Die Jazz Track - The Jazz Track

Die Jazz Track is 'n reisplan vir besoeke jazzverwante plekke (veral big band en tradisionele jazz) in die Verenigde State.

Reisverklaring

Dit is die gids om 'n reis per motor voor te berei om die roete van jazz te volg. Die reis word vir 13 dae in die Verenigde State beplan en besoek historiese plekke en klubs wat verband hou met die geskiedenis van jazz.

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

Agtergrond (1895–1935)

Kom ons begin met 'n bietjie agtergrond oor die werklike reisplan wat jazzmusikante gedurende die eerste helfte van die 20ste eeu gevolg het.

Memphis

Die blues dateer uit die begin van jazz en die oorsprong daarvan is onduidelik vir presiese dokumentasies, hoewel dit êrens in die diep plattelandse suide moes ontstaan ​​het, 'n ruk voor die draai van die 20ste eeu. Van die groot aantal historiese plekke wat 'n sentrale rol in die groei van die blues gespeel het, is Beale Street in Memphis in 1977 amptelik deur die Kongres as die "Huis van die Blues" verklaar. In die vroeë 1900's was Beale Street gevul met klubs, restaurante en winkels, waarvan baie in Afrika-Amerikaners is. WC Handy het in Memphis 'n paar van die vroegste en bekendste blues gekomponeer, die "Memphis Blues" (1909), "Saint Louis Blues" (1914) en die "Beale Street Blues" (1916). Van die 1920's tot die 1940's het Louis Armstrong, Muddy Waters, Albert King, Memphis Minnie, B.B. King, Rufus Thomas, Rosco Gordon en ander blues- en jazzlegendes in Beale Street gespeel en gehelp om die styl wat bekend staan ​​as Memphis Blues te ontwikkel.

New Orleans

Jazz is in die laat 1890's en vroeë 1900's in New Orleans gebore. Dit het vinnig 'n gewilde musiek in die stad geword, meestal in die distrik Storyville. In Storyville kan 'n mens wettiglik prostitusie geniet terwyl jy na die eerste jazzgroep in die geskiedenis, die Buddy Bolden Band, luister. Ongelukkig, hoewel Bolden ten minste een fonograafsilinder gemaak het, het geen bekende opnames van Bolden oorleef nie. Tien jaar later (1917) is Storyville gesluit deur die federale regering, wat jazzmusikante dwing om na Noordelike stede te verhuis — meestal Chicago en New York en in mindere mate Kansas City.

Chicago

Chicago het vinnig die hoofstad van jazz geword tussen 1917 en 1928. Al sou die orkes weens die ongunstige weersomstandighede nie in die strate kon optrek nie, het die New Orleans-styl byna ongeskonde gebly. 'N Groot aantal kabarette het in die "South Side" -distrik ontstaan. Die belangrikste was die “Royal Gardens” (die aanbieding van die “King Oliver Creole Jazz Band” met Louis Armstong wat die kornet gespeel het) en die “Apex Club” (as gasheer vir die grootste klarinettis Jimmy Noone en die pianis Earl Hines).

New York Stad

Intussen sien Harlem die geboorte van uitstaande jazz-pianiste in die ragtime-styl soos Willie "the Lion" Smith en James P. Johnson. Hierdie klavierstyl het deels gewild geword danksy huishuurpartytjies (privaat partytjies wat lukraak in woonstelle gehou is om die huur te finansier). Die grootste dansklub in Harlem was die Savoy, 'n reuse-kamer met twee verhoë wat die orkes die hele nag kon laat veg. Twee groot bands het die gewildste geword, die Fletcher Henderson Orchestra, gevolg deur die Duke Ellington Orchestra. Twee skitterende vroulike sangers het gedurende die 1920's in Harlem na vore gekom: Bessie Smith, die keiserin van die blues, en Ethel Waters.

Kansas City

Die Groot Depressie (begin in 1929) was die einde van een van die grootste jazz-eras van alle tye. Ewe skielik het jazzmusikante in Chicago en Harlem hul werkloos bevind. Die krisis het vinnig oor die hele land versprei, behalwe in Kansas City. In die dertigerjare was Kansas City die kruispad van die Verenigde State, en transkontinentale reise het 'n draai in die stad gemaak. Kansas City was 'n oop dorp met drankwette en ure wat heeltemal geïgnoreer is. Baie jazzmusikante het vasgevang geraak in die vriendelike musiekkompetisies onder kunstenaars wat 'n hele lied 'n hele nag lank in verskillende variasies kon uitvoer. Sulke musikale kompetisies het gelei tot 'n nuwe styl, die Kansas City Style. Die totstandkoming van die Kansas City-styl word toegeskryf aan Bennie Moten, maar dit het baie gewild geword toe graaf Basie sy orkes na sy dood oorgeneem het.

Kansas City word al lank erken as 'n belangrike jazz-sentrum, wat net agter New York belangrik is. New Orleans, en Chicago. Van die middel van die twintigerjare tot die laat dertigerjare was jazzmusikante uit die sentrale state van Amerika 'op pad na Kansas City' op soek na werk, musikale uitdaging en goeie tye. Met hul aankoms betree hulle 'n musikale gemeenskap wat buitengewoon ondersteunend, veeleisend en kunstig opbouend was.

Terwyl die grootste deel van Amerika deur die Groot Depressie gely het, het Kansas City-jazz voorspoedig gegaan, hoofsaaklik as gevolg van die korrupte, maar ekonomies stimulerende administrasie van Baas Tom Pendergast. Jazz was die gewilde sosiale musiek van destyds, en die sentrums van vise-nagklubs en dobbelsale het gewoonlik musikante gehuur om klante te lok. Die oorvloedige resultate was volop, hoewel lae betalings vir jazzmusikante van regoor die Midde-Ooste en 'n uitstorting van wonderlike nuwe musiek.

Sien Industrialisering van die Verenigde State vir 'n breër blik op hierdie tydperk.

Groot jazzmusikante (1895–1935)

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

Wanneer om te gaan

Die ideaal is om die reis na enige van die beroemde jazzfeeste in een van die besoekte stede te maak. Kyk na Wikipedia's Lys van jazzfeeste vir 'n lys.

Die Beale Street Musiekfees vind in Mei in Memphis plaas.

Die New Orleans Jazz and Heritage Festival vind in April en Mei plaas.

Die Scott Joplin Internasionale Ragtime-fees vind in Junie in Sedalia, Missouri, plaas.

U kan in Chicago saam met die Chicago Jazz Festival, gewoonlik einde Augustus.

Gaan

Dag 1 (Vrydag): Boston aan New York Stad

Dag 2 (Saterdag): Besoek New York Stad

  • Die 52ste straat Tussen 5th en 7de Ave.
Die blokke van 52ste Straat tussen Vyfdelaan en Sewende Laan was in die middel van die 20ste eeu bekend vir die oorvloed van jazzklubs en 'n lewendige straatlewe. 52nd Street het bekend gestaan ​​as 'Swing Street', 'die straat van jazz', 'die straat wat nooit slaap nie' en bloot 'die straat'. Deesdae is dit vol banke, winkels en afdelingswinkels en toon min spore van sy jazzgeskiedenis.
Charlie 'Bird' Parker het die woonstel op die grondvloer op die hoogtepunt van sy loopbaan beklee, nadat hy aansienlike sukses behaal het en bekend was as die medestigter van bebop, die moderne jazzstyl wat hy en die trompetter Dizzy Gillespie in die stad New York geskep het. 1940's. Parker het internasionale bekendheid geniet terwyl hy hier gewoon het, met groot en klein ensembles opgetree, asook met Latynse big bands en strykafdelings. Avenue B (tussen 7de en 10de straat langs Tompkins Square Park) is in 1992 herdoop as Charlie Parker Place en sedert 1993 word die Charlie Parker Jazz Festival jaarliks ​​in die park gehou om Bird se verjaardag te vier (29 Augustus 1920 in Kansas City, Kansas) en sy bydrae tot die 20ste eeuse musiek.
  • Harlem
    • Kongokamer van die Kapitool, West 115th & Malcolm X Boulevard, c. 1940
    • Bamville-klub, 125 West-straat 65, c. 1920-1930 - Coleman Hawkins
    • The Plantation, Wes 126ste naby Malcolm X Blvd., c. 1930 - mededingende Cotton Club; Cab Calloway
    • Club Cabaret, 416 Malcolm X Boulevard, c. 1923-25
    • Club Baron, 437 Malcolm X Boulevard, c. 1940-46
    • Goldgraben's, I.G. Kafee, 439 Malcolm X Boulevard, c. 1919-30; In 1964 word Baron's Lounge hernoem - die gunsteling kuierplek vir musikante na werk by ander klubs
    • Elk's Rendezvous, Malcolm X Boulevard 464, c. 1930-45 - sosiale klubdanse gehou
    • Club Harlem, West 130th & Malcolm X Blvd., c. 1927-29; In 1964 is die naam Harlem Grill herdoop
    • Gee-Haw Stables, West 132nd Street tussen 7de & Malcolm X Blvd., c. 1940-45; In 1964 was dit 'n vulstasie by die Golf - het 'n perdkop bo die ingang, 'n na-na-klub
    • Lincoln Theatre, 135 West Street 58, c. 1909-1964 - 'n $ 10.000 Wurlitzer-orrel vir Fats Waller geïnstalleer; nou 'n kerk (1964 data)
    • The Elk's Café, Malcolm X Blvd. tussen Wes 137ste en Wes 138ste Straat, c. 1917-20
    • Capitol Palace, Malcolm X Boulevard 575, c. 1922-50 - nou 'n speelgrond
    • Brittwood Bar & Grill, 594 Malcolm X Boulevard, c. 1932-42 - Willie Gant se Musical Maniacs;
    • Golden Gate Ballroom, Malcolm X Boulevard & West 142nd Street, c. 1939-50 - luukse balsaal
    • Rhone's Orchestra Club, 625 Malcolm X Boulevard, c. 1920-35 later Lenox Club, ook bekend as "The Breakfast Club", 652 Malcolm X Boulevard, c. 1935-45 - Louis Armstrong, Fletcher Henderson, Duke Ellington, 3 toon elke aand met 'n 8-meisie-lyn; gesloop 1958 vir Bethune Towers / Delano Village.

Jazzklubs in New York

Minton's is in 1938 deur die tenorsaksofonis Henry Minton gestig. Minton's is bekend vir sy rol in die ontwikkeling van moderne jazz, ook bekend as bebop, waar Thelonious Monk, Kenny Clarke, Charlie Christian, Dizzy Gillespie tydens sy jam-sessies in die vroeë veertigerjare en Charlie Parker, was baanbreker in die nuwe musiek. Minton's het drie dekades gedy tot sy agteruitgang teen die einde van die sestigerjare en uiteindelik in 1974 gesluit het. Nadat hy meer as dertig jaar lank gesluit was, het die nuut opgeknapte klub op 19 Mei 2006 weer sy deure onder die naam oopgemaak. Uptown Lounge in Minton's Playhouse. Hierdie plek kan beskou word as die geboorteplek van moderne jazz, en in die uitbreiding kan dit vir sommige puriteine ​​beskou word as die sterfplek van vroeë jazz, dus dit bied die beste vertrekpunt om die track van jazz hiervandaan te volg.
Die Savoy is as die mooiste ballroom ter wêreld bestempel; dit beslaan die tweede verdieping van 'n gebou wat oor die hele blok tussen die 140ste en 141ste straat strek, en bevat 'n groot dansvloer (200 voet by 50 voet), twee bandstanders en 'n intrekbare verhoog. Dit het vinnig die gewildste danslokaal in Harlem geword, en baie van die jazzdans-rage van die 1920's en 1930's het daar ontstaan; dit het 'n lang en skitterende loopbaan geniet wat tot in die vyftigerjare geduur het, voordat 'n afname in sy lotgevalle begin het.
Dit het in die middestad as die "Home of Happy Feet" bekend gestaan, maar in die stad, in Harlem, as "the Track". Die Savoy het gereeld 'Battle of the Bands'-promosies aangebied wat gewoonlik tussen 'n huis en 'n gasteband plaasgevind het, hoewel nie noodwendig nie. Soms het die bande nommers verruil op die wisselpunt tussen stelle. Daar was altyd ruimte om te dans, en die skare sou altyd stem oor wie hul gunstelinggroep, orkesleier, sanger was, ens. Twee van die bekendste 'gevegte' het gebeur toe die Benny Goodman-orkes Chick uitgedaag het. Webb in 1937 en in 1938 toe die Count Basie Band dieselfde doen. Die algemene beoordeling was dat hulle albei teen Chick Webb verloor het.
Uitgebreide gebeurtenisse van hierdie aard is ook deur die bestuur gereël: op 15 Mei 1927 bied die Savoy 'n 'Battle of Jazz' aan waarin King Oliver se Dixie Syncopators verskyn, 'n orkes gelei deur Williams, Harick Stompers van Chick Webb en Roseland Orchestra van Henderson; ander gevegte is gevoer tussen bande onder leiding van Lloyd Scott, Webb, Alex Johnson, Charlie Johnson, Williams en Henderson (6 Mei 1928) en tussen Cab Calloway se Missourians en groepe onder leiding van Duke Ellington, Henderson, Cecil Scott, Lockwood Lewis en Webb (14 Mei 1930).
Tans is daar net 'n gedenkplaat in die Savoye.
  • Die katoenklub, Lenoxlaan, in West 142nd Street (1923-1936); 200 West 48th Street (1936 - 1940). 666 West 125th Street (tot op hede 1997) 1 888 640-7980. [3][4]
Die Cotton Club, wat voorheen 'Club De Lux' genoem is, was die bekendste van die stad se nagklubs in die 1920's en 1930's, en het 'n gehoor gelok wat dikwels die room van die New York-samelewing ingesluit het. Die glinsterende revues was 'n medium vir optredes deur die bekendste jazzmusikante van die dag, en die aktiwiteite van die klub is deur gereelde uitsendings onder 'n wye gehoor gebring. Fletcher Henderson het die eerste orkes gelei wat daar in 1923 gespeel het. Die huisorkes toe die lokaal vir die eerste keer geopen is, was Andy Preer's Cotton Club Syncopators; na die dood van Preer in 1927, is Duke Ellington se orkes verloof en het sy verblyf die gewildste in die geskiedenis van die klub geword, tot 1931. Cab Calloway en sy Missourians, wat in 1931 vir die eerste keer met groot sukses verskyn het, neem toe oor en Calloway se tyd as die leier van die Cotton Club (wat uitgebrei het tot 1934, toe Jimmie Lunceford hom opgevolg het), sy reputasie moes maak. Beide Wellington en Calloway het teruggekeer nadat die klub die middestad ingetrek het.
Die meeste van die vernaamste jazzmusikante, sangers en dansers van die tydperk het in 'n stadium in die Cotton Club verskyn, waaronder Louis Armstrong, Ethel Waters, Ivie Anderson, Bill Robinson en die Nicholas Brothers. Die bloeitydperk van die bestaan ​​van die klub is herskep in die film van Francis Ford Coppola Die katoenklub (1984).
Na ras-onluste in Harlem in 1935, word die gebied as onveilig beskou vir blankes (wat die klante van die Cotton Club gevorm het). en die klub moes noodgedwonge sluit (16 Februarie 1936). Dit is in September 1936 weer in die middestad in West 48th Street geopen, in 'n perseel wat voorheen die Palais Royal en Connie's Inn gehuisves het (1933-6); die Cotton Club het tot Junie 1940 op hierdie plek voortgegaan.
Die klub is later dieselfde jaar weer oopgemaak in Broadway en 48th Street, maar het in 1940 vir goed gesluit onder druk van hoër huurgeld, veranderende smaak en 'n federale ondersoek na belastingontduiking deur Manhattan-nagklub-eienaars. Die Cotton Club is in 1978 in Harlem heropen. Die oorspronklike perseel van die Cotton Club is in 1958 gesloop, tesame met die Savoy Ballroom en die Lenox Club, (Louis Armstrong, Fletcher Henderson, Duke Ellington, 3 shows, 1935-1945) vir die bou van Bethune Towers / Delano Village; sy nalatenskap leef egter voort op 'n nuwe perseel onder dieselfde naam in 1256-Wes-straat 666.
In sy bloeitydperk het die Cotton Club toegang tot swart beskermhere geweier, hoewel alle kunstenaars swart was.
  • Die Blou Nota, 131 W. 3rd St., New York, NY, [5] In die hartjie van Greenwich Village.
Geopen in 1981. Die vlagskip New York Blue Note-klub het die onderskeiding behaal dat dit die wêreld se voorste jazzklub en restaurant is. Tony Bennett, George Benson, Ray Charles, Natalie Cole, Oscar Peterson, David Sanborn, Nancy Wilson, wyle Sarah Vaughan en Dizzy Gillespie.
Wêreldbekende talent staan ​​op die plan vir ses dae lopies, met Maandae gewoonlik gereserveer vir uitstekende plaaslike talent. Twee stelle is 9:00 en 11:30. Pryse is $ 35 vir tafelbesprekings, of $ 25 dekking aan die kroeg. Daar is 'n dekkingskoste van $ 5,00 vir die konfyt-sessies op Vrydag en Saterdag. Sondagbrunch bedien middag - 18:00. Vertoontye om 13:00 en 15:30.
The Vanguard is in 1935 gestig en is 'n donker kelder in Greenwich Village. The Vanguard is die argetipiese jazzklub van Greenwich Village. Meer as honderd jazz-albums is sedert die (oorspronklik enkele) album onder die naam Sonny Rollins in 1957 opgeneem. Die twee bekendste verlowings in die geskiedenis van die klub is waarskynlik die van Bill Evans en John Coltrane, wat albei in 1961. Wynton Marsalis het gereeld in die vroeë negentigerjare by die klub opgeneem.
Stelle: Sondag - Donderdag 21:30 en 23:30, Vrydag en Saterdag 21:30, 23:30 en 01:30. Maandagaand sit die Vanguard Jazz Orchestra, wat meer as 33 jaar gelede deur Thad Jones en Mel Lewis gestig is, voort met hul bigband-tradisie. Sondag - Donderdag: $ 25 voor die deur (sluit $ 15 toegang plus 'n minimum drankie van $ 10 in). Op Vrydag en Saterdag: $ 30 voor die deur (insluitend toegang tot $ 20 plus 'n minimum drankie van $ 10). met die regte atmosfeer en 'n uitstekende besprekingsbeleid. Vang die pianis Tommy Flanagan hier vir 'n perfekte jazz-aand.
  • Voëlland, (1949-1965) 52ste St, (1986-1996) 2745 Broadway, (tot op hede 1996) 315 wes 44ste straat, tussen die 8ste en 9de laan.
Die klub is in 1949 geopen. Aanvanklik was die klub op Broadway, maar dit het vinnig na 52nd Street beweeg, wat in die dertiger- en veertigerjare 'n brandpunt van jazz was. Count Basie en sy grootgroep het Birdland hul hoofkwartier in New York gemaak, en uiteindelik het George Shearing se "Lullaby of Birdland" live by die klub opgeneem. John Coltrane se klassieke Quartet verskyn gereeld in die vroeë 1960's by die klub en neem 'Live at Birdland' op.
Mense wat in die Birdland opgetree het: Charlie Parker, Dizzy Gillespie, Thelonious Monk, Miles Davis, John Coltrane, Bud Powell, Stan Getz, Lester Young, Erroll Garner, en vele, baie ander.
Alle vertoontye: 9 en 23:00 (met huldigingsstelle om 17:30 vroeg by die M-, Tu- en F-skedules). Musiekheffing wissel van $ 20-35. Daar is 'n minimum kos / drankie van $ 10 per persoon aan die tafels. By die kroeg is die drankgeld een drankie ingesluit. Sondae behoort aan die Afro-Kubaanse Jazz Big Band van Arturo O'Farrill. Maandae is gereserveer vir die Toshiko Akiyoshi Jazz Orchestra met Lew Tabackin vir die latere stel, en nou elke Maandag van 17:30 tot 19:30 - The Art Blakey Jazz Messenger's Revue optree. Dinsdae gaan gewoonlik na The Famous Duke Ellington Orchestra onder leiding van Paul Mercer Ellington, met vroeë tye om 17:30 - 19:30 met David Ostwald se Louis Armstrong Centennial Band. Van Woensdag - Saterdag verwag u die beste in plaaslike en internasionale kunstenaars. Pas bygevoeg: Elke Vrydag van 17:30 tot 19:30 - Lew Anderson se All American Big Band. Almal sal die uitstekende gesigspunte tot op die verhoog geniet.

Ander jazz-verwante plekke

Dag 3 (Sondag) New York aan Boston

Dag 4 (Vrydag): Boston tot Chicago.

Konsertaand in Chicago.

Dag 5 (Saterdag): Besoek Chicago

Die jazz-historiese plekke in Chicago is meestal aan die suidekant geleë, met die uitsondering van die Green Mill, wat in Uptown is. Besoek die Chicago se South Side Jazz Clubs webwerf. Die ligging en toestand van die gebou kan geraadpleeg word by [6]

Die Haïtiaanse paviljoen was die middelpunt van swart vermaak tydens die Columbian Exposition ter wêreld in 1893. Die uiteensetting het baie swart musikante soos W.C. Handy (beskou as die vader van die blues), Scott Joplin (die vader van Ragtime). Die Haïtiaanse paviljoen was 'n broeikas vir jazzmusiek; daar was Scott Joplin en baie ander musikante wat ontdek dat baie ander swartgenote soortgelyke vaardighede ontwikkel het en hul ervarings gedeel het in die verskillende musiekstyl wat aanleiding gegee het tot jazzmusiek. Daar is vandag twee indrukwekkende simbole van die wêreld se Columbian Exposition. Die "Golden Lady" beeldhouwerk is 'n kleiner weergawe van Daniel Chester French se Standbeeld van die Republiek, wat oorspronklik aan die voet van die Erehof gestaan ​​het. Die oorspronklike Fine Arts Palace huisves nou die Chicago Museum of Science and Industry.
Die gebied is een van die belangrikste sentrums van die Afro-Amerikaanse stedelike geskiedenis. Vol klubs en kafees tydens die uitbreiding van die 20ste eeu voor die Groot Depressie, het dit 'n groot rol gespeel in die geskiedenis en ontwikkeling van die goue era van die Chicago-musiektoneel. Louis Armstrong het in die omgewing gewoon en by baie van die nagklubs in die omgewing opgetree, soos die Sunset-kafee, The Vendome-teater en die Plantation-kafee. Die gebou van eersgenoemde Sunset kafee is nog steeds daar en word beskou as 'n Chicago Landmark.

Historiese jazzklubs in Chicago

  • Pekin Inn 2700 S. State St.
Geopen in die jare 1910-20. dit word beskou as een van die belangrikste suidelike klubs voor 1910. Dit was die eerste wat musikante in diens geneem het wat nou gekoppel was aan populêre ragtime en populêre jazz, soos Joe Jordan, Tony Jackson en Wilbur Sweatman. Sommige mense beskou die Pekin Inn as die geboorteplek van die Chicago Jazz-toneel en een van die eerste musieklaboratoriums waar mense met ragtime en pre-jazz-style geëksperimenteer het.
  • Droomland Ballroom 3618-20 S. State, te 35th Street. Chicago
Die droomland was een van die eerste ballrooms in die geskiedenis van Chicago, wat in 1912 geopen is, met spelers soos King Oliver, Johnny & Warren "Baby" Dodds, Louis Armstrong en Hot Five, Alberta Hunter, Sidney Bechet, Lawrence Duhé, Ethel Waters .
  • Lincoln Gardens (Royal Gardens). 459-Oos-straat 459, by South Cottage Grove Avenue.
Lincoln Gardens (voorheen Royal Gardens) was 'n danssaal wat tot 1000 dansers kon huisves. Na 'n brand laat in 1924 is die saal op 28 Oktober 1925 opnuut opgeknap vir die heropening, toe die naam verander is na die New Charleston Café; dit het later bekend geword as die Café de Paris. Dave Peyton het 'n groep daar gelei vanaf laat November 1926, maar in Junie 1927 is dit gebombardeer - miskien in bende-oorlogvoering - en gesluit.
Die inwoning in die Royal Gardens in 1918 van die Original Creole Band, gelei deur Bill Johnson, het die reputasie van die danssaal as 'n plek vir jazz gevestig en 'n reeks optredes deur musikante in New Orleans begin wat van groot belang was vir die ontwikkeling van die musiek in Chicago. Joe King Oliver's Creole Jazz Band het 'n verblyfplek van 17 Junie 1922 tot Februarie 1924 gespeel. Gedurende hierdie tydperk stuur hy 'n telegram na sy kornetstudent in New Orleans om na Chicago te kom en by sy orkes as 'n tweede trompet aansluit om in die Lincoln Gardens te speel. Die naam van die trompetter was Louis Armstrong. Dit was 'n droom wat vir Armstrong bewaarheid is en sy ongelooflike spel in die groep het hom gou 'n sensasie onder ander musikante in Chicago gemaak.
Tydens sy twee jaar lange stand in die Lincoln Gardens het King Oliver met Louis en die Creole Serenaders warm jazz in New Orleans-styl na Chicago en later via opnames na die wêreld gebring.
'Toe koning Joe Oliver in 1922 na my stuur om New Orleans te verlaat en saam met hom by die Lincoln Gardens 'n tweede trompet na sy eerste trompet te speel, spring ek hemelhoog van vreugde. Die dag toe ek die telegram van Papa Joe ontvang het - dis wat Ek het hom gebel - ek het 'n begrafnis in New Orleans gespeel en al die lede van die Tuxedo Brass Band het vir my gesê om nie te gaan nie, want Papa Joe en sy orkes het 'n soort unieprobleem ... Ek het ongeveer elf uur in Chicago aangekom. die nag op 8 Julie 1922 by die Illinois Central Station in Twelfth en Michigan Avenue. Ek sal dit nooit vergeet nie. Die King was al aan die werk. Ek het niemand gehad om my te ontmoet nie. Ek het 'n taxi geneem en is direk na die Lincoln Gardens. ' (Louis Armstrong)
'Royal Garden Blues' word beskou as die eerste 'riff'-lied
Gebou in 1909, opgeknap in 1937. Na 'n verbouing in 1921, is hierdie eenvoudige motorhuis omskep in een van die vroegste en mees legendariese jazzlokale in die stad. In sy huisorkes was daar bekende musikante soos Louis Armstrong, Johnny Dodds en Earl "Fatha" Hines, terwyl die vloervertonings die nuutste danse vir plaaslike gehore bekendgestel het. Baie belowende jong kunstenaars, onder wie Bix Beiderbecke, Jimmy Dorsey, Benny Goodman en Gene Krupa, het hier op laatnagsessies begin. Na 'n verbouing in 1937 is dit hernoem tot die Grand Terrace Ballroom (verskuif vanaf die vroeëre ligging in 3955 South Parkway Blvd) en het dit tot 1950 'n gewilde nagklub gebly.
Earl Hines het daar groot sukses behaal, hoewel ander groot orkes, waaronder Fletcher Henderson, Count Basie en Horace Henderson, ook voor die Tweede Wêreldoorlog die Grand Terrace gespeel het. Die winkel se kantoor, wat lank gelede deel uitgemaak het van die verhoogde bandstand met uitsig oor die Grand Terrace se dansvloer. Die agterkant van die orkest was 'n groot muurskildery wat jazzritmes uitbeeld, en 'n gedeelte is steeds sigbaar.
Op die Grand Terrace Ballroom en ander nagplekke in Chicago was die gesondheid van baie Chicago jazzmusikante gevaarlik om die klub te verlaat sonder toestemming van die bestuur. Dit is waarom Earl Hines langer as 'n dekade op die Grand Terrace gebly het.
Gedurende 1936 in die Grand Terrace Ballroom, waar Fletcher Henderson saam met sy eie orkes opgetree het, het Goodman voor die groep gespeel met Krupa wat op tromme sit. Dit is miskien die eerste keer dat swart en wit jazzmusikante voor 'n betalende gehoor saamspeel
Die gebou op die nuwe plek, waarvan die buitekant baie lyk soos tydens sy musikale bloeitydperk, is nou 'n hardewarewinkel. Sommige mure in die binnekant is nog steeds geverf soos tydens die Grand Terrass-tye. dit is moontlik om die eienaars te vra om die binnekant te besoek.
Die klub dien as inspirasie vir die liedjie genaamd "Sunset Cafe Stomp" deur die Louis Armstrong en die Hot Five.
  • Die Groen Meule, 4802 N. Broadway Ave. Chicago, IL
Die 'Mill' is in 1907 as Pop Morse's Roadhouse geopen en was 'n plek vir roubeklaers om die heengaan van 'n vriend te vier voordat hulle na die St. Boniface-begraafplaas gaan. Teen 1910 het nuwe eienaars die straathuis omskep in die Green Mill Gardens, kompleet met dans- en drinkareas met lanternverligting, en hulle het hoofopskrifte soos Al Jolson, Eddie Cantor en Sophie Tucker.
Terwyl die twintigerjare gebrul het, het die Green Mill 'n mobster-gebied geword toe Al Capone se handlanger, "Machinegun" Jack McGurn, 25% eienaarskap van die klub gekry het, en Al Capone self die klub gereeld sou besoek. Die bestuurder, Danny Cohen, het die belang van 25% aan McGurn gegee om die komediant / sanger Joe E. Lewis te oorreed om sy daad suidwaarts na die New Rendezvous Café in Clark en Diversey te skuif. McGurn het daarin geslaag om Lewis te oortuig deur sy keel af te sny en sy tong af te sny. Wonder bo wonder het Lewis herstel, maar sy liedjies het nooit hul welige klank herwin nie. Die voorval is later verewig in die film The Joker is Wild, met Frank Sinatra as Joe E. Lewis en 'n Hollywood-klankbaan as die Green Mill. Sy belangstelling het natuurlik geprikkel dat Sinatra die klub moes besoek. In 1986 is die Green Mill-versiering herstel tot sy spraakmakende dekor in die verbod-era.
  • Vendome-teater South State Street 3145,
Gebou in 1919 en gesloop in 1949. Geleë in die hart van Chicago se sogenaamde 'Black Belt'. Die gewildheid van die Vendome-orkes het in Desember 1925 die hoogte ingeskiet toe die meesterkoronet, Louis Armstrong, aan boord gekom het ná 'n draai by die Dreamland Cafe. Toe Armstrong 'n solo gespeel het, het die Vendome-gehore wild gejuig. In 1926 vertrek Armstrong na die Sunset Cafe, een van die berugste swartbruine in die stad. Ander jazz-kunstenaars wat in die 1920's by die Vendome opgetree het, was onder andere die pianis Earl Hines, die tromspeler Jimmy Bertrand, die kornetis Freddie Keppard en die pianis Lil Hardin-Armstrong.
King Oliver-orkes, die Creole Jazz Band, is uitvoerig in die Plantation Café gespeel totdat dit in 1927 deur 'n brand vernietig is.
  • Apex-klub 35ste straat tussen S. Calumet en S. Prairielaan [9]
Geopen in 1920 met Junie Cobb, Johnny St. Cyr, Dave Nelson, Joe Poston, Johnny Wells, Earl Hines en die klarinettis Jimmy Noone.
  • Vermaaklikheidskafee 209 E. 35th St. in Michigan, 1910-20's
Met Sammy Stewart en sy Knights of Syncopation, Freddy Keppard's Band, Earl Hines, Natty Dominique, Vernie Robinson, Carroll Dickerson.
  • Monogram-teater 3435-40 S. State St.
Geopen in 1910. Met vroeë jazzmusikante soos Sidney Bechet, Ethel Waters, Erskine Tate, Ma Rainey.
  • Elite klub 3030 S. State St.
Geopen in 1910. Met Jelly Roll Morton, Earl Hines, Alberta Hunter.
  • Ententainer se kafee
  • Friar's Inn kelder by 60 East Van Buren of 343 South Wabash in die Chicago Loop,
The Friar's Inn was 'n nagklub in 'n kelder in Chicago se Loop-gebied, in East Burenstraat 60 in South Wabashlaan 343. Die Moulin Rouge Cafe was in dieselfde kompleks. Friar's Inn is bestuur deur Mike Fritzel en is in musikante se herinneringe onthou as 'n gangster-kuierplek. Friar's Inn het drie groepe gehad: een van 15 tot 18:00, een van 18 tot 22 uur, gewoonlik 'n ritmeseksie vir aandete, en die hoofgroep van 22:00 tot vroegoggend - wat die Mares-groep was. Die klub het 'n streng 'slegs blankes' beleid gebruik. Onder die opvallende orkes wat met Friar's Inn geassosieer is, was New Orleans Rhythm Kings (oorspronklik die "Friar's Society Orchestra"), en die Austin High Gang (ook bekend as die "Blue Friars").
Bekende musikante wat in die Friar's Inn gespeel het, was onder andere Frank Teschemacher, Bud Freeman, Steve Brown, George Brunies, Merritt Brunies, Emmett Hardy, Paul Mares, Leon Roppolo, Bee Palmer en Mel Stitzel. Joan Crawford het daar vroeg in haar loopbaan as danser gewerk.

Meer historiese jazzklubs word gelys in hier

Moderne jazzklubs in Chicago

Gelukkig eindig die verhaal van Jazz nie by BeBop nie. Dit het voortgegaan om in die avant-garde te draai. 'N Vereniging van (meestal Afro-Amerikaanse) musikante in Chicago,' Association for the Advancement of Creative Musicians '(AACM), het deel uitgemaak van die avontuurlike stel.
Die AACM, wat sy missie 'versorging, uitvoering en opname van ernstige, oorspronklike musiek' is, ondersteun musikante, komponiste en opvoeders wat in Jazz werk. Vanaf 1965 het die AACM (die eerste keer gelei deur Muhal Richard Abrams) jong musikante in Chicago opgelei, en dit is vreemd genoeg: Amsterdam en Parys waar sommige van die stigterslede gedurende die vroeë 1970's in selfopgelegde ballingskap gewoon het.
Musikante verbonde aan die AACM, soos Henry Threadgill, Anthony Braxton, Jack DeJohnette en die Art Ensemble of Chicago: Lester Bowie, Roscoe Mitchell, Joseph Jarman, Famoudou Don Moye en Malachi Favors het die opwindendste en uitdagendste Jazz-musiek opgelewer. In die 1970's is musiek wat eers in die negentigerjare deur die hoofstroom en die akademie begin erken word.
In die laat 1980's en vroeë 1990's het die musikant en die Columbia College-professor Hal Russell 'n groot toevloei van nuwe musikante na die AACM-sfeer gebring deur sy onderrig en speel saam met die NRG Ensemble. Studente en volgelinge van Russell's, soos Ken Vandermark, Kent Kessler, Mars Williams en Weasel Walter, het gehelp om die AACM-toneel aan te wakker en dit verdien kritieke en media-aandag.
Gelukkig is 'n hele paar van die oorspronklike AACM-spelers steeds op die toneel, net soos baie van hul studente van Chicago en Europa, sowel as spelers van die nuwer toneel wat van Russell af kom. You can catch shows ranging around town almost every night of the week, but the scene most predictably centers around a handful of clubs with connections to the musicians.
  • The Velvet Lounge, 67 East Cermak Road. Owner Fred Anderson is a long time member of the AACM, and has connections running deeply through both contemporary scenes. In most evenings from Wednesday through Saturday, you'll find him alternately watching the door, and joining the band on stage to play a ripping sax solo.
  • The New Apartment Lounge, 504 East 75th. Von Freeman is your host here at the new apartment, another club frequented by AACM members both onstage and off. The club is a must-see, and the Wednesday night jam sessions are legendary.
  • The Hideout seems to be the successor on Wednesday nights to the long running Tuesday and Wednesday night gigs by Ken Vandermark and friends at The Empty Bottle, where he and music critics John Corbett and Peter Margasak have created a platform for exposing Chicago hipsters to Avant Garde Jazz from the AACM scene, the Russell scene, and from around the world. Wednesday nights are usually reserved for overseas guests, such as Han Bennik or, maybe if you're lucky, Misha Mendelberg.
  • The HotHouse, 31 East Balboa. Having moved to Printers Row after many years in Wicker Park, the HotHouse regularly hosts concerts mostly by younger members of the AACM scene (like Eight Bold Souls) and associated traveling artists, in a somewhat more upscale atmosphere than the other three clubs in this group - the old location was a dive, but they took the move as an opportunity to dress up a bit.
  • Andy's Jazz Club 11 East Hubbard St. Chicago, IL, 1 312-642-6805.
One of Chicago's best-known and most respected Jazz establishments, historic Andy's offers casual dining and live jazz. Local acts focusing on mainstream, traditional, be-bop jazz and blues are featured with sets at lunchtime, late afternoon and evenings. Located just off Michigan Ave in downtown Chicago and just steps away from Chicago's Magnificent Mile, Andy's Jazz Club has been a destination for the work weary and hungry hipsters for over a quarter of a century. Established in 1951, this onetime newspaper pub has evolved from a shot & beer joint into a full service music Mecca.
Taste and variety define the music menu as well, showcasing Jazz and Blues 7 days a week. No other venue can boast of the three shows daily and a weekend rotations of world-class headliners.
Friday's Live Jazz At Noon provides a variety of lunchtime favorites with conversation friendly music, guaranteed to satisfy the cravings of the clock-watchers and leisure lovers alike. Open for lunch Monday-Friday with live music only on Friday. Jazz At Five ups the intensity when locals and visitors mingle beneath the "Wall of Fame" and exchange ideas in the universal language of Jazz. Jazz At Nine expands the experience with a range of world-renowned artists with diverse styles continuing until 1AM. To accommodate a more energetic weekend crowd, hours are extended to 1:30AM and serve from the complete menu until 1AM. On Sunday, entertainment jump starts your morning with a 11AM-2:30PM Brunch and continues on with evening music offered from 5PM-midnight. Located in the heart of the River North Neighborhood of the Chicago Loop, you can find Andy's Jazz Club & Restaurant at the intersection of State Street and Hubbard Street.

More modern Chicago clubs at www.chicagojazz.com

Other jazz-related places in Chicago

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

Day 6 (Sunday): Chicago aan Kansas City

Distance: (532 Miles)

Concert in the Phoenix?

Day 7 (Monday): Visiting Kansas City

Jazz places in Kansas City

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

Jazz clubs in Kansas City

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

Modern jazz clubs in Kansas City

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

(More jazz clubes at Foursquare)

Other jazz-related places in Kansas City

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

Day 8 (Tuesday): Kansas City to Memphis

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

Driving distance: 538 miles.

Sedalia, MO

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

Once in Memphis, try to catch a Blues concert.

Day 9 (Wednesday): Visiting Memphis

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

Day 10 (Thursday): Memphis aan New Orleans

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

Clarksdale

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

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

Dockery Plantation

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

Where the “Southern meet the Dog”

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

Natchez

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

Day 11 (Friday): Visiting New Orleans

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

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

Jazz clubs in New Orleans

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

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

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

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

Day 12 (Saturday): Visiting New Orleans

Day 13 (Sunday): New Orleans aan Boston

Met die vliegtuig.

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Hierdie reisplan na The Jazz Track is 'n bruikbaar artikel. Dit verduidelik hoe u daar kan kom en raak al die belangrikste punte langs die pad aan. 'N Avontuurlustige persoon kan hierdie artikel gebruik, maar verbeter dit gerus deur die bladsy te redigeer.