Ferdinand Joseph Lamothe was born Ferdinand Joseph Morton (October 20, 1890/ July 10, 1941). American virtuoso musician, bandleader and composer, he composed songs such as “Whining Boy blues”, “King Porter Stomp,” and “The Pearls”, “The Crave,” “Alabama Bound,” and “Make Me a Pallet On Your Floor,” and many other rags. . Morton was an intelligent and colorful character who was known as the “Originator” of jazz. New Orleans He was, along with Tony Jackson, one of the most highly regarded pianists in Storyville District in the early 20th century. Morton claims that Jackson was the best pianist in the world. Through the 1920s, Mr. Jelly Roll reached the pinnacle of his craft as a pianist and composer. He was able to afford new cars and custom-made suits. He recorded many sides for Victor Records, and he fronted several jazz bands in New Orleans and New York City, including The Incredibles and Red Hot Peppers. His personality was different from that of King Oliver, an African American bandleader. He wasn’t able to lead a band and this is why he didn’t last very long. He was 48 years old by the end of 1930s and was living in poverty. This was due to the rise and ascent of vocal blues idioms and the cultivation blues shouters like Big Joe Turner, Bessie Smith, and other blues chanteuses such as Bessie Smith. Morton, despite his almost exclusively instrumental repertoire, was still hoping for another chance at the brass band. The Library of Congress interviews Jelly roll Morton. He wandered down the street to the Library of Congress’s Coolidge Auditorium on a warm May day in 1938. He wanted to speak with someone who he felt could correct what he saw as a biased history of American jazz. He was a self-possessed Morton, who had previously changed his French Creole surname years earlier. But he had a lucky day. His interlocutor, a young man with a musical family mission, was smart and well-educated. Alan Lomax, like papa John Lomax, had in his 20s already started a long, fruitful career to preserve the delicate candle that is American “roots music” and was succeeding like none before. Their meeting was ironic in that Lomax was not a fan of jazz. He had repeatedly called jazz the “musical Antichrist” and said it would replace the many other folkways from the south. Lomax’s initial preference for roots music almost forced Morton to return home. His story would have been untold. Lomax, an ethnomusicological prospector, realized that within Morton’s often self-deprecating monologues was a history of American south musical and folk culture, as recalled from his life in New Orleans. This story had never been recorded or written. The Complete Library of Congress Recordings of Jelly Roll Morton was released in September 2005. This is undoubtedly the most important figure in American music. Rounder Records and Lomax Archive present their rich anecdotes and music, history, and cultural odyssey. We owe Lomax’s foresight and creativity as a documentarian and historian a great musical and historical debt. These eight golden platters are a rare and unique combination of man and environment. This multimedia collection includes Lomax’s 1950 biography “Mr. This multimedia collection, which includes Lomax’s 1950 biography, “Mr. A large Adobe Acrobat file, located on disc 8, contains the complete transcript of the recordings and transcripts of conversations not recorded. It also includes photos of Morton and his peers. Facsimiles of letters from Morton to and to FDR. This letter outlines an ambitious series benefit concerts for down-and-out musicians. Although some interviews were issued on LP over the years, they were never made official. Instead, the recordings were left to the producers. These were the ones who cut the tapes and sometimes had to re-cut it. The recordings were reissued in full and laid out in the original order of recording (May, June, and December 1938). The pitch has been corrected and, in many cases, alternate masters have been used to ensure that the sound quality is as good as it can be in this historic and entertaining account of a life in music. This audio-and-text biography is the definitive audio-and text account of a Louisiana Creole musician who was highly skilled and intelligent. It includes the intricate packaging for the grand piano, the portfolio packaging of CDs and Morton’s lengthy biography. John Szwed also wrote the liner notes in a thin, coffee-table-sized booklet. As Jelly began his story, he spoke in long descriptive passages and sang in a rich baritone voice. He seemed to be compelled by a culture that was already history in 1938. Lomax’s excellent whiskey was a bonus to his affability and kept his guest’s mouth wagging. Morton shouted, “That’s an extraordinary whiskey!” at many points during the interviews. He told stories about his pool shooting skills, his fear of New Orleans gangsters, pimps, and his honest opinions on other musicians. His music has been featured in two Broadway shows, Jelly Roll (Legacy 2) and Jelly’s Last Jam (Legacy 2). The first is heavily based on Morton’s words and stories from Library of Congress interviews. Morton’s heirs have sued the creator of the latter show for creating controversy over its fictionalized portrayal of Morton. SOURCES Wikipedia added by jaspio [url=http://bluesrevue.com/ added by Michael Cala User-contributed text is available under the Creative Commons By-SA License and may also be available under the GNU FDL.