0:00: Bob Green raised in New York City; Influenced by all kinds of jazz in New York 4:38: Jelly Roll hard to work for, Green in 7 piece group- hard to keep it together as band leader; 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; reminiscent of Treemonisha era 8:00: Jazz is fragile music- performed art, not scored art; Ensemble recorded on RCA Victor Red Seal; Used Jelly Roll’s arrangements; Ragtime era leading into New Orleans jazz piano style 10:28: Ragtime; European music; Jelly Roll said piano should be imitation of full jazz band- left hand: guitar, drum, trombone. Right hand: clarinet and trumpet; 1904- Jelly Roll wrote King Porter Stomp- Benny Goodman became famous playing it 12:46: Plays King Porter Stomp 15:14: Jelly’s instrumentation; left New Orleans at peak of creativity, died penniless, doesn’t get enough recognition; 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: Jelly Roll didn’t bother with copyrights; 1930, deep in depression, playing at Jungle Inn above hamburger joint in Washington, while hearing his own un-copy written songs on the radio; tried to make comeback in California 18:00: Bob Green’s other influences: Jess Stacey; Demonstrates Stacey’s playing style 21:45: “Don’t You Leave Me Here” or “Alabama Bound”- last tune he recorded 22:00: Plays song 25:44: Library of Congress series by John and Alan Lomax on Jelly Roll Morton; Jelly Roll talking about Mardi Gras Indians- plays with New Orleans feel; Professor Longhair-Lomax said after Jelly Roll Morton, Professor Longhair was next great pianist to come out of New Orleans; Bob Green listened to Jeanette Kimball, niece of Toots Washington, great piano player 28:18: Favorite Jelly Roll pieces: “Tiger Rag 29:15: plays piece 33:23: Documenting Jelly Rolls records 35:44: Plays “Creepy Feeling” 39:58 Interview ends