In the intimate atmosphere of one of New Orleans's premier jazz clubs, Lulu White's Mahogany Hall on Bourbon Street, the music that set the city on fire: the authentic sounds of Jelly Roll Morton's jazz is performed by the legendary Dukes of Dixieland and Danny Barker, one of Jelly Roll's own musicians. Ferdinand Lamothe aka Jelly Roll Morton was one of the first great composers and piano players of Jazz. He was a talented arranger and musician who wrote special scores that took advantage of the three-minute limitations of the 78 rpm record. Even more than this, he was a real character whose spirit shines brightly through history - like his diamond studded smile
The Torino Ms J.II.9 codex, kept in the National University Library of Turin, is a sumptuous manuscript consisting of 159 sheets, each measuring 377x270 mm. We may safely assume that the person responsible for putting together the musical works of this codex was a Frenchman resident at the Court of the Lusignan family long enough for the codex to be completed; the period in question must have been sometime between 1413 and 1430 CE.
The Torino Ms J.II.9 codex, kept in the National University Library of Turin, is a sumptuous manuscript consisting of 159 sheets, each measuring 377x270 mm. We may safely assume that the person responsible for putting together the musical works of this codex was a Frenchman resident at the Court of the Lusignan family long enough for the codex to be completed; the period in question must have been sometime between 1413 and 1430 CE.
Gabriel Fauré’s musical language bridges a gap between the romanticism of the 19th century and the new worlds of music which appeared in the 20th, employing subtle harmonic changes and a gift for melody to combine innovation with an entirely personal idiom. His First Piano Quartet is filled with characteristic French colour and lyricism, and the Piano Trio in D minor is a late work whose musical language is familiar from his songs. Both the Pavane and the popular Sicilienne express nostalgia for earlier times, and the short Pièce has great simplicity and charm.
“Avant garde got soul too” - so opined drummer Charles Moffett with some amount of amusement through a composition title on album for Savoy in 1969. The controversial observation was likely shared if unstated by William Hooker, a generation younger and just getting his start in so-called fire music after an apprenticeship in soul jazz. Light directs an edifying and expansive beam on these efforts, bringing into focus a cache of recordings that trace the drummer’s development from journeyman to self-styled Griot. Adding up to well over four hours of music, the bulk of it is previously unreleased.