"more artistic approach and develop experimental musical instruments, often meant for individual playing styles developed by the builder himself. Regardless of how the sound in an instrument is produced, many musical instruments have a keyboard as the user-interface. Keyboard instruments are any instruments that are played with a musical keyboard. Every key generates one or more sounds; most keyboard instruments have extra means (pedals for a piano, stops and a pedal keyboard for an organ) to manipulate these sounds. They may produce sound by wind being fanned (organ) or pumped (accordion), vibrating strings either hammered (piano) or plucked (harpsichord), by"
"Jelly Roll Morton 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 was 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"", published in 1915, was the first published jazz composition. Morton also wrote the standards ""King Porter Stomp"", ""Wolverine Blues"", ""Black Bottom Stomp"", and ""I Thought I Heard"
"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 with both the left and the right hand. The following list is a selection of Morton's compositions, listed alphabetically. 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"
"Jam"", and noted that the musical ""reclaims the gorgeous power of tap dancing as part of musical story telling"". Jelly's Last Jam Jelly's Last Jam is a musical with a book by George C. Wolfe, lyrics by Susan Birkenhead, and music by Jelly Roll Morton and Luther Henderson. Based on the life and career of Ferdinand Joseph LaMothe, known as Jelly Roll Morton and generally regarded as one of the primary driving forces behind the introduction of jazz to the American public in the early 20th century, it also serves as a social commentary on the African-American experience during the"
"written decades earlier, was a big hit for Fletcher Henderson and Benny Goodman; it became a standard covered by most other swing bands of that time. Morton claimed to have written some tunes that were copyrighted by others, including ""Alabama Bound"" and ""Tiger Rag"". ""Sweet Peter"", which Morton recorded in 1926, appears to be the source of the melody of the hit song ""All of Me,"" which was credited to Gerald Marks and Seymour Simons in 1931. His musical influence continues in the work of Dick Hyman, David Thomas Roberts, and Reginald Robinson. <div style=> Jelly Roll Morton Ferdinand Joseph"
"Jelly's Last Jam Jelly's Last Jam is a musical with a book by George C. Wolfe, lyrics by Susan Birkenhead, and music by Jelly Roll Morton and Luther Henderson. Based on the life and career of Ferdinand Joseph LaMothe, known as Jelly Roll Morton and generally regarded as one of the primary driving forces behind the introduction of jazz to the American public in the early 20th century, it also serves as a social commentary on the African-American experience during the era. LaMothe was born into a Louisiana Creole family that was established and free before the Civil War. The"
"Jelly Roll Morton, a clarinet mouthpiece by Sidney Bechet, and an estimated 5,000 records and LPs which were lost during the flooding. The discography used allmusicguide.com as one guide. Michael White (clarinetist) Dr. Michael White (born 29 November 1954 in New Orleans) is a jazz clarinetist, bandleader, composer, jazz historian and musical educator. Scott Yanow, a jazz critic, said in a review that White ""displays the feel and spirit of the best New Orleans clarinetists."" White is a classically trained musician who began his jazz musical career as a teenager playing for Doc Paulin's Brass Band in New Orleans. He"
"variations of melody, and dynamics of volume, all of the elements of jazz as he understood it."" The harmonic basis is relatively simple, using standard II - V - I progressions. During the A section chorus, the chord progression passes through the relative minor. With only seven instruments in the ensemble, Morton produces five distinct textures: The piece displays traits of Morton's compositional style: Some distinct rhythmic features of New Orleans jazz appear throughout: The performers on the original recording were: Black Bottom Stomp ""Black Bottom Stomp"" is a jazz composition. It was composed by Jelly Roll Morton in 1925"
"Jelly Roll Morton tune ""Wolverine Blues"". However, he quit at the end of 1923, and was replaced by Dick Voynow, from St. Louis. When the Stockton Club closed after a New Year's Eve brawl, the group moved to Cincinnati to play at Doyle's Dance Studio. They did a three-month stay there and became one of the city's most popular attractions, and on February 18, 1924, they recorded for the first time at Gennett Records. These were the first recordings Beiderbecke ever played on. Hoagy Carmichael was in the Gennett studio when the Wolverines recorded his tune ""Free Wheeling"" on May"
"pattern is the habanera rhythm. </score> Afro-Creole pianist Jelly Roll Morton began his career in Storyville. Beginning in 1904, he toured with vaudeville shows to southern cities, Chicago, and New York City. In 1905, he composed ""Jelly Roll Blues"", which became the first jazz arrangement in print when it was published in 1915. In introduced more musicians to the New Orleans style. Morton considered the tresillo/habanera, which he called the Spanish tinge, an essential ingredient of jazz. ""Now in one of my earliest tunes, ""New Orleans Blues,"" you can notice the Spanish tinge. In fact, if you can't manage to"
"four children, Mary Celine (in 1879), John Alexander (1881), Louise (1889), and Oscar (1892). Clementine died September 23, 1893. Mary Celine later became known as Mamie Desdunes and was a blues pianist. Clementine lived near Jelly Roll Morton's godmother and Jérémie and Henriette Desdunes were neighbors of Morton's mother. From this proximity, Morton learned the song he recorded as ""Mamie's Blues"" or ""2:19 Blues"" and attributed to Mamie, singing, ""Can’t give a dollar, give a lousy dime,/ I wanna feed that hungry man of mine."" Other associates of Mamie included performer Bunk Johnson and promoters Hattie Rogers and Lulu White."
"his death, Morton at last admits to his heritage - ""Ain't no black notes in my song/I was wrong/ I was wrong."" At this moment, the shadows of the people in his life surround him to congratulate him, and Morton takes his place in history among the other Jazz legends. ""Jelly's Last Jam"" premiered at the Mark Taper Forum, Los Angeles, California, in March 1991. Directed by Wolfe, Obba Babatunde played Jelly Roll. The Broadway production opened at the Virginia Theatre on April 26, 1992 and closed on September 5, 1993 after 569 performances and 25 previews. The musical was"
"themselves from the popular image of jazz as a novelty and instead marketed it as a genuine musical genre. The third recording session occurred after Mares and Roppolo had spent some time playing in a small band in New York City. They returned to Chicago and scheduled another session with Gennett Records as the New Orleans Rhythm Kings. This session is notable because of the participation of famed jazz pianist and arranger Ferdinand ""Jelly Roll"" Morton. Morton was a Creole from New Orleans, and though he identified strongly with the white ""French"" side of being Creole, he was generally viewed"
"turn of the twentieth century, Storyville pianist Jelly Roll Morton began performing a ragtime adaptation of a French quadrille, introducing large chromatic tone clusters played by his left forearm. The growling effect led Morton to dub the piece his ""Tiger Rag"" (). In 1909, Scott Joplin's deliberately experimental ""Wall Street Rag"" included a section prominently featuring notated tone clusters. The fourth of Artie Matthews's ""Pastime Rags"" (1913–20) features dissonant right-hand clusters. Thelonious Monk, in pieces such as ""Bright Mississippi"" (1962), ""Introspection"" (1946) and ""Off Minor"" (1947), uses clusters as dramatic figures within the central improvisation and to accent the tension"
"other compositions."" Jelly Roll Morton considered the tresillo/habanera (which he called the Spanish tinge) to be an essential ingredient of jazz. Morton stated, ""Now in one of my earliest tunes, “New Orleans Blues,” you can notice the Spanish tinge. In fact, if you can’t manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning, I call it, for jazz—Morton (1938: Library of Congress Recording)."" An excerpt of ""New Orleans Blues"" is shown below. In the excerpt, the left hand plays the tresillo rhythm, while the right hand plays variations on cinquillo."
"Jelly Roll Morton, ""King"" Joe Oliver, Kid Ory. The next generation took the young art form into more daring and sophisticated directions, with such creative musical virtuosos as Louis Armstrong, Sidney Bechet, and Red Allen. New Orleans was a regional Tin Pan Alley music composing and publishing center through the 1920s, and was also an important center of ragtime. The blues that developed in the 1940s and 1950s in and around the city of New Orleans was strongly influenced by jazz and incorporated Caribbean influences, it is dominated by piano and saxophone but has also produced major guitar bluesmen. Major"
"it. Indispensable records for anyone interested in jazz history."" The Complete Library of Congress Recordings Jelly Roll Morton: The Complete Library of Congress Recordings is a 2005 box set of recordings from jazz pioneer Jelly Roll Morton. The set spans 128 tracks over eight CDs. It won two Grammy Awards in 2006, Best Historical Album and Best Album Notes. In 1938, noted musicologist and Morton biographer Alan Lomax conducted a series of interviews with Morton at the Library of Congress. Richard Cook and Brian Morton describe these recordings as Jelly Roll Morton's ""virtual history of the birth pangs of jazz"
"""...Stoned me just like Jelly Roll. And it stoned me."" That lyric is thought to be a reference to jazz musician Jelly Roll Morton, whose recordings Morrison listened to with his father as he was growing up. The song has been covered by Jackie Deshannon, Bob Dylan (with Van Morrison), Zero, Jerry Garcia, James Morrison, Widespread Panic, Gov't Mule, David Gray, The Allman Brothers Band, John Mayer, Passenger, and Joe Higgs. The original recording of the song was re-released on 1990s ""The Best of Van Morrison"" and 2007's ""Still on Top - The Greatest Hits"". ""And It Stoned Me"" is"
"old man who said he had retrieved it from a stream. ""We drank some and everything seemed to stop for me"", the singer recalled, adding that it induced a momentary feeling of quietude in him. According to Hinton, these childhood images foreshadowed both spiritual redemption and—in Morrison's reference to ""jellyroll"" in the chorus—sexual pleasure. AllMusic's Tom Maginnis argued that the singer was instead likening the experience to the first time hearing jazz pianist Jelly Roll Morton. The largely acoustic title track featured piano, guitar, saxophone, electric bass, and a flute over-dub backing Morrison, who sang of an adult romance set"
"caught Jelly Roll at perhaps the peak of his ability, and many of these records, particularly ""Mamie's Blues"" and ""Don't You Leave Me Here"", are regarded as blues classics,"" "" wrote ""The Jazz Record"" in August 1946. ""Half the series are straight old ragtime piano, which ties in nicely with the present day revival of interest in old piano rags."" The most notable General Records releases were piano solos by Jelly Roll Morton. General Records 4001–4005 were reissued by Commodore Records in August 1946 in a set titled ""New Orleans Memories"". General Records General Records was a small American record"
"him is sincerity. That is why the Armstrong, Oliver, Morton, Bessie creed is to him the ultimate in jazz, and why he still holds a great admiration for Fats, for those are the musicians whom true artistry is infinitely more important than technical virtuosity. His band repertoire of 150 or so pieces is composed almost entirely of New Orleans standards, while his solo repertoire consists mainly of Jelly Roll’s blues and stomps, Joplin rags, and a few opf his own compositions, the latter showing that Jelly’s maxim of originality has not fallen on stony ground. His greatest achievement to date?"
"King Porter Stomp ""King Porter Stomp"" is a swing-era jazz standard by Jelly Roll Morton. The composition is considered to be important in the development of jazz. According to Jelly Roll Morton, the tune was composed in 1905. Morton first recorded the number in 1923 as a piano solo, but did not file a copyright on the tune until 1924. That year, Morton recorded a duet version with Joe ""King"" Oliver on cornet. Morton said that he had actually written the tune almost 20 years earlier, and that it was named after his friend and fellow pianist Porter King. On"
"by Jelly Roll Morton and Bill Johnson in 1917, but he objected to being told to dress and behave differently from what he was accustomed to and returned to New Orleans. He spent the rest of his career in the area around greater New Orleans and the towns north of Lake Pontchartrain, not venturing further from home than Baton Rouge and the Mississipp Gulf Coast Okeh Records offered him a chance to record on their 1925 field trip to New Orleans, but Petit held out for more money and was never recorded. Danny Barker and Louis Armstrong said that it"
"Williams recorded the song on his 1968 Verve LP ""Shades of Today"". In 1975, Gil Evans and his orchestra arranged a new cover in ""There comes a time"" album, with Tony Williams, David Sanborn and George Adams among others. King Porter Stomp ""King Porter Stomp"" is a swing-era jazz standard by Jelly Roll Morton. The composition is considered to be important in the development of jazz. According to Jelly Roll Morton, the tune was composed in 1905. Morton first recorded the number in 1923 as a piano solo, but did not file a copyright on the tune until 1924. That"
"The Complete Library of Congress Recordings Jelly Roll Morton: The Complete Library of Congress Recordings is a 2005 box set of recordings from jazz pioneer Jelly Roll Morton. The set spans 128 tracks over eight CDs. It won two Grammy Awards in 2006, Best Historical Album and Best Album Notes. In 1938, noted musicologist and Morton biographer Alan Lomax conducted a series of interviews with Morton at the Library of Congress. Richard Cook and Brian Morton describe these recordings as Jelly Roll Morton's ""virtual history of the birth pangs of jazz as it happened in the New Orleans of the"
"a cow. The three themes are then repeated, and the tune ends with a one-bar tag. Lyrics were added to the instrumental by Marvin Lee. W.C. Handy recorded one of the earliest cover versions of ""Livery Stable Blues"" on Columbia Records in New York on September 25, 1917 under the name Handy's Orchestra of Memphis, as A2419, with ""That 'Jazz' Dance"" as the flip side. Paul Whiteman opened his landmark concert ""An Experiment in Modern Music"" in Aeolian Hall, New York City, on February 12, 1924 with the tune, to demonstrate the sound of early jazz bands. Jelly Roll Morton,"
"up and joins the ship's orchestra. He befriends Max in 1927, but never leaves the vessel. Apparently, the outside world is too ""big"" for his imagination at this point. But he stays current with outside musical trends as passengers explain to him a new music trend or style, and he immediately picks it up and starts playing it for them. His reputation as a pianist is so renowned that Jelly Roll Morton, of New Orleans jazz fame, on hearing of 1900's skill comes aboard to challenge him to a piano duel. After hearing Jelly Roll Morton's first tune 1900 plays"
"by society as black (though he was fairly light-skinned and could sometimes ""pass"" as Latin-American and therefore was subjected to many of the same social pressures as other blacks of the day. In 1923 the country was still largely racially segregated, as were jazz bands. White bands were beginning to spring up attempting to imitate the ""hot"" jazz style that the black musicians played, but rarely did any racial mixing occur in a professional setting (In a non-professional setting, however it was becoming more and more common). Jelly Roll Morton's participation in recording with the all white New Orleans Rhythm"
"about my downfall, but I just couldn't put it behind me. The cornetist Rex Stewart recalled that Morton had chosen ""the nom de plume 'Morton' to protect his family from disgrace if he was identified as a whorehouse 'professor'."" Tony Jackson, also a pianist at brothels and an accomplished guitar player, was a major influence on Morton's music. Morton said that Jackson was the only pianist better than he was. Around 1904, Morton also started touring in the American South, working in minstrel shows including Will Benbow's Chocolate Drops, gambling and composing. His works ""Jelly Roll Blues"", ""New Orleans Blues"","
"Jelly Roll Morton were out of print and unavailable except as often difficult-to-find used copies. He then founded Pax Records to press records himself, reissuing recordings from little-known musicians such as Cripple Clarence Lofton. Following this, he created a reissue label called the British Rhythm Society. His next label, Jolly Roger, was founded in 1950 to compile historic out-of-print recordings from major jazz and blues musicians recorded by RCA and Columbia. He contracted with RCA's own custom pressing plant to manufacture the discs. Jolly Roger was one of several labels, operating in major American cities such as New York, Los"
"than most, and he soon began to dig the righteous stuff. Graduating through the Fats Waller stage, and fortified by a few months syncopation lessons, (to get that bass) he began to acquire a truer perspective of the real jazz, and an increasing desire to play it. Academic tuition was now a thing of the past - records became his source of instruction. Then came the day when he first heard Jelly Roll Morton’s ""King Porter Stomp"". That did it. Ever since then he has worshipped at the Morton shrine, and nowadays he is the purest “purist” you could hope"
"California's central coast. Her father was a college professor and her mother was an accountant. At approximately the age of six, she began playing piano, first teaching herself to play with a colored keyboard guide and composing simple songs. Later she was inspired by stories of her great uncle, Dutch pianist Willem Bloemendaal. Although her early years were dominated by classical music and 20th-century music study, in her teens she became interested in jazz and blues. Seeing the blues duo Sonny Terry and Brownie McGhee in concert had a lasting impact, as did the music of Jelly Roll Morton, Robert"
"roll, with major contributions to jazz, funk, and R&B, and even new subgenres such as the Motown Sound and techno from Detroit or house music from Chicago. In the 1920s, South Side Chicago was the base for Jelly Roll Morton (1890–1941). Kansas City developed its own jazz style. The electrified Chicago blues sound exemplifies the genre, as popularized by record labels Chess and Alligator and portrayed in such films as ""The Blues Brothers"", ""Godfathers and Sons"", and ""Adventures in Babysitting"". Rock and roll music was first identified as a new genre in 1951 by Cleveland disc jockey Alan Freed who"