New Orleans Jazz

New Orleans Jazz

Although in the period that goes from the end of the War of Secession up to the end of the XIXth century, already there existed some bands that were touching something similar to a rudimentary jazz, like those of the cornetistas Sam Thomas, Louis Ned, James L. Harris or Robert Baker or the band that was usually touching in Kelly’s Stables of New Orleans, is considered to be usually to Buddy Bolden as the first big figure and the initiator of the first definite style of jazz.

Conditionally, it is named «a style New Orleans» to this initial form of the jazz. It still has not got rid of the influences of the minstrel and contains all the proper characteristics of the hot. The improvisations, in the sense that today we know them, did not exist; in fact, the soloists were preparing long melodic changes on the main topic (usually integrated by two different songs), in very slow or average tempos, never rapid. The bands were ambulant and they usually preferred always to interpret spiritual, ragtimes, marches and singings of Afro-Cuban origin. The sonorous and conceptual weight of the music was relapsing into the cornet, which was who was developing the melodies, supported by the trombonist and the clarinet, which there were preparing changes improvised on the basic melody. This is what Peter Clayton calls «the Holiest Trinidad of the jazz of New Orleans». the rest of the instruments (banjo, tuba, box and big drum, although gradually they were interfering the double bass, the piano and the battery) usually had a function merely rhythmic. Sometimes the violin as complement was used in the metal section.

It is a school of famous bands, like that of Johnny Schenk, that of John Robechaux, that of the cornetista Freddie Keppard, and others of historical fame like Onward Brass Band, Eagle Band or Tuxedo Brass Band of the trumpeter Pope Celestin, this one previous at the rate of century. Also the bands of the cornetista were Pope Mutt Carey, who is reputed like the introductor of the damper of «plunger« (plunger) and its typical wah-wah effect, and who had Sidney Bechet in the clarinet; the band of Lorenzo Tio, or Original Creole Orchestra, etc.

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