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Notes from the Prez All Elements of a Traditional Jazz Band Show Growth and Improvement with HUME STREET PRESERVATION J.B
April 2011 Volume 36, Number 04 All Elements of a Traditional “OKOM all ye faithful” to catch their performance !! Jazz Band Show Growth and WHEN: Sunday, April 17, 12:30 - 4:30 p.m. Improvement with WHERE: Ballard Elks, 6411 Seaview Ave. NW HUME STREET ADMISSION: $10, PSTJS members - $13, Non-member guests (pay only at door) PRESERVATION J.B. Beautiful view, excellent dance floor, lots of free parking. By Rod Belcher Coffee, other beverages and snacks available The octet known as the “Hume Street Preservation Jazz Free Parking. Great view, excellent dance floor. Band” is one of those aggregations which in its infancy, a good Snacks, coffee, other beverages available many years ago, was known, as an up-and-coming bunch of good guys who tried hard but sometimes didn’t squarely hit the mark in the “trad” genre. They were all musicians based in or near Grays Harbor County, and through the years they developed a repertoire which continued to grow in quantity but, more importantly, in quality. Notes from the Prez They’ve had some personnel changes but have maintained the free-wheeling drive and enthusiasm of those charter members. They scored well with our jazz society’s audience a year A big Thank You to all of you who have pledged your support ago, and here they are, back once more with the same lineup of to the Bob Schulz September gig. We are very close to meeting our players to favor us in our April 17th concert. goal of $2000. We’ve notified Bob that the September gig is a go and “Hume Street” is under the management of the savvy we, and his band members too, are looking forward to that weekend. -
TONY PARENTI & TONY SB.AR.BARO Reel I
TONY PARENTI & TONY SB.AR.BARO 1 Reel I--Summary--Retyped Also Present~ June 29, 1959 Richard B. Allen Parenti's daughter Inter~iew is taking place at the home of Tony Parenti, 8306 Vietor Avenue, Elmhurst, Long Island. Tony Parenti opens with a joke, based on home-permanent commercials, ~ t "Which J.I\.Tinhas the Toni?" Parenti mentions his appreciation of his basic New Orleans background [and ?] jazz, says he studied music as a child, and has at times had to be a 11legitimate• musician, and at other times has been a "commercial" musician, but at the moment has t resigned / [i ronic connotation?] himself to "working and playing only jazz--no conductors to follOW", no music to read, no mental strains--so now all I do is call out the tune, what key, knock off two beats, and live forever." It is a very warm day--in the nineties. Parenti says it is as hot as it was in the early days in his New Orleans career. Sbarbaro replies that then you could cool off at Milneburg. Parenti says you could not only cool off at Milneburg, you could get to feeling pretty good while you were cooling off there. Parenti recalls when he first started to play jazz, Eddie Edwards was passing by Dauphine and St. Ann Streets, where Parenti 1 s father had a shoemaker 1 s sh~p. Edwards heard Parenti practicing, asked Parenti 1 s father who was playing clarinet. Edwards invited him to come up to a dance mall on Elysian Fields Avenue, upstairs. -
William Russell, Mlna ^Mrs. Bill^ Crals; Musicians, Including Lala: Raymond Burke, Johrmy Wlggs, Bill Crasis
JOHNM LALA 1 I [of 5] -Digest -Retyped March 15, I960 Also present: William Russell, Mlna ^Mrs. Bill^ Crals; musicians, including Lala: Raymond Burke, Johrmy Wlggs, Bill Crasis. Recorded at Craisf apartment? [T08 1/2] Bour'bon . / Music: "Shine On, Harvest Monn"-Includes reheasal on verse and discussion of key (incomplete) "Sweetheart" (incomplete). "It Had To Be You" (with JL solo). "Savannah" (difficulty finding correct chords for bridge). (ineompltete) JL says Lawrence ShieldsTs brother composed a number about fifty years ago. under another name Talk at3ou-b the original name of "Zero." Joe Oliver txrecorded iV. JL says the name the old-timers had for "Panama" -was "MeafballB", and "Tlgar Rag*' va.B "Number Two"; he days something he seats (sounds like "Original Dixleland One-Step) was called "Mea-b'balls ." "March.of the Bobcats" was originally "Maryland, My Maryland." Sidney Arodln called [ ?] "The Crow" o£r something. "Sensa-tlon" waB originally called "Tuxedo"^ because it was composed in the old tender loin dis'fcricty [in the Tuxedo?] dance hall?; Tom Brown "and all of us" had a hand in it. Burke plays part of "My Little Persian Rose," [check the titl.e against sheet tnusic] saying he used 'to play It -with [Alfred] Laine. JL asks Burke his age; JL says he himself is sixty-six, and that Torn Brcwn VQ.G older than he vo.e . BC plays part of "Maryland, It My Maryland * [KB?] seats bit of [Triumphal March" from Alda,.] Musici "Livery Sta'ble Blues", Bame as "Barnyard Blues"-rehearsal with discussion of key "Melancholy Baby" JL plays "Look At 'Em DolnT It New" JL says La-wrence "Larry" ShieldBj who vas with the Original Dixieland Jazz Band, wrote the previouB tune. -
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. -
JAZZ Unigrid Revised.Qxd
National Park Service New Orleans Jazz U.S. Department of the Interior New Orleans Jazz National Historical Park A New and Different National Park A painting of a 1905 Most historical parks in the national park system are created to commemorate a photograph of the battle, a place, or a person that played an important role in our nation's history. In Imperial Orchestra 1994, Congress authorized a new and different park in New Orleans as a national tribute to the uniquely American invention - jazz. The park's purpose is to preserve Photographs from the Al Rose Collection, Hogan Jazz Archive, information and resources associated with the origins and development of jazz in Tulane Universtiy the city widely recognized as its birthplace. Early Musical New Orleans, founded in 1718 as the center of pate in drumming, music-making, sporting, Influences the French Louisiana colony, increased signif- and dance activities. Listed on the National icantly in ethnic diversity in the decades fol- Register of Historic Places, Congo Square lowing the 1803 Louisiana Purchase. The holds special symbolic importance to Native existing culture comprised of mostly Americans and African-Americans because of American Indians, French, Spanish and West the role the site played in New Orleans' musi- African people was joined by a new wave of cal and social heritage. German, Italian, Haitian, and Asian-Pacific immigrants, English-speaking Americans and New Orleans prominence as America's first enslaved Africans from the U.S. and other early center for opera, caused both its melodi- parts of the Caribbean. This rich mix result- ous lyricism and repetitive rythmic figures to ed in considerable cultural exchange, creating also exert a powerful influence on the devel- a unique environment for the development of opment of the music. -
Raymond Lopez Was Born in New Orleans, Thanksgiving Day, Him To
RAYMOND LOPEZ 1 August 30, 1958 Reel I of IH--Summary--Erl'rsfc Draft ,".. \. ^<0 Present: William Russellc and refrigerator man Raymond Lopez was born in New Orleans, Thanksgiving Day, November» 1889, on Dumaine Street/ between Dauphine and Bourbon t. [now 800 block] u His father played comet in the French Opera, so Lopez' natural inclination was for the comet; he heard music< at the opera.. He discovered, after he had joined the Woodmen of , the World, that they needed a bugler, A policeman, Ben McKee, got him a bugle, and he learned to play it» Later, a friend, Frank / Meade (who had a brother Jim Meade) brought an old brass trumpet to Lopez° father to have a case made for it» Lopez experimented with it and was able to pick out tunes "by ear," tunes such as "In the Good Old Summertimeo" A clarinetist, Freddy Burns invited him to play a "dago" wedding [reception]--$1.50 and all he could eatu Lopez knew only about five tunes, but he accepted. Others who played that job were'Charlie Burns on bass;, and [Hughie ?] Murray, guitar» After about three tunes, one of the men at the reception asked Lopez if he wanted to dance (meaning that he was very bad at playing), so Lopez dancecL Howevers he learned many more tunes RAYMOND LOPEZ 2 August 30, 1958 Reel I of III-Summary- .FirSt Dwa£t(^0j^<^ in the following month, and Freddy Burns came to see him againo Lopez really began playing at about age 16, but he had fooled / around with his father's horn at about age 9o Lopez' father was t named Edward Lopez, and was well-known among the older musicians, * 7. -
Jazz Has Remarkable History As A
6 6 THE SUN, SUNDAY, FEBRUARY 9, 1919. Jazz Has Remarkable History as a Fad Starting Twenty Years Ago in New Orleans It Has Swept From Coast to Coast and Is Invading Europe Exponents in Bitter Dispute as to Origin Broadway Historian Settles Question ' ! m LORE.TTA Mr. Kingsley is the most pro-four- .d authority on jazz, which has McDERMOTT swept over this country and is now invading Europe. Maurice is now teaching the shimmy dance in Paris F&TSCO to Jazz music to French pupils. Mr. Kingsley has interviewed every artist of the Keith circuits who might have been by way of picking players by car up any information on the subject variations than do tho and they have brought alone. Ho has developed a school back to the of Jazz and clarinetists. Palace Theatre much light on a Baquet is of his art and topic that has mystified the lighter a student Kelly and his band are now playing I Jazz "blues" a generation before player Sprlcclo, daddy of from the African Jungle via tho slave tho 'Jazz band.' The band consisted tertainment of our patrons It has been enjoys high standing among h.s musical The impor- and for John the a authorities. for Frisco and making a musical hit they reached Chicago. Bert Kelly be- - Jazz, brought the original Dixieland ships and the plantations. Old John of Tom Brown, trombono (how with necessary to ralso the prices aa fol- fellow Jazz artists. It Is interesting tance of "jazz" may be understood of their own. with four men in his Jazz band. -
Jazz Studies IV Harry Yerkes
1 Jazz Studies IV Harry Yerkes -1 Wilber Sweatman - 43 Jazz & American Culture - 66-75 Harry Yerkes 1874-1956 Harry Yerkes was a major factor in the entertainment industry in the 1910s and 1920s. He had a number of different musical groups that were usually not conducted by him. He was also a major factor in the early recording industry and was an exponent of early jazz. He was one of the most important and influential figures on the New York music scene. Yerkes was sponsor of the following musical groups: the Jazzaimba Orchestra-1919, Yerkes Novelty Five- 1919, The Happy Six-1919, Yerkes Southern Five-1920, Yerkes Sax Sextet-1920, Yerke's S. S. Flotilla Orchestra-1923 and other unnamed groups. Yerkes made what is considered the first jazz recording made in Montreal, Canada (1920) with a band named 'Yerkes Bluebird Orchestra,' named for the Blue Bird Cafe on Union Street between rue Sainte-Catherine Quest and rue Durocher (now Blvd. Remi-Levesque in Montreal). The cafe was gutted by fire in 1972. On this recording were musicians Tom Brown and Ross Gorman. Bluebird Cafe, after fire in 1972 2 There is limited 'pure' jazz in the modern sense but many performances are important links between ragtime and early jazz. Yerkes was among the early proponents of jazz as a serious art form and also a proponent of blues music. He produced a concert at Aeolian Hall that debuted a symphony by Albert Chiaffarelli which included the tunes by W. C. Handy. Yerkes often mixed classical musicians with jazz artists in his recording sessions. -
Early Jazz in Vaudeville Steven Lewis
Florida State University Libraries Honors Theses The Division of Undergraduate Studies 2012 "Untamed Music": Early Jazz in Vaudeville Steven Lewis Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] Abstract: (jazz, vaudeville, early jazz, jazz history) Vaudeville, which was one of the most influential entertainment genres in America at the turn of the century, was also important to the early development of jazz. Vaudeville’s role in jazz history has not often figured into discussions of early jazz because the earliest jazz historians were record collectors who relied heavily on sound recordings to establish the history of the music, leading them to marginalize the contributions of musicians or bands that did not make records. Touring vaudeville, minstrel shows, and circuses played a crucial role in jazz’s development and dissemination. Many of the influential jazz artists of the teens and twenties, such as Alvin “Zoo” Robertson, Wilbur Sweatman, Freddie Keppard, and Ferdinand “Jelly Roll” Morton began their careers playing in tents and theaters around the country as vaudeville entertainers. Traveling vaudeville shows were the most significant factor in the spread of jazz before the advent of recording, and brought early jazz to appreciative audiences even before 1917, when the first jazz recordings became available. After these initial recordings, the shows carried jazz to remote areas of the country where jazz records were less likely to be available. These shows continued to be important for the careers of jazz musicians until the mid thirties, when the ascendance of film and radio led to vaudeville’s terminal decline. -
Richard M. Sudhalter. Lost Chords: White Musicians and Their Contributions to Jazz, 1915-1945. New York: Oxford University Press, 1999
Richard M. Sudhalter. Lost Chords: White Musicians and Their Contributions to Jazz, 1915-1945. New York: Oxford University Press, 1999. xxii, 890 pp. Reviewed by David Sager Lost Chords: White Musicians and Their Contributions to Jazz, 1915-1945 is fascinating historical criticism, both extremely well written and well re searched. It is a work that intends to shed light on white and supposedly "forgotten" players of jazz from the pre-bebop era. Its author, Richard M. Sudhalter, sets out to make clear the enormous contributions and talents of these important white musicians. His intention to do so in a balanced way, so as not to cast aspersions on any black musicians, is not wholly successful. In his introduction, Sudhalter asks, "Are we entitled to judge another age from the viewpoint of our own, informed as it is by knowledge of the outcomes of past thought and practice?" (xv). The implication, therefore, is that anything discussed shall be viewed in the light which shown during its existence. If jazz grew up in a largely racist world, then there shall be no juggling of social rules to make the story fit our contemporary prefer ences. Doing so would result in an "outcome oriented" jazz historical text, one that would be molded to the prejudices of the author. We are then in troduced to what Sudhalter calls the "noble lie," which basically states that black musicians, having been deprived of the social status that whites were afforded during the early twentieth century, need to be wholly recognized as the true pioneers, creators, and upholders of jazz and its traditions white musicians are merely imitators. -
I I I I I I I R I I ! -·
I /)·2 F/le: !lew Orleans a~ ' Jazz_ NlfP I A BIOGRAPHICAL LISTING OF SELECTED MAJOR JAZZ/BLUES ARTISTS I IN NEW ORLEANS, PAST AND PRESENT 1: Curtis Dale Jerde I Principal Investigator I ·' Submit ted by Earth Search, Inc • P.O. Box 850319 I: New Orleans, LA 70185-0319 • April 16, 1990 I! In Partial Fulfillment of PX 75 30-9-0275 1: Submit ted to Jean Lafitte National Historical Park and Preserve I' 423 Canal Streett Room 210 New Orleans, LA 70130-2341 I, I I I r B&WScans I IZ -/0 .zoo0 I .,-· I I A BIOGRAPHICAL LISTING OF SELECTED MAJOR JAZZ/BLUES ARTISTS I IN NEW ORLEANS, PAST AND PRESENT I Curtis Dale Jerde Principal Investigator I I I Submitted by Earth Search, Inc . P.O. Box 850319 I New Orleans, LA 70185-0319 • April 16, 1990 In Partial Fulfillment of I PX7530-9-0275 I Submitted to Jean Lafitte National Historical Park and Preserve I 423 Canal Street, Room 210 New Orleans, LA 70130-2341 I I I rI I BIOGRAPHICAL LISTING OF SELECTED MAJOR JAZZ/BLUES ARTISTS IN NEW ORLEANS, PAST AND PRESENT Curtis Dale Jerde Principal Investigator Submitted by Earth Search, Inc. P. 0. Box 850319 New Orleans, LA 70185-0319 April 16, 1990 In Partial Fulfillment of PX7530-9-0275 Submit ted to Jean Lafitte National Historical Park and Preserve 423 Canal Street, Room 210 New Orleans, LA 70130-2341 I ACKNOWLEDGEMENTS Much of the material contained in this volume is derived directly I from original sources, particularly those held by the William ' Ransom Hogan Jazz Archive of the Howard-Tilton Memorial Library, Tulane University. -
![Jn^Edward^ ^.Shl^Ds^ He Played Wl^^Sh^Aey[Bo^No]^S.^D^Ls^ with Hardy](https://docslib.b-cdn.net/cover/4303/jn-edward-shl-ds-he-played-wl-sh-aey-bo-no-s-d-ls-with-hardy-9354303.webp)
Jn^Edward^ ^.Shl^Ds^ He Played Wl^^Sh^Aey[Bo^No]^S.^D^Ls^ with Hardy
ff -r I f / f ff J; Q r- D^^ ^ ,1 f \ f J / / f /, / 1 r^.; ^ :^\ i^r( ^.::v i f *-^ / f / ^/, I- fs J h- f / A s ft m^. ,i HARRY SHIELDS Also present: William Russell ^ I [of 3] --Digest --Retyjied Johnny Wiggs May 28, 196l JW says HS probalsly played more with Emmett; Hardy^(Hardy and HS worked / -w -1.^ F*'**"h^JU/- /-f-k '.°tl -^.LTl r^t ',-.. f -j^n-j HaI3 ^ together in [Norman] Bro-wnlee's band; JW [replaced?] Hardy in that band*) < .t .Kdt {comet ]-than anyone else^jHS agrees that he played In Hardy's first band, ^pr } Q^ -whichf was organized to play at Midway Park, up at Harvey's [i.e.j the Harvey^] Canal (across the river). Hardy played very well and in an original style - He lived in Algiers a-t the time. Hardy was quite young then, Harry P. Shields was loom in 1899. His paternal' family were all non- I. '* c \JV 1^.; ^ ((-<s Jl-''-; professional dancersj^ his maternal family (excep-b his mother) were all musiclans, string players. Besides his brother, [clarlnetist] Larry [Shields], HS had two half-brothers, John and James Ruth; James played all the string f I f ^- r / ^ r'^ y TTft- T (t, > ^1-' - instruments, plus comet.^ All are dead [including Larry].. Larry was six ^ V. > 7 J years older than Harry. Between Larry and Harry [in age] was pianist Eddie, jn^Edward^ ^.Shl^ds^ he played wl^^Sh^Aey[Bo^no]^s.^d^ls^ with Hardy. HS says they had a little band once, with Ed^^/on piano, Charlie Leach on L^-hw drums, Donald Coleman (president of the Times"Picayune [circulation director, according to 19^5 paper--PRC])j violin; they .would rehearse at Leach's house.