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Jelly Roll, Bix, and Hoagy (excerpt)

Jelly Roll, Bix, and Hoagy (excerpt)

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In this newly revised and expanded edition of Jelly Roll, Bix, and Hoagy, Rick Kennedy shares anecdotes from musicians, employees, and family members to trace the colorful history of one of America's most innovative record companies.
In this newly revised and expanded edition of Jelly Roll, Bix, and Hoagy, Rick Kennedy shares anecdotes from musicians, employees, and family members to trace the colorful history of one of America's most innovative record companies.

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Published by: Indiana University Press on Feb 01, 2013
Copyright:Attribution Non-commercial

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04/06/2014

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 a n d  t h e R i s e  o f  A m e r i c a ’ s M u s i c a l  G r a s s r o o t s
 G e n n e t t R e c o r d s
Rick Kennedy 
FOREWORD BY TED GIOIA
 J e l  l  y  R o l  l , B i x,
 
 a n d 
 H o a g y
 
Contents
Foreword by Ted Gioia xiGennet Records Timeline xvInroducion xix
1 A Music Dynasy in Vicorian Indiana
1
2 A New Wind Is Blowing hrough Chicago
49
3 Jazz Hyseria in he Hoosier Sae
91
4 Old-Time Music in he New Elecronic Era
163
5 When Gennet Records Ges he Blues
205
6 Ye he Music Lives On
233Suggesed Lisening: Fiy Classics by Gennet Records 253Noes 257Seleced Bibliography 265Index 267Index of Songs 273
 
 x
 Ask a group of people to name the U.S. cities with the most illustri-ous musical histories, and they will immediately think of New York,
Chcg, n Ls Angls. Smn s su  mnn Nw Olns,Sn ncsc, n D. Nshvll wll hv s vcs, s wll s
cross-sae rival Memphis. Philly and Boson will demand consideraion.
Phps  svvy sggl wll  up Stl  Ausn.Bu  s unlkly h nyn wll mmb Rchmn, Inn. Y hy shul. Ov h cus f mny ys suyng Amcnmusc, I hv fun h my sch hs kn m gn n gn vns h k plc n hs smll cy n h cnl sn b f Inn. Rchmn sn’ vn nk mng h n lgs cs n hs, l ln h nn. Y h cus f Amcn musc ws fun-mnlly chng by h sngs c whn s cy lms.
 Where do I begin? Perhaps with the recordings of King Olivers
 Jzz Bn, m n Rchmn n 1923 hs w h ms nunl
 jazz sides of their day and introduced the world to Louis Armstrong.
n gn, f yu pf cl jzz  h, yu fcus wll sh  h lg-ny Bx Bbck, whs clssc 1924 cngs ls cm fmRchmn. Bu w cn’ fg Jlly Rll Mn, h ms mpn jzz cmps f h , wh m hsy n Rchmn, cllbng wh h Nw Olns Rhyhm Kngs n h s clly ng jzzcng sssn.If yu ss un  blus, yu wll ls ncun musc fm hssmll Mwsn cy – f xmpl, Chly Ptn’s “Pny Blus,” 
recording ha single-handedly creaed he commercial marke for Dela
Foreword 
ed ioia

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