Nick LcTRocca Interviewed by: David WinsteinReel I Digest: Jill InfioratiJanuary 3, 1960 First Checks Kathy L. Alien

Second Checks Richard B. AlienTyped: Kathy L. Alien

DW introduces NLR, "one of the most famous characters who has

ever come from fhe city of New Orleans." DW explains that NLR is

,i^, /

vI

the organizer of, trumpet player^ and leader of the Original Dixieland

Jazz Band. NLR is being interviewed by telephone because, at

seventy-one years old/ he is unable to get around easily- NLR

mentions'that his legs bother him*

12:35 DW asks NLR how he got started in music, ??LR replies that

he took up .a horn in 1898, about the time of the Spanish-American

War. When he was nine years old, he tried to -teeach himself, He

would take his father's comet to an empty house down the street

and try to learn to play* -E?is father was a musician but didn't

want NLR to learn how to play.

1:52 NLR began to play professionally around 1908 when he was.

f-

sixteen or seventeen. He was playing in string outfits without

pay before this; that was around 1902-1903. Of those outfits,

NLR says "we'd go serenading around the Irish Channel." He had

the only brass instrument in the band, he played a comet which

had such a high pitch that it broke the strings (of the other players);

eventually he had a piece of pipe put into the comet to lower the

pitch. NLR had no band of his own at this time and played with

any band, usually free. NLR said they would go to parties to

play where they were known as the "no beer/ no music bunch."

^

Nick La Rocca 2^-.

Reel I

January 3, 1960

1:15 DW pauses to give a sample of the type of music which NLR

played as a very young man. The Dixieland Jass ^sic.} Band [i«e«,

the/. Original Dixieland Jazz Band] plays a song of the same title./

r*h^

[i«e«, actually "Original Dixieland One Step", which first had

the title "Dixieland Jass Band One-Step "J»<

2:10 In 1908 NLR was about to become a professional muscian »/\

i^~\

He had a band, called La^Rocca's Band, but found that he had played\^

so much free music that no one wanted to pay him* He began to

play with other bands, including: Joe Barrocca, Lean Roppolo^ko.^

Bill Gallaty, Sousou Ramas,^Harry Nunez. NLR says about 1912

he began to play with Jack "Papa" Laine. He became the leader of

Papa Laine's Ragfcime Band from about 1912 to about 1916. Until this

time NLR says, everyone was playing ragtime^ not jazz, NLR says

the record of "The Dixieland Jass Band" was made in 1917, Ragtime

was music syncopated to four beat music while NLR's new music was.

2:37 syncopated to a march beat or a two beat." DW says there was notII

jazz until rou9hly 1912 or 1913 then. NLR responds that it was

even as late as 1916-

2s 41 DW asks about NLR's first organized band. NLR says he was

playing on a cart on Canal Street, where the impresario Harry James

[not the trumpet player/ see be&ow} heard him play and asked if

NLR could furnish him ^ffith a band. NLR was also working at the old

Haymarket ^Cafe] and he formed a band with the men he knew there.

[Cf, H.O. Brunn, The Story of The Original Dixieland Jazz Band on

Johnny Stein role.] He took that band to Chicago in March of 1916,

f^\Nick La ,Rocca 3

v^Reel I

January 3/ 1960

and stayed for nine months. (DW explains that NLR is referring to

the cabaret manager. Harry James, not the trumpeter of the same

name) . NLR thought he would be a flop in Chicago so he had the.e

».

band swing some of the tunes they had done in carnival parades. He

also added syncopation because he noticed that the people were

dancing the one-step- NLR was a very good dancer, NLR says "and

we tried one and the people hollered Give us more j azz, In. .

less than a week, they had the police and firemen to come out there."

The band developed jazz rhythm by watching the dancers try to imitate

Vernon Castle, doing "The Castle Walk," a one-step. Until he went

to Chicago, NLR says, he had never heard the word j azzr

HarryJ n.

James renamed the band the Original Dixieland Jazz Band, because

the band's success brought many people from New Orleans and every

band called themselves a New Orleans Jazz band.

DW plays a song which NLR and Harry Shields [actually Larry.\

f

^ /il

Shieldsl composed, called "At the Jazzband Ball"^ performed by ^; ^if r/

..../.

?"'I *t\ ^ ^

( ^r»r./

^he Ori9inal Dixieland Jazz Bandi

f .J-

A^''N

.^.» /' w

\-rft

3:55 DW mentions "Livery Stable Blues"|. NLR recalls that one off

^ f L/s . <1

his band members (whom NLR had let go) wanted to take a part of

NLR's "Livery Stable Blues" and get it published himself. NLR got

an injunction against them [i.e.^ the composer and publisher^.

NLR was able to prove that he had written the song and it is now

copyrighted under his name. ^C^'~ F>^\.^t 6! Hi ^ ( 0-.r' '? ^

.Jtfjj^z.. .Jj^.C'-^*/ ^^ ^2;^ ^-!J^^A; JNLR""couOTn t learn new tunesis fast as the people would ask for

them. He had to have new tunes- Although NLR couldn't write

'~\Nick La 'Rocca 4

\^Reel I

*

January 3, 1976

music, he would take the chord construction of an old tune andt

construct a new melody around its chord construction, "Shine on

Harvest Moon's" chord was the basis for " j.Atj The Jazz Band Ball."J-

>

"Georgia Camp Mefetin' Ball" became the basis for "Fidgety Feet",

except for the last part. [i.e./ "At a Georgia Camp Meetin9"].

1-1NLR says he played chords on the piano. e

adds^'Most all fakers can play 2 or 3 instruments .

Originally/ no one in the band could read music, [cf. H.O. Brunn,

The Story of the Original Dixieland Jazz Band, Baton Rouge, L.S.U.,

I960, pp,91-92.] Later^after the original piano player. Henryhis ^/?^0nfc^

Ragas, had died, ^pianist Russel ^obinson^could read music.

Eddie Shields came up from New Orleans and couldn't fit in. NLR

says/ however, that the band members understood one another and/

^

he was always one note ahead of them> they could follow wherever ,/C^fr^.3 /

he went. From Chicago^ the band went to New York and "turned f^ \t If j./-' ^.

isen"^ ."^)ic^-Broadway upside down." They were at Re ebers Cafe, 58 th^- in U" r

\ /

and Columbus Circle. DW says 1"ie is looking at an old picture of

NLR and comments that NLR originally played comet left handed.

4:45 In 1918^ [Eddie^ Edwards was drafted and NLR had to find his

replacement. NLR came to New Orleans, and picked up Emile Christian.

After rehearsing for a '^ew weeks they went back to New York where

they fulfilled that contract and in the middle of January they

went to London/ England and "introduced jazz into England."

DW says that he has a copy of the tune "Satanic Blues" that was

composed in England. "Satanic Blues" was written by Emile [Christian]

IT /-> 5Nick La, Rocca<^

Reel I

January 3, 1960

and [Larry] Shields. DW asks if there is a story behind "Satanicr Blues". NLR says they were a cooperative band; it didn't matter

whose name was on a tune- NLR would play the melody. Shields^

k..^.r"d 1/

/would "put the lace on it" and the trombone player "sewed it up".^' ^ ^ ^

^f"'"Ihl-iUtf^*

NLR agrees with DW that the Original Dixieland Jazsa Band

was made up of good friends. NLR says again that they were a

cooperative band but that he handled the business and leading *

"When it came to splitting the money upjit was a five way split."

DW then announces "Satanic Bluest but "Livery Stable Blues" is

played. Then DW plays part of "Satanic Blues." NLR and DW discuss

the fact that these songs were in the tradition of 2-beat dance

ic which was born in Chicago as the "sudden inspiration" ofmus

watching people dance. This was the only music TTie Original

Dixieland Jazz Band played.

continued to write numbers while in New York. There6:00 NLR

were about thirty or forty popular.numbers. NLR names "Old Joe

Blades" isic.l, -Ramblin' Blues'"^ "Toddlin' Blues"^ and "SomeRainy Night." He would listen to a band in Central Park for

iration. 'While listening to this band that was playing the*

.insp

"Second Hungarian Rapsody," he got the idea for "Skeleton Jangle".rn.

The name was given to NLR by a man in a Dallas phonograph store. /j., ^

{(y- ^

DW plays a recording of "Skeleton Ja ngle'^ They had a contract \,^^i\>

ith Victor for twelve numbers. NLR had only three or four so hew

had to make eight more He started to work on these tunes -.

f

1^Nick La^'Rocca 6\/

Reel I

January 3, 1960

6:45 La Rocca's "Tiger Rag" is mentioned. NLR seats parts of this

composition; it is based on a tango, "London Bridge is Falling

Down", and the chord construction of Sousa's National Anthem,/

\

[i.e., Embleml March »

Their recording [the ODJB's^ were sold all over the world.

NLR went to London but didn't remain long. He returned to New

York in 1920. NLR came back to New Orleans in 1925 brokenhearted

because they were "run off" of Broadway- NLR believes it has

something to do with the appearance of the white man in jazz and

with the "petty moralists" whose laws forced them to leave Broadway.

The band was to appear in The Big Broadcast of 1936 [C£. Brunn,

the same], but NLR was building a house on Jackson Avenue NLR.

says he could not get the boys together in time. Because of thenX-^

adverse publicity^the fact that "they" were playing Dixieland

idioms, NLR made up his mind that he was going back into the business

to show the people that th^s musi^c came from New Orleans..^TSt^Wr^so thatNick's address/^ is given I .a

people may make him happy by writing to him. DW asks about another

tune "Lasses Candy" which NLR wrote in London. NLR says he originally

named this tune "Belgic^ Doll", but the publisher did not like

the name so he named ft after the candy which was popular in

New Orleans. A record of the tune is played.

End of Reel

e;A"

AUGUST LADRENT 1

I [of 4]-Digest-RetypedMarch 21, 1960 Also present: William Russell, Ralph Collins

Paul Gaytoen, who was in CalilEornia but is on his way to

Cliicago, sold August Laurent the house he now lives in [at 3800f

Paris Avenue].

August Robert Laurent was born August 28, 1897, in the

Seventh Ward of New Orleans, at Prieur and Lapeyrouse [streets].

Some musicians [all clarinetists] who lived within two bloclcs of

him were "Big Eye Louis" [Nelson], [Alphonse] Picou, Lorenzo

Tio [Jr.]/ and [Louis] Papa Tio. "Big Eye Louis" lived on Prieur

between Lapeyrouse and Onzaga; AL lived on Prieur between Lapey-

rouse and Lat-iarpe: "Papa" Tio lived at Labarpe and Derbingy;

Lorenzo Tio lived on Columbus between Prieur and Roman? Picou

lived on Johnson near St. Bernard.

AL began studying violin, his first instrument, when he was

nine years old; he didn't like it. When he was about twelve, he

began taking piano with his sister [in company of, or from?];

he began playing jazz, so his family wouldn't let him touch the

piano anymore. Giving up piano, AL began working with his father

at his father's trade, which was roofing. Lorenzo Tio persuaded AL

to take up clarinet; AL began studying with Tio, who taught him the

fingering, plus the freak [i.e., alternate (AL demonstsates some of

the fraak,[i-e., alternate] fingerings Tio shewed him)] fingerings;

in six months/ AL was., piay4.ng. Tio would never get his clarinet

fixed; he would plug holes if they [the keys concerned] didn't

work, and use freak [i.e. , alternate] fingerings; [A.J. ] Piron

persuaded Tio to get a new clarinet when they went to New York.

AUGUST LAURENT 2

I [of 4]-Digest-RetypedMarch 21, 1967

A3I» quit playing clarinet "out" [±,e./ in public] about five

years ago .

<

Lorenzo Tio's father and uncle (Louis "Papa" Tio) are\

mentioned- They played "up in town" [RBA ?] ^ around t'he red light

district* "Papa" was aupposed to be the best clarinetist in New

Or leans, during his time^ L<?>renzo^ Jr.^ who studied with him^ was

the best in his time. AL says the Tios could have been Mexican or

French [See Louis Tic^ Jr., interview]. Lorenzo^ Jr., was only two

or three years older tlian AL, Lorenzo^ J'r., played mostly witl-i

[in the company of?] Peter Bocage; they were on one Job together for

thAAty-five years, playebfig at TrancTiina's, seven nights a week^ [^.1; RBA]

AIj enjoyed playing? it was his recreation; he would work all day at

his trade and play music much of the night/ getting little sleep; some

nights he would come in from playing and make arrangements for his

band.

Talk of the methods KL used when studying with Tio, and later*

Besides his sister and Tio^. AL studied music with [Paul] Chaligny and

with "Papa" Tio,

AL worked in a band with Charlie McCurdy^ about too years before

the latter*s death. McCurdy played clarinet and alto [saxophone];

AI* played clarinet and soprano [saxophone]? Wendall McNeal played

violin; [ ?] Martin played trumpet; Helen Edwards played piano;

Chris [Minor? Goldston§] played drums. The time was around 1921-23.

A picture showing^ among others/ AL and Dr. [Leonard] Becliet,

was taken about 1935^ in Dr. Bechet's home; a band was reheasing there.

Some of the band members shown in another picture: Picou? Shelley

3AUGUST LAURENTI [of 4]-Digest-RetypedMarch 21, 1967

Lemelle, trumpet (vrtio had replaced [for that night only?] DeDe.Pierce, who was sick); Billie Pierce (wife of DeDe), piano;

/

[Joseph] "Fan" Bourgeau, guitar; Bechet, trombone? Albert Francis,*

drums. AI, shows a picture of himself playing at Bechet's? be was

playing bff to himself, as the band mentioned above was playing, too-A picture taken about 1927 is shown. [See photos in ANOJ-] ALtells of making some records on a home recorder (two dides, "St, LouisBlues" and "That<s My Desire" [which -had Just come out]) about 1930?

Willie Pajaud played trumpet on the records; AL left tlie records on 1'iisseat while lie visited a friend^ and the? were stolen; it was tliecar

only cppy-

AIi shows some of his copyrighted music. One piece is called

"I Got A Woman Doing What You Used To Do?" another is "Only You."

Talk of "Papa" Tio and AL's lessons with T-iim. Tio was very

strict. Tio wouldn't ta^e money for a lesson a student couldn't

play; he would maTce Uie dtudent stay Maway until he could play theparticular lesson. Tio also taught some of the white musiciansfrom tte steamer Capitol. Tom Albert is mentioned.

Helen Edwxards [mentioned previously] played the piano with

[John] Robichaux at tlie Lyric [i.0.91 Lyrie] during its heyday? shedied in California/ in 1950^ AL thinks. She was adept at transposition.

End of Reel I

AUGUST LAURENT 4

II [of 4]-Digest-RetypedMarch 21, 196^0 Also present" William Russell^ Ralpli Collins

Helen Edwards was so good that Tahe could be sound asleep^

snoring on the bandstand^ and she would wake up in the middle of af

number and begin playing. Sadie [Goodson]y sister of Billie [Pierce]^-*

[both pianists] could do the saw thing? Sadie played with AL longer

than Billie did? Sadie was better than BillAe; [because ?RBA] she

could read, but Billie couldn't.

AL shows one of 'his uncopyrigl-ited numbers^ called "You Left

Me On That Early Morning Traiiu " He whows another composition

"X W&& And You Woo^ Too^" and "I've Got A Woman Doing imiat You Bsed

To Do^'? he wrote both words and music/ and did t±ie arrangements also.

Several popular songs of some period are mentioned, including the

Huey Long number, "Every Man A King A number by George Guesnon/II»

"Chica Mia/" written about his daughter who bad died, is shewn?

Guesoon/ played with AL; AL says he 'faimself was about tT-ie first in

t-he city to play the number.

AL says he had the only three-piece band in tt-ie city whic'hT

played all of "Copenhagen"; Sadie Goodson was on piano^ Chris

[Goldston?] on drums, and AL played clarisnet- WR fchinks Sadie

may have been married at one time to drummer Abbey "Chinee Foster/

who played witli [Oscar] "Papa" fielestin. AL shews an-feher of his

compeeitions/ called "Memory of You," which is a waltz. (AL g-ives

names of more tunes from time to time) AIi got the tune "Boost New

Orleans" from a police corporal who also played sax; the policeman

would come to listen and learn from AL, who was then playing at a

place run by Bernard Michel [S ?], during bootlegging times. The

policeman said he learned more from AL than he did from his teab'her^

ATJUBST IAURENT 5

II [of 4]-Digest-RetypedMartab 21^- 1960

the orchestra dAector at the Orpheum Theater* WR says Jelly Roll

Morton and the New Orleans Rhythm Kings are (i.e.^ Paul Mares andf

Leon Poppolo) listed as composersofif "Milenburg Joys." "Song of\\

New Orleans" is mentioned. Another uncopyrighted number by AL,

"The Chinaman and Mabel^" is showny AL sings it. [Cf. Richard B.

Alien University College course on New Orleans Jazz^ Danny Barker,

guefet lecturer reel] »

Charlie Love was the last trumpet jblayer to use AL's trumpet

book^ from which be 1-ias been reading names of tunes- AL's last band

had Willie Humphrey, the elder, on tenor sax and clarinet; they worked

at the Happy Landing, Humphrey bad a stroke about two weekw after

the band quit playing at the Happy Landing? he ha^ not been up since^

although he is in a wheelchair now? Harrison [Verrett], brother-in-law

of Fats Domino/ was playing guitar with AL then (AL says Harrison

showed Domino how to play the piano^ and now [that Domimo is so

successful] Domino won't give bim a job. [Cf. Harrison Veerett/ reel].

A woman named Odette Davis/ now dead^ played piano witb AL near the

end of his career; she was very good. The last pianist AL had was George

Decou^ cousin of Walter Decou^ 'who also played piano witl^ AL at one

time; George Decou is now dead, Louis [i,e./ Albert?] Warmer played

tromboros with AL before Doc [Leonard Beclnt] wor'ked with him. AL

says that at one time 1ne had all worS? [A«.J"»] Piron was loafing, and

begging AL for work. AL gave Ricard Alexis a Job in his band when no

one else would "hire him; Alexis would accept deposits on Jobs from

more than one person for fhe same night» so after a while no one

called him. AL says that is the way that Buddy Petit lost the job

AUGUST LAURENT 6

11 [of 4]-Digest-RetypedMarcli 21, 1960

in the Gold Room of the Roosevelt Hotel. Helen Edwards was his

pianist at the Gold Room. Petit would take deposits from other^

jobs; 'he would go around to them^ when Tie should have been at fhev

Roosevelt. "Big Eye Louis" [Nelson] worked with AL; Big Eye Louis

was playing C eiarinet at the time; he .switched to B flat in late

years about 1940. [Alphonse] Picou played alto [saxophone] and

clarinet in ALIs bandy while AL played clarinet and soprano [saxoptione] .

Big Eye was better on C clarinet than on C flat- AL says some

clarinetists used to carry four clarinets-A^ B Iflat]^ D^ and E

flat^-for transposing various parts 7 the E flat was used mostly in

brass bands* AL played some brass band Jdbs^. but never walking^ as

he didn*t like that; he was a letter carrier for eighteen montl'is^\

until 1919^ when he teturned to his trade [roofing]. Big Eye Louis

didnlt read music^ but played well litee Fats Domino. Picou was a

pretty good reader. AL mentions George Baquet/ Ernest Trepagnier^ a

great drummer,, and Lorenzo Tio [Jr«] ? AL says George Bgquet was tbe

first clarinetist to play the clarinet solo in "High Society"7

Baquet made the claim at a meeting also attended by Picou^ popularly

believed to be the composer or originator of tlie part; Baquet ssid he

transposed a flute part for clarinet/ as there was no clarinet part^

aid played tt, the first to do so. [See orchestration of "High Society"

in the Robichaux Sheet Music Collection] [Cf. Monte Hazel^ reel IV ^

July 16, 1959,, p. 59 for more on this orchestration. RBA] .

AL mentions [Albert] Glenny^ bass^ who played with AL for years;

AL mentions another great bassist^ Joe Brown; AL mentions [cornetist]

Manuel PeirAz; all three lived near AL's home, George Fihle is mentioned,

w

AUGUST IAURENT 7

IX [of 4] -Digest-RetypedMarch 21^ 1960

WP. says Carlie McCurdy is mentioned as the possible originator ofh1

the "High Society" solo? AL says he just knows the Baquet story andll

claim? [by Willie Pajand to walk Lewerki and RBA at a funeral. C McC\

was playing with John Robichaux and needed a part as he could not

improvise, JR gave him the piccolo part, RBA] he tbin'ks the solo

was first played on ajob in Pliiladelpl-iia- The number and solo later

came to New Orleans- AIi knwos for a fact that Picou didnlt

originate the number; AL knew Picou from AL's youtli? they used to

play duets together at the ouse of one of Picou's lady friends*

TaiTc of clarinets *

End of Reel XI

AUGUST LAURENT 8Ill [of U]-Dlgest-RetypedMarch 21, I960 Also preseFAi William Russellj Ratj&h Collins

AL plays "The Rosary" on his clarinet. He used to play "opera and everything".

AL says Wlllie [J* ] Humphrey, new playing with Paul BarliarJLn, and [Manuel] "FeeB"jf

[Manettal "both .wanted a Pen^el-Muller clarinet he had^ ^but he sold it to someone else.\

ll!e^lmi![cte^l|e]tequlli''^Manetta now has (^George Baque-t 'bought for Alfred Wilson, say-B WR* AL men-bionB'A /\

[Harold] Peterson1. AL noodles. Talk of reects^ embouchures. AL had a good lip

vhen he was playlngj he once played for three days and nights, playing for the boss

at night and for Al Capone at picnics Tsy the lake [at Milne'burg] during the day;

Capone supplied AL's 'boss vi-bh [isootleg] vhlskey. George Guesnon played with AL

during that time. AL played ;.9iOO[P*M*]- 3[A?M-] at the one place for flve-and-a-

half years., working for Michel Bernardj the place vas at Frenchman and Qentilly Road,

Eddie Victor had the place before Bernard, who bought It from him; AL worked there

for Victor, and was asked by Bernard to stay on, which he did* Capone had a trick

of putting half-dollars on every key of the piano and telling the piano player he

could have every one he dldnrt knock off when he playedj the piano player was afraid

to play, Txit AL -told him to play, -that Capone vouldntt -worry a'bout picking them up,f

and they vould pick them up* AL plays some number he wrote. AL plays "Darktown

Strutters Ball".

AL got his embouchure from Lorenzo Tio, Jr. AL describes it 8sgain////r^/^t /^/ 'r/l" "'Plays "Rose Room [not on copy tape], AL likes Artie Shaw's number [recording?]/

"Rose Room". AIi plays "You Call Everybody Dafling".

Tal-fc of vlbrato.

Sam Dutrey, Sr.y [clarinet] played with pianist Helen Edvarde a-b one time;

Du-brey was a great improvlser, and could also read.

Al. mentione [Nat] "King" Cole. AL plays "Too Young" [a tune aesoclated -with

Cole because of his recording of it.j./

^ A//x /i.A^ r^^^^y ^ ^^M^W/^^'.

AUGUST LAUKENT 9Ill [of 4]-Digest-Re-fcypedMarch 21, I960

AL has heard of Jlmmie Noone and Johnny Doddsj the latter played -with Joe

["King"] Oliver. When J'ohbny St. Cyr "came from playing vith LGuls" Annstrong,»

h» went to vork with AL [when he returned from Chicago?!, playing guitar. AL says

St. Cyr now lives In California.

AL never played -with Marietta on jobs, Just in BomeoaelB home, for fun. Mane-bta

worked with Helen Edwards a-t the Sans Soucl Hall, which was operated 'by old man Riley.

AL*s favorite clarinetist was Lorenao Tio, ^r., who yas a good all-around ^/"

clarinetist and ffl&sician; he played any kind of music. Tio was a member of the two

largest brass Tsands; she played E flat clarinet on the s-fcree-t. Tlo worked a-fc

Tranchlna's at nightj Steve Lewis was on planoj [A»J»] Piron played violin [and

was leader]^ [Losuis] Cot-brell [Sr-3 vas -bhe drummer^ his [?] nephew, Charlie [Bocage?],

was on guitar; [Pe-ber] Bocage was on trumpetj [Al'bert?] Varner vas on trombone. [Cf.

afaMer intervlewe.].

A clarinetist AL lifces new IB Pe-fce Fountain^ -who played on Charlie Welches

[i.e,, Lawarence Welk] shew^ but is now on Bom'bon Street*

End of Reel III

AUGUST LAURENT 10

IV [of 4]-Digest-Be-typedMarch 21, I960 Also present: William Russell, Ralph Collins, Mrs. Laurent

AL says [irving] Faz-ola^ who died, was a good clarinetls-b t

AL talks aTsou-t hle past ability -fco memoriae masic quickly./

I

AL plays hie clarlne-fc^ one number is ["Someday (You'll Want Me to Want You)"]. *\

AL sings it. He talks atsout -bhe job at the Happy Landing .

Sidney Beche-b grew up in the same nelgh'borhood as AL? he vas aTbout four years

older tlan AL. Vhen Bechet left ITew Orleans, he didn'-fc return for tven-by years; AL

picked him and his manager up a't -the airport when he returned. Bechet played clarinet

when he started out; he picked up soprano eax in later years. He really started on

a little six-hole, fifteen cent flute^ which he learned to play so -well that someone

gave him a clarinet. He became so good on clarlnet "that when he vas s'till in short

pants Pete Lala hired him to play at his place at Tberville and Marais for one dollar

a night. Beche-fc vas composing numbers for a bottle of whiskey^ he was selling the

numbers for five doallars,

AL shows more of his compopitions; one is "Acceptable Waltz". AL Bhcws "Kinkle-fcs"^

which WR says comes from the Red Back Book; AL and Charlie Love used -bo play it .

Mendel6sohnts "Spring Song" and [Scott] JoplinT6 "The Entertainer" are mentioned,

Another AL number is called "We Can*-fc Agree". AL shews Sidney Bechetts laBt number,

"Pe-bite Fleur". WB says B BC had to learn the number last summer when he was st-adyarLg

slarlnet with [Manuel] "Fess" Mane-bta. On rainy days, AL would write [i.e., arrange]

for his band all day, until late at night. George Lewis*B mother [Alice Zeno] is

mentioned.

Sidney Beche-t and his Tsro-bher, Dr. [Leonard] Bechet, had a falling out [afawhen

SB was a Tsoy] because Sldnsy would do nothing 'but play clarlnet; he tried to have

Sidney put in the [Waits] Home, but -to no ayail. AL says Louis Armstrong was put in11

* which h~e- calls"'"Until Tomorrow *

»

11AUGUST LAtTRENTIV [of 4]"Dlgest-RetypedMarch 21, I960

.the Home, and vas given his flrs-b instrument "by AI/s cousin (not Peter Dayie),

Charlie Valteau (related to violinist [Ferdinand] Val-beau) . AL mentions anottecrf

relation of his own, a great violinist; named [Armajan ?]. When AL was a Tsoy, Sidney-\

Beche-t lived on Urquhart Street; then Bechet moved to Marals Street, -bo St* Bernard

and Marais, -behn -bo St. Bernard^and Villere. AL saye Bechet*s bro-fcher [Leonard] wasnot proud of Sidnew until AL picked Sidney up at the airport. [See above, this reel].

The years was during the [World] War [ill. AL mentions Maurice Durand;WR says he and

Maneita saw him in California last year. AL was playing when -the Durand and [Villi^ J.l

Humphrey T3and vas playingj they -were at -the Alamo and the Music Box. Pianist Dwigh-b

Newman had the job at the Music Boxj his son^ -fcrum.peter Joe Newman, was in a class

taught by AL*s wife in public school; Joe Newman could play "High Society* on -the

-brumpet Just like it is played on the elarine-b^ he has 'been In New York a long time;

Joe Newman was with Ersklne Havklns [at one time]. Albert Snaer [trumpet] was in that

band, too.

Barney Blgard studied with Tlo, Jr., also. AL ahelped Al'berfc Nicholas learn to

read mitsie, so tha-t he and Bigard, Tso-bh then playing at Tom Andersonls, could leave

and go to Chicago. Blgard didnlt play very well vhen In New Orleansj AL says he was

taashful.

A first cousin of AL is AlT^er-t Dominlqtue, ncfw- known as Don Albert. WR mentions

NaUy Domlnlque< S^DQEfiMKXXSXESKXMKSSax and Ferdinand Dominique.

AIi was in Chiaago when Charlie Valteau directed the one hundred and fifty piece

orchestra at -the Regal Theater .

Manuel Perex was the ^est old-'time trumpet playerj Perez outplayed Joe Oliver

on an advertising job AL mentions. MP used a derby as a mute. AL mentions Kid Punxch

[Millfirl and EGuy Kelty^ he says Perez was the Toesti he was a good reader.

AUGUST LAUBENT 12

IV [of 4] -Digest "Re-typedMarch 21, I960

Buddy Pe-fcit had "a good go" at one time 5 he lost it because he would -fcake

deposits on too many Jobs^ Just like Blcard Alexis [see Reel III]. BP had a goody

"band. Joe Oliver had a good "band. Perez had a great "band ^ playing at the lythlan^

Temple [Roof Garden]; Perez put; his son in that band, on trumpet; the 'boy played, but

never made good on it; he gave i-fc up* [Eddie] Cherrl.e and Adolph ["Tats"! Alexander

[Jr.l were playing clarlnet and sax in Perezts band; [Heufy ?] Marfcin was playing guitar;

Cie [Frazier] was on drums.

AL mentions Bill Matthews and Tom Alberb.

W&en. AL vas starting In music, a good trambonist vas t;he man with the Imperial^

Brass Band5 Louis L'l-.e., Albert?! Warner vas goodj al-fchosugh he didn*t read, Manuel

[i.e., William?] Ridgley] vas a good improvlser. AL has heard of Zue Rotertson, Tout

doesn'-fc know anything a'bout him. Vie Gaepard was goodj he was vith the Tanchina

[Piron?] "band all those -thirty-fiye years [see Reel l]; [Louis] Cottrell [Sr.l, with

.bha-fc Tband^ vas a great timekkeeper*

Pianist "Little Villie" played in AL*s band for a long -bimej he could play in

any key, although he never had any nnisic lessons. Ode-fcte Davis [Cf. Mr. and Mrs. A.C.and

Syaigal^ reel 2] Helen Edwards^/ Sadle [Goodson] were good pianists; Emma

Barre-tt^ who was married to Rlcard Alexis, was good, and is s-fcill playing; WAalter

Deeou was good. S-beve [Lewis] was good. The above were leading pianists for jazz

here in -the old days. AL Bays [Joseph] "Fan" [Bourgeau] plays piano, ^ooy 'bu-b juBt

chords, as he never could pick up the melody. AL says he himself learned to play

melody when he worked three-piece jo'bs^ he had to know- the melodies. AL plays

"Copenhagen". DlBCussion of vibra-fco.

End of Reel TV