Kid Ory • Tailgate!

 

 

Biography
by Scott Yanow
Kid Ory was one of the great New Orleans pioneers, an early trombonist who virtually defined the "tailgate" style (using his horn to play rhythmic bass lines in the front line behind the trumpet and clarinet) and who was fortunate enough to last through the lean years so he could make a major comeback in the mid-'40s. Originally a banjoist, Ory soon switched to trombone and by 1911 was leading a popular band in New Orleans. Among his trumpeters during the next eight years were Mutt Carey, King Oliver and a young Louis Armstrong and his clarinetists included Johnny Dodds, Sidney Bechet, and Jimmie Noone. In 1919, Ory moved to California and in 1922 (possibly 1921) recorded the first two titles by a Black New Orleans jazz band ("Ory's Creole Trombone" and "Society Blues") under the band title of Spike's Seven Pods of Pepper Orchestra. In 1925 he moved to Chicago, played regularly with King Oliver, and recorded many classic sides with Oliver, Louis Armstrong (in his Hot Five and Seven), and Jelly Roll Morton, among others.

The definitive New Orleans trombonist of the 1920s, Ory (whose "Muskrat Ramble" became a standard) was mostly out of music after 1930, running a chicken ranch with his brother. However in 1942 he was persuaded to return, and after a stint with Barney Bigard's group, he formed his own band. Ory's group was featured on Orson Welles' radio show in 1944 and the publicity made it possible for the band to catch on. The New Orleans revival was in full swing and Ory (whose group included trumpeter Mutt Carey and clarinetists Omer Simeon or Darnell Howard) was still in prime form. He appeared in the 1946 film New Orleans (and later on in The Benny Goodman Story) and worked steadily in Los Angeles. After Mutt Carey departed in 1948, Ory used Teddy Buckner, Marty Marsala, Alvin Alcorn (the perfect musician for his group), and Red Allen on trumpets and his Dixieland bands always boasted high musicianship (even with the leader's purposely primitive style) and a consistent level of excitement. They recorded regularly (most notably for Good Time Jazz) up to 1960 by which time Ory (already 73) was cutting back on his activities. He retired altogether in 1966, moving to Hawaii.
https://www.allmusic.com/artist/kid-ory-mn0000087734/biography

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Biografía
por Scott Yanow
Kid Ory fue uno de los grandes pioneros de Nueva Orleans, uno de los primeros trombonistas que prácticamente definió el estilo "tailgate" (usando su trompeta para tocar líneas rítmicas de bajo en la primera línea detrás de la trompeta y el clarinete) y que tuvo la suerte de perdurar durante todo el siglo. años de escasez para poder hacer un regreso importante a mediados de los años 40. Ory, que originalmente era banjoista, pronto pasó al trombón y en 1911 dirigía una banda popular en Nueva Orleans. Entre sus trompetistas durante los siguientes ocho años se encontraban Mutt Carey, King Oliver y un joven Louis Armstrong y entre sus clarinetistas se encontraban Johnny Dodds, Sidney Bechet y Jimmie Noone. En 1919, Ory se mudó a California y en 1922 (posiblemente 1921) grabó los dos primeros títulos de una banda de jazz negra de Nueva Orleans ("Ory's Creole Trombone" y "Society Blues") bajo el título de banda Spike's Seven Pods of Pepper Orchestra. En 1925 se mudó a Chicago, tocó regularmente con King Oliver y grabó muchos temas clásicos con Oliver, Louis Armstrong (en sus Hot Five y Seven) y Jelly Roll Morton, entre otros.

Ory, el trombonista definitivo de Nueva Orleans de la década de 1920 (cuyo "Muskrat Ramble" se convirtió en un estándar), estuvo prácticamente sin música después de 1930, y dirigía un rancho de pollos con su hermano. Sin embargo, en 1942 lo convencieron de regresar y, después de una temporada con el grupo de Barney Bigard, formó su propia banda. El grupo de Ory apareció en el programa de radio de Orson Welles en 1944 y la publicidad hizo posible que la banda se popularizara. El resurgimiento de Nueva Orleans estaba en pleno apogeo y Ory (cuyo grupo incluía al trompetista Mutt Carey y los clarinetistas Omer Simeon o Darnell Howard) todavía estaba en plena forma. Apareció en la película de 1946 Nueva Orleans (y más tarde en La historia de Benny Goodman) y trabajó de manera constante en Los Ángeles. Después de que Mutt Carey se marchara en 1948, Ory utilizó a Teddy Buckner, Marty Marsala, Alvin Alcorn (el músico perfecto para su grupo) y Red Allen en las trompetas y sus bandas de Dixieland siempre alardearon de una alta musicalidad (incluso con el estilo deliberadamente primitivo del líder) y una nivel constante de entusiasmo. Grabaron regularmente (sobre todo para Good Time Jazz) hasta 1960, cuando Ory (que ya tenía 73 años) estaba recortando sus actividades. Se jubiló por completo en 1966 y se mudó a Hawái.
https://www.allmusic.com/artist/kid-ory-mn0000087734/biografía

Tracks:
1 - Creole Song
2 - Get Out Of Here
3 - Blues For Jimmy Noone
4 - South
5 - Panama
6 - Under The Bamboo Tree
7 - Careless Love
8 - Do What Ory Say
9 - Maryland, My Maryland
10 - Down Home Rag
11 - 1919 Rag
12 - Oh! Didn't He Ramble
13 - Ory's Creole Trombone
14 - Weary Blues
15 - Maple Leaf Rag
16 - Original Dixieland One Step


Credits:
    Artwork – Allen Porter
    Bass – Ed Garland
    Clarinet – Darnell Howard (tracks: B1-B8), Omer Simeon (tracks: A1-A8)
    Drums – Alton Redd (tracks: A1-A4), Minor Hall (tracks: A5-A8, B1-B8)
    Guitar – Bud Scott
    Liner Notes – Nesuhi Ertegun
    Photography By – Ray Avery
    Piano – Buster Wilson
    Producer – Nesuhi Ertegun
    Remastered By – Roy DuNann
    Trombone – Kid Ory
    Trumpet – Mutt Carey
    Vocals – Bud Scott (tracks: A6), Kid Ory (tracks: A1, A8, B4,)

Notes:
A1-A4 recorded in Hollywood, August 1944.
A5-A8 recorded in Hollywood, August 1945.
B1-B4 recorded in Hollywood, September 1945.
B5-B8 recorded in Hollywood, November 1945.
Original issues on Crecent Records.
Remastered in December of 1956.

Label:    Good Time Jazz – LAG. 12104
Country:    UK
Released:    1958
Genre:    Jazz
Style:    Dixieland
https://www.discogs.com/release/8419668-Kid-Orys-Creole-Jazz-Band-Tailgate

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