Music: Jelly Roll Morton - Jungle Blues 1929 - Pretty Lil 1929 - Deepcreek 1929 - 3 videos - With a Jazz Co. UK. Data and access - Black Past Org. USA article
Posted by Ricardo Marcenaro | Posted in Music: Jelly Roll Morton - Jungle Blues 1929 - Pretty Lil 1929 - Deepcreek 1929 - 3 videos - With a Jazz Co. UK. Data and access - Black Past Org. USA article | Posted on 13:57
and his vaudeville partner Rosa Brown
Thanks to doctorjazz. co. uk for this photo
Jungle Blues was recorded for the Victor label on 7-4-27. Victor was getting into race records and was looking for talent. Morton put together a group who could play the New Orleans "Hot Style" from Lil Hardin's disbanded Dreamland Syncopaters who had headlined at the Dreamland Cafe in Chicago. These '26 and '27 tracts are considered the first of the hot style jazz records and historian David McGee states that these recordings are to jazz what Elvis Presley's Sun recordings were to rock and roll.
Recorded at the Victor Talking Machine Co. Studios, 925 North Michigan Avenue, Chicago. V21345A, July 4, 1927
Jelly Roll Morton composed Pretty Lil and Jelly Roll and his orchestra recorded the music at the Trinity Baptist Church studios of Victor Talking Machine Company in Camden, New Jersey July 9,1929. Jelly Roll Morton had started his Red Hot Peppers band from Lil Hardin Armstrong's disbanded Dixieland Syncopaters in 1926. Lil Hardin was Louis Armstrong's second wife - they were married from 1926-1938. Lil and Louis had met about 1921 while both played in King Olivers Creole Jazz Band in Chicago. Jelly Roll Morton and Louis Armstrong had collaborated on Wildman Blues in 1926 and Morton recorded the song on the Bluebird label in Chicago in 1927 while Louis Armstrong and His Hot 7 recorded the music in May 1927 for Okeh in Chicago. The pianist for that Hot 7 session was Lil Hardin.
Lil was the most famous woman of early jazz who got her start at age 17 playing in the men's world of tough and seedy clubs in Chicago. Lil had met Jelly Roll as a teen while she was working at a Chicago music store where she demonstrated sheet music. Morton frequented the store and played his style for her which she came to adopt and for a while was known as the female Jelly Roll Morton. Lil and Morton remained friends while both worked in Chicago. She was hired as a jazz pianist for her first gig at age 17 and she not only held her own but had 8 different orchestras of her own from 1925-1950 and remained active as a jazz musician until her death in 1971. Lil appeared on Broadway in Hot Chocolates, cut 26 records as a vocalist, was a fashion designer in the 1940s, then returned to music where she had 4 successful years of engagements in Europe in the 1950s and held a post graduate degree in music fromNY College of Music
Drive a few miles off most any interstate highway in the rural US south and find yourself in another era. The old south is rapidly disappearing-not soon enough for some, sadly for others as they try to hold on to the only way of life they know. Jelly Roll Morton's deep creek conveys the melancholy of the rural deep woods south.
Jelly Roll Morton and His Orchestra, deep creek, Victor Records V38055B, December 6, 1929, Victor Talking Machine Company Studios, 16 West 46th St., New York.
Edward Anderson, tp; Edwin Swayze, tp; William Cato, tb; Russell Procope, cl/as; Joe Garland, ts; Ferdinand Morton, p; Lee Blair, g; William Moore, bb; and Manzie Johnson, d.
Jelly Roll Morton and His Orchestra, deep creek, Victor Records V38055B, December 6, 1929, Victor Talking Machine Company Studios, 16 West 46th St., New York.
Edward Anderson, tp; Edwin Swayze, tp; William Cato, tb; Russell Procope, cl/as; Joe Garland, ts; Ferdinand Morton, p; Lee Blair, g; William Moore, bb; and Manzie Johnson, d.
When I find a site so sustancial like this I think the best can do is copy and give you free acces to it.
This space in England's great about jazz, from here you can access the work of other authors.
My job is to communicate knowledge, I think in this way I'm doing best, I do not want to copy something as if it were mine, I do not think that is honest, this is my way of giving in the practicing of transparency, as too much I insist on my blogs.
I commend especially http://www.doctorjazz.co.uk for their rigorous and brilliant development.
Thanks
Ricardo Marcenaro
Cuando encuentro un sitio tan sustancial como éste creo que lo mejor que podemos hacer es copiar y dará acceso gratuito al mismo.
Este espacio en Inglaterra acerca del jazz es magnífico, desde aquí podrán acceder a la obra de otros autores.
Lo mío, mi tarea es comunicar conocimiento, pienso que así lo hago mejor, no me interesa copiar algo como si esto fuera mío, no pienso así, ésta es mi forma de brindar y practicar la transparencia como tanto insisto en mis blogs.
Quiero felicitar especialmente a http://www.doctorjazz.co.uk por su riguroso y brillante desarrollo.
Thanks
Ricardo Marcenaro
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Thanks for this article to:
An Online Reference Guide to African American History
Quintard Taylor
Scott and Dorothy Bullitt Professor of American History
University of Washington, Seattle
Quintard Taylor
Scott and Dorothy Bullitt Professor of American History
University of Washington, Seattle
Remembered & Reclaimed
Ferdinand Joseph La Menthe Morton, more popularly known as “Jelly Roll” Morton, was an influential early 20th Century composer and pianist. Jelly Roll, the son of Creole parents, E.P. La Menthe and Louise Monette, was born in Gulfport, Mississippi in 1885. His father, E.P. Morton, was a trombonist who encouraged his son’s musical abilities. Morton’s early childhood was somewhat turbulent as he spent much of his time with his wandering father, who had deserted Louise Monette.
Morton showed fairly prodigious musical talent, gaining proficiency in many instruments quickly. He learned the harmonica at age 5, and his repertoire grew to include the violin, drums, trombone, and his claim to fame, the piano. Jelly Roll’s bohemian lifestyle under his father’s influence continued until his father’s disappearance. Jelly Roll returned to Gulfport to live with his mother and step-father, Willie Morton, until his mother’s death when he was 14. At that time, he and his two sisters were in the care of his godmother, Eulalie Echo, and his Aunt Lallie. Like many poor youth, he quickly found menial employment for 3 dollars a week. \
In addition to this employment, he also began making money by performing in the gambling dens and other houses of ill repute, for wages of over twenty dollars a night. His talents as a musician quickly became his primary source of income, and also led to his eviction from the familial home when his Aunt realized the source of his income.
As Morton traveled around the South, he came in to contact with many other musicians who influenced his style and ability. In 1902 when he was 17, Morton composed “King Porter Stomp,” a well-recognized tune of the era. Over the next few years, Morton continued to play at clubs and other venues across the South while he arranged to have his compositions published out of Chicago.
By 1917, Morton had moved to Los Angeles where he ran several thriving businesses with his girlfriend of the time, Anita Gonzales. Despite his prosperity in Southern California, Morton grew restless and moved to Chicago.
In 1929 Morton married Mabel Bertrand, a professional dancer who had spent time in Europe and who is credited with limiting at least some of the excesses in his life. For a time Mabel Morton traveled with her husband’s band, “Jelly Roll Morton and His Red Hot Peppers.” Morton continued to record, and is now one of the most well-documented of the early jazz musicians. Many of his recordings survive today in the Library of Congress.
In 1939, Morton was stabbed twice, in the head and above the heart, at the Jungle Inn in Washington, D.C. He never fully recovered from those injuries, and two years later, on July 10th, 1941, he died while once again in the company of Anita Gonzales in Los Angeles.
Morton showed fairly prodigious musical talent, gaining proficiency in many instruments quickly. He learned the harmonica at age 5, and his repertoire grew to include the violin, drums, trombone, and his claim to fame, the piano. Jelly Roll’s bohemian lifestyle under his father’s influence continued until his father’s disappearance. Jelly Roll returned to Gulfport to live with his mother and step-father, Willie Morton, until his mother’s death when he was 14. At that time, he and his two sisters were in the care of his godmother, Eulalie Echo, and his Aunt Lallie. Like many poor youth, he quickly found menial employment for 3 dollars a week. \
In addition to this employment, he also began making money by performing in the gambling dens and other houses of ill repute, for wages of over twenty dollars a night. His talents as a musician quickly became his primary source of income, and also led to his eviction from the familial home when his Aunt realized the source of his income.
As Morton traveled around the South, he came in to contact with many other musicians who influenced his style and ability. In 1902 when he was 17, Morton composed “King Porter Stomp,” a well-recognized tune of the era. Over the next few years, Morton continued to play at clubs and other venues across the South while he arranged to have his compositions published out of Chicago.
By 1917, Morton had moved to Los Angeles where he ran several thriving businesses with his girlfriend of the time, Anita Gonzales. Despite his prosperity in Southern California, Morton grew restless and moved to Chicago.
In 1929 Morton married Mabel Bertrand, a professional dancer who had spent time in Europe and who is credited with limiting at least some of the excesses in his life. For a time Mabel Morton traveled with her husband’s band, “Jelly Roll Morton and His Red Hot Peppers.” Morton continued to record, and is now one of the most well-documented of the early jazz musicians. Many of his recordings survive today in the Library of Congress.
In 1939, Morton was stabbed twice, in the head and above the heart, at the Jungle Inn in Washington, D.C. He never fully recovered from those injuries, and two years later, on July 10th, 1941, he died while once again in the company of Anita Gonzales in Los Angeles.
Sources:
Alan Lomax, Mister Jelly Roll: The Fortunes of Jelly Roll Morton, New Orleans Creole and Inventor of Jazz (Berkeley: University of California Press, 1973); Rayford Logan and Michael R. Winston, eds., Dictionary of American Negro Biography (New York: W. W. Norton, 1982); Peter Hanley, “Jelly Roll Morton: An Essay in Genealogy,” http://www.doctorjazz.co.uk/genealogy.html
Alan Lomax, Mister Jelly Roll: The Fortunes of Jelly Roll Morton, New Orleans Creole and Inventor of Jazz (Berkeley: University of California Press, 1973); Rayford Logan and Michael R. Winston, eds., Dictionary of American Negro Biography (New York: W. W. Norton, 1982); Peter Hanley, “Jelly Roll Morton: An Essay in Genealogy,” http://www.doctorjazz.co.uk/genealogy.html
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