Louis Armstrong`s first cornet Champion Silver Piston Manufactured

 Louis Armstrong’s first cornet Champion Silver Piston Manufactured by Lyons and Healy, ca. 1913 Gift of the New Orleans Jazz Club 1978.118(A).155 a Louis Armstrong (1901–1971) played this cornet as an adolescent at the Colored Waif’s Home, where he was confined after shooting a pistol into the air during a New Year’s Eve celebration. Louis Armstrong Theatrical Chicago, 1931 Gift of the New Orleans Jazz Club 1978.118(B).00144 Thirty-­‐year-­‐old Louis Armstrong was already a musical sensation when this publicity photograph was taken. His 1920s recordings with his bands, the Hot Five and the Hot Seven, had electrified the jazz world, and he stood poised for international stardom. Sidney Bechet’s soprano saxophone Manufactured by C. G. Conn, ca. 1925 Gift of the New Orleans Jazz Club 1978.118(A).137 One of the first great jazz soloists, clarinetist and soprano saxophonist Sidney Bechet (1897–1959) was renowned for his emotional, powerful style. Sidney Bechet, autographed publicity photograph Herdet Photo, ca. 1955 Gift of Claude Luter 1990.069.5 1 A SELECTION OF SIGNATURE ARTIFACTS – NEW ORLEANS JAZZ MUSEUM CAMPAIGN Kid Ory’s trombone Manufactured by C. G. Conn Gift of the New Orleans Jazz Club 1978.118(A).140a Kid Ory’s band ca. 1910 1978.118(B).00619 Ory is second from the left. Native Louisianian Edward “Kid” Ory (1886–1973) played on some of the most storied jazz recordings of the 1920s, including those of Joe “King” Oliver, Louis Armstrong’s Hot Five, and Jelly Roll Morton’s Hot Peppers Emile “Stalebread” Lacoume’s Razzy Dazzy Spasm Band 1899 Albumen print Gift of the New Orleans Jazz Club 1978.118(B).00520c In the late 1800s, newspaperboy Emile Lacoume (second from left) led a spasm band, which performed on the streets of New Orleans. Homemade musical instruments and improvised music were the hallmarks of such groups. 2 A SELECTION OF SIGNATURE ARTIFACTS – NEW ORLEANS JAZZ MUSEUM CAMPAIGN George Lewis’s clarinet 1930s Rosewood, silver-­‐plated nickel Gift of Alden Ashforth 2000.058 George Lewis Frank Methe, 1962 Gift of the New Orleans Jazz Club 1978.118(B).00625A George Lewis (1900–1968) began his career in the 1910s and found great success during the New Orleans jazz revival of the 1950s and 1960s. During his last twenty years, he recorded extensively and toured Europe and Japan. Lewis used this E-­‐flat clarinet as a member of the Eureka Brass Band in the 1930s. George Lewis played at Preservation Hall from its founding until shortly before his death at the end of 1968. Here, he is shown at a concert in celebration of Myra Menville’s fiftieth birthday. Menville was the first editor of the New Orleans Jazz Club’s publication, The Second Line, beginning in 1950. Dodds’s drumset, on display at LSM’s Capitol Park Museum Warren “Baby” Dodds’s drumset 1940s, Gift of John Dodds Jr., 2000.141.1–.7 Baby Dodds (1898–1959), one of the most influential early jazz drummers, hailed from Bay St. Louis, Mississippi. He began playing in New Orleans with Frankie Dusen’s Eagle Band in the early 1910s. After a short stint with Edward “Kid” Ory, he joined Fate Marable’s riverboat band in 1918. Dodds left the riverboat when Joe “King” Oliver offered him a spot in his band in 1921. Baby Dodds at Stuyvesant Casino, New York ca. 1949 Gift of the New Orleans Jazz Club 1978.118(B).02675 Around 1925, Dodds was a key musician in a number of bands in Chicago, including Jelly Roll Morton’s Red Hot Peppers and Louis Armstrong’s Hot Seven. During the 1930s, he played with his brother, clarinetist Johnny Dodds. Following Johnny’s 1940 death, Baby Dodds teamed up with Jimmie Noone and William Geary “Bunk” Johnson. 3 A SELECTION OF SIGNATURE ARTIFACTS – NEW ORLEANS JAZZ MUSEUM CAMPAIGN Pavageau’s bass, far left, in Preservation Hall at 50 exhibit, Old U.S. Mint, 2011 Alcide “Slow Drag” Pavageau’s bass Alcide “Slow Drag” Pavageau, ca. 1927 Gift of the New Orleans Jazz Club 1978.118(A).008 Alcide “Slow Drag” Pavageau Dan Leyrer, 1960s Gift of the New Orleans Jazz Club 1978.118(B).05713c A jazz guitarist, string bassist, and dancer, Alcide “Slow Drag” Pavageau’s (1888–1969) nickname came from a popular early-­‐
twentieth-­‐century dance. Sharkey Bonano Charles F. Bennett, 1949 Gelatin silver print Joseph “Sharkey” Bonano’s trumpet Gift of the New Orleans Jazz Club Gift of the New Orleans Jazz Club, ca. 1938 1978.118(B).00815 1978.118(A).160 a Joseph “Sharkey” Bonano (1904–1972) performed with both national jazz orchestras and New Orleans combos from the 1920s through the 1960s. During the early period, he played Joseph “Sharkey” Bonano’s hat [no photo] with Louis Prima and Jimmy Durante; in the 1940s and later, Manufactured by John Cavanagh he was a prime figure in the local revival of interest in New Purchased at Royal Hat Co., New Orleans Orleans–style jazz, playing at numerous New Orleans Jazz Autographed to Edmond “Doc” Souchon Club concerts. Bonano was known as a “character,” a trait Gift of the New Orleans Jazz Club shown to great effect in the photograph on the right, taken 1978.118(H).10 at the Famous Door on the corner of Bourbon and Conti, where he performed regularly. Sharkey Bonano’s trumpet, on display at LSM’s Capitol Park Museum 4 A SELECTION OF SIGNATURE ARTIFACTS – NEW ORLEANS JAZZ MUSEUM CAMPAIGN Fountain’s clarinet, on display at LSM Capitol Park Museum Pete Fountain’s clarinet Selmer, ca. 1939 Gift of the New Orleans Jazz Club 1978.118(A).029 Pete Fountain with Lester Bouchon 1949 Gift of the New Orleans Jazz Club 1978.118(B).00547 Pete Fountain began his career playing Bourbon Street clubs and then gained fame as a regular on The Lawrence Welk Show. For years, he remained one of the most recognizable faces of New Orleans jazz for an international audience. Original Dixieland Jazz Band ca. 1917 Hand-­‐tinted albumen print Gift of the New Orleans Jazz Club 1978.118(B).07513 This original pressing of “Livery Stable Blues” was the first jazz recording. This New Orleans band’s members all started out in “Papa” Jack Laine’s Reliance Brass Band. After moving to Chicago in 1916 and then to New York the following year, they toured England two years later, helping to spread jazz overseas. “Livery Stable Blues” Original Dixieland Jazz Band, 1917 Victor 18255-­‐B Gift of the New Orleans Jazz Club 1978.118(C3).3058c 5 A SELECTION OF SIGNATURE ARTIFACTS – NEW ORLEANS JAZZ MUSEUM CAMPAIGN Buddy Bolden’s band ca. 1905 1978.118(B).00514a Cornet player Charles "Buddy" Bolden (1877–1931) is considered to be one of the first jazz musicians in New Orleans. He was best known for playing blues for crowds in parks and after hours at the Union Sons’ Hall, nicknamed the “Funky Butt” after Bolden’s signature song. After he began to show signs of mental illness, he was institutionalized at the East Louisiana State Hospital in Jackson from 1907 until his death in 1931. Dizzy Gillespie’s trumpet Manufactured by Richards Music Gift of the New Orleans Jazz Club 1978.118(A).157 a Although not a New Orleans musician, Dizzy Gillespie had longstanding ties to the Crescent City, including friendships with big band leader Dooky Chase Jr. and trumpeter Al Hirt. When Gillespie played in New Orleans, he would check out local jazz musicians. On one of those trips, in 1969, he discovered drummer David Lee and asked him to join his band, a musical partnership that lasted about a year. Gillespie was an early fan of the Dirty Dozen Brass Band and performed with them on their 1987 album, Voodoo. Dizzy Gillespie, with members of the Onward Brass Band ca. 1975 Gift of Raymond Benoit, in memory of Pat Wynn 1998.041.03.2 6 A SELECTION OF SIGNATURE ARTIFACTS – NEW ORLEANS JAZZ MUSEUM CAMPAIGN Barney Bigard’s clarinet Gift of the New Orleans Jazz Club 1978.118(A).037 a-­‐f Barney Bigard (1906–1980) followed the lead of many other New Orleans musicians and headed for Chicago in 1925. There, he played with King Oliver and also recorded with Louis Armstrong and Jelly Roll Morton. Bigard is best known for his long stints with Duke Ellington (1927–1942) and Louis Armstrong (1946–1955, 1960–1961) and as composer of “Mood Indigo.” Louis Armstrong, Sid Catlett, and Barney Bigard (clarinet) George Fletcher, ca. 1946 1978.118(B).00208 Al Hirt’s performance suit [no photo] Custom tailored by Ortiz’s, Galveston, 1970s 2000.001.07.6.1 Al Hirt James J. Kriegsmann, ca. 1955 1978.118(B).03749 Renowned for his technical ability, the classically trained Al Hirt (1922–1999) did not become interested in jazz until he was a student at the Cincinnati Conservatory of Music in the early 1940s. After serving in the army during World War II, he played in the big bands of Benny Goodman, Tommy Dorsey, and Jimmy Dorsey. In the 1950s, he gained national exposure, resulting in an invitation to play at President Kennedy’s inaugural ball. Hirt’s pop hits came in the 1960s, with “Sugar Lips,” “Cotton Candy,” and “Java” making the Billboard Top 40. During that decade, he opened a nightclub on Bourbon Street. The club not only provided a home venue for Hirt, but also served as center for national touring jazz acts like Dizzy Gillespie and steady work for such hometown talents as Ellis Marsalis. 7 A SELECTION OF SIGNATURE ARTIFACTS – NEW ORLEANS JAZZ MUSEUM CAMPAIGN Dixie’s Bar of Music Xavier Gonzales, ca. 1939 Gift of Irma and Yvonne Fasnacht 1978.061 Irma and Yvonne “Dixie” Fasnacht commissioned this thirty-­‐five-­‐foot-­‐long painting, which hung in their nightclub, Dixie’s Bar of Music. The club, located first on St. Charles Avenue, moved to 701 Bourbon Street in 1949. Clarinetist Yvonne—a veteran of all-­‐
female jazz bands—often took the stage. It became a favorite watering hole for local and visiting musicians as well as the gay community. The painting features sixty-­‐six musicians, entertainers, and artists, including Lena Horne, Louis Prima, Benny Goodman, and Salvador Dali. The Boswell Sisters Harold Stein, ca. 1935 Gift of the New Orleans Jazz Club 1978.118(B).00861 Sisters Connie, Vet, and Martha Boswell became one of the most popular jazz vocal groups of the 1930s. Their songs often featured scatting as well as multiple tempo and key changes. Sweet Emma Barrett ca. 1965 Gift of the New Orleans Jazz Club 1978.118(B).07780 Barrett’s career as a jazz pianist stretched back to the 1920s, when she played with Papa Celestin’s Original Tuxedo Orchestra. In the 1960s and beyond, she was a regular at Preservation Hall. 8 A SELECTION OF SIGNATURE ARTIFACTS – NEW ORLEANS JAZZ MUSEUM CAMPAIGN