NEW ORLEANS From Bienville to Bourbon Street to bounce. 300 moments that make New Orleans unique. WHAT HAPPENED In May 1938, 1718 ~ 2018 Allen Lomax recorded music and interviews of Jelly Roll Morton 300 for the Library TRICENTENNIAL of Congress. JULES CAHN COLLECTION THE AT HISTORIC N.O. COLLECTION THE NEW ORLEANS ADVOCATE Jelly Roll Morton ‘Tuts’ Washington Louis Moreau Gottschalk Allen Toussaint David Torkanowsky Dr. John PHOTO BY MICHAEL SMITH P. ©THE HISTORIC N.O. COLLECTION The New Orleans’ piano sound is instantly recognizable by its funky and rhythmic syncopated sound, even back to the days of Louis Gottshalk and Jelly Roll Morton. PHOTO BY MICHAEL SMITH P. ©THE HISTORIC N.O. COLLECTION Each player since has included their own flourishes that THE NEW ORLEANS ADVOCATE have made their sound distinctive, yet part of the New Or- leans piano genre. In the 1800s, Gottschalk, an internation- ally famous piano player from New Orleans, incorporated Latin rhythms and rolling right hand figures. Decades later, Jelly Roll Morton incorporated a “Spanish tinge” into his music but kept that rolling right hand. Jelly Roll was fol- lowed by “Tuts” Washington and Fats Domino. Domino Henry Butler added an element of boogie woogie; while Professor Long- hair laid down a funky piano style that is still imitated by pi- THE NEW ORLEANS ADVOCATE ano players in New Orleans and can be heard in the playing of Dr. John and Harry Connick Jr. Allen Toussaint distilled the New Orleans piano sound in his more refined record- ings and those he produced. James Booker added an energy to the tunes. And there are countless piano virtuosos in between including Art Neville, Eddie Bo, Henry Butler and David Torkanowsky — all playing funky from their New Orleans roots. Professor Longhair Harry Connick Jr. Fats Domino.