Jelly Roll Morton and his Red Hot Peppers - Dr. Jazz (1926) - YouTube Jelly Roll Morton and his Red Hot Peppers - Dr. Jazz (1926) Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Apr 20, 2014 Ferdinand Joseph LaMothe (Oct.20,1890 - July 10,1941), known professionally as Jelly Roll Morton, was an American ragtime and early jazz pianist, bandleader and composer who started his career in New Orleans, Louisiana. Widely recognized as a pivotal figure in early jazz, Morton is perhaps most notable as jazz's first arranger, proving that a genre rooted in improvisation could retain its essential spirit and characteristics when notated. His composition "Jelly Roll Blues" was the first published jazz composition, in 1915.

Morton is also notable for naming and popularizing the "Spanish Tinge" (habanera rhythm and tresillo), and for writing such standards as "King Porter Stomp", "Wolverine Blues", "Black Bottom Stomp", and "I Thought I Heard Buddy Bolden Say", the latter a tribute to New Orleans personalities from the turn of the 19th century to 20th century. Reputed for his arrogance and self-promotion as often as recognized in his day for his musical talents, Morton claimed to have invented jazz outright in 1902, much to the derision of later musicians and critics. The jazz historian, musician, and composer Gunther Schuller says of Morton's "hyperbolic assertions" that there is "no proof to the contrary" and that Morton's "considerable accomplishments in themselves provide reasonable substantiation". However, the scholar Katy Martin has argued that Morton's bragging was exaggerated by Alan Lomax in the book Mister Jelly Roll, and this portrayal has influenced public opinion and scholarship on Morton since. Jelly Roll Morton and his Red Hot Peppers - Dr.

Jazz (1926) Category Jelly Roll Morton’s Biography — Free listening, videos, concerts, stats and photos at Last.fm Jelly-Roll Morton's Red Hot Peppers Ferdinand Joseph LaMothe (October 20, 1890 – July 10, 1941), known professionally as Jelly Roll Morton, was an American ragtime and early jazz pianist, bandleader and composer who started his career in New Orleans, Louisiana. Widely recognized as a pivotal figure in early jazz, Morton is perhaps most notable as jazz's first arranger, proving that a genre rooted in improvisation could retain its essential spirit and characteristics when notated. His composition "Jelly Roll Blues" was the first published jazz composition, in 1915. Morton is also notable for naming and popularizing the "Spanish tinge" (habanera rhythm and tresillo), and for writing such standards as "Wolverine Blues", "Black Bottom Stomp", and "I Thought I Heard Buddy Bolden Say", the latter a tribute to New Orleans personalities from the turn of the 19th century to 20th century.

Reputed for his arrogance and self-promotion as often as recognized in his day for his musical talents, Morton claimed to have invented jazz outright in 1902 — much to the derision of later musicians and critics. The jazz historian, musician, and composer Gunther Schuller says of Morton's "hyperbolic assertions" that there is "no proof to the contrary" and that Morton's "considerable accomplishments in themselves provide reasonable substantiation". However, the scholar Katy Martin has argued that Morton's bragging was exaggerated by Alan Lomax in the book Mister Jelly Roll, and this portrayal has influenced public opinion and scholarship on Morton since. Morton was born into a Creole of Color community in the Faubourg Marigny neighborhood of downtown New Orleans, Louisiana. A baptismal certificate issued in 1894 lists his date of birth as October 20, 1890; however Morton himself and his half-sisters claimed the September 20, 1885, date is correct. His World War I draft registration card showed September 13, 1884 but his California death certificate listed his birth as September 20, 1889.

He was born to F. P. Lamothe and Louise Monette (written as Lemott and Monett on his baptismal certificate). Eulaley Haco (Eulalie Hécaud) was the godparent. Eulalie helped him to be christened with the name Ferdinand. Ferdinand’s parents were in a common-law marriage and not legally married. No birth certificate has been found to date. He took the name "Morton" by anglicizing the name of his stepfather, Mouton. New Orleans Morton was, along with Tony Jackson, one of the best regarded pianists in the Storyville District early in the 20th century. At the age of fourteen, he began working as a piano player in a brothel (or as it was referred to then, a sporting house.) While working there, he was living with his religious church-going great-grandmother and had her convinced that he worked as a night watchman in a barrel factory. In that atmosphere, he often sang smutty lyrics and it was at this time that he took the nickname "Jelly Roll", which was black slang for both male and female genitalia.

Morton's grandmother eventually found out that he was playing jazz in a local brothel, and subsequently kicked him out of her house. "When my grandmother found out that I was playing jazz in one of the sporting houses in the District, she told me that I had disgraced the family and forbade me to live at the house… She told me that devil music would surely bring about my downfall, but I just couldn't put it behind me." Tony Jackson, also a pianist at brothels and an accomplished guitar player, was a major influence on his music; according to Morton, Jackson was the only pianist better than himself. Around 1904, Morton started wandering the American South, working with minstrel shows, gambling and composing. His works "Jelly Roll Blues", "New Orleans Blues", "Frog-I-More Rag", "Animule Dance", and "King Porter Stomp" were composed during this period. He got to Chicago in 1910 and New York City in 1911, where future stride greats James P. Johnson and Willie "The Lion" Smith caught his act, years before the blues were widely played in the North.

In 1912–1914, he toured with girlfriend Rosa Brown as a vaudeville act before settling in Chicago for three years. By 1914, he had started writing down his compositions, and in 1915 his "Jelly Roll Blues" was arguably the first jazz composition ever published, recording as sheet music the New Orleans traditions that had been jealously guarded by the musicians. In 1917, he followed bandleader William Manuel Johnson and Johnson's sister Anita Gonzalez to California, where Morton's tango "The Crave" made a sensation in Hollywood. Vancouver Morton was invited to play a new Vancouver nightclub called The Patricia, on East Hastings Street. Jazz historian Mark Miller described his arrival as "an extended period of itinerancy as a pianist, vaudeville performer, gambler, hustler, and, as legend would have it, pimp". Chicago Morton moved back to Chicago in 1923 to claim authorship of his recently-published rag "The Wolverines", which had become a hit as "Wolverine Blues" in the Windy City.

There he released the first of his commercial recordings, first as piano rolls, then on record, both as a piano soloist and with various jazz bands. In 1926, Morton succeeded in getting a contract to make recordings for the largest and most prestigious company in the United States, Victor. This gave him a chance to bring a well-rehearsed band to play his arrangements in Victor's Chicago recording studios. These recordings by Jelly Roll Morton & His Red Hot Peppers are regarded as classics of 1920s jazz. The Red Hot Peppers featured such other New Orleans jazz luminaries as Kid Ory, Omer Simeon, George Mitchell, Johnny St. Cyr, Barney Bigard, Johnny Dodds, Baby Dodds, and Andrew Hilaire. Jelly Roll Morton & His Red Hot Peppers were one of the first acts booked on tours by MCA. New York City In November 1928, Morton married showgirl Mabel Bertrand in Gary, Indiana, and moved to New York City, where he continued to record for Victor.

His piano solos and trio recordings are well regarded, but his band recordings suffer in comparison with the Chicago sides where Morton could draw on many great New Orleans musicians for sidemen. Although he did record with such great musicians as clarinetists Omer Simeon, George Baquet, Albert Nicholas, Wilton Crawley, Barney Bigard, Lorenzo Tio and Artie Shaw, trumpeters Bubber Miley, Johnny Dunn and Henry "Red" Allen, saxophonists Sidney Bechet, Paul Barnes and Bud Freeman, bassist Pops Foster, and drummers Paul Barbarin, Cozy Cole and Zutty Singleton, Morton generally had trouble finding musicians who wanted to play his style of jazz, and his New York sessions failed to produce a hit. With the Great Depression and the near collapse of the phonograph record industry, Morton's recording contract was not renewed by Victor for 1931. Morton continued playing less prosperously in New York, briefly had a radio show in 1934, then was reduced to touring in the band of a traveling burlesque act while his compositions were recorded by Fletcher Henderson, Benny Goodman and others, though he received no royalties from these recordings. Washington, D.C.

In 1935, Morton moved to Washington, D.C., to become the manager/piano player of a bar called, at various times, the "Music Box", "Blue Moon Inn", and "Jungle Inn" in the African American neighborhood of Shaw. (The building that hosted the nightclub still stands, at 1211 U Street NW.) Morton was also the master of ceremonies, bouncer, and bartender of the club. He was only in Washington for a few years; the club owner allowed all her friends free admission and drinks, which prevented Morton from making the business a success. Morton was stabbed by one of the owner's friends in 1938, suffering wounds to the head and chest. After this incident his wife Mabel demanded that they leave Washington. During Morton's brief residency at the Music Box, folklorist Alan Lomax heard Morton playing piano in the bar. In May 1938, Lomax invited Morton to record music and interviews for the Library of Congress.

The sessions, originally intended as a short interview with musical examples for use by music researchers in the Library of Congress, soon expanded to record more than eight hours of Morton talking and playing piano, in addition to longer interviews during which Lomax took notes but did not record. Despite the low fidelity of these non-commercial recordings, their musical and historical importance attracted jazz fans, and they have helped to ensure Morton's place in jazz history. Lomax was very interested in Morton's Storyville days and some of the off-color songs played in Storyville. Morton was reluctant to recount and record these, but eventually obliged Lomax. Morton's "Jelly Roll" nickname is a sexual reference as many of his lyrics from his Storyville days were vulgar. Some of the Library of Congress recordings were unreleased until near the end of the 20th century due to their nature.

Morton was aware that if he had been born in 1890, he would have been slightly too young to make a good case for himself as the actual inventor of jazz, and so may have presented himself as being five years older than he actually was, and his statement that Buddy Bolden played ragtime but not jazz is not accepted by consensus of Bolden's other New Orleans contemporaries. It is possible, however, that the contradictions stem from different definitions for the terms ragtime and jazz. These interviews, released in different forms over the years, were released on an eight-CD boxed set in 2005, The Complete Library of Congress Recordings. This collection won two Grammy Awards. The same year, Morton was honored with the Grammy Lifetime Achievement Award. Later years During the period when he was recording his interviews, Morton was seriously injured by knife wounds when a fight broke out at the Washington, D.C. establishment where he was playing. A nearby whites-only hospital refused to treat him, and he had to be transported to a lower-quality hospital further away. When he was in the hospital the doctors left ice on his wounds for several hours before attending to his eventually fatal injury.

His recovery from his wounds was incomplete, and thereafter he was often ill and easily became short of breath. Morton made a new series of commercial recordings in New York, several recounting tunes from his early years that he had been talking about in his Library of Congress interviews. A worsening asthma affliction sent him to a New York hospital for three months at one point and when visiting Los Angeles with a series of manuscripts of new tunes and arrangements, planning to form a new band and restart his career, the ailment took its toll. Morton died on July 10, 1941 after an eleven-day stay in Los Angeles County General Hospital. According to jazz historian David Gelly, Morton's arrogance and "bumptious" persona alienated so many musicians over the years that no colleagues or admirers attended his funeral. However, a contemporary news account of the funeral in the August 1, 1941 issue of Downbeat states unequivocally that fellow musicians Kid Ory, Mutt Carey, Fred Washington and Ed Garland were among his pall bearers, although the story notes the conspicuous absence of Duke Ellington and Jimmie Lunceford, both of whom were appearing in Los Angeles at the time.

(The article is photographically reproduced in John Lomax's biography of Morton, "Mister Jelly Roll" University of California Press, 1950.) Morton is buried in Calvary Cemetery, 4201 Whittier Blvd, Los Angeles, California, Section N, Lot 347, grave #4,in the north west quadrant of the cemetery. Piano style Morton's piano style was formed from early secondary ragtime and "shout", which also evolved separately into the New York school of stride piano. Morton's playing, however, was also close to barrelhouse, which produced boogie woogie. Morton often played the melody of a tune with his right thumb, while sounding a harmony above these notes with other fingers of the right hand. This added a rustic or "out-of-tune" sound (due to the playing of a diminished 5th above the melody). This may still be recognized as belonging to New Orleans. Morton also walked in major and minor sixths in the bass, instead of tenths or octaves. He played basic swing rhythms in both the left and right hand. Compositions: Some of Morton's songs (listed alphabetically): "Big Foot Ham" (a.k.a.

"Ham & Eggs") "Black Bottom Stomp" "Why?" "Wolverine Blues" Several of Morton's compositions were musical tributes to himself, including "Winin' Boy", "The Jelly Roll Blues", subtitled "The Original Jelly-Roll", and "Mr. Jelly Lord". In the Big Band era, his "King Porter Stomp", which Morton had written decades earlier, was a big hit for Fletcher Henderson and Benny Goodman, and became a standard covered by most other swing bands of that time. Morton also claimed to have written some tunes that were copyrighted by others, including "Alabama Bound" and "Tiger Rag". "Sweet Peter," which Morton recorded in 1926, is the obvious source for the melody of the hit song "All Of Me" ostensibly written by Gerald Marks and Seymour Simons in 1931. Legacy and fictional portrayals Two Broadway shows have featured his music, Jelly Roll and Jelly's Last Jam. The first draws heavily on Morton's own words and stories from the Library of Congress interviews.

Jelly Roll Morton appears as the piano "professor" in Louis Malle's Pretty Baby, where he is portrayed by actor Antonio Fargas, with piano and vocals played by James Booker. Jelly Roll Morton's Last Night at the Jungle Inn: An Imaginary Memoir was written by ethnomusicologist and folklorist Samuel Charters in 1984, embellishing Morton's early stories about his life. Jelly Roll Morton is featured in Alessandro Baricco's book, Novecento. He is the "inventor of jazz" and the protagonist's rival throughout the book. This book was later turned into a movie: Giuseppe Tornatore's The Legend of 1900. His character is played by actor Clarence Williams III. In this movie, he is depicted as an arrogant master in a piano competition against the film's main protagonist. He performed "Big Foot Ham", "The Crave", and "Fingerbreaker", in that order, against the protagonist. Jelly Roll Morton is in the Rock and Roll Hall of Fame and is a charter member of the Gennett Records Walk of Fame.

In 2008, Jelly Roll Morton was inducted into The Louisiana Music Hall of Fame. The play, Don't You Leave Me Here, by Clare Brown, which premiered at West Yorkshire Playhouse on 27 September 2008, deals with Morton's relationship with Tony Jackson. Morton and his godmother, Eulalie, appear as characters in David Fulmer's mystery novel, Chasing the Devil's Tail. His influence continues to this day in the work of Dick Hyman and Reginald Robinson. Selected discography: 1923/24 1923-1924 (Milestone Records) Red Hot Peppers Session: Birth of the Hot, The Classic Red Hot Peppers Sessions (originally RCA Bluebird recordings) 1926-1927 (Sbme Special Markets) The Pearls 1926-1939 (Bluebird Records) Jazz King of New Orleans 1926-1930 (Bluebird Records) Kansas City Stomp, The Library of Congress Recordings, Vol.

1 1938 (Rounder Records) Jelly Roll Morton | Rock & Roll Hall of Fame Sign up for E-news Jelly Roll Morton is a seminal figure in the birth and development of jazz in the early decades of this century. A multi-talented pianist, composer, arranger and bandleader, he has been called “one of the handful of Atlases upon whose shoulders rests the entire structure of our music” by jazz historian Orrin Keepnews. Morton wove disparate musical strands – blues, stomps and ragtime, plus French and Spanish influences – into the fabric of early jazz. A native of New Orleans, he played on the streets and in in the honky-tonks of that wide-open city, helping to give birth to the jazz idiom as it took shape in the infamous red-light district known as Storyville. Morton recorded solo and with small groups, and the festive stamp of his hometown was evident in every note he played. He was the driving force behind Jelly Roll Morton’s Red Hot Peppers, which recorded and toured in the late Twenties. Their performances combined ensemble work in the New Orleans style with space for soloing, which was the rage on Chicago’s jazz scene.

Morton’s pioneering work with the Red Hot Peppers was contemporaneous with the innovations made by Louis Armstrong with his Hot Five and Hot Seven. It is doubtful that the Jazz Age or the Swing Era could have happened without either of them. In the words of music historian David McGee, “What Elvis Presley’s Sun recordings are to rock and roll, the Red Hot Peppers’ canon is to jazz.” During a four-year span of small-band sessions for RCA Victor, especially the milestone recordings from September 1926 through June 1927, Morton cut a series of ebullient stomps and forceful blues. His band included such jazz legends as cornet player Kid Ory, clarinetist Johnny Dodds and drummer Baby Dodds. Morton fell on hard times during the Depression and labored in obscurity as his kind of music fell from favor. He was found tending bar in 1938 by musical archivist Alan Lomax, who thereupon documented him playing piano and telling stories. Although Morton died three years later, he was rediscovered again in the Nineties via a Broadway tribute to his life and times, entitled Jelly’s Last Jam.

Morton heads a lineage of groundbreaking jazz pianist–bandleaders that includes Duke Ellington, Count Basie and Thelonius Monk. In his high-spirited blues, stomps and ragtime pieces from the Twenties one can also detect what would become the foundational sound of rock and roll. On a personal level, Morton was “just about the most flamboyant, colorful and exasperating personality imaginable,” according to the liner notes of a 1953 reissue, which would seem to make him of a rock and roll forebear as well. Inductee: Jelly Roll Morton (piano, vocals; born 10/20/1890, died 7/10/41) Jelly Roll Morton Knowledge Base > Music > Artists Jelly Roll Morton Ferdinand Joseph LaMothe (October 20, 1885 – July 10, 1941), known professionally as Jelly Roll Morton, was an American ragtime and early jazz pianist, bandleader and composer. Student at Iona College majoring in Mathematics and Knowledge Expert at Citelighter. Curated Facts Morton's flamboyant personality received a lot attention during his life.

He constantly flaunted his confidence in a manner that seemed comical at times, but was nonetheless very indicative of his talent as a musician: "'Trumpeter Lee Collins,' writes Martin Williams, 'one of the best Jazz session musicians in the country during the 20s, recalled that he was once asked to perform with Jelly in a recording session. When he initially met Jelly Roll Morton, the first thing that Morton said to the astonished Collins was, 'you know you will be working for the world's best Jazz Piano player...not one of the greatest-I am the Greatest''" ("It Must be Jelly"). The selected solo recordings of his work were each recorded in Richmond Indiana, with the exception of "London Blues" which was recorded in Chicago, Illinois. These recordings show his incredible skill as a pianist, and also show the influence of ragtime and New York's Tin Pan Alley. Article: New Page 3 That the most famous and well executed of Jelly Roll Morton’s recordings are done with the Red Hot Peppers is telling of how much Louisiana and its style of music influenced him. Listening to these recordings done in Chicago, Illinois, it is obvious that the group was large, and reminiscent of the popular New Orleans brass bands that paraded on Sundays.

During the Red Hot Peppers recordings, Morton was described "as a leader…Morton rehearsed carefully—he even paid for rehearsals…he shaped the arrangements either in written-out or dictated form…he discussed with his players where breaks and solos would fit best, although he retained a final veto…he rarely if ever interfered with the solo work…[and] he knew what he wanted over-all and often worked until he got it" (Schuller, 155). Jelly Roll Morton’s control of the "over-all" product of his songs is related to his conflation of improvisation and composition, but the choice of a New Orleans band as a framework to work within is indicative of how much his style of music grows from a New Orleans background and influences. Article: New Page 3 × Amazon Results 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. Article: Jelly Roll Morton Around 1904, Morton became an itinerant pianist, working in many cities in Louisiana, Mississippi, Alabama, and Florida. He was also apparently quite active as a gambler, pool player, and procurer, though music remained his first "line of business." Retaining New Orleans as his base, he later extended his travels to Memphis, St. Louis, and Kansas City, frequently working for prolonged periods in minstrel shows. Eventually he traveled as far east as New York (where Jaynes P. Johnson heard Morton play his Jelly Roll Blues in 1911), and as far west as Los Angeles, where he arrived in 1917.

During these dozen years of travel, Morton apparently fused a variety of black musical idioms — ragtime, vocal and instrumental blues, items from the minstrel show repertory, field and levee hollers, religious hymns, and spirituals — with Hispanic music from the Caribbean and white popular songs, creating a musical amalgam that bore a very close resemblance to the music then beginning to be called "jazz." Article: PBS - JAZZ A Film By Ken ... Jelly Roll Morton's Red Hot Peppers - Dead Man Blues (1926) - YouTube Jelly Roll Morton's Red Hot Peppers - Dead Man Blues (1926) Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later.

Published on Aug 12, 2014 Ferdinand Joseph LaMothe (Oct.20,1890 - July 10,1941), known professionally as Jelly Roll Morton, was an American ragtime and early jazz pianist, bandleader and composer who started his career in New Orleans, Louisiana. Widely recognized as a pivotal figure in early jazz, Morton is perhaps most notable as jazz's first arranger, proving that a genre rooted in improvisation could retain its essential spirit and characteristics when notated. His composition "Jelly Roll Blues" was the first published jazz composition, in 1915. Morton is also notable for naming and popularizing the "Spanish Tinge" (habanera rhythm and tresillo), and for writing such standards as "King Porter Stomp", "Wolverine Blues", "Black Bottom Stomp", and "I Thought I Heard Buddy Bolden Say", the latter a tribute to New Orleans personalities from the turn of the 19th century to 20th century.

Reputed for his arrogance and self-promotion as often as recognized in his day for his musical talents, Morton claimed to have invented jazz outright in 1902, much to the derision of later musicians and critics. The jazz historian, musician, and composer Gunther Schuller says of Morton's "hyperbolic assertions" that there is "no proof to the contrary" and that Morton's "considerable accomplishments in themselves provide reasonable substantiation". However, the scholar Katy Martin has argued that Morton's bragging was exaggerated by Alan Lomax in the book Mister Jelly Roll, and this portrayal has influenced public opinion and scholarship on Morton since.

Jelly Roll Morton's Red Hot Peppers - Dead Man Blues (1926) Category Jelly Roll Morton — Free listening, videos, concerts, stats and photos at Last.fm Also listed as: Jelly Roll Morton and his Red Hot Peppers Jelly Roll Morton's Red Hot Peppers Jelly-Roll Morton's Red Hot Peppers Ferdinand Joseph LaMothe (October 20, 1890 – July 10, 1941), known professionally as Jelly Roll Morton, was an American ragtime and early jazz pianist, bandleader and composer who started his career in New Orleans, Louisiana. Widely recognized as a pivotal figure in early jazz, Morton is perhaps most notable as jazz's first arranger, proving that a genre rooted in… read more JELLY ROLL MORTON Lyrics | eLyrics.net Jelly Roll Morton Lyrics (1-13 of 13 song lyrics) Selected popular Jelly Roll Morton song of Saturday, January 7 2017 is "Tiger Rag".

Top Jelly Roll Morton Albums click on the album covers to see the lyrics inside the album Jelly-Roll Morton: Original Recordings 1926-29 [2015] Jazz Collection: Jelly Roll Morton [2014] The Jelly Roll Morton Rarities [2014] Jelly Roll Morton - The Complete Congress Recordings [2013] The Legendary Jelly Roll Morton: New Orleans Finest Jazz [2013] The Complete Jelly Roll Morton Piano Heritage, Vol.1 - 1923/24 [2013] Sweet Substitute (feat. Albert Nicholas, Henry "Red" Allen, Kid Ory & Omer Simeon) [2012] A Jazz Hour With Jelly Roll Morton: Doctor Jazz [2011] I Thought I Heard Buddy Bolden Say [2011] Jazz Legends (Digitally Re-Mastered Recordings) [2011] Ultimate Jazz Collections, Vol.

19 [2009] Jazzmasters Vol 5 - Jelly Roll Morton - Part 1 [2009] The Library of Congress Recordings by Alan Lomax [2007] Jelly Roll Morton and His Red Hot Peppers Vol. 2 [2006] Blues and Stomps from Rare Piano Rolls [2006] Jelly Roll Morton: Absolutely the Best [2006] Jelly Roll Morton Plays Jelly Roll Morton and Other Favorites [2006] The Complete Library of Congress Recordings [2005] Ferd 'Jelly Roll' Morton 1923-1926 [2005] The Jazz Age, Vol. 5 Jelly Roll Morton [2002] The Original Mr.

Jelly Lord 1923-1941 [1999] Last Sessions: The Complete General Recordings [1997] The Compositions of Jelly Roll Morton 1923-1941 [1996] Birth of the Hot - the Classic Chicago "Red Hot Peppers" Sessions 1926-27 [1995] The Library of Congress Recordings: Jelly Roll Morton - Kansas City Stomp, Vol. 1 [1993] Jelly Roll Morton (Jelly Roll Morton Original Recordings) [1991] Jelly Roll Morton - Vol. II [1989] The Stomping Grounds Poor Alfred Wilson Tiger Rag Time In Mobile King Porter Stomp The Story Of Alabama Bound Honky Tonk Blues The Style Of Sammy Davis Salty Dog Miserere Oh!

Didn't He Ramble Music Lessons Kansas City Stomp Related Information for Jelly Roll Morton Also listed as:Jelly Roll Morton and his Red Hot Peppers Jelly Roll Morton's Red Hot PeppersJelly-Roll Morton's Red Hot PeppersFerdinand Joseph LaMothe (October 20, 1890 – July 10, 1941), known professionally as Jelly Roll Morton, was an American ragtime and early jazz pianist, bandleader and composer who started his career in New Orleans, Louisiana.Widely recognized as a pivotal figure in early jazz, Morton is perhaps most notable as jazz's first arranger,.. read more Bob Greene, Jazz Pianist, Dies at 91 - The New York Times The New York Times Music |Bob Greene, Jazz Pianist, Dies at 91 Search Continue reading the main story Bob Greene, a pianist who was so besotted by the controlled yet fevered jazz of Jelly Roll Morton that he abandoned a writing career to perform the Jelly Roll canon and spread the Jelly Roll gospel, died on Oct. 13 at his home in Amagansett, N.Y. He was 91.

The cause was lung cancer, said Diane Fehring Reynolds, a friend. “If there were such a thing, Greene would hold the Jelly Roll Morton Chair of Music at an Ivy League college,” Whitney Balliett, The New Yorker’s longtime jazz critic, wrote in The Atlantic in 1998. Such was Mr. Greene’s devotion to Morton, a swaggering, seminal figure in jazz — pianist, bandleader and “the first important jazz composer,” according to The New Grove Dictionary of Jazz — that he viewed his task as not simply to play Morton’s music also but to recreate it, performing and recording the music as Morton himself did . “He gets inside Morton’s music,” Mr. Balliett wrote. Morton was born in the late 19th century in New Orleans and grew up in the city’s distinctive musical atmosphere. In his playing and writing he drew from it, fusing ragtime, the blues, spirituals and Latin music from the Caribbean into songs that were contained by compositional form and yet exuded an earthy drive. Photo Bob Greene in 1974. Such was Mr.

Greene’s devotion to Jelly Roll Morton, the self-proclaimed “originator of jazz,” that he viewed his task as not simply to play Morton’s music, but also to recreate it. Credit Lawrence Fried In the late 1920s he put together a band known as the Red Hot Peppers and recorded songs with them that melded composition and improvisation, with each of the brass, woodwind and rhythm players getting to show his stuff within the framework of Morton’s writing. Continue reading the main story Through the 1970s and ’80s, Mr. Greene toured the country and the world as a Jelly Roll evangelist, bringing Morton’s music to France, Denmark, England and Japan , both as a solo pianist and as a bandleader. He can be heard playing Morton’s music on the soundtrack of Louis Malle’s 1978 film, “Pretty Baby,” about a girl — Brooke Shields in her first major role — raised in a New Orleans brothel, circa 1917. “There’s such a vitality to his music,” Mr. Greene told the online arts magazine Joyzine.

“Yet it’s not wild — it’s contained by the forms in which Jelly wrote: the limited harmonies, the very formal three-part structure of his songs, the fact that each song could only last about three minutes.” He added, “It can get very hot, yet it never explodes because it’s locked into these restrictions. Within these imposed boundaries, it’s almost Mozartean in its magnificence.” Advertisement Continue reading the main story Mr. Greene was introduced to Morton’s music in the 1940s — Morton died in 1941 — and though he was a serious, self-taught amateur musician, he never planned to be a professional. Rather, he made a living writing documentaries for radio and television. But as he told the story, his career pivoted in June 1968; he was about to join Robert F. Kennedy’s campaign for the presidency when Kennedy was assassinated. “When Bobby got shot, I realized that the time had come for me to get into music full time,” he told Joyzine. “Certainly if he had lived I wouldn’t have devoted myself to Jelly the way that I have.” Photo Jelly Roll Morton in 1938.

Credit Library of Congress, via Associated Press By 1969 he was playing recitals of Morton’s music in New Orleans. In 1973 he introduced his own version of the Red Hot Peppers at Lincoln Center as part of the Newport Jazz Festival in New York. The next year the band returned to Lincoln Center, where, John S. Wilson wrote in The New York Times, it “not only played ‘those little black dots,’ as Mr. Morton always instructed his musicians, but projected the flavor of Mr. Morton’s music — the breaks, the slurs, the accents, the coloring.” Robert Stern Greenstein was born on Sept. 4, 1922, to Oscar Greenstein, who ran a textile concern, and the former Elsa Stern, and grew up on the Upper East Side of Manhattan. His father’s business foundered after the stock market crash in 1929, and the family’s circumstances were considerably reduced for a time, but Mr. Greenstein remade his fortune with a company that made name tags. The father changed the family name sometime after 1939, Ms. Reynolds said. Mr.

Greene graduated from Columbia in 1943 and began writing documentaries for radio and then television, winning Writers Guild awards in 1957 and 1962 for history-based radio scripts. In 1964, writing for Voice of America, the federal government’s broadcast network, he was nominated again. Mr. Greene taught from 1954 to 1962 in the dramatic arts department at Columbia, where he earned a Master of Fine Arts degree in theater arts in 1958. He leaves no immediate survivors. “If it was once done so perfectly, why do it again?” Mr. Greene once asked aloud, voicing perhaps the most obvious question about his devotion to Jelly Roll Morton. “I can only say: Because there’s beauty there, there’s excitement, there’s love. If that can be transmitted to a live audience, some of the aroma of the original happens again.” Correction: November 13, 2013 Because of an editing error, an obituary on Nov.

1 about the jazz pianist Bob Greene referred imprecisely to Brooke Shields’s role in the 1978 film “Pretty Baby,” whose soundtrack includes music composed by Jelly Roll Morton and performed by Mr. Greene. While it was her first major acting role, it was not her first role of any kind. A version of this article appears in print on November 1, 2013, on Page A29 of the New York edition with the headline: Bob Greene, Jazz Pianist, Dies at 91. Order Reprints | Today's Paper | Subscribe

Question: Which jazz pianist, bandleader and composer was backed by the Red Hot Peppers?
Answer: Jelly Roll Morton