The term for this is. There wasnt really any meaning only that people would stamp their feet. Morton's life was a topsy-turvy affair of recognition and obscurity, riches and poverty, first-class travel and freight hopping that took him to nearly every major city with a vibrant club life. All kinds of interpretations have been recorded over the decades: avant-garde, jazz and pop. An accomplished pool shark, Jelly Roll was known for flashy suits and hats, bandanas and spats. Morton began his now legendary narrative talking about his French Creole ancestors. tutti; baroque influence introduce solo melodies one at a time; part of a tonal group; trumpet: Taft Jordan; trombone: Lawrence Brown; baritone: Harry Carney; clarinet: jimmy hamilton; stop time, then call and response shout chorus ending until final ensemble, Billie Holliday; 1935 hired by Teddy Wilson; song form 8 bars ABAC; melodic paraphrase by Benny Goodman (clarinet); Wilson- harmonic improvisation (piano); polyphonic outchorus, emotional power, raw nasally voice, Ella Fitzgerald; 1963 ABAC; 3 choruses; gathers momentum with each; modulates up a half step with each chorus; trumps as a soloist; swings fiercely, first composed in 1921 by W.C. Hanady; Art Tatum arrangement in 1949; unique blues structure, different melodies, A (12) B (12) C (16); flashy jazz version; blind from infancy; humorous; first strain is dissonant; melodic paraphrase in the first strain; parody of stride in m15 by distorting left hand; break at the end into a coda, Teddy Wilson, piano; 1942; song form AABA; 1st chorus melody paraphrase; 2 full choruses, harmonic improvisation in 2nd chorus; coda at the end; plays on chord changes, 1939; new melody, but old chord progression to I Got Rhythm by Gershwin in 1930; Count Basie= bandleader; song form AABA; Lester Young on tenor sax; Count Basie on piano- minimalist in comparison to Coleman, Fats Waller composed in 1929; performed by Coleman Hawkins on tenor sax in 1937; Belgian guitarist Django Reinhardt; Song form AABA; 2 choruses long; melody target notes; harmonic improvisation ii V I. composed by Carmichael; Roy Eldridge solo trumpet 1941; Gene Krupa's band; Honeysuckle Rose performed by Coleman Hawkins, Lester Leaps In by Count Basie Band and lester young, Teddy Wilson pianst on These Foolish Things, King Porter Stomp Benny Goodman/Fletcher Henderson. In his book, Mister Jelly Roll: The Fortunes of Jelly Roll Morton, New Orleans Creole and Inventor of Jazz, Alan Lomax quotes Morton revealing the tunes title: Porter King was an educated gentleman with a far better musical training than mine and he seemed to have a yen for my style of playing, although we had two different styles. 71-72, Spring 2001-Spring 2002), by Jeffrey Magee, Morton claimed he conceived the tune in 1905. So I think he was proud, but at the same time, I think he felt like he was being cheated because he didn't reap as much of the financial benefits of the music. Permission & contact Jelly Roll Morton has a new popularity today. "They just crossed the world. "Now this tune become to be the outstanding favorite of every great, hot band throughout the world that had the accomplishments and qualifications of playing it. JazzStandards.com: The premier site for the history and analysis of the standards jazz musicians play the most. In 4, bass pulsing beat; Fletcher Henderson 1935; Benny Goodman- clarinet solo; Bunny Barrigan- trumpet solo; march form AABBB; O: call and respone between sax and brass; climax= homophonic shout chorus; stick pattern of bridge improvisation and composition; brass and sax (standard) antiphone voicing; composed by jelly roll morton . Recordings Used: LOC recording of Alan Lomax interviewing, KPS - by JRM in 1923 at Starr Paino Company, KPS - Gil Evans and Cannonball Adderly (1955), Ferdinand Joseph La Menthe, better known as Jelly Roll Morton. I dont know what the term stomp means, myself. 'King Porter Stomp' Jelly Roll Morton wrote 'King Porter Stomp' back in the early 1900s, when he was still a teenager, playing piano in the clubs of his hometown, New Orleans. King Porter Stomp Gil Evans. And most jazz historians would agree. King Porter Stomp made the charts three times, Although its popularity crested in the late twenties and early thirties, King Porter Stomp was probably written somewhere between 1905 and 1910. "He was credited, of course, for 'King Porter Stomp,' but because of his character and personality, he had no bones about letting everybody know that this was his music and that all of it was his music. The tune was performed by black bands and white bands alike, from Cab Calloway and Count Basie to Glenn Miller and Tommy Dorsey. In 1938, in what would be the twilight of his career, Jelly Roll Morton sat down at the piano and vamped, while he talked with Library of Congress folklorist Alan Lomax. Search | Morton was born Ferdinand Lamothe in 1890, the son of a bricklayer. King Porter Stomp. With the onset of the Depression, Henderson's band fell on hard times, and he turned his talents toward arranging. Copyright 2005-2020 - JazzStandards.com "Jelly had so many people to borrow, take, steal a lot of his musical ideas and not give him credit," says Dr. Michael White, a jazz clarinetist from New Orleans who has long studied and played the music of Jelly Roll Morton. The flamboyant pianist and composer Jelly Roll Morton notably performed his "King Porter Stomp" in 1923 at the Star Piano Company in Richmond, Indiana. And, of course, your background would always be with perfect harmony with what is known today as riffs, meaning figures, musically speaking as figures. When he talked with Alan Lomax, Jelly Roll elaborated on the differences between his people, the educated French Catholic Creoles descended from antebellum free people, and the English-speaking African-Americans they often disdain socially, but whose musical prowess they emulated in creating a new sound for the 20th century: jazz. Ferdinand Joseph La Menthe, better known as Jelly Roll Morton. He sported a diamond in his toothy smile and had the smirking improvisatory wit of a master raconteur. And in his 1938 recordings for the Library of Congress, Morton pointed out that "King Porter Stomp" was not just a part of nearly every big band's repertoire. However, this tune became to be the outstanding favorite of every great hot band throughout the world that had the accomplishments to play it. date: 1958 form: march/ragtime. It was King Porter Stomp, Goodman believed, that saved him in 1935, when his first national tour was bombing coast to coast, until he reached Oakland, California...[Goodman said of Bunny Berigan] Before he played four bars, there was such a yelling and stomping and carrying on in the hall that I thought a riot had broken out. The Oakland triumph foreshadowed the even more spectacular success Goodman achieved in Los Angeles, at the Palomar Ballroom, playing King Porter Stomp and swing tunes inspired by it.
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