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Topic: New Orleans Rhythm Kings

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	New Orleans Rhythm Kings - Wikipedia, the free encyclopedia
		The New Orleans Rhythm Kings were one of the most influential jazz bands of the early/mid 1920s.
		The band was a combination of New Orleans and Chicago musicians most famous for their residency in Chicago, where they helped shape Chicago Style Jazz and influenced many younger musicians.
		Compositions and arrangements by the New Orleans Rhythm Kings continue to be played by "Traditional Jazz" or "Dixieland" bands all over the world today; some of their famous contributions to the repertory include Milenburg Joys, Farewell Blues, and Tin Roof Blues.
	en.wikipedia.org /wiki/New_Orleans_Rhythm_Kings (367 words)

	Leon Roppolo - Wikipedia, the free encyclopedia
		Leon Joseph Roppolo (nicknamed "Rap") was born in Lutcher, Louisiana, upriver from New Orleans.
		After the breakup of the Rhythm Kings in Chicago, Roppolo and Paul Mares headed east to try their luck on the New York City jazz scene.
		Leon Roppolo 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.
	en.wikipedia.org /wiki/Leon_Roppolo (429 words)

	New Orleans Rhythm Kings -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-11-07)
		The New Orleans Rhythm Kings were one of the most influential (A genre of popular music that originated in New Orleans around 1900 and developed through increasingly complex styles) jazz bands of the early/mid (The decade from 1920 to 1929) 1920s.
		Various former members of the original New Orleans Rhythm Kings revived the band's name at various times from the (The decade from 1930 to 1939) 1930s through the (The decade from 1950 to 1959) 1950s.
		Compositions and arrangements by the New Orleans Rhythm Kings continue to be played by "Traditional Jazz" or " (The southern states that seceded from the United States in 1861) Dixieland" bands all over the world today; some of their famous contributions to the repertory include Milenburg Joys, Farewell Blues, and Tin Roof Blues.
	www.absoluteastronomy.com /encyclopedia/n/ne/new_orleans_rhythm_kings.htm (559 words)

	The New Orleans Rhythm Kings (Site not responding. Last check: 2007-11-07)
		The "NORK" were formed amoung a nucleus of childhood friends in New Orleans.
		The NORK in Chicago broke up, then briefly got together again in New Orleans, where they made more recordings in early 1925.
		Compositions and arrangements by the New Orlenans Rhythm Kings continue to be played by "Traditional Jazz" or "Dixieland" bands all over the world today.
	www.geocities.com /BourbonStreet/5135/nork.html (160 words)

	Emmett Hardy - Wikipedia, the free encyclopedia (Site not responding. Last check: 2007-11-07)
		Emmett Louis Hardy was born in the New Orleans suburb of Gretna, Louisiana, lived much of his life in the Algiers neighborhood of the west bank of New Orleans.
		Some New Orleans musicians remembered as a musical highlight of their lives a 1919 cutting contest where after long and intense struggle Hardy succeeded in outplaying Louis Armstrong.
		Emmett Hardy was in the original incarnation of the New Orleans Rhythm Kings (or NORK) under the direction of.
	www.americancanyon.us /project/wikipedia/index.php/Emmett_Hardy (443 words)

	Paul Mares - Wikipedia, the free encyclopedia (Site not responding. Last check: 2007-11-07)
		Paul Mares (June 15, 1900 – August 18, 1949), was an early jazz cornet and trumpet player, and leader of the New Orleans Rhythm Kings.
		Like many New Orleans cornetists of his generation, Joe Mares's main influence was "King" Joe Oliver.
		Mares established himself as a respected band leader over a group of wild and strong willed musicians, as The New Orleans Rhythm Kings became one of the best regarded bands in Chicago in the early 1920s.
	www.bexley.us /project/wikipedia/index.php/Paul_Mares (393 words)

	The New Orleans Rhythm Kings -- a band history (Site not responding. Last check: 2007-11-07)
		The name "The New Orleans Rhythm Kings" was first used by vaudvillian vocalist and dancer Bee Palmer to refer to her accompanying group in 1919.
		The New Orleans Rhythm Kings version of Eccentric is said to be based in part on a head arrangement that the Original Dixieland Jazz Band played but never recorded.
		While their small number of performances in New Orleans were well recieved, and spot jobs at out of town resorts plentiful, the band was unable to secure a residency at any established spot in the city.
	www.geocities.com /BourbonStreet/5135/norkhist.html (1267 words)

	INKPOT#56 CLASSICAL MUSIC REVIEWS: Singapore Festival of Arts 1998 - New Orleans Rhythm Kings June 21
		Hailing from New Orleans, the place often thought of as the birthplace of Jazz that saw such Jazz greats as 'Satchmo' Louis Armstrong and Antoine 'Fats' Domino, the Rhythm Kings champion one of the unique sounds of Jazz that enjoys immense popularity though it receives elatively less "live" performance nowadays.
		New Orleans jazz, or the "Dixieland" style, is characterised musically by its form (though this is not necessarily a hard-and-fast rule).
		Clearly, the new music is more complex harmonically and the youngsters tend to be more showy in what they can do with their instruments but I think the Rhythm Kings demonstrated a style of playing that reached its epitome in the pre-war years with great affinity.
	inkpot.com /concert/af98nork.html (1194 words)

	Program Template (Site not responding. Last check: 2007-11-07)
		There is an interesting use of the cakewalk rhythm, interesting in that the rhythm is still being used within a ‘jazz’ arrangement and by a jazz band in 1919.
		Joe Oliver was not the first New Orleans musician to bring a jazz band to Chicago, but became the most influential, especially when Louis Armstrong joined the band in 1922.
		It preserved the new Orleans style and guarded its integrity, for this style was beginning to be an unknown and misunderstood style, more spontaneous than the early jazz music that was primarily dance music.
	www.basinstreet.com /Programs/EarlyJazzBands (4449 words)

	New Orleans Rhythm Kings
		The New Orleans Rhythm Kings Gennett recordings were a big influence on many of the white bands and musicians of the 1920s.
		The New Orleans Rhythm Kings were heavily influenced by King Oliver's Creole Jazz Band and became the first group to put out a "racially mixed" Jazz record in 1923 with
		The New Orleans Rhythm Kings were in existence from 1922 to 1925 when Paul Mares left the music business and went back to New Orleans to work at the family fur business.
	www.redhotjazz.com /nork.html (311 words)

	jazz -> New Orleans Jazz on Encyclopedia.com 2002 (Site not responding. Last check: 2007-11-07)
		New Orleans, or Dixieland, jazz is played by small bands usually made up of cornet or trumpet, clarinet, trombone, and a rhythm section that includes bass, drums, guitar, and sometimes piano.
		The closing in 1917 of the notorious Storyville district of New Orleans produced an exodus of jazz musicians.
		Many went to Chicago, where the New Orleans style survived in the bands of King Oliver, and later in the music of Louis Armstrong, Jelly Roll Morton, and Johnny Dodds.
	www.encyclopedia.com /html/section/jazz_neworleansjazz.asp (1004 words)

	The Dixiland Era (Site not responding. Last check: 2007-11-07)
		The first important recordings by fl musicians were made in 1923, by King Oliver's Creole Jazz Band, a group that included some of the foremost New Orleans musicians then performing in Chicago: Louis Armstrong, Johnny and "Baby" Dodds, and Honore Dutrey.
		Rhythm Kings and the Wolverines, led by Bix Beiderbecke.
		In New York, on the other hand, the trend was toward larger groups with two or more trumpets, one or two trombones, three or four reeds, plus a rhythm section.
	www.nw-cybermall.com /jazzworld/dixiland.htm (305 words)

	New Orleans History~~Lake Pontchartrain -
		In New Orleans there were always some whites listening to jazz in fl venues, like the honky-tonks of fl Storyville, fl picnics on Lake Pontchartrain, in Johnson and Lincoln parks.
		The term itself became a rallying point for New Orleans musicians of all ethnic and racial backgrounds, creating conditions for the formation of a community of interest in support of the new music, which was perceived as a local product.
		It was very popular for dances and parties every weekend of New Orleans long summer, and I think important in being a place where, in those days of racial segregation being mandated by law, musicians on different sides of the Jim Crow barrier had extended chances to listen to eachother and informally jam.
	www.stphilipneri.org /teacher/pontchartrain/section.php?id=149 (5957 words)

	Welcome to the Best of New Orleans! A&E Feature 02 18 03
		Irving Rappollo, the brilliant clarinetist of the New Orleans Rhythm Kings, was committed as a young man to a mental institution, where he lived out the rest of his life.
		He was discovered by bandleader Guy Lombardo in New Orleans in 1934; Lombardo was so impressed by Prima that he got him a recording contract and tried to find him gigs in New York.
		As this new reissue demonstrates, he was one of the better and more original tenor saxmen of the 1930s.
	www.bestofneworleans.com /dispatch/2003-02-18/ae_feat.html (834 words)

	PBS - JAZZ A Film By Ken Burns: Selected Artist Biography - Benny Goodman
		During these formative years, he also absorbed the music of New Orleans musicians such as King Oliver and Louis Armstrong, and especially the clarinetists Johnny Dodds, Jimmie Noone, Buster Bailey, Albert Nicholas, and Barney Bigard.
		On January 16, 1938, Goodman brought a new level of recognition to jazz with a concert in Carnegie Hall, presenting Harry James, Ziggy Elman, Jess Stacy, Hampton, Krupa, and Wilson from his own entourage, as well as guest soloists from the bands of Duke Ellington and Count Basie.
		Among the new soloists was Christian, with his long melodic lines influenced by Lester Young, who contributed most to the band, but it was the compositions and arrangements of Sauter, who had been trained at the Juilliard School, that established the band's musical character.
	www.pbs.org /jazz/biography/artist_id_goodman_benny.htm (1834 words)

	Paul Mares
		Trumpet man Paul Mares was from New Orleans and a childhood friend of Leon Roppolo, and Abbie and George Brunies.
		New Orleans Rhythm Kings split up in 1924 and Roppolo and Mares went to New York and played with Al Siegal.
		In 1925 Mares returned to New Orleans and reformed the New Orleans Rhythm Kings with Roppolo and recorded seven songs for Okeh and Victor records, but soon afterwards Mares quit music and joined the family fur business.
	atj.8k.com /noartist/atjmares.html (348 words)

	Down South in Dixie (1917: All That Jazz) \| The Chronicle of Jazz \| Abbeville Press
		The quintet hailed from New Orleans and derived its style from the music played there by fl ensembles, achieving a rapid rise to prominence through spirited performances which incorporated novelty instrumental effects such as animal imitations.
		Firmly based on the sectionalized structure and syncopated march rhythms of ragtime, with increasing use of the twelve-bar blues progression, the New Orleans ensemble style is correctly termed "Dixieland" only when performed by white groups (the term derives from the nickname "Dixie," used to describe the southern secessionist states in the Civil War).
		White groups were generally less adept at handling improvisation, blue notes and swung rhythm than their fl counterparts, although the New Orleans Rhythm Kings (who made recordings in 1922-25) represented a tangible improvement on the primitive idiom of the Original Dixieland Jazz Band.
	www.abbeville.com /jazz/037.asp (376 words)

	"Stray Notes on Jazz"--An Essay by Sterling Brown
		A solidly rocking rhythm was exchanged for a rapping tattoo; the beating of a tom-tom subsided to the rustling of a whisk broom over sand paper, semi-symphonic arrangements were attempted (and this line has led to Fred Waring and Lombardo).
		And that was generally in a style that fused the New Orleans jazz of Oliver and Armstrong with Dixieland.
		To the New Orleans instrumentation, a saxophone (or two) was added (disturbing the New Orleans balance), and solos were favored over ensemble improvisation.
	www.english.uiuc.edu /maps/poets/a_f/brown/jazz.htm (3473 words)

	Jazz, Ltd
		Another legendary New Orleans horn man, Freddie Keppard, turned down an early offer from the Victor label, leaving the first jazz records to be made in 1917 by a group of five white Crescent City musicians who'd joined together in Chicago as the Original Dixieland Jass (soon changed to Jazz) Band.
		Perhaps the first really interesting jazz soloist on record (1922) was Leon Roppolo, clarinetist with the New Orleans Rhythm Kings, a rollicking white group that one year later participated in a historic studio encounter with pianist Morton.
		New Orleans clarinetist and soprano saxophonist Sidney Bechet hit all these places, making him the most cosmopolitan of the early jazz greats.
	www.delmark.com /rhythm.earlyjz.htm (1040 words)

	New Orleans style -- Encyclopædia Britannica (Site not responding. Last check: 2007-11-07)
		Developed near the turn of the century, it was not recorded first in New Orleans but rather in Chicago, Los Angeles, and Richmond, Indiana.
		The New Orleans rock and roll singers were accompanied by pianos or small bands with...
		The New Orleans trumpeter who became a world ambassador for jazz, Louis Armstrong learned to blow on a bugle in reform school when he was 13.
	www.britannica.com /eb/article-9055497?tocId=9055497 (813 words)

	Untitled
		The New Orleans Rhythm Kings briefly reconciled their differences in early 1925 but split shortly after.
		The immense influence of the New Orleans Rhythm Kings is still heard when one listens to traditional jazz and dixieland bands.
		Jimmie Noone is considered to be one of the best clarinetists of jazz and he was one of the major influences on swing music in New Orleans.
	www.penncharter.com /Content/academics/us/Studentgallery/HarlemEncyclo/n/n.html (721 words)

	Dixieland -- Encyclopædia Britannica (Site not responding. Last check: 2007-11-07)
		April 27, 1999, New Orleans), became the most popular American trumpeter of the 1960s, with 17 hit albums during 1961–68 and a number of hit singles, notably the Grammy Award-winning “Java” (1963).
		Louisiana's largest city is New Orleans, 110 miles (177 kilometers) upstream from the mouth of the Mississippi River.
		Perhaps the most genuinely international of United States cities, New Orleans is visited each year by millions of tourists who are attracted by the Mardi Gras festivities, Dixieland and other New Orleans jazz,...
	www.britannica.com /eb/article-9030703?tocId=9030703 (652 words)

	Friars Society Orchestra / New Orleans Rhythm Kings
		The New Orleans Rhythm Kings were one of the hottest jazz bands of the early 1920s, and a strong influence on many later musicians, including Bix Beiderbecke, Muggsy Spanier, Mezz Mezzrow, and Benny Goodman.
		In the fall of 1921, he contacted a New Orleans cornetist named Paul Mares, who was living at the home of a friend (Chicago police officer Tommy Harrison), and asked him to put together a band to play at his club.
		Mares phoned New Orleans and got childhood friend and trombonist George Brunies, who agreed to come to Chicago for the price of his train fare (paid by Mares’ father) and the loan of an overcoat from Mares’ brother.
	www.starrgennett.org /stories/profiles/new_orleans_rhythm_kings.htm (1895 words)

	Styles: New Orleans: The Legend of New Orleans
		The latter was due to the fact that New Orleans was the most important entry point and trading station for slaves purchased by cotton plantation owners.
		By the beginning of the 19th century New Orleans was inhabited by whites, fls and creoles, often the offsprings or descendants of white slave owners and fl slave women.
		Many of the solo artists left New Orleans looking for fame and fortune, some to Chicago or New York, others to Los Angeles and other cities, spreading their musical influence everywhere.
	www.wnur.org /jazz/styles/new-orleans/legend.html (908 words)

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