New Orleans Rhythm Kings
The New Orleans Rhythm Kings (NORK) were a jazz band founded from 1923 to 1925 by white musicians from New Orleans in Chicago , which had a great influence on the development of Chicago jazz . The name originated in 1923 for recordings by the band, previously known as Friars's Society Orchestra , which had existed since 1921 and made recordings from 1922 onwards. The NORK in its original composition disbanded in 1923.
history
The childhood friends Paul Mares (trumpet, cornet), George Brunies (trombone) and Leon Roppolo (clarinet, alto saxophone), who still played together on the Mississippi paddle steamer "SSCapitol" in 1920, were given the opportunity in 1921 to visit the " Friar's Inn " (a Nightclub and "gangster holdout" in the Loop district ) to found a band in Chicago. The owner wanted something in the style of the Original Dixieland Jass Band (ODJB), who had drawn attention to the new music from New Orleans from 1917, and in late 1921 contacted Mares, who was then living in Chicago and who was staying with a policeman friend Put together band. With Frank Snyder (drums), Arnold Loyacano (bass, replaced shortly afterwards by Steve Brown ), Elmer Schoebel (piano), Jack Pettis (saxophone) and Louis Black (banjo), Mares, Brunies and Roppolo formed “The Friar's Society Orchestra ". It was not until 1923 that they called themselves “New Orleans Rhythm King's”, for recordings in March 1923 with Gennett and after the band with which Roppolo had accompanied the vaudeville singer Bee Palmer in New Orleans. Mares was in charge. Usually the rhythm group played from dinner and the rest joined the dance events from 10 p.m. The game was played until the last guest left.
The NORK were heavily influenced by King Oliver's "black" band , which Mares openly admitted. Their recordings had a strong influence on the white Chicago jazz musicians, some of whom were still students at the time ( Austin High Gang , also Bix Beiderbecke , who even played with them now and then) and acted as an initial spark. They should not only have recorded the first solos in jazz history (famous for example Roppolo on the clarinet in "Panama" and Brunies on the trombone in "Tin Roof Blues"), but also the first recordings with "mixed" bands: "Sobbin Blues “In 1923 with the (albeit very light-skinned) creoles Jelly Roll Morton at the piano. To avoid difficulties, Morton was passed off as a Cuban. The recordings were made between 1922 and 1923 at Gennett Records. Back then, and for a long time afterwards, white and black musicians played in strictly separate bands (the exception being a few "mixed" marching bands in New Orleans). The NORK broke up in early 1923 because the club owners at the Friar's Inn wanted music more in the style of the Paul Whiteman dance orchestra. Most of the musicians then went their separate ways, but came together again in July 1923 for a recording session with Jelly Roll Morton, at which some compositions by Morton were also played. The following year, Mares tried to found a new company in New Orleans with Roppolo, who was already seriously ill. In 1934/5 Mares recorded again with a reissued NORK for Okeh Records. From other band members there were reunions of NORK until the 1950s.
At times the band also played u. a. Ben Pollack , Gene Krupa , Wingy Manone , Volly De Faut and Sidney Arodin (clarinet).
repertoire
Their repertoire is still played today by Dixieland bands, including "Milenburg Joys" (co-written by Morton), "Farewell Blues", "Tin Roof Blues". They also played hits from the original Dixieland Jass Band such as "Tiger Rag" and "Livery Stable Blues" and blues standards such as "Weary Blues" and "Wolverine Blues".
Web links
Remarks
- ↑ Nominal Schoebel, since initially only he could read notes. Schoebel also arranged.
- ↑ At the first recording session in August 1922, the name Husk O'Hare , her "promoter" at the time, (* around 1890), who would later lead the Husk O'Hare's Supper Orchestra of Chicago , was still emblazoned on the records .
- ↑ Also Benny Goodman , one of the early supporters of the NORK had in this regard to overcome the late 1930s still barriers.
- ↑ Beiderbecke was also present, but did not play