History of Jazz: Ragtime 2

Thomas Million John Turpin

* Savannah, Georgia 18/11/1871

+ 13/08/1922

Tom Turpin was born in Savannah, Georgia, a son of John L. Turpin and Lulu Waters Turpin. In the early 1880s, the Turpin family moved to St. Louis, where Honest John opened the Silver Dollar Saloon until 1903, when it was torn down to build a railroad station in anticipation of the St. Louis Exposition of 1904.

Young Tom Turpin taught himself to play the piano. He however, did not have the same musical drive as Scott Joplin or Otis Saunders. He saw music as a way of having fun and making money. In 1885, Turpin and his brother Charles bought an interest in a gold mine and moved to Nevada. The mine yielded little gold, however, and the two were soon forced to return to St. Louis, where Turpin opened The Rosebud Cafe. He had already made his mark as the author of “Harlem Rag” (1897), the first published instrumental rag by an African American composer.

Turpin was a large man, six feet (1.83 m) tall and 300 pounds (136 kg); his piano had to be raised on blocks so that he could play it standing up, otherwise his stomach would get in the way. In addition to his saloon-keeping duties and his ragtime composition, he controlled (with his brother Charles) a theater, gambling houses, dance halls, and sporting houses. He served as a deputy constable and was one of the first politically powerful African-Americans in St. Louis. His influence on local music earned him the title "Father of St. Louis Ragtime."

While Turpin published only four other rags in his lifetime- "The Bowery Buck" (1899), "A Ragtime Nightmare" (1900), "St. Louis Rag" (1903), and "The Buffalo Rag" (1904), his influence on the development of ragtime was immense. The Rosebud Cafe was a regular meeting place of St. Louis' best rag players, and was the first stop of any musician traveling through the Gateway City to the West. Tom Turpin died in 1922.

1. St.Louis Rag (1903)
2. Harlem Rag
3. Ragtime Nightmare
4. The Bowery Bucks
5. Buffalo Rag
   

History of Jazz - Ragtime 1

Scott Joplin
(1867-1917)

Scott Joplin (between July 1867 and January 1868 – April 1, 1917) was an African-American composer and pianist, born near Texarkana, Texas, into the first post-slavery generation. He achieved fame for his unique ragtime compositions, and was dubbed the "King of Ragtime." During his brief career, he wrote forty-four original ragtime pieces, one ragtime ballet, and two operas. One of his first pieces, the "Maple Leaf Rag", became ragtime's first and most influential hit, and remained so for a century.

He was blessed with an amazing ability to improvise at the piano, and was able to enlarge his talents with the music he heard around him, which was rich with the sounds of gospel hymns and spirituals, dance music, plantation songs, syncopated rhythms, blues, and choruses. After he studied music with several local teachers, his talent was noticed by a German immigrant music teacher, Julius Weiss, who chose to give the 11-year-old boy lessons free of charge. He was taught music theory, keyboard technique, and an appreciation of various European music styles, such as folk and opera. As an adult, Joplin also studied at an all-black college in Sedalia, Missouri.

"He composed music unlike any ever before written," according to Joplin biographer Edward Berlin. Eventually, "the piano-playing public clamored for his music; newspapers and magazines proclaimed his genius; musicians examined his scores with open admiration." Ragtime historian Susan Curtis noted that "when Joplin syncopated his way into the hearts of millions of Americans at the turn of the century, he helped revolutionize American music and culture."

Before his early death at age 48, Joplin worked on his second opera Treemonisha. This was written, according to opera historian Elise Kirk, to be a "timeless story" about a young black "heroine of the spirit who leads her people from superstition and darkness to salvation and enlightenment." It was a failure in its first concert performance in 1915, but was rediscovered and premiered in 1972.^[1]

Joplin's music returned to popularity in the early 1970s with the release of a million-selling album of Joplin's rags recorded by Joshua Rifkin followed by the Academy award-winning movie The Sting which featured several of his compositions, such as "The Entertainer". In 1976 Joplin was posthumously awarded the Pulitzer Prize.^[2]

Maple Leaf Rag

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The Entertainer (Played by Chet Atkins)

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Pine Apple Rag (played by Manoel Carlos)

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The History of Jazz: Jazz Giants 4

Edward "Kid" Ory

* La Place 25/12/1886

+ Honolulu 23/01/1973

Edward "Kid" Ory was a jazz trombonist and bandleader. He was born in Woodland Plantation near La Place, Louisiana.

Ory started playing music with home-made instruments in his childhood, and by his teens was leading a well-regarded band in Southeast Louisiana. He kept La Place as his base of operations due to family obligations until his twenty-first birthday, when he moved his band to New Orleans, Louisiana.

He had one of the best-known bands in New Orleans in the 1910s, hiring many of the great jazz musicians of the city, including, cornetists Joe "King" Oliver, Mutt Carey and Louis Armstrong; and clarinetists Johnny Dodds and Jimmie Noone.

In 1919 he moved to Los Angeles—one of a number of New Orleans musicians to do so near that time—and he recorded there in 1922 with a band that included Mutt Carey, clarinetist and pianist Dink Johnson, and string bassist Ed Garland. Garland and Carey were longtime associates who would still be playing with Ory during his 1940s comeback. In 1925, Ory moved to Chicago, where he was very active, working and recording with Louis Armstrong, Jelly Roll Morton, "King" Oliver, Johnny Dodds, and many others.

During the Great depression Ory retired from music in 1933, and would not play again until 1943. From 1944 to about 1961 he led one of the top New Orleans style bands of the period. In addition to Mutt Carey and Ed Garland, trumpeters Alvin Alcorn and Ted Buckner; clarinetists Darnell Howard, Jimmie Noone, Albert Nicholas, Barney Bigard and George Probert; pianists Buster Wilson and Don Ewell; and drummer Minor Hall were among his sidemen during this period. All but Probert, Buckner, and Ewell were originally from New Orleans.

The Ory band was an important force in reviving interest in New Orleans jazz, making popular radio broadcasts—among them a number of slots on the Orson Welles Almanac broadcast and a jazz history series sponsored by Standard Oil—as well as by making recordings.

Ory also was the composer of numbers including Muskrat Ramble, Ory's Creole Trombone, and Savoy Blues. Ory retired from music in 1966 and spent his last years in Hawaii.

Dippermouth Blues

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Worry Blues

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Savoy Blues

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Panama

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More King Ory's Music:

1. Fidgety Blues
2. Who's Sorry Now
3. Ballin' the Jack
4. High Society
5. Muskrat Rumble
6. Royal Garden Blues
7. Shine
8. Tiger Rag
9. Do What Ory Say
   

History of Jazz : Giants of Jazz 3

Johnny Dodds
* New Orleans (?) 12/04/1892
+ Chicago 8/08/1940

Johnny Dodds was one of the greatest clarinetist of the 1920's. Although both Jimmie Noone and Sidney Bechet had better technique, Dodds had a very soulful, bluesy style of playing that was often emotionally powerful. He was a master of the New Orleans' ensemble style of collective improvisation. He didn't have the flash of Louis Armstrong, but often provided the perfect environment for Armstrong to shine. He worked with most of the major Hot Jazz bands of the era. Dodds was in Kid Ory's band in New Orleans from 1912 to 1919. He played on riverboats with Fate Marable in 1917 and moved to Chicago in 1921 to play with King Oliver. Johnny and his brother Baby Dodds were an important part of Louis Armstrong's classic Hot Five and Hot Seven recordings for Okeh. During the 1920's he also recorded with Oliver's Creole Jazz Band, Jelly Roll Morton and on most of Lil Hardin-Armstrong's sessions. Unlike many of his famous contemporaries, Dodds and his brother stayed in Chicago and were pretty much forgotten as Jazz moved East to New York in the Thirties. He recorded several records under his own name in the Twenties, often with Natty Dominique on trumpet, and worked regularly at Kelly's Stables from 1924 to 1930. Dodds continued to play and record in Chicago throughout the Thirties, and also ran a cab company with his brothers. Dodds did not record for most of 1930's, affected by ill health. He died of a heart attack in Chicago in 1940. In 1987, Dodds was inducted into the Down Beat Jazz Hall of Fame.

House Rent Rag (With the Dixieland Jug Blowers) - 1926

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More Johnny Dodds' Songs:

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1. Pencil Papa
2. When Erastus Plays His Old Kazoo
3. Come and stomp,stomp,stomp
4. After You've Gone

History of Jazz: Giants of Jazz 2

Joe "King" Oliver
* 11/05/1885 Abben,La (USA)
+ 08/04/1938 Savannah,Ga (USA)

Joe Oliver is one of the most important figures in early Jazz. When we use the phrase Hot Jazz, we are really referring to his style of collective improvisation (rather than solos). He was the mentor and teacher of Louis Armstrong. Louis idolized him and called him Papa Joe. Oliver even gave Armstrong the first cornet that Louis was to own. Oliver was blinded in one eye as a child, and often played while sitting in a chair, or leaning against the wall, with a derby hat tilted so that it hid his bad eye. Joe was famous for his using mutes, derbies, bottles and cups to alter the sound of his cornet.

He was able to get a wild array of sounds out of his horn with this arsenal of gizmos. Bubber Miley is said to have been inspired by his sound. Oliver started playing in New Orleans around 1908. At various times he was a member of several of the marching bands like The Olympia, The Onward Brass Band, The Original Superior and the Eagle Band. He often worked in Kid Ory's band and in 1917 he was being billed as "King" by the bandleader.

In 1919 he moved to Chicago with Ory and played in Bill Johnson's The Original Creole Orchestra at the Dreamland Ballroom. He toured with the band, but when he returned to Chicago in 1922 he started King Oliver's Creole Jazz Band at Lincoln Gardens (459 East 31st Street). Oliver imported his protégé Louis Armstrong from New Orleans. The band also included Johnny Dodds, Honore Dutrey, Lil Hardlin and Baby Dodds among others. The group's 1923 sessions were a milestone in Jazz, introducing the playing ofLouis Armstrong to the world.

Unfortunately the Creole Jazz Band gradually fell apart in 1924. Oliver went on to record a pair of duets with pianist Jelly Roll Morton that same year, and then took over Dave Peyton's band in 1925, renaming it the Dixie Syncapators. Oliver moved the band to New York in 1927, where he made some lousy business decisions, like turning down the regular gig at the Cotton Club, that went on to catapult Duke Ellington to fame.

Oliver had a life long sweet tooth. He was famous for his love of sugar sandwiches, This of course led to dental problems that made playing his cornet very painful. On top of that he was suffering from a bad back. In 1929 Luis Russell took over the Dixie Syncopators and changed the name to Luis Russell and his Orchestra. Oliver continued to record until 1931, but he was quickly becoming a forgotten name. He continued to tour the South with various groups, until he ran out of money and settled in Georgia, where he worked as a janitor in a poolroom up until his death in 1938.

From : RedHot Jazz

Sobbin' Blues

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Snag It

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Canal Street Blues

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Riverside Blues (1923):

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Listen more tracks of King Oliver:

1. Just Gone (With Creole Jazz Band)(1923)
2. Big Butter and Egg Man from the West(With Creole Jazz Band)(1927)
3. St. James Infirmary(With Creole Jazz Band) (1930)
   
4. Dippermouth Blues (Sugarfoot Stomp)(With Creole Jazz Band)(1923)
5. Mabel's Dream - (With King Oliver's Jazz Band) (1923)
6. Mandy Lee Blues(With Creole Jazz Band)(1923)
7. Snake Rag (With Creole Jazz Band)(1923)
8. West End Blues (With his Dixie Syncopaters)(1928)
9. Four or Five Times (With his Dixie Syncopaters)(1928)
10. Nelson Stomp

History of Jazz: Jazz Giants 1

Jelly Roll Morton
Ferdinand Joseph la Menthe Morton
* Gulport,Mississipi 20/09/1885
+ Los Angeles 10/07/1941

Jelly Roll Morton was the first great composer and piano player of Jazz. He was a talented arranger who wrote special scores that took advantage of the three-minute limitations of the 78 rpm records. But more than all these things, he was a real character whose spirit shines brightly through history, like his diamond studded smile. As a teenager Jelly Roll Morton worked in the whorehouses of Storyville as a piano player. From 1904 to 1917 Jelly Roll rambled around the South. He worked as a gambler, pool shark, pimp, vaudeville comedian and as a pianist. He was an important transitional figure between ragtime and jazz piano styles. He played on the West Coast from 1917 to 1922 and then moved to Chicago and where he hit his stride. Morton's 1923 and 1924 recordings of piano solos for the Gennett label were very popular and influential. He formed the band the Red Hot Peppers





















Jelly Roll Morton's Red Hot Peppers in 1926. Left to right: Andrew Hlaire, Kid Ory, George Mitchell, John Lindsay, Jelly Roll Morton, Johnny St Cyr, Omer Simeon

Listen to the Red Hot Peppers:

Hesitation Blues:

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Finger Breaker:

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Wolverine Blues (1927):

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Listen More Jelly Roll's Songs:

1. Blue Bod Blues
2. Honky Tonk Blues
3. Pretty Lil
4. Steamboat Stomp
5. Jungle Blues
6. Sidewalk Blues
7. Dead Man Blues
8. Jelly Roll Blues

Musica Popular Brasileira: Grandes Nomes 1

Donga
Ernesto Joaquim Maria dos Santos
* Rio de Janeiro 05/04/2009
+ Rio de Janeiro 25/08/1974

Filho de Pedro Joaquim Maria e Amélia Silvana de Araújo, Donga teve oito irmãos. O pai era pedreiro e tocava bombardino nas horas vagas; a mãe era a famosa Tia Amélia do grupo das baianas Cidade Nova e gostava de cantar modinhas e promovia inúmeras festas e grandes reuniões de samba.

Participava das rodas de música na casa da lendária Tia Ciata, ao lado de João da Baiana, Pixinguinha e outros. Grande fã de Mário Cavaquinho, começou a tocar este instrumento de ouvido, aos 14 anos de idade. Pouco depois aprendeu a tocar violão, estudando com o grande Quincas Laranjeiras.

Em 1917 consagrou a gravação de Pelo Telefone, considerado o primeiro samba gravado na história.

Organizou com Pixinguinha a Orquestra Típica Donga-Pixinguinha. Em 1919, ao lado de Pixinguinha e outros seis músicos, integrou, como violonista, o grupo Oito Batutas, que excursionou pela Europa em 1922.

Em 1940 Donga gravou nove composições (entre sambas, toadas, macumbas e lundus) do disco Native Brazilian Music, organizado por dois maestros: o norte-americano Leopold Stokowski e o brasileiro Villa-Lobos, lançado nos Estados Unidos pela Columbia.

No final dos anos 50 voltou a se apresentar com o grupo Velha Guarda, em shows organizados por Almirante.

Enviuvou em 1951, casou-se novamente em 1953 e foi morar no bairro de Aldeia Campista, para onde se retirara como oficial de Justiça aposentado. Doente e quase cego, viveu seus últimos dias na Retiro dos Artistas, falecendo em 1974.

Pelo Telefone:

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As canções mais conhecidas

• Passarinho Bateu Asas
• Benedito no Choro
  
• Bambo-Bamba
• Pelo Telefone
  
• Cantiga de Festa
• Macumba de Oxóssi
• Macumba de Iansã
• Seu Mané Luís
• Ranchinho Desfeito
• Patrão Prenda seu gado

Curiosidade : trecho do Vídeo CONVERSA DE BOTEQUIM, de Luiz Carlos Lacerda, com depoimento de Donga ao MIS que põe fim a discussão se o samba veio da Bahia ou nasceu no Rio de Janeiro.

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