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Junior Ranger Program Welcome! New Orleans Jazz New Orleans Jazz National Historical Park is one of over National Historical Park 380 national parks in the United States. The park’s mission is to preserve the origins, history and progression of an original American art form – jazz. Complete all the activities in the following pages and earn the status of a National Park Junior Ranger! You can learn about New Orleans jazz from this booklet Junior Ranger and from visiting our website. If you visit New Orleans, use your badge as a key to learn more about the city and Program its jazz culture. You may want to visit these exciting places while you’re there too. Museums Music Jazz Exhibit at the Preservation Hall Old U.S. Mint 8pm-1am 400 Esplanade Kid-friendly live jazz 726 St. Peter Street Cabildo and Presbytyre Louisiana State Museums WWOZ radio station Chartres St. at Jackson Sq. Tune to 90.7 fm Or live internet broadcast Backstreet Culture Museum www.wwoz.org 1116 St. Claude just outside of French Qtr. Palm Court Jazz Café 8-11pm, Wed.- Sun. National D-day Museum Kid-friendly live jazz 945 Magazine Street 1204 Decatur Street 9 blocks from French Qtr. Find 5 Trumpets START Jazz musicians found work in restaurants, dance halls and on the steamboats. Study the picture below and find the five hidden trumpets. The race is on! Start at Jackson Square and wind your way through the streets of the French Quarter to find the future home of New Orleans Jazz National Historical Park. FINISH Connect the Dots What Doesn’t Belong? Look at the pictures below and find the object that What object is used in the second line jazz bands of New is not a jazz instrument. Orleans that doesn’t play music? Connect the dots to reveal this fun object, rain or shine! 11 Who Played What? Jazzy Word Search Read about a famous New Orleans jazz musician Find and circle the jazz music words listed below and draw a line to the instrument they played. Sydney Bechet I was nine years old when I first A D B C K L J N P S played a clarinet. B R A S S B A N D M Louis Armstrong T V N Z A X Z O S N Most folks call me Satchmo. I S A J R T A Z T H T started out playing a tin horn, but became famous playing a R O O N C A L E D R cornet (trumpet). P V R E H C H A L U L E N S M U S I C M Sweet Emma Barrett I played jazz piano in a time P I A N O A R Z U P when women jazz musicians M S B E P A R A D E were rare. L R I V E R B O A T I O S A T V K M N P Kid Ory I was raised upriver in plantation N E W O R L E A N S country, but came to the big city to learn more about my ‘tailgating’ trombone. Satchmo Jazz BrassBand “Professor” NewOrleans Music Parade Jelly Roll Morton I was born in New Orleans, and Trumpet Note Riverboat folks call me professor because Banjo Piano I’m a great piano man. 12 Test Your Knowledge Congratulations! You’re almost a junior ranger. Just answer the next few questions and you’re done! You are now a junior ranger. Sign below and then mail your program to the park for a ranger to sign and send you a National Park Service Junior Ranger badge. 1. What state is New Orleans Jazz National Historical Park in? Louisiana Mississippi Texas California Sign Your Name Here 2. Name one jazz musician from New Orleans: ________________________________________ 3. Where is the future home for Park Ranger Sign Here New Orleans Jazz NHP? Baton Rouge The Superdome French Market Armstrong Park 4. What object did you draw by connecting the dots? ________________________________________ 5. What is a national park? Please provide a return address: Name: _____________________________ Street:_____________________________ City: _______________________________ State: ____________ Zip: ____________ 13.
Recommended publications
  • Edward “Kid” Ory
    Edward “Kid” Ory Mr. Edward “Kid” Ory was born in Woodland Plantation near La Place, Louisiana on December 25, 1886. As a child he started playing music on his own homemade instruments. He played the banjo during his youth but his love was playing the trombone. However, the banjo helped him develop “tailgate” a particular style of playing the trombone. By the time he was a teenager, Ory was the leader of a well-regarded band in southeast Louisiana. In his early twenty’s, he moved to New Orleans with his band where he became one of the most talented trombonists of early jazz from 1912 to 1919. In 1919, Ory relocated to Los Angeles, California for health reasons. He assembled a new group of New Orleans musicians on the West Coast and played regularly under the name of Kid Ory’s Creole Orchestra. There, he recorded the 1920s classics “Shine,” “Tiger Rag,” “Muskrat Ramble,” and “Maryland, My Maryland.” In 1922, he became the first African American jazz bank from New Orleans to record a studio album. In 1925, Ory moved to Chicago and took interest in working on radio broadcasts and recording with names such musicians as Louis Armstrong, Jelly Roll Morton, Johnny Dodds, and many others. During the Great Depression, Ory left music but returned in 1943 to lead one of the top New Orleans style bands of the period until 1961. It was about 1966 when Ory retired and spent his last years in Hawaii. He did, however, play occasionally for special events. One of his last performances was in 1971 when he surprised everyone by coming back to the New Orleans Jazz and Heritage Festival.
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  • Istreets] Rampart Street; Then He Went Back to New Orleans University
    PRESTON JACKSON Also present: William Russell I [of 2]-Digest-Retyped June 2, 1958 Preston Jackson was born in the Carrollton section of New Orleans on January 3, 1904 at Cherokee and Ann [now Garfield] Istreets] (according to his mother). He went to "pay" school, then to Thorny Lafon [elementary] School, then to New Orleans University (WR says Bunk Johnson went there years before), which was at Valmont and St. Charles. His family are Methodist and Catholic. PJ moved to the Garden District; he attended McDonogh 25 School, on [South] Rampart Street; then he went back to New Orleans University [High s ]t School Division?] . In about 1920 or 1921, PJ told Joe Oliver he was thinking of taking up trombone; Oliver advised him to take clarinet instead, as PJ was a good whistler and should have an instrument more maneuver- able than the tromboneo Having decided on clarinet, PJ was surprised by his mother, wlio secretly bought him a trombone (August, 1920 or 1921) - PJ found but later that William Robertson, his first teacher, and a trombonist, had bought the horn for PJ's mother (Robertson was from Chicago) . PJ studied with Robertson for about six months; when he had had the horn for about nine months, he was good enough to be invited to play in the band at [Quinn's?] Chapel, where he remained four or five months, playing in the church band. Then PJ met some New Orleans friends and acquaintances/ including Al and Omer Simeon (from the "French part of town"), Bernie Young and 1 PRESTON JACKSON 2 I [of 2]-Digest--Retyped June 2.
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  • “Ory's Creole Trombone”-- Kid Ory (June 1922) Added to the National Registry: 2005 Essay by David Sager
    “Ory's Creole Trombone”-- Kid Ory (June 1922) Added to the National Registry: 2005 Essay by David Sager Kid Ory In mid-summer 1922, and with very little ballyhoo and promotion, a pair of enterprising African- American brothers brought out this pioneering and essential jazz recording, one that would define New Orleans-style jazz and serve as a model for future performers of that genre. John and Benjamin “Reb” Spikes—songwriters, publishers, vaudeville performers, and owners of a music store and a small amusement park in Los Angeles—were well connected in black show business and well aware of the enormous musical contributions being made by folks from New Orleans. “Ory’s Creole Trombone”—and its reverse side, “Society Blues”—are commonly referred to as the first jazz record by African Americans. Actually, it is not, for that distinction must go to Wilbur Sweatman and his Jass Band for a Pathe recording made in the spring of 1917. The Ory recordings are the first recordings of black/Creole New Orleans jazz, though, due to their loose feel and hot nature, many think of these as the first recognizable jazz performances on record. They are certainly the first jazz recordings made on the west coast. In 1921, the Spikes brothers composed and published the song “Someday Sweetheart,” which would become a perennial favorite among jazz bands. When singer Alberta Hunter recorded it for the newly-formed black owned-and-operated Black Swan label, the brothers took special notice of its success. With the growing popularity of “race records”--those aimed at the black audience--the enterprising brothers went into the record business.
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  • Atkins (A Veteran of [World War I?],[See Notes on His
    HAMILTON, CHARLIE 1 Reel I [of 3] March 21j 1965 Also present: William Russell Charles Joseph Hamilton was born April ?8, 1904 in Ama, Louisiana, which is located on the west-side of the [Mississippi] River between West Kenner and Lulingj Ama is abou-b in or I? miles nearer ^Tew Orleans -fchan .^ Hahnville, the parish seat of [st. Charles] Parish, where Ama is located. CH's father was s clarinetist who played with a T^rass band in the area; Professor Jim Humphrey, grandfather of Percy [, Willle J-, and Earl] Humphrey, taught the band. Thelfa-bher told CH of men he played with, including Eddie Atkins [trombone]. whose home was Ama; A-fckins is buried there, Eddi e Atkins (a veteran of [World War I?],[see notes on his tombstone (in ANOJ?) RBA], had a brother named Freddie A-bklns who aspired to play drums, but he gave it up; Freddie new collects for -bhe Good Ci-bizens Insurance Company in New Orleans. A younger brother of Eddie was Garrett Atkins., who was a cooler; when he was about 20 years old, he came to N. 0. and became the chauffeur for Mrs. Edgar B. Stern; Gerrett died about 2 years ago. There 15 also a sister, married to Joe Bennett; the sister now lives in N. 0., and CH thinks she is the only surviving A-bkins [Cf. above] sibling, CH's mother, from Edgard, In S-fc. John [the Baptist] Parish, played piano. When CH was five or six years oldy the father moved the family to N.
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  • 21S NOLA Syllabus Part I Graphicsa
    HISTORY OF NEW ORLEANS MUSIC 2021S History of New Orleans Music 21S- MUGN-O246-W01 Spring 2021 16-Week Session 1/19/2021 - 5/7/2021 Instructor Information Name: Sanford Hinderlie Phone: (504) 865 2773 (Not to be used with Online course) Email: [email protected] (Preferred contact method. I usually reply to emails within 1-12 hours.) Office Location: World Wide Web Office Hours: By email appointment Terms of Use A student's continued enrollment in this course signifies acknowledgment of agreement with the statements, disclaimers, policies, and procedures outlined within this syllabus and elsewhere in the Canvas environment. This Syllabus is a dynamic document. Elements of the course structure (e.g., dates and topics covered, but not policies) may be changed at the discretion of the professor. Sanford Hinderlie, jazz piano Course Information Prerequisite Courses: ENGL T122 or Equivalent Course Location: Online in Canvas (NOTE: This is an asynchronous online course. However, it is NOT self-paced. Readings as well as all learning activities must be completed according to the weekly schedule provided in this syllabus.) Credit Hours: 3 Credit hours Weeks and Dates of the Course: 16 weeks (full semester), from Wednesday, Jan. 20, 2021 to Friday, May 5, 2021 Class Meeting Time: Each week begins on Monday at 12:00 am and ends on Sunday at 11:59 pm in Canvas Expectations of Workload: e.g. According to the Loyola University Credit Hour Policy http://academicaffairs.loyno.edu/credit-hour-policy, you are supposed to spend at least 6300 minutes (that is 105 hours including 35 hours of classwork and 70 hours of out-of-class work) for the whole semester regardless of how many weeks it is offered.
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  • The Origin of Armstrong's Hot Fives and Hot Sevens Gene H
    University of Richmond UR Scholarship Repository Music Faculty Publications Music 2003 The Origin of Armstrong's Hot Fives and Hot Sevens 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, American Popular Culture Commons, and the Musicology Commons Recommended Citation Anderson, Gene H. "The Origin of Armstrong's Hot Fives and Hot Sevens." College Music Symposium 43 (2003): 13-24. 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]. The Originof Armstrong's Hot Fives and Hot Sevens Gene Anderson has been almostfifty years since Louis Armstrong'sHot Five and Hot Seven ecordingsof 1925-19281were first recognized in print as a watershedof jazz history andthe means by which the trumpeter emerged as thestyle's first transcendent figure.2 Sincethen these views have only intensified. The Hot Fives and Hot Sevens have come to be regardedas harbingersof all jazz since,with Armstrong's status as the"single mostcreative and innovative force in jazz history"and an "Americangenius" now well beyonddispute.3 This study does notquestion these claims but seeks, rather, to deter- minethe hitherto uninvestigated origin of such a seminalevent and to suggestthat Armstrong'sgenius was presentfrom the beginning of the project. /:Historical Background The seedsof the idea thatgerminated into the Hot Five and Hot Sevenmay have been sownin theearly morning hours of June8, 1923 at theConvention of Applied MusicTrades in Chicago'sDrake Hotel.
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  • 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.
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  • RESOUND a QUARTERLY of the Archives of Traditional Music Volume IV, Number 2 April 1985
    RESOUND A QUARTERLY OF THE Archives of Traditional Music Volume IV, Number 2 April 1985 From the Director reviewed and expanded, summaries of material be more available). At the end each collection have been written, and of two years we hope the field collec­ we are working on producing a catalog tions of the Archives will be better pre­ Spring is a time when the dead ma­ of the entire collection. We are finish­ served, easily discovered through terials of summers past provide the hu­ ing the preparation of listening copies computer access, and at least parts of mus for the delicate spring blooms, the of the cylinders, and are clearing up a them more quickly available to inter­ rushing of sweet sap, and the massive backlog of orders for research copies ested patrons. We all will have our work greenery of a summer to come. There which accumulated during the project. cut out for us. are cycles in our lives, and within in­ It is appropriate to thank those who The George Herzog recordings and stitutions. Recent events at the Ar­ devoted so much time and energy to estate. There have been some other chives have reinforced my awareness the project, and whose efforts will live satisfying events as well. In February of these. Here are some of them. on in the work they have done: Nancy the Archives purchased the record­ The return of a fonner assistant. Last Cassell, Sally Childs-Helton, Bruce ings, correspondence, manuscripts, year we cataloged more musical items Harrah-Conforth, Wally Hooper, Carol and library of the renowned ethno­ than in any previous year, for which Inman, and Will Wheeler, who have musicologist, and the Archives' foun­ we owe Mary Russell, our visiting li­ been assisted by Carmen Calnan, Mar­ der, the late Dr.
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  • Summer 2014 Rambler 2.Pmd
    In Search of Sponsors ... and a Sponsorship Program Coordinator JAZZ RAMBLER Many have responded to our Published by America’s Finest City Dixieland Jazz Society • San Diego, CA • www.SDjazzfest.org Annual Appeal. We appreciate $5.00 Per Issue Summer (August) 2014 Vol. XXXII No. 3 very much each and every donation, large and small. As in previous years, sponsors Swinging Skunks, Sweethearts of bands and guest artists help to offset ever increasing expenses to And Great Jazz at Fest # 35 bring the finest talent to our annual You don’t have to be a swing new to the Festival, featuring three dancer to enjoy the Red Skunk talented vocalists (Janet Hammer, Festival. Sponsorships and Band. However, if you do like to Shelley Smith and Kim Royster) donations can be made online at lindy hop, you will have plenty of who perform the music of the www.SDjazzfest.org company at the 35th Annual San Andrews Sisters, accompanied by Sponsors enjoy the following Diego Jazz Fest (Nov. 26 - 30, at San Diego’s own High Society complementary benefits: the Town & Country Resort & Jazz Band. • 5-day Festival badge Hotel)! The Skunks are a favorite A different kind of tribute — to • Reserved seating of swing dancers up and down the the Rockabilly sounds of Jerry • Sponsors’ reception West Coast, though the band is Lee Lewis, Elvis Presley, Carl • Access to musicians’ hospitality also capable of packing venues Perkins, Johnny Cash and others room with fans who enjoy just listening — will be played by the Memphis • Sponsor recognition to a distinctive mixture of Gypsy Boys.
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  • Black Bottom Stomp”--Jelly Roll Morton’S Red Hot Peppers (1926) Added to the National Registry: 2006 Essay by Burton W
    “Black Bottom Stomp”--Jelly Roll Morton’s Red Hot Peppers (1926) Added to the National Registry: 2006 Essay by Burton W. Peretti (guest post)* Jelly Roll Morton Few recording projects have had as great an impact on the evolution of jazz as this set committed to disk in 1926-1927 by Jelly Roll Morton’s Red Hot Peppers for Victor Records. “Black Bottom Stomp,” especially, emerged from these sessions to define “hot jazz” for younger musicians, such as Louis Armstrong and Bix Beiderbecke, and inspired critics and fans alike in future decades to designate Morton’s music as a wellspring of “mainstream” jazz. Almost a century after the recording was made, listeners are still amazed at how much artistry Morton, the composer and bandleader, was able to pack into three minutes of playing. The first eight bars are a vibrant introduction. Kid Ory’s slide trombone gives us an initial taste of the Delta blues that gave New Orleans jazz its sensuous flavor. (Ory, like Morton and the rest of the band, hailed from the Louisiana city.) A busy syncopated figure from clarinetist Omer Simeon and trumpeter George Mitchell evokes ragtime, the show music that reigned for a quarter century before jazz’s emergence. Then we hear the theme, built over three simple chords: four blues flourishes, nearly identical to Ory’s lick but broader and melodic, followed by an emphatic ragtime syncopation from the entire band. These eight bars are repeated. Almost the entire remainder of the number is made up of variations of the theme, built on the same chords.
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  • Louis Armstrong Was the Greatest of All Jazz Musicians
    Louis Biography Armstrong Biography Louis Armstrong was the greatest of all Jazz musicians. Armstrong defined what it was to play Jazz. His amazing technical abilities, the joy and spontaneity, and amazingly quick, inventive musical mind still dominate Jazz to this day. Only Charlie Parker comes close to having as much influence on the history of Jazz as Louis Armstrong did. Like almost all early Jazz musicians, Louis was from New Orleans. He was from a very poor family and was sent to reform school when he was twelve after firing a gun in the air on New Year's Eve. At the school he learned to play cornet. After being released at age fourteen, he worked selling papers, unloading boats, and selling coal from a cart. He didn't own an instrument at this time, but continued to listen to bands at clubs like the Funky Butt Hall. Joe "King" Oliver was his favorite and the older man acted as a father to Louis, even giving him his first real cornet, and instructing him on the instrument. By 1917 he played in an Oliver inspired group at dive bars in New Orleans' Storyville section. In 1919 he left New Orleans for the first time to join Fate Marable's band in St. Louis. Marable led a band that played on the Strekfus Mississsippi river boat lines. When the boats left from New Orleans Armstrong also played regular gigs in Kid Ory's band. Louis stayed with Marable until 1921 when he returned to New Orleans and played in Zutty Singleton's.
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  • Kid Ory's Creole Band High Society / Dippermouth Blues Mp3, Flac, Wma
    Kid Ory's Creole Band High Society / Dippermouth Blues mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: High Society / Dippermouth Blues Country: US Style: Dixieland MP3 version RAR size: 1778 mb FLAC version RAR size: 1675 mb WMA version RAR size: 1497 mb Rating: 4.3 Votes: 863 Other Formats: MOD DXD MPC DMF AIFF ADX WAV Tracklist Hide Credits High Society A Written-By – C. Williams* Dippermouth Blues B Written-By – Joe Oliver Companies, etc. Manufactured By – Linden Recordings Recorded At – C.P. MacGregor Studios Credits Bass – Edw. Garland* Cornet – Thomas "Papa Mutt" Carey* Drums – Alton Redd Guitar – Arthur "Bud" Scott* Piano – Albert "Buster" Wilson* Trombone – Edward "Kid" Ory* Vocals, Clarinet – Joe Darensbourg Notes Recorded on February 12, 1945 in Hollywood, CA. Side A was originally released on Kid Ory's Creole Band* - High Society / Ballin' The Jack. Side B was originally released on Kid Ory's Creole Band* - Dippermouth Blues / Savoy Blues. Barcode and Other Identifiers Matrix / Runout (Side A Runout): EX-7-2-A Matrix / Runout (Side B Runout): EX-5-3-A Related Music albums to High Society / Dippermouth Blues by Kid Ory's Creole Band Kid Ory's Creole Jazz Band - Dippermouth Blues King Oliver / Louis Armstrong / Bessie Smith - The Blues Heritage Kid Ory's Creole Jazz Band - Panama / Under The Bamboo Tree Frisco Jazz Band - Dippermouth / Sensation Claude Bolling Et Son Orchestre - Ory's Creole Trombone - The Mooche King Oliver - Dippermouth Blues King Oliver's Creole Jazz Band featuring Louis Armstrong and Johnny Dodds - 1923 Kid Ory And His Creole Jazz Band - Blues For Jimmy / Ain't Misbehavin King Oliver - Dippermouth Blues | His 25 Greatest King Oliver's Creole Jazz Band - Mandy Lee Blues / I'm Going Away To Wear You Off My Mind.
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