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"jelly roll" Definitions
  1. a thin flat cake that is spread with jam, etc. and rolled up
"jelly roll" Synonyms
Swiss roll jellyroll log vagina box beaver muff snatch fanny hole minge quim vulva clunge crack honeypot tail cooze labia pudendum yoni genitalia front bottom More

485 Sentences With "jelly roll"

How to use jelly roll in a sentence? Find typical usage patterns (collocations)/phrases/context for "jelly roll" and check conjugation/comparative form for "jelly roll". Mastering all the usages of "jelly roll" from sentence examples published by news publications.

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Starting at one long side, roll up dough, jelly-roll fashion.
Sprinkle with the parmesan and roll into a long log like a jelly roll.
These concerts focus on the compositions of Jelly Roll Morton, the sovereign composer-arranger.
She has refrained from signing with a label, a decision Jelly Roll has also followed.
A Juggalo offers Peyton and Jelly Roll to use his slingshot to launch Faygo water balloons.
Jelly Roll lounges on top of a freezer, while Peyton sits up on a couch, showing perfect posture.
" The legend was passed orally at first, and cemented by the Jelly Roll Morton track "Buddy Bolden's Blues.
Gregory Hines played Jelly Roll Morton; his wife at the time, Pamela Koslow, was Ms. Lion's co-producer.
A few minutes later, a firework explodes near the tent, raining sparks on Peyton, Jelly Roll, and the Juggalos.
Aston Matthews)"Elujay - "Golden" *World Premiere*  Noisey Nashville Townes Van Zandt - "Waitin' Round To Die"Jelly Roll - "Train Tracks (feat.
Roll up each piece like a jelly roll and tie them securely with two pieces of butcher's twine or 2 toothpicks.
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Kevin Young's Jelly Roll [A Blues] (2003) is published by Alfred A. Knopf and is available from Amazon and other online booksellers.
At the heart of the futomaki are chunks of a jelly roll, while the nigiri are plain old vanilla cake filled with a ginger buttercream.
Well, it's also called a "buche de Noel," a "jelly roll," a "roly poly," a "roulade" … I'm neutral: They're all delicious, as is this puzzle!
Directed by distinguished photographer Matt Mahurin, "California" employs a film negative effect of a club dancer and threatening clouds with the cocaine-covered face of Jelly Roll.
The year after "The Fugue," she produced her "Eight Jelly Rolls," to Jelly Roll Morton; the year after that, "The Bix Pieces," to Bix Beiderbecke's jazz cornet.
Whether you are baking cookies, roasting vegetables, reviving frozen foods, or making a fancy jelly roll, you need a baking sheet (also known as a cookie sheet).
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It's immediately followed by a new encore that Ms. Tharp has added: a Jelly Roll sequel of sorts in which she dances, too, in her consciously eccentric way.
The Harlem walking tour will pass by the sites of several historic music venues, like Smalls Paradise and the Alhambra Ballroom, where Bessie Smith and Jelly Roll Morton performed.
James Dapogny, a jazz pianist, bandleader and musicologist who was instrumental in solidifying Jelly Roll Morton's place in the jazz pantheon, died on March 6 in Ann Arbor, Mich.
Jazz great Jelly Roll Morton said he sang smutty songs about women to appear tough because he played piano, which was considered to be a women's instrument at the time.
If you are looking for a rimmed sheet that is ideal for creating delectable jelly rolls, look no further than the Chicago Metallic Professional Non-Stick Cookie/Jelly-Roll Pan.Pros:
He was acclaimed as a member of a distinctively New Orleans piano pantheon alongside Jelly Roll Morton, James Booker, Tuts Washington, Professor Longhair, Fats Domino, Allen Toussaint and Dr. John.
The "Throw Some D's" rapper also shows up on the stunning "Praying for Some Change," a country rap tune built around a hook from noted Tennessean Waffle House enthusiast Jelly Roll.
One admirer was Susan Birkenhead, the lyricist for "Jelly's Last Jam," a show about the jazz pianist and composer Jelly Roll Morton that Ms. Lion began developing in the mid-21996s.
Well Grey's fans, it's time to hop on the couch with a glass of wine and a strawberry jelly roll (or snack of your choice) and take a trip into the past.
She lived for much of the 1920s and '30s in Chicago, performing in concert and at house parties with jazz musicians like Armstrong and Jelly Roll Morton, and touring the country often.
It is a magic tied up with images of Louis Armstrong, King Oliver and Jelly Roll Morton, Earl Hines and Benny Goodman, the Barbarin family, the Brunies brothers, and so many others.
Tom McDermott mastered fearsome Jelly Roll Morton compositions like the aptly-titled "Finger Breaker"; Davell Crawford, even brawnier and wilder, flung tremolos and glissandos all over the place in a Booker tribute.
Nashville: Starring Kesha, Jelly Roll, Margo Price, Struggle Jennings, and the infamous Mikel Knight and his last-chance group of ex-cons explore the flipside of the city that gave us Taylor Swift.
Professor Dapogny further cemented Morton's legacy by overseeing "Jelly Roll Morton, the Library of Congress Recordings, Volumes 21982-21993," a landmark compilation of 192000 material that was released by Rounder Records in 21923.
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As the genre seems to be reeling back to a more traditional and contemplative place (see Chris Stapleton, Sturgill Simpson) after its pop and hip hop phases pass by, so, too, is Jelly Roll.
It took Twyla Tharp six years to get one of her dances on a proscenium stage, and what a dance it was: "Eight Jelly Rolls," set to early jazz music by Jelly Roll Morton.
When the curtain rises on Thursday on the opener of Jazz at Lincoln Center's 22017th season, its flagship orchestra will debut arrangements of Jelly Roll Morton's compositions, some of which are a century old.
Using every part of my hands, I coax a thin sponge cake into a jelly roll (and there isn't a time when I don't take a moment to admire the chubby spiral I've crafted).
Storyville is just a component in the evolution of jazz, but the performances of musicians such as Jelly Roll Morton and Manuel "Fess" Manetta in the district makes it part of this American music narrative.
In order to increase the speed at which these electrical signals travel, the axon is insulated by myelin.... Myelin twists around the axon like a jelly-roll cake and prevents the loss of electrical signals.
They won't tell you that if you finish the whole thing, you may never make it to the rest of Italivi Reboreda's dessert menu, including the dark and tender chocolate cake that is wrapped, jelly-roll-style, around chocolate mousse.
That's true also of the one full piece shown here, "Eight Jelly Rolls" (1971), the first piece she made to fit its musical accompaniment (old jazz recordings by Jelly Roll Morton and Charles Luke), and one of her greatest comedies.
Some of the findings include an early letter from Jelly Roll Morton to the folklorist Alan Lomax; photographs by William P. Gottlieb, a prominent jazz photographer during the 1930s and '40s ; and artwork by Romare Bearden, as well as by Ms. Salvant.
The finger did not heal sufficiently for proper guitar playing right away, but was less troublesome on a piano, and eventually Dr. John would become an heir to the New Orleans keyboard tradition of Jelly Roll Morton, Professor Longhair, Huey "Piano" Smith and Fats Domino.
There are longstanding ties between the music of New Orleans and of the Caribbean, particularly Cuba; what Jelly Roll Morton called the "Spanish tinge" was actually the Afro-Cuban rhythms that made their way into New Orleans Mardi Gras music, jazz and R&B.
I think I'm going to do a book about New Orleans and maybe about Storyville in the 1890s, maybe about Lulu White, who was an octoroon, who opened a sporting house and hired Jelly Roll Morton to be the piano player, and Louis Armstrong.
Kevin Young, the author of the National Book Award finalist "Jelly Roll: A Blues," among many other works, is a poet of extraordinary dynamism and erudition, whose flair for intricate cultural reference is tempered by his distrust of postmodernism's risk of blurring provenances and voiding ethical obligations.
I am, however, someone who happily attended a furry convention just because, made my stomach pooch its own Tinder profile (that's a story for another time, but my li'l jelly roll got action!), and agreed to go on a Hawaiian vacation with a dude whom, at the time, I'd only known for eight weeks.
Both had copies of "The Cake Bible" by Rose Levy Beranbaum, so Dr. Arguin suggested that they try the Scarlet Empress, in which a bowl is lined with slices of jelly roll and filled with vanilla Bavarian cream before a top layer of cake is added and the whole thing is flipped over and unmolded.
He applied his vast knowledge of music to transcribing early jazz works from recordings, most notably in his 21980 book "Ferdinand 'Jelly Roll' Morton: The Collected Piano Music," which helped fuel a rediscovery of Morton (21920-280), who had fallen out of favor but is now widely regarded as the first great jazz composer.
There is a free Schastey concert titled "Tangos and Rags in the Salon" on February 26 with pianist Joshua Rifkin, then ticketed performances on March 4 with "Songs and Stories from the American Parlor" — focused on influential African-American composers like Jelly Roll Morton and Blind Tom — and, on April 6, "A Bird in a Gilded Cage," with mezzo-soprano Naomi O'Connell and featuring operettas and other Gilded Age hits.
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They are found exclusively in double- stranded DNA viruses of at least nine different viral families, including viruses that infect all domains of life, and spanning a large capsid size range. In the double jelly roll capsid architecture, the jelly roll axis is oriented perpendicular or "vertically" relative to the capsid surface. Double jelly roll proteins are believed to have evolved from single jelly roll proteins by gene duplication; however, because of the major differences in architecture and assembly, it is unclear whether the double jelly roll capsid evolved directly from a single jelly roll capsid or if the two capsid forms represent distinct lineages of adaptation from common ancestral jelly roll proteins. However, the degree of structural similarity among double-jelly-roll virus capsids has led to the conclusion that these viruses likely have a common evolutionary origin despite their diversity in size and in host range; this has become known as the PRD1-adenovirus lineage (Bamfordvirae).
A monomer of the double jelly roll major capsid protein P2 from bacteriophage PM2. The two distinct jelly roll domains are shown in red and blue, with the remaining protein sequence in orange. In contrast to single jelly roll capsids, double jelly rolls are oriented with the "vertical" axis perpendicular to the capsid surface, which is at the bottom in this image. From .
A pseudohexameric trimer of double jelly roll proteins; the jelly rolls are in red and blue and the loops and helices are colored to distinguish the three monomers in the assembly. The viewer is looking down from the exterior toward the capsid surface. From . Double jelly roll capsid proteins consist of two single jelly roll folds connected by a short linker region.
Comparative studies of proteins classified as jelly roll and Greek key structures suggest that the Greek key proteins evolved significantly earlier than their more topologically complex jelly roll counterparts. Structural bioinformatics studies comparing virus capsid jelly-roll proteins to other proteins of known structure indicates that the capsid proteins form a well-separated cluster, suggesting that they are subject to a distinctive set of evolutionary constraints. One of the most notable features of viral capsid jelly roll proteins is their ability to form oligomers in a repeated tiling pattern to produce a closed protein shell; the cellular proteins that are most similar in fold and topology are mostly also oligomers. It has been proposed that viral jelly-roll capsid proteins have evolved from cellular jelly-roll proteins, potentially on several independent occasions, at the earliest stages of cellular evolution.
Jelly Roll Morton 1929. Worked w. Blanche Calloway and other bands dur. '30s; w.
Jelly Roll Morton - Tiger Rag Morton claimed to have written "Jelly Roll Blues" in 1905. Morton was born Ferdinand Joseph LaMothe into the Creole communityJohn Szwed, "Doctor Jazz", booklet in Jelly Roll Morton: The Complete Library of Congress Recordings, Rounder (2005), p. 3. in the Faubourg Marigny neighborhood of New Orleans around 1890, and he claimed to have been born in 1885. Both parents traced their Creole ancestry four generations to the 18th century.
Jelly Roll Morton: The Complete Library of Congress Recordings is a 2005 box set of recordings from jazz pioneer Jelly Roll Morton. The set spans 128 tracks over eight CDs. It won two Grammy Awards in 2006, Best Historical Album and Best Album Notes.
"Original Jelly Roll Blues", usually shortened to and known as "Jelly Roll Blues", is an early jazz fox-trot composed by Jelly Roll Morton. He recorded it first as a piano solo in Richmond, Indiana, in 1924, and then with his Red Hot Peppers in Chicago two years later, titled as it was originally copyrighted: "Original Jelly-Roll Blues". It is referenced by name in the 1917 Shelton Brooks composition "Darktown Strutters' Ball". The Red Hot Peppers version is a typical New Orleans jazz presentation where the trumpet, clarinet and trombone play lead melody and counterpoint, with the piano, guitar, string bass and drums providing the rhythmic accompaniment.
Carter's song, "Hot Jelly Roll Blues", was recorded by Hot Tuna for their album Yellow Fever in 1975.
At various times, Henderson sang accompanied by Jelly Roll Morton, Tommy Ladnier, Lovie Austin, Eddie Heywood, and Johnny Dodds.
402-454, University of Illinois Press He was said to have been the highest- paid black entertainer in the country at the time of his accidental death at the age of 23, and has been claimed as "the model for Jelly Roll [Morton], at least as a stage entertainer and perhaps even as a blues pianist". Alan Lomax, Mister Jelly Roll: The Fortunes of Jelly Roll Morton, New Orleans Creole and "inventor of Jazz", University of California Press, 1993, p.338 No recordings of May exist.
The article was reproduced in Mister Jelly Roll (University of California Press, 1950), a biography of Morton by Alan Lomax.
Its recommended English name in the UK is "crystal brain"; in North America it has also been called "granular jelly roll".
He worked with Don Ewell in the 1970s. He also appeared in Bob Greene's Jelly Roll Morton revue show that decade.
Although the pattern is only half a clave, Marsalis makes the point that the single-celled figure is the guide-pattern of New Orleans music. Jelly Roll Morton called the rhythmic figure the Spanish tinge and considered it an essential ingredient of jazz.Morton, Jelly Roll (1938: Library of Congress Recording) The Complete Recordings By Alan Lomax.
There are three subunits named, A, B and C. It contains a beta-jelly roll motif which consists of 9 beta-strands.
Although most members of this group are icosahedral, a few families such as the Poxviridae and Ascoviridae have oval or brick-shaped mature virions; poxviruses such as Vaccinia undergo dramatic conformational changes mediated by highly derived double jelly roll proteins during maturation and likely derive from an icosahedral ancestor. Shared double-jelly-roll capsid proteins, along with other homologous proteins, have also been cited in support of the proposed order Megavirales containing the nucleocytoplasmic large DNA viruses (NCLDV). Double jelly roll proteins have not been observed in cellular proteins; they appear to be unique to viruses. For this reason, detecting clear homology to double jelly roll proteins in the sequences of polinton/Maverick transposable elements widespread in eukaryotic genomes is considered evidence of these genetic elements' close evolutionary relationship to viruses.
In the 1920s, Baquet recorded with Bessie Smith; in 1929, he recorded with Jelly Roll Morton, and in the 1940s with Sidney Bechet.
Jelly Roll Morton The Spanish tinge is an Afro-Latin rhythmic touch that spices up the more conventional rhythms commonly used in jazz and pop music. The phrase is a quotation from Jelly Roll Morton. In his Library of Congress recordings, after referencing the influence of his own French Creole culture in his music, he noted the Spanish (read Cuban) presence: What Morton called "Spanish" were the tresillo and habanera rhythms of the Cuban contradanza ("habanera"). Morton demonstrated the "tinge" to Alan Lomax in the 1938 Library of Congress recordings.Morton, “Jelly Roll” (1938: Library of Congress Recording) The Complete Recordings By Alan Lomax.
Most viruses in Varidnaviria contain a capsid that is made of major capsid proteins that contain vertical single (SJR) or double jelly roll (DJR) folds. The major capsid proteins are named so because they are the primary proteins that the capsid is made of. A jelly roll fold is a type of folded structure in a protein in which eight antiparallel beta strands are organized into four antiparallel beta sheets in a layout resembling a jelly roll, also called a Swiss roll. Each beta strand is a specific sequence of amino acids, and these strands bond to their antiparallel strands via hydrogen bonds.
Ferdinand Joseph LaMothe (September 20, c. 1890 – July 10, 1941), known professionally as Jelly Roll Morton, was an American ragtime and jazz pianist, bandleader, and composer. Morton was jazz's first arranger, proving that a genre rooted in improvisation could retain its essential characteristics when notated. His composition "Jelly Roll Blues", published in 1915, was one of the first published jazz compositions.
The Jelly Roll Joys is an album by jazz pianist Dave Burrell. It was recorded in 1990 and released in 1991 by Gazell Records.
The full assembled capsid structure of the satellite tobacco mosaic virus, with the monomer shown above at the bottom of the highlighted pentamer. The remainder of the protein chains are shown in purple and the RNA in the interior of the capsid is shown in brown. The axis of the jelly roll in this single jelly roll capsid is parallel to the capsid surface. From .
In 1962, the Carrs and Frost moved to Mississippi, where they joined with Clarksdale-based guitarist Big Jack Johnson to form the Jelly Roll Kings. Doris sang with the band for several years. They recorded the album Hey Boss Man for Phillips International Records in 1962. The album included the song "Jelly Roll King" (the origin of the band's name), a classic electric juke joint blues.
There are two groups of viruses in Varidnaviria: viruses that have a double vertical jelly roll (DJR) folds in the MCP, assigned to the kingdom Bamfordvirae, and viruses that have a single vertical jelly roll (SJR) fold in the MCP, assigned to the kingdom Helvetiavirae. The DJR-MCP lineage is thought to be descended from the SJR-MCP lineage via a gene fusion event, and the SJR- MCP shows a close relation to nucleoplasmins, pointing to a possible origin of the realm's jelly roll fold MCP. Most identified eukaryotic DNA viruses belong to Varidnaviria. Marine viruses in the realm are highly abundant worldwide and are important in marine ecology.
Among these lineages are full-fledged viruses, including adenoviruses and giant viruses, cytoplasmic linear plasmids, virophages, which are satellite viruses of giant viruses, transpovirons, which are linear plasmid-like DNA molecules found in giant viruses, and bidnaviruses via genetic recombination with a parvovirus, both of which are classified in the realm Monodnaviria. While the jelly roll fold is found in other realms, including the family Microviridae in Monodnaviria and various single-stranded RNA viruses in Riboviria, the jelly roll fold found in Varidnaviria is vertical, i.e. perpendicular to the capsid surface, contrary to the jelly roll folds in other realms, which are horizontal, i.e. parallel to the capsid surface.
In 2009, his death at the age of 101 ended a career that lasted over seventy-five years. He was the last musician to have recorded with Jelly Roll Morton.
Jazz Journal magazine, December 1951, Vol. 4, No. 12, pp. 12-14 Jelly Roll Morton recorded the song twice, in 1923 and 1926.Brian Goggin: Benjamin F. Spikes biography at doctorjazz.co.
Around 1910, George W. Thomas Jr. formed a friendship with Clarence Williams, who was also working in the Houston theaters; they may have also met Jelly Roll Morton around this time.
A ribbon diagram of the MCP of Pseudoalteromonas virus PM2, with the two jelly roll folds colored in red and blue Varidnaviria contains DNA viruses that encode MCPs that have a jelly roll fold folded structure in which the jelly roll (JR) fold is perpendicular to the surface of the viral capsid. Many members also share a variety of other characteristics, including a minor capsid protein that has a single JR fold, an ATPase that packages the genome during capsid assembly, and a common DNA polymerase. Two kingdoms are recognized: Helvetiavirae, whose members have MCPs with a single vertical JR fold, and Bamfordvirae, whose members have MCPs with two vertical JR folds. Varidnaviria is either monophyletic or polyphyletic and may predate the LUCA.
Gang shootings swept the city once again. Jelly Roll Hogan's Cass Avenue home was shot up once again on March 22, 1923. Hogan and Humbert Costello traded shots with a carload of Egans while racing up North Grand Boulevard (the Rats's coupe struck and crippled a 12-year-old schoolboy). When his attackers, Isadore Londe and Elmer Runge, were brought before him at the police station, Jelly Roll Hogan was asked if he could identify them.
In 1915 "Jelly Roll Blues" was one of the first jazz compositions to be published. Two years later he went to California with bandleader William Manuel Johnson and Johnson's sister Anita Gonzalez.
It was formerly known as the PRD1-adenovirus lineage. The kingdom is named after Dennis H. Bamford who first promoted the evolutionary unity of all viruses encoding double jelly- roll major capsid proteins.
Detailed information, complete with charts, and drawing on the research of Lawrence Gushee, is available from Peter Hanley's Jelly Roll Morton: An Essay in Genealogy (2002) Morton's birth date and year of birth are uncertain, given that no birth certificate was ever issued for him. The law requiring birth certificates for citizens was not enforced until 1914.Hanley, Jelly Roll Morton: An Essay in Genealogy. His baptismal certificate lists his date of birth as October 20, 1890, but Hanley prefers September 20, 1890.
The kingdom Bamfordvirae is likely derived from the other kingdom Helvetiavirae via fusion of two MCPs to have an MCP with two jelly roll folds instead of one. The single jelly roll (SJR) fold MCPs of Helvetiavirae show a relation to a group of proteins that contain SJR folds, including the Cupin superfamily and nucleoplasmins. Marine viruses in Varidnaviria are ubiquitous worldwide and, like tailed bacteriophages, play an important role in marine ecology. Most identified eukaryotic DNA viruses belong to the realm.
A ribbon diagram of the MCP of Pseudoalteromonas virus PM2, with the two jelly roll folds colored in red and blue Varidnaviria contains DNA viruses that encode MCPs that have a jelly roll fold folded structure in which the jelly roll (JR) fold is perpendicular to the surface of the viral capsid. Many members also share a variety of other characteristics, including a minor capsid protein that has a single JR fold, an ATPase that packages the genome during capsid assembly, and a common DNA polymerase. Two kingdoms are recognized: Helvetiavirae, whose members have MCPs with a single vertical JR fold, and Bamfordvirae, whose members have MCPs with two vertical JR folds. Marine viruses in Varidnaviria are ubiquitous worldwide and, like tailed bacteriophages, play an important role in marine ecology.
"Writers Guild Presents Awards". Back Stage. p. 15. The only other composers mentioned as worthy equals in the film are John Philip Sousa and Jelly Roll Morton, although Eubie Blake does make an appearance.
General Records was a small American record label during the late 1930s and early 1940s. Its most notable releases are piano solos recorded by Jelly Roll Morton in December 1939 late in his career.
While viruses in Duplodnaviria make use of the HK97 fold for their major capsid proteins, the major capsid proteins of viruses in Varidnaviria instead are marked by vertical single or double jelly roll folds.
Farewell Blues. Second- Hand Songs. A band called The Georgians recorded it in 1923, copying Roppolo's acclaimed clarinet solo note for note. Jelly Roll, Bix, and Hoagy: Gennett Studios and the Birth of Recorded Jazz.
The quality of the recordings is further enhanced by the band's careful rehearsals, which were uncommon in early jazz performances.Balliett, Whitney. "Jelly Roll, Jabbo, and Fats: 19 Portraits in Jazz". Oxford University Press,1984, pp.
The basic jelly roll structure consists of eight beta strands arranged in two four-stranded antiparallel beta sheets which pack together across a hydrophobic interface. The strands are traditionally labeled B through H for the historical reason that the first solved structure, of a jelly roll capsid protein from the tomato bushy stunt virus, had an additional strand A outside the fold's common core. The sheets are composed of strands BIDG and CHEF, folded such that strand B packs opposite strand C, I opposite H, etc.
Single jelly roll capsid (JRC) proteins are found in at least sixteen distinct viral families, mostly with icosahedral capsid structures and including both RNA viruses and DNA viruses. However, the majority of the single JRC viruses are positive- sense single-stranded RNA viruses, and the only double-stranded DNA viruses with single-JRC capsids are the Papillomaviridae and Polyomaviridae, both of which are quite small. The architecture of the assembled capsid orients the axis of the jelly roll parallel or "horizontally" relative to the capsid surface.
The single "Jelly Roll" also proved to be a minor hit, reaching number fifteen on the Mainstream Rock chart. However, Tony Franklin stated that MTV's refusal to play the music video for "Jelly Roll" prevented it from becoming a crossover hit. In support of their debut album, Blue Murder toured America supporting Bon Jovi and Billy Squier, and later headlined in Japan. While their debut album would go on to sell an estimated 500,000 copies according to Sykes, Blue Murder's success fell short of expectations.
In 1995, Bagneris received a Lucille Lortel Award for Outstanding MusicalLucille Lortel Awards Recipients by Category as well as an Obie AwardObie Awards 1995 Winners for Jelly Roll!, his portrait of jazz pioneer Jelly Roll Morton. Other notable performances included a 2004 revival of Bubbling Brown Sugar, in which Bagneris starred with Diahann Carroll. During this time, he also worked in film, including French Quarter (1978), Pennies from Heaven (1981), Down by Law (1986), and Ray (2004), the award-winning film adaptation of Ray Charles's life.
Members of the genera Alphasphaerolipovirus and Betasphaerolipovirus infect halophilic archaea, while those of the genus Gammasphaerolipovirus replicate in thermophilic bacteria. The kingdom Helvetiavirae is recognized for its use of single-domain, vertically-folded jelly roll capsids.
With Oliver he played soprano saxophone, then alto saxophone with the Red Hot Peppers led by Jelly Roll Morton. Evans also worked as a sideman for Erskine Tate and Jimmy Wade. He died young from tuberculosis.
Around 1917 Jelly Roll Morton came to San Francisco and opened the Jupiter club with his paramour, Anita Gonzalez.Stoddard (1982), p. 51. Though born in New Orleans, he traveled extensively at a young age.Gioia (1997), p. 40.
William Ward Pinkett, Jr. (April 29, 1906 – March 15, 1937) was an American jazz trumpeter and scat vocalist during the Harlem Renaissance. He played and recorded with King Oliver, Jimmy Johnson, Chick Webb, and Jelly Roll Morton.
"King Porter Stomp" is a jazz standard by pianist Jelly Roll Morton, first recorded in 1923. The composition is considered to be important in the development of jazz.Magee, Jeffrey. "'King Porter Stomp' and the Jazz Tradition", p.
A canonical example of a jelly roll viral capsid protein, from the satellite tobacco mosaic virus. The individual beta strands are labeled with their traditional designations (for historical reasons, sheet A is not used), highlighting the packing of the BIDG and CHEF four-stranded sheets. The jelly roll or Swiss roll fold is a protein fold or supersecondary structure composed of eight beta strands arranged in two four-stranded sheets. The name of the structure was introduced by Jane S. Richardson in 1981, reflecting its resemblance to the jelly or Swiss roll cake.
While losers in the gang war, Jelly Roll Hogan and his men ultimately had the last laugh, as Egan's Rats would dissolve under a flurry of inter-gang murders and federal mail robbery indictments. Hogan and his men expanded their territory into south St. Louis County and made a fortune by selling illegal beer and liquor for the rest of Prohibition. Hogan himself would later go on to serve four terms in the Missouri State Senate. Jelly Roll Hogan died of natural causes on August 11, 1963 at the age of 77.
As of late 2007, two structures have been solved for this class of enzymes, with PDB accession codes and . The structure of allantoicase is best described as being composed of two repeats (the allantoicase repeats: AR1 and AR2), which are connected by a flexible linker. The crystal structure, resolved at 2.4A resolution, reveals that AR1 has a very similar fold to AR2, both repeats being jelly-roll motifs, composed of four-stranded and five-stranded antiparallel beta-sheets. Each jelly-roll motif has two conserved surface patches that probably constitute the active site.
The crystal structure of RmlC from Methanobacterium thermoautotrophicum was determined in the presence and absence of a substrate analogue. RmlC is a homodimer comprising a central jelly roll motif, which extends in two directions into longer beta-sheets. Binding of dTDP is stabilised by ionic interactions to the phosphate group and by a combination of ionic and hydrophobic interactions with the base. The active site, which is located in the centre of the jelly roll, is formed by residues that are conserved in all known RmlC sequence homologues.
Gennett Records was the first to record such artists as Louis Armstrong, Bix Beiderbecke, Jelly Roll Morton, Hoagy Carmichael, Lawrence Welk, and Gene Autry. The city has twice received the All-America City Award, most recently in 2009.
Carbohydrate-binding module family 15 (CBM15), found in bacterial enzymes, has been shown to bind to xylan and xylooligosaccharides. It has a beta-jelly roll fold, with a groove on the concave surface of one of the beta-sheets.
The catalytic domain of Beta-galactosidases have a TIM barrel core surrounded several other largely beta domains. The sugar binding domain of these proteins has a jelly- roll fold. These enzymes also include an immunoglobulin-like beta-sandwich domain.
A pseudohexameric trimer of DJR-MCPs formed into a hexagonal shape. Jelly roll folds of each MCP are colored in red and blue, and the loops and helices of each MCP are colored differently to distinguish the three MCPs.
The Hogan Gang got their name from their leader, Edward J. Hogan, Jr.. The son of a St. Louis police captain, Hogan was a local saloon keeper who had gone into state politics in the 1910s. Known by the unwanted nickname of "Jelly Roll" due to his hefty build, Hogan served in the Missouri State Legislature, where he was known as an effective, garrulous lawmaker. Jelly Roll Hogan was also known to be temperamental (he and a companion assaulted a politician named Ben Neale on the steps of the Missouri Capitol Building.) With the advent of Prohibition, Hogan and a group of hoodlums that worked under him began selling illegal beer and liquor on a large scale. Jelly Roll was also dubbed a deputy inspector for the State Beverage Department of Missouri, which gave the new gang boss a new position of influence in state and local government.
Sutherland's debut novel, Jelly Roll, was nominated for the Whitbread Prize in the first novel category in 1998. His novella Venus As A Boy (2004) talks extensively about Sutherland's own childhood in Orkney, where he was the sole Scots-African.
In 1934, William Dawson's Negro Folk Symphony was performed by the Philadelphia Orchestra.Southern 361. African Americans were the pioneers of jazz music, through masters such as Jelly Roll Morton, James P. Johnson, Louis Armstrong, Count Basie, Fletcher Henderson, and Duke Ellington.
Jelly's Last Jam is a musical with a book by George C. Wolfe, lyrics by Susan Birkenhead, and music by Jelly Roll Morton and Luther Henderson. Based on the life and career of Ferdinand Joseph LaMothe, known as Jelly Roll Morton and generally regarded as one of the primary driving forces behind the introduction of jazz to the American public in the early 20th century, it also serves as a social commentary on the African-American experience during the era. LaMothe was born into a Louisiana Creole family that was established and free before the Civil War.
Sid Rumpo were an Australian R&B; group which formed in Perth in November 1971. They issued their debut album, First Offense, in April 1974 on Mushroom Records/Festival Records but disbanded by the end of that year. The band were formed by John Hood on lead guitar and harmonica (ex-Jelly Roll Bakers, Juke); Noel Herridge on drums (Adderley Smith Blues Band); Owen Hughes on bass guitar (Jelly Roll Bakers); Robert Searls on lead guitar and vocals; and Ken Wallace on piano. In 1972 they won the Western Australian state final in the Hoadley's Battle of the Sounds.
On Alan Lomax's death in 2002, Wood oversaw the cataloging, digitization, and preservation of all Alan Lomax's recordings, manuscripts, correspondence, films, photos, and research made after 1942 for transference to the Library of Congress. Under her direction, ACE collaborates actively with the Library of Congress in keeping Alan's legacy alive.See the "Alan Lomax Collection" website at the Research Center of the American Folklife Collection at the Library of Congress. In 2005, Rounder issued the 8-CD box- set, Jelly Roll Morton: The Complete Library of Congress Recordings, which included a reissue of Alan Lomax's 1952, book, Mr. Jelly Roll.
The play Don't You Leave Me Here by Clare Brown, which premiered at West Yorkshire Playhouse in September 2008, deals with his relationship with Jelly Roll Morton. Jackson appears as a minor character in David Fulmer's Storyville novel Chasing the Devil's Tail.
Louis Armstrong's first recordings were done in the Cincinnati area, at Gennett Records, as were Jelly Roll Morton's, Hoagy Carmichael's, and Bix Beiderbecke, who took up residency in Cincinnati for a time. Fats Waller was on staff at WLW in the 1930s.
The composer and pianist Jelly Roll Morton was employed by Burt, while still a youth, to entertain customers. The customers would tip the piano player and Morton considered it a bad night if he received less than a hundred dollars in tips.
"Wolverine Blues" is an early jazz standard by Jelly Roll Morton with lyrics by the brothers Benjamin Franklin "Reb" Spikes and John Curry Spikes. He recorded it in Richmond, Virginia on 18 July 1923 along with "Kansas City Stomp" and "Grandpa's Spells".
Kennedy, Jelly Roll, Bix, and Hoagy, p. 138.Sudhalter, 2002, p. 123. Carmichael received more recognition after Paul Whiteman and his orchestra recorded "Washboard Blues" on Victor Records in Chicago in November 1927, with Carmichael singing and playing the piano.Kennedy, "Star Dust Memories," p. 8.
Reich, Howard, and William Gaines. Jelly's Blues The Life, Music, and Redemption of Jelly Roll Morton. Cambridge, Massachusetts: Da Capo, 2003. In 1946 Milt Gabler of Commodore Records purchased the stock, masters and rights of General Records when the company went out of production.
Endolytic alginate lyases, like those found in the PL-7 family, have active sites which are wide open. Exolytic alginate lyases, like those found in the PL-15 family, have a catalytic groove which is blocked on one end, forming a pocket. Due to differences in the way they fold, alginate lyases can be grouped based on whether they contain a β-jelly roll, an (α/α)n toroid, or a right-handed β-helix. Most of the currently characterized alginate lyases belong to the β-jelly roll class, in which a curved anti-parallel inner and an outer β-sheet are bonded together.
The name "jelly roll" was first used for the structure composed of an elaboration on the Greek key motif by Jane S. Richardson in 1981 and was intended to reflect the structure's resemblance to a jelly or Swiss roll cake. The structure has been given a variety of descriptive names, including a wedge, beta barrel, and beta roll. The edges of the two sheets do not meet to form regular hydrogen bonding patterns, and so it is often not considered to be a true beta barrel. Cellular proteins containing jelly roll-like structures may be described as a cupin fold, a JmjC fold, or a double-stranded beta helix.
It has been performed by many notable acts, such as Jelly Roll Morton, Chris Barber, Harry Connick Jr. and Dutch Swing College Band. Doctor Jazz, as a record made by Jelly Roll Morton and his Red Hot Peppers in 1926, is a prime example of early New Orleans jazz counterpoint and collective improvisation. The number of special features, pre-written stop-time breaks and improvised solo passages in this record yield a tapestry of musical contrasts. Jazz was producing significant accomplishments in its other aspects, such as the development of the soloist,Gioia, Ted, The History of Jazz, Oxford University Press, 2011, p. 60.
Louis Armstrong thought enough of Miller to carry around his recordings, transferred to seven-inch tape reels when he went on tour. "[Armstrong] liked musicians who prized melody, and his selections ranged from Glenn Miller to Jelly Roll Morton to Tchaikovsky."Armstrong, Louis. "Reel to Reel".
Shootings again rocked the city of St. Louis. By Easter Sunday 1923, both Dint and Jelly Roll Hogan wrote letters to the citizens of St. Louis telling them that the war was finally finished once and for all; both notes were published in the St. Louis Star.
Thomas Egan and Thomas Kinney formed Egan's Rats a large organized gang. A rival Hogan Gang led by Edward "Jelly Roll" Hogan also operated in the city. The gangs engaged, in the Egan-Hogan War of 1921–23, which resulted in the breakup of Egan's Rats.
John Curry Spikes (July 22, 1881 - June 28, 1955) was an American jazz musician and entrepreneur. Along with his brother Reb Spikes, John ran a traveling show band in early 1900s. At one point, Jelly Roll Morton was a member of the band.The Rough Guide to Jazz.
Daniels' aspired to reproduce the original styles of King Oliver, Jelly Roll Morton, Louis Armstrong and others as authentically as possible during live performance.Mike Daniels Obituary The Daily Telegraph. Retrieved 21 May 2020. Some of his other bands have featured talents such as Keith Nichols and John Chilton.
The Bronzeville neighborhood was at one time the city's center of Black cultural, business and political life. It was also the former home to famous musicians such as Scott Joplin, Louis Armstrong, Jelly Roll Morton and Fats Waller, as well as legendary blues artist Willie Dixon and many more.
Witch is the collaborative extended play by American rappers Gangsta Boo and La Chat. It was released on May 27, 2014 via by Phixieous Entertainment. Recording sessions took place at Select-O-Hits Studio in Memphis. The album features guest appearances from Fefe Dobson, Lil Wyte and Jelly Roll.
He also performed in San Francisco, where he met and worked with Jelly Roll Morton, Florence Mills, and Ada "Bricktop" Smith. Between 1917 and 1919 Compton and his wife also worked in Los Angeles and Seattle, before returning to Chicago. Rag Piano: Glover ComptonBiography by Eugene Chadbourne at Allmusic.
New Orleans-born musicians such as Louis Armstrong, Sidney Bechet and Jelly Roll Morton all recalled the influence Bolden had on the direction of the music of New Orleans (Armstrong himself had no memory of Bolden, but was told about him by his mentor King Oliver) and jazz itself.
The inside of a Nickel-metal hydride battery, showing the jelly roll design The jelly roll or Swiss roll design is the design used in the majority of cylindrical rechargeable batteries, including nickel-cadmium (NiCd), nickel- metal hydride (NiMH) and lithium-ion (Li-ion). In this design, an insulating sheet is laid down, then a thin layer of an anode material is laid down, a separator layer is applied, and a cathode material is layered on top. This sandwich is then rolled up and inserted into a hollow cylinder casing. The battery is sealed, metal contacts are attached, and an optional button top is applied if the battery is intended to replace an AAA/AA/C/D alkaline battery.
Varidnaviria is a realm of viruses that includes all DNA viruses that encode major capsid proteins that contain a vertical jelly roll fold. The major capsid proteins (MCP) form into pseudohexameric subunits of the viral capsid, which stores the viral deoxyribonucleic acid (DNA), and are perpendicular, or vertical, to the surface of the capsid. Apart from this, viruses in the realm also share many other characteristics, such as minor capsid proteins (mCP) with the vertical jelly roll fold, an ATPase that packages viral DNA into the capsid, and a DNA polymerase that replicates the viral genome. Varidnaviria was established in 2019 based on the shared characteristics of the viruses in the realm.
In 1928, Dunn recorded four tracks with Jelly Roll Morton, and two more with both James P. Johnson and Fats Waller. Although he is either the bandleader or is featured on many recordings from about 1923 on, he never made any more recordings after 1928, and relocated permanently to Europe.
And shortly afterrecorded with the Four Bales of Hay, featuring Wingy Manone, Dickie Wells, Artie Shaw, Bud Freeman, Frank Victor, John Kirby and either Teddy Wilson or Jelly Roll Morton.Yanow, Scott (2003) Jazz on Record: The First Sixty Years, p. 173. Backbeat Books at Google Books. Retrieved 1 April 2013.
Jimmy O'Bryant (c. 1896, Arkansas or Kentucky - June 24, 1928, Chicago) was an American jazz clarinetist, often compared to Johnny Dodds. O'Bryant played with the Tennessee Ten in 1920-21, then in a group with Jelly Roll Morton and W.C. Handy in 1923. In 1924 he played with King Oliver.
Although technically, the pattern is only half a clave, Marsalis makes the important point that the single-celled figure is the guide-pattern of New Orleans music. The New Orleans musician Jelly Roll Morton considered the tresillo/habanera (which he called the Spanish tinge) to be an essential ingredient of jazz.
The crystal structure of PNGase F from flavobacterium miningosepticum, with 1.8 Å resolution, was found to be folded in two domains, each with an eight- stranded antiparallel β barrel, or jelly roll, configuration. This structure is similar to lectins and glucanases, suggesting similarities with lectins and other carbohydrate-binding proteins.
Jelly Roll Morton, in Los Angeles, California, c. 1917 or 1918 Cornetist Buddy Bolden played in New Orleans from 1895 to 1906. No recordings by him exist. His band is credited with creating the big four: the first syncopated bass drum pattern to deviate from the standard on-the-beat march.
The set also includes a PDF file including additional liner notes, complete transcriptions of the recorded dialogue and lyrics, additional unrecorded interviews and archival documents and photos. In 2007, Rounder released Jelly Roll Morton: The Library of Congress Recordings by Alan Lomax, a single disc consisting of selected highlights from the box set.
When his mother married William Mouton in 1894, Ferdinand adopted his stepfather's surname, anglicizing it to Morton. At the age of fourteen, Morton began as a piano player in a brothel. He often sang smutty lyrics and used the nickname "Jelly Roll", which was African-American slang for female genitalia.Stewart, Rex (1991).
Sam Carr (born Samuel Lee McCollum, April 17, 1926 – September 21, 2009) was an American blues drummer best known as a member of the Jelly Roll Kings. Largely self-taught, Carr is noted for his "mimimalist" three-piece drum kit, consisting of a snare drum, a bass drum, and a high-hat cymbal.
The band had a minor hit with "My Back Scratcher" in 1966. The Jelly Roll Kings performed through the 1960s and 1970s. Carr, living in Lula, Mississippi, also worked locally as a tractor driver. In the mid-1970s, the band released the LP Rockin' the Juke Joint Down on the Earwig label.
The Allmusic review stated "Powerful atonal improvisors Lauren Newton, Mathies Ruegg leading and conducting the 13-piece group. The best soloists are Herbert Joos on flugelhorn, Harry Sokal on sax/flute, and Wolfgang Pusching on sax. ... The best cuts are "Variations About Silence (For Ornette)," and "Jelly Roll, but Mingus Rolls Better"".
He was also involved in the import/export business along the Mexico–United States border. Johnson's younger brother Ollie "Dink" Johnson was also a noted musician. Their sister known as Anita Gonzalez was a wife of Jelly Roll Morton. Johnson died in New Braunfels, Texas in 1972, at the age of 100.
A slice of pizza Tacos Jelly roll Food porn is a glamourized visual presentation of cooking or eating in advertisements, infomercials, blogs cooking shows or other visual media. Food porn often takes the form of food photography with styling that presents food provocatively, in a similar way to glamour photography or pornographic photography.
In Jelly's Last Jam (1992), the tap dancing was choreographed by Ted Levy and Gregory Hines, who starred as Jelly Roll Morton. Glover played the role of "Young Jelly", and was nominated for the Drama Desk Award as Outstanding Featured Actor in a Musical."Jelly's Last Jam", Playbill. Retrieved May 4, 2016.
The genetic network linking various types of Bamfordvirae viruses and selfish genetic elements, represented by labeled circles. Links between circles are color-coded by the gene whose sequence homology establishes the link. Bamfordvirae is a kingdom of viruses. This kingdom is recognized for its use of double jelly roll major capsid proteins.
"Kansas City Stomp" is an jazz standard by Jelly Roll Morton, first recorded in 1923. It has been described as "one of his (Morton's) happiest pieces". Morton was inspired in naming it after playing at a bar named "Kansas City Bar" in Tijuana. It has nothing to do with Kansas City itself.
The Gardens also featured several notable concert acts throughout its history. On July 4, 1929, Jelly Roll Morton and his jazz band, the Red Hot Peppers, played the Gardens. Then in August 1933, the arena hosted Cab Calloway and his orchestra. Segments of Calloway's show there was then broadcast over the radio.
MURUGA profile on youtube In November 1971, he recorded with Allen Ginsberg and Bob Dylan on sessions at The Record Plant, New York, NY, and the resulting recordings were included on several releases by Ginsberg, including First BluesAllen Ginsberg – First Blues at allmusic and Ginsberg's box-set release Holy Soul Jelly Roll: Poems & Songs.Allen Ginsberg – Holy Soul Jelly Roll: Poems & Songs at allmusic The engineer on the sessions with Ginsberg and Dylan was Jack Douglas. In 1971, Muruga met Darius Brubeck, the son of jazz pianist Dave Brubeck, and along with clarinetist Perry Robinson they formed the electronic experimental trio MBR.The Darius Brubeck Ensemble – Intro By Dave Brubeck In 1972, they recorded the album Chaplin's Back which featured reinterpreted music compositions by actor Charlie Chaplin.
Writing in Ploughshares, Rob Arnold observes that in that first book Young "explores his own family's narratives, showing an uncanny awareness of voice and persona." Young has described his next three books To Repel Ghosts (named for a Jean-Michel Basquiat painting), Jelly Roll (a collection of love poems named for Jelly Roll Morton), and Black Maria as an "American trilogy", calling the series Devil's Music. Young's collection The Book of Hours (Knopf, 2014) won the 2015 Lenore Marshall Poetry Prize. Young is also the author of For The Confederate Dead, Dear Darkness, Blues Laws: Selected and Uncollected Poems 1995–2015 (2016) and editor of Giant Steps: The New Generation of African American Writers (2000), Blues Poems (2003), Jazz Poems (2006), and John Berryman's Selected Poems (2004).
County Records, 1997. Jelly Roll Morton's 1939 "Don't You Leave Me Here" has verses including "Alabama bound". Lead Belly recorded perhaps the best-known version of "I'm Alabama Bound" ("Alabama Bound", Victor 27268, 1940). In the 1960s, the Charlatans recorded a version of "Alabama Bound" based on Lead Belly's in their San Francisco psychedelic style.
This family of glycosyl hydrolases (CAZY GH_65) includes vacuolar acid trehalase and maltose phosphorylases. Maltose phosphorylase (MP) is a dimeric enzyme that catalyzes the conversion of maltose and inorganic phosphate into beta-D-glucose-1-phosphate and glucose. It consists of three structural domains. The C-terminal domain forms a two layered jelly roll motif.
Myxarium nucleatum (common names crystal brain or granular jelly roll) is a jelly fungus in the family Hyaloriaceae. The sporocarps (fruit bodies) are watery white and gelatinous with small, white, mineral inclusions. It is a common, wood-rotting species in Europe and North America, typically growing on dead attached or fallen branches of broadleaf trees.
Notable "professor" pianists include Buddy Christian, Clarence Williams, Alton Purnell, Spencer Williams, and Jelly Roll Morton. Barrelhouse pianists were often untrained with little to no background in music theory. They were mostly self-taught and played mostly in a blues style. Barrelhouse pianists were considered semi-professional and played for drinks, food, or tips.
John Szwed, on the other hand, prefers 1895. See "Doctor Jazz" in Jelly Roll Morton: The Complete Library of Congress Recordings (Rounder Records, 2005), p. 4. His parents were Edward Joseph (Martin) Lamothe, a bricklayer, and Louise Hermance Monette, a domestic worker. His father left his mother when Morton was three (they were never married).
Bill Russell also was one of the leading authorities on early New Orleans jazz. He authored articles and books, including three essays in the milestone book, Jazzmen Ramsey, Jr., Frederic and Smith, Charles Edward (Eds) - Harcourt Brace Jovanovich, 1939. and the voluminous 720-page Jelly Roll Morton scrapbook, Oh, Mister Jelly.Oh, Mister Jelly - JazzMedia 1999.
After leaving Ellington's band, he recorded with Fats Waller (1927, 1929) and played with Charlie Johnson (1927–1928) and Jelly Roll Morton (1929–1930). Some of his latest recordings were in 1931 with Miley again, and shortly thereafter with Elmer Snowden. After the early 1930s, Irvis apparently stopped playing, and died around 1939 in obscurity.
The company, which also toured as the Alabama Chocolate Drops, included Benbow and his wife Alberta, Morton, and pianist and bandleader Frank Rachel. "Jelly Roll Morton: On The Road, 1905-1917", DoctorJazz.co.uk. Retrieved 8 March 2017 By 1909, the company had expanded to include singer, pianist and comedian Butler "Stringbeans" May and singer "Ma" Rainey.
Two recording artists claimed composing credits for the tune under two different titles and both with differing lyrics: Trixie Smith for "Railroad Blues" (Paramount 12262, 1925) and Ferdinand "Jelly Roll" Morton for "Don't You Leave Me Here" (Bluebird 10450, 1939). In addition, Lead Belly also recorded another well-known version of "I'm Alabama Bound", in 1940.
Melomani played the sort of music that they thought was jazz, such as Jelly Roll Morton and W.C. Handy. Initially, Melomani played to a very limited audience, but starting since the mid-1950s, they expanded their base, and were invited to several festivals, such as legendary Jam Session 1, which took place in Sopot in 1955.
The fold is an elaboration on the Greek key motif and is sometimes considered a form of beta barrel. It is very common in viral proteins, particularly viral capsid proteins. Taken together, the jelly roll and Greek key structures comprise around 30% of the all-beta proteins annotated in the Structural Classification of Proteins (SCOP) database.
Dance was born in England to a successful Essex tobacco merchant in 1910. As a youth, he claims he was "fortunate" to have been sent to boarding-school at Framlingham College,Stanley Dance interview transcript. Hamilton College Jazz Archive. where he first encountered American recordings of bands fronted by Jelly Roll Morton and Benny Moten, among others.
The conformationally flexible C-terminal arms are shown here in conformations compatible with binding to neighboring molecules. Superposed is a fragment of the polyomavirus VP2 protein (white), which binds to a pentamer oriented toward the central cavity. VP1 is from ; VP2 is from . The VP1 protein monomer is primarily composed of beta sheets folded into a jelly roll fold.
The beta helix is a type of solenoid protein domain. The structure is stabilized by inter-strand hydrogen bonds, protein-protein interactions, and sometimes bound metal ions. Both left- and right-handed beta helices have been identified. Double stranded beta-helices are also very common features of proteins and are generally synonymous with jelly roll folds.
He showed a unique talent for improvisation and quickly became jazz sensation. For 30 years, he defined jazz in Chicago. During that time, Chicago heard a number of jazz greats such as Earl "Fatha" Hines, Jelly Roll Morton, Erskine Tate, Fats Waller, and Cab Calloway. Blues also came to Chicago from the southeast during this period.
The Rough Guide to Jazz, p. 396. Rough Guides. . Jackson's piano rolls can still be heard today and portions of his style are no doubt found in the recordings of younger musicians he influenced, like Jelly Roll Morton, Clarence Williams, and Steve Lewis. In 2011 the Chicago Gay and Lesbian Hall of Fame inducted Jackson into the hall.
The taxonomic position was revised with description of new species in 2004 by American entomologists Kelly B. Miller and Quentin D. Wheeler. Upon creation of the new genus, the five new species are Gelae baen (sounding like "jelly bean"), G. belae ("jelly belly"), G. donut ("jelly doughnut"), G. fish ("jelly fish"), and G. rol ("jelly roll").
Academic tuition was now a thing of the > past - records became his source of instruction. Then came the day when he > first heard Jelly Roll Morton’s King Porter Stomp. That did it. Ever since > then he has worshipped at the Morton shrine, and nowadays he is the purest > “purist” you could hope to meet (or avoid).
"Grandpa's Spells" is an early jazz song by Jelly Roll Morton. He recorded it for Ganette Records, Richmond, Indiana (the Star Piano factory) on 18 July 1923 along with "Kansas City Stomp" and "Wolverine Blues". It was released in 1924. The song was also recorded by the Canadian Brass (Toccata, Fugues, and other diversions (1977), Opening Day Recordings 57730).
Joe Thomas (Muskogee, Oklahoma, 23 December 1908 - 15 April 1997), was an alto saxophonist and songwriter. He was the brother of Walter "Foots" Thomas. He first went to New York City with Jelly Roll Morton in 1929. He then worked with Blanche Calloway and other bands during the 1930s, and with jazz musician Dave Martin during the early 1940s.
Latin American music influence in the United States. For example, the bridge from "St. Louis Blues" (1914)—"Saint Louis woman, with her diamond rings"—has a habanera beat, prompting Jelly Roll Morton to comment, "You've got to have that Spanish tinge." Many American bands have added a conga player, maracas, or other Latin percussion for just that reason.
In the Philippines, pionono is more commonly spelled as pianono. It is a rolled sponge cake and is more accurately a type of jelly roll. It consists of a layer of pastry made from eggs, sugar, and sifted flour baked in a sheet. Once cooled, jelly or other types of filling is spread over the pastry.
And even then Venet and Neil were only successful by tricking Dalton into thinking the tape wasn't rolling. Dalton cut most of the tracks with one take, and all in one night. The record features songs from Neil, Hardin, Jelly Roll Morton, and Eddie Floyd & Booker T. Jones. It was re-released by Koch Records on CD in 1996.
He worked in the early 1970s with Don Ewell, Albert Nicholas, and the Peruna Jazz Band, and put together a traveling ensemble which paid tribute to the music of Jelly Roll Morton. This group toured worldwide and recorded several albums; among his sidemen in this setting were Danny Barker, Tommy Benford, Herb Hall, Milt Hinton, and Johnny Williams.
In 1928 and 1929, he performed on landmark recordings with Louis Armstrong and his Hot Five. In 1929 he moved with Armstrong to New York City. In addition to Armstrong in New York he played with Bubber Miley, Tommy Ladnier, Fats Waller, Jelly Roll Morton and Otto Hardwick. He also played in the band backing Bill Robinson.
By 1915, Cox had advanced from the "pickaninny" roles of her early minstrel years to singing the blues almost exclusively. In 1920, she left the vaudeville circuit briefly to appear as a headline act at the 81 Theatre in Atlanta, with the pianist Jelly Roll Morton.Barlow, William (1989). "Looking Up at Down": The Emergence of Blues Culture.
In 2009, Rounder reissued a series of 1920s and 1930s Carter Family recordings. The same year, the label launched what would become a 100-disc reissue series compiled by musicologist Alan Lomax. The archival project in 1938 with the taping of Jelly Roll Morton, and ultimately included Lead Belly, Muddy Waters, Woody Guthrie, and many others.
Jelly Roll Morton is sometimes considered the earliest jazz arranger. While he toured around the years 1912 to 1915, he wrote down parts to enable "pickup bands" to perform his compositions. Big-band arrangements are informally called charts. In the swing era they were usually either arrangements of popular songs or they were entirely new compositions.
Members of this family of Yersinia pseudotuberculosis mitogens adopt a sandwich structure consisting of 9 strands in two beta sheets, in a jelly roll fold topology. YpM molecular weight is about 14 kDa. Structurally, it is unlike any other superantigen, but is remarkably similar to the tumour necrosis factor and viral capsid proteins. This suggests a possible evolutionary relationship.
A Dixieland revival began in the United States on the West Coast in the late 1930s as a backlash to the Chicago style, which was close to swing. Lu Watters and the Yerba Buena Jazz Band, and trombonist Turk Murphy, adopted the repertoire of Joe "King" Oliver, Jelly Roll Morton, Louis Armstrong and W. C. Handy: bands included banjo and tuba in the rhythm sections. A New Orleans- based traditional revival began with the later recordings of Jelly-Roll Morton and the rediscovery of Bunk Johnson in 1942, leading to the founding of Preservation Hall in the French Quarter during the 1960s. Early King Oliver pieces exemplify this style of hot jazz; however, as individual performers began stepping to the front as soloists, a new form of music emerged.
The inner sheet of the β-jelly roll contains the active site. Lyases with these folds tend to belong to the PL-7, PL-14, and PL-18 families. The (α/α)n toroid class contains a barrel-shaped catalytic domain which is composed of between three and seven counterclockwise helical hairpins. These hairpins are formed by various anti-parallel α-helices.
In the 1980s, Roberts replaced pianist Kenny Kirkland in Wynton Marsalis's band. Like Marsalis's, his music is rooted in the traditional jazz of the past. His style has been influenced more by Jelly Roll Morton and Fats Waller than McCoy Tyner and Bill Evans, with an emphasis on ragtime and stride piano rather than bebop. His album New Orleans Meets Harlem, Vol.
A bank messenger named Erris Pillow identified Hogan as one of the men who robbed him. Despite several bribe attempts (including one made by Jelly Roll Hogan himself), Pillow was dead set on testifying. As a result, he was shot to death outside his home on May 9, 1921. Hogan gangsters Leo Casey and Dewey McAuliffe were tried and acquitted of the shooting.
Its roster included Ted Weems, Rudy Vallée, Joe Haymes, Artie Shaw, Glenn Miller, Shep Fields, and Earl Hines. During the World War II years, Victor reissued records by Duke Ellington, Jelly Roll Morton, and Bennie Moten. Bluebird's roster for country music included the Monroe Brothers, the Delmore Brothers, Bradley Kincaid. It reissued many titles by Jimmie Rodgers and the Carter Family.
The area became known for prostitution, gambling and vaudeville acts. Jazz is said to have developed here, with artists such as King Oliver and Jelly Roll Morton providing musical entertainment at the brothels. This was also the era when some of New Orleans' most famous restaurants were founded, including Galatoire's, located at 209 Bourbon Street. It was established by Jean Galatoire in 1905.
Human β-glucuronidase is synthesized as an 80 kDa monomer (653 amino acids) before proteolysis removes 18 amino acids from the C-terminal end to form a 78 kDa monomer. Beta- glucuronidase exists as a 332 kDa homotetramer. Beta-glucuronidase contains several notable structural formations, including a type of beta barrel known as a jelly roll barrel and a TIM barrel.
On July 21, 1926, and also made in Chicago, was another version of the track recorded by Edmonia Henderson. The A-side was "Georgia Grind", whilst "Dead Man Blues" written by Jelly Roll Morton was on the flip side. Morton also accompanied Henderson on both songs. Duke Ellington's Washingtonians released an instrumental version of "Georgia Grind" on Perfect Records in August 1926.
Jasper Taylor (January 1, 1894, Texarkana, Arkansas – November 7, 1964, Chicago) was an American jazz drummer. Taylor performed in Wild West revues and minstrel shows in his teens, touring the American South and Mexico. He played in Memphis, Tennessee in 1913, on washboard, drums, wood blocks, and xylophone. As a xylophonist he collaborated with W.C. Handy, and later played with Jelly Roll Morton.
Spose, Papoose, Yo Gotti, Haystak, Jelly Roll, Brabo Gator, French Montana, Hot Dollar, Skepta, Lil' Flip, Yelawolf, Jermaine Dupri, Tyga, and Bun B have recorded their own remixes to the song. Lupe Fiasco remixed the song under the name Building Minds Faster. Spose recorded a remix for his successful collaborative mixtape titled We Smoked It All Vol. II with label mate Cam Groves.
Circle recorded traditional jazz of the time, and its releases included Chippie Hill, George Lewis, and broadcasts of Blesh's This is Jazz radio show. The label was the first to release Jelly Roll Morton's Library of Congress recordings. Blesh and Janis continued the label until 1952. Circle Records also released modern classical music by artists including Henry Cowell and Paul Hindemith.
Arms & Hammers is the third studio album by the American hip hop group Strong Arm Steady, released on February 22, 2011, on Blacksmith Records/Element 9. The production was handled by many names, like DJ Khalil, Nottz, Jelly Roll, Blaqthoven and Terrace Martin. Madlib, who produced the entirety of their last album, contributed just one track, the sequel of "Chiba Chiba".
In 1921, Jelly Roll Morton established himself in Los Angeles and assembled a group to play gigs all over southern California. He played as far south as Tijuana, where he performed at the Kansas City Bar. His experience there inspired him to compose "Kansas City Stomp". He also wrote "The Pearls", another jazz tune, for one of the waitresses at the bar.
These included "Jelly Roll", which appeared on the 2001 Ace compilation album of the group The Dreamers entitled They Sing Like Angels. In 1987, Jones also sang backing vocals on the song "We Got It All" by The Charades. Jones died in January 2000, from the effects of diabetes. He was 71 years old, and is buried at Riverside National Cemetery in Riverside, California.
Zue (C. Alvin) Robertson (March 7, 1891 – 1943) was an American early jazz musician. He began on trombone in New Orleans, moved to Chicago in 1917, and in the following decade played with leading figures such as Jelly Roll Morton and King Oliver. Robertson switched to piano and organ after moving to New York in 1929, then added bass in the 1930s while living in California.
While double jelly rolls are not found in proteins of cellular origin, single jelly rolls do occur. One such class of cellular proteins is the nucleoplasmins, which serve as molecular chaperone proteins for histone assembly into nucleosomes. The N-terminal domain of nucleoplasmins possesses a single jelly roll fold and assembled into a pentamer. Similar structures have since been reported in additional groups of chromatin remodeling proteins.
Carling often expresses her affection and respect for artists from early jazz, and especially the seminal New Orleans period. Among others, she refers to the influences of Louis Armstrong, Freddie Keppard, Jelly Roll Morton, Bix Beiderbecke, and Billie Holiday. Holiday's influence is patent in Carling's singing style. In 2003, Carling married Johan Blomé, who does photography and video production and also plays multiple instruments.
Alexander von Schlippenbach (born 7 April 1938) is a German jazz pianist and composer. He came to prominence in the 1960s playing free jazz in a trio with saxophonist Evan Parker and drummer Paul Lovens and as a member of the Globe Unity Orchestra. Since the 1990s, Von Schlippenbach has explored the work of more traditional jazz composers like Jelly Roll Morton or Thelonious Monk.
Dodds describes playing with this band as "a beautiful experience". King Oliver's Creole Jazz Band broke up in 1924 due to disagreements about travel and musical style; the argument became so heated that the Dodds brothers threatened to beat up Oliver. Dodds recorded with Louis Armstrong, Jelly Roll Morton, Art Hodes, and his brother Johnny Dodds. Dodds played in Louis Armstrong's Hot Five and Hot Seven groups.
In the words of Cuban writer Guillermo Cabrera Infante, it was the "mother of all mambos".Cahill, Greg. "Interview with Cachao", String Magazine, March 2005. In their vast repertoire were also compositions by other songwriters such as "Isora Club", written by their sister Coralia López, as well as arrangements of standards such as "Somewhere Over the Rainbow" and songs by George Gershwin and Jelly Roll Morton.
The viral capsid protein CP, or p41, is a double jelly roll protein that assembles into an icosahedral capsid containing 180 copies of the protein. Formation of virions is not always necessary for localized spread of the virus into neighboring plant cells, because ribonucleoprotein particles containing viral genetic material can spread to immediate neighbors through plasmodesmata. However, the capsid protein is required for systemic infection.
Henderson's first recording was made in 1924. She recorded "Dead Man Blues" in 1926, with accompaniment by the writer of the song, Jelly Roll Morton, on piano. In 1927, a record of hers was released in the United Kingdom by the British record label Oriole, as part of its Race Series, under licence from Vocalion. The series also included recordings by Rosa Henderson and Viola McCoy.
In 1989, Blue Murder released their self-titled debut album, which cracked the Billboard 200 chart and spawned a minor hit with "Jelly Roll". By the early 1990s, however, Blue Murder's music had fallen out of fashion with the popularity of grunge. Thus, Franklin and Appice left the band. Sykes continued on, forming a new line-up and releasing Nothin' But Trouble in 1993.
New York: W.W. Norton, 2009. a ragtime piece by Jelly Roll Morton that became radically simplified, shedding its two-beat clumsiness and march/ragtime form as it went. Many of these pieces were ultimately written down by Henderson, who became his band’s chief arranger. His genius for rhythmic swing and melodic simplicity was so effective that his music became the standard for numerous swing arrangers.
For a spell, Jelly Roll Morton lived in one of the upstairs rooms. NAMA moved to its current location in 1922. It is no longer union or exclusively a members club, and now functions as a hub for Harlemites, and a testament to the history of African-American musicians in New York City.Goodman, Jack Inside the Oldest Labor Union for Black Musicians Atlas Obscura.
On April 5, 1924, Davis's jazz band began an engagement at the Ohio Theater in Indianapolis, Indiana, and performed the song "Copenhagen." That evening, members of The Wolverines, including cornetist Bix Beiderbecke, heard the performance and asked Davis to be allowed to perform the tune in their own engagement.Kennedy, Rick. Jelly Roll, Bix, and Hoagy: Gennett Records and the Rise of America's Musical Grassroots.
Parham's Victor recordings are all highly collectible and appreciated as prime examples of late 1920s jazz. His style of jazz was comparable to the sophisticated style of Jelly Roll Morton. Parham favored the violin and a number of his records have surprisingly sophisticated violin solos, along with the typical upfront tuba, horns and reeds. Parham wrote most, if not all, of his own material.
2005 Many other internationally famous musicians recorded at Gennett's Richmond facility, including Jelly Roll Morton, Bix Beiderbecke, Duke Ellington, and Fats Waller. Gennett also recorded Klan musicians. A group of artists in the area in the late 19th and early 20th centuries came to be known as the Richmond Group. They included John Elwood Bundy, Charles Conner, George Herbert Baker, Maude Kaufman Eggemeyer and John Albert Seaford.
Collins recorded again in 1931; some of his later recordings appeared under different pseudonyms, such as Jim Foster, Jelly Roll Hunter, Big Boy Woods, Bunny Carter, and Salty Dog Sam. His rural bottleneck guitar pieces were among the first to be compiled on LP. In the late 1930s, Collins relocated to Chicago, where he died from heart disease in October 1949, at the age of 62.
Streets of Compton is the debut soundtrack album by American rapper The Game. It was released on June 17, 2016, by Blood Money Entertainment and eOne Music. The album features guest appearances from Problem, Boogie, J3, AD, Micah, Payso, and AV. It also has production from League of Starz, DeUno, Tone Mason, Bongo, Phonix, and Jelly Roll. The album is supported by the lone single, "Roped Off".
Fleming (2005), p. 20. At the beginning, the prevailing music was ragtime and slow blues, but within the first decade of the 20th century the music clubs began to develop early forms of jazz. The district also attracted many famous entertainers such as actress Sarah Bernhardt, Russian ballet dancer Anna Pavlova, and musicians Sophie Tucker, Al Jolson, and Jelly Roll Morton.Knowles (1954), p. 64.
Wild Man Blues is a 1997 documentary film directed by Barbara Kopple, about the musical avocation of actor/director/comic Woody Allen. The film takes its name from a jazz composition, sometimes attributed to Jelly Roll Morton and sometimes to Louis Armstrong, and recorded (among others) by each of them. Wild Man Blues is rated PG (Parental guidance suggested) because the film includes several profanities.
Tommy Douglas (November 9, 1911-9 March 1965) was an American jazz clarinetist, bandleader and reed instrumentalist born in Eskridge, Kansas, probably better known for his work as a sideman for Jelly Roll Morton and Bennie Moten. He was also an accomplished bandleader, showcasing such talent in his bands as Charlie Parker and Jo Jones, among others. He also performed with Captain Woolmack's Band and the Clarence Love Orchestra.
Whiteman was educated in classical music, and he called his new band's music symphonic jazz. The methods of dance bands marked a step away from New Orleans jazz. With the exception of Jelly Roll Morton, who continued playing in the New Orleans style, bandleaders paid attention to the demand for dance music and created their own big bands. They incorporated elements of Broadway, Tin Pan Alley, ragtime, and vaudeville.
By the late 1930s, he was recording and performing in Chicago for Decca Records, working with Roosevelt Sykes and Blind John Davis, among others. In 1939, during a session for Bluebird Records with the pianist Joshua Altheimer, Johnson used an electric guitar for the first time. He recorded 34 tracks for Bluebird over the next five years, including the hits "He's a Jelly Roll Baker" and "In Love Again".
He started playing in street parades around New Orleans with Bunk Johnson and his band and then got a job playing in Willie Hightower's band, the American Stars. The band played in various venues around New Orleans, and Dodds recalls hearing many musicians along the way, including Buddy Bolden, John Robichaux, and Jelly Roll Morton.Dodds, Baby and Gara, Larry. The Baby Dodds Story: As Told to Larry Gara.
Air Lore is an album by the improvisational trio Air featuring Henry Threadgill, Steve McCall, and Fred Hopkins performing compositions by Jelly Roll Morton and Scott Joplin.Backstrom, L. & Lopez, R. Henry Threadgill discography accessed February 11, 2010 It was reissued on compact disc by Bluebird/RCA in 1987 and included in the eight-CD box set, Complete Novus and Columbia Recordings of Henry Threadgill and Air on Mosaic Records.
He recorded for the first time in 1936 on his song "Goodbye, Good Luck to You" with Montgomery. He did two tours with the Rabbit Foot Minstrels, then returned to New Orleans in 1938. But he found little work there and moved to New York City. In 1940 he recorded four songs in New York for Decca in addition to playing with Trixie Smith and Jelly Roll Morton.
Exidia glandulosa (common names black witches' butter, black jelly roll, or warty jelly fungus) is a jelly fungus in the family Auriculariaceae. It is a common, wood-rotting species in Europe, typically growing on dead attached branches of oak. The fruit bodies are up to wide, shiny, black and blister- like, and grow singly or in clusters. Its occurrence elsewhere is uncertain because of confusion with the related species, Exidia nigricans.
Wallace Bishop (February 17, 1906 - May 2, 1986) was an American swing jazz drummer. Bishop was born in Chicago, Illinois. He started on drums as a teenager, studying under Jimmy Bertrand. His first professional gig was with Art Sims and his Crole Roof Orchestra in Milwaukee, which he joined in 1926; around this time he also played with Jelly Roll Morton, Bernie Young, Hughie Swift, Richard M. Jones, and Tommy Dorsey.
Benford recorded with Jelly Roll Morton in 1928 and 1930. He also played with Duke Ellington, Fats Waller and Eddie South. From 1932 till 1941 Benford lived in Europe, where in 1937 he participated in one of the most memorable recording sessions ever in Paris, with Coleman Hawkins, Benny Carter, Django Reinhardt and Stéphane Grappelli. Benford died on March 24, 1994, at Mount Vernon Hospital in Mount Vernon, New York.
Later he played with Chick Webb, Louis Armstrong (with Russell) and Jelly Roll Morton. The Dixieland jazz revival of the late 1940s reinvigorated his career; he played with Art Hodes, Bunk Johnson, and Kid Ory, and had a regular gig with Ralph Sutton in 1948. In 1953 he moved to France; except for recording sessions in the U.S. in 1959-60, he remained there for the rest of his life.
Label of a Biltmore Record by Jelly Roll Morton Biltmore Records was a United States based record label active from 1949 through 1951. The label was headquartered in New York City. Biltmore Records were often reissues of recordings no longer in the catalogues of other labels. When RCA Victor found out that Biltmore were making unauthorized reissues of material originally recorded by Victor, they sued Biltmore, putting Biltmore out of business.
In 1930, like Jelly Roll Morton, Henry "Red" Allen, and King Oliver, Victor chose not to renew Parham's contact. After 1930, Parham found work in theater houses, especially as an organist; his last recordings were made in 1940. His entire recorded output fits on two compact discs. The cartoonist R. Crumb included a drawing of Parham in his classic 1982 collection of trading cards and later book "Early Jazz Greats".
Many American pizza shops serve a stromboli using pizza dough that is folded in half with fillings, similar to a half-moon-shaped calzone. At other establishments, a stromboli is made with a square-shaped pizza dough that can be topped with any pizza toppings and is then rolled into a cylindrical jelly roll shape and baked. Other variations include adding pizza sauce or deep- frying, similar to panzerotti.
Following the break- up, the former members of the band moved on to other projects. Sutherland helmed the slightly more accessible group Bows, which has released its albums on Too Pure. Sutherland now lives in London and has written the novels Jelly Roll (described by L.S. as "vaguely autobiographical"; Anchor, 1998), Sweetmeat (Anchor, 2002), and Venus As A Boy (Bloomsbury, 2004). He has also played violin with fellow Scottish band Mogwai.
Indiana Archives and Records Administration, Indianapolis, Indiana., Ancestry.com. Retrieved 8 March 2017 He started performing in touring black vaudeville shows by 1899, and in 1902 joined Allen's Minstrels in Birmingham, Alabama as a singer and dancer. He married, and linked up with Ferd "Jelly Roll" Morton, forming a small road show with Morton in about 1906. The following year, he established Will Benbow’s Chocolate Drops Company in Pensacola, Florida.
Floyd "Jelly Roll" Gardner (September 27, 1895 in Russellville, Arkansas - March 28, 1977 in Chicago, Illinois) was a baseball player in the Negro Leagues. He played infield and outfield from 1919 to 1933, primarily for the Chicago American Giants. In 1917, 21 year-old Gardner registered for the WWI Draft. "WWI Draft Registration Card for Floyd Gardner," Pope County, Arkansas, June 4, 1917 He listed his home address as Russellville, Arkansas.
See Matt Barton, "Jelly Roll Wins at Grammys: Lomax Recordings of Groundbreaking Jazzman Win Honors", Library of Congress Information Bulletin, Feb. 2006, Vol. 65. In 2009, she produced the 10-CD, Alan Lomax in Haiti, issued by Harte Records.See: Will Friedwald, "Haiti's Hidden Treasures", Wall Street Journal Online, February 4, 2010 and Marsha Lederman, "Alan Lomax in Haiti: Humongous riches from the poorest country", Toronto Globe and Mail, Dec.
In the 1930s, Spikes worked as a promoter and worked with Les Hite and Lionel Hampton, both of whom were his former sidemen. He also took part in Jelly Roll Morton's comeback in 1940–1941. Morton and Spikes were planning on starting a publishing business, but their plans were ended when Morton got ill and subsequently died in 1941. Spikes died in Los Angeles on February 24, 1982.
Louis Thomas 'Lou' (or 'Lew' or 'Louie') Black (June 8, 1901 – November 18, 1965) was one of the foremost banjo players of the Jazz Era. Born in Rock Island, Illinois, he began playing banjo during early childhood and became professional in 1917. In 1921, he joined the famous New Orleans Rhythm Kings at Friar's Inn in Chicago. With this band, he participated to the first-ever interracial recording session with pianist Jelly Roll Morton.
Rialto Records was a record label based in Chicago, Illinois in the 1920s. It was owned by the Rialto Music House (330 S State St), sold at their stores at promotional prices. The records themselves were pressed by Marsh Recording Laboratories (Suite 625 Kimball Building, 306 South Wabash Avenue, Chicago, Illinois). The most famous record they produced was the only release known of Jelly Roll Morton's unaccompanied recording of "London Blues," made in 1924.
During this time she worked with her half-brother, Herb Morand. Miles recorded as leader of a trio with Oliver, and in a duo with Jelly Roll Morton. There is uncertainty in that some sources suggest that several of the Miss Frankie recordings were the work of Lizzie Miles. This particularly applies to the tracks "When You Get Tired of Your New Sweetie", and "Shooting Star Blues", issued on Conqueror Records (January 1928).
Art Hickman and His Orchestra, c. 1919 Before Paul Whiteman, Hickman's dance orchestra was one of the first to use elements of jazz and one of the first to use a saxophone section. The bands instruments also included violin, trumpet, trombone, reeds (2), banjo (2), double bass, and piano, with Hickman on second piano and drums. Jelly Roll Morton disputed the notion that Hickman's orchestra was one of the first big bands.
He played bass guitar duties and was also the lead singer on one track, "Ruby Mae". The song was written by band member Billy Flynn for Jones's wife, Ruby Mae Jones. Jones also performed at the Long Beach Blues Festival that year. Jones also had spells playing with the Muddy Waters Tribute Band (You Gonna Miss Me (When I'm Dead & Gone), 1997), the Howlin' Wolf Tribute Band, and the Jelly Roll All-Stars.
Royal Garden Blues at jazzstandards.com - retrieved on 30 April 2009 The song is considered one of the first popular songs based on a riff. Clarence Williams and Spencer Williams (no relation) collaborated on two other songs as well: "I Ain’t Gonna Give Nobody None o’ This Jelly Roll" and "Yama Yama Blues." It is speculated that Spencer was the actual composer of the tunes, and that Clarence was given shared credit for publishing the song.
Unfortunately, Neuhoff gave the name Exidia glandulosa to the effused species, adopting the name Exidia truncata for Bulliard's original species. This error was pointed out by Donk in 1966, who proposed the name Exidia plana for the effused species, now replaced by Exidia nigricans. Molecular research has shown that Exidia glandulosa and E. nigricans, though similar, are distinct. The fungus is commonly known as "black witch's butter", "black jelly roll", or the "warty jelly fungus".
Musicians who got their start in Storyville include Buddy Bolden, Jelly Roll Morton, and Pops Foster. At the beginning of the United States' involvement in World War I, Secretary of War Newton Baker did not want troops to have distractions while being deployed. The Navy had troops located in New Orleans and the city was pressed to close Storyville. Prostitution was made illegal in 1917 and Storyville was used for the purpose of entertainment.
Gil Evans also led the group for performances of his own music, in addition to organizing a tribute to Jimi Hendrix. Paul Jeffrey was the group's bandleader when it was joined by Thelonious Monk. Dick Hyman organized tributes to Louis Armstrong, Duke Ellington, and Jelly Roll Morton, and was the leader for the group's tours of the Soviet Union in 1975 and France in 1977. Sy Oliver and Budd Johnson also led swing music tributes.
Ernest Miller, also known as Punch Miller or Kid Punch Miller (June 10, 1894 – December 2, 1971), was an American traditional jazz trumpeter. Miller was born in Raceland, Louisiana, United States. He was known in New Orleans, Louisiana, where he was based from 1919 to 1927, when he moved to Chicago. In Chicago he worked with various bands, including those of Jelly Roll Morton and Tiny Parham, and appeared on a number of recordings.
He played with the Original Creole Orchestra, mostly on drums. Johnson made his first recordings in 1922 on clarinet with Kid Ory's Band. He made more recordings in the 1940s and 1950s, mostly on piano, although also doing some one-man band recordings, playing all three of his instruments through over dubbing. Johnson's piano style was influenced by Jelly Roll Morton (his brother-in-law) and his clarinet playing by Larry Shields.
Lincoln Park currently has a number of music venues including the Park West, Lincoln Hall, Neo nightclub, Kingston Mines and B.L.U.E.S. Jelly Roll Morton recorded early jazz work in 1926 at the Webster Hotel ballroom (now Webster House) at 2150 N. Lincoln Park West.Jelly Roll Morton Recordings and Discography. Doctorjazz.co.uk. Retrieved on 2012-05-26. In 1972, Chicago folk singer Steve Goodman wrote the song "Lincoln Park Pirates" about Lincoln Towing Service.
Starting in 1926 he began playing with Jelly Roll Morton, and made a well regarded series of recordings with Morton's Red Hot Peppers and smaller groups. Simeon also taught music. In 1927 he joined King Oliver's Dixie Syncopators with whom he moved to New York City. After time back in Chicago with Elgar, he joined the Luis Russell in Manhattan, then again returned to Chicago in 1928 to play with the Erskine Tate Orchestra.
Before World War II, the west coast of the U.S. hosted a bustling music scene, though its activity remained largely localized. In 1917, Jelly Roll Morton moved to California and remained in Los Angeles until 1922, when he left for Chicago. Kid Ory formed a band in Los Angeles after moving to California in 1919. In 1944, Norman Granz began staging Jazz at the Philharmonic shows at Philharmonic Auditorium in Los Angeles.
William Randolph Cole was born in 1909 in East Orange, New Jersey. His first music job was with Wilbur Sweatman in 1928. In 1930 he played for Jelly Roll Morton's Red Hot Peppers, recording an early drum solo on "Load of Cole". He spent 1931–33 with Blanche Calloway, 1933–34 with Benny Carter, 1935–36 with Willie Bryant, 1936–38 with Stuff Smith's small combo, and 1938–42 with Cab Calloway.
Kid Ory's Creole Orchestra recorded for them in June 1921 (as "Spikes' Seven Pods of Pepper"), making the first commercial jazz recordings by a black New Orleans band. Spikes composed "Someday Sweetheart" with his brother John in 1919. Jelly Roll Morton recorded it in 1923 and again in 1926, and the song has become a popular jazz standard. The Spikes brothers also wrote lyrics for Morton's "Wolverine Blues" and "Froggie Moore Rag".
During the early 1900s, jazz was mostly performed in African-American and mulatto communities due to segregation laws. Storyville brought jazz to a wider audience through tourists who visited the port city of New Orleans. Many jazz musicians from African- American communities were hired to perform in bars and brothels. These included Buddy Bolden and Jelly Roll Morton in addition to those from other communities, such as Lorenzo Tio and Alcide Nunez.
Carbohydrate-binding module family 28 (CBM28) does not compete with CBM17 modules when binding to non-crystalline cellulose. Different CBMs have been shown to bind to different sirtes in amorphous cellulose, CBM17 and CBM28 recognise distinct non-overlapping sites in amorphous cellulose. CBM28 has a "beta-jelly roll" topology, which is similar in structure to the CBM17 domains. Sequence and structural conservation in families CBM17 and CBM28 suggests that they have evolved through gene duplication and subsequent divergence.
Sylvester Lewis (October 19, 1908 in Kansas City, Missouri - 1974 in New York City) was an American jazz trumpeter. Lewis played locally as a college student in Kansas City in the 1920s. His first major tour was with a traveling revue called Shake Your Feet, where he met Herbie Cowens; he then joined Cowens's own group, playing at the Rockland Palace in New York City in 1928. He also recorded with Jelly Roll Morton in New York.
Paul Posnak is an American pianist and music academic. He is noted for playing repertoires mixing twentieth-century American music with European romantic classics, ranging from George Gershwin to Frédéric Chopin, from classical to jazz. His transcriptions and performances of the original improvisations of Gershwin, Fats Waller and Jelly Roll Morton have gained him international attention. Posnak is Professor of Keyboard Performance, and Director of the Accompanying/Chamber Music Program at the University of Miami's Frost School of Music.
In 1938 he formed a band that included Hayes, Helm, Squire Gersh, Bob Scobey, and Russell Bennett. The band found steady work at Sweet's Ballroom in Oakland, slipping in pieces of traditional New Orleans jazz into the repertoire until Watters was fired. In 1939 he started the Yerba Buena Jazz Band to revive the New Orleans jazz style of King Oliver. He brought in pianist Forrest Browne, who taught the band music by Jelly Roll Morton.
Lewis was an eccentric character. He drove a Ford Model T which he had custom painted in bright multicolored polka-dots. He played the piano without using either of his middle fingers; these he kept extended straight while playing (in the manner of the rude gesture known as Shooting the Bird). He was influenced by the piano stylings of Tony Jackson and Jelly Roll Morton, and became the premier pianist in Storyville after those two older musicians left town.
Alvis began on drums but switched to tuba and bass after playing with Jelly Roll Morton in 1927-28. He played tuba with Earl Hines from 1928 to 1930, and did arrangements for Hines as well. He moved to New York City in 1931 and played with Jimmie Noone in the Mills Blue Rhythm Band from 1931 to 1934 and 1936. A very early double-bass solo can be heard on the latter group's "Rhythm Spasm" (1932).
Roule Cheese is a French cheese, with a soft and creamy texture, that is usually flavoured with herbs and garlic. It was initially made by the Tablanette Fromagerie in the 1980s in the Centre region of France. About 45% of its calories come from fat. It has been made in the northwestern part of France by Rian's company since the 1980s, has the appearance of a jelly roll and is distinguished by its flavouring of garlic and herbs.
Louis Armstrong, Bix Beiderbecke, Sydney Bechet, Benny Goodman , Jelly Roll Morton and Fats Waller have recorded the tune. Notably, Armstrong's interest in the tune 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. The New Orleans Rhythm Kings released it as a 78 single. Nick LaRocca and the Original Dixieland Band released a version in 1936.
A variety of movies and television shows have featured Mallett's work, including Woody Allen's Mighty Aphrodite, Soul Food, Ben Affleck's Gone Baby Gone, and Disney Channel's The Famous Jet Jackson. His art has also been featured in books such as Charlotte Watson Sherman's Sister Fire and Jonah Winter's How Jelly Roll Morton Invented Jazz, and has been featured on the covers of Chicken Soup for the African American Soul and Chicken Soup for the African American Woman's Soul.
Sidney De Paris (May 30, 1905 – September 13, 1967) was an American jazz trumpeter. His brother was Wilbur de Paris. He was a member of Charlie Johnson's Paradise Ten (1926–1931), then worked with bandleader Don Redman (1932–1936 and 1939), followed by jobs with Zutty Singleton (1939–1941), Benny Carter (1940–41), and Art Hodes (1941). De Paris recorded with Jelly Roll Morton (1939) and Sidney Bechet (1940) and was part of the Panassie sessions in 1938.
American Record Labels and Companies: An Encyclopedia (1891–1943). Denver, Colorado: Mainspring Press, 2000. The audio fidelity is above average for the era, and most General discs were pressed in good quality shellac, although the quality declined as good shellac became scarce with the start of World War II. The most famous General Records are a series of recordings by Jelly Roll Morton. The recording sessions in December 1939 and January 1940 were the last in Morton's career.
In this film, Bagneris worked as choreographer and played the character Dancin' Al. Bagneris also played opposite Ossie Davis in what was to be Davis's last film, the independent feature Proud (2004). One Mo' Time was revived on Broadway in 2002 and again in New Orleans in 2006. Bagneris acted as the voice of numerous jazz figures on Public Radio International's Riverwalk Jazz program in 1993, recreating the lives of Bunk Johnson, Danny Barker, Jelly Roll Morton, and others.
He moved to Chicago, Illinois, in 1924, where he replaced Louis Armstrong in King Oliver's band. He also played with Jelly Roll Morton, but the two had disagreements and fell out when Collins claimed that Morton stole the song "Fish Tail Blues" from him. Collins returned to New Orleans, where he played on the recordings of the Jones & Collins Astoria Hot Eight in 1929. He then played in New York City with Luis Russell in 1930.
Palmer began his career in 1906 in New Orleans as a guitarist with the Rozelle Orchestra. He played trumpet and then trombone with Richard M. Jones, Freddie Keppard, Willie Hightower, Tuxedo Brass Band, and Onward Brass Band. In 1917 he left New Orleans and moved to Chicago, where he worked with King Oliver, Lawrence Duhe, and Doc Cook. Palmer recorded with Johnny Dodds, Jelly Roll Morton, Ida Cox, the Alabama Rascals, and the State Street Ramblers.
Wax masters were shipped across country by railroad; many melted on the trip across the desert. By some accounts among the recordings lost were sessions by Jelly Roll Morton and King Oliver. Among the records which survived were the only recordings of Eva Tanguay, early sides by Abe Lyman's Orchestra, Henry Halstead's Orchestra, and a number of recordings by Kid Ory's band. The Ory sides were the first recorded jazz by an African American band from New Orleans.
He toured the Midwest and California as an itinerant blues singer in the early 1920s before moving to Los Angeles, where he played piano and sang with Jelly Roll Morton. He also sang with Billy King before moving on to Walter Page's Blue Devils in 1927. He and other members of the Blue Devils defected to the Bennie Moten band in 1929. Moten died in 1935, and Rushing joined Count Basie for what would be a 13-year job.
Ginell, Cary, Hot Jazz for Sale: Hollywood's Jazz Man Record Shop. Lulu.com: Cary Ginell, 2010 A second recording session with the Watters band was produced in March 1942. In June 1942 Stuart produced a historic recording session in New Orleans with Bunk Johnson, putting together a group he called Bunk Johnson's Original Superior Band. In December 1942 Jazz Man Records released four unreleased sides by Jelly Roll Morton, recorded in 1938, in partnership with Nesuhi Ertegun.
300px Kustbandet is a Swedish jazz orchestra founded as a school band in Stockholm in 1962 by Christer Ekhé (né Jansson) and Kenneth Arnström. Originally playing in traditional New Orleans jazz style and, as the band grew, moving towards big band style as played by Louis Armstrong, Duke Ellington, Luis Russell, Jelly Roll Morton et al. in the 1920s - 1930's. Up to the mid-1970s Arnström was the musical leader of Kustbandet and no written music was used.
Tresillo is also heard prominently in New Orleans second line music. Jelly Roll Morton in 1917–1918Early New Orleans jazz bands had habaneras in their repertoire and the tresillo/habanera figure was a rhythmic staple of jazz at the turn of the 20th century. Comparing the music of New Orleans with the music of Cuba, Wynton Marsalis observes that tresillo is the New Orleans "clave"."Wynton Marsalis part 2." 60 Minutes. CBS News (26 Jun 2011).
They aimed to emulate the music of Jelly Roll Morton and King Oliver The band was reviewed as "rousing" and having the ability to impart "fire" to "cornier" numbers. Of importance to the band's success was the "rhythm and enthusiasm" of Ballou, and Kinch's trumpet which could evoke Bix Beiderbecke. Also important was the "hell of a good time" the band was able to communicate. Individual solos were limited in the Castle band, usually to just a bridge.
May was born in Montgomery, Alabama, one of a family of eight. His father died when he was a child, and, while his mother worked in menial jobs, Butler May developed his musical talents, singing and playing piano. By the age of fourteen he had become an accomplished performer, and he joined Will Benbow's "Chocolate Drops Company" on the vaudeville touring circuit. Based in Pensacola, Florida, the troupe also included Jelly Roll Morton and Ma Rainey.
Johnson's first recordings as a vocalist are on the 1979 album Rockin' the Juke Joint Down, issued by Earwig Music. With Frost as the bandleader, they performed and recorded together for 15 years. Johnson's first solo album, The Oil Man, including the song "Catfish Blues", was released by Earwig in 1987. He recorded solo and as a member of the Jelly Roll Kings and Big Jack Johnson and the Oilers (with the poet and musician Dick Lourie).
He was also a record collector, and noted that many early jazz and blues recordings by musicians such as Louis Armstrong, Bessie Smith, and Jelly Roll Morton were out of print and unavailable except as difficult-to-find used copies.Clinton Heylin, Bootleg: The Secret History of the Other Recording Industry. New York: St. Martin's Press, 1995, p. 33. He then founded Pax Records to press discs himself, reissuing recordings from obscure musicians such as Cripple Clarence Lofton.
Voltaire "Volly" De Faut (March 14, 1904 – May 29, 1973) was an American jazz reed player. "Volly" De Faut was born in Little Rock, Arkansas, but his family moved to Chicago when he was six. He played with Sig Meyers in the early 1920s and then spent time in the New Orleans Rhythm Kings before joining Art Kassel. His first recordings were made with Muggsy Spanier in 1924; he recorded with Jelly Roll Morton the following year.
Mitchell first performed on Broadway in the musical Mail in 1988, with music by Michael Rupert and lyrics by Jerry Cocker, winning the Theatre World award." Mail Broadway" Playbill, accessed June 14, 2016 His Broadway credits include an all-black revival of George and Ira Gershwin's Oh, Kay! (1990)," Oh, Kay! Broadway" Playbill, accessed June 14, 2016 Jelly's Last Jam (1992) based on the works of jazz artist Jelly Roll Morton, and Kander and Ebb's Kiss of the Spider Woman (1993).
In 2005, Rounder released the 1938 recordings in their entirety as part of an eight-disc box set. The first seven discs include Lomax's 1938 interviews, in which Morton describes his life and the early days of jazz, plays piano, and sings. The eighth disc includes 1949 recordings of Morton's contemporaries, reminiscing about Morton and providing musical demonstrations. The set was originally released in a piano-shaped box and included a copy of Mister Jelly Roll, Lomax's biography about Morton.
Jelly roll motifs with identical beta-sheet connectivity are also found in tumor necrosis factor ligands and proteins from the bacterium Yersinia pseudotuberculosis that belong to a class of viral and bacterial proteins known as superantigens. More broadly, the members of the extremely diverse cupin superfamily are also often described as jelly rolls; though the common core of the cupin domain structure contains only six beta strands, many cupins have eight. Examples include the non-heme dioxygenase enzymes and JmjC-family histone demethylases.
There Dixon met Charles Brown, who had an influence on his music. The self-dubbed "Mr. Magnificent", Dixon signed a recording contract with Modern Records in 1949, specializing in jump blues and sexualized songs like "Red Cherries", "Wine Wine Wine", "Too Much Jelly Roll" and "Baby Let's Go Down to the Woods". Both "Dallas Blues" and "Mississippi Blues", credited to the Floyd Dixon Trio, reached the Billboard R&B; chart in 1949, as did "Sad Journey Blues", issued by Peacock Records in 1950.
As of late 2007, 48 structures have been solved for this class of enzymes, with PDB accession codes , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , and . There are at least two structurally distinct families of dUTPases. The crystal structure of human dUTPase reveals that each subunit of the dUTPase trimer folds into an eight-stranded jelly-roll beta barrel, with the C-terminal beta strands interchanged among the subunits. The structure is similar to that of the Escherichia coli enzyme, despite low sequence homology between the two enzymes.
After a minor setback, was ultimately released on November 25, 2014. Additionally, Psychopathic Records is pushing back against a former publicist who is suing the label for sexual harassment. In late 2013 ICP teamed up with Da Mafia 6ix to create The Killjoy Club, and released their debut album Reindeer Games on September 2, 2014. ICP went on "The ShockFest Tour" with Da Mafia 6ix, Mushroomhead, Madchild and Jelly Roll, additionally Big Hoodoo joined the tour to perform before the ticketed acts.
Innovation and liveliness were important characteristics of performers in the beginnings of jazz. Jazz performers and composers at the time such as Eubie Blake, Noble Sissle, Jelly Roll Morton, Luckey Roberts, James P. Johnson, Willie "The Lion" Smith, Fats Waller, Ethel Waters, Adelaide Hall, Florence Mills and bandleaders Duke Ellington, Louis Armstrong and Fletcher Henderson were extremely talented, skillful, competitive and inspirational. They are still considered as having laid great parts of the foundations for future musicians of their genre.Boland, Jesse.
"A down home shout; Characteristic slow- drag two step". Library.duke.edu Fats Waller recorded "Viper's Drag", a popular slow drag song of its day that was a slow-tempo stride piano tune, which has been played by practitioners of the art of stride over the decades. It was revived for the Grammy-nominated 1980 Progressive Records album, Two Handed Stride, by the modern stride pianist, Judy Carmichael. In the late 1930s, Jelly Roll Morton's music was considered old-fashioned and obsolete.
Many reed players significant in early jazz studied with Lorenzo Tio Jr., including Sidney Bechet, Barney Bigard, Johnny Dodds, Omer Simeon, Louis Cottrell, Jr., Jimmie Noone and Albert Nicholas. Tio Jr. taught Bigard what would become the main theme to the famous Ellington tune "Mood Indigo." Lorenzo Tio Jr. also played oboe. He joined Manuel Perez's band in Chicago in 1916 and Armand J. Piron's from 1918 to 1928, and recorded with Piron, Bechet, Jelly Roll Morton and Clarence Williams.
In 2009, Sony's Legacy Recordings released a special 2-disc 50th Anniversary Edition of Mingus Ah Um. In addition to the complete album, the Legacy Edition includes an alternative take of each of three tracks: "Bird Calls" (4:54), "Better Git It In Your Soul" (8:30), and "Jelly Roll" (6:41). The Legacy Edition of Mingus Ah Um also includes Mingus Dynasty, its companion album recorded later in 1959 (with unedited versions of five tracks shortened on the original LP release).
Dapogny earned a Ph.D in composition, and taught at the University of Michigan beginning in 1966. Dapogny led an ensemble called James Dapogny's Chicago Jazz Band, founded in 1975, which played with Sippie Wallace and the Chenille Sisters and made many appearances on Prairie Home Companion. Dapogny wrote extensively about Jelly Roll Morton, including liner notes for the release of his Library of Congress recordings. He also edited Jazz Masterworks Editions, a series initiated by Oberlin College and the Smithsonian Institution.
Examination of the human X-ray crystal structure suggests that this residue (Glu352 in the human enzyme), which is buried deep within the TIM barrel domain, may be important for stabilization of the tertiary structure of the enzyme. In the crystal structure, it appears that Arg216, a member of the jelly roll domain of the protein, forms a salt bridge with Glu352; therefore, Glu352 is likely involved in stabilizing the interaction between two different three-dimensional domains of the enzyme.
Scott Joplin wrote the first known published composition to include a musical sequence built around specifically notated tone clusters. Tone clusters have been employed by jazz artists in a variety of styles, since the very beginning of the form. Around the turn of the twentieth century, Storyville pianist Jelly Roll Morton began performing a ragtime adaptation of a French quadrille, introducing large chromatic tone clusters played by his left forearm. The growling effect led Morton to dub the piece his "Tiger Rag" ().
"See See Rider" is a traditional song that may have originated on the black vaudeville circuit. Its is similar to "Poor Boy Blues" as performed by Ramblin' Thomas. Jelly Roll Morton recollected hearing the song as a young boy some time after 1901 in New Orleans, Louisiana, when he performed with a spiritual quartet that played at funerals. Older band members played "See See Rider" during get-togethers with their "sweet mamas" or as Morton called them "fifth-class whores".
The Sun Records and Jewel Records material was re-released on one CD by Charly Records of London, England. Album cover of "Hey Boss Man". In the late 1970s, Frost was re-discovered by a blues enthusiast, Michael Frank, who began releasing albums on his Earwig Music Company label by the trio, now called The Jelly Roll Kings, after a song from Hey Boss Man. Frost appeared in the films Deep Blues: A Musical Pilgrimage to the Crossroads and Crossroads.
Greasy Love Songs is a compilation album by Frank Zappa, released in 2010. The album consists of the original vinyl mix of Cruising with Ruben & the Jets (1968), with bonus material, including previously unreleased tracks from the original sessions, the single version of "Jelly Roll Gum Drop", and "audio documentary" material. The album is designated as a "Project/Object Audio Documentary". It is project/object #3 in a series of 40th Anniversary FZ Audio Documentaries, following MOFO (2006) and Lumpy Money (2009).
Both the secreted and the membrane bound forms are biologically active, although the specific functions of each is controversial. But, both forms do have overlapping and distinct biological activities. The common house mouse TNF and human TNF are structurally different. The 17-kilodalton (kDa) TNF protomers (185-amino acid-long) are composed of two antiparallel β-pleated sheets with antiparallel β-strands, forming a 'jelly roll' β-structure, typical for the TNF family, but also found in viral capsid proteins.
Pinkett soon left and joined Bill Benford's band, which became the house band at the Rose Danceland on 125th street. Jelly Roll Morton came to New York in the spring of 1928 and caught Benford’s band playing at the Rose. Morton took over the band as the newest incarnation of his Red Hot Peppers. Pinkett became Morton's favorite trumpet player, recording with the band both as a member and after he left in late 1928 to play in Chick Webb's Harlem Stompers.
Jelly Roll Morton was an early Jazz pioneer Jazz is a kind of music characterized by swung and blue notes, call and response vocals, polyrhythms and improvisation. Though originally a kind of dance music, jazz has been a major part of popular music, and has also become a major element of Western classical music. Jazz has roots in West African cultural and musical expression, and in African American music traditions including blues and ragtime, as well as European military band music.Ferris, p.
According to Jelly Roll Morton, the tune was composed in 1906 and was the first "stomp" in the history of jazz. Morton first recorded the number in 1923 as a piano solo, but did not file a copyright on the tune until 1924. That year, Morton recorded a duet version with Joe "King" Oliver on cornet. Morton said that he had actually written the tune almost 20 years earlier, and that it was named after his friend and fellow pianist Porter King.
He produced the 2003 album Memphis....in the Meantime by 1960s star Dave Berry, and also released a solo album, Terlingua, in 2011. As well as leading Junkyard Angels, he played cajun music with Papa Gator and the Levee Breakers, and in a blues and jazz trio, Jelly Roll. Piper died in 2019, aged 72, as a result of a cycling accident near Exeter. He had been married twice, and had two sons (one of whom predeceased him), and a daughter.
In a long interview conducted by Alan Lomax in 1938, Jelly Roll Morton recalled that the first blues he had heard, probably around 1900, was played by a singer and prostitute, Mamie Desdunes, in Garden District, New Orleans. Morton sang the blues: "Can’t give me a dollar, give me a lousy dime/ You can’t give me a dollar, give me a lousy dime/ Just to feed that hungry man of mine". The interview was released as The Complete Library of Congress Recordings.
Johnson was nicknamed "The Oil Man", because of his day job as a truck driver for Shell Oil. He was the father of 13 children. His earliest professional playing, apart from his father's band, was with Earnest Roy, Sr., C. V. Veal & the Shufflers, and Johnny Dugan & the Esquires. In 1962, Johnson, Sam Carr and Frank Frost formed the Jelly Roll Kings and the Nighthawks, in which Johnson played bass, releasing two albums, Hey Boss Man (1962) and My Back Scratcher (1966).
Many breaks of the cornets are chromatic. Beside this, although the piece is not typical ragtime in melody and rhythm, it has the long structure of many ragtime compositions: A (16 measures in Eb); B (16 measures in Eb); A (16 measures in Eb); C, C, C (in Ab). In 1959, Armstrong released an album of the same name featuring Snake Rag as the first track and others including "I Want a Big Butter and Egg Man" and "Jelly Roll Blues".
They also contained a supposed picture of Miss White, but it was actually another picture of Victoria Hall, one of the Octoroons. Aside from Miss Hall, other known residents of Mahogany Hall included Emma Sears (The Colored Carmencita), Clara Miller, Estelle Russell, Sadie Reed and Sadie Levy. Kid Ross, Tony Jackson, and Jelly Roll Morton were among the pianists who performed for the clients in Mahogany Hall. Mahogany Hall served as a House for the Unemployed in the mid-1940s but was demolished in 1949.
Although her early years were dominated by classical music and 20th-century music study, in her teens she became interested in jazz and blues. Seeing the blues duo Sonny Terry and Brownie McGhee in concert had a lasting impact, as did the music of Jelly Roll Morton, Robert Johnson, and Muddy Waters. She played piano for her grammar school glee club starting in third grade, later joining orchestra and band on flute, and performed piano scores for high school musicals. Hilton moved to San Francisco.
No Filter is the collaborative studio album by American rappers Lil Wyte and JellyRoll. It was released on July 16, 2013 through Phixieous Entertainment with distribution via Select-O-Hits. Recording sessions took place at Greenway Studios in Franklin, Tennessee and, according to both rappers, it was recorded in one week. Production was handled by BandPlay, DJ MoneyGreen, Ed Pryor, Greenway, J. Sirianni, Shape Shifta, Sonny Bama, The Avengerz and The Colleagues with executive producers Thomas Toner, Wes Phillips, Lil Wyte and Jelly Roll.
Corn bread, originating in Mexico and sweet Easter bread, originating in the British West Indies are incorporated into menus. Bananas are versatile in local cuisine, and may be used to make banana crumble and desserts made from strawberries and cherries, fried as fritters, or flamed in rum. Desserts with bananas are also baked in rum and brown sugar. Jelly-roll or sponge cake, served with peaches or strawberries, bananas, custard, chopped nuts, and whipped cream and soaked in sherry is also a common dessert.
Johnny Dodds (; April 12, 1892 – August 8, 1940) was an American jazz clarinetist and alto saxophonist based in New Orleans, best known for his recordings under his own name and with bands such as those of Joe "King" Oliver, Jelly Roll Morton, Lovie Austin and Louis Armstrong. Dodds (pronounced dots) was the older brother of the drummer Warren "Baby" Dodds, one of the first important jazz drummers. They worked together in the New Orleans Bootblacks in 1926. Dodds is an important figure in jazz history.
GRP also released Joe Sample Collection, and a three- disc Crusaders Collection, as testament to Sample's enduring legacy. Some of the pianist's recent recordings are The Song Lives On (1999), featuring duets with singer Lalah Hathaway, and The Pecan Tree (2002), a tribute to his hometown of Houston, where he relocated in 1994. His 2004 album on Verve, Soul Shadows, paid tribute to Duke Ellington and Jelly Roll Morton, and pre-jazz bandleader James Reese Europe. In 2007 he recorded Feeling Good with vocalist Randy Crawford.
A sheet cake is a cake baked in a large, flat rectangular pan such as a sheet pan or a jelly roll pan. These single-layer cakes are almost always frosted, with decorations and ornamental frosting along the borders and the flat top surface. In the United States, these cakes are commonly available in supermarkets and bakeries and tend to be inexpensive due to their simple manufacturing process. Sheet cakes may be made in any flavor, with chocolate and vanilla being the two most common.
He befriends Max in 1927, but never leaves the vessel. Apparently, the outside world is too "big" for his imagination at this point. But he stays current with outside musical trends as passengers explain to him a new music trend or style, and he immediately picks it up and starts playing it for them. His reputation as a pianist is so renowned that Jelly Roll Morton, of New Orleans jazz fame, on hearing of 1900's skill comes aboard to challenge him to a piano duel.
Hot Tuna began during a break in Jefferson Airplane's touring schedule in early 1969 while Grace Slick recovered from throat node surgery that left her unable to perform. Kaukonen, Casady, Kantner and drummer Joey Covington played several shows around San Francisco, including the Airplane's original club, The Matrix, before Jefferson Airplane resumed performing. Their early repertoire derived mainly from Airplane material that Kaukonen (the band's frontman) sang and covers of American country blues artists such as Reverend Gary Davis, Jelly Roll Morton, Bo Carter and Blind Blake.
During the voyage to the United States, his freighter sank, occasioning a rescue. When he reached New Orleans, three benefit concerts were held in his honor, in which he participated. New Orleans' musical innovators and musical elite, including Jelly Roll Morton's teacher, William J. Nickerson, took part in the concerts. The welcome committee that organized the concerts for Dédé overlapped with the membership of the Citizens Committee, the group of social and legal activists who brought the legal challenges that led to the Plessy v.
Following another trip to Kansas City, he recorded "Jelly Roll Blues" and other tunes. These were issued in Brunswick Records’ “race” series under the pseudonym of "Kansas City Frank", and for some years were wrongly assumed to be the work of Morton. In the 1930s, Melrose continued to play piano in small clubs and bars, either solo or as part of a band, while occasionally working in a factory to support his family. He also recorded sporadically with Johnny Dodds, George Barnes and others.
He played with Jelly Roll Morton in 1941 for rehearsals. In 1944 Wilson became a member of a traditional New Orleans band that was a leader of the West Coast revival, put together for the CBS Radio series The Orson Welles Almanac. The all-star band also included Mutt Carey, Ed Garland, Jimmie Noone (succeeded by Barney Bigard), Kid Ory, Bud Scott and Zutty Singleton. Renamed Kid Ory's Creole Jazz Band, the group then made a significant series of recordings on the Crescent Records label.
After moving to Los Angeles in 1911, he got early professional experience with Wood Wilson's Syncopators in 1916, Satchel McVea's Howdy Band, and Harry Southard's Black and Tan Band. Howard played in the bands of both King Oliver and Jelly Roll Morton when they toured California. He first recorded with the Quality Four in 1922-23, then played with Sonny Clay in 1925 before forming his own group, the Quality Serenaders, later that year. Among his sidemen were Lionel Hampton and Lawrence Brown (trombone).
Fats Waller, Jelly Roll Morton, Louis Armstrong and Count Basie were on Southern's roster. Then into popular music with songs such as Hoagy Carmichael and Stuart Gorrell's "Georgia On My Mind". The company became influential in the 1930s, and success came through Peer's introducing Central American music to the world. In 1940, there was a major development when a dispute between the copyright organization American Society of Composers, Authors and Publishers (ASCAP) and US radio stations led to the inauguration of the rival Broadcast Music Incorporated (BMI).
Sign indicating Barker's birthplace Daniel Moses Barker (January 13, 1909 – March 13, 1994) was an American jazz musician, vocalist, and author from New Orleans. He was a rhythm guitarist for various bands of the day, including Cab Calloway, Lucky Millinder and Benny Carter throughout the 1930s. One of Barker's earliest teachers in New Orleans was fellow banjoist Emanuel Sayles, with whom he recorded. Throughout his career, he played with Jelly Roll Morton, Baby Dodds, James P. Johnson, Sidney Bechet, Mezz Mezzrow, and Red Allen.
Metcalf moved to New York City in 1923 and participated in the fertile jazz scene there, playing with such legends as Willie "The Lion" Smith, Jelly Roll Morton, Benny Carter and King Oliver. In 1926 Duke Ellington hired Metcalf to play in his seminal orchestra, where his mellow tone contrasted with Bubber Miley's. In the 1930s Metcalf led his own bands and joined Fletcher Henderson's. In 1946 Metcalf moved to Montreal and formed the International Band, the first to play the nascent bebop style in Canada.
Good Time Jazz Records was an American jazz record company and label. It was founded in 1949 by Lester Koenig to record the Firehouse Five Plus Two and earned a reputation for Dixieland jazz. The label produced new releases and reissues, including recordings by Jelly Roll Morton, Burt Bales, Wally Rose, Luckey Roberts, Willie "The Lion" Smith, Lu Watters, Bob Scobey, Bunk Johnson, Kid Ory, George Lewis, Johnny Wiggs, Sharkey Bonano, Don Ewell, and blues musician Jesse Fuller. Good Time Jazz was subsumed by Koenig's Contemporary Records.
The William Russell Jazz Collection is an extensive collection of jazz memorabilia including musical instruments, records, piano rolls, sheet music, photographs, books and periodicals. It traces the development of jazz in New Orleans and follows the movement of musicians to New York City, Chicago, California and beyond. It encompasses notes from Mr. Russell's research, audiotapes, programs, posters, correspondence, films, business cards, notes, clippings, and scrapbooks. Large portions of the collection focus on the lives of Manuel "Fess" Manetta, Bunk Johnson, and Jelly Roll Morton.
From 1950 to 1956, Morrison, who began to be known as "Van" during this time, attended Elmgrove Primary School.Turner (1993), p. 20. His father had what was at the time one of the largest record collections in Northern Ireland (acquired during his time in Detroit, Michigan, in the early 1950s)Hinton (1997), p. 19. and the young Morrison grew up listening to artists such as Jelly Roll Morton, Ray Charles, Lead Belly, Sonny Terry and Brownie McGhee and Solomon Burke;Hinton (1997), p. 20.
Jazz has long been celebrated for its roots as an aural tradition. This defined early jazz education in New Orleans, where the music originated among musicians who largely could not read music.Kirchner, 87 Early musically literate musicians who were able to afford formal music lessons, such as Jelly Roll Morton, scorned formal education and were left with varying degrees of musical literacy.Kirchner, 89 In New Orleans at the turn of the 20th century, as jazz was taking form from its roots, musicians learned in a style that is best described as an apprenticeship.
In 1938, noted musicologist and Morton biographer Alan Lomax conducted a series of interviews with Morton at the Library of Congress. Richard Cook and Brian Morton describe these recordings as Jelly Roll Morton's "virtual history of the birth pangs of jazz as it happened in the New Orleans of the turn of the century. His memory was unimpaired, although he chose to tell things as he preferred to remember them, perhaps; and his hands were still in complete command of the keyboard." Excerpts from the sessions first appeared on a 1948 album.
A typical polinton is around 15–20 kilobase pairs in size, though examples have been described up to 40kb. Polintons encode up to 10 proteins, the key elements being the protein-primed type B DNA polymerase and the retroviral-like integrase from which they derive their name. Polintons are sometimes referred to as "self-synthesizing" transposons, because they encode the proteins necessary to replicate themselves. Most polintons also encode an adenoviral-like cysteine protease, an FtsK-like ATPase, and proteins with homology to the jelly-roll fold structure of viral capsid proteins.
Oscar Emmanuel Peterson 1977 Jazz is a genre of African American music present in Canada since at least the 1910s. In 1919–1920 in Vancouver, Jelly Roll Morton, a New Orleans pianist, played with his band. During that period, Canadian groups such as the Winnipeg Jazz Babies and the Westmount Jazz Band of Montreal also found regional acclaim. During the swing boom of the late 1930s and early 1940s, Canada produced such notable bandleaders as Ellis McLintock, Bert Niosi, Jimmy Davidson, Mart Kenney, Stan Wood, and Sandy De Santis.
Threadgill was asked by Columbia College in Chicago to arrange a number of Scott Joplin songs. Joplin was so strongly associated with piano that the musicians enjoyed the challenge of performing his trademark songs without piano. They opted to play them as rags and as a basis for jazz improvisation. The album Air Lore contains improvisations over songs by Scott Joplin as well as selections by Jelly Roll Morton Air broke up and reformed several times, and after McCall's death Andrew Cyrille performed as part of the trio.
When Branford and Kenny Kirkland left three years later to record and tour with Sting, Marsalis formed another quartet, this time with Marcus Roberts on piano, Robert Hurst on double bass, and Watts on drums. After a while the band expanded to include Wessell Anderson, Wycliffe Gordon, Eric Reed, Herlin Riley, Reginald Veal, and Todd Williams. When asked about influences on his playing style, he cites Duke Ellington, Miles Davis, Harry Sweets Edison, Clark Terry, Dizzy Gillespie, Jelly Roll Morton, Charlie Parker, Wayne Shorter, Thelonious Monk, Cootie Williams, Ray Nance, Maurice Andre, and Adolph Hofner.
It has been suggested that many viral capsid proteins have evolved on multiple occasions from functionally diverse cellular proteins. The recruitment of cellular proteins appears to have occurred at different stages of evolution so that some cellular proteins were captured and refunctionalized prior to the divergence of cellular organisms into the three contemporary domains of life, whereas others were hijacked relatively recently. As a result, some capsid proteins are widespread in viruses infecting distantly related organisms (e.g., capsid proteins with the jelly-roll fold), whereas others are restricted to a particular group of viruses (e.g.
The Wolverine Orchestra first played at the Stockton Club, a nightclub south of Hamilton, Ohio, in September 1923. Many of its players were transplanted Chicago musicians, and it was led by pianist Dudley Mecum. Cornetist Bix Beiderbecke joined the group toward the end of the year after the lead cornetist quit. Mecum named the group based on the fact that they so often performed the Jelly Roll Morton tune "Wolverine Blues". However, he quit at the end of 1923, and was replaced by Dick Voynow, from St. Louis.
Jelly Roll Morton lived at 545 Aldine Square in 1918. Former residents of the neighborhood held a reunion at the La Salle Hotel in 1929, by which time the neighborhood had become primarily inhabited by African-Americans and the buildings dilapidated. On October 25, 1934, it was announced that a new housing project would be constructed in the vicinity, which was the second such project in Chicago and would entail the condemnation of the properties of the area, including Aldine Square. The Federal Government sent photographers to document the neighborhood between 1934 and 1936.
He became interested in jazz at the age of three when his father brought home a recording of Duke Ellington's song "Mood Indigo". In 1935, the family moved to Scarsdale, New York, and at the age of thirteen Wilber began formal clarinet study under his first teacher, Willard Briggs. He began listening to jazz from New Orleans, Kansas City, and Chicago by Duke Ellington, Louis Armstrong, Jelly Roll Morton, Eddie Condon, and Frank Teschemacher. He played jazz in high school and with his friends formed a "hot club", listening and jamming to records.
On October 31, 1921, Willie Egan was shot dead in front of his Franklin Avenue saloon by gunmen in a passing automobile. Colbeck had been present at the time of the shooting and Egan reportedly whispered to him the names of the shooters before he died. Now the leader of the gang, Dint announced to his men that Egan's killers were Jimmy Hogan, John Doyle, and Luke Kennedy. These three belonged to the Rats' arch-rivals, the Hogan Gang, which was led by Edward "Jelly Roll" Hogan, the Missouri state beverage inspector.
Idaho may have been born in Georgia about 1895. Her singing career commenced in the 1910s, in a traveling song and dance act with her husband, John. In 1915, they appeared with the Florida Blossom Minstrels and, in Milledgeville, Georgia, performed "Jelly Roll" and "Brother Low Down". She recorded four songs: "Graveyard Love" and "You've Got the Right Eye, but You're Peeping at the Wrong Keyhole" on May 2, 1928, and "Down on Pennsylvania Avenue" and "Move It On Out of Here" on May 25, 1929, all of which were recorded in New York City.
Milestone has reissued many historic jazz recording sessions, including the Jelly Roll Morton, King Oliver, and the New Orleans Rhythm Kings sides made for Gennett Records in the 1920s. The label also issued blues albums, most of them produced by Pete Welding. They include Driftin' Slim & His Blues Band's Somebody Hoo-Doo'd The Hoo-Doo Man, in addition to LPs by Mississippi Fred McDowell and Big Joe Williams. Another company called Milestone Records was active in the late 1950s, releasing music by acts such as The Jodimars and The Blue Jays.
However, some of Willie's best emerged from this particular year. One interesting 1934 entry is The Good Scout, an outrageous short in which boy scout Willie manages to help a beautiful girl who has been kidnapped by a big brute in downtown New York City. The bulk of the film's soundtrack is composed of a jazzy Jelly Roll Morton 78-rpm record and its backgrounds are breathtaking. The short also features a Bosko look-alike, possibly a joke on the parts of Harman-Ising animators Bob Stokes and Norm Blackburn.
Biggs then joined another group, the Beavers, for whom he wrote "I'd Rather Be Wrong Than Blue" with Joe Thomas, who had previously been a saxophonist with Jelly Roll Morton. In early 1950 Biggs left the Beavers when he was appointed musical director at Regal Records. Over the next few years he worked as pianist and arranger for several leading R&B; vocal groups including The Five Keys and The Glowtones, and for various record labels including RCA Victor and Junior. He established a songwriting partnership with Joe Thomas, Marv Goldberg, "The Ravens", 1996.
He recorded with Jelly-Roll Morton on three sessions in 1930. From 1935 to 1940 he again played with Ellington, and it is for this association that he is best known; he often played with a second bassist in the orchestra, at times Hayes Alvis or Jimmie Blanton. During that time he also recorded with Cootie Williams and Johnny Hodges. In the 1940s he played with Coleman Hawkins (1940), Red Allen (1940–41), Joe Sullivan (1942), Raymond Scott (1942–43), Cootie Williams (1944), Barney Bigard (1944–45), Benny Morton (1945), and Cozy Cole (1945).
Quinn Brown Wilson (December 26, 1908, Chicago, Illinois - June 14, 1978, Evanston, Illinois) was an American jazz bassist and tubist. Wilson played violin as a child, and studied composition and arrangement in his youth. He had his first professional experience in the mid-1920s, playing with Tiny Parham, Walter Barnes, Jelly Roll Morton (1927), Erskine Tate (1928-1931), and Richard M. Jones (1929). In the 1930s he arranged and played bass with Earl Hines from 1931 to 1939, in addition to playing bass on record with Jimmie Noone.
They All Played Ragtime proved to be a popular book and is credited as the cause for a renewed public interest in ragtime music. Blesh founded Circle Records in 1946, which recorded new material from aging early jazz musicians as well as the Library of Congress recordings of Jelly Roll Morton. He sparked renewed interest in the music of Joseph Lamb, James P. Johnson, and Eubie Blake, among others. Blesh held professorships at several universities later in his life, and wrote liner notes to jazz albums almost up until the time of his death.
The range of inductees reflects the true diversity of Louisiana's music and its impact on 20th-century music around the world. In the 1920s, Lead Belly and Jelly Roll Morton covered the spectrum arching over blues forms from Shreveport to New Orleans. As eras passed, Louis Armstrong and Louis Prima dominated, Webb Pierce and Gov. Jimmie Davis and country music rolled as Cosimo Matassa recorded "Good Rockin' Tonight" which spread immediately from New Orleans to Shreveport through The Louisiana Hayride, effectively merging the "Hayride" and New Orleans genres into a whole new genre.
"World Go Round" is the fourth single from Busta Rhymes' album Back on My B.S. and is produced by Jelly Roll. The song features British singer Estelle, and was released in France on April 6, 2009 by Universal Records due to the heavy rotation of a leaked version (that featured vocals from a different, unidentifiable singer) of the track on the French R&B;/hip hop radio station Skyrock. The song was released in the UK on July 13, 2009. The song uses a riff similar to "Sweet Dreams (Are Made of This)" by Eurythmics.
Franklyn Taft Melrose (November 26, 1907 – September 1, 1941) was an American jazz and blues pianist, who recorded as Kansas City Frank. He was born in Sumner, Illinois and was the younger brother of Walter and Lester Melrose, who had set up the Melrose Brothers Music Company in Chicago, in 1918. He became one of the leading figures in the Chicago blues and jazz scene of the 1920s and 1930s. Frank’s first instrument was violin, but he later took up piano. He was strongly influenced by his brothers’ business partner, Jelly Roll Morton.
They were the first jazz recordings made on the West Coast by an African-American jazz band from New Orleans, Louisiana. His band recorded with Nordskog Records; Ory paid Nordskog for the pressings and then sold them with his own label, "Kid Ory's Sunshine Orchestra", at Spikes Brothers Music Store in Los Angeles. In 1925, Ory moved to Chicago, where he was very active, working and recording with Louis Armstrong, Jelly Roll Morton, Oliver, Johnny Dodds, Bessie Smith, Ma Rainey, and many others. He mentored Benny Goodman and, later, Charles Mingus.
William Rogers Campbell "Sonny" Clay (May 15, 1899, Chapel Hill, Texas - April 13, 1973, Los Angeles) was an American jazz pianist, drummer, and bandleader, who had an unusual impact on the development of Australian jazz. Clay's family moved to Phoenix when he was eight years old; he played drums and xylophone early in life. From 1915 he studied piano, playing with Charlie Green and Jelly Roll Morton in Mexico around 1920. He drummer for Reb Spikes in California in 1921, and had his first recording experience backing Camille Allen in 1922.
District of Columbia was also a home (and recording stop) for Jelly Roll Morton, Jimmie Rodgers and Bo Diddley. Local stars of the early part of the century include the singer Pearl Bailey. In 1957, Elizabeth Cotten recorded for the family that employed her, which included a number of composers and musicologists. One song, "Freight Train", became a folk music standard. Charlie Byrd, a District of Columbia-based jazz musician, recorded an innovative album in 1962 called Jazz Samba with Stan Getz, helping to launch the bossa nova craze.
Armstrong's solos were a significant factor in making jazz a true 20th-century language. After leaving Henderson's group, Armstrong formed his virtuosic Hot Five band, which included instrumentalist's Kid Ory (trombone), Johnny Dodds (clarinet), Johnny St. Cyr (banjo), and wife Lil on piano, where he popularized scat singing. Jelly Roll Morton recorded with the New Orleans Rhythm Kings in an early mixed-race collaboration, then in 1926 formed his Red Hot Peppers. There was a larger market for jazzy dance music played by white orchestras, such as Jean Goldkette's orchestra and Paul Whiteman's orchestra.
A native of Robeson County, North Carolina, Galbreath got his start with local groups such as the Domino Five of Washington and Kelly's Jazz Hounds of Fayetteville. He then found work with groups in other regions such as the Florida Blossoms minstrel show and the Kingston Nighthawks, a territory band. He was with Smiling Billy Steward's Floridians when they played the 1933 World's Fair in Chicago. In the middle of the 1930s, Galbreath moved to Chicago, where he played with Fletcher Henderson, Jelly Roll Morton, Edgar Hayes, and Willie Bryant.
Procope was born in New York City and grew up in San Juan Hill, where he went to school with Benny Carter. His first instrument was the violin, but he switched to clarinet and alto saxophone. He began his professional career in 1926 as a member of Billy Freeman's orchestra. At the age of 20 he recorded with Jelly Roll Morton and went on to play with bands led by Benny Carter, Chick Webb (1929–30), Fletcher Henderson (spring of 1931 to 1934), Tiny Bradshaw, Teddy Hill, King Oliver, and Willie Bryant.
The Smithsonian's Folkways Records has also released several albums featuring Broonzy. In 1980, he was inducted into the first class of the Blues Hall of Fame, along with 20 other of the world's greatest blues legends. In 2007, he was inducted into the first class of the Gennett Records Walk of Fame, along with 11 other musical greats, including Louis Armstrong, Jelly Roll Morton, Gene Autry, and Lawrence Welk. Broonzy as an acoustic guitar player inspired Muddy Waters, Memphis Slim, Ray Davies, John Renbourn, Rory Gallagher, Ben Taylor, and Steve Howe.
To celebrate the publication of the book and to honor Handy, Small's Paradise in Harlem hosted a party, "Handy Night", on Tuesday October 5, which contained the best of jazz and blues selections provided by Adelaide Hall, Lottie Gee, Maude White, and Chic Collins. In a 1938 radio episode of Ripley's Believe it or not! Handy was described as "the father of jazz as well as the blues." Fellow blues performer Jelly Roll Morton wrote an open letter to Downbeat magazine fuming that he had actually invented jazz.
Similar to other eukaryotic ssDNA viruses, bacilladnaviruses are likely to replicate their genomes by the rolling-circle mechanism, initiated by the virus-encoded endonuclease (Rep). However, the latter protein of bacilladnaviruses displays unique conserved motifs and in phylogenetic trees forms a monophyletic clade separated from other groups of ssDNA viruses. The capsid protein of bacilladnaviruses has the jelly-roll fold and is most closely related to the corresponding proteins from members of the family Nodaviridae, which have ssRNA genomes. The virions are about 34 nanometers (nm) in diameter and accumulate in the nucleus.
Diseases caused by poxviruses have been known for much of recorded history. Smallpox in particular has been highly prominent in modern medicine; the first vaccine to be invented targeted smallpox, and smallpox would later become the first disease to be eradicated. Human adenoviruses were the first DJR-MCP viruses in Varidnaviria to have their MCPs analyzed, standing out for having jelly roll folds that were perpendicular, rather than parallel, to the capsid surface. In 1999, the structure of the MCP of Pseudomonas virus PRD1 was resolved, showing that the DJR-MCP lineage included prokaryotic viruses.
The Vocalstyle Music Company of Cincinnati, Ohio was one of the foremost manufacturers of piano rolls. Founded around 1906, they were the first company to conceive of the idea of printing song lyrics on the piano roll so they could be viewed and sung as the music played. They patented this idea and collected royalties from all other music roll companies that printed lyrics. They had a huge stable of artists, and jazz legends Jelly Roll Morton, Clarence Jones, and Luckey Roberts were probably the most prominent of their visiting recording artists.
The thriving district also got a new nickname: Terrific Street. The term Terrific Street first was used by musicians in describing the quality of music at the Pacific Street clubs, and the first jazz clubs of San Francisco did occur on Terrific Street and attract national talents like Sophie Tucker, Sid LeProtti, and Jelly Roll Morton.Fleming, E.J.: Carole Landis – A Tragic Life in Hollywood, McFarland & Company, 2005, p. 20 It was at this time that the Barbary Coast gained a wider appeal and its large dance halls drew tremendous crowds.
His 2003 book of poems Jelly Roll was a finalist for the National Book Award. Young was named a Guggenheim Foundation Fellow in 2003, as well as an NEA Literature Fellow in Poetry."University Honors & Awards: Honoree - Kevin Young", Indiana University. After stints at the University of Georgia and Indiana University, Young now teaches writing at Emory University, where he is the Atticus Haygood Professor of English and Creative Writing, as well as the curator of the Raymond Danowski Poetry Library, a large collection of first and rare editions of poetry in English.
John Szwed at the Kelly Writers House in 2015 John F. Szwed (born 1936) is the John M. Musser Professor Emeritus of Anthropology, African American Studies and Film Studies at Yale University and an Adjunct Senior Research Scholar in the Center for Jazz Studies at Columbia University, where he previously served as the Center's Director and Professor of Music and Jazz Studies. Szwed is the author of many books on jazz and American music, including studies of Sun Ra, Miles Davis, Jelly Roll Morton, Alan Lomax and Billie Holiday.
Sheet music for the "new dance sensation", the Black Bottom The dance originated in New Orleans in the first decade of the 20th century. The jazz pianist and composer Jelly Roll Morton, wrote the tune "Black Bottom Stomp", its title referring to the Black Bottom area of Detroit. Sheet music from the mid-20s identifies the composers as Gus Horsley and Perry Bradford and claims the dance was introduced by the African-American dancer and choreographer Billy Pierce. The sheet music's cover photograph features dancer Stella Doyle, who performed primarily in cabarets.
CDO is part of the cupin superfamily, whose members possess a 6-stranded β-barrel in a "jelly-roll" topology. Crystal structures of the protein have been obtained at 1.5 Å resolution (mouse). The active site displays a unique geometry where instead of the typical facial triad of two histidines and one carboxylate side-chain coordinating to an iron (II) species, three histidine ligands are bound to iron. Furthermore, crystal structures show the amino nitrogen and thiolate sulfur of cysteine coordinated to the iron in addition to a single water molecule (see figure).
The Wolverines with Beiderbecke at Doyle's Academy of Music in Cincinnati, Ohio, in 1924 Beiderbecke joined the Wolverine Orchestra late in 1923, and the seven-man group first played a speakeasy called the Stockton Club near Hamilton, Ohio. Specializing in hot jazz and recoiling from so-called sweet music, the band took its name from one of its most frequent numbers, Jelly Roll Morton's "Wolverine Blues."Sudhalter and Evans, p. 95. During this time, Beiderbecke also took piano lessons from a young woman who introduced him to the works of Eastwood Lane.
Like Jelly Roll Morton, Armstrong is also credited with the abandonment of ragtime's stiffness in favor of swung notes. Armstrong, perhaps more than any other musician, codified the rhythmic technique of swing in jazz and broadened the jazz solo vocabulary. The Original Dixieland Jass Band made the music's first recordings early in 1917, and their "Livery Stable Blues" became the earliest released jazz record. That year, numerous other bands made recordings featuring "jazz" in the title or band name, but most were ragtime or novelty records rather than jazz.
Robertson played in circus bands and traveling revues, including Kit Carson's Wild West Show. He was part of the Olympia Band around 1914 and was a trombonist for Manuel Perez, Richard M. Jones, and John Robichaux. Robertson was an early influence on Kid Ory – Robertson gave him lessons, and the two practised together. After moving to Chicago in 1917 he played at the De Luxe Café, and "by the mid-1920s he was playing with leaders of the stature of Jelly Roll Morton, with whom he recorded 'Some Day Sweetheart/London Blues' (1923, OK 8105), and King Oliver (1924)".
Through homology in at least one and usually several genes, polintons are evolutionarily linked to linear plasmids, virophages (especially Mavirus virophage, family Lavidaviridae), giant viruses (Megavirales), Ginger 1 transposons, Tlr1 transposons, transpovirons, eukaryotic viruses of the Adenoviridae family, and bacteriophages of the Tectiviridae family. The Maveriviricetes class of viruses is named after their resemblance to Maverick/Polinton transposons. All the viruses mentioned are united under Bamfordvirae for their double jelly-roll capsid. Some polinton-like viruses (PLVs) other than Tlr1 have also been identified, and are yet to be put into a taxon (presumably under Maveriviricetes).
Manzie Johnson (August 19, 1906 – April 9, 1971) was an American jazz drummer. Johnson was raised in New York City, where he played piano and violin before switching to drums. He worked with Willie Gant's Ramblers (1926), June Clark, Elmer Snowden, Joe Steele, Fats Waller, Jelly Roll Morton (1928), James P. Johnson, and Horace Henderson (1930) before joining Don Redman's orchestra, where he played from 1931 to 1937. Johnson then spent time as a freelance musician with Red Allen, Benny Morton, Willie Bryant, Lil Armstrong, Mezz Mezzrow, Redman and James P. Johnson again, Ovie Alston, and Fletcher Henderson.
The 1,023 amino acids of E. coli β-galactosidase were accurately sequenced in 1983, and its structure determined twenty-four years later in 1994. The protein is a 464-kDa homotetramer with 2,2,2-point symmetry. Each unit of β-galactosidase consists of five domains; domain 1 is a jelly-roll type β-barrel, domain 2 and 4 are fibronectin type III-like barrels, domain 5 a novel β-sandwich, while the central domain 3 is a distorted TIM-type barrel, lacking the fifth helix with a distortion in the sixth strand. The third domain contains the active site.
Unlike their Irish-American gang counterparts in other Prohibition-era cities, the Hogan Gang got along relatively well with the local Mafia factions; they had a close business partnership with the Russo Gang. The Hogans' chief rivals were a fellow Irish gang known as Egan's Rats. Jelly Roll Hogan and William Egan had been Democratic political rivals for years, and constantly butted heads with each other in both the capitol building and the street. While their booze selling territories encroached upon each other, their two gangs didn't approach all-out warfare until the winter of 1921.
As the war dragged into the New Year, the Hogans absorbed most of the casualties. Luke Kennedy, still recuperating from his wounds, was trapped in what is now Wellston on April 17, 1922 and shot to death. Informant Ray Renard later said Kennedy's killers briefly taunted him before they opened fire. Jelly Roll Hogan and his crew retaliated by shooting up Dint Colbeck's Washington Avenue plumbing store, which earned them a counterstrike the next day, when the Egan mob did a drive- by shooting of Hogan's home at 3035 Cass Avenue; the gang boss's parents were forced to dive for cover.
The loudest instruments such as the drums and trumpets were positioned the farthest away from the collecting horn. Lillian Hardin Armstrong, a member of King Oliver's Creole Jazz Band, which recorded at Gennett Records in 1923, remembered that at first Oliver and his young second trumpet, Louis Armstrong, stood next to each other and Oliver's horn could not be heard. "They put Louis about fifteen feet over in the corner, looking all sad."Rick Kennedy, Jelly Roll, Bix, and Hoagy: Gennett Studios and the Birth of Recorded Jazz, Bloomington and Indianapolis: Indiana University Press, 1994, pp. 63–64.
He released the first of his commercial recordings, first as piano rolls, then on record, both as a piano soloist and with jazz bands. In 1926, Morton signed a contract with the Victor Talking Machine Company, giving him the opportunity to bring a well-rehearsed band to play his arrangements in the Victor recording studios in Chicago. These recordings by Jelly Roll Morton and His Red Hot Peppers included Kid Ory, Omer Simeon, George Mitchell, Johnny St. Cyr, Barney Bigard, Johnny Dodds, Baby Dodds, and Andrew Hilaire. In November 1928, Morton married Mabel Bertrand, a showgirl, in Gary, Indiana.
The "West Coast revival" is a movement that was begun in the late 1930s by Lu Watters and his Yerba Buena Jazz Band in San Francisco and extended by trombonist Turk Murphy. It started out as a backlash to the Chicago style, which is closer in development towards swing. The repertoire of these bands is based on the music of Joe "King" Oliver, Jelly Roll Morton, Louis Armstrong, and W.C. Handy. Bands playing in the West Coast style use banjo and tuba in the rhythm sections, which play in a two-to-the-bar rhythmic style.
He studied the New Orleans clarinetists Omer Simeon, Johnny Dodds, Barney Bigard and Sydney Bechet and incorporated their styles in his playing, sometimes even playing an older style Albert system clarinet. He delved deeply in the recordings of Jelly Roll Morton and the early King Oliver sides with Louis Armstrong on second cornet. He arranged many of these tunes for the Memphis Nighthawks and inspired many other players to pursue this music. In the eighties, Ron and drummer Phil Gratteau, joined Brazilian artists Breno and Neusa Sauer and Paulinho Garcia in a Chicago group called Made in Brazil.
He recorded with numerous small groups in Chicago, notably Louis Armstrong's Hot Five and Hot Seven and Jelly Roll Morton's Red Hot Peppers. He also recorded prolifically under his own name, Johnny Dodds' Black Bottom Stompers, between 1927 and 1929 for Paramount, Brunswick/Vocalion, and Victor. He became a big star on the Chicago jazz scene of the 1920s, but his career precipitously declined with the Great Depression. Although his career gradually recovered, he did not record for most of the 1930s, affected by ill-health; he recorded only two sessions—January 21, 1938, and June 5, 1940—both for Decca.
Born in Boley, Oklahoma, Jones began playing trombone at the age of 13, and studied at Wilberforce College before dropping out in 1922 to join the Synco Jazz Band. This group eventually evolved into McKinney's Cotton Pickers, where he would play intermittently until 1929. From there, Jones played in a variety of noted swing jazz ensembles, including those of Fletcher Henderson (1929–31, 1933–34, 1941–42, 1950), Don Redman (1931–33, 1943), Alex Hill, Chick Webb, and Cab Calloway (1934–40, 1943). He recorded with Jelly Roll Morton in 1939 and Louis Armstrong/Sidney Bechet in 1940.
But Alexander was only his third. Alexander's response is that he hopes that Paul sits on a tack. He also states to Paul that the next time when Paul goes out for ice cream and he gets a double decker strawberry ice cream cone, the ice cream part falls off the cone and lands somewhere in Australia. At lunchtime, all four close friends have desserts in their lunch sacks, except for Alexander. Respectively, there are two cupcakes for Phillip’s dessert, a Hershey bar with almonds for Albert, and Paul has a jelly roll with coconut sprinkles.
Bakery were an Australian progressive hard rock band formed in 1970 in Perth. The original line-up was Hank Davis on drums (ex-Avengers, a New Zealand band), Mal Logan on keyboards (ex-Rebels), Eddie McDonald on bass guitar (Avengers), Peter Walker on guitar (Jelly Roll Bakers) and John Worrall on vocals and flute. They released two albums on Astor Records, Rock Mass for Love (August 1971) and Momento (August 1972) and had a Perth hit with "No Dying in the Dark". Bakery appeared at the Sunbury Pop Festival in January 1973 and disbanded in early 1975.
During high school, Tenco founded the Jelly Roll Morton Boys Jazz band, in which Tenco played the clarinet and another singer, later to become famous, Bruno Lauzi, the banjo. Gino Paoli, who would become one of Italy's most famous singers and songwriters as well, also played with Tenco in the band he was later involved in, I Diavoli del Rock (The Rock Devils). Tenco made his debut in the world of Italian professional music with the band I Cavalieri (The Knights), which included Giampiero Reverberi and Enzo Jannacci amongst others. During this period he used the pseudonym Gigi Mai.
MCA was formed in 1924 by Jules Stein and William R. Goodheart, Jr., as Music Corporation of America, a music booking agency based in Chicago, Illinois. MCA helped pioneer modern practices of touring bands and name acts. Early on, MCA booked such prominent artists as King Oliver and Jelly Roll Morton for clubs and speakeasies run by legendary notorious Chicago mobsters such as Al Capone and others. Lew Wasserman joined MCA in 1936 at the age of 23 and rose through the ranks of MCA for more than four decades, with Sonny Werblin as his right-hand man.
Among Wolfe's first major offerings—the musical Paradise (1985) and his play The Colored Museum (1986)--were off-Broadway productions that met with mixed reviews. In 1990, however, Wolfe won an Obie Award for best off-Broadway director for his play Spunk, an adaptation of three stories by Zora Neale Hurston. Wolfe gained a national reputation with his 1991 musical Jelly's Last Jam, a musical about the life of jazz musician Jelly Roll Morton. After a Los Angeles opening, the play moved to Broadway, where it received 11 Tony nominations and won the Drama Desk Award for Outstanding Book of a Musical.
Many New Orleans jazzmen had moved to Chicago during the late 1910s in search of employment; among others, the New Orleans Rhythm Kings, King Oliver's Creole Jazz Band and Jelly Roll Morton recorded in the city. However, Chicago's importance as a center of jazz music started to diminish toward the end of the 1920s in favor of New York. In the early years of jazz, record companies were often eager to decide what songs were to be recorded by their artists. Popular numbers in the 1920s were pop hits such as "Sweet Georgia Brown", "Dinah" and "Bye Bye Blackbird".
In addition to performing across Europe, he is included on two recordings from the time: "Meets the Khan Family" (MA Music) and "20th Anniversary Tour" (Konnex). Heberer received significant attention in 1990 with his release of the album Chicago Breakdown: The Music of Jelly Roll Morton, recorded with bassist Dieter Manderscheid. The Penguin Guide to Jazz gave Chicago Breakdown four stars, the publication's highest rating, citing it "highly recommended." Heberer and Manderscheid went on to record two more duo albums: What a Wonderful World (2002), in recognition for the centenary of Louis Armstrong, and Wanderlust (2007), a reflection on American blues music.
Initially the company was dedicated to reissuing early jazz material licensed from the Chicago-based Paramount Records label and Gennett Records. Reissued artists included Jelly Roll Morton, King Oliver, Ma Rainey, and James P. Johnson, but the label began issuing its own contemporary jazz recordings in April 1954, beginning with pianist Randy Weston. In 1955 the Prestige Records contract of Thelonious Monk was bought out and Monk was signed by Riverside, where he remained for the next five years. During the next few years, Cannonball Adderley, Bill Evans, Charlie Byrd, Johnny Griffin, Bob Corwin and Wes Montgomery made substantial contributions to Riverside's catalog.
Eddie Williams was an American jazz saxophonist. Williams played with Claude Williams early in the 1930s and worked with Tiny Bradshaw at the Savoy Ballroom in the middle of the decade. He played with the Mills Blue Rhythm Band (1937), Billy Kyle (1937), Don Redman (1939), Jelly Roll Morton (1940), Lucky Millinder (1940–41), Ella Fitzgerald (1941), Red Allen and Chris Columbus (1942), Wilbur De Paris, Redman again, Cliff Jackson, and James P. Johnson (1944). He recorded in California with Garvin Bushell in 1944, then served in the military during 1945-46, when he played in Europe.
Edwin Swayze or Swayzee (June 13, 1906 – January 31, 1935) was an American jazz trumpeter and composer. Swayze grew up in Little Rock, Arkansas, and played with Alphonso Trent, Art Sims, Eugene Cook, Alex Hill, Jelly Roll Morton, and Sammie Lewis early in his career. He moved to New York City late in the 1920s, where he continued to work with Morton, before joining Lew Leslie's Blackbirds revue for a tour of Europe. After the show's run he remained in Europe for a time, playing with Herb Flemming's International Rhythm Aces and the Plantation Band, which he led for a spell in Amsterdam.
Venus as a Boy is a 2004 fiction novella by Scottish writer and musician Luke Sutherland, his third publication following two earlier novels, Jelly Roll (1998) and Sweetmeat (2002). It is set briefly in South Ronaldsay, Orkney, an island off the coast of Scotland though it is largely set in Soho, London. The author purports to tell the posthumous story of Désirée, who apparently was a clandestine peer of his growing up in South Ronadsay. Désirée's audio-recorded memoirs presented to the novel's author by Désirée's friend and confidant Pascal serve as the narrative throughout majority of the story.
Lee L. Blair (October 10, 1903, Savannah, Georgia - October 15, 1966, New York City) was an American jazz banjoist and guitarist. Blair was a left-handed autodidact on banjo, aside from a few lessons taken from Mike Pingitore, the banjoist for Paul Whiteman. He played and recorded in NYC with Thomas Morris's Seven Hot Babies in 1926, played with Charlie Skeete in 1926-28, then played and recorded with Jelly Roll Morton's Red Hot Peppers in 1928-30. He played with Billy Kato in 1930-31, then played and recorded with Luis Russell (1934–35) and Louis Armstrong (1935-40).
He also worked with Johnny Dodds and Jimmy Blythe, Erskine Tate, Jelly Roll Morton's Red Hot Peppers and Richard M. Jones' Jazz Wizards. Scott was the first person to use a guitar in a modern dance orchestra, in Dave Peyton's group accompanying Ethel Waters at Chicago's Cafe de Paris. He then joined Jimmie Noone's Apex Club Orchestra, and was part of the Vocalion recording sessions in 1928 that included "Blues My Naughty Sweetie Gives to Me", featuring Scott's guitar solo; "King Joe", written by Scott; and "Sweet Lorraine",Jimmie Noone: Apex Blues. The Original Decca Recordings.
In addition to productions for the New York City Children's Theater, Greenberg also worked with Krieger on Dickens and Nelly (2015), the story of an illicit love affair between British novelist Charles Dickens and actress Ellen "Nelly" Ternan. It was performed as a staged reading at William Patterson University's Playwright Festival. In the 1980s, Greenberg formed the Hunterdon Hills Playhouse Early Jazz Orchestra, a band which recreated early jazz recordings. The group played Greenberg's transcriptions of music by Jelly Roll Morton's Red Hot Peppers, King Oliver's Original Creole Jazz Band, the Original Memphis Five and the Original Dixieland Jazz Band.
Blues singer Bo Carter recorded "Twist It Babe" in 1931, the reference in the lyrics apparently being a metaphor for sex. Nathan Bush, Review of Twist It Babe: 1931-1940, Allmusic.com. Retrieved 20 November 2017 In his "Winin' Boy Blues" in the late 1930s, Jelly Roll Morton sang, "Mama, mama, look at sis, she's out on the levee doing the double twist". In the 1953 song "Let the Boogie Woogie Roll", Clyde McPhatter and the Drifters sang, "When she looked at me her eyes just shined like gold, and when she did the twist she bopped me to my soul".
Unlike his previous works, the album is less rock-oriented and was said by Pop to be a "quieter album with some jazz overtones" with its sound influenced by New Orleans jazz artists such as Louis Armstrong and Jelly Roll Morton. Pop also admitted that the album is his response to being "sick of listening to idiot thugs with guitars banging out crappy music". The album includes a cover of the 1940s French jazz standard "Les feuilles mortes" (Autumn Leaves), which Iggy sings in French. The song is most associated with such artists as Yves Montand and Édith Piaf.
Dances such as the Charleston and the Black Bottom were very popular during the period, and jazz bands typically consisted of seven to twelve musicians. Important orchestras in New York were led by Fletcher Henderson, Paul Whiteman and Duke Ellington. Many New Orleans jazzmen had moved to Chicago during the late 1910s in search of employment; among others, the New Orleans Rhythm Kings, King Oliver's Creole Jazz Band and Jelly Roll Morton recorded in the city. However, Chicago's importance as a center of jazz music started to diminish toward the end of the 1920s in favor of New York.
Jared Tyler, Tulsa Oklahoma, is an American singer-songwriter. He made his national debut with the release of Blue Alleluia, an album produced by Russ Titelman on Walking Liberty Records, New York City. Tyler has been the supporting act for many artists and bands such as Emmylou Harris, Nickel Creek, Merle Haggard, Wilco, Shelby Lynne, Dave Wilcox, Shannon Lawson, John Hammond and Willis Alan Ramsey. As well as touring with Malcolm Holcombe, Tyler has recorded with Holcombe; Shannon Lawson; The Tractors; Jelly Roll Johnson; bassist and producer Dave Pomeroy; and producer Scott Harding, EmmyLou Harris, Mary Kay Place, Dave Wilcox, and others.
Bunn was considered one of the best acoustic guitarists of the 1930s. He appeared on record for the first time in 1929 as a member of a trio with trumpeter Red Allen and pianist Fats Pichon, then as a guest with the Duke Ellington orchestra. Soon after, he recorded with the Six Jolly Jesters in the first of many washboard-and-kazoo sessions during his career with bands such as The Washboard Rhythm Kings and the Washboard Serenaders. During the following year, he participated in a rare session with Jelly Roll Morton and clarinetist Wilton Crawley.
It was found that this virus had a similar "jelly roll fold" to that found previously in the tomato bushy stunt virus, which at the time was a surprise. In the early 1980s Rossmann began working on picornaviruses, and chose HRV14, one of the viruses that cause the common cold. Part of the problem was that it was very difficult at the time to produce milligram quantities of an animal virus, as needed for the X-ray crystallography. Rossmann pushed for the purchase by Purdue of a Cyber 205 supercomputer, capable of delivering hundreds of megaflops.
In 2000, Szwed published a study of Sun Ra, Space is the Place: The Lives and Times of Sun Ra. In 2003, he published a Miles Davis biography, So What: The Life of Miles Davis. Szwed wrote Doctor Jazz, a booklet about Jelly Roll Morton for the 2005 issue of The Complete Library of Congress Recordings by Alan Lomax on Rounder Records. The booklet won the 2005 Grammy Award for Best Album Notes. In 2010, Szwed published a biography of Alan Lomax, the folklorist, ethnomusicologist, and field collector of folk music of the 20th century, entitled The Man Who Recorded the World.
Many New Orleans jazzmen had moved to Chicago during the late 1910s in search of employment; among others, the New Orleans Rhythm Kings, King Oliver's Creole Jazz Band and Jelly Roll Morton recorded in the city. However, Chicago's importance as a center of jazz music started to diminish toward the end of the 1920s in favor of New York. In the early years of jazz, record companies were often eager to decide what songs were to be recorded by their artists. Popular numbers in the 1920s were pop hits such as "Sweet Georgia Brown", "Dinah" and "Bye Bye Blackbird".
By the 1920s, Seattle had also come to support a politically radical American folk scene, inspired in part by several lengthy stays in the region by folk singer Woody Guthrie; Seattle's folk performers included Ivar Haglund, who later founded a chain of successful seafood restaurants. The Seattle jazz scene included Jelly Roll Morton for several years in the early part of the century, as well as Vic Meyers, a local performer and nightclub owner who became Lieutenant Governor in 1932.Humphrey, pp. 2–3 E. Russell "Noodles" Smith, founder of the Dumas Club and the Entertainers Club, was another important name in the Seattle Jazz scene of the day.
Hilaire was active in Chicago's "Roaring Twenties" music scene, playing with the bands of Lil Hardin Armstrong and Carroll Dickerson before 8 years with Doc Cook. He took part in various recording sessions during his time with the Doc Cook Orchestra, including with Freddie Keppard and perhaps most famously as a member of Jelly Roll Morton's Red Hot Peppers. In the 1930s he played with Jerome Don Pasquall and Eddie South in addition to leading his own band. Andrew Hilaire was remembered by his fellow musicians as being of slight and weak constitution, and had trouble breathing—believed to be either asthma or tuberculosis.
Warpigs began performing in 2013 at Phoenix and Tempe venues such as "Lawn Gnome Publishing" and "Long Wong's Dining." His first few shows were events that grew out of Phoenix Comicon, playing for crowds waiting in line for Free Comic Book Day. Warpig's biggest show of 2013 came when he opened for Pat the Bunny of Tucson folk-punk outfit Ramshackle Glory at a benefit concert at the now closed Aside of Heart in downtown Phoenix. Warpigs gained a backing band by early 2014 including Jelly Roll Jenkin (Jorge Garcia) formerly of Los Fukn Ramirez, Jackson Bollox of Nerdzerker, and Justin White formerly of Andrew Jackson Jihad.
Carbohydrate-binding module family 4 (CBM4) includes the two cellulose-binding domains, CBD(N1) and CBD(N2), arranged in tandem at the N terminus of the 1,4-beta-glucanase, CenC, from Cellulomonas fimi. These homologous CBMs are distinct in their selectivity for binding amorphous and not crystalline cellulose. Multidimensional heteronuclear nuclear magnetic resonance (NMR) spectroscopy was used to determine the tertiary structure of the 152 amino acid N-terminal cellulose-binding domain from C. fimi 1,4-beta- glucanase CenC (CBDN1). The tertiary structure of CBDN1 is strikingly similar to that of the bacterial 1,3-1,4-beta-glucanases, as well as other sugar- binding proteins with jelly-roll folds.
Morton also wrote "King Porter Stomp", "Wolverine Blues", "Black Bottom Stomp", and "I Thought I Heard Buddy Bolden Say", the last a tribute to New Orleans musicians from the turn of the 20th century. Morton's claim to have invented jazz in 1902 was criticized. Music critic Scott Yanow wrote, "Jelly Roll Morton did himself a lot of harm posthumously by exaggerating his worth...Morton's accomplishments as an early innovator are so vast that he did not really need to stretch the truth." Gunther Schuller says of Morton's "hyperbolic assertions" that there is "no proof to the contrary" and that Morton's "considerable accomplishments in themselves provide reasonable substantiation".
A cookie sheet A sheet pan that has a continuous lip around all four sides may be called a jelly roll pan. A pan that has at least one side flat, so that it is easy to slide the baked product off the end, may be called a cookie sheet. Simple tray with rim Baking sheet with rails and parchment paper liner Professional sheet pans used in commercial kitchens typically are made of aluminum, with a raised lip around the edge, and come in both standard and non-standard sizes. Within each standard, other commercial kitchen equipment, such as cooling racks, ovens, and shelving, is made to fit these standard pans.
92d Street Y's Jazz in July, John S. WIlson, New York Times, July 31, 1986 She made her debut as a vocalist on September 10, 1996 at the Tavern on the Green restaurant in New York City with Steve Ross. Carmichael, particularly as ambassador and revivalist of a form of jazz that peaked in its mainstream popularity with artists with colorful names like Fats Waller, James P. Johnson, and Willie "The Lion" Smith and Jelly Roll Morton, faded in the memory of all but the most dedicated of jazz aficionados, is known for being one of the most accessible jazz pianists in the business.
James Price Johnson (February 1, 1894 – November 17, 1955) was an American pianist and composer. A pioneer of stride piano, he was one of the most important pianists in the early era of recording, and like Jelly Roll Morton, one of the key figures in the evolution of ragtime into what was eventually called jazz. Johnson was a major influence on Count Basie, Duke Ellington, Art Tatum, and Fats Waller, who was his student. Johnson composed many hit songs, including the unofficial anthem of the Roaring Twenties, "The Charleston," and he remained the acknowledged king of New York jazz pianists through most of the 1930s.
A nut roll is a pastry consisting of a sweet yeast dough (usually using milk) that is rolled out very thin, spread with a nut paste made from ground nuts and a sweetener like honey, then rolled up into a log shape.Homemade Nut Rolls This 'log' is either left long and straight or is often bent into a horseshoe shape, egg washed, baked, and then sliced crosswise. Nut rolls resemble a jelly roll (Swiss roll) but usually with more layers of dough and filling, and resemble strudels but with fewer and less delicate dough layers. Fillings commonly have as their main ingredient ground walnuts or poppy seeds.
Bakery were a progressive hard rock band formed in early 1970 in Perth by two New Zealand-born musicians, Hank Davis on drums and Eddie McDonald on bass guitar – both were ex-members of Avengers. The line-up was completed by Mal Logan on keyboards (ex-Rebels, a New Zealand band), Peter Walker on guitar (ex-Jelly Roll Bakers) and John Worrall on vocals and flute. Logan soon left and, by October, he was a member of Healing Force and, later, in Chain and Little River Band. By mid-1970, Bakery's Davis, McDonald and Walker were joined by Rex Bullen on keyboards (Bitter Lemons) and Tom Davidson on vocals.
Carmichael is considered to be among the most successful of the Tin Pan Alley songwriters of the 1930s, and was among the first singer-songwriters in the age of mass media to exploit new communication technologies, such as television and the use of electronic microphones and sound recordings.Kennedy, Jelly Roll, Bix, and Hoagy, p. 91. American composer and author Alec Wilder described Carmichael as the "most talented, inventive, sophisticated and jazz-oriented of all the great craftsmen" of pop songs in the first half of the 20th century. Carmichael was an industry trailblazer, who recorded varied interpretations of his own songs and provided material for many other musicians to interpret.
Sudhalter, 2002, p. 113–14. Carmichael's "March of the Hoodlums" and Sheldon Brooks's "Walkin' the Dog" were produced from Carmichael's last recording session at the Gennett Records studio on May 2, 1928, with a band he had hand-selected.Kennedy, Jelly Roll, Bix, and Hoagy, pp. 132–34. In 1929, after realizing that he preferred making music and had no aptitude for or interest in becoming a lawyer (he was fired from his job at the law firm), Carmichael moved to New York City, where he worked for a brokerage firm during the weekdays and spent his evenings composing music, including some songs for Hollywood musicals.
Lucie's professional career began as a temporary substitute for Fred Guy in the Duke Ellington Orchestra in 1931. He spent the next two years playing guitar for Benny Carter, followed by Fletcher Henderson, the Mills Blue Rhythm Band, Lucky Millinder, Coleman Hawkins in 1940, and Louis Armstrong until 1944, recording with all of them except Ellington. He can also be found on record with Red Allen, Putney Dandridge, Billie Holiday, Spike Hughes, Jelly Roll Morton, Big Joe Turner, and Teddy Wilson. Lucie served in the U.S. Army, then became a member of small groups in contrast to his big band years, and worked often as a studio musician.
Although officially described as a "nostalgia" station, KBRD plays an eclectic mixture of jazz, rock, swing, country, dixieland, ragtime, zydeco, western swing, novelty and other music, much of which can be heard nowhere else in the country. A typical hour broadcast on KBRD might contain music by Artie Shaw, Aunt Dinah's Quilting Party, Bessie Smith, Boots Randolph, Clicquot Club Eskimos, Captain Stubby and the Buccaneers, Bing Crosby, the Harmonicats, Sheb Wooley, Marty Robbins, Jelly Roll Morton, Nat King Cole, the Korn Kobblers, George Formby, Nana Mouskouri, Perry Como, Merle Travis, Louis Armstrong and the ever-popular Hoosier Hot Shots. KBRD broadcasts without commercial interruption.www.kbrdradio.com.
After hearing Jelly Roll Morton's first tune, 1900 plays a piece so simple and well known ("Silent Night") that the self-proclaimed inventor of jazz feels mocked. As Morton becomes more determined to display his talent, he plays an impressive tune ("The Crave") that brings tears to 1900's eyes. 1900 calmly sits down at the piano and plays from memory the entire tune that Morton had just played. 1900's playing fails to impress the crowd until he plays an original piece ("Enduring Movement") of such virtuosity and superhuman speed that the metal piano strings become hot enough for 1900 to light a cigarette.
On the same year she composed Surprise1 – a piece for piano and voice, and performed it at the Rowdyism festival in Tel Aviv. She also performed with Roy Yarkoni's compositions in the New Waves concert series of the Musica Nova group, titled The Milk Underground, featuring the poetry of Ronny Someck. In November 2005 Dunietz performed at the Piano festival at Susan Dallal center in Tel Aviv, in a Duet performance with David Broza. In the very same festival, she also gave a solo concert titled "Boogy Woogy, Honky Tonk and Blues – The Cat House Piano" – a tribute to Jelly Roll Morton, Art Tatum, Scott Joplin, Lucille Bogan and others.
Operating for a period of about twenty years, Piazza became known in Storyville for her brothel parlor. She was one of several women of mixed ancestry to operate brothels in the area, Lulu White being perhaps the most prominent. Purchasing her 317 N. Basin Street premises for $12,000 in 1907, she spent an additional $30,000 on furnishings and other upgrades; the brothel was immediately successful, allowing Piazza to pay of the mortgage within two years. Piazza's "girls" were known around New Orleans for their fine clothes, private coaches, and for their abilities to sing and play musical instruments; jazz pianist Jelly Roll Morton sometimes played her upright white piano.
The early years of the twentieth century saw tone clusters elevated to central roles in pioneering works by ragtime artists Jelly Roll Morton and Scott Joplin. In the 1910s, two classical avant-gardists, composer-pianists Leo Ornstein and Henry Cowell, were recognized as making the first extensive explorations of the tone cluster. During the same period, Charles Ives employed them in several compositions that were not publicly performed until the late 1920s or 1930s. Composers such as Béla Bartók and, later, Lou Harrison and Karlheinz Stockhausen became proponents of the tone cluster, which feature in the work of many 20th- and 21st-century classical composers.
It was recorded by the Wolverine Orchestra on May 6, 1924 in Richmond, Indiana for the Gennett Label.Rick Kennedy Jelly Roll, Bix, and Hoagy: Gennett Studios and the Birth of Recorded Jazz Indiana University Press (August 1, 2000) The Wolverine Orchestra was made up of Bix Beiderbecke on cornet, pianist Dick Voynow, trombonist Al Gandee, tenor saxophonist George Johnson, clarinetist Jimmy Hartwell, banjoist Bob Gillette, tuba player Min Leibrook, and drummer Vic Moore. Three days later, again in the Gennett studio, it was recorded by Bailey's Lucky Seven. It was recorded by Nathan Glantz and His Orchestra in March 1924 for the Emerson label.
Early in the 20th century, the District of Columbia was home to many bluesmen, such as Jelly Roll Morton and later rock and roll and rhythm and blues musicians such as Bo Diddley and Roy Buchanan. In the 1960s, a number of white youths formed local blues bands, including the Northside Blues Band and the Nighthawks. Starting in the early 1960s, Takoma Park native John Fahey became a nationally noted blues and folk guitarist who established the Takoma Records label, which attracted a number of other blues, folk, acoustic and fingerstyle guitarists to the District of Columbia area. Another local blues rock performer is Tom Principato.
The New Leviathan Oriental Fox-Trot Orchestra is an American revival orchestra, that performs authentic orchestrations of vintage American popular music from the 1890s through the early 1930s. The orchestra plays particular attention to the music of New Orleans, Louisiana, where it is based. In addition to the well known compositions of jazz and ragtime composers like Jelly Roll Morton, Fletcher Henderson, and Eubie Blake, the orchestra's repertory includes the work of less well remembered New Orleans Tin Pan Alley composers such as Larry Buck, Joe Verges, Paul Sarebresole and Nick Clesi. The New Leviathan on the Economy Hall Stage, New Orleans Jazz & Heritage Festival.
On April 18, 2014 the track list for Abaddon was released. The album will feature guest appearances from artists such as Big Hoodoo, Violent J, Crucifix, Insane Clown Posse, Jelly Roll, Demi Demaree & Syn. The album does include the 2 songs "Abaddon" and "Monster". During his 2014 GOTJ seminar he announced that he is going to not do a Turncoat Dirty album because something bad always happens, also he is doing a project with Crucifix, who was featured on the song "Betrayal" off Boondox's last album Abaddon, and did a single with Boondox and Bukshot titled "Don't Stop", which was a cover of Journey's hit song "Don't Stop Believin'".
Terrific Street's dance halls and concert saloons give an insightful view into the district's cultural identity. One advantage of the west coast's lawless nature was a lack of the east coast's racial segregation laws, which enabling integrated establishments that were called black and tan clubs. The brightest aspect of Terrific Street's culture was its robust jazz music scene which grew from earlier versions of ragtime and blues. Jazz may have started in New Orleans, but due to clubs like Purcell's and musicians Sid LeProtti and Jelly Roll Morton, San Francisco inspired composers and band leaders like Art Hickman and Paul Whiteman who taught this jazz to mainstream America.
Early Influences includes artists from earlier eras, primarily country, folk, jazz, and blues, whose music inspired and influenced rock and roll artists. Other notable artists that have been inducted as Early Influences include Bill Kenny & The Ink Spots, country musicians Jimmie Rodgers and Hank Williams, blues musicians Howlin' Wolf and Muddy Waters, and jazz musicians Jelly Roll Morton and Louis Armstrong. After Nat King Cole and Billie Holiday in 2000, no one was inducted in this category until 2009, when rockabilly singer Wanda Jackson was selected. Unlike earlier inductees in this category, Jackson's career almost entirely took place after the traditional 1955 start of the "rock era".
After his death in 1917, Joplin's music and ragtime in general waned in popularity as new forms of musical styles, such as jazz and novelty piano, emerged. Even so, jazz bands and recording artists such as Tommy Dorsey in 1936, Jelly Roll Morton in 1939 and J. Russel Robinson in 1947 released recordings of Joplin compositions. "Maple Leaf Rag" was the Joplin piece found most often on 78 rpm records.Jasen (1981) pp. 319–320. In the 1960s, a small-scale reawakening of interest in classical ragtime was underway among some American music scholars such as Trebor Tichenor, William Bolcom, William Albright and Rudi Blesh.
Although he continued to play football until 1926, his first love was music, and in 1924 he joined Paramount Records, which had recently begun to produce and market "race" records. Williams became a talent scout and supervisor of recording sessions in the Chicago area, becoming the most successful blues producer of his time. Two of his biggest discoveries as recording artists were the singer Ma Rainey – already a popular live performer – and Papa Charlie Jackson, the first commercially successful self-accompanied blues singer. He recorded Blind Lemon Jefferson, Tampa Red, Thomas A. Dorsey, Ida Cox, Jimmy Blythe, Jelly Roll Morton, King Oliver, and Freddy Keppard.
Apart from the aforementioned replication methods, ssDNA viruses in Monodnaviria share a number of other common characteristics. The capsids of ssDNA viruses, which store the viral DNA, are usually icosahedral in shape and composed of either one type of protein or, in the case of parvoviruses, multiple types of proteins. All ssDNA viruses that have had the structure of their capsid proteins analyzed in high resolution have shown to contain a single jelly roll fold in their folded structure. Nearly all families of ssDNA viruses have a positive-sense genome, the sole exception being viruses in the family Anelloviridae, unassigned to a realm, which have a negative-sense genome.
While the bass clarinet was seldom heard in early jazz compositions, a bass clarinet solo by Wilbur Sweatman can be heard on his 1924 recording "Battleship Kate" and a bass clarinet solo by Omer Simeon can be heard in the 1926 recording "Someday Sweetheart" by Jelly Roll Morton and His Red Hot Peppers. Additionally, Benny Goodman recorded with the instrument a few times early in his career. Harry Carney, Duke Ellington's baritone saxophonist for 47 years, played bass clarinet in some of Ellington's arrangements, first recording with it on "Saddest Tale" in 1934. He was featured soloist on many Ellington recordings, including 27 titles on bass clarinet.
The Great Depression drove many record companies out of business. Paramount stopped recording in 1932 and closed in 1935. In 1948 Paramount was bought by John Steiner, who revived the label for reissues of important historical recordings and new recordings of jazz and blues. In 1952 Steiner leased reissue rights to a newly formed jazz label, Riverside Records. Riverside reissued 10" and then 12" LPs by many blues singers in the Paramount catalog, as well as jazz by such Chicago-based notables as Jelly Roll Morton, King Oliver's Creole Jazz Band (which included a young Louis Armstrong), Johnny Dodds, Muggsy Spanier, and Meade Lux Lewis.
One of early rural blues, ragtime, and marching band music were combined with collective improvisation to create this new style of music. At first, the music was known by various names such as "hot music", "hot ragtime" and "ratty music"; the term "jazz" (early on often spelled "jass") did not become common until the 1910s. The early style was exemplified by the bands of such musicians as Freddie Keppard, Jelly Roll Morton, "King" Joe Oliver, Kid Ory. The next generation took the young art form into more daring and sophisticated directions, with such creative musical virtuosos as Louis Armstrong, Sidney Bechet, and Red Allen.
The remaining members in Colorado were Hickey and Mike Minnick, A.K.A. "Fluffy Machete". Minnick was well known in the So-Cal punk scene as the former drummer of two seminal Nardcore bands, Ill Repute and Habeas Corpus. To fill the vacuum left by the loss of Knowles, in 1992, Hickey permanently added his friend and locally well known guitar virtuoso Kent Taylor, and went through several fill-in bassists including "Jelly Roll" (real name unknown), and Conrad Sear, before finally settling on bassist Adam Pittman A.K.A. "Commander Adama" as a permanent addition to the band. Sear was temporarily retained for a short period as a rhythm guitarist, and left the band soon after.
As of March 2012, this has been accomplished. Approximately 17,400 of Lomax's recordings from 1946 and later have been made available free online. This material from Alan Lomax's independent archive, begun in 1946, which has been digitized and offered by the Association for Cultural Equity, is "distinct from the thousands of earlier recordings on acetate and aluminum discs he made from 1933 to 1942 under the auspices of the Library of Congress. This earlier collection—which includes the famous Jelly Roll Morton, Woody Guthrie, Lead Belly, and Muddy Waters sessions, as well as Lomax's prodigious collections made in Haiti and Eastern Kentucky (1937) — is the provenance of the American Folklife Center" at the library of Congress.
At one point after a bank robbery, Egan gangster Chippy Robinson called the police anonymously and claimed that the Hogans were responsible. Jelly Roll and some of his men were indeed arrested because of the tip; all were cleared of the charges. More seriously, on September 2, 1922, Dint Colbeck and three of his men stumbled across Hogan gangsters Abe Goldfeder and Max Gordon in the Bottoms, chased them down Locust Street, and nearly killed them with pistol fire (Gordon lost an eye in the shooting). The peace treaty was finally broken for good on February 21, 1923, when Dint Colbeck and his men ambushed and killed Hogan lawyer Jacob Mackler in Old North St. Louis.
The Radiators wore their influences on their sleeve, or, at least, proudly displayed them in concert. While their albums mainly featured songs written by chief songwriter/keyboardist/vocalist Ed "Zeke" Volker and other band members, their concerts typically included a wide variety of music written by other artists. From the local New Orleans scene, The Radiators often featured works by, among others, The Meters, Dr. John, Allen Toussaint, Fats Domino, Earl King, Jelly Roll Morton, and, of course, Professor Longhair, several of whom played with The Radiators at one time or another. The Radiators also covered songs traditionally associated with New Orleans or Mardi Gras, such as Iko Iko and St. James Infirmary Blues.
From 1937 to 1942, Lomax was Assistant in Charge of the Archive of Folk Song of the Library of Congress to which he and his father and numerous collaborators contributed more than ten thousand field recordings. A pioneering oral historian, Lomax recorded substantial interviews with many folk and jazz musicians, including Woody Guthrie, Lead Belly, Jelly Roll Morton and other jazz pioneers, and Big Bill Broonzy. On one of his trips in 1941, he went to Clarksdale, Mississippi, hoping to record the music of Robert Johnson. When he arrived, he was told by locals that Johnson had died but that another local man, Muddy Waters, might be willing to record his music for Lomax.
W. E. (Buddy) Burton (1890–1976) was a multi-instrumentalist and band leader who appeared on many 1920s Chicago South Side jazz and Blues 78 rpm Phonograph records as vocalist and drummer, and also played washboard, piano, celeste, and kazoo. He was born in Louisville, Kentucky and went to Chicago around 1922. He first recorded with Jelly Roll Morton and sessions that were led by Jimmy Blythe. Burton released five sides under his own name in 1928, six sides with Marcus Norman (as "Alabama Jim And George" which some experts have listed as being made with Bob Hudson, although Norman is credited with co-writing), two sides as a duo with Blythe and one with Irene Sanders.
Parker was born in Youngstown, Ohio, in 1925 or 1926 (sources differ), and was raised in Chicago by the popular vaudeville duo, Butterbeans and Susie (Jodie and Susie Edwards). He led a band at the Cotton Club in Cincinnati in 1948 which included King Kolax as one of his sidemen, and recorded with Kolax in Los Angeles later that year. He then replaced Rubell Blakely as vocalist in Lionel Hampton's ensemble. His time with Hampton included appearances in the films Lionel Hampton and His Orchestra (1949) and Jelly Roll (1952), and on Hampton's recordings from this time on Decca - including the 1949 R&B; chart hit "Drinking Wine, Spo-Dee-O-Dee, Drinking Wine" - and MGM.
Davidson C. "Dave" Nelson (born 1905, Donaldsonville, Louisiana - died April 7, 1946, New York City) was an American jazz trumpeter, pianist, and composer. Nelson received classical training on piano and violin, but became best known in jazz as a trumpeter; he also was an arranger, having studied under Richard M. Jones. He played in Chicago with the Marie Lucas Orchestra, then worked with Ma Rainey, Jelly Roll Morton, Edgar Hayes, Jimmie Noone, , and Luis Russell. Having been informally associated with King Oliver early in his career, he officially became a member of Oliver's band in 1929, playing trumpet on his recordings for Victor in 1929-1931, as well as composing and arranging the pieces.
All songs written by John Sykes, except where indicated. # "Riot" - 6:22 # "Sex Child" - 5:51 # "Valley of the Kings" (Sykes, Tony Martin) - 7:51 # "Jelly Roll" - 4:44 # "Blue Murder" (Carmine Appice, Sykes, Tony Franklin) - 4:54 # "Out of Love" - 6:44 # "Billy" - 4:12 # "Ptolemy" - 6:30 # "Black-Hearted Woman" (Appice, Franklin, Sykes) - 4:48 The album was reissued by UK-based company Rock Candy Records in 2013. Initial pressings of this reissue stated that it included an extra song called "Cold Harbor" on the package, but this is simply an error on the packaging; no such song exists or appears on the reissue of the album. Later pressings corrected this, removing any reference to the song.
Blesh studied at Dartmouth College and held jobs writing jazz reviews for the San Francisco Chronicle and the New York Herald Tribune in the 1940s. He was a prolific promoter of jazz concerts, particularly New Orleans jazz, and hosted a jazz radio program, This Is Jazz, in 1947. (These shows have been reissued by Jazzology Records.) Blesh in collaboration with Harriet Janis (mother of actor and jazz band leader Conrad Janis) wrote They All Played Ragtime which was published in 1950 by Alfred A Knopf. A promotional record consisting of "Maple Leaf Rag" recorded to piano roll by Jelly Roll Morton in 1907 and an interview with the co-authors was sent to radio stations.
During their third period, beginning in the 1970s, Sun Ra and the Arkestra settled down into a relatively conventional sound, often incorporating swing standards, although their records and concerts were still highly eclectic and energetic, and typically included at least one lengthy, semi-improvised percussion jam. Sun Ra was explicitly asserting a continuity with the ignored jazz tradition: "They tried to fool you, now I got to school you, about jazz, about jazz" he chanted in concerts, framing the inclusion of pieces by Fletcher Henderson and Jelly Roll Morton. In the 1970s Sun Ra took a liking to the films of Walt Disney. He incorporated smatterings of Disney musical numbers into many of his performances from then on.
In November 1971 Sid Rumpo were formed in Perth by ex-Jelly Roll Bakers members John Hood on lead guitar and harmonica; and Owen Edward Hughes on bass guitar. They were joined by Noel John Herridge on drums from Adderley Smith Blues Band; Robert James Searls on lead guitar and lead vocals; and Kenneth James "Ken" Wallace on piano. In September 1972 they won the state final of the Hoadley's Battle of the Sounds; then they relocated to Melbourne a month later. In January 1973 Sid Rumpo performed at the second Sunbury Pop Festival, with their track, "Sailing", appearing on Mushroom Records triple live album of the event, The Great Australian Rock Festival Sunbury 1973, in April.
Inspired by a novel by French author Michel Houellebecq called La Possibilité d'une île (2005; Trans. as The Possibility of an Island by Gavin Bowd, 2006), Pop Pop was approached to provide the soundtrack for a documentary film on Houellebcq and his attempts to make a film from his novel. He describes this new release as a "quieter album with some jazz overtones", the first single off the album, "King of the Dogs", bearing a sound strongly influenced by New Orleans jazz musicians such as Louis Armstrong and Jelly Roll Morton. Pop said that the song was his response to being "sick of listening to idiot thugs with guitars banging out crappy music".
The music was performed by two house bands. Henry Levine, a former member of the Original Dixieland Jazz Band, led an eight-member dixieland combo; Paul Laval led a 10-piece woodwind ensemble, with arrangements employing oboe, bassoon, and French horn. Each broadcast featured a vocalist: Dinah Shore was discovered on the Basin Street program; she was succeeded in turn by New York-based vocalists Diane Courtney, Dodie O'Neill, Dixie Mason, Linda Keene, Loulie Jean Norman, and Lena Horne. Gene Hamilton invited guest artists to appear on Basin Street, including Benny Goodman, Count Basie, W. C. Handy, Bobby Hackett, Leadbelly, Lionel Hampton, Jelly Roll Morton, Sidney Bechet, and Alec Templeton, among many other famous names in the jazz world.
He began his career with dances like the Cakeywalk, Lindy hop, and Charleston at the Savoy Ballroom in Harlem, and worked with the Mura Dehn Jazz Ballet and other companies before forming his own troupe. He is known for choreographing the Lindy Hop jazz routine Tranky Doo.Jennifer Dunning, Pepsi Bethel, 83, a Champion Of American Popular Dance, New York Times, September 6, 2002 Bethel worked as a consultant and choreographer on several shows directed by Vernel Bagneris, including two productions of One Mo' Time, Staggerlee (1987) and Jelly Roll! (1994). In 1980, his work as a choreographer was honored in Celebration of Men in Dance at the Thelma Hill Performing Arts Center in Brooklyn.
Pianist Jelly Roll Morton said that "Be-Baba-Leba"'s riff was "so old it's got whiskers", and it is close to the one on "Boogie Woogie" recorded by Jimmy Rushing with Count Basie in 1937. However, the scat wording apparently derives from "Ee-Bobaliba", a song performed by saxophonist and bandleader Jim Wynn in the early 1940s with his band, the Bobalibans. By that time, the term "bebop" or similar terms like "ba-re-bop" were becoming popular among musicians to describe the new forms of jazz being performed by such musicians as Dizzy Gillespie. Wynn recorded his song, with vocalist Claude Trenier, after Humes recorded "Be-Baba-Leba", and it did not make the chart.
However, the HK97-MCP in viruses is much more divergent and widespread than encapsulins, which form a narrow monophyletic clade. As such, it is more likely that encapsulins are derived from viruses than vice versa. An exception to this viewpoint is that encapsulins have also been identified in archaea of the phylum Crenarchaeota, which are not known to be infected by tailed bacteriophages, so the relation between encapsulins and Duplodnaviria remains unresolved. The ATPase subunit of Duplodnaviria terminases that generates energy for packaging viral DNA has the same general structural design of the P-loop fold as the packaging ATPases of double jelly roll viruses in the realm Varidnaviria but are otherwise not directly related to each other.
Kevin Lowell Young (born ) is an American poet and teacher of poetry and the incoming director of the Smithsonian Institution National Museum of African American History and Culture. Author of 11 books and editor of eight others, Young has been a winner of a Guggenheim Fellowship as well as a finalist for the National Book Award for his collection Jelly Roll: A Blues. Young has served as Atticus Haygood Professor of English and Creative Writing at Emory University and curator of Emory's Raymond Danowski Poetry Library, as well as Director of the Schomburg Center for Research in Black Culture at the New York Public Library. In March 2017, Young became poetry editor of The New Yorker.
The song "Pachuko Hop" is also referenced in the lyrics to the songs "Jelly Roll Gum Drop" on Zappa's album Cruising with Ruben & the Jets (1968) and "Debra Kadabra" by Frank Zappa and Captain Beefheart on their collaborative album Bongo Fury (1975). Zappa listed Chuck Higgins as a reference in his influence list accompanying his album Freak Out! (1966). The 1955 single, "Wetback Hop", became the subject of controversy because of the use of the derogatory term for Mexicans in the title. It was an attempt to associate the listener with the earlier success of "Pachuko Hop", which refers to Mexican zoot suiters of the 1940s. The song appears on the 1996 Rocket Sixty-Nine release Jump Shot!.
Grey Owl in a canoe In the early days of Riding Mountain National Park, Parks Branch Commissioner James Harkin offered Archibald Belaney (September 18, 1888 – April 13, 1938) a job in the region. Belaney, who adopted the name Grey Owl when he took upon a First Nations identity as an adult, was a writer and became one of Canada's first conservationists. On April 17, 1931, Grey Owl arrived with his two beavers at a secluded lake several kilometres north of Wasagaming which had been selected by the park staff. He spent six months living in a cabin in Riding Mountain National park studying and working with wildlife, including two beavers named Jelly Roll and Rawhide.
Fishman's Biting Fish Brass Band, formed in 2008, features Fishman fronting a New Orleans-style brass band and performing an eclectic repertoire that includes street-beat style, traditional gospel, covers, as well as Fishman's originals. A former New Orleans resident, Fishman brings his deep affection for Louisiana music to bear, with references to classic R&B; stylists Smiley Lewis and Professor Longhair, jazz legends Danny Barker and Jelly Roll Morton, and explores some of the region's rural Cajun repertoire. Regular members of the Biting Fish include Skatalites trombonist Andrae Murchison, trumpet player Etienne Charles, sousaphonist Kenneth Bentley, Jr., and percussionists Jordan Perlson, Moses Patrou, and Jeremy "Bean" Clemons. The group has toured Northern Europe several times, and is a favorite in Finland and Estonia.
By this time the big band was such a dominant force in jazz that the older generation found they either had to adapt to it or simply retire. With no market for small-group recordings (made worse by a Depression-era industry reluctant to take risks), musicians such as Louis Armstrong and Earl Hines led their own bands, while others, like Jelly Roll Morton and King Oliver, lapsed into obscurity. The major "black" bands of the 1930s included, apart from Ellington's, Hines's and Calloway's, those of Jimmie Lunceford, Chick Webb, and Count Basie. The "white" bands of Benny Goodman, Artie Shaw, Tommy Dorsey, Shep Fields and, later, Glenn Miller were more popular than their "black" counterparts from the middle of the decade.
1 (1959) and Music Down Home: An Introduction to Negro Folk Music, U.S.A. (1965), for Folkways Records, folk blues (Big Bill Broonzy Sings Country Blues, 1957), early jazz (Pee Wee Russell, Jelly Roll Morton) as well as modern jazz, including productions by Al Cohn, Miles Davis (Milestones, 1958), Chico Hamilton (South Pacific in Hi- Fi, 1957) and JJ Johnson (Dial J.J. 5, 1955). Smith also wrote the accompaniment text for the LP edition of John Hammond's Concert Series, From Spirituals to Swing – Carnegie Hall Concerts, 1938/39 (Vanguard). In the opinion of the International Society of Jazz Research, Smith was one of the most important early serious jazz critics, alongside Hugues Panassié, Winthrop Sergeant, Wilder Hobson, Donald Knowlton, and Aaron Copland.
Comprehensive analysis of bidnavirus genes has shown that these viruses have evolved from a parvovirus ancestor from which they inherit a jelly-roll capsid protein and a superfamily 3 helicase. It has been further suggested that the key event that led to the separation of the bidnaviruses from parvoviruses was the acquisition of the PolB gene. A likely scenario has been proposed under which the ancestral parvovirus genome was integrated into a large virus- derived DNA transposon of the Polinton/Maverick family (polintoviruses) resulting in the acquisition of the polintovirus PolB gene along with terminal inverted repeats. Bidnavirus genes for a minor structural protein (putative receptor-binding protein) and a potential novel antiviral defense modulator were derived from dsRNA viruses (Reoviridae) and dsDNA viruses (Baculoviridae), respectively.
Among the over 250 artists who have been inducted into the Louisiana Music Hall of Fame to date are Fats Domino, Jerry Lee Lewis, Little Richard, Dave Bartholomew, Elvis Presley, Johnny Rivers, Lloyd Price, Lead Belly, Cosimo Matassa, Louis Armstrong, Mahalia Jackson, Pete Fountain, Buddy Guy, Gov. Jimmie Davis, Ellis Marsalis, Webb Pierce, Dale Hawkins, Louis Prima, Percy Sledge, Irma Thomas, Roy Brown, "Dr. John" Mac Rebennack, Jelly Roll Morton, Allen Toussaint, Al "Carnival Time" Johnson, Bill Conti, Tim McGraw, Trace Adkins, Hunter Hayes, Hank Williams Sr. & Jr., and Clarence "Frogman" Henry. The list of inductees is expected to eventually top 1,000 international luminaries, and the program will expand to include recognition of significant songwriters, support musicians, business icons and regionally famous artists in niche recognition categories.
AllMusic's Tom Maginnis argued that the singer was instead likening the experience to the first time hearing jazz pianist Jelly Roll Morton. The largely acoustic title track featured piano, guitar, saxophone, electric bass, and a flute over-dub backing Morrison, who sang of an adult romance set in Autumn and imitated a saxophone with his voice near the song's conclusion. "This is a rock musician singing jazz, not a jazz singer, though the music itself has a jazz swing", Hinton remarked, noting how its rhythm is played in triplets rather than rock's archetypical quadruple time signature. "Crazy Love" was recorded with Morrison's voice so close to the microphone that it captured the click of Morrison's tongue hitting the roof of his mouth as he sang.
Reports of blues music in southern Texas and the Deep South were written at the dawn of the 20th century. Charles Peabody mentioned the appearance of blues music at Clarksdale, Mississippi, and Gate Thomas reported similar songs in southern Texas around 1901–1902. These observations coincide more or less with the recollections of Jelly Roll Morton, who said he first heard blues music in New Orleans in 1902; Ma Rainey, who remembered first hearing the blues in the same year in Missouri; and W.C. Handy, who first heard the blues in Tutwiler, Mississippi, in 1903. The first extensive research in the field was performed by Howard W. Odum, who published an anthology of folk songs from Lafayette County, Mississippi, and Newton County, Georgia, between 1905 and 1908.
Rounder Records is an independent record label founded in 1970 in Somerville, Massachusetts by Marian Leighton Levy, Ken Irwin, and Bill Nowlin. Focused on American roots music, Rounder's catalogue of more than 3000 titles includes records by Alison Krauss and Union Station, George Thorogood, Tony Rice, and Béla Fleck, in addition to re-releases of seminal albums by artists such as the Carter Family, Jelly Roll Morton, Lead Belly, and Woody Guthrie. "Championing and preserving the music of artists whose music falls outside of the mainstream," Rounder releases have won 54 Grammy Awards representing diverse genres, from bluegrasss, folk, reggae, and gospel to pop, rock, Americana, polka and world music. Acquired by Concord 2010, Rounder is based in Nashville, Tennessee.
37, No. 15. Lead Belly was among the first guitar-players to adapt the rolling bass of boogie-woogie piano. Texas, as the state of origin, became reinforced by Jelly Roll Morton, who said he heard the boogie piano style there early in the 20th century, as did Leadbelly and Bunk Johnson, according to Rosetta Reitz.Liner Notes by Rosetta Reitz for Album: Boogie Blues: Women Sing and Play Boogie Woogie, 1983, Rosetta Records, New York, NY. The first time the modern-day spelling of "boogie-woogie" was used in a title of a published audio recording of music appears to be Pine Top Smith's December 1928 recording titled "Pine Top's Boogie Woogie", a song whose lyrics contain dance instructions to "boogie-woogie".
The noncrystallographic trimer thought to be the biologically functional state of the A. carterae PCP complex. The lower left monomer is shown with pigments and lipids and is colored to indicate the pseudosymmetrical repeat; for the other two monomers, only the protein is shown, in tan and red. The PCP protein has been identified in dinoflagellate genomes in at least two forms, a homodimeric form composed of two 15-kD monomers, and a monomeric form of around 32kD believed to have evolved from the homodimeric form via gene duplication. The monomeric form consists of two pseudosymmetrical eight-helix domains in which the helices are packed in a complex topology resembling that of the beta sheets in a jelly roll fold.
Most people want to have a good-looking date for their high school reunion, but four guys with more at stake than just pride scramble to find the right girl for the occasion in this comedy. Max (Hooks), Drew (Darryl Brunson), and Jelly Roll (Christopher Richards) have been close friends since high school. Shortly after graduation, they made a bet — each man threw 50 dollars into a pot, and it was decided whoever brought the best-looking woman to their ten-year high school reunion would get all the money. Ten years down the line, the guys discover that after ten years of smart investing, the two hundred bucks has become a whopping 50,000 dollars, but as their reunion looms on the horizon, none of them has a girlfriend, or even a steady date.
The original Dukes of Dixieland were featured on the first stereo record, released November 1957, on the Audio Fidelity label. Sidney Frey, founder and president of Audio Fidelity, had Westrex cut the disk for release before any of the major record labels. In 1978, the Dukes, under John Shoup's direction, recorded the first direct-to-disk album, and then, in 1984, were the first jazz band to record on CD. In 1980, they recorded a television special at the old Civic Theater in New Orleans, with the New Orleans Pops Orchestra and later performed in a TV special with Woody Herman, "Wood Choppers Ball." In 1986, they invited jazz master Danny Barker to perform with them at Mahogany Hall to record a television special "Salute to Jelly Roll Morton".
Although he attended Landon School, an affluent all-male private school in Bethesda, Maryland, Ahmet would joke "I got my real education at Howard"—Howard University being a historically black college. Despite his affluent upbringing, Ertegun began to see a different world from his affluent peers. Ertegun would later say: "I began to discover a little bit about the situation of black people in America and experienced immediate empathy with the victims of such senseless discrimination, because, although Turks were never slaves, they were regarded as enemies within Europe because of their Muslim beliefs." Ertegun and his brother frequented Milt Gabler's Commodore Music Shop, assembled a collection of over 15,000 jazz and blues 78s, and became acquainted with musicians such as Ellington, Lena Horne and Jelly Roll Morton.
The extended 10 minutes during each show's slot were for One Saturday Morning's interstitial segments and educational features. The live-action wraparound segments were originally hosted by Charlie (portrayed by Jessica Prunell, now an attorney) for the block's first season in 1997, and later by MeMe (Valarie Rae Miller) beginning in September 1998; the segments also featured an elephant named Jelly Roll (voiced by stand up comedian and actor Brad Garrett), who served as a sidekick to the human host. Schoolhouse Rock!, a longtime essential of ABC's Saturday morning block since 1973, also aired as an interstitial segment during The Bugs Bunny and Tweety Show, the only non- Disney cartoon to carry into the block and one that would air until 2000, when the carriage contract with Warner Bros.
W.C. Handy recorded one of the earliest cover versions of "Livery Stable Blues" on Columbia Records in New York on September 25, 1917 under the name Handy's Orchestra of Memphis, as A2419, with "That 'Jazz' Dance" as the flip side. Paul Whiteman opened his landmark concert An Experiment in Modern Music in Aeolian Hall, New York City, on February 12, 1924 with the tune, to demonstrate the sound of early jazz bands. Jelly Roll Morton, the Emerson Military Band, the New Orleans Rhythm Kings, Fletcher Henderson, Benny Goodman, Glen Gray and the Casa Loma Orchestra, Bunny Berigan, Muggsy Spanier, Pete Daily and his Chicagoans, Phil Napoleon, the Belgrade Dixieland Orchestra, and Vince Giordano, on the 2011 Grammy Award-winning soundtrack album to the HBO Boardwalk Empire series, have also recorded the song.
Songs about doing the Twist went back to nineteenth-century minstrelsy, including "Grape Vine Twist" from around 1844. In 1938 Jelly Roll Morton, in "Winin' Boy Blues", sang, "Mama, mama, look at sis, she's out on the levee doing the double twist"—a reference to both sex and dancing in those days. As for this particular song, "The Twist", Hank Ballard's guitarist, Midnighters member Cal Green, said they picked up the general idea from Brother Joe Wallace of the gospel group The Sensational Nightingales, whose position and its associated image concerns prevented him from recording the song himself. Many years later, in an interview with Tom Meros that is currently available online, Midnighters' member Lawson Smith recalled the authorship of "The Twist" differently, that The Sensational Nightingales' Nathaniel Bills wrote the song instead.
Jazz great Jelly Roll Morton came from New Orleans, but took up residency in Washington as a regular performer at a club called the Jungle Inn in 1935. During the first half of the 20th century, in a segregated District, the U Street Corridor became the economic, cultural, entertainment and jazz hub of the District of Columbia, earning it the nickname "Black Broadway". The National Trust for Historic Preservation defines walking tours that include the jazz venues where the greats such as Ella Fitzgerald performed, Duke Ellington's childhood homes, and other music-related places in the neighborhood.National Trust for Historic Preservation, "Explore Washington, D.C.'s Historic Black Broadway on U Street" Historic jazz club Bohemian Caverns launched many music careers, including that of R&B; singer Ruth Brown.
Van Ronk took this pianistic approach and added a harmonic sophistication adapted from the band voicings of Jelly Roll Morton and Duke Ellington. He ranks high in bringing blues style to Greenwich Village during the 1960s, as well as introducing the folk world to the complex harmonies of Kurt Weill in his many Brecht-Weill interpretations, and was one of a very few hardcore traditional revivalists to move with the times, bringing old blues and ballads together with the new sounds of Dylan, Mitchell and Leonard Cohen. During this crucial period, he performed with Dylan and similar artists and spent many years teaching guitar in Greenwich Village, including to Christine Lavin, David Massengill, Terre Roche and Suzzy Roche. He influenced his protégé Danny Kalb and the Blues Project.
" Dan MacIntosh of Jelly Roll wrote "This album may not be the best forum for Christian McBride's music, but it's always fun to get a peek at a musician's influences. Instead of labeling this as a sell-out (which it very easily could have become), A Family Affair is better viewed as a side road along the fruitful journey of one diverse musician." Phil Gallo of Variety wrote, "After two acoustic jazz albums for Verve and roles in the bands of Benny Green and Joshua Redman, he has turned to electric jazz for his "Family Affair" disc and marries funk and post-bop in a bountiful performance... He has yet to distinguish himself with a similar uniqueness on the electric bass. He does what others before him have done without necessarily expanding those concepts.
Willie Dixon Prominent figures from Chicago blues include Sunnyland Slim, Howlin' Wolf, Muddy Waters, Sonny Boy Williamson, Willie Dixon, Elmore James, Albert King, Koko Taylor, Otis Spann, Little Walter, Lonnie Brooks, Junior Wells, Syl Johnson, Buddy Guy, Magic Sam, Magic Slim, Luther Allison, Freddie King, Eddy Clearwater, and Otis Rush. Jazz musicians based in Chicago have included Jelly Roll Morton, Bix Beiderbecke, Benny Goodman, Sun Ra, Von Freeman, and Dinah Washington. The city is the home of the Association for the Advancement of Creative Musicians, a group of musical artists who helped pioneer avant-garde jazz. The hip hop scene in Chicago is also very influential, with major artists including Kanye West, Chance the Rapper, Twista, Common, Lupe Fiasco, Crucial Conflict, Psychodrama, Cupcakke, Da Brat, Shawnna, Chief Keef, King Louie, Lil Reese, and Rhymefest.
The "In The Round" format, which means that writers sit in the center of The Bluebird playing, taking turns, and telling stories, was suggested by Knobloch and Schlitz. The show and its format were so popular that shows continued to be held "In The Round" and most of the shows at The Bluebird Café (and other clubs in Nashville and elsewhere) are still held "In The Round." At least once a month Knobloch, Schlitz and Schuyler still play together "In The Round" at The Bluebird Café with harmonica player Jelly Roll Johnson. Writers had to (and still have to) audition to play its small stage, which was used when shows were not "In The Round." On June 6, 1987, Garth Brooks auditioned, and was booked one month later for a Writer's Night.
The style of jazz, having an eclectic harmonic orbit, was in its early days overtaken (until perhaps the Swing of the 1930s) by the vocabulary of 19th-century European music. Important influences come thereby from opera, operetta, military bands as well as from the piano music of Classical and Romantic composers, and even that of the Impressionists. Jazz musicians had a clear interest in harmonic richness of colour, for which quartal harmony provided possibilities, as used by pianists and arrangers like Jelly Roll Morton, Duke Ellington, Art Tatum, Bill Evans Milt Buckner Chick Corea (; ) Herbie Hancock (; ) and especially McCoy Tyner (; ). ii–V–I cadence ; the fourth-suspension or sus chord A typical hard bop brass part, from Horace Silver's "Señor Blues" The hard bop of the 1950s made new applications of quartal harmony accessible to jazz.
This is "distinct from the thousands of earlier recordings on acetate and aluminum discs he made from 1933 to 1942 under the auspices of the Library of Congress. This earlier collection – which includes the famous Jelly Roll Morton, Woody Guthrie, Lead Belly, and Muddy Waters sessions, as well as Lomax's prodigious collections made in Haiti and Eastern Kentucky (1937) – is the provenance of the American Folklife Center" at the library of Congress. On August 24, 1997, at a concert at Wolf Trap, Vienna, Virginia, Bob Dylan had this to say about Lomax, who had helped introduce him to folk music and whom he had known as a young man in Greenwich Village: > There is a distinguished gentlemen here who came … I want to introduce him – > named Alan Lomax. I don't know if many of you have heard of him [Audience > applause.
Making use of the Library of Congress' Coolidge Auditorium in 1938, Lomax Jr recorded the biography of jazz pianist, bandleader and composer Jelly Roll Morton. His collecting activities often enlisted the help of other folk musicians, collectors and enthusiasts including Woody Guthrie with whom he wrote and co-hosted American Folk Songs, a 26-week survey included as part of The American School of the Air radio series broadcast in 1939 by the American network CBS. In 1940 Alan, Librarian of Congress Archibald MacLeish and Music Division Chief Harold Spivacke secured a grant from the Carnegie Corporation of New York to install a Recording Laboratory within the Music Division. Describing the Recording Laboratory's purpose, MacLeish said it would "disseminate copies of the field recordings of the Archive of American Folk Song" and make some of the Archive's recordings available to the nation.
Joe Garland Joseph Copeland Garland (August 15, 1903, Norfolk, Virginia – April 21, 1977, Teaneck, New Jersey) was an American jazz saxophonist, composer, and arranger, best known for writing "In the Mood". Garland studied music at Shaw University and the Aeolian Conservatory. He started by playing classical music but joined a jazz band, Graham Jackson's Seminole Syncopators, in 1924, where he first recorded. He had a long run of associations as a sideman on saxophone and clarinet, with Elmer Snowden (1925), Joe Steele, Henri Saparo, Leon Abbey (including a tour of South America), Charlie Skeete and Jelly Roll Morton in the 1920s. The 1930s saw him playing with Bobby Neal (1931) and the Mills Blue Rhythm Band; he was both a performer and an arranger for the Blue Rhythm Band from 1932 to 1936, when Lucky Millinder replaced him.
His given name was Joseph Crawford, but he was adopted by the trombonist Joseph Petit, whose name he took. He took Freddie Keppard's place in the Eagle Band (a place earlier held by Buddy Bolden) when Keppard left town. He was briefly lured to Los Angeles by Jelly Roll Morton and Bill Johnson in 1917, but he objected to being told to dress and behave differently from what he was accustomed to and returned to New Orleans. He spent the rest of his career in the area around greater New Orleans and the towns north of Lake Pontchartrain, not venturing further from home than Baton Rouge and the Mississippi Gulf Coast Okeh Records offered him a chance to record on their 1925 field trip to New Orleans, but Petit held out for more money and was never recorded.
Red Hot Peppers was a recording jazz band led by Jelly Roll Morton from 1926-1930\. It was a seven- or eight-piece band formed in Chicago that recorded for Victor and featured 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. Recordings made by the group in Chicago in 1926–27, such as "Black Bottom Stomp", "Smoke-House Blues" and "Doctor Jazz" set a standard for small group jazz that is still unrivaled. Morton's skills as a composer and arranger are apparent in the structure of the pieces, which combines clarity with variety and manages to maintain a balance between ensemble and solo playing while allowing for a substantial solo from every band member.
Coleman is also an accomplished composer with many works being commissioned by numerous ensembles including the 2006 work Pushy Blueness which was released on Tzadik. His work includes Damaged by Sunlight, issued on DVD in France by La Huit, the album Freakish: Anthony Coleman plays Jelly Roll Morton (Tzadik); a monthlong residency in Venice as a guest of Venetian Heritage, a commission for the Parisian Ensemble Erik Satie: Echoes From Elsewhere; tours of Japan and Europe with guitarist Marc Ribot's band Los Cubanos Postizos; a lecture/performance as part of the symposium "Anton Webern und das Komponieren im 20 Jahrhundert" (Neue Perspektiven, Basel, Switzerland) and a commission from the String Orchestra of Brooklyn (Empfindsamer). He has been on the faculty of the New England Conservatory of Music since 2005 and Mannes College New School for Music since 2012. His album The End of Summer features his NEC Ensemble Survivors Breakfast.
Elvis Presley with a pompadour haircut in the mid-1950s Indian pop star Sonu Nigam with modern adaptation of the Teddy Boy cut Everly Brothers' pompadour haircut Big Boy Restaurants statue In the 1950s, this hairstyle was not yet called the pompadour, and was donned by James Dean and Elvis Presley. It was then called by other names (Quiff, ducktail, jelly roll, Rocker, Greaser, or simply "the Elvis cut"). During the 1980s, the hair style was associated with the "rockabilly" culture, and adopted by those enamoured with vintage culture of the late 1950s and early 1960s, which included antique cars, hot rods, muscle cars, American folk music, greasers, Teddy Boys, rockabilly bands, and Elvis Presley impersonators. Celebrities known for wearing pompadours during the 1950s and 1960s include Little Richard and Afghanistan's Ahmad Zahir as well as actors such as James Dean, Marlon Brando, and Desi Arnaz.
Lion was born in Baltimore, Maryland, the daughter of Gloria (Amburgh) and Albert Lion, whose company Lion Brothers produced embroidered emblems. She was of German Jewish heritage. She started her producing career with Lyn Austin at The Music-Theater Group/Lenox Arts Center. Her first commercial production was How I Got That Story in 1982. Later off-Broadway productions included the 1987 version of Martha Clarke's The Garden of Earthly Delights, Frankie and Johnny in the Clair de Lune and The Cryptogram. Her first Broadway production was I Hate Hamlet in 1991. In 1987 Lion commissioned George Wolfe, Susan Birkenhead and Luther Henderson to write a show about Jelly Roll Morton. That musical became the 1992 Broadway show, Jelly's Last Jam, starring Gregory Hines. In 1993-94 Lion produced Angels in America: Millennium Approaches and Perestroika followed by the 1995 production of Seven Guitars.
Monorails and Satellites, Volumes I & II are two albums of solo piano compositions by the American Jazz musician Sun Ra. Both recorded in 1966, Volume 1 was released in 1968 under the title "Monorails And Satellites" and Volume II was released in 1974 under the title "Monorails & Satellites", both on Sun Ra's own Saturn label. The first volume was reissued on compact disc by Evidence in 1992, whilst the second volume has yet to be reissued. The album showcases Ra's skills as a pianist, which are often compared to Cecil Taylor's; > 'Monorails and Satellites, a 1966 solo piano recording, showcases Ra's > unique style, which bridges the bluesy architecture of Jelly Roll Morton > with the angularity of Monk and Cecil Taylor's ascent beyond traditional > structure.' Rolling Stone According to Ra's biographer, John Szwed, the title might refer to Stanley Kubrick's 2001, featuring a monolith that Ra remembered as a monorail, 'perhaps connecting it to his UFO experience'.
Alexis Korner, often called the father of British blues American blues became known in Britain from the 1930s onwards through a number of routes, including records brought to Britain, particularly by African-American GIs stationed there in the Second World War and Cold War, merchant seamen visiting ports such as London, Liverpool, Newcastle upon Tyne and Belfast,R. F. Schwartz, How Britain Got the Blues: the Transmission and Reception of American Blues Style in the United Kingdom (Aldershot: Ashgate, 2007), , p. 28. and through a trickle of (illegal) imports. Blues music was relatively well known to British jazz musicians and fans, particularly in the works of figures like female singers Ma Rainey and Bessie Smith and the blues- influenced boogie-woogie of Jelly Roll Morton and Fats Waller.R. F. Schwartz, How Britain Got the Blues: the Transmission and Reception of American Blues Style in the United Kingdom (Aldershot: Ashgate, 2007), p. 22.
The mononuclear iron dioxygenases, or non-heme iron-dependent dioxygenases as they are also termed, all utilize a single catalytic iron to incorporate either one or both atoms of dioxygen into a substrate. Despite this common oxygenation event, the mononuclear iron dioxygenases are diverse in how dioxygen activation is used to promote certain chemical reactions. For instance, carbon-carbon bond cleavage, fatty acid hydroperoxidation, carbon-sulfur bond cleavage, and thiol oxidation are all reactions catalyzed by mononuclear iron dioxygenases. Most mononuclear iron dioxygenases are members of the cupin superfamily in which the overall domain structure is described as a six-stranded β-barrel fold (or jelly roll motif). At the center this barrel structure is a metal ion, most commonly ferrous iron, whose coordination environment is frequently provided by residues in two partially conserved structural motifs: G(X)5HXH(X)3-4E(X)6G and G(X)5-7PXG(X)2H(X)3N.
Notable people from the 7th Ward include artists Charlie Johnson, Louise Mouton, John Scott, Richard C. Thomas; jazz musicians/composers Joe Jones, Lionel Ferbos, Jelly Roll Morton, director, actor Vernel Bagneris, Barney Bigard, and Sidney Bechet, Allen Toussaint, singer Lee Dorsey, singer Lizzie Miles, Jazz singers Germaine Bazzle, Sharon Martin; actor Anthony Mackie, rapper/producer Mannie Fresh, rapper Mia X, author/commentator Melissa Harris-Perry, civil rights leader A. P. Tureaud, playwright Tyler Perry, authors Brenda Marie Osbey, Mona Lisa Saloy, Fatima Shaik, Gospel-R&B; composer, singer, singer John Boutte, performers Connie & Dwight Fitch, singer-songwriter Frank Ocean and fellow schoolmate R&B; singer Luke James, Tyrann Mathieu football player for the LSU Tigers and Kansas City Chiefs, Leonard Fournette football player for the LSU Tigers and Jacksonville Jaguars, boxer Joseph Dorsey Jr., mayors Ernest Morial, Sidney Barthelemy, mathematician Beverly Anderson, rap artists Scott Arceneaux ($crim) and Aristos Petrou (Ruby da Cherry) of Suicideboys, C. Ray Nagin.
While on tour, he has shared the stage with jazz musicians including Harry Allen, Houston Person, Eddie Locke, Barbara Morrison, Peter Appleyard, boogie-woogie piano great Bob Seeley, Howard Alden, Dick Hyman, John Pizzarelli, Johnny Frigo, Jake Hanna, Butch Miles, Russell Malone, Joe Wilder, Red Holloway, Bob Wilber, George Masso, Chuck Redd, and a host of others, including Louis Bellson, Barrett Deems, Snooky Young, Marshal Royal, Billy Butterfield, Milt Hinton, and Keter Betts. Cocuzzi has played piano for Jimmy McCracklin, "Weeping" Tommy Brown, Jimmy "T-99" Nelson, Floyd Dixon, and Earl King. Cocuzzi's piano influences include Jelly Roll Morton, Fats Waller, Meade Lux Lewis, Professor Longhair, Nat King Cole and Erroll Garner. Cocuzzi has recorded with Randy Reinhart, Randy Sandke, Ed Polcer, Ken Peplowski, Allan Vaché, Dan Barrett, John Allred, Russ Phillips, Andy Stein, Skitch Henderson, Bucky Pizzarelli, John Pizzarelli, James Chirillo, John Sheridan, Johnny Varro, Milt Hinton, Phil Flanigan, Frank Tate, Ed Metz, Jr., Joe Ascione, and Daryl Sherman.
Sergei Rachmaninoff's studio master recordings were believed destroyed in the demolition of RCA Victor's Camden warehouse In the early 1920s, Victor was slow about getting deeply involved in recording and marketing black jazz and vocal blues. By the mid-to-late 1920s, Victor had signed Jelly Roll Morton, Bennie Moten, Duke Ellington and other black bands, and was becoming very competitive with Columbia and Brunswick, even starting their own V-38000 "Hot Dance" series that was marketed to all Victor dealers. They also had a V-38500 "race" (race records) series, a 23000 'hot dance' continuation of the V-38000 series, as well as a 23200 'Race' series with blues, gospel and some hard jazz. However, throughout the 1930s, Victor's involvement in jazz and blues slowed down and by the time of the musicians' strike and the end of the war, Victor was neglecting the R&B; (race) scene, which is one of the reasons so many independent companies sprang up so successfully.
Tuba Skinny's repertoire, while it includes some original material they have composed, is drawn from the lesser-known compositions of the early jazz era and has been documented to include over 400 songs. Their selection of deserving tunes has garnered praise and the following is especially noteworthy: "New Orleans Bump," "Cushion Foot Stomp," "You Can Have My Husband," "Jackson Stomp," "Deep Henderson," "Banjoreno," "Treasures Untold," "Russian Rag," "Oriental Strut," "Minor Drag," "Michigander Blues," "In Harlem's Araby," "Me and My Chauffeur," "A Jazz Battle," "Droppin' Shucks," "Fourth Street Mess Around," and "Carpet Alley Breakdown." The singers and composers whose material they favor include Victoria Spivey, Jelly Roll Morton, Lucille Bogan, Memphis Minnie, Jabbo Smith, Georgia White, Skip James, Merline Johnson, Ma Rainey, Hattie Hart, Blind Blake and Clara Smith. Some of the bands whose material Tuba Skinny has interpreted in its own manner are the Memphis Jug Band, the Dixieland Jug Blowers and the Mississippi Mud Steppers.
In virology, realm is the highest taxonomic rank established for viruses by the International Committee on Taxonomy of Viruses (ICTV), which oversees virus taxonomy. Four virus realms are recognized and united by specific highly conserved traits: Duplodnaviria, which contains all double-stranded DNA (dsDNA) viruses that encode the HK97-fold major capsid protein, Monodnaviria, which contains all single-stranded DNA (ssDNA) viruses that encode a HUH superfamily endonuclease and their descendents, Riboviria, which contains all RNA viruses that encode RNA-dependent RNA polymerase and all viruses that encode reverse transcriptase, and Varidnaviria, which contains all dsDNA viruses that encode a vertical jelly roll major capsid protein. The rank of realm corresponds to the rank of domain used for cellular life, but differs in that viruses in a realm do not necessarily share a common ancestor based on common descent nor do the realms share a common ancestor. Instead, realms group viruses together based on specific traits that are highly conserved over time, which may have been obtained on a single occasion or multiple occasions.
Scott DeVeaux argues that a standard history of jazz has emerged such that: "After an obligatory nod to African origins and ragtime antecedents, the music is shown to move through a succession of styles or periods: New Orleans jazz up through the 1920s, swing in the 1930s, bebop in the 1940s, cool jazz and hard bop in the 1950s, free jazz and fusion in the 1960s.... There is substantial agreement on the defining features of each style, the pantheon of great innovators, and the canon of recorded masterpieces." The pantheon of performers and singers from the 1920s include Louis Armstrong, Duke Ellington, Sidney Bechet, Jelly Roll Morton, Joe "King" Oliver, James P. Johnson, Fletcher Henderson, Frankie Trumbauer, Paul Whiteman, Roger Wolfe Kahn, Bix Beiderbecke, Adelaide Hall and Bing Crosby. The development of urban and city blues also began in the 1920s with performers such as Bessie Smith and Ma Rainey. In the latter part of the decade, early forms of country music were pioneered by Jimmie Rodgers, The Carter Family, Uncle Dave Macon, Vernon Dalhart, and Charlie Poole.
Paul D. "Polo" Barnes (November 22, 1901, New Orleans, Louisiana - April 3, 1981, New Orleans) was an American jazz clarinetist and saxophonist. He was the brother of Emile Barnes and was a mainstay of the New Orleans jazz scene of the 1920s and 1930s. Barnes attended St. Paul Lutheran College, and began playing alto saxophone in 1919. He and Lawrence Marrero formed the Original Diamond Band, later known as the Young Tuxedo Band. He was with Kid Rena in 1922, the Maple Leaf Orchestra in 1923, and Papa Celestin's Original Tuxedo Band later that year; Celestin's group recorded his tune "My Josephine", which became quite popular. He played with Chick Webb in 1927, and with King Oliver three times (1927, 1931, 1934–35). He toured with Jelly Roll Morton in 1928-29. In 1932-33 he led his own band; in that decade he played with Chester Zardis (1935), and Kid Howard (1937–39, 1941). He played in Algiers, Louisiana in a Navy band from 1942–45, then returned to work with Celestin from 1946 to 1951.
Byrd arranged and produced Ry Cooder's critically acclaimed 1978 album Jazz, on which Cooder "pays homage to some of the early tunes and masters of jazz, ranging from the late 1800s through the 'coon songs' of the early part of the next century, to the ragtime and 'Spanish' music of Jelly Roll Morton, and the sophistication of cornetist Bix Beiderbecke."Review of Ry Cooder's Jazz, Allmusic.com. Retrieved 20 June 2015 He scored a number of films, including Agnès Varda's 1969 Lions Love, Bruce Clark's 1971 The Ski Bum with Charlotte Rampling and Zalman King, The Ghost Dance (1980) and Robert Altman's ill-fated H.E.A.L.T.H., which was originally shot in 1979, but had its U.S. release delayed until 1982 because of a shakeup in the management of 20th Century Fox. Byrd also wrote commercially for advertising and television, including a theme for the CBS Evening News, developed sounds used in Mattel toys, and created the electronic/modified voice sound effects for the drones in Douglas Trumbull's Silent Running (which may have been the inspiration for the "voice" of R2-D2 in the first Star Wars film).
The rock and comedy songs "Mystery Roach", "Lonesome Cowboy Burt", "Daddy, Daddy, Daddy", "What Will This Evening Bring Me This Morning" and "Magic Fingers", and the finale "Strictly Genteel", which mixes orchestral and rock elements, were noted as highlights of the album by reviewer Richie Unterberger. François Couture, a reviewer for Allmusic, said that "Mystery Roach" contains multiple meanings, all of which have a connection to lyrical subject matter in Zappa's discography. These include the freshwater fish, as the Mothers of Invention live album Fillmore East - June 1971 contained a song referring to the mud shark, a cannabis cigarette butt, which causes the character Jeff to go crazy within the context of the film's storyline, and a combed roll hairstyle, which connects the song lyrically to "Jelly Roll Gumdrop", a song from Cruising with Ruben & the Jets. The version featured on the album is different from the version featured in the film, as it is missing small electric guitar solos by Zappa, and was not scripted as part of the film in its electric arrangement, having originally been written in three separate, unused acoustic blues-oriented arrangements.
Alan Lomax received the National Medal of Arts from President Ronald Reagan in 1986; a Library of Congress Living Legend Award in 2000; and was awarded an Honorary Doctorate in Philosophy from Tulane University in 2001. He won the National Book Critics Circle Award and the Ralph J. Gleason Music Book Award in 1993 for his book The Land Where the Blues Began, connecting the story of the origins of blues music with the prevalence of forced labor in the pre-World War II South (especially on the Mississippi levees). Lomax also received a posthumous Grammy Trustees Award for his lifetime achievements in 2003. Jelly Roll Morton: The Complete Library of Congress Recordings by Alan Lomax (Rounder Records, 8 CDs boxed set) won in two categories at the 48th annual Grammy Awards ceremony held on February 8, 2006 Alan Lomax in Haiti: Recordings For The Library Of Congress, 1936–1937, issued by Harte Records and made with the support and major funding from Kimberley Green and the Green foundation, and featuring 10 CDs of recorded music and film footage (shot by Elizabeth Lomax, then nineteen), a bound book of Lomax's selected letters and field journals, and notes by musicologist Gage Averill, was nominated for two Grammy Awards in 2011.
The review, published Sept. 15, 1941 in a column entitled "September Records", recalled the Almanac's anti-war album earlier that year, noting tartly: "Their recorded collection Songs for John Doe, ably hewed to the then Moscow line, neatly phonograph-needled J. P. Morgan, E. I. du Pont de Nemours and, particularly, war (TIME, June 16). The three discs of Talking Union, on sale last week under the Keynote label, lay off the isolationist business now that the Russians are laying it on the Germans." It was reissued by Folkways in 1955 with additional songs and is still available today. The Almanacs also issued two albums of traditional folk songs with no political content in 1941: an album of sea chanteys, Deep Sea Chanteys and Whaling Ballads (sea chanteys, as was well known, being Franklin Roosevelt's favorite kind of song) and Sod-Buster Ballads, which were songs of the pioneers. Both of these were produced by Alan Lomax on General, the label that had issued his Jelly Roll Morton recordings in 1940.General, a subsidiary of Commodore, had been founded by Milt Gabler, who in 1941 accepted a job at Decca. In 1939 Commodore had put out Billie Holiday's "Strange Fruit", when Columbia rejected it as too controversial.

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