Te birth of jazz music is a complex

phenomenon to explain properly, if we

want to avoid the trivial generalization
that it was the product of the New
Orleans melting pot intended only to
increase the fun.
In the late nineteenth century and
early twentieth century jazz took his
rst steps in New Orleans; mostly
black music, mostly class music and
not race music. For various reasons,
in the late 1910s, New York and
especially Chicago, 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 to this new kind of music,
with strong African and European
roots, but denitely American.
Many thanks to Bruno Sacchi for the
translation from the italian version
of this book, originally published in
2012 as Jazz Experiences. New Orleans
Revival.
Cover images from the Author.
Gino Romano
Chemist.
Classic jazz passionate since 1956.
Cornets player in amateur Trad
Bands from 62 to 68; he re-started
playing in 2011.
Collector of a large discography and
bibliography that helped him to
write his essayes about the origin
of jazz, New Orleans brass bands
and Bix Beiderbeckes life.
He is President of Chemists Or-
der in Campania Region (Italy).
From the same author:
Jazz Experiences. Alle radici di un inedito:
Jazz in prospetva - 2012.
Jazz Experiences. New Orleans Functon, Le
Brass Band - 2012.
Jazz Experiences. New Orleans Revival -
2012.
Bix Beiderbecke. Vita, discografa, album -
2013.
Di Fiioi Eoiroii - Naioii
:,,cc
isnx: ,;--,,;o-,o-
9 788889 976968
ISBN 978-88-89976-96-8
Gino Romano
New Orleans
Jazz Revival
A short review
De Frede Editore
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New Orleans Jazz Revival
a short review
Gino Romano
Gino Romano
New Orleans
Jazz Revival
A short review
De Frede Editore
Dal 1899 A. De Frede Editore - Napoli
Via Mezzocannone, 69
Tel./Fax +39 081.5527353 - defrede@libero.it
Authors email: gino.romano@yahoo.it
Printed by: A. De Frede
Napoli, gennaio 2014
ISBN 978.88.89976.96.8
Fotocopie per uso personale del letore possono essere efetuate nei limit del 15% di ciascun
volume/fascicolo di periodico dietro pagamento alla SIAE del compenso previsto dallart. 68,
comma 4 della legge 22 aprile 1941, n. 633 ovvero dellaccordo stpulato tra SIAE, AIE, SNS e CNA,
CONFARTIGIANATO, CASA, CLAAI, CONFCOMMERCIO, CONFESERCENTI il 18 dicembre 2000.
Le riproduzioni a uso diferente da quello personale potranno avvenire, per un numero di pagine
non superiore al 15% del presente volume, solo a seguito di specifca autorizzazione rilasciata da
AIDRO, via delle Erbe, n. 2, 20121 Milano, telefax 02.809506, email:aidro@iol.it.
To Gianmaria and Fabrizio
SUMMARY
pag.
Te evolution of Jazz ,
Jazz styles ::
Te revival :,
Te protagonists ,,
Te accompanists o,
Te revival in Europe ;,
Te repertoire and bibliographical suggestions ,;
Record labels :c,
Listening guide :c;
Conclusion ::,
Index name ::;
New Orleans, 1950 - Skyline
THE EVOLUTION OF JAZZ
Te birth of jazz music is a complex phenomenon to explain
properly, if we want to avoid the trivial generalization that it was the
product of the New Orleans melting pot intended only to increase
the fun
1
. 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 rst steps in New Orleans; mostly black 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 to this new kind of music, with strong African
and European roots, but denitely American.
Te term syncopated orchestra was being replaced more and
more frequently by the term jass or jazz orchestra, where synco-
pated music was still played by almost exclusively white musicians,
I
It is possible to have a brief but accurate outline in Gino Romanos Jazz
Experiences - Alle radici di un inedito: jazz in prospettiva - De Frede Ed., Napoli
2012
2
Marshall Stearns Storia del Jazz Eli, Milano I958 Gerard Montarlot
Le Jazz et ses musiciens Hachette, Paris I963. Alyn Shipton Nuova storia del
Jazz Einaudi, Milano 20II
New Orleans Revival :c
Te evolution of Jazz ::
but the slightest elements of improvisations and solos were starting
to emerge: this music was called Dixieland, a term deriving from
Nick LaRoccas orchestra the Original Dixieland Jass Band.
Musically speaking, Dixieland diers 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 nd elements that are a bit more cultured
than its parallel black genre.
Dixieland went alongside its pioneering classic New Orleans style,
but the latter, in the late 1910s, began to wane: what led to the spread
of Dixieland jazz in the United States was the introduction of the
record, representing the rst 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.
Te record industry realized that it was easier for the music
travel than the musicians, and that determined the success of both
the record and the music recorded on it. Te record market was
substantially monopoly of Victor and Columbia and was kept that
way until almost the end of the 1920s.
Te fascination of seeing the protagonists live remained high,
but the performances started to become less and less necessary
thanks to the growing popularity of radio.
In this context all black musicians, regardless of their racial
discrimination, initially avoided recording their music, especially
because they were jealous of their style and afraid of being copied.
3
On the timely evolution of the adjective jass, jazz, Dixieland or
creole next to the word Band, see the exhaustive article Te Same by any
name? By John Joyce in Te Jazz Archivist, Vol II, No. I, may I987 pages. I-8
New Orleans Revival ::
Te greatest dierence: 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 of New Orleans tended to move
to Chicago more and more
4
: the main exponents were King Oli-
ver, Jelly Roll Morton, Louis Armstrong, Johnny Dodds, Jimmy
Noone.
From the inevitable contamination between Dixieland and New
Orleans style a new genre was soon created in this city, the Chicago
style.
Starting from the model of collective improvisation of the New
Orleans style, little by little, the white sensitivity derived from Euro-
pean and folkloric hillbilly and skie
5
music introduced harmonic
solutions that were more rened and that, therefore, highlighted
the element of the solo. Tis, at the Chicago styles 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
(Big Band), thus heralding the 1930s jazz and swing style.
4
Besides the closure of Storyville, the phenomenon of migration from NO
to Chicago was also inuenced by economic reasons. According to various mu-
sicians, in the tens and twenties of the last century, in New Orleans you could
earn from $ I.25 to $ 2.50 for a performance in New Orleans that lasted from 8
pm to 4 am. King Oliver earned $ 25 a week, Kid Ory earned I7.50 and George
Pops Foster earned only $ 9.50.
If we think that, once emigrated to Chicago, Sidney Bechet was able to earn
$ 60 a week, this is why we believe that the real reason for the migration of
musicians from New Orleans to Chicago was strictly economic. John Chilton
- Sidney Bechet: Te Wizard of Jazz - Da Capo Press, New York I996.
5
Sounds of the instruments of rural or country origin
.
Te evolution of Jazz :,
Among the prominent soloists: Bix Beiderbecke, Muggsy Spa-
nier, Bud Freeman, Pee Wee Russell.
Chicago was, therefore, a central point that deeply marked the
evolution of jazz and consistently remained a signicant 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 York was less interesting: 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 Henderson, Luis Russell, Duke Ellington. Tey gave
impressive performances, almost concert music.
Boogie-woogie and swing
Between the end of the 1920s and the 1930s a new musical style
was spreading: il boogie-woogie .
Tis is a piano style
that became very popular
when black pianists in
Texas began to develop
more a fast paced and
rhythmic form of blues
with strong, rhythmic
and continuously repea-
ted low notes, 8/8 per
beat.
Te aim was to entertain the people in the juke joints of the bars.
At that time, this new type of music was called by various names: fast
New Orleans Revival :
blues, rolling blues, the dozen, shue ecc. untill the famous recording
Pinetops Boogie Woogie.
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. It 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,
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
dierent senses:
- Swing intended as an element of rhythmic intensity of jazz
music, hard to reproduce on the pentagram and therefore, subject to
a manty improvisations from the musicians (in technical terms, two
eighth notes are played as a triplet with the rst two notes tied);
- Swing meant as the musical style of the thirties, with which
jazz reached its maximum popularity.
Te distinctive feature of the swing style is the formation of the Big
Band that was mainly due to the need to create a signicantly high
volume sound for very large dance halls.
From 1925 to 1929 in Harlem and Kansas City, Duke Ellington,
Fletcher Henderson and their great orchestras proceeded radically
renewed jazz with the development of the orchestral language.
Kansas City was also home to some of the most important
orchestras, such as Bennie Motens or Count Basies, and is where
the great soloists Ben Webster, Coleman Hawkins and Lester Young
Te evolution 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
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 bands swing became
the most popular genre in the United States: in addition to Ellington
and Basie, the absolute protagonists of this period were also Benny
Goodman, Tommy Dorsey, Jimmy Dorsey, Glenn Miller.
Kansas City was home to some of the greatest soloists of modern
jazz, above all: Charlie Parker.
However, as already mentioned, with the advent of World War
II and the resulting economic diculties began the decline of the
Swing Era.
From bebop to fusion. Te revival
When the dissatisfaction of the soloists for the limited space
they were given in the big bands came to a head, they found
themselves, at the end of their career in the orchestras, seeking
refuge in small jazz clubs, which in the meantime had multiplied,
oering a performance every night; there, by surpassing the musical
stereotypes imposed on them by the demands of the public, the
rst great revolution began. It was both a stylistic and cultural
revolution of jazz.
In the small clubs of Harlem, after their regular work in orchestras,
many soloists gathered in small groups and experimented with new
harmonies and new musical arrangements; this was also a way to
overcome the dissatisfaction with the limitations imposed on them
by big bands.
It developed as a musical movement that started with the need
New Orleans Revival :o
to nd 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 values of their own culture and to
overcome racial prejudice.
Bebop was born, a form of jazz characterized by fast tempos and
improvisation, based on the harmonic structure rather than on the
melody. Bebop was dras-
tically dierent from the
schematic compositions
of the Swing era and it
was characterized by fast
tempos, complex har-
monies and complicated
melodies. Te rhythm
sections kept the tempo.
Te music was some-
what aggressive, bebop
was like a nervous and
fragmented race.
Te boppers became a real and trendy cultural movement that
associated the positions of artistic elitism of black musicians,
the existentialism of the younger generations of Americans who
rebelled against the bourgeois, racist and politically correct older
generations.
A movement that not only expressed itself with music but with its
own original image which was an imitation of role models without
rules or limitations, like one of its most emblematic characters,
Charlie Parker.
Te evolution of Jazz :;
Other prominent boppers 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 a precise program, a style with a nervous and
fragmented fraseggio, based on the disintegration of the melody,
fast played chromaticisms, new harmonies and 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.

Te stereotypes of swing, and overcoming them through
bebop, were translated in a return to the origins of jazz with
a signicant revival, not just American, of the New Orleans
styles and (to a lesser extent) of Dixieland.
It was the revival, of both New Orleans and Dixieland styles,
that took over from the 1940s to the 1960s as an alternative
to bop, and to regain popularity after a short slumber at the
end of the 1950s.
Te fact is that it has never ended.
Bebop would eventually go
through a period of adjustment to
make way for more rational and
balanced harmonies, more relaxed
rhythms and with the rediscovery
of melody.
Miles Davis, Lennie Tristano
and Lee Konitz, Gerry Mulligan, Dave Brubeck, il Modern Jazz
Quartet di John Lewis and Milton Jackson develop these more
spontaneous experiences, creating the cool movement.
Te synthesis of the cool style resulted in the birth of a predominantly
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 Kentons
orchestra and soloists such as Shelly Manne, Shorty Rogers,
Jimmy Giure, who proposed music that did not obeyed any
well dened 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 music to listen to.
Further, more classical, developments with strong rhythmic
expressions like those found in Hard bop (Max Roach, Cliord
Brown, Art Blakey, Art Farmer) or new experiences, known as
Modal jazz, based on few chords on which to improvise outside the
major/minor scale (Miles Davis, John Coltrane, Herbie Hancock,
Chick Corea, Keith Jarrett, Gary Burton) would represent fertile
ground for jazz to grow.
At the same time, the radical deepening of elements introduced
in modal jazz allowed soloists to be more free and less conventional
in their performances, following in the footsteps of saxophonist
John Coltrane.
In any case, after the seventies, the mode will become an integral
part of contemporary jazz, branching out in dierent stylistic
conceptions, mainly free jazz.
In 1960, Ornette Coleman was the rst to use free jazz by
recording, with that name, a historic album in which two opposing
quartets, starting from a mode and a predetermined rhythm,
improvise freely releasing themselves from these.
Tis experiment developed a trend that would bring to a complete
and unconditional break from what jazz used to be - styles, shapes
and structures it would nd its way out of established harmony
and rhythm, leaving only the soloist to improvise freely.
Te evolution of Jazz :,
Subsequent experience of meditation and reconciliation with
these experiences are called fusion and acid jazz ...
New Orleans Revival :c
JAZZ STYLES
Below are some simple and short elements that will help to clarify
the basic dierences among all the dierent styles during the rapid
evolution of jazz.
It should rst be said that evolution is always based on (though
not felt immediately) the unifying thread which uses pre-existing
material as a starting point (or original material written in that style).
As the phenomenon evolves, this attitude allows greater freedom to
focus on improvisation.
Tis is what happened from the beginning, based on the popular
oral tradition, until the 1960s with Bob Crosby.
Subsequently, as in classical music, there was a need to disintegrate
the structural background in order to create a new language that was
in line with the redenition of this modern art.
No longer folk art, but music as an artistic phenomenon conscious
of this epochal transition.
We can follow this transition by looking at the dierences among
the main parameters of each musical style.
New Orleans Revival ::
NEW ORLEANS classic [1910 - 1925]
TEMPO : 4/ 4
FRONT LINE (Melodic section): composed of Cornet [melody],
Clarinet [ an octave higher], Trombone [counter melody]
RHYTHM SECTION: Tuba, Banjo, Drums
PERFORMANCE Style: group improvisation on a harmonic
triad
STRUCTURE: Polyphonic
IMPROVVISAZIONE: melodic paraphrasing of the original me-
lody - short chorus, not more than a short link
CHICAGO [1920 - 1928]
TEMPO: 4/4
FRONT LINE: same as New Orleans, but with the addition of Sax
and Trumpet
RHYTHM SECTION: Bass, Piano, Guitar/Banjo
PERFORMANCE Style: group improvisation
STRUCTURE: Polyphonic
IMPROVISATION: emphasis on the soloist; harmonic variations
based on harmonization of chords; emphasis of virtuosity
Note: it is called DIXIELAND if played by white musicians
SWING 1935-1945]
TIME: 2/4, more stringent like dance music
FRONT LINE (Melodic section): the larger sections of reeds and
brasses
RHYTHM SECTION: Bass, Drums, Guitar, Piano
PERFORMANCE Style: large group of musicians, arranger becomes
the central gure
Jazz styles :,
STRUCTURE: homophonic
IMPROVISATION: emphasis on the soloists, but strictly within
the limits of the arrangement
BE BOP [1945-1950]
TIME: basically 2/4
FRONT LINE (Melodic Section): Trumpet and Sax, sometimes
extended without xed rules
RHYTHM SECTION: Bass, Drums, Guitar, Piano; the function
of the bass is redened and more obvious
Style PERFORMANCE: melody/ solo/melody, the soloist is the
central gure
STRUCTURE: homophonic
IMPROVISATION: fully geared towards the soloist, on many
choruses
COOL [1950-1955]
TIME: 2/4 or 4/4
FRONT LINE (Melodic section): small groups also with unusual
instruments
RHYTHM SECTION: variable, even without piano or drums
PERFORMANCE Style: melody/solo/melody, the soloist is the
central gure
STRUCTURE: Polyphonic
IMPROVISATION: fully geared towards the soloist, articulated
on many choruses
New Orleans Revival :
SAN FRANCISCO [1940-1960]
Everything is substantially like in the New Orleans style. Distinc-
tive 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
sound of the cymbals and the wooden castanets, the end is doubled.
A modern arrangement is obviously more dominant. It is played by
white musicians.
* * * * * *
Further developments and changes relating to the styles that
followed are not functional in this context, so we will refrain from
other schematization.
As we have seen there have been many changes, but they were all
gradual and none totally rejecting the previous style.
THE REVIVAL
Te revival in America
Generally ignored or explained in a few lines in the various texts
on the history of jazz, in the late1930s there was a phenomenon
subsequently reevaluated by jazz critics and historians: the revival
of the New Orleans and Dixieland genre.
In fact, as the musical evolution that, in view of great innovations,
would lead to bebop began, those active forces that could be called
conservative were always present, and that saw the years of King
Oliver, the young Armstrong, Jelly Roll Morton, as the golden
age of jazz, already credited as the classical period even though
few years had passed.
With the consent, or rather, under the pressure of critics
1
, fans
I
Two in particular: William Bill Russell and Hugues Panassi
William Bill Russell (Canton, Missouri - I905-I992) - William Russell was
a historian and collector of jazz whose work concentrated on the traditional New
Orleans style. Te William Russell Jazz Collection Foundation documents his
life as a scholar during which he amassed a large collection of jazz memorabilia
including musical instruments, records, piano rolls, sheet music, photographs,
books and periodicals. His collection traced the evolution of jazz in New Orleans
and followed the musicians when thy moved to New York, Chicago, California
and beyond. It includes research notes, as well as audio tapes, programs, posters,
correspondence, lms, business cards, notes, liner notes, clippings and albums.
Russell was friends with many great musicians including Louis Armstrong,
George Lewis, Mahalia Jackson, e Baby Dodds.
A large part of Russells work focused on the lives of three people, Manuel
Fess Manetta, Bunk Johnson and Jelly Roll Morton. He interviewed Manetta
New Orleans Revival :o
and collectors (who initially sought to recover and document the
voices and the sounds of that period by recording them), powered
by a certain saturation of the audience to swing and a disorientation
towards the emerging bebop (seen by many as an involution rather
than evolution, albeit a revolution of swing), the attention retur-
ned to the old repertoire, played by both the old new generations
of musicians.
New compositions enriched the classical repertoire and at
the same time like with bebop - many of the younger musicians
had a strong reaction to the cage of strict arrangements of swing
and so they dedicated themselves to the reinterpretation of classic
New Orleans themes, but made more modern by the use of more
on his life as a musician and the early days of jazz. Marietta had been part of
legendary Buddy Boldens band. Russell worked very long on a book about Jelly
Roll Morton and his collection includes a lot of handwritten music and letters
from Morton.
Russell was instrumental in reviving Bunk Johnsons career in I939, after ha-
ving spoken with Armstrong who remembered his talent. After nding Johnson
(to whom it was necessary to provide dentures and a trumpet), Russell founded
the American Music Records in order to record Bunk Johnson especially, but
also Wooden Joe Nicholas and Kid Shots Madison, (also protagonists and
witnesses of the classical period).
Hugues Panassi (Paris, France - I9I2-I974) - Was, without a doubt, the
rst great non-American jazz critic. He studied saxophone and wrote music at
age I8. He was one of the founders and later president of Te Hot Club De
France and edited the monthly magazine Jazz Hot from I936 to I947. He also
wrote the book Le Jazz Hot, on the jazz of the I930s addressing the issue of this
music being a serious art form.
Panassi also organized a series of small groups with various recording ses-
sions: like the one in I938 with Mezz Mezzrow, Tommy Ladnier and Sidney
Bechet, the latter two rediscovered when he went to America in search of the
roots of jazz, and -where possible- record them. He was an avowed, unrepentant
anti-bebop writer, denouncing several times this school as the antithesis of jazz.
Panassis large private collection now resides in the Discothque Municipale in
Villefranche-de-Rougergue.
Revival :;
improvisations and solos.
It was then that the phenomenon known as revival embraced
three schools of thought , or music trends:
- Bands formed or directed by musicians (rst-generation,
mainly blacks) who continued the tradition that was never abando-
ned over the years;
- Bands formed or directed by musicians (rst or second-
generation, especially blacks) who returned to an earlier stage of their
career or started playing the old style with a newer approach;
- Bands formed by musicians (second -generation, espe-
cially whites) that elaborated the repertoire of the 1920s in a con-
scious and intellectualized way, with a deep musical growth, rich in
quality, relax and freshness. Te level of quality and novelty brought
by the representatives of this school was such that it was dened by
the name of city where the main representatives were from: the San
Francisco style, on the west coast.
For a more precise denition, more of an approach to clarify
than to classify (always dangerous with topics such as these), the rst
school (bands who continued the tradition) should also be divided
into two categories.
In the rst-generation called historical or pioneering
that substantiates the rst school, we distinguish more precisely:
- a a rst-generation, made up of just a few of the older
musicians, who had never stopped playing according to the canons
of the classical school;
- b a rst-generation, of rediscovery, made up of older
musicians, no longer in business for years, revived by critics and
scholars or recalled by the public and critics
2
.
2
Such an articulated yet simple schematization would develop only in the
course of the years. Still in full Revival (according to our chart), I955, Livio Cerri
recognizes I939-44 as the only Revival period , when there was the rediscovery
of past New Orleans black musicians, even giving a negative connotation to
New Orleans Revival :





1b





Musicisti che non
avevano mai
interrotto lattivit.
Stile NO
Louis Armstrong
Jelly Roll Morton
Joseph Wingy Manone
Avery Kid Howard
Musicisti che
avevano interrotto
lattivit, riscoperti
Stile NO
Sidney Bechet
Tommy Ladnier
George Lewis
William Gary Bunk Johnson
Henry Kid Rena
Ernest Punch Miller
Edward Kid Ory
Musicisti anziani, che
riprendono il vecchio
stile, o pi giovani
che vi si dedicano.
Stile NO, Dixie
Francis Muggsy Spanier
Bob Crosby
Wild Bill Davison
Max Kaminski
George Brunis
Sharkey Bonano
Pete Fountain
1a
2
Musicisti giovani che
rielaborano il jazz
nero della Chicago
anni 20
Stile Chicago
Lu Watters
Turk Murphy
Bob Helm
Bob Scobey
3
Correnti del Revival
Caratteristiche, rapporto band bianche/nere,
principali esponenti





1b





Musicisti che non
avevano mai
interrotto lattivit.
Stile NO
Louis Armstrong
Jelly Roll Morton
Joseph Wingy Manone
Avery Kid Howard
Musicisti che
avevano interrotto
lattivit, riscoperti
Stile NO
Sidney Bechet
Tommy Ladnier
George Lewis
William Gary Bunk Johnson
Henry Kid Rena
Ernest Punch Miller
Edward Kid Ory
Musicisti anziani, che
riprendono il vecchio
stile, o pi giovani
che vi si dedicano.
Stile NO, Dixie
Francis Muggsy Spanier
Bob Crosby
Wild Bill Davison
Max Kaminski
George Brunis
Sharkey Bonano
Pete Fountain
1a
2
Musicisti giovani che
rielaborano il jazz
nero della Chicago
anni 20
Stile Chicago
Lu Watters
Turk Murphy
Bob Helm
Bob Scobey
3
Correnti del Revival
Caratteristiche, rapporto band bianche/nere,
principali esponenti
Revival :,
Te chart on the previous page is a detailed diagram of the dif-
ferent schools and the leading exponents of each. Because of the
abundance and importance of these, there will be a chapter dedicated
to them with short prole for each of the most important ones.
It was clear that, in such an articulate context for a phenomenon
seen only as nostalgic, there would also be an extensive involvement
of musicians that could hardly be described as jazz musicians, es-
pecially among the rediscovered. Having been born in Crescent
City and having played, maybe as a second or third chair, in a brass
band of the lowest order, was certainly not enough to to be a valid
jazz musician. Many rediscovered musicians were musically low
key, but with such a talent as entertainers to give the the general
public the impression they were listening to old jass rather than a
low grade vaudeville.
Tese characters represents a problem in the eyes of educated cri-
tics
3
, , and consequently, a phenomenon that began around the1940s
the term. Cerri in fact translates as exhumation what is more properly read as
resurrection or rediscovery. Te whole period from the late I930s onwards, the
white school, is dened by Cerri as the rebirth of Dixieland, basically ignoring
the values and innovations of the third school and assimilating everything else
into circus music, not great but interesting.
Te word resurrection is proposed by Brian Rust.
Livio Cerri Antologia del Jazz Nistri Lischi Editori, Pisa I955, p. 32 et seq, 82
and seq.; Brian Rust Brian Rust Recorded Jazz: a critical guide Pelican Books, Baltimora
I958, p. 88
3
Andre Hodeir (Paris, France, I92I-20II), great French musicologist devo-
ted to jazz, even railed against the once upon a time jazz fans, for whom the
old is better than the classic, and the primitive is better then the ancient and that
praises were sung of certain decrepit, toothless and vented cornetists, that even
if they found the technique and the enthusiasm of twenty years ago would return
to being nothing but useful but innitely modest initiators of yesteryear, outda-
ted in every way. Of course the young musicians, who sat alongside the veterans
in this movement, rapresent nothing more than student type amateurism. In
my opinion, an excessive, unfair, shortsightedly generalizing judgment.
New Orleans Revival ,c
- the rst phase- and died down
only at the end of the 1950s,
historically interesting as it was
the point of divergence of Jazz
(revolution towards bop or cri-
tical revision of the classic), has
been almost ignored by insiders
which typically have trivialized
its contents and summarized it
in a few sentences in musical
history.
By applying the necessary
distinctions it is possible to
have a historically and musically clear framework of a genre whi-
ch, although unfortunately still burdened by the presence of only
commercial music and formations that have nothing to do with
jazz, returns cyclically thanks to the enthusiasm that it produces
and which -together with a repertoire that is easy to assimilate-is
the rst step towards listening to good music.
Tere is talk of a second revival or -even better- a never exhau-
sted vein of the rst. Also, in this context, there are now many new
formations that have a strictly philological approach to the music of
certain restricted periods, with a production of excellent and more
interesting music that the old originals.
In any case, the revival also gave way to the creation of numerous
formations of amateur white musicians and to the publication of
magazines intended for record collectors.
In the 1950s the phenomenon spread to Europe, in the wake
of European concerts performed of some important names (Louis
Andr Hodeir Uomini e problemi del jazz Longanesi, Milan I958, p. 44-46
Revival ,:
Armstrong
4
, Sidney Bechet
5
, Kid Ory
6
and the components of their
formations, as well as Teddy Buckner, Sidney and Wilbur De Paris
to George Lewis
7
, ), and also some young European musicians tra-
4
Louis Armstrong started in I933 touring with the Orchestra in Sweden
and Denmark, followed by France (Salle Pleyel, Paris) in December I934 . In
I935, even though it was not recommended because of fascism in Italy, he gave
two concerts in Torino on I5 and I6 January. Te formation is not certain! Given
the time period, there was no one to take care of the transcript of the program.
Te following should have been part of it: LA, J.Hamilton, L. Tompson, tp; L.
Guimaraes, tb, P. Duconge, cl, H. Tyree, s. alto: A. Pratt, s. tenor, H. Chittison,
p: M Jeerson, g: O. Arago, cb, O. Times, btr. As mentioned before, it was Louis
Armstrong and his Orchestra: the All Stars were far from coming to Italy: I5
years! Armstrong would return in I949 (with Teagarden, Bigard, Hines, Shaw
and Cole), in I952 (with Young, McCracken, Napoleon, Shaw and Cole), in
I955 (with Young, Hall, Kyle, Shaw and Deems), in I959 (with Young, Hucko,
Kyle, Herbert, Barcelona), in I962 (with Young, Darensbourg, Kyle, Cronk,
Barcelona) and nally in I968, tired and ill (not for concerts but to participate in
Sanremo). Of course, in these same years and also in others, he continued to play
with great frequency throughout Europe and ... in the world. Europe, Africa,
Australia, Japan, ... everywhere. Ambassador Satch! Great Louis!
5
Sidney Bechet had been coming to Europe since I9I9, in England, as a
member of the Willie Marion Cook Orchestra: subsequently the tours with his
group -starting in I922- became closer, long-term and wide-ranging (they also
played in Russia in I926). He resided for extended periods in France, which he
alternated with equally long stays in New Orleans until he settled there perma-
nently in I947. Bechet gave I0 concerts in Italy between I952 and I958: the one
in Torino in I954 was the only one with an Italian band, the Milan College Jazz
Society.
6
Kid Ory had his European tours in I956 and in I959. In September I956
at the Salle Pleyel, Kid Orys Creole Jazz Band had a formation composed of A.
Alcorn tp, P. Gomez cl, Cedric Heywood p, W.Braud b and Minor Hall dr. In
I959, with Henry Red Allen playing trumpet, Ory also gave concerts in England
besides France.
7
George Lewis left New Orleans in I957 for concerts in England (with Ken
Colyers formation) and in I959 for concerts in Scandinavia (Arne Papa Bue
Jensens formation), Germany and England.
New Orleans Revival ,:
veling to the U.S., driven by curiosity about the phenomenon (eg.
Ken Colyer, which will be discussed later).
Te the rst phase of the New Orleans revival showed that most
of the white population was beginning to appreciate music that
African Americans had performed twenty or thirty years earlier. Also,
the sales of a certain type of records showed that the phenomenon
was in slow but constant and lasting growth.
In addition, the phenomenon also drew attention to some great
musicians of the time that cannot be classied in the revival, like
Fats Waller (1904 -1943) who crossed all genres.
As already mentioned, the interest in this musical genre began
to wane in the late 1950s, but the phenomenon was far from over.
On the contrary. In the early 1960s, a second phase began: suddenly
many young musicians desired to study, investigate, recover and
-especially- play early jazz .
Initially few, of the latest generation (in their twenties in the
1960s) engaged in it, but over time the number grew enough to al-
low the rst critical distinction (which did not happen in the 1940s)
between amateur groups and professional groups whose value was
attributable to various schools. Even the rst and second school, ac-
cording to our chart, because in those years some of these artists were
still active or were rediscovered, not major stars but still interesting
music to listen to as a contribution to the study of the origins.
In 1961 in the French Quarter of New Orleans rose the Preserva-
tion Hall
8
, it had a rehearsal room and its mission was to preserve
8 T
he Preservation Hall has been the subject of a chapter in the book:
G.Romano - Jazz Experiences. Te Brass Band - De Frede ed., Napoli 20I2. Here
is an excerpt. Te Preservation Hall in New Orleans is a musical venue at 726 St.
Peter Street, in the heart of the French Quarter, in a side street between Burgundy
Street and Royal Street, founded in 1961 to preserve and protect traditional jazz. Te
building which houses the venue is historic, as it was created in 1817 by the legendary
M.me Agathe Fanchon, ... the origins of musical performances at the Preservation
Hall date from the beginning of 1960 together with the opening of an art gallery
Revival ,,
jazz. Since 1961 well-known and less
known, early jazz musicians performed
at the Hall and gained popularity thanks
to their performances there. Many of
them substantiated the continuation
of the revival to the present day, always
attracting new fans. For example Percy
Humphrey, Albert Burbank, Sweet
Emma Brown, Kid Sheik Colar, Captain John Handy.
run by a local business owner, Larry Borenstein. It was initially set up only for a few
jam sessions with the purpose of attracting potential customers to the gallery. More
and more people began to come for the music rather than the art. Allan Jae, old
tuba player from Pennsylvania, was appointed manager of the venue and made it a
famous institution. To help the younger generations understand the living spirit of the
music of New Orleans, the Preservation Hall also created a program for young musi-
cians to promote learning the essential elements of the oldest Brass Band tradition. A
Band was formed at the PH: Te Preservation Hall Jazz Band which, in addition to
playing at the hall, has traveled internationally in order to bring the music of New
Orleans in the world ..
New Orleans Revival ,
THE PROTAGONISTS
To be clear: this chapter is neither a catalog nor a review.
In the very brief notes that follow we will discuss only information
that is closely related to the revival, especially related to the protago-
nists of the rst phase, about 1940-1960. It would be unthinkable
to write, albeit brief, biographies and discographies, widely available
in numerous editions in print or online, or to extend the notes to
the protagonists of later years or contemporary years, since the phe-
nomenon persists. Simply enter the title of a piece of traditional jazz
on YouTube to see how many groups execute it .... and they are only
a small part!
Tis may lead to a question on the usefulness of the chapter.
Te answer is that a volume like this also caters to the newly
initiated, in addition to jazz connoisseurs. To have, albeit in the
form of a summery, a guided tour through the characters and works
explanatory of a phenomenon certainly facilitates the desire to further
understanding and exploration. Ultimately any phenomenon, inclu-
ding musical, is summed up in the work of its creators. It is important
to remember them anyway.
Te order of presentation follows the one reported according to
the logic based on the school or current previously exposed. It should
be noted that it is dicult to categorize the protagonists in the most
precise way possible: as we shall see in the proles that follow, there is
always some presence of one school in another, especially when they
are close, but not only.
New Orleans Revival ,o
School 1 (a) - Musicians who never stopped
playing the New Orleans style
Jelly Roll Morton (Ferdinand Joseph LaMenthe, 1885-1941)
Great Creole pianist, composer and
band leader born in New Orleans, who
helped to evolve ragtime with blues. Alrea-
dy active in Storyville, he traveled across
America -always keeping New Orleans
as constant point of reference- recording
what remained a precious heritage of the
origins of music. He played in various
formations: solo, trio, complex, orchestra,
always with great expressiveness.
After several years of success, were he dened himself as the
inventor of jazz, he became less popular in the mid-thirties. In
1938 his musical activities had almost entirely ceased, except for a
few recordings with Wingy Manone.
Te ethnologist Alan Lomax
9
met him in 1937, interviewed him
in the spring of 1938 and invited him to record his memoirs for the
Folk Song Archives of the Library of Congress in Washington. Te
result is a collection of 128 songs in which Morton recounts his life
in music with absolute perfection of form.
Te new popularity allowed him to become a central character in
the revival. Tis led to new recordings with Sidney de Paris, Sidney
9
Alan Lomax (I9I5-2002) was an ethnomusicologist, anthropologist and
record producer. Study trips led him to collect sound materials from almost all
over the world, from Spain to Britain, to South America. He invented a contro-
versial system of classication of popular song styles , Cantometrics. He taught
in several universities in the U.S.A., including Columbia University. In Italy in
I954, he collected notes published in the book Lanno pi importante della mia
vita (Il Saggiatore, 2008
)
Te protagonists ,;
Bechet and Zutty Singleton.
He attempted to form a new more structured orchestra, but died
of an asthma attack in 1941.
Besides having substantiated the rst years of the revival, he is
also remembered for having composed many songs, many of which
have become classics of the revival repertoire, such as Doctor Jazz
Stomp, Wolverine Blues, Milenberg Joyce.
Louis Daniel Armstrong, Satchmo (1901-1971)
Te history of jazz. A legend. Any positive adjective is less than
his talent. He is also the most written about musician. Far from
wanting to retrace his career, one must remember Satchmos artistic
longevity which allowed him cross over to every style from archaic
to swing, always with a touch of personality, boundless imagination,
innate sense of harmony, without being in any specic category.
HE IS jazz.
In the early years of our period of interest (1937-38) Louis,
whether in Louis Russells band that was enriched with important ele-
ments such as JC Higginbotham, Albert Nicholas and Henry Allen,
or with his own a big orchestra, he already reinserted old numbers
in his repertoire, reinterpreting them, of course: Confessin, West End
Blues, Our Sunday date. From there began
a shift toward a line-up with few elemen-
ts, who played mainly the classical pieces
of traditional jazz: the ones he played in
New Orleans in the early days.
In the 1940s he recorded an album
with Sidney Bechet and Zutty Singleton:
the album New Orleans Jazz turned out
perfectly. After a period of silence, the war
had begun and with it a strict prohibition
on making records, came the famous and
New Orleans Revival ,
memorable Jazz Concert 1945 orga-
nized by Esquire
10
.
Since 1946, the war was over and
so were the limitations on recording
(only V-Discs were excluded, they
were for the armed forces) Armstrong
started to play again, but almost
always with a small group, initially
and briey with Kid Ory, another
star of the revival.
Te idea was his managers, Joe
Glaser, who had sensed that Arm-
strong could not return to play with orchestras with a dierent style.
A small group was needed, one with a traditional style, with many
good musicians, that showcased the high-level jazz classics as well
as some mainstream pieces.
In 1947 the group known as Te All Stars is born: LA, tr; Jack
Teagarden, tb, Barney Bigard, cl, Dick Cary, p; Morty Cobb, cbs,
Sidney Catlett, btr.
Cobb was replaced after a few months by Arvell Shaw. However,
over the years there would be many changes in the line-up, not always
for the best, but also with the addition of excellent old glories which
helped Armstrong triumph on stages all over the world, allowing
the public to relive the poetic atmosphere of old jazz.
Te repertoire was made-up almost completely of agships of the
old style: Muskrat Ramble, New Orleans Functions, When Te Saints,
12th Street Rag, Baby wont you please come home, Bill Bailey, St Louis
Blues, Careless love, Mahogany Hall Stomp, Potato Head Blues, Basin
I0
Esquire - mens magazine, founded by David A. Smart and Arnold Gin-
grich in I933. It focuses on mens fashion. Te magazine has had, among its
writers, Ernest Hemingway, William Faulkner, John Steinbeck, Tomas Wolfe,
John Dos Passos, Truman Capote and Norman Mailer.
Te protagonists ,,
Street Blues, High Society, Savoy Blues, Dippermouth Blues, St James
Inrmary, Down by the Riverside, Royal Garden Blues, West End Blues,
Stompin at Savoy.
Of the extensive discography
11
we remember the records which
were signicant for the revival: LA & All Stars play W. C. Handy
(1954), Louis Armstrong Plays Fats Waller (1955), Satchmo plays
King Oliver (1959), and another 4 microgroove records collected in
one album Satchmo: A Musical Autobiography (1957), containing
all the hits of 1923-33, with an introduction narrated by Armstrong
himself.
Armstrong also recorded two Microgroove records with bands of
the revival genre like the Dukes of Dixieland (1959 and 1960), and
a song with Bobby Hackett (1962).
Clearly a character like Satchmo could not remain limited to a
single style. He had already become more of an entertainer than
a musician, adored by the public, and in those years and also in
subsequent years tended more to the popular or to mainstream.
Even to modern jazz: he even performed (presumably reluctantly)
with Dizzy Gillespie (who respected him very much), with Gerry
Mulligan, Dave Brubeck. But always to a
very high level as far as the musical quality
was concerned and without parting from
his own way of playing. Moreover, the fact
that Armstrong was hostile to bop from the
beginning was no mystery. He never tried to
change his style and, without him, modern
jazz would never have existed.
It was in an interview with Louis Ar-
mstrong in 1938 that Bill Russell, who
was preparing with Frederick Ramsey the
II
For an absolutely complete discography of Louis Armstrong, see

http://www.michaelminn.net/armstrong/index.php
New Orleans Revival c
volume Jazzmen, became interested in the way the pioneers of jazz
played, in particular Bunk Johnson, whom Satchmo spoke highly
of, the interview represented a fundamental input to the school that
we have dened 1 (b), the rediscovery. So a further contribution
by Satchmo to the... Cause.
Joseph Wingy Manone (1904-1982)
Trumpeter and singer from New Or-
leans
12
of great talent and success as well
as fun, without being a Top Star. After
starting on the Mississippi riverboats in
New Orleans, Wingy
13
began to travel very
much: Louisiana, Texas, Missouri, Chica-
go, New York. He stopped in New York
for a long time and acquired an excellent
reputation as a leader of small bands that
played mainly Dixieland style. In fact he
was actually one of the few white musicians
to have assimilated the New Orleans style, which was felt in all his
vast production.
In the 1930s he recorded with Benny Goodman and Red Nichols.
In that year he recorded the song Tar Paper Stomp which is the basis
for the song In Te Mood, which became a big success in the rearran-
ged version by Joe Glaser (Louis Armstrongs manager) and launched
in 1939 by Glenn Miller. In that same year he also recorded Up Te
Country Blues, an excellent example of the classic style.
All the songs he composed are full of humor and nonsense. In
I2
Of Sicilian origins, his real last name was Mannone.
I3
He was given this nickname because he lost his right arm when he was
nine years old in a an automobile accident. He always used a prosthesis so
showed no disability.
Te protagonists :
particular, Te Isle of Capri, which in 1934 with Matty Matlock
on clarinet and Zutty Singleton on drums, became internationally
acclaimed. Written to the tune of a popular Italian ballad, full of
double entendres and vulgarity. It was said that, for this reason, the
authors were annoyed by the popularity of the song, despite the
royalties earned from it.
In 1940 he moved to Los Angeles, appearing in a lm by Bing
Crosby, Rhythm on the River, which increased his popularity and he
was then called to participate in many radio shows.
In 1950 he settled almost permanently in Las Vegas, Nevada
where he continued to have the kind of success that allowed him
to spend years without ever changing style and playing, with other
excellent musicians, the classic Trad songs until shortly before his
death.
He toured Europe a lot, often accompanied by the most im-
portant local revival bands. For example, played in Italy with the
Roman New Orleans Jazz Band and with Lino Patruno and the Milan
College Jazz Society, in Sweden with Papa Bues Viking Jazz Band,
with Sidney Bechet and Joe Venuti in France.
He wrote an autobiography, Trumpet on the Wing (1948), one of
the funniest books on the world of jazz in those years.
In fact we can say that Wingy Manone represents the purest
example of this school: he never stopped playing with his own style,
maintaining and increasing his success from the 1940s up to the
mid- 1970s playing New Orleans and Dixieland. A true star of the
revival.
Avery Kid Howard (1908-1966)
Brilliant trumpet player from New Orleans, who stood out in
important brass bands such as Eureka and Tuxedo, from the late
1920s to 1943 he continued playing in Sam Morgans orchestra at
the Palace Teatre in New Orleans, but also performed with other
New Orleans Revival :
musicians like Capt. John Handy and
Jim Robinson.
His style was heavily inspired by
Armstrongs style of 1937-1940. In
1943 he joined George Lewis band,
with whom he played for twenty years.
After a brief hiatus of about two years
due to health reasons, he performed
regularly at the Preservation Hall until
the year of his death in 1966.
In 2008 Brian Harvey wrote his biography : Te Hottest Trumpet.
Te Kid Howard Story.
School 1 (b) - Rediscovered Musicians who play
New Orleans style
William Gary Bunk Johnson (1879-1949)
Te revival was represented mainly by the old musicians redi-
scovered by critics at the end of the 1930s, and Bunk Johnson
is its main representative. He played with the legendary Buddy
Bolden in Eagle Brass Band and then forgotten for many years.
His come-back was in the 1940s thanks to Bill Russell, who
found him working in the rice elds of New Iberia, a town near
New Orleans, where he was born.
As stated by Satchmo, Bunk was the inspiration for young
Louis Armstrongs style
14
.
I4
Park Brek - Downbeat Archives - 0I/06/I939 - Tis Ist Bunk: Bunk Taught
Louis. [.... Said Louis: Bunk, hes the man they ought to talk about. What a
man! Just to hear him talk sends me. I used to hear him in Frankie Dusens Eagle
band in I9II. Did Tat band swing! How I used to follow him around. He could
play funeral marches that made me cry.]
Te protagonists ,
For him to make a come-back he needed dental prosthesis and
a trumpet: for the rst necessity he had the direct help of Sidney
Bechets brother, a dentist.
Revival fans made him their icon, even if we now know that
not everything reported or done in the past by Johnson was gold.
Beginning with his date of birth which is probably ten years later.
Bunk raised his age by ten years in order to justify his presence
and to give himself a more signicant role in the years of the
birth of jazz, the end of the 1800s. Even in terms of music his
behavior was strange: when he could, he almost always chose
modern jazz musicians to be part of his group, being at ease in
songs with long solos, not in line with
the New Orleans style.
Te band recreated by Russell and
Williams that made the rst series of
historical recordings in February 1942
for the American Music (created by Rus-
sell) was composed of: Bunk, cn, Jim
Robinson, tb, George Lewis, cl; Walter
Decou, p; Lawrence Marrero, bjo; Au-
stin Young, cbs, Ernest Rogers, btr.
Te rst recorded tracks, in order,
were: Maple Leaf Rag, Shine, Weary Blues,
Make Me A Pallet On Te Floor, Im So Glad Im Brownskin.
Following the great success he began a series of tours and
concerts, which led to many records, with frequent line-up
changes. He got to record with other Top veterans such as, Kid
Ory, Mutt Carey, Sidney Bechet, Paul Barbarin, Baby Dodds,
Albert Nicholas.
In January 1945 he also recorded a Basin Street Blues with
Armstrong at the New Orleans Municipal Auditorium, with an
all- star formation: Louis Armstrong, tr; J.C. Higginbotham, tb,
New Orleans Revival
Sidney Bechet, cl, James P. Johnson, p; Ricard Alexis, cbs, Paul
Barbarin, btr, special guest Bunk Johnson, trumpet.
Between December 1943 and February 1944, Bunk
recorded more than 20 tracks with Turk Murphy and the Yerba
Buena Jazz Band, the leading exponents of School 3, the most
evolved, conrming what was said above about the Bunks pre-
ferences for more modern music. Essentially, those recordings
represent the best of his production, and he asserted that YBJB
was the best group he had cooperated with.
In December 1947 he gave a highly acclaimed perfor-
mance at Carnegie Hall in New York. It was his last recording.
He suered a stroke and passed away after about a year.
An excellent and complete discography, extensively in-
dexed for a more accurate search, can be found at http://www.
weijts.scarlet.nl/bjd.htm. Te Swedish site dedicated to him,
http://www.fellers.se/Bunk/Welcome.html, is also very well do-
cumented.l
Te protagonists ,
Sidney Bechet (1897-1959)
Great qualities of inspiration and
instrumental technique make Sidney
Bechet one of the most successful
artists of the New Orleans jazz. Te
lyrical language, sweet, seductive,
enriched by the highest level of vir-
tuosity of his clarinet or soprano sax
make him well-known and appre-
ciated from an early age. In 1932,
with Tommy Ladnier on trumpet, he
starts the New Orleans Feetwarmers,
with whom he recorded on numerous occasions.
After the Feetwarmers broke up in 1935, he went back to Noble
Sissles orchestra, but his fame began to dwindle, until, in 1938,
he was forced to a temporary withdrawal from the scenes.
Swing played by the great orchestras was the popular music,
the big bands like Benny Goodmans, Artie Shaws, Glenn Mil-
lers and others. Bechets orid style perhaps appeared, at least
momentarily, eclipsed and Noble Sissles orchestra certainly had
a less uid musical swing style... Bechet adapted to these changes
and opened a tailor shop.
At the end of 1938, aided by Panassi, he resumed recording
with Blue Note, and with Tommy Ladnier and Mezz Mezzrow hel-
ped the New Orleans Revival gain popularity. He also worked with
Muggsy Spanier and Eddie Condon
15
, and created high quality
I5
Some already acculturated readers might be surprised not to nd more
precise information and a part dedicated to Albert Edwin Eddie Condon (I905-
I973). Despite having been elected forerunner of the revival in the late I940s,
Condon -guitarist and banjo player- was, above all, a modest instrumentalist but
powerful business man and entrepreneur, also linked to the world of organized
New Orleans Revival o
recordings which contributed to the spread of the phenomenon.
Tese recordings helped Bechet return to fame. He went back
to playing in public, appearing at Nicks in the Village and even at
the Town Hall, continuing to record for Blue Note throughout all
the 1940s. In these study groups where the
trumpet/cornet players Wild Bill Davison,
Sidney De Paris, Max Kaminsky, Frankie
Newton, clarinetist Albert Nicholas, trom-
bonist Vic Dickenson, pianist Art Hodes,
Pops Foster on bass, drummer Sidney
Catlett, and numerous others.
In 1949 he participated in a series of
jazz concerts at the Salle Pleyel in Paris.
The success was so great that Bechet
decided to settle permanently in France,
playing mostly with local bands and hel-
ping to give birth to the European revival.
In France he composed the song Petite Fleur, certainly not in
the tradition style, but it became well known all over the world.
Te strength and uniqueness of Bechets musical personality is
evident in all of his recordings. Te French existentialists gave him
the nickname le dieu, God. He was the only musician who was
never overshadowed when he played with Louis Armstrong, but
he vigorously presented his musical presence from the early years
(1923-1925 with Clarence Williams), to the last opportunities he
had to play in full revival
16
.
crime that helped him obtain undeserved popularity . Musically he played al-
most exclusively commercial music.
I6
Listen to this:
Texas Moaner Blues (I924) www.youtube.com/watch?v=wv8v05Eeiuc;

2:I9
Blues (I940) www.youtube.com/watch?v=IHF8GR_tk.
Te protagonists ;
Tommy Ladnier (1900-1939)
Seen by many as inferior only to Arm-
strong and Oliver, after much success in
the twenties in Chicago, New York and
also in concerts in Europe, he retired. Tese
were the years of the Great Depression and
Ladnier was forced to work as a shoeshine
on the streets of New York. Occasionally
he recorded with Bechet and New Orleans
Feetwarmers and then in the group created
by Panassi in 1938, who looked for him
in the streets along with Mezz Mezzrow to
bring him back to play regularly. Te Mezzrow-Ladnier with Bechet,
Teddy Bunn, Manzie Johnson group was formed. Of course the level
is not that of 1932, in any case, CominOn On the CominOn and
Revolutionary Blues can be considered the rst record of the Revival
and Ladnier became, deservedly, one of its central gures.
Te untimely death (of a heart attack) in 1939 ended the career
of an excellent musician, whose name will always remain in the
spotlight in the history of revival and jazz.
Te following is a great website for further details on Tommy
Ladner: www.tommyladnier.mono.net/8824/Tommy%20Ladnier%2
0Homepage .
New Orleans Revival
Milton Mezz Mezzrow - (1899-1972)
Excellent clarinetist from Chicago
with Russian parents, with a background
in New Orleans style, was relaunched
in 1945 after an absence of many years
from the scenes: he shared the same
experience of Ladnier and Bechet in
1938, coordinated by Hugues Panassi,
whom he met on a trip to Paris in 1929,
but lost track of him because of legal
problems.
In prison, from 1940 to 1942, he
organized a band at the penitentiary in
New York.
After being released from prison and having started to play with
Art Hodes, piano, without drawing too much attention to himself,
he met an electrical engineer, John van Beuren, with whom he orga-
nized a small record company the -King Jazz- that in 1945 produced
25 records. In the small band, besides Mezzrow, played Lips Page,
Sidney Bechet, Sammy Price, Sidney Catlett or Baby Dodds. Hence
the return of success, further interviews with journalists and critics
of jazz relaunched the gure of the white clarinetist that played like
the black musicians of New Orleans.
Having regained popularity, he had great personal success at
the Nice Jazz Festival in 1948. Terefore, at the end of that year he
moved to France where, in addition to playing, he devoted himself
to the organization of concerts with prominent jazz musicians that
were very much welcomed by the public.
He is considered the musician that continued the style of Jimmie
Noone, one of the greatest clarinetists of New Orleans.
He leaves an interesting testimony on the origins of jazz in his
Te protagonists ,
autobiography, written with Bernard Wolfe
17
, Really the Blues, del
1946
18
.
Edward Kid Ory (1889-1973)
Te famous Creole trombonist from LaPlace (Louisiana, not far
from New Orleans), one of the superstars of the origins of jazz,
inventor of the tailgate style, a member of historical line-ups such as
Louis Armstrongs Hot Five or accompanist for Jelly Roll Morton,
or in the orchestra with King Oliver. He retired in 1929 to devote
himself to raising chickens.
It was Barney Bigard, in 1942, to propose his return, with a
streamlined line-up. He debuted on radio in Orson Welles broa-
dcasts and was a success, he also boosted his career by appearing in
some lms. Tanks to the prudent management of the band, he
quickly became an ambassador of the revival, from 1943 to 1966,
also with acclaimed tours in Europe and Japan. In 1943 at the Geary
Teatre in San Francisco he recorded with Bunk Johnson.
Te line-up of Kid Orys Creole Orche-
stra (not many replacements over the years,
only a few alternation) had names such as
Mutt Carey, Ed Garland, trumpeters Alvin
Alcorn and Teddy Buckner; clarinetists Omer
Simeon, Darnell Howard, Jimmie Noone,
Albert Nicholas , Barney Bigard, and George
Probert, Buster Wilson, Cedric Haywood and
Don Ewell on piano; Minor Hall as drummer.
Names that -along with Orys tailgate- have
I7
B. Wolfe, a writer, secretary to Leon Trotsky during his exile in Mexico
in I937.
I8
It has been translated into Italian and published by Longanesi in I967,
with the title I Primi del Jazz. Ecco il Blues.
New Orleans Revival ,c
ensured a constant high quality sound, complete with its own iden-
tity, which guaranteed a great success.
Some of his creole performances where unforgettable, such as
the Eh la Bas, Blanque Touquatoux, Creole song, Creole Bo Bo, that
combined the charm of Creole patois with the joyful music of the
revival. As for his records, almost all of them were recorded for the
legendary Good Time Jazz, a label that was devoted to the revival.
He was also the author of classic songs such as the famous Muskrat
Ramble, which he wrote for Louis Armstrong in 1926.
He retired in 1966.
A complete documentation can be found on the website dedicated
to him: http://www.fellers.se/Kid/Welcome.html.
George Lewis (1900-1968)
He is perhaps the incarnation of the revival. After being a
well-known clarinetist in the most important brass bands of New
Orleans, such as the Eagle, and having played with Buddy Petit and
Kid Ory in the 1920s without ever leaving New Orleans, in 1926
he left the scene until 1942, when the rediscovered Bunk Johnson
called him to be a part of his band. He stayed with Bunk until Bunks
retirement, took over the leadership of the group and continued to
play in the clubs of Bourbon Street and on radio programs.
Te rst band he recorded with, for Vogue, was G.L. and His New
Orleans Stompers, together since May 1943 and was composed by
Kid Howard, tr; Jim Robinson, tb; G.L., cl; Lawrence Marrero, bjo;
Chester Zardis, cbs (later replaced by Alcide Slow Drag Pavageau);
Edgar Mosley, btr. All elements that simultaneously also played
with Bunk, and that would remain linked to Lewis even after his
retirement and his death.
His repertoire is amazing, consisting of all the great classics such
as, Milenberg Joys, Walking With Te King, Gettysburg March, Just A
Closer Walk With Tee, See See Rider, Ice Cream, Heebie Jeebies, Ol
Te protagonists ,:
Man Mose, Mama Dont Allow It, Canal Street Blues, Bill Bailey, Over
Te Waves, High Society, I Cant Escape From You, Careless Love, and
dozens of others. It is important to remember his habit of sometimes
playing in a trio, with wonderful examples like Burgundy Street Blues
and Over the Waves.
Te May 1950 issue of LOOK
19

dedicated an extensive article to
him, accompanied by 20 photo-
graphs by Stanley Kubrik
20
Te
May 1950 issue of LOOK19 de-
dicated an extensive article to him,
accompanied by 20 photographs
by Stanley Kubrick20, and the ma-
gazine -distributed international-
ly- increased his popularity. Tat
moment, as well as the concerts,
touring also in Europe and Japan,
performances at the Preservation Hall, marked the beginning of
endless activities including the production of many records, which
made him a major reference point for young groups of European
musicians.
Lewis was not a virtuoso and compensated for some technical
weaknesses with rhythm, soul, feeling: it is what some call the Bing
eect
21
. His music that, according to the most popular critics, unfol-
I9
Look was an American magazine founded in I937 and publishes until
I97I. Founded by Gardner Mike Cowles Jr. and his brother John, was the rst
editor of the magazine. Stanley Kubrick collaborated with this magazine.
20
Stanley Kubrick - (I928-I999) Director, considered one the greatest lm-
makers in the history of cinema. His career starts in I945 with an extraordinary
photograph of a newsagent upset by the news of President Roosevelts the death..
2I
When Bing Crosbys manager was asked about Bings tremendous success,
he used to say, ... Well, he makes his singing easy, like hes shaving. George
New Orleans Revival ,:
ds with simplicity, remains one of the best testimonies of traditional
Jazz because its vitality, quality of the solos and relaxed atmosphere
captivate the listener. All the qualities of Traditional Jazz.
Bob Dylan mentions him in one of his songs, High Water, from
the album Love and Teft (Columbia 2001), a song dedicated to
Charlie Patton, bluesman, also considered the father of blues. As
evidence to fame that never regressed.
Henry Kid Rena (1900-1949)
Star of the early New Orleans jazz scene, he played with his own
groups and with the Eureka Brass Band until 1932, he then formed
his own brass band, the Pacic Brass Band.
Te Great Depression of 1929 hit him so
hard that he stopped playing altogether.
He was rediscovered in 1940 by a writer,
Heywood Hale Broun Jr., who asked him
to record 8 songs.
Te new Kid Renas Delta Jazz Band
was formed with KR, cnt, Jim Robinson,
tb; Big Eye Louis Big Eye Nelson and Al-
phonse Picou, cl, Willie Santiago, g; Albert
Glenny, cbs, Joe Rena, btr.
After some rehearsals at Willie Santiagos home on August 21 at
the Hotel Roosevelt, they began their recording sessions and were
recorded by the radio station New Orleans WWL-FM105.
Lewis has the same eect, George plays so easily that it seems like it could be
easy to imitate. Tis is wrong! For a clarinetist it can be dicult to achieve a
high technical level, to play fast-paced scales and arpeggios or to have the best
sound in all the registers, but it is almost impossible to play with George Lewis
voice. One must have a high sensitivity and something to say and its rhythm,
soul and feeling, was practically unique.
Te protagonists ,,
Te songs chosen were: Milenburg Joys, Clarinet Marmalade, Get-
tysburg March, Lowdown Blues, High Society, Panama, Weary Blues,
Get it Right, all cornerstones of the Trad repertoire.
Despite the poor quality of the recording, Renas comeback was
successful, but there was no way to continue with the recordings.
After a few years of moderate success with his own band and
playing with other groups, he stopped again, in 1947, because of
alcohol. He died in 1949.
Ernest Punch Miller (1894-1971)
After the rst few years in New Orleans, he left Louisiana in
1919 and moved to Chicago, he became part of Jelly Roll Mortons
band. He stopped playing in the 1930s and is one of the examples
of a late rediscovery.
His presence in the 1940s is quite
modest though historically interesting
and of excellent quality (for exam-
ple, in 1942 he played with Big Bill
Broonzy, in 1947 with Edmund Hall
and Albert Nicholas). He was not, in
those years, considered a father of
the revival.
His ocial comeback happened in
later years when he joined George Lewis on tour in Japan in 1963,
and then when he became a regular guest of Preservation Hall
(which will be discussed later) until 1971.
A contribution to his fame in later years was the visibility given
to him by Big Bill Bissonnette with the Jazz Crusade. We will talk
about Bissonnette in a few pages.
Punch, well known for its fast ngering that he had patented
as a real method for playing trumpet, left numerous testimonies
of his excellent style, but he never had that certain something to
New Orleans Revival ,
make him an absolute master. He recorded many albums and
there are many videos available on YouTube.
School 2 - Musicians modifying their current style, they re-
turn to the New Orleans style
Francis Muggsy Spanier - (1906-1967)
Fine cornet player and ... opportunist, a native of Chicago, consi-
dered the best until Bix Beiderbecke. Always well liked by the public,
from 1926 until 1938, his style changed with the passing of years
to adapt to the orchestras in which he performed (Ted Lewis, Ben
Pollack), which had evolved so to always present excellent music,
initially with dixieland and then with swing connotations.
After stopping for about a
year for health reasons (a car ac-
cident before, then a perforated
ulcer) he resumed his career in
April 1939 and, thinking that
the old style -that was beginning
to resurface- would become suc-
cessful, with the Muggsy Spaniers
Ragtime Band he used a sound
that focused on brass instruments
and with a strict 4/4: a perfect
copy of the King Oliver style in
Chicago. Te experiment was successful, and Spanier played sold-
out concerts in Chicago and New York.
He revisited the great classics of the 1920s, initially sixteen songs
including, At Te Jazz Band Ball, Dippermouth Blues, Livery Stable
Blues, Riverboat Shue, Sister Kate, Lonesome Road. Tese were care
of the Bluebird and became so popular that they were collected in
Te protagonists ,,
an album called Te Great 16.
For economic reasons, or perhaps because he had imagined -
perhaps mistakenly- that the revival phenomenon would only be
temporary, at the end of 1939 he went back to Ted Lewis and swing
bands, in any case, he was always appreciated by the audience. A
meteor in the revival, but still a great jazz musician.
George Robert Bob Crosby (1913-1993)
Bings
22
, younger and less well-known brother, born in Spokane,
Washington, gains popularity in dixie and swing in Chicago directing
the Ben Pollacks orchestra composed of; Jack Teagarden, Glenn
Miller, Benny Goodman to name a few. In 1937, to the swing or-
chestras usual repertoire, Bob begins to add songs played by smaller
groups (focused on the triplet trumpet, trombone, clarinet), and
these end up representing the most popular and acclaimed parts of
their concerts.
Te group was known as the Bobcats, a small band within the big
band that played Dixieland with strong New Orleans connotations
when, in 1938, Ray Irving on clarinet and Fazola Bauduc on dru-
22
Harry Lillis Crosby, also known as Bing Crosby (I904-I977) was an Ame-
rican actor and singer. His recording of White Christmas, the song written by
Irving Berlin, is one of the best-selling albums of all time..
New Orleans Revival ,o
ms joined the group. Until 1943 the Bobcats kept the polyphonic
style of classic jazz, dening themselves as exponents of Traditional
Revival. Te arrangements were done by Yank Lawson, trumpet,
and Matty Matlock, clarinet.
When the bands success began to decline it was revived, in the
1960s, by Yank Lawson and Bob Haggart, bass. Although they gave
the band their name, Lawson - Haggart Jazzband, they kept Bob
Crosbys name alive until the 1970s.
William Wild Bill Davison (1906-1989)
Excellent, multi-talented trumpeter from Ohio. He started in the
1920s playing at seedy venues in Chicago and became an established
performer in 1945 when he started playing with Eddie Condon in
New York until 1957. Well-known for his vibrato, which stood out
especially in slow tempos.
It took many years for him to become an established performer
because of an automobile accident
which occurred in Chicago in
1932. Davison drove and Frank
Teschemacher, emerging young
clarinetist, loved by the public,
lost his life. Te accident caused
the public to turn away from him
for many years.
In the early 1940s, he played
-albeit sporadically- in dierent
Trad groups always accompanying
big stars of the revival, above all
Sidney Bechet in 1940. His name soon became well-known and
directly associated with the revival.
His many tours in America and Europe, even in Italy where he
played and recorded with Lino Patruno and the Milan College Jazz
Te protagonists ,;
Society, gave him notoriety. In all the years that followed he remained
one of the most successful musicians of the revival genre, considering
that from 1965 to 1975 he played with at least 100 dierent bands,
and recorded more than 800 dierent songs in 20 albums.
Willam Hal wrote his biography, Te Wildest One, Avondale
Press, 1996.
Max Kaminski (1908-1994)
From Brokton, Massachusetts. Trumpeter in the 1920s well-known
for playing with Eddie Condon and also with the Original Dixieland
Jazz Band. While continuing his career by working with excellent mu-
sicians such as Tommy Dorsey and Benny Carter (tp, sa), in the mid
1930s he performed almost exclusively in commercial dance bands.
In 1942 he returned to dixieland, and gradually returned to early
jazz, taking over the style and repertoire of Buddy Bolden, Freddie
Keppard, Louis Armstrong and King Oliver until the 1960s.
He worked and recorded with Bechet, Brunies, Hodes, Teagarden.
In 1957 he was acclaimed when in tour in Europe with Teagarden and
Earl Hines. In 1964 he published the autobiographical book My Life
in Jazz (Da Capo Press, Cambridge-USA).
New Orleans Revival ,
George Brunies (1902-1974)
Great trombonist of the 1930s,
he started very young at the dawn
of jazz, rst in New Orleans then in
Chicago, playing with the New Or-
leans Rhythm Kings
23
and later with
Ted Lewis and Eddie Condon. He
basically followed Muggsy Spanier,
with whom he acquired fame, be-
coming part of the revival, and also
played in Art Hodes band. At the
end of the 1940s, at the height of his fame, he was named by critics
and audiences King of the Tailgate Trombone the style that Kid Ory
had created, launched and continued to play when Brunies was no
longer a revivalist! Like Spanier, Brunies was back to the swing and
commercial jazz.
However, like for Spanier, there was an excellent record produc-
tion in that brief period.
Joseph Sharkey Bonano (1904-1972)
He was one of the few revivalist reviewed by Te Jazz Archivist,
who mentioned him as a reference for his work in New Orleans in
1960
24
. Bonano, great trumpeter, at the beginning of his career had
even replaced Bix Beiderbecke in the Wolverines on some occasions
23
Te New Orleans Rhythm Kings (nicknamed Nork) were one of the most
important jazz bands of the early to mid I920s. Te band was a combination of
New Orleans and Chicago styles and was composed of only white musicians.
Teir recording session in I923 with Jelly Roll Morton is perhaps the rst album
from a racially mixed band.
24
Jazz in New Orleans at 1960s - Review in Te Jazz Archivist, vol. X, may-
dec I995.
Te protagonists ,,
and also Nick LaRocca in ODJB, before
joining large commercial orchestras (L.
Brownlee, J. Durante, Pollack). Immediately
after the war he toured Europe, Asia, South
America, before settling in New Orleans
in 1949, reviving the classic style. It is said
(urban legend?) that Arturo Toscanini, after
hearing him play, propose him a rehearsal
with the Covent Garden Orchestra in New
York, after which the Maestro rebuked his
trumpet players for not being able to reproduce the sounds expressed
by Bonano.
Often in the line-up with Bonano, as a clarinetist, another well-
known revivalist: Pete Fountain.
Pierre Dewey Pete Fountain (1930)
Brilliant clarinetist of the Creole
neighborhood of New Orleans, he
began training for and playing swing,
and then, in 1951, founded the Ba-
sin Street Six band, it epitomized the
New Orleans style that he continued
playing for a long time. He recorded
more than 100 albums, but often
moved away from classic style to propose other music or a more main-
stream New Orleans style. He gave his last concert in his eighties, in
2010 in Hollywood. He often played with his friend Al Hirt (1922-
1999), also from New Orleans, trumpet player who represented only
a phenomenon of commercial virtuosity.
New Orleans Revival oc
School 3 - Musicians of the new generation that re-elaborate
the New Orleans style
Lucius Lu Watters - (1911-1989)
Trumpeter from Santa Cruz,
California, with a great love for the
music of New Orleans. After having
played in various orchestras -even
with Bob Crosby- in 1940 founded
the Yerba Buena Jazz Band with
which he performed at the Dawn
Club in San Francisco. Te band was
formed entirely by white musicians,
but the music and style were those of
King Oliver, to which was added a creative phase with arrangements
that became more and more complex over time. Watters was then
able to create his own repertoire of original compositions, based
totally on King Olivers 1920s style, arranged in a more mature and
modern style.
Above all, Emperor Norton Hunch, Annie Street Rock and Big
Bear Stomp.
I wanted to stay anchored to Oliver and Armstrongs old style and
extend it in a creative way, while keeping with the tradition ..... People
think that a beautiful melody should be easy to remember ... well! It is
an important quality, but a beautiful melody also needs complexity and
content that makes it amazing.
25
He also changed the way the band was arranged in front of the
audience: the rhythm section in front and the melody in the back.
25
John Buchanan - Emperor Nortons Hunch. Te story of Lu Watters YBJB-
Hambledon Production, Middle Dural I996.
Te protagonists o:
A revolution! It was actually an optimal
way for the rhythm section not to lose
the tempo by not being able to hear
who was playing in front of them (ni-
ghtclubs were not concert halls ...).
Te very well selected formation
created by Watters was composed by
Watters and Bob Scobey, tp; Turk
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 eld of study.
He reappeared after a few years, but only occasionally, to record
an album with Bob Helm and to play with Turk Murphy in order 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 (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
.
26
Murphy signed very famous and very successful arrangements, such as
Louis Armstrongs Mack Te Knife in I955.
New Orleans Revival o:
When Lu Watters brakes up the Yerba Buena Jazz Band in 1950,
Turk takes over the group and names it Turk Murphys Jazz Band,
and makes some changes. For example: Bob Scobey, tp; TM, tb; Bob
Helm, cl; Burt Bales, p; Harry Mordecai, bjo; Dick Lammi, cbs.
Te sound is very similar to marchin band, despite Helms high
notes and virtuosity.
Murphy was great friends with Ward Kimball, Disney cartoonist
and trombonist in Firehouse 5 +2, where the echoes of the Lu Watters
and Turk Murphys style can be heard.
Te band was always popular: Murphy continued successfully
until 1987. In January of that same year he gave a concert at Car-
negie Hall, then died in May due to a lung tumor.
Bob Scobey - (1916-1963)
Born in Tucumcari, New Mexi-
co, he began his career in the mid-
thirties 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 of the rhythm section, and went on to form his own
group Bob Scobeys 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 them
27

27
Te news is reported in the biography He rambled! (Pal Publisher, I976),
edited by his wife Jan, but there is no trace of this in the most important of Louis
Armstrongs discographies and biographies.
Te protagonists o,
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)
Clarinetist for Lu Watters, after conclu-
ding his experience with YBJB at the end
of the 1950s he put together his own band,
Bob Helms Riverside Roustabouts, that kept
the new style created by Watters and beca-
me another one of its ambassadors.
In 1950 he recorded, in a private ses-
sion, a series of poems by Weldon Kees
28
,
Kees on piano and Helm on clarinet and
washboard
29
.
He alternated numerous retirements to as many successful co-
mebacks, 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 a little bit of everything: traditional jazz, ballads, folk
songs, which were interspersed with fun things like a car sirens, a
re truck bells, re ghting clothing from the 1910s, and more.
28
Weldon Kees (I9I4 -I955). Poet, writer, screenwriter, painter, American
literary critic, one of the most important English speaking cultural character of
the last century.
29
Washboard is used as a percussion instrument. It (as an instrument) origi-
nated in New Orleans in the rst half of the twentieth century. It was created by
using a ribbed metal board, like the ones used to wash the laundry.
30
http://www.rehouseveplustwo.com
New Orleans Revival o
While this made the purists grimace one must, however, recognize
the enthusiasm shown for the Trad 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
bands name.
Tey became so popular that they were considered a national
institution (!), they recorded 13 albums (two devoted to Disney
lms and the Disney 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 interpreted with an
absolutely distinctive style with perfect arrangements, an unforget-
table experience for the listener.
3I
Myself included in I956.
Te protagonists o,
Te initial line-up was: Danny Alguire, cn; Harper Go, bjo;
Ward Kimball, tb, siren, sound eects; Clarke Mallery, cl; Monte
Mountjoy, bt; Erdman (Ed) Penner, bss / tuba; Frank Tomas, p.
* * * * * *
It is not possible to review the whole music scene the second
phase had to oer, 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 enthu-
siast of the New Orleans style, who formed his own group -Easy
Riders Jazz Band- and his own record label (Jazz Crusade). He was
devoted to retrieving information
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. These included George
Lewis, Thomas Kid Valentine,
Kid Sheik Colar, Jim Robinson,
Punch Miller, just to mention a
few of the most important. To
this material he added many recordings that he managed to buy and
publish. Te Jazz Crusade boasts a catalog of over 150 artists.
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
jazz, and relaunched his label and recorded over 100 sessions with his
band accompanied by other great musicians of the classical period.
New Orleans Revival oo
Two great musicians were often present in the Easy Riders Jazz
Band.
Te rst, 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 Bissonnettes
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 of his work. With
his usual kindness he agreed, and I will now share what I received.

Te protagonists o;
Hi Gino,
I hope this is what you are looking for.
Best Regards,
Fred
Fred Vigorito (Cornet & Leader, Guilford CT., USA) - I have led the Gal-
vanized Jazz Band, Connectcuts number one Jazz band, since 1971.
Since my retrement from the Southern New England Telephone com-
pany in 1995 I have been a full-tme musician, playing the music that I
love, New Orleans Jazz.
Studying cornet beginning at age 9, I played frst cornet, frst chair in
Connectcuts All-State Band as a high school freshman.
I have been playing New Orleans Jazz since 1963 when I joined Big Bill
Bissonnetes Easy Rider Jazz Band.
I am featured on more than 50 recordings, my most memorable be-
ing a 1965 GHB recording at Preservaton Hall with jazz veterans Jim
Robinson, Albert Burbank, Creole George Guesno, Alcide Slow Drag
Pavajeau and Don Ewell.
I also recorded with the great George Lewis, Louis Nelson, Kid Thom-
as, Emmanuel Paul, Sammy Rimington and others.
Other musicians tell me I play a hot, driving cornet style, and Im fat-
tered by those comments!
My major infuences include Louis Armstrong, Kid Thomas, Kid How-
ard, Wild Bill Davison, Bobby Hacket, Muggsy Spanier, and Thomas
Jeferson.
For the past 8 years, I have been a featured guest performer in France
with JP Allessis French Preservaton New Orleans Jazz Band, and in
Denmark with the New Orleans Delight Jazz Band.
I look forward to many more years of playing this wonderful, happy
music!
New Orleans Revival o
Among the current bands the Bratislava Hot Serenaders (Slovak
Republic) are believed to be the most popular jazz orchestra in the
world, with a line-up composed of 18 elements, they have been suc-
cessfully 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
well known in the future. She began gaining popularity online.
Her name is Meschiya Lake and she is accompanied by the
group Little Big Horns (http://www.meschiya.com/) created by her
in 2009.
Meschiya sang in the streets of New Orleans until 2011 (see the
numerous YouTube videos), but has already begun to take ight .....
her amazing voice, and style of the Little Big Horns conrms that
the revival continues...
THE ACCOMPANISTS
Te success of a group is certainly the result of the quality of mu-
sic, the art, the charisma and the name of the leader together with
the organizational skills of his manager, when this gure does not
coincide with the leader himself. Being able to create the perfect bal-
ance 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 Pro-
tagonist, but he is widely supported by other musicians who -some-
times- sacriced their own popularity for the benet of the entire
group and its leader.
Terefore, it seems appropriate to mention some names, that are
not always mentioned in books, which helped to make history and
create the legend of the very rst 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 monumen-
tal soloists of the history of jazz, and only in relation to the period
of the revival.
Jelly Roll Morton, Red Hot Peppers (1939)
Signicant was the presence of Sidney Bechet, clarinet, and also
Henry Red Allen, trumpet (1906-1967)
Sidney de Paris, trumpet (1905-1967)
New Orleans Revival ;c
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, signicant was the presence of
Jack Teagarden, trombone (1905-1964) his duets sung with
Satchmo were also unforgettable
Earl Hines, piano ( Earl Hines, piano (1903-1983)
Sidney Catlett, drums (1910-1951)
Cozy Cole, drums (1909-1981)
Wingy Manone, 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; signicant the presence of
Jimmy Archey, trombone (1902-1967)
Jim Robinson, trombone (1892-1976)
Edmond Hall, clarinet (1901-1967) also played with Arm-
strongs All Stars after 1947
Omer Simeon, clarinet (1902-1959)
Alton Purnell, piano (1911-1987)
Lawrence Marrero, banjo (1900-1959) already mentioned
but a column for many rhythm sections
Wellman Braud, bass (1891-1966)
George Pops Foster, bass (1892-1969)
Te accompanists ;:
Alcide Slow Drug Pavageau, 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 Tommy Ladnier on trumpet
Teddy Nixon, trombone
Henry Duncan, piano
Ernest Meyers, bass
Morris 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 Or-
leans
Mowgly Jospin, trombone (1924-2003)
Guy Latte, clarinet (1927-1998)
Andr Persiany, piano (1927-2004)
Zutty Singleton, drums (1898-1975)
Muggsy Spanier, his Ragtimers (1944)
Pee Wee Russell, clarinet (1906-1969) coming from swing, but
strongly inuenced by the New Orleans style of Alcide Yellow
Nunes of NO
Mi Mole, trombone (1898-1961)
Eddie Condon, banjo (1905-1973)
Gene Schroeder, piano (1908-1974)
Bob Haggart, bass (1914-1998)
George Wettling, drums (1907-1968)
New Orleans Revival ;:
Here are a few names of musicians that were not in a single line-up
for very long, but that partnering with many dierent artists have,
however, helped to create this phenomenon from New Orleans that
was able to resume in the 1940s and continue over time.
William Buster 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, clarinet (1906-1985)
Vic Dickenson, trombone (1906-1984)
Ed Garland, bass (1895-1980)
Jay C Higginbotham, trombone (1906-1973)
Art Hodes, piano (1904-1993)
Percy Humphrey (1905 -1995)
William Humphrey, clarinet (1900-1994)
Don Kirkpatrick, piano (1905-1956)
John Lindsay, trombone and bass (1894-1950)
Louis Kid Shot Madison, trumpet (1899-1948)
Benny Morton, trombone (1907-1985)
Alphonse Picou, clarinet (1878-1961)
Sammy Price, piano (1908-1992)
Lester Santiago, piano (1898 ? -1965)
Bud Scott, guitar (1890-1949)
Jabbo Smith, trumpet (1908-1991)
THE 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 au-
diences. 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 jazz musicians undertook long tours in
Europe, encouraging the emergence of many groups of admirers and
imitators.
Tis relationship between jazz and Europe would suer a setback during
the Second World War only to resume with even greater force in the
postwar years.
Particularly in the years of the New Orleans Traditional Revival, thanks
to the enthusiasm of young musicians, more or less professional groups
began to form. Tey represented the seed that started the spread of clas-
sical jazz. Tis seed sprouted quickly and groups would have created
emulators.
Many fans in the 1950s, who had started forming small trad
groups just for fun or passion, remained at the forefront for many
years, with an increasing degree of professionalization.
Here is a list of names and groups divided by nationality.
England - In the UK, the pianist In the UK, the pianist George Webb (1918-2010)
formed the Dixielanders in 1943. Teir work was based on the rst
recordings of Oliver, Morton and Armstrong. Te Dixielanders did
some recordings for Decca. Te trumpeter Humphrey Lyttelton
(1921-2008) joined the band and took over the leadership. In 1949,
32
Nazism e fascist racist laws would have been come in I933 and I938.
New Orleans Revival ;
the band also made some historic recordings with Sidney Bechet.
Lytteltons band went on to record several sessions for the Par-
lophone label, also producing a song that made it to the Top 20
Hit in 1955: Bad Penny Blues. Tis was the rst jazz song to make
it in to this radios 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 rst hand, but to fulll
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
from New Orleans. Teir style was
essentially second school, accord-
ing to the diagram shown earlier. In
those years, until 1965, he played with
Colyer and Sammy Rimington (see p.
64), a great clarinetist.
Colyer also formed another group
that included drummer Colin Bowden
(1932). Tis group turned out to be
the one that sounded the closest to the
New Orleans sound.
Colyer was nally able to form a band that played great jazz, far
from commercial success but personally destined to become a cult
Te revival in Europe ;,
gure for the European fans of traditional jazz.
After leaving the Ken Colyers group, a new band was created:
Chris Barber -trombone-and Monty Sunshine -clarinet- with Pat
Halcox (1930) on trumpet and Donegan on banjo, they founded
the Chris Barber Band, still very active and well known.
Te clarinetist Cy Laurie (1926-2002), followed in the foot-
steps of the bands 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). Bylks group had
a wonderful drummer, Ron McKay,
who helped Bylks 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 rst
white jazz musicians to support the mixed line-ups. In 1970 he
formed Te Legends of Jazz, a group that recorded many albums.
Terry Lightfoot (1935) must be mention, he was, rst, clarinetist
for Chris Barber and then in his own groups, and the trumpeter
Kenny Ball, but the latter went from traditional to playing com-
mercial music style.
France - Based on the widespread interest in ragtime since the
1900s - on the occasion of the Paris Expo- that continued to grow
and expand to other forms of music imported from America (take
for example the success of the Quintet Hot Club de France with
Django Reinhardt - 1910, 1953 Belgian, for that matter), since
1945 the revival in France received excellent feedback from young
New Orleans Revival ;o
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 rst
place for purchases (Gold Disc Vogue), of course .
A contribution, although occasional in the New Orleans style,
was given by Claude Bolling (1930),
more devoted to swing. In any case, some
collaborations with Boris Vian, denitely
devoted to the classic style as well as
an established writer especially in the
existentialist literature circles
33
, contributed
to its spread. Vian became a member, as a Vian became a member, as a
trumpet player, of Claude Abadies (1920)
33
Boris Vian (Ville dAvray, I920 - Paris, I959) was a French writer, engi-
neer, songwriter, poet, trumpeter and translator. Vian wrote I0 novels, including
4 hard-boiled genre thrillers. A few of the most well known are, LArrache Coeur,
LHerbe Rouge, LAutomne a Pkin and cume des Jours, what the critics have
identied as his masterpiece. Also author of short stories and songs, Vian played
his pocket trumpet (which is often found in his writings with the nickname
trompinette) in the famous Tabou club (now closed) located in Rue Dau-
phine, near Saint Germain des Prs in Paris. He was Duke Ellingtons and Miles
Davis contact (among others) in Paris. He has written for several French jazz
magazines (Le Jazz Hot, Paris Jazz) and published numerous articles on jazz in
America. Although he never set foot in America, the trends of this country, jazz
in particular, could often be found in Vians work.
He was also a member of the Collge de Pataphysique and jazz record depart-
ment manager at Philips.. .
Te revival in Europe ;;
small orchestra in 1942 (Abadie was clarinetist as well as director
of the group). Soon, Vians brothers joined the group, rst Alain, 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 and were the forerunners bebop.
From February 22
th
to 28
th
1948 a memorable event marked
the history of the spread of jazz in France: the rst jazz festival
in the world took place in Nice. During this period, undoubtedly
the most fruitful for Jazz, there was a clash between two stylistic
trends a querelle des anciens (proponents of classic Jazz) and des
modernes (proponents of an evolving Jazz style, bebop).
It is in this climate that in Nice, under the artistic direction of
Hugues Panassi, President of the Hot Club de France, the rst
International Jazz Festival took place. Te absence of members of
the new styles in the program, a decision made by the Hot Club
in favor of the old style, created a fracture that worsened over the
years.
Te Jazz Festival took place in the very elegant Opera of Nice,
the concerts that were played were later partially transmitted on the
radio. In the great hall under the windows of the Casino Municipal
of Place Massna, with its Belle Epoque architecture, the audience
perpetuates the popular tradition that belonged to the origins of
Jazz, the tradition of dancing. Te presence of Louis Armstrong, in
the splendor of his artistic maturity, aroused the enthusiasm of the
audience. Te Nuit de Nice, the closing night at the Ngresco
with the presence of Stphane Grappelli and Django Reinhardt
(Quintette du Hot Club de France), ends at dawn with an amazing
jam session.
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 movement. 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
the classical and historic groups the
forerunner is certainly the Dutch Swing
College Band, founded in 1945 by
clarinetist Peter Schilperoort (1919-
1990). Te line-up, still active today and
directed by Bob Kaper, has always been
successful, not only in Europe.
Te Harbour Jazz Band also played an important role from
1956 onwards, initially founded by Jaap van Velzen (trumpet) and
Aad de Moree (clarinet), and then led by clarinetist Ferdi Meijer
for over 30 years. As for the DSCB their success is international.
Scandinavian countries Te self-taught trombonist Arne
Papa Bue Jensen
34
(1930-2011) started his training in the 1950s
in small bands such as the Royal Jazzman (later Bohana Jazz Band),
the Henrik Johansens Jazz Band and the Saint Peter Street Stompers,
playing on occasion with Chris Barber. He founded the Viking Jazz
Band (initially named the New Orleans Jazz Band) in 1956.
34
Te nickname Papa was given to him by the members of the band, as
Arne was the oldest and the only one who was already a father.
Te revival in Europe ;,
Tis name was given to them by
the American journalist and vocalist
Shel Silverstein
35
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 rst album as the Viking
Jazz Band in 1958. In 1960 their Schlafe Mein Prinzchen sold
over one million copies and received a gold disk.
Tis great success was met with a very high international
reputation. Jensen worked with George Lewis, Wingy Manone,
Wild Bill Davison (which for a time was a permanent member of
the band), Edmond Hall, Champion Jack Dupree, Albert Nicholas,
and Art Hodes. In 1969 the Viking Jazz Band was the only non-
American band to participate in the New Orleans Jazz Festival, and
Jensen was awarded the Golden Keys to the City. He has become
an icon of traditional jazz.
Another important group is the Peruna Jazzmen, founded in
1959 by Arne Hojberg (1941), trombone, and Peter Aller (1932),
trumpet, in Copenhagen. Te name Peruna means Potato in
Finnish, but it is also the title of a song recorded by many jazz
35
Shel Silverstein (Key West, Florida, USA 1930-1999): poet, playwright,
composer, lyricist, musician, writer, illustrator. Mick Jagger sang his songs, he
composed the soundtrack for Telma & Louise; He was nominated for an Os-
car for his music in Postcards from the Edge; he won a Grammy Award with A
Boy Named Sue played by Johnny Cash. He could play the guitar, piano, saxo-
phone, and also the trombone, he alternated with ease from piano keys to those
of the typewriter, never forgetting the pencil to illustrate his ideas.
New Orleans Revival c
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.
Peruna played with many big-name jazzmen (Louis Metcalf,
Bud Johnson, Cy Laurie, Jabbo Smith, Wild Bill Davison) and
accompanied Eva Taylor, widow of Clarence Williams, well-
known composer and conductor of
the classical period. Te line-up has
changed some of its performers over
the years, but Hojberg, Aller and
second cornet Mikael Zuschlag
(1953) helped to maintain the
continuity of the groups great
sound.
36
Jazzology Records is an American record label, specializing in traditional
jazz. It was founded in 1949 by George H. Buck, and still active, dedicated to
the preservation of great, historical jazz recordings. Other major labels, such
as GHB Records, Audiophile Records and Black Swan Records, American Music
Records and Southland Records, also operate under the Jazzology brand. Tey also
publish books and videos. Annually they have the elections for artists, bands and
albums of the year in the various categories (traditional, swing etc.) where the
collectors vote.
Te revival in Europe :
(Peter Aller) (Mikael Zuschlag)
Germany - Te 1930s were a dark period for jazz in Germany,
as the Nazi authorities tried to eliminate this kind of music by
using propaganda to demonize the music, its supporters and those
who listened to it. Jazz was permanently banned at the beginning
of the Second World War.
After the war, jazz began to re-emerge after 20 years of isolation,
thanks to the allied countries. Berlin, with Frankfurt and Bremen
were in charge of this musics return of. Te Berlin Wall, built in
1961, did not help contribute to particular musical phenomena.
In this context there are just a few soloists and groups for the
revival genre, which would only establish itself in the 1980s, they
belong to the second revival. One of the few names of reference,
in a landscape of many jazz clubs but few musicians or groups, is
certainly the young clarinetist Klaus Doldinger (1936), who, at
age 16, in 1952 founded the band Dixieland Combo Feetwarmers.
Doldinger recalls: Ill never forget our rst gig. It was the British
Cultural Institute in Dsseldorf. Tere were actually many people
and for us it was a big surprise ... the novelty of our music,
enhanced by the strength of the drums, was gradually perceived
and appreciated by the public. In 1953 Doldinger formed the
band the Feetwarmers and began recording with them in 1955.
Subsequently, in 1958, always followed by the general public, went
from the Traditional to swing and other genres.
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
studied at the Conservatory and at
the Academy of Music in Vienna,
stylistically he was initially inuenced
by Benny Goodman . After World
War II he played in the Austrian
forces ocers club, rst for the Red Army, then for the U.S. Army.
Because of the dicult economic situation, in 1949 with his band,
he left for to Germany. He introduced the concept of playing both
Dixieland and cool Jazz with the same band , and so he named the
group, which also included Oscar Klein (1930-2006) on trumpet:
Two-sounds Band.
In 1955 he returned to Vienna with his band (which also
included Joe Zawinul), but he stopped playing the dixie genre.
In the late 1950s Herbert Christ (1942),
trumpet, begins to establish himself as a soloist
with various traditional jazz bands, both
German and not: especially Italian in recent
years.
Italy - Italy is perhaps the European country that has most
enthusiastically assimilated the spirit of Trad, to the point that
bands formed at the end of the 1940s are still active today.
37
Jazz in Italy registered, from its earliest years, a continuous
adaptation by the public, at rst a minority, but destined to
37
Jazz Me Blues -http://www.jazzmeblues.it/ - Lino Patrunos website, con-
tains interviews with leaders of several revival bands from 1949 to today.
Te revival in Europe ,
grow over time. Te appreciation of jazz was initially heritage of
musicians. Ten, 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
North America. In the 1940s jazz was fairly well known, despite the
hostile political moment, but this knowledge was directed mainly
to the pseudo-jazz of the time, like Paul Whitemans music.
When the revival phenomenon in America began, the public (a
minority, but skilled, made up of critics and fans) and musicians
in Italy had just developed a decent interest in the original jazz and
its history. As a result, immediately after the end of the war, from
the second half of the 1940s, along with the increasing number
of local Hot Clubs -like in the rest of Europe- and collaborations
between local musicians and allied radios, as the Germans left
Italy (let us not forget: 1945 is the year World War II ended) in
addition to the further spread of American music and of jazz, an
interest in the origins of this music began and, consequently, an
interest in playing it. Among the characteristics that promoted the
spread was denitely the joyfulness of a most of its repertoire, the
harmonic simplicity (and therefore more easily performed even by
amateurs) and - in reference to the music of the 1920s - few and
simple solos.
Te number of groups that were created from 1949 onwards
was high from the outset. In Italy it is, perhaps, not appropriate to
speak of a rst and second revival, but of a constant and increasing
phenomenon, even in terms of quality.
Tere are groups that are still active today and can boast over
60 years of history, of course with some generational changes
among the components of the groups, along with new groups
that are already established at an international level. Moreover, the
dissemination of information and access to it has become very fast,
New Orleans Revival
thanks to social networks aimed at music and musicians such as
YouTube, Fandalism, Craigslist.
38
Given the abundance of the Bands, is was preferable to give a
brief description of the most historically interesting groups
39
, who
have also left a recorded testimony of their activities and their qual-
ity. What follows is a is a list in chronological order of when they
were formed.
Roman New Orleans Jazz
Band - It was the rst Italian
revival band, formed in Rome
in 1949. In 1950 the rst
recordings and public jam sessions
with Bill Coleman and Big Boy
Goodie. Te band participated
in numerous concerts, tours and
international festivals. Its pioneers were Giovanni Borghi, tr; Its pioneers were Giovanni Borghi, tr;
Luciano Fineschi, tb; Marcello Riccio, cl; Ivan Vandor, ss; Giorgio
Zinzi, p; Bruno Perris, bjo; Pino Liberati, tuba; Peppino dIntino,
btr. Vandor was the only one who knew the music. In 1952 Carlo Vandor was the only one who knew the music. In 1952 Carlo
Loredo, bs, replaces Liberati.
38
http://www.youtube.com/
http://fandalism.com
http://www.craigslist.org/about/sites
39
Of great help for this research were:
Joseph Barazzetta - Jazz inciso in Italia - Messaggerie Musicali, Milano 1959
www.Jazzmeblues.it, website edited by Lino Patruno
www.JazzItalia.new
http://gerovijazz-jazzfan37.blogspot.it/
http://italia.allaboutjazz.com/
http://jazztrad.blogspot.it/
Te revival in Europe ,
At the end of 1953 the band broke up, despite Loredos
attempts reunite it immediately, almost in its entirety. After various
adventures Loredo, in 1956, formed a group with a similar name,
the II Roman New Orleans Jazz Band, with a new line-up.
According to some it was Louis Armstrong, with whom RNOJB
played in the many private sessions during Armstrongs tours in Italy,
to nd the groups name.
Participation in various jazz festivals helped the groups
popularity.
Original Lambro Jazz Band Group formed in 1950, very
active, even internationally. Two members of the band contributed
to opening the rst two clubs in Milan where jazz was played: the
Arethusa and the Santa Tecla.
It has undergone many changes in line-up; in 1950 it was made
up by Herman Meyer, tr; Giancarlo Garlandini, tb; Bob Valenti
and Renato Gerbella, cl; Fabio Mataloni, p; Jack Russo, bjo; Renzo
Clerici, cbs; Claudio Clerici, btr .
Jubilee Dixielanders Formed at the end of 1951, and
performed at the Arethusa in Milan.
Natale Petruzzelli, tr; Nicola Muti, tb; Felice Cameroni, cl;
Guido Ferrario, p; Attilio Casiero, bjo; Gianni Belloni, cbs; Carlo
Garagnani, btr.
New Orleans Revival o
Junior Dixieland Jazz Band - Founded in Rome in 1951,
the band changes name in 1953 to Junior Dixieland Gang and
is active in recordings and concerts until 1955. Its line-up was; Its line-up was;
Giorgio Giovannini, tr; Alberto Collatina, tb; Sandro Brugnolini,
cl; Francesco Forti, bs; Gino Tagliati, p; Gianni Nardi, ch; Boris
Morelli, cbs; Franco Morea, btr.
Tey played together until 1955.
Milan College Jazz Society - Band from 1952, with numerous
recordings for Columbia. Tey played with Mezz Mezzrow, Albert
Nicholas, Sidney Bechet. Internationally renowned.
In the line-up: Giorgio Alberti, tr; Gianni Acocella, tb; Roberto
Valenti, cl; Giorgio Cavedon, p; Carlo Bagnoli, ch, bjo; Luigi
Bagnoli, cbs, Attilio Rota, btr. Te line-up has remained constant Te line-up has remained constant
over the years. At the end of the 1970s Lino Patruno joined as a
banjo player, while Bagnoli moved to baritone sax.
Tey collaborated with numerous American soloists such as,
Wild Bill Davison, Bud Freeman, Joe Venuti, Eddie Miller, Billy
Buttereld, Jimmy McPartland, Barney Bigard, Bob Wilber, Dick
Cary, Yank Lawson, Peanuts Hucko, just to name a few. Active
until the 1980s.
Te revival in Europe ;
Darktown Dixiecats formed in Milan in 1952, with a few
recordings. Tey often played at the Arethusa. Tey often played at the Arethusa.
Antonio Cavazzuti, tr; Nicola Muti, tb; Giordano Fontana, cl;
Nino Zamboni, p; Pietro Barenghi, ch; Ciccio Pentangelo, tuba;
Claudio Giambarelli, btr. Active for few years. Active for few years.
Doctor Dixie Jazz Band - Band
made up of Bologna University
students in 1952, which had frequent
name changes. Born as Superior
Magistratus Ragtime band, then
Panigal Jazz Band in 1957, Rheno
Dixieland Band in that same year,
and nally Doctor Dixie Jazz Band in
1974. It is still active with its founder
Nardo Giardina, tr; Amedeo Tommasi, tb; Beppe Inesi, cl; Carlo
Fava, p; Francesco Cassarini, ch; Ugo Franceschini, cbs, Gherardo
Casaglia, btr. Pupi Avati and Lucio Dalla also played in this band.
Intense concert activity.
Te writer is particularly pleased to note that Chemistry PhDs
have taken part in the more recent line-ups.
Blue Rivers Jazz Band - Band from Pavia, formed in 1953, active
for few years. Despite the reduced record production it has been
extensively reviewed by Musica Jazz
40
, as the music was excellent.
40
Musica Jazz - is the most important Italian magazine for information and
music reviews specializing in jazz. It is also the one that has been publishing the
longest, not only in Europe but also in the whole world, since July 1945 without
ever skipping an issue, and in April 2012 reached issue number # 737.
Issues are released on a monthly basis and since November 1981 it includes a
music album.
Te magazine was originally called Musica & Jazz and was rst published
New Orleans Revival
It seems that in an early line-up there was also Piero Umiliani,
important future composer and conductor, under another name.
Pierangelo Pietra, tr; Virginio Bermuzzi, tb; Antonio Maestro, p;
Claudio Siragusa, ch; Gigi Verde, cbs; Lalo Rusconi, btr.
Magentonians - From Milan, formed in 1953, active until
1956. Some members became part of the Original Lambro Jazz
Band. It was formed by Giuseppe Ferrario, tr; Francesco Cavallari, It was formed by Giuseppe Ferrario, tr; Francesco Cavallari,
tbn; Luigi Foina, cl; Glauco Boninella, p; Mario Pratella, bjo; Mario
Marzorati, btr. Tey were able to play at Santa Tecla, which was Tey were able to play at Santa Tecla, which was
reserved almost exclusively to the Original Lambro Jazz Band.
in July 1945 in Milan, founded by Gian Carlo Testoni. After the rst issue
Arrigo Polillo will join Testoni as managing editor. Te rst editorial board was
composed by, Roberto Nicolosi, Giuseppe Barazzetta, Livio Cerri and Giacomo
Carrara, bisides Testoni and Polillo. Among the freelancers were Carlo Alberto Among the freelancers were Carlo Alberto
Rossi, Enzo Ceragioli, Gil Cuppini and Piero Rizza.
Testoni is one of the founding fathers of jazz criticism in Italy: in 1935,
at the age of 23, together with pianist Ezio Levi founded the Circolo del Jazz
Hot in Milan, one of the rst in Italy, located in the Galleria del Corso. It was
founded despite the opposition of the fascist regime towards this style of music.
In 1938 he published Introduzione alla vera musica di jazz, co-written with
Levi, the rst essay on the subject published in Italy. In 1953, together with
Polillo, Barazzetta, Roberto Leydi and Pino Maei published the Enciclopedia
of Jazz, the rst work of the kind published in the world.
Until 1981, the magzine had been published by Ladislao Sugars Messaggerie
Musicali, then it passed to Rusconi and, since 2009, to 22 Publishing.
Te rst two years of the magazine are available online courtesy of the Centro
Studi sul Jazz Arrigo Polillo, Research Section of the Fondazione Siena Jazz.
Tey have also made an analytical index of the magazine available online.
In 1965, after Testonis death, the management of the magazine goes to
Arrigo Polillo,, followed by Pino Candini, 1984-1996; Claudio Sessa, 1996-
2001; Filippo Bianchi, 2001-2011 and from January 2012 Luca Conti.
On 9 November 2010 the website www.musicajazz.it was inaugurated.
Te revival in Europe ,
Original Barrellhouse Jazz Band - Group of students from Asti,
1954, who called themselves emeritus amateurs. Te trombone
player was Paolo Conte. In 1959 they became the Lazy River Jazz
Society, and performed successfully in the radio competition La
Coppa del Jazz (fourth place).
Riverside Jazz Band - Born in Milan in 1954 and immediately,
under the organizational supervision of Lino Patruno, merges
with other two bands (Seven Diplomatist Jazzmen and the Windy
City Stompers) and then selected the optimal line-up that was still
known as the Riverside.
Te rst Riverside was made up by: Antonio Foletto, tp; Franco
Cucchi, tb; Nicola Arena, cl; Luigi Bonezzi, p; Lino Patruno, ch;
Gianni Bergonzi, cbs; Francesco Garrassini, btr.
Te second Riverside by: Ivaylo Peytchev, tp; Albert of dAltan
(later replaced by Gianni Acocella) tb; Bruno Longhi, cl; while
Enrico Gravina, Gianni Bergonzi, Franco Garrassini rst and
then Remi Ettore, joined Lino Patruno in the rhythm section in
place of the previous one. Tey were active until 1965: the strong
involvement of Lino Patruno in the acclaimed Cabaret dei Gu,
would distance him from jazz for a few years.
New Orleans Revival ,c
II Roman New Orleans Jazz Band - As already mentioned,
Carlo Loredo in 1956 reunited a group that, after several changes
in line-up, in 1957 was named Second RNOJB. It was active for a long
time on the international scene and also participated in several lms,
T.V. and radio shows. Te
rst line-up that recorded
(RCA) under the nal
name the Second Roman
New Orleans Jazz Band
was composed by Piero
Saraceni, tr; Peppino De
Luca, tb; Gianni Sanjust,
cl; Puccio Sboto, p; Carlo
Loredo, cbs, Peppino
dIntino, btr.
In addition to internationally renowned musicians, the Roman
played with Django Reinhardt, Louis Armstrong, Dizzy Gillespie,
Oscar Peterson, Earl Hines, Chet Baker, Stphane Grappelli,
Joe Venuti and others, and has also recorded with Armstrongs
musicians.
Tey won numerous Festivals (Moscow, 1957, Dortmund,
1958, Vienna, 1959, and, in 1968, received the golden keys to the
city in New Orleans).
Te Band was active until the mid 1970s, with high popularity
thanks to participation in TV shows and theatrical performances.
After some brief interruptions, Carlo Loredos incessant enthusiasm
has led to the emergence of numerous others, until recent years,
although with less success.

Bovisa New Orleans Jazz Band - In Milan in the 1960s Lu-
ciano Invernizzi, trombonist, founded the Bovisa, a group that
Te revival in Europe ,:
was inspired by
the purest New
Orleans style.
In forty years
of activity they
a c c ompa ni e d
several musi-
cians from New
Orleans in their
tours in Italy, to name a few: Louis Nelson, capt. John Handy, Don
Ewel, Albert Nicholas, Tomas Jeerson, Alvin Alcorn, Emanuel
Sayles, Wingy Manone and many others. Tey participate in and
win numerous international jazz events. Invernizzi also performed
at the Preservation Hall. Tey are still active today.
Te rst line-up, that changed widely over the years, consisted
of Giorgio Blondet, tr; Luciano Invernizzi, tb; Vittorio Castelli, cl;
Fabio Turazzi, bjo; Eugenio Pateri, cbs; Terenzio Belluzzo, btr. , and
then Beppi Zancan, cl, and Gigi Cavicchioli, cl and ts.
Individual elements from the original groups and new young
musicians gave continuity to this wide collection of Bands and in
later years we nd more and more revivalist groups.
To name a few:
Milano Jazz Gang, (Milan, 1970) recently became
Milano Jazz Gang 2, 5 multi-instrumentalists musicians
41
4I
A multi-instrumentalist band is an absolute novelty in Italy. Te MJG is
now widely considered by critics one of the best orchestras in European jazz. It
is formed by Claudio Perelli (alto sax, soprano sax, clarinet, vocals, arrangements
and transcriptions), Andres Villani (baritone sax, alto sax, ute), Mauro Porro
(piano, C melody sax, tenor sax, clarinet, celesta , arrangements and transcrip-
New Orleans Revival ,:
Riverboat Stompers, led by Paul Gaiotti, cornet (Milan, 1975)
Red Beans Jazzers, led by Max Palchetti, trombone (Florence, 1976)
Ambrosia Brass Band, (Milan, 1981), the rst of its kind in Italy
Ticinum Jazz Band (Pavia, 1985) )
* * * * * * *
Naples - As for the revival of the New Orleans or Dixieland
style, Naples is, as in many other things, the exception
42
! Although
there was a great interest for jazz music and the musical trends of
the moment, and despite the presence of a substantial number of
musicians, professional or amateur, interested in this music, none
of them had the slightest interest in the revival.
It would be impossible to mention only one name, from after the
war and until 1960, who proposed the revival in the city. Not even
the eorts of individual enthusiasts and the Circolo Napoletano del
Jazz (founded in 1954), who were able to organize concerts in the
city of the Traditional Dixielanders, the Roman New Orleans Jazz
Band, the Junior Dixieland Gang, the Milan College Jazz Society,
nor a wide range of conferences and conference-shows on the
tions), Luca Sirianni (tenor banjo & guitar), Claudio Nisi (bass, tuba, front-
bell). Trumpeter Herbert Christ joined them and later became the leader.
Its worth mentioning Mauro Porro, a 27 year old multi-instrumentalist and
arranger, whose passion for classic jazz led him to be noticed not only as a solo
artist in the purest style of the 1920s and 1930s but also as a talented orchestra
organizer . His intense activity as an arranger has in fact led him to constitute
many ensembles that have generated a wave of originality in the current Italian
jazz scene. For the eort put in favor of hot jazz, he has received very many
compliments from some legends of this type of music in Europe, among which
we mention Keith Nichols, Martin Wheatley and Tom Spats Langham.
42
Franco Ottata Il Jazz di Napoli - Di Giacomo editori, Napoli 1962.
Gildo De Stefano - Vesuview Jazz - ESI, Napoli 1999.

Diego Librando - Il Jazz di Napoli - Guida, Napoli 2004.
Te revival in Europe ,,
origins of jazz music introduced by critics such as Roberto Leydi,
Arrigo Polillo, Roberto Capasso, not even the performances of
Lionel Hampton (1956) and Louis Armstrong (last time in 1959),
although crowded and greatly acclaimed, were able to spark interest
towards the primal jazz. Te attention of professional musicians
and also -surprisingly- that of amateurs, in Naples, was all turned
to the jazz a few years earlier, swing, or that of the moment, bop.
A timid proposal was made in the early 60s until 1967, by an
amateur group of Neapolitan university students, who managed
to perform a New Orleans repertoire on several public occasions
or in private sessions, the New Orleans Jazz Society with Gino
Romano, tr; Franco Astarita, tb; Benito Saviano, cl; Franco Saviano,
bjo; Elvio Porta, cbs; Gianni Maglio/Vito Miccoli, btr.
.... but thats another story
43
.
43
Gino Romano Jazz Experiences: Storia di un microgruppo amatoriale di
jazz tradizionale De Frede, Naples, 20II.
from left: Miccoli, F. Saviano, B. Saviano, Astarita and Romano
New Orleans Revival ,
I would also like to mention the recently formed Dolly Dixie
Band from Caserta, which oers, at a professional level, the music
of King Oliver, Louis Armstrong, the Roaring Twenties style in
general.
Leader Pasquale Posillipo and the line-up: Matteo Franza, tr;
Francesco Izzo, tb; Pasquale Posillipo, cl; Emilio Merola, sax; Tanya
Amendola, p; Alexandre Cerda, tuba; Marco Barbato, btr.
* * * * * * *
Aside from the bands the national Trad, in the last fty years,
was characterized by two performers: two names that -although
referred to in the previous pages- must have their own personal
highlight: Carlo Loredo and Lino Patruno.
Carlo Loredo (Rome, 1924)-
A life devoted to jazz, to putting
together jazz bands and discov-
ering young talents and make-
ing them successful like Romano
Mussolini, Nunzio Rotondo,
Marcello Rosa, Gianni Sanjust,
Luca Velotti, Peppino Damato,
Eddie Palermo, Michele Pavese,
Carlo Ficini, Sebastiano Forti and
Gianluca Galvani, just to name a
few. President Sandro Pertini appointed him Commendatore
For making Jazz and Italian musicians known in the World.
He won three international festivals, Prague, 1947, Moscow
1957, and Vienna, 1959.
In 1968, during a World Festival held in New Orleans to
Te revival in Europe ,,
celebrate the return of Louis Armstrong after 25 years, he played
with his jazz band in Canal Street and on that occasion the may-
or appointed him Honorary Citizen of the city of Jazz.
He played with all the great jazz musicians of the world the
likes of Louis Armstrong, Dizzy Gillespie, Django Reinhardt,
Stephan Grappelli, Teddy Wilson, Oscar Peterson, Bobby
Hackhett, Jack Teagarden, Earl Fatha Hines, Albert Nicholas
and Chet Baker.

Co-founder of the two Roman New Orleans Jazz Bands and nu-
merous other groups, in 2008 he published his autobiography,
Billie Holiday, che palle!
44
, published by Coniglio editore.
Lino Patruno (Crotone, 1935)
- Born in Calabria, rst he moved
to Rome and then to Milan, the
heart of the Italian jazz movement,
where he starts performing in 1954,
founding several jazz bands including
the Riverside Jazz Band. Subsequently
he passed to the Milan College Jazz
Society.
In 1964, having created the
Teatrino dei Gu, he interrupted his
jazz career until 1967 when he made a come-back with jazz albums
recorded with some of the worlds major jazz musicians such as
44
In the text the author, without repenting for the violence of the title
(which could be translated more or less with Billie Holiday: so damm boring!),
said that he knew very well that it would cause many fans to complain. I join
the latter by conrming that I think Billie Holiday remains one of the greatest
voices of jazz.
New Orleans Revival ,o
Albert Nicholas, Joe Venuti, Bill Coleman and many others.
Subsequently, when he moved to Rome, he founded the Lino
Patruno Jazz Show with whom he performs regularly in Roman
clubs and jazz festival in Italy and abroad.
With Pupi Avati he wrote the story and screenplay of the lm
Bix which represented Italy at the Cannes Film Festival in 1991,
also working on the soundtrack with by Bob Wilber.
He participated in many International Festivals of the United
Nations: Sanremo in 1963, Nice in 1976 and 1977, Breda
(Netherlands) in 1978, those of Pompeii, Palermo, Lugano,
Lucerna, Berne, Sargans, Dusseldorf, Varadero (Cuba), in the
eighties in Davenport (Iowa, USA) and Libertyville (Chicago), in
the nineties those in Ascona (1998/2003).
In December 2001, he received the award of Accademico della
Musica conferred to him by the European Academy for Economic
and Cultural Relations and since 2003 and holds seminars on the
History of Jazz at the Casa del Jazz, at the Universit di Roma Tre
and History of Soundtracks at NUCT (University of Cinema and
Television) in Rome at Cinecitt.
Lino Patruno records for Jazzology, the prestigious record label
based in New Orleans. In the CDs that have been released in recent
years he has recorded with some of the great names of todays
classic jazz: Randy Reinhart, Ed Polcer, Randy Sandke, Jon-Erik
Kellso, Tom Pletcher, Dan Barrett, Bob Havens, Allan Vache, Evan
Christopher, Jim Galloway , Mark Shane, Howard Alden, Bucky
Pizzarelli, Frank Vignola, Marty Grosz, Andy Stein, Frank Tate,
Ed Metz Jr, Joe Ascione, Vince Giordano, David Sager, Rebecca
Kilgore and others.
He wrote Quando il jazz aveva swing (2009) and Una vita in
jazz...e non solo (2001), Pantheon Editore.
THE REPERTOIRE
axo niniiociaiuic succisrioxs
Te repertoire of the revival is basically, for the most part, imposed.
Over ninety percent of the proposed pieces are, of course, songs
from a more recent past than the late thirties.
First of all, this includes the great classics of the standard New
Orleans style of the origins, such as marches, blues, spirituals, folk
ballads of uncertain origin from the end of the nineteenth century
and songs composed for the golden bands -above all those of J .
R. Morton, K. Oliver, L. Armstrong, C. Williams, S. Bechet- from
the early 1900s.
Bibliographic Sources - Te following list is a selection of song
titles relative to the revival and its protagonists, given by:
Hugues Panassi , Guide to Jazz ( Riverside Press , 1956),
Rex Harris e Brian Rust, Recorded Jazz: A Critical Guide (Penguin
Books, 1957),
Frederic Ramsey, A Guide to Longplay Jazz Records (Long Player
Publications, 1954),
Jorgen Grunnet Jepsen, Jazz Records 1942-1965 (Karl Emil
Knudsen, 1966)
Tom Stagg and Charlie Crump, New Orleans, Te Revival (Bashall
Caves Publication, 1973),
Giuseppe Barazzetta, Jazz inciso in Italia (Messaggerie Musicali,
1960),
Joachim E.Berendt - Il libro del Jazz, Garzanti, 1967,
New Orleans Revival ,
Gino Romano, Jazz Experiences. Le Brass Band, De Frede 2012,
John F. Szwed, Jazz. Una guida per ascoltare ed amare la musica jazz
(EDI, 2010), which represented a sure guide to the compilations.
Here are some songs played by virtually all Traditional bands:
1. AT A GEORGIA CAMP MEETINGS (K. Mills, incerto, 1897)
2. BYE AND BYE (spiritual)
3. BUGLE BOY MARCH
4. DOWN BY THE RIVERSIDE (spiritual)
5. IN THE SWEET BYE AND BYE (spiritual)
6. JUST A CLOSER WALK WITH THEE (spiritual)
7. JUST A LITTLE WHILE TO STAY (spiritual)
8. OLD RUGGED CROSS (spiritual)
9. OVER IN THE GLORYLAND (spiritual)
10. WALKIN WITH THE KING (spiritual)
11. WE SHALL NOT BE MOVED (spiritual)
12. WE SHALL WALK IN THE STREETS
aka RED RIVER VALLEY (spiritual)
13. WHEN THE SAINTS GO MARCHIN IN (spiritual)
14. AURA LEE aka LOVE ME TENDER (military march)
15. BATTLE HYMN OF THE REPUBLIC (military march) military march) )
16. MARYLAND, MY MARYLAND (military march) military march) )
17. FARAWAY BLUES (traditional blues)
18. FRANKLIN STREET BLUES (traditional blues)
19. SEE SEE RIDER (traditional blues)
20. FRANKIE AND JOHNNIE (folk ballad)
aka STACK O LEE BLUES
Te repertoire is also based on other a more recent production
with known authors, in some cases, the leaders of the groups such
as Armstrong, Ory, Barbarin, Watters, Firehouse 5 +2. Most of the
songs obviously were not meant for Trad: just consider authors
Te repertoire ,,
such as Clarence Williams, Spencer Williams and William C.
Handy, and the publication dates, but the characteristics of the
compositions worked well with arrangements and performances
in the New Orleans style: performed by important groups, they
became the hits of the revival.
21. ACE IN THE HOLE (G. Mitchell e J. Dempsey, 1909)
22. AFTER YOUVE GONE (Turner Layton, 1918)
23. AINT GONNA GIVE NOBODY NONE OF MY JELLY ROLL
(Spencer e Clarence Willams, 1919)
24. AINT MISBEHAVIN (Fats Waller, 1929)
25. AT THE DARKTOWN STRUTTERS BALL (S. Brooks, 1915)
26. ATLANTA BLUES (William C. Handy, 1916)
aka MAKE ME A PALLET ON THE FLOOR
27. AUNT HAGAR BLUES (William C. Handy, 1920)
28. BABY WONT YOU PLEASE COME HOME (C. Williams, 1920)
29. BALLIN THE JACK (Chris Smith, 1913)
30. BASIN STREET BLUES (Spencer Williams, 1923)
31. BEALE STREET BLUES (William C. Handy, 1916)
32. BETWEEN THE DEVIL AND THE DEEP BLUE SEA
(Harold Arlen & Ted Koeler, 1931)
33. BILL BAILEY, WANT YOU PLEASE COME HOME
(Hughie Cannon, 1902)
34. BLACK AND BLUE (Fats Waller, 1929)
35. BUDDY BOLDEN BLUES (J. R. Morton, 1924)
36. BUGLE CALL RAG (William C. Handy, 1916)
aka OLE MISS
37. BURBON STREET PARADE (Paul Barbarin, 1949)
38. CAKE WALKIN BABIES FROM HOME (C.Williams, 1924)
39. CARELESS LOVE (folk song in the U.S. south,
transcribed as blues da William C. Handy, 1921)
40. CHINATOWN, MY CHINATOWN (H. Schwartz & H. Jerome, 1931)
New Orleans Revival :cc
Te repertoire :c:
41. CLARINET MARMALADE ( Larry Shields, 1918)
42. CONFESSIN (Nesburg, Dougherty & Reynolds, 1929)
43. CORRINE CORRINA (B. Chatmon, 1928) CORRINE CORRINA (B. Chatmon, 1928)
44. DEAR OLD SOUTHLAND ( Turner Layton, 1921)
45. DINAH ( Harry Akst, 1925)
46. DIPPERMOUTH BLUES
aka SUGAR FOOT STOMP (Louis Armstrong, 1917)
47. DOCTOR JAZZ (Joe DOCTOR JAZZ (Joe King Oliver, 1926)
48. EMPEROR NORTONS HUNCH (Lu Watters, 1949)
49. EVERYBODY LOVES MY BABY (Spencer Williams, 1924)
50. FAREWELL BLUES (Leon Rappolo, 1923)
51. FIDGETY FEET (Nick LaRocca & Larry Shields, 1918)
52. GEORGIA IN MY MIND (Hoagy Carmichael, 1939)
53. HIGH SOCIETY (Alphonse Picou, probably 1911)
54. I AINT GOT NOBODY (Spencer Williams, 1908)
55. I FOUND A NEW BABY (J. Palmer & S. Williams, 1926)
56. ILL BE GLAD WHEN YOURE DEAD, YOU RASCAL YOU
(Spencer Williams, 1919)
57. INDIANA (Hanley, 1917)
58. I WISH I COULD SHIMMY LIKE MY SISTER KATE
(Louis Armstrong, 1919)
59. JADA (Bob Carleton, 1918)
60. JAMBALAYA (Hank Williams, 1952)
61. JUST A STOMP AT A TWILIGHT (Firehouse 5+2, 1957)
62. LAZY RIVER (Hoagy Carmichael, 1931)
63. LONESOME ROAD (Nat Shilkret,1930)
64. MUSKRAT RAMBLE (Kid Ory, 1925)
65. NEW ORLEANS FUNCTION (Funeral Hymns in the New
Orleans style, adapted and recorded rst by J.R. Morton in 1939)
66. OLD FASHIONED LOVE (James P. Johnson, 1930)
67. PANAMA (William H. Tyers, 1920)
68. POTATO HEAD BLUES (Louis Armstrong, 1927)
New Orleans Revival :c:
69. ROYAL GARDEN BLUES (C. e S. Williams, 1919)
70. RUNNIN WILD (Cecil Mack & Johnny Johnston)
71. SHEIK OF ARABY (Francis Wheeler, 1921)
72. SHIM ME SHA WABBLE (Spencer Williams, 1916)
73. SOUTH (Benny Moten, 1916)
74. ST. JAMES INFIRMARY (Irving Mills, dubbio, 1928)
75. ST. LOUIS BLUES (William C. Handy, 1916)
76. STRUTTIN WITH SOME BARBECUE (L. Armstrong, 1927)
77. SWEET GEORGIA BROWN (M. Pinkard e B. Bernie, 1924)
78. SWEET SUE, JUST YOU (Victor Young, 1928)
79. THATS A PLENTY (Lew Pollack, 1905)
80. TIGER RAG (Nick LaRocca, 1917)
81. TIN ROOF BLUES (New Orleans Rhytm Kings, 1923)
82. TISHOMINGO BLUES (Spencer Williams, 1917)
83. TROUBLE IN MIND (Ralph Jones, 1924)
84. TWELFTH STREET RAG (Euday Bowman, 1900)
85. WABASH BLUES (Meinken Ringle, 1921)
86. WAY DOWN YONDER IN NEW ORLEANS (T. Layton, 1922)
87. WEARY BLUES (Art Matthews, 1915)
88. WEST END BLUES (Joe King Oliver, 1925)
89. WHEN YOU SMILING (Louis Shay, 1929)
90. WOLVERINE BLUES (J. R. Morton, 1920)
RECORD LABELS
Tere are a vast number of American record labels, in this
context we want to mention only two.
Apart from the Major labels (RCA Victor, Columbia, Brunwick),
all or most of the musicians and groups that we have mentioned
recorded with the revival label par excellence: the Good Time
Jazz.
Founded by Lester Koenig in 1949 in Los Angeles, it was
dedicated exclusively to contemporary jazz, especially to the revival.
Its rst releases where, in fact, those of the Firehouse 5 +2, followed
by Jelly Roll Morton, Kid Ory, George Lewis, Lu Watters, Turk
Murphy, Bunk Johnson, just to name the most important.
Its last recordings where made in 1969. After the Koenigs death
in 1977, all recordings were acquired by Fantasy Records
45
, whoa
anthologized most of the work. It was acquired by Concord Music
Group in 2004.
A unique aspect of the Good Time Jazz products was the way
they presented the records: for the rst time, on the back of their
sturdy cardboard packaging, the bands history was reported, with
details, dates and comments. It was here that, for the rst time, the
term Traditional, as an adjective, was used to describe this music.
As reported by Corrado Barbieri It was the beginning of written
jazz culture
46
.
Te album covers were illustrated with an innovative Pop
45
Concord Music Group Music Group http://www2.concordmusicgroup.com/labels/?label=Riverside
46
Corrado Barbieri La leggendaria GTJ- in http://www.jazznellastoria.com/leggendaria.html
New Orleans Revival :c
Record Labels :c,
graphic style, which immediately distinguished them from all other
products and record, and that makes them, to this day, recognizable
at rst sight. Another unique aspect of these products was that
some records were printed in red instead of black vinyl.
Another great label was the Riverside Records. Founded in
New York in 1953 by Bill Grauer, for a decade it was a leader
in sales. Much of the classic jazz from 1953 to 1956 recorded
with this label, which subsequently also opened itself up to new
jazz styles: Telonious Monk, Cannonball Adderley, Bill Evans,
Sonny Rollins worked for many years with this label. Also in this
case, after Grauers death in 1963, in 1972 Riverside Records was
acquired by Fantasy Records, a lot, but not all, of the works have
been reissued.
Of the European labels, one stands out: the Storyville Records
47
,
Danish, founded in 1952 by Karl Emil Knudsen.
It featured vintage original material, it also made numerous
recordings with leading members of the European jazz scene,
such as Ken Colyer, Chris Barber, Monty Sunshine and Papa Bue
Jansen.
Te label continues its work, and its catalog is also expanding
to other genres.
47
Not to be confused with the American Storyville Records, founded by
George Wein, more committed to modern jazz.
New Orleans Revival :co
LISTENING GUIDE
A few years ago it would have been very easy to enumerate a
series of records to help illustrate, more than with words, the slight
dierences dicult to describe in text. Unfortunately, for many
years now, record labels reissue, re-assemble, create selections that
are sometimes unlikely and especially that do not make it easy
to nd those songs that collectors, in the past, could easily nd
in albums which went unchanged over the years. At the most, a
catalog number changed. In addition, traditional jazz does not
have legions of followers, so it would be useless to suggest discs
that are hard to nd.
A solution to provide the reader with some musical support
is this: to organize a commented playlist on YouTube, where we
give the essential contents, so that all the reader need to do is to
log on and listen in sequence or to make a selection from what is
proposed.
As always, when a list is made, the choices may seem debatable:
they are! But they certainly not the only options, but rather a
reference from which to develop a personal research.
Even the quantity is questionable like the request of which...
3, 5, ... 10 books would you take with you on a desert island. I
personally think that too short a lists would be unnecessary and
those that are too long may confuse the reader.
A playlist on Youtube, in general, is of more value if it has around
100 videos, and that is what has been done, we decided to stop at
105.
When one performance (record source) was proposed by many
New Orleans Revival :c
accounts, it was chosen based the best sound quality rather than the
video (usually old photos). If the performance was accompanied by
the video of it being plaed live, this was preferred.
Te playlist is made following the order of the titles that will
follow. Further information and line-ups can be found in the notes
and comments for each video. Next to the names of the performers
are the years used as guidelines to choose the recordings.
YOUTUBE Playlist courtesy of canal NewOrleansJS
Type: [traditional jazz revival playlist] or
htt://www.youtube.com/playlist?list=PLDCCAFBA
School a
Jelly Roll Morton , :,,, e :,c
Mamas Got A Baby - Jelly Roll Mortons Hot Seven
Panama
High Society
Oh, Didnt he ramble
Louis Armstrong , :,;-:,,,
Mahogany Hall stomp
High Society
Struttin with some barbecue
Cornet Chop Suey
Dear Old Southland
Atlanta Blues
St Louis Blues
Aint Misbehavin
Panama
When Te Saints go Marchin in
Listening Guide :c,
Wingy Manone , :,,,-:,;
Tar Paper Stomp
When the Saints go marchinin
At the Jazz Band Ball
Kid Howard , :,,-:,o:
Just a closer walk with Tee
Maryland, my Maryland
Gettysburg March
Walkin with King

School b
Bunk Johnson , :,:-:,,
Down by the riverside
Tishomingo Blues
Sister Kate
Careless love
Sidney Bechet , :c,-:,,
Really the Blues
Weary Blues
Perdido Street Blues
Muskrat Ramble
JaDa
Old Fashioned Love
Tommy Ladnier, vedi Bechet
Mezz Mezzrow, vedi Bechet
Kid Ory , :,-:,,
South
New Orleans Revival ::c
Savoy Blues
Careless Love
Tin Roof Blues
Compilation
George Lewis , :,,c
Burgundy Street Blues
Jazz Party , part :
Jazz Party , part :
Kid Rena , :,c
Milenberg Joy
Punch Miller ,
Dinah
Sister Kate
School
Muggsy Spanier, :,,,-:,,
Big Butter and Egg Man
Sweet Lorraine
Lonesoame Road
When the Saints go marchin in
Dippermouth Blues
Bob Crosby, :,,,-c
Hindustan
Te Washington Post March
El Capitan
Wild Bill Davison , :,,-:,,:
Darktown Strutters Ball
Listening Guide :::
Muskrat Ramble
Eccentric
Max Kaminsky , :,,o
Royal Garden Blues
George Brunies, vedi Spanier
Sharkey Bonano, :,,c-:,,:
Muskrat Ramble
Tat Peculiar Rag
Pete Fountain, :,,,
China Boy
School
Lu Watters , :,:-:,o
Riverside Blues
Tiger Rag
Original Jelly Roll Blues
Canal Stret Blues
Turk Murphy, :,c-:,;:
Turks Blues
After youve gone
Tiger Rag
When you smilin
Bob Scobey, :,,:
Tats a plenty
Long Gone
Bob Helm, vedi Lu Watters e Turk Murphy
New Orleans Revival :::
Firehouse +, :,,:
South
She was just a sailor sweetheart
Red River Valley
Frankie and Johnny
Big Bill Bissonnette, :,o,-:,;o
Sheik of Araby
My old Kentucky Home
Just a little way to stay
Fred Vigorito, :,o:-:c:c
Saturday Night Function
Te Old Rugged Cross
Canal Street Blues
To conclude, some recordings of European groups.
Ken Colyer - :,,:, Walkin with the King ; :,,, Bye and Bye
Humphrey Lyttelton - :,,, Te Onions ; :,,, Trouble in Mind
Chris Barber :,,, Compilation ; :,,o, Wabash Blues
K. Colyer, C. Barber, M. Sunshine, L. Donegan - :,,, Easter Parade
Terry Lightfoot - :,o:, Maryland, my Maryland

Boris Vian - :,,, Jazz me Blues, Sheik of Araby
Claude Luter - :,o:, Creole Dance
Dutch Swing College Band - :,,:, Doctor Jazz ; :,:, Tin Roof
Blues
Listening Guide ::,
Papa Bues Viking Jazz Band :,,,, Te Old Spinning Wheel;
:,o:, Down by the riverside
Roman New Orleans Jazz Band - :,,: , C Jam Blues
Original Lambro Jazz Band - :,,:, Big Bear Stomp
Bovisa New Orleans Jazz Band - :,;,, Linger Awhile
Milan College Jazz Society :,c, Everybody loves my baby
Lino Patruno, Carlo Loredo - :,,,, Compilation
Peruna Jazzmen - :,oo, Mahogany Hall Stomp ; :,, Senegalese
Stomp
Storyville New Orleans Jazz Band - :cc, Ill take you home
again, Kathleen
Ragnar Tretow & NOLA - :c::, Far away Blues
Mikael Zuschlag - :cc,, Somebody stoles my gal
Baked Beans Jazzers & Eva Lolle - :cc,, Hold that engine; :c:c,
Runnin Wild
New Orleans Jazz Society - :,o;, When the Saints go marchin in.
New Orleans Revival ::
CONCLUSION
At the end of this volume, I hope that a fundamental aspect of
the topic was made clear: the revival was not just a limited period
in history and of the evolution of jazz, a prerogative of amateurs
and the nostalgic. It is a movement where -after having started for
the pleasure of recreating and reviving an abandoned genre- the
new style did not just erase and the prior, but revitalized the genre,
thanks to experimentation and modern approaches.
Ultimately it is a style which draws on the past, but does not
necessarily fall into mediocre stereotypes that exist. One can be
creative within a tradition and not necessarily be innovative outside
of it
1
.
As for the style, being the most long-lived, it still has the
evolutionary characteristics that led it to propose -albeit in limited
quantities- jazz of excellent quality all over the world, creating
musical and historical interest and creating inuences, like what
happened in Woody Allens case
2
.
I
Winton Marsalys Come il jazz pu cambiarti la vita. Chapter 7 - Feltri- Chapter 7 - Feltri-
nelli, Milan 2008
2
Woody Allen (New York, 1935), is an American director, screenwriter,
actor, composer, writer and playwright, one of the leading and most famous
comedians of the modern era. He is a huge fan and connoisseur of jazz, which
often has a prominent presence in the soundtracks of his works, especially the
American classics of the thirties and forties. He plays the clarinet, inspired by
George Lewis, in the New Orleans Jazz Band at the Caf Carlyle in Manhattan.
New Orleans Revival ::o
To conrm this, we conclude with a brief account that appeared
in an volume accompanying a French compilation edited by Dan
Vernhettes
3
.
New Orleans Revival Michel Laplace
4
, Jazz Hot
En musicologie, le mot revival, qui ne dsigne pas une priode, sest impos est impos
lorsque lon a tudi les folklores: cest tout un travail de recration dun genre, mort,
dont la transmission du vtran au jeune sest interrompue depuis plusieurs gnra-
tions et que lon relance de faon vivante et crative daprs la recherche de documents
(tmoins, sources critures). Lutilisation en jazz de ltiquette revival traduit donc
une idologie progressive des critiques qui ont tabli (pour singer le monde classique)
des priodes de styles, successives, comme new orleans, swing, bebop, cool, etc, avec
pour certitude (infonde) quun style est frapp dobsolescence ds larrive dun nou-
veau. Pour classer un mouvement comme celui qui nous occupe ici, on le taxe de
revival (sous-entendu ringard).
Pourtant ces musiciens (Bunk Johnson, etc.) ne cherchaient pas recrer le pass
(tous jouent signicativement la trompette et non plus le cornet qui nest plus la
mode).
Ils jouent comme ils sont aptes le faire au moment donn en intgrant les pro-
blmes physiologiques ainsi que lvolution.
Ainsi Kid Ory demandait sa fameuse rythmique (Buster Wilson, Bud Scott, Ed
Garland, Minor Hall) de sinspirer de celle de Basie!

3
Dan Vernhettes, New Orleans Revival, Fremeaux & Associes, 2006. Te
author (Ivry sur Seine, 1942), trumpeter, directs the band Vintage Jazzmen of
France.
4
Michel Laplace (Blois Colombes, I949). Trumpeter. Music journalist. Works for
Jazz Hot, international jazz magazine since I935.
Conclusion ::;
ADDENDA
As this book was being published, other Bands of great interest have
distinguished themselves, especially on the web music sites as Youtube.
We, therefore, tought, after a careful evaluation, it was worth indicat-
ing just some of them below.
Japan - New Orleans Jazz Hounds
Te band was formed in 2004 to keep the Dixieland jazz tradition
alive in Japan.
Te band has built an in-
ternational following, espe-
cially since its appearances
in New Orleans in 2008
during its annual jazz festi-
val.
Russia -Te Jazz Loft Band
Te Jazz Loft is a weekly New Orleans jazz program at Rhythm
& Blues Cafe Moscow. Musicians:
Konstantin Gevondyan - cornet,
Stas Cheremushkin - tuba, Goch
Temirjanov - clarinet/ sax, Sergey
Pavlyuchenkov - banjo/guitar, Al-
exander Ivanov - drums
New Orleans Revival ::
USA - Tuba Skinny
Hailing from New Orleans, and
inspired by the early jazz and
blues music of the twenties and
thirties, Tuba Skinny -- which
consists of tuba, trombone, cor-
net, tenor banjo/guitar, vocals,
washboard, and sometimes clari-
net -- evokes the rich musical history of the city. Since forming in
2009, the band has developed a following thanks to their perfor-
mances on streets and stages around the world.
But they dont follow the traditional marketing methods. Tey pro-
mote themselves dierently, using the internet and modern com-
munications to appeal to younger fans. Adrian Cox pointed out
recently that 90% of his Quartets fans are age group 18 to 30.
Shaye Cohn Cornet , piano, ddle, accordion and leader; Todd
Burdick Tuba; Bobby Browne - Guitar & Tenor Banjo; Barna-
bus Jones Trombone; Robin Rapuzzi Washboard; John Doyle
Clarinet; Erika Lewis Vocals
Shaye Cohn, daughter of Joe Cohn and granddaughter of Al Cohn
(both well known jazz players), is not a showy player. Not from
her will you hear those screaming, raucous, high-note 32-bar solo
choruses to which so many traditional jazz trumpeters resort.
But she is a very energetic player of the cornet. Listen closely to her
busy uent phrases, often muted and in the background, interwo-
ven brilliantly into the po-
lyphony of her bands won-
derful music. (She is great at
what Punch Miller used to
call fast ngering.)
Orvieto - Italy Umbria Jazz Winter 2013.
Shaye Cohn and Gino Romano.
USA- Clint Baker Caf Borrone All Stars
Clint Baker is an American tra-
ditional jazz musician performing
on cornet, trumpet, trombone,
clarinet, saxophone, guitar, ban-
jo, tuba, string bass, and drums.
He plays in many dierent en-
sembles. I like to remember the
Caf Borrone All Stars: in Octo-
ber 1990 his New Orleans Jazz Band began performing on Friday
nights at Cafe Borrone in Menlo Park, California. He has been
leading his band there (so called the Cafe Borrone All-Stars) for
all the past years. Clarinetist Bob Helm (Yerba Buena Jazz Band)
worked there regularly with the band up until his death in 2003.
Trumpeter Leon Oakley (who also worked with Turk Murphy) has
played there regularly since 2000.
Addenda ::,
New Orleans Revival ::c
Abadie, Claude, 77
Acocella, Gianni, 87, 89
Adderley, Cannonball, 105
Alberti, Giorgio, 87
Alcorn, Alvin, 32, 49, 91
Alexis, Richard, 44
Alguire, Danny, 65
Allen, Henry Red, 32, 37, 69
Allen, Woody, 115
Aller, Peter, 80
Amendola, Tanya, 94
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, 87
Backer, Chet, 90, 95
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
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, Terenzio, 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
INDEX NAME
Below the index name of most important musiciants, critics reported in the
book. .
New Orleans Revival :::
Bowden, Colin, 75
Braud, Wellman, 32, 70
Broonzy, Big Bill, 53
Brown, Cliord, 19
Brownlee, Laurence, 57
Brubeck, Dave, 18, 39
Brugnolini, Sandro, 86
Brunis/Brunies, George, 28, 57, 58, 112
Buckner, Teddy, 32, 49
Bunn, Teddy, 47
Burbank, Albert, 33, 67
Burton, Gary, 19
Buttereld, 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
Clerici, Renzo, 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
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
DAltan, Alberto, 89
DIntino , 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
Dorsey, Tommy, 15, 57
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, 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, 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
Giardina, Nardo, 87
Gillespie, Dizzy, 17, 39, 90, 95
Giovannini, Giorgio, 86
Giure, Jimmy, 18
Glaser, Joe, 38, 41
Go, Harper, 65
Goodie, Big Boy, 85
Goodman, Benny, 15, 40, 45, 55, 82
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, Andr, 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, 18
Jagger, Mick, 79
New Orleans Revival ::
Jarrett, Keith, 19
Jeerson, Tomas, 67
Jensen, Arne Papa Bue, 32, 41, 79, 80,
105, 113
Johnson, Bud, 81
Johnson, Bunk, 25, 26, 28, 40, 42, 44,
49, 50, 70, 81, 101, 103,109, 116
Johnson, James P., 13, 43 13, 43
Johnson, Manzie, 47
Jones, Claude, 70
Jospin, 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, Tommy, 26, 28, 45, 47, 48,
71, 110
Latte, Guy, 71
Lake, Meschiya, 68
Lammi, Dick, 61, 62
Laplace, Michel, 116
Laurie, Cy, 75
Lawson, Yank, 56, 87
Layton, Turner, 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, Ted, 55, 58
Leydi, Roberto, 88, 92
Liberati, Pino, 85
Librando, Diego, 92
Lightfoot, Terry, 75
Lindsay, John, 72
Loredo, 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
Maei, 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
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
Miller, Punch, 28, 41, 45, 53, 55, 65, 110
Index name ::,
Mole, Mi, 71 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, 50
Moten, Billy, 15, 102
Mountjoy, Monty, 65
Mulligan, Gerry, 18, 39
Murphy, Turk, 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, Teddy, 71
Noone, Jimmy, 12, 48, 49
Nunez, Alcide 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
Panassi, Hugues, 25, 26, 45, 47, 48,
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, Andr, 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
Rogers, Ernest, 43
Rogers, Shelly, 18
Rollins, Sonny, 105
New Orleans Revival ::o
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
Sissle, Noble, 45
Smith, Jabbo, 72, 81
Spanier, Muggsy, 13, 28, 45, 54, 58,
67, 71, 110, 111
Spats Langham, Tom, 92
Sunshine, Monty, 74, 75, 105, 112
Tagliati, Gino, 86
Teagarden, Jack, 31, 38, 55, 57, 70, 95
Teschemacher, Frank, 56
Testoni, Gian Carlo, 88
Tomas, Frank, 65
Tommasi, Amedeo, 87
Toscanini, Arturo, 59
Tuba, Skinny, 117,118
Tristano, Lennie, 18
Turazzi, 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, 66, 67, 112
Villani, Andres, 91
Waller, Fats, 13, 32, 39, 99
Watters, Lu, 28, 60, 61, 62, 63, 99,
101, 103, 111, 112
Webb, George, 74
Webster, Ben, 15
Wein, George, 105
Wettling, George, 70, 71
Wheatley, Martin, 92
Whitman, Paul, 83
Wilber, Bob, 87, 95
Williams, Clarence, 46, 81, 97, 99, 102
Williams, Hank, 101
Williams, Spencer, 99, 101, 102
Wilson, Buster, 49
Wilson, Teddy, 95
Wooden, Joe Nicholas, 26
Young, Austin, 43
Young, Lester, 15
Young, Trummy, 31
Index name ::;
Young, Victor, 102
Zamboni, Nino, 87
Zancan, Beppi, 91
Zardis, Chester, 50
Zavinul, Joe, 82
Zinzi, Marcello, 85
Zuschlag, Michael, 81
Printed in January
by A. De Frede Editore
Via Mezzocannone, - Napoli
Te birth of jazz music is a complex
phenomenon to explain properly, if we
want to avoid the trivial generalization
that it was the product of the New
Orleans melting pot intended only to
increase the fun.
In the late nineteenth century and
early twentieth century jazz took his
rst steps in New Orleans; mostly
black music, mostly class music and
not race music. For various reasons,
in the late 1910s, New York and
especially Chicago, 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 to this new kind of music,
with strong African and European
roots, but denitely American.
Many thanks to Bruno Sacchi for the
translation from the italian version
of this book, originally published in
2012 as Jazz Experiences. New Orleans
Revival.
Cover images from the Author.
Gino Romano
Chemist.
Classic jazz passionate since 1956.
Cornets player in amateur Trad
Bands from 62 to 68; he re-started
playing in 2011.
Collector of a large discography and
bibliography that helped him to
write his essayes about the origin
of jazz, New Orleans brass bands
and Bix Beiderbeckes life.
He is President of Chemists Or-
der in Campania Region (Italy).
From the same author:
Jazz Experiences. Alle radici di un inedito:
Jazz in prospetva - 2012.
Jazz Experiences. New Orleans Functon, Le
Brass Band - 2012.
Jazz Experiences. New Orleans Revival -
2012.
Bix Beiderbecke. Vita, discografa, album -
2013.
:,,cc
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9 788889 976968
ISBN 978-88-89976-96-8
Gino Romano
New Orleans
Jazz Revival
A short review
De Frede Editore
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