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| | New Orleans Rhythm Kings - Wikipedia, the free encyclopedia |
 | | The New Orleans Rhythm Kings were one of the most influential jazz bands of the early/mid 1920s. | | | They were first called "The New Orleans Rhythm Kings" while touring the midwest with singer Bee Palmer in the late 1910s. | | | Mares, Roppolo, and Martin reformed the band back in New Orleans, where they made more recordings for Okeh and Victor in early 1925. |
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http://en.wikipedia.org/wiki/New_Orleans_Rhythm_Kings
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| | Leon Roppolo - Wikipedia, the free encyclopedia |
| | Leon Joseph Roppolo (nicknamed "Rap") was born in Lutcher, Louisiana, upriver from New Orleans. | | | He was a fan of the marching bands he heard in the streets of New Orleans, and wanted to play clarinet. | | | After this Roppolo worked with other New Orleans bands such as the Halfway House Orchestra, with which he recorded on saxophone. |
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http://en.wikipedia.org/wiki/Leon_Roppolo
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| | New Orleans Rhythm Kings |
| | The New Orleans Rhythm Kings Gennett recordings were a big influence on many of the white bands and musicians of the 1920s. | | | The New Orleans Rhythm Kings were in existence from 1922 to 1925 when Paul Mares left the music business and went back to New Orleans to work at the family fur business. | | | The New Orleans Rhythm Kings were heavily influenced by King Oliver's Creole Jazz Band and became the first group to put out a "racially mixed" Jazz record in 1923 with |
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http://www.redhotjazz.com/nork.html
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| | INKPOT#56 CLASSICAL MUSIC REVIEWS: Singapore Festival of Arts 1998 - New Orleans Rhythm Kings June 21 |
| | New Orleans jazz, or the "Dixieland" style, is characterised musically by its form (though this is not necessarily a hard-and-fast rule). | | | Clearly, the new music is more complex harmonically and the youngsters tend to be more showy in what they can do with their instruments but I think the Rhythm Kings demonstrated a style of playing that reached its epitome in the pre-war years with great affinity. | | | The unique sound of the ensemble was simply exciting as each individual player contibuted his own self to the music. |
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http://inkpot.com/concert/af98nork.html
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| | jazz -> New Orleans Jazz on Encyclopedia.com 2002 |
| | New Orleans, or Dixieland, jazz is played by small bands usually made up of cornet or trumpet, clarinet, trombone, and a rhythm section that includes bass, drums, guitar, and sometimes piano. | | | The music ranged from funeral dirges to the exuberant songs of Mardi Gras. | | | The closing in 1917 of the notorious Storyville district of New Orleans produced an exodus of jazz musicians. |
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http://www.encyclopedia.com/html/section/jazz_neworleansjazz.asp
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| | Program Template |
| | It preserved the new Orleans style and guarded its integrity, for this style was beginning to be an unknown and misunderstood style, more spontaneous than the early jazz music that was primarily dance music. | | | Joe Oliver was not the first New Orleans musician to bring a jazz band to Chicago, but became the most influential, especially when Louis Armstrong joined the band in 1922. | | | The ODJB, the first jazz band to record, brought their brand of New Orleans Jazz to the world via recordings. |
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http://www.basinstreet.com/Programs/EarlyJazzBands
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| | Emmett Hardy - Wikipedia, the free encyclopedia |
| | Back in New Orleans Hardy lead his own band and played in the band of. | | | Some New Orleans musicians remembered as a musical highlight of their lives a 1919 cutting contest where after long and intense struggle Hardy succeeded in outplaying Louis Armstrong. | | | Hardy's playing is described as being more lyrical than many of his New Orleans contemporaries but with a driving rhythm. |
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http://www.americancanyon.us/project/wikipedia/index.php/Emmett_Hardy
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| | New Orleans History~~Lake Pontchartrain - |
| | As the New Orleans revival of the 1940’s came to a head, Bocage recorded with some of the old-time New Orleans musicians as the Jazz Pioneers as well as playing with Henry Allen Sr.’s brass band in Algiers. | | | Left New Orleans in 1912(Tom Brown's Band From Dixieland in Chicago. | | | In New Orleans there were always some whites listening to jazz in black venues, like the honky-tonks of black Storyville, black picnics on Lake Pontchartrain, in Johnson and Lincoln parks. |
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http://www.stphilipneri.org/teacher/pontchartrain/section.php?id=149
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| | New Orleans style -- Encyclopædia Britannica |
| | The New Orleans rock and roll singers were accompanied by pianos or small bands with... | | | According to legend, the first improvising jazz musician was the cornetist Buddy Bolden, leader of a band in New Orleans. | | | Developed near the turn of the century, it was not recorded first in New Orleans but rather in Chicago, Los Angeles, and Richmond, Indiana. |
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http://www.britannica.com/eb/article-9055497?tocId=9055497
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| | PBS - JAZZ A Film By Ken Burns: Selected Artist Biography - Benny Goodman |
| | Among the new soloists was Christian, with his long melodic lines influenced by Lester Young, who contributed most to the band, but it was the compositions and arrangements of Sauter, who had been trained at the Juilliard School, that established the band's musical character. | | | His concerts brought a new audience and a new level of recognition to jazz. | | | Henderson's arrangements of traditional jazz instrumental numbers, for example, Jelly Roll Morton's King Porter Stomp and such popular songs as Sometimes I'm Happy, established the band's musical character. |
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http://www.pbs.org/jazz/biography/artist_id_goodman_benny.htm
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| | Untitled |
| | The immense influence of the New Orleans Rhythm Kings is still heard when one listens to traditional jazz and dixieland bands. | | | Jimmie Noone is considered to be one of the best clarinetists of jazz and he was one of the major influences on swing music in New Orleans. | | | They established the name New Orleans Rhythm Kings while touring the mid-west with Bee Palmer toward the end of the 1910's. |
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http://www.penncharter.com/Content/academics/us/Studentgallery/HarlemEncyclo/n/n.html
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| | The Dixiland Era |
| | The first important recordings by black musicians were made in 1923, by King Oliver's Creole Jazz Band, a group that included some of the foremost New Orleans musicians then performing in Chicago: Louis Armstrong, Johnny and "Baby" Dodds, and Honore Dutrey. | | | The members were white musicians from New Orleans, playing in a style that they learned from blacks in that | | | The two most important recording centers were Chicago and New York, although all sections of the country were caught up in the dances that were closely associated with the music. |
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http://www.nw-cybermall.com/jazzworld/dixiland.htm
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| | Jazz, Ltd |
| | Another legendary New Orleans horn man, Freddie Keppard, turned down an early offer from the Victor label, leaving the first jazz records to be made in 1917 by a group of five white Crescent City musicians who'd joined together in Chicago as the Original Dixieland Jass (soon changed to Jazz) Band. | | | New Orleans clarinetist and soprano saxophonist Sidney Bechet hit all these places, making him the most cosmopolitan of the early jazz greats. | | | Perhaps the first really interesting jazz soloist on record (1922) was Leon Roppolo, clarinetist with the New Orleans Rhythm Kings, a rollicking white group that one year later participated in a historic studio encounter with pianist Morton. |
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http://www.delmark.com/rhythm.earlyjz.htm
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| | Leon Roppolo |
| | He is remembered as being a pioneer of the jazz solo, as opposed to the collective improvisation of most New Orleans bands and for his lyrical and modern clarinet and alto saxophone playing. | | | His family moved to New Orleans about 1912 with in a year or two he was playing music professionally at Lake Pontchartrain and Bucktown. | | | He was released breifly in the early 1940s and played a few gigs in New Orleans. |
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http://atj.8k.com/noartist/atjroppolo.html
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| | Friars Society Orchestra / New Orleans Rhythm Kings |
| | The New Orleans Rhythm Kings were one of the hottest jazz bands of the early 1920s, and a strong influence on many later musicians, including Bix Beiderbecke, Muggsy Spanier, Mezz Mezzrow, and Benny Goodman. | | | Following the success of the Original Dixieland Jazz Band and Tom Brown’s Band in New York and Chicago, savvy club owners were eager to get their own New Orleans bands. | | | In the fall of 1921, he contacted a New Orleans cornetist named Paul Mares, who was living at the home of a friend (Chicago police officer Tommy Harrison), and asked him to put together a band to play at his club. |
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http://www.starrgennett.org/stories/profiles/new_orleans_rhythm_kings.htm
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| | "Stray Notes on Jazz"--An Essay by Sterling Brown |
| | To the New Orleans instrumentation, a saxophone (or two) was added (disturbing the New Orleans balance), and solos were favored over ensemble improvisation. | | | A white band from New Orleans, the Original Dixieland Jass [sic] Band, had just come to New York and was dazzling crowds at Reisenweber’s Cafe. | | | And that was generally in a style that fused the New Orleans jazz of Oliver and Armstrong with Dixieland. |
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http://www.english.uiuc.edu/maps/poets/a_f/brown/jazz.htm
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| | Welcome to the Best of New Orleans! A&E Feature 02 18 03 |
| | Mosaic Record's new six-CD collection of early Prima and Manone music. | | | He was discovered by bandleader Guy Lombardo in New Orleans in 1934; Lombardo was so impressed by Prima that he got him a recording contract and tried to find him gigs in New York. | | | The lives and careers of the early white New Orleans jazzmen evolved in various ways. |
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http://www.bestofneworleans.com/dispatch/2003-02-18/ae_feat.html
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| | Styles: New Orleans: The Legend of New Orleans |
| | One of jazz's earliest recordings was made in was made in 1917 by the "Original Dixieland Jazz Band", originally of New Orleans. | | | Larger bands and even whole orchestras also played in the New Orleans musical style. | | | Many of the solo artists left New Orleans looking for fame and fortune, some to Chicago or New York, others to Los Angeles and other cities, spreading their musical influence everywhere. |
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http://www.wnur.org/jazz/styles/new-orleans/legend.html
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| | Yale '62 - Classmates report - Fred Starr |
| | Jazz in New Orleans was above all for dancing. | | | Nor is it a "revivalist" or "preservationist" band serving up a simplified caricature of New Orleans jazz for tourists. | | | Well-known works by King Oliver, Louis Armstrong, Jelly Roll Morton, and the New Orleans Rhythm Kings will be mixed with little known "finds" from the repertoires of the Armand J. Piron Orchestra, the Original Tuxedo Orchestra, the New Orleans Owls, and the Halfway House Orchestra. |
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http://www2.aya.yale.edu/classes/yc1962/jazz.html
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| | The Cradle of Recorded Jazz - Gennett and The Starr Piano Company |
| | Hoagy Carmichael, a fan of the New Orleans Rhythm Kings, and Bix also performed in Richmond with Bix, Hitch's Happy Harmonists, and as leader of Charmichael's Collegians, recording the first version of "Stardust". | | | He also participated in the first interracial recording session with the New Orleans Rhythm Kings, the same year King Oliver's Creole Jazz Band with Louis Armstrong, Lil Hardin and Honore Dutrey performed before the acoustic horn. | | | In 1922, the Friars Society Orchestra (later the New Orleans Rhythm Kings) made their first recordings in Richmond. |
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http://www.waynet.org/nonprofit/gennett.htm
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| | Down South in Dixie (1917: All That Jazz) The Chronicle of Jazz Abbeville Press |
| | White groups were generally less adept at handling improvisation, blue notes and swung rhythm than their black counterparts, although the New Orleans Rhythm Kings (who made recordings in 1922-25) represented a tangible improvement on the primitive idiom of the Original Dixieland Jazz Band. | | | The group's success was an early (and by no means the only) example of the white commercialization of black music, and their recordings appear embarrassingly crude alongside the finesse of comparable black groups who recorded in the early 1920s. | | | Morton, although not in this photograph, played piano for N.O.R.K. recordings made in July 1923. |
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http://www.abbeville.com/jazz/037.asp
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| | Jazz Age Songs Page 5 |
| | The Georgians were "a band within a band" of the Phil Specht Orchestra. | | | "Over In The Gloryland" Rec'd: New Orleans in 1927. | | | Tune written by Sam and recorded for Columbia (14351-D) Oct. 22, 1927 in New Orleans, LA, USA. |
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http://nfo.net/ogg5.htm
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| | ipedia.com: Paul Mares Article |
| | Mares established himself as a respected band leader over a group of wild and strong willed musicians, as The New Orleans Rhythm Kings became one of the best regarded bands in Chicago in the early 1920s. | | | Mares's Metarie home was the site of a legendary jam-session in 1929 where Bix Beiderbecke and the other jazz playing members of the Paul Whiteman Orchestra jammed with the local New Orleans jazz musicians. | | | In late 1924 Mares returned to New Orleans. |
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http://www.ipedia.com/paul_mares.html
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| | For Sale List - PopShops |
| | WOODY HERMAN: THE NEW SWINGIN' HERMAN HERD - vinyl lp. | | | HOLIDAY FOR STRINGS - AND OTHER HITS BY DAVID ROSE - vinyl lp. | | | THE RCA VICTOR ENCYCLOPEDIA OF RECORDED JAZZ IN 12 GREAT ALBUMS - ALBUM 9 - 10 inch vinyl lp MOTEN, BENNIE - MOUND CITY BLUE BLOWERS... |
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http://www.popula.com/st/no_1293.htm
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| | Orleans Audio CDs: Music-Hills.com |
| | New Orleans Night Crawlers - New Orleans Nightcrawlers | | | New Orleans Rhythm Kings w, Jelly Roll Morton - New Orleans Rhythm Kings and Jelly Roll Morton | | | Rebirth Jazz Band of New Orleans - Here to Stay |
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http://www.music-hills.com/Orleans
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| | Baton Rouge Net - Jazz Information |
| | Meanwhile, in New Orleans, community connections such as "jazz funerals" in which brass bands performed at funerals held by benevolent associations continued to underline the role of jazz as a part of everyday life. | | | One might say that jazz is the Americanization of the New Orleans music developed by the Creoles, occuring at a time when ragtime, blues, spirituals, marches, and popular "tin pan alley" music were converging. | | | The list of jazz musicians and clubs in New Orleans is endless and to visit the city without enjoying its music would be missing out of one of the truly great experiences of a lifetime. |
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http://www.brnet.com/jzpage.html
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| | The Bixography Discussion Group |
| | Both Henry and Merritt were associated with Mecum, who was the pianist with Merritt Brunies' Friars Society Orchestra, the band that took the place of the New Orleans Rhythm Kings at Chicago's Friars Inn when the NORK returned to New Orleans in 1924. | | | I've heard George sing the original lyrics while accompanying himself on the piano. | | | Jules Cassard was a Chicago [!] tuba and string bass player who can be heard with the Ray Miller band on this CD, while the name Brunies, I assume, refers to trombonist Henry and cornettist Merritt, brothers of George and Abbie Brunies. |
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http://www.network54.com/Forum/post?forumid=27140&messageid=1108546312
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| | New Orleans : In Depth : Recommended Recordings Frommers.com |
| | New Orleans : In Depth : Recommended Recordings | | | Cajun & Zydeco -- One of the first Cajun musicians to be recorded was Amédé Ardoin; consider I'm Never Comin' Back (Arhoolie; recorded in 1930 and 1934 and released in 1995). | | | Rhythm & Blues -- For sheer dancing delight, try the ReBirth Brass Band, Take It to the Street (Rounder, 1992). |
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http://www.frommers.com/destinations/neworleans/0020020685.html
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| | eBay - new orleans music, CDs, Records items on eBay.com |
| | FRANCINE KING "TWO FOOLS" CHANNEL 1 NEW ORLEANS FUNK 45 | | | RONNIE BARRON SOUNDEX 1008 NEW ORLEANS SOUL 45 RandB | | | DON PITTMAN SEVEN B 7039 NEW ORLEANS 45 |
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http://search-desc.ebay.com/search/search.dll?query=new+orleans+music&...
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| | Louisiana Music Factory - Mardi Gras Parade Music From New Orleans by Various Artists |
| | On this collection we are treated to sixteen performances of New Orleans jazz that are associated with Mardi Gras. | | | Music is literally everywhere, whether a brass band in Jackson Square playing 'Saints' for the umpteenth time or a recorded version of the favorite 'Mardi Gras Mambo' being blasted from some huge speakers on the bed of a truck. | | | The stylistic thread running throughout this disc is the beat, that unmistakable yet indescribable beat, is the hallmark of the music that accompanies parade season." from the liner notes by Jon Pult |
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http://www.louisianamusicfactory.com/showoneprod.asp?TypeID=71&ProductID=488
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| | Amazon.com: Bunk Johnson - 1944 (Second Masters): Music |
| | This is a recording that no lovers of New Orleans jazz should miss. | | | Nawlins' Musique [New Orleans Music]: A list by The Riviera Reviewer, Gulf Coast Native. | | | This is classic ensemble jazz; there are few solos, but the texture of the band changes from chorus to chorus, and with times of up to four minutes per track, the band has a chance to stretch out. |
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http://www.amazon.com/exec/obidos/tg/detail/-/B000001YHN?v=glance
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| | Untitled |
| | He studied classical clarinet as a boy, and listened to leading New Orleans clarinetists as he developed a jazz style of his own. | | | Some small bands stayed with the simple rhythms of early New Orleans, while early big bands moved toward rhythmic variety, complex chord changes, and intricate arrangements. | | | Some of these white jazzmen also looked up to the white New Orleans Rhythm Kings - who had in turn been inspired by King Oliver and his bands. |
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http://www.suite101.com/print_article.cfm/8879/71675
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| | The Jazz Age - Bee Palmer |
| | Bee Palmer remained in Chicago until the late 1910's first appearing on the New York stage in Ziegfeld's Midnight Frolic of 1918 where she sings ballads to her own accompaniment on the piano (Bee was an accomplished pianist in her own right). | | | One such person was Bee Palmer, musician, songstress, Ziegfeld Follies performer, dancer, and song writer who had an all-around beauty and naughtiness that made her a very popular act in the Roarin' Twenties. | | | It is described as a vulgar dance, wiggling from the shoulders, swaying the rest of the body to the syncopated jazz music of the day. |
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http://www.dgarrick.com/jazzage/beepalmer/beepalmer.php
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| | WFUV 90.7 "The Big Broadcast" Playlist |
| | NORK, "She's Crying for Me," New Orleans Rhythm Kings (Retrieval CD) 11pm Hour: 53. | | | Red McKenzie w/NORK, "Since We Fell Out of Love," New Orleans Rhythm Kings (Classics CD) ** 9. | | | Jack Teagarden w/ Louisiana Rhythm Kings, "Basin Street Blues," Louisiana Rhythm Kings (Jazz Oracle CD) ## 43. |
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http://www.wfuv.org/wfuv/playlists/big031012.html
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| | New Orleans Discography |
| | Frog DGF 2 New Orleans Owls The Owls' Hoot | | | [ii] NewOrleans is generally considered to be the birthplace of jazz, and the musicians of New Orleans certainly dominated the jazz recording scene in the nineteen-twenties. | | | Note: Tom Tsotsi calculates that the recording team was in New Orleans between December 9 and 17, 1929. |
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http://www.bluesworld.com/NODiscog.html
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| | Medialunchbox - Music : New Orleans Rhythm Kings 1922-1925 (The Complete Set) |
| | If you're a fan of early jazz, these recordings need no introduction - the classic New Orleans Rhythm Kings (NORK)recordings from 1922 and 1923 are among the most famous performances in jazz. | | | And the recordings are still immensely enjoyable - the ensemble swings gently but steadily (unlike the more famous Original Dixieland Jazz Band, who sound overdriven and manic in comparison). | | | Medialunchbox - Music : New Orleans Rhythm Kings 1922-1925 (The Complete Set) |
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http://www.medialunchbox.com/ItemId/B00005QXGD
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| | The Owls' Hoot! by New Orleans Owls |
| | The New Orleans Owls were a spirited seven- to nine-piece band whose hot jazz and interesting arrangements made them a legendary group to early jazz collectors | | | Create New Orleans Owls MP3s faster with MUSICMATCH Jukebox Plus! | | | She's Crying for Me - New Orleans Rhythm Kings |
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http://www.mmguide.musicmatch.com/album/album.cgi?ALBUMID=797581
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| | CD Assortment Page 3 |
| | The Arcadian Serenaders: The Complete Sets 1924-1925 Johnny de Droit and the New Orleans Jazz Orchestra |
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http://www.worldofgramophones.com/cdgroup.html
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| | About The Music |
| | The core of the band's music consists of the sounds of Jelly Roll Morton, Original Dixieland Jazz Band, New Orleans Rhythm Kings, | | | King Oliver Creole Jazz Band, Louis Armstrong, and Sidney Bechet, as well as a heavy emphasis on | | | Each member of the band is a specialist in historically informed jazz styles. |
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http://www.landing.com/music.htm
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| | Jazz Exhibit Opening at NOPL |
| | The exhibit includes photographs of such jazz figures as Buddy Bolden, the Original Dixieland Jazz Band, New Orleans Rhythm Kings, Louis Armstrong's Hot Five, Sam Morgan's Jazz Band, Original Creole Orchestra, Jelly Roll Morton's Red Hot Peppers, King Oliver, and Henry Allen Brass Band. | | | The program kicked off an exhibit tracing the origins of jazz in New Orleans from 1895-1927. | | | The exhibit, which is provided by the New Orleans Jazz National Historical Park, features sixteen photographs with narrative descriptions depicting New Orleans jazz history. |
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http://nutrias.org/~nopl/news/jazz99/jazz99.htm
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| | Amazon.com: 1922-1923: Music |
| | Be the first person to review this album! | | | Customers who bought titles by New Orleans Rhythm Kings also bought titles by these artists: | | | Music, Videos, Bios, Concert Info Online Radio and More at AOL Music! |
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http://www.amazon.com/exec/obidos/tg/detail/-/B00005177O?v=glance
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| | Solid! -- Ben Pollack |
| | Producing some of the most exciting music of its era, Pollack's orchestra was chocked full of talent. | | | From California Pollack returned to Chicago with plans to take over his family's fur business but was unable to get music out of his blood. | | | As he began to concentrate more and more on her career and less on the orchestra his musicians became disgruntled. |
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http://www.parabrisas.com/d_pollackb.php
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| | Piano Music Performed By New Orleans Rhythm Kings |
| | Click here to see all products related to New Orleans Rhythm Kings. | | | Piano Music Performed By New Orleans Rhythm Kings |
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http://www.encoremusic.com/performer_sep_New+Orleans+Rhythm+Kings.html
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