Viaggio musicale lungo le sponde del Mississipi, sulle tracce del leggendario primo re di New Orleans, al secolo Buddy Bolden, Only known picture of the Bolden band to exist, Buddy can be seen 2nd on the left in the background.
The dichotomy that the Funky Butt Hall and the Baptist church would seemily represent instead coexisted within the same building. Music bands had become very popular during Buddy Bolden’s time; however he didn’t know much about forming his own band, so he began his career playing the cornet in ‘Papa Jack Laines’ band. Retrieved from Often, members of King Bolden’s flock followed him to Lincoln and Johnson parks to hear his band perform at dances held there. Rumors of an extant recording were rife in the 1950's among New Orleans jazz collectors, given credence by trombonist Willy Cornish's admission that a recording had been made in 1898. The Buddy Bolden Band consisted of cornet, guitar, trombone, bass, two clarinets and drums. Despite the importance of brass band music to jazz, Buddy Bolden only played at parades on an occasional basis. Bolden himself may have grappled with the contradictions of his Baptist upbringing and the new life that music led him too. After the baseball games, greased pig chase, and the infamous hot air balloon rides, King Bolden would sound his horn and “call his children home”. Music bands had become very popular during Buddy Bolden’s time; however he didn’t know much about forming his own band, so he began his career playing the cornet in ‘Papa Jack Laines’ band. The same hall also ironically served as a Baptist church on Sunday Mornings. His devoted followers loved to dance. A whole lot of fun in those days could be had in either of these uptown parks. King Bolden took the guttural moan of the blues, mixed it with the spirit of the black Baptist church, and applied a ‘ragged’ rhythmic feel to his songs. The Real Buddy Bolden As many fans of Early Jazz know, the legendary cornetist Charles ‘Buddy’ Bolden is said to have made some wax cylinder recordings in the first few years of the 20th Century. Buddy Bolden Legacy Band, Arquata Scrivia.
One of Bolden’s musicians improvised the lyrics “Funky Butt, Funky Butt, take it away, open up the windows and let the bad air out”, apparently referencing the cramp confines in which the sweat and whiskey soaked dancers grooved to. The result was an all new sound that was perfect for dancing and quickly caught the attention of young African Americans in New Orleans.King Bolden’s sound appealed to a new generation some thirty three years removed from the end of the Civil War. Others simply found Bolden’s band irresistible but made their exits earlier in the evening, before the dances started getting too rowdy. There is speculation about what the music sounded like in Bolden’s first band in 1895, it seems likely he performed bluesy and ragged versions of dance songs, hymns, folk tunes, rags and perhaps some marches. The Buddy Bolden band, contrary to the typical practice of the time, made string instruments the rhythm section and established brass instruments as the front line instruments - it is said to be the first brass band to play the blues. With dances at the Union Sons Hall (informally renamed “Funky Butt Hall”) often lasting until 5 a.m. it is probable that this was the roughest place Bolden played. Although no one knows when jazz music was "invented," a good starting point is when cornetist Buddy Bolden formed his first band in 1895. There is no doubt however as to the manner in which King Bolden thrilled his crowds, always entertaining them with his exciting new sound, full of the blues. The first important name in jazz history, Bolden's career has… On pages 44-45 of the same book the question is discussed in detail. Bolden's father, Westmore Bolden, worked as a "driver" for William Walker, the former master of Buddy's grandfather Gustavus Bolden (who died in 1866) at the time of Buddy's birth; his mother, Alice (née Harris), was 18 on August 14, 1873, when she married Westmore (who was around 25 at the time, as records indicate he was 19 in August 1866). King Bolden would never be interviewed or recorded while at the asylum where he only occasionally exhibited brief glimpses of his former self. Little did his mother know her son would soon grow up a young man whom everyone called “King”. The most significant extant artifact is a photo of Bolden and his band that was taken in 1905. (2013, December 14). In the 2005 epilogue to the book (p.158-159) Marquis also discusses these recordings that have not been found. Not unlike the Funky Butt/ Baptist church connection, King Bolden’s music brought a seemingly spiritual fervor to the low-down blues songs the band was fond of performing.The high flying sporting life that the first king of jazz led did not come without a price however. Sadly, there was never a recording made of the first king of jazz and we will never know exactly how Bolden sounded. Retrieved from Sager, D. (2014, November 6th). These records were likely cut by Oskar Zahn, a grocer and fan of the band, who owned an Edison Phonograph with an attachable recording head. One of the popular Buddy Bolden myths was that he worked as a barber in addition to being a musician.

Just as barbershops in many African American neighborhoods funtion today, the shops in Bolden’s neighborhood served as a social hub of sorts. He forged his reputation with the power of his horn, said to be heard miles away, and his proficiency playing the blues. Son style a été immortalisé plus tard dans la chanson, le jazz classique, « Peut-être qu'il a dû improviser parce qu'il ne pouvait pas jouer les notes d'une manière significative »« Il ne pouvait pas lire la musique et a été forcé d'avoir son chemin '«S'il n'y avait pas cette musique improvisée, il continuera d'être ragtime » Contenu communautaire disponible sous les termes de la licence Today’s musicians have the first king of jazz to draw upon as inspiration if they shall ever doubt the power of music, all they have to do is picture the king “calling his children home”. Buddy Bolden and his band played a looser form of ragtime than his contemporaries, one that incorporated elements of the blues, black gospel music, and marching band music.


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