Jelly Roll Morton Was Present at the Birth of Jazz

Jelly Roll Morton claimed to have invented Jazz.  Probably not, but he was in the delivery room at birth.

On June 9, 1924 Jelly Roll Morton stepped into a Chicago studio and recorded a solo piano version of Jelly Roll Blues, one of the most important early jazz pieces.  In fact, to hear Morton tell it, it was THE first jazz song and he invented jazz.  While both claims are hard to prove, Morton was certainly on hand from the beginning and was one of the most influential composer/arranger/pianist/band leaders in the early days. 

Ferdinand Joseph LaMothe was born in New Orleans to a common law Creole couple.  No original birth certificate has ever been found, but at various times he later listed dates of birth ranging from 1884 to 1890.  September 20, 1885 is the date most commonly accepted. In youth he took the last name Morton by Anglicizing the last name of his step father, a man named Mouton. 

By the turn of the 20th Century he was regularly playing popular ragtime music in Storyville, the Crescent City’s brothel district.  Another young piano player, Tony Jackson influenced his style, as did the Spanish habanera dance style.  Morton later claimed to “invent” jazz as a distinct style from rag time in 1902 while still a teen ager. 

After the grandmother he was living with found out that he wasn’t working in a barrel factory but making good money playing piano in a whore house, he was on the streets and on his own.  By 1904 he was barnstorming the South in minstrel shows and playing in Black barrel houses.

Jelly Roll Morton and Ada “Bricktop” Smith in Los Angeles, 1917, before (according to Morton) she had him replaced because he caught her stealing. 

It was in those years that he first composed Jelly Roll Blues, King Porter Stomp, New Orleans Blues, and a number of other tunes.  Composed did not mean they were written down, rather they were committed to memory and themes were improvised on.  None of the songs would be notated for several years and lack of written proof of authorship left the credit for some of the songs in question. 

But they were all undoubtedly in Morton’s repertoire when he came north to Chicago in 1910 and New York City the next year.  In both places he was among the first to perform blues and jazz. After touring in a vaudeville act for two years, he returned to Chicago which was already becoming a magnet for southern Blacks and a destination for fellow New Orleans musicians. 

Playing in local clubs with small bands, he began transcribing the songs he had written earlier.  In 1915 Jelly Roll Blues was published and is considered the first jazz composition ever published.  In 1917 he played piano for bandleader William Manuel Johnson and his sister Anita Gonzalez when they went to Los Angeles.  While in California he also performed with barrel house singer Bricktop.  Morton spent the next few years on the West Coast, including frequent trips to Vancouver, British Columbia where he found an appreciative audience.  When not playing in clubs or touring the vaudeville circuit, he supported himself as a gambler, and quite likely, a pimp. 

Back in Chicago in 1924 he discovered that the Prohibition speakeasy era offered plenty of employment.  That year he began cutting player piano rolls of his music and recorded a handful of records, including Jelly Roll Blues.  In 1926 he signed with Victor and assembled a band of New Orleans greats including Kid Ory, Omer Simeon, George Mitchell, Johnny St. Cyr, Barney Bigard, Johnny Dodds, and Baby Dodds.  The Victor sessions of Jelly Roll Morton & His Red Hot Chile Peppers are considered along with recordings by King Oliver and Louis Armstrong the finest examples of the New Orleans/Chicago jazz sound.  

                            Morton was stylin' as the conductor and leader of the Red Hot Peppers recorded for Victor in the 1920's.

After marrying a local show girl, Mabel Bertrand, in 1926, Morton moved to New York where he continued to record for Victor as a single, with a trio, and with pickup bands.  Without the core of solid New Orleans sidemen the quality of the band recordings fell off and failed to produce hits, although his solo and trio work still sold well.  Morton’s contract with Victor was not renewed when the Depression collapsed the market for phonograph records. 

He worked briefly in radio but was soon forced to tour on the low prestige burlesque circuit while younger musicians like Fletcher Henderson and Benny Goodman made hits of his songs, many of which were unprotected by copyright or were considered to have no indefinable composer. 

In 1934 Morton and his wife moved to segregated Washington, D.C. to become manager and house musician of a local club known variously as the Music Box, Blue Moon Inn, and Jungle Inn.

During his residency at this club he was “discovered” by Smithsonian folklorist   Alan Lomax who eventually recorded hours of performances and recollections.  Because he recounted his Storyville days in full and vivid detail, the recollections could not be released until the later years of the century, although Lomax drew on them for his 1950 book Mister Jelly Roll.  

An older Jelly Roll struggled to remain relevant as jazz moved into the Big Band Era, suffered personal turmoil, life threatening injury, and declining health.

In 1938 Morton was stabbed and seriously injured in a fight at the club.  Refused treatment at a near-by Whites-only hospital, he suffered infections in the poorly equipped segregated hospital where he was finally treated.  His health never fully recovered. 

At Mabel’s insistence the couple got out of the dangerous D.C. club and returned to New York.  Morton was hospitalized there for severe asthma, but he was writing and arranging. 

In 1940 he was in Los Angeles with his new material trying to put together a big band to re-start his career when he died of asthma and complications of his old injuries on July 10, 1941.  

                                        The poster for Jelly's Last Jam staring Gregory Hines and Savion Glover. 

Morton’s piano style influenced generations, particularly practitioners of the boogie-woogie style.  He was an original roots inductee into the Rock and Roll Hall of Fame.  In 1992 his memory got a boost with the opening of Jelly’s Last Jam on Broadway starring Gregory Hines and Savion Glover as the older and younger Morton. 

 

Here We Come A-Wassailing—The Murfin Winter Holidays Music Festival 2022-‘23

                            Alan Lomax recorded Kentucky traditional balladeer Jean Richie for the Library of Congress in 1949.

Note—As we close in on the end of our Winter Holidays Music Festival we will spend two days on the close of the Twelve Days of Christmas as observed in British tradition and the Anglican liturgic calendar on January 5.  The next day, the Feast of the Epiphany or Day of the Three Kings will wrap things up.

Twelfth Night is the eve of the Feast of the Epiphany and the end of the Christmas Season.  In England especially it was one last eruption of gaiety and mirth before the more somber and sacred reflection of the Epiphany—somewhat analogous to Mardis Gras or Carnival before Lent.

A ragged caroler offers a steaming wassail bowl at a gentleman's table and is rewarded with fine libations.

In the Middle Ages and Renaissance, it was the climax of the caroling and street revelry that followed Christmas Day and was marked with dancing, a sexual cavorting—the subject of William Shakespeare’s comedy Twelfth Night— and costumed revelry often evoking the Holy King and semi-pagan masquerades. Mostly it was celebrated by caroling with wassail, a hot mulled wine or cider prepared and served in bowls.  Often a landlord’s peasants and tenants came bearing large wassail bowls for the lord of the manor in exchange for lavish gifts of food and other beverages.  So popular was the beverage and custom that there were a number of songs about it that asked—or demanded—the hospitality of the landlord at whose door the carolers appeared.  The most familiar is the gay Here We Come A-Wassailing, But there were several others from different regions of the Realm, each of which might variant local lyrics set to any number of folk tunes.

Here We Come A-Wassailing is a traditional English Christmas carol and New Year song, sung while wassailing—singing carols, wishes of good health and offering homemade bowls of wassail exchange for an invitation to share drinks and food with the master of the house.  It is listed in the Roud Folk Song Index. Gower Wassail and Gloucestershire Wassail are similar carols.

                                 A late 19th Century carol collection included it under the alternative title The Wassail Song.

The song was collected and printed in the mid-19th Century but is much older.  The a in “a-wassailing” is an archaic intensifying prefix found in A-Hunting We Will Go and lyrics to The Twelve Days of Christmas—“Six geese a-laying.”

Hundreds of versions of wassailing songs have been collected, including dozens of variants collected by Cecil Sharp from the 1900s to the 1920s, mostly in the south of England.  It appears to have travelled to the United States with English settlers, where it was found several times in the Appalachian region.  Early American recordings included Edith Fitzpatrick James of Ashland, Kentucky in 1934 folk legend Jean Ritchie in 1949.  Americans often sing a variant, Here We Come A-Caroling probably because publishers and record producers didn’t thank the Yanks would know what the hell wassailing was.

                                        A  gentler form a wassailing was the visit of neighborhood children who got treats much like trick-or-treaters.

Jean Ritchie came from an old family of Scottish and English settlers in Virginia and Kentucky stretching back to pre-Revolutionary times.  The extended family brought many traditional songs including those that would be identified as Childe Ballads and passed them on from generation to generation and collected many more over time from neighbors and relatives.  They played instruments and became well known as local singers in Kentucky.  She was born the youngest of 14 children in Viper in 1922.  Her family encouraged the children to get educations and 11 of them graduated from college. 

Jean enrolled in Cumberland Junior College—now the four-year University of the Cumberlands—in Williamsburg and from there graduated Phi Beta Kappa with a B.A. in social work from the University of Kentucky in Lexington in 1946.  She moved to New York City as a social worker at a settlement house where she taught her traditional ballads.  She fell in with the post-World War II folk music scene and befriended Woody Guthrie, Oscar Brand, Pete Seeger, and Alan Lomax.  She appeared with The Weavers, Guthrie and Betty Sanders at the annual Spring Fever Hootenanny in 1947 and soon became a regular on Brand’s pioneering folk music radio program.

Kentucky bred traditional singer Jean Ritchie with her mountain dulcimer about the time of her 1949 sessions with Alan Lomax for the Library of Congress.

In 1949 Alan Lomax recorded hours of her songs, storytelling, and family recollections in 1949 which ended up in the Library of Congress collection.  The red-haired singer played primarily a simple mountain dulcimer but could also play banjo, guitar, and autoharp.  In 1953 she became a full-time musician and signed a contract with Electra Records.  She has subsequently recorded dozens of albums, written and published family memoirs and song collections, helped found the Newport Folk Festival, and mentored generations of singers.  A much beloved mother of American folk music she continued to sing and perform almost up to her death in 2015 at age 92.

Her version of Here We Come A-Wassailing was recorded by Lomax in the 1949 New York sessions. 

 

Here We Come A-Wassailing—Murfin Winter Holidays Music Festival

                                            Here We Come A-Wassailing sung by Jean Ritchie.  
 

Note—As we close in on the end of our Winter Holidays Music Festival we will spend two days on the close of the Twelve Days of Christmas as observed in British tradition and the Anglican liturgic calendar on January 5.  The next day, the Feast of the Epiphany or Day of the Three Kings will wrap things up.

Twelfth Night is the eve of the Feast of the Epiphany (and the end of the Christmas Season.  In England especially it was one last eruption of gaiety and mirth before the more somber and sacred reflection of the Epiphany—somewhat analogous to Mardis Gras or Carnival before Lent.

A ragged caroler offers a steaming wassail bowl at a gentleman's table and is rewarded with fine libations.

In the Middle Ages and Renaissance, it was the climax of the caroling and street revelry that followed Christmas Day and was marked with dancing, a sexual cavorting—the subject of William Shakespeare’s comedy Twelfth Night— and costumed revelry often evoking the Holy King and semi-pagan masquerades. Mostly it was celebrated by caroling with wassail, a hot mulled wine or cider prepared and served in bowls.  Often a landlord’s peasants and tenants came bearing large wassail bowls for the lord of the manor in exchange for lavish gifts of food and other beverages.  So popular was the beverage and custom that there were a number of songs about it that asked—or demanded—the hospitality of the landlord at whose door the carolers appeared.  The most familiar is the gay Here We Come A-Wassailing, But there were several others from different regions of the Realm, each of which might variant local lyrics set to any number of folk tunes.

Here We Come A-Wassailing is a traditional English Christmas carol and New Year song, sung while wassailing—singing carols, wishes of good health and offering homemade bowls of wassail exchange for an invitation to share drinks and food with the master of the house.  It is listed in the Roud Folk Song Index. Gower Wassail and Gloucestershire Wassail are similar carols.

                            A late 19th Century carol collection included it under the alternative title The Wassail Song.

The song was collected and printed in the mid-19th Century but is much older.  The a in “a-wassailing” is an archaic intensifying prefix found in A-Hunting We Will Go and lyrics to The Twelve Days of Christmas—“Six geese a-laying.”

Hundreds of versions of wassailing songs have been collected, including dozens of variants collected by Cecil Sharp from the 1900s to the 1920s, mostly in the south of England.  It appears to have travelled to the United States with English settlers, where it was found several times in the Appalachian region.  Early American recordings included Edith Fitzpatrick James of Ashland, Kentucky in 1934 folk legend Jean Ritchie in 1949.  Americans often sing a variant, Here We Come A-Caroling probably because publishers and record producers didn’t thank the Yanks would know what the hell wassailing was.

As reflected in the lyrics, a more gentle form a wassailing was the visit of neighborhood children who got treats much like trick-or-treaters.

Representative verses of the most commonly sung versions include:

Here we come a-wassailing

Among the leaves so green;

Here we come a-wand’ring

So fair to be seen.

 

Chorus:

Love and joy come to you,

And to you your wassail too;

And God bless you and send you a Happy New Year

And God send you a Happy New Year.

 

Our wassail cup is made

Of the rosemary tree,

And so is your beer

Of the best barley.

 

Chorus

 

We are not daily beggars

That beg from door to door;

But we are neighbors’ children,

Whom you have seen before.

 

Chorus

 

Call up the butler of this house,

Put on his golden ring.

Let him bring us up a glass of beer,

And better we shall sing.

 

Chorus

 

We have got a little purse

Of stretching leather skin;

We want a little of your money

To line it well within.

 

Chorus

 

Bring us out a table

And spread it with a cloth;

Bring us out a mouldy cheese,

And some of your Christmas loaf.

 

Chorus

 

God bless the master of this house

Likewise the mistress too,

And all the little children

That round the table go.

 

Chorus

 

Good master and good mistress,

While you’re sitting by the fire,

Pray think of us poor children

Who are wandering in the mire.

Jean Ritchie came from an old family of Scottish and English settlers in Virginia and Kentucky stretching back to pre-Revolutionary times.  The extended family brought many traditional songs including those that would be identified as Childe Ballads and passed them on from generation to generation and collected many more over time from neighbors and relatives.  They played instruments and became well known as local singers in Kentucky.  She was born the youngest of 14 children in Viper in 1922.  Her family encouraged the children to get educations and 11 of them graduated from college. 

Jean enrolled in Cumberland Junior College—now the four-year University of the Cumberlands—in Williamsburg and from there graduated Phi Beta Kappa with a B.A. in social work from the University of Kentucky in Lexington in 1946.  She moved to New York City as a social worker at a settlement house where she taught her traditional ballads.  She fell in with the post-World War II folk music scene and befriended Woody Guthrie, Oscar Brand, Pete Seeger, and Alan Lomax.  She appeared with The Weavers, Guthrie and Betty Sanders at the annual Spring Fever Hootenanny in 1947 and soon became a regular on Brand’s pioneering folk music radio program.

Kentucky bread traditional singer Jean Ritchie with her mountain dulcimer about the time of her 1949 sessions with Alan Lomax for the Library of Congress.

In 1949 Alan Lomax recorded hours of her songs, storytelling, and family recollections in 1949 which ended up in the Library of Congress collection.  The red-haired singer played primarily a simple mountain dulcimer but could also play banjo, guitar, and autoharp.  In 1953 she became a full-time musician and signed a contract with Electra Records.  She has subsequently recorded dozens of albums, written and published family memoirs and song collections, helped found the Newport Folk Festival, and mentored generations of singers.  A much beloved mother of American folk music she continued to sing and perform almost up to her death in 2015 at age 92.

Her version of Here We Come A-Wassailing was recorded by Lomax in the 1949 New York sessions.