Jazz

Assembled from 21 blocks · 2 evidence · 20 related

1. Story
2. The ensemble practice that took shape among Black and Creole musicians in New Orleans in the years around 1900 and spread outward along the rivers, railways and record catalogues of the next two decades. Its materials are a summary of everything else in this Journey: blues vocal inflection applied to wind instruments; the brass-band instrumentation left over from military and civic bands; ragtime's syncopated piano; church and funeral procession; and the Caribbean rhythmic cells that reached the city through its Gulf traffic — what Jelly Roll Morton, in his 1938 Library of Congress recordings, called the "Spanish tinge", meaning the habanera and tresillo patterns without which he said the music lacked seasoning. The recorded history begins with a distortion that is itself part of the story: the first jazz record, made on 26 February 1917, was by the Original Dixieland Jass Band, five white New Orleans musicians, in a New York studio, and Black New Orleans players were not recorded in the idiom until several years later. The music the record documents was not theirs to begin with, and the record industry's ordering of who got captured first shaped what the world subsequently believed jazz was.
3. Knowledge
4. New Orleans
5. Jazz
6. Connections
7. Blues
8. New Orleans
9. Son cubano
10. The first jazz record is made
11. Alan Lomax records Jelly Roll Morton at the Library of Congress
12. The Middle Passage
13. Congo Square, New Orleans
14. Jazz
15. Havana
16. New Orleans confines Sunday gatherings to Congo Square
17. The first jazz record is made
18. Alan Lomax records Jelly Roll Morton at the Library of Congress
19. Evidence
20. The Original Dixieland Jass Band recorded "Livery Stable Blues" and "Dixieland Jass Band One-Step" for Victor in New York on 26 February 1917, issued as Victor 18255 and generally counted the first commercially released jazz record. V55 verification basis: retrieved in search summary attributed to the Library of Congress article and corroborating discographic entries; the article was not opened, and retrieved sources give the release date variously as 7 March and May 1917, which this pack does not resolve.
21. Morton drew Afro-Cuban rhythms including the tresillo and habanera into early jazz and called them collectively the "Spanish tinge", stating in his 1938 Library of Congress sessions that jazz required it; Cuban dance bands toured New Orleans and the danzón was a significant influence there. V55 verification basis: retrieved in search summary attributed to this Tulane resource together with related scholarship; no page was opened and no recording or transcript was consulted.