Edward "Kid" Ory 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.
Jimmie Noone was an American jazz clarinetist and bandleader. After beginning his career in New Orleans, he led Jimmie Noone's Apex Club Orchestra, a Chicago band that recorded for Vocalion and Decca. Classical composer Maurice Ravel acknowledged basing his Boléro on an improvisation by Noone. At the time of his death Noone was leading a quartet in Los Angeles and was part of an all-star band that was reviving interest in traditional New Orleans jazz in the 1940s.
Thomas "Papa Mutt" Carey was an American jazz trumpeter.
Omer Victor Simeon was an American jazz clarinetist. He also played soprano, alto, and baritone saxophone and bass clarinet.
The Mills Blue Rhythm Band was an American big band active during the 1930s.
Edward Bertram Garland was a New Orleans jazz string bass player. He was commonly known as Ed Garland, and sometimes Montudie Garland.
The Red Hot Peppers were a recording jazz band led by Jelly Roll Morton from 1926–1930. They were a seven- or eight-piece band formed in Chicago which recorded for Victor and featured some of the best New Orleans-style freelance musicians available, including cornetist George Mitchell, trombonist Kid Ory, clarinetists Omer Simeon and Johnny Dodds, banjoists Johnny St. Cyr and Bud Scott, double bass player John Lindsay, and drummers Andrew Hilaire and Baby Dodds.
New Orleans is a 1947 American musical romance film starring Arturo de Córdova and Dorothy Patrick, and directed by Arthur Lubin. Though it features a rather conventional plot, the film is noteworthy both for casting jazz legends Billie Holiday as a singing maid romantically involved with bandleader Louis Armstrong, and extensive playing of New Orleans-style Dixieland jazz: over twenty songs are featured in whole or part.
Arthur Budd Scott was an American jazz guitarist, banjoist and singer. He was one of the earliest musicians associated with the New Orleans jazz scene. As a violinist he performed with James Reese Europe's Clef Club Orchestra at a historic 1912 concert at Carnegie Hall, and the following year worked with Europe's ensemble on the first jazz recordings on the Victor label.
Albert Wesley "Buster" Wilson was an American jazz pianist.
"Black Bottom Stomp" is a jazz composition. It was composed by Jelly Roll Morton in 1925 and was originally entitled "Queen of Spades". It was recorded in Chicago by Morton and His Red Hot Peppers, for Victor Records on September 15, 1926.
"Muskrat Ramble" is a jazz composition written by Kid Ory in 1926. It was first recorded on February 26, 1926, by Louis Armstrong and his Hot Five, and became the group's most frequently recorded piece. It was paired on the flip side with another one of Armstrong's hits, "Heebie Jeebies." It was a prominent part of the Dixieland revival repertoire in the 1930s and 1940s, and was recorded by Bob Crosby, Roy Eldridge, Lionel Hampton, Woody Herman, Muggsy Spanier, Chet Atkins, Lu Watters, the Andrews Sisters, Harry James, and Al Hirt, among others. It is considered a part of the jazz standard repertoire.
"Ory's Creole Trombone" is a jazz composition by Kid Ory. Ory first recorded it in Los Angeles in 1921. The band included Ory on trombone, Mutt Carey on cornet, Dink Johnson on clarinet, Fred Washington on piano, Ed Garland on bass and Ben Borders on drums. The recording of "Ory's Creole Trombone" was released by John and Reb Spikes' short-lived Sunshine Records label. It was the first issued recording session by an African American jazz band from New Orleans. Other numbers recorded the same day included "When You're Alone Blues", "Krooked Blues", "Society Blues", "That Sweet Something Dear", "Maybe Some Day" and "Froggie Moore".
The Louis Armstrong Hot Five and Hot Seven Sessions were recorded between 1925 and 1928 by Louis Armstrong with his Hot Five and Hot Seven groups. According to the National Recording Registry, "Louis Armstrong was jazz's first great soloist and is among American music's most important and influential figures. These sessions, his solos in particular, set a standard musicians still strive to equal in their beauty and innovation." These recordings were added to the National Recording Registry in 2002, the first year of the institution's existence.
The Smithsonian Collection of Classic Jazz is a six-LP box set released in 1973 by the Smithsonian Institution. Compiled by jazz critic, scholar, and historian Martin Williams, the album included tracks from over a dozen record labels spanning several decades and genres of American jazz, from ragtime and big band to post-bop and free jazz.
The Orson Welles Almanac is a 1944 CBS Radio series directed and hosted by Orson Welles. Broadcast live on the Columbia Pacific Network, the 30-minute variety program was heard Wednesdays at 9:30 p.m. ET January 26 – July 19, 1944. The series was sponsored by Mobilgas and Mobiloil. Many of the shows originated from U.S. military camps, where Welles and his repertory company and guests entertained the troops with a reduced version of The Mercury Wonder Show. The performances of the all-star jazz band that Welles brought together for the show were an important force in the revival of traditional New Orleans jazz in the 1940s.
The Castle Jazz Band was a Dixieland jazz band, part of the "West Coast revival" of traditional jazz music. Their recordings were popular worldwide for a time, although touring outside their Portland, Oregon base was limited.
Creole Cookin', is an album by cornetist Bobby Hackett which was released on the Verve label in 1967.
