4.)        Bradley:                       (cont'd)

THE GROWLS AND SHOUTS ATTENDING JAZZ'S BIRTH WERE BY MOST ACCOUNTS COMING FROM THE CORONET OF ONE BUDDY BOLDEN, THE LEADER OF THE FIRST BAND TO MAKE JAZZ MUSIC.

HE DREW ON A RICH MIX OF MELODY AND RHYTHM FROM THE FRENCH, AFRICAN, BRITISH, SPANISH, INDIAN AND CARIBBEAN PEOPLE WHO LIVED TOGETHER IN NEW ORLEANS.

 

5.)        Music:  M#67 (?)           (Puntilla Rios - bata drumming from Celia)

(fades in under)             

 

6.)        Bradley:                       

THE CITY HAD BEEN A FRENCH COLONY. WHILE AFRICAN SLAVES' DRUMMING WAS BANNED ELSEWHERE, IT WAS NOURISHED HERE BY THE CARIBBEAN ISLANDS AND FLOURISHED IN "CONGO SQUARE".

THOUGH IT WOULDN'T APPEAR UNTIL THE TURN OF THIS CENTURY, THE INGREDIENTS FOR JAZZ, LIKE THOSE FOR A GOOD GUMBO, WERE BEGINNING TO COME TOGETHER.  AT THE END OF THE CIVIL WAR, SACRED MUSIC, HYMNS AND OTHER EUROPEAN MELODIES WERE MEETING A SIMPLE SONG FORM CALLED THE BLUES.

 

7.)        Music:  OM#7   "Just A Closer Walk..."  (Cresc.City Summit)   

8.)        Bradley:                      

"JUST A CLOSER WALK WITH THEE".  A HYMN PLAYED IN THE NEW ORLEANS STYLE, WITH CLARINETIST MICHAEL WHITE DIRECTING THE BAND...  TEDDY RILEY ON TRUMPET,  GREG STAFFORD PLAYING CORNET,  FRED LONZO ON TROMBONE, DANNY BARKER ON BANJO,  STEVE PISTORIOUS AT THE PIANO, REGINALD VEAL ON BASS AND HERLIN RILEY, DRUMS.

            CHURCH MUSIC HAD NEVER SOUNDED LIKE THIS BEFORE... LESS LIKE A CHORAL ARRANGEMENT, AND MORE LIKE A PARTY, IT WAS FULL OF BUBBLING PLAYFUL CONVERSATION. A THEME STATED BY ONE INSTRUMENT WOULD BE PICKED UP AND EMBELLISHED BY THE NEXT, AND THE NEXT -- EACH IN ITS OWN REGISTER, HOLDING ITS MUSICAL GROUND -- LISTENING TO AND "CONVERSING" WITH THE OTHERS. THIS WAS NEW ORLEANS POLYPHONY, IN THE "CALL AND RESPONSE" THAT IS BASIC TO JAZZ.  

THE RECONSTRUCTION ERA BROUGHT AN EXHILARATING SENSE OF FREEDOM TO BLACK MUSICIANS. THEIR MUSIC DEVELOPED THESE PLAYFUL, EVEN COMPETITIVE DIALOGUES BETWEEN THE INSTRUMENTS... THERE WERE NEW RHYTHMS, STRONG VIBRATO, COARSER INSTRUMENTAL TONES, GROWLS, SHOUTS AND "BLUE" NOTES. ELEMENTS OF AFRICAN, SPANISH, CARIBBEAN, FRENCH, GERMAN AND BRITISH MUSIC WERE, SIMMERING IN NEW ORLEANS' HEAT. THE JAZZ GUMBO WAS THICKENING... AND THE GROUNDWORK WAS BEING LAID FOR A WHOLE NEW SOUND.

 

9.)        Bradley:                       (cont'd)

THE KEY TO MAKING GUMBO IS THE ROUX, (RUE) AND THE KEY TO NEW ORLEANS JAZZ WAS THE RHYTHM.

 

AT THE TURN OF THIS CENTURY THE BLUES, HYMNS AND MARCHES COULD BE HEARD ALL OVER AMERICA, BUT WHEN THEY REACHED NEW ORLEANS, THEY WERE PLAYED IN A NEW RHYTHM AND THEY CHANGED FOREVER.  NEW ORLEANS GUMBO WAS TRANSFORMED BY HUMAN GENIUS.    THE LIGHTENING BOLT WAS A MAN NAMED CHARLES "BUDDY" BOLDEN. AND FROM POLYPHONY, BLUES AND SYNCOPATION HE CREATED JAZZ.

 

THE LEGENDARY MUSICIAN DANNY BARKER TESTIFIED TO BOLDEN'S ACHIEVEMENT WITH THE BAND ON THE STAGE AT LINCOLN CENTER .

 

10.)       Music:     M#39 I THOUGHT I HEARD B.B.SAY (Jelly Lord)

{music is followed by comments from Danny Barker WHICH ARE TO BE USED}

 

BUDDY BOLDEN'S BLUES, ALSO KNOWN AS "I THOUGHT I HEARD BUDDY BOLDEN SAY,"  --  THE EARLIEST KNOWN EXAMPLE OF JAZZ, SUNG BY ONE OF THE LAST NEW ORLEANS PIONEERS, THE LATE DANNY BARKER, WHO ALSO PLAYED THE BANJO. 

 

THE MAN WHO WROTE DOWN "BOLDEN'S BLUES" WAS THE YOUNG JELLYROLL MORTON.  SOME YEARS LATER, MORTON SHARED HIS RECOLLECTIONS OF BOLDEN WITH THE LIBRARY OF CONGRESS.

 

12.)       Vox:                 Jelly Roll Morton

 

Well I tell you Buddy was the most powerful man in the   history.  Why Buddy Bolden would play sometimes at most of the rough places.  For instance:  the Masonic Hall on Perdido at Rampart which is a very rough section.  Sometimes he plays at the Grove Hall, that's in the downtown section on St. Peter and St. Claude; very, very rough place. Occasionally, Buddy Bolden used to play in the ____ Hall, which was a much nicer hall on the corner of Jackson and Franklin in the garden district.  Occasionally he would play in the Lincoln Park, anytime they could get him that's where they would have him. I used to go out to Lincoln Park myself when Buddy Bolden was out there because I used to like to hear him play and outblow everybody.  I thought it was good myself.  Anytime it was a quiet night out to the Lincoln Park. It was at least about 10 or 12 miles from the corner where we hung out.  Maybe an affair wasn't so well publicized.  So in order to get it publicized in a few seconds, old Buddy would just take his big trumpet and just turn it around towards the city and blow this very tune that I'm talking about.  In other words, the tune is "I Thought I Heard Buddy Bolden Say".  And the whole town would know that Buddy was there.  In a few seconds, why the park would start to gettin' filled.  It was nothing for Buddy Bolden to fill any place you could hear his horn during those times.

 

13.)       Bradley:                       

THE FIRST JAZZ COMPOSER, JELLY ROLL MORTON, TALKING ABOUT THE FIRST MAN OF JAZZ, BUDDY BOLDEN IN TURN OF THE CENTURY NEW ORLEANS.

THAT CITY'S CONGO SQUARE, THICK WITH RHYTHMS, WAS A NATURAL PLACE FOR POPULAR MARCHES AND RAGTIME TO COME TOGETHER WITH THE MUSICAL CORE OF JAZZ, THE BLUES.  

 

WE'RE GOING TO HEAR A TRIO OF BLUES COMPOSITIONS PERFORMED IN TRADITIONAL STYLE.  MICHAEL WHITE LEADS THE NEW ORLEANS ENSEMBLE AT LINCOLN CENTER'S ALICE TULLY HALL.  WE'LL BEGIN WITH "TIN ROOF BLUES".

 

14.)       Music:  OM#6   TIN ROOF BLUES (C.C.Summit)

 

15.)       Bradley:                      

THE "TIN ROOF BLUES", ONE OF THE OLDEST KNOWN TUNES IN THE NEW ORLEANS SONGBOOK. 

EARLY IN THIS CENTURY, THE MEMPHIS COMPOSER, W.C. HANDY TOOK A FOLK TALE AND A TUNE KNOWN FOR CENTURIES AND TURNED THEM INTO A BLUES. MEMPHIS IS JUST UP THE RIVER FROM NEW ORLEANS, AND THE SONG  DIDN'T TAKE LONG TO FIND ITS WAY TO THE CRESCENT CITY.

NEAR THE END OF THIS CENTURY, IN GOTHAM CITY, WYNTON MARSALIS PROVIDED SOME NEW ORLEANS HORN TO THIS RENDITION OF HANDY'S "CARELESS LOVE" FEATURING THAIS TYE-ees CLARKE ON THE VOCAL.

 

16.)       Music:  OM#6   CARELESS LOVE (C.C.Summit)

 

17.)       Bradley:                      

THAIS CLARK WITH MICHAEL WHITE AND THE BAND ONSTAGE AT ALICE TULLY HALL IN NEW YORK.

NEXT, WE'RE GOING TO TAKE THE BLUES INTO THE STREET... CANAL STREET THAT IS, ONE OF THE FABLED MAIN DRAGS IN NEW ORLEANS, WHERE THE MUSIC WAS PLAYED BY LEGENDS SUCH AS LOUIS ARMSTRONG AND HIS MENTOR, KING OLIVER.  THIS IS "CANAL STREET BLUES."

 

18.)       Music:  OM#7   CANAL STREET BLUES (C.C.Summit)

 

19.)       Bradley:                      

"TIN ROOF BLUES", "CARELESS LOVE" AND "CANAL STREET BLUES" ALL PERFORMED BY NEW ORLEANS MUSICIANS --  FRED LONZO, HERLIN RILEY, TEDDY RILEY, GREG STAFFORD, AND REGINALD VEAL... WITH THE LATE DANNY BARKER ON BANJO, ALL UNDER THE DIRECTION OF THE CLARINETIST, DR. MICHAEL WHITE.

 

20.)       Music:              PAUL BARBARIN'S SECOND LINE (nojh)_

 

21.)       Bradley:                                  

PRODUCTION FUNDS FOR "JAZZ FROM LINCOLN CENTER" COME FROM -- THE CORPORATION FOR PUBLIC BROADCASTING AND THE NATIONAL ENDOWMENT FOR THE ARTS AND A MAJOR GRANT FROM THE LILA {LYE-la} WALLACE READER'S DIGEST FUND - CONNECTING ARTISTS AND COMMUNITIES THROUGH JAZZ. ADDITIONAL SUPPORT COMES FROM THE NORMAN AND ROSITA WINSTON FOUNDATION, THE TRIBUNE NEW YORK FOUNDATION AND NATIONAL PUBLIC RADIO MEMBER STATIONS THROUGH THE N-P-R CULTURAL PROGRAMS FUND.

WE WELCOME YOUR COMMENTS ON THESE PROGRAMS.  YOU CAN WRITE TO US AT 70 LINCOLN CENTER PLAZA, NEW YORK, NEW YORK, 10023 or YOU CAN SEND E-MAIL TO MURRAYSTREET (that's one word)  AT MCIMAIL.COM

YOU'RE LISTENING TO JAZZ FROM LINCOLN CENTER.  I'M ED BRADLEY.

Midbreak (ca. 25 min.) - (:10 as bed for local station ID's)

 

22.)       Music:              SOUSA MARCH

JOHN PHILIP SOUSA WAS KNOWN AS THE "THE MARCH KING." HIS HIGH STEPPING MUSIC WAS AN AMERICAN EMBELLISHMENT ON A EUROPEAN TRADITION. TODAY, OUTSIDE OF PARADES WE DON'T HEAR HIS MUSIC MUCH, BUT A HUNDRED YEARS AGO "SOUSA'S BAND" WAS THE MOST FAMOUS IN THE LAND. THEY WERE THE MODEL FOR MANY SMALLER ENSEMBLES THROUGHOUT THE COUNTRY.  BUT WHEN WIND BAND MUSIC WAS PLAYED IN NEW ORLEANS, IT CAME OUT IN THE NEW ORLEANS STYLE ---  WITH A LITTLE BIT OF BLUES, CALL AND RESPONSE, A NEW KIND OF RHYTHM, AND EACH INSTRUMENT HAD SOMETHING TO SAY. 

THIS IS A MARCH MADE FAMOUS BY KING OLIVER ...HIGH SOCIETY.

 

23.)       Music:    M#112/OM#6   HIGH SOCIETY (k.o. OR Cor Kings)?

    OM#6           PANAMA (C.C.Summit)

 

24.)       Bradley:                      

"HIGH SOCIETY"  AND "PANAMA," TWO TURN OF THE CENTURY MARCHES, HEARD TODAY ONLY BECAUSE THEY WERE CAPTURED IN THE MUSICAL REVOLUTION OF NEW ORLEANS --  AND PLAYED AS JAZZ ON THE STAGE OF ALICE TULLY HALL IN NEW YORK CITY.

25.)       Music: N.O. PARADE footage (SR/SB)

starts under this graf     

OM#7(OR WM'Wild Man or Potato Head)

 

26.)       Bradley:                                  

WHAT BUDDY BOLDEN COAXED FROM HIS HORN, AND WHAT JELLY ROLL MORTON PLAYED TO THE WORLD, HAS BECOME THE SOUND OF THE  CENTURY...  JAZZ, WITH ITS MUSICAL DEMOCRACY -- ROOM FOR EACH VOICE, THE FREEDOM TO IMPROVISE, AND DEEP ROOTS IN THE BLUES -- HAS BECOME THE FOUNDATION FOR ALMOST EVERYTHING WE NOW THINK OF AS "AMERICAN" MUSIC.

 

27.)       Vox:                 Michael White actuality?

 

28.)       Bradley:                      

DUKE ELLINGTON KNEW THIS, AND IN 1970,  HE COMPOSED A TONAL PORTRAIT OF THE CRESCENT CITY AND CALLED IT THE "NEW ORLEANS SUITE".           WE'RE ABOUT TO HEAR A SECTION OF THAT WORK DEDICATED TO THE ALL PURPOSE MUSICAL CELEBRATION -- THE NEW ORLEANS STREET PARADE --AND TO THE CRESCENT CITY LISTENERS WHO PARADE BEHIND THE MUSICIANS IN A RITUAL KNOWN AS THE "SECOND LINE."

 

29.)       Music:  M#5      Second Line (use 8/10/91 from LCJO or CD)                                                                 (Portraits by Ellington)

30.)       Bradley:                       (over applause)

            DUKE ELLINGTON'S CELEBRATION OF THE NEW ORLEANS STREET PARADE, THE "SECOND LINE."  THE LINCOLN CENTER JAZZ ORCHESTRA WITH:  NORRIS TURNEY, JOE TEMPERLY, TODD WILLIAMS, BILL EASLEY, FRANK WESS  AND MICHAEL WHITE ON THE REEDS.

PLAYING TROMBONES: ART BARON, WYCLIFF GORDON, BRITT WOODMAN, AND CHUCK CONNORS

PLAYING TRUMPETS:  WYNTON MARSALIS, MARCUS BELGRAVE, EMORY THOMPSON, LEW SOLOFF, AND JOHN LONGO.

THE RHYTHM SECTION INCLUDED: SIR ROLAND HANNA ON PIANO

KENNY WASHINGTON - DRUMS AND TIMPANI, REGINALD VEAL ON STRING BASS AND PAUL MYERS ON GUITAR.  DUKE ELLINGTON'S "SECOND LINE" WAS TRANSCRIBED AND CONDUCTED BY DAVID BERGER.

 

ELLINGTON'S "NEW ORLEANS SUITE" MAY BE THE MOST MAJESTIC OF TRIBUTES TO THE CRESCENT CITY.  THE MOST CONTEMPORARY IS CERTAINLY WYNTON MARSALIS' PORTRAIT OF HIS HOMETOWN.  ON THE STAGE OF ALICE TULLY HALL, WITH A BAND FEATURING FELLOW NEW ORLEANIANS HERLIN RILEY AT THE DRUMS, AND WALTER BLANDING JUNIOR ON CLARINET, MARSALIS LED HIS AMBITIOUS, AND ENERGETIC  "NEW ORLEANS FUNCTION."

 

31.)       Music:  M#76    NEW ORLEANS FUNCTION (from 1/94 WMYP)

(Jazz For Young People:  What Is New    Orleans Jazz)  (EDIT FOR TIME)

 

32.)       Bradley:                      

{alt. top: AN EXCERPT FROM "THE NEW ORLEANS FUNCTION"...}

"THE NEW ORLEANS FUNCTION"... SYNCOPATION, POLYPHONY, CALL AND RESPONSE, AND THE BLUES --- ALL THE ELEMENTS OF THE NEW ORLEANS TRADITION... THE WYNTON MARSALIS SEPTET:  WALTER BLANDING JUNIOR, CLARINET;  WES ANDERSON, SAXOPHONE; WYCLIFFE GORDON, TROMBONE;  ERIC REED ON PIANO;  REGINALD VEAL PLAYED BASS, WITH HERLIN RILEY ON DRUMS AND THE COMPOSER, WYNTON MARSALIS ON TRUMPET.

IN THIS HOUR, WE'VE HEARD COLLECTIVE IMPROVISATION ON THE NEW ORLEANS JAZZ  FORM.  BUT WE CAN'T LEAVE THIS FERTILE CRESCENT CITY WITHOUT HEARING FROM THE MAN WHO GAVE JAZZ ITS STYLE.

IT'S ALMOST IMPOSSIBLE TO IMAGINE THIS MUSIC WITHOUT THE ART OF THE SOLO -- DEVELOPED BY LOUIS ARMSTRONG.  IN ALL LIKELIHOOD THOUGH, "POPS" WOULD PREFER THAT WE SKIP THE ORATION AND JUST FEEL IT.  SO HERE'S MICHAEL WHITE'S ENSEMBLE ONCE MORE, TO PLAY ARMSTRONG'S "SHAKE AND BREAK IT".

 

33.)       Music: OM#7                "Shake It And Break It" (C.C.Summit)

34.)       Bradley:                      

YOU MIGHT SHAKE IT BUT YOU NEVER BE ABLE TO BREAK IT, THE ORIGINAL JAZZ MUSIC OF NEW ORLEANS.  "SHAKE AND BREAK IT", SOMETIMES KNOWN AS "THE WEARY BLUES," WITH TEDDY RILEY, TRUMPET;  GREG STAFFORD, CORNET;  FRED LONZO, TROMBONE;  STEVE PISTORIOUS, PIANO;  DANNY BARKER, BANJO:  REGINALD VEAL, BASS;  HERLIN RILEY, DRUMS; AND LEADER, MICHAEL WHITE WITH HIS CLARINET, LEADING THE ENSEMBLE ONSTAGE AT ALICE TULLY HALL.  A CRESCENT CITY SERENADE.

 

35.)       Music:  OM#7   THE ENCORE (C.C.Summit)

 

36.)       Bradley:                      

JAZZ FROM LINCOLN CENTER IS PRODUCED WITH THE JAZZ DEPARTMENT AT LINCOLN CENTER BY MURRAY STREET ENTERPRISE, NEW YORK.  THIS PROGRAM WAS WRITTEN BY PHIL SCHAPP AND STEVE RATHE.

OUR EDITOR IS LAUREN KRENZEL.

 

THE MUSIC WAS RECORDED BY JIM ANDERSON AND MARK WILDER, WITH DIRECTION BY STEVE EPSTEIN AND FACILITIES FROM EFFANEL MUSIC AND FROM AUDIOFORCE. DIGITAL POST PRODUCTION WAS BY DAVE GLASSER AND LEA ANN SONENSTEIN AT AIRSHOW.

 

OUR THANKS TO THE ALEXA BIRDSONG, DR. MICHAEL WHITE, DANNY KAPILLIAN, LEO GAMBACORTA, KEN DEVINE, WWOZ-FM AND THE CREW AT ALICE TULLY HALL.