Up from the Cradle of Jazz

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Up from the Cradle of Jazz
Up-from-the-Cradle-of-Jazz-second-edition-2009-book-cover.jpg
2nd edition cover
Author Jason Berry, Jonathan Foose, Tad Jones
LanguageEnglish
SubjectNew Orleans music history
Genre Music history, musicology
Published1986, 2009
Publisher University of Georgia Press
Publication placeUnited States
Media typePrint (hardcover and paperback)
Pages285 (first edition)
373 (second edition)
ISBN 978-0-8203-0853-1
OCLC 263157308

Up from the Cradle of Jazz: New Orleans Music Since World War II is a book by Jason Berry, Jonathan Foose and Tad Jones. It chronicles the history of New Orleans music, primarily rhythm and blues, and its evolution post-World War II. It was first published in 1986. An expanded second edition was published in 2009.

Contents

Synopsis

In early 20th century New Orleans was a cultural melting pot and had a vibrant music scene. This gave way to the development of jazz by African-American musicians of the city, a genre which incorporated multiple influences. [1] The emergence of new musical genres continued in New Orleans, and by 1950s rhythm and blues had gained a foothold as an established style. [1] [2]

The book chronicles the course of music evolution in New Orleans post-World War II from jazz to primarily rhythm and blues as well as rock and roll and avant-garde jazz. [1] [3] It presents a historical accounting along with cultural influences that morphed the New Orleans sound, such as Mardi Gras Indians, Caribbean influences, musical families, generational continuity, iconic individuals, clubs and recording studios. [1] [4] The first edition published in 1986 consists of nineteen chapters categorized under four headings: [5]

A second edition published in 2009 has additional content, including the Hurricane Katrina devastation and subsequent efforts to restore the music community. [4] [6] The book is not all encompassing in term of genres, and transformations in traditional jazz, Dixieland and gospel are intentionally left out by the authors. [1]

Reception

Gary Giddins of The Village Voice wrote, the authors "show how subsequent generations of New Orleans musicians helped spark the postwar phenomena of rhythm and blues, rock 'n' roll, and even avant-garde jazz," and said the book "makes a worthy contribution in demystifying the still vibrant music of New Orleans." [1] Kenan Torrans of The Washington Times wrote, the "personal interviews" and "interwoven stories of various New Orleans neighborhoods, nightclubs, bars and other historic music venues (...) give the reader a very real sense of life in the Big Easy." [7] In the Journal of American Studies , Andrew Clark wrote, the book pays "tribute to the variety and durability of music as the city's historic language and bi-racial culture," and called the presentation an "oral record". [8]

Related Research Articles

Jazz is a music genre that originated in the African-American communities of New Orleans, Louisiana, in the late 19th and early 20th centuries, with its roots in blues, ragtime, European harmony and African rhythmic rituals. Since the 1920s Jazz Age, it has been recognized as a major form of musical expression in traditional and popular music. Jazz is characterized by swing and blue notes, complex chords, call and response vocals, polyrhythms and improvisation.

<span class="mw-page-title-main">Rhythm and blues</span> Music genre originating in the 1940s in the United States

Rhythm and blues, frequently abbreviated as R&B or R'n'B, is a genre of popular music that originated within African-American communities in the 1940s. The term was originally used by record companies to describe recordings marketed predominantly to African Americans, at a time when "rocking, jazz based music ... [with a] heavy, insistent beat" was becoming more popular. In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands usually consisted of a piano, one or two guitars, bass, drums, one or more saxophones, and sometimes background vocalists. R&B lyrical themes often encapsulate the African-American history and experience of pain and the quest for freedom and joy, as well as triumphs and failures in terms of societal racism, oppression, relationships, economics, and aspirations.

<span class="mw-page-title-main">The Meters</span> American funk band

The Meters are an American funk band formed in 1965 in New Orleans by Zigaboo Modeliste (drums), George Porter Jr. (bass), Leo Nocentelli (guitar) and Art Neville (keyboards). The band performed and recorded their own music from the late 1960s until 1977 and played an influential role as backing musicians for other artists, including Lee Dorsey, Robert Palmer, Dr. John, and Allen Toussaint. Their original songs "Cissy Strut" and "Look-Ka Py Py" are considered funk classics.

<span class="mw-page-title-main">New Orleans rhythm and blues</span> Style of R&B music originating in New Orleans

New Orleans rhythm and blues is a style of rhythm and blues that originated in New Orleans. It was a direct precursor to rock and roll and strongly influenced ska. Instrumentation typically includes drums, bass, piano, horns, electric guitar, and vocals. The style is characterized by syncopated "second line" rhythms, a strong backbeat, and soulful vocals. Artists such as Roy Brown, Dave Bartholomew, and Fats Domino are representative of the New Orleans R&B sound.

Jubilee Records was an American independent record label, specializing in rhythm and blues and novelty records. It was founded in New York City in 1946 by Herb Abramson. His partner was Jerry Blaine. Blaine bought Abramson's half of the company in 1947, when Abramson went on to co-found Atlantic Records with Ahmet Ertegun. The company name was Jay-Gee Recording Company, a subsidiary of the Cosnat Corporation. Cosnat was a wholesale record distributor.

Thaddeus Bunol "Tad" Jones was an American music historian and researcher. His extensive research is credited with definitively establishing and documenting Louis Armstrong's correct birth date, August 4, 1901.

<span class="mw-page-title-main">Art Neville</span> American musician, singer, and songwriter (1937–2019)

Arthur Lanon Neville Jr. was an American singer, songwriter and keyboardist from New Orleans.

<span class="mw-page-title-main">Ziggy Modeliste</span> American funk drummer

Joseph "Ziggy" Modeliste, also known as Zigaboo Modeliste, is an American drummer best known as a founding member of the funk band the Meters. He is widely considered an innovator in the funk genre and New Orleans style drumming. The Meters' music had a defining role and set the stylistic tone of New Orleans funk. Due to his work with the band, Modeliste is credited as an integral part of bringing New Orleans second-line grooves into popular music.

<i>Fire on the Bayou</i> 1975 studio album by The Meters

Fire on the Bayou is the sixth studio album by the funk band The Meters.

<i>Trick Bag</i> 1976 studio album by The Meters

Trick Bag is the seventh studio album by the funk group The Meters. The name comes from their cover of the Earl King single of the same name.

<span class="mw-page-title-main">George Porter Jr.</span> American funk bass guitarist and singer

George Porter Jr. is an American musician, best known as the bassist and singer of the Meters. Along with Art Neville, Porter formed the group in the mid 1960s and came to be recognized as one of the progenitors of funk. The Meters disbanded in 1977, but reformed in 1989. The original group played the occasional reunion, with the Funky Meters, of which Porter and Neville are members, keeping the spirit alive, until Neville's retirement in 2018 and death the following year.

<span class="mw-page-title-main">Leo Nocentelli</span> American musician and songwriter

Leo Nocentelli is an American musician and songwriter best known as a founding member and lead guitarist of the funk band the Meters. He wrote the original versions of several funk classics such as "Cissy Strut" and "Hey Pocky A-Way". As a session musician he has recorded with a variety of notable artists such as Dr. John, Robert Palmer and Etta James. He is the recipient of a Grammy Lifetime Achievement Award as a member of the Meters.

<span class="mw-page-title-main">Chuck Carbo</span> American singer (1926–2008)

Hayward "Chuck" Carbo was an American R&B singer, best known for his time as a vocalist in the New Orleans group The Spiders.

<span class="mw-page-title-main">Jason Berry</span> American historian

Jason Berry is an American investigative reporter, author and film director based in New Orleans, Louisiana. He is known for pioneering investigative reporting on sexual abuse in the priesthood of the Catholic Church.

<span class="mw-page-title-main">John Boudreaux</span> American drummer

John Mortimer Boudreaux, Jr. was an American drummer who was active in jazz, soul, and rhythm & blues idioms.

<span class="mw-page-title-main">Dave "Fat Man" Williams</span> New Orleans jazz, blues, and rhythm & blues pianist, bandleader, and singer-songwriter

Dave Albert Williams Jr. was an American jazz, blues, and rhythm & blues pianist, bandleader, singer, and songwriter. He was the author of "I Ate Up The Apple Tree", a staple of contemporary New Orleans brass bands. His career as a working musician spanned five decades.

<span class="mw-page-title-main">Ed Frank</span> American musician (1932-1997)

Ed Frank was an American jazz and rhythm and blues pianist who performed and recorded for more than forty years.

<span class="mw-page-title-main">Irving Banister</span> American guitarist (1933–2020)

Irving Sully Banister Sr. was an American guitarist who recorded and performed R&B music, in a career lasting more than sixty years."

<span class="mw-page-title-main">Walter "Popee" Lastie</span> American musician

Walter Daniel Lastie, also known as "Popee", was an American rhythm & blues and jazz drummer from the musical Lastie family who played and recorded with many of New Orleans' leading R&B musicians.

<span class="mw-page-title-main">David Lastie</span> American musician

David Lastie, Sr. was an American jazz and rhythm & blues saxophonist, bandleader, and composer from the musical Lastie family who played and recorded for more than thirty years.

References

  1. 1 2 3 4 5 6 Gary Giddins (December 21, 1986). "Up from the Cradle of Jazz: New Orleans Music Since World War II". Los Angeles Times. Archived from the original on November 12, 2017. Retrieved November 12, 2017.
  2. Jason Berry (April 17, 1988). "Cool Jazz, Hot Jambalaya In New Orleans". New York Times. Archived from the original on May 25, 2015. Retrieved November 27, 2017.
  3. Mark McKnight (Spring 1988). "Researching New Orleans Rhythm and Blues" (PDF). Black Music Research Journal. 8 (1): 122. Archived (PDF) from the original on August 18, 2017. Retrieved November 12, 2017.
  4. 1 2 Maria C. Montoya (September 2, 2009). "Jason Berry expands on New Orleans music history primer in a reissue of Up from the Cradle of Jazz". The Times-Picayune. Archived from the original on April 29, 2017. Retrieved November 12, 2017.
  5. Jason Berry; Jonathan Foose; Tad Jones (1986). Up from the Cradle of Jazz . University of Georgia Press. pp. vii–viii. ISBN   9780820308531 . Retrieved November 14, 2017.
  6. Kevin Allman (September 14, 2009). "Aural History: A revision of Up from the Cradle of Jazz". Gambit, bestofneworleans.com. Archived from the original on September 19, 2015. Retrieved November 12, 2017.
  7. Kenan Torrans (July 17, 2010). "Book Review: Up from the Cradle of Jazz". The Washington Times. Archived from the original on November 5, 2011. Retrieved November 12, 2017.
  8. Andrew Clark (April 1988). "Reviews: Jason Berry, Jonathan Foose, Tad Jones, Up from the Cradle of Jazz". Journal of American Studies. 22 (1): 115–116. Archived from the original on November 14, 2017. Retrieved November 13, 2017.