Jazzsporet - The Jazz Track

Jazzsporet er en rejseplan for at besøge jazz- relaterede steder (især bigband og traditionel jazz) i Forenede Stater.

Rejseerklæring

Dette er guiden til at forberede en tur i bil for at følge jazzens rute. Turen er planlagt i 13 dage rundt i USA for at besøge historiske steder og klubber relateret til jazzhistorien.

New York City → Chicago → Kansas City → Memphis → New Orleans

Baggrund (1895–1935)

Lad os starte med lidt baggrund for den rigtige rejseplan, som jazzmusikere fulgte i første halvdel af det 20. århundrede.

Memphis

Bluesen dateres tilbage til begyndelsen af ​​jazz, og dens oprindelse er uklar ud over håb om nøjagtige dokumentationer, skønt den må være blevet til et eller andet sted i det dybe landlige syd, noget tid før det 20. århundredes begyndelse. Af det store antal historiske steder, der spillede en central rolle i blues-væksten, blev Beale Street i Memphis officielt erklæret som "Blues Home" ved en kongreshandling i 1977. I begyndelsen af ​​1900-tallet blev Beale Street fyldt med klubber, restauranter og butikker, hvoraf mange ejes af afroamerikanere. WC Handy komponerede i Memphis nogle af de tidligste og mest berømte blues, "Memphis Blues" (1909), "Saint Louis Blues" (1914) og "Beale Street Blues" (1916). Fra 1920'erne til 1940'erne spillede Louis Armstrong, Muddy Waters, Albert King, Memphis Minnie, B.B. King, Rufus Thomas, Rosco Gordon og andre blues- og jazzlegender på Beale Street og hjalp med at udvikle stilen kendt som Memphis Blues.

New Orleans

Jazz blev født i New Orleans i slutningen af ​​1890'erne og begyndelsen af ​​1900'erne. Det blev hurtigt en populær musik i hele byen, hovedsagelig i distriktet Storyville. I Storyville kunne man lovligt nyde prostitution, mens man lyttede til det første jazzband i historien, Buddy Bolden Band. Desværre, selvom Bolden blev mindet om at have lavet mindst en fonografcylinder, har ingen kendte optagelser af Bolden overlevet. Ti år senere (1917) blev Storyville lukket af den føderale regering og tvang jazzmusikere til at flytte til nordlige byer - for det meste Chicago og New York City og i mindre grad Kansas City.

Chicago

Chicago blev hurtigt hovedstad for jazz mellem 1917 og 1928. Selvom bandene ikke kunne marchere på gaden på grund af de ugunstige vejrforhold, forblev New Orleans-stil næsten intakt. Et stort antal kabareter opstod i distriktet "South Side". Blandt dem var de mest relevante "Royal Gardens" (vært for "King Oliver Creole Jazz Band" med Louis Armstong, der spillede cornet) og "Apex Club" (vært for den største klarinettist Jimmy Noone og pianisten Earl Hines).

New York City

I mellemtiden så Harlem fødslen af ​​fremragende jazzpianister i ragtime-stil som Willie “the Lion” Smith og James P. Johnson. Denne klaverstil blev til dels populær takket være huslejeselskaberne (private fester tilfældigt afholdt i lejligheder for at finansiere lejen). Den største danseklub i Harlem var Savoyen, et gigantisk rum med to scener, der gjorde det muligt for bands at kæmpe hele natten lang. To store bands blev mest populære, Fletcher Henderson Orchestra først, efterfulgt af Duke Ellington Orchestra. To blændende kvindelige vokalister dukkede op i Harlem i 1920'erne: Bessie Smith, blues kejserinde og Ethel Waters.

Kansas City

Den store depression (startende i 1929) markerede afslutningen på en af ​​de største jazz-epoker gennem tiderne. Pludselig fandt jazzmusikere i Chicago og Harlem sig arbejdsløse. Krisen spredte sig hurtigt over hele landet undtagen i Kansas City. I 1930'erne var Kansas City korsvej for De Forenede Stater, og transkontinentale ture krævede et stop i byen. Kansas City var en vidåben by med spirituslove og timer fuldstændig ignoreret. Mange jazzmusikere blev fanget i de venlige musikalske konkurrencer blandt kunstnere, der kunne holde en enkelt sang udført i forskellige variationer i en hel nat. Sådanne musikalske konkurrencer førte til en ny stil, Kansas City Style. Etableringen af ​​Kansas City-stilen tilskrives Bennie Moten, men det blev meget populært, da Count Basie overtog hans band efter hans død.

Kansas City har længe været anerkendt som værende et stort jazzcenter, der kun rangerer i betydning bag New York, New Orleansog Chicago. Fra midten af ​​1920'erne til slutningen af ​​1930'erne var jazzmusikere fra de amerikanske centralstater "på vej til Kansas City" på jagt efter job, musikalsk udfordring og gode tider. Da de ankom, gik de ind i et musikalsk samfund, der var ekstraordinært støttende, krævende og kunstnerisk opløftende.

Mens det meste af Amerika led under den store depression, gik Kansas City-jazz frem, stort set på grund af den korrupte, men økonomisk stimulerende administration af Boss Tom Pendergast. Jazz var datidens populære sociale musik, og vicecentre - natklubber og spilhaller - hyrede normalt musikere til at tiltrække kunder. De serendipitøse resultater var rigelige, men lavt betalte job for jazzmusikere fra hele Midtvesten og en udgydelse af fantastisk ny musik.

Se Industrialisering af De Forenede Stater for et bredere kig på denne periode.

Store jazzmusikere (1895–1935)

Memphis
  • Frank Stokes
  • Furry Lewis
  • Memphis Minnie
  • Søvnig John Estes
  • Ida Cox
  • WC Handy
  • Sidney Kirk II
  • Sidney "Spoon" Kirk III
New Orleans
  • Buddy Bolden
  • Freddie Keppard
  • Bunk Johnson
  • Clarence Williams
  • Joe "King" Oliver
  • Kid Ory
  • Jelly Roll Morton
Chicago
  • Joe King Oliver
  • Louis Armstrong
  • Jimmie Noone
  • Johnny Dodds
  • Earl Hines
  • Jelly Roll Morton
  • Lil Hardin Armstrong
New York City
  • Duke Ellington
  • Fletcher Henderson
  • Willie Smith
  • James P. Johnson
  • Thomas Fats Waller
  • Joe Turner
  • Coleman Hawkins
  • Thelonious Monk
  • Bennie Carter
  • Ben Webster
  • Johnny Hodges
  • Cootie Williams
  • Bessie Smith
  • Ethel Waters
Kansas City
  • Grev Basie
  • Buck Clayton
  • Herschel Evans
  • Coleman Hawkins
  • Jo Jones
  • Pete Johnson
  • Harlan Leonard
  • Jay McShann
  • Bennie Moten
  • Side med varme læber
  • Charlie Parker
  • Sammy Price
  • Jimmy Rushing
  • Joe Turner
  • Ben Webster
  • Claude Williams
  • Mary Lou Williams
  • Lester Young

Hvornår skal man gå?

Ideelt set bør turen gøres for at nå den til en af ​​de berømte jazzfestivaler i en af ​​de besøgte byer. Se Wikipedia's Liste over jazzfestivaler for en liste.

Det Beale Street Music Festival finder sted i Memphis i maj.

Det New Orleans Jazz and Heritage Festival finder sted i april og maj.

Det Scott Joplin International Ragtime Festival finder sted i Sedalia, Missouri i juni.

Du kan komme til Chicago i sammenfald med Chicago Jazz Festival, normalt i slutningen af ​​august.

Gå

Dag 1 (fredag): Boston til New York City

Dag 2 (lørdag): Besøg New York City

  • 52. gade Mellem 5th og 7th Ave.
Blokkene på 52nd Street mellem Fifth Avenue og Seventh Avenue var kendt i midten af ​​det 20. århundrede for overflod af jazzklubber og livligt gadeliv. 52nd Street har været kendt som "Swing Street", "street of jazz", "street that never sleeps" og simpelthen "street". I dag er der fuld af banker, butikker og stormagasiner og viser lidt spor af sin jazzhistorie.
Charlie 'Bird' Parker besatte stueetagen i højden af ​​sin karriere efter at have opnået betydelig succes og kendt som medstifter af bebop, den moderne jazzstil, som han og trompetist Dizzy Gillespie skabte i New York City i midten 1940'erne. Parker nød international berømmelse, mens han boede her, optrådte med store og små ensembler såvel som med latinske big bands og strygesektioner. Avenue B (mellem 7. og 10. gader langs Tompkins Square Park) blev omdøbt til Charlie Parker Place i 1992, og siden 1993 afholdes Charlie Parker Jazz Festival årligt i parken for at fejre Fugles fødselsdag (29. august 1920 i Kansas City, Kansas) og hans bidrag til det 20. århundredes musik.
  • Harlem
    • Congo Room of the Capitol, West 115th & Malcolm X Boulevard, ca. 1940
    • Bamville Club, 65 West 125th Street, ca. 1920-1930 - Coleman Hawkins
    • The Plantation, West 126th nær Malcolm X Blvd., ca. 1930 - rivaliseret Cotton Club; Førerhus Calloway
    • Club Cabaret, 416 Malcolm X Boulevard, ca. 1923-25
    • Club Baron, 437 Malcolm X Boulevard, ca. 1940-46
    • Goldgraben's, I.G. Café, 439 Malcolm X Boulevard, ca. 1919-30; I 1964 blev omdøbt til Barons Lounge - yndlings hangout for musikere efter arbejde i andre klubber
    • Elk's Rendezvous, 464 Malcolm X Boulevard, ca. 1930-45 - afholdt sociale klubdanse
    • Club Harlem, West 130th & Malcolm X Blvd., ca. 1927-29; I 1964 blev omdøbt til Harlem Grill
    • Gee-Haw Stables, West 132nd Street mellem 7th & Malcolm X Blvd., ca. 1940-45; I 1964 var en Gulf tankstation - havde et hestehoved over indgangen, en efter-efter-timer klub
    • Lincoln Theatre, 58 West 135th Street, ca. 1909-1964 - installeret et $ 10.000 Wurlitzer-orgel til Fats Waller; nu en kirke (1964 data)
    • Elk's Café, Malcolm X Blvd. mellem West 137th og West 138th Streets, ca. 1917-20
    • Capitol Palace, 575 Malcolm X Boulevard, ca. 1922-50 - nu en legeplads
    • Brittwood Bar & Grill, 594 Malcolm X Boulevard, ca. 1932-42 - Willie Gants Musical Maniacs;
    • Golden Gate balsal, Malcolm X Boulevard & West 142nd Street, ca. 1939-50 - luksuriøs balsal
    • Rhônes orkesterklub, 625 Malcolm X Boulevard, ca. 1920-35 senere Lenox Club, alias "The Breakfast Club", 652 Malcolm X Boulevard, ca. 1935-45 - Louis Armstrong, Fletcher Henderson, Duke Ellington, 3 viser natten med en 8-piger linje; revet 1958 for Bethune Towers / Delano Village.

Jazzklubber i New York

Minton's blev grundlagt af tenorsaxofonisten Henry Minton i 1938. Minton's er berømt for sin rolle i udviklingen af ​​moderne jazz, også kendt som bebop, hvor Thelonious Monk, Kenny Clarke, Charlie Christian, Dizzy Gillespie i sine jam-sessioner i begyndelsen af ​​1940'erne. og Charlie Parker var banebrydende for den nye musik. Minton's trivedes i tre årtier indtil dens tilbagegang nær slutningen af ​​1960'erne og den endelige lukning i 1974. Efter at have været lukket i mere end 30 år åbnede den nyindrettede klub igen sine døre den 19. maj 2006 under navnet Uptown Lounge i Minton's Playhouse. Dette sted kan betragtes som fødestedet for moderne jazz, og i forlængelse heraf kan det for nogle puritanere betragtes som dødsstedet for tidlig jazz, så det er det bedste udgangspunkt for at følge herfra sporet af jazz.
Savoyen blev faktureret som verdens smukkeste balsal; den besatte anden sal i en bygning, der strakte sig langs hele blokken mellem 140. og 141. gade og indeholdt et stort dansegulv (200 fod med 50 fod), to båndstande og en tilbagetrækkelig scene. Det blev hurtigt det mest populære dansested i Harlem, og mange af jazzdansens dille i 1920'erne og 1930'erne stammer derfra; det nød en lang og glitrende karriere, der varede langt ind i 1950'erne, før et fald i dets formuer begyndte.
Det blev kendt i centrum som "Hjemmet til glade fødder", men uptown, i Harlem, som "sporet". Savoyen arrangerede regelmæssigt "Battle of the Bands" -kampagner, der normalt fandt sted mellem et hus og et gæsteband, men ikke nødvendigvis. Nogle gange handlede båndene med numre ved omskiftningspunktet mellem sæt. Uundgåeligt pakket, når disse begivenheder fandt sted, var der ikke plads til at danse, og publikum stemte om, hvem der var deres yndlingsband, bandleder, vokalist osv. To af de mest berømte "slag" skete, da Benny Goodman Orchestra udfordrede Chick Webb i 1937 og i 1938, da Count Basie Band gjorde det samme. Den generelle vurdering var, at de begge tabte til Chick Webb.
Udviklede begivenheder af denne art blev også organiseret af ledelsen: Den 15. maj 1927 præsenterede Savoyen et "Battle of Jazz", som indeholdt King Olivers Dixie Syncopators, et band ledet af Williams, Chick Webbs Harlem Stompers og Henderson's Roseland Orchestra; andre kampe blev udkæmpet mellem bands ledet af Lloyd Scott, Webb, Alex Johnson, Charlie Johnson, Williams og Henderson (6. maj 1928) og mellem Cab Calloways Missourians og grupper ledet af Duke Ellington, Henderson, Cecil Scott, Lockwood Lewis og Webb (14. maj 1930).
I dag findes kun en mindeplade på Savoyens placering.
  • Bomuldsklubben, Lenox Avenue, på West 142nd Street (1923-1936); 200 West 48th Street (1936 - 1940). 666 West 125th Street (1997 til dato) 1 888 640-7980. [3][4]
Tidligere navngivet "Club De Lux", The Cotton Club var den mest berømte af byens natklubber i 1920'erne og 1930'erne og tiltrak et publikum, der ofte indeholdt cremen fra New York-samfundet. Dens glitrende revyer var et medium til optrædener af de mest prominente jazzmusikere på dagen, og klubbens aktiviteter blev bragt til et bredt publikum ved hyppige udsendelser. Fletcher Henderson ledede det første band, der spillede der i 1923. Husbåndet, da mødestedet først blev åbnet, var Andy Preers Cotton Club Syncopators; efter Preers død i 1927 blev Duke Ellingtons orkester engageret, og dets opholdssted blev det mest berømte i klubbens historie og varede indtil 1931. Cab Calloway og hans missourians, der først havde dukket op med stor succes i 1931, overtog derefter og Calloways tid som Cotton Clubs bandleder (som strakte sig til 1934, da Jimmie Lunceford efterfulgte ham) var at gøre sit ry. Både Wellington og Calloway vendte tilbage, efter at klubben flyttede i centrum.
De fleste af periodens vigtigste jazzmusikere, sangere og dansere dukkede op på Cotton Club på et eller andet tidspunkt, herunder Louis Armstrong, Ethel Waters, Ivie Anderson, Bill Robinson og Nicholas Brothers. Glansperioden for klubbens eksistens blev genskabt i Francis Ford Coppolas film Bomuldsklubben (1984).
Efter raceroptøjer i Harlem i 1935 blev området betragtet som usikkert for hvide (som dannede Cotton Clubs kundekreds). og klubben blev tvunget til at lukke (16. februar 1936). Det åbnede igen i september 1936 i centrum på West 48th Street i lokaler, der tidligere havde været Palais Royal og Connies Inn (1933-6); Cotton Club fortsatte med at operere på dette sted indtil juni 1940.
Klubben genåbnet senere samme år på Broadway og 48th Street, men lukkede for godt i 1940 under pres fra højere leje, skiftende smag og en føderal undersøgelse af skatteunddragelse fra ejere af natklubber på Manhattan. Cotton Club blev genåbnet i 1978 i Harlem. Den oprindelige side af Cotton Club blev revet ned i 1958 sammen med Savoy Ballroom og Lenox Club, (1935-45 Louis Armstrong, Fletcher Henderson, Duke Ellington, 3 viser om natten) til opførelse af Bethune Towers / Delano Village; dens arv lever imidlertid videre på et nyt sted under samme navn på 666 West 125th Street.
I sin storhedstid nægtede Cotton Club adgang til sorte lånere, skønt alle kunstnere var sorte.
  • Den blå note, 131 W. 3rd St., New York, NY, [5] I hjertet af Greenwich Village.
Åbnet i 1981. Flagskibet New York Blue Note-klubben har opnået udmærkelsen at være verdens førende jazzklub og restaurant. Tony Bennett, George Benson, Ray Charles, Natalie Cole, Oscar Peterson, David Sanborn, Nancy Wilson, den afdøde Sarah Vaughan og Dizzy Gillespie.
Verdenskendte talenter tager scenen i seks dages løb, hvor mandage normalt er forbeholdt fremragende lokalt talent. To sæt er 9:00 og 11:30. Priserne er $ 35 for bordreservation mindst eller $ 25 dækning i baren. Der er $ 5,00 dækningsgebyr for jam-sessioner på fredag ​​og lørdag. Søndagsbrunch serveret middag - 18:00. Vis tidspunkter kl.13.00 og 15.30.
Grundlagt i 1935, The Vanguard er en mørk kælder i Greenwich Village. Vanguard er den arketypiske Greenwich Village jazzklub. Over hundrede jazzalbum er blevet indspillet på spillestedet siden (oprindeligt single) albummet under Sonny Rollins-navnet i 1957. De to mest berømte engagementer i klubbens historie er sandsynligvis de af Bill Evans og John Coltrane, som begge fandt sted i 1961. Wynton Marsalis indspillede regelmæssigt i klubben i begyndelsen af ​​1990'erne.
Sæt: søndag - torsdag kl. 21.30 og 23.30, fredag ​​og lørdag kl. 21.30, kl. 23.30 og kl. Mandag aften fortsætter Vanguard Jazz Orchestra, der blev oprettet af Thad Jones og Mel Lewis for over 33 år siden, deres bigbandstradition. Søndag - torsdag: $ 25 ved døren (inkluderer $ 15 adgang plus et minimum på $ 10 drikke). Fredag ​​og lørdag: $ 30 ved døren (inkluderer $ 20 adgang plus et minimum på $ 10 drikke). som har de rigtige vibes og en fremragende reservationspolitik. Fang pianisten Tommy Flanagan her for en perfekt jazzaften.
  • Birdland, (1949-1965) 52nd St, (1986-1996) 2745 Broadway, (1996-til dato) 315 west 44th Street, mellem 8. og 9. aveny.
Åbnet i 1949. Oprindeligt var klubben på Broadway, men den flyttede hurtigt til 52nd Street, som var et hotbed for jazz i 1930'erne og 40'erne. Count Basie og hans smokin 'big band gjorde Birdland til deres hovedkvarter i New York og indspillede til sidst George Shearings "Lullaby of Birdland" live i klubben. John Coltranes klassiske kvartet dukkede regelmæssigt op i klubben i begyndelsen af ​​1960'erne og indspillede "Live at Birdland".
Folk, der har optrådt i Birdland: Charlie Parker, Dizzy Gillespie, Thelonious Monk, Miles Davis, John Coltrane, Bud Powell, Stan Getz, Lester Young, Erroll Garner og mange, mange andre.
Alle showtider: 9 og 23:00 (med tidlige 17:30 hyldest sæt tilføjet til M, Tu og F tidsplanerne). Musikafgift varierer, $ 20-35. Der er et $ 10 mad / drikke minimum pr. Person ved bordene. I baren inkluderer musikafgiften en drink. Søndage tilhører Arturo O'Farrills Afro-Cuban Jazz Big Band, mandage er reserveret til Toshiko Akiyoshi Jazz Orchestra med Lew Tabackin til de senere sæt, og nu hver mandag fra 17:30 - 19:30 - The Art Blakey Jazz Messenger's Revy udfør. Tirsdage går typisk til The Famous Duke Ellington Orchestra instrueret af Paul Mercer Ellington med tidlige sæt kl. 17.30 - 19.30 og fremviser David Ostwalds Louis Armstrong Centennial Band. Fra onsdag - lørdag forventer du det bedste inden for lokale og internationalt turnerende kunstnere. Bare tilføjet: Hver fredag ​​fra kl. 17.30 til 19.30 - Lew Andersons All American Big Band. Alle vil nyde de fremragende synslinjer til scenen.

Andre jazzrelaterede steder

  • Blue Note-optagelserne, Den tidligste placering var 167 Lexington Ave, New York, NY 10016. Nu er den placeret i 150 Fifth Ave. 6th Fl. New York NY
  • Verve-optagelserne 1755 Broadway New York, NY
  • Jazzmuseet i Harlem
  • Louis Armstrong House 34-56 107th St., Corona, NY 11368, 104 E 126th St.
  • Louis Armstrong-arkivet - Åben efter aftale 1718 997-3670
  • Flushing kirkegård 46th Ave med 162nd St, Queens County New York USA. Talrige jazzmusikere er begravet på denne kirkegård som Louis Armstrong, Dizzy Gillespie og Johnny Hodges.

Dag 3 (søndag) New York til Boston

Dag 4 (fredag): Boston til Chicago.

Koncertaften i Chicago.

Dag 5 (lørdag): Besøg Chicago

De jazzhistoriske steder i Chicago ligger for det meste på sydsiden med undtagelse af Green Mill, som ligger i Uptown. Besøg Chicagos South Side Jazzklubber internet side. Bygningens placering og tilstand kan findes på [6]

Den haitiske pavillon var centrum for sort underholdning under verdens colombianske udstilling i 1893. Udstillingen bragte mange sorte omrejsende musikere til Chicago til Chicago, såsom W.C. Handy (betragtes som far til blues), Scott Joplin (far til Ragtime). Den haitiske pavillon var en inkubator for jazzmusik, det var der, hvor Scott Joplin og mange andre musikere opdagede, at mange andre sorte stipendiater har udviklet lignende færdigheder og delt deres oplevelser i den forskellige stil, der gav anledning til jazzmusik. I dag er der to imponerende symboler på verdens colombianske udstilling tilbage. Skulpturen "Golden Lady" er en mindre version af Daniel Chester Frenchs statue af republikken, som oprindeligt stod ved foden af ​​æresdomstolen. Det originale kunstpalads huser nu Chicagos museum for videnskab og industri.
Området er et af landets mest betydningsfulde centre for afroamerikansk byhistorie. Fuld af klubber og caféer i løbet af dets ekspansion fra det 20. århundrede før den store depression spillede den en stor rolle i historien og udviklingen af ​​guldalderen i Chicago musikscene. Louis Armstrong boede i nabolaget og optrådte på mange af områdets natklubber, såsom Sunset-caféen, The Vendome Theatre og Plantation-caféen. Bygningen af ​​den tidligere Sunset cafe er der stadig, og det betragtes som et Chicago Landmark.

Historiske jazzklubber i Chicago

  • Pekin Inn 2700 S. State St.
Åben i 1910-20'erne. det betragtes som en af ​​de vigtigste sydlige klubber før 1910. Det var den første til at ansætte musikere, der var tæt knyttet til ragtime og populærmusik før jazz, som Joe Jordan, Tony Jackson og Wilbur Sweatman. Nogle mennesker betragter Pekin Inn som fødestedet for Chicago Jazz-scenen og et af de første musiklaboratorier, hvor folk eksperimenterede med ragtime og pre jazz-stilarter.
  • Dreamland Ballroom 3618-20 S. State, på 35th Street. Chicago
Drømmelandet var en af ​​de første balsale i Chicagos historie, der blev åbnet i 1912, med spillere som King Oliver, Johnny & Warren "Baby" Dodds, Louis Armstrong og Hot Five, Alberta Hunter, Sidney Bechet, Lawrence Duhé, Ethel Waters .
  • Lincoln Gardens (Royal Gardens). 459 East 31st Street, på South Cottage Grove Avenue.
Lincoln Gardens (tidligere Royal Gardens) var en dansesal, der kunne rumme op til 1000 dansere. Efter en brand sent i 1924 blev hallen renoveret storslået for genåbningen den 28. oktober 1925, da navnet blev ændret til New Charleston Café; det blev senere kendt som Café de Paris. Dave Peyton ledede et band der fra slutningen af ​​november 1926, men i juni 1927 blev det bombet - måske i bande-krigsførelse - og lukket.
Bopælen ved Royal Gardens i 1918 af Original Creole Band, ledet af Bill Johnson, etablerede dansesalens omdømme som et sted for jazz og indledte en række optrædener af musikere fra New Orleans, der var af stor betydning for udviklingen af musik i Chicago. Joe King Oliver's Creole Jazz Band spillede ophold fra 17. juni 1922 til februar 1924. I denne periode sendte han et telegram til sin kornetstudent i New Orleans for at komme til Chicago og slutte sig til sit band som en anden trompet for at spille i Lincoln Gardens. Navnet på trompetisten var Louis Armstrong. Dette var en drøm for Armstrong, og hans fantastiske spil i bandet gjorde ham snart til en sensation blandt andre musikere i Chicago.
I løbet af sin toårige stand i Lincoln Gardens bragte King Oliver med Louis og Creole Serenaders hot jazz i New Orleans-stil til Chicago og senere via optagelser til verden.
"Da kong Joe Oliver sendte efter mig til at forlade New Orleans i 1922 og slutte sig til ham i Lincoln Gardens for at spille anden trompet til sin første trompet, sprang jeg himmelsk af glæde. Den dag jeg modtog telegrammet fra Papa Joe - det er det Jeg ringede til ham - jeg spillede en begravelse i New Orleans, og alle medlemmer af Tuxedo Brass Band fortalte mig ikke at gå, fordi Papa Joe og hans band havde en slags fagforeningsproblemer ... Jeg ankom til Chicago omkring elleve o ' klokken natten til 8. juli 1922 på Illinois Central Station på Twelfth og Michigan Avenue. Jeg glemmer det aldrig. Kongen var allerede på arbejde. Jeg havde ingen til at møde mig. Jeg tog en taxa og gik direkte til Lincoln Gardens. " (Louis Armstrong)
'Royal Garden Blues' betragtes som den første 'riff' sang
Bygget i 1909 ombygget i 1937. Efter en ombygning i 1921 blev denne enkle bilgarage omdannet til en af ​​byens tidligste og mest legendariske jazzsteder. Dens husorkester indeholdt sådanne berømte musikere som Louis Armstrong, Johnny Dodds og Earl "Fatha" Hines, mens gulvshows introducerede de seneste danser til det lokale publikum. Mange lovende unge kunstnere, herunder Bix Beiderbecke, Jimmy Dorsey, Benny Goodman og Gene Krupa, fik deres start på sent om aftenen her. Efter en ombygning fra 1937 blev det omdøbt til Grand Terrace Ballroom (flyttet fra sin tidligere placering i 3955 South Parkway Blvd) og forblev en populær natklub indtil 1950.
Earl Hines nød stor succes der, selvom andre store bands, herunder Fletcher Henderson, Count Basie og Horace Henderson, også spillede Grand Terrace før Anden Verdenskrig. Butikens kontor, der for længe siden var en del af den hævede båndstand med udsigt over Grand Terrasses dansegulv. Bagsiden af ​​båndet var et stort vægmaleri, der skildrede jazzrytmer, og en del er stadig synlig.
På Grand Terrace Ballroom og andre udesteder i Chicago var det farligt for mange Chicago jazzmusikere at forlade en klub uden ledelsens tilladelse. Dette er grunden til, at Earl Hines forblev på Grand Terrace i mere end et årti.
I løbet af 1936 på Grand Terrace Ballroom, hvor Fletcher Henderson optrådte med sit eget band, spillede Goodman foran bandet med Krupa, der sad på trommer. Dette er måske første gang, at sorte og hvide jazzmusikere spillede sammen før et betalende publikum
Bygningen på det nye sted, hvis ydre ser meget ud som det gjorde i sin musikalske storhedstid, er nu en isenkræmmerbutik. Nogle vægge i interiøret er stadig malet, som de var i de store terrassetider. det er muligt at bede ejerne om at besøge indersiden.
Klubben fungerede som inspiration til sangen kaldet "Sunset Cafe Stomp" af Louis Armstrong og Hot Five.
  • Den grønne mølle, 4802 N. Broadway Ave. Chicago, IL
Åbnet i 1907 som Pop Morses Roadhouse, var "Møllen" et stoppested for sørgende for at fejre en venes bortgang, inden de fortsatte til St. Boniface's Cemetery. I 1910 havde nye ejere omdannet vejehuset til Green Mill Gardens komplet med lanternebelyste udendørs dans- og drikkeområder og der kunne prale af overskrifter som Al Jolson, Eddie Cantor og Sophie Tucker.
Da tyverne brølede, blev Green Mill gangsterterritorium, da Al Capones håndmand, "Machinegun" Jack McGurn, fik 25% ejerskab af klubben, og Al Capone selv ville besøge klubben regelmæssigt. Manager Danny Cohen havde givet McGurn 25% af aktierne til at "overtale" komiker / sanger Joe E. Lewis fra at flytte sin handling sydpå til New Rendezvous Café i Clark og Diversey. McGurn formåede at overbevise Lewis ved at skære halsen og skære tungen af. Mirakuløst kom Lewis sig, men hans sange genvandt aldrig deres frodige lyd. Hændelsen blev senere udødeliggjort i filmen The Joker is Wild, med Frank Sinatra som Joe E. Lewis og en Hollywood-lydscene som Green Mill. Selvfølgelig interesserede hans interesse, at Sinatra måtte besøge klubben. I 1986 blev Green Mill dekorationen genoprettet til dens forbud-æra, speakeasy indretning.
  • Vendome Theatre 3145 South State Street,
Bygget i 1919 og revet i 1949. Beliggende i hjertet af Chicagos såkaldte "Black Belt." Populariteten af ​​Vendome Orchestra steg i december 1925, da master coronetist, Louis Armstrong, kom ombord efter en periode på Dreamland Cafe. Da Armstrong spillede en solo, jublede Vendome-publikum vildt. I 1926 forlod Armstrong for at arbejde på Sunset Cafe, en af ​​byens mest berygtede sorte og solbrune. Andre jazzkunstnere, der optrådte på Vendome i 1920'erne, omfattede pianist Earl Hines, trommeslager Jimmy Bertrand, cornetist Freddie Keppard og pianist Lil Hardin-Armstrong.
King Oliver-bandet, Creole Jazz Band, blev i vid udstrækning spillet på Plantation Café, indtil det blev ødelagt af brand i 1927.
  • Apex Club 35th St. mellem S. Calumet og S. Prairie Avenue [9]
Åbnet i 1920 med Junie Cobb, Johnny St. Cyr, Dave Nelson, Joe Poston, Johnny Wells, Earl Hines og klarinettisten Jimmy Noone.
  • Underholdningscafé 209 E. 35th St. i Michigan 1910-20'erne
Med Sammy Stewart og hans Knights of Syncopation, Freddy Keppards Band, Earl Hines, Natty Dominique, Vernie Robinson, Carroll Dickerson.
  • Monogram teater 3435-40 S. State St.
Åbnet i 1910. Med tidlige jazzmusikere som Sidney Bechet, Ethel Waters, Erskine Tate, Ma Rainey.
  • Elite klub 3030 S. State St.
Åbnet i 1910. Med Jelly Roll Morton, Earl Hines, Alberta Hunter.
  • Ententainers café
  • Friar's Inn kælder ved 60 East Van Buren eller 343 South Wabash i Chicago Loop,
The Friar's Inn var en natklub beliggende i en kælder i Chicagos Loop-område på 60 East Van Buren Street på 343 South Wabash Avenue. Moulin Rouge Cafe var i samme kompleks. Friar's Inn blev drevet af Mike Fritzel og blev husket i musikerens erindringer som et gangster-hangout. Friar's Inn havde tre bånd: et fra kl. 15 til kl. 18, et fra kl. 18 til kl. 22, generelt en rytmesektion til middag og hovedbåndet fra kl. 22 til tidlig morgen - som var Mares-gruppen. Klubben anvendte en streng "kun hvidt" politik. Blandt de bemærkelsesværdige bands forbundet med Friar's Inn var New Orleans Rhythm Kings (oprindeligt "Friar's Society Orchestra") og Austin High Gang (også kendt som "Blue Friars").
Noterede musikere, der spillede på Friar's Inn, omfattede Frank Teschemacher, Bud Freeman, Steve Brown, George Brunies, Merritt Brunies, Emmett Hardy, Paul Mares, Leon Roppolo, Bee Palmer og Mel Stitzel. Joan Crawford arbejdede som danser der tidligt i sin karriere.

Flere historiske jazzklubber opført i her

Moderne jazzklubber i Chicago

Heldigvis sluttede historien om Jazz ikke med BeBop. Det holdt lige ved at svinge ind i avantgarde. En del af det eventyrlystne sæt var et samfund af (for det meste afroamerikanske) musikere i Chicago kaldet Association for the Advancement of Creative Musicians (AACM).
AACM tager sin mission "pleje, optræde og indspille seriøs, original musik" og støtter musikere, komponister og undervisere, der arbejder i Jazz. Fra og med 1965 har AACM (først ledet af Muhal Richard Abrams) uddannet unge musikere i Chicago og mærkeligt nok Amsterdam og Paris hvor nogle af de grundlæggende medlemmer boede i selvpålagt eksil i begyndelsen af ​​1970'erne.
Musikere tilknyttet AACM, såsom Henry Threadgill, Anthony Braxton, Jack DeJohnette og Art Ensemble of Chicago: Lester Bowie, Roscoe Mitchell, Joseph Jarman, Famoudou Don Moye og Malachi Favors producerede nogle af de mest spændende og udfordrende jazzmusik i 1970'erne blev musik, som først begyndte at blive anerkendt af mainstream og den akademiske verden i 1990'erne.
I slutningen af ​​1980'erne og begyndelsen af ​​1990'erne bragte musiker og Columbia College-professor Hal Russell en stor tilstrømning af nye musikere ind i AACM's indflydelsessfære både gennem hans undervisning og spil med NRG Ensemble. Studerende og tilhængere af Russell's som Ken Vandermark, Kent Kessler, Mars Williams og Weasel Walter har hjulpet med at genoplive og AACM-scenen og bragt den fortjent kritisk og medieopmærksomhed.
Heldigvis er en hel del af de originale AACM-spillere stadig på scenen, ligesom mange af deres studerende både fra Chicago og Europa, såvel som spillere fra den nyere scene, der stammer fra Russell. Du kan fange shows, der spænder rundt i byen næsten hver aften i ugen, men scenen er mest forudsigeligt centreret omkring en håndfuld klubber med forbindelser til musikerne.
  • Velvet Lounge, 67 East Cermak Road. Ejer Fred Anderson er længe medlem af AACM og har forbindelser, der løber dybt gennem begge nutidige scener. In most evenings from Wednesday through Saturday, you'll find him alternately watching the door, and joining the band on stage to play a ripping sax solo.
  • The New Apartment Lounge, 504 East 75th. Von Freeman is your host here at the new apartment, another club frequented by AACM members both onstage and off. The club is a must-see, and the Wednesday night jam sessions are legendary.
  • The Hideout seems to be the successor on Wednesday nights to the long running Tuesday and Wednesday night gigs by Ken Vandermark and friends at The Empty Bottle, where he and music critics John Corbett and Peter Margasak have created a platform for exposing Chicago hipsters to Avant Garde Jazz from the AACM scene, the Russell scene, and from around the world. Wednesday nights are usually reserved for overseas guests, such as Han Bennik or, maybe if you're lucky, Misha Mendelberg.
  • The HotHouse, 31 East Balboa. Having moved to Printers Row after many years in Wicker Park, the HotHouse regularly hosts concerts mostly by younger members of the AACM scene (like Eight Bold Souls) and associated traveling artists, in a somewhat more upscale atmosphere than the other three clubs in this group - the old location was a dive, but they took the move as an opportunity to dress up a bit.
  • Andy's Jazz Club 11 East Hubbard St. Chicago, IL, 1 312-642-6805.
One of Chicago's best-known and most respected Jazz establishments, historic Andy's offers casual dining and live jazz. Local acts focusing on mainstream, traditional, be-bop jazz and blues are featured with sets at lunchtime, late afternoon and evenings. Located just off Michigan Ave in downtown Chicago and just steps away from Chicago's Magnificent Mile, Andy's Jazz Club has been a destination for the work weary and hungry hipsters for over a quarter of a century. Established in 1951, this onetime newspaper pub has evolved from a shot & beer joint into a full service music Mecca.
Taste and variety define the music menu as well, showcasing Jazz and Blues 7 days a week. No other venue can boast of the three shows daily and a weekend rotations of world-class headliners.
Friday's Live Jazz At Noon provides a variety of lunchtime favorites with conversation friendly music, guaranteed to satisfy the cravings of the clock-watchers and leisure lovers alike. Open for lunch Monday-Friday with live music only on Friday. Jazz At Five ups the intensity when locals and visitors mingle beneath the "Wall of Fame" and exchange ideas in the universal language of Jazz. Jazz At Nine expands the experience with a range of world-renowned artists with diverse styles continuing until 1AM. To accommodate a more energetic weekend crowd, hours are extended to 1:30AM and serve from the complete menu until 1AM. On Sunday, entertainment jump starts your morning with a 11AM-2:30PM Brunch and continues on with evening music offered from 5PM-midnight. Located in the heart of the River North Neighborhood of the Chicago Loop, you can find Andy's Jazz Club & Restaurant at the intersection of State Street and Hubbard Street.

More modern Chicago clubs at www.chicagojazz.com

Other jazz-related places in Chicago

  • The Chicago Jazz Archive, part of the Library of the University of Chicago, open Tuesday to Friday by appointment only (call 702-8541); contains pictures, magazines and recordings from the early jazz in the Chicago scene.
  • Chicago Theatre, 175 N. State St.,
Many big bands played at the Chicago in the 1930s and '40s, including, to name a few, Benny Goodman, Dick Jurgens, Harry James, and Orrin Tucker. Having narrowly survived demolition in the mid-1980s, the Chicago Theatre continues to operate, with most of its elegance still evident.

Day 6 (Sunday): Chicago til Kansas City

Distance: (532 Miles)

Concert in the Phoenix?

Day 7 (Monday): Visiting Kansas City

Jazz places in Kansas City

  • 18th and Vine District
...we came to the corner of Eighteenth Street and Wham! Everything along that street was all lit up like klieg lights... And everywhere you went, there was at least a piano player and somebody singing, if not a combo or maybe a jam session... we were walking into a scene where the action was greater than anything I've ever heard of." ca 1924-25, William Basie, from Good Morning Blues, the Autobiography of Count Basie.
...The Flavor of 18th street was on the sidewalks, you could find everybody who was anybody on 18th street.But it was grand. 12th street was joints, 18th street was class. It was all we had, and it was the only place we could go." Reuben Benton, long time resident.
18th and Vine in Kansas City is internationally recognized as one of the cradles of jazz. Along with New Orleans's Basin Street, Beale Street in Memphis, 52nd Street in New York and Los Angeles's Central Avenue - the 18th and Vine area was a midwife to the birth of a new style of jazz. Like the spicy barbecue for which Kansas City is so widely noted, the jazz that evolved in the 18th and Vine district was likewise distinctive. Simmered in the blues, Kansas City's jazz was a riff-based sound fueled by jam sessions in the district's crowded clubs.
A list of the musicians who worked and made their home in the historic district reads like a veritable Who's Who of Jazz in the 1930s and 1940s. Charlie Parker is likely the most noted modern jazz musician to come from Kansas City. However, many notables call the city home or got their start in this significant jazz scene.
Located just east of Downtown Kansas City, it is the Kansas City metropolitan area's historic center of African American culture. It has been the focus of more than $30 million of civic investment since the late 1980s, but the district's redevelopment has struggled. In the 1990s, parts of the film Kansas City were filmed there. Façades left from the movie remained on most of the dilapidated buildings until the end of the 1990s. Today, the 18th and Vine district includes the Mutual Musicians Foundation, the Gem Theater, the long-time offices of African-American newspaper The Call, the Blue Room jazz club, the American Jazz Museum, the Negro Leagues Baseball Museum, restaurants and apartments.
The clubs sported colorful names such as the Cherry Blossom, the Chez Paree, Lucille's Paradise, the Subway Club, the Sportsmen Club, the Ol' Kentuck' Bar-B-Q and Fox's. Many of the clubs featured "Blue Monday" sessions. Former bassist for Andy Kirk, Laverne Barker remembered how, "People would go to the area on Sunday Nights and would wait for Blue Monday parties to start in the clubs at midnight. The jam sessions would start and go `til Monday afternoon."
Vine Street also has been celebrated by many songs including "Vine St. Bustle," "Vine St. Boogie," "Vine St. Drag" and "Kansas City."
Located in the Historic 18th and Vine Jazz District in Kansas City, MO., this is the place where jazz masters such as Charlie Parker, Count Basie, Big Joe Turner, and hundreds of others defined the sounds of the 1920s, 30s, and 40s. Contains rare photos, album covers, memorabilia, and personal items telling the stories of jazz legends Louis Armstrong, Duke Ellington, Ella Fitzgerald, and Charlie Parker, More than 100 recordings of the greatest jazz ever played, Studio 18th & Vine, where visitors experiment with harmony, melody, and rhythm, Films and special collections honoring the impact of jazz on the American experience, Special exhibits highlighting Kansas City’s unique contributions to jazz.
'Closed on Mondays'
  • The Mutual Musicians Foundation 1823 Highland Avenue, 18th & Vine district, 1 816 471-5212
Otherwise known and the Musicians local No. 627, This modest musicians union house is nearly 100 years old and represents KC jazz/blues/ragtime history far better than the museum down the street. Open jazz jams and cutting sessions Saturdays starting at around midnight lasting til sometimes past dawn - if the crowd and musicians can keep each other interested. (Blues jams on Fri night.) Charlie Parker grew up in the area and there are stories of him peeking through the window of this place to see perhaps Basie, Lester Young, etc. Upstairs there is a piano that locals say Scott Joplin, Mary Lou Williams and Count Basie played on. Downstairs reside the Saturday jams in a room that has a grandma's formica kitchen feel. Lester Young (hear 1958 audio discussion with Chris Albertson), Bennie Moten, Walter Page, Charlie Parker, Coleman Hawkins, Ben Webster, Buster Smith, Mary Lou Williams, Pat Metheny, Count Basie, Jimmy Rushing, Big Joe Turner, Kevin Mahogany, Ahmad Alaadeen, Bob Brookmeyer, Claude Fiddler Williams, George E Lee, Bobby Watson, Jay McShann, Andy Kirk, The Blue Devils, Karrin Allyson and many others had/has strong ties to this district (or the 12th Street scene which is completely destroyed).
  • Fox's Tavern, Corner of 18th St and Vine.
Very popular with loudspeakers on the street broadcasting music and shows, contributing enormously to the atmosphere of the district.
  • Piccolo's club, Corner of 18th and vine (west of Fox's Tavern).
  • Street hotel, featured the early location of the Blue Room, an exclusive jazz club.
  • Shannon building featured on the basement, one of the most famous jazz clubs, the Subway. The most recognized jazz musicians jammed at the Subway: Benny Goodman, Coleman Hawkins, Gene Krupa, Harry James, Chu Berrym, Jimmy and Tommy Dorsey, Ben Webster and countless other held cutting contest with local musicians.
  • The El Capitan Club, 1608-10 E 18th St.
  • Elk's Lodge, 1606-E 18th, (open in 1906).
  • Moten and Hayes records owned by two men that would become famous bandleaders, Benny Moten and Thamon Hayes. Bennie Moten's Kansas City Orchestra was the most successful Jazz band of the Midwest. The band toured all over the country and had a top selling recording in 1927 for Victor named "South". In 1929 Count Basie of The Blue Devils joined the band, and several other members of that band soon joined Moten's Orchestra. Count Basie took over the band after Moten's death in 1935.
  • Lucille's Paradise Club, 1709-11E 18st st, featured radio broadcast in the lates '30s.
  • Scott's Show Bar Corner of 18th st and Highland Avenue, an elite supper club in the '40s opening as the 'Highland Gardens' in 1922. Also called the Airdome and the Quaterne, and later the Rialto and the Boone.
  • Centennian Church, Count Basie played the Organ at this congregational church.
  • Gem Theatre operated from 1912 as a segregated movie theatre.
  • The Parrot Inn, 1813 Vine St.
  • The Mardi Grass Club opened in the 1950s. Had many names, turnovers through the years. Much the same since the 1930s, raw urban club. "Bird, Basie, Miles, Monk played it". It closed due to lease dispute according to Ignatius' secret sources and apparently will reopen down the street. Rumor is another club will go in this spot.
  • The OI Kentucy Barbecue. Musicians jammed here and ate barbecue soup for 10 cents.
  • Eblon Theater is the site of the Count Basie first job in Kansas city. His band came to play to the city and left him here. He played as an organist in silent films, as the Cherry Blossom in 1934, it featured Japanese decor and some of the hottest jam sessions in town. Later was called the 'Chez Paree'.

Jazz clubs in Kansas City

  • Reno Club. 12th Street, between Cherry Street and Locust Street, Kansas City, MO.
Known as the "Queen" of Kaycee clubs, the Reno Club flourished during the 1930s, but was closed for tax evasion in 1938. The club's activities, directed by Papa Sol Epstein, were segregated, and separate dance floors, bars, and dining areas were reserved for black and white patrons. Bennie Moten played there in the early 1930s, and in 1935 Count Basie formed a nine-piece group, the Barons of Rhythm, for a residency; it was in this venue that Basie was discovered by John Hammond in 1936.
The balcony above the bandstand here was Charlie Parker's favorite roost. He'd sit there, the air thick with marijuana smoke rising from the band downstairs, and listen to his idol, Lester Young, blowing with the "Count" Basie band.
Nightly broadcasts from the club were relayed on radio station W9XBY. In 1938 Jesse Price's big band played there, and the following year George E. Lee, whose career passed through a decline in the mid-1930s, brought his new band (formed the preceding year for a residency at the Brookside Club) to play an engagement at the Reno. The club was as important for after-hours jam sessions by the many jazz musicians playing in the city at that time as it was for the music that was played to entertain the clientele.
A police parking lot now occupies the sacred ground where Club Reno once stood.

Modern jazz clubs in Kansas City

  • Fønixen 8th & Central, 1 816 472-0001
  • Jardines Restaurant & Jazz Club 4536 Main Street 1 816 561-6480
The American Jazz Museum's Blue Room is a museum by day and at night comes to life as a working jazz club. Four nights a week, the Blue Room resonates with the sweet sounds of Kansas City jazz. As the only Kansas City club included in DownBeat magazine's 2004 list of Top 100 Jazz Clubs in the world, the Blue Room consistently books top name national and international entertainers while it continues to showcase the best of jazz in Kansas City.
The Blue Room was recognized again in DownBeat magazine's February 2007 issue as the only Kansas City club to make the list of Top 100 Jazz Clubs in the world:
As part of the American Jazz Museum, the Blue Room is designed to resemble a nightclub from the 1930s. Shows in the room hit on Monday (a regular jam session), Thursday, Friday and Saturday, featuring top regional straightahead talent.
  • Majestic Steakhouse 931 Broadway (walking distance from Phoenix) 1 816 471-8484
Jazz and jam 6 days, but Monday. Art deco/Victorian classic club feel with typically 50 crowd. Cigar club upstairs with walkin humidor (said to once be Tom Pendergast's hangout). Bram Wijnands' regular gig spot (weekends).
  • Grand Emporium 3832 Main Street 1 816 531-7557, 1 816 531-1504
Mostly touring blues and bluesrock acts on weekends but also jazz/punk/zydeco/reggae weekdays. Many blues mags consider it one of best urban blues clubs in US and it is a multi WC Handy award winner. This place usually has a soul you can breathe in but lately they seem to book a bit more blue collar and suburban twangy blues over the urban blues they've been known for. Gotta do Amazing Grace's soul food (and/or bring in pizza from next door). Open blues jams, second Thu of each month, no cover (for this event).
  • Harling's Upstairs 3941-A Main Street 1 816 531-0303
Urban blues/jazz/irish/celtic/swing/rock. Tuesdays (?) - 18 piece swing orchestra. Saturday 2PM (open) jams too - Mama Ray (no cover). Usually weekend cover charge. Jean Harlow and Joan Crawford were once showgirl dancers at this club. A Midtowner's favourite, where local filmmakers hang.

(More jazz clubes at Foursquare)

Other jazz-related places in Kansas City

  • Charlie Parker birthplace 852 Freeman Avenue, Wyandotte County, Kansas City, Kansas [10]
At year 1999, the location is a vacant lot.
  • Charlie Parker Home 1516 (1535) Olive St Kansas City, MO
Parker was living here during the period he was going as a kid to jam sessions in 18th St (close to his school) and 12th (the Reno Club). He spent the chilhood and adolescence here until he moved to New York, already as a formed musician.
  • Charlie Parker Grave site Lincoln cemetery, 8604 E Truman Rd, Kansas City, MO
Charlie Parker asked explicitly not to be buried in Kansas City, but the family decided to do it so.
  • Other Charlie Parker Houses 109 W34th St. Kansas City, MO, and 114 W 36th St. Kansas City, MO
Charlie Parker moved here in 1927, and lived here for about four years, after moving from his birthplace at the other side of the river, in Kansas City, Kansas. At least seven homes have been identified in Kansas and Missouri at which the Parkers lived at one time or other. Both buildings are still there at year 1999.

Day 8 (Tuesday): Kansas City to Memphis

  • American Jazz Museum Visit in the morning. Tu–Sa 9AM to 6PM, Su noon to 6PM, M closed

Driving distance: 538 miles.

Sedalia, MO

  • Sedalia, Missouri. (25 km off road, in the way of Kansas City to Memphis is consider the Birth Place of the Ragtime). Sedalia was once the residence of the famous ragtime composer Scott Joplin. Joplin and ragtime music are honored in a yearly Ragtime Festival, usually held in June.
En gang der, Scott Joplin House kan besøges.

Once in Memphis, try to catch a Blues concert.

Day 9 (Wednesday): Visiting Memphis

  • Gade[dødt link], Memphis, TN
When the self-proclaimed "Father of the Blues" W.C. Handy, an accomplished bandleader and songwriter, arrived on Beale Street from the Delta in 1908, he brought with him the blues, a new style of music he "discovered" down south. With his publication of "Memphis Blues" in 1912, Handy became one of the first people to publish a song featuring characteristic "blue notes" and containing the word "blues" in its title. By the 1920s, Beale Street was a showcase for jug bands, where he played a mixture of blues, ragtime, and humorous tunes.
In the 1920s, the area took on a carnival atmosphere and gambling, drinking, prostitution, murder and voodoo thrived alongside the booming nightclubs, theaters, restaurants, stores, pawnshops and hot music. By mid-evening, the street would be packed and a one-block walk could take forever, especially if he had to detour around the medicine show set up in the little hole in the wall, or if he stopped and listened to the wandering bluesman playing for pennies and nickels. There were big vaudeville shows at the Palace and the Daisy, hot snoot sandwiches at the corner café jug bands playing down at the park and one block over on Gayoso there was a red-light district to rival New Orleans’ Storyville.
Beale Street was completely shut down and the buildings demolished. Nowadays, it is just a street for tourism and shopping wiith some reopened blues clubs, but missing the spirit of the early 20s.
A. Schwab Dry Goods, in the family since 1876, is the only remaining original business on Beale St. Open M-Sa 9AM-5PM. The Orpheum Theatre also remains, opened on October 15, 1928 on the corner of Main and Beale.
Clubs on Beale street: Alfred's On Beale, Mr. Handy’s Blues Hall, Alley Cats, New Daisy Theater, A. Schwab, New York Pizza, B. B. Kings Blues Club, Pat O'Briens, Beale St. Tap Room, People’s Billiard Club, The Black Diamond, The Pig on Beale, Blues City Cafe & Band Box, Psychics of Beale Street, Club 152, Rum Boogie Cafe, Dyer’s Famous Hamburgers, Shake Shack, Eel Etc. Fashions. Silky O Sullivan’s, Hard Rock Cafe, Strange Cargo, King’s Palace Cafe, Tater Red’s, Memphis Music, Wet Willies.
  • Sun Studio 706 Union Ave, Memphis, TN, 1 901 521-0664
'Where rock'n roll was born'. The studio where Elvis Presley recorded his first four albums, and changed the music industry. Johnny Cash, the inimitable Jerry Lee Lewis, and the "Rockin' Guitar Man", Carl Perkins were first recording here. Nowadays, is a sort of museum, so you can enter and visit the studio.
  • W C Handy Blues Museum & Performing Arts Center 1275 Royal Oaks Cv, Memphis, TN, 1 901 396-3914
WC Handy is considered the father of the blues. He is the one that bought the blues from the Mississippi Delta up to New Orleans through the Highway 61.
The Memphis Rock ‘n’ Soul Museum’s exhibition about the birth of rock and soul music tells the story of musical pioneers who, for the love of music, overcame racial and socio-economic barriers to create the music that shook the entire world.
Located at 191 Beale, on the corner of legendary Highway 61 at the FedExForum sports and entertainment complex, the museum offers a comprehensive Memphis music experience from the rural field hollers and sharecroppers of the 1930s, through the explosion of Sun, Stax and Hi Records and Memphis’ musical heyday in the 1970s, to its global musical influence. The museum’s digital audio tour guide is packed with over 300 minutes of information, including over 100 songs, and takes visitors at their own pace through seven galleries featuring 3 audio visual programs, more than 30 instruments, 40 costumes and other musical treasures.
Stax was a major player in the creation of the Southern soul and Memphis soul music styles, and frequently released early funk and 1960s Chicago blues recordings. While Stax was involved almost exclusively in the production of African-American music, the label is noted for having some of the first popular ethnically-integrated bands. Featuring recordings of Otis Redding, Wilson Pickett and Albert King.
Today, the Stax Museum of American Soul Music, located at the original site of Stax Records, pays tribute to all of the artists who recorded there with a rare and amazing collection of more than 2,000 interactive exhibits, films, artifacts, items of memorabilia, and galleries designed to keep Stax alive forever. Because it is the only soul music museum in the world, it also spotlights America's other major soul music pioneers, including the sounds of Muscle Shoals, Motown, Hi, and Atlantic Records, spotlighting the contributions of such soul pioneers as Ike & Tina Turner, Aretha Franklin, The Jackson Five, Ann Peebles, Al Green, Sam Cooke, James Brown, Ray Charles, and many others.
Hours: March-October: M-Sa 9AM-4PM, Su 1-4PM; November-February: M-Sa 10AM-4PM
  • WDIA 706 Union Avenue, Memphis, TN
The radio station where Beale Street went on the air (1948). It became the first all-black radio station in the country, with African-American deejays and programming that specifically targeted a black audience. WDIA’s torrent of gospel, blues, and the sounds of rhythm and blues (R&B) put it on its way to becoming the most powerful station in Memphis.
In 1948, Blues Boy King was hired by Memphis blues station WDIA for a 15-minute live radio spot where he performed and hawked a health tonic called Pep-Ti-Kon. A year after, B.B. King records for the first time, cutting four songs (including his debut single, “Miss Martha King”) at Memphis radio station WDIA.
The WDIA studio on Union Avenue, just up the street from the Peabody Hotel, is also still in operation, broadcasting a steady stream of talk and music, and you can stop in for a quick tour. On Saturday mornings, Rufus Thomas, the senior statesman of the local music scene, still broadcasts a weekly show, and the station’s all-blues programming on Saturdays remains an unpretentious tribute to the city’s blues tradition. Listen to the radio as you drive around the city or take a day trip down to the Delta.
  • TOILET. Handy House & Museum 352 Beale Street, Memphis, TN, 901-527-3427
  • Aretha Franklin's birth home 406 Lucy St., Memphis, TN
Just a few blocks from Stax stands the house where Aretha Franklin was born and raised until she moved north at the age of eight.
The most significant landmark of Tupelo's modern history is a modest, two-room house where the King of Rock & Roll was born on Jan 8, 1935. From this humble beginning, Elvis Presley began his meteoric rise to become the world's most popular entertainer.
The Elvis Presley Birthplace is part of the Elvis Presley Park and has been restored to the period before the singer's family moved to Memphis. The birthplace has been designated a Mississippi landmark. The Elvis Presley Park includes the Elvis Presley Museum, Memorial Chapel, Gift Shop and a lifesize statue of "Elvis at 13". The Park offers complete recreation facilities for picnics and community events.
Hours: May-Sep: M-Sa 9AM-5PM; Oct-Apr M-Sa 9AM-5PM; Su year-rpund 1-5PM
This huge mansion was once the home of Elvis, the most famous entertainer in the US. Now it is a pilgrimage place for many fans and one of the landmarks of Memphis.
This memorable tour of Gibson’s Memphis guitar factory consists of an intimate viewing of the facility as Gibson’s skilled luthiers craft some of the finest guitars in the world. An opportunity to witness the intricate process of binding, neck-fitting, painting, buffing, and tuning that creates these incredible musical instruments. See and hear how Gibson has helped shape the world of music for over 100 years and continues to set the pace for the musical innovations of tomorrow. Tour lasts approximately 45 minutes.
Tours are given: Monday- Saturday 11AM, noon, 1PM, 2PM, 3PM, and 4PM; Sunday noon, 1PM, 2PM, 3PM, and 4PM
  • Heartbreak Hotel,
Elvis Hotel. Across the street from Graceland. It features unique decor. You can try to see the lobby.

Day 10 (Thursday): Memphis til New Orleans

Driving distance: 396 miles. Take route 61, the Blues Highway, and follow it as weaves into Mississippi, all the way to New Orleans.

Clarksdale

Once one of the Delta’s main trading towns, Clarksdale is possibly the most important blues-town in Mississippi. John Lee Hooker, Sam Cooke, Jackie Brenston and Ike Turner were born and raised here. Other influential bluesmen who made their names in Clarksdale include Muddy Waters, Bukka White, Son House, and Robert Nighthawk. On September 26th, 1937, Bessie Smith died in Clarksdale after a car accident on Highway 61 near Coahoma.

  • Riverside Hotel. 615 Sunflower Avenue. Here stood the GT Thomas Hospital for blacks, where Bessie Smith died. The owner of the Hotel, Frank Ratliff claims his mother, who turned the hospital into a hotel in 1944, knew what really happened, but Frank’s is not willing to tell anyone. Bessie´s Room (room #2) can be visited. John Fitzgerald Kennedy chose to stay at the Riverside when he visited Clarksdale. He stayed opposite Bessie’s in room 2a.
  • WC Handy's marker. WC Handy heard the blues for the first time in 1903 when he was living in Clarksdale.
  • Delta Blues Museum. #1 Blues Alley, Clarksdale, MS. Mar-Oct: M-Sa 9AM-5PM; Nov-Feb: M-Sa 10AM-5PM. Go south on 61 Highway to Clarksdale. 61 Turns into N. State Street. Turn right on DeSoto, go under the railroad tracks and turn left on 3rd Street.

Dockery Plantation

Take Highway 8 east from Cleveland (Here, WC Handy pronounced his famous words "An American composer is Born") for about 5 miles to reach the Dockery Plantation founded around 1895. According to many, the blues was born right here. Charley Patton, pioneer of the Delta blues was a worker here.

Where the “Southern meet the Dog”

These were the lyrics of the first Blues WC heard in Tutwiler. He asked the singer what they meant. They actually mean a point where the Yazoo and the Mississippi railroads meet. This point is in Moorhead and the railroads still exist

Natchez

When Natchez was the old capital of cotton industry, more millionaires lived here than anywhere else in America. This is today a city of contrasts full of Southern Charm and elegance.

Day 11 (Friday): Visiting New Orleans

  • The French Quarter. The city's historic center is its main tourist draw.
  • Faubourg Treme. Founded by free people of color the Treme is home to New Orleans' African American Museum, historic St. Augustine Church, Louis Armstrong Park and Congo Square (and the National Jazz Museum) as well as a vibrant Secondline tradition.
  • Faubourg Marigny. New Orleans' "bohemian" neighborhood is also home of the Frenchmen Street Entertainment District.
  • Storyville. The now defunct district where prostitution and gambling was legal in New Orleans. Storyville was a key in the development of jazz and that its closing was responsible for New Orleans musicians leaving for Chicago. Almost all the buildings in the former District were demolished in the 1930s to clear the land for the building of the Iberville Projects. While much of the area contained old and decayed buildings, the old mansions along Basin Street, some of the finest structures in the city, were leveled, too.
  • Basin Street. The back side of Basin Street was the front of the Storyville red light district, with a line of high end saloons and mansions devoted to prostitution. Basin Street was commemorated in the Basin Street Blues composed by Spencer Williams in 1926 and recorded by Louis Armstrong in 1929 and Miles Davis in 1963.

There are a series of monuments on the neutral ground of Basin Street, including statues of Simón Bolívar, Benito Juárez, and Francisco Morazán, and a metal sign commemorating Storyville.

Jazz clubs in New Orleans

  • Anderson's Annex. 201 North Basin Street, at Iberville Street.
  • Irvin Mayfield's Jazz Playhouse. 300 Bourbon Street.
  • Preservation Hall. 726 St. Peter Street.
  • Candlelight Lounge. 925 N. Robertson Street.
  • d.b.a.. 618 Frenchmen Street.
  • Snug Harbour. 626 Frenchmen Street.
  • The Spotted Cat. 623 Frenchmen Street.
  • Sweet Lorraine's. 1931 St. Claude Avenue.
  • Maple Leaf Bar. 8316 Oak Street.

New Orleans has a vibrant live music scene throughout the city. Although Bourbon Street has lost its luster as an exclusively musical destination (with a few exceptions) have no fear, this is New Orleans. The Frenchman Street entertainment district in the Faubourg Marigny (the neighborhood next to the French Quarter) is one of the best places to catch a live Jazz Performance in New Orleans. Arrive any day of the week, later in the evening. Quality street musicians abound in New Orleans.

Saloon. [11]From 1901 to around 1925, Anderson's Annex was the headquarters of Tom Anderson, from where he controlled the brothel district of New Orleans. The venue was managed by Bille Struve, who also produced the famous Blue Book (a guidebook to the district), which advertised it somewhat misleadingly as a "café and restaurant."

From about 1905, it was sometimes known as the Arlington Annex, after Josie Arlington's whorehouse, one of the three largest and most popular on Basin Street. The saloon offered music on a modest scale, presenting small bands, such as string trios (mandolin or violin, guitar and double bass); among the musicians who played there were Bill Johnson, the black guitarist Tom Brown, and Wellman Braud, playing violin. In published accounts, such famous musicians as Louis Armstrong and Albert Nicholas are said to have played at Anderson's Annex, but they actually worked at Tom Anderson's New Cabaret and Restaurant.

Day 12 (Saturday): Visiting New Orleans

Day 13 (Sunday): New Orleans til Boston

Med fly.

Pas på dig selv

Se også

Denne rejseplan til The Jazz Track er en anvendelig artikel. Det forklarer, hvordan man kommer derhen og berører alle de store punkter undervejs. En eventyrlysten person kunne bruge denne artikel, men du er velkommen til at forbedre den ved at redigere siden.