Colors …
This is a Voyage into Sound
inst. of change (ELECTRIC GUITAR)
the players
INSTRUMENTS OF NOISE.
Under a Crescent Moon
“Basin Street Blues”
1928 — Louie Armstrong
((( Crescent City )))
sg.
ROBERT JOHNSON GRAPHIC BLUES
HARLEM RENAISSANCE
“You’re A Viper”
Fats Waller (NYC)
Fats Waller’s “Harlem Stride“ laid the foundation on which so much of the modern electric keyboard sound was built.
((( 4 O’Clock In The Morning )))
“Brandy”
Looking Glass
1972 — Single (45) Jersey Shore Sound
((( Listen )))
On New Year’s Eve 1912, a young Louis Armstrong was arrested for firing a celebratory pistol into the air, and was subsequently sent to the Colored Waif’s Home for Boys. He was 11 years old, and the experience marked THE turning point in his life. He joined the Home’s brass band, learned to play the coronet, and developed a passion for music, and could see the road to making Jazz in his future.
First, in his late teens, he played in brass bands around New Orleans, and with Fate Marable’s band on Mississippi riverboats. Then he replaced King Oliver in Kid Ory’s band when Oliver left for Chicago in 1919.
Storyville
After emerging from the Delta, and before moving up the Mississippi, The Blues spent time in New Orleans, where it mixed with all the southern port’s sounds: Appalachian, Ragtime, Barbershop, Stride, Caribbean, and American Jazz. All contributed to the Blues before embarking on its Voyage north to Chicago. The Mississippi was muddy and long, and the journey made many stops along the way: Natchez, Memphis, St. Louis, Kansas City …
•MUSIC OF NEW ORLEANS (wiki)
New Orleans is renowned as the birthplace of jazz and boasts a vibrant music scene that blends various styles, including Blues, Zydeco, R&B, and Soul.
The Meters (1965)
Zigaboo Modeliste (drums)
George Porter Jr. (bass)
Leo Nocentelli (guitar) and
Art Neville (keyboards)
The band performed and recorded their own music from the late 1960s until 1977 and played an influential role as backing musicians for other artists, including Lee Dorsey, Robert Palmer, Dr. John, and Allen Toussaint. Their original songs “Cissy Strut” and “Look-Ka Py Py” are considered funk classics
Dr. John
Garage A Trois
Soulive (Beatles) Woodstock
The Neville Brothers
The Marsalis Family
Ellis Jr. and sons, Wynton and Branford.
Harry Connick Jr.
Stanton Moore
Galactic
Dumpstaphunk
Big Sam
Dirty Dozen Brass Band
Preservation Hall Jazz Band
Snug Harbor
Blue Nile
Howlin’ Wolf
>>>
1880s: Efforts to limit and control music and public performances in New Orleans during the late 19th century. >>>
1896 City Charter: A new city charter for New Orleans included Section 21, which restricted the opening of “any barroom, saloon, or concert saloon, or dance hall” without the written consent of a majority of nearby residents or property holders. This indicates a desire to control the operation and location of venues hosting live music and performances.
Regulations on Public Performances: The city also drafted a definition of “Live Entertainment” in the Zoning Ordinance to regulate various types of performance, including music, poetry readings, DJs, dance, magic shows, and mime. While the exact timing of this comprehensive definition isn’t specified as the 1880s, the MaCCNO Cultural Policy Timeline notes that the definition was drafted in response to issues like amusement tax allocation and disagreements surrounding live music in specific venues like Little People’s Place and resistance to drag shows in the French Quarter.
Concerns about “Dens of Inequity”: Many New Orleans residents in the late 19th century considered live music venues “dens of inequity” and their patrons “moral filth”. This sentiment likely fueled efforts to control or restrict such establishments.
It’s important to differentiate these efforts from the later (1922) ban on jazz music and dancing in New Orleans public schools, which was explicitly rooted in racism and aimed at distancing schoolchildren from the African American creators of jazz, according to PBS. While the 1880s regulations were driven by social concerns and morality, the 1922 school ban was distinct in its racist motivations.
“Basin Street Blues”
1928 — Louie Armstrong
((( Crescent City )))
“Viper” (INSTRUMENTAL)
((( Harlem )))