The Origins of Jazz #8: Jelly Roll Morton
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- Опубліковано 29 вер 2014
- Jazz at Lincoln Center's curator Phil Schaap talks about one of Jazz's first geniuses: pianist and composer Jelly Roll Morton.
Find out more in this video series with WKCR personality and Jazz at Lincoln Center curator Phil Schaap!
Visit academy.jalc.org to learn more
Phil Schaap - Lecturer
Eric Suquet - Director
Bill Thomas - Director of Photography
Aaron Chandler - Audio Engineer
Richard Emery - Production Assistant
Seton Hawkins - Producer
Theme music composed and performed by Eli Yamin
Recorded September 10, 2013
amazing series
love the history'
THE GOAT!!
Thanks for this series. Trying to get back into jazz and this is a great starting point.
My favorite is dead mans blues followed by courthouse bump
All these claims about Morton, are based on his own preaching about himself. I'd like to see somebody else from his own time, award him with the same status. Armstrong certainly doesn't mention him in his 1934 book, "Swing That Music", where he gives a firsthand account of the origin of jazz in New Orleans - and it must be said, that Armstrong mentions a lot of musicians. Truth of the matter is, that jazz was recorded for the first time in New York in 1917 by a group of New Orleans musicians, the Original Dixieland Jazz Band, that probably had no contact with Morton, and the genre then spread to the whole world from this starting point. It didn't need Morton for that. The ODJB basically took their initial repertoire from popular tunes that were in circulation in New Orleans, of which none were written by Morton. Armstrong says that this particular band completely changed the style of music in New Orleans, that it had "a whole new orchestration", that everybody copied. Interestingly, this means we might not recognize it as jazz, if we were to hear the music that was played in the city before the influence of this group had its effect, which is probably what Morton was playing when he left the city.
You will find record producer and concert promoter Al Rose (who knew and worked with almost all of NO musicians from Jelly's time)awarding Jelly Roll Morton the accolades of greatness on pages 1-6, and 167 of "I Remember Jazz" (Kindle edition).
Gunther Schuller (musician/historian) said of Morton's "considerable accomplishments in themselves provide reasonable substantiation" as to Morton's claims to greatness.
Armstrong's ommision of Jelly's name does not effect Morton's accomplishments either way: it could've been omitted for any number of reasons, one of which could've been jealousy or a personal grudge. [Louis had an agenda (myth making) to maintain his growing legacy stemming from his start w King Oliver (in Armstrong's case he had Lil Armstrong and later his promotors to do the myth building for him whereas Jelly was doing it by himself), so giving props to Jelly would have weakened his narrative as an early innovator of jazz.]
Morton had a hit w his original The Crave in Hollwood in 1917, same year as ODJB record. Morton had already been influencing the country (via Memphis, Vicksburg...Chicago to LA and even up to Vancouver Canada) so the ODJB was by no means the first to spread jazz around the US. Obviously the record did become massively influential; I am just makimg the point that Jelly had already been influencing the music for close to 15 years before that record came out.
Also: it is possible that Morton and members of ODJB had met or beard each other play. The ODJB members came out of Papa Jack Laine's bands which had been playing NO since at least 1890. Morton was in NO untill about 1902 when he began touring the south...
Ray Lopez and Al Nunez claimed authorship of Livery Stable Blues (ODJB big hit in 1917) Nunez was Creole as was Morton. Both from NO... it is possible they influenced each other or at least knew of each other... Nunez and Lopez were members of the group to become ODJB until shortly before they recorded in 1917.
What bothers me is that people dont give credit to a white composer for ragtime and jazz....... ok his name GOTTSCHALK
scott Joplin was a greater composer and nobody in jazz cares about him. What a shame.! He gave Morton the king porter stomp.
Please explain how Joplin gave Morton the King Porter Stomp. I wouldn't say that no one in jazz respects Joplin, but Joplin was not jazz, only ragtime.
I read somewhere that Joplin helped Morton write king porter stomp over correspondence in the mail. I'm reading a biography on him and it doesn't mention it though.
@@amccolgan1 That sounds like misinformation. Morton wrote that for his friend Porter King. The style is miles away from Joplin's. Both great pianists, although Joplin was better at the pen and paper than the keyboard.
Op writes a scathing spicy first comment then reveals he is actually not sure of the facts himself. And that ladies and gentlemen is how baseless opinions spread like wildfire
@@mohitoness I just find jazz noisy. Too many conflicting melodic lines. Who is Op?