickbaker.org/Stomp%20Off%20Index.pdf.] A Huggin’ and A Chalkin’ Ace of Rhythm (Jabbo Smith) Africana (A New “Booster”) (see Huggin’ and Chalkin’) Black Eagle JB 1065 (M. L. Lake) State Street Aces 1106 Pierce College Symphonic Winds 1297 A Major Rag (Tom McDermott) Original Salty Dogs JB 1233 Tom McDermott 1024 After All I’ve Done for You Ace of Spades (Billy Mayerl) (Tiny Parham) Á Solas (Butch Thompson) Tony Caramia 1313 Scaniazz 1004 Butch Thompson 1037 Achin’ Hearted Blues (Clarence After Awhile (Bud Freeman– Abide with Me (Henry F. Lyte– Williams–Spencer Williams– Benny Goodman) William H. Monk) Clarence Johnson) Louisiana Washboard Five 1398 Grand Dominion JB 1291 Hot Antic JB 1099 After Hours (James P. Johnson) About a Quarter to Nine Dick Hyman 1141 Keith Nichols 1159 (Al Dubin–Harry Warren) Gauthé’s Creole Rice YBJB 1170 After the Ball (Charles K.