Nelson, Willie, 393
New Haven, Conn., 436
New Negro, The (Rogers), 447
New Orleans, La., 2, 3, 23, 29, 40, 41, 45–46, 325, 373–74, 437–38
African-American dance halls in, 31, 32
antebellum, 27
Astoria Gardens in, 418, 424–25
as Big Easy, 449
Bourbon Street in, 225
Bywater neighborhood of, 425
Canal Street in, 104
Congo Square in, 93, 450
Country Club in, 198
early jazz in, 17, 31, 32, 35, 54
funeral processions and parade bands in, 4–5, 15, 26, 32, 85, 198, 213, 291
Funky Butt Hall in, 32, 438
Heinemann Park in, 424
honky tonks of, 4, 56, 437
Industrial Canal in, 425
Jefferson Parish, 418
LA’s early years in, 4–6, 11, 97, 115, 129, 197–98, 438
Mardi Gras Rex parade in, 217
Orpheum Theater in, 169
Patterson Hotel in, 418, 423–24
post-Reconstruction in, 437
Pythian Temple Roof garden in, 425
racial and national mixing in, 449
railroad stations in, 13, 418
Rampart Street in, 418, 419
Robert Charles riots of 1900 in, 43
St. Raymond Park in, 424
segregation and prejudice in, 34, 43, 415–16
Seventh Ward of, 104
Storeyville prostitution district of, 11, 20, 46
Suburban Gardens outside of, 418–25, 423, 429, 433, 437, 453
trolley line in, 293
U.S. Army Supply Base in, 425
whistling in, 110
New Orleans Black Pelicans, 424
New Orleans Creole Band, 17, 23
New Orleans Rhythm Kings, 33, 36, 63, 106
New Tiger Rag, 430–31
New World Symphony (Dvořák), 291
New York, N.Y., 43, 113, 115, 120, 317, 325
Aeolian Hall in, 202, 349
Audubon Theater in, 336–37
black Broadway shows in, 72–73, 241, 329, 341, 345–47, 352–55, 353, 417, 434, 512, 513
Broadway in, 120, 138, 150, 155, 241, 248
Carnegie Hall in, 178, 317
caste system of black musicians in, 335
Chrysler Building in, 9
Clef Club in, 335–36
Club Alabam in, 130, 140
Columbus Circle in, 159
El Fay Club in, 245
Fifth Avenue in, 152
Gaiety Theater Building in, 140, 155
Hudson Theater in, 141, 345–53, 360
as jazz center, 142, 159
LA in, 120–23, 333–60, 430
Liberty Theater in, 329, 345
Lincoln Center in, 159
Loew’s State Theater in, 367, 380
Rhythm Club in, 335–36
Rialto Theater in, 177–78
Rivoli Theater in, 177–78
Roseland Ballroom in, 120, 130–32, 133, 138–39, 140, 141–42, 145, 149–52, 155, 206, 245, 438, 453, 495
63rd Street Music Hall in, 341–44
Terrace Gardens in, 129–30
Times Square in, 130
Windsor Theater in, 345
Ziegfeld Theater in, 355–56
see also Harlem
New York Age, 131, 152, 335
New York Clipper, 95, 132, 203, 447
New York Daily Mirror, 131, 367
New Yorker, The, 350, 447
New York Evening Graphic, 346, 434
New York Philharmonic, 451
New York Times, 130, 138, 513
Niagara Falls, 335, 336
Nicholas, 45–46
Nicholas, Albert, 87, 332, 362, 489, 517
Nichols, Red, 239
Nicodeemus, 237
NightClub Map of Harlem, 391
No, 325, 359
Noone, Jimmy, 21, 59, 103, 106–7, 194
No One Else but You, 325, 359
Nootsy, 70–71, 79, 320
Norfolk, Va., 53
obbligato, 5, 49, 90, 94, 97, 145, 159
Oberstein, Eli, 434, 454
O’Brien, Floyd, 215, 304
O’Day, Anita, 312
Of All the Wrongs You Done to Me, 157
Ohio, 60, 119, 223
Ohio State University, 415
OKeh Cabaret and Style Show, 216
OKeh Records, 53, 64–65, 100, 107, 127, 159, 165, 204–16, 218–19, 239, 260, 262–63, 282–86, 357–60, 368–71, 381–82, 431, 434
Oklahoma, 425–26
Oklahoma City, Okla., 426
Old Black Joe, 26–27, 30, 38, 39, 228
Old Man Blues, 385
Oliver, Joe “King,” 11, 37, 48, 55, 87, 133, 192, 194, 371
adolescence of, 56
band leadership of, 86–91, 97
character and personality of, 20–24, 80, 86–88, 116–18
composing of, 64, 69, 106, 107, 294–95
cornet playing, 29, 33, 56, 63–65, 69, 80–83, 100, 150, 187, 190, 252, 255–57, 268
death of, 418
freak music style of, 21, 22, 29–30, 58–59, 64–65, 101, 171, 199, 213, 260, 458
gum disease and deteriorating playing of, 89, 243, 255, 259
jazz breaks of, 82–83, 117
LA’s break with, 112–13, 114, 118–19, 120
LA’s co-compositions with, 64, 69, 106, 107, 149, 265, 457–58
LA’s cornet duets with, 63–64, 82–83, 91, 98, 117
LA’s musical training with, 5, 7–8, 24, 45, 65, 69, 80, 81, 83, 97–98, 107, 109, 110, 118–19, 143, 268, 325, 455–56
LA’s relationship with, 70, 78–83, 98, 100, 107, 112–13, 117–19, 222–23, 225, 255–56, 417–18
popularity and fame of, 24, 40, 60, 68, 101, 109, 131, 149
sacred and secular music mixed by, 63–64
skill and creativity of, 29–31, 33, 59, 63–65, 255–57
use of the term “Creole” by, 22–24
see also King Oliver and His Creole Jazz Band
Oliver, Stella, 17, 45, 119
on King Oliver, 56, 64
Oliver-Ory Band, 18, 22
Ollie Power’s Harmony Syncopators, 101
Ol’ Man River, 265, 345
125 Jazz Breaks for Trumpet (Armstrong), 266–67
One I Love (Belongs to Somebody Else), The, 222
Onward Brass Band, 90
Orendorff, George, 386, 399
organized crime, 226–27, 414–15, 418, 433
Oriental Strut, 208–10, 216, 218, 251, 264, 459
Original Creole Band, 23
Original Dixieland Jazz Band (ODJB), 136
black music adopted by, 24, 134
popularity and success of, 17, 23–24, 63
recordings of, 17, 36, 57, 63, 102, 134
Original Indiana Five, 218
Ormandy, Eugene, 187
Orpheum circuit, 117
Ory, Kid, 22, 56, 103–4, 165, 174, 217, 223, 227, 260, 417–18
compositions of, 282–85
in Hot Five, 206–7, 210, 212, 215, 262, 282–85
on LA, 212
Ory Band, 20, 21, 189, 207, 223
Ory’s Creole Trombone, 282
Osgood, Henry, 122, 135–36, 138
Our Gang films, 385
Overton, Anthony, 75
Pace, Harry, 53, 126–29, 154
Pace and Handy Music Company, 126–27, 154
Page, Oran “Hot Lips,” 374
Palmer, Roy, 89
Panico, Louis, 33, 413–14, 515
Paramount Pictures, 437, 443–44, 446–47
Paris, 286, 376
Pasadena, Calif., 440–41, 513
Paul and His Pals, 426–27
Paul Whiteman and His Orchestra, 138, 280, 327
Paul Whiteman and the Rhythm Boys, 280, 507
Peanut Vendor, 413, 425
Pennies from Heaven (film), 448
P
ennington, Ann, 235
Peoria, Ill., 27
Perez, Manuel, 90
Perkins, Bill, 399
Perry, Katherine, 278
Petit, Buddy, 5, 66, 90, 105, 424, 490
Petrouchka (Stravinsky), 135
Peyton, Dave, 8, 40, 51, 68, 103, 130–31, 133, 141, 180, 183–84, 186, 220, 239, 256, 270, 286, 497
arrangements of, 243
conducting of, 187, 223, 328–29
on LA, 166, 170, 191–93, 201, 203, 216, 266, 268, 273, 280, 290–91
Philadelphia, Pa., 366, 429
Pearl Theater in, 434
Philadelphia Orchestra, 187
Phil Romano and His Rainbow Orchestra, 130
Picasso, Pablo, 408
Picou, Alphonse, 102
Pinkett, Ward, 410, 453
Piron, Armand, 106, 155
Pittsburgh, Pa., 75
Duquesne Garden in, 151
Pittsburgh Courier, 51, 131, 151, 436, 494, 518
player pianos, 176
piano rolls for, 72, 129, 218
playing by ear, 36, 49, 59, 68, 73, 86–87, 91, 92, 133, 255, 381
Play That Thing, 101
Plunkett, Vincent, 278
polka, 150
Pollack, Ben, 280
Pool Room Papa, 346, 352
Poor Little Rich Girl, 194, 237, 371
LA’s solo on, 258, 259
popular music, 43, 146, 154, 267, 270, 271–72, 297
Broadway show tunes as, 72–73, 134
dancing to, 138
domination of 4/4 time in, 88
jazz versions of, 9, 11, 107, 134
Jewish talents in, 135
LA’s transformation of, 9, 11, 354, 365, 368, 383, 394, 396, 408, 411–12, 459–60
publication of, 138
recordings of, 72
post-Reconstruction, 437, 449, 450
Potato Head Blues, 265–68, 281, 352, 404, 504
LA’s solo in, 83, 261, 263–64, 266–68, 272, 460
Potter, Bill, 178
Powers, Ollie, 78, 101, 120, 168, 290–91
Preer, Evelyn, 379
Pretty Baby, 17
Price, George, 367
Price, Sammy, 158, 374
primitivism, 229–33, 239, 240, 241, 242, 268, 272, 337–38, 343, 374, 448, 451
Prince, Henry, 399
Prince, Morgan, 26
Prohibition era, 226
bootleg whiskey in, 229, 390
Puccini, Giacomo, 280
Pullman porters, b, 42, 75
Purdue University, 27
Purvis, Jack, 365
Put ’Em Down Blues, 282
QRS Records, 311–12, 315
race records, 53, 130, 133, 138, 153, 155, 157, 204–11, 263, 355, 360, 376, 383, 438, 453
blues as staple of, 204–5, 372
Rachmaninoff, Sergei, 126
racism, 137, 200
blackface minstrel shows and, 26–30, 453
condescension and prejudice inherent in, 38, 229–33, 239, 240, 354
cultural, 437–39
in films, 28, 182–83, 437, 443–45, 454
LA’s encounters with, 1–3, 28, 328, 416, 419–20, 425–28, 437
stereotypes of, 229–33, 416, 441–43, 448
vigilante terrorism of, 15
violence and rioting of, 43, 390
see also Jim Crow legal system; segregation; slavery
radio broadcasts, 1, 9, 131, 179, 220, 290, 291, 300, 309, 334, 378, 387, 409–10, 419–20
Raeburn, Bruce Boyd, 321
rags-bottles-and-bones men, 56, 57, 197–98, 201, 437–38
ragtime, 4, 26, 57, 58, 65, 72, 95, 106, 109, 275, 401
dances in, 32, 230
syncopation and additive rhythm in, 94
Ragtime Dance, 264
Rainey, Ma, 29, 51–52, 54, 154, 155, 258
Randolph, Manda, 220
Randolph, Zilner, 163, 421–22, 425, 435, 516
Ray Miller and His Orchestra, 131
Razaf, Andy, 345, 352, 434, 513–14
RCA Victor, 434
Reckless Blues, 162
Rector, Eddie, 237, 264, 267
Redd, Bud, 18, 74, 100
Red Heads, 218
Redman, Don, 130, 143, 145, 149–51, 212, 314, 321, 323–25, 352, 392, 415, 490, 510–11
Reeves, Reuben, 103, 238, 328–29, 513
Rena, Kid, 105–6, 151, 210, 418
René, Leon and Otis, 440–41, 513
Reveille, 101, 102
Rhapsody in Black and Blue (film), 437, 443, 444
Rhapsody in Blue (Gershwin), 119, 234, 291, 300, 349–50
Richardson, Jazz Lips, 276, 346, 378
Richardson, Walter, 182, 378, 385
Richie, Martha, 379
Richmond, Va., 60, 63, 421
Riesenfeld, Hugo, 177–78
Riffin’ the Scotch, 411
Riverside Blues, 91
RKO Pictures, 378, 385
RKO vaudeville-movie circuit, 429, 433–34, 437, 455
Roach, W. H., 124
roaring twenties, 245–46
Robertson, Zue, 117, 117
Robeson, Paul, 340
Robichaux, John, 21
Robin, Leo, 278
Robinson, Bill “Bojangles,” 11, 76–77, 77, 155, 220, 230, 247, 259, 336, 338, 345, 353
films of, 385
LA and, 394
stage presence and professionalism of, 350–51, 394, 438
Robinson, Fred, 292, 334
Robinson, J. Russell, 345, 392
rock and roll, 242
Rockin’ Chair, 359–60, 362–63, 413, 515
Rockwell, Tommy, 319, 419, 429, 434
LA managed by, 329–31, 333–37, 358–59, 366, 376, 378, 414
Rodgers, Jimmie, 381
Rogers, A. J., 447
Rogers, Marshall “Garbage,” 324, 333, 367
Roland, Ruth, 436
Rolfe, B. A., 151, 191, 357, 366
Rollins, Sonny, 377, 399
Roppolo, Leon, 307–8, 389, 392
Roseland Orchestra, 124
Ross, Allie, 130
Rosseau, Myrner, 384
Royal, Marshall, 380
Royal Garden Blues, 106–7, 193, 502
Royal Gardens, see Lincoln Gardens
Runnin’ Wild (Johnson and Mack), 344
Russell, Luis, 103, 207, 332, 362
Russell, William, 390, 493, 495–96, 506–7
Russia, 448
Rutledge and Taylor, 379
Saar, Louis Victor, 334
St. Cyr, Johnny, 31, 179, 489, 499, 501
in Hot Five and Hot Seven, 165, 204–5, 208, 215, 260
St. Louis, Mo., 51, 291, 309, 391–92, 433
Chauffeur’s Club in, 429
St.Louis Theater (Powell Hall) in, 429
St. Louis Blues, 50–52, 161–63, 252, 295, 309, 337, 349, 360, 362, 367, 369, 371, 415, 447
St. Louis Tickle, 72
St. Martin’s, 395
Salemme, Antonio, 340
Sam Lanin Orchestra, 130, 151
Sam Morgan’s Jazz Band, 283
Samuels, William, 183
San Antonio, Tex., 426, 427–28
Sanctified Churches, 84–86, 114, 191, 437
San Francisco, Calif., 21–23, 30, 438
California Theater in, 22
Saunders, Red, 179
Save It Pretty Mamma, 325
Savoy Blues, 282–86, 290, 293, 315, 324, 352, 405
Sayles, Emmanuel, 31
Scandals, 235
Schoepp, Franz, 103
Schubert, Franz, 245, 250, 252–53, 255
Schuller, Gunther, 245, 252, 411, 508–9, 511, 518
Schuyler, George, 123
Scott, Harold, 399
Scott, Howard, 142, 154, 156, 303
Screamin’ the Blues, 158
Sea Beast, The (film), 185
Sebastian, Frank, 378–79, 383, 389–90, 412
Sebastian New Cotton Club Orchest
ra, 382, 386
Secret Nine baseball team, 424
See, Hilda, 431–32
segregation, 189, 240
elimination of, 43
in New Orleans, 34, 416
performing and touring under conditions of, 1–2, 3, 36, 52, 60, 131, 145, 228, 327, 378–79, 416, 426–27
“separate but equal” concept and, 231
“White” and “Colored” signs in, 42
Selby, Norman, 411
Seldes, Gilbert, 241, 407, 502
Seven Lively Arts, The (Seldes), 241
Shanghai Shuffle, 143
sharecroppers, 42, 54
sheet music, 5, 20, 50, 54, 72, 73, 107–8, 366, 371
memorizing of, 91
sightreading from, 72
Sheik of Araby, The, 98
Shine, 432, 439
Shoffner, Bob, 103, 243, 256
Shostakovich, Dmitri, 448
Show Girl, 337
Shuffle Along (Sissle and Blake), 72–73, 341–45, 351, 513
Simms, Margaret, 233
Simons, John Henry, 98
Sims, Joe, 212
Sinatra, Frank, 398–99
LA and, 363
Singin’ the Blues, 281, 505
Singleton, Zutty, 58, 59, 300, 334, 337, 340, 361, 512–13
LA and, 286–89, 303, 305, 308, 318, 326, 333
Sioux City, Iowa, 27
Sissle, Noble, 73, 341, 343–44, 347, 513
Skip the Gutter, 313, 315–16, 364, 507, 514
slavery, 38, 41, 105, 437, 452
drumming suppressed in, 93
ecstatic worship associated with, 125–26
Middle Passage and, 449
musical and social legacies of, 3–6, 26–28, 59, 67, 92–94, 305, 339, 354
slide whistle, 99
slow drags, 31, 256
Smart, Byron, 403
Smith, Bessie, 52–54, 59–60, 65, 154, 161, 252, 258, 295, 298–99, 301, 347, 373, 399
LA and, 50, 153, 159–63
Smith, Clara, 154
Smith, Florence, 321
Smith, George, 243
Smith, Hazel, 295
Smith, Jabbo, 301–2, 415
Smith, Joe, 146, 148, 151–52, 154, 160, 248, 274, 347, 496, 509
Smith, Leroy, 270, 339
Smith, Mamie, 53, 154, 182, 215, 258
Smith, Stuff, 302, 392
Smith, Thomas “Sugar Johnny,” 21
Smith, Trixie, 154
Smith, Willie “The Lion,” 50, 58, 72, 75, 76, 194, 237, 271, 317–18, 336, 427
on LA, 98
Smithsonian Collection of Classic Jazz (Williams, ed.), 245
Snag It, 256
Snake Rag, 81, 107
Snow, Valaida, 235, 500–501
Sobbin’ Blues, 99–100
S.O.L. Blues, 262
Some of These Days, 290, 357–58, 367
Song of the Islands, 367, 379, 380
Soper, Tut, 239
Sophisticated Lady, 317
So This Is Jazz (Osgood), 122, 135–36
Sousa, John Philip, 460
South, Eddie, 327
Southern Serenaders, 150
Soviet Union, 448
Spanier, Muggsy, 33–34, 89, 231–32, 239, 304–5
Louis Armstrong, Master of Modernism Page 74
