The Life of Jelly Roll Morton
Ferdinand Joseph "Jelly Roll Morton" LaMenthe was born in New Orleans, Louisiana on October 20, 1890. As a child he began to learn how to play the piano at age 10 years old. He was taught by Tony Jackson, composer of songs like "Pretty Boy" and other hits. Tony Jackson is among the few musicians whom Morton admired and respected. He called Jackson " the greatest single-handed entertainers in the world." After the death of his mother, Morton began playing in whorehouses and in the bordellos of the Storyville district of New Orleans. There he became active as a gambler, pool shark, and a lot of things that caused his grandmother to throw him out of the house as a bum and a scalawag. She did not want him around his two little sisters. As a wanderer, and during the fair of 1904, he began traveling such cities as Chicago, Los Angeles, St. Louis, and Denver playing with various musical organizations as an in demand musician but he could never stay long with one band. "He couldn't stay long in one band too long because he was too eccentric and too temperamental, and he was a one-man band himself", said by bandleader George Morrison whom Morton played for in Denver. Morton really wanted to be the extreme musician. After that he toured the
org/jazz/biography/artist_id_morton_jelly_roll. In 1963, Morton was elected by the critic's into the Down Beat Hall of Fame, and in 1993-1995 a black playwright, George C. Numbers like Kansas City Stomp, Tank Town Bump, Low Gravy, and the Blue Blood Blues featured his great solo improvisation, which he was always praised for. Jelly Roll Morton died on July 10, 1941 in California. Morton's memory and contributions to music will live forever. ReferencesShaw, Arnold, Black Popular Music in America, Schirmer Books. htmlMorton, Jelly Roll:http://blackhistory. Even though he has passed, he has not been forgotten. But Morton's health would not let him make a contribution. He was the manager of this jazz club and he played intermittently. Louis where pianist hung out, Morton had to prove his prowness by playing and reading music pieces set before him. Three years later a folklorist Alan Lomax, recorded Morton as part of a series of musical interviews for the Library of Congress in which he conveys his story of the origins of jazz.
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