DOCSLIB.ORG

Irish Channel LIVING with HISTORY Neighborhood Association Irish Festival, St

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Irish Channel LIVING with HISTORY Neighborhood Association Irish Festival, St Annual Neighborhood Events • March: St. Patrick’s Day Parade, Irish Channel LIVING WITH HISTORY Neighborhood Association Irish Festival, St. IN NEW ORLEANS’ NEIGHBORHOODS Patrick’s Day Block Party at Parasol’s • August: Night Out Against Crime • December: Merriment on Magazine • Monthly: First Saturday gallery openings haannnneell Neighborhood Organizations isshh CCh • Irish Channel Neighborhood Association IIrri 1721 French engineers lay out Vieux Carré 1800 Spanish secretly transfer colony to France • Irish Channel Action Foundation, Inc. 1803 Formal transfer of Louisiana from • Irish Channel Crime Watch Spain to France he Irish Channel has experienced an exciting 1803 Louisiana Purchase growth spurt. The blighted houses that filled the district 1806 Barthelemy Lafon lays out plan to sub- in the early 1990s are finding new buyers who often -07 divide plantations and extend the city’s renovate them for their own homes, instead of rentals, faubourgs upriver to present-day Felicity St. whichT has helped to strengthen the area. Newly invigor- 1832 Samuel Jarvis Peters buys Livaudais Plantation and hires Benjamin Buisson Home of New Orleans Favorite ated neighborhood groups working with Preservation to lay out a simple street grid with Roast Beef Po-Boy Resource Center’s Rebuilding Together program have large lots for houses and painted and repaired homes of elderly owners, and in St. Patrick’s Celebration at the corner 1832 New Basin Canal opens; construction doing so have helped to keep the neighborhood’s mem- employs many immigrants of Third and Constance streets ory intact and its diversity alive. 1833 New Orleans and Carrollton Railroad in the Irish Channel (later the St. Charles Avenue Streetcar) Bar: 897-5413 • Restaurant 899-2054 The suggestion that Irish immigrants lived in a defined chartered; begins operating in 1835 zone is a bit misleading. The Irish Channel Historic 1834 Peters’ suburb incorporated as the District was actually an extremely diverse neighborhood independent city of Lafayette of working class Irish, Germans, Italians, Americans and 1836 New Orleans divides into three free people of color during the mid-19th century. municipalities 1837 Banking panic crushes local economy Established as the riverfront of the American city of until mid-1840s Lafayette, the Irish Channel mushroomed into a busy 1840s Irish Potato Famine spurs emigration; Published by area of wharves surrounded by lumberyards and cotton many immigrate to New Orleans PRESERVATION RESOURCE CENTER presses. Soapmaking and tanning factories were sup- 1852 City of Lafayette annexed to newly unified OF NEW ORLEANS plied by stockyards directly across the river in Gretna. New Orleans; becomes city’s Fourth District 923 TCHOUPITOULAS STREET Free of the political control of New Orleans’ conserva- 1923 Industrial Canal opens, providing A NEW ORLEANS, LOUISIANA 70130 D alternate shipping routes N tive Creoles, residents of independent Lafayette voted A 504/581-7032 R 1950s Pontchartrain Expressway built atop I taxes for the improvement of wharves and roads. M www.prcno.org E bed of New Basin Canal I Humbler buildings pushed out grand early residences as N A 1968 Defeat of proposed Riverfront Express- L E the waterfront became increasingly busy (although you way that would have run along Irish M Since 1974 the Preservation Resource Center : can still find a mansion or two among the charming O Channel riverfront has promoted the preservation, restoration T O rows of smaller frame homes.) 1970s Resurgence of interest in restoring H and revitalization of New Orleans’ historic P historic Irish Channel homes This neighborhood has significant ties to the devel- neighborhoods and architecture. 1976 Irish Channel established as National opment of jazz in the city. According to the National Register Historic District PRESERVATION RESOURCE CENTER OF NEW ORLEANS Register report, “The Irish Channel area gains its signifi- 2001 Irish Channel established as local INVITES YOU TO EXPLORE THE IRISH CHANNEL, This brochure is made possible by a generous grant cance in music from the fact that many jazz musicians historic district under jurisdiction of from the Louisiana Endowment for the Humanities A NEIGHBORHOOD BORDERING ECLECTIC MAGAZINE Historic District Landmarks Commission STREET AND EXPERIENCING AN EXCITING REBIRTH. of German, French, Irish and Italian descent were born TOURS Irish Channel Garden District We encourage you to use good judgment and common sense in taking these tours. Jackson Avenue to Washington Avenue TOUR (walk/bike) While technically the Magazine St. corridor is outside the Irish Channel National Register Historic District, the street is the heart A of the neighborhood and its main commercial thoroughfare.The Magazine St. bus (#11) takes this route, but it’s more fun to walk and experience the shops and houses and reared here. All the members of the Original up close. From Jackson to Washington, Magazine is primarily Dixieland Jazz Band, the first jazz band to make a residential, with a smattering of sandwich shops and galleries. phonographic record and the first to go to Europe, were The townhouse at 1100 Jackson Ave., corner Magazine Street, houses the offices of Koch and Wilson architects, whose late Numbers indicate from the Irish Channel. Tom Brown, George Brunies and local landmarks principals, Richard Koch and Samuel Wilson, were instrumen- Base map provided by his brothers, Tony Spargo, Nick LaRocca, Harry Shields tal in the early preservation of New Orleans’ historic neigh- iver City Planning Commission; pi R and Eddie Edwards are some of the jazz immortals who borhoods. Detour left on Philip St. and left on Constance St. to issip map created by Miss came from the Irish Channel and helped spread jazz visit the former home of Nick LaRocca, bandleader for the Wendel Dufour & Aimee Preau throughout the world.” Original Dixieland Jazz Band, at 2218 Constance Street. Return to 2319 Magazine St. (ca 1853), which London-born The Irish Channel has been the center of the St. architect John Turpin built as his private home when he was and retail space.The addition of such a concentration of resi- Around the corner, note the row of late classic Patrick’s Day celebration since 1809. Marchers parade a partner in the architectural firm of Gallier,Turpin and dents did much to liven up the neighboring blocks. Across the double shotgun houses at 2353-2363 Laurel between floats while riders toss cabbages, carrots, pota- Company. Continue up Magazine St. and veer left on Third St. street, Joey K’s restaurant Street. 2219 Rousseau St. is a “rare and undoubt- toes and onions to the crowd. New Orleanians often to visit Parasol’s (est. 1950; 2533 Constance St.), a neighbor- is a neighborhood fixture. edly best example of the Egyptian Revival style in boil the vegetables in a stew. Revelers gather all day in hood favorite for po-boys and cocktails and a citywide The next two blocks hold the New Orleans area,”according to late architect favorite for celebrating St. Patrick’s Day. Note the newly reno- a variety of shops selling Sam Wilson.This former courthouse of the City of the corner bars that have always been part of this vated shotgun houses in the 2600 block of Constance St., cat- everything from cigars and Lafayette was built neighborhood’s fabric, in good times and bad. tycorner from the bar.Veer right to the Bogart-Lee House at locks to replacement sil- in 1836 by The Irish Channel was hard hit after World War II 1020 Fourth St. (ca 1949). Check out the fine details of this ver, and the left-hand side Benjamin Buisson when FHA-insured mortgages were basically restricted to Greek Revival style home and the unusual feature of a side of the 3200 and 3300 and remodeled in the new suburbs. Vast sections of American cities were gallery entered through the front door. blocks offers a range of 1843 by James casual and ethnic restau- Gallier, Sr.The quietly redlined, destined to decay. “Twenty thousand Magazine St. from Washington Ave. to rants. Continue as far as Egyptian Temple men went to war from the Irish Channel, but when the TOUR Louisiana Ave. (ride/walk) A few chain Louisiana Avenue to sam- features were war ended, they couldn’t get the financing to move back stores have crept in, but this fun stretch of the ple some of the street’s added when the in,” a property assessor once told preservation activist B city remains mostly locally owned small shops. more eclectic stores and courthouse was Camille Strachan. In the 1970s, young do-it-yourself ren- Start your tour just off Magazine St. at the galleries, or veer off to the again remodeled by Richard Fletcher ovators rediscovered the neighborhood, but the oil crash McClellan-Schanzer House (1006 Washington Ave., circa1868, left on Louisiana Ave. to corner Constance St.), one of the last peripteral galleried hous- discover some of the fine in the 1890s; the of the ‘80s ended that short boom period. es built in New Orleans. Note the carriage house to the rear of old houses built when this winged solar disks Now the neighborhood is looking up again. The this Greek Revival home. Return to Magazine St. and take a left edge of the Irish Channel was developed as Faubourg above the door and past ten years have been good. Today’s Irish Channel is to visit several local businesses located in commercial conver- Plaisance in 1807. windows are the a vibrant inner city neighborhood coming back to life sions of shotgun houses.This is a good way to get inside New Egyptian symbol of protection.The 1835 galleried cottage built for by the vigilant attention of its residents. And shoppers Orleans’ most predominate type of housing and see the basic Neighborhood highlights (drive) Parasols’ floorplan constantly adapted to modern lifestyles.
Load more

Recommended publications
  • Original Dixieland Jazz Band & "Nick" Larocca of New Orleans, Creator
    Jack "Papa" Laine (Sicilian native George Vitale), Leader of his famous Reliance Brass Military Marching Band of New Orleans. Nick LaRocca was a regular member from 1910 to 1916. Original Dixieland Jazz Band & "Nick" LaRocca of New Orleans, Creator of Jazz Original Dixieland Jazz Band Members Victor release of "Livery Stable Blues" 1917. Victor release of "Dixie Jass Band One-Step" 1917. Original Dixieland Jazz Band - A 1918 promotional postcard showing (from left), drummer Tony Sbarbaro (aka Tony Spargo), trombonist Edwin "Daddy" Edwards, cornetist Dominick James "Nick" LaRocca, clarinetist Larry Shields, and pianist Henry Ragas 1917 Nick LaRocca Bust Courtesy Nick LaRocca Cultural Arts Center in Salaparuta, Sicily Dominic James "Nick" LaRocca Jimmy LaRocca 1889-1961 Continuing the Tradition In 1917, under the leadership of Nick LaRocca, the Original Dixieland Jazz Band (ODJB) made the first jazz recording. This first and many to follow were instant sensational “Hits” that were inspirational and influential beyond imagination. The success of the ODJB recordings was immense and musicians worldwide changed instrumentation to emulate the sound and style they made famous. From 1917 to 1938 they recorded fifty-two 78’s that are still sold today on various CD compilations. (Click on the photo below for a printable 8 X 10.) On February 8, 2006 the Original Dixieland Jazz Band was inducted into the Grammy Hall of Fame for their 1917 recording of the “Darktown Strutter’s Ball.” The ODJB is back in full swing under the direction of the original leader’s son, Jimmy LaRocca, on trumpet and vocals, with a fine ensemble of New Orleans musicians.
    [Show full text]
  • The Original Dixieland Jass Band
    The Original Dixieland Jass Band April 1967 organiseerde platenmaatschppij RCA-Victor, voor genodigden, een feestje in het Nieuwe De La Mar Theater in Amsterdam, t.g.v. het uitbrengen van een heruitgave op single (vi- nyl) van de eerste ‘jass’ (lees ‘jazz’) gram- mofoonplaat op 26 februari 1917, met daarop de titels ‘That Teasing Rag’en ’Ori- ginal Dixieland One Step’. Het ongedwon- gen feestje van dit 50- jarige jubileum bleek voor veel Nederlandse jazzmusici en -liefhebbers aanleiding om aanwezig te zijn. Als vaste bezoeker van de Amster- damse Jazzclub ‘De Blokhut’ wilde ik dit beslist niet laten schieten, temeer daar er ook nog een orkest geformeerd was o.l.v. Frithjof Sterrenburg, de onlangs over- leden leider van het roemruchte orkest ‘Charley’s Novelty Orkest The Growths’, dat de nummers van de Original Dixie- land Jass Band (O.D.J.B.) op originele wijze zou gaan vertolken. Het werd een ongedwongen middag en de vele verza- melaars en liefhebbers amuseerden zich kostelijk. Zelf heb ik die middag nog met Een uniek exemplaar uit de Wim Keller collectie. Joop Schrier van de Dutch Swing College gesproken. Na het boekje over de eerste jazzplaat en het bewuste singletje gekregen te heb- ben, verliet ik met een voldaan gevoel het theater, stapte op mijn fiets en toog huiswaarts. Als beginnend liefhebber en grammofoonplaten verzamelaar van jazzmuziek hield ik alle publica- ties over dat onderwep in de gaten en zo had ik ook een uitgave van ‘The Story of the Original Dixieland Jass Band’- met harde kaft - in mijn bezit (een collectors item), geschreven door H.O.
    [Show full text]
  • Jazz and the Cultural Transformation of America in the 1920S
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive.
    [Show full text]
  • 234 October 26, L959i Reel I 2218 Constance Street, New Orleans., Louisiana
    234 NICK LAROCCAINTERVIEWS October 26, l959i Reel I r'laoei 2218 Constance Street, New Orleans., Louisiana Voicees HoganJ I 2.35 NICK LAROCCA Reel I Ootober 26; 19$9 [Hogans] My name ia w. R. Hogan. I'm chairman of the History Department at Tulane University. Mr. D. Clive Hare;,-., of Tulane University staff and I are interviewing Mr, Nick LaRocca, the leader of the Original Dixieland Jazz Band. My purpose in coming here to Mr. LaRocoa•a home is to sort of wind up the tape recordings 'Which have been conducted over a period of sane months. Mr. LaRooca has been ill and he has .very kindly gotten up out of a eick bed in order to talk to us. The first questions I have arise out of some inquirl.es that came from a reading of Mr. L~oeca 1 e tape recordings., and the first question has to do with his early life. In his statement about his father he said that hie father spoke four different langua1~s. M;y first question is1 what four languages did he speak? [LaRocoa.i] He spoke German, he spoke French; and Italian and Portuguese. And he had trade with these boats--not boats., they were barksJ they were sailing veeaela. At that time of my early 11.f'e the:ty hadr).1 t no steamships; they had steam boa.ts, but not steamships. The wharfs used to be open. [~:lgam] He needed these languages in bis business. [LaRoocas ) That I e oorreotJ he used 1 t to go and do bu.einess with these people.
    [Show full text]
  • The Strutter
    The Strutter VOLUME 28 NUMBER 5 Traditional Jazz in the Philadelphia Tri-State Area NOVEMBER 2017 OUR NEXT CONCERT Courtet! It’s a New Orleans reference – the King and his Court.) John is on piano, Kristy on reeds, Cocuzzi Courtet with Jack Hegyi on bass and Harry Himles on drums. For info about the band, visit https://sites.google.com/view/cocuzzimusic/home See Louisiana Fairytale here – https://www.youtube.com/watch?v=wMdsia8C28U John Cocuzzi performs with passion and intensity on piano and vocals. For more than 35 years, John has been entertaining crowds internationally performing alongside jazz and blues greats. With dynamic style and diverse rhythms, John's innovation breathes new life into familiar tunes, Photo by Kristy Cocuzzi from “swingin’ and burnin’” jazz and blues to lush Sunday, November 19, 2017 and sultry ballads. 2:00 – 4:30 p.m. Kristy Reed-Cocuzzi has a sultry voice that has Haddonfield United Methodist Church thrilled audiences for 30 years, and has toured with 29 Warwick Road the Live Lawrence Welk Show throughout the Haddonfield, NJ 08033 United States and Canada. She is also a member of Directions at the “Champagne Music Makers” at the Welk Resort http://www.tristatejazz.org/directions- in Branson, Missouri, as well as part of the haddonfield.html “Wunnerful Women of Welk” vocal quartet. Kristy takes clarinet to a whole new emotional level, John Cocuzzi – Leader, piano especially in the chalumeau (low) register, with a Kristy Cocuzzi – reeds, vocals passion and feel that is both soothing and Jack Hegyi – bass energizing. Harry Himles – drums Concert Admissions $10 First-time attendees and Members $20 General Admission The Cocuzzis have taken the classic jazz world by High school/college students with ID and storm.
    [Show full text]
  • NICK LAROCCA, Creator of Jazz
    NICK LAROCCA, Creator of Jazz By Linda Serio Published 2007 Written in cooperation with the American Italian Renaissance Foundation Research Library. Nick LaRocca, leader of the Original Dixieland Jazz Band (ODJB), would have been 100 years old April 11, 1989. He died in 1961, but a handful of New Orleanians dedicated to his immortalization as the creator of jazz often speak of him in present tense. This group ignited my interest in the subject, and made possible this birthday tribute to Nick LaRocca. The individual who could best convince you that Nick lives on is his widow, Ruth LaRocca. Her blue eyes sparkle when she tells of being literally swept off her feet by a man known almost as well for his dancing as his trumpet playing. Musician and long-time friend Phil Zito has followed Nick's request to carve his rightful place in history and created the Nick LaRocca Original Dixieland Jazz Band Foundation. Bruce Raeburn, curator of Tulane University's jazz archive, is more objective and scholarly in his approach to Nick, but eagerly shares a wealth of knowledge and documentation on Nick's contributions to American musical and cultural history. Adrian Victor, at the music store “Werlein's For Music” knows the Nick LaRocca story by heart and provided a possible answer as to how Louisiana State University (LSU) acquired Nick's famous "Tiger Rag" as its fight song. Last, but not least, this article is dedicated to writer and historian Mike Palao, who, were it not for severe illness, would be offering his personal 100-year salute to Nick LaRocca on these pages.
    [Show full text]
  • 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.
    [Show full text]
  • Chicago Music Communities and the Everyday Significance of Playing Jazz
    MUSIC PRACTICES AS SOCIAL RELATIONS: CHICAGO MUSIC COMMUNITIES AND THE EVERYDAY SIGNIFICANCE OF PLAYING JAZZ by John Frederic Behling A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in The University of Michigan 2010 Doctoral Committee: Professor Mark Allan Clague, Chair Professor Paul A. Anderson Professor Kelly M. Askew Professor Charles Hiroshi Garrett Copyright John Frederic Behling 2010 Acknowledgements In this dissertation, I argue that the solos of jazz musicians spring from the practices of the communities in which they live. What holds true for expression and creativity in jazz is no less true of academic research and writing. This dissertation would not be possible without the support and encouragement of many communities and individuals. I thank all the musicians in Chicago who played music with me and welcomed me into their communities. I am especially grateful to Aki Antonia Smith, Edwina Smith, Scott Earl Holman, and Ed Breazeale for befriending me and introducing me to the musicians and communities about whom I write. I am also grateful for the support of my academic community. Kelly Askew introduced me to the anthropological side of ethnomusicology. Her writing showed me what compassionate and concrete ethnography should be like. Paul Anderson’s late night seminars helped me understand that musical practices have philosophical and psychological significance and that jazz criticism is part of a much larger and long- standing intellectual conversation. Charles Hiroshi Garrett, a late addition to my committee, embraced this project with enthusiasm. His generous encouragement and insightful comments are greatly appreciated.
    [Show full text]
  • The Evolving Presence of Jazz in Britain Chapter 4 Case Study: in Dahomey: a Negro Musical Comedy in London, 1903
    City Research Online City, University of London Institutional Repository Citation: Parsonage, Catherine Jane (2002). The evolution of jazz in Britain c. 1880- 1927: antecedents, processes and developments. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/14853/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] The Evolution of Jazz in Britain c. 1880-1927: Antecedents, Processes and Developments Catherine Jane Parsonage Thesis submitted for the degree of Doctor of Philosophy City University Department of Music July 2002 IMAGING SERVICES NORTH Boston Spa, Wetherby West Yorkshire, lS23 7BQ www.bl.uk THE FOLLOWING HAVE BEEN REDACTED AT THE REQUEST OF THE UNIVERSITY: Figure 1 (after page 36) Figures 2 &
    [Show full text]
  • Social Dance and Jazz, 1917–1935 Student
    Starr-Waterman American Popular Music Chapter 3: “Catching as the Small-Pox”: Social Dance and Jazz, 1917‒1935 Student Study Outline I. Technology and the Music Business a. Production and consumption of popular music influenced by new technologies i. Radio ii. Sound film iii. Microphone b. Radio network c. Sound film d. Licensing and copyright agencies II. “Freak Dances”: Turkey Trot and Tango a. Intensified influence of African American dance b. Turkey trot c. Tango III. James Reese Europe and the Castles a. Vernon and Irene Castle b. James Reese Europe (1880‒1919) IV. Listening Guide: “Castle House Rag” a. Music by James Reese Europe, performed by James Reese Europe’s Society Orchestra, recorded 1914 V. Jazz as popular music: The Original Dixieland Jazz Band, the Creole Jazz Band, and Louis Armstrong a. Jazz craze—next stage in the “African Americanization” of ballroom dance b. First recordings—made in New York City and Chicago (no studios in New Orleans at the time) i. Nick LaRocca (1889‒1961) VI. Listening Guide: Early Jazz Recordings a. “Tiger Rag,” written by Nick LaRocca; performed by the Original Dixieland Jazz Band, recorded 1918 i. Stoptime b. “Dipper Mouth Blues,” written by King Joe Oliver; performed by the Creole Jazz Band; recorded 1923 i. King Joe Oliver (1885‒1938) VII. Louis Armstrong a. Louis Armstrong (1901‒1971) i. Listening Guide: 1. “West End Blues” (1928): most important and influential recording 2. “Ain’t Misbehavin’” (1929): scat singing and humor in music VIII. Dance Music in the “Jazz Age” a. Jazz Age b. African American influence on musical tastes and buying habits of white Americans i.
    [Show full text]
  • JA 2017 Draft Copy 2.Indd
    photo by John McCusker Bruce Boyd Raeburn Curator of the Hogan Jazz Archive, ReƟ ring aŌ er 38 Years of Service Born in a Livery Stable - “First Jazz Record” Turns 100 THE JAZZ ARCHIVIST A newsletter of the William Ransom Hogan Jazz Archive Volume XXX, 2017 Contributors: Colin Hancock and Hannah Krall, Vic Hobson, David Sager, Wayne D. Shirley THE JAZZ ARCHIVIST HOGAN JAZZ ARCHIVE 6801 FRERET STREET ROOM 304 TULANE UNIVERSITY NEW ORLEANS, LA 70118-5682 Volume XXX, 2017 In This Issue: © Tulane University Libraries, 2017. Permission to reproduce in whole and in part must be obtained in wri ng from Tulane 3-14 “Unraveling the Dawn of Recorded University Libraries. Jazz” by David Sager ISSN 1085-8415 15-24 “How Did the ODJB Learn to Play ‘Livery Stable Blues?’” by Vic Hobson Regarding the Cover 25-37 “Centenary Lessons: Exploring The fi rst jazz record turned 100 this the Roots of Jazz and the Music of the year, and the Hogan Jazz Archive turned 59. Meanwhile, Bruce Boyd Raeburn, Curator Original Dixieland ‘Jass’ Band” by Colin of the Jazz Archive, will turn 69, and he Hancock and Hannah Krall has decided to retire at the end of this year. Nobody knows the Jazz Archive better than 38-43 “In the Archive” Bruce. He came aboard as a student assistant in 1980 and worked his way up the ladder, 44-53 “‘Bessie Smith and Her Band’: The becoming a staff member in 1984, and then March 2, 1927, Session” by Wayne D. taking the helm in 1989, as the fourth in Shirley a noteworthy succession of curators: Bill Russell, 1958-1962; Dick Allen, 1962-1980; 54-56 “A Sneak Preview of the Eddie Curt Jerde, 1980-1989.
    [Show full text]
  • 1 in January 1917, the Original Dixieland Jazz Band (ODJB
    Who Wrote Those “Livery Stable Blues”?: Musical Ownership in Hart et al. v. Graham Katherine M. Maskell Musicology, The Ohio State University School of Music In January 1917, the Original Dixieland Jazz Band (ODJB) released what has become recognized as the first jazz record, Victor 18255. It introduced general American audiences to an emerging musical style that blended blues, ragtime, and band music. Selling for the middling price of 75 cents per copy, Victor 18255 swiftly outsold The Victor Talking Machine Company’s offerings from established recording giants such as Enrico Caruso and John Philip Sousa. Popular demand for the record generated an ancillary market for sheet music based on its songs. The overall commercial success of Victor 18255, coupled with its lasting influence on later jazz musicians, makes the record and its associated sheet music significant objects in jazz history. The production and legal reception of these musical objects in their first year reveals a great deal about the place of jazz musicians in a broader American cultural context at the moment their music began to reach mass audiences. This paper focuses on the B-side of the record, a song that the ODJB referred to as “Livery Stable Blues.” During production, Victor executives re-titled the B-side of Victor 18255 as “Barnyard Blues” in an effort to avoid offending target audiences with a seemingly vulgar title. Due to a labeling error, however, the record itself retained the band’s original title. In June 1917 jilted band member Alcide Nunez, along with his colleague Ray Lopez, published sheet music for “Livery Stable Blues” with Chicago music publisher Roger Graham.
    [Show full text]