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The Black New Orleans Brass Bands
The White (and some Creole) New Orleans Brass Bands The mixed Creole and 'White' bands.
Old New Orleans Biographical Listings Follow The Black New Orleans Brass Bands [ Allen Brass Band ]
[ The Buddy Bolden Band ]
In 1895, the band consisted of:
In 1907, Buddy's mind snapped. Some folks attributed this to overwork, while others said it was due to women. Whatever the reason, his heavy drinking and syphilis caused insanity symptoms (ca. 1906). In June of 1907 he was committed to a state institution, where he died in 1931. [ Jack Carey Band ]
The Jack Carey band developed many of the tunes that were later recorded by the ODJB. Curiously, Tiger Rag was originally called "Jack Carey" by the Black Musicians of the period, and as "Nigger#2" by the White Musicians. Listen to Tiger Rag, played by the Husk O'Hare Super Chicago Orchestra back in 1922 (here digitally re-engineered by Mr. Verne Buland). [ Thomas "Mutt or Papa Mutt" Carey ]
[ Frank Duson Orch ]
[ Imperial Band ]
[ Mahogany Hall Orchestra ]
[ The Fate Marable Orchestra ]
Today, it is difficult for us to realize that even these boats were then segregated, - not all the boats and not all the time. For example, on one of the boats, the Jazz, no Blacks allowed. But, both Whites and Blacks were allowed on the St. Paul 'on Mondays'. I am not sure, but I believe that the Capitol was also segregated. Often, 2 'small' bands would play during the day, and 2 'big bands' at night. While we usually think of these boats hiring Black bands to play, it should be noted that they also hired a great many White bands. In fact, at the start of the 1927 'boat season', the White musicians went on strike for more money, and this opened the door for more Black bands, including for the newly formed Floyd Campbell Orch., to obtain work on the Capitol that season. Here's a photograph of Marable's 1918, orchestra which had a lineup consisting of:
One of his 1924 orchestras was billed as 'Fate Marable's Society Syncopators' and they only made one record. Here is one side
"Frankie and Johnny", recorded 16 March, 1924 for Okeh. (Mr Verne Buland, who did the Digital Engineering on this, was able to remove a lot of clicks and noises while improving the frequency range slightly. You can now hear some bass from the tuba on this old gem!) The musicians were:
In the period between the two World Wars, some of America's finest Jazzmen worked in his bands, including such stars as Emmanuel Perez, Pops Foster, Al Morgan, Louis Armstrong, Henry "Red" Allen, Mouse Randolph, Johnny St. Cyr, Zutty Singleton, Johnny and Baby Dodds, Jimmy Blanton, Earl Bostic, and Gene Sedric. Bostic, went on to have his own band, and Sedric is probably best recalled for his work with Fats Waller. Both before and after the Riverboat decades, Marable worked in various St. Louis night clubs. In private correspondence, Mr. David de Clue (a descendent of Harvey Lankford's Uncle, Joseph DeClue (his mother's brother), has been researching the old St. Louis Black newspapers, and has sent this quote from the Argus: RE: Marable - St. Louis Argus, November 13, 1931, p. 5, Musician's Chatterbox:
[ Freddie Keppard's Original Creole Orchestra ]
Here's a photograph of Freddie Keppard, in a rather formal pose,
typical of that early 1900s era. And, here's Freddie and His
Jazz Cardinals playing in 1926 "Saltydog Blues", as
-digitally re-engineered by Mr. Verne Buland. The group had:
Freddie "King" Keppard (1889 - 1933) apparently succeeded Buddy Bolden as "King" of the cornet players in New Orleans. He started playing around 1906, leading the Olympia Orchestra and playing in marching bands, funerals, and Storyville clubs. He also played with the Eagle Band. In 1912 bass player Bill Johnson asked him to round up a group of musicians and come to Los Angeles with the promise of work. This band became known as the Original Creole Orchestra and from 1912 to 1918 it toured the country, the first Black band to make an extended tour of the vaudeville circuit, giving northern audiences their first taste of New Orleans Jazz. (Sidney Bechet may also have played clarinet with this band, from time to time.) There's a very interesting sidelight on Keppard's career. One reader, identifying himself as "Kid Dutch Uithoven", has pointed out that: "Keppard was offered a chance to make records about 1915 with his Creole Orchestra and declined because he "didn't want anybody copying his stuff". Thus, for fear of others copying his style, the first "Jazz" group to record was the "Original Dixieland Jazz Band", and they became the group that captured all the early fame and glory. In 1914, they played in Chicago, New York City during 1915-'16, and later visited California too. After disbanding in 1918, Keppard again led a band in Chicago and then worked in such (Chicago) bands as Erskine Tate, Doc Cook's Dreamland Orchestra, Ollie Powers, John Wycliffe and Bill Johnson, and the Charles Elgar Creole Orchestra at the Savoy Ballroom. Freddie could make his trumpet 'neigh' like a horse. He often used that technique. No doubt, a 'Skiffle' Band influence. By the time Jazz became widely recorded Freddie's better days were behind him. Freddie was an alcoholic, and became an "unreliable" band member. He continued to work up until 1928, when he came down with tuberculosis. He suffered with the disease until it took his life in 1933. His ca. 1912 Band had,
[ "Kid" Ory's Original Creole Jazz Band ]
While still a child, Ory and some friends formed a string quintet (using homemade instruments) that played around his home town of LaPlace. With the money earned from this activity, Ory was able to purchase his first Trombone. In 1911, travelling to New Orleans, he formed the wonderful (Original) Creole Jazz Band, - that had (in order) Mutt Carey, King Oliver, and Louis Armstrong as trumpeters, while Johnny Dodds, Sidney Bechet, Jimmie Noone and George Lewis would work as clarinetists. They were sometimes called "Kid Ory's Brown Skin Babies" and at other times as" Kid Ory's Brown Skinned Babies". In 1919, because of his health, Ory went to Los Angeles, CA (on his physician's advice) where he studied musical composition and again led his own band. In 1921, both "Jelly Roll" Morton's band and "King" Oliver's Band were playing in Los Angeles, CA, and it was becoming common for New Orleans bands to tour the Southwest, ending up in California. Some New Orleans Jazzmen were taking the Riverboat and Rails north to St. Louis, Chicago and Detroit. In 1922, while still in Los Angeles, Kid Ory's band became the very first "Black" Jazz band to record. They recorded 3 records (6 sides) for the Sunshine Records Co. The label was run by two brothers Reb and John Spikes, who only sold the records in their own Los Angeles music store. Only 5000 of these records were released. (They also recorded as the Sunshine Band.) Listen now to "Spike's Seven Pods of Pepper Orchestra" playing "Ory's Creole Trombone", and "Society Blues". Both of these two very rare July 1922 recordings were digitally re-engineered by Mr. Verne Buland. One month before that, Sunshine had recorded them on two Blues records: one under the name of "Ruth Lee accompanied by Spike's Seven Pods Of Pepper Orchestra", and the other was "Roberta Dudley accompanied by Ory's Orchestra". In 1922, Ory's band was playing in San Francisco, 3 years before they
would play in Chicago. ('Storyville', in New Orleans, hadn't closed down as yet.) In 1924, Ory went to Chicago where he worked in such bands as (1925-'27) "King" Oliver; ('27) Dave Peyton; ('27-8) Clarence Blake (at the Savoy); ('28-9) with Chicago Vagabonds at the Sunset Cafe; and (late '29) with Leon Rene's 'Lucky Day' orch. During this entire period ('25-7) his trombone could be heard (on recordings only - no appearances) with such bands as Lil Armstrong, Ma Rainey, Williams' Stompers, Tiny Parham, Luis Russell and on a series of Louis Armstrong's Hot Five combos, - where they recorded Ory's own composition "Muskrat Ramble" (Feb. 26, 1926) During 1929-'30, he returned to Los Angeles and worked with several local bands before announcing his retirement from music. (It was the period of the great economic depression. The "good times" of the 1920s were over, and it was very difficult for musicians to find work. Many people had a difficult time coming up with enough money to buy a loaf of bread much less pay for a nightclub show. Between 1930 and 1939, Ory and his brother operated a successful Chicken Farm. In 1940, Ory began his return to Music. In the USA, there was a 'Dixieland' revival taking place and Ory was working in a Barney Bigard band in 1942 (doubling on Bass as well as trombone). He played with Bunk Johnson's band in '43, and in 1944 starred in an Orson Welles radio show. He again formed his own band that toured to San Francisco and Los Angeles, CA. Among the films in which Kid Ory appeared are 1946s 'New Orleans' (with Louis Armstrong); 1947s 'Crossfire', and in 1950s 'Mahogany Magic', while in 1956, the public watched him acting and playing 'The Benny Goodman Story', starring Steve Allen. In 1954, many Pop artists recorded his "Muskrat Ramble" after a lyric had been added. He and his band toured Europe in Sept-Oct. 1956. He was at Newport, RI in '57, and again in Europe in 1959. Upon his return, he settled in San Francisco, where he worked in the various clubs. [ Buddie Petit Jazz Band ] Returning to New Orleans, Buddie led his own band called 'The Young Olympians', and then formed another band called 'The Black and Tan Orchestra' which not only played in New Orleans, but also toured Texas and worked on Mississippi excursion riverboats. Sadly, Buddie never recorded, so we have no record of his band's work. Since the band never went north (to St. Louis or to Chicago), it was little known outside of New Orleans. (But Jelly Roll Morton knew the band.) Here's a photograph of Buddie Petit's New Orleans Jazz Band The ca. 1920 band had:
A reader, "Kid Dutch Uithoven" has written us saying "the bass player was Chester Zardis. I knew Chester briefly - it is unmistakebly him in the photo. He and several others are identified in this picture." [ "Fats" Pichon Band ] ".....I got to talk to "Fats" about the Capitol. It must have been
"Fats" Pichon did record several times. In February of 1929 he recorded:
[ Tuxedo Band ]
In 1917, "Papa" also formed the "Tuxedo Brass Band", which was active in Street Parades, Funerals, and such. In this photo of
Tuxedo Brass Band, George Hooker (brass bass) is kneeling, then (L-R) Yank Johnson(tp), Manuel Perez (cnt), Oscar Celestin (cnt), Ninesse or Ernsest Trapagnier (bs dm), and Charles Love. (photo source unknown.) The band was apparently formed in 1917, by William "Bebé" Ridgley and Oscar "Papa" Celestin when Manuel Perez temporarily disbanded the "Onward Brass Band". Celestin and Ridgley hired a number of musicians from the 'Onward'.
Near the end of his life, he was honored as one of the greats of Old New Orleans music. 4000 people marched in his funeral parade when he died in 1954. ===================================================================
I am placing these groups here because these are N.O. Dixielanders who toured widely and were playing in the '20's, some in Texas and some in Chicago, etc. [ Tom Brown's Orch. ]
[ "PaPa" Jack Laine's Reliance Brass Band ]
Papa led a ragtime band before 1900. Other White players learned from listening to the "Papa Jack" Laine bands, including players such as Nick La Rocca, and George Brunies. (Brunies would later change his name to Brunis because a numerologist told him the "e" was bad luck.) Nick La Rocca would form perhaps the most famous "Jazz" band of all time, the "Original Dixieland Jazz Band". ===================================================================
[ Armand J. Piron Band ]
Piron's New Orleans Orchestra, worked regularly in his hometown starting in 1918. In 1923 they traveled to New York for an engagement and the start of a series of recordings that continued through Feb. 1924. Among the band's "key" sidemen at various times were trumpeter Peter Bocage, trombonist John Lindsay and clarinetist Lorenzo Tio Jr. Their recordings of such tunes as "Bouncing Around", (written by Peter Bocage and Armand Piron); "Kiss Me Sweet"; "Mama's Gone, Goodbye", and "New Orleans Wiggle" mix together dance music with a taste of hot jazz. (All presented here as digitally re-engineered by Mr. Verne Buland.) These tunes were originally recorded for Okeh in New York on 3 December, 1923. In the band: Armand J. Piron-leader/violin, Peter Bocage-trumpet, Lorenzo Tio & Louis Warnecke-reeds, Steve Lewis-piano, Bob Ysaguirre-brass bass and Louis Cottrelle on drums. Piron's theme song was "The Purple Rose Of Cairo" but he never recorded it. After returning to New Orleans, Piron did record two songs backing singer Lela Borden and in 1925 his band cut two final selections. Piron's New Orleans Orchestra held together until 1928. Armand then fronted George Augustin's Moonlight Serenaders into the mid-1930's and he died in poverty and forgotten in 1943 at age 54.
Here's a photograph of 'Piron's New Orleans Orchestra, and this is "Mama's Gone, Goodbye", a tune
they recorded for Victor in NYC on 11 Dec. 1923.
[ John Robichaux Orch. ]
In 1891, at age 24 or 24, Robichaux moved to New Orleans and joined the Excelsior Brass band. Robichaux was already playing in various bands by 1893, while a young Buddy Bolden was still learning how to play the cornet. (But in 1895, Buddy formed his own band, playing in the then new ragtime, or syncopated style that was becoming very popular. Freddie Keppard later recalled playing in Bolden's band in 1895 at the Globe Hall.) In 1898, the McNeil Brothers, Baptiste DeLisle and Dee Dee Chandler (then moonlighting with the Onward Brass Band) were recruited into the U. S. Army. (On April 25, 1898 the United States had declared war on Spain following the sinking of the American Battleship Maine in Havana harbor on February 15, 1898.) Robichaux replaced them with clarinetists Paul Beaulieu and Lorenzo Tio, and guitarist Arthur "Bud" Scott. Occasionally they were joined by Manuel Perez - trumpet. By 1900, New Orleans had ten Brass Bands, seven Dance Orchestras, while four bands were playing the new syncopated style of music. The four included Papa Laine's Reliance Band, The Eagle Band, the Columbus Band and Buddy Bolden's Ragtime Band. Robichaux's Dance Band was the best known and always got the best jobs. [ The Onward Brass Band ] [ Original Superior Orchestra ]
And, here's a bit more information on Peter Bocage. In later years, when Bocage's style of music faded somewhat from the public's fancy, Peter sold Life Insurance. In 1961, he recorded once more (as the Creole Serenaders) for Riverside Records. Bocage was 75 at the time. [ Manuel Perez Band ]
[ Johnny Stein's Jazz Band ]
Listen to the "New York Jazz Band" playing "JaDa", recorded in New York, 1918, and here digitally re-engineered by Mr. Verne Buland. This band was actually started by Johnny Stein but was subsequently identified in a variety of ways including Jimmy Durante's. This was recorded under the band name of 'New Orleans Jazz Band'. Members included Achille Baquet-Clarinet, Frank Christian-Cornet, Jimmy Durante-Piano, Arnold Loyacano-Guitar and Frank Lhotak-Trombone. Recorded New York City November, 1918, (with Jimmy Durante on piano). Achille Baquet (clarinet) was a Black man but passed for white and played in mainly all-White bands - the information about 'so-and-so' being the first Black to play in a White band is usually wrong.
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![Tuxedo Brass Band](./tuxedo1917.jpg"){kind=link}
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eMail/Webmaster: [ mlp@nfo.net ] murray pfeffer
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