Leon Joseph Roppolo (nicknamed "Rap") was born in Lutcher, Louisiana, upriver from New Orleans.
Roppolo soon excelled at the clarinet, and played youthful jobs with his friends Paul Mares and George Brunies for parades, parties, and at Milenburg on the shores of Lake Pontchartrain.
LeonRoppolo died in New Orleans at the age of 41, and is buried in Woodlawn Cemetery, within sight of the old Halfway House building where he played for years.
LeonRoppolo (March 16, 1902 - October 5, 1943) was a prominent early jazzclarinetist, best known for his playing with the New Orleans Rhythm Kings.
Roppolo soon excelled at the clarinet, and played youthfull jobs with his friends Paul Mares and George Brunies for parades, parties, and at Milenburg[?] on the shores of Lake Pontchartrain.
LeonRoppolo died in New Orleans at the age of 41, and is burried in Woodlawn Cemetery, within sight of the old Halfway House building where he played for years.
Leon Bix Beiderbecke was born in Davenport, Iowa to a strict middle-class family.
His first big influence was Nick LaRocca of the Original Dixieland Jass Band; the LaRocca evidence is evident in a number of Bix's recordings (especially the covers of O.D.J.B. tunes), although Bix far surpasses LaRocca both in technique and ideas.
Bix's famous two note interjection on "Goose Pimples" puzzles some of his fans unfamiliar with the older New Orleans players, but is appropriate and unsurprising to those familiar with the style of Freddie Keppard.
Soon after Roppolo was playing professionally, and at age 15 he joined a vaudeville tour with Bee Palmer the Shimmie Queen.
Roppolo recorded with the Original Memphis Five and the California Ramblers, but the recordings have been lost.
In 1925, Roppolo was committed to a mental institution, where he would remain for most of his life.
www.music.com /person/leon_roppolo/1 (328 words)
Leon Roppolo(Site not responding. Last check: 2007-10-13)
LeonRoppolo was considered a genius by his contemporaries and like Bix Beiderbecke and Buddy Bolden he was another of the tragic young men of early Jazz.
He is remembered as being a pioneer of the jazz solo, as opposed to the collective improvisation of most New Orleans bands and for his lyrical and modern clarinet and alto saxophone playing.
Roppolo apparently made some recordings with the Original Memphis Five and California Ramblers but the sides were presumably unissued, or if issued unidentified.
The older brother of Louis Prima [+], Leon Prima [+] was overshadowed throughout his career by his sibling, although he was a talented trumpet soloist too.
Leon worked in his early days with LeonRoppolo, Ray Bauduc [+], Jack Teagarden [+] and Peck Kelley's Bad Boys (1925-27) in Texas.
Leon led The Melody Masters in New Orleans during the late 1920s, was less active in the '30s and was with Louis' big band in New York from 1940-46.
www.music.com /person/leon_prima/1 (219 words)
Leon Roppolo: bio and encyclopedia article(Site not responding. Last check: 2007-10-13)
Young Leon's first instrument was the violin (Bowed stringed instrument that is the highest member of the violin family; this instrument has four strings and a hollow body and an unfretted fingerboard and is played with a bow)
Roppolo and Paul Mares headed east to try their luck on the New York City (The largest city in New York State and in the United States; located in southeastern New York at the mouth of the Hudson river; a major financial and cultural center)
LeonRoppolo died in New Orleans at the age of 41, Exception Handler: No article summary found.
The solos of LeonRoppolo on clarinet and George Brunies on trombone are still considered classic, and have often been copied on other bands’ recordings.
Roppolo’s volatile nature was evident throughout the band’s engagement at Friars’ Inn; one witness reports that during performances, Roppolo would sometimes throw his clarinet against the wall in a fit of temper, then pick it up again when he had cooled off.
Not long after this session, Roppolo was committed to an insane asylum; his heavy marijuana use and violent outbursts are usually cited as the reason.
Leon Roppolo/George Brunies/Paul Mares/Walter Melrose/Ben Pollack/Melville Stitzel) 38502 Mercury SG 61081 (LP) MAME became the new Armstrong single, backed with THE SAINTS from the April session.
leon_roppolo.iqexpand.com (391 words)
Milneburg joys(Site not responding. Last check: 2007-10-13)
Morton recorded this tune (often misspelled as Milenburg joys) in 1924 with the New Orleans Rhythm Kings, but copyright is from 1925.
They used to play it at informal gigs up along Lake Pontchartrain in their teens; it was a variation on the well known changes of one of the themes of "Tiger Rag".
A few years later Mares and Roppolo were up in Chicago playing with the New Orleans Rhythm Kings (NORK).
The key members of the group (leader/cornetist Paul Mares, trombonist George Brunis, and clarinetistLeonRoppolo) were childhood friends from New Orleans.
Roppolo was the first significant soloist on record, while Brunis would have a long career playing Dixieland.
With Santo Pecora on trombone they regrouped for a fine session on January 1925, but Roppolo was already suffering from mental problems; the group's final date two months later was without Roppolo, who would soon be institutionalized for the remainder of his life.
Emmet’s first trip away from home came when a famous music hall performer of the day, Bee Palmer, heard Emmet while he was playing for a dance at the old Grunewald Hotel in New Orleans and hired the entire orchestra to act as her accompanists while on tour.
In the band with Emmet were LeonRoppolo, clarinet; Santa Pecora, trombone; Johnny Frisco, drumms; and Bee Palmer’s husband, Al Seigal, on piano.
Playing with the NORK then were LeonRoppolo, Paul Mares, George Brunis, Ben Pollack, Louis Black and others.
Trumpet man Paul Mares was from New Orleans and a childhood friend of LeonRoppolo, and Abbie and George Brunies.
While still a teenager Mares played in Tom Brown's band and with his friend LeonRoppolo in the Cresent City.
On the boat they were reunited with their old friend Roppolo.
atj.8k.com /noartist/atjmares.html (348 words)
Paul Mares: Information From Answers.com(Site not responding. Last check: 2007-10-13)
He left New Orleans in 1919 to work in Chicago with Ragbaby Stevens, and soon Mares was freelancing in the city.
In 1921 he formed the Friars Society Orchestra, a group that prominently featured trombonist George Brunies and clarinetistLeon Rappolo.
From 1922-23, the band (renamed the New Orleans Rhythm Kings) recorded for Gennett and were arguably the finest jazz group on record, at least until King Oliver's Creole Jazz Band.
Keppard, based here during the 20s, eventually made about two dozen sides that reveal him to be hard-driving but not-quite-swinging.
Perhaps the first really interesting jazz soloist on record (1922) was LeonRoppolo, clarinetist with the New Orleans Rhythm Kings, a rollicking white group that one year later participated in a historic studio encounter with pianist Morton.
The PBS series rightly hails Jelly Roll as the first jazz composer, but fails to detail his illustrious recording career as a soloist and leader.
Its most notable players were clarinetistLeonRoppolo and trombonist George Brunies, whose development of solo improvisation is evident in the group’s recordings.
Perhaps the band’s most interesting recordings were those done in July, 1923, with the famed composer and pianist Jelly Roll Morton, a New Orleans Creole of color who had been among the first jazz musicians to take the music on the road.
The contributions of Joe Oliver, Louis Armstrong, and Johnny Dodds as soloist (like those of Roppolo and Brunies) indicated the course that jazz was destined to follow.
A Richmond native, Wiggins joined Starr Piano in 1907, and worked up the ranks.
In the early 1920s, he ran Starr’s Chicago retail store just as young jazz musicians from New Orleans, such as King Oliver, Louis Armstrong, LeonRoppolo, Johnny Dodds, and Jelly Roll Morton, were migrating to the Windy City.
In 1922, Wiggins invited Fred Gennett, secretary of Starr Piano and manager of its Gennett Records division, to hear the wild New Orleans house band at the Friars Inn, a nightclub frequented by gangsters and near the Starr Piano storefront.