Reflection Paper Music 302 three jazz musicians PDF

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Reflection research paper that focus three jazz musicians in history and how to interpret quotes from them. Compare and contrast 3 of the genres choosen...

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Reflection Paper: Jelly Roll Morton Music 302, Professor Thomas Pauline Hoang April 17, 2021

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Introduction Ferdinand Joseph Lamothe (Jelly Roll Morton) is born into a large extended family with a large house in New Orleans, Louisiana. Ferdinand’s mother decided to kick his father out and during those times neither marriage certificate nor birth certificate exits for him. Being the son of a mix racial Creole parents (with African, French, and Spanish heritage), he eventually adopts the last name Morton from his stepfather. Despite not knowing the birthday of Fred’s whether he was born on September 20th, 1885 or October 20th, 1890, regardless he spent the late 1890s at the Frenchman street address. Growing up with his now extended family, with the birth of two more siblings, Morton life is filled with rhythm and scattered instruments. Morton recalls that his godmother, Eulalie, would take him around passing off as a child and eventually end up in jail. Due to the inmates singing, inspired Morton have interest in music. His teacher gave him first exposure to Spanish music which influence later belief that created authenticity “The Spanish Ting” in jazz. Morton ends up witnessing a man playing ragtime rhythms on a piano during a party, which inspired him to determine to learn the instrument. He started studying blues/ragtime piano with a musician named Frank Richards in the home of his grandmother due to raunchy blue notes that attack the stepfather. As Morton group playing piano as a child by age ten, he learns how to play various handful of songs. At the Age of fourteen, living with his grandmother, Morton would be making money playing piano at a brothel and would eventually adopt the name “Jelly Roll”. Unfortunately, Morton was kicked out by his grandmother when she found out but helped him stat his career by touring. He toured along side Minstrel shows and played his first jazz composition titles such as “New Orleans Blues” (1925), “Jelly Rolls Blues” (1915) and many more pieces. In, 1926, Morton manages to sign a contract with Vicktor Talking machine Company for his recordings which create a band called Jelly Roll Morton and His Red-Hot Peppers. However, the contract was soon then terminated after the collapse of the recording industry and Great Depression. Morton ended up working at The Music Box but sustain an injury by being stabbed. Morton ended up surviving. Unfortunately, the injuries would later cause his life. Morton faced discrimination due to being black and had to go to a hospital, miles away. Morton end p developing shortness of breath and respiratory problems. He develops asthma complications and end up dying on July 10th, 1941 at Los Angeles County General Hospital. Although Morton is not the one who single handily “invented” jazz, he is still ranked amongst the important defining figures. He made the use of prearranged, semi orchestrated effects in his jazz band performances. He was the first to wrote down his arrangements and a lot of his compositions that; later became the staple of jazz. Morton can be arrogant, but he had created some o of the most innovate creative music that had emerge- tunes like “New Orleans Blue” (1925) and “King Porter Stomp” (1923). He was able to blend genres in early jazz. Morton’s electric approach which consists of dynamics of ragtime, blues, classical music and among other sources. His view on jazz was an aesthetic “style which can be applied to any genre or type of music” or more precisely “fingers to work in grove with ability of improvisation,

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accuracy and exciting tempos” 1. None the less, he is important innovator who was in the transition from early jazz to orchestral jazz which took place in New Orleans.

Quotation 1 Howards Richard and William Gains ‘s biography book Jelly’s Blue, talks about Morton gets criticize by various jazz legends based on what he said “I invented jazz” 2. He claims that he invented jazz while with confidence telling people that he invented jazz. The claim could be dubious cause there were other musicians before him, but he believes that he was the first jazz musician to put his arrangements to paper with the first genre publish work “Jelly Roll Blues” (1915). Some critics Seems to say that is exaggerating his worth cause his accomplishments as an early invader are vast, so he didn’t need to stretch the truth without proof. To me, Morton seems like a person who is hard to get along with. He has a personality of being egoistic was salted with genius since he loves to brag about his accomplishments and inventing jazz. That could be a problem where biographers could face while researching, he has a large and fragile ego which is difficult for one to try to understand. Morton did not invent jazz, as he claimed to be, but there is no denying that he was a major influence on the jazz genre. He was able to combine sypation ragtime with jazz improvisation.

Quotation 2 According to book, keeping time: Reading in Jazz History, Morton states that, “A lot of people have a wrong conception of jazz. Somehow it got into the dictionary that jazz was considered a lot of blatant noises and discordant tones, something that would be even harmful to the ears.” 3. Considering, that jazz does not stick to a single key and some people don’t understand improvisation nor context. Its important to know the background in it to understand which some people don’t and the fact that jazz is also loud with instruments that start out softly then starts to build in loudness with instruments coming together. Could be that some people dem it as messy or unprofessional and dismiss it as a just a noise. These musicians relied on improvisation and playing by their head instead reading music sheets. Going back to Jelly blues book, it talks about how Morton’s father felt attack with these raunchy blue notes, relentless rhythms that seem “vulgar” while young Morton was practicing. Even though jazz may seem like very “energetic” word but can be use a as vulgar term as well. New Orleans is notorious for red light district, where one of the many places that jazz was played. Morton’s father just didn’t want to hear these types of raunchy blue notes in his house. Blues have swept across the united states. Some blues are slow and soulful while others were naught but upbeat. 1 Jelly Roll Morton. “Invented Jelly Roll”, in Jelly’s Blue: The Life, Music, and Redemption of Jelly Roll Morton, ed. Howard Reich and William Gaines (Massachusetts: Da Capo Press, 2004) p.43 2 Jelly’s Blue: “Laughingstock” p.188 3 Jelly Roll Morton. “The Inventor of Jazz,” in Keeping Time: Reading Jazz History, ed. Robert Walser (New York: Oxford University, 1999) p.19

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Quotation 3 Morton introduced the “Spanish Tinge” as a rhythmic pattern from the early New Orleans jazz containing Latin or Afro-Caribbean touch. Morton called “Spanish Tinge” is Tresillo and Habanera rhythms also known as the tango. According to the Jelly blues book Morton states: “Now in one of my earliest tunes, "New Orleans Blues," you can notice the Spanish tinge. In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning, I call it, for jazz.” 4. Its stating that without Spanish music in our jazz, its not consider jazz at all. Spanish influence gives the spice with different flavors giving it that kick and value. This would draw more people in to listen. Morton says the use of seasoning which he relates to food. Morton most likely learns from a Spanish guitar instructor. Dance rhythm like the tango and other styles played a big part in Morton’s music. For me, I was surprise that early jazz with piece called “New Orleans Blues” (1925) would have these styles. This reinforces that Latin music plays a big role in early jazz. Notice how Morton does halfway swings as the intro in “New Orleans Blues” (1925) while having “straight 8ths” piece. Morton breaks into swing with a piano style at the last chorus. Just hearing the drift from the Spanish into the blues are basically simply changing with complement syncopation of left staying the same and right hand changing. It gives that kick that makes me want to move which is very interesting. Morton uses the term to refer to the number of musical characteristics hence habanera rhythm. Motor’s piano composition Spanish rhythmic features or melodic references. Morton music are considered exotic or just out of the ordinary which seem to reveal a rhythmic Lilt or Tinge that sets his music apart from others.

Quotation 4 In 1930s. Morton evolving work started to be out of date or his career was in inactivity. Morton unfortunately did not secure copyrights for any of his compositions. He felt annoyed whenever he hears or see these songs bringing success to pother musicians while he earns either half of the payment or literally nothing. Morton states “I’ve been robbed of three million dollars all told, everyone today is playing my stuff and I don’t even get credit” 5. Its entirely true because when in today society people work get stolen without giving them credit. This case it the same for Morton. In the Jelly blues book, he even stopped playing just for everyone to listen to the radio. The song that was playing was Jimmy Dorsey’s version of “King Porter Stomp” (1942). He wants everyone to know that is his tune and he was going to earn money from it. Morton started bragging that without him, they wouldn’t be playing. Morton stating without his composition that he put on paper these musicians wouldn’t be successful. They would not have created these wonderful with out Morton putting his composition on paper and would not be hearing on the radio. Morton, himself, did not receive any credit and would have been rich during his time. 4 Jelly’s Blues: “The District” p.16 5 Jelly’s Blues: “A Battle Royal” p. 215

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Quotation 5 Morton works with many other artists especially The Red-Hot Peppers which sets him apart. He said that his songs are amongst the greatest classic of jazz that to played as “Jazz music is to be played sweet, soft, plenty rhythm” 6. This statement relates to his recordings of “Sweet Jazz Music” (2014). The musicians play with delight. He often astute remarks about how music is often preforming raucous7 style and attempt to refute the standard textbook definition of jazz stereotypes. He is mostly saying that jazz music should be sweet with plenty of swing so the music can be become beautiful. Because Jazz was considered to have a lot of blatant 8 noise, loud and discordant tones that are harmful to the ears. Jazz music should be emphasizing on the soft dynamics and introspective moods, softer, more laid back, and just simpler. It’s a way to develop crescendos 9.

Quotation 6 Morton was in a broadcast in 1938 where he was introducing to W.C Handy who is the originator of jazz, blues, and stomps. He decided to announce that it gave him injustice that mislead fans. Evidently known Morton said: “It is evidently known beyond contradiction that New Orleans is the cradle of jazz, and I myself happened to be the creator, in the year of 1902” 10. Its quit fascinating that Morton later in life claimed to be born in 1885 to strengthen his 1902 claim. But he is only 12 years old that year. Morton style seemed to be like an attraction and decided to travel across the united states. His music was an accepted sensation. Despite his bad temper, he was indeed sustainably right. While it may seem weird claim, he was able to irritate the curiosity of others. It really to thing that in jazz to declare who is first and ascribe an invention to anyone because there is so much music in early years that took place. Nonetheless, there is no denying that Morton coded a wealth of influences in music during the stiffness of ragtime to jazz was greater than some of its parts.

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6 Jelly’s Blues: “Inventing Jelly Roll” p. 37 7 Raucous: noun Making loud harsh noises 8 Blatant: adjective bad behavior, openly or unashamedly 9 Crescendo: noun Loudest point, gradually increasing sound 10 Jelly’s Blues: “Free Fall: p.152

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Most musical forms, jazz was not created by an individual nor occurred in some isolated time. It arises gradually. It’s important to understand at least the beginning of jazz was not defined as a compositional form in music. It’s a type of style playing that develop in New Orleans. According to Morton, “Jazz music is a style, not compositions; any kind of music may be played in Jazz if one has the knowledge” 11. Clearly many of the musicians have “the knowledge” and started playing the blues, ragtime, and other kinds of music in their special way New Orleans style. Morton style seems to be an attraction and was accepted sensational in many states. Quotation 8 Morton wanted to be a winner and that jazz was and art. He develops style was rhythmically virtuous and orchestral of details to the fullest. He was the first composter who found laminate ragtime and blues. He mocks ragtime’s’ stiffness and dismissed blue pianists due to “one tune piano players”. He decided to merge the two to create his own music and brought them new ones with vitality. He borrowed a wide range of foreign, and domestic sources. It seems that his intention was to “jazz up” which borrowed melodies and rearrange them to a new setting. He summaries this by summarizing his approach simply: “Jazz is a style that can be applied to any music” 12.

Quotation 9 Morton had studied serval musical instruments, but he eventually took up piano which he was best known for. Morton recalled: “We always had some kind of musical instruments in the house guitar, piano, trombone, and so forth and so on…” 13. While Morton’s family really appreciated music, especially the French Opera House. They had not regard playing since it’s a worthy occupation for him. His style dipped in many aspects of his classical background with blues habanera rhythm. He was able create music like “Jelly Roll Blues” and “Black Bottom Stomp” (1925); due to growing with music. Of course, the folks didn’t have any idea a musician would be in the family and on their minds. Morton was inspired to play the piano by spend mots of his time that the French opera house. This music is marvelous which made him wanted to play piano.

Quotation 10 11 Jelly’s Blues: “Free Fall” p.152 12 Jelly’s Blues: “Chicago Hussle” p. 87 13 Jelly’s Blues: “The District” p.15

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Morton took a step further to claimed that he is the inventor of “Jazz and Stomps”. He said: "I tell you the truth—of course, any time you hear anybody, anywhere playing’ jazz, what they are playing' is Jelly Roll." 14. A rare moment of humility, Morton confesses that due to his innovations resulted to his inability to remember his ragtime pieces or even play them. He ends up with “fudge” notes and started improvisations. This led him to create loose, swinging rhythm. It was informal than ragtime but sounded more fun, it’s not long that we recognize his voice and that he is a genius to combine playful improvise spirit to element of music (tango, ragtime, blues, and opera).

Conclusion Jelly Roll Morton was to be seen often as his own best press agent but also his worst enemy to himself. He is a brilliant pianist, arranger, and composer who is a major figure for most of the jazz. Morton did often hurt his case by exaggerating and bragging about his accomplishments. To be truth it was impressive enough without embezzlement Jelly Roll Morton was a musician ahead of his time and was light years before everyone else ability, confidence, technique, and knowledge. He would reflect this later in his years about contribution and he end up believing he was deprived the credit he felt like he deserved. Morton should be best to remember with his pieces such as “Black Bottom Stomp”, “Dead Man Blues” (1926), “Show Shiner’s Drag” (1928) and many other of his songs.

Bibliography 14 Jelly’s Blues: “The District” p. 16

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Jelly Roll Morton. in Jelly’s Blue: The Life, Music, and Redemption of Jelly Roll Morton, ed. Howard Reich and William Gaines (Massachusetts: Da Capo Press, 2004) Jelly Roll Morton. in Keeping Time: Reading Jazz History, ed. Robert Walser (New York: Oxford University, 1999)...