Winin Boy Blues - C Lead Sheet - BC

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He briefly had a radio show in , then took on touring in the band of a traveling burlesque act for some steady income. In , Morton's year-old composition "King Porter Stomp", as arranged by Fletcher Henderson, became Benny Goodman's first hit and a swing standard, but Morton received no royalties from its recordings. In , Morton moved to Washington, D. The building that housed the nightclub still stands, at U Street NW. Morton was also the master of ceremonies, bouncer, and bartender of the club. He lived in Washington for a few years; the club owner allowed all her friends free admission and drinks, which prevented Morton from making the business a success.

In , Morton was stabbed by a friend of the owner and suffered wounds to the head and chest. After this incident, his wife, Mabel, demanded that they leave Washington. During Morton's brief residency at the Music Box, the folklorist Alan Lomax heard him playing in the bar. The sessions, originally intended to be a short interview with musical examples for use by music researchers in the Library of Congress, expanded to more than eight hours of Morton talking and playing piano.

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Lomax also conducted longer interviews during which he took notes but did not record. Despite the low fidelity of these noncommercial recordings, their musical and historical importance has attracted numerous jazz fans, and they have helped to ensure Morton's place in jazz history. Lomax was interested in Morton's days in Storyville, in New Orleans, and the ribald songs of the time.

Although reluctant to recount and record these, Morton eventually obliged Lomax. Because of the suggestive nature of the songs, some of the Library of Congress recordings were not released until In these interviews, Morton claimed to have been born in He was aware that if he had been born in , he would have been slightly too young to make a good case for being the inventor of jazz. He said in an interview that Buddy Bolden played ragtime but not jazz, a view not accepted by Bolden's other New Orleans contemporaries. The collection won two Grammy Awards. When Morton was stabbed and wounded, a nearby whites-only hospital refused to treat him, as the city had racially segregated facilities.


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He was transported to a black hospital farther away. When he was in the hospital, the doctors left ice on his wounds for several hours before attending to his eventually fatal injury.

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His recovery from his wounds was incomplete, and thereafter he was often ill and easily became short of breath. Morton made a new series of commercial recordings in New York, several reprising tunes from his early years that he discussed in his Library of Congress interviews. Worsening asthma sent him to a New York hospital for three months at one point.


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He continued to suffer from respiratory problems when visiting Los Angeles with a series of manuscripts of new tunes and arrangements, planning to form a new band and restart his career. According to the jazz historian David Gelly in , Morton's arrogance and "bumptious" persona alienated so many musicians over the years that no colleagues or admirers attended his funeral. Morton's piano style was formed from early secondary ragtime and "shout", which also evolved separately into the New York school of stride piano. Morton's playing was also close to barrelhouse, which produced boogie-woogie.

In , Morton was stabbed by a friend of the Music Box's owner and suffered wounds to the head and chest. A nearby whites-only hospital refused to treat him, as the city had racially segregated facilities. He was transported to a black hospital farther away. His recovery from his wounds was incomplete, and thereafter he was often ill and easily became short of breath.

After this incident, his wife, Mabel, demanded that they leave Washington. Worsening asthma sent him to a New York hospital for three months at one point. He continued to suffer from respiratory problems when visiting Los Angeles with a series of manuscripts of new tunes and arrangements, planning to form a new band and restart his career.

According to the jazz historian David Gelly in , Morton's arrogance and "bumptious" persona alienated so many musicians over the years that no colleagues or admirers attended his funeral. Morton's piano style was formed from early secondary ragtime and "shout," which also evolved separately into the New York school of stride piano. Morton's playing was also close to barrelhouse , which produced boogie-woogie.

Jelly Roll Morton - Winin' Boy Blues - Library of Congress 1939

Morton often played the melody of a tune with his right thumb, while sounding a harmony above these notes with other fingers of the right hand. This added a rustic or "out-of-tune" sound due to the playing of a diminished 5th above the melody. This may still be recognized as belonging to New Orleans.

Morton also walked in major and minor sixths in the bass, instead of tenths or octaves. He played basic swing rhythms with both the left and the right hand.

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Jelly Lord". In the big-band era, his "King Porter Stomp", which Morton had written decades earlier, was a big hit for Fletcher Henderson and Benny Goodman ; it became a standard covered by most other swing bands of that time. Morton claimed to have written some tunes that were copyrighted by others, including " Alabama Bound " and " Tiger Rag ". From Wikipedia, the free encyclopedia.

This article includes a list of references , but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. October Learn how and when to remove this template message. African American portal Jazz portal Music portal. Retrieved October 5, New York: W. Morton's accomplishments as an early innovator are so vast that he did not really need to stretch the truth.

The History of Jazz. Volume 2. New York: Oxford University Press. See Katy Martin Lomax, Inventor of the 'Inventor of Jazz' ". Popular Music and Society His baptismal certificate lists his date of birth as October 20, , but Hanley's research leads him to prefer the birthdate of September 20, John Szwed, on the other hand, prefers the date of Boy Meets Horn. Claire P. Gordon, ed. University of Michigan Press. Cited in Levin, Floyd University of California Press. Retrieved October 16, New York: Penguin. February 2, Retrieved March 8, Cambridge, Massachusetts: Da Capo Press.

Jelly's Blues. CBC Radio 2. March 31, Retrieved September 9, Simon Woolf Fotografia Jim Clarke arr.

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