―――――一――――――………………………………―由申ロロロ‐‐‐‐‐‐口‐‐‐‐‐‐‐‐‐‐■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■

FERDIHnND

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JamesDapogny

sminoinnヽ lnstitutiOn】■℃ssWashington DC。

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lV

This edition is dedicated with love to rny parents,Evelyn and IⅣ ing Dapogny,

for their years of unfailing encouragement and practical help with music and

everything else.

JamesI〕 apogny

The Snlithsonian lnstitution wishes to thank the Estate of Anita Ford and Mrs.

Hattic Holloway,Administratrix of the Estate of Anita Ford for their help in

the publication of this work。

◎Copyright 1982 by Snlithsonian lnstitution

^1l Rights Reserved lnternational Copyright Secured Printed in UoS.A.No part ofthis work rnay be reproduced or transmitted in any form or by any lneans,

electronic or rnechanical,lncluding photocopylng or by any information storage and

retrieval systeΠl,without permission in writing from the publisher.

ISBN O-87474-351-6

RogD No.48303c

EC 3257

V

ACKNOWLEDGMENTS

Two people have been indispensable in the realization Of this project.The firstis Martin Williams,E)irectOr ofthe J,77 PrOgram ofthe SnlithsOnian lnsti―

tution's】Division of Perfornling Arts.Hc is probably the first persOn tO have written

sensitively and accurately,from an enormous aesthetichistOrical backgrOund,abOutMorton's music.This v01ume is aproiect that he initiated,both cOncei宙ng theidea anddoing the basic wOrk necessary to make it pOssible.Not only did he set this prOlect in

m°

犠;s::鯖

:鵠 T翌 電∬ :揚 :h°・ ・

S prog∝ s Юwttd cOmpletioLr help l would not have undertaken this pro―

jecto She used her musical ear and years of training in checking every note of everytranscriptiOn and in reading every wOrd,spending nearlyas rnuchtilneonthisprojectasl d i d .

Another important cOntributor is Michacl 4ヽ0ntgOmery,whO lent rnc his cOpies ofthe original MortOn rons frOm which the piano‐rOn transcriptions were rnade,and whOalso placed at rny disposal the results of his Own rescarches.

認電講淵cΨ綿諸lilttTttTttf胤嶽

if留ぎ撃ぶ:le上辮 :l

l wish also tO acknowledge gratefully the support of rny research at the Library Of

Congress by a Faculty Research crant fronl the Horace H. Rackham Sch001 0f

Graduate Studies of the University of Michigan.

薦 覇 糧 ξ 覆 紺 鶴 椰 珈 拶 欄 撻 l薄 轡 齢 憔 [Research, Dick Hyman, Wayne JOnes, Rod McDonald, Hal Snlith, and Richard

“Butch"ThOmpson.

・Ⅵ

FOREWORD

This volume undertakes a task never before undertaken:a sch01arly,complete edi‐tion ofa body ofaj,7ワrnuSician's work.It contalns a version Of every piece Jeny RonMorton ever published or recorded as a piano s01o。

For such a project there is little tradition ofFnethOd or procedure,and so l have ex‐plained in some detail below what l have done in organization,notation,and other

editorial practicc.

I began my own music career as a composer,music theorist,and teacher largely

because of my early interest――fOrmed when l had already had some musical educa‐tion――in the handful of MOrton recordingsthatl could then findo My attemptsto cOme

to grips with the t∝hnical problems involved in understanding the rnusic on those re‐cordings led me to academic training and new musicalinterests,as well as to continued

involvement in jazz.

The study of rnusic of all types has only increased my admiration fOr MortOn's

work;the minor shortcomings newly discOvered have always been more than offset by

newly found beauties of detail and structureo Morton's lnusic has vitality,o五ginality,variety,and―‐especially noteworthy in inヮタcOmposition― ―coherence,qualities whichare prized in the rnusic of any 800d COmposer.In addition,on his recordings,we hear

Morton the ilnprovisOr, with his unique ability to spin out variations that are

simultaneously frec and beautifuny disciplinedo Morton'sis a music Of substance,andgreater familiarity with it brings sustalned interest and greater adnliration for thetalents

of its creator。

J.D.

―

CONTENTs

恥?,叩 9S∝・………………………

lX

TheMuslc

―……………………………………………. 5The Pianist.……………。……………….… ……….… ….:.… ….. 11The Hお…… … …

1ふ証iii::::::::::::::|::lillli:ill::::銃Ih薔 肥朧dtoHd Procedures……………。31TheMuslc

m路量】曜猟:l彎

″°滋お切 。……...IIIi:;踏露1ノIT。91Ⅲ Iり……._._li男

igJθルOore/SN∝ ″"rtO'Minり

。……………。89け Bル

“/Sh“ 助′″θ″むD″υ .… .… .… .…103

'………………………………………………H3

脇筋傷,7∵==言.::::i::i:::::::||:::11:80B“ akdO″〃 .… .…。…・….…。….… .…155bttθRり 。…。….… .… .…・…。….…。…。167・・・・・・・・・.・・・..・・・・・・・・..・・・..・・・..。187

3踏認鵠lT:?物ゴ蹄由・…….....::尉CannOnball BIues.…………………………………………….… …219

灘懲澪:ⅢⅢあ‐‐‐‐‐::召・・・・・・・・..・・・..・・・・.・・・・.・・・..・・・..。237BOogaboO.......・

・・・.・・・・.・・・・・・・・・・・・・・・・・・・.・・・・.・・・・243Seattle Hunch........・・・・.・・・・・・・・・・・・・・・・・・・.・・・・・・・・・.249

謙巫 シ1.71…………………………259・・・・・・・・・・・・・・.・・・・.・・・・.・・・・.・・・・。273S“Clirys′ο切 .… ….… .… .… ・……….・279

縦 :(瞥fγttΨ _III霧・・・・・・・・..・・・..・・・・・・・・..・・・・.・・・・。315Sweet Peter.__

・・・・・・・・・.。325

Hyena Stomp.....・ ・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・335State and Madison .....・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・345Bert Williarns。……………………・…………・…………………・。353Freakish ........・ ・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・:365Pep… .… ………。…………………………………………………・379CreepyF∝ ling ………….… ………………・………・……………・395Spanish Swat.........・ ・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・413The Pearis.……。…………………………………・………。………423Fingerbuster rFingerbκ口んθ〃 ….… ……….… ……………………・・449HonkyTonk Music.… …….… ………。………………・………・…465The Crave.… .… .… 。…・…・…・…・…・…・…・…・…・…・…・…。473Mister JOeβ z//ardBルの ……………………………・……………。485King Porter Stomp… ………………………………………………。495

C〕lossary ......・ ・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・509Bibliography........・ ・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・513

。測

LIST OF ILLUSTRAT10NS

Fonowing Page 36: ‐

A selection of NIIorton publication covers

Wolvenne Blues,1923,Melrose.I)iano― vocal shect inusic edition issued at about

the tirne of Morton's arrival in Chicago.

Jelly Roll BIues,1915,Rossiter.I)iano shect― inusic cdition.

King Porter Stomp,1925,Melrosc.Piano sheet‐ 1■usic edition.

Blues and Stomps,1927(?),MelrOsc.Folio collecting scvcral pieces carlicr pub―

lished individuaHy.

Fonowing Page 260:

Morton wearing his bandleader's clothes at Crystal Bcach,Ontario,August,1927.

(PhOtO previously unpublished.)

Morton,tilnc and place unknown。 (PhOtO previously unpublished。 )Can■ onba‖ IBlues,1926,Melroseo Coverofthepianosheet-1■ usic edition。(Library

of Congress E645852.)

Jungle Blues,1927,Melrosc.Cover ofthe piano sheet‐ lnusic edition。(Library of

Congress E665813.)

Grandpa's Spells,1923.Thc Melrosc edition,prepared from this or a similar copy,

corrects inisspellings and other irrcgularities but introduces rnistakcs ofits own,

including a inistakcn bass linc in[B].MeaSures l and 2 of[AI show MOrtOn's

practice,in notating and playing music,of occasionally placing the rnelody as

the lowest notes in the right hand.(Library of Congress E570417.)

Frog I More‐ Rag,1918.The carliest copyright depositin n4ortOn's hand.Itshows

the piece very much asヽ 4orton was to record it six years latcr.(Library of Con‐

gress E439269。 )London Blues,1923.Morton added the ending in pencil,apparently in 1938 when

examining these manuscripts with Alan Lomax。 (Library of Congress E569713.)

Ha"and Eggs,1928.Morton's manuscript ofBig Fool Ham under a new titlc.The

“By Jelly Rollヽlorton"is notin Morton's hand.Alan Lomax's transcription of

Morton's commentis at the lower right.(Library of Congrcss E688478。 )

Following Page 292:

Morton,right,and unidentified companion,apparently in California。 (PhotO pre¨

viously unpublished.)

lヽorton, right, and unidentified companion, apparcntly in California, 1920.

(PhOtO previously unpublished.)

Mro Jelly Lord,1923.A voice and piano version ofthe piece with no words provid―

ed.This is texturally thinncr than lnost 14orton scores and contains rnorc nota―

tional errors.(Library of Congrcss E570415。 )

。Ш

藩麟灘鵜揺紺柵

撫鮮‰乳爵弊‖購壼

“JELLYIIROLL".IMORTON

COMIPOSER

5

THE COMPosER

At its simplest,jazz composition is merely the cOnstructiOn Of harmonicpatterns that are the bases for ilnprOvisatiOn.At its lnOst cOmplex,itis the con‐

struction of pieces that are specific in details of harmony,instrumentation,tex―

ture,melody,and overan forΠ l,and thatin addition prOvide fOr theinclusion ofirnprOvisation.

式畿轟鞣麟鸞i粥麟郡榊椰tion.Only a few otherjazz musicians have wOrked On this plane.The Obviousexallnple,and nearesttO Ⅳ10rtOn in time,isthe great Duke EllingtOn。(One Ofthemany sad facts about 4ヽorton'slifeisthat he and EllingtOn found nothing tO ad¨nlire about each other,probably for reasons that have little to dO directly withmusic。 )

1認1鳳難l締淵藷鵜F器蹴設艦讐置¶留

〕rlooked).It embodies these,but makesadditiOnal demands Of integratiOn and balance of compOnents and of 10ng_

range cOherence.

Although a thOrough analytical discussiOn Ofヽ40rton's music is nOt possiblehere,someimportant features should be mentioned.(Basic analytical commen‐

tary on most Of the pieces will be found in the individual essays introducing

them。)MortOn had a variety of inelodic styles,ranging frorn the near―

traditionalblucs style ofノVυw O″′θα″s i3′″as tO the elegant,long―lined melodic style ofthethird strain of ttθ Pcαris. 1「he differences between these styles illustrate thediversity of in■uence and cOnception in MOrton's style.

In rnuch Of 4ヽorton's wOrk,contrast of rnelodic styles within a piece is used.For httanc%ぬe roma面c mdOdy of机撫淵]∬議躙 Q驚絲総柵器常::席1::1『LivTlhedow∝_m。宙ng mdOdy Jぬe ttd

ittLi憲 慧ll熙 :tT£ PadSbrttemprO宙

sttbnた 江 ured on tt Of MO■ On's

ln his melodies, MOrton Often used a system of interior repetitions Of

melodic Or rhythnlic ideas, sometirnes placing them at irregular intervals。

■This term and al others lnarked、vith asterisks are defincd in the(31ossary,pagc 507.

」０´００Ｅ

Ｏυ

6

Repetition of rnotivic lnaterialis obvious throughout such a lnelody as that of

the last strain ofFrog‐二■石ο″θ Rαg.But the interior repetitions of the first strain

of倫 ″sas Cliry S′ο″ηらwhose sixteen lneasures contain the same figure in the

third,「lfth,seventh,and eleventh ineasures,are less obvious because they are

less pervasiveo Morton used a sillnilar systenl among,as well as within,melodies,

asin3な FOο′勇陶″ (WhiCh is discussed in detailin itsintroductory essay).Hc eX―

tended the system to the use of whole phrases as well,asin Lο″ごο″I〕ルasp eachof whose choruses*ends with the sarne phrasc。

There is hardly a MOrton instrumental piece which dOes not cOntaln con―

3:計lξ∫:霜:=:msll:|』illli:IIIIIIttnoM°rton's cOnllnents on his music,as

樹選撻載M、 ど鱗濫Jn ofsrrar/On〆ff“″c力),intrOducing bOth

composed and ilnprovised breaks,and,Inostiinportant structurally,varying the

撚繊鶴端島嚇懸脚i■柵洵辮簿linear bass line.This is contrasted wlth a

鸞 芸 掛 1選 綴 讐 種 轟

温 ぶ 罐 霊 tttittl躙 器iance,the last strain Ofsrrar/ardff″ ″c力.

It introduces variety in another way.)

h:111∫ii[lI[寓riIII:‖lil11鑑

T龍1』ll:器謂1普選:1:::::iion is that NIIortOn varied these elements

independently of each other and at different rates.It is impOrtant tO recOgnize

these varieties of cOmpOsitional procedure in the light Ofthe apparent sameness

of formal schemes in his rnusic.

v d l l :Ⅷ ぷ 脱 喜 留 譜 ti警 1胤 王r鷺 1譴c貯 鷺 :Lご 諄 よ 虫:composed variatiOns on One strain―including the blucs*pieces as a subgroup.This is only an apparent lack of variety:within these pOssibilitics,NIIOrtOn'spieces have very different shapes beclull:::littII,1;1:聡

」』甘1::11111liamong the strains and the differences i

胸 ″sas Cliry s′ο刀り,7カθル α薦 7カθ Craソら云

"″

g Porrer S′ο″ηz and Bなfb済助 ″7 to see the diversity Of Overall shapes possible within a realization Of the

threc―strain scheme,the scheme MortOtt used most Often。(TWO points cOncern‐ing fOrrn arise here.First,One should not be surprised that pieces in the same

``forln''are differento Such silnilar pieces in the art‐music tradition are differenttoo,and fOrthe same rcasOn:itisthe cOntent and order,the balance and propor_

tion Of the parts――elements that the compOser controls――which give piecも

掘盤雷ll舞鍬晋1認‰盤郡!tぬ∝e tte血叫鈍rdn,∝∝,ルzメ∝も

'ery successful ones,、vhich dO not ha、 cconvincing overall shapes.The threc― strain scheme MOrton used so often isneither a barrier tO nor a guarantee of success.)

The strains Of twO― strain pieces often have relative structural signi「 lcancelike that of the verse■and chOrus*of rnany popular‐ music pieces:that is,onestrain is distinctly less ilnpOrtant than the other;often itis played Only once in a

:λ肌露鶏:慧e《:;盤留認識し設奪庶鵠T辮籠殺鮮

posed variatiOns and whOse second strains,according tO MOrtOn's recordings Of

thenl,are designed fOr ilnprOvisation.In these pieces each strain is distincti、e

and important。

００日００８『

胤 h飢踏柵 譜饉r撫輩l徘驚 Thge鋭出織

Morton referred toFⅥθ″Or:cα“sI〕′″as as“oneofthefirstbluesasaplayable

composition。"His concept ofturning jn77 1nuSic's blues fron1 0nly a standardtwelve-1■easure pattern for a player's improvisation intO a composition with

ordered parts and content is the idea behind this work,JellジRο〃B′“as and

Lο″do″ Bra∝. These pieces are siinilarly constructed, cach with composedvariations and interior repetitions,and each using the twelve‐Incasure blues asits only chorus structure.The rernalning two blues picces,Deadハイタ

“」B′

“as and

On″ ο″barJ Bル“b are not as well developed as compositions(at least in their

published forms).Perhapsthisis because 2αグЛ′レ″βルas originated as a song,alrnost a novelty piece,and because Cα″″ο″bα〃IP′″asis a collaborative compo‐sition.But both pieces made fine vehicles for band perfOrmances on recordings

because of Morton's expansion and ordering of their inaterials.(ThiSInight bethe placeto mention Morton's notational skill.One occasion‐

ally reads or hears that n4orton could not read or notate rnusic.That this is not

soisshownbyaniternascarlyashis 1918copyrightdepositmanuscriptofFrag‐

J‐ハイb″θ Rαgo lt is cornplete and accurate even with the rough‐ and readyapproach to note‐spelling typical of FnuCh early and some later jazz notation.Morton's later inanuscripts show a greater ease with notation and a greatersophistication in its usc,probably becausc he had bythen written so many pianoscores,lead sheets,and jazz‐band arrangements。)

Since so much of the foregoing has to do with compOsition……what ispredeterlnined in a piece――the role ofilnprovisation in Morton's rnusic shouldbe consldered.

Morton felt that iinprovisation,for the rnost part,shOuld take the fornl ofvarying the melody,which implies that the melody must be strong enough towarrant such treatment.In his statement, ``R4y theory is to never discard themelody,"Morton has summed up the attitude ofthe carlier New Orleansjazzmusician.And he has also expressed his concern as composer for the piece:hedid not want the rnelody and larger shape of a piece to be lostto the inllnediateailns ofilnprovisationo lt is clear that the always‐varied repetitiOn of whole sec‐tions and smaller segments is a rnaJor organizational principle in Morton's

music.This is the reason for his repeated use of only a few compositional

schemes thatlend themselves to this compositionallnethod and to his perforrn‐ing style.

In building performances by improvisation based on me10dic variation,NIIorton adhered tO ideas which seemed old‐fashioned or incomprehensible toNew York lnusiciansin the late 1920s and early 1930s.They had developed their

own different but equally valid ideas about the nature and role ofilnprovisation

injazz.The dominant principle wasthen,andis now,thatimprovisation wasto

be based almost entirely on harmony,that a piece's harmonic pattern was all

that an ilnprovising player referred to.Thisis a naturalstep in stylesincreasingly

dependent upon popular inusic for repertoire;some of it is inelodically undis―

tinguished,but all ofit has workable harmonic progressions。(The new style alsoplaced improvisation differently within a performance,tending to reserve it to

only certaln parts within a performance,and often placing it very effectively soas to contrast with or to be accompanied by,obviously arranged,powerful

section‐writing。)

7

』０∽ＯαＥ

００

8

NIIorton could and did improvise in the rnodern way whcn it was necessary.

But his ideal was still Fne10dic variation.I・Iis compositions with inultiple strains

and his perfornling style pr6vided the variety that rnade this effective:rnelodic

statements were perhaps never unadorned,and improvisation… …in Morton's

restricted version of it一―was pervasive.Varicty came through the diversity of

materialin the strains and the textural contrasts which were a composed part of

the piece. NIIorton hirnself was capable of improvising remarkable melodic

variationo Some of his finest,most exciting,recordings,for instance Frog‐ r―

■石0″ Rαg and Ka″ sas Ci`ッS′ο″η',ShOW how effective this could be。The opportunity for irnprovisation,in fact the necessity for it,and by iinpli‐

cation even indications for theた

'″

グofilnprovisation to take place,is composed

into a rИortOn piece.

Finally,卜√orton's influence as a composer should be considered.His pieces

were fairly widely recorded and must have been even more widely played in

publico This meant something different fronl the playing of, for example,

George Gershwin's musico Morethan lnost compOsers ofpopular music,Gersh―

win wrote music with specific,repeatable details(in addition to nlelody and har―

mOny),particularly the counterlines which emerge from(or,prObably more

accurately,generate)hiS always―interesting harmonyo Even so,the specificity of

a piece such as Gershwin's Sο″θο″θ7bИ 化″c力0ソ(7勲 、played almost always

with the descending hnes which clnerge from the harnlony,or his L′てα,with its

ascending lines,is not as great as that of,for instancc,Ⅳ lorton's Ki72g Par′θ″

S′ο″′.

The difference is that such a piece as J(′″g PO″′θr S′0″ρ irnposes upon theplayer a rnore particular way ofthinking about repetition and phrase structure.

This,in a general way,is how NIIorton'sinfluencecnters themainstreallnofittz:

choosing a Morton picce to perform means,automatically,choosing a fornlal

scheme,a rather narrow set of possibilities for an arrangement,and a sct of

assumptions about repetition,phrasing,and key relationships.Thヮ ideasin the

piece itself and the discipline of confornling to the piece's requirements cannot

help entering into a sensitive player's view of music and in■uencing histhinking

about what is lnusically possible。

Morton's in■ uence spread in another less direct way,too,by way ofjazz's

tradition of rnaking new pieces frorn old oneso Morton hirnself spoke ofttr′″g

Pοrrer s′ο″ 's having become the basis for other pieces,which is literally truc.

But he nced not have stopped there,for echoes ofother ofhis pieces also appear

in iaZZ'S repertoire,even in recent years.

In a1l ofthese picces,Ⅳlorton's fine sensc of detail,order,and balance comethrougho ln the best pieces we see why Morton can truly be considered a jazzCO″ OSer,and why heis onc ofso few who can.

ＯｏヨＯｏ∽ｏ「

PIANIST

THE PIANIST

In developing his own style,Morton altered the ragtime stylistic usages hehad inherited,and absorbed other in■uenceso His departure from the ragtilnestyle is more radicalthan the surface of his playing might suggest.He certainly

made a more decis市 e break with ragtime than many of his eastern contem―poraries:his insistence on a strongly lnelodic style che rne10dy strongly played,

very often in octaves),near_total abandonment of eighth‐note figuration,andhis rnore elaborate and irregular bass lines show this.In this regard,Morton'splaylng is closer conceptuallyto that ofEarl Hines,by rnaking the pianist's Hght

hand a strongly accented single voice,at tilnes almost like that of a horn。

Morton was an excellent pianist with a smooth,regular techniquc,a fineness

oftouch that was not colnmon among pianists ofthe 1920s,with a strength anda r h y t h m i c g r a c e t h a t w a s n o t , a n d s t i l l i s n o t , c o m m o n .

Hedidnothavethesarnekindofbrilliantsurfacetechniquethatcontempor―

aries such as Jarnes Po Johnson had,but his music,unlike theirs,did not have a

built‐in requirernent for it.Itis easy to sec how his style,using a narrower span

ofthe keyboard,a usually less brilliant―sounding right―hand style,and a compli―cated left―hand style,could seem less accomplished,even more primitive,to thestride pianists.Itis equally easy to see how stride piano,with its strong echoes ofragtilne,would seem retrogressive to Morton who had gone so farin stripping

his playing ofragtime's characteristic Hght―hand figuration。(This might also ex―plaln why,in 1938,Morton singled out Bob Zurke as being``on the righttrack"

forjЯ77pianO:Zurke played an involved,melodic,emphatic non‐ragtime style,one conceptually like Morton's but different in detail。)Thus MOrton had asimpler,more modern,linear,and distinctly jazz‐ oriented right‐hand stylepalred with an elaborate melodic bass style which,to other musicians,was

rerniniscent of ragtilne.By contrast,stride had a strongly ragtilne‐influencedright―hand style dominated by figuration and a very clear,simpler,and moremodern left‐hand style。

In his left hand,Morton inost often used the stridelike technique that heshared with ragtime and with the styles ofmany otherjazz pianists wellinto the1940so Morton's version of this technique involves a great variety of first―andthird‐beat sonorities――single notes,rlfths,sixths,sevenths,octaves,tenths,andtriads――a frequent breaking out of a sirnple statement of the pulse into bassmelodic rlgures,and a confining ofthe entire left‐hand activity within arange ofabout two octaVes and a half below,and a fifth above,Iniddle C。

１■

１■

一増目‘一Ｌ

12

One effective way in which Morton and others used thislefthand techniquc

was siinply to break off froln it,cither not replacing it,in which case a break

results, or using some other device, perhaps an active bass line in octaves.Morton used thislatter device particularly effectivelyto enliven what nlight have

been too regular a left―hand texture,or to reinforce ilnportant rnelodic features,

or to mark phrase junctures.When using the stridelike left―hand technique,Morton either could inake

the bass line formed by the lower notes of the first and third beats a traditionalone emphasizing,mostcommonly,the root and ifth ofthe chord(asin G“

“ι

ραむ5レθ′規 IAl‐11,mm。 lto 5),or he COuld use thelower registerto shape atruelinear part in counterpoint with the melody(as in cra″4フαむ』シelL[Al-11,mm.6to 8)。

A variation ofthe stridelike technique is the one used in,for instance,IC-11of srrar/0〃肋

“C力。Morton usually perforlned this left―hand style(whiCh iS

rough―sounding because ofthe low‐register placement of relatively snlall inter‐ValS)in such a way asto emphasize theline formed by thelong notes played onthe first and third beats,and played the afterbeats,by contrast,very short andsharply articulated.

The left‐hand variations reflected Morton's belief thatjazz piano must beorchestralin conceptiono Accordingly,the left hand could be purely rhythnlic‐harmonicin the commonest sort ofstridelike usc(mostlike aband'srhythm sec―tiOn),COuld play figures which recall New Orleans―style trombone or bassplaying,or could become the lowest voice in a chordal seglnent。

(A left¨hand usage fairly common in jazz piano but perhaps unfamiliar tosome readers should be rnentioned here because it produces rnuSic which,whenexanlined out of context,can look or sound as ifit contained lnistakeso Some‐tilnes a iazZ pianist doubles the bass line with perfect fifths above lor,Whenoctaves are played,perfect fifths above the lower pitchesl irreSpective of har_

mony.The intent,and the effectin a complete texture,is to rnake the doubled―

bass line weightier。)The variety ofwaysin which Morton used his right hand was also in keeping

with hisidea oforchestralstyle pianoo Thisis true not onlybecause ofthe partic―

ular devices he used(moSt OfWhich are used by otherjazz pianists as well),butbecause of the orderly way in which he used them to derlne,by their texturalcontrasts,choruses or parts of choruseso Sometirnes he used his right hand toplay sharply articulated chords,often wldely spaced and dissonant,but overall

his right―hand style was very linear;that is,it almost always projected singablemelodic lines.Sometirnes,asin parts ofalinost all ofthe``Spanishtinge"pieces,the rnelody becomes so independentthatit appearsto e対stin a rhythlnic fralne‐workdifferentfromthatofthebassoAtothertimes,asin ICb‐11 0fPer/ecrRcg,the melodic line's repetitions,ornarnental「lguration,and speed create a texturethat appro対mated that of eastern stHde piano's post―ragtime style.

Morton played his pHncipal melodic line eitherin single notes(a10ne or wlthharl■ony pitches above or below)orin Octaves(With Or without harinony pitch‐es between)。ThC harmony notes accompanying the melody have two functionsmore important than just increasing the Hght hand's density or supplylng har‐mOny(WhiCh in any case is explicitly stated by the left hand)。

The rlrst is rhythnlic:the rnelody pitches which have the accompanllnent ofthesc harmony pitches are reinforced and accented,and the rhythm ofthis ac‐centuation provides the nlaln element of syncopation and rhythnlic counter―point to the left hand's relentlessly stated lneter。

The second function ofright―hand han■ony pitchesisthat ofcontroningthesmallest phrasing spanso Accompanied melody pitches initiate short spans ofmelody,that is,slurred phrases oftwo to iVe noteso Mcasure 6 of[a-21 ofAたw

「】”●″一

Orlcαns」B′““

contalns a clear exarnple of this:the effect of the D♭'s beingslurred to C is created by the D♭'s(〕accOmpanilnento When Morton wishes toremove this effect,which depends upon thelistener's hearing the accompanying

note as ifit were held through the phrase,he repeats the accompanying notes,

creating a less legato,rnore emphatic effect,asin the corresponding place in the

chorus before,Ia-11.(Readers should be aware that,when not playing the melody in octaves,

Morton often placed his principal me10dic line in the 10wer notes of his right

hand,playingthemmorestronglythanthenOtesabOveolnstancesofthisarenot

identirled in the edition but they are usually Obvious because the rnain inelody is

more active than the other lines and because its direction is sO clear.For in―

stance,in IB-11 0fJellソRο〃βル“

the melodyis found in thelower,more act市eline in inm。 1,2,and 5。)

Morton did not use much pedal.The overa1l legato quality of his playing,more ob宙 ous in the technically better,later r∝ordings,was achieved almost en‐tirely by the way he used his hands,holding down the keys fOr the rnaxirnum

tiine possible before releasing thenl and lnoving his fingers tO the new keys.Theresulting ampleness Of individual nOtes is responsible for the essential

smoothness and unhurried rhythmic quality ofhis playing,cven at fasttempos,

and shows MOrton's considerable control.

The steady quarter―note clicking in the Library of COngress recordings isMorton's foot On the pedal,a kind oftapping which he apparently did all ofhis

life and which he and Others have identirled as his trademark。(ItiS also present,butless obvious,On some earlier recordings。)ThiS tapping reveals an ilnportantaspect Of MOrton's conceptiOn of j,77 meter:he thought in fOur beats permeasure,in four‐fourtilneo Thusitis wrong,despite thetwO―beat iavor ofsomeofhis band records,particularly those of 1928 and 1929,to play MortOn's musicwith toO strongly emphasized first and third beats。

The reader宙1l notice from the tempo indicatiOns given that MOrton rushedin rnany performances.In FnOSt Cases this is not easily noticeableo ln others it is,particularly where there is not a steady increase in tempO.Fortunately,MOrton

does not scem to have had this trouble too Often。(「rhis unsteadiness ObviOuslyruns counter to thejazz ideal ofa steady tempo,but a stOpwatch willshOw thatthis ideal is seldom achieved:Other jn77 pianO so10ists―Johnson,Waller,Hines,Tatum――also rushed as much as Morton。)

The transcriptiOns here give a good survey of MOrtOn's style:there are

transcriptions of eleven perfOrmances frOln 1923 and 1924,a pianO s010 chOrusfromabandrecordingof1926,two ofthe 1929 solos,twelveso10sfrOmthe1938

Library ofCOngress seHes,three others from Morton's Washington period,and

three ofthe 1939 General so10s。

The early performances were well planned and well played,and already

showmostoftherangeofMOrton's cOmpOsition and style which rnarked hirn asa unique pianist,In these,he plays his pieces rather fornlally fOr the rnost part,

with little extended impro宙sation。(The COntemporaneous piano r01lsshowthatwhen Morton was not confined by the usualrecording―tilne linlit,he could anddid impro宙 se beautifully。)COnf011lling tO the style Of the period,MOrtonplayed swungホ eighth notes with relatively long Off_the‐beat noteso As his 1934recordings with Wingy Manone show,he continued to play this rhythmic style

after others had turned to amore pronounced10ng―shOrt divisiOn ofthe quarter‐note pulse.KThisiS revealed onlyin Morton's solo chOrus:in his ensemble play‐ing and accompaniments forthe Other solos he followsthe rhythmic style oftheother players,showing that he knew and could play this newer style.He wasresponsible enough as an ensemble player not tO try tO impose his ideas on theother inusicians。)

13

“∽

●”一Ｌ

14

The 1929 Victor solos are not as wen played as his other recordings,nor are

his band recordings rnade later in the same week.The records sound as if they

脚 ぎ誡 電

dぶ棚 ЧI脚 1:FttW鴇 :ヽ鰭 冊 柵

(SOmetimestoo much),ruShes quite abit,and loses his place oncein each take of

searrre f誦“″cヵ,even lapsing in one ofthem into Frarces atthe reappearance of

the rlrst strain.FreatisA and P"、both recorded at this time,are represented in

this volume by transcriptions of their superior Library of Congress recordings。

The Library of Congress recordings are an extraordinary addition to the

body of Morton recordings,and forthatrnatter to thebodyofrecordedin77ingeneralo Many of their faults,as well as their great beauties,stenl from the fact

that they were not well planned,coIImerciany made recordingso ApparentlyMorton did not plan inany ofthese performances,as evidence of occasionalin‐

decision seems to show,and he was apparently notin good health。 (Whatever

the rnaking ofthese recordings meantto hiln,there was no reason for Morton to

believe that they would ever be commercially available。)

On the other hand,these recordings captured Morton playing rnore extend―

ed,relaxed performances and show hiin to be an indefatigably inventive ilnpro―visor.On these recordings,notlimitedtojust overthreeininutesashewaswhen

暴慨:躙却:露∬L剛盤器・躙誡器問 器

ル″Rο〃助られ物勧々,狙d筋霧留淵 '総朧;鯛需Fictra Fay 噂ゝ 、J“″gたβルesp SW“t

piano solo versions of pieces previously known only as band pieces;and the per―

認1習

乳 』;ぷ 靴 観 惚 露 乱htti翼 ‰ 霞 譜 留 まど嵐 t鑓

in notated form。(SOme Ofthis repertoire might scem a curious choiceo Morton

離島よ:1鷺 fFlollT肌 吊 据澱 響 L器 審 L鑑 1毬 箇 lr盟淵

briefly NIIorton's conllnents on the pieces or onthenotation,which in most caseswas not by Mortono Many of these transcribed comments are dated June 6,

1938.Apparently Morton decided to play some ofthe pieces after reviewlng the

music,or simply when Lomax asked him to play themo Two performances,

those of SИ“じ′fセrer and Srα′θα

“グ1をadおo″,appear from their details to have

been played fronl the copyright deposits themselves. The Library's reading

room where Morton and Lomax exalnined the lnusic is only a short distance

f r o m t h e b u i l d i n g ' s C o o l i d g e A u d i t o r i u m w h e r e t h e y r e c o r d e d。)

The Library of Congress recordingsshow that by 1938 Morton had adopted

the rhythmic style,with more pronounced long‐short swung eighth―note differ¨

entiation,that he had been resisting in 1934.C)ther changes on these recordings also indicate that Morton was setting a

style which he was apparently not to change again.These changes were notgreat:they merely amplified or continued the evolution of certain features

already part ofhis style and heard on earlier recordings.On his 1929 recordingsMorton uses fewer left―hand octaves(on the first and third beats of lneasures)

than hc had used on earher recordings,and the Library of Congress r∝ordings

continue this trend,showing inore single notes and tenthsinstead.This is also a

reflectionoftrendsinjazzpianoingeneral,which had been evolving away fromthe use of left―hand octaves since the carlier 1920s and,for that Fnatter,even

away from the stridelike left―hand style。

Morton's right‐hand style also took On an added dilnensiono His earlier

octave―dolninated style was not abandoned,but now he often contrasted it with

「一“●】∽〔

p“"n∝Of ttO mdOdc hn“.Ⅲs瀧島守陽出:S°

nedy ttpro対‐mated the ensemble texture he saw as i

鰐1麟翻麟聯蠍鷺 海″暉ら are well‐planned perf01.1lances of

掘 熙 冨 縄 I湾 騰 1期 l鷺ぽ∬鶉 辮 獣

)ニュ■■a10utlines Of his cOmpOsitiOns,butthey are rhythmically looser,closertotliffIユ

li:::W:11器 :;χttilildtheyshow a lighter rlligree of embellishmenl

走ホ螺脚蜃陽1鶴豫聾轟imance Of his own pieces.But when hel

New York,Morton set standards fOr a

cornplexity in solo piano which up tO then had been represented only in New

York,and then in a style much less Oriented toward improvisation than his was。

The occaslonal clailln that Morton was onlyamarginally cOmpetent pianistis

completely refuted by the recordings:he was a remarkably strong pianist as

m a n y o f h i s r e c O r d i n g s (陥″Sas Cir y S r a″,fOr in s t a n c e ) s h O w . H e w a s a l s o a nd∝ a正画 ■,お山enhttyofcongttsm盟

:澪ぶ 紹 留 招 [器 断others,demonstrateso MOreover,there iviltuOsity in his ability to establish and inaintain a complete,active texture with

striking independence OfcOmponents― ―his band ideal一in which he has neverbeen surpassed.

15

〕∽¨口”一α

LIFE

19

THE L」｀L

In spite of his lengthy recorded reminiscences,Jelly Roll Morton did notleave rnuch precise biography.Only recently has Lawrence Gushee discovered,through imaginative research,the rnost basic facts of Morton's life,that he wasborn Ferdinand Joseph Lamothe,October 20,1890.

Although Morton later explained that hc had changed his nalne to avoid be¨ing called``Frenchy,''the name Morton did not come out ofthe blue.Againfrom Gushee's research,we know that Morton's mother,Louise Monette,mar―ried Willialn Mouton,later known as Morton,when Ferdinand wasthree yearsold.

Morton was a New Orleans Creole――ofnlixed black and European ancestry――a inember of a group whose pride,pretensions,and prejudices,which he in…herited,could be a source of strength.But these attitudes also caused hurt andisolation,asthey did to Morton.During his childhood he wasintroduced to thestill flourishing practice ofvoodoo by his godmother.Although he wasraised aRoman Catholic,14orton early acquired a fear of voodoo which he apparentlynever lost.

I・Iis recorded recollections of his early life,as well as statements about his

relatives,suggestthat his great―grandmother and his aunt and uncle wereinlarge

measure responsible for raising hiln.His father was apparently absent from

about 1902,and his rnother died when he was about fifteen years old。Morton also reminisced,in his Library of Congress interview with Alan

Lomax,about a childhood in which rnusic played alarge part.He tells ofexperi‐

ences as a participantin New Orleans'legendary parades,asamemberoftheau‐

dience atthe French Opera,and as a performer― ―guitarist,singer,trombonist,

drunllner,and sporting―house pianist.Itis obvious that at an early age Mortonwas above all an attentive and impressionable listener.Hc appreciated and ab‐

sorbed the beauties of all kinds of lnusic,French and ltalian opera――he laterrecalled specifically Verdi's f7 Troソα′ο″ and Gounod'sB、 ぉ′一and other artmusic,the unsophisticated blues,the parade music,the gambling songs,thequadrilles and other dance rnusic,the piano styles,the``Spanish"music,and

the instrumental ragtime and jazzo ln later years,when recalling for Lomaxthese sources ofhis own style,he could recreate thenl,treating them with respectand understanding even while identifying what he felt to be their respectiveweaknesses.

When Morton was aboutseventeen years old,his great‐grandmother,want―

ing to removehis potentiallybad influence on histwo sisters,drove hiln fromthe

ど

コ

20

house after learning that he worked as a sporting―house pianisto Hc thus began

traveling at an early age,evidently never returning to New Orleans after about

1907.Hc earned aliving in a variety ofways:in addition to being a solo pianist and

entertalner,he became a band leader,produced night club revues,Inanaged

l府織認蹴葛:織龍f寵糧鮮軍ξギ群猟[practice to settle somewhere such as M(

for a short while and then to rnove on.For about five ycars,until l√ay,1923,his

headquarters was in Los Angeles where he was involved in a variety of enter‐prises,including band…leadingo This was apparently a very prosperous period

for hiln during which he was in partnership with and lived with Anita Johnson

Gonzales,whom he sometimes referred to as his Wife(thOugh it has not been

established that they were legally married,and e宙dence suggeststhey were not)。

she rlgures in the titles of two of his pieces and was the author of the lyrics of

Dθαグ磁 ″Bル●.

In 1923,Morton returned to Chicago(fOr probably his third stay)withOut

Anita and began his recording career and his association with the Melrose

Brothers Music Company(sec the introductory essay for Иゐルerれθβルの 。

Walter and Lester Melrose published solo piano and dance― or jazz band ver¨

sions of Morton's pieces,issuing thern after Morton had recorded them.Un‐

doubtedly the brothers helped in securing the recording contracts for OKeh,

Gennett, Pararnount, and still‐snlaller labels. In September, 1926, Morton

began to record for Victor.His 1926 and 1927 Victor records apparently soldvery well:Victor bined MOrton's Red Hot Peppers as their best‐selling``hot"

bando Melrose continued to issue single―copy and folio editions of his piano

music,shect‐1■usic editions of the vocal pieces,and orchestrations based on the

records.In 1929 thc Melrose brothersissued theirlast orchestration ofa Morton

鵠 脚 漁 器 品 ∬齢 撫 撻 」 鶴 t鮒 鱗twenty‐three ofthesc arrangements ofI

pieces which Morton had recorded but did not compose.

Early in 1928,at the peak of hiS success,MOrton moved to New York.Hc

had become increasingly aware of the business,as Well as the performance,

噸榊 撮椰鮮 !轟慕∬轟w h i l e t t e w t t W∝H鴫 郎 a ttow J■i絆

IЖ w York t t p t t m l y a c hⅣdMorton's recordings after his arri

鱗∬難騨捕漁脚Ⅷ 登i躙淵

縦憮 構 器 脚 脚

器I∬郡富&:l』鶴1席蹂壼:

榊 浮胸薔欝 Ⅷ 瀾 :里離粘∫棚鏃I::出よ:認計電露11:詰T濾 熱協TI鶏music l■ore like that of the contemp(

【一「ｏ

Bennic MOten band of]Kansas city,rather than that of such innovative or

mainstrealn New York groups as Duke EllingtOn's,Fletcher HendersOn's,Luis

R厖釧、∝ch」e bhttm、ぬeg騨盤i問盤淵』器‰hsMorton had a highly developed sen

music meant and hOw it wasto wOrk.At that tilne,his rnusicalideas were better

realized by snlall groups,and in late 1929 when he returned to recording withgroups Ofseven or eight piecesthat were not so dependent upOn the section con‐

cept tte results were genertty moresttx嘗

五翌 ∬ 蝋 品 よ 概 鋼 よnearer the stylistic mainstream than hi

less,snlaller,freer groups ran counter tO the prevailing trends,and his VictOr

棚鑑鵬l盤 塾 rl絆

肥謂淵 出FhК∞d鴫Sh hd

黎聾糊撼蠅鸞鸞I鷲職棚)man,or accompanisto MOrtOn alsO hadbusiness troubles unrelated to inusic,and in addition spent a substantial amount

of rnoney going to a v00d00 practitioner trylng to remove a v00d00 curse.

Most Of the stories Of 14orton's abrasive personality and inOnumental self‐

鵜撚響淵憾押鮮轟欄評駐撫聾br hiln than thOse wh0 0nly knew hiln

s u p e r r l c i a l l y i n N e w Y o r k。)Morton's days as a band leader on records were temporarily over.Between

hislastVictorsessionin 1930andtheLibraryOfcOngressrecordingsin 1938,he

蠅 撚 k話∬I器鋼lギ鑑1・鵡攣lttl撫ヽ 常wh江蝕“hOm面刺α Thoughtte嚇

:vlir脱雰税1膜1盤wslll薔じI:::hI勇‖IFttti:『 11:::鶏 n,the l〕orsey brothers,the CasalしOmaOrchestra,Bennie MOten,BOb Crosby,Harry James,(〕 len Miller,BennieGoodman,and a few others.But no ne■music ofhis was published until 1938。

蟹ど戯1鸞#鶴醤櫛 事熙犠i盤栞:踊ふ:闘χ胤鳳綿:躙‖席混I:LHI常鳳盤nttl点incident aggravated his health problems,which sOmetilnes incapacitated hiln

難11掛脳柵 欄 柵 ‖蓄熊運撃be ofpractical help by publishing some

of his lnusic.

In December, 1938,partly at Mabel's urging,he left the night club,even

though he was still optimistic about its success,and returned with her to NewYorko Hc hOped to revive his career and had reason fOr hOpe:starting with his

罐誓I篤縦ざ訛器熙濾 害[職駕脚錢絆Pttl∬'

21

と

コ

2

He IIlade a feW Of hiS fmest S01o recor

饉柵 撤 鼎succesゝ狙d he WおbrCed to“Cept『酬鷺IF盤:譜粗踏

J漁誌Chariti∝.vembσ,1940,drMnghsunI翼

讐観簿ユ審

‰器淵酬獄棚轟織

1酎)hold voodOo evidently had on MOrton.

his efforts to rid hiinself OfitS inttuence

M義鐵撚撒#轟撚 辮諜朧

d so to0 1ate。

ho survived hiino When he died,not yet

警 辮 硼 聰

genre,is b∝onling known。

CHRONOLOGY

OFCOM[POSITIONS

25

CHRONOLOGY OF COMPOSITIONS

A chronology of the actual composition of the pieces in this volume is im¨possible to establish with certainty.Although dates of first recordings and cOpy―

rights for the pieces are casy to establish through current discOgraphical

reference works and copyright records,less reliable data, such as MortOn's

statements and thosc of others,and speculations based upon known coniunc_

tions oftilne and place,can be used only with cautiOn to establish chronology。

The chronology for the pieces in the volume,listed below,is as accurate as

the data will a1low. Material within brackets comes from recollections of

musicians,hearsay,and historical reconstruction and cannot be substantiated.

Material not in brackets lists the rlrst documented evidence,a copyright or

recording,ofthe c対 stence of a composition,but rnany ofthem had probably

been composed years earlier.Additional historicalinforlnation for many ofthe

pieces lnay be found in the introductory essay to the rnusic.

[1902: ′セッOrrea″sBル“

composcd in this ycar,according to MOrton's recordedconversation with Lomax. But accOrding to MOrton's letter to Ripley andDοw″bect the ycar of compOsition was 1905.]

[1905: JellソRο″Bryes cOmposed in this ycar,according to Roy Carew and MOrton'sletter to Ripley.James P.Johnson recaned having heard MOrtOn playitin NewYork in 1911.l

[1906: King Parrar S′ο″′cOmpOsed,according to Carew.]

[1908: Frag‐r_Ma″Rαg composed,according to Carew.]

ICa。 1910‐1911: rhe craソθ composed(?).SCe introductory essay for the piece.]

[1911 0r earlicr: Berr Filrigtts compOsed.See introductory essay.〕

ICa.1915-1916: %′ッerinθ B′“ω cOmpOsed in Detroit,according tO MOrton。1

September 15,1915: Jellッ Rο″Br“ω copyrighted byentry for 1905.)

Will Rossiter,Chicago。 (Sec

May 15,1918: F「 og―r_MO″ Rαg copyrighted by Ferd MOrton,Los Angeles.(Sce

entry for 1908。)

[1919: Kottos Ciν Srο″′and 7助θ Paarrs cOmpOsed,according to MOrton.〕

、∞ｏ一ｏＥｏ』〓０

26

Fめmal″僣li:ユ沼I:1留:樅器富晩i蹴滞lt¥響Ъぶ挽。

'yJune,1923: Brig Foο′月ワ″ first recorded,by Jelly Ron MortOn and his Orchestra.

This was Morton's first known recording sesslon.

mけ口'轟:b涼 .灘儡糠諾:肌:り総ざ露=窯よ鷲鵬 驚the New Orleans Rhythm Kings with MOrton atthe piano.

Jdy掟,陽 Gra“″αなシθ偽勧沼肌」郷i篇訛ま攪淵硼 驚

Pcarrs(sec entry for 1919)firSt rec

recorded,by the New Orleans Rhythm Kings with MOrton at the piano.

“・“五til■iL協附篤柵群鮒t,郎apiano dα

Th me鉗“ests th江ぬe

alifornia days with Anita Gonzalez.

June 9,1924: S力 ″ッ″ο″S′ο″′,PttS∝ ′Rag(retitled Spο″れg月「0“sc Rag in 1939),

7o溜Cα′Bracsp and srrarfo■〆17“″c力rlrst recorded,as plano solos.

Se,mb鴇lλ」襟ar寵疑∬滋ξ亀龍:ガ

ghed,m anOКh∝tratitt by MdrO“.ュBracたBο′′0″ S′ο″′.

Mり2脇 d溜鮒 濡蹴t聴讐l側 競 嚇 卜

f棚:f淵piano.The picce was later(19301

J」y■ 助 物 r拗“

B亀 宙ぬ驚tiFsttl£ :FttЪ 躍 習計 1盤

Melrose.Anita's authorship of th

been composed three to nine ycars earliero Morton's QRS roll also dates fromthis year,perhaps even from before the copyright.

August 7,1926: Srarg α“σハイadおo″cOpyrighted by Charles Raymond,Chicago,onc

oftwo co―compOsers.

December 10,1926: Cα““

0“bα〃Br“as cOpyrighted by Melrose.

February 5, 1927: redLθ wぉ B′“esp about ten wecks later to be retitled Ⅳ■d拗

“β′

“as9 copyrighted by Melrose.

June 4,1927: 夏ンθ″αS′ο″ ,3′rry cοαr SrO″,and J““

gたBルω first recorded,by

the Red Hot Peppers,Morton's recording group。

March 13,1928: 3中 Jo B′“as first recorded,by Johnny Dunn and his band with

Morton atthe piano.Morton later recorded the piece,solo,as Mtt Joo WhiCh

may have been the original title.See the introductory essay for this piece.Ac‐

cording to Charles Edward Smith,the piece dates from Morton's New Orleans

days,that is, 1907 or earlier,and it was played by King C)liver's Creolc Jazz

Band,which would mean thatit had been heard as early as 1923.

June ll,1928: Gθ Org′αSw′″g and Bοοgαbοο rlrstrecorded,bythe Red Hot Peppers。

Later,in his lctter to Ripley,Morton lnaintains,in the course of clailning the

first use of the word``swing''applied to jazz,that Gθοrgた Sw″ g had been

written in 1907.

July 8, 1929: P",Sθ αrrra ff“″cヵ, Fra″躍 , and Jレ?αにヽ 力 first recorded, as piano

solos.Fセp and Frcaたな力probably were composed at aboutthistime,since they

both appear to be what lnight be thought Of as``up―to‐date"pieces.Frarces

strongly resembles the carlierハイa“α″′′α.

November 13,1929: Swθ θr rセ′ar first recorded,by the Red Hot Peppers.

０〓『ｏ●ｏ】ｏ”К

晦踊聯憮椰 蹴脇臨臨眈m磁

雌騨蝉締柵覇鑽澪. 27

＾ぃ０】０●０』〓０

NOmSON THE MUslc AND EDITORIAL

PROCEDURES

31

NOTES ON THE MUSIcAND EDITORIAL PROCEDURES

The forty piecesin this v01ume can lto their sources:(1)editions Of inusi

織 灘 i郡藻 翼Ⅷ 蓬躙 鰊 鳥

:締 lttli鱗 ざ櫨 期.織鵡 群織淵 i庶themselves,asoppOsedtOtheperfOrmil厭も::」ilJ:lt織:tfff∫駕i,s

認道縫罵悪l檄versions Of Morton pieces, Ns′ ッerinθ

ヽ熱 、二ο″dο″Bル (■ル ″ 0″』

“

″sB

驀鶯鱗籍難鑑蹄‰脩訛ZO″Jο″β′″esp andコ助θ Paarrs are alm(thecopyright depOsit versions atthe LibraryOfcOngressin MOrtOn'sOwn hand。

善榊:塁 暴讐欅椰捕 :λ7蹴Ⅷ織∬蹴鰐 僣喜搬 盤協 躙 鶴 盤∞智鳳‰服踊柵 ζJ:∬翼穏Ⅷl:彙詣盤讚IndbrmJ

撒覇嶽首鵜 撼搬Gωなたs所得md助“れ欧―

∽ｏ』●一ｏ９ｏ』Ｌ

一“〓０〓０国

32

cept for(3α″“0″bα〃B′

“esp Which seems to have been published before it was

recorded,theywere probablyissuedto take advantage ofthe factthattherewere

Morton Red Hot Peppers recOrdings of the pieces then available.As a group,

they were somewhatless successfully notated for piano than the others,not only

because of the changed medium and their essentially snlall scale, but also

because the arrangers who prepared theln did not have Morton's skin in con_

structing variations。(MortOn himself showed,with his later versions oftte″α

S′ο″7,and J“″g′θB′“as,that pieces rlrst recOrded by eight instruments could

make effective piano solos。)These versions are rather short――since faithfultran―

scriptions of the band performances for piano are not feasible――and usually

state only the basic Fnaterial.Except for Cα″″ο″わα〃BJzes,cach ofthese pieces

has only two strains.Ca″″0″bα〃正〕′

“as already castin a style closer toヽ4orton'sthan that ofthe

other piano―into―band versions,has been edited to rnake it conforrl better to

Morton's piano style and to renect the forrnal recasting of his band version.

BiI:ジGοα′S′0″ is reprinted as originally published and is included rnainly for

the sake of completeness, since it does not survive so well in its change of

medium from band to piano.The edition of И4′グ拗 ″β′“as adds only dynanlic

and articulation markings and some corrected nlisspellings of the original。

Gθοrgtt Sw'″g and Bοogαb00 make attract市c,if brief,piano solos.In GθOrg″

Swing's edition some nlistakesin the melody line are corrected and dynanlic and

articulation lnarkings have been added.It closes with a piano reduction of the

last chorus ofthe Red I‐Iot Peppers recording ofthe piece.Bο οgαbοο's dynanlic

and articulation Fnarkings are added,some rnisspellings are corrected and some

uncharacteristic``modernisms"are removed fronl the harmony.For each of

these pieces,examples ofthe editorial changes made are given in notes following

the cornplete version of the piece.

ML JellソIjοだ andDeαdル物″βル

“

are each represented principal lybytheir

piano―roll performanceso Each was performed on a``word roll,''one with the

piece'slyrics printed at the side ofthe perforations for those who wished to sing

alongo A word roll had to state the lnelody rather explicitly and this imposed

limits on the performance as a vehicle for jazz impro宙sationo Nevertheless,

Morton dealt with these lillnitations quite successfully and,particularly in thecase of』Иh J凛ッLO晨らproduCed rolls of considerable interest。

Piano rolls are uniquely susceptible of alteration before publication:notescan be added or removed silnply by adding or filling in holes in the rnaster roll.Each of these rolls bears aural evidence of having been altered;indeed some ofthe passages are impossible for a solo player.I have removed obvious stylisticanonlalies and have indicated in the notes following the pieces what the rollsactually play,I have not removed the rnore subtle differences between the styleof these rolls and that of the recorded performances. These are differenceswhich probably are the result of editorial change but WhiCh nlight have beenintroduced by Morton hilnselfo With a little infonnation on the differences,thereader can remove them himself(if he assumes that these changes were addededitorially)or he Can play the transcriptionsin orderto produce the music asitison the rolls.

There are two principal differences between the performances on the rolls

and Morton's style on his recordings.First,the rolls often seem to include more

harmony nOtes between the notes ofthe octave playing the melody,which givesa somewhatless bright,less incisive right‐hand styleo Second,theleft hand often

contains sustained middleregister notes―一usually within a rlfth below lniddle C

――introduced as the top notes of octaves or tenths.

While Morton possibly could have introduced the change in his right‐hand

style,esp∝iallyifhe Fnadethe rolls at a slowtempo,I think itrnore likelythat the

国０〓ｏ■”】「『ＯｏｏＯ●『ｏ∽

extra notes were added by an editor.勁e reader can thin the right‐hand texture

by remo宙 ng notes,keeping(usually)the thirds or sevenths of chords,and the

notes preceded by accidentals。

Transcrlption of the rolls'left―hand style sometilnes produces inusic that

cannot actually be played.Long notes一 appearlng as the tops of octaves and

tenths on beats one and three一are often held fortwo to four beatso With the use

of the pedal and a rethinking of the left―hand technique,an approxlmation of

this effect,a sound conllnon in popular llnusic piano playlng of the 1920s and1930s,can be produced.I have transcribed the roll'sleft hand aslnuch as possi‐

ble as theroll actuallyplays,even whilequestioningthe authenticity ofthis style。The reader can adopt the style or discard it―silnply by cutting short these long

nOtes―‐as he sees fit.(BiOgraph BLP 1004Q is an LP recording of a1l of Morton's known rolls。

Some ofthelongleft―hand notes arenlissing inthese recordings because Michael

Montgomery,who edited the rolls,Judiciously removed themo Montgomeryls apiano―roll collector and expert as well as a pianist。)

One further difference between the style of the rolls and that of the r∝ord‐

ings is in the use of repetition oflarge segments of musico Literal repetition of a

section is possible through the duplication ofthe appropriate sequence ofholes

in the piano roll.Each ofthe perfo.ll.ances transcribed fully here makes some

use ofrepetition ofwhole choruses,which accounts forthe use ofrepeat signsin

these transcriptions.The renlalning thirty―one compositions are transcribed froln recorded per―

formances,beginning with Morton's first solo recording session for Gennett in

1923,and ending with hislastsolo recording session in 1939。The principle l have

used for these transcriptions is to notate just what Morton playedo My excep―tions were:(1)miStakes which seem ob宙ous(for these l have notated what Ibelieve Morton intended and have indicated in a note the inistake he actuallyplayed);o)placesin which l cannot be certain what Morton played,for which I

have pro宙ded a coniectural s01ution and so identified it;(3)``ripS,"the two―,three‐,or four―note ascending scale宙se ornaments rising to a principal melodypitch,which l have often notated as successions ofgrace notes,in spite of slight

rhythmic differences;and“)SOme ofthe middle…register second‐and fourth‐beat left―hand chords whosc highest pitch is usually audible,but whose precisespacing below and sometimes even pitch content are unclear.Forthese chords Ihave notated what l know Morton played in other,more audible,instanceswhen he used the same harmonyo Such notations are not identified as conJec‐tural。

The nlain difrlculty in transcribing piano music is that of register: not

whether any C's are being played,but which ones are being playedo This arises

from the nature ofthe piano itselt and especially from the large pianos usually

found in recording studios,which have rich spectra of overtones.Two rather

different problelns emerge.The rlrst problem is thatthe harlnonics generated by

lower notes are occasionally strong enough――particularly the twelfth above the

fundalnental‐―‐to sound as if they had actually been playedo This is especiallyprevalent on acoustical recordings。

Thes∝ ond problem isthe oppOsite one:notes that actually were played canget lost,particularly when they are very high. Relatively weak upper octave

doublings of strongly played lower notes(which describes the way Mortonplayed right―hand octaves)are sOmewhat fainter and“ hid9ν

′in the upper par‐

tials ofthelower pitches。(SOme aspects ofMorton's playing suggestthat he con―

ceived of the lower pitch of a right―hand octave as the principal one。)The notation in this volumeis meant not only to be an accurate recording of

what Morton played,but also to be uncomplicated enough to be playable.Thus

33

∽ｏ』●一ｏｏＯ』Ｌ

【”〓ｏ〓０国

34

notations could sometimes have been lnade still more rhythnlically precise.But

every gain in such accuracy calls fOr another rnusical symbol,and the notationwould then become progressively rnore complicated and less useful as it begins

to bristle with refinementso Nevertheless,the relatively uncomplicated notation

in this v01ume,given the assumptions explained below,is quite accurate,and therecordings themselves can answer questions about further refinements.

In lnany cases,details ofarticulation or very slnall distinctiOns in rhythm are

not re■ected in the notation.For instance the stridelike left hand,allnOst alwaysnotated here with four quarter―note durations,is often played with the second‐and fourth‐beat chOrds played shOrt and sharply articulated, suggesting a

notation of J. , 」 | 」。 ,J I . I have not used distinctions of this

magnitude because l wished to avoid complexity and, mOre importantly,

because l wished to shOw important silnilarities ratherthan what lthink are fair―

ly unilnportant differences.

The notation ofjЯ77 raiSes the question ofjust what notatiOn can actuallyrepresent.It shOuld be bOrne in inind that inodern music notation developedlargely as aprescriptive systenl,designed to give perforlners directions on how torealize a piece in perfOrmance.In this v01ume it is being used descriptively,torecord performances that have already taken place.

Our notational system,with a simple proportionalscheme for rhythm,doesnotlend itselftO descript市euseforjazzbecauserhythmsthatthesystemcannOteasily record are commonplace。(A truly accurate notation of a performance一as oppOsed to the compositiOn itself一〇fa Western classical piece with its rubatowould be silnilarly difficult tO achieve。)An explanation,then,ofthe assump‐tions lnade in lny use of nOtation is necessary.

No truly satisfactorily silnple or universany used systenl for the notatiOn ofjazz'sswung``eighth"notes exists.Thegeneralprincipleofthisjazzconvention

is that two notes played cOnsecutively during a quarter‐note beat w11l not beequalin duratiOn:the first will be 10nger,producing the characteristic long‐shortrhythmic fee1 0fjazzo whilejazz practice from time to time reestablishes normsofwhatisacceptableinwhattempoastheproportiOnalrelatiOnshipofthesetwodurations,the proportions are generally governed by the fo1lowing lilnits:thefasterthetempo is,the more nearly equalthe“eighth"notes are;and the s10wer

the tempo is,the more nearly the propOrtion approaches being 「'3 .In

this volume and in much jazz notation elsewhere,ordinary undifferentiatedeighth notes are used to represent the swung eighth‐note rhythmo Almost a11 0fthe cighth notesin this volume are to be played swung,as are all syncOpatiOns.

notes are identified by hOrizontal dashes,enclosed within parentheses,above or

below the noteheads,e.g.{FFFF)Or (JJJJ)・In the“Spanish tinge''*

pieces or sections of pieces,ノVυ″ 0ス』θαぉ 』〕′

“

esp■′″″an′′c,J9θασ Л′″″」B′

“

espCン3cρノJセ

`″″&sン α″お力S“ ち力b″り 物″たMお ic,and 7■c Craソらthe eighth

notes are swung,but are generally lnOre nearly equalin duratiOno Theleft―handtango Or habttiera rhythm,which is syncopated,is also swung。

ｍ●〓ｏＬ”】「『ｏｏｏＯ●一０∽

ｃａｎ　

　

ｇｈｔｈ

♪

　

ｄｅ

月　山

月　ｎｌｙｅＶ

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ｅ

Ｃ・ｇ　獲

ｅＳ　　」り

ｈｔｈｎ。ｔ　．ｅ．ｇ

　

ｈｅ

ｄ

　

Ｔ

Ｃ

　

　

ヽ′

ｂｈ

・鴫　ｆａｓ　

ｈ

　

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σ　ｂｅ

燎T二慧ll翼棚譜1■Rt蹴:書蹴師譜CT.宥

胃=

for the sake of simplicity,though Morton often actually plays ttis as♪タツ♪き♪7 ・

In general,the“Spanish tinge"pieces present the greatest rhythnlic difrlcul…ties.Here again,more discriminant notation could have been used cndeed myworking transcriptions were more complicated than the notations in thiSvolumo,but l have chosen to represent difrlcult passages as simply as possible。In the notes following the pieces l have identirled the few segments in whichnotes of very shghtly different lengths are represented as being equal in timevaluc.

Ghost notes*in the transcriptions are enclosed within parentheses.

At several points in the inusic there are indications for silnultaneous grace

notes.These are attacked with,not before,the principal nOtes but are released

inllnediately while the principal notes are held.

ne only other unconventional notation that l have used is the adding of a

stem to the notehead of a note which,as indicated by the stern,is actuany held

slightly beyond its duration as represented by the conventional part of the

notationo Thus such a segコnentas tt representsfoureighthl■ otes withthe

second held slightly longer than the others,a little beyond the attack ofthe notewhich follows.

A few sinall problerns make absolutely precise deterlnination oftelnpo difrl_

cult or impossible.Although it is known in what key rnost of the pieces wereplayed,a crucial point with the Library of Congress recordings,which were

recorded on equipmentthatin some cases slowed thenl down enough to lower

the pitch almost a lninor third,there can■ot be absolute certainty about thepitch to which the pianos were tuned.The telnpo indications,which are correct―

ed to the proper pitch as nearly as possible,should nevertheless be accuratewithin very few beats. For the performances which rush, I have given the

average tempo for the first and last whole choruses'。The tempo indications for

the reprinted sheet rnusic and the piano―ron transcriptions are those of otherperfo....ances of the sarne or similar pi∝es.

ThedesignationofstrainsttalsoneedsexplanationoSincetheeffectofirnme―

diate repetition of a straln is not the sarne as the effect ofits reappearance after

other inaterial has inteⅣened,I have used sttbols which recognize this dif―ference in designating the strains.The representation Al‐1;Al-2;Bl‐1;Bl-2;A2;B2_1; B2_2 can be read as: first straln/group one― rlrst appearance; rlrststrain/group one―second appearance;s∝ ond straln/group one― rlrst appear―ance;second straln/group one― second appearance;rlrst straln/group two(One

appearance only); Second strain/second group― first appearance; secondstrain/second group―second appearanceo Where l have used lower‐case letters,in the blues pieces for instance,the strains are identicalin length,very silnilar inharmonic outline,and distinguished by only relatively snlall inelodic and tex―

tural differences.

The introductory essays give outlines of the pieces' cOpyright histories,

showing the dates of cOpyright,the formsin which the pieces were copyrighted(。e。,lead sheet,piano solo version,orchestration),and the Original copyrightholders.They also give histOries of]40rton recordings of the pieces,showing

dates of recording,artists and/or inedia,record label and issue numbers withmaster numbers in parentheses, and metrononlic tempo indications, which

35

∽ｏ』”一０りｏ』』

【”〓ｏ〓０国

36

show ranges oftempos unthin which Morton played the pieces.Fouowing each intЮ ductory essay is the music tsdf,a complete version of

the piece(fOnOwed,h seVeral cases,by additional notations which transcribeparts ofother performancesto show how Morton played the same material dif―

ferentl y a t d i f f e r e n t t i m e s ) W i t h n o t e s o n t h e t r a n s c r i p t i o n o r e d i t i o n a t t h e e n d .

The source which is transcribed in its entirety,either a r∝Ording or printed

music,is identirled in the copynght and r∝ording history with an asterisk.The

source of any additional partial notation is identirled with a+。At the end ofthe volume is a glossary ofteュニュ.s used in the text.

Discographical info.1.lation is■om Brian Rust's Jaz Racontt f897-r'ク .

Fina■y,the reader should be aware that these are not the“corr∝t"or

“derlnitive"versiOns of Morton's pleces:ind∝d there cannot be such versions

ofpiecesinto which variabi五tyis composedo Rather,the complete versions tran―

scribed arethosein which lthought Mortontheperfoニュニ.er and Mortontheconl―

poser were best balanced and in which the plece as a whole was best realized。

口０〓ｏ”きら

「『ＯＱ只】“『０り

を

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