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Gino Romano - New Orleans Jazz Revival A short review

Gino Romano

Gino Romano Chemist. Classic jazz passionate since 1956. Cornet’s player in amateur Trad Bands from ’62 to ’68; he re-started playing in 2011. Collector of a large discography and bibliography that helped him to write his essayes about the origin of jazz, New Orleans brass bands and Bix Beiderbecke’s life. He is President of “Chemists’ Order” in Campania Region (Italy). From the same author: Jazz Experiences. Alle radici di un inedito: Jazz in prospettiva - 2012. Jazz Experiences. New Orleans Function, Le Brass Band - 2012. Jazz Experiences. New Orleans Revival 2012. Bix Beiderbecke. Vita, discografia, album 2013.

New Orleans Jazz Revival



A short review

“The birth of jazz music is a complex phenomenon to explain properly, if we want to avoid the trivial generalization that it was the product of the New Orleans melting pot intended only to increase the fun. In the late nineteenth century and early twentieth century jazz took his first steps in New Orleans; mostly black music, mostly class music and not race music. For various reasons, in the late 1910s, New York and especially Chicago, represented the new meeting point between blues, syncopated orchestras and ragtime, it was interracial: initially blacks, Creoles, European immigrants (many Italians) but almost immediately after also white Americans, they devoted themselves to this new kind of music, with strong African and European roots, but definitely American.”

Many thanks to Bruno Sacchi for the translation from the italian version of this book, originally published in 2012 as “Jazz Experiences. New Orleans Revival”.

ISBN 978-88-89976-96-8

isbn: 987-88-89976-96-8

9 788889 976968

De Frede Editore - Napoli

€ 25,00

De Frede Editore

Cover images from the Author.

New Orleans Jazz Revival a short review

Gino Romano

New Orleans Jazz Revival



A short review

De Frede Editore

Dal 1899 “A. De Frede Editore” - Napoli Via Mezzocannone, 69 Tel./Fax +39 081.5527353 - [email protected]

Author’s email: [email protected]

Printed by: A. De Frede Napoli, gennaio 2014

ISBN 978.88.89976.96.8 Fotocopie per uso personale del lettore possono essere effettuate nei limiti del 15% di ciascun volume/fascicolo di periodico dietro pagamento alla SIAE del compenso previsto dall’art. 68, comma 4 della legge 22 aprile 1941, n. 633 ovvero dell’accordo stipulato tra SIAE, AIE, SNS e CNA, CONFARTIGIANATO, CASA, CLAAI, CONFCOMMERCIO, CONFESERCENTI il 18 dicembre 2000. Le riproduzioni a uso differente da quello personale potranno avvenire, per un numero di pagine non superiore al 15% del presente volume, solo a seguito di specifica autorizzazione rilasciata da AIDRO, via delle Erbe, n. 2, 20121 Milano, telefax 02.809506, e–mail:[email protected].

To Gianmaria and Fabrizio

SUMMARY pag. The evolution of Jazz

9

Jazz styles

21

The revival

25

The protagonists

35

The accompanists

69

The revival in Europe

73

The repertoire and bibliographical suggestions

97

Record labels

103

Listening guide

107

Conclusion

115

Index name

117

New Orleans, 1950 - Skyline

The Evolution of Jazz The birth of jazz music is a complex phenomenon to explain properly, if we want to avoid the trivial generalization that it was the product of the New Orleans melting pot intended only to increase the fun. Its evolution is certainly more linear in subsequent years2, this digression can be found laid out schematically on the chart on the next page. From New Orleans to Chicago In the late nineteenth century and early twentieth century jazz took his first steps in New Orleans; mostly black music, mostly class music and not race music. For various reasons, in the late 1910s, New York and especially Chicago, represented the new meeting point between blues, syncopated orchestras and ragtime, it was interracial: initially blacks, Creoles, European immigrants (many Italians) but almost immediately after also white Americans, they devoted themselves to this new kind of music, with strong African and European roots, but definitely American. The term “syncopated orchestra” was being replaced more and more frequently by the term “jass or jazz orchestra,” where syncopated music was still played by almost exclusively white musicians,   It is possible to have a brief but accurate outline in Gino Romano’s “Jazz Experiences - Alle radici di un inedito: jazz in prospettiva” - De Frede Ed., Napoli 2012   Marshall Stearns – Storia del Jazz – Eli, Milano 1958 Gerard Montarlot – Le Jazz et ses musiciens – Hachette, Paris 1963. Alyn Shipton – Nuova storia del Jazz – Einaudi, Milano 2011

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New Orleans Revival

The evolution of Jazz

11

but the slightest elements of improvisations and solos were starting to emerge: this music was called Dixieland, a term deriving from Nick LaRocca’s orchestra the Original Dixieland Jass Band. Musically speaking, Dixieland differs from the contemporary the New Orleans genre because of the white musicians greater knowledge of classical music than that of black musicians. There is a greater technical mastery of the instruments, due to classical studies and not to being self-taught, and in the written parts and harmonic turns we find elements that are a bit more cultured than its parallel black genre. Dixieland went alongside its pioneering classic New Orleans style, but the latter, in the late 1910s, began to wane: what led to the spread of “Dixieland jazz” in the United States was the introduction of the record, representing the first case where the spread of a new musical genre depended on this new form of listening to music. Previously, a new form of music or dance would have required its protagonists to travel in person through the entire country. The record industry realized that it was easier for the music travel than the musicians, and that determined the success of both the record and the music recorded on it. The record market was substantially monopoly of Victor and Columbia and was kept that way until almost the end of the 1920s. The fascination of seeing the protagonists live remained high, but the performances started to become less and less necessary thanks to the growing popularity of radio. In this context all black musicians, regardless of their racial discrimination, initially avoided recording their music, especially because they were jealous of their style and afraid of being copied. On the timely evolution of the adjective “jass”, “jazz”, “Dixieland” or “creole” next to the word Band, see the exhaustive article “The Same by any name?” By John Joyce in The Jazz Archivist, Vol II, No. 1, may 1987 pages. 1-8  

New Orleans Revival

12

The greatest difference: improvisation. Thanks to improvisation blues and jazz emphasized the role of the performer to a degree never achieved before and each of them feared an overshadowing of his fame if his solo was played by others. In any case, the great musicians of New Orleans tended to move to Chicago more and more: the main exponents were King Oliver, Jelly Roll Morton, Louis Armstrong, Johnny Dodds, Jimmy Noone. From the inevitable contamination between Dixieland and New Orleans style a new genre was soon created in this city, the Chicago style. Starting from the model of collective improvisation of the New Orleans style, little by little, the white sensitivity derived from European and folkloric hillbilly and skiffle  music introduced harmonic solutions that were more refined and that, therefore, highlighted the element of the solo. This, at the Chicago style’s apex, resulted in the preponderance of the improvisation of the individual and in the emergence of the saxophone, as well as the start of large formations (Big Band), thus heralding the 1930s jazz and swing style.

Besides the closure of Storyville, the phenomenon of migration from NO to Chicago was also influenced by economic reasons. According to various musicians, in the tens and twenties of the last century, in New Orleans you could earn from $ 1.25 to $ 2.50 for a performance in New Orleans that lasted from 8 pm to 4 am. King Oliver earned $ 25 a week, Kid Ory earned 17.50 and George “Pops” Foster earned only $ 9.50. If we think that, once emigrated to Chicago, Sidney Bechet was able to earn $ 60 a week, this is why we believe that the real reason for the migration of musicians from New Orleans to Chicago was strictly economic. John Chilton - Sidney Bechet: The Wizard of Jazz - Da Capo Press, New York 1996.   Sounds of the instruments of rural or country origin.  

The evolution of Jazz

13

Among the prominent soloists: Bix Beiderbecke, Muggsy Spanier, Bud Freeman, Pee Wee Russell. Chicago was, therefore, a central point that deeply marked the evolution of jazz and consistently remained a significant point of reference for musicians, so much so that in the 1960s, it became one of the most important places for the cutting edge musical and political trends of the black American culture, like the Art Ensemble of Chicago. Jazz life in New York was less interesting: until the early 1930s it was essentially dominated by popular orchestras, but (fortunately) also pianists such as JP Johnson and Fats Waller. Then the large, greater caliber orchestras began to establish themselves, such as those of Fletcher Henderson, Luis Russell, Duke Ellington. They gave impressive performances, almost concert music. Boogie-woogie and swing Between the end of the 1920s and the 1930s a new musical style was spreading: il boogie-woogie . This is a piano style that became very popular when black pianists in Texas began to develop more a fast paced and rhythmic form of blues with strong, rhythmic and continuously repeated low notes, 8/8 per beat. The aim was to entertain the people in the juke joints of the bars. At that time, this new type of music was called by various names: fast

14

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blues, rolling blues, the dozen, shuffle ecc. untill the famous recording “Pinetop’s Boogie Woogie”. This composition, which dates back to 1928, explained how to dance to that type of music and so that is why the genre got the name Boogie Woogie. It remained in vogue until the mid 1940s. ******* Always in the mid-twenties the styles of previous years seemed to be outdated and in many places a new style was taking over which, merging with the music played in the New Orleans and Chicago style, gave rise to one of the most important moments in jazz history, its most public statement: swing. In those years there was a second migration of musicians who moved from Chicago to New York and Kansas City. The word swing, a long-time keyword of jazz, is used in two different senses: - Swing intended as an element of rhythmic intensity of jazz music, hard to reproduce on the pentagram and therefore, subject to a manty improvisations from the musicians (in technical terms, two eighth notes are played as a triplet with the first two notes tied); - Swing meant as the musical style of the thirties, with which jazz reached its maximum popularity. The distinctive feature of the swing style is the formation of the Big Band that was mainly due to the need to create a significantly high volume sound for very large dance halls. From 1925 to 1929 in Harlem and Kansas City, Duke Ellington, Fletcher Henderson and their great orchestras proceeded radically renewed jazz with the development of the orchestral language. Kansas City was also home to some of the most important orchestras, such as Bennie Moten’s or Count Basie’s, and is where the great soloists Ben Webster, Coleman Hawkins and Lester Young

The evolution of Jazz

15

and great singers like Billie Holiday found their moment of glory. Only after the end of the economic crisis will jazz have its stylish return when, in the mid-thirties, swing reached its peak in popularity but marking its decline at the same time, worn out by its own success, when the economic gain got the upper hand on the spontaneity and vitality of its origins. Between the years 1935 and 1946 the big band’s swing became the most popular genre in the United States: in addition to Ellington and Basie, the absolute protagonists of this period were also Benny Goodman, Tommy Dorsey, Jimmy Dorsey, Glenn Miller. Kansas City was home to some of the greatest soloists of modern jazz, above all: Charlie Parker. However, as already mentioned, with the advent of World War II and the resulting economic difficulties began the decline of the “Swing Era”. From bebop to fusion. The revival When the dissatisfaction of the soloists for the limited space they were given in the big bands came to a head, they found themselves, at the end of their career in the orchestras, seeking refuge in small jazz clubs, which in the meantime had multiplied, offering a performance every night; there, by surpassing the musical stereotypes imposed on them by the demands of the public, the first great revolution began. It was both a stylistic and cultural revolution of jazz. In the small clubs of Harlem, after their regular work in orchestras, many soloists gathered in small groups and experimented with new harmonies and new musical arrangements; this was also a way to overcome the dissatisfaction with the limitations imposed on them by big bands. It developed as a musical movement that started with the need

16

New Orleans Revival

to find new forms of expression and then found itself struggling with an ambitious plan to make jazz an art form in all intents and purposes and, without having to think about economic gain associated to swing and the tastes of the public, at the same time it allowed the black community and the marginalized social classes of American society to accredit the values of their own culture and to overcome racial prejudice. Bebop was born, a form of jazz characterized by fast tempos and improvisation, based on the harmonic structure rather than on the melody. Bebop was drastically different from the schematic compositions of the Swing era and it was characterized by fast tempos, complex harmonies and complicated melodies. The rhythm sections kept the tempo. The music was somewhat aggressive, bebop was like a nervous and fragmented race. The boppers became a real and trendy cultural movement that associated the positions of artistic “elitism” of black musicians, the existentialism of the younger generations of Americans who rebelled against the bourgeois, racist and politically correct older generations. A movement that not only expressed itself with music but with its own original image which was an imitation of role models without rules or limitations, like one of its most emblematic characters, Charlie Parker.

The evolution of Jazz

17

Other prominent boppers were Dizzy Gillespie and Thelonious Monk, Charlie Christian and Kenny Clarke. The revolt against popular swing and a radical transformation of the intentions of the musicians created, with unique contributions and without a precise program, a style with a nervous and fragmented fraseggio, based on the disintegration of the melody, fast played chromaticisms, new harmonies and furious rhythms. This caused an immediate reaction of the public, disoriented by the new language proposed by boppers and not yet ready for the impact with the ideologisation of music, especially the black. The stereotypes of swing, and overcoming them through bebop, were translated in a return to the origins of jazz with a significant revival, not just American, of the New Orleans styles and (to a lesser extent) of Dixieland. It was the revival, of both New Orleans and Dixieland styles, that took over from the 1940s to the 1960s as an alternative to bop, and to regain popularity after a short “slumber” at the end of the 1950s. The fact is that it has never ended. Bebop would eventually go through a period of adjustment to make way for more rational and balanced harmonies, more relaxed rhythms and with the rediscovery of melody. Miles Davis, Lennie Tristano and Lee Konitz, Gerry Mulligan, Dave Brubeck, il Modern Jazz Quartet di John Lewis and Milton Jackson develop these more spontaneous experiences, creating the cool movement. The synthesis of the cool style resulted in the birth of a predominantly

18

New Orleans Revival

white style on the west coast of California called, of course, West Coast that, between 1952 and 1958, was led by Stan Kenton’s orchestra and soloists such as Shelly Manne, Shorty Rogers, Jimmy Giuffre, who proposed music that did not obeyed any well defined rules, but that contained unifying and recognizable elements with a peculiar stylistic characterization.

Thanks to cool, jazz music is completely transformed from music to dance to music to listen to. Further, more classical, developments with strong rhythmic expressions like those found in Hard bop (Max Roach, Clifford Brown, Art Blakey, Art Farmer) or new experiences, known as Modal jazz, based on few chords on which to improvise outside the major/minor scale (Miles Davis, John Coltrane, Herbie Hancock, Chick Corea, Keith Jarrett, Gary Burton) would represent fertile ground for jazz to grow. At the same time, the radical deepening of elements introduced in modal jazz allowed soloists to be more free and less conventional in their performances, following in the footsteps of saxophonist John Coltrane. In any case, after the seventies, the mode will become an integral part of contemporary jazz, branching out in different stylistic conceptions, mainly free jazz. In 1960, Ornette Coleman was the first to use free jazz by recording, with that name, a historic album in which two opposing quartets, starting from a mode and a predetermined rhythm, improvise freely releasing themselves from these. This experiment developed a trend that would bring to a complete and unconditional break from what jazz used to be - styles, shapes and structures – it would find its way out of established harmony and rhythm, leaving only the soloist to improvise freely.

The evolution of Jazz

Subsequent experience of meditation and reconciliation with these experiences are called fusion and acid jazz ...

19

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New Orleans Revival

jazz STYLES Below are some simple and short elements that will help to clarify the basic differences among all the different styles during the rapid evolution of jazz. It should first be said that evolution is always based on (though not felt immediately) the unifying thread which uses pre-existing material as a starting point (or original material written in that style). As the phenomenon evolves, this attitude allows greater freedom to focus on improvisation. This is what happened from the beginning, based on the popular oral tradition, until the 1960s with Bob Crosby. Subsequently, as in classical music, there was a need to disintegrate the structural background in order to create a new language that was in line with the redefinition of this modern art. No longer folk art, but music as an artistic phenomenon conscious of this epochal transition. We can follow this transition by looking at the differences among the main parameters of each musical style.

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New Orleans Revival

NEW ORLEANS classic [1910 - 1925] TEMPO : 4/ 4 FRONT LINE (Melodic section): composed of Cornet [melody], Clarinet [ an octave higher], Trombone [counter melody] RHYTHM SECTION: Tuba, Banjo, Drums PERFORMANCE Style: group improvisation on a harmonic triad STRUCTURE: Polyphonic IMPROVVISAZIONE: melodic paraphrasing of the original melody - short chorus, not more than a short link CHICAGO [1920 - 1928] TEMPO: 4/4 FRONT LINE: same as New Orleans, but with the addition of Sax and Trumpet RHYTHM SECTION: Bass, Piano, Guitar/Banjo PERFORMANCE Style: group improvisation STRUCTURE: Polyphonic IMPROVISATION: emphasis on the soloist; harmonic variations based on harmonization of chords; emphasis of virtuosity Note: it is called DIXIELAND if played by white musicians SWING 1935-1945] TIME: 2/4, more stringent like dance music FRONT LINE (Melodic section): the larger sections of reeds and brasses RHYTHM SECTION: Bass, Drums, Guitar, Piano PERFORMANCE Style: large group of musicians, arranger becomes the central figure

Jazz styles

23

STRUCTURE: homophonic IMPROVISATION: emphasis on the soloists, but strictly within the limits of the arrangement BE BOP [1945-1950] TIME: basically 2/4 FRONT LINE (Melodic Section): Trumpet and Sax, sometimes extended without fixed rules RHYTHM SECTION: Bass, Drums, Guitar, Piano; the function of the bass is redefined and more obvious Style PERFORMANCE: melody/ solo/melody, the soloist is the central figure STRUCTURE: homophonic IMPROVISATION: fully geared towards the soloist, on many choruses COOL [1950-1955] TIME: 2/4 or 4/4 FRONT LINE (Melodic section): small groups also with unusual instruments RHYTHM SECTION: variable, even without piano or drums PERFORMANCE Style: melody/solo/melody, the soloist is the central figure STRUCTURE: Polyphonic IMPROVISATION: fully geared towards the soloist, articulated on many choruses

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New Orleans Revival

SAN FRANCISCO [1940-1960] Everything is substantially like in the New Orleans style. Distinctive features are: base tuba playing on beats 1 and 3, while the banjo on 2 and 4, the piano in ragtime style, the drums emphasizes the sound of the cymbals and the wooden castanets, the end is doubled. A modern arrangement is obviously more dominant. It is played by white musicians. ****** Further developments and changes relating to the styles that followed are not functional in this context, so we will refrain from other schematization. As we have seen there have been many changes, but they were all gradual and none totally rejecting the previous style.

THE Revival The revival in America Generally ignored or explained in a few lines in the various texts on the history of jazz, in the late1930s there was a phenomenon subsequently reevaluated by jazz critics and historians: the revival of the New Orleans and Dixieland genre. In fact, as the musical evolution that, in view of great innovations, would lead to bebop began, those active forces that could be called conservative were always present, and that saw the years of King Oliver, the young Armstrong, Jelly Roll Morton, as the ‘”golden age of jazz,” already credited as the classical period even though few years had passed. With the consent, or rather, under the pressure of critics , fans Two in particular: William Bill Russell and Hugues Panassiè William Bill Russell (Canton, Missouri - 1905-1992) - William Russell was a historian and collector of jazz whose work concentrated on the traditional New Orleans style. The “William Russell Jazz Collection” Foundation documents his life as a scholar during which he amassed a large collection of jazz memorabilia including musical instruments, records, piano rolls, sheet music, photographs, books and periodicals. His collection traced the evolution of jazz in New Orleans and followed the musicians when thy moved to New York, Chicago, California and beyond. It includes research notes, as well as audio tapes, programs, posters, correspondence, films, business cards, notes, liner notes, clippings and albums. Russell was friends with many great musicians including Louis Armstrong, George Lewis, Mahalia Jackson, e Baby Dodds. A large part of Russell’s work focused on the lives of three people, Manuel Fess Manetta, Bunk Johnson and Jelly Roll Morton. He interviewed Manetta  

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New Orleans Revival

and collectors (who initially sought to recover and document the voices and the sounds of that period by recording them), powered by a certain saturation of the audience to swing and a disorientation towards the emerging bebop (seen by many as an involution rather than evolution, albeit a revolution of swing), the attention returned to the old repertoire, played by both the old new generations of musicians. New compositions enriched the classical repertoire and at the same time – like with bebop - many of the younger musicians had a strong reaction to the “cage” of strict arrangements of swing and so they dedicated themselves to the reinterpretation of classic New Orleans themes, but made more modern by the use of more on his life as a musician and the early days of jazz. Marietta had been part of legendary Buddy Bolden’s band. Russell worked very long on a book about Jelly Roll Morton and his collection includes a lot of handwritten music and letters from Morton. Russell was instrumental in reviving Bunk Johnson’s career in 1939, after having spoken with Armstrong who remembered his talent. After finding Johnson (to whom it was necessary to provide dentures and a trumpet), Russell founded the American Music Records in order to record Bunk Johnson especially, but also Wooden Joe Nicholas and Kid Shots Madison, (also protagonists and witnesses of the classical period). Hugues Panassiè (Paris, France - 1912-1974) - Was, without a doubt, the first great non-American jazz critic. He studied saxophone and wrote music at age 18. He was one of the founders and later president of “The Hot Club De France” and edited the monthly magazine Jazz Hot from 1936 to 1947. He also wrote the book Le Jazz Hot, on the jazz of the 1930s addressing the issue of this music being a serious art form. Panassiè also organized a series of small groups with various recording sessions: like the one in 1938 with Mezz Mezzrow, Tommy Ladnier and Sidney Bechet, the latter two rediscovered when he went to America in search of the roots of jazz, and -where possible- record them. He was an avowed, unrepentant anti-bebop writer, denouncing several times this school as the antithesis of jazz. Panassiè’s large private collection now resides in the Discothèque Municipale in Villefranche-de-Rougergue.

Revival

27

improvisations and solos. It was then that the phenomenon known as revival embraced three schools of thought , or music “trends”: -  Bands formed or directed by musicians (first-generation, mainly blacks) who continued the tradition that was never abandoned over the years; -  Bands formed or directed by musicians (first or secondgeneration, especially blacks) who returned to an earlier stage of their career or started playing the old style with a newer approach; -  Bands formed by musicians (second -generation, especially whites) that elaborated the repertoire of the 1920s in a conscious and intellectualized way, with a deep musical growth, rich in quality, relax and freshness. The level of quality and novelty brought by the representatives of this school was such that it was defined by the name of city where the main representatives were from: the San Francisco style, on the west coast. For a more precise definition, more of an approach to clarify than to classify (always dangerous with topics such as these), the first school (bands who continued the tradition) should also be divided into two categories. In the first-generation called “historical” or “pioneering” that substantiates the first school, we distinguish more precisely: - a a first-generation, made up of just a few of the older musicians, who had never stopped playing according to the canons of the classical school; - b a first-generation, of rediscovery, made up of older musicians, no longer in business for years, revived by critics and scholars or recalled by the public and critics. Such an articulated yet simple schematization would develop only in the course of the years. Still in full Revival (according to our chart), 1955, Livio Cerri recognizes 1939-44 as the only Revival period , when there was the rediscovery of past New Orleans black musicians, even giving a negative connotation to  

New Orleans Revival

28





   Musicistichenon    1a  Musicistichenon avevanomai avevanomai 1 a interrottol’attività.  









1b

1b









3

SidneyBechet SidneyBechetTommyLadnier TommyLadnier GeorgeLewis GeorgeLewisWilliamGaryBunkJohnson WilliamGaryBunkJohnson HenryKidRena HenryKidRena ErnestPunchMiller ErnestPunchMiller EdwardKidOry EdwardKidOry





2

Musicistiche Musicistiche avevanointerrotto avevanointerrotto l’attività,riscoperti l’attività,riscopertiStileNO StileNO







interrottol’attività.StileNO StileNO

LouisArmstrong LouisArmstrong JellyRollMorton JellyRollMorton JosephWingyManone JosephWingyManone AveryKidHoward AveryKidHoward





2

3

 Musicistianziani,che Musicistianziani,che riprendonoilvecchio riprendonoilvecchio stile,opiùgiovani stile,opiùgiovani chevisidedicano. chevisidedicano. StileNO,Dixie StileNO,Dixie

FrancisMuggsySpanier FrancisMuggsySpanier BobCrosby BobCrosby WildBillDavison WildBillDavison MaxKaminski MaxKaminskiGeorgeBrunis GeorgeBrunisSharkeyBonano SharkeyBonano PeteFountain PeteFountain

Musicistigiovaniche Musicistigiovaniche rielaboranoiljazz rielaboranoiljazz nerodellaChicago nerodellaChicago anni‘20 anni‘20 StileChicago StileChicago

LuWatters LuWatters TurkMurphy TurkMurphy BobHelm BobHelm BobScobey BobScobey

CorrentidelRevival CorrentidelRevival Caratteristiche,rapportobandbianche/nere, Caratteristiche,rapportobandbianche/nere, principaliesponenti principaliesponenti

Revival

29

The chart on the previous page is a detailed diagram of the different schools and the leading exponents of each. Because of the abundance and importance of these, there will be a chapter dedicated to them with short profile for each of the most important ones. It was clear that, in such an articulate context for a phenomenon seen only as nostalgic, there would also be an extensive involvement of musicians that could hardly be described as jazz musicians, especially among the rediscovered. Having been born in Crescent City and having played, maybe as a second or third chair, in a brass band of the lowest order, was certainly not enough to to be a valid jazz musician. Many “rediscovered” musicians were musically low key, but with such a talent as entertainers to give the the general public the impression they were listening to old jass rather than a low grade vaudeville. These characters represents a problem in the eyes of educated critics, , and consequently, a phenomenon that began around the1940s the term. Cerri in fact translates as “exhumation” what is more properly read as “resurrection” or rediscovery. The whole period from the late 1930s onwards, the white school, is defined by Cerri as “the rebirth of Dixieland”, basically ignoring the values and innovations of the third school and assimilating everything else into “circus music”, not great but interesting. The word resurrection is proposed by Brian Rust. Livio Cerri – Antologia del Jazz – Nistri Lischi Editori, Pisa 1955, p. 32 et seq, 82 and seq.; Brian ������������� Rust – Recorded Jazz: a critical guide – Pelican Books, Baltimora 1958, p. 88   Andre Hodeir (Paris, France, 1921-2011), great French musicologist devoted to jazz, even railed against the “once upon a time” jazz fans, for whom the old is better than the classic, and the primitive is better then the ancient and that “praises were sung of certain decrepit, toothless and vented cornetists, that even if they found the technique and the enthusiasm of twenty years ago would return to being nothing but useful but infinitely modest initiators of yesteryear, outdated in every way. Of course the young musicians, who sat alongside the veterans in this movement, rapresent nothing more than “ student type amateurism.” In my opinion, an excessive, unfair, shortsightedly generalizing judgment.

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New Orleans Revival

- the first phase- and died down only at the end of the 1950s, historically interesting as it was the point of divergence of Jazz (revolution towards bop or critical revision of the classic), has been almost ignored by insiders which typically have trivialized its contents and summarized it in a few sentences in musical history. By applying the necessary “distinctions” it is possible to have a historically and musically clear framework of a genre which, although unfortunately still burdened by the presence of only commercial music and formations that have nothing to do with jazz, returns cyclically thanks to the enthusiasm that it produces and which -together with a repertoire that is easy to assimilate-is the first step towards listening to good music. There is talk of a second revival or -even better- a never exhausted vein of the first. Also, in this context, there are now many new formations that have a strictly philological approach to the music of certain restricted periods, with a production of excellent and more interesting music that the old originals. In any case, the revival also gave way to the creation of numerous formations of amateur white musicians and to the publication of magazines intended for record collectors. In the 1950s the phenomenon spread to Europe, in the wake of European concerts performed of some important names (Louis

Andrè Hodeir – Uomini e problemi del jazz – Longanesi, Milan 1958, p. 44-46

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Armstrong, Sidney Bechet, Kid Ory and the components of their formations, as well as Teddy Buckner, Sidney and Wilbur De Paris to George Lewis, ), and also some young European musicians traLouis Armstrong started in 1933 touring with the Orchestra in Sweden and Denmark, followed by France (Salle Pleyel, Paris) in December 1934 . In 1935, even though it was not recommended because of fascism in Italy, he gave two concerts in Torino on 15 and 16 January. The formation is not certain! Given the time period, there was no one to take care of the transcript of the program. The following should have been part of it: LA, J.Hamilton, L. Thompson, tp; L. Guimaraes, tb, P. Duconge, cl, H. Tyree, s. alto: A. Pratt, s. tenor, H. Chittison, p: M Jefferson, g: O. Arago, cb, O. Times, btr. As mentioned before, it was Louis Armstrong and his Orchestra: the All Stars were far from coming to Italy: 15 years! Armstrong would return in 1949 (with Teagarden, Bigard, Hines, Shaw and Cole), in 1952 (with Young, McCracken, Napoleon, Shaw and Cole), in 1955 (with Young, Hall, Kyle, Shaw and Deems), in 1959 (with Young, Hucko, Kyle, Herbert, Barcelona), in 1962 (with Young, Darensbourg, Kyle, Cronk, Barcelona) and finally in 1968, tired and ill (not for concerts but to participate in Sanremo). Of course, in these same years and also in others, he continued to play with great frequency throughout Europe and ... in the world. Europe, Africa, Australia, Japan, ... everywhere. Ambassador Satch! Great Louis!   Sidney Bechet had been coming to Europe since 1919, in England, as a member of the Willie Marion Cook Orchestra: subsequently the tours with his group -starting in 1922- became closer, long-term and wide-ranging (they also played in Russia in 1926). He resided for extended periods in France, which he alternated with equally long stays in New Orleans until he settled there permanently in 1947. Bechet gave 10 concerts in Italy between 1952 and 1958: the one in Torino in 1954 was the only one with an Italian band, the Milan College Jazz Society.   Kid Ory had his European tours in 1956 and in 1959. In September 1956 at the Salle Pleyel, Kid Ory’s Creole Jazz Band had a formation composed of A. Alcorn tp, P. Gomez cl, Cedric Heywood p, W.Braud b and Minor Hall dr. In 1959, with Henry Red Allen playing trumpet, Ory also gave concerts in England besides France.   George Lewis left New Orleans in 1957 for concerts in England (with Ken Colyer’s formation) and in 1959 for concerts in Scandinavia (Arne “Papa” Bue Jensen’s formation), Germany and England.  

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veling to the U.S., driven by curiosity about the phenomenon (eg. Ken Colyer, which will be discussed later). The the first phase of the New Orleans revival showed that most of the white population was beginning to appreciate music that African Americans had performed twenty or thirty years earlier. Also, the sales of a certain type of records showed that the phenomenon was in slow but constant and lasting growth. In addition, the phenomenon also drew attention to some great musicians of the time that cannot be classified in the revival, like Fats Waller (1904 -1943) who crossed all genres. As already mentioned, the interest in this musical genre began to wane in the late 1950s, but the phenomenon was far from over. On the contrary. In the early 1960s, a second phase began: suddenly many young musicians’ desired to study, investigate, recover and -especially- play early jazz . Initially few, of the latest generation (in their twenties in the 1960s) engaged in it, but over time the number grew enough to allow the first critical distinction (which did not happen in the 1940s) between amateur groups and professional groups whose value was attributable to various “schools”. Even the first and second school, according to our chart, because in those years some of these artists were still active or were rediscovered, not major stars but still interesting music to listen to as a contribution to the study of the origins. In 1961 in the French Quarter of New Orleans rose the Preservation Hall, it had a rehearsal room and its mission was to preserve he Preservation Hall has been the subject of a chapter in the book: G.Romano - Jazz Experiences. The Brass Band - De Frede ed., Napoli 2012. Here is an excerpt. “The Preservation Hall in New Orleans is a musical venue at 726 St. Peter Street, in the heart of the French Quarter, in a side street between Burgundy Street and Royal Street, founded in 1961 to preserve and protect traditional jazz. The building which houses the venue is historic, as it was created in 1817 by the legendary M.me Agathe Fanchon, ... the origins of musical performances at the Preservation Hall date from the beginning of 1960 together with the opening of an art gallery   T

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jazz. Since 1961 well-known and less known, early jazz musicians performed at the Hall and gained popularity thanks to their performances there. Many of them substantiated the continuation of the revival to the present day, always attracting new fans. For example Percy Humphrey, Albert Burbank, Sweet Emma Brown, Kid Sheik Colar, Captain John Handy.

run by a local business owner, Larry Borenstein. It was initially set up only for a few jam sessions with the purpose of attracting potential customers to the gallery. More and more people began to come for the music rather than the art. Allan Jaffe, old tuba player from Pennsylvania, was appointed manager of the venue and made it a famous institution. To help the younger generations understand the living spirit of the music of New Orleans, the Preservation Hall also created a program for young musicians to promote learning the essential elements of the oldest Brass Band tradition. A Band was formed at the PH: The Preservation Hall Jazz Band which, in addition to playing at the hall, has traveled internationally in order to bring the music of New Orleans in the world ..”

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THE ProtagonistS To be clear: this chapter is neither a catalog nor a review. In the very brief notes that follow we will discuss only information that is closely related to the revival, especially related to the protagonists of the first phase, about 1940-1960. It would be unthinkable to write, albeit brief, biographies and discographies, widely available in numerous editions in print or online, or to extend the notes to the protagonists of later years or contemporary years, since the phenomenon persists. Simply enter the title of a piece of traditional jazz on YouTube to see how many groups execute it .... and they are only a small part! This may lead to a question on the usefulness of the chapter. The answer is that a volume like this also caters to the newly initiated, in addition to jazz connoisseurs. To have, albeit in the form of a summery, a guided tour through the characters and works explanatory of a phenomenon certainly facilitates the desire to further understanding and exploration. Ultimately any phenomenon, including musical, is summed up in the work of its creators. It is important to remember them anyway. The order of presentation follows the one reported according to the logic based on the school or current previously exposed. It should be noted that it is difficult to categorize the protagonists in the most precise way possible: as we shall see in the profiles that follow, there is always some presence of one school in another, especially when they are close, but not only.

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School 1 (a) - Musicians who never stopped playing the New Orleans style Jelly Roll Morton – (Ferdinand Joseph LaMenthe, 1885-1941) Great Creole pianist, composer and band leader born in New Orleans, who helped to evolve ragtime with blues. Already active in Storyville, he traveled across America -always keeping New Orleans as constant point of reference- recording what remained a precious heritage of the origins of music. He played in various formations: solo, trio, complex, orchestra, always with great expressiveness. After several years of success, were he defined himself as the “inventor of jazz”, he became less popular in the mid-thirties. In 1938 his musical activities had almost entirely ceased, except for a few recordings with Wingy Manone. The ethnologist Alan Lomax met him in 1937, interviewed him in the spring of 1938 and invited him to record his memoirs for the Folk Song Archives of the Library of Congress in Washington. The result is a collection of 128 songs in which Morton recounts his life in music with absolute perfection of form. The new popularity allowed him to become a central character in the revival. This led to new recordings with Sidney de Paris, Sidney Alan Lomax (1915-2002) was an ethnomusicologist, anthropologist and record producer. Study trips led him to collect sound materials from almost all over the world, from Spain to Britain, to South America. He invented a controversial system of classification of popular song styles , Cantometrics. He taught in several universities in the U.S.A., including Columbia University. In Italy in 1954, he collected notes published in the book “L’anno più importante della mia vita” (Il Saggiatore, 2008)  

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Bechet and Zutty Singleton. He attempted to form a new more structured orchestra, but died of an asthma attack in 1941. Besides having substantiated the first years of the revival, he is also remembered for having composed many songs, many of which have become classics of the revival repertoire, such as Doctor Jazz Stomp, Wolverine Blues, Milenberg Joyce. Louis Daniel Armstrong, Satchmo – (1901-1971) The history of jazz. A legend. Any positive adjective is less than his talent. He is also the most written about musician. Far from wanting to retrace his career, one must remember Satchmo’s artistic longevity which allowed him cross over to every style from archaic to swing, always with a touch of personality, boundless imagination, innate sense of harmony, without being in any specific category. HE IS jazz. In the early years of our period of interest (1937-38) Louis, whether in Louis Russell’s band that was enriched with important elements such as JC Higginbotham, Albert Nicholas and Henry Allen, or with his own a big orchestra, he already reinserted old numbers in his repertoire, reinterpreting them, of course: Confessin, West End Blues, Our Sunday date. From there began a shift toward a line-up with few elements, who played mainly the classical pieces of traditional jazz: the ones he played in New Orleans in the early days. In the 1940s he recorded an album with Sidney Bechet and Zutty Singleton: the album “New Orleans Jazz” turned out perfectly. After a period of silence, the war had begun and with it a strict prohibition on making records, came the famous and

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memorable Jazz Concert 1945 organized by Esquire10. Since 1946, the war was over and so were the limitations on recording (only V-Discs were excluded, they were for the armed forces) Armstrong started to play again, but almost always with a small group, initially and briefly with Kid Ory, another star of the revival. The idea was his manager’s, Joe Glaser, who had sensed that Armstrong could not return to play with orchestras with a different style. A small group was needed, one with a traditional style, with many good musicians, that showcased the high-level jazz classics as well as some mainstream pieces. In 1947 the group known as The All Stars is born: LA, tr; Jack Teagarden, tb, Barney Bigard, cl, Dick Cary, p; Morty Cobb, cbs, Sidney Catlett, btr. Cobb was replaced after a few months by Arvell Shaw. However, over the years there would be many changes in the line-up, not always for the best, but also with the addition of excellent old glories which helped Armstrong triumph on stages all over the world, allowing the public to relive the poetic atmosphere of old jazz. The repertoire was made-up almost completely of flagships of the old style: Muskrat Ramble, New Orleans Functions, When The Saints, 12th Street Rag, Baby won’t you please come home, Bill Bailey, St Louis Blues, Careless love, Mahogany Hall Stomp, Potato Head Blues, Basin Esquire - men’s magazine, founded by David A. Smart and Arnold Gingrich in 1933. It focuses on men’s fashion. The magazine has had, among its writers, Ernest Hemingway, William Faulkner, John Steinbeck, Thomas Wolfe, John Dos Passos, Truman Capote and Norman Mailer. 10 

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Street Blues, High Society, Savoy Blues, Dippermouth Blues, St James Infirmary, Down by the Riverside, Royal Garden Blues, West End Blues, Stompin ‘at Savoy. Of the extensive discography11 we remember the records which were significant for the revival: “LA & All Stars play W. C. Handy” (1954), “Louis Armstrong Plays Fats Waller” (1955), “Satchmo plays King Oliver” (1959), and another 4 microgroove records collected in one album “Satchmo: A Musical Autobiography” (1957), containing all the hits of 1923-33, with an introduction narrated by Armstrong himself. Armstrong also recorded two Microgroove records with bands of the revival genre like the Dukes of Dixieland (1959 and 1960), and a song with Bobby Hackett (1962). Clearly a character like Satchmo could not remain limited to a single style. He had already become more of an entertainer than a musician, adored by the public, and in those years and also in subsequent years tended more to the popular or to mainstream. Even to modern jazz: he even performed (presumably reluctantly) with Dizzy Gillespie (who respected him very much), with Gerry Mulligan, Dave Brubeck. But always to a very high level as far as the musical quality was concerned and without parting from his own way of playing. Moreover, the fact that Armstrong was hostile to bop from the beginning was no mystery. He never tried to change his style and, without him, modern jazz would never have existed. It was in an interview with Louis Armstrong in 1938 that Bill Russell, who was preparing with Frederick Ramsey the 11 

For an absolutely complete discography of Louis Armstrong, see http://www.michaelminn.net/armstrong/index.php

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volume Jazzmen, became interested in the way the pioneers of jazz played, in particular Bunk Johnson, whom Satchmo spoke highly of, the interview represented a fundamental input to the school that we have defined 1 (b), the “rediscovery”. So a further contribution by Satchmo to the... Cause. Joseph Wingy Manone – (1904-1982) Trumpeter and singer from New Orleans12 of great talent and success as well as fun, without being a Top Star. After starting on the Mississippi riverboats in New Orleans, Wingy13 began to travel very much: Louisiana, Texas, Missouri, Chicago, New York. He stopped in New York for a long time and acquired an excellent reputation as a leader of small bands that played mainly Dixieland style. In fact he was actually one of the few white musicians to have assimilated the New Orleans style, which was felt in all his vast production. In the 1930s he recorded with Benny Goodman and Red Nichols. In that year he recorded the song Tar Paper Stomp which is the basis for the song In The Mood, which became a big success in the rearranged version by Joe Glaser (Louis Armstrong’s manager) and launched in 1939 by Glenn Miller. In that same year he also recorded Up The Country Blues, an excellent example of the classic style. All the songs he composed are full of humor and nonsense. In Of Sicilian origins, his real last name was Mannone. He was given this nickname because he lost his right arm when he was nine years old in a an automobile accident. He always used a prosthesis so showed no disability. 12 

13 

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particular, The Isle of Capri, which in 1934 with Matty Matlock on clarinet and Zutty Singleton on drums, became internationally acclaimed. Written to the tune of a popular Italian ballad, full of double entendres and vulgarity. It was said that, for this reason, the authors were annoyed by the popularity of the song, despite the royalties earned from it. In 1940 he moved to Los Angeles, appearing in a film by Bing Crosby, Rhythm on the River, which increased his popularity and he was then called to participate in many radio shows. In 1950 he settled almost permanently in Las Vegas, Nevada where he continued to have the kind of success that allowed him to spend years without ever changing style and playing, with other excellent musicians, the classic Trad songs until shortly before his death. He toured Europe a lot, often accompanied by the most important local revival bands. For example, played in Italy with the Roman New Orleans Jazz Band and with Lino Patruno and the Milan College Jazz Society, in Sweden with Papa Bue’s Viking Jazz Band, with Sidney Bechet and Joe Venuti in France. He wrote an autobiography, Trumpet on the Wing (1948), one of the funniest books on the world of jazz in those years. In fact we can say that Wingy Manone represents the purest example of this school: he never stopped playing with his own style, maintaining and increasing his success from the 1940s up to the mid- 1970s playing New Orleans and Dixieland. A true star of the revival. Avery Kid Howard – (1908-1966) Brilliant trumpet player from New Orleans, who stood out in important brass bands such as Eureka and Tuxedo, from the late 1920s to 1943 he continued playing in Sam Morgan’s orchestra at the Palace Theatre in New Orleans, but also performed with other

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musicians like Capt. John Handy and Jim Robinson. His style was heavily inspired by Armstrong’s style of 1937-1940. In 1943 he joined George Lewis’ band, with whom he played for twenty years. After a brief hiatus of about two years due to health reasons, he performed regularly at the Preservation Hall until the year of his death in 1966. In 2008 Brian Harvey wrote his biography : The Hottest Trumpet. The Kid Howard Story.

School 1 (b) - Rediscovered Musicians who play New Orleans style William Gary Bunk Johnson – (1879-1949) The revival was represented mainly by the old musicians rediscovered by critics at the end of the 1930s, and Bunk Johnson is its main representative. He played with the legendary Buddy Bolden in Eagle Brass Band and then forgotten for many years. His come-back was in the 1940s thanks to Bill Russell, who found him working in the rice fields of New Iberia, a town near New Orleans, where he was born. As stated by Satchmo, Bunk was the inspiration for young Louis Armstrong’s style14. Park Brek - Downbeat Archives - 01/06/1939 - This Is’t Bunk: Bunk Taught Louis. [.... Said Louis: “Bunk, he’s the man they ought to talk about. What a man! Just to hear him talk sends me. I used to hear him in Frankie Dusen’s Eagle band in 1911. Did That band swing! How I used to follow him around. He could play funeral marches that made me cry.”] 14 

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For him to make a come-back he needed dental prosthesis and a trumpet: for the first necessity he had the direct help of Sidney Bechet’s brother, a dentist. Revival fans made him their icon, even if we now know that not everything reported or done in the past by Johnson was gold. Beginning with his date of birth which is probably ten years later. Bunk raised his age by ten years in order to justify his presence and to give himself a more significant role in the years of the birth of jazz, the end of the 1800s. Even in terms of music his behavior was strange: when he could, he almost always chose modern jazz musicians to be part of his group, being at ease in songs with long solos, not in line with the New Orleans style. The band recreated by Russell and Williams that made the first series of historical recordings in February 1942 for the American Music (created by Russell) was composed of: Bunk, cn, Jim Robinson, tb, George Lewis, cl; Walter Decou, p; Lawrence Marrero, bjo; Austin Young, cbs, Ernest Rogers, btr. The first recorded tracks, in order, were: Maple Leaf Rag, Shine, Weary Blues, Make Me A Pallet On The Floor, I’m So Glad I’m Brownskin. Following the great success he began a series of tours and concerts, which led to many records, with frequent line-up changes. He got to record with other Top veterans such as, Kid Ory, Mutt Carey, Sidney Bechet, Paul Barbarin, Baby Dodds, Albert Nicholas. In January 1945 he also recorded a Basin Street Blues with Armstrong at the New Orleans Municipal Auditorium, with an all- star formation: Louis Armstrong, tr; J.C. Higginbotham, tb,

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Sidney Bechet, cl, James P. Johnson, p; Ricard Alexis, cbs, Paul Barbarin, btr, special guest Bunk Johnson, trumpet. Between December 1943 and February 1944, Bunk recorded more than 20 tracks with Turk Murphy and the Yerba Buena Jazz Band, the leading exponents of “School 3”, the most evolved, confirming what was said above about the Bunk’s preferences for more modern music. Essentially, those recordings represent the best of his production, and he asserted that YBJB was the best group he had cooperated with. In December 1947 he gave a highly acclaimed performance at Carnegie Hall in New York. It was his last recording. He suffered a stroke and passed away after about a year. An excellent and complete discography, extensively indexed for a more accurate search, can be found at http://www. weijts.scarlet.nl/bjd.htm. The Swedish site dedicated to him, http://www.fellers.se/Bunk/Welcome.html, is also very well documented.l

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Sidney Bechet – (1897-1959) Great qualities of inspiration and instrumental technique make Sidney Bechet one of the most successful artists of the New Orleans jazz. The lyrical language, sweet, seductive, enriched by the highest level of virtuosity of his clarinet or soprano sax make him well-known and appreciated from an early age. In 1932, with Tommy Ladnier on trumpet, he starts the New Orleans Feetwarmers, with whom he recorded on numerous occasions. After the Feetwarmers broke up in 1935, he went back to Noble Sissle’s orchestra, but his fame began to dwindle, until, in 1938, he was forced to a temporary withdrawal from the scenes. Swing played by the great orchestras was the popular music, the big bands like Benny Goodman’s, Artie Shaw’s, Glenn Miller’s and others. Bechet’s florid style perhaps appeared, at least momentarily, eclipsed and Noble Sissle’s orchestra certainly had a less fluid musical swing style... Bechet adapted to these changes and opened a tailor shop. At the end of 1938, aided by Panassiè, he resumed recording with Blue Note, and with Tommy Ladnier and Mezz Mezzrow helped the New Orleans Revival gain popularity. He also worked with Muggsy Spanier and Eddie Condon15, and created high quality Some already acculturated readers might be surprised not to find more precise information and a part dedicated to Albert Edwin Eddie Condon (19051973). Despite having been elected forerunner of the revival in the late 1940s, Condon -guitarist and banjo player- was, above all, a modest instrumentalist but powerful business man and entrepreneur, also linked to the world of organized 15 

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recordings which contributed to the spread of the phenomenon. These recordings helped Bechet return to fame. He went back to playing in public, appearing at Nick’s in the Village and even at the Town Hall, continuing to record for Blue Note throughout all the 1940s. In these study groups where the trumpet/cornet players Wild Bill Davison, Sidney De Paris, Max Kaminsky, Frankie Newton, clarinetist Albert Nicholas, trombonist Vic Dickenson, pianist Art Hodes, Pops Foster on bass, drummer Sidney Catlett, and numerous others. In 1949 he participated in a series of jazz concerts at the Salle Pleyel in Paris. The success was so great that Bechet decided to settle permanently in France, playing mostly with local bands and helping to give birth to the European revival. In France he composed the song Petite Fleur, certainly not in the tradition style, but it became well known all over the world. The strength and uniqueness of Bechet’s musical personality is evident in all of his recordings. The French existentialists gave him the nickname le dieu, God. He was the only musician who was never overshadowed when he played with Louis Armstrong, but he vigorously presented his musical presence from the early years (1923-1925 with Clarence Williams), to the last opportunities he had to play in full revival 16. crime that helped him obtain undeserved popularity . Musically he played almost exclusively commercial music. 16  Listen to this: Texas Moaner Blues (1924) www.youtube.com/watch?v=wv8v05Eeiuc; 2:19 Blues (1940) www.youtube.com/watch?v=ff1HF8GR_tk.

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Tommy Ladnier – (1900-1939) Seen by many as inferior only to Armstrong and Oliver, after much success in the twenties in Chicago, New York and also in concerts in Europe, he retired. These were the years of the Great Depression and Ladnier was forced to work as a shoeshine on the streets of New York. Occasionally he recorded with Bechet and New Orleans Feetwarmers and then in the group created by Panassiè in 1938, who looked for him in the streets along with Mezz Mezzrow to bring him back to play regularly. The Mezzrow-Ladnier with Bechet, Teddy Bunn, Manzie Johnson group was formed. Of course the level is not that of 1932, in any case, Comin’On On the Comin’On and Revolutionary Blues can be considered the first record of the Revival and Ladnier became, deservedly, one of its central figures. The untimely death (of a heart attack) in 1939 ended the career of an excellent musician, whose name will always remain in the spotlight in the history of revival and jazz. The following is a great website for further details on Tommy Ladner: www.tommyladnier.mono.net/8824/Tommy%20Ladnier%2 0Homepage .

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Milton Mezz Mezzrow - (1899-1972) Excellent clarinetist from Chicago with Russian parents, with a background in New Orleans style, was relaunched in 1945 after an absence of many years from the scenes: he shared the same experience of Ladnier and Bechet in 1938, coordinated by Hugues Panassiè, whom he met on a trip to Paris in 1929, but lost track of him because of legal problems. In prison, from 1940 to 1942, he organized a band at the penitentiary in New York. After being released from prison and having started to play with Art Hodes, piano, without drawing too much attention to himself, he met an electrical engineer, John van Beuren, with whom he organized a small record company the -King Jazz- that in 1945 produced 25 records. In the small band, besides Mezzrow, played Lips Page, Sidney Bechet, Sammy Price, Sidney Catlett or Baby Dodds. Hence the return of success, further interviews with journalists and critics of jazz relaunched the figure of “the white clarinetist that played like the black musicians of New Orleans.” Having regained popularity, he had great personal success at the Nice Jazz Festival in 1948. Therefore, at the end of that year he moved to France where, in addition to playing, he devoted himself to the organization of concerts with prominent jazz musicians that were very much welcomed by the public. He is considered the musician that continued the style of Jimmie Noone, one of the greatest clarinetists of New Orleans. He leaves an interesting testimony on the origins of jazz in his

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autobiography, written with Bernard Wolfe17, Really the Blues, del 1946 18. Edward Kid Ory – (1889-1973) The famous Creole trombonist from LaPlace (Louisiana, not far from New Orleans), one of the “superstars” of the origins of jazz, inventor of the tailgate style, a member of historical line-ups such as Louis Armstrong’s Hot Five or accompanist for Jelly Roll Morton, or in the orchestra with King Oliver. He retired in 1929 to devote himself to raising chickens. It was Barney Bigard, in 1942, to propose his return, with a streamlined line-up. He debuted on radio in Orson Welles’ broadcasts and was a success, he also boosted his career by appearing in some films. Thanks to the prudent management of the band, he quickly became an ambassador of the revival, from 1943 to 1966, also with acclaimed tours in Europe and Japan. In 1943 at the Geary Theatre in San Francisco he recorded with Bunk Johnson. The line-up of Kid Ory’s Creole Orchestra (not many replacements over the years, only a few alternation) had names such as Mutt Carey, Ed Garland, trumpeters Alvin Alcorn and Teddy Buckner; clarinetists Omer Simeon, Darnell Howard, Jimmie Noone, Albert Nicholas , Barney Bigard, and George Probert, Buster Wilson, Cedric Haywood and Don Ewell on piano; Minor Hall as drummer. Names that -along with Ory’s tailgate- have B. Wolfe, a writer, secretary to Leon Trotsky during his exile in Mexico in 1937. 18   It has been translated into Italian and published by Longanesi in 1967, with the title I Primi del Jazz. Ecco il Blues. 17 

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ensured a constant high quality sound, complete with its own identity, which guaranteed a great success. Some of his creole performances where unforgettable, such as the Eh la Bas, Blanque Touquatoux, Creole song, Creole Bo Bo, that combined the charm of Creole patois with the joyful music of the revival. As for his records, almost all of them were recorded for the legendary Good Time Jazz, a label that was devoted to the revival. He was also the author of classic songs such as the famous Muskrat Ramble, which he wrote for Louis Armstrong in 1926. He retired in 1966. A complete documentation can be found on the website dedicated to him: http://www.fellers.se/Kid/Welcome.html. George Lewis – (1900-1968) He is perhaps the ‘”incarnation” of the revival. After being a well-known clarinetist in the most important brass bands of New Orleans, such as the Eagle, and having played with Buddy Petit and Kid Ory in the 1920s without ever leaving New Orleans, in 1926 he left the scene until 1942, when the “rediscovered” Bunk Johnson called him to be a part of his band. He stayed with Bunk until Bunk’s retirement, took over the leadership of the group and continued to play in the clubs of Bourbon Street and on radio programs. The first band he recorded with, for Vogue, was G.L. and His New Orleans Stompers, together since May 1943 and was composed by Kid Howard, tr; Jim Robinson, tb; G.L., cl; Lawrence Marrero, bjo; Chester Zardis, cbs (later replaced by Alcide Slow Drag Pavageau); Edgar Mosley, btr. All elements that simultaneously also played with Bunk, and that would remain linked to Lewis even after his retirement and his death. His repertoire is amazing, consisting of all the great classics such as, Milenberg Joys, Walking With The King, Gettysburg March, Just A Closer Walk With Thee, See See Rider, Ice Cream, Heebie Jeebies, O’l

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Man Mose, Mama Don’t Allow It, Canal Street Blues, Bill Bailey, Over The Waves, High Society, I Can’t Escape From You, Careless Love, and dozens of others. It is important to remember his habit of sometimes playing in a trio, with wonderful examples like Burgundy Street Blues and Over the Waves. The May 1950 issue of LOOK19 dedicated an extensive article to him, accompanied by 20 photographs by Stanley Kubrik 20 The May 1950 issue of LOOK19 dedicated an extensive article to him, accompanied by 20 photographs by Stanley Kubrick20, and the magazine -distributed internationally- increased his popularity. That moment, as well as the concerts, touring also in Europe and Japan, performances at the Preservation Hall, marked the beginning of endless activities including the production of many records, which made him a major reference point for young groups of European musicians. Lewis was not a virtuoso and compensated for some technical weaknesses with rhythm, soul, feeling: it is what some call the “Bing effect” 21. His music that, according to the most popular critics, unfolLook was an American magazine founded in 1937 and publishes until 1971. Founded by Gardner “Mike” Cowles Jr. and his brother John, was the first editor of the magazine. Stanley Kubrick collaborated with this magazine. 20  Stanley Kubrick - (1928-1999) Director, considered one the greatest filmmakers in the history of cinema. His career starts in 1945 with an extraordinary photograph of a newsagent upset by the news of President Roosevelt’s the death.. 21  When Bing Crosby’s manager was asked about Bing’s tremendous success, he used to say, “... Well, he makes his singing easy, like he’s shaving.” George 19 

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ds with simplicity, remains one of the best testimonies of traditional Jazz because its vitality, quality of the solos and relaxed atmosphere captivate the listener. All the qualities of Traditional Jazz. Bob Dylan mentions him in one of his songs, High Water, from the album Love and Theft (Columbia 2001), a song dedicated to Charlie Patton, bluesman, also considered “the father of blues”. As evidence to fame that never regressed. Henry Kid Rena (1900-1949) Star of the early New Orleans jazz scene, he played with his own groups and with the Eureka Brass Band until 1932, he then formed his own brass band, the Pacific Brass Band. The Great Depression of 1929 hit him so hard that he stopped playing altogether. He was rediscovered in 1940 by a writer, Heywood Hale Broun Jr., who asked him to record 8 songs. The new Kid Rena’s Delta Jazz Band was formed with KR, cnt, Jim Robinson, tb; Big Eye Louis Big Eye Nelson and Alphonse Picou, cl, Willie Santiago, g; Albert Glenny, cbs, Joe Rena, btr. After some rehearsals at Willie Santiago’s home on August 21 at the Hotel Roosevelt, they began their recording sessions and were recorded by the radio station New Orleans WWL-FM105. Lewis has the same “effect”, George plays so easily that it seems like it could be easy to imitate. This is wrong! For a clarinetist it can be difficult to achieve a high technical level, to play fast-paced scales and arpeggios or to have the best sound in all the registers, but it is almost impossible to play with George Lewis’ “voice”. One must have a high sensitivity and “something to say” and its rhythm, soul and feeling, was practically unique.

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The songs chosen were: Milenburg Joys, Clarinet Marmalade, Gettysburg March, Lowdown Blues, High Society, Panama, Weary Blues, Get it Right, all cornerstones of the Trad repertoire. Despite the poor quality of the recording, Rena’s comeback was successful, but there was no way to continue with the recordings. After a few years of moderate success with his own band and playing with other groups, he stopped again, in 1947, because of alcohol. He died in 1949. Ernest Punch Miller – (1894-1971) After the first few years in New Orleans, he left Louisiana in 1919 and moved to Chicago, he became part of Jelly Roll Morton’s band. He stopped playing in the 1930s and is one of the examples of a late rediscovery. His presence in the 1940s is quite modest though historically interesting and of excellent quality (for example, in 1942 he played with Big Bill Broonzy, in 1947 with Edmund Hall and Albert Nicholas). He was not, in those years, considered a “father of the revival.” His official comeback happened in later years when he joined George Lewis on tour in Japan in 1963, and then when he became a ‘regular’ guest of Preservation Hall (which will be discussed later) until 1971. A contribution to his fame in later years was the visibility given to him by Big Bill Bissonnette with the Jazz Crusade. We will talk about Bissonnette in a few pages. Punch, well known for its fast fingering that he had “patented” as a real method for playing trumpet, left numerous testimonies of his excellent style, but he never had that ‘certain something’ to

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make him an absolute “master”. He recorded many albums and there are many videos available on YouTube.

School 2 - Musicians modifying their current style, they return to the New Orleans style Francis Muggsy Spanier - (1906-1967) Fine cornet player and ... opportunist, a native of Chicago, considered the best until Bix Beiderbecke. Always well liked by the public, from 1926 until 1938, his style changed with the passing of years to adapt to the orchestras in which he performed (Ted Lewis, Ben Pollack), which had evolved so to always present excellent music, initially with dixieland and then with swing connotations. After stopping for about a year for health reasons (a car accident before, then a perforated ulcer) he resumed his career in April 1939 and, thinking that the old style -that was beginning to resurface- would become successful, with the Muggsy Spanier’s Ragtime Band he used a sound that focused on brass instruments and with a strict 4/4: a perfect copy of the King Oliver style in Chicago. The experiment was successful, and Spanier played soldout concerts in Chicago and New York. He revisited the great classics of the 1920s, initially sixteen songs including, At The Jazz Band Ball, Dippermouth Blues, Livery Stable Blues, Riverboat Shuffle, Sister Kate, Lonesome Road. These were care of the Bluebird and became so popular that they were collected in

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an album called “The Great 16”. For economic reasons, or perhaps because he had imagined perhaps mistakenly- that the revival phenomenon would only be temporary, at the end of 1939 he went back to Ted Lewis and swing bands, in any case, he was always appreciated by the audience. A meteor in the revival, but still a great jazz musician. George Robert Bob Crosby – (1913-1993) Bing’s22, younger and less well-known brother, born in Spokane, Washington, gains popularity in dixie and swing in Chicago directing the Ben Pollack’s orchestra composed of; Jack Teagarden, Glenn Miller, Benny Goodman to name a few. In 1937, to the swing orchestra’s usual repertoire, Bob begins to add songs played by smaller groups (focused on the “triplet” trumpet, trombone, clarinet), and these end up representing the most popular and acclaimed parts of their concerts. The group was known as the Bobcats, a small band within the big band that played Dixieland with strong New Orleans connotations when, in 1938, Ray Irving on clarinet and Fazola Bauduc on dru-

Harry Lillis Crosby, also known as Bing Crosby (1904-1977) was an American actor and singer. His recording of White Christmas, the song written by Irving Berlin, is one of the best-selling albums of all time.. 22 

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ms joined the group. Until 1943 the Bobcats kept the polyphonic style of classic jazz, defining themselves as exponents of Traditional Revival. The arrangements were done by Yank Lawson, trumpet, and Matty Matlock, clarinet. When the band’s success began to decline it was revived, in the 1960s, by Yank Lawson and Bob Haggart, bass. Although they gave the band their name, Lawson - Haggart Jazzband, they kept Bob Crosby’s name alive until the 1970s. William Wild Bill Davison – (1906-1989) Excellent, multi-talented trumpeter from Ohio. He started in the 1920s playing at seedy venues in Chicago and became an established performer in 1945 when he started playing with Eddie Condon in New York until 1957. Well-known for his vibrato, which stood out especially in slow tempos. It took many years for him to become an established performer because of an automobile accident which occurred in Chicago in 1932. Davison drove and Frank Teschemacher, emerging young clarinetist, loved by the public, lost his life. The accident caused the public to turn away from him for many years. In the early 1940s, he played -albeit sporadically- in different Trad groups always accompanying big stars of the revival, above all Sidney Bechet in 1940. His name soon became well-known and directly associated with the revival. His many tours in America and Europe, even in Italy where he played and recorded with Lino Patruno and the Milan College Jazz

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Society, gave him notoriety. In all the years that followed he remained one of the most successful musicians of the revival genre, considering that from 1965 to 1975 he played with at least 100 different bands, and recorded more than 800 different songs in 20 albums. Willam Hal wrote his biography, The Wildest One, Avondale Press, 1996. Max Kaminski – (1908-1994) From Brokton, Massachusetts. Trumpeter in the 1920s well-known for playing with Eddie Condon and also with the Original Dixieland Jazz Band. While continuing his career by working with excellent musicians such as Tommy Dorsey and Benny Carter (tp, sa), in the mid 1930s he performed almost exclusively in commercial dance bands. In 1942 he returned to dixieland, and gradually returned to early jazz, taking over the style and repertoire of Buddy Bolden, Freddie Keppard, Louis Armstrong and King Oliver until the 1960s. He worked and recorded with Bechet, Brunies, Hodes, Teagarden. In 1957 he was acclaimed when in tour in Europe with Teagarden and Earl Hines. In 1964 he published the autobiographical book My Life in Jazz (Da Capo Press, Cambridge-USA).

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George Brunies – (1902-1974) Great trombonist of the 1930s, he started very young at the dawn of jazz, first in New Orleans then in Chicago, playing with the New Orleans Rhythm Kings23 and later with Ted Lewis and Eddie Condon. He basically followed Muggsy Spanier, with whom he acquired fame, becoming part of the revival, and also played in Art Hodes’ band. At the end of the 1940s, at the height of his fame, he was named by critics and audiences “King of the Tailgate Trombone” the style that Kid Ory had created, launched and continued to play when Brunies was no longer a revivalist! Like Spanier, Brunies was back to the swing and commercial jazz. However, like for Spanier, there was an excellent record production in that brief period. Joseph Sharkey Bonano – (1904-1972) He was one of the few revivalist reviewed by The Jazz Archivist, who mentioned him as a reference for his work in New Orleans in 196024. Bonano, great trumpeter, at the beginning of his career had even replaced Bix Beiderbecke in the Wolverines on some occasions The New Orleans Rhythm Kings (nicknamed Nork) were one of the most important jazz bands of the early to mid 1920s. The band was a combination of New Orleans and Chicago styles and was composed of only white musicians. Their recording session in 1923 with Jelly Roll Morton is perhaps the first album from a racially mixed band. 24  Jazz in New Orleans at 1960s - Review in The Jazz Archivist, vol. X, maydec 1995. 23 

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and also Nick LaRocca in ODJB, before joining large commercial orchestras (L. Brownlee, J. Durante, Pollack). Immediately after the war he toured Europe, Asia, South America, before settling in New Orleans in 1949, reviving the classic style. It is said (urban legend?) that Arturo Toscanini, after hearing him play, propose him a rehearsal with the Covent Garden Orchestra in New York, after which the Maestro rebuked his trumpet players for not being able to reproduce the sounds expressed by Bonano. Often in the line-up with Bonano, as a clarinetist, another wellknown revivalist: Pete Fountain. Pierre Dewey Pete Fountain – (1930) Brilliant clarinetist of the Creole neighborhood of New Orleans, he began training for and playing swing, and then, in 1951, founded the Basin Street Six band, it epitomized the New Orleans style that he continued playing for a long time. He recorded more than 100 albums, but often moved away from classic style to propose other music or a more mainstream New Orleans style. He gave his last concert in his eighties, in 2010 in Hollywood. He often played with his friend Al Hirt (19221999), also from New Orleans, trumpet player who represented only a phenomenon of commercial virtuosity.

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School 3 - Musicians of the new generation that re-elaborate the New Orleans style Lucius Lu Watters - (1911-1989) Trumpeter from Santa Cruz, California, with a great love for the music of New Orleans. After having played in various orchestras -even with Bob Crosby- in 1940 founded the Yerba Buena Jazz Band with which he performed at the Dawn Club in San Francisco. The band was formed entirely by white musicians, but the music and style were those of King Oliver, to which was added a creative phase with arrangements that became more and more complex over time. Watters was then able to create his own repertoire of original compositions, based totally on King Oliver’s 1920s style, arranged in a more mature and modern style. Above all, Emperor Norton Hunch, Annie Street Rock and Big Bear Stomp. “I wanted to stay anchored to Oliver and Armstrong’s old style and extend it in a creative way, while keeping with the tradition ..... People think that a beautiful melody should be easy to remember ... well! It is an important quality, but a beautiful melody also needs complexity and content that makes it amazing.” 25 He also changed the way the band was arranged in front of the audience: the rhythm section in front and the melody in the back. John Buchanan - Emperor Norton’s Hunch. The story of Lu Watter’s YBJBHambledon Production, Middle Dural 1996. 25 

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A revolution! It was actually an optimal way for the rhythm section not to lose the “tempo” by not being able to hear who was playing in front of them (nightclubs were not concert halls ...). The very well selected formation created by Watters was composed by Watters and Bob Scobey, tp; Turk Murphy, tb; Ellis Horne, cl; Wally Rose, p; Clarence Hayes, Russ Bennett, bjo; Dick Lammy, cbs; Bill Dart, btr. In subsequent years, in more musically interesting recordings, Horne was replaced by Bob Helm. They had created a style: the San Francisco style. Lu broke up the band in 1950 and 1957 retired from the music world devoting himself to studying geology and he received much professional praise in his field of study. He reappeared after a few years, but only occasionally, to record an album with Bob Helm and to play with Turk Murphy in order to support the anti-nuclear cause. The complete discography is available on the website: http://www.jazzdisco.org/lu-watters/discography/ Melvin Edward Turk Murphy – (1915-1987) Born in Palermo, California. His career as a trombonist in the revival, San Francisco style, began in the 1940s with Lu Watters. In time, he proved to be a trombone virtuoso and great arranger of songs, working not only for his own band 26. Murphy signed very famous and very successful arrangements, such as Louis Armstrong’s Mack The Knife in 1955. 26 

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When Lu Watters brakes up the Yerba Buena Jazz Band in 1950, Turk takes over the group and names it Turk Murphy’s Jazz Band, and makes some changes. For example: Bob Scobey, tp; TM, tb; Bob Helm, cl; Burt Bales, p; Harry Mordecai, bjo; Dick Lammi, cbs. The sound is very similar to marchin’ band, despite Helm’s high notes and virtuosity. Murphy was great friends with Ward Kimball, Disney cartoonist and trombonist in Firehouse 5 +2, where the echoes of the Lu Watters and Turk Murphy’s style can be heard. The band was always popular: Murphy continued successfully until 1987. In January of that same year he gave a concert at Carnegie Hall, then died in May due to a lung tumor. Bob Scobey - (1916-1963) Born in Tucumcari, New Mexico, he began his career in the midthirties playing at nightclubs in San Francisco. In 1938 he became second trumpet in Lu Watters’ band, but left the band in 1949 because of an argument he had with members of the rhythm section, and went on to form his own group Bob Scobey’s Frisco Band, which followed the new standards set by the San Francisco style revival. His group was successful, and in 1953 performed a concert at the Civic Auditorium in Pasadena (California), where Armstrong sang with them27

The news is reported in the biography He rambled! (Pal Publisher, 1976), edited by his wife Jan, but there is no trace of this in the most important of Louis Armstrong’s discographies and biographies. 27 

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He continued to play until 1963, especially at the club he opened in Chicago in 1960, the Bourbon Street Club, always appreciated by fans of revival. Bob Helm - (1914-2003) Clarinetist for Lu Watters, after concluding his experience with YBJB at the end of the 1950s he put together his own band, Bob Helm’s Riverside Roustabouts, that kept the new style created by Watters and became another one of its ambassadors. In 1950 he recorded, in a private session, a series of poems by Weldon Kees28, Kees on piano and Helm on clarinet and washboard29. He alternated numerous retirements to as many successful comebacks, even in the 1980s and 1990s. Firehouse 5+2 30 (1952 - 1972). In the early 1950s a group of Disney cartoonists, directed by the excellent trombonist Ward Kimball (1914-2002), formed a band which played a little bit of everything: traditional jazz, ballads, folk songs, which were interspersed with fun things like a car sirens, a fire truck bells, fire fighting clothing from the 1910s, and more. Weldon Kees (1914 -1955). Poet, writer, screenwriter, painter, American literary critic, one of the most important English speaking cultural character of the last century. 29  Washboard is used as a percussion instrument. It (as an instrument) originated in New Orleans in the first half of the twentieth century. It was created by using a ribbed metal board, like the ones used to wash the laundry. 30  http://www.firehousefiveplustwo.com 28 

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While this made the purists grimace one must, however, recognize the enthusiasm shown for the Trad style jazz, the contribution given that brought the audience closer to a certain type of music31, the excellent musical performances and the fact that it was all done in good faith. In fact, they played at Disneyland for many years and their work should be looked at in this perspective: a fun way to promoted the Disney brand, which was ​​no secret, starting with the band’s name. They became so popular that they were considered a national institution (!), they recorded 13 albums (two devoted to Disney films and the Disney Park soundtracks) they continued their work

until 1972. They were also in some Disney movies and in 1953 in the cartoon, “Goofy. How to dance”. In their extensive production some songs are interpreted with an absolutely distinctive style with perfect arrangements, an unforgettable experience for the listener. 31 

Myself included in 1956.

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The initial line-up was: Danny Alguire, cn; Harper Goff, bjo; Ward Kimball, tb, siren, sound effects; Clarke Mallery, cl; Monte Mountjoy, bt; Erdman (Ed) Penner, bss / tuba; Frank Thomas, p. ****** It is not possible to review the whole music scene the second phase had to offer, the period from 1960 onwards, in this context. It is, however, always nice to remember the fundamental work carried out in the early 1960s by a young trombonist from New Orleans, William Big Bill Bissonnette (1937), passionate enthusiast of the New Orleans style, who formed his own group -Easy Riders Jazz Band- and his own record label (Jazz Crusade). He was devoted to retrieving information and testimonies on the golden age, he was able to make several recordings with historic names by placing them in his own group and involving them in numerous tours. These included George Lewis, Thomas Kid Valentine, Kid Sheik Colar, Jim Robinson, Punch Miller, just to mention a few of the most important. To this material he added many recordings that he managed to buy and publish. The Jazz Crusade boasts a catalog of over 150 artists. Bissonnette is still active and is often in Europe (France and Denmark) performing with local bands. In 1992 he published his memoirs in The Jazz Crusade (Special request books), a real treasure trove of information about the origins of jazz, and relaunched his label and recorded over 100 sessions with his band accompanied by other great musicians of the classical period.

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Two great musicians were often present in the Easy Riders Jazz Band. The first, Samuel Sammy Rimington (1942), British clarinet player, who had also played with Ken Colyer from the late 1950s until 1965, the year he moved to the U.S.A, then joined Bissonnette’s group. The second is one of the best cornet players of the recent revival, his activity continues from the 1960s to today, with great musical sensitivity, exquisite phrasing, respect for tradition: Fred Vigorito (1943). My personal friendship with this excellent revivalist gave me the opportunity to ask him for a brief summary of his work. With his usual kindness he agreed, and I will now share what I received.

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Hi Gino, I hope this is what you are looking for. Best Regards, Fred

Fred Vigorito (Cornet & Leader, Guilford CT., USA) - I have led the Galvanized Jazz Band, Connecticut’s number one Jazz band, since 1971. Since my retirement from the Southern New England Telephone company in 1995 I have been a full-time musician, playing the music that I love, New Orleans Jazz. Studying cornet beginning at age 9, I played first cornet, first chair in Connecticut’s All-State Band as a high school freshman. I have been playing New Orleans Jazz since 1963 when I joined Big Bill Bissonnette’s Easy Rider Jazz Band. I am featured on more than 50 recordings, my most memorable being a 1965 GHB recording at Preservation Hall with jazz veterans Jim Robinson, Albert Burbank, Creole George Guesno, Alcide “Slow Drag” Pavajeau and Don Ewell. I also recorded with the great George Lewis, Louis Nelson, Kid Thomas, Emmanuel Paul, Sammy Rimington and others. Other musicians tell me I play a hot, driving cornet style, and I’m flattered by those comments! My major influences include Louis Armstrong, Kid Thomas, Kid Howard, Wild Bill Davison, Bobby Hackett, Muggsy Spanier, and Thomas Jefferson. For the past 8 years, I have been a featured guest performer in France with JP Allessi’s French Preservation New Orleans Jazz Band, and in Denmark with the New Orleans Delight Jazz Band. I look forward to many more years of playing this wonderful, happy music!

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Among the current bands the Bratislava Hot Serenaders (Slovak Republic) are believed to be the most popular jazz orchestra in the world, with a line-up composed of 18 elements, they have been successfully performing 1920s style jazz since 1992, with great stylistic rigor from the orchestrations and the use of period instruments to their look.

Finally, I want to speak of an artist that -in my opinion- will be well known in the future. She began gaining popularity online. Her name is Meschiya Lake and she is accompanied by the group Little Big Horns (http://www.meschiya.com/) created by her in 2009. Meschiya sang in the streets of New Orleans until 2011 (see the numerous YouTube videos), but has already begun to take flight ..... her amazing voice, and style of the Little Big Horns confirms that the revival continues...

The Accompanists The success of a group is certainly the result of the quality of music, the art, the charisma and the name of the leader together with the organizational skills of his manager, when this figure does not coincide with the leader himself. Being able to create the perfect balance between the melodic section and rhythm section, with all the musicians in perfect harmony both in style and in repertoire, is not always simple or easily accomplished. It has always been this way. Consequently, the success of a group is certainly due to the Protagonist, but he is widely supported by other musicians who -sometimes- sacrificed their own popularity for the benefit of the entire group and its leader. Therefore, it seems appropriate to mention some names, that are not always mentioned in books, which helped to make history and create the legend of the very first revival. The term “accompanist” sounds reductive, and it is certainly an understatement for many of the musicians mentioned below, but you will forgive the term used if you keep in mind that we are comparing them to the monumental soloists of the history of jazz, and only in relation to the period of the revival. Jelly Roll Morton, Red Hot Peppers (1939) Significant was the presence of Sidney Bechet, clarinet, and also Henry Red Allen, trumpet (1906-1967) Sidney de Paris, trumpet (1905-1967)

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Fred Robinson , trombone (1901-1984) Claude Jones, trombone (1901-1962) Albert Nicholas, clarinet (1900-1973) Wellman Braud, guitar (1891-1966) Zutty Singleton, drums (1898-1975) Louis Armstrong, The All Stars (1947) The line-up is on page 38, significant was the presence of Jack Teagarden, trombone (1905-1964) – his duets sung with Satchmo were also unforgettable ������������������� Earl Hines, piano (1903-1983) Sidney Catlett, drums (1910-1951) Cozy Cole, drums – (1909-1981) Wingy Manone, His Cats (1940) Joe Marsala, clarinet (1907-1978) Johnny Guarnieri, piano – (1917-1985) descendant of the famous Guarneri family of Cremona, violin makers George Wettling, drums (1907-1968) Bunk Johnson, various groups 1942-1947 the line-up is at page 43; significant the presence of Jimmy Archey, trombone (1902-1967) Jim Robinson, trombone (1892-1976) Edmond Hall, clarinet – (1901-1967) also played with Armstrong’s All Stars after 1947 Omer Simeon, clarinet (1902-1959) Alton Purnell, piano (1911-1987) Lawrence Marrero, banjo – (1900-1959) already mentioned but a “column” for many rhythm sections Wellman Braud, bass (1891-1966) George Pops Foster, bass (1892-1969)

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Alcide Slow Drug Pavageau, bass – (1888-1969) same as for Marrero Cyrus SantClair, tuba (1890-1961) Warren Baby Dodds, drums (1898-1959) Paul Barbarin, drums – (1899-1969) historical name from Brass Bands to the revival Sidney Bechet, New Orleans Feetwarmers (1941) In addition to Tommy Ladnier on trumpet Teddy Nixon, trombone Henry Duncan, piano Ernest Meyers, bass Morris Morland , drums It was not possible to obtain personal information for any of them.

Mezz Mezzrow, His Orchestra (1951, Parigi) Lee Collins, trumpet (1901-1960) - historic name in New Orleans Mowgly Jospin, trombone (1924-2003) Guy Lafitte, clarinet (1927-1998) Andrè Persiany, piano (1927-2004) Zutty Singleton, drums (1898-1975) Muggsy Spanier, his Ragtimers (1944) Pee Wee Russell, clarinet (1906-1969) – coming from swing, but strongly influenced by the New Orleans style of Alcide Yellow Nunes of NO Miff Mole, trombone (1898-1961) Eddie Condon, banjo (1905-1973) Gene Schroeder, piano (1908-1974) Bob Haggart, bass (1914-1998) George Wettling, drums (1907-1968)

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Here are a few names of musicians that were not in a single line-up for very long, but that partnering with many different artists have, however, helped to create this phenomenon from New Orleans that was able to resume in the 1940s and continue over time. William Buster Bailey, clarinet (1902-1967) Danny Barker, banjo (1909-1994) Mutt Carey, trumpet (1886-1948) Dick Cary, piano (1916-1994) Bob Casey, bass (1909-1974) Oscar Papa Celestin, trumpet (1884-1954) Cutty Cuttshall, trombone (1911-1968) Joe Darensbourg, clarinet (1906-1985) Vic Dickenson, trombone (1906-1984) Ed Garland, bass (1895-1980) Jay C Higginbotham, trombone (1906-1973) Art Hodes, piano (1904-1993) Percy Humphrey (1905 -1995) William Humphrey, clarinet (1900-1994) Don Kirkpatrick, piano (1905-1956) John Lindsay, trombone and bass (1894-1950) Louis Kid Shot Madison, trumpet (1899-1948) Benny Morton, trombone (1907-1985) Alphonse Picou, clarinet (1878-1961) Sammy Price, piano (1908-1992) Lester Santiago, piano (1898 ? -1965) Bud Scott, guitar (1890-1949) Jabbo Smith, trumpet (1908-1991)

THe Revival in EuropE Europe took a great interest to jazz and the artists who came from America to give concerts on the continent were well received by the audiences. What made it even better was the absence of racial segregation and prejudice that still held sway in America.32. This was the reason why many jazz musicians undertook long tours in Europe, encouraging the emergence of many groups of admirers and imitators. This relationship between jazz and Europe would suffer a setback during the Second World War only to resume with even greater force in the postwar years. Particularly in the years of the New Orleans Traditional Revival, thanks to the enthusiasm of young musicians, more or less professional groups began to form. They represented the seed that started the spread of classical jazz. This seed sprouted quickly and groups would have created

emulators. Many fans in the 1950s, who had started forming small trad groups just for fun or passion, remained at the forefront for many years, with an increasing degree of professionalization. Here is a list of names and groups divided by nationality. England - In ����������������������� the UK, the pianist George Webb (1918-2010) formed the Dixielanders in 1943. Their work was based on the first recordings of Oliver, Morton and Armstrong. The Dixielanders did some recordings for Decca. The trumpeter Humphrey Lyttelton (1921-2008) joined the band and took over the leadership. In 1949, 32 

Nazism e fascist racist laws would have been come in 1933 and 1938.

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the band also made some historic recordings with Sidney Bechet. Lyttelton’s band went on to record several sessions for the Parlophone label, also producing a song that made it to the Top 20 Hit in 1955: Bad Penny Blues. This was the first jazz song to make it in to this radio’s top 20 chart, with a “minimal” jazz line-up (trumpet, piano, bass, drums), staying there for 6 weeks. In those years, trumpeter Ken Colyer (1928-1988) was on his way to New Orleans not only to listen to traditional jazz first hand, but to fulfill his dream: to perform with his idol, George Lewis. He returned to the United Kingdom ... to spread the Gospel. He immediately formed a group that included Chris Barber (1930), Monty Sunshine (1928-2010) and Lonnie Donegan (1931-2002). Rhythmically the band did not sound like a band from New Orleans. Their style was essentially “second school”, according to the diagram shown earlier. In those years, until 1965, he played with Colyer and Sammy Rimington (see p. 64), a great clarinetist. Colyer also formed another group that included drummer Colin Bowden (1932). This group turned out to be the one that sounded the closest to the New Orleans sound. Colyer was finally able to form a band that played great jazz, far from commercial success but personally destined to become a cult

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figure for the European fans of traditional jazz. After leaving the Ken Colyer’s group, a new band was created: Chris Barber -trombone-and Monty Sunshine -clarinet- with Pat Halcox (1930) on trumpet and Donegan on banjo, they founded the Chris Barber Band, still very active and well known. The clarinetist Cy Laurie (1926-2002), followed in the footsteps of the bands of the 1920s. In particular, he tried to assimilate and reproduce Johnny Dodds’ sound. His cornetist Ken Sims later joined the band led by another clarinet star, Acker Bylk (1929). Bylk’s group had a wonderful drummer, Ron McKay, who helped Bylk’s band become, at the end of the 1950s, one of the great stars of the Hit Parade in the UK. The drummer Barry Martyn (1941) organized various concerts and toured Europe with some great musicians from New Orleans that he met on his trip to Louisiana in 1961. He was among the first white jazz musicians to support the “mixed” line-ups. In 1970 he formed The Legends of Jazz, a group that recorded many albums. Terry Lightfoot (1935) must be mention, he was, first, clarinetist for Chris Barber and then in his own groups, and the trumpeter Kenny Ball, but the latter went from traditional to playing commercial music style. France - Based on the widespread interest in ragtime since the 1900s - on the occasion of the Paris Expo- that continued to grow and expand to other forms of music imported from America (take for example the success of the Quintet Hot Club de France with Django Reinhardt - 1910, 1953 – Belgian, for that matter), since 1945 the revival in France received excellent feedback from young

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audiences, and not only. Claude Luter (1923-2006), clarinet and Claude Philippe, banjo, represented the leaders of this movement. Luter would later become almost inseparable from Sidney Bechet after he moved to France in 1949. The revival was so popular that in October of 1955 Bechet celebrated his millionth record sold, with France in first place for purchases (Gold Disc Vogue), of course . A contribution, although occasional in the New Orleans style, was given by Claude Bolling (1930), more devoted to swing. In any case, some collaborations with Boris Vian, definitely devoted to the classic style as well as an established writer especially in the existentialist literature circles33, contributed to its spread. Vian ��������������������������� became a member, as a trumpet player, of Claude Abadie’s (1920) Boris Vian (Ville d’Avray, 1920 - Paris, 1959) was a French writer, engineer, songwriter, poet, trumpeter and translator. Vian wrote 10 novels, including 4 hard-boiled genre thrillers. A few of the most well known are, L’Arrache Coeur, L’Herbe Rouge, L’Automne a Pékin and Écume des Jours, what the critics have identified as his masterpiece. Also author of short stories and songs, Vian played his pocket trumpet (which is often found in his writings with the nickname “trompinette”) in the famous “Tabou” club (now closed) located in Rue Dauphine, near Saint Germain des Prés in Paris. He was Duke Ellington’s and Miles Davis’ “contact” (among others) in Paris. He has written for several French jazz magazines (Le Jazz Hot, Paris Jazz) and published numerous articles on jazz in America. Although he never set foot in America, the trends of this country, jazz in particular, could often be found in Vian’s work. He was also a member of the Collège de Pataphysique and jazz record department manager at Philips.�. 33 

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small orchestra in 1942 (Abadie was clarinetist as well as director of the group). Soon, Vian’s brothers joined the group, first Alain, as drummer, then Lelio, as guitarist. Jazz was their war of resistance, the cry of rebellion for every oppressed race. The Vian brothers, who proudly called themselves marrons (escaped black slaves), looked with reverence to the New Orleans style, they organized swing festivals and were the forerunners bebop. From February 22th to 28th 1948 a memorable event marked the history of the spread of jazz in France: the first jazz festival in the world took place in Nice. During this period, undoubtedly the most fruitful for Jazz, there was a clash between two stylistic trends a “querelle des anciens” (proponents of classic Jazz) and “des modernes” (proponents of an evolving Jazz style, bebop). It is in this climate that in Nice, under the artistic direction of Hugues Panassié, President of the Hot Club de France, the first International Jazz Festival took place. The absence of members of the new styles in the program, a decision made by the Hot Club in favor of the “old style”, created a fracture that worsened over the years. The Jazz Festival took place in the very elegant Opera of Nice, the concerts that were played were later partially transmitted on the radio. In the great hall under the windows of the Casino Municipal of Place Masséna, with its Belle Epoque architecture, the audience perpetuates the popular tradition that belonged to the origins of Jazz, the tradition of dancing. The presence of Louis Armstrong, in the splendor of his artistic maturity, aroused the enthusiasm of the audience. The “Nuit de Nice”, the closing night at the Négresco with the presence of Stéphane Grappelli and Django Reinhardt (Quintette du Hot Club de France), ends at dawn with an amazing jam session.

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Netherlands - In conjunction with the revival in the United States, traditional jazz gave way to a great interest in jazz in the Netherlands. However, while some groups such as The Ramblers evolved into swing, the few remaining groups that played traditional jazz failed to create a broader movement. The possible aspiring jazz musicians were also limited because some instruments were not available to most Dutch musicians, such as the double bass and the piano. They were forced to improvise and experiment with new types of line-ups and instruments, this resulted in a new form of jazz ensemble generally referred to as ‘Oude Stijl’ (‘Old Style’) jazz. Among the classical and “historic” groups the forerunner is certainly the Dutch Swing College Band, founded in 1945 by clarinetist Peter Schilperoort (19191990). The line-up, still active today and directed by Bob Kaper, has always been successful, not only in Europe. The Harbour Jazz Band also played an important role from 1956 onwards, initially founded by Jaap van Velzen (trumpet) and Aad de Moree (clarinet), and then led by clarinetist Ferdi Meijer for over 30 years. As for the DSCB their success is international. Scandinavian countries – The self-taught trombonist Arne “Papa” Bue Jensen34 (1930-2011) started his training in the 1950s in small bands such as the Royal Jazzman (later Bohana Jazz Band), the Henrik Johansen’s Jazz Band and the Saint Peter Street Stompers, playing on occasion with Chris Barber. He founded the Viking Jazz Band (initially named the New Orleans Jazz Band) in 1956. The nickname “Papa” was given to him by the members of the band, as Arne was the oldest and the only one who was already a father. 34 

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This name was given to them by the American journalist and vocalist Shel Silverstein35 who saw one of their concerts during a stay in Copenhagen. He later wrote an article about them, calling them the Danish Vikings, explaining that the group played the original New Orleans and Chicago Jazz even better than any American band at the time. The band adopted the new name and released their first album as the Viking Jazz Band in 1958. In 1960 their “Schlafe Mein Prinzchen” sold over one million copies and received a gold disk. This great success was met with a very high international reputation. Jensen worked with George Lewis, Wingy Manone, Wild Bill Davison (which for a time was a permanent member of the band), Edmond Hall, Champion Jack Dupree, Albert Nicholas, and Art Hodes. In 1969 the Viking Jazz Band was the only nonAmerican band to participate in the New Orleans Jazz Festival, and Jensen was awarded the “Golden Keys to the City”. He has become an icon of traditional jazz. Another important group is the Peruna Jazzmen, founded in 1959 by Arne Hojberg (1941), trombone, and Peter Aller (1932), trumpet, in Copenhagen. The name Peruna means Potato in Finnish, but it is also the title of a song recorded by many jazz Shel Silverstein (Key West, Florida, USA 1930-1999): poet, playwright, composer, lyricist, musician, writer, illustrator. Mick Jagger sang his songs, he composed the soundtrack for “Thelma & Louise”; He was nominated for an Oscar for his music in “Postcards from the Edge”; he won a Grammy Award with “A Boy Named Sue” played by Johnny Cash. He could play the guitar, piano, saxophone, and also the trombone, he alternated with ease from piano keys to those of the typewriter, never forgetting the pencil to illustrate his ideas. 35 

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bands since the 1920s. The line-up consists of two cornets, clarinet, trombone, piano, banjo, washboard and tuba, they won numerous awards in France, Spain, USA and were voted as one of the 3 best bands in the world by Jazzology36 in recent years. Peruna played with many big-name jazzmen (Louis Metcalf, Bud Johnson, Cy Laurie, Jabbo Smith, Wild Bill Davison) and accompanied Eva Taylor, widow of Clarence Williams, wellknown composer and conductor of the classical period. The line-up has changed some of its performers over the years, but Hojberg, Aller and second cornet Mikael Zuschlag (1953) helped to maintain the continuity of the group’s great sound.

Jazzology Records is an American record label, specializing in traditional jazz. It was founded in 1949 by George H. Buck, and still active, dedicated to the preservation of great, historical jazz recordings. Other major labels, such as GHB Records, Audiophile Records and Black Swan Records, American Music Records and Southland Records, also operate under the Jazzology brand. They also publish books and videos. Annually they have the elections for artists, bands and albums of the year in the various categories (traditional, swing etc.) where the collectors vote. 36 

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(Mikael Zuschlag)

Germany - The 1930s were a dark period for jazz in Germany, as the Nazi authorities tried to eliminate this kind of music by using propaganda to demonize the music, its supporters and those who listened to it. Jazz was permanently banned at the beginning of the Second World War. After the war, jazz began to re-emerge after 20 years of isolation, thanks to the allied countries. Berlin, with Frankfurt and Bremen were in charge of this music’s return of. The Berlin Wall, built in 1961, did not help contribute to particular musical phenomena. In this context there are just a few soloists and groups for the revival genre, which would only establish itself in the 1980s, they belong to the second revival. One of the few names of reference, in a landscape of many jazz clubs but few musicians or groups, is certainly the young clarinetist Klaus Doldinger (1936), who, at age 16, in 1952 founded the band Dixieland Combo Feetwarmers. Doldinger recalls: “I’ll never forget our first gig. It was the British Cultural Institute in Düsseldorf. There were actually many people and for us it was a big surprise ... the novelty of our music, enhanced by the strength of the drums, was gradually perceived and appreciated by the public.” In 1953 Doldinger formed the band the Feetwarmers and began recording with them in 1955. Subsequently, in 1958, always followed by the general public, went from the Traditional to swing and other genres.

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It is also important to remember Fatty George (Franz Josef Pressler 1927-1982), from Vienna, alto sax before switching to the clarinet, he studied at the Conservatory and at the Academy of Music in Vienna, stylistically he was initially influenced by Benny Goodman . After World War II he played in the Austrian forces officers’ club, first for the Red Army, then for the U.S. Army. Because of the difficult economic situation, in 1949 with his band, he left for to Germany. He introduced the concept of playing both Dixieland and cool Jazz with the same band , and so he named the group, which also included Oscar Klein (1930-2006) on trumpet: Two-sounds Band. In 1955 he returned to Vienna with his band (which also included Joe Zawinul), but he stopped playing the dixie genre. In the late 1950s Herbert Christ (1942), trumpet, begins to establish himself as a soloist with various traditional jazz bands, both German and not: especially Italian in recent years. Italy - Italy is perhaps the European country that has most enthusiastically assimilated the spirit of Trad, to the point that bands formed at the end of the 1940s are still active today.37 Jazz in Italy registered, from its earliest years, a continuous adaptation by the public, at first a minority, but destined to Jazz Me Blues -http://www.jazzmeblues.it/ - Lino Patruno’s website, contains interviews with leaders of several revival bands from 1949 to today. 37 

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grow over time. The appreciation of jazz was initially heritage of musicians. Then, following the fashion of American dances and tastes, the interest was grew over the years thanks to radio and also to the many orchestras that performed on transatlantic routes to North America. In the 1940s jazz was fairly well known, despite the hostile political moment, but this knowledge was directed mainly to the pseudo-jazz of the time, like Paul Whiteman’s music. When the revival phenomenon in America began, the public (a minority, but skilled, made up of critics and fans) and musicians in Italy had just developed a decent interest in the original jazz and its history. As a result, immediately after the end of the war, from the second half of the 1940s, along with the increasing number of local Hot Clubs -like in the rest of Europe- and collaborations between local musicians and allied radios, as the Germans left Italy (let us not forget: 1945 is the year World War II ended) in addition to the further spread of American music and of jazz, an interest in the origins of this music began and, consequently, an interest in playing it. Among the characteristics that promoted the spread was definitely the joyfulness of a most of its repertoire, the harmonic simplicity (and therefore more easily performed even by amateurs) and - in reference to the music of the 1920s - few and simple solos. The number of groups that were created from 1949 onwards was high from the outset. In Italy it is, perhaps, not appropriate to speak of a first and second revival, but of a constant and increasing phenomenon, even in terms of quality. There are groups that are still active today and can boast over 60 years of history, of course with some generational changes among the components of the groups, along with new groups that are already established at an international level. Moreover, the dissemination of information and access to it has become very fast,

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thanks to social networks aimed at music and musicians such as YouTube, Fandalism, Craigslist.38 Given the abundance of the Bands, is was preferable to give a brief description of the most historically interesting groups39, who have also left a recorded testimony of their activities and their quality. What follows is a is a list in chronological order of when they were formed. Roman New Orleans Jazz Band - It was the first Italian revival band, formed in Rome in 1949. In 1950 the first recordings and public jam sessions with Bill Coleman and Big Boy Goodie. The band participated in numerous concerts, tours and international festivals. Its ����������������������������������������� “pioneers” were Giovanni Borghi, tr; Luciano Fineschi, tb; Marcello Riccio, cl; Ivan Vandor, ss; Giorgio Zinzi, p; Bruno Perris, bjo; Pino Liberati, tuba; Peppino d’Intino, btr. Vandor ���������������������������������������������������������� was the only one who knew the music. In 1952 Carlo Loffredo, bs, replaces Liberati. 38 

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http://www.youtube.com/ http://fandalism.com http://www.craigslist.org/about/sites Of great help for this research were: Joseph Barazzetta - Jazz inciso in Italia - Messaggerie Musicali, Milano 1959 www.Jazzmeblues.it, website edited by Lino Patruno www.JazzItalia.new http://gerovijazz-jazzfan37.blogspot.it/ http://italia.allaboutjazz.com/ http://jazztrad.blogspot.it/

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At the end of 1953 the band broke up, despite Loffredo’s attempts reunite it immediately, almost in its entirety. After various adventures Loffredo, in 1956, formed a group with a similar name, the II Roman New Orleans Jazz Band, with a new line-up. According to some it was Louis Armstrong, with whom RNOJB played in the many private sessions during Armstrong’s tours in Italy, to find the group’s name. Participation in various jazz festivals helped the group’s popularity. Original Lambro Jazz Band – Group formed in 1950, very active, even internationally. Two members of the band contributed to opening the first two clubs in Milan where jazz was played: the Arethusa and the Santa Tecla. It has undergone many changes in line-up; in 1950 it was made up by Herman Meyer, tr; Giancarlo Garlandini, tb; Bob Valenti and Renato Gerbella, cl; Fabio Mataloni, p; Jack Russo, bjo; Renzo Clerici, cbs; Claudio Clerici, btr .

Jubilee Dixielanders – Formed at the end of 1951, and performed at the Arethusa in Milan. Natale Petruzzelli, tr; Nicola Muti, tb; Felice Cameroni, cl; Guido Ferrario, p; Attilio Casiero, bjo; Gianni Belloni, cbs; Carlo Garagnani, btr.

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Junior Dixieland Jazz Band - Founded in Rome in 1951, the band changes name in 1953 to Junior Dixieland Gang and is active in recordings and concerts until 1955. Its ����������������� line-up was; Giorgio Giovannini, tr; Alberto Collatina, tb; Sandro Brugnolini, cl; Francesco Forti, bs; Gino Tagliati, p; Gianni Nardi, ch; Boris Morelli, cbs; Franco Morea, btr. They played together until 1955. Milan College Jazz Society - Band from 1952, with numerous recordings for Columbia. They played with Mezz Mezzrow, Albert Nicholas, Sidney Bechet. Internationally renowned. In the line-up: Giorgio Alberti, tr; Gianni Acocella, tb; Roberto Valenti, cl; Giorgio Cavedon, p; Carlo Bagnoli, ch, bjo; Luigi Bagnoli, cbs, Attilio Rota, btr. The ���������������������������������� line-up has remained constant over the years. At the end of the 1970s Lino Patruno joined as a banjo player, while Bagnoli moved to baritone sax. They collaborated with numerous American soloists such as, Wild Bill Davison, Bud Freeman, Joe Venuti, Eddie Miller, Billy Butterfield, Jimmy McPartland, Barney Bigard, Bob Wilber, Dick Cary, Yank Lawson, Peanuts Hucko, just to name a few. Active until the 1980s.

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Darktown Dixiecats – formed in Milan in 1952, with a few recordings. They ���������������������������������� often played at the Arethusa. Antonio Cavazzuti, tr; Nicola Muti, tb; Giordano Fontana, cl; Nino Zamboni, p; Pietro Barenghi, ch; Ciccio Pentangelo, tuba; Claudio Giambarelli, btr. Active ��������������������� for few years. Doctor Dixie Jazz Band - Band made up of Bologna University students in 1952, which had frequent name changes. Born as Superior Magistratus Ragtime band, then Panigal Jazz Band in 1957, Rheno Dixieland Band in that same year, and finally Doctor Dixie Jazz Band in 1974. It is still active with its founder Nardo Giardina, tr; Amedeo Tommasi, tb; Beppe Inesi, cl; Carlo Fava, p; Francesco Cassarini, ch; Ugo Franceschini, cbs, Gherardo Casaglia, btr. Pupi Avati and Lucio Dalla also played in this band. Intense concert activity. The writer is particularly pleased to note that Chemistry PhDs have taken part in the more recent line-ups. Blue River’s Jazz Band - Band from Pavia, formed in 1953, active for few years. Despite the reduced record production it has been extensively reviewed by Musica Jazz40, as the music was excellent. Musica Jazz - is the most important Italian magazine for information and music reviews specializing in jazz. It is also the one that has been publishing the longest, not only in Europe but also in the whole world, since July 1945 without ever skipping an issue, and in April 2012 reached issue number # 737. Issues are released on a monthly basis and since November 1981 it includes a music album. The magazine was originally called “Musica & Jazz” and was first published 40 

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It seems that in an early line-up there was also Piero Umiliani, important future composer and conductor, under another name. Pierangelo Pietra, tr; Virginio Bermuzzi, tb; Antonio Maestro, p; Claudio Siragusa, ch; Gigi Verde, cbs; Lalo Rusconi, btr. Magentonians - From Milan, formed in 1953, active until 1956. Some members became part of the Original Lambro Jazz Band. ������������������������������������������������������������� It was formed by Giuseppe Ferrario, tr; Francesco Cavallari, tbn; Luigi Foina, cl; Glauco Boninella, p; Mario Pratella, bjo; Mario Marzorati, btr. They ������������������������������������������������� were able to play at Santa Tecla, which was “reserved” almost exclusively to the Original Lambro Jazz Band.

in July 1945 in Milan, founded by Gian Carlo Testoni. After the first issue Arrigo Polillo will join Testoni as managing editor. The first editorial board was composed by, Roberto Nicolosi, Giuseppe Barazzetta, Livio Cerri and Giacomo Carrara, bisides Testoni and Polillo. Among ����������������������������������������� the freelancers were Carlo Alberto Rossi, Enzo Ceragioli, Gil Cuppini and Piero Rizza. Testoni is one of the founding fathers of jazz criticism in Italy: in 1935, at the age of 23, together with pianist Ezio Levi founded the Circolo del Jazz Hot in Milan, one of the first in Italy, located in the Galleria del Corso. It was founded despite the opposition of the fascist regime towards this style of music. In 1938 he published “Introduzione alla vera musica di jazz”, co-written with Levi, the first essay on the subject published in Italy. In 1953, together with Polillo, Barazzetta, Roberto Leydi and Pino Maffei published the “Enciclopedia of Jazz”, the first work of the kind published in the world. Until 1981, the magzine had been published by Ladislao Sugar’s Messaggerie Musicali, then it passed to Rusconi and, since 2009, to 22 Publishing. The first two years of the magazine are available online courtesy of the Centro Studi sul Jazz “Arrigo Polillo,” Research Section of the Fondazione Siena Jazz. They have also made an analytical index of the magazine available online. In 1965, after Testoni’s death, the management of the magazine goes to Arrigo Polillo,, followed by Pino Candini, 1984-1996; Claudio Sessa, 19962001; Filippo Bianchi, 2001-2011 and from January 2012 Luca Conti. On 9 November 2010 the website www.musicajazz.it was inaugurated.

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Original Barrellhouse Jazz Band - Group of students from Asti, 1954, who called themselves “emeritus amateurs”. The trombone player was Paolo Conte. In 1959 they became the Lazy River Jazz Society, and performed successfully in the radio competition “La Coppa del Jazz” (fourth place). Riverside Jazz Band - Born in Milan in 1954 and immediately, under the organizational supervision of Lino Patruno, merges with other two bands (Seven Diplomatist Jazzmen and the Windy City Stompers) and then selected the optimal line-up that was still known as the Riverside. The first Riverside was made up by: Antonio Foletto, tp; Franco Cucchi, tb; Nicola Arena, cl; Luigi Bonezzi, p; Lino Patruno, ch; Gianni Bergonzi, cbs; Francesco Garrassini, btr. The second Riverside by: Ivaylo Peytchev, tp; Albert of d’Altan (later replaced by Gianni Acocella) tb; Bruno Longhi, cl; while Enrico Gravina, Gianni Bergonzi, Franco Garrassini first and then Remi Ettore, joined Lino Patruno in the rhythm section in place of the previous one. They were active until 1965: the strong involvement of Lino Patruno in the acclaimed Cabaret dei Gufi, would distance him from jazz for a few years.

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II Roman New Orleans Jazz Band - As already mentioned, Carlo Loffredo in 1956 reunited a group that, after several changes in line-up, in 1957 was named Second RNOJB. It was active for a long time on the international scene and also participated in several films, T.V. and radio shows. The first line-up that recorded (RCA) under the final name the Second Roman New Orleans Jazz Band was composed by Piero Saraceni, tr; Peppino De Luca, tb; Gianni Sanjust, cl; Puccio Sboto, p; Carlo Loffredo, cbs, Peppino d’Intino, btr. In addition to internationally renowned musicians, the Roman played with Django Reinhardt, Louis Armstrong, Dizzy Gillespie, Oscar Peterson, Earl Hines, Chet Baker, Stéphane Grappelli, Joe Venuti and others, and has also recorded with Armstrong’s musicians. They won numerous Festivals (Moscow, 1957, Dortmund, 1958, Vienna, 1959, and, in 1968, received the golden keys to the city in New Orleans). The Band was active until the mid 1970s, with high popularity thanks to participation in TV shows and theatrical performances. After some brief interruptions, Carlo Loffredo’s incessant enthusiasm has led to the emergence of numerous others, until recent years, although with less success. Bovisa New Orleans Jazz Band - In Milan in the 1960s Luciano Invernizzi, trombonist, founded the Bovisa, a group that

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was inspired by the purest New Orleans style. In forty years of activity they accompanied several musicians from New Orleans in their tours in Italy, to name a few: Louis Nelson, capt. John Handy, Don Ewel, Albert Nicholas, Thomas Jefferson, Alvin Alcorn, Emanuel Sayles, Wingy Manone and many others. They participate in and win numerous international jazz events. Invernizzi also performed at the Preservation Hall. They are still active today. The first line-up, that changed widely over the years, consisted of Giorgio Blondet, tr; Luciano Invernizzi, tb; Vittorio Castelli, cl; Fabio Turazzi, bjo; Eugenio Pateri, cbs; Terenzio Belluzzo, btr. , and then Beppi Zancan, cl, and Gigi Cavicchioli, cl and ts. Individual elements from the original groups and new young musicians gave continuity to this wide collection of Bands and in later years we find more and more revivalist groups. To name a few: Milano Jazz Gang, (Milan, 1970) recently became Milano Jazz Gang 2, 5 multi-instrumentalists musicians41 A multi-instrumentalist band is an absolute novelty in Italy. The MJG is now widely considered by critics one of the best orchestras in European jazz. It is formed by Claudio Perelli (alto sax, soprano sax, clarinet, vocals, arrangements and transcriptions), Andres Villani (baritone sax, alto sax, flute), Mauro Porro (piano, “C” melody sax, tenor sax, clarinet, celesta , arrangements and transcrip41 

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Riverboat Stompers, led by Paul Gaiotti, cornet (Milan, 1975) Red Beans Jazzers, led by Max Palchetti, trombone (Florence, 1976) Ambrosia Brass Band, (Milan, 1981), the first of its kind in Italy Ticinum Jazz Band (Pavia, 1985�) ******* Naples - As for the revival of the New Orleans or Dixieland style, Naples is, as in many other things, the exception42! Although there was a great interest for jazz music and the musical trends of the moment, and despite the presence of a substantial number of musicians, professional or amateur, interested in this music, none of them had the slightest interest in the revival. It would be impossible to mention only one name, from after the war and until 1960, who proposed the revival in the city. Not even the efforts of individual enthusiasts and the Circolo Napoletano del Jazz (founded in 1954), who were able to organize concerts in the city of the Traditional Dixielanders, the Roman New Orleans Jazz Band, the Junior Dixieland Gang, the Milan College Jazz Society, nor a wide range of conferences and conference-shows on the tions), Luca Sirianni (tenor banjo & guitar), Claudio Nisi (bass, tuba, frontbell). Trumpeter Herbert Christ joined them and later became the leader. Its worth mentioning Mauro Porro, a 27 year old multi-instrumentalist and arranger, whose passion for classic jazz led him to be noticed not only as a solo artist in the purest style of the 1920s and 1930s but also as a talented orchestra organizer . His intense activity as an arranger has in fact led him to constitute many ensembles that have generated a wave of originality in the current Italian jazz scene. For the effort put in favor of “hot jazz”, he has received very many compliments from some “legends” of this type of music in Europe, among which we mention Keith Nichols, Martin Wheatley and Tom Spats Langham. 42  Franco Ottata – Il Jazz di Napoli - Di Giacomo editori, Napoli 1962. Gildo De Stefano - Vesuview Jazz - ESI, Napoli 1999. Diego Librando - Il Jazz di Napoli - Guida, Napoli 2004.

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origins of jazz music introduced by critics such as Roberto Leydi, Arrigo Polillo, Roberto Capasso, not even the performances of Lionel Hampton (1956) and Louis Armstrong (last time in 1959), although crowded and greatly acclaimed, were able to spark interest towards the primal jazz. The attention of professional musicians and also -surprisingly- that of amateurs, in Naples, was all turned to the jazz a few years earlier, swing, or that of the moment, bop. A timid proposal was made in the early 60s until 1967, by an amateur group of Neapolitan university students, who managed to perform a New Orleans repertoire on several public occasions or in private sessions, the New Orleans Jazz Society with Gino Romano, tr; Franco Astarita, tb; Benito Saviano, cl; Franco Saviano, bjo; Elvio Porta, cbs; Gianni Maglio/Vito Miccoli, btr. .... but that’s another story� 43.

from left: Miccoli, F. Saviano, B. Saviano, Astarita and Romano

Gino Romano – Jazz Experiences: Storia di un microgruppo amatoriale di jazz tradizionale – De Frede, Naples, 2011. 43 

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I would also like to mention the recently formed Dolly Dixie Band from Caserta, which offers, at a professional level, the music of King Oliver, Louis Armstrong, the “Roaring Twenties” style in general. Leader Pasquale Posillipo and the line-up: Matteo Franza, tr; Francesco Izzo, tb; Pasquale Posillipo, cl; Emilio Merola, sax; Tanya Amendola, p; Alexandre Cerda, tuba; Marco Barbato, btr. ******* Aside from the bands the national Trad, in the last fifty years, was characterized by two performers: two names that -although referred to in the previous pages- must have their own personal highlight: Carlo Loffredo and Lino Patruno. Carlo Loffredo (Rome, 1924)A life devoted to jazz, to putting together jazz bands and discovering young talents and makeing them successful like Romano Mussolini, Nunzio Rotondo, Marcello Rosa, Gianni Sanjust, Luca Velotti, Peppino D’amato, Eddie Palermo, Michele Pavese, Carlo Ficini, Sebastiano Forti and Gianluca Galvani, just to name a few. President Sandro Pertini appointed him Commendatore “For making Jazz and Italian musicians known in the World.” He won three international festivals, Prague, 1947, Moscow 1957, and Vienna, 1959. In 1968, during a World Festival held in New Orleans to

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celebrate the return of Louis Armstrong after 25 years, he played with his jazz band in Canal Street and on that occasion the mayor appointed him “Honorary Citizen of the city of Jazz”. He played with all the great jazz musicians of the world the likes of Louis Armstrong, Dizzy Gillespie, Django Reinhardt, Stephan Grappelli, Teddy Wilson, Oscar Peterson, Bobby Hackhett, Jack Teagarden, Earl “Fatha” Hines, Albert Nicholas and Chet Baker. Co-founder of the two Roman New Orleans Jazz Bands and numerous other groups, in 2008 he published his autobiography, Billie Holiday, che palle! 44, published by Coniglio editore. Lino Patruno (Crotone, 1935) - Born in Calabria, first he moved to Rome and then to Milan, the heart of the Italian jazz movement, where he starts performing in 1954, founding several jazz bands including the Riverside Jazz Band. Subsequently he passed to the Milan College Jazz Society. ìIn 1964, having created the Teatrino dei Gufi, he interrupted his jazz career until 1967 when he made a come-back with jazz albums recorded with some of the world’s major jazz musicians such as In the text the author, without repenting for the “violence” of the title (which could be translated more or less with “Billie Holiday: so damm boring!”), said that he knew very well that it would cause many fans to complain. I join the latter by confirming that I think Billie Holiday remains one of the greatest voices of jazz. 44 

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Albert Nicholas, Joe Venuti, Bill Coleman and many others. Subsequently, when he moved to Rome, he founded the “Lino Patruno Jazz Show” with whom he performs regularly in Roman clubs and jazz festival in Italy and abroad. With Pupi Avati he wrote the story and screenplay of the film Bix which represented Italy at the Cannes Film Festival in 1991, also working on the soundtrack with by Bob Wilber. He participated in many International Festivals of the United Nations: Sanremo in 1963, Nice in 1976 and 1977, Breda (Netherlands) in 1978, those of Pompeii, Palermo, Lugano, Lucerna, Berne, Sargans, Dusseldorf, Varadero (Cuba), in the eighties in Davenport (Iowa, USA) and Libertyville (Chicago), in the nineties those in Ascona (1998/2003). In December 2001, he received the award of Accademico della Musica conferred to him by the European Academy for Economic and Cultural Relations and since 2003 and holds seminars on the History of Jazz at the Casa del Jazz, at the Università di Roma Tre and History of Soundtracks at NUCT (University of Cinema and Television) in Rome at Cinecittà. Lino Patruno records for Jazzology, the prestigious record label based in New Orleans. In the CDs that have been released in recent years he has recorded with some of the great names of today’s classic jazz: Randy Reinhart, Ed Polcer, Randy Sandke, Jon-Erik Kellso, Tom Pletcher, Dan Barrett, Bob Havens, Allan Vache, Evan Christopher, Jim Galloway , Mark Shane, Howard Alden, Bucky Pizzarelli, Frank Vignola, Marty Grosz, Andy Stein, Frank Tate, Ed Metz Jr, Joe Ascione, Vince Giordano, David Sager, Rebecca Kilgore and others. He wrote Quando il jazz aveva swing (2009) and Una vita in jazz...e non solo (2001), Pantheon Editore.

THE REPERTOIRE and bibliographic suggestions The repertoire of the revival is basically, for the most part, imposed. Over ninety percent of the proposed pieces are, of course, songs from a more recent past than the late thirties. First of all, this includes the great classics of the standard New Orleans style of the origins, such as marches, blues, spirituals, folk ballads of uncertain origin from the end of the nineteenth century and songs composed for the “golden” bands -above all those of J . R. Morton, K. Oliver, L. Armstrong, C. Williams, S. Bechet- from the early 1900s. Bibliographic Sources - The following list is a selection of song titles relative to the revival and its protagonists, given by: Hugues Panassiè , Guide to Jazz ( Riverside Press , 1956), Rex Harris e Brian Rust, Recorded Jazz: A Critical Guide (Penguin Books, 1957), Frederic Ramsey, A Guide to Longplay Jazz Records (Long Player Publications, 1954), Jorgen Grunnet Jepsen, Jazz Records 1942-1965 (Karl Emil Knudsen, 1966) Tom Stagg and Charlie Crump, New Orleans, The Revival (Bashall Caves Publication, 1973), Giuseppe Barazzetta, Jazz inciso in Italia (Messaggerie Musicali, 1960), Joachim E.Berendt - Il libro del Jazz, Garzanti, 1967,

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Gino Romano, Jazz Experiences. Le Brass Band, De Frede 2012, John F. Szwed, Jazz. Una guida per ascoltare ed amare la musica jazz (EDI, 2010), which represented a sure guide to the compilations. Here are some songs played by virtually all Traditional bands: 1. AT A GEORGIA CAMP MEETINGS (K. Mills, incerto, 1897) 2. BYE AND BYE (spiritual) 3. BUGLE BOY MARCH 4. Down by the Riverside (spiritual) 5. In the Sweet Bye and Bye (spiritual) 6. Just a Closer Walk with Thee (spiritual) 7. Just a Little While to Stay (spiritual) 8. Old Rugged Cross (spiritual) 9. Over in the Gloryland (spiritual) 10. Walkin with the King (spiritual) 11. WE SHALL NOT BE MOVED (spiritual) 12. We Shall Walk in the Streets aka Red River Valley (spiritual) 13. WHEN THE SAINTS GO MARCHIN’ IN (spiritual) 14. Aura Lee aka LOVE ME TENDER (military march) 15. Battle Hymn of the republic (��������������� military march�) 16. MARYLAND, MY MARYLAND (��������������� military march�) 17. FARAWAY BLUES (traditional blues) 18. FRANKLIN STREET BLUES (traditional blues) 19. SEE SEE RIDER (traditional blues) 20. FRANKIE AND JOHNNIE (folk ballad) aka STACK ‘O LEE BLUES

The repertoire is also based on other a more recent production with known authors, in some cases, the leaders of the groups such as Armstrong, Ory, Barbarin, Watters, Firehouse 5 +2. Most of the songs obviously were not meant for Trad: just consider authors

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such as Clarence Williams, Spencer Williams and William C. Handy, and the publication dates, but the characteristics of the compositions worked well with arrangements and performances in the New Orleans style: performed by important groups, they became the hits of the revival. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40.

ACE IN THE HOLE (G. Mitchell e J. Dempsey, 1909) AFTER YOU’VE GONE (Turner Layton, 1918) AIN’T GONNA GIVE NOBODY NONE OF MY JELLY ROLL (Spencer e Clarence Willams, 1919) AIN’T MISBEHAVIN’ (Fats Waller, 1929) AT THE DARKTOWN STRUTTERS BALL (S. Brooks, 1915) ATLANTA BLUES (William C. Handy, 1916) aka MAKE ME A PALLET ON THE FLOOR AUNT HAGAR BLUES (William C. Handy, 1920) BABY WON’T YOU PLEASE COME HOME (C. Williams, 1920) BALLIN THE JACK (Chris Smith, 1913) BASIN STREET BLUES (Spencer Williams, 1923) BEALE STREET BLUES (William C. Handy, 1916) BETWEEN THE DEVIL AND THE DEEP BLUE SEA (Harold Arlen & Ted Koeler, 1931) BILL BAILEY, WANT YOU PLEASE COME HOME (Hughie Cannon, 1902) BLACK AND BLUE (Fats Waller, 1929) BUDDY BOLDEN BLUES (J. R. Morton, 1924) BUGLE CALL RAG (William C. Handy, 1916) aka OLE MISS BURBON STREET PARADE (Paul Barbarin, 1949) CAKE WALKIN’ BABIES FROM HOME (C.Williams, 1924) CARELESS LOVE (folk song in the U.S. south, transcribed as blues da William C. Handy, 1921) CHINATOWN, MY CHINATOWN (H. Schwartz & H. Jerome, 1931)

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The repertoire

101

41. CLARINET MARMALADE ( Larry Shields, 1918) 42. CONFESSIN’ (Nesburg, Dougherty & Reynolds, 1929) 43. ����������������������������������� CORRINE CORRINA (B. Chatmon, 1928) 44. DEAR OLD SOUTHLAND ( Turner Layton, 1921) 45. DINAH ( Harry Akst, 1925) 46. DIPPERMOUTH BLUES aka SUGAR FOOT STOMP (Louis Armstrong, 1917) 47. ���������������� DOCTOR JAZZ (Joe King Oliver, 1926) 48. EMPEROR NORTON’S HUNCH (Lu Watters, 1949) 49. EVERYBODY LOVES MY BABY (Spencer Williams, 1924) 50. FAREWELL BLUES (Leon Rappolo, 1923) 51. FIDGETY FEET (Nick LaRocca & Larry Shields, 1918) 52. GEORGIA IN MY MIND (Hoagy Carmichael, 1939) 53. HIGH SOCIETY (Alphonse Picou, probably 1911) 54. I AIN’T GOT NOBODY (Spencer Williams, 1908) 55. I FOUND A NEW BABY (J. Palmer & S. Williams, 1926) 56. I’LL BE GLAD WHEN YOU’RE DEAD, YOU RASCAL YOU (Spencer Williams, 1919) 57. INDIANA (Hanley, 1917) 58. I WISH I COULD SHIMMY LIKE MY SISTER KATE (Louis Armstrong, 1919) 59. JADA (Bob Carleton, 1918) 60. JAMBALAYA (Hank Williams, 1952) 61. JUST A STOMP AT A TWILIGHT (Firehouse 5+2, 1957) 62. LAZY RIVER (Hoagy Carmichael, 1931) 63. LONESOME ROAD (Nat Shilkret,1930) 64. MUSKRAT RAMBLE (Kid Ory, 1925) 65. NEW ORLEANS FUNCTION (Funeral Hymns in the New Orleans style, adapted and recorded first by J.R. Morton in 1939) 66. OLD FASHIONED LOVE (James P. Johnson, 1930) 67. PANAMA (William H. Tyers, 1920) 68. POTATO HEAD BLUES (Louis Armstrong, 1927)

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69. 70. 71. 72. 73. 74. 75. 76. 77. 78. 79. 80. 81. 82. 83. 84. 85. 86. 87. 88. 89. 90.

New Orleans Revival

ROYAL GARDEN BLUES (C. e S. Williams, 1919) RUNNIN’ WILD (Cecil Mack & Johnny Johnston) SHEIK OF ARABY (Francis Wheeler, 1921) SHIM ME SHA WABBLE (Spencer Williams, 1916) SOUTH (Benny Moten, 1916) ST. JAMES INFIRMARY (Irving Mills, dubbio, 1928) ST. LOUIS BLUES (William C. Handy, 1916) STRUTTIN’ WITH SOME BARBECUE (L. Armstrong, 1927) SWEET GEORGIA BROWN (M. Pinkard e B. Bernie, 1924) SWEET SUE, JUST YOU (Victor Young, 1928) THAT’S A PLENTY (Lew Pollack, 1905) TIGER RAG (Nick LaRocca, 1917) TIN ROOF BLUES (New Orleans Rhytm Kings, 1923) TISHOMINGO BLUES (Spencer Williams, 1917) TROUBLE IN MIND (Ralph Jones, 1924) TWELFTH STREET RAG (Euday Bowman, 1900) WABASH BLUES (Meinken Ringle, 1921) WAY DOWN YONDER IN NEW ORLEANS (T. Layton, 1922) WEARY BLUES (Art Matthews, 1915) WEST END BLUES (Joe King Oliver, 1925) WHEN YOU SMILING (Louis Shay, 1929) WOLVERINE BLUES (J. R. Morton, 1920)

RECORD LABELS There are a vast number of American record labels, in this context we want to mention only two. Apart from the Major labels (RCA Victor, Columbia, Brunwick), all or most of the musicians and groups that we have mentioned recorded with the revival label par excellence: the Good Time Jazz. Founded by Lester Koenig in 1949 in Los Angeles, it was dedicated exclusively to contemporary jazz, especially to the revival. Its first releases where, in fact, those of the Firehouse 5 +2, followed by Jelly Roll Morton, Kid Ory, George Lewis, Lu Watters, Turk Murphy, Bunk Johnson, just to name the most important. Its last recordings where made in 1969. After the Koenig’s death in 1977, all recordings were acquired by Fantasy Records45, whoa anthologized most of the work. It was acquired by Concord Music Group in 2004. A unique aspect of the Good Time Jazz products was the way they presented the records: for the first time, on the back of their sturdy cardboard packaging, the band’s history was reported, with details, dates and comments. It was here that, for the first time, the term Traditional, as an adjective, was used to describe this music. As reported by Corrado Barbieri “It was the beginning of written jazz culture”46. The album covers were illustrated with an innovative Pop 45  46 

Concord Music ����������� Group http://www2.concordmusicgroup.com/labels/?label=Riverside Corrado Barbieri – La leggendaria GTJ- in http://www.jazznellastoria.com/leggendaria.html

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Record Labels

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graphic style, which immediately distinguished them from all other products and record, and that makes them, to this day, recognizable at first sight. Another unique aspect of these products was that some records were printed in red instead of black vinyl. Another great label was the Riverside Records. Founded in New York in 1953 by Bill Grauer, for a decade it was a leader in sales. Much of the classic jazz from 1953 to 1956 recorded with this label, which subsequently also opened itself up to new jazz styles: Thelonious Monk, Cannonball Adderley, Bill Evans, Sonny Rollins worked for many years with this label. Also in this case, after Grauer’s death in 1963, in 1972 Riverside Records was acquired by Fantasy Records, a lot, but not all, of the works have been reissued. Of the European labels, one stands out: the Storyville Records47, Danish, founded in 1952 by Karl Emil Knudsen. It featured vintage original material, it also made numerous recordings with leading members of the European jazz scene, such as Ken Colyer, Chris Barber, Monty Sunshine and Papa Bue Jansen. The label continues its work, and its catalog is also expanding to other genres.

Not to be confused with the American Storyville Records, founded by George Wein, more committed to modern jazz. 47 

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LISTENING GUIDE A few years ago it would have been very easy to enumerate a series of records to help illustrate, more than with words, the slight differences difficult to describe in text. Unfortunately, for many years now, record labels reissue, re-assemble, create selections that are sometimes unlikely and especially that do not make it easy to find those songs that collectors, in the past, could easily find in albums which went unchanged over the years. At the most, a catalog number changed. In addition, traditional jazz does not have legions of followers, so it would be useless to suggest discs that are hard to find. A solution to provide the reader with some musical support is this: to organize a commented playlist on YouTube, where we give the essential contents, so that all the reader need to do is to log on and listen in sequence or to make a selection from what is proposed. As always, when a list is made, the choices may seem debatable: they are! But they certainly not the only options, but rather a reference from which to develop a personal research. Even the quantity is questionable like the request of which... 3, 5, ... 10 books would you take with you on a desert island. I personally think that too short a lists would be unnecessary and those that are too long may confuse the reader. A playlist on Youtube, in general, is of more value if it has around 100 videos, and that is what has been done, we decided to stop at 105. When one performance (record source) was proposed by many

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accounts, it was chosen based the best sound quality rather than the video (usually old photos). If the performance was accompanied by the video of it being plaed live, this was preferred. The playlist is made following the order of the titles that will follow. Further information and line-ups can be found in the notes and comments for each video. Next to the names of the performers are the years used as guidelines to choose the recordings. YOUTUBE – Playlist courtesy of canal NewOrleansJS

Type: [“traditional jazz revival” playlist] or htt://www.youtube.com/playlist?list=PLDCC1A69FB91183A8

School 1 a Jelly Roll Morton , 1939 e 1940 Mama’s Got A Baby - Jelly Roll Morton’s Hot Seven Panama High Society Oh, Did’nt he ramble Louis Armstrong , 1947-1955 Mahogany Hall stomp High Society Struttin’ with some barbecue Cornet Chop Suey Dear Old Southland Atlanta Blues St Louis Blues Ain’t Misbehavin Panama When The Saints go Marchin’ in

Listening Guide

Wingy Manone , 1935-1947 Tar Paper Stomp When the Saints go marchin’in At the Jazz Band Ball Kid Howard , 1954-1962 Just a closer walk with Thee Maryland, my Maryland Gettysburg March Walkin with King

School 1 b

Bunk Johnson , 1942-1945 Down by the riverside Tishomingo Blues Sister Kate Careless love Sidney Bechet , 1038-1945 Really the Blues Weary Blues Perdido Street Blues Muskrat Ramble JaDa Old Fashioned Love Tommy Ladnier, vedi Bechet Mezz Mezzrow, vedi Bechet Kid Ory , 1944-1954 South

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Savoy Blues Careless Love Tin Roof Blues Compilation George Lewis , 1950 Burgundy Street Blues Jazz Party , part 1 Jazz Party , part 2 Kid Rena , 1940 Milenberg Joy Punch Miller , Dinah Sister Kate

School 2 Muggsy Spanier, 1939-1945 Big Butter and Egg Man Sweet Lorraine Lonesoame Road When the Saints go marchin’ in Dippermouth Blues Bob Crosby, 1939-40 Hindustan The Washington Post March El Capitan Wild Bill Davison , 1949-1951 Darktown Strutters Ball

Listening Guide

Muskrat Ramble Eccentric Max Kaminsky , 1956 Royal Garden Blues George Brunies, vedi Spanier Sharkey Bonano, 1950-1951 Muskrat Ramble That Peculiar Rag Pete Fountain, 1959 China Boy

School 3 Lu Watters , 1941-1946 Riverside Blues Tiger Rag Original Jelly Roll Blues Canal Stret Blues Turk Murphy, 1940-1972 Turk’s Blues After you’ve gone Tiger Rag When you smilin’ Bob Scobey, 1951 That’s a plenty Long Gone Bob Helm, vedi Lu Watters e Turk Murphy

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Firehouse 5+2, 1951 South She was just a sailor sweetheart Red River Valley Frankie and Johnny Big Bill Bissonnette, 1965-1976 Sheik of Araby My old Kentucky Home Just a little way to stay Fred Vigorito, 1962-2010 Saturday Night Function The Old Rugged Cross Canal Street Blues To conclude, some recordings of European groups. Ken Colyer - 1951, Walkin with the King ; 1958, Bye and Bye Humphrey Lyttelton - 1954, The Onions ; 1958, Trouble in Mind Chris Barber – 1954, Compilation ; 1956, Wabash Blues K. Colyer, C. Barber, M. Sunshine, L. Donegan - 1954, Easter Parade Terry Lightfoot - 1962, Maryland, my Maryland Boris Vian - 1958, Jazz me Blues, Sheik of Araby Claude Luter - 1962, Creole Dance Dutch Swing College Band - 1952, Doctor Jazz ; 1981, Tin Roof Blues

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Papa Bue’s Viking Jazz Band – 1959, The Old Spinning Wheel; 1962, Down by the riverside Roman New Orleans Jazz Band - 1952 , C Jam Blues Original Lambro Jazz Band - 1952, Big Bear Stomp Bovisa New Orleans Jazz Band - 1979, Linger Awhile Milan College Jazz Society – 1980, Everybody loves my baby Lino Patruno, Carlo Loffredo - 1995, Compilation Peruna Jazzmen - 1966, Mahogany Hall Stomp ; 1988, Senegalese Stomp Storyville New Orleans Jazz Band - 2004, I’ll take you home again, Kathleen Ragnar Tretow & NOLA - 2011, Far away Blues Mikael Zuschlag - 2009, Somebody stoles my gal Baked Beans Jazzers & Eva Lolle - 2009, Hold that engine; 2010, Runnin’ Wild New Orleans Jazz Society - 1967, When the Saints go marchin’ in.

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CONCLUSION At the end of this volume, I hope that a fundamental aspect of the topic was made clear: the revival was not just a limited “period” in history and of the evolution of jazz, a prerogative of amateurs and the nostalgic. It is a movement where -after having started for the pleasure of recreating and reviving an abandoned genre- the new style did not just erase and the prior, but revitalized the genre, thanks to experimentation and modern approaches. Ultimately it is a style which draws on the past, but does not necessarily fall into mediocre stereotypes that exist. One can be creative within a tradition and not necessarily be innovative outside of it. As for the style, being the most long-lived, it still has the evolutionary characteristics that led it to propose -albeit in limited quantities- jazz of excellent quality all over the world, creating musical and historical interest and creating influences, like what happened in Woody Allen’s case.

Winton Marsalys – Come il jazz può cambiarti la vita. Chapter ������������������� 7 - Feltrinelli, Milan 2008   Woody Allen (New York, 1935), is an American director, screenwriter, actor, composer, writer and playwright, one of the leading and most famous comedians of the modern era. He is a huge fan and connoisseur of jazz, which often has a prominent presence in the soundtracks of his works, especially the American classics of the thirties and forties. He plays the clarinet, inspired by George Lewis, in the New Orleans Jazz Band at the Cafè Carlyle in Manhattan.  

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To confirm this, we conclude with a brief account that appeared in an volume accompanying a French compilation edited by Dan Vernhettes.� “New Orleans Revival” Michel Laplace, Jazz Hot «En musicologie, le mot «revival», qui ne désigne pas une période, s’����������� est imposé lorsque l’on a étudié les folklores: c’est tout un travail de recréation d’un genre, mort, dont la transmission du vétéran au jeune s’est interrompue depuis plusieurs générations et que l’on relance de façon vivante et créative d’après la recherche de documents (témoins, sources écritures’). L’utilisation en jazz de l’étiquette « revival » traduit donc une idéologie progressive des critiques qui ont établi (pour singer le monde classique) des «périodes de styles», successives, comme new orleans, swing, bebop, cool, etc, avec pour certitude (infondée) qu’un style est frappé d’obsolescence dès l’arrivée d’un nouveau. Pour « classer » un mouvement comme celui qui nous occupe ici, on le taxe de « revival » (sous-entendu «ringard»). Pourtant ces musiciens (Bunk Johnson, etc.) ne cherchaient pas à recréer le passé (tous jouent significativement la trompette et non plus le cornet qui n’est plus à la mode). Ils jouent comme ils sont aptes à le faire au moment donné en intégrant les problèmes physiologiques ainsi que l’évolution. Ainsi Kid Ory demandait à sa fameuse rythmique (Buster Wilson, Bud Scott, Ed Garland, Minor Hall) de s’inspirer de celle de Basie!»

2   Dan Vernhettes, New Orleans Revival, Fremeaux & Associes, 2006. The author (Ivry sur Seine, 1942), trumpeter, directs the band Vintage Jazzmen of France.   Michel Laplace (Blois Colombes, 1949). Trumpeter. Music journalist. Works for Jazz Hot, international jazz magazine since 1935.

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ADDENDA As this book was being published, other Bands of great interest have distinguished themselves, especially on the web music sites as Youtube. We, therefore, tought, after a careful evaluation, it was worth indicating just some of them below. Japan - New Orleans Jazz Hounds The band was formed in 2004 to keep the Dixieland jazz tradition alive in Japan. The band has built an international following, especially since its appearances in New Orleans in 2008 during its annual jazz festival. Russia -The Jazz Loft Band The Jazz Loft is a weekly New Orleans jazz program at Rhythm & Blues Cafe Moscow. Musicians: Konstantin Gevondyan - cornet, Stas Cheremushkin - tuba, Goch Temirjanov - clarinet/ sax, Sergey Pavlyuchenkov - banjo/guitar, Alexander Ivanov - drums

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USA - Tuba Skinny Hailing from New Orleans, and inspired by the early jazz and blues music of the twenties and thirties, Tuba Skinny -- which consists of tuba, trombone, cornet, tenor banjo/guitar, vocals, washboard, and sometimes clarinet -- evokes the rich musical history of the city. Since forming in 2009, the band has developed a following thanks to their performances on streets and stages around the world. But they don’t follow the traditional marketing methods. They promote themselves differently, using the internet and modern communications to appeal to younger fans. Adrian Cox pointed out recently that 90% of his Quartet’s fans are age group 18 to 30. Shaye Cohn – Cornet , piano, fiddle, accordion and leader; Todd Burdick – Tuba; Bobby Browne - Guitar & Tenor Banjo; Barnabus Jones – Trombone; Robin Rapuzzi – Washboard; John Doyle – Clarinet; Erika Lewis – Vocals Shaye Cohn, daughter of Joe Cohn and granddaughter of Al Cohn (both well known jazz players), is not a showy player. Not from her will you hear those screaming, raucous, high-note 32-bar solo choruses to which so many traditional jazz trumpeters resort.

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But she is a very energetic player of the cornet. Listen closely to her busy fluent phrases, often muted and in the background, interwoven brilliantly into the polyphony of her band’s wonderful music. (She is great at what Punch Miller used to call ‘fast fingering’.)

Orvieto - Italy “Umbria Jazz Winter 2013”. Shaye Cohn and Gino Romano.

USA- Clint Baker Cafè Borrone All Stars Clint Baker is an American traditional jazz musician performing on cornet, trumpet, trombone, clarinet, saxophone, guitar, banjo, tuba, string bass, and drums. He plays in many different ensembles. I like to remember the Cafè Borrone All Stars: in October 1990 his New Orleans Jazz Band began performing on Friday nights at Cafe Borrone in Menlo Park, California. He has been leading his band there (so called the “Cafe Borrone All-Stars”) for all the past years. Clarinetist Bob Helm (Yerba Buena Jazz Band) worked there regularly with the band up until his death in 2003. Trumpeter Leon Oakley (who also worked with Turk Murphy) has played there regularly since 2000.

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INDEX NAME Below the index name of most important musiciants, critics reported in the book. .

Abadie, Claude, 77 Acocella, Gianni, 87, 89 Adderley, Cannonball, 105 Alberti, Giorgio, 87 Alcorn, Alvin, 32, 49, 91 Alexis, Richard, 44 Alguire, Danny, 65 Allen, Henry Red, 32, 37, 69 Allen, Woody, 115 Aller, Peter, 80 Amendola, Tanya, 94 Archey, Jimmy, 70 Arena, Nicola, 89 Armstrong, Louis, 12, 25, 26, 28, 31, 37, 38, 39, 40, 41 ,42, 43, 44, 46, 47, 49, 50, 57, 60, 61, 62, 67, 70, 74, 78, 85, 90, 93, 94, 95, 97, 98, 101, 102, 108 Astarita, Franco, 93 Avati, Pupi, 87 Backer, Chet, 90, 95 Bagnoli, Carlo, 87 Bagnoli, Luigi, 87 Bailey, Buster, 72 Baker, Clint, 119 Bales, Burt, 62 Ball, Kenny, 75 Barazzetta, Giuseppe, 84, 88, 97 Barbarin, Paul, 44, 71, 99

Barbato, Marco, 94 Barber, Chris, 74, 75, 79, 105, 112 Barbieri, Corrado, 103 Barcelona, Danny, 31 Barenghi, Pietro, 87 Barker, Danny, 72 Barrett, Emma Sweet, 33 Basie, Count, 15, 116 Bauduc, Ray, 56 Bechet, Sidney, 12, 26, 28, 31, 37, 41, 43, 44, 45, 46, 47, 48, 56, 57, 69, 71, 74, 76, 77, 97, 109, 110 Beiderbecke, Bix, 13, 54, 59 Belloni, Gianni, 86 Belluzzo, Terenzio, 91 Bennett, Russ, 61 Bergonzi, Gianni, 89 Berlin, Irving, 55 Bermuzzi, Virginio, 88 Bigard, Barney, 31, 38, 49, 87 Bissonnette, Big Bill, 53, 65, 66, 67, 112 Blackey, Art, 19 Blondet, Giorgio, 91 Bolden, Buddy, 26, 42, 57, 99 Bolling, Claude, 76 Bonano, Sharkey, 28, 58, 59, 111 Bonezzi, Luigi, 89 Boninella, Glauco, 88 Borghi, Giovanni, 85

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Bowden, Colin, 75 Braud, Wellman, 32, 70 Broonzy, Big Bill, 53 Brown, Clifford, 19 Brownlee, Laurence, 57 Brubeck, Dave, 18, 39 Brugnolini, Sandro, 86 Brunis/Brunies, George, 28, 57, 58, 112 Buckner, Teddy, 32, 49 Bunn, Teddy, 47 Burbank, Albert, 33, 67 Burton, Gary, 19 Butterfield, Billy, 87 Bylk, Acker, 75 Cameroni, Felice, 86 Capasso, Roberto, 92 Carey, Mutt, 44, 49, 72 Carter, Benny, 57 Cary, Dick, 38, 72, 87 Casaglia, Gherardo, 87 Casey, Bob, 72 Cash, Johnny, 79 Casiero, Attilio, 86 Cassarini, Francesco, 87 Castelli, Vittorio, 91 Catlett, Sid, 38, 46, 48, 70 Cavallari, Francesco, 88 Cavazzuti, Antonio, 87 Cavedon, Giorgio, 87 Cavicchioli, Gigi, 91 Celestin, Oscar Papa, 72 Cerda, Alexandre, 94 Cerri, Livio, 29, 88 Christ, Herbert, 83, 91 Christian, Charlie, 17 Clarke, Kenny, 17 Clerici, Claudio, 86 Clerici, Renzo, 86

Cobb, Morty, 38 Colar, Kid Sheik, 33, 65 Cole, Cozy, 70 Coleman, Ornette, 19 Coleman, Bill, 85, 95 Collatina, Alberto, 86 Collins, Lee, 71 Coltrane, John, 19 Colyer, Ken, 32, 66, 74, 75, 105, 112 Condon, Eddie, 45, 56, 57, 58, 71 Conte, Paolo, 89 Corea, Chick, 19 Crosby, Bing, 41, 51, 55 Crosby, Bob, 21, 28, 51, 53, 60, 110 Cucchi, Franco, 89 Cuttshall, Cutty, 72 D’Altan, Alberto, 89 D’Intino , Peppino, 85 Dalla, Lucio, 87 Darensbourg, Joe, 31, 72 Dart, Bill, 61 Davis, Miles, 18, 19, 77 Davison, Wild Bill, 28, 46, 56, 67, 80, 81, 87, 111 De Luca, Peppino, 90 De Moree, Aad, 79 De Paris, Sidney, 32, 37, 46, 69 De Paris, Wilbur, 32 De Stefano, Gildo, 92 Decou, Walter, 43 Deems, Barrett, 31 Dickenson, Vic, 46, 72 Dodds, Baby, 24, 25, 48, 71 Dodds, Johnny, 12, 75 Doldinger, Klaus, 82 Donegan, Lonnie, 74, 75, 112 Dorsey, Jimmy, 15 Dorsey, Tommy, 15, 57

Index name

Duncan, Henry, 71 Dupree, Champion Jack, 80 Dylan, Bob, 52 Ellington, Duke, 14, 15, 77 Evans, Bill, 105 Ewell, Don, 49, 67, 91 Farmer, Art, 19 Fava, Carlo, 87 Fazola, Irving, 56 Ferrari, Giuseppe, 88 Ferrario, Guido, 86 Fineschi, Luciano, 85 Firehouse 5+2, 62, 63, 99, 101,103, 112 Foina, Luigi, 88 Foletto, Antonio, 89 Fontana, Giordano, 87 Forti, Francesco, 86 Foster, George Pops, 12, 46, 70 Fountain, Pete, 28, 59, 111 Franceschini, Ugo, 87 Franza, Matteo, 94 Freeman, Bud, 13, 87 Gaiotti, Paolo, 92 Garagnani, Carlo, 86 Garland, Ed, 49, 72, 116 Garlandini, Giancarlo, 86 Garrassini Francesco, 89 George, Fatty, 82 Gerbella, Renato, 86 Giambarelli, Claudio, 87 Giardina, Nardo, 87 Gillespie, Dizzy, 17, 39, 90, 95 Giovannini, Giorgio, 86 Giuffre, Jimmy, 18 Glaser, Joe, 38, 41 Goff, Harper, 65 Goodie, Big Boy, 85 Goodman, Benny, 15, 40, 45, 55, 82

Grappelly, Stephane, 78 Grauer, Bill, 105 Gravina, Enrico, 89 Guarnieri, Johnny, 70 Guesnon, George Creole, 67 Hackett, Bobby, 39, 67 Haggart, Bob, 56,71 Halcox, Pat, 75 Hall, Edmond, 31, 53, 70, 80, Hall, Minor, 32, 49, 116 Hampton, Lionel, 92 Hancock, Herbie, 19 Handy, John Capt, 33, 42, 90 Handy, William C., 32, 90, 99, 102 Hayes, Clarence, 61 Haywood, Cedric, 49 Helm, Bob, 28, 61, 62, 63, 111 Henderson, Fletcher, 14, 15 Herbert, Mort, 31 Higginbotham, Jay C., 37, 44, 72 Hines, Earl, 31, 57, 70, 90, 95 Hirt, Al, 59 Hodeir, Andrè, 29 Hodes, Art, 46, 48, 57, 58, 72, 80 Hojberg, Arne, 80 Holiday, Billie, 15, 95 Horne, Ellis, 61 Howard, Darnell, 49 Howard, Kid, 28, 42, 48, 50, 67, 106, 109 Hucko, Peanuts, 31, 87 Humphrey, Percy , 33, 72 Humphrey, Willie, 72 Inesi, Beppe, 87 Invernizzi, Luciano, 90, 91 Jackson, Mahalia, 25 Jackson, Milton, 18 Jagger, Mick, 79

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Jarrett, Keith, 19 Jefferson, Thomas, 67 Jensen, Arne Papa Bue, 32, 41, 79, 80, 105, 113 Johnson, Bud, 81 Johnson, Bunk, 25, 26, 28, 40, 42, 44, 49, 50, 70, 81, 101, 103,109, 116 Johnson, James P., 13, ������ 43 Johnson, Manzie, 47 Jones, Claude, 70 Jospin, Mowgli, 71 Kaminski , Max, 28, 57 Kaper, Bob, 78 Kenton, Stan, 18 Kimball, Ward, 62, 63, 65 Kirkpatrick, Don, 72 Klein Oskar, 82 Knudsen, Karl, 105 Koenig, Lester, 103 Konitz, Lee, 18 Kubrick, Stanley, 51 Kyle, Billy, 31 LaRocca, Nick, 11, 59, 101, 102 Ladnier, Tommy, 26, 28, 45, 47, 48, 71, 110 Lafitte, Guy, 71 Lake, Meschiya, 68 Lammi, Dick, 61, 62 Laplace, Michel, 116 Laurie, Cy, 75 Lawson, Yank, 56, 87 Layton, Turner, 99, 101,102 Lewis, George, 25, 28, 32, 42, 43, 50, 51, 52, 53, 54, 55, 58, 65, 67, 74, 80, 103, 110, 116 Lewis, John, 18 Lewis, Ted, 55, 58 Leydi, Roberto, 88, 92

Liberati, Pino, 85 Librando, Diego, 92 Lightfoot, Terry, 75 Lindsay, John, 72 Loffredo, Carlo, 85, 90, 94, 113 Lomax, Alan, 36 Longhi, Bruno, 89 Luter, Claude, 76 Lyttelton, Humphrey, 74, 112 Madison, Kid Shots, 26, 72 Maestro, Antonio, 88 Maffei, Pino, 88 Maglio, Gianni, 93 Mallery, Clarke, 65 Manetta, Manuel Fess, 25, 26 Manne, Shelly, 18 Manone, Wingy, 28, 36, 40, 41, 70, 80, 91 Marrero, Lawrence, 43, 59, 63, 70, 71 Marsala, Joe, 70 Marsalys, Wynton, 115 Martyn, Barry, 75 Marzorati, Mario, 89 Mataloni, Fabio, 86 Matlock, Matty, 41, 56 McKay, Ron, 75 McPartland, Jimmy, 87 Meijer, Ferdi, 79 Merola, Emilio, 94 Metcalf, Louis, 81 Meyer, Herman, 86 Meyers, Ernest, 71 Mezzrow, Mezz, 26, 45, 47, 48, 71, 86, 110 Miccoli, Vito, 93 Miller, Eddie, 87 Miller, Glenn, 15, 41, 45, 55 Miller, Punch, 28, 41, 45, 53, 55, 65, 110

Index name

Mole, Miff, 71 �� Monk, Thelonius, 17, 105 Mordecai, Harry, 62 Morea, Franco, 86 Morelli, Boris, 86 Morgan, Sam, 42 Morland, Morris, 71 Morton Benny, 72 Morton, Jelly Roll, 12, 25, 26, 28, 36, 49, 53, 58, 69, 74, 97, 99, 101, 102, 103, 108, Mosley, Edgar, 50 Moten, Billy, 15, 102 Mountjoy, Monty, 65 Mulligan, Gerry, 18, 39 Murphy, Turk, 28, 64, 61, 62, 103, 111, 112 Muti, Nicola, 86 Muti, Nicola, 87 Nardi, Gianni, 86 Nelson, Louis Big Eye, 52 Newton, Frankie, 46 Nicholas, Albert, 37, 44, 46, 49, 53, 70, 80, 86, 91, 95 Nicholas, Wooden Joe, 26 Nichols, Keith, 92 Nichols, Red, 40 Nisi, Claudio, 91 Nixon, Teddy, 71 Noone, Jimmy, 12, 48, 49 Nunez, Alcide Yellow, 71 Oliver, Joe King, 12, 25, 39, 47, 49, 54, 57, 60, 74, 94, 97, 101, 102 Ory, Kid Edward, 12, 28, 31, 32, 38, 44, 49, 58, 59, 101, 103, 116 Ottata, Franco, 92 Page, Hot Lips, 48 Palchetti, Max, 92 Panassiè, Hugues, 25, 26, 45, 47, 48,

125

77, 97 Parker, Charlie, 15, 17 Pateri, Eugenio, 91 Patruno, Lino, 41, 57, 83, 84, 87, 89, 94, 95, 96, 113 Pavageau, Alcide, 50, 67, 71 Penner, Ed, 65 Pentangelo, Ciccio, 87 Perec, Georges, 107 Perelli, Claudio, 91 Perris, Bruno, 85 Persiany, Andrè, 71 Petit, Buddy, 50 Petruzzelli, Natale, 86 Peytchev, Ivaylo, 89 Philippe, Claude, 76 Picou, Alphonse, 52, 72, 101 Pietra, Pietrangelo, 88 Polillo, Arrigo, 88, 92 Pollack, Ben, 54, 55, 59 Pollack, Lew, 102 Porro, Mauro, 92 Porta, Elvio, 93 Posillipo, Pasquale, 94 Pratella, Mario, 89 Price, Sammy, 72 Probert, George, 49 Purnell, Alton, 70 Reinhardt, Django, 76, 78, 90, 95 Remi, Ettore, 89 Rena, Kid, 28, 51, 53, 110 Rimington, Sammy, 66, 67, 74 Roach Max, 19 Robinson, Fred, 69 Robinson, Jim, 42, 43, 50, 52, 65, 67, 70 Rogers, Ernest, 43 Rogers, Shelly, 18 Rollins, Sonny, 105

126

New Orleans Revival

Romano, Gino, 9, 33, 93, 98 Rose, Wally, 61 Rota, Attilio, 87 Rusconi, Lalo, 88 Russell, Louis, 14, 37 Russell, Pee Wee, 13, 71 Russell, William Bill, 25, 26, 40, 42, 43 Russo, Jack, 86 Rust, Brian, 29, 97 Sanjust, Gianni, 90 SantClair, Cyrus, 71 Santiago, Lester, 72 Santiago, Willie, 52 Saraceni, Piero, 90 Saviano, Benito, 93 Saviano, Franco, 93 Sayles, Emanuel, 91 Sboto, Puccio, 90 Schilperoort, Peter, 78 Schroeder, Gene, 71 Scobey, Bob, 28, 61, 62, 112 Scott, Bud, 72, 116 Shaw, Artie, 45 Shaw, Arvell, 31, 38, 45 Silverstain, Shel, 79 Sims, Ken, 75 Singleton, Zutty, 37, 41, 70, 71 Siragusa, Claudio, 88 Sirianni, Luca, 91 Sissle, Noble, 45 Smith, Jabbo, 72, 81 Spanier, Muggsy, 13, 28, 45, 54, 58, 67, 71, 110, 111 Spats Langham, Tom, 92 Sunshine, Monty, 74, 75, 105, 112 Tagliati, Gino, 86 Teagarden, Jack, 31, 38, 55, 57, 70, 95 Teschemacher, Frank, 56

Testoni, Gian Carlo, 88 Thomas, Frank, 65 Tommasi, Amedeo, 87 Toscanini, Arturo, 59 Tuba, Skinny, 117,118 Tristano, Lennie, 18 Turazzi, Fabio, 91 Umiliani, Piero, 88 Valenti, Bob, 86 Valenti, Roberto, 87 Valentine, Thomas Kid, 65 Van Velzen, Jaap, 79 Vandor, Ivan, 85 Venuti, Joe, 41, 87, 90, 95 Verde, Gigi, 88 Vernhettes, Dan, 116 Vian, Boris, 76, 77 Vigorito, Fred, 66, 67, 112 Villani, Andres, 91 Waller, Fats, 13, 32, 39, 99 Watters, Lu, 28, 60, 61, 62, 63, 99, 101, 103, 111, 112 Webb, George, 74 Webster, Ben, 15 Wein, George, 105 Wettling, George, 70, 71 Wheatley, Martin, 92 Whitman, Paul, 83 Wilber, Bob, 87, 95 Williams, Clarence, 46, 81, 97, 99, 102 Williams, Hank, 101 Williams, Spencer, 99, 101, 102 Wilson, Buster, 49 Wilson, Teddy, 95 Wooden, Joe Nicholas, 26 Young, Austin, 43 Young, Lester, 15 Young, Trummy, 31

Index name

Young, Victor, 102 Zamboni, Nino, 87 Zancan, Beppi, 91

Zardis, Chester, 50 Zavinul, Joe, 82 Zinzi, Marcello, 85 Zuschlag, Michael, 81

127

Printed in January 2014 by “A. De Frede” Editore Via Mezzocannone, 69 - Napoli

Gino Romano - New Orleans Jazz Revival A short review

Gino Romano

Gino Romano Chemist. Classic jazz passionate since 1956. Cornet’s player in amateur Trad Bands from ’62 to ’68; he re-started playing in 2011. Collector of a large discography and bibliography that helped him to write his essayes about the origin of jazz, New Orleans brass bands and Bix Beiderbecke’s life. He is President of “Chemists’ Order” in Campania Region (Italy). From the same author: Jazz Experiences. Alle radici di un inedito: Jazz in prospettiva - 2012. Jazz Experiences. New Orleans Function, Le Brass Band - 2012. Jazz Experiences. New Orleans Revival 2012. Bix Beiderbecke. Vita, discografia, album 2013.

New Orleans Jazz Revival



A short review

“The birth of jazz music is a complex phenomenon to explain properly, if we want to avoid the trivial generalization that it was the product of the New Orleans melting pot intended only to increase the fun. In the late nineteenth century and early twentieth century jazz took his first steps in New Orleans; mostly black music, mostly class music and not race music. For various reasons, in the late 1910s, New York and especially Chicago, represented the new meeting point between blues, syncopated orchestras and ragtime, it was interracial: initially blacks, Creoles, European immigrants (many Italians) but almost immediately after also white Americans, they devoted themselves to this new kind of music, with strong African and European roots, but definitely American.”

Many thanks to Bruno Sacchi for the translation from the italian version of this book, originally published in 2012 as “Jazz Experiences. New Orleans Revival”.

ISBN 978-88-89976-96-8

isbn: 987-88-89976-96-8

9 788889 976968

€ 25,00

De Frede Editore

Cover images from the Author.