Jazz origins

We have published previous posts that have highlighted how jazz influenced George Gershwin and the way he wrote music. However, we have not spent a lot of time on jazz playing itself. We are about to step into the world of jazz, before we study Ray Henderson and “The Black Bottom.” Because we are going to stretch back into 1919 blues and into the work of Jelly Roll Morton and His Hot Peppers on the Broadway side, we thought we would take today to acquaint you with jazz through one number that was first recorded in 1923 and changed over the years, while retaining its jazz roots. It is called “Tin Roof Blues.”

We are going to listen to four small group jazz combos. Jazz bands usually featured a trumpet, a trombone, a clarinet (or maybe a soprano sax), a piano and drums. Sometimes a bass snuck in or a banjo or a violin. There was no music on music stands, just a bunch of men who knew the tune and their instruments. It was improvisational, meaning that on different nights they might play different notes or come in at a different place in the musical “conversation.” Yet, all players stayed within the musical chord of the others. It has been called many things, because jazz is a combination of harmonic group playing, call and answer playing and individual solo playing.

If we try too hard to define it, we lose the essence of the music. Blues must be felt. It can be mournful or it can be joyful. In funeral marches, it can be both. It can be up-tempo or slow and deep like a river. It can be a young man’s exuberance or an old man’s epitaph. Don’t judge it, even in relationship with various versions. Each has something to offer to you; and at the end of the four selections, you may feel that you have a better feel for the music.

Finally, as you listen, remember that most country musicians, composers and singers originally started with teachers who were blues musicians. If country music is sad, understand that it came from the blues, literally and figuratively. If Owen Bradley took country into a lush, popular sound, it was only because jazz had taken that turn first, as small, hot bands had turned into hot swing bands and then just back into sweet dance bands. Music needs an audience; and as the audience changes, so does the music.

Let’s start back in 1923 with a recording in that year of “Tin Roof Blues,” played by the Original Memphis Five. Where did the song come from?

Five men shared the credit for writing the music, which was later reduced to sheet music for the piano. They were Paul Mares (trumpet and cornet), Ben Pollack (drums), Mel Stitzel (piano), George Brunies (trombone) and Leon Roppolo (clarinet), the members of the New Orleans Rhythm Kings. The song was named for The Tin Roof Cafe at Washington Street and Claiborne Avenue in New Orleans, Louisiana.

The textual notes associated with the music clip tell us that “The Original Memphis Five under the leadership of Phil Napoleon (trumpet) made their first recordings in 1922. The band also included Miff Mole (trombone), Jimmy Lytell (clarinet), Frank Signorelli (piano) and Jack Roth (drums). The personnel changed frequently over the years and at various times included Loring McMurry, Manny Klein, Charlie Panelli, Ray Kitchingman (was the sixth for a while on banjo), John Cali, James Griffith, Red Nichols, Dick Johnson, Ray Bauduc, Louis Katzman, Elmer Schobel, Joe Tarto, George Bohn, Hoagy Carmichael, Jimmy Dorsey, Tommy Dorsey and Ted Napoleon (Phil’s brother) The images are of New Orleans between 1900 and 1950.”