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70 |
INTERLUDE TWO |
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Papa Bechet, who played flute for fun, was a shoemaker.
Leonard Bechet, who played trombone in Silver Bell Band, is a maker of fine inlays.
Sidney Bechet, the poet of New Orleans musicians, always followed music.
Papa deLisle Nelson, was an amateur accordianist, and a butcher.
Louis deLisle (Big Eye) Nelson, maybe the first "hot" clarinet, worked as a butcher s apprentice.
Papa Dominguez, a fine classical bass, was a cigar-maker.
Paul Dominguez, first a violinist, then ragtime fiddler, was always a professional musician.
Bab Frank, led the "first hot band" with his piccolo, ran restaurants.
Albert Glenny, bass-player, painter by trade.
Freddie Keppard, the greatest New Orleans trumpet, was a professional musician.
F. P. LaMenthe fooled with slidin* trambone, but made money as contractor.
Ferdinand Morton (LaMenthe), disdained manual labor.
Manuel Perez, the favorite Creole trumpeter, also knew how to make cigars.
Alphonse Picou, composer of High Society, tinsmith by trade.
Piron, composer of Sister Kate, his barber shop was a musicians' center.
Johnny St. Cyr, the best hot guitarist, plasterer by trade.
Papa Tio, classical clarinet, cigarmaker by trade.
Lorenzo Tio, son, taught clarinet, cigarmaker by trade . . ,
These light-skinned Creole craftsmen Hved Downtown in the Seventh ward, Morton's own neighborhood. In the nineteenth century music was a sideline for the older generation, be- |
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