[JPL] 50 great moments in jazz

Jackson, Bobby Bobby.Jackson at ideastream.org
Mon Jan 26 12:20:12 EST 2009


Jae and fellow JPL'ers

I don't believe it was the Original Dixieland Jass Band that made the
first jazz recording.  Not that it even matters although it matters to
many.  Just for arguments sake however it was James Reese Europe who
made the first jazz recordings.  There are documents out there that
verify that and here are just a couple.... follow the links if you're
interested.

1)
"Bigotry & the Afrocentric Jazz Evolution" by Karlton Hester   
 Binghampton Press
http://academicpublishing.binghamton.edu/itemview.cgi?isbn=1-58684-228-5

2)
"James Reese Europe - A Life In Ragtime" by Reid Badger
Oxford University Press
http://www.buy.com/prod/a-life-in-ragtime-a-biography-of-james-reese-eur
ope/q/loc/106/205868123.html
 
I've interviewed Professor Karlton Hester years ago who himself is a
musician. He is an ethnomusicologist who teaches at San Francisco State
University, I believe. It was a thoroughly fascinating conversation and
account of many issues regarding this music.

Aloha,

Bobby Jackson






-----Original Message-----
From: jazzproglist-bounces at jazzweek.com
[mailto:jazzproglist-bounces at jazzweek.com] On Behalf Of Jae Sinnett
Sent: Monday, January 26, 2009 11:58 AM
To: jazzproglist at jazzweek.com
Subject: Re: [JPL] 50 great moments in jazz

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"It's an irony - though perhaps an unsurprising one - that music derived
from the traditions of African slaves should have been first recorded by
a white band. But if the Original Dixieland Jazz Band made history more
through luck than judgment, and if many better players from New Orleans'
black community - Jelly Roll Morton, King Oliver, Sidney Bechet and
Louis Armstrong - were to find recognition later, the group nonetheless
captured jazz's unruly energy and youthful eagerness."

While certainly an informative piece of work here I continue to be
amazed at the credit given to the ODJB as the first to record "jass."
That's very debatable. Why James Reese Europe is continuously ignored is
puzzling although my guess is that it could have something to do with
jazz not being identified as such in 1912 or 1913...when he first made
recordings for the Victor Talking Machine Company. His music was clearly
blues based (unlike the ODJB) and extended ragtime's rhythmic concepts
and contained improvisation. Sounds like jazz to me and those that know
the history agreed. It's time this man got his due...in the jazz
community. 

Jae Sinnett 


--- On Mon, 1/26/09, Jazz Promo Services <jazzpromo at earthlink.net>
wrote:

> From: Jazz Promo Services <jazzpromo at earthlink.net>
> Subject: [JPL] 50 great moments in jazz
> To: "jazzproglist at jazzweek.com" <jazzproglist at jazzweek.com>
> Date: Monday, January 26, 2009, 11:26 AM
> This week's sponsor:
> Trefzger Media -- Web 2.0 Design/Development
> Web site, e-commerce, blogs: full design and development
> services available.
> http://www.trefzgermedia.com/
> -----
> 
> 
>
http://www.guardian.co.uk/music/musicblog/2009/jan/26/original-dixieland
-jaz
> z-band
> 
> For the first installment in a new series, John Fordham
> explains why Livery
> Stable Blues was the fanfare for a revolution
> 
> The world first heard about a strange new music called
> "jazz" in 1917.
> Although this hybrid of brass-band, street-strutting blues,
> African dance
> rhythms, mutated European classical forms, funeral marches
> and ragtime had
> been developing during the previous decade, it took that
> long for the
> recording technology of the day to catch up and capture its
> sound.
> 
> After only a few years of those first clattery and raucous
> jazz recordings
> hitting the streets, 'the jazz age' dawned and
> dancers started moving to a
> more urgent and ecstatic beat - a feeling quite different
> from the discreet
> and elegant European styles that had previously ruled the
> floors.
> 
> Over the next 50 weeks, I'm going to highlight landmark
> moments that were
> not only transitional points in the history of jazz, but in
> the history of
> modern music. There is no more engrossing story in the
> music of the 20th and
> early 21st centuries than that of jazz, an artform that has
> changed the way
> we move, speak and sing. Jazz has achieved so many things:
> it has borrowed
> from European classical music and helped reinvigorate it,
> it has provided
> the vital ingredients of rock'n'roll, it has broken
> barriers in instrumental
> technique, rehabilitated improvisation from the bad
> publicity the classical
> establishment had given it, and, in its way, helped global
> interracial
> understanding.
> 
> Regarding that last point, it's an irony - though
> perhaps an unsurprising
> one - that music derived from the traditions of African
> slaves should have
> been first recorded by a white band. But if the Original
> Dixieland Jazz Band
> made history more through luck than judgment, and if many
> better players
> from New Orleans' black community - Jelly Roll Morton,
> King Oliver, Sidney
> Bechet and Louis Armstrong - were to find recognition
> later, the group
> nonetheless captured jazz's unruly energy and youthful
> eagerness.
> 
> Livery Stable Blues is one of the first hits from a group
> of enthusiasts
> whose sound had been informed by the New Orleans
> street-band musician Papa
> Jack Laine and Louis Armstrong's mentor, the cornetist
> Joe "King" Oliver.
> The track was recorded in February 1917, after the the
> band's slapstick
> comedy had thrilled crowds at New York"s
> Reisenweber's restaurant. The
> record sold over a million copies, and turned jazz into a
> national craze.
> Cornetist Nick LaRocca, clarinetist Larry Shields,
> trombonist Eddie Edwards,
> pianist Henry Ragas and drummer Tony Sbarbaro have become
> footnotes in jazz
> history, and the sound they made seems rhythmically clunky
> and predictable
> today. But as the fanfare for a revolution (in a
> revolutionary year) Livery
> Stable Blues will never be forgotten.
> --
> 
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