| Share page | Visit Us On FB |
|
|
||||||||||||||||||||||||||||||||||||||||||||||||
|
292 |
Appendix One |
|||||||||||||||||||||||||||||||||||||||||||||||
|
|
||||||||||||||||||||||||||||||||||||||||||||||||
|
What a contrast to the final choruses of the jumping-jive Harlem musicians who think that to obtain any semblance to rhythmic excitement they must leave the theme and thus become lost altogether. But with Jelly Roll, no matter how exuberant rhythmically or varied melodically the final choruses become, there never is any doubt of their musical logic and that each note grows out of the original motive. Nor is the typical flavor of the unique Morton style ever for a second lost. Frog-i-more Rag offers new and most striking testimony of the mastery that placed Jelly Roll in the very vanguard of jazz composers and pianists. . . .—
The Needle, July, 1944.
During his stay in Washington Jelly Roll acquired the friendship and admiration of a Treasury Department official who plays a very hot ragtime piano. As a sandy-haired youngster Roy J. Carew had, in the pahny old days, hung around The Frenchman's listening to the new and beautiful music Tony Jackson and his protege, Morton, were riffling out of the piano. This music became Carew's life-long delight and hobby, so that when he found Jelly Roll in difficulty in Washington he set about helping him in a truly practical way. He established The Tempo-Music Publishing Company to protect, publish, and push Morton's uncopyrighted and unpublished works. As Jelly's musical executor he has edited the manuscript piano scores here cited and he has prepared this chronological list of Morton's compositions: |
||||||||||||||||||||||||||||||||||||||||||||||||
|
|
||||||||||||||||||||||||||||||||||||||||||||||||
|
||||||||||||||||||||||||||||||||||||||||||||||||
|
|
||||||||||||||||||||||||||||||||||||||||||||||||