Mutt Carey

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Thomas "Mutt" Carey , also "Papa Mutt" (born December 25, 1891 in Hahnville , Louisiana ; † September 3, 1948 in Elsinore, near San Francisco ) was an American jazz trumpeter and band leader of New Orleans jazz .

Live and act

Carey moved the family to New Orleans in early youth . He first played drums and switched to the cornet in 1912 to play in the band of his older brother Jack Carey , a trombonist. In 1917 he toured the Vaudevilles , performed with Lawrence Duhé in Chicago and played with Kid Ory again and again (e.g. in 1914), with whom he went to California in 1919. In 1921 he made his first recordings there with Ory, which are also the first recordings of an Afro-American band from New Orleans. They were released by the Spikes brothers' Sunshine Label in Los Angeles (that's why Kid Ory's “Original Creole Jazz Band” figures here as “Spike's Seven Pods of Pepper Orchestra” (for Nordskog) and “Sunshine Band” for Sunshine Record Company ): “Society Blues” and “Ory's Creole Trombone” as well as accompaniments by two blues singers (Ruth Lee and Roberta Dudley) were recorded. According to Gunther Schuller , his game at that time was "safe, elegant and imaginative". When Ory went to Chicago, Carey took over the band in Los Angeles and played with them for part of the 1930s. Then he worked as a sleeper and postman. In the New Orleans Revival in 1944 he was reunited with Ory on the west coast. In 1947 he went to New York City ; a year before his death he founded his own band, "Mutt Carey and his New Yorkers" (with Baby Dodds , Danny Barker , Pops Foster , Albert Nicholas , Ed Hall , Jimmy Archey ), with which he also made recordings. He also recorded with Hociel Thomas and Bunk Johnson . Together with Joe Oliver, Mutt Carey was the first cornet player in New Orleans to incorporate so-called "freakish sounds" into his playing at the time, i.e. the alienation of tones e.g. B. with the help of various dampers.

Lexical entry

Web links

Individual evidence

  1. ^ Gunther Schuller: Early Jazz. Its roots and musical development. New York etc .: Oxford University Press 1986, p. 74