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A fantastically rare very rare report card for SENIOR HIGH SHOOL FOR Edward (Louis) Smith a Blue Note Trumpeter. He died in Ann Arbor, Michigan and was a big part of the University of Michigan school of music. Edward Louis Smith (May 20, 1931 – August 20, 2016) was an American jazz trumpeter from Memphis, Tennessee. Louis graduated from Manassas High School, where he was a member of the Manassas High School Rhythm Bombers, in 1948. Louis went on to attend Tennessee State University, where he was a member of the famed Tennessee State Collegians, and performed at Carnegie Hall with Lionel Hampton, Billy Eckstein, and Sarah Vaughn. Louis graduated from Tennessee State with a Bachelor of Science in Music and was drafted into the United States Army where he played in the Special Services Band After graduating from Tennessee State University he attended graduate school at the University of Michigan. While studying at the University of Michigan, he played with visiting musicians such as Dizzy Gillespie, Miles Davis, Thad Jones and Billy Mitchell,[1] before going on to play with Sonny Stitt, Count Basie and Al McKibbon, Cannonball Adderley, Percy Heath, Philly Joe Jones, Lou Donaldson, Donald Byrd, Kenny Dorham and Zoot Sims. Smith decided to forgo being a full-time musician to take a job a director of Atlanta’s Booker T. Washington High School. There he recorded two albums for Blue Note. REPORT CARD SIGNED BY PARENT, TEACHER ETC. Smith, Louis 5/20/1931 – 8/20/2016 Ann Arbor Edward Louis Smith was born May 20, 1931 in Memphis, TN to Walter Smith and Betty Little-Smith. Although his father was an ice delivery man, the love of music, specifically Jazz, Blues, and Gospel, was a huge part of Black culture in Memphis, and Walter Smith had big dreams for Louis. Walter purchased an old used trumpet and Louis would practice playing his horn after school every day. Betty liked to tell the story about how Louis would practice playing his horn and how he played so loud and he sounded so bad that the neighbors would complain. One night the police were called to the Smith residence. However, Betty and Walter were able to convince the police that one day Louis would become a great musician, and with that, the police told the neighbors to stop complaining and leave the boy alone because one day he’s going to be great. Walter was determined to help Louis to establish a solid musical foundation, and while Louis was still a teenager, his father would take him to Beale St. for nightly jam sessions where Louis would spend a great deal of time watching, listening, and sitting in with the great jazz and blues musicians of the time. Later, as we all know, this would become his life. Louis graduated from Manassas High School, where he was a member of the Manassas High School Rhythm Bombers, in 1948. Louis went on to attend Tennessee State University, where he was a member of the famed Tennessee State Collegians, and performed at Carnegie Hall with Lionel Hampton, Billy Eckstein, and Sarah Vaughn. Louis graduated from Tennessee State with a Bachelor of Science in Music and was drafted into the United States Army where he played in the Special Services Band. In 1955, following his tour of duty, Louis decided to pursue a more stable career as an educator in Atlanta, Georgia. Since then, Louis has taught music, and served as a band director at Tennessee State University, Kentucky State University, and the University of Michigan. Louis also served as a music teacher, and band instructor with the Ann Arbor Public Schools from 1968 to 1993. Louis signed his first recording contract with Blue Note Records in 1957, and released, «Here Comes Louis Smith.» Shortly after the release of his second album, «Smithville,» he joined the Horace Silver Quintet, in 1958. Louis’ daughter Edwaa Smith was born August 2, 1962. In 1968, while teaching music and band at Forsythe Junior High School in Ann Arbor Michigan, he met teaching colleague, Harriet L. Halpern, aka Lulu. Louis and Lulu were married in 1976. Louis continued to perform and record throughout his teaching career and his marriage to Lulu. In 1990, due to unforeseen circumstances, it became necessary for Louis and Lulu to take temporary custody of their grandchildren Michael D. Collins, Jr. and Tiffany Collins. Louis and Lulu raised their grandchildren for the following two years until turning them over to the care and custody of their dad, who continued on as a single father for the next 15 years, with the assistance of Louis and Lulu each and every summer. Louis served as the Director of Jazz Bands at the University of Michigan from 1971 to 1987. Louis performed as a staff musician with Motown Records, traveled and recorded with greats such as, the Temptations and Marvin Gaye, Ashford and Simpson, and many others. He was featured on the classic R&B recordings, «Papa was a Rolling Stone,» and «What’s Going On.» In 1978, Louis signed his next recording contract with Steeplechase Records, where he released a total of 12 albums. Louis has performed at the Montreux (Switzerland) and Nice (France) Jazz Festivals, as well as, 25 consecutive years at the International Detroit Jazz Festival. Louis taught jazz improvisation in Montreux, Switzerland, Tuebegin, Germany, LaHague, Netherlands, and the Eastman School of Music. Louis has facilitated jazz clinics at numerous high schools and colleges, as well as, the Annual Conference of the International Association of Jazz Educators. Louis is a former president of the Michigan Chapter of the International Association Jazz Educators, and was in charge of adjudications for the Montreux-Detroit Jazz Festival. Louis has performed in live concerts at numerous venues including Carnegie Hall, Birdland, Newport Jazz Festival, Grande Parade du Jazz, St. Petersburg, Moscow, and the Netherlands. In 2005 while vacationing in Hilton Head, Virginia, Louis suffered a massive stroke leaving him partially paralyzed and aphasic. Louis’ career in music and education abruptly came to an end and he and Lulu began the journey down the long road of recovery. Although, Louis was never able to completely regain the power of speech, he nevertheless made some progress in his ability to play his trumpet. For the next eleven years, Lulu was his sole caretaker. On the morning of Saturday, August 20, 2016, it was the last curtain call for Louis. He passed away at the Glacier Hills Rehabilitation Center as he was preparing for his occupational therapy session. Edward L. Smith is survived by his wife Harriet L. Smith (Lulu); daughter, Edwaa Smith; son, Michael D. Collins, Sr.; grandson, Maurice Cumberbatch; grandson, Michael D. Collins, Jr.; granddaughter, Tiffany Collins; and great-granddaughters, Louise «Lulu» Collins and Alexia Cumberbatch. We’re all going to miss you so much Pops. We love you. The family will receive friends on Monday, August 29, 2016 at the Nie Family Funeral Home, 2400 Carpenter Road, Ann Arbor, MI from 4:00 PM until 8:00 PM. A funeral service will take place on Tuesday at the funeral home at 11:00 AM with visitation for one hour prior. . Edward Louis Smith (May 20, 1931 – August 20, 2016) was an American jazz trumpeter from Memphis, Tennessee.[1] After graduating from Tennessee State University he attended graduate school at the University of Michigan. While studying at the University of Michigan, he played with visiting musicians such as Dizzy Gillespie, Miles Davis, Thad Jones and Billy Mitchell,[1] before going on to play with Sonny Stitt, Count Basie and Al McKibbon, Cannonball Adderley, Percy Heath, Philly Joe Jones, Lou Donaldson, Donald Byrd, Kenny Dorham and Zoot Sims.[1] Smith decided to forgo being a full-time musician to take a job a director of Atlanta’s Booker T. Washington High School. There he recorded two albums for Blue Note. The first, Here Comes Louis Smith, originally recorded for the Boston-based Transition Records, featured Cannonball Adderley (then under contract to Mercury) playing under the pseudonym «Buckshot La Funke»,[2] Tommy Flanagan, Duke Jordan, Art Taylor and Doug Watkins. He also replaced Donald Byrd for Horace Silver’s Live at the Newport 1958 set. His playing on the set was one of his best efforts and was described by one critic as «monstrous». He was a prolific composer and successful band director leaving Booker T. Washington to become director of the Jazz Ensemble at the University of Michigan and a teacher in Ann Arbor’s public school system. He later recorded for the SteepleChase label.[3] Smith suffered a stroke in 2006, and was seen occasionally enjoying live jazz in the Detroit/Ann Arbor area, but did not return to performing.[4] His cousin Booker Little was also a trumpeter. Smith died on August 20, 2016, at age 85.[5] Contents1Discography1.1As leader1.2As sideman2ReferencesDiscographyAs leader1958: Here Comes Louis Smith (Blue Note)1958: Smithville (Blue Note)1978: Just Friends (SteepleChase, 1978)1979: Prancin’ (SteepleChase)1990: Ballads for Lulu (SteepleChase)1994: Silvering (SteepleChase)1994: Strike up the Band (SteepleChase)1995: The Very Thought of You (SteepleChase)1996: I Waited for You (SteepleChase)1997: There Goes My Heart (SteepleChase)2000: Once in a While (SteepleChase)2000: Soon (SteepleChase)2001: The Bopsmith (SteepleChase)2004: Louisville (SteepleChase)As sidemanWith Kenny Burrell Swingin’ (Blue Note, 1956 [rel. 1980])Blue Lights Volume 1 (Blue Note, 1958)Blue Lights Volume 2 (Blue Note, 1958)With Horace Silver Live at Newport ’58 (Blue Note, 1958 [2003])With Booker Little and Young Men From Memphis Down Home Reunion (United Artists, 1959 Fresh Sounds 1642) Many factors have shaped jazz in Ann Arbor, but trumpeter and educator Louis Smith has to be at the top of the list for modern jazz and education. Sean Dobbins, Rick Roe, Justin Walter and Ingrid Racine will testify to his grace, wisdom, strength and total honesty as a teacher. He encouraged a professional attitude and exponential musical growth from middle school students. His students could play rings around others years older! Jazz fans recognized the presence of mastery when Louis put his horn to his lips whether to play lightning speed bebop or a languid, loving ballad. Louis represented Ann Arbor around the globe through his recordings for Steeplechase Records and participation at International Association Of Jazz Educator Conferences. Even with these accomplishments, I remember that Louis Smith was taking trumpet lessons after retirement from the Ann Arbor Public Schools. He wanted to improve his «long tones» and strengthen his embouchure. His presence on the bandstand was warm, inclusive and intelligent. He never talked down to you. Yet, you always learned something from Louis Smith and Louis was always learning more about his craft. Even after his stroke, Louis continued to learn and share life lessons. His determination to live with dignity, purpose and creativity continued with great support from his generous, supportive wife Lulu and the University Of Michigan Aphasia team. Louis and Lulu attended UMS, Kerrytown and Detroit Jazz Festival events after his stroke. If Louis couldn’t play with his former bravado, he could listen and love the music along with others. And, without fail, the concert host would acknowledge the presence of greatness in the house: Louis Smith. Louis, who was always attired in first-class style, would then raise his big hand, wave, grin and make eye contact with music friends. Despite aphasia, Louis Smith communicated. Louis’ legacy lives on with his legion of students, his impressive Blue Note and Steeplechase Records, his contributions to jazz education on a national level and his beautiful smile that included twinkling eyes. I’ll never forget him. If you ever met him or spent time with him, you’ll agree with me. If you haven’t heard his music, youtube has many classic Blue Note sessions available. Listen and learn why trumpeters such as Nicholas Paytonand Brian Lynch count Louis Smith as a significant influence. His influence on jazz in Ann Arbor was beyond significant. It was penultimate. Louis Smith Discography1958 (age 27)Louis Smith QuintetLouis Smith, trumpet; Cannonball Adderley as «Buckshot La Funke», alto sax; Duke Jordan, piano; Doug Watkins, bass; Art Taylor, drums. Audio Sonic Sound, NYC, February 4, 1958 Tribute To BrownieTransition TRLP 30; Blue Note 45-1701, BLP 1584Brill’s BluesTransition TRLP 30; Blue Note 45-1700, BLP 1584South SideTransition TRLP 30; Blue Note BLP 1584* Transition TRLP 30 Here Comes Louis Smith (not released)* Blue Note BLP 1584, CDP 7243 8 52438 2 0 Here Comes Louis Smith* Blue Note 45-1701 Louis Smith – Tribute To Brownie / Star Dust* Blue Note 45-1700 Louis Smith – Brill’s Blues, Part 1 & 2 Louis Smith QuintetLouis Smith, trumpet; Cannonball Adderley as «Buckshot La Funke», alto sax #1,3; Tommy Flanagan, piano; Doug Watkins, bass; Art Taylor, drums. Audio Sonic Sound, NYC, February 9, 1958 1.AndeTransition TRLP 30; Blue Note BLP 15842.Star DustTransition TRLP 30; Blue Note 45-1701, BLP 15843.Val’s BluesTransition TRLP 30; Blue Note BLP 1584* Transition TRLP 30 Here Comes Louis Smith (not released)* Blue Note BLP 1584, CDP 7243 8 52438 2 0 Here Comes Louis Smith* Blue Note 45-1701 Louis Smith – Tribute To Brownie / Star Dust Louis Smith QuintetLouis Smith, trumpet; Charlie Rouse, tenor sax; Sonny Clark, piano; Paul Chambers, bass; Art Taylor, drums. Van Gelder Studio, Hackensack, NJ, March 30, 1958 tk.1Bakin’ (aka Tunesmith)Blue Note (J) BNJ-61008/10tk.8There Will Never Be Another YouBlue Note BLP 1594tk.11Au PrivaveBlue Note (J) BNJ-61008/10tk.13SmithvilleBlue Note 45-1715, BLP 1594tk.16Embraceable YouBlue Note BLP 1594tk.17Later-tk.18Wetu-* Blue Note (J) BNJ-61008/10 Various Artists – The Other Side Of Blue Note 1500 Series* Blue Note BLP 1594 Louis Smith – Smithville* Blue Note 45-1715 Louis Smith – Smithville, Part 1 & 2 1978 (age 47)Louis Smith QuintetLouis Smith, trumpet, flugelhorn; George Coleman, tenor sax; Harold Mabern, piano; Jamil Nasser, bass; Ray Mosca, drums. March 19, 1978 Blues For JimmySteepleChase (D) SCS-1096Lulu-Vaughn’s Bounce-Quiet NightsSteepleChase (D) SCCD-31096I Remember CliffordSteepleChase (D) SCS-1096Oleo-Minor Bit-* SteepleChase (D) SCS-1096, SCCD-31096 Louis Smith Quintet – Just Friends 1979Louis Smith QuintetLouis Smith, trumpet, flugelhorn; Junior Cook, tenor sax; Roland Hanna, piano; Sam Jones, bass; Billy Hart, drums. April 13, 1979 One For NilsSteepleChase (D) SCS-1121Chanson De Louise-Ryan’s Groove-Fats-Prancin’-I Can’t Get Started-Chanson De Louise #2SteepleChase (D) SCCD-31121* SteepleChase (D) SCS-1121, SCCD-31121 Louis Smith Quintet – Prancin’ 1990 (age 59)Louis Smith QuartetLouis Smith, trumpet; Jim McNeely, piano; Bob Cranshaw, bass; Keith Copeland, drums. March 22, 1990 A Portrait Of JennySteepleChase (D) SCCD-31268Lulu-Time After Time-Polkadots And Moonbeams-Old Folks-Smoke Gets In Your Eyes-Laura-Cry Me A River-Don’t Blame Me-* SteepleChase (D) SCCD-31268 Louis Smith Quartet – Ballads For Lulu 1991 (age 60)Louis Smith SextetLouis Smith, trumpet, flugelhorn; Vincent Herring, alto sax; Junior Cook, tenor sax; Kevin Hays, piano; Steve LaSpina, bass; Leroy Williams, drums. SteepleChase Digital Studio, August, 1991 I Hear A RhapsodySteepleChase (D) SCCD-31294It’s All Right-Don’t Misunderstand-Edwaa-Stablemates-Lover-Night And Day-Strike Up The Band-* SteepleChase (D) SCCD-31294 Louis Smith Sextet – Strike Up The Band 1993Louis Smith QuintetLouis Smith, trumpet, flugelhorn; Von Freeman, tenor sax; Jodie Christian, piano; Eddie De Haas, bass; Wilbur Campbell, drums. SteepleChase Digital Studio, April, 1993 I’ll Remember AprilSteepleChase (D) SCCD-31336Au Privave-Roadies-You Don’t Know What Love Is-Body And Soul-Silvering-Stella By Starlight-Blues For Alice-* SteepleChase (D) SCCD-31336 Louis Smith Quintet – Silvering 1994Louis Smith – Jodie Christian DuoLouis Smith, trumpet; Jodie Christian, piano. SteepleChase Digital Studio, October, 1994 My IdealSteepleChase (D) SCCD-31361Don’t Take Your Love Away From Me-Mihoko’s Tune-I Will Wait For You-But Not For Me-A Cottage For Sale-The Very Thought Of You-A Child Is Born-I Should Care-* SteepleChase (D) SCCD-31361 Louis Smith & Jodie Christian – The Very Thought Of You 1995Louis Smith QuintetLouis Smith, trumpet; Vincent Herring, alto, tenor sax; Richard Wyands, piano; Dennis Irwin, bass; Kenny Washington, drums. SteepleChase Digital Studio, November, 1995 DigSteepleChase (D) SCCD-31385Solar-I Waited For You-Walkin’-Half Nelson-Vierd Blues-Milestones-Bye Bye Blackbird-* SteepleChase (D) SCCD-31385 Louis Smith Quintet – I Waited For You 1997Louis Smith QuintetLouis Smith, trumpet; Bruce Williams, alto sax; George Cables, piano; Jay Anderson, bass; Al Harewood, drums. SteepleChase Digital Studio, March, 1997 SGBSteepleChase (D) SCCD-31415Ray’s Idea-Abe’s Axe-Prince Albert-You Don’t Know What Love Is-Poor Butterfly-Blue Bossa-There Goes My Heart-* SteepleChase (D) SCCD-31415 Louis Smith Quintet – There Goes My Heart Louis Smith QuintetLouis Smith, trumpet; Jimmy Greene, tenor sax; Andy LaVerne, piano; Jay Anderson, bass; Billy Drummond, drums. September, 1997 Mike2SteepleChase (D) SCCD-31442Soon-Angel Eyes-Autumn Leaves-Room 1426-I Should Care-All God’s Children Got Rhythm-* SteepleChase (D) SCCD-31442 Louis Smith – Soon 1998Louis Smith QuartetLouis Smith, trumpet; Doug Raney, guitar; Hugo Rasmussen, bass; Keith Copeland, drums. Audiophon Recording Studio, Allerod, Denmark, May, 1998 Just FriendsSteepleChase (D) SCCD-31464Once In A While-Over The Rainbow-Tune Up-Don’t Blame Me-Once I Had A Secret Love-Sandu-There Is No Greater Love-* SteepleChase (D) SCCD-31464 Louis Smith – Once In A While 2000Louis Smith QuintetLouis Smith, trumpet; Jon Gordon, alto sax; Michael Weiss, piano; Jay Anderson, bass; Joe Farnsworth, drums. April, 2000 Val’s BluesSteepleChase (D) SCCD-31489For Heaven’s Sake-The Way You Look Tonight-I Love You-Ed’s Love-A Ghost Of A Chance-Sweet Clifford-* SteepleChase (D) SCCD-31489 Louis Smith – The Bopsmith 2003 (age 72)Louis Smith QuintetLouis Smith, trumpet; Jon Gordon, alto sax; Michael Cochrane, piano; Calvin Hill, bass; Jeff Hirshfield, drums. April, 2003 BuzzySteepleChase (D) SCCD-31552Isfahan-Algo Bueno-I’ll Close My Eyes-Ande-For All We Know-Days Of Wine And Roses-Scrapple From The Apple-* SteepleChase (D) SCCD-31552 Louis Smith Quintet – Louisville Louis Smith was a talented, but underrecorded, straight-ahead bop trumpeter who led two dates in the ’50s before retiring to teach at the University of Michigan and the nearby Ann Arbor Public School system. For most of his career, he remained a teacher, making a brief comeback in the late ’70s before returning to education. It wasn’t until the mid-’90s that he began a recording career in earnest, turning out a series of albums for the Steeplechase label. A native of Memphis, TN, Louis Smith began playing trumpet as a teenager. He graduated high school with a scholarship to Tennessee State University, where he studied music and became a member of the Tennessee State Collegians. Following his college graduation, Smith did a little graduate work at Tennessee before transferring to the University of Michigan, where he studied with professor Clifford Lillya. At Michigan, he had opportunities to play with traveling musicians, including Miles Davis and Dizzy Gillespie. In January 1954, Smith was drafted into the Army, spending a little over a year-and-a-half in his tour of duty. Once he left the Army in late 1955, he began teaching at the Booker T. Washington High School in Atlanta, GA. While teaching at Booker T. Washington, Smith continued playing bop and hard bop in clubs, and was able to jam with Cannonball Adderley, Kenny Dorham, Donald Byrd, Lou Donaldson, Zoot Sims, and Philly Joe Jones, among many others. In 1956, he made his recording debut as a sideman on Kenny Burrell’s Swingin’. A year later, he had the opportunity to lead his own recording session for Tom Wilson’s Boston-based label, Transition. He assembled a quintet featuring Cannonball Adderley (who performed under the pseudonym Buckshot La Funke), bassist Doug Watkins, drummer Art Taylor, and pianists Duke Jordan and Tommy Flanagan, who alternated on the date. Transition went out of business before the label had the chance to release the record. Blue Note chief Alfred Lion purchased all the Transition masters and signed Smith to an exclusive contract, releasing the session as Here Comes Louis Smith. During 1958, the trumpeter played on two Blue Note sessions — Kenny Burrell’s Blue Lights and Booker Little’s Booker Little 4 and Max Roach — in addition to leading the date that became Smithville. That brief burst of activity turned out to be his only recording dates for 20 years. Smith moved back to the Ann Arbor, MI area, where he taught at the University of Michigan and public schools. Between 1978 and 1979, he cut a pair of albums — Just Friends and Prancin’ — before returning to teaching. A decade later, Smith began his recording career in earnest. After playing on Mickey Tucker’s Sweet Lotus Lips in 1989, he signed with Steeplechase and recorded Ballads for Lulu in 1990. He didn’t return to the studio for another four years, but he did record two albums — Silvering and Strike Up the Band — in 1994. The Very Thought of You appeared in 1995. A year later, Smith recorded I Waited for You, which was followed by There Goes My Heart in 1997. Retired from teaching, Smith suffered a stroke in 2006, and is in convalescence at home, but is recovering Here Comes Louis Smith is the debut album by American trumpeter Louis Smith recorded in 1958 and released on the Blue Note label.[1] Originally recorded for the Transition label, the company went out of business shortly afterwards and before the recording could be released. The album masters were acquired by Blue Note’s Alfred Lion.[2] Contents1Reception2Track listing3Personnel4ReferencesReceptionProfessional ratingsReview scoresSourceRatingAllmusic4.5/5 stars[3]The Allmusic review by Scott Yanow awarded the album 4½ stars and stated: «Louis Smith had a brilliant debut on this Blue Note album, his first of two before becoming a full-time teacher.»[3] Track listingAll compositions by Louis Smith except as indicated»Tribute to Brownie» (Duke Pearson) – 6:38″Brill’s Blues» – 8:22″Ande» – 6:42″Stardust» (Hoagy Carmichael) – 5:20″South Side» – 8:38″Val’s Blues» – 6:37PersonnelLouis Smith – trumpetCannonball Adderley (credited as «Buckshot La Funke») – alto saxophone (tracks 1-3, 5 & 6)Tommy Flanagan (tracks 3, 4 & 6), Duke Jordan (tracks 1, 2 & 5) – pianoDoug Watkins – bassArt Taylor – drums Louis Smith was a talented but under-recorded straight-ahead bop trumpeter who led two dates in the ’50s before retiring to teach at the University of Michigan and the nearby Ann Arbor Public School system. For most of his career, he remained a teacher, making a brief comeback in the late ’70s before returning to education. It wasn’t until the mid-’90s that he resumed a recording career in earnest, turning out a series of albums for the Steeplechase label. A native of Memphis, Tennessee, Smith began playing trumpet as a teenager. He graduated high school with a scholarship to Tennessee State University, where he studied music and became a member of the Tennessee State Collegians. Following his college graduation, Smith did a little graduate work at Tennessee before transferring to the University of Michigan, where he studied with professor Clifford Lillya. At Michigan, he had opportunities to play with traveling musicians, including Miles Davis and Dizzy Gillespie. In January 1954, Smith was drafted into the Army, spending a little over a year and a half in his tour of duty. Once he left the Army in late 1955, he began teaching at the Booker T. Washington High School in Atlanta, Georgia. While teaching at Booker T. Washington, Smith continued playing bop and hard bop in clubs, and was able to jam with Cannonball Adderley, Kenny Dorham, Donald Byrd, Lou Donaldson, Zoot Sims, and Philly Joe Jones, among many others. Here Comes Louis SmithIn 1956, he made his recording debut as a sideman on Kenny Burrell’s Swingin’. A year later, he had the opportunity to lead his own recording session for Tom Wilson’s Boston-based Transition label. He assembled a quintet featuring Cannonball Adderley (who performed under the pseudonym Buckshot La Funke), bassist Doug Watkins, drummer Art Taylor, and pianists Duke Jordan and Tommy Flanagan, who alternated on the date. Transition went out of business before the label had the chance to release the record. Blue Note chief Alfred Lion purchased all the Transition masters and signed Smith to an exclusive contract, releasing the session as Here Comes Louis Smith. During 1958, the trumpeter played on two Blue Note sessions — Kenny Burrell’s Blue Lights and Booker Little’s Booker Little 4 and Max Roach — in addition to leading the date that became Smithville. That brief burst of activity turned out to be his only recording dates for 20 years.Just FriendsSmith moved back to the Ann Arbor, Michigan area, where he taught at the University of Michigan and public schools. Between 1978 and 1979, he cut a pair of albums — Just Friends and Prancin’ — before returning to teaching. A decade later, Smith resumed his recording career in earnest. After playing on Mickey Tucker’s Sweet Lotus Lips in 1989, he signed with Steeplechase and recorded Ballads for Lulu in 1990. He didn’t return to the studio for another four years, but he did record two albums — Silvering and Strike Up the Band — in 1994. The Very Thought of You appeared in 1995. A year later, Smith recorded I Waited for You, which was followed by There Goes My Heart in 1997. Retired from teaching, Smith suffered a stroke in 2006, and subsequently became a regular presence among audience members at Southeastern Michigan jazz venues but did not return to performing or recording. He died in Ann Arbor in August 2016. An 80th birthday tribute planned for jazzman Louis Smith Saturday night will include plenty of great bebop and, of course, a cake.Smith, the much-loved Ann Arbor trumpeter and music educator, would love it if friends would stop by and say hello at the concert, put on by the Paul Keller Ensemble. The group plans to perform some of Smith’s compositions, as well as other works at their new home, the Zal Gaz Grotto Club. A stroke in 2005 slowed Smith, but didn’t stop him, said his wife, LuLu Smith, herself recovering from some recent surgery. Rehabilitation continues, and although he has difficulty speaking, he is able to walk without a cane, and has also been able to sing. “We’re just thrilled he’s doing as well as he can at 80 and after that severe stroke. It was completely debilitating to him, and he’s made a miraculous recovery,” said Keller. PREVIEWLouis Smith 80th Birthday Tribute Who: The Paul Keller Ensemble (bassist Paul Keller, pianist Duncan McMillan, drummer Sean Dobbins, trumpeter Paul Finkbeiner, saxophonist Doug Horn, trombonist Chris Smith and vocalist Sarah D’Angelo).What: Birthday celebration for educator, recording artist and trumpeter Louis Smith. Tunes by Smith, Dizzy Gillespie, Count Basie, Duke Ellington, Art Blakey and more. Sarah D’Angelo will sing gems from the Great American Songbook.Where: Zal Gaz Grottolub, 2070 W. Stadium Blvd.When: 8-11:30 p.m. Saturday, May 28.How much: $10.Besides bassist Keller, the ensemble consists of pianist Duncan McMillan, drummer Sean Dobbins, trumpeter Paul Finkbeiner, saxophonist Doug Horn and trombonist Chris Smith. Sarah D’Angelo, from Belleville, is the group’s new vocalist (long-time singer Susan Chastain has relocated to Florida).“This is really just a chance for everybody to meet and greet Louis and wish him a happy birthday personally. We’ll have a cake, we’ll play a few of his tunes, but it’s not going to be a whole night of Louis Smith music. Sarah is going to do some of her stuff, Paul Finkbeiner will be playing trumpet, and I know that’s going to make Louis happy, to have a good jazz trumpeter there.” The PKE will play a variety of original sextet charts by Keller and his bandmates in the classic jazz style. Selections will include tunes by Smith, Dizzy Gillespie, Count Basie, Duke Ellington, Art Blakey and the Jazz Messengers. D’Angelo will sing familiar gems from the Great American Songbook This show will be the first chance many area jazz fans will have to hear D’Angelo, Keller noted. Louis-Smith.jpgLouis Smith was a recording artist for the prestigious Blue Note label. During his career, Smith, a former artist on the Blue Note label (among his albums are the acclaimed “Here Comes Louis Smith” and “Smithville”), performed with artists such as Miles Davis, Blakey and Gillespie. After he retired from performing, he settled in Ann Arbor, where he taught for many years at the University of Michigan and in the Ann Arbor public schools, influencing countless young musicians.“We will be playing a few of his famous compositions from some of his Blue Note records from the late ‘50s that he made with Cannonball Adderly, Art Taylor and Paul Chambers,” Keller added. In addition, two of the band members — Chris Smith and Sean Dobbins — are former bandmates of Smith and plan to offer short testimonials. “In the jazz pantheon, Louis Smith is right there as one of the greats. He was touted as being the next Clifford Brown. He’s dyed in the wool bebop,” Keller said.” “(He) could have lived anywhere and become a major trumpet star in New York or Paris or wherever, but he chose to live in Ann Arbor. … He wanted to come off the road and teach — he decided to make a positive contribution to the lives of thousands of music students. Ann Arbor has been fortunate to have had him living in this area for 30 years. He’s a pillar of our community.” Introduction:On third and final day in New York City in Autumn 1958, after having washeddishes for a week on the ocean liner Oslofjord, we went to the Village Vanguard tohear Horace Silver’s group, and it turned out to be the same personnel as listedbelow, including Louis Smith on trumpet. I remember it was a great night, and thatSilver was mightily impressed by two Norwegian teenagers with a bunch of 78sbought at Commodore Record Shop had come to listen to him!History:Studied at Tennessee State University, majoring in music, and toured with theTennessee State Collegians, performing in New York at Carnegie Hall. Heeventually transferred to the University of Michigan where he met many of themusicians on the fertile Detroit scene. After playing with an army band (1954-55)he taught at Booker T. Washington High School in Atlanta , and that’s where hewas when he came to New York in February 1957 to record the Transition albumthat would become his Blue Note debut. After several recording sessions (seebelow), and working briefly with Horace Silver’s group, he returned to teaching,University of Michigan and Ann Arbor’s public school system (ref. New GroveDictionary of Jazz). Recorded again in the period 1978-2003. Suffered a stroke in2006.3LOUIS SMITH SOLOGRAPHYLOUIS SMITH Hackensack, NJ. Feb. 4, 1957Louis Smith (tp), Cannonball “Buckshot La Funke” Adderley (as), Duke Jordan(p), Doug Watkins (b), Art Taylor (dm).Three titles were recorded for Transition, later transferred to Blue Note, issued as“Here Comes Louis Smith”:Tribute To Brownie Solo with (dm) 32 bars. Break tosolo 3 choruses of 32 bars. (FM)Brill’s Blues Solo 8+48 bars. (S)South Side Solo 3 choruses of 32 bars. (M)Hackensack, NJ. Feb. 9, 1957Same except Tommy Flanagan (p) replaces Duke Jordan. Three titles:Ande Solo 4 choruses of 32 bars.2 choruses 4/4 with (dm/as). (F)Star Dust Solo 64 bars to long coda. (S)Val’s Blues Solo 9 choruses of 12 bars.6 choruses 4/4 with (dm). (F)Here comes one of the most prominent and least remembered of the many finetrumpeters of the late fifties! Louis Smith has all the necessary qualities to make itreal big. Starting out with a well chosen “… Brownie”, he plays three brilliantchoruses. Then after a brief ensemble start, he goes into the slow blues with fivechoruses on “Brill’s …”, beautiful but with a few not quite perfect choices. Finesoloing also on the medium “… Side”. Stopping after three tunes and waiting fivedays with a change from one sparkling pianist to another, three more items areproduced. A tough start with a very fast “Ande”, actually “Indiana”, but fourchoruses are played with great ease. Then a conventional ballad, “Stardust”, playedas a solo feature with great sensitivity and beauty. Listening to this mature playingit is quite understandable that he got this first opportunity to record, and that laterBlue Note picked it up. Closing with the very fast “Val’s …”, it is, if not before,evident why the album title was chosen; a jam session between the two would nothave been an easy ride even for the legendary Clifford Brown!LOUIS SMITH Hackensack, NJ. March 30, 1958Louis Smith (tp), Charlie Rouse (ts), Sonny Clark (p), Paul Chambers (b), ArtTaylor (dm).Seven titles were recorded for Blue Note, issued as “Smithville”:tk1 Tunesmith / Bakin’ Solo 3 choruses of 32 bars. (FM)tk8 There Will Never Be Another You Solo 64 bars. (FM)There Will Never Be Another You (mono) As above. (FM)tk11 Au Privave Solo 6 choruses of 12 bars.4 choruses 4/4 with (dm). (M)tk13 Smithville Solo 8+12 bars.Solo 3 choruses of 12 bars. (S)tk16 Embraceable You Soli 64 and 16 bars to coda. (S)tk17 Later Break 4 bars to solo3 choruses of 36 bars. (F)tk18 Wetu Solo 3 choruses of 64 bars. (F)It took a year for Blue Note to organize LS’ second recording session. Finevariation of tunes, and LS continues to show how great he was. It should bementioned that he was the nephew of the great trumpeter Booker Little whotragically passed away so early, there were obviously great talent in the family. Heplays sparkling three choruses in very high tempo on “Bakin’”, a “Lover ComeBack To Me”-clone and on “Later”. Excellent playing also in the medium tempi.Magnificent slow blues on “Smithville”. Finally there is a ballad here, and theycannot be played better than this, “Embraceable …” with a big, round, soft andbeautiful tone, and occasionally the image of Brownie comes to one’s mind. Thissession can definitely be compared successfully with the first one.4KENNY BURRELL NYC. May 14, 1958Louis Smith (tp), Junior Cook (ts-1,2,8,9,10,12,14), Tina Brooks (ts-1,2,8,10,12,14), Duke Jordan (p-1,2,4,8,9), Bobby Timmons (p-10,11,12,14), Kenny Burrell(g), Sam Jones (b), Art Blakey (dm).Eight titles were recorded for Blue Note (tk11 “Autumn In New York” withoutLS), issued as”Blue Lights”:tk1 I Never Knew Solo 5 choruses of 32 bars. (F)tk2 Scotch Blues Solo 4 choruses of 12 bars. (FM)tk4 The Man I Love Solo 64 bars. (FM)tk8 Yes Baby Solo 3 choruses of 12 bars. (S)tk9 Phinupi Solo 4 choruses of 32 bars. (F)tk10 Chuckin’ Solo 3 choruses of 32 bars.Solo 4 bars. (FM)tk12 Rock Salt Solo 5 choruses of 12 bars. (SM)tk14 Caravan With ens 1 to solo 2 chorusesof 64 bars. With ens to coda. (FM)One cannot but marvel at the quality of LS’ trumpet playing! From the very firstbar of the fast “… Knew” to the finale of “Caravan” he plays without weak points,always with great competence and inspiration. All items here are highlynoteworthy, just go ahead! For a particular highlight dig the slow blues on “YesBaby”!Long items, enough blowing space for everybody add to the pleasure. If LSonly had left us this session, he would have become a legend.HORACE SILVER QUINTET Newport, Rh. I., July 6, 1958Louis Smith (tp), Junior Cook (ts), Horace Silver (p), Gene Taylor (b), Louis Hayes(dm).Four titles were recorded at the Newport Jazz Festival, issued as “Horace SilverLive At Newport ‘58”:Tippin’ Solo 4 choruses of 32 bars.3 choruses chase with (dm/ts/ens). (FM)The Outlaw Solo 3 choruses of 54 bars.Solo 6 bars. (FM)Senor Blues Solo 24 bars. (SM)Cool Eyes Solo 3 choruses of 32 bars. (FM)Should like to have had a studio session with this group, but there is nothing wrongwith this festival performance, except too strongdrums. Excellent trumpet playingon all items.YOUNG MEN FROM MEMPHIS NYC. Jan. 30, 1959Booker Little, Louis Smith (tp), Frank Strozier (as), George Coleman (ts), PhineasNewborn (p), Calvin Newborn (g), George “Jamil Nasser” Joyner (b), CharlesCrosby (dm).Two titles were recorded for United Artists, issued as “Down Home Reunion”:Blue ‘N’ Boogie Solo 5 choruses of 12 bars(2nd (tp)-solo). (F)stereo Things Ain’t What They Used To Be Solo 24 bars(2nd (tp)-solo). (SM)mono Things Ain’t What They Used To Be As above. (SM)LS has decided to return home and is not heard from in almost twenty years. Greatshame because he shows that he could play with the greatest of his contemporaries.On this particular session he is good enough, but it has to be admitted; his morefamous nephew shows him some things to think about… Postscript of Sept. 2021:A mono take of “Things …” exists, another fine trumpet solo by LS!The next Louis Smith session takes place in 1978, and the solography thus stopsconveniently here. Jazz is a music genre that originated in the African-American communities of New Orleans, Louisiana, in the late 19th and early 20th centuries, with its roots in blues and ragtime.[1][2][3][4] Since the 1920s Jazz Age, it has been recognized as a major form of musical expression in traditional and popular music. Jazz is characterized by swing and blue notes, complex chords, call and response vocals, polyrhythms and improvisation. Jazz has roots in European harmony and African rhythmic rituals.[5][6] As jazz spread around the world, it drew on national, regional, and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. But jazz did not begin as a single musical tradition in New Orleans or elsewhere.[7] In the 1930s, arranged dance-oriented swing big bands, Kansas City jazz (a hard-swinging, bluesy, improvisational style), and gypsy jazz (a style that emphasized musette waltzes) were the prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging «musician’s music» which was played at faster tempos and used more chord-based improvisation. Cool jazz developed near the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines.[8] The mid-1950s saw the emergence of hard bop, which introduced influences from rhythm and blues, gospel, and blues to small groups and particularly to saxophone and piano. Modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation, as did free jazz, which explored playing without regular meter, beat and formal structures. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock music’s rhythms, electric instruments, and highly amplified stage sound. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay. Other styles and genres abound in the 21st century, such as Latin and Afro-Cuban jazz. Etymology and definitionMain article: Jazz (word) American jazz composer, lyricist, and pianist Eubie Blake made an early contribution to the genre’s etymology.The origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm, a slang term dating back to 1860 meaning «pep, energy».[9] The earliest written record of the word is in a 1912 article in the Los Angeles Times in which a minor league baseball pitcher described a pitch which he called a «jazz ball» «because it wobbles and you simply can’t do anything with it».[9] The use of the word in a musical context was documented as early as 1915 in the Chicago Daily Tribune.[10] Its first documented use in a musical context in New Orleans was in a November 14, 1916, Times-Picayune article about «jas bands».[11] In an interview with National Public Radio, musician Eubie Blake offered his recollections of the slang connotations of the term, saying: «When Broadway picked it up, they called it ‘J-A-Z-Z’. It wasn’t called that. It was spelled ‘J-A-S-S’. That was dirty, and if you knew what it was, you wouldn’t say it in front of ladies.»[12] The American Dialect Society named it the Word of the 20th Century.[13] Albert Gleizes, 1915, Composition for «Jazz» from the Solomon R. Guggenheim Museum, New YorkJazz is difficult to define because it encompasses a wide range of music spanning a period of over 100 years, from ragtime to rock-infused fusion. Attempts have been made to define jazz from the perspective of other musical traditions, such as European music history or African music. But critic Joachim-Ernst Berendt argues that its terms of reference and its definition should be broader,[14] defining jazz as a «form of art music which originated in the United States through the confrontation of the Negro with European music»[15] and arguing that it differs from European music in that jazz has a «special relationship to time defined as ‘swing'». Jazz involves «a spontaneity and vitality of musical production in which improvisation plays a role» and contains a «sonority and manner of phrasing which mirror the individuality of the performing jazz musician».[14] A broader definition that encompasses different eras of jazz has been proposed by Travis Jackson: «it is music that includes qualities such as swing, improvising, group interaction, developing an ‘individual voice’, and being open to different musical possibilities».[16] Krin Gibbard argued that «jazz is a construct» which designates «a number of musics with enough in common to be understood as part of a coherent tradition».[17] Duke Ellington, one of jazz’s most famous figures, said, «It’s all music.»[18] ElementsImprovisationMain article: Jazz improvisationAlthough jazz is considered difficult to define, in part because it contains many subgenres, improvisation is one of its defining elements. The centrality of improvisation is attributed to the influence of earlier forms of music such as blues, a form of folk music which arose in part from the work songs and field hollers of African-American slaves on plantations. These work songs were commonly structured around a repetitive call-and-response pattern, but early blues was also improvisational. Classical music performance is evaluated more by its fidelity to the musical score, with less attention given to interpretation, ornamentation, and accompaniment. The classical performer’s goal is to play the composition as it was written. In contrast, jazz is often characterized by the product of interaction and collaboration, placing less value on the contribution of the composer, if there is one, and more on the performer.[19] The jazz performer interprets a tune in individual ways, never playing the same composition twice. Depending on the performer’s mood, experience, and interaction with band members or audience members, the performer may change melodies, harmonies, and time signatures.[20] In early Dixieland, a.k.a. New Orleans jazz, performers took turns playing melodies and improvising countermelodies. In the swing era of the 1920s–’40s, big bands relied more on arrangements which were written or learned by ear and memorized. Soloists improvised within these arrangements. In the bebop era of the 1940s, big bands gave way to small groups and minimal arrangements in which the melody was stated briefly at the beginning and most of the piece was improvised. Modal jazz abandoned chord progressions to allow musicians to improvise even more. In many forms of jazz, a soloist is supported by a rhythm section of one or more chordal instruments (piano, guitar), double bass, and drums. The rhythm section plays chords and rhythms that outline the composition structure and complement the soloist.[21] In avant-garde and free jazz, the separation of soloist and band is reduced, and there is license, or even a requirement, for the abandoning of chords, scales, and meters. TraditionalismSince the emergence of bebop, forms of jazz that are commercially oriented or influenced by popular music have been criticized. According to Bruce Johnson, there has always been a «tension between jazz as a commercial music and an art form».[16] Regarding the Dixieland jazz revival of the 1940s, Black musicians rejected it as being shallow nostalgia entertainment for white audiences.[22][23] On the other hand, traditional jazz enthusiasts have dismissed bebop, free jazz, and jazz fusion as forms of debasement and betrayal. An alternative view is that jazz can absorb and transform diverse musical styles.[24] By avoiding the creation of norms, jazz allows avant-garde styles to emerge.[16] Diversity in jazzJazz and raceFor some African Americans, jazz has drawn attention to African-American contributions to culture and history. For others, jazz is a reminder of «an oppressive and racist society and restrictions on their artistic visions».[25] Amiri Baraka argues that there is a «white jazz» genre that expresses whiteness.[26] White jazz musicians appeared in the Midwest and in other areas throughout the U.S. Papa Jack Laine, who ran the Reliance band in New Orleans in the 1910s, was called «the father of white jazz».[27] The Original Dixieland Jazz Band, whose members were white, were the first jazz group to record, and Bix Beiderbecke was one of the most prominent jazz soloists of the 1920s.[28] The Chicago Style was developed by white musicians such as Eddie Condon, Bud Freeman, Jimmy McPartland, and Dave Tough. Others from Chicago such as Benny Goodman and Gene Krupa became leading members of swing during the 1930s.[29] Many bands included both Black and white musicians. These musicians helped change attitudes toward race in the U.S.[30] Roles of womenMain article: Women in jazz Ethel Waters sang «Stormy Weather» at the Cotton Club.Female jazz performers and composers have contributed to jazz throughout its history. Although Betty Carter, Ella Fitzgerald, Adelaide Hall, Billie Holiday, Peggy Lee, Abbey Lincoln, Anita O’Day, Dinah Washington, and Ethel Waters were recognized for their vocal talent, less familiar were bandleaders, composers, and instrumentalists such as pianist Lil Hardin Armstrong, trumpeter Valaida Snow, and songwriters Irene Higginbotham and Dorothy Fields. Women began playing instruments in jazz in the early 1920s, drawing particular recognition on piano.[31] When male jazz musicians were drafted during World War II, many all-female bands replaced them.[31] The International Sweethearts of Rhythm, which was founded in 1937, was a popular band that became the first all-female integrated band in the U.S. and the first to travel with the USO, touring Europe in 1945. Women were members of the big bands of Woody Herman and Gerald Wilson. Beginning in the 1950s, many women jazz instrumentalists were prominent, some sustaining long careers. Some of the most distinctive improvisers, composers, and bandleaders in jazz have been women.[32] Trombonist Melba Liston is acknowledged as the first female horn player to work in major bands and to make a real impact on jazz, not only as a musician but also as a respected composer and arranger, particularly through her collaborations with Randy Weston from the late 1950s into the 1990s.[33][34] Jews in jazzMain article: Jews in jazz Al Jolson in 1929Jewish Americans played a significant role in jazz. As jazz spread, it developed to encompass many different cultures, and the work of Jewish composers in Tin Pan Alley helped shape the many different sounds that jazz came to incorporate.[35] Jewish Americans were able to thrive in Jazz because of the probationary whiteness that they were allotted at the time.[36] George Bornstein wrote that African Americans were sympathetic to the plight of the Jewish American and vice versa. As disenfranchised minorities themselves, Jewish composers of popular music saw themselves as natural allies with African Americans.[37] The Jazz Singer with Al Jolson is one example of how Jewish Americans were able to bring jazz, music that African Americans developed, into popular culture.[38] Benny Goodman was a vital Jewish American to the progression of Jazz. Goodman was the leader of a racially integrated band named King of Swing. His jazz concert in the Carnegie Hall in 1938 was the first ever to be played there. The concert was described by Bruce Eder as «the single most important jazz or popular music concert in history».[39] Origins and early historyJazz originated in the late-19th to early-20th century. It developed out of many forms of music, including blues, spirituals, hymns, marches, vaudeville song, ragtime, and dance music.[40] It also incorporated interpretations of American and European classical music, entwined with African and slave folk songs and the influences of West African culture.[41] Its composition and style have changed many times throughout the years with each performer’s personal interpretation and improvisation, which is also one of the greatest appeals of the genre.[42] Blended African and European music sensibilities Dance in Congo Square in the late 1700s, artist’s conception by E. W. Kemble from a century later The late 18th-century painting The Old Plantation, depicting African-Americans on a Virginia plantation dancing to percussion and a banjoBy the 18th century, slaves in the New Orleans area gathered socially at a special market, in an area which later became known as Congo Square, famous for its African dances.[43] By 1866, the Atlantic slave trade had brought nearly 400,000 Africans to North America.[44] The slaves came largely from West Africa and the greater Congo River basin and brought strong musical traditions with them.[45] The African traditions primarily use a single-line melody and call-and-response pattern, and the rhythms have a counter-metric structure and reflect African speech patterns.[46] An 1885 account says that they were making strange music (Creole) on an equally strange variety of ‘instruments’—washboards, washtubs, jugs, boxes beaten with sticks or bones and a drum made by stretching skin over a flour-barrel.[4][47] Lavish festivals with African-based dances to drums were organized on Sundays at Place Congo, or Congo Square, in New Orleans until 1843.[48] There are historical accounts of other music and dance gatherings elsewhere in the southern United States. Robert Palmer said of percussive slave music: Usually such music was associated with annual festivals, when the year’s crop was harvested and several days were set aside for celebration. As late as 1861, a traveler in North Carolina saw dancers dressed in costumes that included horned headdresses and cow tails and heard music provided by a sheepskin-covered «gumbo box», apparently a frame drum; triangles and jawbones furnished the auxiliary percussion. There are quite a few [accounts] from the southeastern states and Louisiana dating from the period 1820–1850. Some of the earliest [Mississippi] Delta settlers came from the vicinity of New Orleans, where drumming was never actively discouraged for very long and homemade drums were used to accompany public dancing until the outbreak of the Civil War.[49] Another influence came from the harmonic style of hymns of the church, which black slaves had learned and incorporated into their own music as spirituals.[50] The origins of the blues are undocumented, though they can be seen as the secular counterpart of the spirituals. However, as Gerhard Kubik points out, whereas the spirituals are homophonic, rural blues and early jazz «was largely based on concepts of heterophony».[51] The blackface Virginia Minstrels in 1843, featuring tambourine, fiddle, banjo, and bonesDuring the early 19th century an increasing number of black musicians learned to play European instruments, particularly the violin, which they used to parody European dance music in their own cakewalk dances. In turn, European American minstrel show performers in blackface popularized the music internationally, combining syncopation with European harmonic accompaniment. In the mid-1800s the white New Orleans composer Louis Moreau Gottschalk adapted slave rhythms and melodies from Cuba and other Caribbean islands into piano salon music. New Orleans was the main nexus between the Afro-Caribbean and African American cultures. African rhythmic retentionSee also: Traditional sub-Saharan African harmonyThe Black Codes outlawed drumming by slaves, which meant that African drumming traditions were not preserved in North America, unlike in Cuba, Haiti, and elsewhere in the Caribbean. African-based rhythmic patterns were retained in the United States in large part through «body rhythms» such as stomping, clapping, and patting juba dancing.[52] In the opinion of jazz historian Ernest Borneman, what preceded New Orleans jazz before 1890 was «Afro-Latin music», similar to what was played in the Caribbean at the time.[53] A three-stroke pattern known in Cuban music as tresillo is a fundamental rhythmic figure heard in many different slave musics of the Caribbean, as well as the Afro-Caribbean folk dances performed in New Orleans Congo Square and Gottschalk’s compositions (for example «Souvenirs From Havana» (1859)). Tresillo (shown below) is the most basic and most prevalent duple-pulse rhythmic cell in sub-Saharan African music traditions and the music of the African Diaspora.[54][55] \new RhythmicStaff { \clef percussion \time 2/4 \repeat volta 2 { c8. c16 r8[ c] }}0:03Tresillo is heard prominently in New Orleans second line music and in other forms of popular music from that city from the turn of the 20th century to present.[56] «By and large the simpler African rhythmic patterns survived in jazz … because they could be adapted more readily to European rhythmic conceptions,» jazz historian Gunther Schuller observed. «Some survived, others were discarded as the Europeanization progressed.»[57] In the post-Civil War period (after 1865), African Americans were able to obtain surplus military bass drums, snare drums and fifes, and an original African-American drum and fife music emerged, featuring tresillo and related syncopated rhythmic figures.[58] This was a drumming tradition that was distinct from its Caribbean counterparts, expressing a uniquely African-American sensibility. «The snare and bass drummers played syncopated cross-rhythms,» observed the writer Robert Palmer, speculating that «this tradition must have dated back to the latter half of the nineteenth century, and it could have not have developed in the first place if there hadn’t been a reservoir of polyrhythmic sophistication in the culture it nurtured.»[52] Afro-Cuban influenceFurther information: Music of African heritage in CubaAfrican-American music began incorporating Afro-Cuban rhythmic motifs in the 19th century when the habanera (Cuban contradanza) gained international popularity.[59] Musicians from Havana and New Orleans would take the twice-daily ferry between both cities to perform, and the habanera quickly took root in the musically fertile Crescent City. John Storm Roberts states that the musical genre habanera «reached the U.S. twenty years before the first rag was published.»[60] For the more than quarter-century in which the cakewalk, ragtime, and proto-jazz were forming and developing, the habanera was a consistent part of African-American popular music.[60] Habaneras were widely available as sheet music and were the first written music which was rhythmically based on an African motif (1803).[61] From the perspective of African-American music, the «habanera rhythm» (also known as «congo»),[61] «tango-congo»,[62] or tango.[63] can be thought of as a combination of tresillo and the backbeat.[64] The habanera was the first of many Cuban music genres which enjoyed periods of popularity in the United States and reinforced and inspired the use of tresillo-based rhythms in African-American music. \new Staff << \relative c' { \clef percussion \time 2/4 \repeat volta 2 { g8. g16 d'8 g, } } >>0:00New Orleans native Louis Moreau Gottschalk’s piano piece «Ojos Criollos (Danse Cubaine)» (1860) was influenced by the composer’s studies in Cuba: the habanera rhythm is clearly heard in the left hand.[54]: 125 In Gottschalk’s symphonic work «A Night in the Tropics» (1859), the tresillo variant cinquillo appears extensively.[65] The figure was later used by Scott Joplin and other ragtime composers. \new RhythmicStaff { \clef percussion \time 2/4 \repeat volta 2 { c8 c16 c r[ c c r] }}0:00Comparing the music of New Orleans with the music of Cuba, Wynton Marsalis observes that tresillo is the New Orleans «clavé», a Spanish word meaning «code» or «key», as in the key to a puzzle, or mystery.[66] Although the pattern is only half a clave, Marsalis makes the point that the single-celled figure is the guide-pattern of New Orleans music. Jelly Roll Morton called the rhythmic figure the Spanish tinge and considered it an essential ingredient of jazz.[67] RagtimeMain article: Ragtime Scott Joplin in 1903The abolition of slavery in 1865 led to new opportunities for the education of freed African Americans. Although strict segregation limited employment opportunities for most blacks, many were able to find work in entertainment. Black musicians were able to provide entertainment in dances, minstrel shows, and in vaudeville, during which time many marching bands were formed. Black pianists played in bars, clubs, and brothels, as ragtime developed.[68][69] Ragtime appeared as sheet music, popularized by African-American musicians such as the entertainer Ernest Hogan, whose hit songs appeared in 1895. Two years later, Vess Ossman recorded a medley of these songs as a banjo solo known as «Rag Time Medley».[70][71] Also in 1897, the white composer William Krell published his «Mississippi Rag» as the first written piano instrumental ragtime piece, and Tom Turpin published his «Harlem Rag», the first rag published by an African-American. Classically trained pianist Scott Joplin produced his «Original Rags» in 1898 and, in 1899, had an international hit with «Maple Leaf Rag», a multi-strain ragtime march with four parts that feature recurring themes and a bass line with copious seventh chords. Its structure was the basis for many other rags, and the syncopations in the right hand, especially in the transition between the first and second strain, were novel at the time.[72] The last four measures of Scott Joplin’s «Maple Leaf Rag» (1899) are shown below. { \new PianoStaff << \new Staff << \new Voice \relative c' { \clef treble \key aes \major \time 2/4
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