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| 5.339 Ft
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| 1. | Barnyard Blues
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| 2. | At the Jazz Band Ball
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| 3. | Ostrich Walk
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| 4. | Sensation Rag
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| 5. | Look at 'Em Doing It
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| 6. | Tiger Rag
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| 7. | Satanic Blues
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| 8. | 'Lasses Candy
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| 9. | My Baby's Arms
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| 10. | Tell Me
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| 11. | I've Got My Captain Working for Me Now
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| 12. | I'm Forever Blowing Bubbles
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| 13. | Mammy O' Mine
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| 14. | I've Lost My Heart in Dixieland
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| 15. | Sphinx
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| 16. | Alice Blue Gown
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| 17. | Soudan
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| 18. | Some of These Days
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| 19. | Toddlin' Blues
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| 20. | Tiger Rag
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| 21. | Barnyard Blues
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Jazz / Vaudeville
Bill Jones Piano
Brian Rust Liner Notes
Chris Ellis Photography, Compilation, Producer
Dominick James LaRocca Cornet
Don Parker Sax (Alto)
Eddie Edwards Trombone
Emile Christian Trombone
Georgette De Sonnaville Production Coordination
John Capes Original Material
John R.T. Davies Production Consultant, Audio Restoration, Original Material
Larry Shields Clarinet
Tony Sbarbaro Kazoo, Drums
WhoMadeWho Piano
Wil Hesen Digital Mastering
Original Dixieland Jazz Band
Active Decades: '10s, '20s and '30s
Born: 1917 in New Orleans, LA
Died: 1923
Genre: Jazz
The first jazz group to ever record, Original Dixieland Jazz Band made history in 1917. They were not the first group to ever play jazz (Buddy Bolden had preceded them by 22 years!), nor was this White quintet necessarily the best band of the time, but during 1917-1923 (particularly in their earliest years) they did a great deal to popularize jazz. The musicians learned about jazz from their fellow New Orleans players (including King Oliver) but happened to get their big break first. In 1916, drummer Johnny Stein, cornetist Nick LaRocca, trombonist Eddie Edwards, pianist Henry Ragas, and clarinetist Alcide "Yellow" Nunez played together in Chicago. With Tony Sbarbaro replacing Stein and Larry Shields taking over for Nunez, the band was booked at Resenweber's restaurant in New York in early 1917. Their exuberant music (which stuck exclusively to ensembles with the only solos being short breaks) caused a major sensation. Columbia recorded ODJB playing "Darktown Strutters Ball" and "Indiana," but was afraid to put out the records. Victor stepped in and recorded the group playing the novelty "Livery Stable Blues" (which found the horns imitating barnyard animals) and "Dixie Jass Band One-Step" and quickly released the music; "Livery Stable Blues" was a huge hit that really launched the jazz age. During the next few years ODJB would introduce such future standards as "Tiger Rag," "At the Jazz Band Ball," "Fidgety Feet," "Sensation," "Clarinet Marmalade," "Margie," "Jazz Me Blues," and "Royal Garden Blues." The group (with J. Russel Robinson taking the place of Ragas, who died in the 1919 flu epidemic, and trombonist Emile Christian filling in for Edwards) visited London during 1919-1920 and they once again caused quite a stir, introducing jazz to Europe. However upon their return to the U.S., ODJB was considered a bit out of fashion after the rise of Paul Whiteman and in 1922 New Orleans Rhythm Kings (a far superior group). By 1923 when many of the first Black jazz giants finally were recorded, ODJB was thought of as a historical band and due to internal dissension they soon broke up. In 1936 LaRocca, Shields, Edwards, Robinson, and Sbarbaro (the latter the only musician to have a full-time career by then) had a reunion and did a few final recordings together before LaRocca permanently retired. Although the cornetist's arrogant claims that ODJB had invented jazz are exaggerated and tinged with racism, Original Dixieland Jazz Band did make a strong contribution to early jazz (most groups that recorded during 1918-1921 emulated their style), helped supply the repertoire of many later Dixieland bands, and were an influence on Bix Beiderbecke and Red Nichols.
---Scott Yanow, All Music Guide |
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