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The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 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]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph 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 Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr. -
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?]. -
New Algiers Terreform
NEW ALGIERS TERREFORM NEW ALGIERS terreformInc 01 CONTENT ANALYSIS 18-41 08 Issues 36 SOLUTIONS 02 64-73 ISSUES Zoning Calculations and Data 08 Solution 36 TERREFORM Mix-use Waterfront Costs 66 01 Issues 20-21 09 Issues 37-38 Income 67 Urban Ecology: Mobility/Economics Calculations 68 Water Drainage 09 Solution 39 Cost Comparisons 69 (Regional Scale) Connection between Existing Building Respiratory Functions 70-72 01 Issues 22 and Mix-use Waterfront Water Drainage Water/Waste NEW ALGIERS 10 Issues 40 (Neighborhood Scale) Topography Energy/Food 01 Solution 23 10 Solution 41 Urban Ecology: 100 yr. Flood Protection Sustainable Drainage System COLOPHON 04 02 Issues 24 SOLUTIONS 01 42-62 APPENDICES 74-81 Urban Ecology: Building Proposal: Bird Migration Habitable Levee Linear Imaginary 76-77 ABOUT TERREFORM 05 (Regional Scale) Barrier Systems (Netherlands) 78-79 02 Solution 25 Barrier Systems (New Orleans) 80-81 Urban Ecology: “Nexus” Urban-Planning 44 INTRODUCTION 06-09 Green Corridors (Regional/ Master Plan - Uses 45 Neighborhood Scale) Master Plan 46 03 Issues 26 Connection to Federal City 47 Urban Ecology: 2010 Street Extension / View Shed 48 Deepwater Horizon Oil Disaster Calculation of One Building Unit: 49-51 03 Solution 27 Food Urban Ecology: Renewable Water Energy Practice/Fish Farming Energy/Waste LEVEE HISTORY 10-17 04 Issues 28-29 Bird’s Eye View 52 ALGIERS OVERVIEW Flooding/Land Loss Ground Plan 53 04 Solution 30-31 Sectional Perspective 54-55 Reconceptualize Levees Sectional Perspective 56 Levee Timeline 12-13 05 Issues 32 (View -
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. -
Gerry Mulligan Discography
GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”. -
(WR Has Heard Recordings of Lprenzo, Jr., Made When He Played The
1 PAUL BEAULIEU Also present: William Russell I [of 4]-Digest-Retyped Ralph Collins June 11, 1960 (Interview conducted at liome of Paul Beaulieu on[1134 N.] Robertson Street Paul William Beaulieu was born on Burgundy Street in the French » ^ Quarter of New Orleans on October 20, 1888. His father was an amateur flute player. PB's first instrument was piano, which he studied with Ellen Myers [spelling?], beginning when he was eight or nine years old. He studied solfege with Mrs. [White?], when he was attending Straight University (which was tlnen-on Canal between Tonti and Rocbe'blave-Straight merged with New Orleans University to form the present Dillard University). When PB was a teen-ager, "he studied cello, the clarinet and the saxopl'ione. He studied cello with a French artist who was in New Orleans with the French Opera Company; PB had begun studying harmony with the French artist shortly before the latter left town. PB continued harmony study with Professor Louis "Papa" Tio (brother of Lorenzo Tioy Sr., and uncle of Lorenzo Tio/ Jr.). Lorenzo, Sr., moved himself and his family from New Orleans to Bay St. Louis or Pass Christian [Mississippi]. He and his brother, Louis, were cigar makers. Both brothers played all the reed instruments. Lorenzo, Sr., could tongue very rapidly; .he had a sweet tone; he was an excellent musician. He taught his son, Lorenzo, Jr. to play. (WR has heard recordings of Lprenzo, Jr., made when he played the [A. J.] Piron band.) PB doesn't know where the Tio family came fr om originally, but he.says they [Lorenzo, Sr./ and Louis] got their musical education at a conservatory in Mexico; they also spoke Spanish and French fluently. -
Algiers Point Historic District
CITY OF NEW ORLEANS Historic District Landmarks Commission Algiers Point Historic District Designated 1993 Jurisdiction: New Orleans Historic District Landmarks Commission The Algiers Point Historic District is bounded by the curve of the Mississippi River on two sides and by Atlantic and Newton Streets on the other two. Named for a navigation bend in the Mississippi River, The town of Algiers was annexed by the City of New Algiers Point was an independent municipality for 30 years Orleans on March 14, 1870 and continued to develop from its founding, and even today it retains a quiet small into the early 20th century. Martin Behrman, the longest town atmosphere. Bordered by the Mississippi River on serving mayor of New Orleans (1904-1920, 1925-1926), two sides, and lying directly across the river from the was an Algiers native who preferred his home office at 228 Vieux Carré, Algiers Point continued to develop as a largely Pelican Avenue to City Hall. independent town well into the 20th century. Some of the early buildings from the 1840s still exist Algiers Point’s economic origins began in a boatyard today, but the District is dominated by buildings in the established in 1819 by Andre Seguin. The Algiers-Canal Greek Revival, Italianate and Victorian styles, reflecting Street Ferry began in 1827 and has been in continuous Algiers Point’s period of greatest growth and development operation ever since. Shipbuilding, repair and other from 1850 to 1900. A devastating fire in 1895 destroyed riverfront endeavors flourished, and in 1837 a dry dock, hundreds of buildings in Algiers, and replacements were said to be the first on the Gulf Coast, was established built in the styles of the time. -
I [Of 3]-Digest- Retyped of a Bas$ [Violin]); His Mother Sang; His Uncle Played Comb and (Not Used in Bands Anymore) . Kazoo
1 JOSEPH THOMAS Also present; William Russell I [of 3]-Digest- Retyped Ralph Collins September 29, I960 Interview recorded at Joseph Thomas ' s home 2027 St. Ann Street New Orleans, Louisiana Joseph William Thomas was born December 3, 1902. His father ./ I s played broom (a resined broom stick is drawn across the thumb, which is supported by a table; the sound resulting is like that of a bas$ [violin]); his mother sang; his uncle played comb and tissue paper. WR has heard Blow Drag [Pavageau] play the broom. All JT's family, including a cousin sang. Lyrics of songs included "Mr. Moon/ you bright silvery moon, please shine your light on me." They also sang "Down By the Old Mill Stream 11 JT was born on Tonti Street, between Dumaine and St. Ann, acros s from the Tonti Social and Pleasure Club; he has lived most of his life in the same neighborhood. One of his brothers tried to learn C melody sax, but gave it up, as it was not-the right instrument (not used in bands anymore) . Kazoo was also used at the song sessions involving his parents and uncle. JT didn't follow any brass band parades when he was small; his parents were very strict and demanded that the children remain close to the home. He did get to see Carnival parades with his grandmother, and the Hobgoblins with his mother. JT thinks Louis Barbarin's daddy [Isidore Barbarin] played in tte band for the Hobgoblins. JT remembers hearing Kid Punch [Miller], Kid Rena, Buddy Petit and Chris Kelly; he says there was a vacant lot with a pavillion at Orleans and White where Punch's band played for dancing. -
Rudolph Beaulieu I
1 RUDOLPH BEAULIEU Also present: William Russell I [of 3]--Digest--Retyped Ralph Collins May 31, 1961 Rudolph Peter Beaulieu was born in New Orleans, on Derbigny ·. between Kerlerec and Columbus (about where Artisan Hall is), on July 23, 1899. RB had two brothers who also played music; Arnold Depass (actually, a half-brother) played drums. (George Guesnon, shown in a photograph, is mentioned.) Depass played with "some of the old aces." RB learned to play on Depass's drums, on the sly until Depass caught him; then Depass told him it was all right for him to play them, told him he should learn to play, and later began sending him on jobs. RB began getting work on his own, and he ( made up a band (he says he has made up four or five bands in his career). RB says he and Martin Gabriel (now away from here) "carried I ' on plenty•). [wofked together a lot?]. WR says a Gabriel married the \ bass player, [August] Lanoix; RB says that she is a sister of Martin; there were other Gabriels in that family; one, Clarence Gabriel, was a fine piano player •.•• [Restricted] RB says he and others, incluiling Clarence Gabriel, Charlie Armstead, and Maurice Durand, [trumpet,] had a band which played "back of Desire Street." He [owner of the place there?] died not long ago. The band worked there about three years. Talk of Durand, who lives [and died] in. California. RB also worked with various other bands, including that of Papa Celestin. RB began playing just about the time Louis Armstrong went to Chicago [1922]. -
Federal Register/Vol. 75, No. 224/Monday, November 22, 2010
71142 Federal Register / Vol. 75, No. 224 / Monday, November 22, 2010 / Notices All RAC meetings are open to the ALASKA Chaco Outdoor Oven, (Guam’s Outdoor Ovens MPS), Chalan Josen Milagro St., public. The public may present written Skagway-Hoonah-Angoon comments to the RAC. Each formal RAC Agat, 10000967 Windfall Harbor CCC Shelter Cabin, Cruz Outdoor Oven, (Guam’s Outdoor Ovens meeting will also have time allocated for Admiralty Island National Monument, hearing public comments. Depending on MPS), Route 16, Barrigada, 10000966 Angoon, 95001299 Flores Outdoor Oven, (Guam’s Outdoor the number of persons wishing to Ovens MPS), Matcella Dr., Agana Heights, comment and time available, the time [FR Doc. 2010–29286 Filed 11–19–10; 8:45 am] BILLING CODE 4312–51–P 10000965 for individual oral comments may be Jinaspan Outdoor Oven, (Guam’s Outdoor limited. Ovens MPS), Beach Rd., Andersen AFB, FOR FURTHER INFORMATION CONTACT: DEPARTMENT OF THE INTERIOR Yigo, 10000968 David Abrams, Western Montana Paulino Outdoor Oven, (Guam’s Outdoor National Park Service Ovens MPS), Afgayan Bay, Bear Rock Ln., Resource Advisory Council Coordinator, Inarajan, 10000971 Butte Field Office, 106 North Parkmont, Quan Outdoor Oven, (Guam’s Outdoor Ovens Butte, Montana 59701, telephone 406– National Register of Historic Places; Notification of Pending Nominations MPS), J.C. Santos St., Piti, 10000970 533–7617. Won Pat Outdoor Oven, (Guam’s Outdoor and Related Actions 2280–665 Ovens MPS), Between 114 and 126 Richard M. Hotaling, Mansanita Ct., Sinajana, 10000969 District Manager, Western Montana District. Nominations for the following [FR Doc. 2010–29328 Filed 11–19–10; 8:45 am] properties being considered for listing ILLINOIS BILLING CODE 4310–DN–P or related actions in the National Champaign County Register were received by the National Mattis, George and Elsie, House, 900 W Park Park Service before October 23, 2010. -
Ko Ko”-- Charlie Parker, Miles Davis, Dizzy Gillespie, and Others (1945) Added to the National Registry: 2002 Essay by Ed Komara (Guest Post)*
“Ko Ko”-- Charlie Parker, Miles Davis, Dizzy Gillespie, and others (1945) Added to the National Registry: 2002 Essay by Ed Komara (guest post)* Charlie Parker Original label “Ko Ko” was Charlie Parker’s signature jazz piece, conceived during his apprenticeship with Kansas City bands and hatched in the after-hours clubs of New York City. But when “Ko Ko” was first released by Savoy Records in early 1946, it seemed more like a call for musical revolution than a result of evolution. “Ko Ko” was developed from a musical challenge that, from 1938 through 1945, confounded many jazzmen. The piece uses the chord structure of “Cherokee,” an elaborate, massive composition that was written by dance-band composer Ray Noble. “Cherokee” was the finale to a concept suite on Native American tribes, the other four movements being “Comanche War Dance,” “Iroquois,” “Sioux Sue,” and “Seminole.” If a standard blues is notated in 12-measures, and a pop song like George Gershwin’s “I Got Rhythm” is in 32 measures, Noble’s “Cherokee” is in 64 measures. In 1939, Charlie Barnet popularized “Cherokee” through a hit version for RCA Victor. Meanwhile, jazz musicians noticed the piece, and they tried clumsily to improvise solos to its chord progression. Count Basie, for one, with his Kansas City band, recorded “Cherokee” in February 1939. At the time, Basie had some of the best soloists in jazz like Lester Young, Ed Lewis, and Dicky Wells. But on this record, these four musicians improvised only during the A sections, leaving the very difficult “bridge” sections (measures 33-48 of the piece) to be played by the whole band. -
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.