The New Orleans' Piano Sound Is Instantly Recognizable by Its Funky

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The New Orleans' Piano Sound Is Instantly Recognizable by Its Funky

NEW ORLEANS From Bienville to Bourbon Street to bounce. 300 moments that make New Orleans unique. WHAT HAPPENED In May 1938, 1718 ~ 2018 Allen Lomax recorded music and interviews of Jelly Roll Morton 300 for the Library TRICENTENNIAL of Congress. JULES CAHN COLLECTION THE AT HISTORIC N.O. COLLECTION THE NEW ORLEANS ADVOCATE Jelly Roll Morton ‘Tuts’ Washington Louis Moreau Gottschalk Allen Toussaint David Torkanowsky Dr. John PHOTO BY MICHAEL SMITH P. ©THE HISTORIC N.O. COLLECTION The New Orleans’ piano sound is instantly recognizable by its funky and rhythmic syncopated sound, even back to the days of Louis Gottshalk and Jelly Roll Morton. PHOTO BY MICHAEL SMITH P. ©THE HISTORIC N.O. COLLECTION Each player since has included their own flourishes that THE NEW ORLEANS ADVOCATE have made their sound distinctive, yet part of the New Or- leans piano genre. In the 1800s, Gottschalk, an internation- ally famous piano player from New Orleans, incorporated Latin rhythms and rolling right hand figures. Decades later, Jelly Roll Morton incorporated a “Spanish tinge” into his music but kept that rolling right hand. Jelly Roll was fol- lowed by “Tuts” Washington and Fats Domino. Domino Henry Butler added an element of boogie woogie; while Professor Long- hair laid down a funky piano style that is still imitated by pi- THE NEW ORLEANS ADVOCATE ano players in New Orleans and can be heard in the playing of Dr. John and Harry Connick Jr. Allen Toussaint distilled the New Orleans piano sound in his more refined record- ings and those he produced. James Booker added an energy to the tunes. And there are countless piano virtuosos in between including Art Neville, Eddie Bo, Henry Butler and David Torkanowsky — all playing funky from their New Orleans roots. Professor Longhair Harry Connick Jr. Fats Domino.

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Wavelength (December 1981)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 12-1981 Wavelength (December 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (December 1981) 14 https://scholarworks.uno.edu/wavelength/14 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. ML I .~jq Lc. Coli. Easy Christmas Shopping Send a year's worth of New Orleans music. to your friends. Send $10 for each subscription to Wavelength, P.O. Box 15667, New Orleans, LA 10115 ·--------------------------------------------------r-----------------------------------------------------· Name ___ Name Address Address City, State, Zip ___ City, State, Zip ---- Gift From Gift From ISSUE NO. 14 • DECEMBER 1981 SONYA JBL "I'm not sure, but I'm almost positive, that all music came from New Orleans. " meets West to bring you the Ernie K-Doe, 1979 East best in high-fideUty reproduction. Features What's Old? What's New ..... 12 Vinyl Junkie . ............... 13 Inflation In Music Business ..... 14 Reggae .............. .. ...... 15 New New Orleans Releases ..... 17 Jed Palmer .................. 2 3 A Night At Jed's ............. 25 Mr. Google Eyes . ............. 26 Toots . ..................... 35 AFO ....................... 37 Wavelength Band Guide . ...... 39 Columns Letters ............. ....... .. 7 Top20 ....................... 9 December ................ ... 11 Books ...................... 47 Rare Record ........... ...... 48 Jazz ....... .... ............. 49 Reviews ..................... 51 Classifieds ................... 61 Last Page ................... 62 Cover illustration by Skip Bolen. Publlsller, Patrick Berry. Editor, Connie Atkinson.
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