Kid Ory Ory was a banjo banjo player during his youth and it is said that his abili ability ty to play play the the banjo banjo helpe helped d him deve develo lop p “tail “tailga gate” te”,, a particular style of playing the trombone. trombone. In “tailgate” style the trombone plays a rhythmic line underneath the trumpets and cornets and cornets.. While Ory was living on Jackson Avenue, he was discovered by Buddy by Buddy Bolden, Bolden, playing his first New trombone, instead of the old civil war trombone. But his sister said he was too young to play with Bolden. Ory had one of the best-known bands in New Orleans in the 1910s, hiring many of the great jazz musicians musicians of the city, including cornetists Joe cornetists Joe “King” Oliver, Oliver, Mutt Carey, Carey, and Louis and Louis Armstrong, Armstrong, who joined the band in 1919; [1] and clarinetists Johnny clarinetists Johnny Dodds and Dodds and Jimmie Jimmie Noone. Noone.
House on Jackson Avenue, New Orleans, Ory’s residence in the 1910s
In 1919 he moved to Los Angeles [2]—one of a number of New Orleans musicians to do so near that time—and he recorded there in 1921 with a band that included Mutt Carey, clarinetist and pianist Dink pianist Dink Johnson, Johnson, and string bassist Ed Garland. Garland. Garland Garland and Carey Carey were longtim longtimee associates associates who would still be playing with Ory during his 1940s 1940s come comebac back. k. While While in Los Los Angel Angeles es Ory and his band band recorded recorded two instrumentals, instrumentals, "Ory’s Creole Trombone" Trombone " and “Society Blues”, as well as a number of songs. They were the first jazz recordings made on the west coast by an African-American jazz band from New Orleans. His band record recorded ed with with the recordi recording ng company company Nordsk Nordskog og and Ory paid them for the pressings and then sold them under his own label of “Kid Ory’s Sunshine Orchestra” at a store in Los Angeles called Spikes Brothers Music Store. In 1925, Ory moved to Chicago, where he was very active, tive, working working and recording with Louis Armstrong, Jelly Armstrong, Jelly Roll Morton, Morton, Oliver, Johnny Dodds, Bessie Smith, Smith, Ma Rainey,, and many Rainey many other others. s. He ment mentor ored ed Benny Goodman Goodman,, and later Charles later Charles Mingus. Mingus.
Nesuhi Ertegun fou Ertegun founded nded his his first label, label, Crescent Crescent Records, Records, for the express purpose of recording Kid Ory’s Creole Jazz Band (Crescent Number 1, August 1944) Edward " Kid" Ory (December 25, 1886 – January 23,
During the Great Depress Depression ion Ory retired from music 1973 1973)) was was a jazz trombonist trombonist and bandleader bandleader.. He was was born born and did not play again again until 1943. From 1944 to about in Woodland Plantation near La near La Place, Louisiana. Louisiana. 1961 he led one of the top New Orleans style bands of the period. period. In addition addition to Mutt Carey Carey and Ed Garland, trumpeters Alvin trumpeters Alvin Alcorn and Alcorn and Teddy Teddy Buckner; Buckner; clarinetists Darnell How Howard ard,, Jimm Jimmie ie Noo Noone ne,, Albert Nicho Nicholas las,, 1 Bi Bio ogra graphy phy Barney Bigard, Bigard, and George and George Probert; Probert; pianists Buster pianists Buster Wilson,, Cedric Haywood, son Haywood, and Don Ewell; Ewell; and drumme drummerr Ory started playing music with home-made instruments Minor Hall were Hall were among his sidemen during this period. in his childhood, and by his teens was leading a well- All but Probert, Buckner, and Ewell were originally from regarded regarded band in Southeast Louisiana Southeast Louisiana.. He kept La Place, New Orleans. Louisiana, as his base of operations due to family obligaThe Ory band was an important force in reviving intions until his twenty-first birthday, when he moved his terest in New Orleans jazz, making popular 1940s raband to New to New Orleans, Louisiana. Louisiana. He was one of the most most dio broadcasts—among them a number of slots on The influential trombonists of early jazz. 1
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Orson Welles Almanac program (beginning March 15,
1944).[3][4][5] In 1944–45 the group made a series of recordings on the Crescent Records label, founded by Nesuhi Ertegun for the express purpose of recording Ory’s band.[6] During the late 1940s and early 1950s, Ory and his group appeared at the Beverly Cavern in Los Angeles. Ory retired from music in 1966 and spent his last years in Hawaii, with the assistance of Trummy Young. Ory died in Honolulu.[2] He was buried at Holy Cross Cemetery in Culver City, California.
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References
[1] “Jazz Greats of the 1920s” University of Minnesota Duluth. Retrieved 11 June 2013. [2] “Kid Ory, 'tailgate' trombonist & composer”. African American Registry. Retrieved 2011-09-28. [3] “Radio Almanac”. RadioGOLDINdex. Retrieved 201402-09. [4] “Orson Welles Almanac—Part 1”. Internet Archive. Retrieved 2014-02-09. [5] “Orson Welles Almanac—Part 2”. Internet Archive. Retrieved 2014-02-10. [6] Ertegun, Nesuhi. Liner notes for Kid Ory’s Creole Jazz Band . Good Time Jazz Records L-10 and L-11, 1953, also used for Good Time Jazz Records L-12022, 1957.
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Marcus, Kenneth. Musical Metropolis: Los Angeles and the Creation of Music Culture 1880-1940
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Kid Ory on redhotjazz.com Jubilee (Armed Forces Radio Network) at the Internet Archive; program #250 recorded between July and September 1947 includes Kid Ory’s Creole Jazz Band performing "Muskrat Ramble" (7:05–10:30) 1944 Orson Welles Broadcasts at The Kid Ory Archive 1945 Jade Palace at The Kid Ory Archive Kid Ory’s Creole Jazz Band: 1944–1945 The Legendary Crescent Recording Sessions at AllMusic (Scott Yanow)
EXTERNAL LINKS
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