Apr 2
Jazz Magazine N°209 (France) - Kid Ory - Mars 1973
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Jazz Magazine N°209 (France) - Kid Ory - Mars 1973
Les harmonies vintage · Playlist
Cab Calloway & his Orchestra · Ted Lewis · Scott Joplin ·The Ink Spots · Muggsy Spanier · Sister Rosetta Tharpe · Jelly Roll Morton · Rose Murphy · Leo Monosson · Kid Ory · Vera Lynn · Comedian Harmonist · Al Bowlly · Mezz Mezzrow · Carroll Gibbons · Elizabeth Cotten · Barnabas von Geczy · The Mills Brothers · The Firehouse Five Plus Two · Mississippi Sheiks · Sippie Wallace · Walter Barnes & his Royal Creolians · Cannon's Jug Stompers · Savannah Churchill · Frank Stokes · The Andrews Sisters · Bunny Berigan · Blind Boy Fuller · Gus Viseur · Barbecue Bob · Harry Roy and his Bat Club Boys · Robert Wilkins · Marek Weber · Tino Rossi · Django Reinhardt · Coleman Hawkins · Red Nichols · Tiny Parham · Mamie Smith her Jazz Hounds · Paul Specht · Ma Rainey · Robert Pete Williams · Sam Morgan's Jazz Band · Bernie Moten · King Oliver's Creole Jazz Band · Sam Lanin and his Orchestra · Tony Murena · Original Dixieland Jazz Band · Helen Kane · Ray Ventura · etc,
HOLLY GRAIL OF JAZZ
MAMMA GET THE WAGON, ONE TIME...
And one time only you’ll have the chance to own , what it has to be, the Holly Grail of New Orleans Jazz History . A Grand Ball dance on June 24, 1918 where the entertainment was provided by none other than ORY & OLIVER’S BROWN SKIN BAND Two of the all time heavy weights and patriarchs of New Orleans Jazz playing together and at Economy Hall !!! Kid Ory and King Oliver . Extremely rare, original invitation ball card.
Item No. E4984
Dimensions:4″ x 2.5″
Contact us for more details
504.581.3733 / t
Kid Ory jazz album, 1947 (art by Jim Flora)
ORSON WELLES ALMANAC
May 3, 1944
“Orson Welles Almanac” aka “The Orson Welles Wonder Show” (1944) is a CBS Radio series directed and hosted by Orson Welles. Broadcast live in California and Arizona via CBS West Coast studios, the 30-minute program was heard Wednesdays at 9:30pm beginning January 26, 1944. Its last broadcast was July 19, 1944. Orson Welles Almanac presented readings from classic works, drama, music, sketch comedy, magic, mindreading, and personal commentary by Welles. Many of the shows originated from US Army camps where Welles entertained the troops. Welles had an ongoing battle with the program’s sponsor, Mobil Oil, which shortened the life of the series. Twenty six broadcasts were produced; all but four shows have survived.
This is the 15th episode of the series, aired on May 3, 1944. Previous guests were Groucho Marx, Lionel Barrymore, Ann Sothern, Robert Benchley, Hedda Hopper, and Victor Moore. Lucille Ball previously guest-starred on the series on March 3, 1944.
CAST
Lucille Ball (Guest Star) was then filming Ziegfeld Follies for release in 1945. Her films Best Foot Forward and Thousands Cheer (both released in 1943) were still in local cinemas. Ball was in her fourth year of a rocky marriage to Desi Arnaz, who she would divorce in September 1944, although the papers were never officially filed. Two days earlier, she had be heard in “A Night To Remember” for radio’s “Screen Guild Players.”
Orson Welles (aka ‘Wonder Boy’) arrived in Hollywood in 1939 when Ball was a contract player at RKO Studios. To squelch rumors that he was a homosexual, the studio sent Lucy to escort him to a premiere to be photographed. He later recalled,
“We went to see the opening of some movie or other—I simply picked her up at her house and we went to the movie and got photographed and came home and I said ‘Good night,’ and that was the end of that. That was the end of that romance, but it was the beginning of a long friendship.”
A veteran of the theatre, in 1941 the actor / director completed his magnum opus film Citizen Kane. In the 1950s he was under contract to Desilu to film a pilot for an anthology series called “The Fountain of Youth,” which wasn’t aired until 1958 and did not result in a series. Despite that, it won a Peabody Award, the only pilot to ever do so.
On February 5, 1956 Lucy and Desi appeared with Welles on Ed Sullivan’s “Toast of the Town.” They were there to promote their film Forever Darling. Welles was there to promote his revival of his King Lear at New York’s City Center, which he initially performed in a wheelchair due to injuries to both ankles. By the time he performed it on “Toast of the Town” (aka “The Ed Sullivan Show”) Welles was using a crutch.
When the Oscar-winning actor and director was down on his luck he was invited to stay in the Arnaz guest cottage. Notorious for his drinking and rude behavior, Lucy had to find a way to politely get rid of her guest so she decided to have an episode of “I Love Lucy” written for him so she could pay him a salary. With that in mind, Desilu paid him the exorbitant sum of $15,000! Ball’s memories of Welles were mixed. “I had a real love-hate relationship with Orson,” she said towards the end of her life. “His mind was awesome…but he was also a pain in the ass.”
At the time of this broadcast (March 8, 1944) Welles’ film Jane Eyre was playing in cinemas.
Aurora Miranda (Musical Guest) was a Brazilian singer and actress. She began her career at the age of 18 in 1933. Miranda appeared in several films, including The Three Caballeros, where she danced with Donald Duck and José Carioca, singing the song, "Os Quindins de Yayá". Her sisters were Carmen Miranda and Cecilia Miranda.
The All-Star Jazz Group: Mutt Carey (trumpet), Kid Ory (trombone), Barney Bigard (clarinet), Buster Wilson (piano), Bud Scott (guitar), Ed Garland (bass), and Zutty Singleton (drums).
John McIntire (Announcer)
EPISODE
This episode was broadcast from the Naval Air Station at Terminal Island, San Pedro, California, at the time, the fastest ship-building station in the world.
ORSON: “All the way out I had to sit on Lucille Ball’s lap!”
The sailors in the audience respond very vocally to Lucille.
Orson and Ball enact a scenario depicting Lucille Ball pulling over to pick up a prudish sailor who is hitchhiking. The sailor says he’s headed to the Museum of Natural History, and maybe the Aquarium. They drive off, the sailor uncharacteristically staving off Lucille’s advances. He admires her car - a 1941 Cadillac.
ORSON: “You get much pick-up?” LUCILLE: “You’re the third today!”
She takes him on a ‘short-cut’ and they run out of gas. She wants to stay and cuddle...but he is afraid. Afraid that the museum will be closed!
Welles introduces Aurora Miranda to Lucille Ball. He has to ‘translate’ her heavy accent. She sings "No Tabuleiro da Baiana", with Welles joining her briefly in duet.
Lucille asks Orson if she can do a love scene with one of the sailors. He recruits someone from the audience - George. Although he claims no acting experience, he knows he can kiss! Orson sets the scene: a boy comes home from college to meet his sweetheart for the first time in a long while. Orson acts as a director.
ORSON: “Woah! Slow down! What’s the rush?” GEORGE: “I’m expecting a transfer any minute.”
Although the scene calls for hand-holding the sailor puts his arm around her. Lucy senses that Orson is deliberately intervening to prevent him from kissing her, but finally he does.
ORSON: “Cut! That’s it! This isn’t commando tactics! She’s an actress, not an obstacle course!”
Orson introduces the All-Star Jazz Band playing “Savoy Blues.” The piece was first recorded by Louis Armstrong in 1927 and was composed by Kid Ory, who plays trombone here.
Orson Welles reads the honor speech from Shakespeare’s Henry V on the subject of honor.
In 1965, Welles made a film called Chimes at Midnight (aka Falstaff) which incorporated monologues from several of Shakespeare’s “Henry” plays, including Henry V.
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音楽のススメ363
本日はKid Oryからの繋がりで、米国よりJelly Roll Mortonをご紹介していきます。
Jelly Roll Morton(ジェリー・ロール・モートン)とは、1885年米ルイジアナ州生まれのジャズ・ピアニスト・作曲家。
裕福なクレオール人コミュニティで育ち、14歳からピアニストとして仕事を始め、トニー・ジャクソンと並び、20世紀初期のストーリーヴィル地区でとりわけなの知られたピアニストだった。若い頃から南米ツアーを行い、「キング・ポーター・ストンプ」「ニューオーリンズ・ブルース」「ジェリー・ロール・ブルース」など多くの名曲を残す。
その後1926年に当時米国で最もメジャーだったビクターと契約して、Red Hot Peppersの録音。これは1920年代のジャズの古典的名盤として現在に到るまで多大な影響を与えている。当時キッド・オリー、オマー・シメオン、バーニー・ビガード、ジョニー・ドッズ、ベイビー・ドッズといったニューオーリンズ・ジャズの名人たちと多数コラボレーションを重ねた
1928年にNYヘ移住るすも世界大恐慌の影響もあり、不遇の時代に。その後ワシントンDCへ引っ越してバーの支配人になるもうまくいかなかったが、モートンの演奏に興味を持った民俗学者アラン・ローマックスにより米国議会図書館にモートンの演奏とインタビューが録音され、これらは後にジャズ音楽史の歴史的資料として貴重なものとなり後にグラミー賞を受賞。
ある日彼は店でオーナーの友人と喧嘩になりナイフで刺されて頭と胸に重症を負い、その傷の後遺症による喘息が悪化し、1941年に死去。
自己顕示欲が強く、自慢話を得意にする派手な性格だったがゆえぬ、自分の名刺にジャズとスウィングの創始者と書き、そのために自分の年齢や自身の作曲した年を偽ったりまでしていました。そんな性格が災いし周りから総スカンを食い、喧嘩で刺されましたが、彼の優れた作曲能力、ピアノの演奏から生み出される音楽は間違いなくジャズの歴史上最も偉大な遺産のひとつとされています。 ちなみに映画「海の上のピアニスト」では彼をモデルにした自己顕示欲の強いピアニストが出てくるそうなので、もう一回見てみようかな。
本日は彼の初期の名作「キング・ポーター・ストンプ」を。非常に音がいいので、これがもしかしたら米国議会図書館に所蔵されているものでしょうか？
Jelly Roll Morton / King Porter Stomp (1926)
Daniel Armstrong (August 4, 1901 – July 6, 1971), known by his stage name Louis(Lew-E) Armstrong. He is known for his charismatic stage presence and his one of kind speaking and singing voice a well as his trumpet playing, scatting, and the ability to improvise while singing. I’ll be honest with you I really didn’t care for him until I started listening to bits of his music in my late 20’s. He was another artist that was able to have a career in films and music. During his 50 year career Armstrong he was one of the first Black entertainers to “ cross over” and appeal to a white audience. Despite all the hardships he may have faced throughout his life and his career Armstrong focused on the music and entertaining his fans and playing music. He influential figure in jazz and entertainment.