Xavier to Host Resistance and Redemption in Black New Orleans: Past and Present
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Finding Aid to the Historymakers ® Video Oral History with Michael White
Finding Aid to The HistoryMakers ® Video Oral History with Michael White Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: White, Michael G. Title: The HistoryMakers® Video Oral History Interview with Michael White, Dates: June 7, 2010 Bulk Dates: 2010 Physical 9 uncompressed MOV digital video files (4:27:02). Description: Abstract: Jazz musician and music professor Michael White (1954 - ) was professor of Spanish and African American music at Xavier University of Louisiana, and bandleader of the Original Liberty Jazz Band in New Orleans, Louisiana. White was interviewed by The HistoryMakers® on June 7, 2010, in New Orleans, Louisiana. This collection is comprised of the original video footage of the interview. Identification: A2010_041 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Music professor and jazz musician Michael White was born on November 29, 1954 in New Orleans, Louisiana. Descended from early jazz notables such as bassist Papa John Joseph and clarinetist Willie “Kaiser” Joseph, White did not know of his background, but saw his aunt, who played classical clarinet, as his influence. White too played clarinet in the noted St. Augustine’s High School Marching Band and took private lessons from the band’s esteemed director, Lionel Hampton, for three years. White balanced school with his interest in the clarinet. He went on to obtain his B.A. degree from Xavier University in 1976 and his M.A. degree in Spanish from Tulane University in 1979. That same year, White joined the Young Tuxedo Brass Band, and two years later, White founded The Original Liberty Jazz Band with the aim of preserving the musical heritage of New Orleans. -
New Orleans Jazz & Heritage Foundation
New Orleans' Welcome to Jazz country, where Maison Blanche our heartbeat is a down beat and salutes the the sounds of music fill the air . Welcome to Maison Blanche coun• New Orleans Jazz try, where you are the one who calls the tune and fashion is our and Heritage daily fare. Festival 70 maison blanche NEW ORLEANS Schedule WEDNESDAY - APRIL 22 8 p.m. Mississippi River Jazz Cruise on the Steamer President. Pete Fountain and his Orchestra; Clyde Kerr and his Orchestra THURSDAY - APRIL 23 12:00 Noon Eureka Brass Band 12:20 p.m. New Orleans Potpourri—Harry Souchon, M.C. Armand Hug, Raymond Burke, Sherwood Mangiapane, George Finola, Dick Johnson Last Straws 3:00 p.m. The Musical World of French Louisiana- Dick Allen and Revon Reed, M. C.'s Adam Landreneau, Cyprien Landreneau, Savy Augustine, Sady Courville, Jerry Deville, Bois Sec and sons, Ambrose Thibodaux. Clifton Chenier's Band The Creole Jazz Band with Dede Pierce, Homer Eugene, Cie Frazier, Albert Walters, Eddie Dawson, Cornbread Thomas. Creole Fiesta Association singers and dancers. At the same time outside in Beauregard Square—for the same $3 admission price— you'll have the opportunity to explore a variety of muical experiences, folklore exhibits, the art of New Orleans and the great food of South Louisiana. There will be four stages of music: Blues, Cajun, Gospel and Street. The following artists will appear throughout the Festival at various times on the stages: Blues Stage—Fird "Snooks" Eaglin, Clancy "Blues Boy" Lewis, Percy Randolph, Smilin Joe, Roosevelt Sykes, Willie B. Thomas, and others. -
Dr. Michael White: Biography
DR. MICHAEL WHITE: BIOGRAPHY Dr. Michael White is among the most visible and important New Orleans musicians today. He is one of only a few of today’s native New Orleans born artists to continue the authentic traditional jazz style. Dr. White is noted for his classic New Orleans jazz clarinet sound, for leading several popular bands, and for his many efforts to preserve and extend the early jazz tradition. Dr. White is a relative of early generation jazz musicians, including bassist Papa John Joseph, clarinetist Willie Joseph, and saxophonist and clarinetist Earl Fouche. White played in St Augustine High School’s acclaimed Marching 100 and Symphonic bands and had several years of private clarinet lessons from the band’s director, Edwin Hampton. He finished magna cum laude from Xavier University of Louisiana with a degree in foreign language education. He received a masters and a doctorate in Spanish from Tulane University. White began teaching Spanish at Xavier University in 1980 and also African American Music History since 1987. Since 2001 he has held the Charles and Rosa Keller Endowed Chair in the Humanities at Xavier. He is the founding director of Xavier’s Culture of New Orleans Series, which highlights the city’s unique culture in programs that combine scholars, authentic practitioners, and live performances. White is also a jazz historian, producer, lecturer, and consultant. He has developed and performed many jazz history themed programs. He has written and published numerous essays in books, journals, and other publications. For the last several years he has been a guest coach at the Juilliard Music School (Juilliard Jazz). -
The Genesis of King Oliver's Creole Jazz Band Gene H
University of Richmond UR Scholarship Repository Music Faculty Publications Music Fall 1994 The Genesis of King Oliver's Creole Jazz Band Gene H. Anderson University of Richmond, [email protected] Follow this and additional works at: http://scholarship.richmond.edu/music-faculty-publications Part of the African American Studies Commons, and the Musicology Commons Recommended Citation Anderson, Gene H. "The Genesis of King Oliver's Creole Jazz Band." American Music 12, no. 3 (Fall 1994): 283-303. doi:10.2307/ 3052275. This Article is brought to you for free and open access by the Music at UR Scholarship Repository. It has been accepted for inclusion in Music Faculty Publications by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. GENE ANDERSON The Genesis of King Oliver's Creole Jazz Band On Thursday, April 5, 1923, the Creole Jazz Band stopped off in Rich- mond, Indiana, to make jazz history. The group included Joe Oliver and Louis Armstrong (comets), Johnny Dodds (clarinet), Honor4 Dutrey (trombone), Bill Johnson (banjo), Lil Hardin (piano), and Warren"Baby" Dodds (drums) (fig. 1). For the rest of that day and part of the next, the band cut nine portentous sides, in sessions periodically interrupted by the passage of trains running on tracks near the Gennett studios where the recording took place. By year's end, sessions at OKeh and Columbia Records expanded the number of sides the band made to thirty-nine, creating the first recordings of substance by an African American band--the most significant corpus of early recorded jazz - surpassing those of such white predecessors as the Original Dixieland Jazz Band and the New Orleans Rhythm Kings. -
New Orleans' Sweet Emma Barrett and Her Preservation Hall Jazz Band
“New Orleans' Sweet Emma Barrett and her Preservation Hall Jazz Band”--Sweet Emma and her Preservation Hall Jazz Band (1964) Added to the National Registry: 2014 Essay by Sammy Stein (guest post)* Sweet Emma Emma Barrett started playing piano aged seven and by 1910, aged just 12, she was performing regularly in bars and clubs in New Orleans. She had a strident, barrelhouse way of playing and quickly became a popular musician. Her penchant for wearing a red woven cap and garters with Christmas bells attached which jingled their accompaniment to the music, earned her the nickname of “Bell Gal.” She was also dubbed “Sweet” because of her artistic temperament apparently. Before forming her own band, Barrett played with Oscar “Papa” Celestin's Original Tuxedo Orchestra from 1923-1928 and, when that band split into two parts, Emma stayed with William “Bebe” Ridgley in his Tuxedo Jazz Orchestra until the mid 1930s when she began performing with trumpeter Sidney Desvigne, violinist player Armand Piron and bandleader, drummer and violinist John Robichaux. After a break from 1938 until 1947, Emma returned to music, playing at the Happy Landing Club in Pecaniere, which led to a renewed interest in her. In the late 1950s, after working with trumpeter Percy Humphrey and Israel Gordon, Barrett formed a band with Percy and his brother Willie, a clarinet player. In the 1960s, Barrett assembled and toured with New Orleans musicians in an ensemble called Sweet Emma and The Bells. She also recorded a live session at the Laura Lea Guest House on Mardi Gras in 1960 with her band: “Sweet Emma Barrett and her Dixieland Boys: Mardi Gras 1960.” It was not released until 1997 on 504 Records. -
A Feminist Perspective on New Orleans Jazzwomen
A FEMINIST PERSPECTIVE ON NEW ORLEANS JAZZWOMEN Sherrie Tucker Principal Investigator Submitted by Center for Research University of Kansas 2385 Irving Hill Road Lawrence, KS 66045-7563 September 30, 2004 In Partial Fulfillment of #P5705010381 Submitted to New Orleans Jazz National Historical Park National Park Service 419 Rue Decatur New Orleans, LA 70130 This is a study of women in New Orleans jazz, contracted by the National Park Service, completed between 2001 and 2004. Women have participated in numerous ways, and in a variety of complex cultural contexts, throughout the history of jazz in New Orleans. While we do see traces of women’s participation in extant New Orleans jazz histories, we seldom see women presented as central to jazz culture. Therefore, they tend to appear to occupy minor or supporting roles, if they appear at all. This Research Study uses a feminist perspective to increase our knowledge of women and gender in New Orleans jazz history, roughly between 1880 and 1980, with an emphasis on the earlier years. A Feminist Perspective on New Orleans Jazzwomen: A NOJNHP Research Study by Sherrie Tucker, University of Kansas New Orleans Jazz National Historical Park Research Study A Feminist Perspective on New Orleans Jazz Women Sherrie Tucker, University of Kansas September 30, 2004 Table of Contents Acknowledgments ................................................................................................ iii Introduction ...........................................................................................................1 -
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. -
Preservation Hall Jazz Band SING MILLER, Piano PERCY HUMPHREY, Trumpet WILLIE HUMPHREY, Clarinet BIG JIM ROBINSON, Trombone ALLAN JAFFE, Tuba Eie FRAZIER, Drums
Presents Preservation Hall Jazz Band SING MILLER, piano PERCY HUMPHREY, trumpet WILLIE HUMPHREY, clarinet BIG JIM ROBINSON, trombone ALLAN JAFFE, tuba eIE FRAZIER, drums SATURDAY EVENING, MARCH 20, 1976, AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN The Program No printed program is possible with a spontaneous performance such as this one by the Preservation Hall Jazz Band. When these famous pioneers went to work on a pleasant evening in New Orleans they didn't know what the mood of the band or the audience would be, so they didn't know what music they would play. The same is true tonight at this concert. The music is free, spirited, and original, and the order of the tunes is also. You may recognize many ... some will be surprising songs in a new approach. So let the program happen ... that's how jazz began. The Music What is New Orleans music? Thousands of words have been written to describe it, but no one has succeeded. It started with tribal dances from Africa and sophis ticated Creole Quadrilles, with funeral marches and Mardi Gras parades, with the blues and sunny picnics. It was originally polyphonic because everyone of these people was so talented that he could play the parts for ensemble sound. The emphasis is still on the ensemble, but each soloist must be heard as each one was at the beginning. The cornet or trumpet has the melody, the clarinet has the counterpoint, the trombone has the harmony ... and then all of a sudden it is changed. This is happy music, it is improvised, it is simple and effective, it doesn't try for erratic effects, it sings and it laughs and it cries and so do its listeners. -
New Orleans Jazz Tour (#2) Ride the Canal Street/Algiers Point Ferry from the French Quarter Across the Mighty Mississppi River To
NEW ORLEANS JAZZ TOUR (#2) RIDE THE CANAL STREET/ALGIERS POINT FERRY FROM THE FRENCH QUARTER ACROSS THE MIGHTY MISSISSPPI RIVER TO HISTORIC ALGIERS, “THE BROOKLYN OF THE SOUTH” TAKE A FREE SELF-GUIDED WALKING TOUR, AND VISIT THE FORMER HOMES OF ALGIERS’ JAZZ MUSICIANS, THE VENUES THEY PLAYED IN, AND THE ROBERT E. NIMS JAZZ WALK OF FAME, AND GET THE BEST VIEW OF NEW ORLEANS’ SKYLINE COPYRIGHT © 2016, KEVIN HERRIDGE www.risingsunbnb.com Jazz musicians of the 1920s referred to Algiers as “over da river” or the “Brooklyn of the South,” the latter for its proximity to New Orleans as compared to New York and Brooklyn, both separated by a river. This tour straddles the Algiers Point and Algiers Riverview neighborhoods, both integral parts of historic Algiers, and both having a long, rich history of African American, French, Spanish, German, Irish, and Italian/Sicilian residents. This was the site of the slave holding areas, newly arrived from Africa, and the powder magazine of the early 18th century. John McDONOGH, the richest man in New Orleans, lived here. The earliest account of music on the West Bank is to be found here. The Riverview area contains many African American churches, and some have over one hundred-year histories, one of which was the scene in days gone by of the fiery sermons of “Black Billy Sunday,” and many Jazz funerals, held for musicians, and benevolent society members. Several of the local musicians are interred in the nearby St. Bartholomew, St. Mary, and McDonogh cemeteries. Some of the earliest brass bands that influenced the birth of Jazz, including the Pickwick, the Excelsior, and the Pacific, employed Algiers’ musicians. -
100 Jazz Vocals Volume 1 Sheehan, Beverley and Leake, Allan. 100 Jazz Vocals Volume 2 Sheehan, Beverley and Leake, Allan
100 Jazz vocals Volume 1 Sheehan, Beverley and Leake, Allan. 100 Jazz vocals Volume 2 Sheehan, Beverley and Leake, Allan. 14 miles on a clear night : an irreverent, sceptical, and affectionate book about jazz records Gammond, Peter And Clayton, Peter 15 years of the Yarra Yarra Jazz Band Brown, Eric James. 15 years of the Yarra Yarra Jazz Band Brown, Eric James. 1935 Edition Of Parlophone Rhythm Style Jackson, Edgar Comp. 1942 Edition Of Swing Music And Hot Rhythm Records... Jackson, Edgar Comp. 1944 Edition Of Parlophone Rhythm Style Jackson, Edgar Comp. 30th anniversary of the Geelong jazz club 1980-2010 Parsons, David 52nd Street, the street of jazz Shaw, Arnold. A call to assembly : an American success story Ruff, Willie A catalague of 'Clarion' & 'Ebonoid' records. A history of their manufacture / by Frank Andrews Carter, Sydney H A century of jazz Carr, Roy A critic looks at jazz Borneman, Ernest. A discographical listing of jazz recordings of New Zealand. Volume 2, 1981- 2000. Huggard, Dennis O. A discography of Ade Monsbourgh Ricketts, Jack. A discography of the ' Little ' recording companies Miller, William H. A Few Personal Notes About La Vere's Chicago Loopers Acker, Clive A golden age of Jazz revisited 1939-1942 : three pivotal years of musical excitement when Jazz was world's popularSchumacher, music Hazen. A Guide To American Dance Music Issued On The Clifford Industries 'Custom Labels' Of 1928- 29 Laird, Ross. A guide to popular music Gammond, Peter A guide to the big band era : a comprehensive review of all the recorded hits and all the hitmakers Belaire, David C. -
Emanuel Chol - 1 James Humphrey - 21 Robert Hingle - 40 H
1 Emanuel Chol - 1 James Humphrey - 21 Robert Hingle - 40 H. Kuhn - 91 Emile Tosso - 96 2 EMMANUEL CHOL (1835-1916) Jazz is said to have matured around the turn of the 20th century. Little has been written about the music in and around New Orleans before 1900. In the histories of the Southern Louisianian Parishes we have found valuable information about the music that jazz evolved from. Also in this book, (from Basin Street Press entitled "Trinity of Early Jazz Leaders) we give information on six Southern Louisianian band leaders. From this information we have secured much new material about the evolution of jazz. We first examine the life and music of Emmanuel Chol, an educated musician who immigrated to Southern Louisiana from France. From his career we gain another perspective on the cultural scene in a small country town near New Orleans. LIFE OF EMMANUEL CHOL Emmanuel Chol was born on September 2, 1835. His parents, Joseph Aime Chol, an actor, and his wife, Pauline Clement Chol, were traveling with a theatrical troupe near Angers, France when he was born. His ancestors were musicians - his grandfather and uncle had both been church organists in Paris. At the time of his father's death in 1845, Emmanuel, now 10, was placed by his mother in the Maitrise de la Metropole de Paris to study music. She then secured a position as tutor to the children of the court of Czar Nicholas I in St. Petersburg, Russia. Emmanuel studied solfege, piano, harmony, organ, French, German, English, history, geography, and mathematics. -
The University Musical Society of the University of Miuhigan
The University Musical Society of The University of Miuhigan , Presents Preservation Hall Jazz Band SING MILLER, piano PERCY HUMPHREY, tl'umpet WILLIE HUMPHREY, clarinet BIG JIM ROBINSON, trombone ALLAN JAFFE, bass horn CIE FRAZIER, drums WEDNESDAY, A PRIL 9, 1975, AT 8:00 POWER CENTER FOR THE PERFORMING ARTS A NN ARBOR, MICHIGAN The Program No printed program is possible with a spontaneous performance such as this one by the Preservation Hall Jazz Band. When these famous pioneers went to work on a pleasant evening in New Orleans they didn't know what the mood of the band or the audience wo uld be, so they didn't know what music they would play. The same is true tonight at this concert. The music is free, spirited, and original, and the order of the tunes is also. You may recognize many ... some will be surprising songs in a new approach. So let the program happen ... that's how jazz began. The Music What is New Orleans music? Thousands of words have been written to describe it, but no one has succeeded. It started with tribal dances from Africa and sophisticated Creole Quadrilles, with funeral marches and Mardi Gras parades, with the blues and sunny picnics. It was originally polyphonic because everyone of these people was so talented that he could play the parts fo r ensemble sound. The emphasis is still on the ensemble, but each soloist must be heard as each one was at the beginning. The cornet or trumpet has the melody, the clarinet has the counterpoint, the trombone has the harmony .