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41-548: The Basin Street Six was a Dixieland sextet founded in 1950 in New Orleans that had some famous members, including George Girard , Roy Zimmerman , Pete Fountain , Joe Rotis and Charlie Duke among others. They recorded for various record companies, including Mercury Records and 504 Records . The band performed during the late 1970s, 80s, and 90s at the helm of famed New Orleans clarinetist Chuck Credo Jr., who toured with

82-550: A washboard . There are several active periodicals devoted to traditional jazz: the Jazz Rambler , a quarterly newsletter distributed by San Diego's America's Finest City Dixieland Jazz Society; The Syncopated Times , which covers traditional jazz, ragtime, and swing; Just Jazz and The Jazz Rag in the UK; and, to an extent, Jazz Journal , an online-only publication based in Europe covering

123-417: A " rhythm section " of at least two of the following instruments: guitar or banjo , string bass or tuba, piano, and drums. Louis Armstrong 's All-Stars was the band most popularly identified with Dixieland during the 1940s, although Armstrong's own influence during the 1920s was to move the music beyond the traditional New Orleans style. The definitive Dixieland sound is created when one instrument (usually

164-406: A "front line" of trumpet (or cornet ), trombone, and clarinet, with a " rhythm section " of at least two of the following instruments: guitar or banjo , string bass or tuba, piano, and drums. The Dixieland sound is created when one instrument (usually the trumpet) plays the melody or a variation on it, and the other instruments improvise around that melody. This creates a more polyphonic sound than

205-594: A New Baby ", " Royal Garden Blues " and many others. All of these tunes were widely played by jazz bands of the pre- WWII era, especially Louis Armstrong. They came to be grouped as Dixieland standards beginning in the 1950s. Largely occurring at the same time as the "New Orleans Traditional" revival movement in the United States, traditional jazz music made a comeback in the Low Countries . However, most Dutch jazz bands (such as The Ramblers ) had long since evolved into

246-420: A United States jazz band is a stub . You can help Misplaced Pages by expanding it . Dixieland The Original Dixieland Jazz Band , recording its first disc in 1917, was the first instance of jazz music being called "Dixieland", though at the time, the term referred to the band, not the genre. The band's sound was a combination of African American/New Orleans ragtime and Sicilian music . The music of Sicily

287-502: A band known for its virtuoso improvisation and recording history's first stereo record , the movement brought many semi-retired musicians a measure of fame late in their lives, as well as bringing retired musicians back onto the jazz circuit after years of not playing (such as Kid Ory and Red Nichols ). Many Dixieland groups of the revival era consciously imitated the recordings and bands of decades earlier. Other musicians continued to create fresh performances and new tunes. For example, in

328-545: A heart attack. Ory was born in 1886 to a Louisiana French -speaking family of Black Creole descent, on Woodland Plantation in Laplace , now the site of the 1811 Kid Ory Historic House . Ory started playing music with homemade instruments in his childhood, and by his teens was leading a well-regarded band in southeast Louisiana . He kept LaPlace as his base of operations because of family obligations until his twenty-first birthday, when he moved his band to New Orleans . Ory

369-546: A new form of jazz ensemble generally referred to "Oude Stijl" ("Old Style") jazz in Dutch . Influenced by the instrumentation of the two principal orchestral forms of the wind band in the Netherlands and Belgium , the " harmonie " and the " fanfare ", traditional Dutch jazz bands do not feature a piano and contain no stringed instruments apart from the banjo . They include multiple trumpets, trombones and saxophones accompanied by

410-728: A series of recordings for the Crescent label, which was founded by Nesuhi Ertegun for the express purpose of recording Ory's band. During the late 1940s and early 1950s, Ory and his group appeared at the Beverly Cavern in Los Angeles. In 1958, he purchased the Tin Angel nightclub in San Francisco from Peggy Tolk–Watkins, and he renamed it On-The-Levee . The nightclub closed in July 1961, and in 1962

451-432: A single clarinet, sousaphone and a section of marching percussion usually including a washboard . The music played by Dutch jazz bands includes both the original New Orleans tunes and the songs of the revival era. In terms of playing style, Dutch jazz bands occupy a position between revivalist and original New Orleans jazz, with more solos than the latter but without abandoning the principle of ensemble playing. With

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492-416: A variety of jazz styles. Arguably the happiest of all music is Dixieland jazz. The sound of several horns all improvising together on fairly simple chord changes with definite roles for each instrument but a large amount of freedom, cannot help but sound consistently joyful. By the mid-1930s the word 'Dixieland' was being applied freely to certain circles of white musicians. First by the trade press, then by

533-454: Is a movement that was begun in the late 1930s by Lu Watters and his Yerba Buena Jazz Band in San Francisco and extended by trombonist Turk Murphy . It started out as a backlash to the Chicago style , which is closer in development towards swing . The repertoire of these bands is based on the music of Joe "King" Oliver , Jelly Roll Morton , Louis Armstrong , and W.C. Handy . Bands playing in

574-457: Is a reference to the "Old South", specifically anything south of the Mason-Dixon line . The term encompasses earlier brass band marches, French Quadrilles , beguine , ragtime , and blues with collective, polyphonic improvisation . While instrumentation and size of bands can be very flexible, the "standard" band consists of a "front line" of trumpet (or cornet ), trombone, and clarinet, with

615-585: The Rebirth Brass Band , have combined traditional New Orleans brass band jazz with such influences as contemporary jazz, funk , hip hop , and rap. The M-Base (Multi-Basic Array of Synchronous Extemporization) improvisational concept used by ensembles including Cassandra Wilson , Geri Allen , Greg Osby , Steve Coleman , Graham Haynes , Kevin Eubanks and others is an extension of the polyphonic improvisation of New Orleans jazz. The Dixieland revival renewed

656-484: The string bass for the tuba and the guitar for the banjo . Musically, the Chicagoans play in more of a swing-style 4-to-the-bar manner. The New Orleanian preference for an ensemble sound is deemphasized in favor of solos. Chicago-style Dixieland also differs from its southern origin by being faster paced, resembling the hustle-bustle of city life. Chicago-style bands play a wide variety of tunes, including most of those of

697-497: The swing era while the few remaining traditional jazz bands (such as the Dutch Swing College Band ) did not partake in the broader traditional revival movement, and continued to play ragtime and early jazz, greatly limiting the number of bands aspiring jazz musicians could join or (as they were using instruments unavailable to most Dutch musicians such as double basses and the piano) were forced to improvise, resulting in

738-405: The 1950s a style called "Progressive Dixieland" sought to blend polyphonic improvisation with bebop -style rhythm . Spike Jones & His New Band and Steve Lacy played with such bands. This style is sometimes called "Dixie-bop". Lacy went on to apply that approach to the music of Thelonious Monk , Charles Mingus , Duke Ellington , and Herbie Nichols . The word " Dixie " is the nickname of

779-583: The R&;B style of James Brown . Soprano saxophonist Steve Lacy combined New Orleans style polyphonic improvisation with bebop . Bassist Charles Mingus paid homage to traditional jazz styles with compositions such as "Eat Dat Chicken" and "My Jellyroll Soul". The contemporary New Orleans brass band styles, such as the Dirty Dozen Brass Band , The Primate Fiasco, the Hot Tamale Brass Band and

820-492: The Southern United States, wherein New Orleans – the birthplace of Dixieland Jazz – is located. Dixieland largely evolved into Chicago style in the late 1910s and the new style was popularly called that name by the early 1920s. "Chicago style" is often applied to the sound of Chicagoans such as Jimmy McPartland , Eddie Condon , Muggsy Spanier , and Bud Freeman . The rhythm sections of these bands substitute

861-688: The West Coast style use banjo and tuba in the rhythm sections, which play in a two-to-the-bar rhythmic style. Much performed traditional Dixieland tunes include: " When the Saints Go Marching In ", " Muskrat Ramble ", " Struttin' with Some Barbecue ", " Tiger Rag ", " Dippermouth Blues ", " Milenberg Joys ", " Basin Street Blues ", " Tin Roof Blues ", " At the Jazz Band Ball ", " Panama ", " I Found

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902-468: The audience for musicians who had continued to play in traditional jazz styles and revived the careers of New Orleans musicians who had become lost in the shuffle of musical styles that had occurred over the preceding years. Younger black musicians shunned the revival, largely because of a distaste for tailoring their music to what they saw as nostalgia entertainment for white audiences with whom they did not share such nostalgia. The Jim Crow associations of

943-498: The average band containing up to 15 players, Dutch jazz bands tend to be the largest ensembles to play traditional jazz music. Musical styles showing influences from traditional jazz include later styles of jazz, rhythm and blues , and early rock and roll . Traditional New Orleans second-line drumming and piano playing are prominent in the music of Fats Domino . The New Orleans drummer Idris Muhammad adapted second-line drumming to modern jazz styles and gained crossover influence on

984-552: The band through Europe, Singapore, and Asia. Credo's Basin Street Six recorded one official release "Jazzin' From New Orleans To Nashville" in 1984 to coincide with the New Orleans World's Fair. The album is still in print and available through WCIII Records. The Basin Street Six still performs in New Orleans and the surrounding region for special events. They are managed and produced by WCA Entertainment. This article on

1025-638: The building was demolished due to the creation of the Embarcadero Freeway . Ory retired from music in 1966, and spent his last years in Hawaii , with the assistance of Trummy Young . Ory died of pneumonia and a heart attack in Honolulu. He was buried at Holy Cross Cemetery, Culver City , California. He had a wife named Elizabeth. Ory was Catholic, baptized at St Peter Church in Reserve, Louisiana . In 2021,

1066-621: The enduring popularity of traditional jazz. Country Joe McDonald 's Vietnam-era protest song " Feel Like I'm Fixin' to Die Rag " is based on tonal centers and incorporates the "B" refrain from the New Orleans standard " Muskrat Ramble ". Traditional jazz is a major tourist attraction for New Orleans to the present day. It has been an influence on the styles of more modern players such as Charles Mingus and Steve Coleman . New Orleans music combined earlier brass band marches, French quadrilles , biguine , ragtime , and blues with collective, polyphonic improvisation . The "standard" band consists of

1107-566: The first jazz recordings made on the West Coast by an African American jazz band from New Orleans, Louisiana . His band recorded with Nordskog Records ; Ory paid Nordskog for the pressings and then sold them with his own label, "Kid Ory's Sunshine Orchestra", at Spikes Brothers Music Store in Los Angeles. In 1925, Ory moved to Chicago , where he was very active, working and recording with Louis Armstrong, Jelly Roll Morton , Oliver, Johnny Dodds, Bessie Smith , Ma Rainey , and many others. He mentored Benny Goodman and, later, Charles Mingus . He

1148-409: The heavily arranged big band sound of the 1930s or the straight melodies (with or without harmonizing) of bebop in the 1940s. The "West Coast revival", which used banjo and tuba, began in the late 1930s in San Francisco. The Dutch "old-style jazz" was played with trumpets, trombones and saxophones accompanied by a single clarinet, sousaphone and a section of Marching percussion usually including

1189-514: The more traditional bands plus many of the Great American Songbook selections from the 1930s by George Gershwin , Jerome Kern , Cole Porter , and Irving Berlin . Non-Chicagoans such as Pee Wee Russell and Bobby Hackett are often thought of as playing in this style. This modernized style came to be called Nicksieland , after Nick's Tavern, where it was popular, though the term was not limited to that club. The "West Coast revival"

1230-494: The name "Dixieland" also did little to attract younger black musicians to the revival. The Dixieland revival music during the 1940s and 1950s gained a broad audience that established traditional jazz as an enduring part of the American cultural landscape, and spawned revival movements in Europe. Well-known jazz standard tunes such as " Basin Street Blues " and " When the Saints Go Marching In " are known even to non-jazz fans thanks to

1271-493: The older style. Though younger musicians developed new forms, many beboppers revered Armstrong and quoted fragments of his recorded music in their own improvisations. The Dixieland revival in the late 1940s and 1950s was formed in reaction to the orchestrated sounds of the swing era and the perceived chaos of the new bebop sounds (called "Chinese music" by Cab Calloway ). Led by the Assunto brothers' original Dukes of Dixieland ,

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1312-405: The pianists Buster Wilson , Cedric Haywood , and Don Ewell ; and the drummer Minor Hall . All but Buckner, Probert, and Ewell were originally from New Orleans. The Ory band was an important force in reviving interest in New Orleans jazz, making popular 1940s radio broadcasts—among them spots on The Orson Welles Almanac program (beginning March 15, 1944). In 1944–1945, the group made

1353-511: The public. By the end of the decade it all but lost any direct 'Southern' association. Kid Ory Edward " Kid " Ory (December 25, 1886 – January 23, 1973) was an American jazz composer, trombonist and bandleader . One of the early users of the glissando technique, he helped establish it as a central element of New Orleans jazz . He was born near LaPlace, Louisiana and moved to New Orleans on his 21st birthday, to Los Angeles in 1910 and to Chicago in 1925. The Ory band later

1394-424: The time—and he recorded there in 1922 with a band that included Mutt Carey, the clarinetist and pianist Dink Johnson , and the string bassist Ed Garland . Garland and Carey were long-time associates who would still be playing with Ory during his 1940s comeback. While in Los Angeles, Ory and his band recorded two instrumentals, " Ory's Creole Trombone " and "Society Blues", as well as a number of songs. They were

1435-479: The trumpet) plays the melody or a recognizable paraphrase or variation on it, and the other instruments of the "front line" improvise around that melody. This creates a more polyphonic sound than the arranged ensemble playing of the big band sound or the straight "head" melodies of bebop . During the 1930s and 1940s, the earlier group-improvisation style fell out of favor with the majority of younger black players, while some older players of both races continued on in

1476-475: Was a banjo player during his youth, and it is said that his ability to play the banjo helped him develop "tailgate", a particular style of playing the trombone with a rhythmic line underneath the trumpets and cornets . His use of glissando helped establish it as a central element of New Orleans Jazz. When Ory was living on Jackson Avenue, he was discovered by Buddy Bolden , playing his first new trombone, instead of an old Civil War trombone. Ory's sister said he

1517-549: Was a pallbearer at the funeral of Jelly Roll Morton in Los Angeles , California. He ran a chicken farm in Los Angeles. From 1944 to about 1961, he led one of the top New Orleans–style bands of the period. His sidemen during this period included, In addition to Carey and Garland, the trumpeters Alvin Alcorn and Teddy Buckner ; the clarinetists Darnell Howard , Jimmie Noone , Albert Nicholas , Barney Bigard , and George Probert ;

1558-408: Was an important force in reviving interest in New Orleans jazz, making radio broadcasts on The Orson Welles Almanac program in 1944, among other shows. In 1944–45, the group made a series of recordings for the Crescent label, which was founded by Nesuhi Ertegun for the express purpose of recording Ory's band. Ory retired from music in 1966 and spent his last years in Hawaii where he died from

1599-404: Was one of the many genres in the New Orleans music scene during the 1910s, alongside sanctified church music, brass band music and blues. Much later, the term "Dixieland" was applied to early jazz by traditional jazz revivalists, starting in the 1940s and 1950s. In his book Jazz , the critic Rex Harris defined Dixieland as "Jazz played in a quasi-New Orleans manner by white musicians." The name

1640-677: Was said to have attempted to take trombone lessons from a "German guy" who played in the Chicago symphony, but Ory was turned away after a few lessons. Ory was a member of the original lineup of Louis Armstrong's Hot Five which first recorded on November 12, 1925. His composition " Muskrat Ramble " was included in the Hot Five session in February 1926. During the Great Depression Ory retired from music and did not play again until 1943. In 1941, he

1681-469: Was too young to play with Bolden. He moved his six-piece band to New Orleans in 1910. Ory had one of the best-known bands in New Orleans in the 1910s, hiring many of the great jazz musicians of the city, including the cornetists Joe "King" Oliver , Mutt Carey , and Louis Armstrong , who joined the band in 1919; and the clarinetists Johnny Dodds and Jimmie Noone . In 1919, he moved to Los Angeles —one of several New Orleans musicians to do so at

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