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1989 Bob Greene on Jelly Roll Morton
Sat May 06 1989
39:58 - Audio Cassette Master; WAV and Mp3 on Server and Cloud
0:00: Bob Green inaudible 1:10: Raised in New York City 1:32: Influenced by all kinds of jazz in New York? (Answer inaudible) 2:25: What made Jelly Roll outstanding as piano player? (Answer inaudible) 4:00: Bill Russell book on Jelly Roll Morton 4:38: Jelly Roll hard to work for, Bob Green in 7 piece group- hard to keep it together as band leader 4:55: Jelly Roll debt to rag timers- went out to St. Louis because he worshipped Scott Joplin. Louis Chauvin in St. Louis, wrote Heliotrope Bouquet- song plays 7:21: song ends 7:29: reminiscent of Treemonisha era 7:50: documentation of music 8:00: Jazz is fragile music- performed art, not scored art 8:40: works from records mostly rather than score 9:04: Ensemble recorded on RCA Victor Red Seal- no one ever bought it. Used Jelly Roll’s arrangements 9:50: Ragtime era leading into New Orleans jazz piano style 10:28: Ragtime- popular music scored first, then played- European music 11:06: Jelly Roll said piano should be imitation of full jazz band- left hand: guitar, drum, trombone. Right hand: clarinet and trumpet 12:15: 1904- Jelly Roll wrote King Porter Stomp- Benny Goodman became famous playing it 12:46: Plays King Porter Stomp 15:00: song ends 15:14: Jelly’s instrumentation: frontline of lead coronet, clarinet, trombone, bass or tuba, drum, piano, and guitar or banjo 15:58: left New Orleans at peak of creativity, died penniless, doesn’t get enough recognition 16:40: Bob Green talks about Jelly Roll’s life: left New Orleans 1910, played in mansions on Rampart Street, made 100+ tips, then toured Biloxi and Shreveport, then California 17:25: Age changed to be about popular music and copyrights, Jelly Roll didn’t bother with copyrights 17:30: 1930, deep in depression, playing at Jungle Inn above hamburger joint in Washington, while hearing his own un-copy written songs on the radio 17:45: tried to make comeback in California, didn’t realize he had to play in place with radio broadcasts for publicity 18:00: Bob Green’s other influences: Jess Stacey- only played with trumpet in right hand, didn’t have thickness of Jelly 18:34: Demonstrates Stacey’s playing style 19:21: Asks about boogie-woogie piano style- plays example of form 21:45: “Don’t You Leave Me Here” or “Alabama Bound”- last tune he recorded, first tune he played- same song, different feeling 22:00: Plays song 25:10: Song ends 25:19: timelessness of sound 25:44: Library of Congress series by John and Alan Lomax on Jelly Roll Morton 26:15: Jelly Roll talking about Mardi Gras Indians- plays with New Orleans feel 26:34: Professor Longhair-Lomax said after Jelly Roll Morton, Professor Longhair was next great pianist to come out of New Orleans 27:27: Bob Green listened to Jeanette Kimball, niece of Toots Washington, great piano player 28:18: Favorite Jelly Roll pieces: “Tiger Rag”- from French opera, used indigenous material and made jazz materials out of it, starts with quadrille, developed into traditional 3 part strain with change of key at end 29:15: plays piece 33:11: piece ends 33:23: Documenting Jelly Rolls records: It’s Jelly’s music and no one can play it as well as he could, but him being able to play it keeps Jelly Roll alive 34:15: Opens up for questions (inaudible question) 35:44: Spanish influence (Spanish Tinge), changed tone from blue to red, plays “Creepy Feeling” 37:58: Bill Russell- research on Jelly Roll, career as violinist- New Orleans Ragtime Orchestra
Allison Miner interviewer. Bob Greene.
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