Transcript
Page 1: New Orleans and Early jazz

The Birthplace of Jass

New Orleans

Page 2: New Orleans and Early jazz

A Unique Colonial history.

Coastal city in the

Southern state of

Louisiana.

Was controlled by

Spanish and French

before being sold to

Americans by French

in 1801.

Page 3: New Orleans and Early jazz

Different Cultural Makeup

Congo square – an area where on Sundays African

and patois songs, French quadrilles and African

styled drumming were performed.

A brass and military band culture.

A large Creole or mulatto class who were granted

privileges of free men and had access to general

society and IMPORTANTLY musical training.

Fraternities, secret societies, and clubs. (White and

Black) - music groups that performed at all public

functions. Picnics, funerals, dances, boating trips.

Page 4: New Orleans and Early jazz

Creole liberties are ended

1894 post-civil war legislation withdrew all or

most civil rights from the Creoles.

Creoles lost their property and were forced to

live alongside the darker Negroes.

In these ‘mixed’ areas the finely trained bands

of the Creoles and the untutored, raw bands

of the Uptown, darker New Orleans Negroes

played together.

Page 5: New Orleans and Early jazz

Common instrumentation

Trumpet

Trombone

Clarinet

Tuba/Acoustic Bass

Banjo

Piano

Page 6: New Orleans and Early jazz

Jass is Born - Musical coming

together The formal technical training of the Mulatto

was combined with the oral blues expression of the darker Negroes.

Mulattoes gave blacks training.

Mulattoes had to play the ‘rougher’ blusiertype of music to keep work.

By the time the first non-marching, instrumental, blues-oriented groups started to appear in numbers, i.e., the "jass" or "dirty" bands, the instrumentation was a pastiche of the brass bands and the lighter quadrille groups.

Page 7: New Orleans and Early jazz

Jass Equation

Blues of Darker Skin Negroes + Ragtime by

Brass Bands + Technical Instrumental Expertise

of Mulattoes = Jass

Largely Instrumental

Page 8: New Orleans and Early jazz

Unique musical characteristic of New

Orleans

Collective Improvisation

‘Tail-gating’ sound of the trombone.

Page 9: New Orleans and Early jazz

Artists

Artists: Buddy Bolden, King Oliver, Louis

Armstrong, Jelly Roll Morton.

Page 10: New Orleans and Early jazz

Works

Baraka, Amiri. Blues People: Negro Music in

White America. New York: W. Morrow, 1963.

Print.

Southern, Eileen. The Music of Black Americans:

A History. New York: W.W. Norton, 1971. Print.

Page 11: New Orleans and Early jazz

Social Change

These groups will eventually move to the Urban

North initiating the Jazz age.

Page 12: New Orleans and Early jazz

www.stefanwalcott.com

music.culture.music


Top Related