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Crescent City Stomp: A Riverwalk Jazz Mardi Gras Celebration

From: PVP Media
Series: Rivewalk Jazz
Length: 01:04:14

Shimmy and Shake to a Mardi Gras Concert of New Orleans Roots Music Read the full description.

Umbrelladark_small They call New Orleans "the Cradle of Jazz." And as the saying goes, "the hand that rocks the cradle, rocks the nation"---and in this case the world. The sound of traditional New Orleans jazz has been around the world and back since King Oliver first blew his horn, and Jelly Roll tickled the ivories in the cafes of Storyville. New Orleans has been a city of music like no other. Brass marching bands strutting down the street in their signature 'black and whites'. Mardi Gras Indians parading in feathers and beads. And the unmistakable wail of New Orleans-style clarinet swooping in and out of hot trumpet riffs. In honor of Mardi Gras, Riverwalk Jazz and The Jim Cullum Jazz Band present Crescent City Stomp, a concert of New Orleans roots music, in tribute to the music and musicians of New Orleans, past and present. In the heart of the French Quarter, on St. Peter Street in New Orleans, an ancient building with peeling paint and squeaky hinges still houses the institution known as Preservation Hall, a mecca for musicians, tourists and hard-core disciples of traditional jazz, since it first opened its doors in the early 1960s. Back then, the stars of this "anti-showbiz" music scene looked like 19th century photos come to life. There was Sweet Emma Barrett with her red plastic pocketbook by her side and tiny hat scrunched down on her head. And the regal Willie Humphrey in starched white shirt and black pants 'relaxing' on a metal folding chair, with his clarinet in hand. This broadcast offers several favorites often heard at "The Hall" including "My Darling Nellie Gray" and "Just a Closer Walk With Thee." The story of this music goes back more than one hundred years. Jelly Roll Morton was part of the very first generation of jazzmen in New Orleans. Morton was a teen when he began to play ragtime piano in the gilt-and-velvet parlors of Storyville. Riverwalk Jazz piano man Jim Turner performs a fascinating piece Jelly Roll composed, called "The Crave." Spin forward half a century to the 1950s, and "Kid" Thomas Valentine was a popular bandleader playing for Saturday night dances in small towns along the west bank of the Mississippi, across the river from New Orleans. A favorite hotspot was a big, old barn of a place called Speck's Moulin Rouge. There was a bar, a dance floor, rickety tables and folding chairs for dice games, and a bandstand. Nearby, taped to the wall, was a cardboard sign with the "Kid" Valentine motto---"Let joy be unrefined"---a sentiment as tangible in the culture as red beans and rice, and gumbo. The Jim Cullum Jazz Band remembers nights at Speck's Moulin Rouge with "Algiers Strut," composed by "Kid" Thomas. The good times continue to roll as Topsy Chapman and Vernel Bagneris team up on vocals with "Cakewalkin' Babies From Home" by New Orleans composer Clarence Williams. Jim and the band recall trumpeter Bunk Johnson in a soulful rendition of "Lonesome Road," then steam through chorus after chorus of improvised ensembles to the finish line with a famous 'test piece' for New Orleans clarinetists, "High Society."

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Piece Description

They call New Orleans "the Cradle of Jazz." And as the saying goes, "the hand that rocks the cradle, rocks the nation"---and in this case the world. The sound of traditional New Orleans jazz has been around the world and back since King Oliver first blew his horn, and Jelly Roll tickled the ivories in the cafes of Storyville. New Orleans has been a city of music like no other. Brass marching bands strutting down the street in their signature 'black and whites'. Mardi Gras Indians parading in feathers and beads. And the unmistakable wail of New Orleans-style clarinet swooping in and out of hot trumpet riffs. In honor of Mardi Gras, Riverwalk Jazz and The Jim Cullum Jazz Band present Crescent City Stomp, a concert of New Orleans roots music, in tribute to the music and musicians of New Orleans, past and present. In the heart of the French Quarter, on St. Peter Street in New Orleans, an ancient building with peeling paint and squeaky hinges still houses the institution known as Preservation Hall, a mecca for musicians, tourists and hard-core disciples of traditional jazz, since it first opened its doors in the early 1960s. Back then, the stars of this "anti-showbiz" music scene looked like 19th century photos come to life. There was Sweet Emma Barrett with her red plastic pocketbook by her side and tiny hat scrunched down on her head. And the regal Willie Humphrey in starched white shirt and black pants 'relaxing' on a metal folding chair, with his clarinet in hand. This broadcast offers several favorites often heard at "The Hall" including "My Darling Nellie Gray" and "Just a Closer Walk With Thee." The story of this music goes back more than one hundred years. Jelly Roll Morton was part of the very first generation of jazzmen in New Orleans. Morton was a teen when he began to play ragtime piano in the gilt-and-velvet parlors of Storyville. Riverwalk Jazz piano man Jim Turner performs a fascinating piece Jelly Roll composed, called "The Crave." Spin forward half a century to the 1950s, and "Kid" Thomas Valentine was a popular bandleader playing for Saturday night dances in small towns along the west bank of the Mississippi, across the river from New Orleans. A favorite hotspot was a big, old barn of a place called Speck's Moulin Rouge. There was a bar, a dance floor, rickety tables and folding chairs for dice games, and a bandstand. Nearby, taped to the wall, was a cardboard sign with the "Kid" Valentine motto---"Let joy be unrefined"---a sentiment as tangible in the culture as red beans and rice, and gumbo. The Jim Cullum Jazz Band remembers nights at Speck's Moulin Rouge with "Algiers Strut," composed by "Kid" Thomas. The good times continue to roll as Topsy Chapman and Vernel Bagneris team up on vocals with "Cakewalkin' Babies From Home" by New Orleans composer Clarence Williams. Jim and the band recall trumpeter Bunk Johnson in a soulful rendition of "Lonesome Road," then steam through chorus after chorus of improvised ensembles to the finish line with a famous 'test piece' for New Orleans clarinetists, "High Society."

Broadcast History

Riverwalk Jazz is distributed by PRI, Public Radio International. This program has not been previously broadcast.

Timing and Cues

1. SEGMENT A: INCUE: 00:00:00 ?MISSION PHARMACAL THE MAKERS OF CITRICAL CALCIUM PRESENTS RIVERWALK JAZZ??
OUTCUE: 00:18:20 ??THIS IS P-R-I, PUBLIC RADIO INTERNATIONAL.?

2. BREAK ONE: PIANO TAG IN: 18:20 OUT: 18:42 (:20 SEC BED)

3. SEGMENT B: INCUE: 00:18:42 ?To find out about CD?s by The Jim Cullum Jazz Band??
OUTCUE: 00:38:28...THIS IS P-R-I, PUBLIC RADIO INTERNATIONAL?

4. BREAK TWO: PIANO TAG IN: 38:28 OUT: 38:48 (:20 SEC BED)

5. SEGMENT C: INCUE: 00:38:48 ?You can take a look at some great photos??
OUTCUE: 00:59:00 (PRI LOGO)

Musical Works

Title Artist Album Label Year Length
C. C. Rider The Jim Cullum Jazz Band 2004 04:04
The Crave Jim Turner 2003 03:08
Cakewalkin' Babies The Jim Cullum Jazz Band with John Sheridan 2005 03:28
Shake That Thing The Jim Cullum Jazz Band with John Sheridan 2005 03:23
Lonesome Road The Jim Cullum Jazz Band 2004 04:30
My Old Kentucky Home The Jim Cullum Jazz Band 2004 04:16
All the Girls Go Crazy The Jim Cullum Jazz Band 2004 03:16
Burnin' the Iceberg The Jim Cullum Jazz Band 2003 05:01
Algiers Strut The Jim Cullum Jazz Band 1998 04:44
Oh, My Darling Nellie Gray The Jim Cullum Jazz Band 1998 02:23
Just a Closer Walk with Thee The Jim Cullum Jazz Band with Bob Barnard 2002 04:46
Darktown Strutters Ball The Jim Cullum Jazz Band with John Sheridan 2005 03:09
High Society The Jim Cullum Jazz Band with Evan Christopher 2005 03:06

Related Website

http://www.riverwalkjazz.org/crescentcitystomp