Lawrence Marrero

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Lawrence Henry Marrero (born October 24, 1900 in New Orleans ; † June 6, 1959 ) was an American hot jazz musician ( banjo , guitar , bass drum ).

Live and act

Marrero comes from a musical family; his father Billy Marrero was the bass player with Manuel Perez in 1905 and in the Superior Orchestra in 1910 (he was the manager of the latter formation and also that of the Olympia Orchestra). Marrero's three brothers, John, Simon and Eddie Marrero, were also musicians. Lawrence Marrero took banjo lessons from his brother John. He began his career as a professional musician in 1919 with Wooden Joe Nicholas ; in addition, he was initially also a prize boxer. In 1920 he founded his Young Tuxedo Orchestra , in which he worked as a bass drummer. In the 1930s he played with Chris Kelly , Frank Dusen and John Robichaux ; from the end of this decade he became a long-time member of George Lewis' band . In 1942 both recorded with Bunk Johnson's band in Chicago, in 1945 in New Orleans and New York. After his return to New Orleans in 1946, he went on tours with Lewis and worked on his recordings until 1957. In 1955 he left Lewis' band after a series of strokes , but continued to lead his own formations for a few years, in which he also played electric guitar.

Marrero participated in 95 recording sessions from 1942 to 1956, including with Alvin Alcorn , Ken Colyer , Jim Robinson , Sister Ernestine Washington , Sister Berenice Phillips and Harold Lewis .

Lexical entries

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Individual evidence

  1. Lawrence Gushee Pioneers of Jazz: The Story of the Creole Band Oxford, New York 2010, p. 49
  2. Portrait at Satchmo.com (October 24) ( Memento of the original from September 24, 2015 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.satchmo.com
  3. Lewis preferred him to his brother John Marrero, even if he was considered the better banjoist. But "the rhythm" would have been obtained through Lawrence and his very steady game. See Tom Bethel George Lewis: A Jazzman from New Orleans Berkeley 1977, pp. 282f.
  4. See Bethel George Lewis: A Jazzman from New Orleans , p. 330
  5. Tom Lord Discography