Clarinet Marmalade, later Clarinet Marmalade Blues, [1] is a 1918 dixieland jazz standard composed by Larry Shields and Henry Ragas of the Original Dixieland Jass Band. [2] It is played in the key of F major. [3] It was recorded by Fletcher Henderson in 1926 and Frankie Trumbauer in 1927.
In 2024, the original 1918 recording was inducted into the National Recording Registry by the Library of Congress as being ''culturally, historically or aesthetically significant''.
The original RCA Victor 1918 recording by the Original Dixieland Jass Band is described as a "small-combo ensemble piece with strong links to the march tradition". [3] It was dominated by Larry Shields's solo on clarinet, accompanied by Henry Ragas. [4] "Clarinet Marmalade" was one of the landmark compositions of early jazz and was a very popular jazz standard in the 1920s; the Original Dixieland Jass Band's sound was widely emulated during this period. [5] In 1919, the song became a staple of the touring James Reese Europe band. [3]
Fletcher Henderson's 1926 recording increased the popularity of the tune. He is credited with "transforming it into a vehicle for hot soloists and ensemble riffs, including a new introduction and the streamlining omission of several transitional passages." [3] Henderson's version of "Clarinet Marmalade" was an inspiration for several standards of the period such as "Sugar Foot Stomp" and "King Porter Stomp". It was recorded in the 1927-1929 period by musicians such as Berlyn Baylor, Ted Lewis, Phil Napoleon, Lud Gluskin and Bill Carlsen. [3]
Frankie Trumbauer and his orchestra, featuring Bix Beiderbecke, first recorded a version of the tune in February 1927 to much success. [2] [3] Richard Hadlock has cited Trumbauer's "Clarinet Marmalade" as "a triumph in terms of logical overall structure, melodic symmetry and rhythmic drive, a most extraordinary jazz recording" and opines that Beiderbecke's palette of color through his use of ninths, elevenths and thirteenths and substitution of scales for arpeggios was "about three decades ahead of 1927". [6] Henderson in turn re-recorded "Clarinet Marmalade" in March 1931, inspired in part by Trumbauer's take on it, but with the restoration of the original introduction. [3] Bill Challis's recording represented a "medium" between the different versions, and he also transcribed the piece. [3]
A compilation album of the same name was released in 1994 featuring "25 Great Jazz Clarinetists" such as Benny Goodman, Johnny Dodds, Artie Shaw, Sidney Bechet, Pee Wee Russell, Woody Herman and others. [7]
Louis Armstrong recorded the tune; his interest in it started in New Orleans when he learned the clarinet solo from the original record in addition to the clarinet obbligato of "High Society", which helped to shape his music vocabulary. [8]
Leon Bismark "Bix" Beiderbecke was an American jazz cornetist, pianist and composer.
The Original Dixieland Jass Band (ODJB) was a Dixieland jazz band that made the first jazz recordings in early 1917. Their "Livery Stable Blues" became the first jazz record ever issued. The group composed and recorded many jazz standards, the most famous being "Tiger Rag". In late 1917, the spelling of the band's name was changed to Original Dixieland Jazz Band.
Dominic James "Nick" LaRocca, was an American early jazz cornetist and trumpeter and the leader of the Original Dixieland Jass Band, who is credited by some as being "the father of modern jazz". He is the composer of one of the most recorded jazz classics of all-time, "Tiger Rag". He was part of what is generally regarded as the first recorded jazz band, a band which recorded and released the first jazz recording, "Livery Stable Blues" in 1917.
Joseph Russel Robinson was an American ragtime, dixieland, and blues pianist and composer. He was a member of the Original Dixieland Jass Band.
Lawrence James Shields was an early American dixieland jazz clarinetist. He was a member of the Original Dixieland Jazz Band, the first jazz band to record commercially.
Hoagland Howard Carmichael was an American musician, composer, songwriter, actor and lawyer. Carmichael was one of the most successful Tin Pan Alley songwriters of the 1930s, and was among the first singer-songwriters in the age of mass media to utilize new communication technologies such as television, microphones, and sound recordings.
James Francis Dorsey was an American jazz clarinetist, saxophonist, composer and big band leader. He recorded and composed the jazz and pop standards "I'm Glad There Is You " and "It's The Dreamer In Me". His other major recordings were "Tailspin", "John Silver", "So Many Times", "Amapola", "Brazil ", "Pennies from Heaven" with Bing Crosby, Louis Armstrong, and Frances Langford, "Grand Central Getaway", and "So Rare". He played clarinet on the seminal jazz standards "Singin' the Blues" in 1927 and the original 1930 recording of "Georgia on My Mind", which were inducted into the Grammy Hall of Fame.
Orie Frank Trumbauer was an American jazz saxophonist of the 1920s and 1930s. His main instrument was the C melody saxophone, a now-uncommon instrument between an alto and tenor saxophone in size and pitch. He also played alto saxophone, bassoon, clarinet and several other instruments.
"Tiger Rag" is a jazz standard that was recorded and copyrighted by the Original Dixieland Jass Band in 1917. It is one of the most recorded jazz compositions. In 2003, the 1918 recording of "Tiger Rag" was entered into the U.S. Library of Congress National Recording Registry.
Phil Napoleon was an early jazz trumpeter and bandleader born in Boston, Massachusetts. Ron Wynn observed that Napoleon "was a competent, though unimaginative trumpeter whose greatest value was the many recording sessions he led that helped increase jazz's popularity in the mid-1920s." Richard Cook and Brian Morton, writing for The Penguin Guide to Jazz, refer to Napoleon as "a genuine pioneer" whose playing was "profoundly influential on men such as Red Nichols and Bix Beiderbecke."
Henry Walter Ragas was a jazz pianist who was a member of the Original Dixieland Jazz Band, the first jazz band to record commercially.
"Riverboat Shuffle" is a popular song composed by Hoagy Carmichael, Irving Mills, and Dick Voynow. Lyrics were later added by Carmichael and Mitchell Parish.
"Livery Stable Blues" is a jazz composition copyrighted by Ray Lopez and Alcide Nunez in 1917. It was recorded by the Original Dixieland Jass Band on February 26, 1917, and, with the A side "Dixieland Jass Band One-Step" or "Dixie Jass Band One-Step", became widely acknowledged as the first jazz recording commercially released. It was recorded by the Victor Talking Machine Company in New York City at its studio at 46 West 38th Street on the 12th floor – the top floor.
"Sensation Rag" or "Sensation" is a 1918 jazz instrumental by the Original Dixieland Jazz Band. It is one of the earliest jazz recordings. It is not related to Joseph Lamb's 1908 "Sensation Rag", which is a ragtime piano piece.
"At the Jazz Band Ball" is a 1917 jazz instrumental recorded by the Original Dixieland Jazz Band. The instrumental is one of the earliest and most recorded jazz compositions. It is a jazz classic and a standard of the genre.
"Singin' the Blues" is a 1920 jazz composition by J. Russel Robinson, Con Conrad, Sam M. Lewis, and Joe Young. It was recorded by the Original Dixieland Jass Band in 1920 as an instrumental and released as a Victor 78 as part of a medley with "Margie". The song was released with lyrics by vocalist Aileen Stanley in 1920 on Victor. In 1927, Frank Trumbauer, Bix Beiderbecke, and Eddie Lang recorded and released the song as an Okeh 78. The Trumbauer recording is considered a jazz and pop standard, greatly contributing to Frank Trumbauer and Bix Beiderbecke's reputation and influence. It is not related to the 1956 pop song "Singing the Blues" first recorded and released by Marty Robbins in 1956.
Ostrich Walk" is a 1917 jazz composition by the Original Dixieland Jass Band released as an instrumental as an Aeolian Vocalion and a Victor 78. Frankie Trumbauer and Bix Beiderbecke recorded the song in 1927. The song is a jazz milestone as one of the first commercially released "jass" or jazz recordings.
Fidgety Feet is a Dixieland jazz standard, first recorded by the Original Dixieland Jass Band in June 1918. The more acclaimed version is the 1924 recording by The Wolverines, with Bix Beiderbecke. It is not to be confused with the George Gershwin song of the same name that appears in the 1926 musical Oh, Kay!.