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#新奥尔良爵士　#拉格泰姆　#迪克西兰爵士

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艺人介绍

小简介

爵士乐的开山鼻祖。

One of the very first giants of jazz, Jelly Roll Morton did himself a lot of harm posthumously by exaggerating his worth, claiming to have invented jazz in 1902. Mortons accomplishments as an early innovator are so vast that he did not really need to stretch the truth.

Morton was jazzs first great composer, writing such songs as King Porter Stomp, Grandpas Spells, Wolverine Blues, The Pearls, Mr. Jelly Roll, Shreveport Stomp, Milenburg Joys, Black Bottom Stomp, The Chant, Original Jelly Roll Blues, Doctor Jazz, Wild Man Blues, Winin Boy Blues, I Thought I Heard Buddy Bolden Say, Dont You Leave Me Here, and Sweet Substitute. He was a talented arranger (1926s Black Bottom Stomp is remarkable), getting the most out of the three-minute limitations of the 78 record by emphasizing changing instrumentation, concise solos and dynamics. He was a greatly underrated pianist who had his own individual style. Although he only took one vocal on records in the 1920s (Doctor Jazz), Morton in his late-30s recordings proved to be an effective vocalist. And he was a true character.

Jelly Roll Mortons pre-1923 activities are shrouded in legend. He started playing piano when he was ten, worked in the bordellos of Storyville while a teenager (for which some of his relatives disowned him) and by 1904 was traveling throughout the South. He spent time in other professions (as a gambler, pool player, vaudeville comedian and even a pimp) but always returned to music. The chances are good that in 1915 Morton had few competitors among pianists and he was an important transition figure between ragtime and early jazz. He played in Los Angeles from 1917-1922 and then moved to Chicago where, for the next six years, he was at his peak. Mortons 1923-24 recordings of piano solos introduced his style, repertoire and brilliance. Although his earliest band sides were quite primitive, his 1926-27 recordings for Victor with his Red Hot Peppers are among the most exciting of his career. With such sidemen as cornetist George Mitchell, Kid Ory or Gerald Reeves on trombone, clarinetists Omer Simeon, Barney Bigard, Darnell Howard or Johnny Dodds, occasionally Stomp Evans on C-melody, Johnny St. Cyr or Bud Scott on banjo, bassist John Lindsay and either Andrew Hilaire or Baby Dodds on drums, Morton had the perfect ensembles for his ideas. He also recorded some exciting trios with Johnny and Baby Dodds.

With the center of jazz shifting to New York by 1928, Morton relocated. His bragging ways unfortunately hurt his career and he was not able to always get the sidemen he wanted. His Victor recordings continued through 1930 and, although some of the performances are sloppy or erratic, there were also a few more classics. Among the musicians Morton was able to use on his New York records were trumpeters Ward Pinkett, Red Allen and Bubber Miley, trombonists Geechie Fields, Charles Irvis and J.C. Higginbotham, clarinetists Omer Simeon, Albert Nicholas and Barney Bigard, banjoist Lee Blair, guitarist Bernard Addison, Bill Benford on tuba, bassist Pops Foster and drummers Tommy Benford, Paul Barbarin and Zutty Singleton.

But with the rise of the Depression, Jelly Roll Morton drifted into obscurity. He had made few friends in New York, his music was considered old-fashioned and he did not have the temperament to work as a sideman. During 1931-37 his only appearance on records was on a little-known Wingy Manone date. He ended up playing in a Washington D.C. dive for patrons who had little idea of his contributions. Ironically Mortons King Porter Stomp became one of the most popular songs of the swing era, but few knew that he wrote it. However in 1938 Alan Lomax recorded him in an extensive and fascinating series of musical interviews for the Library of Congress. Mortons storytelling was colorful and his piano playing in generally fine form as he reminisced about old New Orleans and demonstrated the other piano styles of the era. A decade later the results would finally be released on albums.

Morton arrived in New York in 1939 determined to make a comeback. He did lead a few band sessions with such sidemen as Sidney Bechet, Red Allen and Albert Nicholas and recorded some wonderful solo sides but none of those were big sellers. In late 1940, an ailing Morton decided to head out to Los Angeles but, when he died at the age of 50, he seemed like an old man. Ironically his music soon became popular again as the New Orleans jazz revivalist movement caught fire and, if he had lived just a few more years, the chances are good that he would have been restored to his former prominence (as was Kid Ory).

Jelly Roll Mortons early piano solos and classic Victor recordings (along with nearly every record he made) have been reissued on CD.

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热门评论

• @.：Jelly Roll Morton之所以自称为爵士乐的发明者，是因为在新奥尔良爵士从乐谱形式逐渐转向即兴、行家独奏的风格之前，他是时代的领导者，并没有什么可笑的。批评他之前先做做调查，他只是固守他的原则只写严格按照乐谱演奏的爵士而已，他音乐事业后期因为不愿意接受新潮流，导致穷困潦倒早早死去，可怜但不可笑，记住了。

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最新简评（共82条）

• @aurora(O)：
• @直到世界尽头(超脱)：:)
• @豆沙方糕(虾米别关门啊……)：JELLY ROLL 好像卡通片的可爱名字
• @Tell.Z(Jazz Voicing)：海上钢琴师原型
• @未知生物：当Jerry的奶奶发现他在妓院弹奏jazz，怒火中烧，认为这是魔鬼的音乐，辱没门庭，还把他赶出了家门。可是jerry称自己就是放不下jazz。毫无疑问每个天才都是会受到质疑的，首先是家庭的鄙视，而那些坚持下来了的都终将成为大师。
• @未知生物：他并不是一个有经济头脑的人，时常被音乐出版商愚弄，外加独特的个人风格和音乐惹恼了不少乐坛权威。 但像大多热爵士乐音乐家的遭遇那样，他受到大萧条的严重打击。热爵士不再流行，公众的青睐投给了大乐队的更和缓平和的声音。大萧条把他彻底击溃：商人们榨干了他的钱财，乐坛的权威们污辱他，他后来甚至变卖了钳在门牙上的钻石。三十年代后沦落到在华盛顿的地下酒吧里弹琴，41年死去（正好在迪克西爵士回潮前，这次爵士的复活挽救了众多的他的同僚，可惜没有挽救到他自己）
• @未知生物：组建了red hot peppers乐队。后世某个乐队会不会...
• @大喵(不要自我设限.....)：
• @都别和我臊皮了(咱们的口号是 AQA芭蕾...)：这才是真G
• @いちごいちえ(Cloud Nine)：奥尔良 奥尔良 奥尔良 ………… 鸡翅