dreizwoeins: New Orleans

Bevor wir uns selbst vor Ort ein Bild machen, zeigen wir hier drei wunderbare Karten, lesen noch einmal nach, was uns weiße deutsche Männer als Jazz aus New Orleans andrehten und sind bei Pops Foster und Sherrie Tucker eindeutig besser aufgehoben.
Die Abbildungen zeigen wir mit freundlicher Genehmigung der Historic New Orleans Collection, die sie uns großzügig zur Verfügung gestellt hat.

The Historic New Orleans Collection, Gift of Mr. Boyd Cruise, acc. no. 1954.4

The Picayune’s Map of New Orleans / T. Fitzwilliam & Co., lithographer / ca. 1906 The Historic New Orleans Collection, Gift of Mr. Boyd Cruise, acc. no. 1954.4.

„Der New-Orleans-Stil ist gekennzeichnet durch drei melodische Linien, die im allgemeinen von einem Kornett (oder einer Trompete), einer Posaune und einer Klarinette geblasen werden. Hierbei liegt die Führung naturgemäß bei dem strahlenden Klang des Kornetts, von dem sich der schwere, mächtige Gang der Posaune wirkungsvoll abhebt. Die Klarinette umrankt diese beiden Instrumente in vielfältigem Geflecht. (…) Im alten New Orleans gab es eine Phrasierungsweise, die noch weitgehend der europäischen Volks- und Zirkusmusik entsprach. Andererseits war die typische Jazztonbildung hier besonders stark ausgeprägt.“
Joachim Ernst Berendt: Das neue Jazzbuch. Frankfurt am Main 1959

The Historic New Orleans Collection, Gift of Mr. Boyd Cruise, acc. no. 1951.27

1951.27 / Le Vieux Carre de la Nouvelle Orleans over a span of many years a map done in the year 1928 by Lucile Gillican and Louis Andrews / ca. 1929 The Historic New Orleans Collection, Gift of Mr. Boyd Cruise, acc. no. 1951.27.

Kollektiv-Improvisation, Bezeichnung für das gleichzeitige → Improvisieren von mehreren, meist nicht mehr als drei Musikern, bildet ein wichtiges Prinzip im Zusammenspiel der Melodie-Instrumente des → New Orleans- und Dixieland-Stils. Idealbild dieser Musizierweise ist das Zusammenwirken von Kornett (Trompete), Klarinette und Posaune. Die Trompete hat die Führung und und hält sich vor allem im ersten Chorus an die gegebene Melodie, die tiefere und etwas schwerfälligere Posaune übernimmt die harmonisch tragende Gegenstimme und zugleich die Two-Beat-Ordnung des melodischen Geschehens, während die leichtbewegliche Klarinette das Ganze harmonisch durchwebt und umrankt.“
Carlo Bohländer/Karl-Heinz Holler: Jazzführer, Sachteil. Leipzig 1980

 

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Charte von der Mundung des Mississipi / ca. 1803 The Historic New Orleans Collection, acc. no. 1979.367

„For a long time the violin was the top instrument around New Orleans, and then for a while the clarinet. Most of the time it was the trumpet. The violin and the clarinet could play a whole lot of melody that the trumpet couldn’t play. In all your ragtime bands your trumpet, trombone, and clarinet were your brass, then you had your guitars, drums and bass for rhythm. The fiddler usually could read and taught the rest of the band the numbers and played a whole lot of everything. That was for a whole seven-piece band, and that was a big band. Your brass bands were usually around ten pieces and didn’t go over twelve. They played all kinds of dance music. (…).  There were two different types of trumpet players in New Orleans. The jazz type played hot and made the band swing. Most of them played like Armstrong, only they started way before him. They had a nice peppery style. Then you had the guys that played straight and played more for tone. They were your sweet trumpet players and played real well in a band. The guys in their bands had to put their own swing in the music and make their own feelings.“

The Autobiography of Pops Foster: New Orleans Jazzman, as told to Tom Stoddard. San Francisco 2005

 

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„Like other studies of women’s history, the study of women in New Orleans jazz history makes it possible not only to locate women in New Orleans jazz as-we-know-it, but to increase our knowledge of both women and men in entire areas of jazz history that have been historically devalued. (…)
In what ways were women involved in the new musical forms that were so important to New Orleans culture? Which women were involved with which aspects? Which musical sounds, practices, and roles were considered appropriate for women, and which appropriate for men? How did these vary across race, ethnicity, class, language, religion, and New Orleans neighborhoods? How did these change over time? What happened when women, and men, for that matter, made musical choices that conflicted with their society’s notions of gender-appropriate music-making? Did changing ideas about gender contribute to the development of jazz? How did ideas about gender affect how musicians, both men and women, participated in jazz at various moments in New Orleans history; as well as how they were perceived, remembered, or forgotten? How do historical ideas about gender and race and other social categories affect how we think about New Orleans jazz today?“

Sherrie Tucker: A Feminist Perspective on New Orleans Jazz Women.

A NOJNHP Research Study by Sherrie Tucker, University of Kansas 2004

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