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Poems
RAJ NANDY
Mar 2016
Dear Poet Friends, and all true lovers of Jazz! Being a lover of Classical and Smooth Jazz, I had composed first two parts in Verse on the History and Evolution of Jazz Music. Seeing the poor response of the Readers to my Part One here, I was hesitant to post my Second Part. I would request the Readers to kindly read Part One of this True Story also for complete information. Please do read the Foot Notes. With best wishes, - from Raj Nandy of New Delhi.
THE STORY OF JAZZ MUSIC : PART-II
BY RAJ NANDY
NEW ORLEANS : THE CRADLE OF JAZZ
BACKGROUND :
Straddling the mighty bend of the River Mississippi,
Which nicknames it as the ‘Crescent City’;
(Founded in 1718 as a part of French Louisiana
Colony), -
Stands the city of New Orleans.
New Orleans* gets its name from Phillippe II,
Duc d’ Orleans , the Regent of France ;
A city well known for its music, and fondness
for dance.
The city remained as a French Colony until 1763,
When it got transferred to Spain as a Spanish
Colony.
But in the year 1800, the Spanish through a
secret pact, -
To France had once again ceded the Colony back!
Finally in 1803 the historic ‘Louisiana Purchase’
took place ,
When Napoleon the First sold New Orleans and
the entire Louisiana State, -
To President Thomas Jefferson of the United
States! * (See notes below)
THE CONGO SQUARE :
The French New Orleans was a rather liberal
place,
Where slaves were permitted to congregate,
For worship and trading in a market place,
But only on Sabbath Days, - their day of rest!
They had chosen a grassy place at the edge of
the old city,
Where they danced and sang to tom-tom beats,
Located north of the French Quarters across the
Rampart Street,
Which came to be known as the Congo Square,
Where one could hear clapping of hands and
stomping of feet!
There through folk songs, music, and varying
dance forms,
The slaves maintained their native African musical
traditions all along!
African music which remained suppressed in the
Protestant Colonies of the British,
Had found a freedom of expression in the Congo
Square by the natives; -
Through their Bamboula , Calanda, and Congo dance!
The Wolof and Bambara people from Senegal River
area of West Africa,
With their melodious singing and stringed instruments,
Became the forerunners of ‘Blues’ and the Banjo.
And during the Spanish Era, slaves from the Central
African Forest Culture of Congo,
Who with their hand-drummed polyrhythmic beats ,
Made people from Havana to Harlem to rise and
dance on their feet! (see notes below)
CULTURAL MIX :
After the Louisiana Purchase , English-speaking
Anglo and African-Americans flooded that State.
Due to cultural friction with the Creoles, the new-
comers settled ‘uptown’,
Creating an American Sector, separate from older
Creole ‘down-town’ !
This black American influx in the uptown had
ushered in,
The elements of the Blues, Spirituals, and rural
dances into New Orleans’ musical scene.
Now these African cultural expressions gradually
diversified, -
Into Mardi Indian traditions, and the Second Line.^^
And eventually into New Orleans’ Jazz and Blues;
As New Orleans became a cauldron of a rich
cultural milieu!
THE CREOLES :
The Creoles were not immigrants but were home-
bred;
They were the bi-racial children of their French
Masters and their African women slaves!
Creole subculture was centred in New Orleans.
But after the Louisiana Purchase of 1803, -
The Creoles rose to the highest rung of Society! @
They lived on the east of Canal Street in the
French Sector of the city.
Many Creole musicians were formally trained in
Paris,
Had played in Opera Houses there, and later led
Brass Bands in New Orleans.
Jelly Roll Morton, Kid Oliver, and Sidney Bechet
were all famous Creoles;
About whom I now write as this true Jazz Story
gradually unfolds.
In sharp contrast on the west of Canal Street lived
the ***** musicians,
Who lacked the economic advantages the Creoles
possessed and had!
The Negroes were schooled in the Blues, Work Songs ,
and Gospel Music;
And played by the ear with improvisation as their
unique characteristic !
But in 1894 when Jim Crow’s racial segregation
laws came into force, # (see notes below)
The Creoles were forced to move West of Canal
Street to live with the Negroes.
This mingling lighted a ‘musical spark’ creating
a lightening musical flash;
Igniting the flames of a ‘new music’ which was
later called ‘Jazz’ !
INFLUENCE OF THE EARLY BRASS BANDS:
Those Brass Bands of the Civil War which played the
‘marching tunes’ ,
Became the precursors of New Orleans’ Brass Bands,
which later played at funeral marches, dance halls,
and saloons !
After the end of the Civil War those string and wind
instruments and drums, -
Were available in the second-hand stores and pawn
shops within reach of the poor, for a small tidy sum!
Many small bands mushroomed, and each town had
its own band stand and gazebos;
Entertained the town folks putting up a grand show!
Early roots of Jazz can be traced to these Bands and
their leaders like Buddy Bolden, King Oliver, Bunk
Johnson, and Kid Orley;
Not forgetting Jack 'Pappa' Laine’s Brass Band
leading the way of our Jazz Story !
The Original Dixieland Band of the cornet player
'Nick' La Rocca,
Was the first ever Jazz Band to entertain US Service
Men in World War-I and also to play in European
theatre, came later. (In 1916)
I plan to mention the Harlem Renaissance in my
Part Three,
Till then dear Readers kindly bear with me!
CONTRIBUTION OF STORYVILLE :
In the waning years of the 19th Century,
When Las Vegas was just a farming community,
The actual ‘sin city’ lay 1700 miles East, in the
heart of New Orleans!
By Alderman Story’s Ordinance of 1897,
A 20-block area got legalized and confined,
To the French Quarters on the North Eastern side
called ‘Storyville’, a name acquired after him!
This 'red light' area resounded with a new
seductive music ‘jassing up’ one and all;
Which played in its Bordello, Saloons, and the
Dance Halls ! (refer my Part One)
Now the best of Bordellos hired a House Pianist,
who also greeted guests, and was a musical
organizer;
Whom the girls addressed respectfully as -
‘The Professor’!
Jelly Roll Morton, Tony Jackson author of
‘Pretty Baby’, and Frank ‘Dude’ Amacher, -
Were all well-known Storyville’s ‘Professors’.
Early jazz men who played in Storyville’s Orchestra
and Bands are now all musical legends;
Like ‘King’ Oliver, Buddy Bolden, Kid Orley, Bunk
Johnson, and Sydney Bechet. ++ (see notes below)
Louis Armstrong who was born in New Orleans,
As a boy had supplied coal to the ‘cribs’ of
Storyville ! ^ (see notes below)
Louis had also played in the bar for $1.25 a night;
Surely the contribution of Storyville to Jazz Music
can never be denied!
But when America joined the First World War in
1917,
A Naval Order was issued to close down Storyville;
Since waging war was more important than making
love the Order had said !
And from the port of New Orleans US Warships
had subsequently set sail.
Here I now pause my friends to take a break.
Part Three of this story is yet to be composed,
Will depend on my Reader’s response !
Please do read below the handy Foot Notes.
Thanks from Raj Nandy of New Delhi.
FOOT NOTES:-
New Orleans one of the oldest of cosmopolitan city of Louisiana, also the 18th State of US, & a major port.
Louisiana was sold by France for $15 Million, & was later realized to be a great achievement of Thomas Jefferson!
Many African Strands of Folk Music & Dance forms had merged at the Congo Square.
^^ ’Second Line Music’= Bands playing during funerals & marches, evoked voluntary crowd participation, with songs and dances as appropriate forming a ''Second Line'' from behind.
@ Those liberal French Masters offered the Creoles the best of Education with access to their White Society!
# ’Jim Crow'= Between 1892 & 1895, 'Blacks' gained political prominence in Southern States. In 1896 land-rich whites disenfranchised the Blacks completely! A 25 year's long hatred
& racial segregation began. Tennessee led by passing the ‘Jim Crow’ Law ! In 1896, Supreme Court upheld this Law with - ‘’Separate But Equal’’ status for the Blacks. Thus segregation became a National Institution! This segregation divided the Black & White Musicians too!
+ Birth of Jazz was a slow and an evolving process, with Blues and Ragtime as its precursor! “Jazz Is Quintessence of Afro-American Music born on European Instruments.”
++ Jelly ‘Roll’ Morton (1885-1941) at 17 years played piano in the brothels, – applying swinging syncopation to a variety of music; a great 'transitional figure' between Ragtime & Jazz Piano-style.
++ BUDDY BOLDEN (1877-1931) = his cornet improvised by adding ‘Blues’ to Ragtime in Orleans during 1900-1907, which later became Jazz! BUNK JOHNSON (1879-1849 ) = was a pioneering jazz trumpeter who inspired Louis Armstrong. KID OLIVER (1885-1938) =Cornet player and & a Band-leader, mentor & teacher of Louis Armstrong; pioneered use of ‘mute’ in music! ‘Mute’ is a device fitted to instruments to alter the timber or tonal quality, reducing the sound, or both.
KID ORLEY (1886-1973) : a pioneering Trombonist, developed the '‘tailgate style’' playing rhythmic lines underneath the trumpet & cornet, propagating Early Jazz. SYDNEY BECHET (1897-1959) = pioneered the use of Saxophone; a composer & a soloist, inspired Armstrong. His pioneering style got his name in the ‘Down Beat Jazz Hall of Fame’! LOUIS ARMSTRONG (1890-1971) = Trumpeter, singer, & great improviser. First international soloist, who took New Orleans Jazz Music to the World!
% = After America joined WW-I in 1917, a Naval Order was issued to shut-down Storyville, to check the spread of VD amongst sailors!
^^ ”Cribs”= cheap residential buildings where prostitutes rented rooms. Louis Armstrong as a boy supplied coal in those ‘Cribs’.
During the 1940 s Storyville was raised to the ground to make way for Iberville Federal Housing Project.
ALL COPYRIGHTS RESERVED BY THE AUTHOR : RAJ NANDY **
E-Mail : rajnandy21@yahoo.in
THE STORY OF JAZZ MUSIC : PART-II
BY RAJ NANDY
NEW ORLEANS : THE CRADLE OF JAZZ
BACKGROUND :
Straddling the mighty bend of the River Mississippi,
Which nicknames it as the ‘Crescent City’;
(Founded in 1718 as a part of French Louisiana
Colony), -
Stands the city of New Orleans.
New Orleans* gets its name from Phillippe II,
Duc d’ Orleans , the Regent of France ;
A city well known for its music, and fondness
for dance.
The city remained as a French Colony until 1763,
When it got transferred to Spain as a Spanish
Colony.
But in the year 1800, the Spanish through a
secret pact, -
To France had once again ceded the Colony back!
Finally in 1803 the historic ‘Louisiana Purchase’
took place ,
When Napoleon the First sold New Orleans and
the entire Louisiana State, -
To President Thomas Jefferson of the United
States! * (See notes below)
THE CONGO SQUARE :
The French New Orleans was a rather liberal
place,
Where slaves were permitted to congregate,
For worship and trading in a market place,
But only on Sabbath Days, - their day of rest!
They had chosen a grassy place at the edge of
the old city,
Where they danced and sang to tom-tom beats,
Located north of the French Quarters across the
Rampart Street,
Which came to be known as the Congo Square,
Where one could hear clapping of hands and
stomping of feet!
There through folk songs, music, and varying
dance forms,
The slaves maintained their native African musical
traditions all along!
African music which remained suppressed in the
Protestant Colonies of the British,
Had found a freedom of expression in the Congo
Square by the natives; -
Through their Bamboula , Calanda, and Congo dance!
The Wolof and Bambara people from Senegal River
area of West Africa,
With their melodious singing and stringed instruments,
Became the forerunners of ‘Blues’ and the Banjo.
And during the Spanish Era, slaves from the Central
African Forest Culture of Congo,
Who with their hand-drummed polyrhythmic beats ,
Made people from Havana to Harlem to rise and
dance on their feet! (see notes below)
CULTURAL MIX :
After the Louisiana Purchase , English-speaking
Anglo and African-Americans flooded that State.
Due to cultural friction with the Creoles, the new-
comers settled ‘uptown’,
Creating an American Sector, separate from older
Creole ‘down-town’ !
This black American influx in the uptown had
ushered in,
The elements of the Blues, Spirituals, and rural
dances into New Orleans’ musical scene.
Now these African cultural expressions gradually
diversified, -
Into Mardi Indian traditions, and the Second Line.^^
And eventually into New Orleans’ Jazz and Blues;
As New Orleans became a cauldron of a rich
cultural milieu!
THE CREOLES :
The Creoles were not immigrants but were home-
bred;
They were the bi-racial children of their French
Masters and their African women slaves!
Creole subculture was centred in New Orleans.
But after the Louisiana Purchase of 1803, -
The Creoles rose to the highest rung of Society! @
They lived on the east of Canal Street in the
French Sector of the city.
Many Creole musicians were formally trained in
Paris,
Had played in Opera Houses there, and later led
Brass Bands in New Orleans.
Jelly Roll Morton, Kid Oliver, and Sidney Bechet
were all famous Creoles;
About whom I now write as this true Jazz Story
gradually unfolds.
In sharp contrast on the west of Canal Street lived
the ***** musicians,
Who lacked the economic advantages the Creoles
possessed and had!
The Negroes were schooled in the Blues, Work Songs ,
and Gospel Music;
And played by the ear with improvisation as their
unique characteristic !
But in 1894 when Jim Crow’s racial segregation
laws came into force, # (see notes below)
The Creoles were forced to move West of Canal
Street to live with the Negroes.
This mingling lighted a ‘musical spark’ creating
a lightening musical flash;
Igniting the flames of a ‘new music’ which was
later called ‘Jazz’ !
INFLUENCE OF THE EARLY BRASS BANDS:
Those Brass Bands of the Civil War which played the
‘marching tunes’ ,
Became the precursors of New Orleans’ Brass Bands,
which later played at funeral marches, dance halls,
and saloons !
After the end of the Civil War those string and wind
instruments and drums, -
Were available in the second-hand stores and pawn
shops within reach of the poor, for a small tidy sum!
Many small bands mushroomed, and each town had
its own band stand and gazebos;
Entertained the town folks putting up a grand show!
Early roots of Jazz can be traced to these Bands and
their leaders like Buddy Bolden, King Oliver, Bunk
Johnson, and Kid Orley;
Not forgetting Jack 'Pappa' Laine’s Brass Band
leading the way of our Jazz Story !
The Original Dixieland Band of the cornet player
'Nick' La Rocca,
Was the first ever Jazz Band to entertain US Service
Men in World War-I and also to play in European
theatre, came later. (In 1916)
I plan to mention the Harlem Renaissance in my
Part Three,
Till then dear Readers kindly bear with me!
CONTRIBUTION OF STORYVILLE :
In the waning years of the 19th Century,
When Las Vegas was just a farming community,
The actual ‘sin city’ lay 1700 miles East, in the
heart of New Orleans!
By Alderman Story’s Ordinance of 1897,
A 20-block area got legalized and confined,
To the French Quarters on the North Eastern side
called ‘Storyville’, a name acquired after him!
This 'red light' area resounded with a new
seductive music ‘jassing up’ one and all;
Which played in its Bordello, Saloons, and the
Dance Halls ! (refer my Part One)
Now the best of Bordellos hired a House Pianist,
who also greeted guests, and was a musical
organizer;
Whom the girls addressed respectfully as -
‘The Professor’!
Jelly Roll Morton, Tony Jackson author of
‘Pretty Baby’, and Frank ‘Dude’ Amacher, -
Were all well-known Storyville’s ‘Professors’.
Early jazz men who played in Storyville’s Orchestra
and Bands are now all musical legends;
Like ‘King’ Oliver, Buddy Bolden, Kid Orley, Bunk
Johnson, and Sydney Bechet. ++ (see notes below)
Louis Armstrong who was born in New Orleans,
As a boy had supplied coal to the ‘cribs’ of
Storyville ! ^ (see notes below)
Louis had also played in the bar for $1.25 a night;
Surely the contribution of Storyville to Jazz Music
can never be denied!
But when America joined the First World War in
1917,
A Naval Order was issued to close down Storyville;
Since waging war was more important than making
love the Order had said !
And from the port of New Orleans US Warships
had subsequently set sail.
Here I now pause my friends to take a break.
Part Three of this story is yet to be composed,
Will depend on my Reader’s response !
Please do read below the handy Foot Notes.
Thanks from Raj Nandy of New Delhi.
FOOT NOTES:-
New Orleans one of the oldest of cosmopolitan city of Louisiana, also the 18th State of US, & a major port.
Louisiana was sold by France for $15 Million, & was later realized to be a great achievement of Thomas Jefferson!
Many African Strands of Folk Music & Dance forms had merged at the Congo Square.
^^ ’Second Line Music’= Bands playing during funerals & marches, evoked voluntary crowd participation, with songs and dances as appropriate forming a ''Second Line'' from behind.
@ Those liberal French Masters offered the Creoles the best of Education with access to their White Society!
# ’Jim Crow'= Between 1892 & 1895, 'Blacks' gained political prominence in Southern States. In 1896 land-rich whites disenfranchised the Blacks completely! A 25 year's long hatred
& racial segregation began. Tennessee led by passing the ‘Jim Crow’ Law ! In 1896, Supreme Court upheld this Law with - ‘’Separate But Equal’’ status for the Blacks. Thus segregation became a National Institution! This segregation divided the Black & White Musicians too!
+ Birth of Jazz was a slow and an evolving process, with Blues and Ragtime as its precursor! “Jazz Is Quintessence of Afro-American Music born on European Instruments.”
++ Jelly ‘Roll’ Morton (1885-1941) at 17 years played piano in the brothels, – applying swinging syncopation to a variety of music; a great 'transitional figure' between Ragtime & Jazz Piano-style.
++ BUDDY BOLDEN (1877-1931) = his cornet improvised by adding ‘Blues’ to Ragtime in Orleans during 1900-1907, which later became Jazz! BUNK JOHNSON (1879-1849 ) = was a pioneering jazz trumpeter who inspired Louis Armstrong. KID OLIVER (1885-1938) =Cornet player and & a Band-leader, mentor & teacher of Louis Armstrong; pioneered use of ‘mute’ in music! ‘Mute’ is a device fitted to instruments to alter the timber or tonal quality, reducing the sound, or both.
KID ORLEY (1886-1973) : a pioneering Trombonist, developed the '‘tailgate style’' playing rhythmic lines underneath the trumpet & cornet, propagating Early Jazz. SYDNEY BECHET (1897-1959) = pioneered the use of Saxophone; a composer & a soloist, inspired Armstrong. His pioneering style got his name in the ‘Down Beat Jazz Hall of Fame’! LOUIS ARMSTRONG (1890-1971) = Trumpeter, singer, & great improviser. First international soloist, who took New Orleans Jazz Music to the World!
% = After America joined WW-I in 1917, a Naval Order was issued to shut-down Storyville, to check the spread of VD amongst sailors!
^^ ”Cribs”= cheap residential buildings where prostitutes rented rooms. Louis Armstrong as a boy supplied coal in those ‘Cribs’.
During the 1940 s Storyville was raised to the ground to make way for Iberville Federal Housing Project.
ALL COPYRIGHTS RESERVED BY THE AUTHOR : RAJ NANDY **
E-Mail : rajnandy21@yahoo.in
My love for Jazz Music made me to dig-up its past History and share it with few interested Readers of this Site! Thanks, -Raj
James Bradley McCallum
Nov 2013
Staff Sgt. Joseph D'Augustine
a proud Jersey son
whom Thou hast blessed
laid in St. Luke’s ground
for his heavenly rest
April 4, 2012
1.
in a far off province of
God forsaken Helmand,
our dear son Joey
met his untimely end
an explosive crack
a most terrible sound
felled a beloved Jersey son
to the cold cruel ground
working the live wires
of a well placed IED
a deathly burst killed him
it was awful to see
Staff Sgt. Joseph D’Augustine
in solemn duty fell
fellow brothers in arms
will forever reverently tell
of courage and character
of a dear fallen friend
and how the valiant warrior
met with death at his end
for he was always faithful
to his beloved corps
comrades couldn't ask
a valiant marine for more
2.
details of his death
are not the real story
selflessness and bravery
are but part of his glory
is it brash to
question why he fell?
in a useless bitter war
an embroiled senseless hell
a generation mustered
to fight in the war on terror
serving four tours of duty
in a lost decade of errors
two tours in Afghanistan and Iraq
could a nation ask a man for more?
for he was always faithful to the call
upholding pledges he hath sworn
3.
the burden of war
to a few confined
it rarely crosses
an American’s mind
incessant war machine
drones on apace
the horror of conflict
so cleverly displaced
with afternoon baseball
and super bowl parties
big disco paychecks
and other selfish priorities
pay hollow tribute
to dear weary troops
when valor is mentioned
we gather in groups
we’ll raise the flag
sing stirring anthems
than its back to the party
pay it no more attention
self styled patriots
wave handfuls of flags
but ask them to contribute
the zeal soon lags
its left to the few
to shoulder burdens of many
fairness is lost
its a democratic calamity
four tours in a decade
an inhumane task
burdens require sharing
its only fair to ask
Joey was always faithful
to the task at hand
willing to step forward
to serve his homeland
4.
in the wake of 9/11
a nation deeply shaken
young patriots stirred
liberty’s call not forsaken
a call to serve answered
to quell the rise of terror
a clear clarion alarm
marks the nature of the era
Joey boldly came forward
to train and learn
the art of warriors
his bright patriotism burned
deployed to Afghanistan
to capture Osama
routing the Taliban
without much problem
but a pacified Afghan
not enough for Bush
he invaded Iraq
another military push
we rolled into Baghdad
adorned with victors garlands
Saddam’s statue toppled
our troops were honored
deposing a dictators
soon turned to occupation
a ****** mission transformed
to build the Iraqi and Afghan nations
once honored liberators
now a conquering force
bestriding broken nations
on a civil war course
military industrialists
stood to profit most
sweet protracted conflict
record earnings to boast
lives bartered for lucre
a region held hostage
the conflict deepened
hostilities hardened
America dipped into
a great recession
the war machine
bled money and
kept on ticking
scooping up contracts
rewarding investors
the dividends of war
heaven sent treasure
continuation of hostilities
preys on a nation's youth
as casualties mount
ill portents forsoothed
a fraction of citizens
bare heartaches of war
gulping measures of despair
to guard a nations door
a nation always faithful
to the holy pursuit of profit
a highest citizens calling
put money into your pocket
5.
our beloved Jersey son
gave a full measure of devotion
in dress blues they shipped him
back across the ocean
on the Dover tarmac
they received his remains
for a last ride northward
to his hometown terrain
repatriated body
bereft of soul saluted
solemn escort knelt
hearts trembled, tears muted
a hearse for a gallant man
flanked by state troop cruisers
to escort the funeral train
assure an honored movement
one last trip up
old thunder road
the storied highway
Joey often trod
the last detail legged up 17
reverent firefighters saluted
from overpasses
to honor the woeful scene
as the motorcade passed
the Garden State Malls
frenzied consumers
failed to notice at all
busy window shoppers
didn't to turn an eye
as Joey rolled home
to the sweet by and by
vets interred at the
Old Paramus Church
gently stirred in their graves
reasons for war they search
Channel 12 Chopper
circled its eye in the sky
televised the sad parade
captured many teary eyes
the early spring blooms
colorful petals displayed
maples and forsythias
a royal carpet laid
spring remains always faithful
as the new season turns
offer sunshine and glory
as our sinking hearts burn
6.
motorcycle escort
northbound lane clear
rolling homeward
Waldwick was near
leaves exploding
green shoots budding
****** white maple blooms
natures accolades stunning
the oaks yet bare
just waking from slumber
winters death passing
a sad day put asunder
the motorcade passed
Joey’s home on Prospect Ave
few envision lifes endings
this woefully sad
red chevy pickup idles
in hoop crowned driveway
never to drain jumpers again
departed children can’t play
the eye in the sky
framed neighbors in mourning
welcoming back a fallen hero
unsettled emotions dawning
neighbors waved Old Glory
from painted stoops and curbs
unsure how this tragedy
visits this blessed suburb
green grass of home
always flush with spirit
tears welled in the eyes
most difficult to bear it
last cruise of the town
sad neighbors stand witness
paying final due respects
and ponder from a distance
what purpose is served
by this man’s passing?
the dead cannot speak
rationale is for the living
the terrible herse
death circles our town
moves through our day
hope of spring drowned
murderer of sunshine
killer of young flowers
budding trees breaking
our hearts an ashen pallor
we remember the beauty
of Joey’s stout face
as it looked on your finest day
exuding pure honor and grace
old vets gather
donning caps and pins
boasting semper fi jackets
jutting tear dripping chins
shaking hands, giving hugs
bearing tattered banners
the hearse ambles onward
we head home in solemn manner
good folks are always faithful
where beloved ones grew
the death of our children
we sadly cannot undo
7.
the bells of St. Lukes
called out from the sky
platoons of limping vets
marched in with pride
pomp and circumstance
requisite dress blues
family, friends, townsfolk
overflowed the pews
doleful bells resound
tolling a mournful reckon
the cost of war mounts
a family’s loss beckons
the casualties of war
falls upon a nation's youth
a seasons page not turned
a flowing wound not soothed
the wistful cornet calling
floats on the fluted air
the bereaved ***** gently sounds
a congregations somber despair
an unsettling dirge
the parish grows uneasy
nationalist bravado wanes
in the forlorn sanctuary
both church and flag
draped in colors of war
mock stain glass windows
communicants adore
is it a betrayal of the flag
to offer enemies
psalms of reconciliation?
where does true loyalty lay
with God or a warring nation?
afterall this is a sanctuary
where peace and harmony reigns
are we not called to beat swords
into ploughshares as the highest
calling of our Lord?
we are always faithful
to the pathways to war
when the practice of peace
is what we should adore
8.
coughing and whispers
incessant low murmur
a baby cries out
we sit and remember
the crucifers process
in solemnity to greet
subtle ***** notes salute
a coffin draped in Old Glory sheets
the beloved child welcomed
to his eternal repose
priests splash holy water
within the sacred dome
an amazing grace revealed
lifted by marine pallbearers
dearly departed body presented
gently placed at the altar
a grief struck sister
lovingly eulogizes
recalls tonka trucks,
GI Joe’s and cool transformers
a punch in the nose
an approaching wedding
beckoning Eastertide
vacation plans left begging
my second grade class sent
Christmas cookies and cards
to dear Joey and warrior friends
he said it warmed stark winter hearts
he was raised in this church
taught trust and reconciliation
the comfort of the Lords peace
may it surely go with him
for he was always faithful
to sisters, family and faith
his resurrection service
imbues sacredness
to this space
9.
sharp in dress blues
Eddie T USMC Gunny
big 50 caliber smile
offers his eulogy
Bada Bing Jersey Humvee
we called him Joey Calzones
good mood, loved sausages
he tickled the funny bone
always willing to sacrifice
loved the Patriots Tom Brady
a women dominated household
gave him a way with the ladies
his calling explosive ordinances
he said he was livin the dream
March 6th last time we met
knocking frost off cold ones
man whatta scream
a gallant marine,
beloved brother,
a sure friend
he was always faithful
I’m deeply wounded
by his untimely end
10.
the gospel read
the homily offered
Ecclesiastes wisdom
a time for everything
proffered
God never turns
an eye from the beloved
though seasons change
we are not forsaken
never unloved
as loss arrives
surely grief grows
turn away not
wisdom knows
in resignation
love lay dead
diligent intention
banishes dread
our rekindled hope
we rend and sow
our beloved Joey
knew this was so
our favorite son’s
example taught us
now rises on eagle’s wings
to claim his divine justice
Jesus faithfully tramped
the path to an awful death
Joey too fought the good fight
a warrior now gratefully at rest
The Lord holds him close
to the ***** of sure love
a cantors beatific voice incants
Joey’s spirit that forever enchants
The Lord is always faithful
to the bereaved and beloved
no one ever forsaken
all unconditionally loved
11.
the Holy Eucharistic cup
affirms everlasting giving
tasted to nourish evermore
a libation for the living
singing the Beatitudes
praising peace makers
mercy filled voice and song
pallbearers lift Joey’s coffin
off to seek his final peace
an earthly occupation ended
he’ll suffer worldly hate no more
down the aisle his coffin wended
the family closely followed
a mother haltingly sobbing
faithful marines came forth
to steady her wobbling
there is no sudden waking
from this terrible dream
the pungent incense rose
to the chapels sacred beams
the stained glass murals depict
the passion of Jesus’s story
illuming a consuming sorrow
in all its grace filled glory
the ***** of death slinks on again
we search for consolation
the recompense of honor blest
leaves a hollow heart wanting
no answers offered to quell the dark
of these terrible life’s moments
only the desperate need to hold onto
beleaguered treasure that sustains us
for we are always faithful
to the things we know
always faithful to the
things we refuse to let go
12.
the color guard and funeral detail
assembled in front of St. Luke’s
the cemetery right next door
the procession a short troop
the living will stumble through
the darkness of separation
seeking elusive answers
of poignant uncertainty;
all gave some, Joey gave all
nothing more required for his
journey through eternity
Joey will always be with us
his stories forever retold
as long as the machinery of
great nations engage
the gears of wasteful war
Joey’s spirit lives
in a peoples desire
for freedom, only if
our hope of peace
is greater than the
need for conflict
Joey’s lifes work
is sure to bear fruit
if those remaining
fight the good fight
by taking up the
task to protect and
expand the values
of liberty we
hold most dear
like our good
friend Jesus
Joey wears a crown
bejeweled with
a ring of thorns
hoisted on a
terrible cross
the sweet
incense of you
meets our nose
we inhale your
earthly presence
beholding beautifully
adorned crucifix,
a reminder of
unjust persecution
and a perfect
resurrection
yet this wretched
coffin remains
pledging allegiance
we rationalize our
stories, articulating
our small parts
in heroic sagas,
reciting myths of
ourselves, recording
the grim history of
a young marine
surrounded by
a smart color guard,
feasting on todays
eucharist, this
days sweet taste
of the daily bread
of human sorrow
The priest finishes
his graveside
commendation
of Joey D
Taps conclude
a wind rises
crows take flight
winging over
a stand of budding
Sugar Maples
exploding in white
blooms, reveling
in the glorious
sunshine of this
magnificent day
St. Luke’s stairway to
God Country and Home
smiling portrait of you
forever young
we surround your grave
to bless the earth
you've returned home
to your place of birth
our flowing pride
and salty tears bless
the anointed ground
that you loved best
a proud Jersey son
whom Thou hast blest
laid in St. Luke’s ground
for his heavenly rest
for he was always faithful
to the blessed land
forever at peace
in the soils sure hands
Charles Ives
The Unanswered Question
Oakland
11/10/13
jbm
a proud Jersey son
whom Thou hast blessed
laid in St. Luke’s ground
for his heavenly rest
April 4, 2012
1.
in a far off province of
God forsaken Helmand,
our dear son Joey
met his untimely end
an explosive crack
a most terrible sound
felled a beloved Jersey son
to the cold cruel ground
working the live wires
of a well placed IED
a deathly burst killed him
it was awful to see
Staff Sgt. Joseph D’Augustine
in solemn duty fell
fellow brothers in arms
will forever reverently tell
of courage and character
of a dear fallen friend
and how the valiant warrior
met with death at his end
for he was always faithful
to his beloved corps
comrades couldn't ask
a valiant marine for more
2.
details of his death
are not the real story
selflessness and bravery
are but part of his glory
is it brash to
question why he fell?
in a useless bitter war
an embroiled senseless hell
a generation mustered
to fight in the war on terror
serving four tours of duty
in a lost decade of errors
two tours in Afghanistan and Iraq
could a nation ask a man for more?
for he was always faithful to the call
upholding pledges he hath sworn
3.
the burden of war
to a few confined
it rarely crosses
an American’s mind
incessant war machine
drones on apace
the horror of conflict
so cleverly displaced
with afternoon baseball
and super bowl parties
big disco paychecks
and other selfish priorities
pay hollow tribute
to dear weary troops
when valor is mentioned
we gather in groups
we’ll raise the flag
sing stirring anthems
than its back to the party
pay it no more attention
self styled patriots
wave handfuls of flags
but ask them to contribute
the zeal soon lags
its left to the few
to shoulder burdens of many
fairness is lost
its a democratic calamity
four tours in a decade
an inhumane task
burdens require sharing
its only fair to ask
Joey was always faithful
to the task at hand
willing to step forward
to serve his homeland
4.
in the wake of 9/11
a nation deeply shaken
young patriots stirred
liberty’s call not forsaken
a call to serve answered
to quell the rise of terror
a clear clarion alarm
marks the nature of the era
Joey boldly came forward
to train and learn
the art of warriors
his bright patriotism burned
deployed to Afghanistan
to capture Osama
routing the Taliban
without much problem
but a pacified Afghan
not enough for Bush
he invaded Iraq
another military push
we rolled into Baghdad
adorned with victors garlands
Saddam’s statue toppled
our troops were honored
deposing a dictators
soon turned to occupation
a ****** mission transformed
to build the Iraqi and Afghan nations
once honored liberators
now a conquering force
bestriding broken nations
on a civil war course
military industrialists
stood to profit most
sweet protracted conflict
record earnings to boast
lives bartered for lucre
a region held hostage
the conflict deepened
hostilities hardened
America dipped into
a great recession
the war machine
bled money and
kept on ticking
scooping up contracts
rewarding investors
the dividends of war
heaven sent treasure
continuation of hostilities
preys on a nation's youth
as casualties mount
ill portents forsoothed
a fraction of citizens
bare heartaches of war
gulping measures of despair
to guard a nations door
a nation always faithful
to the holy pursuit of profit
a highest citizens calling
put money into your pocket
5.
our beloved Jersey son
gave a full measure of devotion
in dress blues they shipped him
back across the ocean
on the Dover tarmac
they received his remains
for a last ride northward
to his hometown terrain
repatriated body
bereft of soul saluted
solemn escort knelt
hearts trembled, tears muted
a hearse for a gallant man
flanked by state troop cruisers
to escort the funeral train
assure an honored movement
one last trip up
old thunder road
the storied highway
Joey often trod
the last detail legged up 17
reverent firefighters saluted
from overpasses
to honor the woeful scene
as the motorcade passed
the Garden State Malls
frenzied consumers
failed to notice at all
busy window shoppers
didn't to turn an eye
as Joey rolled home
to the sweet by and by
vets interred at the
Old Paramus Church
gently stirred in their graves
reasons for war they search
Channel 12 Chopper
circled its eye in the sky
televised the sad parade
captured many teary eyes
the early spring blooms
colorful petals displayed
maples and forsythias
a royal carpet laid
spring remains always faithful
as the new season turns
offer sunshine and glory
as our sinking hearts burn
6.
motorcycle escort
northbound lane clear
rolling homeward
Waldwick was near
leaves exploding
green shoots budding
****** white maple blooms
natures accolades stunning
the oaks yet bare
just waking from slumber
winters death passing
a sad day put asunder
the motorcade passed
Joey’s home on Prospect Ave
few envision lifes endings
this woefully sad
red chevy pickup idles
in hoop crowned driveway
never to drain jumpers again
departed children can’t play
the eye in the sky
framed neighbors in mourning
welcoming back a fallen hero
unsettled emotions dawning
neighbors waved Old Glory
from painted stoops and curbs
unsure how this tragedy
visits this blessed suburb
green grass of home
always flush with spirit
tears welled in the eyes
most difficult to bear it
last cruise of the town
sad neighbors stand witness
paying final due respects
and ponder from a distance
what purpose is served
by this man’s passing?
the dead cannot speak
rationale is for the living
the terrible herse
death circles our town
moves through our day
hope of spring drowned
murderer of sunshine
killer of young flowers
budding trees breaking
our hearts an ashen pallor
we remember the beauty
of Joey’s stout face
as it looked on your finest day
exuding pure honor and grace
old vets gather
donning caps and pins
boasting semper fi jackets
jutting tear dripping chins
shaking hands, giving hugs
bearing tattered banners
the hearse ambles onward
we head home in solemn manner
good folks are always faithful
where beloved ones grew
the death of our children
we sadly cannot undo
7.
the bells of St. Lukes
called out from the sky
platoons of limping vets
marched in with pride
pomp and circumstance
requisite dress blues
family, friends, townsfolk
overflowed the pews
doleful bells resound
tolling a mournful reckon
the cost of war mounts
a family’s loss beckons
the casualties of war
falls upon a nation's youth
a seasons page not turned
a flowing wound not soothed
the wistful cornet calling
floats on the fluted air
the bereaved ***** gently sounds
a congregations somber despair
an unsettling dirge
the parish grows uneasy
nationalist bravado wanes
in the forlorn sanctuary
both church and flag
draped in colors of war
mock stain glass windows
communicants adore
is it a betrayal of the flag
to offer enemies
psalms of reconciliation?
where does true loyalty lay
with God or a warring nation?
afterall this is a sanctuary
where peace and harmony reigns
are we not called to beat swords
into ploughshares as the highest
calling of our Lord?
we are always faithful
to the pathways to war
when the practice of peace
is what we should adore
8.
coughing and whispers
incessant low murmur
a baby cries out
we sit and remember
the crucifers process
in solemnity to greet
subtle ***** notes salute
a coffin draped in Old Glory sheets
the beloved child welcomed
to his eternal repose
priests splash holy water
within the sacred dome
an amazing grace revealed
lifted by marine pallbearers
dearly departed body presented
gently placed at the altar
a grief struck sister
lovingly eulogizes
recalls tonka trucks,
GI Joe’s and cool transformers
a punch in the nose
an approaching wedding
beckoning Eastertide
vacation plans left begging
my second grade class sent
Christmas cookies and cards
to dear Joey and warrior friends
he said it warmed stark winter hearts
he was raised in this church
taught trust and reconciliation
the comfort of the Lords peace
may it surely go with him
for he was always faithful
to sisters, family and faith
his resurrection service
imbues sacredness
to this space
9.
sharp in dress blues
Eddie T USMC Gunny
big 50 caliber smile
offers his eulogy
Bada Bing Jersey Humvee
we called him Joey Calzones
good mood, loved sausages
he tickled the funny bone
always willing to sacrifice
loved the Patriots Tom Brady
a women dominated household
gave him a way with the ladies
his calling explosive ordinances
he said he was livin the dream
March 6th last time we met
knocking frost off cold ones
man whatta scream
a gallant marine,
beloved brother,
a sure friend
he was always faithful
I’m deeply wounded
by his untimely end
10.
the gospel read
the homily offered
Ecclesiastes wisdom
a time for everything
proffered
God never turns
an eye from the beloved
though seasons change
we are not forsaken
never unloved
as loss arrives
surely grief grows
turn away not
wisdom knows
in resignation
love lay dead
diligent intention
banishes dread
our rekindled hope
we rend and sow
our beloved Joey
knew this was so
our favorite son’s
example taught us
now rises on eagle’s wings
to claim his divine justice
Jesus faithfully tramped
the path to an awful death
Joey too fought the good fight
a warrior now gratefully at rest
The Lord holds him close
to the ***** of sure love
a cantors beatific voice incants
Joey’s spirit that forever enchants
The Lord is always faithful
to the bereaved and beloved
no one ever forsaken
all unconditionally loved
11.
the Holy Eucharistic cup
affirms everlasting giving
tasted to nourish evermore
a libation for the living
singing the Beatitudes
praising peace makers
mercy filled voice and song
pallbearers lift Joey’s coffin
off to seek his final peace
an earthly occupation ended
he’ll suffer worldly hate no more
down the aisle his coffin wended
the family closely followed
a mother haltingly sobbing
faithful marines came forth
to steady her wobbling
there is no sudden waking
from this terrible dream
the pungent incense rose
to the chapels sacred beams
the stained glass murals depict
the passion of Jesus’s story
illuming a consuming sorrow
in all its grace filled glory
the ***** of death slinks on again
we search for consolation
the recompense of honor blest
leaves a hollow heart wanting
no answers offered to quell the dark
of these terrible life’s moments
only the desperate need to hold onto
beleaguered treasure that sustains us
for we are always faithful
to the things we know
always faithful to the
things we refuse to let go
12.
the color guard and funeral detail
assembled in front of St. Luke’s
the cemetery right next door
the procession a short troop
the living will stumble through
the darkness of separation
seeking elusive answers
of poignant uncertainty;
all gave some, Joey gave all
nothing more required for his
journey through eternity
Joey will always be with us
his stories forever retold
as long as the machinery of
great nations engage
the gears of wasteful war
Joey’s spirit lives
in a peoples desire
for freedom, only if
our hope of peace
is greater than the
need for conflict
Joey’s lifes work
is sure to bear fruit
if those remaining
fight the good fight
by taking up the
task to protect and
expand the values
of liberty we
hold most dear
like our good
friend Jesus
Joey wears a crown
bejeweled with
a ring of thorns
hoisted on a
terrible cross
the sweet
incense of you
meets our nose
we inhale your
earthly presence
beholding beautifully
adorned crucifix,
a reminder of
unjust persecution
and a perfect
resurrection
yet this wretched
coffin remains
pledging allegiance
we rationalize our
stories, articulating
our small parts
in heroic sagas,
reciting myths of
ourselves, recording
the grim history of
a young marine
surrounded by
a smart color guard,
feasting on todays
eucharist, this
days sweet taste
of the daily bread
of human sorrow
The priest finishes
his graveside
commendation
of Joey D
Taps conclude
a wind rises
crows take flight
winging over
a stand of budding
Sugar Maples
exploding in white
blooms, reveling
in the glorious
sunshine of this
magnificent day
St. Luke’s stairway to
God Country and Home
smiling portrait of you
forever young
we surround your grave
to bless the earth
you've returned home
to your place of birth
our flowing pride
and salty tears bless
the anointed ground
that you loved best
a proud Jersey son
whom Thou hast blest
laid in St. Luke’s ground
for his heavenly rest
for he was always faithful
to the blessed land
forever at peace
in the soils sure hands
Charles Ives
The Unanswered Question
Oakland
11/10/13
jbm
RAJ NANDY
May 2017
Dear Poet Friends, I had posted Part One of the Story of Jazz Music in Verse few months back on this Site. Today I am posting Part Two of this Story in continuation. Even if you had not read part one of this true story, this one will still be an interesting portion to read especially for all lovers of music, and for knowing about America's rich cultural heritage. I love smooth & cool jazz mainly, not the hard & acid kind! Kindly do read the ‘Foot Notes’ at the end to know how the word ‘Jass’ became ‘Jazz’ way back in History. Hope to bring out a book later with photographs. Thanks, - Raj Nandy, New Delhi.
STORY OF JAZZ MUSIC IN VERSE PART – II
NEW ORLEANS : THE CRADLE OF JAZZ
BACKGROUND:
Straddling the mighty bend of the River Mississippi,
Which nicknames it as the ‘Crescent City’;
Founded in the year 1718, as a part of French Louisiana
colony.
New Orleans* gets its name from Phillippe II, Duc d’ Orleans,
the Regent of France;
A city well known for its music, and fondness for dance!
The city remained as a French Colony until 1763,
When it got transferred to Spain as a Spanish Colony.
But in 1800, those Spanish through a secret pact,
To France had once again ceded the colony back!
Finally in the year 1803, the historic ‘Louisiana Purchase’
had taken place, -
When Napoleon First of France sold New Orleans and the
entire Louisiana State,
To President Thomas Jefferson of the United States!
(See Notes below)
THE CONGO SQUARE:
The French New Orleans was a rather liberal place,
Where slaves were permitted to congregate,
To worship and for trading in a market place, on
Sabbath Days, their day of rest.
They had chosen a grassy place at the edge of the
old city ,
Where they danced and sang to tom-tom beats,
Located north of the French Quarters across the
Rampart Street;
Which came to be known as the Congo Square,
Where you could hear clapping of hands and
stomping of feet!
There through folk songs, music, and varying dance
forms, -
The slaves maintained their native African musical
traditions all along!
African music which remained suppressed in the
Protestant colonies of the British,
Had found a freedom of expression in the Congo Square
by the natives, -
Through their Bamboula, Calanda, and Congo dance forms
to the drum beats of their native music.
The Wolof and Bambara people from Senegal River of West
Africa, -
With their melodious singing and stringed instruments,
Became the forerunners of ‘Blues’ and the string banjo.
And during the Spanish Era slaves from the Central African
forest culture of Congo, -
Who with their hand-drummed poly-rhythmic beats,
Made people from Havana to Harlem to rise up and dance
on their feet! * (see notes below)
CULTURAL MIX:
After the Louisiana Purchase, English-speaking Anglo and
African-Americans flooded that State.
Due to cultural friction with the Creoles, the new-comers
settled ‘Uptown’,
Creating an American sector separate from older Creole
‘Downtown’.
This black American influx ‘Uptown’ brought in the elements
of the blues, spirituals, and rural dances into New Orleans’
musical scene.
These African cultural expressions had gradually diversified,
into Mardi Gras tradition and the ‘Second Line’. ^^ (notes below)
And finally blossomed into New Orleans’ jazz and blues;
As New Orleans became a cauldron of a rich cultural milieu!
THE CREOLES:
The Creoles were not immigrants but were home-bred.
They were the bi-racial children of their French masters
and their African women slaves!
Creole subculture was centred in New Orleans after the
Louisiana Purchase of 1803,
When the Creoles rose to the highest rung of society!
They lived on the east of Canal Street in the French
Sector of the city. @ (see notes below)
Many Creole musicians were formally trained in Paris.
Played in opera houses there, and later led Brass Bands
in New Orleans.
Jelly Roll Morton, Kid Oliver, and Sidney Bechet were
famous Creoles,
About whom I shall write as this Story unfolds.
In sharp contrast on the west of Canal Street lived the
***** musicians;
But they lacked the economic advantages the Creoles
already had!
They were schooled in the Blues, Work songs, and Gospel
music .
And played by the ear with improvisation as their unique
characteristic,
As most of them were uneducated and could not read.
Now in 1894, when Jim Crow’s racial segregation laws
came into force, # (see notes below)
The Creoles were forced to move west of Canal Street to
live with the Negroes!
This racial mingling lighted a ‘musical spark’ creating a
lightening flash, -
Igniting the flames of a ‘new music’ which was later came
to be known as JAZZ !
CONTRIBUTION OF STORYVILLE :
In the waning years of the 19th Century, when Las Vegas
was just a farming community,
The actual ‘sin city’ lay 1,700 miles East, in the heart of
New Orleans!
By Alderman Story’s Ordinance of 1897, a 20-block area
had got legalised and confined, -
To the French Quarters on the North Eastern side called
‘Storyville’, - a name which was acquired after him.
This red light area resounded with a new seductive music
‘jassing up’ one and all;
Which played in its bordellos, saloons, and dance halls!
The best of bordellos hired a House Pianist who greeted
guests and was also a musical organizer;
Whom the girls addressed respectfully as ‘The Professor’!
Jelly Roll Morton++, Tony Jackson author of ‘Pretty Baby’,
and Frank ‘Dude’ Amacher, -
Were all well known Storyville’s ‘Professors’!
Early jazz men who played in Storyville’s Orchestras and Bands
now form a part of Jazz Legend;
Like ‘King’ Oliver, Buddy Bolden, Kid Orley, Bunk Johnson,
and Sydney Bechet. ++ (see notes below)
Louis Armstrong who was born in New Orleans, as a boy had
supplied coal to the ‘cribs’ of Storyville! ^ (see notes)
He had also played in the bar for $1.25 a night,
Surely the contribution of Storyville to Jazz cannot be denied!
But when America joined the First World War in 1917,
A Naval Order was issued to close down Storyville! % (notes)
Since waging war was more important than making love,
this Order had said;
And from the port of New Orleans the US Warships had
set sail!
Here I pause my friends to take a break, will continue
the Story of Jazz in part three, at a later date.
-Raj Nandy, New Delhi
FOOT NOTES :-
NEW ORLEANS one of the oldest cosmopolitan city of Louisiana,
the 18th State of US , & a major port city.
LOUISIANA was sold by France for $15 million, which was later
realised to be a great achievement of President Jefferson.
*Many African strands of Folk music and dance had merged at the
Congo Square!
^^ ‘SECOND LINE MUSIC’ = Bands playing during Funerals & Marches evoked voluntary crowd participation, with songs & dances as appropriate forming a ‘Second Line’ from behind.
@ =THOSE LIBERAL FRENCH MASTERS OFFERED THE CREOLES THE BEST OF EDUCATION WITH ACCESS TO WHITE SOCIETY!
#’JIM CROW’= between 1892&1895, blacks gained political prominence in Southern States. In 1896 LAND-RICH WHITES DISENFRANCHISED THE BLACK COMPLETELY! A 25 YRS LONG HATRED &RACIAL SEGREGATION BEGAN. TENNESSEE LED BY PASSING ‘JIM CROW LAW’. IN 1896, THE SUPREME COURT UPHELD THIS LAW WITH ITS ‘’SEPARATE BUT EQUAL’’ STATUS FOR THE BLACKS ! THUS SEGREGATION BECAME A NATIONAL INSTITUTION. THIS SEGREGATION DIVIDED THE BLACK & WHITE MUSICIANS ALSO.
+ BIRTH OF JAZZ WAS A SLOW AND EVOLVING PROCESS, WITH BLUES AND RAGTIME AS ITS PRECURSORS . “JAZZ WAS QUINTESSENCE OF AFRO-AMERICAN MUSIC BORN ON EUROPEAN INSTRUMENTS.” See my ‘Part One’ for definitions.
++ JELLY ‘Roll’ Morton (1885-1941): At 17 yrs played piano in the brothels, applying swinging syncopation to a variety of music; a great Transitional Figure- between Ragtime & Jazz Piano-style. ++ BUDDY BOLDEN (1877-1931): His cornet improvised by adding ‘Blues’ to Ragtime in Orleans; which between the years 1900 & 1907 transformed into Jazz! BUNK JOHNSON (1879-1849): pioneering jazz trumpeter, inspired Louis Armstrong; lost all teeth & played with his dentures! KING OLIVER(1885-1938): Cornet player & bandleader, mentor& teacher of Louis Armstrong; pioneered use of ‘mute’ in music. KID ORY(1886-1973): a pioneering Trombonist, he developed the ‘tailgate style’ playing rhythmic lines underneath the trumpet & the cornet, propagating early Jazz !
SYDNEY BECHET (1897-1959): pioneered the use of SAX; a composer & a soloist, he inspired Louis Armstrong. His pioneering style got his name in the Down Beat Jazz Hall of Fame!
Louis Armstrong(1890-1971): was a trumpeter, singer and a great
improviser. Also as the First International Soloist took New Orleans music to the World!
% = After America joined WW-I in 1917, a Naval Order was issued to shutdown Storyville in order to check the spread of VD amongst sailors.
^ ’cribs”= cheap residential buildings where prostitutes rented rooms.
# "JASS" = originally an Africa-American slang meaning ‘***’ ! Born in the brothels of Storyville (New Orleans) & the Jasmine perfumes used by the girls there; one visiting them was said to be 'jassed-up' . Mischievous boys rubbed out the letter ‘J’ from posters outside announcing "Live Jass Shows'', making it to read as ‘'Live *** Shows'’! So finally ‘ss’ of ‘jass’ got replaced by 'zz' of JAZZ .
DURING THE 1940s STORYVILLE WAS RAISED TO THE GROUND TO MAKE WAY FOR ‘IBERVILLE FEDERAL HOUSING PROJECT’ .
* ALL COPYRIGHTS RESERVED BY THE AUTHOR : RAJ NANDY
STORY OF JAZZ MUSIC IN VERSE PART – II
NEW ORLEANS : THE CRADLE OF JAZZ
BACKGROUND:
Straddling the mighty bend of the River Mississippi,
Which nicknames it as the ‘Crescent City’;
Founded in the year 1718, as a part of French Louisiana
colony.
New Orleans* gets its name from Phillippe II, Duc d’ Orleans,
the Regent of France;
A city well known for its music, and fondness for dance!
The city remained as a French Colony until 1763,
When it got transferred to Spain as a Spanish Colony.
But in 1800, those Spanish through a secret pact,
To France had once again ceded the colony back!
Finally in the year 1803, the historic ‘Louisiana Purchase’
had taken place, -
When Napoleon First of France sold New Orleans and the
entire Louisiana State,
To President Thomas Jefferson of the United States!
(See Notes below)
THE CONGO SQUARE:
The French New Orleans was a rather liberal place,
Where slaves were permitted to congregate,
To worship and for trading in a market place, on
Sabbath Days, their day of rest.
They had chosen a grassy place at the edge of the
old city ,
Where they danced and sang to tom-tom beats,
Located north of the French Quarters across the
Rampart Street;
Which came to be known as the Congo Square,
Where you could hear clapping of hands and
stomping of feet!
There through folk songs, music, and varying dance
forms, -
The slaves maintained their native African musical
traditions all along!
African music which remained suppressed in the
Protestant colonies of the British,
Had found a freedom of expression in the Congo Square
by the natives, -
Through their Bamboula, Calanda, and Congo dance forms
to the drum beats of their native music.
The Wolof and Bambara people from Senegal River of West
Africa, -
With their melodious singing and stringed instruments,
Became the forerunners of ‘Blues’ and the string banjo.
And during the Spanish Era slaves from the Central African
forest culture of Congo, -
Who with their hand-drummed poly-rhythmic beats,
Made people from Havana to Harlem to rise up and dance
on their feet! * (see notes below)
CULTURAL MIX:
After the Louisiana Purchase, English-speaking Anglo and
African-Americans flooded that State.
Due to cultural friction with the Creoles, the new-comers
settled ‘Uptown’,
Creating an American sector separate from older Creole
‘Downtown’.
This black American influx ‘Uptown’ brought in the elements
of the blues, spirituals, and rural dances into New Orleans’
musical scene.
These African cultural expressions had gradually diversified,
into Mardi Gras tradition and the ‘Second Line’. ^^ (notes below)
And finally blossomed into New Orleans’ jazz and blues;
As New Orleans became a cauldron of a rich cultural milieu!
THE CREOLES:
The Creoles were not immigrants but were home-bred.
They were the bi-racial children of their French masters
and their African women slaves!
Creole subculture was centred in New Orleans after the
Louisiana Purchase of 1803,
When the Creoles rose to the highest rung of society!
They lived on the east of Canal Street in the French
Sector of the city. @ (see notes below)
Many Creole musicians were formally trained in Paris.
Played in opera houses there, and later led Brass Bands
in New Orleans.
Jelly Roll Morton, Kid Oliver, and Sidney Bechet were
famous Creoles,
About whom I shall write as this Story unfolds.
In sharp contrast on the west of Canal Street lived the
***** musicians;
But they lacked the economic advantages the Creoles
already had!
They were schooled in the Blues, Work songs, and Gospel
music .
And played by the ear with improvisation as their unique
characteristic,
As most of them were uneducated and could not read.
Now in 1894, when Jim Crow’s racial segregation laws
came into force, # (see notes below)
The Creoles were forced to move west of Canal Street to
live with the Negroes!
This racial mingling lighted a ‘musical spark’ creating a
lightening flash, -
Igniting the flames of a ‘new music’ which was later came
to be known as JAZZ !
CONTRIBUTION OF STORYVILLE :
In the waning years of the 19th Century, when Las Vegas
was just a farming community,
The actual ‘sin city’ lay 1,700 miles East, in the heart of
New Orleans!
By Alderman Story’s Ordinance of 1897, a 20-block area
had got legalised and confined, -
To the French Quarters on the North Eastern side called
‘Storyville’, - a name which was acquired after him.
This red light area resounded with a new seductive music
‘jassing up’ one and all;
Which played in its bordellos, saloons, and dance halls!
The best of bordellos hired a House Pianist who greeted
guests and was also a musical organizer;
Whom the girls addressed respectfully as ‘The Professor’!
Jelly Roll Morton++, Tony Jackson author of ‘Pretty Baby’,
and Frank ‘Dude’ Amacher, -
Were all well known Storyville’s ‘Professors’!
Early jazz men who played in Storyville’s Orchestras and Bands
now form a part of Jazz Legend;
Like ‘King’ Oliver, Buddy Bolden, Kid Orley, Bunk Johnson,
and Sydney Bechet. ++ (see notes below)
Louis Armstrong who was born in New Orleans, as a boy had
supplied coal to the ‘cribs’ of Storyville! ^ (see notes)
He had also played in the bar for $1.25 a night,
Surely the contribution of Storyville to Jazz cannot be denied!
But when America joined the First World War in 1917,
A Naval Order was issued to close down Storyville! % (notes)
Since waging war was more important than making love,
this Order had said;
And from the port of New Orleans the US Warships had
set sail!
Here I pause my friends to take a break, will continue
the Story of Jazz in part three, at a later date.
-Raj Nandy, New Delhi
FOOT NOTES :-
NEW ORLEANS one of the oldest cosmopolitan city of Louisiana,
the 18th State of US , & a major port city.
LOUISIANA was sold by France for $15 million, which was later
realised to be a great achievement of President Jefferson.
*Many African strands of Folk music and dance had merged at the
Congo Square!
^^ ‘SECOND LINE MUSIC’ = Bands playing during Funerals & Marches evoked voluntary crowd participation, with songs & dances as appropriate forming a ‘Second Line’ from behind.
@ =THOSE LIBERAL FRENCH MASTERS OFFERED THE CREOLES THE BEST OF EDUCATION WITH ACCESS TO WHITE SOCIETY!
#’JIM CROW’= between 1892&1895, blacks gained political prominence in Southern States. In 1896 LAND-RICH WHITES DISENFRANCHISED THE BLACK COMPLETELY! A 25 YRS LONG HATRED &RACIAL SEGREGATION BEGAN. TENNESSEE LED BY PASSING ‘JIM CROW LAW’. IN 1896, THE SUPREME COURT UPHELD THIS LAW WITH ITS ‘’SEPARATE BUT EQUAL’’ STATUS FOR THE BLACKS ! THUS SEGREGATION BECAME A NATIONAL INSTITUTION. THIS SEGREGATION DIVIDED THE BLACK & WHITE MUSICIANS ALSO.
+ BIRTH OF JAZZ WAS A SLOW AND EVOLVING PROCESS, WITH BLUES AND RAGTIME AS ITS PRECURSORS . “JAZZ WAS QUINTESSENCE OF AFRO-AMERICAN MUSIC BORN ON EUROPEAN INSTRUMENTS.” See my ‘Part One’ for definitions.
++ JELLY ‘Roll’ Morton (1885-1941): At 17 yrs played piano in the brothels, applying swinging syncopation to a variety of music; a great Transitional Figure- between Ragtime & Jazz Piano-style. ++ BUDDY BOLDEN (1877-1931): His cornet improvised by adding ‘Blues’ to Ragtime in Orleans; which between the years 1900 & 1907 transformed into Jazz! BUNK JOHNSON (1879-1849): pioneering jazz trumpeter, inspired Louis Armstrong; lost all teeth & played with his dentures! KING OLIVER(1885-1938): Cornet player & bandleader, mentor& teacher of Louis Armstrong; pioneered use of ‘mute’ in music. KID ORY(1886-1973): a pioneering Trombonist, he developed the ‘tailgate style’ playing rhythmic lines underneath the trumpet & the cornet, propagating early Jazz !
SYDNEY BECHET (1897-1959): pioneered the use of SAX; a composer & a soloist, he inspired Louis Armstrong. His pioneering style got his name in the Down Beat Jazz Hall of Fame!
Louis Armstrong(1890-1971): was a trumpeter, singer and a great
improviser. Also as the First International Soloist took New Orleans music to the World!
% = After America joined WW-I in 1917, a Naval Order was issued to shutdown Storyville in order to check the spread of VD amongst sailors.
^ ’cribs”= cheap residential buildings where prostitutes rented rooms.
# "JASS" = originally an Africa-American slang meaning ‘***’ ! Born in the brothels of Storyville (New Orleans) & the Jasmine perfumes used by the girls there; one visiting them was said to be 'jassed-up' . Mischievous boys rubbed out the letter ‘J’ from posters outside announcing "Live Jass Shows'', making it to read as ‘'Live *** Shows'’! So finally ‘ss’ of ‘jass’ got replaced by 'zz' of JAZZ .
DURING THE 1940s STORYVILLE WAS RAISED TO THE GROUND TO MAKE WAY FOR ‘IBERVILLE FEDERAL HOUSING PROJECT’ .
* ALL COPYRIGHTS RESERVED BY THE AUTHOR : RAJ NANDY