Historic Photos of New Orleans Jazz , livre ebook

Turner Publishing Company - Thomas L. Morgan

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202 pages

English

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New Orleans jazz thrilled the world in the twenties and traveled around the world in the thirties. In the forties and fifties, the world came to New Orleans to hear authentic New Orleans jazz played by real jazz musicians. The sixties brought Preservation Hall, a musical institution that even a hurricane couldn’t kill. For the last 40 years, the New Orleans Jazz and Heritage Festival has been celebrating New Orleans’ and Louisiana’s unique culture and music.

This volume contains rare photographs from the Louisiana State Museum’s Jazz Collection, lovingly assembled and accompanied by captions written by award-winning author and Jazz Roots radio show host Tom Morgan. Those who love jazz will be amazed by these pictures of some of the best musicians ever to pick up an instrument. For those just beginning to learn about jazz, this 200-page volume is an excellent takeoff point to learn more about what made New Orleans jazz unique, and a source to discover musicians who can further enhance readers’ listening pleasure.

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Publié par	Turner Publishing Company
Date de parution	01 novembre 2009
Nombre de lectures	0
EAN13	9781618584137
Langue	English
Poids de l'ouvrage	8 Mo

Informations légales : prix de location à la page 0,1900€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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HISTORIC PHOTOS OF
NEW ORLEANS JAZZ
T EXT AND C APTIONS BY T HOMAS L. M ORGAN
In June of 1921, King Oliver s Creole Jazz Band opened at the Pergola Dancing Pavilion on Market Street in San Francisco. Pictured here from left to right are Minor Ram Hall (drums), Honor Dutrey (trombone), King Oliver (cornet), Lil Hardin (piano), David Jones (sax), Johnny Dodds (clarinet), James Palao (violin), and Ed Garland (bass). Oliver s band proved to be quite popular on the West Coast, and his decision to return to Chicago was a difficult one to make.
HISTORIC PHOTOS OF
NEW ORLEANS JAZZ
Turner Publishing Company
200 4th Avenue North Suite 950
Nashville, Tennessee 37219
(615) 255-2665
www.turnerpublishing.com
Historic Photos of New Orleans Jazz
Copyright 2009 Turner Publishing Company
All rights reserved.
This book or any part thereof may not be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher.
Library of Congress Control Number: 2009922658
ISBN: 978-1-59652-545-0
Printed in China
09 10 11 12 13 14 15 16-0 9 8 7 6 5 4 3 2 1
C ONTENTS
A CKNOWLEDGMENTS
P REFACE
W AY D OWN Y ONDER IN N EW O RLEANS (1890-1925)
O H D IDN T H E R AMBLE (1926-1945)
B OURBON S TREET P ARADE (1946-1960)
N EW A RRIVAL (1961-1975)
F EETS D ON T F AIL M E N OW (1976-2000)
N OTES ON THE P HOTOGRAPHS
Not much is known about Christen s Brass Band, a ten-piece band photographed at Southern Park, a tree-lined picnic area on Bayou St. John. The brass band was obviously a professional unit as shown by their uniforms, which have American Federation of Musicians patches on the collars. This first musicians union was founded in 1896 to help provide members with loans, financial assistance during illness or extended unemployment, and death benefits.
A CKNOWLEDGMENTS
This volume, Historic Photos of New Orleans Jazz , is the result of the cooperation and efforts of many individuals, organizations, and corporations. It is with great thanks that we acknowledge the valuable contribution of the following for their generous support:
Library of Congress
Louisiana State Museum Jazz Collection
The author would also like to thank Hild Creed, Markus Sturm, David Roe, Leroy Jones, Eric L. Cager, Dan Marcus, Debby Davis, Erika Molleck Goldring, Dick Waterman, George Ingmire, Lars Edegran, Bob French, Lisa Kavanaugh, Preservation Hall, Olivia Greene, and WWOZ 90.7 FM for their valuable contributions and assistance in making this work possible.
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With the exception of touching up imperfections that have accrued with the passage of time and cropping where necessary, no changes have been made to the photographs. The focus and clarity of many photographs is limited by the technology and the ability of the photographer at the time they were taken.
P REFACE
Anyone who has ever visited New Orleans would have to agree that it is a unique city. It developed with a myriad of cultural influences that in turn influenced the city s musical evolution. Being under the rule of the French and Spanish definitely contributed to a different environment than other cities living under British rule. The city s large slave population worshiped at Congo Square, creating an oral history of African culture and music. Religion did not disappear, music was kept alive, and dances were taught by those who remembered their African roots. For over a hundred years, New Orleans was the center of black culture in the United States when the prevailing opinion was that African Americans had no culture.
New Orleans has always been a remote area. Even with today s transportation, there s not another large city nearby that can be reached without many hours on the road. This isolation has both helped and hurt the city s musical development. Although it is one of the few, if only, cities that retains its musical identity, jazz music travels only so far north today. In fact, the city s rap music is much more influential to popular audiences than its jazz.
The pictures in this book are from one major source: the Louisiana State Museum s Jazz Collection. Though the archives are extensive, there are still many musicians from all eras of New Orleans jazz who are not included. Regrettably, there are not as many photographs documented here of musicians such as James Black, Alvin Batiste, and others that followed and played modern jazz in the city. Nevertheless, the pictures in this volume portray a vibrant jazz scene covering almost one hundred years.
This book organizes that 100-year span of music according to different eras in the New Orleans jazz scene, starting with the jazz forerunners of the 1890s and ending in the early twenty-first century with many well-known artists. Featured are some of the first bands including Buddy Bolden s band, whose leader is considered by some to be the first jazz bandleader, and the Original Dixieland Jazz Band, the first jazz band to record. Louis Armstrong, Edward Kid Ory, King Oliver, Oscar Papa Celistin and His Tuxedo Orchestra, Jelly Roll Morton, Warren Baby Dodds, and Sidney Bechet are just a few other big players followed in the book.
This volume has been a labor of love. There is no other city like New Orleans; there probably never will be. Hurricane Katrina made us all realize how important the music and culture of the city is and that it should never be taken for granted. Our music scene is as strong as ever, and there is a place for people interested in all types of jazz. The New Orleans Jazz National Park will soon open in its new home in Armstrong Park and will be a wonderful location for visitors and residents to continue their study of the unique music that New Orleans brought to the world: jazz. In the meantime, for both jazz connoisseurs and novices, the photographs here in Historic Photos of New Orleans Jazz bring to life the major players who shaped this spectacular Louisiana city and musical genre.
- Thomas L. Morgan
The Original New Orleans Jazz Band was photographed in Chicago between 1916 and 1917. They are, from left to right, John Phillips (Fisher) (clarinet), K. Fred Rose (piano), Merrit Brunies (cornet), Emile Christian (trombone), and Fred J. Williams (drums). This is one of the early Dixieland bands that recorded after the success of the Original Dixieland Jazz Band (ODJB). Fixed to the trombone is a strange mute, a device that changes the attached instrument s sound.
W AY D OWN Y ONDER IN N EW O RLEANS
(1890-1925)
New Orleans is the northernmost capital of the Caribbean and a major seaport. Because of its geographical location, the city has had a tendency to look south for its cultural influences rather than north. Culture and music were affected by the Haitian Revolution, which resulted in a significant Haitian population relocating to Louisiana. New Orleans had close ties with Mexico and Mexican culture; the Cotton Centennial Exposition in 1884 featured the Concert Band of the 8th Mexican Cavalry, which also played music of the Caribbean Islands as part of the program. The band continued to play for six months in the city. Later, the Tio family, who had spent time in Mexico, came in demand in New Orleans as clarinet teachers.
New Orleans, a unique Catholic city with its own costumes and customs, has always been known as a city that loved to dance. Thus, it quickly took to jazz and its precursors when they appeared. This music goes hand-in-hand with traditions such as Mardi Gras, a great part of what defines New Orleans culture. The Brass Band tradition and musical funerals, which seem to have German roots, also helped make New Orleans music unique.
This chapter explores the influence early New Orleans musicians had on the jazz scene. It also illuminates the differences between early art forms of jazz, such as Dixieland and black jazz, and looks at the families of jazz whose elders, fathers, and uncles taught interested young people what it took to blow a horn. The routes these eager musicians took to stardom started in vaudeville for some; others rode the train straight to the stage.
In particular, New Orleans music had an amazing impact on Chicago audiences, most of whom had never heard group improvisations by such virtuosos. However, this improvisational music was not a foreign concept once people heard it enough, especially after it was recorded. Musicians were bound to discover the secret language of improvisation-and when they did, jazz changed. Just listen to the difference in the Fletcher Henderson Orchestra before and after their exposure to the influential Louis Armstrong. Another one-of-a-kind, Sidney Bechet, inspired the first jazz review when a writer heard him play in Europe in 1918. New Orleans bands played jazz on riverboats up and down the Mississippi River for a number of years. By the mid-twenties, jazz was out of the bag and growing like a grass fire.

New Orleanians are looking to escape the summer heat in this 1892 view of Mannessier s Pavilion and West End Restaurant at West End, a resort area on Lake Pontchartrain that was popular from 1880 to around 1920. Many of the restaurants provided music for their patrons. The New Basin Canal ended at the lake, and folks rode trains or took the Shell Road to the site.

Various small suburbs such as West End, Spanish Fort, and Milneberg grew up alongside the lake as the city expanded from the Mississippi River towards the lake. These areas were popular during the summer heat because of the cool breezes coming off the lake. This 1892 photo shows some of the other buildings on West End, an area that was hit very hard by Hurricane Katrina in 2005.

Buddy Bolden s band in 1894 stands from left to right: Frank Lewis (clarinet), Willie Cornish (trombone), Buddy Bolden (cornet), and Jimmy Johnson (bass). Seated are Willie Warner (clarinet) and Brock Mumford (guitar). The lege