3<Rumpet, Now of Baton Rouge) Was from Laplace? Bob Played
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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. -
Rhythm, Dance, and Resistance in the New Orleans Second Line
UNIVERSITY OF CALIFORNIA Los Angeles “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Benjamin Grant Doleac 2018 © Copyright by Benjamin Grant Doleac 2018 ABSTRACT OF THE DISSERTATION “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line by Benjamin Grant Doleac Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Cheryl L. Keyes, Chair The black brass band parade known as the second line has been a staple of New Orleans culture for nearly 150 years. Through more than a century of social, political and demographic upheaval, the second line has persisted as an institution in the city’s black community, with its swinging march beats and emphasis on collective improvisation eventually giving rise to jazz, funk, and a multitude of other popular genres both locally and around the world. More than any other local custom, the second line served as a crucible in which the participatory, syncretic character of black music in New Orleans took shape. While the beat of the second line reverberates far beyond the city limits today, the neighborhoods that provide the parade’s sustenance face grave challenges to their existence. Ten years after Hurricane Katrina tore up the economic and cultural fabric of New Orleans, these largely poor communities are plagued on one side by underfunded schools and internecine violence, and on the other by the rising tide of post-disaster gentrification and the redlining-in- disguise of neoliberal urban policy. -
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). -
A Researcher's View on New Orleans Jazz History
2 TABLE OF CONTENTS Introduction 6 Format 6 New Orleans Jazz 7 Brass & String Bands 8 Ragtime 11 Combining Influences 12 Party Atmosphere 12 Dance Music 13 History-Jazz Museum 15 Index of Jazz Museum 17 Instruments First Room 19 Mural - First Room 20 People and Places 21 Cigar maker, Fireman 21 Physician, Blacksmith 21 New Orleans City Map 22 The People Uptown, Downtown, 23 Lakefront, Carrollton 23 The Places: 24 Advertisement 25 Music on the Lake 26 Bandstand at Spanish Fort 26 Smokey Mary 26 Milneburg 27 Spanish Fort Amusement Park 28 Superior Orchestra 28 Rhythm Kings 28 "Sharkey" Bonano 30 Fate Marable's Orchestra 31 Louis Armstrong 31 Buddy Bolden 32 Jack Laine's Band 32 Jelly Roll Morton's Band 33 Music In The Streets 33 Black Influences 35 Congo Square 36 Spirituals 38 Spasm Bands 40 Minstrels 42 Dance Orchestras 49 Dance Halls 50 Dance and Jazz 51 3 Musical Melting Pot-Cotton CentennialExposition 53 Mexican Band 54 Louisiana Day-Exposition 55 Spanish American War 55 Edison Phonograph 57 Jazz Chart Text 58 Jazz Research 60 Jazz Chart (between 56-57) Gottschalk 61 Opera 63 French Opera House 64 Rag 68 Stomps 71 Marching Bands 72 Robichaux, John 77 Laine, "Papa" Jack 80 Storyville 82 Morton, Jelly Roll 86 Bolden, Buddy 88 What is Jazz? 91 Jazz Interpretation 92 Jazz Improvising 93 Syncopation 97 What is Jazz Chart 97 Keeping the Rhythm 99 Banjo 100 Violin 100 Time Keepers 101 String Bass 101 Heartbeat of the Band 102 Voice of Band (trb.,cornet) 104 Filling In Front Line (cl. -
C.1926, EH Played with Buddy Petit in Mandeville Every Other Saturday
EARL HUMPHREY I [only] Also present; Tom Kethell November 30,1968 .T- ^A> Lw-9. f ft-^-^~T^~^--e^"-E-£).-. ^ '- ^t^ C.1926, EH played with Buddy Petit in Mandeville every other Saturday night at the Hotel; Buddy was stationed in Mandeville witl-i another band, Tout seemed to be getting tired and lonesome/ because he was just working on weekends/ so he came home to N.0. to play in Lee Coliins and EH's band. BP slipped on the train with EH's band and worked witli the band for 2 months, then BP went back to Mandeville. The band did pretty well during the time BP was in tl-ie band. In the band was: George Lewis; Alex Scott/ bass; Little Dad Vincent/ tenor banjo; Roy Evans, drums' EH, tb? Lee Collins/ tp; BPftp? a 7 piece orchestra* f '? ^ y ^, ^ TB talks about a story he heard that EH pXayed with BP, got into a fight with him/ fired him/ and tTien got Lee Coliins after BP left * But EH doesn't remember that story. EH remembered that he would play t in BP's band when the trombone player was sick. Before BP went to Mandeville/ 'he had a popular orchestra. But BP wanted to go to Mandeville to be with his wife who was working over there. EH only played witT-i BP when fhe trombone player was sick and during the 2 month trip the EH's band took, "Original BP Band" was the most popular jazz band &t the time. Morris French, trombone; "Face-o" [Eddie -^\ 1. -
King LP Inventory
Oberlin Conservatory Library Special Collections Stanley King Jazz Collection LP Inventory Page | 1 Item Number Title Name Record Label Record Number CSC_SKJC_LP_001 King Oliver and His Orchestra Oliver, King Epic LA 16003 CSC_SKJC_LP_002 Young Man with a Horn James, Harry Columbia CL 582 CSC_SKJC_LP_003 A Backward Glance Dorsey, Tommy Riverside RLP 12-834 CSC_SKJC_LP_004 Piano, Brass & Blues: classic blues accompaniments Riverside RLP 153 CSC_SKJC_LP_005 Harlem Banjo! Elmer Snowden Quartet Riverside RLP 348 CSC_SKJC_LP_006 Little Brother Montgomery Montgomery, Little Brother Riverside RLP 9410 CSC_SKJC_LP_007 Gut-Bucket Trombones Palmer, Roy Riverside RLP 150 CSC_SKJC_LP_008 Over & Over Again De Paris, Wilbur Atlantic SD 1552 CSC_SKJC_LP_009 Wilbur De Paris Plays Something Old, New, Gay, Blue De Paris, Wilbur Atlantic 1300 CSC_SKJC_LP_010 Billie and Dede Pierce: blues in the classic tradition Pierce, Bille Riverside RLP 370 CSC_SKJC_LP_011 Sweet Emma, "The bell gal," and her Dixieland Boys Barrett, Sweet Emma Riverside RLP 9364 CSC_SKJC_LP_012 Jim Robinson plays spirituals and blues Jim Robinson's New Orleans Riverside RLP 393 Band CSC_SKJC_LP_013 Jim Robinson's New Orleans Band Jim Robinson's New Orleans Riverside RLP 9369 Band CSC_SKJC_LP_014 Percy Humphrey's Crescent City Joymakers Humphrey, Percy Riverside RLP 378 CSC_SKJC_LP_015 Economy Hall Breakdown Robinson, Jim Pearl Records PS 5 CSC_SKJC_LP_016 Oscar "Papa" Celestin Celestin, Oscar "Papa" Imperial LP-9149 CSC_SKJC_LP_017 Father of the Blues Handy, W C Audio Archives LP A-1200 -
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. -
Xavier to Host Resistance and Redemption in Black New Orleans: Past and Present
Contact: Patrice Bell-Mercadel (504) 520-5452 or Richard Tucker (504) 520-5425 Xavier to Host Resistance and Redemption in Black New Orleans: Past and Present New Orleans LA - Xavier University of Louisiana (XULA) will host a special program, Resistance and Redemption in Black New Orleans: Past and Present Sunday, Oct. 22, at 2:00 p.m. in the Xavier University Center’s McCaffrey Ballroom, 3rd floor. This event is hosted and sponsored by XULA’s own Dr. Michael White, Keller Endowed Chair in the Humanities’ with Xavier University in Louisiana as part of the Culture of New Orleans Series. The program, which will include a musical presentation by Dr. Michael White and the Original Liberty Jazz Band, is free and open to the public. This presentation will examine various forms of black resistance to racism and oppression throughout New Orleans’ 300 year history – from slave uprisings and escape, Reconstruction era turmoil, early 20th century struggles and Civil Rights era protests into today’s battles over issues like police brutality and Confederate monument removal. The program will feature a special panel of distinguished speakers discussing social, legal and physical resistance throughout the city’s existence. Included will be a discussion of black New Orleanians’ unique forms of cultural resistance through social club parades, jazz, and Mardi Gras Indian traditions. Panelists will include longtime Civil Rights activist Rev. Samson “Skip” Alexander; Plessey vs. Ferguson case descendants, Phoebe Ferguson and Keith Plessey; author and son of Civil Rights Attorney, A. P. Tureaud, Jr.; community activist and founder of Take ‘em Down NOLA, Malcolm Suber; and Black Panther and historian Malik Rahim.