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2018 The Creole Influence in Traditional Jazz
001-2018-020
54:26 Master Camera files on Hard Drive, Mp4 on Server and Cloud
2018-05-04
Don Vappie - Interviewer - Gwen Thompkins
ABSTRACT: 05:10 After Thompkins describes the phenomenon of New Orleans musical clans, Vappie explains that his exists on his mother’s side. His grandmother’s brother was Papa John Joseph, a bass player who ran a barbershop with his brother that served as a meeting place for musicians of color. 07:23 Vappie explains that in his day musicians congregated at local bars and venues to find out what was happening. 09:01 Ashlin Parker explains that he goes to Frenchmen Street for that purpose, confirming New Orleans as “the most inclusive music scene in the world,” commending particularly the habit of intergenerational gigs. 11:47 Demonstration 16:03 Vappie explains how he began as a funk musician, that being the music he grew up with. He describes how pervasive music was in town, and reminisces on buying a 45 to share with band mates in preparation for talent shows. He explains that the diversity of music kids tried to play came from their exposure to many genres. 19:11 Vappie describes how he initially got into jazz, taking shelter from how boring he found the repetitiveness of disco. He began working his way backward through time, exploring the music. He describes the parallels he found between funk and trad jazz in these explorations, illustrating the cooperative counterpoint developed by each instrument having a distinct, layered role. 25:36 Vappie and Thompkins debate whether King Oliver was a Creole, settling on his having been, at the very least, “culturally Creole.” 27:18 Vappie and Parker reflect on King Oliver’s influence. 28:46 Recording, “West End Blues” 29:35 Parker credits Oliver with popularizing mutes, including experimental ones. 30:33 Recording, “The New Orleans Shout” 31:00 Parker and Vappie discuss the integrity of King Oliver’s recordings. Vappie gets into how different recording was back then. 34:33 Vappie reveals that he transcribes music for the Creole Jazz Serenaders, to establish parameters for improvisation. 36:38 Vappie explains that he’s seen bands all over the world trying to play early New Orleans music, which he considers an honor. Ironically, not as many people in New Orleans are trying, which he says is why he’s doing it. 39:09 Vappie tells how he and Wynton Marsalis’ early funk bands engaged in battles. 41:57 Vappie explains how managing bands has gotten harder since Katrina; in the days before the storm, everything was easier with word of mouth and people knowing you and what you could do. He explains that finding musicians and venues for a large band is difficult, easier with a machine-like backing. 46:56 Vappie explains that it was Johnny St Cyr, a banjo player, who led him to King Oliver. He gets into the fact that the banjo is actually an updated African instrument, though it’s long carried Uncle Tom connotations. 52:12 Demonstration
video recording
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New Orleans Jazz & Heritage Foundation Archive