1.
New Orleans
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New Orleans is a major United States port and the largest city and metropolitan area in the state of Louisiana. The population of the city was 343,829 as of the 2010 U. S. Census, the New Orleans metropolitan area had a population of 1,167,764 in 2010 and was the 46th largest in the United States. The New Orleans–Metairie–Bogalusa Combined Statistical Area, a trading area, had a 2010 population of 1,452,502. The city is named after the Duke of Orleans, who reigned as Regent for Louis XV from 1715 to 1723, as it was established by French colonists and it is well known for its distinct French and Spanish Creole architecture, as well as its cross-cultural and multilingual heritage. New Orleans is also famous for its cuisine, music, and its celebrations and festivals, most notably Mardi Gras. The city is referred to as the most unique in the United States. New Orleans is located in southeastern Louisiana, straddling the Mississippi River, the city and Orleans Parish are coterminous. The city and parish are bounded by the parishes of St. Tammany to the north, St. Bernard to the east, Plaquemines to the south, and Jefferson to the south and west. Lake Pontchartrain, part of which is included in the city limits, lies to the north, before Hurricane Katrina, Orleans Parish was the most populous parish in Louisiana. As of 2015, it ranks third in population, trailing neighboring Jefferson Parish, La Nouvelle-Orléans was founded May 7,1718, by the French Mississippi Company, under the direction of Jean-Baptiste Le Moyne de Bienville, on land inhabited by the Chitimacha. It was named for Philippe II, Duke of Orléans, who was Regent of the Kingdom of France at the time and his title came from the French city of Orléans. The French colony was ceded to the Spanish Empire in the Treaty of Paris, during the American Revolutionary War, New Orleans was an important port for smuggling aid to the rebels, transporting military equipment and supplies up the Mississippi River. Bernardo de Gálvez y Madrid, Count of Gálvez successfully launched a campaign against the British from the city in 1779. New Orleans remained under Spanish control until 1803, when it reverted briefly to French oversight, nearly all of the surviving 18th-century architecture of the Vieux Carré dates from the Spanish period, the most notable exception being the Old Ursuline Convent. Napoleon sold Louisiana to the United States in the Louisiana Purchase in 1803, thereafter, the city grew rapidly with influxes of Americans, French, Creoles, and Africans. Later immigrants were Irish, Germans, and Italians, Major commodity crops of sugar and cotton were cultivated with slave labor on large plantations outside the city. The Haitian Revolution ended in 1804 and established the republic in the Western Hemisphere. It had occurred several years in what was then the French colony of Saint-Domingue
2.
Dixieland
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Dixieland, sometimes referred to as hot jazz or traditional jazz, is a style of jazz based on the music that developed in New Orleans at the start of the 20th century. The first use of the term Dixieland with reference to music was in the name of the Original Dixieland Jazz Band, at that time, there was no issue of subgenres of jazz, so Dixieland referred to the band and not the music. That reflected the fact that all of the recorded repertoire of New Orleans musicians was from the period when the format was already evolving beyond the traditional New Orleans format. Dixieland may in that sense be regarded as denoting the jazz movement of the 1940s and 1950s as much as any particular subgenre of jazz. The essential elements that were accepted as within the style were the front lines consisting of trumpets, trombones, and clarinets. The Jim Crow associations of the name Dixieland also did little to attract younger coloured musicians to the revival, well-known jazz standard tunes such as Basin Street Blues and When the Saints Go Marching In are known even to non-jazz fans thanks to the enduring popularity of traditional jazz. The Vietnam-era protest song Feel Like Im Fixin to Die Rag is based on tonal centers, Traditional jazz is a major tourist attraction for New Orleans to the present day. It has been an influence on the styles of modern players such as Charles Mingus. New Orleans music combined earlier brass band marches, French quadrilles, biguine, ragtime, the Dixieland sound is created when one instrument plays the melody or a variation on it, and the other instruments improvise around that melody. This creates a more sound than the heavily arranged big band sound of the 1930s or the straight melodies of bebop in the 1940s. The West Coast revival began in the late 1930s in San Francisco which used banjo, the Dutch old-style jazz was played with trumpets, trombones and saxophones accompanied by a single clarinet, sousaphone and a section of Marching percussion usually including a washboard. Dixieland is the given to early jazz by traditional jazz revivalists. The name is a reference to the Old South, specifically anything south of the Mason-Dixon line, the term encompasses earlier brass band marches, French Quadrilles, biguine, ragtime, and blues with collective, polyphonic improvisation. Louis Armstrongs All-Stars was the band most popularly identified with Dixieland during the 1940s and this creates a more polyphonic sound than the arranged ensemble playing of the big band sound or the straight head melodies of bebop. During the 1930s and 1940s, the earlier group-improvisation style fell out of favor with the majority of black players. Though younger musicians developed new forms, many beboppers revered Armstrong, many Dixieland groups of the revival era consciously imitated the recordings and bands of decades earlier. Other musicians continued to create innovative performances and new tunes, for example, in the 1950s a style called Progressive Dixieland sought to blend polyphonic improvisation with bebop-style rhythm. Spike Jones & His New Band and Steve Lacy played with such bands and this style is sometimes called Dixie-bop
3.
Jazz
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Jazz is a music genre that originated amongst African Americans in New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in Blues and Ragtime. Since the 1920s jazz age, jazz has become recognized as a form of musical expression. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms, Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music. Although the foundation of jazz is deeply rooted within the Black experience of the United States, different cultures have contributed their own experience, intellectuals around the world have hailed jazz as one of Americas original art forms. As jazz spread around the world, it drew on different national, regional, and local musical cultures, New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. In the 1930s, heavily arranged dance-oriented swing big bands, Kansas City jazz, bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging musicians music which was played at faster tempos and used more chord-based improvisation. Cool jazz developed in the end of the 1940s, introducing calmer, smoother sounds and long, modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock rhythms, electric instruments. In the early 1980s, a form of jazz fusion called smooth jazz became successful. Other styles and genres abound in the 2000s, such as Latin, the question of the origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm, a term dating back to 1860 meaning pep. The use of the word in a context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a context in New Orleans was in a November 14,1916 Times-Picayune article about jas bands. In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, When Broadway picked it up. That was dirty, and if you knew what it was, the American Dialect Society named it the Word of the Twentieth Century. Jazz has proved to be difficult to define, since it encompasses such a wide range of music spanning a period of over 100 years. Attempts have been made to define jazz from the perspective of other musical traditions, in the opinion of Robert Christgau, most of us would say that inventing meaning while letting loose is the essence and promise of jazz. As Duke Ellington, one of jazzs most famous figures, said, although jazz is considered highly difficult to define, at least in part because it contains so many varied subgenres, improvisation is consistently regarded as being one of its key elements
4.
Cornet
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The cornet /ˈkɔːrnɪt/ is a brass instrument similar to the trumpet but distinguished from it by its conical bore, more compact shape, and mellower tone quality. The most common cornet is an instrument in B♭, though there is also a soprano cornet in E♭. Both are unrelated to the renaissance and early baroque cornett, the cornet was initially derived from the post horn around 1820 in France. Among the first manufacturers of modern cornets was Parisian Jean Asté in 1828, cornets first appeared as separate instrumental parts in 19th century French compositions. This instrument could not have developed without the improvement of piston valves by Silesian oboe player Friedrich Blühmel. These two instrument makers almost simultaneously invented valves, though it is likely that Blühmel was the inventor and they jointly applied for a patent and were granted this for a period of ten years. Later, and most importantly, François Périnet received a patent in 1838 for a valve which is the basis of all modern brass instrument piston valves. Up until the early 20th century, the trumpet and cornet coexisted in musical ensembles, symphonic repertoire often involves separate parts for trumpet and cornet. As several instrument builders made improvements to instruments, they started to look and sound more alike. The modern day cornet is used in bands, concert bands. The name cornet derives from corne, meaning horn, itself from Latin cornu, while not musically related, instruments of the Zink family are named cornetto or cornett in modern English to distinguish them from the valved cornet described here. The 11th edition of the Encyclopædia Britannica referred to serpents as old wooden cornets, the Roman/Etruscan cornu is the lingual ancestor of these. It is a predecessor of the post horn from which the evolved and was used like a bugle to signal orders on the battlefield. The instrument was once referred to as a cornopean, referencing the earliest cornets with the Stölzel valve system. The cornet was invented by adding valves to the post horn in 1814, the valves allowed for melodic playing throughout the register of the cornet. Trumpets were slower to adopt the new technology, so for the next 100 years or more. The trumpet would play fanfare-like passages, while the cornet played more melodic passages, the modern trumpet has valves that allow it to play the same notes and fingerings as the cornet. Cornets and trumpets made in a key play at the same pitch
5.
Victor Talking Machine Company
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The Victor Talking Machine Company was an American flagship record company headquartered in Camden, New Jersey. The company was founded by Eldridge R. Johnson, who had previously made gramophones to play Emile Berliners disc records, Victor Talking Machine Co. was incorporated officially in 1901 shortly before agreeing to allow Columbia Records use of its disc record patent. Victor had acquired the Pan-American rights to use the trademark of the fox terrier Nipper listening to a gramophone when Berliner. Barraud noticed that whenever he played a recorded by his brother. Barrauds original depicts Nipper staring intently into the horn of an Edison-Bell while both sit on a wooden surface. The London branch was managed by an American, William Barry Owen, Barraud paid a visit with a photograph of the painting and asked to borrow a horn. Owen gave Barraud an entire gramophone and asked him to paint it into the picture, the original painting still shows the contours of the Edison-Bell phonograph beneath the paint of the gramophone when viewed in the correct light. Only 13 originally commissioned His Masters Voice paintings were commissioned by the company, in 1915, the His Masters Voice logo was rendered in immense circular leaded-glass windows in the tower of the Victrola factory building. The tower remains today with replica windows installed during Radio Corporation of Americas ownership of the plant in its later years, today, one of the original windows is located at the Smithsonian museum in Washington, D. C. There are different accounts as to how the Victor name came about, a second account is that Johnson emerged as the Victor from the lengthy and costly patent litigations involving Berliner and Frank Seamans Zonophone. A third story is that Johnsons partner, Leon Douglass, derived the word from his wifes name Victoria, finally, a fourth story is that Johnson took the name from the popular Victor bicycle, which he had admired for its superior engineering. Of these four accounts the first two are the most generally accepted, perhaps coincidentally, the first use of the Victor title on a letterhead, on March 28,1901, was only nine weeks after the death of British Queen Victoria. Before 1925, recording was done by the purely mechanical. No microphone was involved and there was no means of amplification, the recording machine was essentially an exposed-horn acoustical record player functioning in reverse. The sound-vibrated center of the diaphragm was linked to a stylus that was guided across the surface of a very thick wax disc. The wax was too soft to be played back even once without seriously damaging it, although test recordings were sometimes made, although sound quality was gradually improved by a series of small refinements, the process was inherently insensitive. From the start, Victor innovated manufacturing processes and soon rose to preeminence by recording famous performers, in 1903, it instituted a three-step mother-stamper process to produce more stampers and records than previously possible. These new celebrity recordings bore red labels, and were marketed as Red Seal records, for many years these records were single-sided, only in 1923 did Victor begin offering Red Seals in double-sided form
6.
Okeh Records
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Okeh Records was a record label founded by the Otto Heinemann Phonograph Corporation, a phonograph supplier established in 1916, which branched out into phonograph records in 1918. Since 1926, it has been a subsidiary of Columbia Records, today, Okeh is an imprint of Sony Masterworks, a specialty label of Columbia. Okeh was founded by Otto K. E. Heinemann, a German-American manager for the U. S. branch of German-owned Odeon Records, Heinemann formed the name of the record label from his initials, on early disc labels, the name is spelled OkeH. The first discs were vertical cut, in 1919, Okeh switched to the lateral-cut method of sound recording, more commony used for disc records. In that year the parent company was renamed the General Phonograph Corporation. The common 10-inch discs retailed for 75 cents each, the 12-inch discs for $1.25, the companys musical director was Fred Hager, who was also credited under the pseudonym Milo Rega. Okeh produced lines of recordings in German, Czech, Polish, Swedish, some were pressed from masters leased from European labels, others were recorded by Okeh in New York. In 1920, Ralph Peers recordings of the African-American blues singer Mamie Smith were a smash hit for Okeh. The company perceived the significant, little-tapped market for blues and jazz by African-American artists, in 1922, Okeh hired Clarence Williams as director of race recordings for Okehs New York studios, in addition to making recordings under his own name. Okeh then opened a studio in Chicago, the center of jazz in the 1920s. Many classic jazz performances by prominent artists as King Oliver, Lucille Bogan, Sidney Bechet, Hattie McDaniel, Louis Armstrong. As part of the Carl Lindstrom Company, Okeh recordings were distributed by other Lindstrom labels, King Oliver and Bennie Moten recorded for Okeh before moving on to other labels. The 8000 race series is highly prized by collectors, partly because Okeh recorded many blues, in 1926, Okeh was sold to Columbia Records. Columbia and its subsequent parent companies have controlled Okeh since then, the original Mamie Smith recording was in 1920, of Crazy Blues. General Phonograph Corp, Okehs manufacturer, used Smith’s success as the press to cultivate the new found market. Okeh had further prominence in the demographic, as African-American artists such as Sara Martin, Eva Taylor, Shelton Brooks, Esther Bigeou, Okeh started a special 8000 series devoted exclusively to race artists. The success of this series led Okeh to start recording where the music was being performed, the 8000 series, which began in 1921, lasted until late 1934, the final number being 8966. Okeh Records pioneered the practice of recording in 1922
7.
Vocalion Records
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The name was derived from one of their corporate divisions, the Vocalion Organ Co. The fledgling label first issued single-sided, vertical-cut disc records but soon switched to double-sided and then, in 1920, aeolian pressed Vocalion discs in a good-quality reddish brown shellac, which set the product apart from the usual black shellac used by other record companies. Advertisements stated that Vocalion Red Records are best or Red Records last longer, however, Vocalions shellac was no more durable than good-quality black shellac. In 1925 the label was acquired by Brunswick Records, during the 1920s Vocalion also began the celebrated 1000 race series. The 15000 series continued, but after the Brunswick takeover, it seems that Vocalion took a seat to the Brunswick label. By 1928–1929, many of the records issued on the Vocalion 15000 series were hot jazz exclusive to Vocalion and are extremely rare, in retrospect, it seems that Brunswick never really had a plan for the Vocalion 15000 series. From 1925 to 1930, Brunswick appeared to use this series as a specialty label for other than general sale. This seems to also be an explanation as to why the early 1930s Vocalions are rarer than Brunswick records. In April 1930, Warner Bros. bought Brunswick Records and, for a time, in December 1931 Warner Bros. licensed the entire Brunswick and Vocalion operation to the American Record Corporation. ARC used Brunswick as their flagship 75-cent label and Vocalion as one of their 35-cent labels, the Vocalion race/blues series continued and continued to be popular. Starting in 1933, a number of Brunswick artists were assigned to Vocalions then-new 2500 series, new signings contributed to the growing popularity of the label. Coupled with other short-term signings, including Fletcher Henderson, Phil Harris, Earl Hines, and Isham Jones, also, starting in 1935, Vocalion started reissuing titles that were still selling from the recently discontinued OKeh label. In 1936 and 1937 Vocalion produced the recordings of the influential blues artist Robert Johnson. From 1935 through 1940, Vocalion was one of the most popular labels for small-group swing, blues, after the short-lived Variety label was discontinued, many titles were reissued on Vocalion, and the label continued to release new recordings made by Master/Variety artists through 1940. This added Cab Calloway and the Duke Ellington small groups-within-his-band to the label, ARC was purchased by CBS and Vocalion became a subsidiary of Columbia Records in 1938. The popular Vocalion label was discontinued in 1940, and the current Vocalions were reissued on the recently revived OKeh label with the catalog numbers. The name Vocalion was resurrected in the late 1950s by Decca as a label for back-catalog reissues. In 1975, MCA issued five albums on the Vocalion label
8.
Columbia Records
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Columbia Records is an American record label owned by Sony Music Entertainment, a subsidiary of Sony Corporation of America, Inc. the United States division of Sony Corporation. It was founded in 1887, evolving from an enterprise named the American Graphophone Company. Columbia is the oldest surviving brand name in the sound business. Columbia Records went on to release records by an array of singers, instrumentalists. It is one of Sony Musics three flagship record labels alongside RCA Records and Epic Records, rather, as above, it was connected to CBS, a broadcasting media company which had purchased the company in 1938, and had been co-founded in 1927 by Columbia Records itself. Though Arista Records was sold to Bertelsmann Music Group, it would become a sister label of Columbia Records through its mutual connection to Sony Music. The Columbia Phonograph Company was founded in 1887 by stenographer, lawyer and New Jersey native Edward Easton and it derived its name from the District of Columbia, where it was headquartered. At first it had a monopoly on sales and service of Edison phonographs and phonograph cylinders in Washington. As was the custom of some of the regional companies, Columbia produced many commercial cylinder recordings of its own. Columbias ties to Edison and the North American Phonograph Company were severed in 1894 with the North American Phonograph Companys breakup, thereafter it sold only records and phonographs of its own manufacture. In 1902, Columbia introduced the XP record, a brown wax record. According to Gracyk, the molded brown waxes may have sold to Sears for distribution. Columbia began selling records and phonographs in addition to the cylinder system in 1901, preceded only by their Toy Graphophone of 1899. For a decade, Columbia competed with both the Edison Phonograph Company cylinders and the Victor Talking Machine Company disc records as one of the top three names in American recorded sound. In order to add prestige to its catalog of artists. The firm also introduced the internal-horn Grafonola to compete with the extremely popular Victrola sold by the rival Victor Talking Machine Company, during this era, Columbia used the famous Magic Notes logo—a pair of sixteenth notes in a circle—both in the United States and overseas. Columbia was split into two companies, one to make records and one to make players, Columbia Phonograph was moved to Connecticut, and Ed Easton went with it. Eventually it was renamed the Dictaphone Corporation, in late 1923, Columbia went into receivership
9.
Southland Records
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Southland Records is a record label in New Orleans, Louisiana known for its 1950s recordings of Dixieland jazz. Southland Records was founded in 1953 by Joe Mares, a clarinetist and he created the label after noticing the number of unsigned musicians in New Orleans. Mares recorded George Lewis, Papa Celestin, Sharkey Bonano, Nick LaRocca, bands practiced at the labels studio behind Mares Brothers Furs, a company begun by his father, uncle, and grandfather. Sessions were recorded at concert halls and at TV and radio stations, in the 1960s Mares sold the label to George Buck and it became part of the Jazzology Records group under the control of the George H. Buck Jr
10.
Original Dixieland Jass Band
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The Original Dixieland Jass Band was a Dixieland jazz band that made the first jazz recordings in early 1917. Their Livery Stable Blues became the first jazz single ever issued, the group made the first recordings, and claimed authorship, of many jazz standards, the most famous being Tiger Rag. In late 1917 the spelling of the name was changed to Original Dixieland Jazz Band. The band consisted of five musicians who had played in the Papa Jack Laine bands, an integrated group of musicians who played for parades, dances. ODJB billed itself as the Creators of Jazz and it was the first band to record jazz commercially and to have hit recordings in the new genre. Band leader and cornetist Nick LaRocca argued that ODJB deserved recognition as the first band to record jazz commercially and they then assembled trombonist Eddie Edwards, pianist Henry Ragas, and cornetist Frank Christian. Shortly before they were to leave, Christian backed out, on March 3,1916 the musicians began their job at Schillers Cafe in Chicago under the name Steins Dixie Jass Band. The band was a hit and received offers of higher pay elsewhere, LaRocca and Nunez had personality conflicts, and on October 30 Tom Browns Band and ODJB agreed to swap clarinetists, bringing Larry Shields into the Original Dixieland Jass Band. The band attracted the attention of theatrical agent Max Hart, who booked the band in New York City, at the start of 1917 the band began an engagement playing for dancing at Reisenwebers Cafe, on Columbus Circle, in Manhattan. While a couple of other New Orleans bands had passed through New York City slightly earlier, shortly after arriving in New York, a letter dated January 29,1917, offered the band an audition for the Columbia Graphophone Company. The session took place on Wednesday, January 31,1917, nothing from this test session was issued. The band then recorded two sides for the Victor Talking Machine Company, Livery Stable Blues and Dixieland Jass Band One-Step, on February 26,1917 and these titles were released as Victor 18255 in May 1917, the first issued jazz record. The bands recordings, first marketed as a novelty, were a surprise hit, musician Joe Jordan sued, since the One Step incorporated portions of his 1909 ragtime composition That Teasin Rag. The record labels subsequently were changed to Introducing That Teasin Rag by Joe Jordan, a court case dispute over the authorship of Livery Stable Blues resulted in the judge declaring the tune in the public domain. Numerous jazz bands were formed in the wake of the success of ODJB that copied and replicated its style, also bands were brought from Chicago and California in an attempts to join the jazz craze. Established musicians and bandleaders such as Wilbur Sweatman started billing their groups as jass or jazz bands, earl Fuller, bandleader at a competing New York venue, was ordered by management to form a jass band. In 1918, the song When You Hear That Dixieland Jazz Band Play by Shelton Brooks and it was a tribute to the Original Dixieland Jazz Band, who were featured on the cover. Durante was very impressed with the band and invited them to play at a called the Alamo in Harlem where Jimmy played piano
