DOCSLIB.ORG

The Jazz Archivist a Newsletter of the William Ransom Hogan Jazz Archive Issn 1085-8415 Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Jazz Archivist a Newsletter of the William Ransom Hogan Jazz Archive Issn 1085-8415 Vol THE JAZZ ARCHIVIST A NEWSLETTER OF THE WILLIAM RANSOM HOGAN JAZZ ARCHIVE ISSN 1085-8415 VOL. XXIII (2010) Doc Paulin Brass Band on parade at the New Orleans Jazz and Heritage Festival, 1978. (l to r): Dwight Miller, tenor sax; Dwayne Paulin, tuba; Darryl Walker, trombone; Michael White, clarinet; Ricky Paulin, snare drum. Photo by Harriet Blum. Special Autobiographical Issue Michael G. White: “Dr. Michael White: The Doc Paulin Years (1975-79)” Donald M. Marquis: “My Life in Jazz” Charles and Judy Piper: “Passport to History” Plus Edward Allan Faine: “Al Hirt at the White House” Contributors: Editorial Board: Michael G. White Dr. John Joyce, Editor Donald M. Marquis Lynn Abbott, Assistant Editor Charles and Judy Piper Dr. Bruce Boyd Raeburn, Curator Edward Allan Faine Dr. Lance Query, Dean of Libraries “Dr. Michael White: The Doc Paulin Years” by Michael G. White On a hot Sunday afternoon in May man looked at me, frowned and grumbled. Then 2005 I drove across the Mississippi River from a surprisingly thick French Creole voice came New Orleans to the neighboring community of from his smooth, very dark mahogany-colored Marrero, in search of the Macedonia Baptist face: “Youngsters. Y’all ain’t no good. … If I Church. I soon found myself alone on a quiet call you for a job, will you show up?” “Yes sir.” street, parked in front of the small brick “Will you dress right, in black pants, a solid structure. Focusing on the church brought me black tie and a white band cap?” “Yes sir.” “Will back exactly thirty years earlier, when this was you play this music right? This is jazz, it ain’t the scene of my first professional music job – no rock & roll, ya know.” “I’ll try.” “No you as the clarinetist in Doc Paulin’s Brass Band. won’t! Y’all youngsters ain’t no good. All y’all There it all was before my eyes: well dressed do is mess up.” He let out a Creole-sounding church members lining up in the street; someone laugh. “Well anyhow, give me your number.” carrying a blue and yellow banner with the Two weeks later I answered the phone church’s name; a few majestic elders perched on to hear Doc Paulin’s unmistakable voice say: the backs of convertibles; and neatly groomed, “Look, White, I got a lil ‘to do’ for you there well-behaved children looking like miniatures of … a church parade over the river a week from the adults in black suits and white dresses. There Sunday. Be at my house at 9 a.m., you have my I was – in the center of a dozen musicians, with address on Seventh Street. That’s black pants, a a clarinet in my hand and a nervous feeling in clean white shirt, clean black shoes, solid black my gut… tie – none of them polka dots - and a white band How on earth did I get hired for this cap. Ya got dat? I hope you ain’t one of dem in the first place? My three and a half years of humbug fellas.” I could hardly wait for the days private clarinet lessons and playing in the St. to pass. I bought a band cap and solid black tie. Augustine High School Marching 100 had only My mother cleaned and pressed a white shirt trained me to read music and play from written to the point of perfection. I polished my black scores – not to develop and improvise my own shoes to a spit shine. ideas. It all started with a curious interest in That Sunday I arrived at Doc’s house traditional jazz during college. Becoming a very early and was invited in by a small boy Spanish Education major should have meant an who resembled the old man. A few minutes later end to my music playing days, but there was Doc came from the back and without saying a just this drive inside of me that wouldn’t let the word, looked me up and down several times. He clarinet become a dust collector. One day during smiled and uttered, “Humh,” and handed me a a conversation with some Xavier University blue hatband with the letters “DOC PAULIN” band members, music major Alton “Big Al” in white. “Put that on your hat.” Then he Carson mentioned his playing tuba with a brass began to talk endlessly about music, musicians, band on weekends. I told him that if they ever youngsters, and the old days. I just sat and needed a clarinetist to call me. Of course they listened until a knock on the door took his never would. attention. As other musicians gathered outside A few weeks later I ran into Big Al the house, each one got the same military with that brass band at the New Orleans Jazz inspection that I got. He complained about one & Heritage Festival. He introduced me to this guy’s not quite solid tie; another one’s dirty old man with a trumpet in his hand: “Doc, this shoes; and another’s wrinkled shirt. We loaded is the clarinet player I told you about.” The old into three cars and made the short trip to the 2 The Jazz Archivist Vol. XXIII (2010) church. this one time. We were standing in front of Macedonia There was no way of knowing then with church members in line in front of and what would be the significance of that Sunday behind us. Then a few trumpet notes came from afternoon church parade in May 1975. I had behind me, followed by a drum roll to begin the embarked on a path that would forever direct music and the church’s anniversary parade. “… my life toward a long and rewarding career But wait a minute. in jazz. It was the What song are we start of an informal about to do? What apprenticeship in key is it in? What traditional jazz that do I play?” …Too had been standard late. A thunderous for New Orleans “BOOM, BOOM, musicians since BOOM” from the earliest days. I the bass drum was about to be introduced the submerged in a hymn “Lord, Lord, decades-old tradition Lord You Sure that was at the core Been Good to of one of the most Me.” From the first rich and unique notes the music subcultures in the was an exciting United States. It mix of melody, was the start of a improvisation, and very different kind driving rhythm that of education, unlike made the church any that I received in members strut formal schooling; one ever so gracefully that would teach me along to the music. about the meaning I remember just of community, trying to place heritage, tradition, a few good black history, values, screaming high spirituality, identity, notes in empty and life. It was spaces. After an also the beginning hour and a half of of my becoming parading around an eye-witness to the neighborhood and participant Doc Paulin on parade, Mardi Gras Day 1976. and my skating Photo by Matt Anderson. in a transitional through up-tempo period in the history hymns, the parade ended. We went back to of New Orleans music: the last years that New Orleans and Doc quietly slipped everyone authentic traditional-style jazz served a vital a folded hand of cash. I went home feeling a and functional role in the African American sense of accomplishment for having played a community as the dominant music of brass professional music job in spite of not really bands in social club parades, church processions, knowing what I was doing. Doc would probably and jazz funerals. never call me again, but at least it did happen These were the days before the Dirty Vol. XXIII (2010) The Jazz Archivist 3 Dozen and Rebirth and the explosion of modern- in many community functions. style brass bands that gained momentum Though black brass bands had always during the 1980s. Back then black community played for white events, large scale interest functions almost existed in a vacuum, isolated and commercial opportunities had eluded the from much of New Orleans and not well known traditional ten-member brass bands throughout or publicized outside of the neighborhoods in much of jazz history. When scores of New which they took place. Though brass bands did Orleans area musicians and small dance play for events in the mainstream population, ensembles migrated and popularized jazz the unique African American community nationally through performances and recordings processions that used them were part of a during the nineteen teens and twenties, the brass subculture far removed from the more widely bands and their unique local functions largely known aspects of local culture, like Mardi remained a community thing. Having limited Gras, Bourbon Street, jazzfest, tourism, and commercial appeal and outside interference, more commercial versions of jazz. Despite the brass band tradition was left alone to slowly the popularity of rhythm & blues, funk, and evolve on its own terms. more modern musical styles; the attraction of Larger attention for local brass bands contemporary pop culture and fashion, and the can be traced to the 1940s “revival” of outside common discarding of anything perceived as interest in early New Orleans jazz, which “old,” the traditional jazz style as played by eventually led to the first ever recordings of a Buddy Bolden, King Oliver, Louis Armstrong, regularly working brass band, the Eureka, in and all the great brass bands of yesteryear still 1951. Brass band recording was slow in coming, dominated black community processions. It was but it did increase during the 1960s at the same the only music played on the streets back then – time that they began to be used in the more performed, sponsored, and followed by people commercial world of conventions, tourism, of all ages and levels.
Load more

Recommended publications
  • Love, Oh Love, Oh Careless Love
    Love, Oh Love, Oh Careless Love Careless Love is perhaps the most enduring of traditional folk songs. Of obscure origins, the song’s message is that “careless love” could care less who it hurts in the process. Although the lyrics have changed from version to version, the words usually speak of the pain and heartbreak brought on by love that can take one totally by surprise. And then things go terribly wrong. In many instances, the song’s narrator threatens to kill his or her errant lover. “Love is messy like a po-boy – leaving you drippin’ in debris.” Now, this concept of love is not the sentiment of this author, but, for some, love does not always go right. Countless artists have recorded Careless Love. Rare photo of “Buddy” Bolden Lonnie Johnson New Orleans cornetist and early jazz icon Charles Joseph “Buddy” Bolden played this song and made it one of the best known pieces in his band’s repertory in the early 1900s, and it has remained both a jazz standard and blues standard. In fact, it’s a folk, blues, country and jazz song all rolled into one. Bessie Smith, the Empress of the Blues, cut an extraordinary recording of the song in 1925. Lonnie Johnson of New Orleans recorded it in 1928. It is Pete Seeger’s favorite folk song. Careless Love has been recorded by Louis Armstrong, Ray Charles, Bob Dylan and Johnny Cash. Fats Domino recorded his version in 1951. Crescent City jazz clarinetist George Lewis (born Joseph Louis Francois Zenon, 1900 – 1968) played it, as did other New Orleans performers, such as Dr.
    [Show full text]
  • Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel
    Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel Suhadolnik A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Musicology) in the University of Michigan 2016 Doctoral Committee: Associate Professor Charles Hiroshi Garrett, Chair Professor David Ake, University of Miami Associate Professor Stephen Berrey Associate Professor Christi-Anne Castro Associate Professor Mark Clague © Sarah Ezekiel Suhadolnik 2016 DEDICATION To Jarvis P. Chuckles, an amalgamation of all those who made this project possible. ii ACKNOWLEDGEMENTS My dissertation was made possible by fellowship support conferred by the University of Michigan Rackham Graduate School and the University of Michigan Institute for the Humanities, as well as ample teaching opportunities provided by the Musicology Department and the Residential College. I am also grateful to my department, Rackham, the Institute, and the UM Sweetland Writing Center for supporting my work through various travel, research, and writing grants. This additional support financed much of the archival research for this project, provided for several national and international conference presentations, and allowed me to participate in the 2015 Rackham/Sweetland Writing Center Summer Dissertation Writing Institute. I also remain indebted to all those who helped me reach this point, including my supervisors at the Hatcher Graduate Library, the Music Library, the Children’s Center, and the Music of the United States of America Critical Edition Series. I thank them for their patience, assistance, and support at a critical moment in my graduate career. This project could not have been completed without the assistance of Bruce Boyd Raeburn and his staff at Tulane University’s William Ransom Hogan Jazz Archive of New Orleans Jazz, and the staff of the Historic New Orleans Collection.
    [Show full text]
  • In 191^B Played His First Professional Job. He Bought a Sax on August 3/ and Played His First Job on September 3
    PAUL BARNES 1 Reel I [of 2]--Digest-Retype June 16, 1969 Also present; Barry Martyn, Lars Edegran/ Richard B. Alien Paul Daniel Barnes, whose professional name is "Polo" Barnes/ was born November 22, 1903., in New Orleans/ Louisiana. When he was six years old, he started playing a ten cent [tin] fife. This kind of fife was popular in New Orleans. George Lewis, [Emil-e] Barnes and Sidney ^. Bechet and many others also started on the fife. In 191^B played his first professional job. He bought a sax on August 3/ and played his first job on September 3. He had a foundation from playing the fife. As a kid, he played Emile Barnes' clarinet. There were few Boehm system clarinetists then. 'PB now plays a Boehm. Around 1920 PB started playing a Boehm system clarinet, but he couldn't get the hang of it/ so he went back to the sax/ which he played until he got with big bands. He took solos on the soprano sax [and later alto sax], but not on the clarinet. He is largely self-taught. He tooT< three or four saxophone lessons from Lorenzo Tie [Jr.]. Tio was always high. PB learned clarinet from Emile Barnes. PB wanted to play like Sidney Bechet, but he couldn't get the tone. PB played tenor sax around New York/ baritone sa^( [and still occasionally alto]. [Today PB is still playing clarinet almost exclusively--RBA, June 7, 1971<] His first organized band was PB's and Lawrence Marrero's Original Diamond Orchestra. It had Bush Hall, tp/ replaced by Red Alien; Cie Frazier [d]; Lawrence [Marrero] / [bj?].
    [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]
  • Japan Loves New Orleans's Music
    University of New Orleans ScholarWorks@UNO Senior Honors Theses Undergraduate Showcase 5-2017 Nihon Wa New Orleans No Ongaku Ga Daisukidesu (Japan Loves New Orleans’s Music): A Look at Japanese Interest in New Orleans Music from the 1940s to 2017 William Archambeault University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/honors_theses Part of the Oral History Commons, and the United States History Commons Recommended Citation Archambeault, William, "Nihon Wa New Orleans No Ongaku Ga Daisukidesu (Japan Loves New Orleans’s Music): A Look at Japanese Interest in New Orleans Music from the 1940s to 2017" (2017). Senior Honors Theses. 94. https://scholarworks.uno.edu/honors_theses/94 This Honors Thesis-Unrestricted is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Honors Thesis-Unrestricted in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Honors Thesis-Unrestricted has been accepted for inclusion in Senior Honors Theses by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Nihon Wa New Orleans No Ongaku Ga Daisukidesu (Japan Loves New Orleans’s Music): A Look at Japanese Interest in New Orleans Music from the 1940s to 2017 An Honors Thesis Presented to the Department of Interdisciplinary Studies of the University of New Orleans In Partial Fulfillment of the Requirements for the Degree of Interdisciplinary Studies, with University High Honors and Honors in Interdisciplinary Studies by William Archambeault May 2017 Archambeault i Acknowledgments This undergraduate Honors thesis is dedicated to Travis “Trumpet Black” Hill, a New Orleans trumpeter who died in Tokyo, Japan, on May 4, 2015, while touring Japan.
    [Show full text]
  • “In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell
    “In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell Glenn Miller Original release label “Sun Valley Serenade” Though Glenn Miller and His Orchestra’s well-known, robust and swinging hit “In the Mood” was recorded in 1939 (and was written even earlier), it has since come to symbolize the 1940s, World War II, and the entire Big Band Era. Its resounding success—becoming a hit twice, once in 1940 and again in 1943—and its frequent reprisal by other artists has solidified it as a time- traversing classic. Covered innumerable times, “In the Mood” has endured in two versions, its original instrumental (the specific recording added to the Registry in 2004) and a version with lyrics. The music was written (or written down) by Joe Garland, a Tin Pan Alley tunesmith who also composed “Leap Frog” for Les Brown and his band. The lyrics are by Andy Razaf who would also contribute the words to “Ain’t Misbehavin’” and “Honeysuckle Rose.” For as much as it was an original work, “In the Mood” is also an amalgamation, a “mash-up” before the term was coined. It arrived at its creation via the mixture and integration of three or four different riffs from various earlier works. Its earliest elements can be found in “Clarinet Getaway,” from 1925, recorded by Jimmy O’Bryant, an Arkansas bandleader. For his Paramount label instrumental, O’Bryant was part of a four-person ensemble, featuring a clarinet (played by O’Bryant), a piano, coronet and washboard. Five years later, the jazz piece “Tar Paper Stomp” by Joseph “Wingy” Manone, from 1930, beget “In the Mood’s” signature musical phrase.
    [Show full text]
  • Icons of Music Auction Ii to Benefit Music Rising on Saturday May 31, 2008 to Be Held at Hard Rock Cafe New York
    For Immediate Release: Caroline Galloway Meredith Miesieski Lori Earl Music Rising/Gibson Guitar Coyne PR CodeBlue Media 615-423-4904 973-316-1665/732-619-4355 818-704-1200 [email protected] [email protected] [email protected] ICONS OF MUSIC AUCTION II TO BENEFIT MUSIC RISING ON SATURDAY MAY 31, 2008 TO BE HELD AT HARD ROCK CAFE NEW YORK UNPRECEDENTED COLLECTION OF MUSIC MEMORABILIA TO BE OFFERED IN A LIVE AND TELEVISED AUCTION EVENT Hosted by U2’s the Edge with special performance by Aaron Neville New York, NY, April 24, 2008 -- U2’s the Edge announced the Icons of Music Sale II to benefit Music Rising to be held on Saturday, May 31, 2008 at Hard Rock Cafe New York in Times Square. This second annual auction event, hosted by Julien’s Auctions (www.juliensauctions.com), will of fer one of the most significant collections of music memorabilia from many of m usic’s greatest legends with proceeds benefiting Music Rising (www.musicrising.org), a cam paign co-founded by U2’s the Edge, legendary producer Bob Ezrin and Gibson Guitar Chairman and CEO Henry Juszkiewicz in 2005 to aid m usicians of the Gulf Coast Regi on in regaining thei r livelihood after the devastation of Hurricanes Katrina and Rita. Four time Grammy Award winner Aaron Neville, who h as joined the Music Rising campaign and helped bring m ajor attention to some of the charity work being done in New Orleans today, will appear at th e Icons of Music Sale II and pe rform at the evening session.
    [Show full text]
  • Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
    STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach.
    [Show full text]
  • 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.
    [Show full text]
  • By David Kunian, 2013 All Rights Reserved Table of Contents
    Copyright by David Kunian, 2013 All Rights Reserved Table of Contents Chapter INTRODUCTION ....................................................................................... 1 1. JAZZ AND JAZZ IN NEW ORLEANS: A BACKGROUND ................ 3 2. ECONOMICS AND POPULARITY OF MODERN JAZZ IN NEW ORLEANS 8 3. MODERN JAZZ RECORDINGS IN NEW ORLEANS …..................... 22 4. ALL FOR ONE RECORDS AND HAROLD BATTISTE: A CASE STUDY …................................................................................................................. 38 CONCLUSION …........................................................................................ 48 BIBLIOGRAPHY ….................................................................................... 50 i 1 Introduction Modern jazz has always been artistically alive and creative in New Orleans, even if it is not as well known or commercially successful as traditional jazz. Both outsiders coming to New Orleans such as Ornette Coleman and Cannonball Adderley and locally born musicians such as Alvin Battiste, Ellis Marsalis, and James Black have contributed to this music. These musicians have influenced later players like Steve Masakowski, Shannon Powell, and Johnny Vidacovich up to more current musicians like Terence Blanchard, Donald Harrison, and Christian Scott. There are multiple reasons why New Orleans modern jazz has not had a greater profile. Some of these reasons relate to the economic considerations of modern jazz. It is difficult for anyone involved in modern jazz, whether musicians, record
    [Show full text]
  • Spring Season Brings All That Jazz
    Tulane University Spring Season Brings All That Jazz April 25, 2008 1:00 AM Kathryn Hobgood [email protected] This spring brings a bustle of activity for jazz musicians at Tulane University. In addition to multiple performances at the famous New Orleans Jazz and Heritage Festival, campus musicians students as well as more experienced jazzmen on the faculty have a whole lot going on. John Doheny, a professor of practice, plays sax while Jim Markway, a tutor in the Newcomb Department of Music, plays bass in the Professors of Pleasure jazz quintet. (Photo by Kathryn Hobgood) This week, the Tulane Jazz Orchestra will be busy with several appearances. On Tuesday (April 29), the orchestra will have its end-of-semester concert at 8 p.m. in Dixon Theatre. Smaller jazz combos will perform on Wednesday (April 30) beginning at 6 p.m. in Dixon Recital Hall. And on Friday (May 2), the orchestra will perform on the Gentilly Stage at the New Orleans Jazzfest at 11:35 a.m. Tulane students are the musicians in the Tulane Jazz Orchestra. The orchestra is directed by John Doheny, a professor of practice in the Newcomb Department of Music, who is extra busy this season. Doheny teaches jazz theory, history and applied private lessons, in addition to directing the student jazz ensembles. He also is a working musician. A project that came to fruition for Doheny recently was the Tulane faculty jazz quintet's first CD. Dubbing themselves the “Professors of Pleasure,” the quintet features Doheny on saxophone; John Dobry, a professor of practice, on guitar; Jim Markway on bass; and Kevin O'Day on drums.
    [Show full text]
  • May 25, 1959 Also Present: Mrs
    LAURENADIGGS l I [of 3]--Digest--Retyped May 25, 1959 Also present: Mrs. Carrie Boote, Richard B . Allen, Paul R. Crawford Laurena Diggs was born in October, 1873, in Mobile, Alabama, where she was reared until age fourteen, when she moved to New Orleans. Bands she remembers hearing in her teens were the Excelsior Brass Band, led by [Alec?] Rivers, and the Eureka Brass Band; both in Mobile. Isidore Pope was leader of a marching band which sometimes visited New Orleans; he also led a string band, which played for dances. [Cf. Wm. Ballariel (sp?) reel] Pope was one of several in his family. Pope led the band known as Pope's Band. There was no second-lining in Mobile when LD was growing up; there is now. The bands played ragtime as the occasion demanded. For funerals, they pl...ayed [solemns?] such as "What A Friend [We Have] In Jesus." A fast tune played then was uOver the Golden Wall;" LD says when she was in Milwaukee, Wisconsin in [19]44, she and others played the song for sol­ diers; she walked four blocks while it was being played, abd because of the big rocks there, 11my feet ain 1 t been mates since." The tune was considered ragtime then. LD recalls that when she was a child the brass band musicians in Mobile, even the drummers, had written music to play. LD didn't know about blues until after the Spanish-American War, although she may have heard blues without knowing it. Fast music was usually to be heard only in the District; LD didn't go there; she heard fast music only when bands played for funerals, parades and the tenth of May [i.e., at Odd Fellows parades?RBA].
    [Show full text]