From a concert by the Louisiana Jazz Band, Oct. 13, 2006, the theater Jacques Coeur in Bourges ( France), in favor of Amnesty International. (Images François Galland)
http://louisianajazzband.ifrance.com
Wednesday, April 22, 2009
Congratulate Ex On Engagement
The Sheik of Araby - Louisiana Jazz Band
From a concert by the Louisiana Jazz Band, Oct. 13, 2006, the theater Jacques Coeur in Bourges ( France), in favor of Amnesty International. (Images François Galland)
http://louisianajazzband.ifrance.com
From a concert by the Louisiana Jazz Band, Oct. 13, 2006, the theater Jacques Coeur in Bourges ( France), in favor of Amnesty International. (Images François Galland)
http://louisianajazzband.ifrance.com
.sayingboontjie Kry Sy Loontjie Meaning
Linger Awhile - Tom Baker, Dan Barrett, Michael Supnick
Ascona Jazz Festival (Switzerland)
Trombones - Tom Baker, Dan Barrett, Michael Supnick
Rossano Sportiello (piano), Lino Patruno (guitar), Guido Giacomini (bass), Giampalo Biagi (drums) 
Ascona Jazz Festival (Switzerland)
Trombones - Tom Baker, Dan Barrett, Michael Supnick
Rossano Sportiello (piano), Lino Patruno (guitar), Guido Giacomini (bass), Giampalo Biagi (drums)
Gravestones London Ontario Monuments
Ory's Creole Trombone - Turk Murphy/Climax JB 1979
Ory's Creole Trombone - Turk Murphy/Climax JB 1979
Climax Jazz Band in a TV performance in 1979 featuring trombonist Turk Murphy.
Climax Jazz Band with Bob Erwig cnt, Jim Buchmann clt, Geoff Holmes tbne, Jack Vincken bjo, Chris Daniels bass and Max Littlejohns drums
I started playing trumpet in Holland in 1951 and I became interested in jazz. 'Ory's Creole trombone' was a tune (first recorded in 1927 by Louis Armstrong's Hot Five with composer Kid Ory on trombone) which always intrigued me.
Trumpetplayer Bunk Johnson was also an early influence. In the mid fifties I came across a recording of Bunk with members of the west coast revival band of Lu Watters from San Francisco who recorded in 1944 Ory's Creole Trombone as well.
I still have the LP on the Good Time Jazz label (L-12024) in my collection.The trombonist was Turk Murphy.
Many years later after having moved to Canada I joined Toronto's Climax Jazz Band in 1971 and our band did well. When we were invited to play several TV shows hosted by famous vibraphone player Peter Appleyard it was of course, especially for me, a great honour to have, some 25 years after I heard him for the first time, Turk Murphy being a guest on one of Peter's shows with our band. To my amazement Turk suggested to try Ory's Creole Trombone. Fortunately we had the tune in our repertoire and even Peter, on the vibes, was familiar with the tune. We tried it once and what you see and hear is the first take with all the excitement of playing together for the first time and with the feeling that it works. Turk took the tempo somewhat faster then we were used to, but.... what a treat it was.
After it was all done we had lunch with Turk. It was a great day.Turk Murphy, a superb jazz trombonist and a wonderful person.
( I just got an email from the leader/trombonist of Peruna Jazzmen in Denmark:
Hej Bob
Ory´s Creole trombone with Turk Murphy
You write it was first recorded in 1926 with Armstrongs Hot Five.
I think you know, but forgot it was recorded, june 1922.
Spike´s Seven Pods Of Pebber / Ory´s Sunshine Orchestra.
All The Best
Arne Hojberg
I did not know and thank you for making me aware.Now I have to search and try to find a copy of that first recording which, i found out, even has Mutt Carey on cornet) 
Ory's Creole Trombone - Turk Murphy/Climax JB 1979
Climax Jazz Band in a TV performance in 1979 featuring trombonist Turk Murphy.
Climax Jazz Band with Bob Erwig cnt, Jim Buchmann clt, Geoff Holmes tbne, Jack Vincken bjo, Chris Daniels bass and Max Littlejohns drums
I started playing trumpet in Holland in 1951 and I became interested in jazz. 'Ory's Creole trombone' was a tune (first recorded in 1927 by Louis Armstrong's Hot Five with composer Kid Ory on trombone) which always intrigued me.
Trumpetplayer Bunk Johnson was also an early influence. In the mid fifties I came across a recording of Bunk with members of the west coast revival band of Lu Watters from San Francisco who recorded in 1944 Ory's Creole Trombone as well.
I still have the LP on the Good Time Jazz label (L-12024) in my collection.The trombonist was Turk Murphy.
Many years later after having moved to Canada I joined Toronto's Climax Jazz Band in 1971 and our band did well. When we were invited to play several TV shows hosted by famous vibraphone player Peter Appleyard it was of course, especially for me, a great honour to have, some 25 years after I heard him for the first time, Turk Murphy being a guest on one of Peter's shows with our band. To my amazement Turk suggested to try Ory's Creole Trombone. Fortunately we had the tune in our repertoire and even Peter, on the vibes, was familiar with the tune. We tried it once and what you see and hear is the first take with all the excitement of playing together for the first time and with the feeling that it works. Turk took the tempo somewhat faster then we were used to, but.... what a treat it was.
After it was all done we had lunch with Turk. It was a great day.Turk Murphy, a superb jazz trombonist and a wonderful person.
( I just got an email from the leader/trombonist of Peruna Jazzmen in Denmark:
Hej Bob
Ory´s Creole trombone with Turk Murphy
You write it was first recorded in 1926 with Armstrongs Hot Five.
I think you know, but forgot it was recorded, june 1922.
Spike´s Seven Pods Of Pebber / Ory´s Sunshine Orchestra.
All The Best
Arne Hojberg
I did not know and thank you for making me aware.Now I have to search and try to find a copy of that first recording which, i found out, even has Mutt Carey on cornet)
Tuesday, April 21, 2009
Burton Binding Size 10 Boot
Storia del Jazz-origini
Storia del jazz. Gli schiavi neri, deportati dall'Africa dal 1500 al 1865, si incontrarono con gli europei giunti a colonizzare le Americhe, e dall'incrocio di forze sotterranee di un popolo considerato istintivo (Africans) and Western idealism born of classical Greece and flourished from the Germanic world a new cultural form based on improvisation and creative instinct friendly, vocal and instrumental. In the southern U.S. blacks slaves were kept tied to their music and the first song, the musical instruments brought from Africa, particularly drums, were in fact confiscated because whites believed that they were used to communicate and to incite rebellion . The songs, work songs, songs of the plantation, had life to overcome the condition of inferiority and subjection to which they were forced and not to forget their identity of which the black codes (codes for blacks) li were private. The African musical tradition was linked to events of daily life and agricultural and pastoral event of war. The European tradition provided the impetus to draw from other musical forms: classical music, religious hymns, folk songs, dance music, marches, operas, and then musical instruments from piano to wind instruments. Among the sacred music borrowed, an example is Oh Tannenbaum, later adapted to travel in style and played jazz Finally, the New Orleans jazz is defined based on improvisation collective usually for three voices, trumpet, clarinet and trombone. The themes come from ragtime, blues, from the marches, folk songs from the era. The term often indicates Dixieland works performed by white musicians such as, for example, the Original Dixieland band. There were small bands that you could meet on the streets of New Orleans, the so-called street parade. They were musical parades that were used for public festivals such as Mardi Gras, for events, and adverts: the arrival or departure of a vessel, election campaigns, or opening a new restaurant. Was coupled with the slow pace a funeral, and then launch into wild rhythms of return from the grave. During the First World War, following the closure of brothels in New by the Minister of the Navy, the musicians, finding themselves without work, trying their luck the north, along the Mississippi. In Chicago, King Oliver, Louis Armstrong and others did know this music to a wide audience, and some young people, like the cornetist Bix Beiderbecke they were drawn. The first important recordings made by musicians blacks dating back to 1923, by King Oliver's Creole Jazz Band, a group that included some of the most important musicians in New Orleans to Chicago. During the 20s he met jazz great popularity in the U.S.. The most important centers for the recordings were in Chicago and New York, but throughout the rest of America and Europe were in vogue dances associated with this music. It was then that he was born THE JAZZ AGE. History of Jazz. The etymology of the word JAZZ, and 'unknown but the great Dizzy Gillespie said that "Jasi," in an African dialect, it means living at a fast pace. In reality, 'there are many versions about the origins of this word, probably derived from "chase" (hunting), or English "JASM" (energy) or even still "jazz-belles" with what were called prostitutes New Orleans. The musicians were in fact called "Jasbir" and "jass" dirty words with which (in the brothels of the time) is urged customers to dance. Jazz is a very emotional musical language, born from improvisation, but at the same time requires considerable technical, based on a variety of rhythm and phrasing, speed up harmonic and beautiful melodies. Although mainly instrumental music, jazz has expressed over time, beginning with Bessie Smith, special items for intensity, warmth and technical interpretation. Jazz is born and takes shape with the emergence of the black minority in American society, but descended from slaves when blacks in America had invented their music: memories of memories on the transplanted African folk sounds of white Christians and contaminated by religious songs . At first the song accompanying the work (the blues) then becomes prayer (spiritual and gospel). But we can say that the beginning you can 'identify in New Orleans. The city of New Orleans in the late 800, was a collection of peoples and races, being dominated, over time in English, French, English and Italian also. Here and 'born jazz, although in many areas of the United States, at the same time, the particular way of life by the music of blacks had been present since ancient times. New Orleans formed, however, the focus of trends and styles originating in jazz. The worksongs that blacks were singing in the countryside at work in religious spirituals, the blues, all poured together in the original and primitive forms of jazz. This is why New Orleans is the center of reference in which the various trends of black music found their natural outlet. Until the thirties the leading jazz musicians came from New Orleans and most of them began his musical career there. Certainly one of the most interesting is that in the New Orleans city black communities lived together two very different between them, each with its own ethnic and cultural heritage: the Creoles and those that can be defined more generally American blacks. While American blacks were the poorest part of the proletariat of New Orleans, many Creoles were well integrated into the socio-economic reality of the city and had a petit bourgeois extraction. The style of New Orleans was born from the encounter between these different groups: in Storyville, " http://www.thestoryvilledistrict.com /", the area reserved for the brothels, with its numerous local was an amazing meeting point and the launching pad for many musicians and singers in the streets, where they performed the "bands" of the funeral processions that accompanied the deceased to the cemetery playing music for the occasion. When they returned to town playing music, colorful and cheerful during the festivities of the carnival. the main characteristic of the style of New Orleans and 'the execution of improvised melodic lines in bulk on simple and traditional chord progressions, with the presence of three main instruments trumpet, trombone and clarinet accompanied by a rhythm section, which run alternarnamdosi and grafting between them. Milestone in New Orleans as consequential was Chicago. In fact, after the closure of Storyville, New Orleans (wanted by the U.S. military entered the war the U.S. not to disturb the military service in the city), the musicians were out of work, taking refuge in Chicago, where they found accommodation in the many clubs, music-hall and local authorities, as part of broader migration of black people to the lands of Nord.Durante the '20s, the original style of New Orleans found its true flowering in Chicago, and became firmly established here. On the southside of Chicago, the black neighborhood, developed a thriving music and jazz. Here were recorded the first masterpieces of the jazz bands from here and you said permanently. On the southside of Chicago, the black neighborhood, developed a thriving music and jazz. Here were recorded the first masterpieces of jazz by bands led by King Oliver, Louis Armstrong then from ( http://www.satchmo.net/index1.html ), Johnny Dodds, Jelly Roll Morton, Jimmie No one. Simultaneously with this statement of the style of New Orleans to Chicago, a group of white musicians, amateur and professional matured his own internalization of jazz played by blacks, creating a unique style, the style of Chicago. elements of Western culture, black and white jazz contaminated. led by King Oliver, Louis Armstrong and Johnny Dodds, Jelly Roll Morton, Jimmie No one. Starting from the model of collective improvisation of New Orleans style, little by little, the sensitivity of white European musical models derived from the harmonic solutions introduced more sophisticated and ever growing, the value of the item that solo at the apex of the style Chicago, will result in the preponderance of improvisation in the domination of the individual and the saxophones, and in the emergence of large formations (Big Bands), announcing the jazz style of the thirties and Swing. Chicago was, therefore, a center that has deeply marked the evolution of jazz and remained a consistently important reference point for musicians, so much so that, in the 60s, will become a the most important places where cutting-edge trends will reinforce the most musically and politically radical black American culture, such as the Art Ensemble of Chicago Source: http://docenti.lett.unisi.it/files/12 / 2/4/20/Gruppo_5_Storia_del_Jazz.doc
Storia del jazz. Gli schiavi neri, deportati dall'Africa dal 1500 al 1865, si incontrarono con gli europei giunti a colonizzare le Americhe, e dall'incrocio di forze sotterranee di un popolo considerato istintivo (Africans) and Western idealism born of classical Greece and flourished from the Germanic world a new cultural form based on improvisation and creative instinct friendly, vocal and instrumental. In the southern U.S. blacks slaves were kept tied to their music and the first song, the musical instruments brought from Africa, particularly drums, were in fact confiscated because whites believed that they were used to communicate and to incite rebellion . The songs, work songs, songs of the plantation, had life to overcome the condition of inferiority and subjection to which they were forced and not to forget their identity of which the black codes (codes for blacks) li were private. The African musical tradition was linked to events of daily life and agricultural and pastoral event of war. The European tradition provided the impetus to draw from other musical forms: classical music, religious hymns, folk songs, dance music, marches, operas, and then musical instruments from piano to wind instruments. Among the sacred music borrowed, an example is Oh Tannenbaum, later adapted to travel in style and played jazz Finally, the New Orleans jazz is defined based on improvisation collective usually for three voices, trumpet, clarinet and trombone. The themes come from ragtime, blues, from the marches, folk songs from the era. The term often indicates Dixieland works performed by white musicians such as, for example, the Original Dixieland band. There were small bands that you could meet on the streets of New Orleans, the so-called street parade. They were musical parades that were used for public festivals such as Mardi Gras, for events, and adverts: the arrival or departure of a vessel, election campaigns, or opening a new restaurant. Was coupled with the slow pace a funeral, and then launch into wild rhythms of return from the grave. During the First World War, following the closure of brothels in New by the Minister of the Navy, the musicians, finding themselves without work, trying their luck the north, along the Mississippi. In Chicago, King Oliver, Louis Armstrong and others did know this music to a wide audience, and some young people, like the cornetist Bix Beiderbecke they were drawn. The first important recordings made by musicians blacks dating back to 1923, by King Oliver's Creole Jazz Band, a group that included some of the most important musicians in New Orleans to Chicago. During the 20s he met jazz great popularity in the U.S.. The most important centers for the recordings were in Chicago and New York, but throughout the rest of America and Europe were in vogue dances associated with this music. It was then that he was born THE JAZZ AGE. History of Jazz. The etymology of the word JAZZ, and 'unknown but the great Dizzy Gillespie said that "Jasi," in an African dialect, it means living at a fast pace. In reality, 'there are many versions about the origins of this word, probably derived from "chase" (hunting), or English "JASM" (energy) or even still "jazz-belles" with what were called prostitutes New Orleans. The musicians were in fact called "Jasbir" and "jass" dirty words with which (in the brothels of the time) is urged customers to dance. Jazz is a very emotional musical language, born from improvisation, but at the same time requires considerable technical, based on a variety of rhythm and phrasing, speed up harmonic and beautiful melodies. Although mainly instrumental music, jazz has expressed over time, beginning with Bessie Smith, special items for intensity, warmth and technical interpretation. Jazz is born and takes shape with the emergence of the black minority in American society, but descended from slaves when blacks in America had invented their music: memories of memories on the transplanted African folk sounds of white Christians and contaminated by religious songs . At first the song accompanying the work (the blues) then becomes prayer (spiritual and gospel). But we can say that the beginning you can 'identify in New Orleans. The city of New Orleans in the late 800, was a collection of peoples and races, being dominated, over time in English, French, English and Italian also. Here and 'born jazz, although in many areas of the United States, at the same time, the particular way of life by the music of blacks had been present since ancient times. New Orleans formed, however, the focus of trends and styles originating in jazz. The worksongs that blacks were singing in the countryside at work in religious spirituals, the blues, all poured together in the original and primitive forms of jazz. This is why New Orleans is the center of reference in which the various trends of black music found their natural outlet. Until the thirties the leading jazz musicians came from New Orleans and most of them began his musical career there. Certainly one of the most interesting is that in the New Orleans city black communities lived together two very different between them, each with its own ethnic and cultural heritage: the Creoles and those that can be defined more generally American blacks. While American blacks were the poorest part of the proletariat of New Orleans, many Creoles were well integrated into the socio-economic reality of the city and had a petit bourgeois extraction. The style of New Orleans was born from the encounter between these different groups: in Storyville, " http://www.thestoryvilledistrict.com /", the area reserved for the brothels, with its numerous local was an amazing meeting point and the launching pad for many musicians and singers in the streets, where they performed the "bands" of the funeral processions that accompanied the deceased to the cemetery playing music for the occasion. When they returned to town playing music, colorful and cheerful during the festivities of the carnival. the main characteristic of the style of New Orleans and 'the execution of improvised melodic lines in bulk on simple and traditional chord progressions, with the presence of three main instruments trumpet, trombone and clarinet accompanied by a rhythm section, which run alternarnamdosi and grafting between them. Milestone in New Orleans as consequential was Chicago. In fact, after the closure of Storyville, New Orleans (wanted by the U.S. military entered the war the U.S. not to disturb the military service in the city), the musicians were out of work, taking refuge in Chicago, where they found accommodation in the many clubs, music-hall and local authorities, as part of broader migration of black people to the lands of Nord.Durante the '20s, the original style of New Orleans found its true flowering in Chicago, and became firmly established here. On the southside of Chicago, the black neighborhood, developed a thriving music and jazz. Here were recorded the first masterpieces of the jazz bands from here and you said permanently. On the southside of Chicago, the black neighborhood, developed a thriving music and jazz. Here were recorded the first masterpieces of jazz by bands led by King Oliver, Louis Armstrong then from ( http://www.satchmo.net/index1.html ), Johnny Dodds, Jelly Roll Morton, Jimmie No one. Simultaneously with this statement of the style of New Orleans to Chicago, a group of white musicians, amateur and professional matured his own internalization of jazz played by blacks, creating a unique style, the style of Chicago. elements of Western culture, black and white jazz contaminated. led by King Oliver, Louis Armstrong and Johnny Dodds, Jelly Roll Morton, Jimmie No one. Starting from the model of collective improvisation of New Orleans style, little by little, the sensitivity of white European musical models derived from the harmonic solutions introduced more sophisticated and ever growing, the value of the item that solo at the apex of the style Chicago, will result in the preponderance of improvisation in the domination of the individual and the saxophones, and in the emergence of large formations (Big Bands), announcing the jazz style of the thirties and Swing. Chicago was, therefore, a center that has deeply marked the evolution of jazz and remained a consistently important reference point for musicians, so much so that, in the 60s, will become a the most important places where cutting-edge trends will reinforce the most musically and politically radical black American culture, such as the Art Ensemble of Chicago Source: http://docenti.lett.unisi.it/files/12 / 2/4/20/Gruppo_5_Storia_del_Jazz.doc
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