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< Jelly Roll Morton: Mr Jelly Roll >
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| Supplier : Brotherhood Of Satan Release Date : 06/21/2004 |
| Ripper : Brotherhood Of Satan Record Label : Tomato Records |
| Genre : Jazz Quality : VBR/APS/44,1kHz |
| Tracks : 16 Tracks Channels : Joint Stereo |
| Year : 2003 Size : 54,1 MB |
| Language : English Rating : 70% of 100% |
_| Grabber : EAC v0.95 Prebeta 5 Encoder : LAME v3.90.3 |_
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< Release Description >
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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 during 1917-22 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.
http://www.redhotjazz.com/jellyroll.html
Tracks:
01. Black Bottom Stomp (3:12)
02. The Chant (3:12)
03. Dead Man Blues (3:16)
04. Original Jelly Roll Blues (3:05)
05. Grandpa's Spells (2:53)
06. Beale Street Blues (3:15)
07. Kansas City Stomp (2:54)
08. Shoe Shiner's Drag (3:20)
09. Deep Creak Blues (3:32)
10. Pretty Lil' (3:14)
11. New Orleans Bump (3:32)
12. Panchartrain (2:55)
13. Blue Blood Blues (3:02)
14. Ham & Eggs (3:02)
15. You Need Some Lovin' (3:07)
16. I'm Alone Without You (2:52)
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