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Appendix &ne |
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THE TUNES
Morton's life story should not overshadow his stature as a musician of great originality and influence. He was probably the first true composer of jazz, able to arrange his compositions in music notation, finally producing orchestrations in correct form for ten and eleven pieces. That the best critics of Amer* ican popular music already take him seriously and put him among the top rank of the men of jazz is, I believe, only a foretaste of the time when he will stand in the select comÂpany of American originals along with Billings, Foster, and Gershwin.
Sigmund Spaeth, A History of Popular Music in America:
"He was unquestionably the best all-around musician
produced by the classical period of jazz and his career did
not reach its climax until past the middle twenties. . . ?
Hugues Panassie, Jazz Information:
"Jelly Roll is one of the great figures of jazz ... a first class composer . . . besides Ellington I don't know anyone who has written so many charming tunes . . . the fat&er of hot piano."
Paul Eduard Miller, Downbeat:
"One of the ten men mainly responsible for the developÂment of swing music. . . ."
Rudi Blesch, Shining Trumpets:
"No other player in jazz history has combined so many rich elements in a piano style. . . . More than any other individual he knew the requirements of jazz. . . . There is not a record of Morton's great period which is not as truly modem as the day it was played ... he completed 266 |
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