New Orleans Revival. A short review

Gino Romano

New Orleans Jazz Reviv Revival al A short review

De Frede Editore

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New Orleans Jazz Revival a short short review

























































Gino Romano

New Orleans Jazz Reviv Revival al A short review

D Fd Edt





























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Autho’ m: go.omo@yhoo.t

Ptd by: A. D Fd Npo, go 24

ISBN .... .... Fotocop p uo po d o pooo  ut  m d % d ccu oum/fccoo d podco dto pgmto  SIAE d compo pto d’t. , comm 4 d gg 22 p p  4, .  oo d’ccodo puto t SIAE, AIE, SNS  CNA, CONFARTIGIANATO, CASA, CLAAI, CONFCOMMERCIO, CONFESERCENTI   dcmb 2. L poduo  uo dt dt d quo po poto , p u umo d pg o upo  % d pt oum, oo  guto d pcc utoo ct d





























o Gianmaria Gianma ria and a nd Fabrizio



























































SUMMARY pag. Te evolution of Jazz

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Jazz styles

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Te revival

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Te protagonists

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Te accompanists

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Te revival in Europe

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Te repertoire and bibliographical suggestions

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Record labels

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Listening guide

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Conclusion

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New Orleans, 1950 - Skyline





























HE EVOLUION OF JAZZ Te birth of jazz music is a complex phenomenon to explain properly,, if we want to avoid properly a void the trivial generalization that it was the product of the New Orleans melting pot intended intended only to increase the fun1. Its evolution is certainly more linear in subsequent years 2, this digression can be found laid out schematically on the chart on the next page.

From New Orleans to Chicago In the late nineteenth century and early twentieth century jazz took his first steps in New Orleans; mostly black music, music , mostly class music and not race music. For various reasons, in the late 1910s, New York and especially Chicago 2, represented the new meeting point between blues, syncopated orchestras and ragtime, it was interracial: initially blacks, Creoles, European immigrants (many Italians) but almost immediately after also white Americans, they devoted themselves themselves to this new kind of music, with strong African and European roots, but definitely American. Te term “syncopated orchestra” was being replaced more and more frequently by the term “jass or jazz orchestra,” where synco-





























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New Orleans Revival































Te evolution of Jazz

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but the slightest elements of improvisat improvisations ions and solos were starting to emerge: this music was called Dixieland , a term deriving from Nick LaRocca’s orchestra the Original Dixieland Jass Band. Musically speaking, Dixieland differs from the contemporary the New Orleans genre because of the white musicians greater knowledge of classical music than that of black musicians. Tere is a greater technical mastery of the instruments, due to classical studies and not to being self-taught, and in the written parts and harmonic turns we find elements that are a bit more cultured than its parallel black genre. g enre. Dixieland went went alongside its pioneering classic New Orleans style, style, but the latter, latter, in the late 1910s, began to wane: what led to the spread of “Dixieland jazz ” in the United United States was the introduction introducti on of the record, representing representing the first case where the spread of a new musical genre depended on this new form of listening to music. 3 Previously, a new form of music or dance would have required its protagonists to travel in person through the entire country.































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New Orleans Revival

Te greatest difference: improvisation. Tanks to improvisation blues and jazz emphasized the role of the performer to a degree never achieved before and each of them feared an overshadowing of his fame if his solo was played by others. In any case, the great musicians musici ans of New Orleans tended to move to Chicago more and more4: the main exponents were King Oli ver,, Jelly Roll Morton, Louis Armstrong, Johnny Dodds, Jimmy ver Noone. From the inevitable contamination between Dixieland and New Orleans style a a new genre was soon created in this city, the Chicago

style. Starting from the model of collective improvisation improvisation of the New Orleans style , little by little, the white sensitivity sensitivi ty derived from European and folkloric hillbilly and and skiffle 5 music introduced harmonic solutions that were more refined and that, therefore, highlighted the element of the solo. Tis, at a t the Chicago style’ s tyle’ss apex, resulted in the preponderance of the improvisation of the individual and in the emergence of the saxophone, as well as the start of large formations


































Among the prominent soloists: Bix Beiderbecke, Muggsy Spanier, Bud Fr Freeman, eeman, Pee Wee Wee Russell Rus sell. Chicago was, therefore, a central point that deeply marked the evolution of jazz and consistently remained a significant point of reference for musicians, so much so that in the 1960s, it became one of the most important places for the cutting edge musical and political trends of the black American culture, like the Art Ensemble of Chicago. Jazz life in New New York was less less interestin interesting: g: until the early 1930s it was essentially dominated by popular orchestras, but (fortunately) also pianists such as JP Johnson and Fats Waller. Ten the large, greater caliber orchestras began to establish themselves, such as those of Fletcher Fletcher Henderson, Henderson, Luis Russell, Duke Ellington. Tey gave impressive performances, almost concert music.

Boogie-woogie and swing

































New Orleans Revival

blues, rolling blues, the dozen, shuffle ecc. ecc. untill the famous recordin recordingg Pinetop’s’s Boogie B oogie Woogie ”. “Pinetop ”. Tis composition, which dates back to 1928, explained how to dance to that type of music and so that is why the genre got the name Boogie Woogie. Woogie. It remained remained in vogue until the mid 1940s. ******* Always in the mid-twenties the styles of previous years seemed to be outdated and in many places a new style was taking over which, merging with the music played in the New Orleans and Chicago style, gave rise to one of the most important moments in jazz history histor y, its most public statement: swing . In those years there was a second migration of musicians who moved from Chicago to New York and Kansas City. Te word swing, a long-time keyword of jazz, is used in two different senses: element of rhythmic intensity of Swing intended of jazz


































and great singers like Billie Holiday found their moment of glory. Only after the end of the economic crisis will jazz have its stylish return when, in the mid-thirties, swing reached its peak in popularity but marking its decline at the same time, worn out by by its own success, when the economic gain got the upper hand on the spontaneity and vitality of its origins. Between the years 1935 and 1946 the big band ’s ’s swing became the most popular genre in the Unite United d States: in addition to Ellington and Basie, the absolute protagonists of this period were also Benny Goodman, ommy Dorsey, Jimmy Dorsey, Glenn Miller. Kansas City was home to some of the greatest soloists of modern jazz, above all: Charlie Charlie Parker Parker.. However, as already mentioned, with the advent of World War II and the resulting economic difficulties began the decline of the “Swing Era” .

From bebop to fusion. Te revival

































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New Orleans Revival

to find new forms of expression and then found itself struggling with an ambitious plan to make jazz an art form in all intents and purposes and, without having to think about economic gain associated to swing and the tastes of the public, at the same time it allowed the black community and the marginalized social classes of American society to accredit the the values of their own culture and to to overcome racial prejudice. Bebop was born, a form of jazz characterized characterized by fast tempos and improvisation,, based on the harmonic structure rather than on the improvisation melody. Bebop was drastically different from the


































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Other prominent boppers were were Dizzy Gillespie and Telonious Monk, Charlie Christian and Kenny Clarke. Te revolt against popular swing and a radical transformation of the intentions of the musicians created, with unique contributions and without without a precise program, a style style with a nervous and fragmented fraseggio, based on the disintegration of the melody, fast played chromaticisms, new harmonies and furious furious rhythms. Tis caused an immediate reaction of the public, disoriented by the new language proposed by boppers and not yet ready for the impact with the ideologisation of music, especially the black.

































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New Orleans Revival

white style on the west coast of California called, of course, West Coast that, between 1952 and 1958, was led by Stan Kenton’s orchestra and soloists such as Shelly Manne, Shorty Rogers, Jimmy Giuffre, who proposed music that that did not obeyed obeyed any well defined rules, but that contained unifying and recognizable elements with a peculiar stylistic characterization.

Tanks to cool , jazz music is completely transformed from music to dance to to music to listen to. Further, more classical, developments with strong rhythmic expressions like those found in Hard bop (Max Roach Clifford


































Subsequent experience of meditation and reconciliation with Subsequent these experiences are called fusion and acid jazz ...

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New Orleans Revival



































JAZZ JAZ Z SYLE S YLESS



































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New Orleans Revival

NEW ORLEANS classic [1910 - 1925]

EMPO : 4/ 4 FRON LINE (Melodic section): composed of Cornet [melody], Clarinet [ an octave higher], rombone [counter melody]



































Jazz styles styles

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SRUCURE: homophonic IMPROVISAION: emphasis on the soloists, but strictly within the limits of the arrangement





































New Orleans Revival

SAN FRANCISCO [1940-1960]

Everything is substantially like in the New Orleans style. Distinctive features are: base tuba playing on beats 1 and 3, while the banjo on 2 and 4, the piano in ragtime style, the drums emphasizes the



































HE REVIVAL





































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New Orleans Revival





































Revival

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New Orleans Revival





































Revival

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New Orleans Revival

































































































































































































































































































































































































































































































































































































































































































































































































Te protagonists

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A rev revolut olution! ion! It was actua actually lly an opti optimal mal way for the rhythm section not to lose lose the “tempo” by not being able to hear who was playing playing in front of them (nightclubs were not concert halls ...). Te very well selected formation created by Watters was composed by Wat W atter terss an and d Bo Bob b Sco Scobe beyy, tp tp;; urk Murphy, tb; Ellis Horne, cl; Wally Rose, p; Clarence Hayes, Russ Bennett, bjo; Dick Lammy, cbs; Bill Dart, btr. In subsequent years, in more musically interesting recordings, Horne was replaced by Bob Helm. Tey had created a style: the San Francisco style . Lu broke up the band in 1950 and 1957 retired from the music world devoting himself to studying geology and he received much professional praise in his field of study. He reappeared after a few years, but only occasionally, to record an album albu m with Bob Helm and to play pl ay with urk urk Murphy in order to to support the anti-nuclear cause. Te complete discography is available on the website: http://www.jazzdisco.org/lu-watters/discography/ Melvin Edward Turk Murphy Murphy – – (1915-1987)

Born in Palermo, California. His career as a trombonist in the revival, San Francisco style, began in the 1940s with Lu Watters. In time, he proved to be a trombone virtuoso and great arranger of songs, working not only for his own band 26. ��

Murphy signed very famous and very successful arrangements, such as





























New Orleans Revival

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Buen a Jazz Band in When Lu Watters brakes up the Yerba Buena in 1950, urk takes over the group and names it urk Murphy’s Jazz Band , and makes some som e changes. For example: Bob Scobey Scobey,, tp; M, tb; Bob Helm, cl; Burt Bales, p; Harry Mordecai, bjo; Dick Lammi, cbs. marchin’’ band , despite Te sound is very similar to marchin des pite Helm’s Helm’s high hig h notes and virtuosity. Murphy was great friends with wit h Ward Ward Kimball, Disney cartoonis ca rtoonistt and trombonist in Firehouse 5 +2 , where the echoes of o f the Lu Watters Watters and urk Murphy’s style can be heard. Te band was was always popular: Murphy continued successfully until 1987. In January of that same year he gave a concert at Carnegie Hall, then died in May due to a lung tumor. tumor. - (1916-1963) Bob Scobey Born in ucumca ucumcari, ri, New Mexico, he began his career in the midthirties playing at nightclubs in San Francisco. In 1938 he became second trumpet in Lu Watters’ band , but left the band in 1949 because of an argument he had with members members of the rhythm section, and went went on to form his own own group Bob Scobey’s Frisco Band , which followed the new standards set by the San Francisco style revival . His group was successful, and in 1953 performed a concert at the Civic Auditorium in Pasadena (California), where Armstrong sang with them27

Te news is reported in the biography He rambled! (Pal (Pal Publisher, ��), edited by his wife Jan, but there is no trace of this in the most important of Louis ��





























Te protagonists

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He continued to play until 1963, especially at the club he opened in Chicago in 1960, the Bourbon Street Club, always appreciated by fans of revival . Bob Helm - (1914-2003)

Clarinet ist for Lu Watters, Clarinetist Watters, after conclucon cluding his experience with YBJB at the end of the 1950s he put together his own band, Bob Helm’s Riverside Roustabouts , that kept the new style created by Watters and became another one of its ambassadors. In 1950 he recorded, in a private session, a series of poems by Weldon Kees 28, Kees on piano and Helm on clarinet and washboard29. He alternated numerous retirements to as many successful comebacks, even in the 1980s and 1990s. Firehouse 5+2 30 (1952 - 1972) .

In the early 1950s a group of Disney cartoonists, directed by the excellent trombonist Ward Kimball (1914-2002), formed a band which played played a little bit of everything: traditional jazz, ballads, folk songs, which were interspersed with fun things like a car sirens, a fire truck bells, fire fighting clothing from the 1910s, and more. ��

Weldon Kees (�� -��). Poet, writer, Weldon writer, screenwriter, painter, painter, American literary critic, one of the most important English speaking cultural character of the last century. �� instrument. It (as an instrument) origiorigiWashboard is used as a percussion instrument. nated in New Orleans in the first half of the twentieth century. century. It was created by using a ribbed metal board, like the ones used to wash the laundry.





























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New Orleans Revival

While this made the purists grimace one must, must, however, however, recognize the enthusiasm shown for the rad style style jazz, the contribution given that brought the audience closer to a certain type of music 31, the excellent musical performances and the fact that it was all done in good faith. In fact, they played at Disneyland for many years and their work should be looked at in this perspective: a fun way to promoted the Disney brand, which was no secret, starting with the band’ss name. band’ nam e. Tey became so popular that they were considered a national institution (!), they recorded 13 albums (two devoted to Disney films and the Disney Park Park soundtracks) they continued their work

until 1972. Tey were also in some Disney movies and in 1953 in the cartoon, “Goofy. How to dance” . In their extensive production some songs are interprete interpreted d with an absolutely distinctive style with perfect arrangements, an unforgettable experience for the listener.





























Te protagonists

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Te initial line-up was: Danny Alguire, cn; Harper Goff, bjo; Ward W ard Kimball, tb, siren, sound effects; Clarke Mallery Mallery,, cl; Monte Mountjoy, bt; Erdman (Ed) Penner, bss / tuba; Frank Tomas, p. ****** It is not possible to review the whole music music scene the the second phase had to offer, the period from 1960 onwards, in this context. It is, however, always nice to remember the fundamental work carried out in the early 1960s by a young trombonist from New Orleans, William Big Bill Bissonnette (1937), passionate enthusiast of the New Orleans style, style, who formed his own group - Easy Riders Jazz Band - and his own record label ( Jazz Crusade Crusade ). ). He was devoted to retrieving informatio information n and testimonies on the golden age, he was able to make several recordings with historic names by placing them in his own group and involving them in numerous tours. hese included George Lewis, homas Kid Valentine, Kid Sheik Colar, Jim Robinson, Punch Miller, just to mention a few of the most important. o this material he added many recordings that he managed to buy and Crusade boasts boasts a catalog of over 150 artists. publish. Te Jazz Crusade Bissonnette is still active and is often in Europe (France and Denmark) performing with local bands.

In 1992 he published his memoirs in Te Jazz Crusade (Special request books), a real treasure trove of information about the origins of of jazz, and relaunched his label and recorded recorded over 100 sessions with his band accompanied by other great musicians of the classical period.































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New Orleans Revival

wo great musicians were often present in the Easy Riders Jazz Band . Rimington Te first, Samuel Sammy Rimington (1942), British clarinet player, who had also played with Ken Colyer from the late 1950s until 1965, the year he moved to the U.S.A, then joined Bissonnette’s group. Te second is one of the best cornet players of the recent revival, his activity continues from the 1960s to today, with great musical sensitivity, exquisite phrasing, respect for tradition: Fred Vigorito (1943). My personal friendship with this excellent revivalist gave me the opportunity to ask him for a brief summary summar y of his work. With his usual kindness he agreed, and I will now share what I received.





























Te protagonists

Hi Gino, I hope this is is what you are are looking looking for. Best Regards, Fred Fd Vgt (Cot & Ld, Gufod CT., CT., USA) - I h d th G-

d J Bd, Coccut’ umb o J band , c 1971. Sc my mt fom th South South  N Egd Tpho compy  1995 I h b  fu-m muc, pyg th muc tht I o, N O J. Studyg cot bgg t g 9, I pyd t cot, t ch  Coccut’ A-Stt Bd   hgh choo fhm. I h b pyg N O J c 1963 h I jod Bg B Bo’ Ey Rd J Bd. I m ftud o mo th 50 codg, my mot mmob bg  1965 GHB codg t Po H th j t Jm Robo, Abt Bubk, Co Gog Guo, Acd “So Dg” Pju d Do E. I o codd th th gt Gog L, Lou No, Kd Thom, Emmu Pu, Smmy Rmgto d oth. Oth muc t m I py  hot, dg cot ty, d I’m ttd by tho commt! My mjo uc cud Lou Amtog, Kd Thom, Kd Hod, Wd B Do, Bobby Hck, Muggy Sp, d Thom Jo. Fo th pt 8 y, I h b  ftud gut pfom  Fc th JP A’ Fch Po N O J Bd, d  Dmk th th N O Dght J Bd. I ook fod to my mo y of pyg th odfu, hppy muc!

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New Orleans Revival

Among the current bands the Bratislava Hot Serenaders (Slovak Republic) are believed believed to be the most popular jazz orchestra in the world, with a line-up composed of 18 elements, they have been successfully performing 1920s style jazz since 1992, with great stylistic rigor from the orchestrations and the use of period instruments to their look .

Finally, I want to speak of an artist that -in my opinion- will be Finally, well known in the future. She She began gaining popularity online. Her name is Meschiya Lake and she is accompanied by the group Little Big Horns (http://www.meschiya.com/) (http://www.meschiya.com/) created by her in 2009. Meschiya sang in the streets of New Orleans until 2011 (see the numerous You Youube ube videos), videos) , but has already begun be gun to take flight flig ht ..... her amazing voice, and style of the Little Big Horns confirms confirms that the revival continues...





























HE ACCOMPANISS Te success of a group is certainly the result of the quality of music, the art, the charisma and the name of the leader together with the organizational skills of his manager, when this figure does not coincide with the leader himself. Being able to create the perfect balance between the melodic section and rhythm section, with all the musicians in perfect harmony both in style and in repertoire, is not always simple or easily accomplished. It has always been this way. Consequently, the success of a group is certainly due to the Protagonist, but he is widely supported by other musicians who -sometimes- sacrificed their own popularity for the benefit of the entire group and its leader . Terefore, it seems appropriate to mention some names, na mes, that are not always mentioned in books, which helped to make history and create the legend of the very first revival . Te term “accompanist” sounds reductive, and it is certainly an understatement for many of the musicians mentioned below, but you will forgive the term used if you keep in mind that we are comparing them to the monumental soloists of the history of jazz, and only in relation to the period





























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New Orleans Revival

Fred Robinson , trombone (1901-1984 ) Claude Jones, trombone (1901-1962 ) Albert Nicholas, clarinet (1900-1973) Wellman Braud, guitar (1891-1966 ) Zutty Singleton, drums (1898-1975 ) Louis Armstrong, Te All Stars (1947) Te line-up is on page 38, significant was the presence of Jack eagarden, trombone (1905-1964 ) – his duets sung with with Satchmo were also unforgettable E Earl arl Hines, Hines, piano piano ( 1903-1983) Sidney Catlett, drums (1910-1951) Cozy Cole, drums – (1909-1981) Wingy Manone, His His Cats (1940) Joe Marsala, clarinet (1907-1978 ) Johnny Guarnieri, piano – (1917-1985 ) descendant of the famous Guarneri family of Cremona, violin makers George Wettling, drums (1907-1968 ) Bunk Johnson, various groups 1942-1947 the line-up is at page 43; significant the presence of Jimmy Archey Archey,, trombone (1902-1967 ) Jim Robinson, trombone (1892-1976 ) Edmond Hall, clarinet – (1901-1967 ) also played with Arm-































Te accompanists

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Alcide Slow Drug Pav Pavageau, ageau, bass – (1888-1969 ) same as for Marrero Cyrus SantClair, tuba (1890-1961) Warren Baby Dodds, drums (1898-1959 ) Paul Barbarin, drums – (1899-1969 ) historical name from Brass Bands to the revival Sidney Bechet , New Orleans Feetwarmers ( 1941) In addition to ommy Ladnier on trumpet eddy Nixon, trombone Henry Duncan, piano Ernest Meyers, bass Morris Morland Morland , drums It was not possible to obtain personal information for any of them.

Mezz Mezzrow , His Orchestra (1951, Parigi) Lee Collins, trumpet (1901-1960 ) - historic name in New Orleans































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New Orleans Revival

Here are a few names of musicians that tha t were not in a single line-up for very long, but that partnering with many different artists have, however,, helped to create this phenomenon however phenomeno n from New Orleans that was able to resume in the 1940s and continue continue over over time. William Buster Buster Bailey, Bailey, clarinet (1902-1967 ) Danny Barker, banjo ( 1909-1994 ) Mutt Carey, trumpet (1886-1948) Dick Cary, piano (1916-1994 ) Bob Casey, bass ( 1909-1974 ) Oscar Papa Celestin, trumpet ( 1884-1954 ) Cutty Cuttshall, trombone (1911-1968 ) Joe Darensbourg, Darensbourg, clarinet clarinet (1906-1985 ) Vic Dickenson, trombone ( 1906-1984 ) Ed Garland, bass (1895-1980) Jay C Higginbotham, Higginbotham, trombone (1906-1973) Art Hodes, piano piano (1904-1993)































HE REVIVAL IN EUROPE Europe took a great interest to jazz and the artists who came from America to give concerts on the continent were well received by the audiences. What made it even better was the absence of racial segregation and prejudice that still held sway in America.32. Tis was the reason why many many jazz musicians undertook long tours in Europe, encouraging the emergence of many groups of admirers and imitators. Tis relationship between jazz and Europe would suffer a setback during the Second World War only to resume with even greater force in the postwar years. raditional al Revival, Revival , thanks Particularly in the years of the New Orleans radition to the enthusiasm of young musicians, more or less professional groups began to form. Tey represented the seed that started the spread of clas-































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New Orleans Revival

the band also also made some historic recordings with Sidney Bechet. Bechet. Lyttelton’s band went on to record several sessions for the Parlophone label, also producing a song that made it to the op 20 Hit in in 1955: Bad Penny Blues . Tis was the first jazz song to make it in to this radio’s top 20 chart, with a “minimal” jazz line-up (trumpet, piano, bass, drums), staying there for 6 weeks. In those years, trumpeter Ken Colyer (1928-1988) was on his way to New Orleans not only to listen to traditional jazz first hand, but to fulfill his dream: to perform with his idol, George Lewis. He returned to the United Kingdom ... to spread the Gospel. He immediately formed a group that included Chris Barber (1930), Monty Sunshine (1928-2010) and Lonnie Donegan (1931-2002). Rhythmically the band did not sound like a band
































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figure for the European fans of traditional jazz. After leaving the Ken Colyer Colyer’’s group, a new band was created: Chris Barber -trombone-and Monty Sunshine -clarinet- with Pat Halcox (1930) (1930) on trumpet and Donegan on banjo, they founded the Chris Barber Band , still very active and a nd well known. Te clarinetist Cy Laurie (1926-2002), followed in the footsteps of the bands of of the 1920s. In particular, he tried to assimilate and reproduce Johnny Dodds’ sound. His cornetist Ken Sims later joined the band led by another clarinet star, Acker Bylk (1929). Bylk Bylk’’s group had a wonderful drummer, Ron McKay , who helped Bylk Bylk’’s band become, at the end of the 1950s, one of the great stars of the Hit Parade in the UK. Te drummer Barry Martyn (1941) organized various concerts and toured Europe with some great musicians from New Orleans that he met on his trip to Louisiana in 1961. He was among the first

































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New Orleans Revival

audiences, and not only. Claude Luter (1923-2006), clarinet and Claude Philippe, banjo, represented the leaders of this movement. Luter would later become almost inseparable from Sidney Bechet after he moved to France in 1949. Te revival was so popular that in October of 1955 Bechet celebrated his millionth record sold, with France in first place for purchases (Gold Disc Vogue ), ), of course . A contribution, although occasional in the New Orleans style,


































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small orchestra in 1942 (Abadie was clarinetist as well as director of the group). group ). Soon, Vian’s Vian’s brothers joined joi ned the group, first Alain, A lain, as drummer, then Lelio, as guitarist. Jazz was their war of resistance, the cry of rebellion for every oppressed race. Te Vian brothers, who proudly called themselves marrons (escaped black slaves), looked with reverence to the New Orleans style, they organized swing festivals festivals and were the forerunners forerunners bebop. From February 22th to 28th 1948 a memorable event marked the history of the spread of jazz in France: the first jazz festival in the world took took place in Nice. During this period, undoubtedly the most fruitful for Jazz, there was a clash between two stylistic

































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New Orleans Revival

Netherlands - In conjunction with the revival in the United States, traditional jazz gave way to a great interest in jazz in the Netherlands. However, while some groups such as Te Ramblers evolved into swing , the few remaining groups that played traditional jazz failed to create a broader movemen movement. t. Te possible aspiring jazz musicians were also limited because some instruments were not available to most Dutch musicians, such as the double bass and the piano. Tey were forced to improvise and experiment with new types of line-ups and instruments, this resulted in a new form of jazz ensemble generally referred to as ‘Oude Stijl’ (‘Old Style’) jazz. Among


































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Tis name was given to them by the American journalist and vocalist Shel Silverstein35 who saw one of their concerts during a stay in Copenhagen. He later wrote an article about them, calling them the Danish Vikings , explaining that the group played the original New Orleans and Chicago Jazz even better than any American band at the time. Te band adopted the new name and released their first album as the Viking Jazz Band in in 1958. In 1960 their “ Schlafe Mein Prinzchen” sold

































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New Orleans Revival

bands since the 1920s. Te line-up consists of two cornets, clarinet, trombone, piano, banjo, washboard and tuba, they won numerous awards in France, Spain, USA and were voted as one of the 3 best bands in the world by Jazzology 36 in recent years.




































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New Orleans Revival

It is also important to remember Fatty George (Franz Josef Pressler 1927-1982), from Vienna, alto sax before switching to the clarinet, he




































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grow over time. Te appreciation of jazz was initially heritage of musicians. Ten, Ten, following following the fashion of American dances and tastes, the interest was grew over the years thanks to radio and also to the many orchestras that performed on transatlantic routes to



































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New Orleans Revival

thanks to social networks aimed at music and musicians such as Youube , Fandalism, Craigslist .38 Given the abundance of the Bands, is was preferable to give a




































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At the end of 1953 the band broke up, despite Loffredo Loffredo’’s attempts reunite reun ite it immediately immediatel y, almost in its entirety. After various variou s adventures Loffredo, Loffredo, in 1956, formed a group with a similar name, the II Roman New Orleans Jazz Band, with a new line-up.





































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New Orleans Revival






































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New Orleans Revival






































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New Orleans Revival

































































































































































































































































































































































































































































































































































































































































































































































































INDEX NAME Below the index name of most important musiciants, critics reported in the book. .

Abadie, Claude, 77 Acocella, Gianni, Gianni, 87, 89 Adderley,, Cannonball, 105 Adderley Alberti, Giorgio, 87 87 Alcorn, Alvin, 32, 49, 91 Alexis, Richard, 44 Alguire, Danny, Danny, 65 Allen, Henry Red, 32, 37, 37, 69 Allen, Woody Woody,, 115 Aller,, Peter Aller Peter,, 80 Amendola, anya, 94 Archey,, Jimmy, Archey Jimmy, 70 Arena, Nicola, 89 Armstrong, Louis, 12, 25, 26, 28, 31, 37, 38, 39, 40, 41 ,42, 43, 44, 46, 47, 49, 50, 57, 60, 61, 62, 67, 70, 74, 78, 85, 90, 93, 94, 95, 97, 98, 101, 102, 108 Astarita, Franco, 93 Avati, Pupi, Pupi, 87 Backer,, Chet, 90, 95 Backer Bagnoli, Carlo, 87 Bagnoli, Luigi, 87 Bailey, Buster, 72 Baker, Clint, 119 Bales, Burt, 62 Ball, Kenny, 75 Barazzetta, Giuseppe, 84, 88, 97 Barbarin, Paul, 44, 71, 99

Barbato, Marco, 94 Barber,, Chris, 74, 75, 79, 105, 112 Barber Barbieri, Corrado, 103 Barcelona, Danny, 31 Barenghi, Pietro, 87 Barker, Danny, 72 Barrett, Emma Sweet, 33 Basie, Count, 15, 116 Bauduc, Ray, 56 Bechet, Sidney, 12, 26, 28, 31, 37, 41, 43, 44, 45, 46, 47, 48, 56, 57, 69, 71, 74, 76, 77, 97, 109, 110 Beiderbecke, Bix, 13, 54, 59 Belloni, Gianni, 86 Belluzzo, erenzio, erenzio, 91 Bennett, Russ, 61 Bergonzi, Gianni, 89 Berlin, Irving, 55 Bermuzzi, Virginio, 88 Bigard, Barney, 31, 38, 49, 87 Bissonnette, Big Bill, 53, 65, 66, 67, 112 Blackey, Art, 19 Blondet, Giorgio, 91 Bolden, Buddy, 26, 42, 57, 99 Bolling, Claude, 76 Bonano, Sharkey, 28, 58, 59, 111 Bonezzi, Luigi, 89 Boninella, Glauco, 88 Borghi, Giovanni, 85





























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New Orleans Revival

Bowden, Colin, 75 Braud, Wellman, 32, 70 Broonzy, Big Bill, 53 Brown, Clifford, 19 Brownlee, Laurence, 57 Brubeck, Dave, 18, 39 Brugnolini, Sandro, 86 Brunis/Brunies, George, 28, 57, 58, 112 Buckner, eddy, 32, 49 Bunn, eddy, 47 Burbank, Albert, 33, 67 Burton, Gary, 19 Butterfield, Billy, 87 Bylk, Acker, 75 Cameroni, Felice, 86 Capasso, Roberto, 92 Carey, Mutt, 44, 49, 72 Carter, Benny, 57 Cary, Dick, 38, 72, 87 Casaglia, Gherardo, 87 Casey, Bob, 72 Cash, Johnny, 79 Casiero, Attilio, 86 Cassarini, Francesco, 87 Castelli, Vittorio, 91 Catlett, Sid, 38, 46, 48, 70 Cavallari, Francesco, 88 Cavazzuti, Antonio, 87 Cavedon, Giorgio, 87 Cavicchioli, Gigi, 91 Celestin, Oscar Papa, 72 Cerda, Alexandre, 94 Cerri, Livio, 29, 88 Christ, Herbert, 83, 91 Christian, Charlie, 17 Clarke, Kenny, 17 Clerici, Claudio, 86

Cobb, Morty, 38 Colar, Kid Sheik, 33, 65 Cole, Cozy, 70 Coleman, Ornette, 19 Coleman, Bill, 85, 95 Collatina, Alberto, 86 Collins, Lee, 71 Coltrane, John, 19 Colyer,, Ken, 32, 66, 74, 75, 105, 112 Colyer Condon, Eddie, 45, 56, 57, 58, 71 Conte, Paolo, 89 Corea, Chick, 19 Crosby, Bing, 41, 51, 55 Crosby, Bob, 21, 28, 51, 53, 60, 110 Cucchi, Franco, 89 Cuttshall, Cutty, 72 D’Altan, Alberto, 89 D’Intino , Peppino, 85 Dalla, Lucio, 87 Darensbourg, Joe, 31, 72 Dart, Bill, 61 Davis, Miles, 18, 19, 77 Davison, Wild Bill, 28, 46, 56, 67, 80, 81, 87, 111 De Luca, Peppino, 90 De Moree, Aad, 79 De Paris, Sidney, 32, 37, 46, 69 De Paris, Wilbur, 32 De Stefano, Gildo, 92 Decou, Walter, 43 Deems, Barrett, 31 Dickenson, Vic, 46, 72 Dodds, Baby, 24, 25, 48, 71 Dodds, Johnny, 12, 75 Doldinger, Klaus, 82 Donegan, Lonnie, 74, 75, 112 Dorsey, Jimmy, 15





























Index name

Duncan, Henry, 71 Dupree, Champion Jack, 80 Dylan, Bob, 52 Ellington, Duke, 14, 15, 77 Evans, Bill, 105 Ewell, Don, 49, 67, 91 Farmer, Art, 19 Fava, Carlo, 87 Fazola, Faz ola, Irving, 56 Ferrari, Giuseppe, 88 Ferrario, Guido, 86 Fineschi, Luciano, 85 Firehouse 5+2 , 62, 63, 99, 101,103, 112 Foina, Luigi, 88 Foletto, Antonio, 89 Fontana, Giordano, 87 Forti, Francesco, 86 Foster, George Pops, 12, 46, 70 Fountain, Pete, 28, 59, 111 Franceschini, Ugo, 87 Franza, Matteo, 94 Freeman, Free man, Bud, 13, 87 Gaiotti, Paolo, 92 Garagnani, Carlo, 86 Garland, Ed, 49, 72, 116 Garlandini, Giancarlo, 86 Garrassini Francesco, 89 George, Fatty, 82 Gerbella, Renato, 86 Giambarelli,, Claudio, 87 Giambarelli Giardina, Nardo, 87 Gillespie, Dizzy, Dizzy, 17, 39, 90, 95 Giovannini, Giorgio, 86 Giuffre, Jimmy, 18 Glaser, Joe, 38, 41 Goff, Harper, 65 Goodie, Big Boy, 85

Grappelly, Stephane, 78 Grauer, Bill, 105 Gravina, Enrico, 89 Guarnieri, Johnny, 70 Guesnon, George Creole, 67 Hackett, Bobby, 39, 67 Haggart, Bob, 56,71 Halcox, Pat, 75 Hall, Edmond, 31, 53, 70, 80, Hall, Minor, 32, 49, 116 Hampton, Lionel, 92 Hancock, Herbie, 19 Handy, John Capt, 33, 42, 90 Handy, William C., 32, 90, 99, 102 Hayes, Clarence, 61 Haywood, Cedric, 49 Helm, Bob, 28, 61, 62, 63, 111 Henderson, Fletcher, 14, 15 Herbert, Mort, 31 Higginbotham, Jay C., 37, 44, 72 Hines, Earl, 31, 57, 70, 90, 95 Hirt, Al, 59 Hodeir, Andrè, 29 Hodes, Art, 46, 48, 57, 58, 72, 80 Hojberg, Arne, 80 Holiday, Billie, 15, 95 Horne, Ellis, 61 Howard, Darnell, 49 Howard, Kid, 28, 42, 48, 50, 67, 106, 109 Hucko, Peanuts, 31, 87 Humphrey, Percy , 33, 72 Humphrey, Willie, 72 Inesi, Beppe, 87 Invernizzi, Luciano, 90, 91 Jackson, Mahalia, 25 Jackson, Milton, Milton, 18

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New Orleans Revival

Jarrett, Keith, Keith, 19 Jefferson, Tomas, Tomas, 67 Jensen, Arne Papa Papa Bue, 32, 41, 79, 80, 105, 113 Johnson, Bud, 81 Johnson, Bunk, 25, 26, 26, 28, 40, 42, 44, 44, 49, 50, 70, 81, 101, 103,109, 116 Johnson, James James P., P., 13, 43 Johnson, Manzie, Manzie, 47 Jones, Claude, 70 Jospin, Mowgli, Mowgli, 71 Kaminski , Max, 28, 57 Kaper, Bob, 78 Kenton, Stan, 18 Kimball, Ward, 62, 63, 65 Kirkpatrick, Don, 72 Klein Oskar, 82 Knudsen, Karl, 105 Koenig, Lester, 103 Konitz, Lee, 18 Kubrick, Stanley, 51 Kyle, Billy, 31 LaRocca, Nick, 11, 59, 101, 102 Ladnier, ommy, 26, 28, 45, 47, 48, 71, 110 Lafitte, Guy, 71 Lake, Meschiya, 68 Lammi, Dick, 61, 62 Laplace, Michel, 116 Laurie, Cy, 75 Lawson, Yank, 56, 87 Layton, urner, 99, 101,102 Lewis, George, 25, 28, 32, 42, 43, 50, 51, 52, 53, 54, 55, 58, 65, 67, 74, 80, 103, 110, 116 Lewis, John, 18 Lewis, ed, 55, 58

Liberati, Pino, 85 Librando, Diego, 92 Lightfoot, Lightf oot, erry, erry, 75 Lindsay, John, 72 Loffredo, Carlo, 85, 90, 94, 113 Lomax, Alan, 36 Longhi, Bruno, 89 Luter, Claude, 76 Lyttelton, Humphrey, 74, 112 Madison, Kid Shots, 26, 72 Maestro, Antonio, 88 Maffei, Pino, 88 Maglio, Gianni, 93 Mallery, Clarke, 65 Manetta, Manuel Fess, 25, 26 Manne, Shelly, 18 Manone, Wingy, 28, 36, 40, 41, 70, 80, 91

Marrero, Lawrence, 43, 59, 63, 70, 71 Marsala, Joe, 70 Marsalys, Wynton, 115 Martyn, Barry, 75 Marzorati, Mario, 89 Mataloni, Fabio, 86 Matlock, Matty, 41, 56 McKay, Ron, 75 McPartland, Jimmy, 87 Meijer, Ferdi, 79 Merola, Emilio, 94 Metcalf,, Louis, 81 Metcalf Meyer, Herman, 86 Meyers, Ernest, 71 Mezzrow, Mezz, 26, 45, 47, 48, 71, 86, 110 Miccoli, Vito, 93 Miller, Eddie, 87 Miller, Glenn, 15, 41, 45, 55





























Index name

Mole, Miff, 71 Monk, Telonius, 17, 105 Mordecai, Harry, 62 Morea, Franco, 86 Morelli, Boris, 86 Morgan, Sam, 42 Morland, Morris, 71 Morton Benny, 72 Morton, Jelly Roll, 12, 25, 26, 28, 36, 49, 53, 58, 69, 74, 97, 99, 101, 102, 103, 108, Mosley,, Edgar, Mosley Edg ar, 50 Moten, Billy, 15, 102 Mountjoy, Monty, 65 Mulligan, Gerry, 18, 39 Murphy, urk, 28, 64, 61, 62, 103, 111, 112 Muti, Nicola, 86 Muti, Nicola, 87 Nardi, Gianni, 86 Nelson, Louis Big Eye, 52 Newton, Frankie, 46 Nicholas, Albert, 37, 44, 46, 49, 53, 70, 80, 86, 91, 95 Nicholas, Wooden Joe, 26 Nichols, Keith, 92 Nichols, Red, 40 Nisi, Claudio, 91 Nixon, eddy, 71 Noone, Jimmy, 12, 48, 49 Nunez, Alcide A lcide Yellow, Yellow, 71 Oliver, Joe King, 12, 25, 39, 47, 49, 54, 57, 60, 74, 94, 97, 101, 102 Ory, Kid Edward, 12, 28, 31, 32, 38, 44, 49, 58, 59, 101, 103, 116 Ottata, Franco, 92 Page, Hot Lips, 48 Palchetti, Max, 92



77, 97 Parker, Charlie, 15, 17 Pateri, Eugenio, 91 Patruno, Lino, 41, 57, 83, 84, 87, 89, 94, 95, 96, 113 Pavageau, Alcide, 50, 67, 71 Penner, Ed, 65 Pentangelo, Ciccio, 87 Perec, Georges, 107 Perelli, Claudio, 91 Perris, Bruno, 85 Persiany, Andrè, 71 Petit, Buddy, 50 Petruzzelli, Natale, 86 Peytchev, Ivaylo, 89 Philippe, Claude, 76 Picou, Alphonse, 52, 72, 101 Pietra, Pietrangelo, 88 Polillo, Arrigo, 88, 92 Pollack, Ben, 54, 55, 59 Pollack, Lew, 102 Porro, Mauro, 92 Porta, Elvio, 93 Posillipo, Pasquale, 94 Pratella, Mario, 89 Price, Sammy, 72 Probert, George, 49 Purnell, Alton, 70 Reinhardt, Django, 76, 78, 90, 95 Remi, Ettore, 89 Rena, Kid, 28, 51, 53, 110 Rimington, Sammy, 66, 67, 74 Roach Max, 19 Robinson, Fred, 69 Robinson,, Jim, 42, 43, 50, 52, 65, 67, 70 Robinson Rogers, Ernest, 43 Rogers, Shelly, 18































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New Orleans Revival

Romano, Gino, 9, 33, 93, 98 Rose, Wally, 61 Rota, Attilio, 87 Rusconi, Lalo, 88 Russell, Louis, 14, 37 Russell, Pee Wee, 13, 71 Russell, William Bill, 25, 26, 40, 42, 43 Russo, Jack, 86 Rust, Brian, 29, 97 Sanjust, Gianni, 90 SantClair, Cyrus, 71 Santiago, Lester, 72 Santiago, Willie, 52 Saraceni, Piero, 90 Saviano, Benito, 93 Saviano, Franco, 93 Sayles, Emanuel, 91 Sboto, Puccio, 90 Schilperoort, Peter, 78 Schroeder, Gene, 71 Scobey, Bob, 28, 61, 62, 112 Scott, Bud, 72, 116 Shaw, Artie, 45 Shaw, Arvell, 31, 38, 45 Silverstain, Shel, 79 Sims, Ken, 75 Singleton, Zutty, 37, 41, 70, 71 Siragusa, Claudio, 88 Sirianni, Luca, 91

estoni, Gian Carlo, 88 Tomas, Frank, 65 ommasi, Amedeo, 87 oscanini, Arturo, 59 uba, Skinny, 117,118 ristano, Lennie, 18 urazzi, Fabio, 91 Umiliani, Piero, 88 Valenti, Bob, 86 Valenti, Roberto, 87 Valentine, Tomas Kid, 65 Van Velzen, Jaap, 79 Vandor, Ivan, 85 Venuti, Joe, 41, 87, 90, 95 Verde, Gigi, 88 Vernhettes, Dan, 116 Vian, Boris, 76, 77 Vigorito, Fred, Fred, 66, 67, 112 Villani, Andres, 91 Waller W aller,, Fats, Fats, 13, 32, 39, 99 Watters, W atters, Lu, 28, 60, 61, 62, 63, 99, 101, 103, 111, 112 Webb, W ebb, George, George, 74 Webster W ebster,, Ben, 15 Wein, W ein, George, 105 Wettling, W ettling, George, 70, 70, 71 Wheatley,, Martin, 92 Wheatley Whitman, Paul, Paul, 83 Wilber,, Bob, 87, 95 Wilber





























Index name

Young, Victor, Young, Victor, 102 Zamboni, Nino, 87 Zancan, Beppi, 91

Zardis, Chester, 50 Zavinul, Joe, 82 Zinzi, Marcello, 85 Zuschlag, Michael, 81

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New Orleans Revival. A short review

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