DOCSLIB.ORG

The Tio Family: Four Generations of New Orleans Musicians, 1814-1933. (Volumes I and H)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Tio Family: Four Generations of New Orleans Musicians, 1814-1933. (Volumes I and H) Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1993 The ioT Family: Four Generations of New Orleans Musicians, 1814-1933. (Volumes I and II). Charles E. Kinzer Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Kinzer, Charles E., "The ioT Family: Four Generations of New Orleans Musicians, 1814-1933. (Volumes I and II)." (1993). LSU Historical Dissertations and Theses. 5522. https://digitalcommons.lsu.edu/gradschool_disstheses/5522 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 Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from themicrofilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from aity type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improperalignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections withsmall overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms international A Bell & Howell Information Company 300 Nortfi Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313.'761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Order Number 9401543 The Tio family: Four generations of New Orleans musicians, 1814-1933. (Volumes I and H) Kinzer, Charles E., Ph.D. The Louisiana State University and Agricultural and Mechanical CoL, 1993 Copyright ©1994 by Kinzer, Charles E. All rights reserved. UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. THE TIO FAMILY; FOUR GENERATIONS OF NEW ORLEANS MUSICIANS, 1814-1933 VOLUME I A D issertation Submitted to the Graduate Faculty of the Louisiana State University and A gricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by Charles E. Kinzer B.Mus., Auburn U niversity, 19 8 3 M.Mus., University of Alabama, 1985 May 1993 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGMENTS I would like to thank Dr. Wallace McKenzie for his service as dissertation advisor and chair of the doctoral committee. His wisdom in matters of research and writing style were crucial to the completion of the study and his kind friendship helped make it a pleasure to undertake. I am also grateful for the contributions of the members of the committee: Dr. Panthea Broughton, Dr. William Grimes, Dr. Jan Herlinger, Dr. David Smyth, and Dr. Mark Zucker. Professors Herlinger and Smyth each reviewed the manuscript in its early stages, and Professor Grimes guided the preparation of the of the music transcriptions. I received assistance from a number of knowledgeable persons over the course of my research. Lester Sullivan, Karl Koenig, Kimberly Hanger, Roland McConnell, Kathleen Winn, and Bernadette Ramdall each kindly offered information and suggestions for further investigation. Denora Bergeron assisted with translations. Donald Marquis (Louisiana State Museum) and Sally Reeves (New Orleans Notarial Archives) each contributed time and specialized knowledge of primary sources in New Orleans. Barry Martyn generously donated transcripts and recordings of interviews. Dr. Lawrence Gushee (University ii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. of Illinois) corresponded frequently and provided several key pieces of information. I am honored to have had the opportunity to become acquainted with Rose Tio Winn, daughter of Lorenzo Tio, Jr., who graciously allowed a number of personal interviews and recounted freely her family's remarkable history. A special thanks is also given to my father for his help in computer matters, and to both my parents for their devoted attention. My dear wife, Lisa, cheerfully and patiently performed the role of primary proofreader. Most importantly, she contributed an untold amount of emotional support and enthusiasm. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS VOLUME I p a g e ACKNOWLEDGMENTS ................................................................................... i i LIST OF.......................FIGURES .............................................................. v i LIST OF......................EXAMPLES ............................................................. v i i ABSTRACT ................................................................................................... V i ü CHAPTER 1 EARLY HISTORY OF THE TIO AND HAZEUR FAMILIES ....................................................................... 1 2 LOUIS HAZEUR, THE SIEGE OF NEW ORLEANS AND THE MUSIC OF THE GENS DE COULEUR LIBRES ......................................................................... 43 3 THOMAS LOUIS MARCOS TIO, MUSIC IN THE LATE ANTEBELLUM PERIOD, AND THE EMIGRATION TO MEXICO............................................. 82 4 THE EARLY CAREERS OF LOUIS AND LORENZO TIO, 1878-1890 ......................................................... 127 5 LOUIS AND LORENZO TIO AFTER 1890 ................................ 169 VOLUME I I 6 LORENZO TIO, J R ., AND HIS EARLY CAREER, 1893-1918 ..................................................................... 209 7 THE LATER CAREER OF LORENZO TIO, J R ., 1918-1933 ..................................................................... 248 IV Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER page 8 THE TIOS AS TEACHERS AND THEIR INFLUENCE UPON THE MUSICIANS OF NEW ORLEANS ............ 297 SELECTED BIBLIOGRAPHY .................................................................... 331 APPENDICES A MAPS ....................................................................................... 353 B TRANSCRIPTIONS ............................................................... 357 VITA ........................................................................................................... 382 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF FIGURES Figure Page 1. Instrumentations of M ilitary Bands, cl800 .............. 50 2. Performances of the Excelsior Brass Band, as reported in the ffeeJcly Louisianian, March 1879 to June 1882 .............................................................. 139 3. Performances of the Excelsior Brass Band, as reported in the Weekly Pelican, December 1886 to November 1887 and December 1888 to Novemeber 1889 ..................................................................... 151 4. Roster of the Band of Richards and Pringle's Georgia M instrels, 1897 ................................................ 173 5. Rosters of the Band and Orchestra of Oliver P. Scott's Refined Colored M instrels, 1898 .......... 179 6. Roster of the Band of John W. Vogel's Afro- American Mastodon M instrels and Darkest America Show, 1898 ............................................................ 184 7. Roster and Instrumentation of the Bloom Symphony Orchestra, cl903 .................................... 194 8. Roster and Instrumentation of the Onward Brass Band, cl913 ............................................................................ 221 9. New Orleans Musicians known to have studied with Lorenzo Tio, J r ......................................................... 319 VI Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF EXAMPLES Example Page 1. "Bouncing Around," mm. 34-35, 38-39, clarinet ... 276 2. "Red Man Blues," mm. 13-14, clarinet ............................ 277 3. "Red Man Blues," mm. 5-10, 21-26, 77-82, c l a r i n e t ............................................... 278 4. "Bright Star Blues," mm. 11-14, clarinet .................. 279 5. "Lou'siana Swing," mm. 1-4, clarinet ....................... 280 V I 1 Reproduced with permission
Load more

Recommended publications
  • 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.
    [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]
  • 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.
    [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]
  • (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.
    [Show full text]
  • 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.
    [Show full text]
  • 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].
    [Show full text]
  • Banquettes and Baguettes
    NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions By Ned Hémard Banquettes and Baguettes “In the city’s early days, city blocks were called islands, and they were islands with little banks around them. Logically, the French called the footpaths on the banks, banquettes; and sidewalks are still so called in New Orleans,” wrote John Chase in his immensely entertaining history, “Frenchmen, Desire Good Children…and Other Streets of New Orleans!” This was mostly true in 1949, when Chase’s book was first published, but the word is used less and less today. In A Creole Lexicon: Architecture, Landscape, People by Jay Dearborn Edwards and Nicolas Kariouk Pecquet du Bellay de Verton, one learns that, in New Orleans (instead of the French word trottoir for sidewalk), banquette is used. New Orleans’ historic “banquette cottage (or Creole cottage) is a small single-story house constructed flush with the sidewalk.” According to the authors, “In New Orleans the word banquette (Dim of banc, bench) ‘was applied to the benches that the Creoles of New Orleans placed along the sidewalks, and used in the evenings.’” This is a bit different from Chase’s explanation. Although most New Orleans natives today say sidewalks instead of banquettes, a 2010 article in the Time-Picayune posited that an insider’s knowledge of New Orleans’ time-honored jargon was an important “cultural connection to the city”. The article related how newly sworn-in New Orleans police superintendent, Ronal Serpas, “took pains to re-establish his Big Easy cred.” In his address, Serpas “showed that he's still got a handle on local vernacular, recalling how his grandparents often instructed him to ‘go play on the neutral ground or walk along the banquette.’” A French loan word, it comes to us from the Provençal banqueta, the diminutive of banca, meaning bench or counter, of Germanic origin.
    [Show full text]
  • Download Booklet
    120699bk Bechet 3 22/5/03 11:09 am Page 2 6. One O’Clock Jump 2:25 14. Save It Pretty Mama 2:51 Personnel (Count Basie) (Don Redman–Paul Denniker–Joe Davis) Victor 27204, mx BS 046833-1 Victor 27240, mx BS 053434-1 16 November 1938: Sidney Bechet, clarinet, 6 September 1940 (tracks 13-15): Rex Stewart, Recorded 5 February 1940, New York Recorded 6 September 1940, Chicago soprano sax; Ernie Caceres, baritone sax; Dave cornet; Sidney Bechet, clarinet, soprano sax; Bowman, piano; Leonard Ware, electric guitar; Earl Hines, piano; John Lindsay, bass; Baby 7. Preachin’ Blues 3:02 15. Stompy Jones 2:47 (Sidney Bechet) (Duke Ellington) Henry Turner, bass; Zutty Singleton, drums Dodds, drums Bluebird B 10623, mx BS 046834-1 Victor 27240, mx BS 053435-1 5 February 1940: Sidney Bechet, clarinet, soprano 8 January 1941: Henry Allen, trumpet; J. C. Recorded 5 February 1940, New York Recorded 6 September 1940, Chicago sax; Sonny White, piano; Charlie Howard, Higginbotham, trombone; Sidney Bechet, 8. Shake It And Break It 2:54 16. Coal Black Shine 2:43 electric guitar; Wilson Myers, bass; Kenny clarinet; James Tolliver, piano; Wellman Braud, (Friscoe Lou Chicha–H. Quaill Clarke) (John Reid-Sidney Bechet) Clarke, drums bass; J. C. Heard, drums Victor 26640, mx BS 051222-1 Victor 27386, mx BS 058776-1 4 June 1940: Sidney de Paris, trumpet; Sandy 28 April 1941: Gus Aiken, trumpet; Sandy Recorded 4 June 1940, New York Recorded 8 January 1941, New York Williams, trombone; Sidney Bechet, clarinet, Williams, trombone; Sidney Bechet, soprano sax; 9.
    [Show full text]
  • EB and Bechet Were Buddies, and They Would Go to Dances, Taking Their
    r. * EMILE BARNES 1 Reel I [of 2]-Digest-Retype December 20, 1960 * Also present: William Russell, Ralph Collihs. .\ There is discussion of clarinets and mouthpieces; EB says that he first started playing using a wooden mouthpiece, which he found better than any other kind of mouthpiece; it was stolen, with his clarinet, and he finally became accustomed.to hard-rubber mouth- piecesr which he formerly sandpapered to fit his requirements. RC mentions that Raymond Burke also makes adjustments on his own mouth- pieces* WB says that Professor [Manuel] Manetta had a Buffet clari- net which he got from George Baquet; WR asks EB if he can tell any- thing about B&quet, EB says that Baquet had fire in his playing, that he had a loud tone, played a lot of variations. EB says Sidney Bechet played somewhat like early Baquet [c£. their records] EB tells how Eechet could take his clarinet apart, joint by joint from the bottom, and still play it. EB says that Bechet used to ^ ^ r, -1 f i^ f .-Ji \. "cut hay'\ [perhapsh this means that he would search for someone to 'beat. playing the clarinet], that he would go around to places where there were good clarinetists-like Baquet, [Alphonse] Picou and [Lorenzo] Tio, [Jr,]-[the inference is that Bechet could play better.] EB and Bechet were buddies, and they would go to dances, taking their clarinets in their back pockets, anywhere there was one. EB was about 17 years old at the time, Bechet a little younger; both wore short pants; S^ys Bechet was a'bout 63 [when he died in 1959].
    [Show full text]
  • The Strutter 2008 - 2011!
    “Best of South Jersey” The Strutter 2008 - 2011! VOLUME 23 NUMBER 11 Traditional Jazz in the Philadelphia Tri-State Area JUNE 2013 OUR NEXT CONCERT OUR SECOND JUNE Neville Dickie & Midiri Brothers CONCERT - JAM SESSION & ANNUAL MEETING Sunday, June 23, 2013 2:00 – 5:00 p.m. Haddonfield Methodist Church 29 Warwick Road Haddonfield, NJ 08033 This year Bob Rawlins, clarinet, will lead our Sunday, June 9, 2013 annual jam session. The jam band will be anchored 2:00 – 5:00 p.m. by seasoned jazz professionals including Randy Community Arts Center Reinhardt on trumpet, Pat Mercuri on 414 Plush Mill Road banjo/guitar, and Brian Nalepka on tuba/bass. Bob Wallingford, PA 19086 will call song titles and invite other musicians to sit Directions on Page 7 in as the session progresses. World-class stride pianist and Tri-State Jazz This concert will also be the celebration of the 25th Society favorite Neville Dickie, from England, will anniversary of the Tri-State Jazz Society. join the multi-talented Midiri brothers for an The jam session is open to all jazz musicians. afternoon of traditional jazz, stride and swing Admission is free if you come to sit in with our core featuring Paul on vibes, drums and trombone, and band. A keyboard and a drum set will be available; Joe on clarinet, soprano sax, alto sax, and - he says otherwise, bring your own instrument. - "possibly bass clarinet." Continued on Page 2 Neville Dickie, with a cameo appearance by jazz phenom Geoff Gallante, sold out the Community Concert Admissions Arts Center in 2011 and received standing ovations.
    [Show full text]
  • Hand-Built Ceramics at 810 Royal and Intercultural Trade in French Colonial New Orleans
    University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Summer 8-5-2019 Hand-built Ceramics at 810 Royal and Intercultural Trade in French Colonial New Orleans Travis M. Trahan [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Recommended Citation Trahan, Travis M., "Hand-built Ceramics at 810 Royal and Intercultural Trade in French Colonial New Orleans" (2019). University of New Orleans Theses and Dissertations. 2681. https://scholarworks.uno.edu/td/2681 This Thesis-Restricted 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 Thesis-Restricted 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 Thesis-Restricted has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Hand-Built Ceramics at 810 Royal and Intercultural Trade in French Colonial New Orleans A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Science in Urban Studies by Travis Trahan B.A. Loyola University of New Orleans, 2015 August, 2019 Table of Contents List of Figures and List of Tables .....................................................................................
    [Show full text]