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| Oh, Mister Jelly! - The Originator of Jazz & Stomps |
| Jelly Roll Morton |
angol
első megjelenés éve: 2009
78 perc |
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| (2009)
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CD |
| 6.164 Ft
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| 1. | Big Fat Ham
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| 2. | New Orleans Joys
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| 3. | King Porter
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| 4. | Black Bottom Stomp
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| 5. | Smoke House Blues
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| 6. | The Chant
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| 7. | Original Jelly Roll Blues
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| 8. | Doctor Jazz
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| 9. | The Pearls
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| 10. | Mr. Jelly Lord
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| 11. | Boogaboo
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| 12. | Shreveport Stomp
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| 13. | Sweet Peter
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| 14. | I Hate a Man Like You
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| 15. | My Little Dixie Home
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| 16. | Harmony Blues
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| 17. | Pontchatrain Blues
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| 18. | Blue Blood Blues
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| 19. | Never Had No Lovin'
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| 20. | High Society
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| 21. | Winin' Boy Blues
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| 22. | Don't You Leave Me Here
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| 23. | Mamie's Blues
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| 24. | Sweet Substitute
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| 25. | My Home Is a Southern Town
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Jazz / Early Jazz, New Orleans Jazz, Jazz Instrument, Piano Jazz
Albert Nicholas Clarinet
Andrew Hilaire Drums
Anne Bennett Artwork
Artie Shaw Clarinet
Baby Dodds Drums
Barney Bigard Clarinet
Bernard Addison Guitar
Bubber Miley Trumpet
Bud Freeman Sax (Tenor)
Bud Scott Guitar
Charles Harris Sax (Alto)
Charles Luke Composer
Charlie Crump Transfers
Claude Jones Trombone
David Wright Digital Transfers
Dicky Wells Trombone
Eddie Williams Sax (Alto)
Edward "Kid" Ory Trombone
Edwin Swayzee Trumpet
Frances Hereford Vocals
Frank Melrose Composer
Frank Victor Guitar
Geechie Fields Trombone
George Mitchell Cornet
Gerald Reeves Trombone
Happy Caldwell Sax (Tenor)
Henry Allen Trumpet
Howard Hill Guitar
J.C. Higginbotham Trombone
Jasper Taylor Wood Block
Jelly Roll Morton Composer, Soloist, Piano, Vocals
Joe Britton Trombone
John Griffith Producer
John Kirby String Bass
John Lindsay String Bass
Johnny Dodds Clarinet
Johnny St. Cyr Banjo
Kaiser Marshall Drums
King Oliver Cornet
Lawrence Lucie Guitar
Lee Blair Banjo
Leslie Corley Banjo
Liz Biddle Executive Producer
Lizzie Miles Vocals
Louis Taylor Trombone
Mike Pointon Liner Notes, Research, Compilation
Omer Simeon Clarinet
Paul Barbarin Drums
Pops Foster String Bass
Porter Steele Composer
Robert Cloud Composer
Roy Palmer Trombone
Sidney Bechet Sax (Soprano)
Sidney DeParis Trumpet
Stitzel Composer
Stump Evans Sax (Alto)
Tommy Benford Drums
Tommy Ladnier Cornet
Wallace Bishop Drums
Walter Thomas Clarinet
Ward Pinkett Trumpet
Wellman Braud String Bass
Wilbur DeParis Trombone
Will Johnson Guitar
Wilson Townes Clarinet
Wingy Manone Compere, Trumpet
Zutty Singleton Drums
Oh,Mr Jelly!, Upbeat's latest addition to their acclaimed Portrait series, offers an essential overview of legendary jazz pioneer Jelly Roll Morton's recorded output. This comprehensive album by one of jazz's most influential figures includes several of his ground-breaking arrangements for his Red Hot Peppers as well as examples of Mr Jelly's sparkling piano solos and moving vocals. It provides an ideal introduction to Morton's innovative work and is accompanied by detailed notes from musician/broadcaster Mike Pointon.
This massive 25-track single-disc compilation of work by Jelly Roll Morton was assembled with an ear toward presenting the innovator in all of his periods as well as in many of his settings from soloist to accompanist and bandleader. To that end, Mike Pointon's Oh Mister Jelly! fires on all cylinders. His liner notes give us a solid foundation for his thoughts and why he considered certain selections important even if the choices are not always obvious. Throughout we get Morton playing alone and also leading his trio, his orchestra, his Red Hot Peppers, his New Orleans Jazzmen, and his Jelly Roll Morton Seven to be sure. But there are other moments, including his accompanying Lizzie Miles on "I Hate a Man Like You" and playing with King Oliver, the Levee Serenaders, and Wingy Manone & His Orchestra. The tunes range from obvious selections such as “Mr. Jelly Lord” and “Shreveport Stomp” to “The Chant,” “Winin' Boy Blues,” and “My Home Is a Southern Town.” Given the budget price and sound that ranges from fair to very good, this is a nice little comp to check out as an entry into the world of the man who is said by some to have invented jazz. ~ Thom Jurek, All Music Guide
Jelly Roll Morton
Active Decades: '20s, '30s and '40s
Born: Oct 20, 1890 in New Orleans, LA
Died: Jul 10, 1941 in Los Angeles, CA
Genre: Jazz
Styles: Dixieland, Early Jazz, New Orleans Jazz, Jazz Instrument, Piano Jazz
One of the very first giants of jazz, Jelly Roll Morton did himself a lot of harm posthumously by exaggerating his worth, claiming to have invented jazz in 1902. Morton's accomplishments as an early innovator are so vast that he did not really need to stretch the truth.
Morton was jazz's first great composer, writing such songs as "King Porter Stomp," "Grandpa's Spells," "Wolverine Blues," "The Pearls," "Mr. Jelly Roll," "Shreveport Stomp," "Milenburg Joys," "Black Bottom Stomp," "The Chant," "Original Jelly Roll Blues," "Doctor Jazz," "Wild Man Blues," "Winin' Boy Blues," "I Thought I Heard Buddy Bolden Say," "Don't You Leave Me Here," and "Sweet Substitute." He was a talented arranger (1926's "Black Bottom Stomp" is remarkable), getting the most out of the three-minute limitations of the 78 record by emphasizing changing instrumentation, concise solos and dynamics. He was a greatly underrated pianist who had his own individual style. Although he only took one vocal on records in the 1920s ("Doctor Jazz"), Morton in his late-'30s recordings proved to be an effective vocalist. And he was a true character.
Jelly Roll Morton's pre-1923 activities are shrouded in legend. He started playing piano when he was ten, worked in the bordellos of Storyville while a teenager (for which some of his relatives disowned him) and by 1904 was traveling throughout the South. He spent time in other professions (as a gambler, pool player, vaudeville comedian and even a pimp) but always returned to music. The chances are good that in 1915 Morton had few competitors among pianists and he was an important transition figure between ragtime and early jazz. He played in Los Angeles from 1917-1922 and then moved to Chicago where, for the next six years, he was at his peak. Morton's 1923-24 recordings of piano solos introduced his style, repertoire and brilliance. Although his earliest band sides were quite primitive, his 1926-27 recordings for Victor with his Red Hot Peppers are among the most exciting of his career. With such sidemen as cornetist George Mitchell, Kid Ory or Gerald Reeves on trombone, clarinetists Omer Simeon, Barney Bigard, Darnell Howard or Johnny Dodds, occasionally Stomp Evans on C-melody, Johnny St. Cyr or Bud Scott on banjo, bassist John Lindsay and either Andrew Hilaire or Baby Dodds on drums, Morton had the perfect ensembles for his ideas. He also recorded some exciting trios with Johnny and Baby Dodds.
With the center of jazz shifting to New York by 1928, Morton relocated. His bragging ways unfortunately hurt his career and he was not able to always get the sidemen he wanted. His Victor recordings continued through 1930 and, although some of the performances are sloppy or erratic, there were also a few more classics. Among the musicians Morton was able to use on his New York records were trumpeters Ward Pinkett, Red Allen and Bubber Miley, trombonists Geechie Fields, Charles Irvis and J.C. Higginbotham, clarinetists Omer Simeon, Albert Nicholas and Barney Bigard, banjoist Lee Blair, guitarist Bernard Addison, Bill Benford on tuba, bassist Pops Foster and drummers Tommy Benford, Paul Barbarin and Zutty Singleton.
But with the rise of the Depression, Jelly Roll Morton drifted into obscurity. He had made few friends in New York, his music was considered old-fashioned and he did not have the temperament to work as a sideman. During 1931-37 his only appearance on records was on a little-known Wingy Manone date. He ended up playing in a Washington D.C. dive for patrons who had little idea of his contributions. Ironically Morton's "King Porter Stomp" became one of the most popular songs of the swing era, but few knew that he wrote it. However in 1938 Alan Lomax recorded him in an extensive and fascinating series of musical interviews for the Library of Congress. Morton's storytelling was colorful and his piano playing in generally fine form as he reminisced about old New Orleans and demonstrated the other piano styles of the era. A decade later the results would finally be released on albums.
Morton arrived in New York in 1939 determined to make a comeback. He did lead a few band sessions with such sidemen as Sidney Bechet, Red Allen and Albert Nicholas and recorded some wonderful solo sides but none of those were big sellers. In late 1940, an ailing Morton decided to head out to Los Angeles but, when he died at the age of 50, he seemed like an old man. Ironically his music soon became popular again as the New Orleans jazz revivalist movement caught fire and, if he had lived just a few more years, the chances are good that he would have been restored to his former prominence (as was Kid Ory).
Jelly Roll Morton's early piano solos and classic Victor recordings (along with nearly every record he made) have been reissued on CD.
---Scott Yanow, All Music Guide |
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