Jelly Roll Morton

Source

• Born: 20 October 1890
• Birthplace: Gulfport, Louisiana
• Died: 10 July 1941 (heart failure)
• Best Known As: The composer of Jelly Roll Blues

Name at birth: Ferdinand Joseph La Menthe

Piano player Jelly Roll Morton was a pioneer of modern American jazz. He grew up in New Orleans and began playing in saloons and brothels when he was still a boy. In later years he performed solo and with his band, the Red Hot Peppers, and he is particularly remembered for a series of recordings he made in Chicago for RCA Victor in the 1920s. Morton is often credited with mixing individual improvisation within rehearsed group arrangements, a format which became a staple of jazz. His best-known tunes included Jelly Roll Blues, King Porter Stomp, and Black Bottom Stomp.

Morton was inducted into the Rock and Roll Hall of Fame in 1998 as an "early influence"... Various sources list Morton's birth name as La Mothe, Lematt or Lemott; some list his birth year as 1885... Jelly's Last Jam, a musical based on Morton's life, debuted on Broadway in 1991.

(b New Orleans, 20 Oct 1890; d Los Angeles, 10 July 1941). American jazz composer and pianist. Fromc 1904 he worked in southern cities; by 1911 he was in New York, by 1917 Los Angeles. In 1922 he settled in Chicago, where he made his first recordings, post-ragtime in style. He was recording with the Red Hot Peppers in 1927, and in 1928 went to New York where he worked with larger groups, using elaborate harmony and solo improvisation. The first important jazz composer, he developed the New Orleans style to its finest expression.

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American musician Jelly Roll Morton (1885 - 1941) was America's first great jazz composer and one of the foremost contributors to American music. A pioneering jazz musician and leader as well, Morton claimed to have invented the term jazz and the musical style itself at the height of the Swing Era in 1902 while he performed in New Orleans. Morton was also an influential composer; his works were widely recorded, reaching a vast audience.

Although an important and respected innovator in the transitional period from early to orchestral jazz, Morton had a predilection for embellishing the truth about himself. Because of this, the validity of his claim that he invented the term "jazz" is uncertain. With a penchant for the ostentatious, Morton was known for his colorful clothing and the diamond in his front tooth. Morton's vast output of work was recorded in 1938 at the Library of Congress during a series of several interviews. The resulting eight hours have been called by the Biographical Dictionary of Afro-American and African Musicians, "perhaps the most important oral history of jazz ever issued."

Much of the information about Morton's early life is uncertain, due in no small measure to his tendency to invent facts about himself. He was born Ferdinand Joseph La Menthe, on either September 20, 1885, or October 20, 1890, and probably in Gulfport, Louisiana, or Gulfport, Mississippi. Morton's creole father, E.P. Le Menthe (or LaMothe), was a carpenter. La Menthe was also a classically-schooled trombonist and took young Morton to the French Opera House in New Orleans. But La Menthe abandoned the family when Morton was very young. After Morton's mother married Willie Morton, the boy lived in Biloxi and Meridian, Mississippi, and then in New Orleans, mostly under the care of his aunt and godmother, Eulalie - or "Lallie" - Echo.

Learned Several Instruments at Early Age

Morton's Aunt Lallie took him everywhere, including saloons and even jail. But it was in jail, when he heard the inmates singing, that Morton found his first musical inspiration. His first musical instrument, though made of a tin pan and two chair legs, sounded to him like a symphony. Soon Morton learned to play other, more traditional instruments. By age five he could play the harmonica and at age six he had mastered the Jews' harp. Morton was an accomplished guitarist by age seven. He studied the guitar and was soon playing in street bands. He then learned the trombone, which he played in the houses of the red light district in New Orleans known as Storyville. By the time he was a teenager, he also played the piano, which he learned after hearing a concert at the opera house. His aunt sent him to study for a time with a black university professor of music. Morton's mother died when he was 14 or 15, but his aunt was by far the greatest influence in his life. A firm believer in voodoo, his aunt kept glasses of water around the house from which Morton believed he heard voices echoing in the night. Morton also heard chains rattling and the sewing machine running. He would forever be influenced by voodoo and always kept holy water near his bed.

Morton began to earn money - $20 in tips on his first night - as a pianist and gambler in the red light district of New Orleans. Morton's family had great respect for opera, but any other type of music was considered inappropriate, so when his aunt found out where the money for Morton's new clothes was coming from, she threw him out of the house so he would not corrupt his younger sisters.

Discovered Jazz

In 1902, Morton met famous ragtime pianist and composer Tony Jackson. Morton began meeting with Jackson and other musicians in back rooms after all the nightclubs closed, playing until the afternoon. Morton claimed that jazz was born there and that the word was his invention. About this time, he wrote "New Orleans Blues" and "King Porter Stomp," among other early tunes.

When he left his aunt's house, Morton also left New Orleans, never to return. He wandered the country, spending time in Tulsa, Oklahoma, and Chicago in 1904, and in Mobile, Alabama, in 1905. He found work as a musician, a pool shark, and a gambler. Morton even worked as a vaudeville comedian in Memphis, Tennessee, in 1908, and three years later he toured with McCabe's Minstrel Troubadours in St. Louis and Kansas City.

In 1911, Morton arrived in New York City sporting a diamond in his front tooth. It was there that he first played "Jelly Roll Blues," which was published for orchestra in Chicago in 1915, making it perhaps the first jazz orchestration ever published. Several more Morton orchestrations would follow.

Success in the 1920s

The 1920s were Morton's most productive years. He was offered a job in Los Angeles in 1917, where he worked as a bandleader and in other entertainment areas. He also traveled a great deal, performing anywhere from Alaska to Tijuana, Mexico. While in Los Angeles, he began a relationship with Anita Johnson (or Gonzales), a girlfriend from New Orleans. Johnson had owned a saloon in Las Vegas but moved to Los Angeles and bought a small hotel. Morton often referred to her as his wife, although there is no record of their marriage. Johnson was musically inclined herself, and she wrote the lyrics for Morton's "Dead Man Blues." Johnson had a good singing voice, as well, but Morton never allowed her to perform. She also traveled with him when he went on tour, mainly because Morton was intensely jealous of her and did not want her out of his sight.

By this time, Morton owned several small businesses. He was making money and establishing a name for himself. Morton was not above being ostentatious and boastful. He sometimes showed friends a trunk full of money, and his diamond-studded apparel and teeth were well known. Yet, there was no denying his distinctive personality. He was part showman and part sideshow barker. In an age when musicians all wore tuxedos, Morton preferred white trousers and shoes, a wine-colored jacket, and diamonds on his tie and his socks. But he was a dedicated composer, often waking up at night to scribble ideas and later demanding that the band musicians followed his compositions to the note.

In 1922 or 1923, Morton left Johnson and Los Angeles, returning to Chicago. For the next five years, he was the staff arranger for the Melrose Publishing House. A great number of his compositions were recorded during this period, including influential pieces on the Gennett label. He recorded "London Blues," "Grandpa's Spell," and "The Pearls." He also spent some time with a group of white musicians known as the New Orleans Rhythm Kings. Morton was one of the first blacks to play in a mixed band.

Morton reached the height of his popularity between 1926 and 1930. He formed a band called the Red Hot Peppers and produced several classic recordings for the Victor label, both in Chicago and New York. The classics "Kansas City Stomp," "Sidewalk Blues," "The Chant Mournful Serenade," and "Ponchatrain Blues" were released during this period. Morton's Chicago recordings also featured some of the best sidemen from New Orleans, such as Kid Ory on the trombone and Baby Dodds on the drums. He also found time to tour with W.C. Handy and played piano with Henry Crowder's band.

While at the Plantation Club in Chicago in 1927, Morton first met Mabel Bertrand, a creole dancer who had been raised in a convent after her parents died and who had entertained in Europe. They were married in 1928 and traveled together in Morton's Lincoln, while the rest of the band rode in a colorful bus proclaiming, "Jelly Roll Morton and His Red Hot Peppers." In 1928, Morton spent two months at Harlem's Rose Danceland in New York City. The following year he led an all-girl revue in Chicago, and in 1931 he was back in Harlem with his own ensemble. He became the house pianist in Harlem's Red Apple Club in 1934.

The Depression Took Its Toll

By this time, the Depression was taking its toll on the recording industry. Big bands with such colorful figures as Louis Armstrong were coming into fashion, and Morton did not adapt to this new style. Due to his failure to adapt, Morton's success and prestige were dwindling. His fall in popularity as a bandleader had also nearly collapsed his financial empire when he moved to Washington, D.C. in 1935 for a long engagement at a the Jungle Club.

One night at the club in 1939, Morton admonished and then slapped a rowdy club patron. The man attacked Morton with a knife, slicing Morton in the head and chest. He never fully recovered from the incident, which only aggravated other existing health problems. In order to survive, Morton began accepting small weekly checks from Catholic Charities.

For a short time in 1938, Morton established a music publishing company in New York. With his recordings, he took advantage of public interest once again focused on the New Orleans jazz style. But his health was failing. Morton returned to Los Angeles in 1940, leaving his wife behind, although he kept in touch with her. While in Los Angeles, he renewed his relationship with Anita Johnson. Hoping that the California climate would restore his health, Morton formed a new band. Before long, his failing strength made it impossible to work.

In May of 1941, Morton checked into Los Angeles County General Hospital. On June 10, at the age of fifty, Morton died in Johnson's arms. The cause of death was heart failure resulting from chronic high blood pressure. A high mass was sung for Jelly Roll Morton in St. Patrick's Cathedral in New York City. His pallbearers included Kid Ory and other members of his band. Morton's will did not mention his wife. Whatever he had of value, including royalties, was bequeathed to Anita Johnson.

Morton's Legacy

George C. Wolfe's 1992 Broadway musical, Jelly's Last Jam, was loosely based on Morton's life. Recognized as the first great composer of jazz, he was an excellent pianist and an intelligent innovator who changed the early ragtime style into a new form. Morton's early works have become collector's items. Perhaps no jazz musician from the early days is now so completely recorded on disc. Morton's great legacy is found in the eight hours of recordings and interviews collected together by Alan Lomax in 1938 and released to the public ten years later.

Books

Logan, Rayford W., and Michael R. Winston, eds., Dictionary of American Negro Biography, Norton, 1982.

Online

"A History of Jazz Before 1930," The Hot Jazz Archive,www.redhotjazz.com.

composer; musician

Personal Information

Born Ferdinand Joseph La Menthe on September 20, 1885 or on October 20, 1890, in Gulfport, MS; died on June 11, 1941, in Los Angeles CA.

Career

First composition, "Jelly Roll Blues," 1915; "King Porter Stomp," 1916; Melrose Publishing House, staff arranger, 1923-28; recorded on Victor label; formed Red Hot Peppers, 1926-30; 8 hours of his music recorded for Library of Congress, 1938.

Life's Work

Musical pioneer Jelly Roll Morton was America's first great jazz composer. Although an important and respected innovator in the transitional period from early to orchestral jazz, Morton had a predilection for embellishing the truth about himself. Because of this, the validity of his claim that he invented the term "jazz" is uncertain. With a penchant for the ostentatious, Morton was known for his colorful clothing and the diamond in his front tooth. Morton's vast output of work was recorded in 1938 at the Library of Congress during a series of several interviews. The resulting eight hours have been called by the Biographical Dictionary of Afro-American and African Musicians,"perhaps the most important oral history of jazz ever issued."

Much of the information about Morton's early life is uncertain, due in no small measure to his tendency to invent facts about himself. One of his inventions was his nickname, which is a slang reference to sexual intercourse. He was born Ferdinand Joseph La Menthe, on either September 20, 1885, or October 20, 1890, and probably in Gulfport, Mississippi. Morton's creole father, E.P. Le Menthe (or LaMothe), was a carpenter. La Menthe was also a classically-schooled trombonist and took young Morton to the French Opera House in New Orleans. But La Menthe abandoned the family when Morton was very young. Afer Morton's mother married Willie Morton, the boy several in Biloxi and Meridian, Mississippi, and then in New Orleans, mostly under the care of his aunt and godmother, Eulalie--or "Lallie"--Echo.

Learned Several Instruments at Early Age

Morton's Aunt Lallie took him everywhere, including saloons and even jail. But it was in jail, when he heard the inmates singing, that Morton found his first musical inspiration. His first musical instrument, though made of a tin pan and two chair legs, sounded to him like a symphony. Soon Morton learned to play other, more traditional instruments. By age five he could play the harmonica and at age six he had mastered the jews'-harp. Morton was an accomplished guitarist by age seven. He studied the guitar with a Spaniard and was soon playing in street bands. He then learned the trombone, which he played in the houses of the red light district in New Orleans known as Storyville. By the time he was a teenager, he also played the piano, which he learned after hearing a concert at the opera house. His aunt sent him to study for a time with a black university professor of music named Nickerson. Morton's mother died when he was 14 or 15, but his aunt was by far the greatest influence in his life. A firm believer in voodoo, his aunt kept glasses of water around the house from which Morton believed he heard voices echoing in the night. Morton also heard chains rattling and the sewing machine running. He would forever be influenced by voodoo and always kept holy water near his bed.

Morton began to earn money--$20 in tips on his first night--as a pianist and gambler in the red light district of New Orleans. Morton's family had great respect for opera, but any other type of music was considered inappropriate, so when his aunt found out where the money for Morton's new clothes was coming from, she threw him out of the house so he would not corrupt his younger sisters.

Discovered Jazz

In 1902, Morton met famous ragtime pianist and composer Tony Jackson. Morton began meeting with Jackson and other musicians in back rooms after all the nightclubs closed, playing until the afternoon. Morton claimed that jazz was born there, and that the word was his invention. About this time, he wrote "New Orleans Blues" and "King Porter Stomp," among other early tunes.

When he left his aunt's house, Morton also left New Orleans, never to return. He wandered the country, spending time in Tulsa, Oklahoma, and Chicago in 1904, and in Mobile, Alabama in 1905. He found work as a musician, a pool shark, and a gambler. Morton even worked as a vaudeville comedian in Memphis, Tennessee in 1908, and three years later he toured with McCabe's Minstrel Troubadours in St. Louis and Kansas City.

In 1911, Morton arrived in New York City sporting a diamond in his front tooth. It was there that he first played "Jelly Roll Blues," which was published for orchestra in Chicago in 1915, making it perhaps the first jazz orchestration ever published. Several more Morton orchestrations would follow.

Success in the 1920s

The 1920s were Morton's most productive years. He was offered a job in Los Angeles in 1917, where he worked as a bandleader and in other entertainment areas. He also traveled a great deal, performing anywhere from Alaska to Tijuana, Mexico. While in Los Angeles, he began a relationship with Anita Johnson (or Gonzales), a girlfriend from New Orleans. Johnson had owned a saloon in Las Vegas but moved to Los Angeles and bought a small hotel. Morton often referred to her as his wife, although there is no record of their marriage. Johnson was musically inclined herself, and she wrote the lyrics for Morton's "Dead Man Blues." Johnson had a good singing voice, as well, but Morton never allowed her to perform. She also traveled with him when he went on tour, mainly because Morton was intensely jealous of her and did not want her out of his sight.

By this time, Morton owned several small businesses. He was making money and establishing a name for himself. Morton was not above being ostentatious and boastful. He sometimes showed friends a trunk full of money, and his diamond-studded apparel and teeth were well known. Yet, there was no denying his distinctive personality. He was part showman and part sideshow barker. In an age when musicians all wore tuxedos, Morton preferred white trousers and shoes, a wine-colored jacket, and diamonds on his tie and his socks. But he was a dedicated composer, often waking up at night to scribble ideas and later demanding that the band musicians followed his compositions to the note.

In 1922 or 1923, Morton left Johnson and Los Angeles, returning to Chicago. For the next five years, he was the staff arranger for the Melrose Publishing House. A great number of his compositions were recorded during this period, including influential pieces on the Gennett label. He recorded "London Blues," "Grandpa's Spell," and "The Pearls." He also spent some time with a group of white musicians known as the New Orleans Rhythm Kings. Morton was one of the first blacks to play in a mixed band.

Morton reached the height of his popularity between 1926 and 1930. He formed a band called the Red Hot Peppers produced several classic recordings for the Victor label, both in Chicago and New York. The classics "Kansas City Stomp," "Sidewalk Blues," The Chant Mournful Serenade," and "Ponchatrain Blues" were released during this period. Morton's Chicago recordings also featured some of the best sidemen from New Orleans, such as Kid Ory on the trombone and Baby Dodds on the drums. He also found time to tour with W.C. Handy and played piano with Henry Crowder's band.

While at the Plantation Club in Chicago in 1927, Morton first met Mabel Bertrand, a creole dancer who had been raised in a convent after her parents died and who had entertained in Europe. They were married in 1928, and traveled together in Morton's Lincoln, while the rest of the band rode in a colorful bus proclaiming, "Jelly Roll Morton and His Red Hot Peppers." In 1928, Morton spent two months at Harlem's Rose Danceland in New York City. The following year he led an all-girl revue in Chicago, and in 1931 he was back in Harlem with his own ensemble. He became the house pianist in Harlem's Red Apple Club in 1934.

Depression Took Its Toll

By this time, the Depression was taking its toll the recording industry. Big bands with such colorful figures as Louis Armstrong were coming into fashion, and Morton did not adapt to this new style. Due to his failure to adapt, Morton's success and prestige were dwindling. His fall in popularity as a bandleader had also nearly collapsed his financial empire when he moved to Washington, D.C. in 1935 for a long engagement at a the Jungle Club.

One night at the club in 1939, Morton admonished and then slapped a rowdy club patron. The man attacked Morton with a knife, slicing Morton in the head and chest. He never fully recovered from the incident, which only aggravated other existing health problems. In order to survive, Morton began accepting small weekly checks from Catholic Charities.

For a short time in 1938, Morton established a music publishing company in New York. With his recordings, he took advantage of public interest once again focused on the New Orleans jazz style. But his health was failing. Morton returned to Los Angeles in 1940, leaving his wife behind, although he kept in touch with her. While in Los Angeles, he renewed his relationship with Anita Johnson. Hoping that the California climate would restore his health, Morton formed a new band. Before long, his failing strength made it impossible to work.

In May of 1941, Morton checked into Los Angeles County General Hospital. On June 10th, at the age of fifty, Morton died in Johnson's arms. The cause of death was heart failure resulting from chronic high blood pressure. Johnson later said that Morton had to die when he did because his Aunt Lallie, a voodoo practitioner, had already died. Since, Johnson said, his aunt had sold Morton's soul to the devil when he was boy, the devil called in his claim after Eulalie Echo's death.

A high mass was sung for Jelly Roll Morton in St. Patrick's Cathedral in New York City. His pallbearers included Kid Ory and other members of his band. Morton's will did not mention his wife. Whatever he had of value, including royalties, was bequeathed to Anita Johnson.

Morton's Legacy

George C. Wolfe's 1992 Broadway musical, Jelly's Last Jam, was loosely based on Morton's life. Recognized as the first great composer of jazz, he was an excellent pianist and an intelligent innovator who changed the early ragtime style into a new form. According to Early Jazz, Morton felt that "if music was loud and blatant...and if it was going to lack contrast and variety," it was "simply bad music and poor jazz no matter how advanced in style." Morton's early works have become collector's items. Perhaps no jazz musician from the early days is now so completely recorded on disc. His discography totals 22 pages. Morton's great legacy is found in the eight hours of recordings and interviews collected together by Alan Lomax in 1938 and released to the public ten years later. A hotel owner, a pool shark, and a consummate showman, Morton was an important historical figure in the history of music in America.

Further Reading

Books

• Logan, Rayford W., and Michael R. Winston, eds. Dictionary of American Negro Biography. Norton, 1982.

Other

• Additional material was obtained online at http://www.redhotjazz.com.

— Corinne J. Naden and Jennifer M. York

For more information on Jelly Roll Morton, visit Britannica.com.

• Born: October 20, 1890, New Orleans, LA
• Died: July 10, 1941, Los Angeles, CA
• Active: '20s, '30s, '40s
• Genres: Jazz
• Instrument: Piano, Leader, Composer
• Representative Albums: "1923-1924," "The Pearls," "Jelly Roll Morton Centennial: His Complete Victor Recording"
• Representative Songs: "King Porter Stomp," "The Pearls," "Black Bottom Stomp"

Biography

One of the very first giants of jazz, Jelly Roll Morton did himself a lot of harm posthumously by exaggerating his worth, claiming to have invented jazz in 1902. Morton's accomplishments as an early innovator are so vast that he did not really need to stretch the truth.

Morton was jazz's first great composer, writing such songs as "King Porter Stomp," "Grandpa's Spells," "Wolverine Blues," "The Pearls," "Mr. Jelly Roll," "Shreveport Stomp," "Milenburg Joys," "Black Bottom Stomp," "The Chant," "Original Jelly Roll Blues," "Doctor Jazz," "Wild Man Blues," "Winin' Boy Blues," "I Thought I Heard Buddy Bolden Say," "Don't You Leave Me Here," and "Sweet Substitute." He was a talented arranger (1926's "Black Bottom Stomp" is remarkable), getting the most out of the three-minute limitations of the 78 record by emphasizing changing instrumentation, concise solos and dynamics. He was a greatly underrated pianist who had his own individual style. Although he only took one vocal on records in the 1920s ("Doctor Jazz"), Morton in his late-'30s recordings proved to be an effective vocalist. And he was a true character.

Jelly Roll Morton's pre-1923 activities are shrouded in legend. He started playing piano when he was ten, worked in the bordellos of Storyville while a teenager (for which some of his relatives disowned him) and by 1904 was traveling throughout the South. He spent time in other professions (as a gambler, pool player, vaudeville comedian and even a pimp) but always returned to music. The chances are good that in 1915 Morton had few competitors among pianists and he was an important transition figure between ragtime and early jazz. He played in Los Angeles from 1917-1922 and then moved to Chicago where, for the next six years, he was at his peak. Morton's 1923-24 recordings of piano solos introduced his style, repertoire and brilliance. Although his earliest band sides were quite primitive, his 1926-27 recordings for Victor with his Red Hot Peppers are among the most exciting of his career. With such sidemen as cornetist George Mitchell, Kid Ory or Gerald Reeves on trombone, clarinetists Omer Simeon, Barney Bigard, Darnell Howard or Johnny Dodds, occasionally Stomp Evans on C-melody, Johnny St. Cyr or Bud Scott on banjo, bassist John Lindsay and either Andrew Hilaire or Baby Dodds on drums, Morton had the perfect ensembles for his ideas. He also recorded some exciting trios with Johnny and Baby Dodds.

With the center of jazz shifting to New York by 1928, Morton relocated. His bragging ways unfortunately hurt his career and he was not able to always get the sidemen he wanted. His Victor recordings continued through 1930 and, although some of the performances are sloppy or erratic, there were also a few more classics. Among the musicians Morton was able to use on his New York records were trumpeters Ward Pinkett, Red Allen and Bubber Miley, trombonists Geechie Fields, Charles Irvis and J.C. Higginbotham, clarinetists Omer Simeon, Albert Nicholas and Barney Bigard, banjoist Lee Blair, guitarist Bernard Addison, Bill Benford on tuba, bassist Pops Foster and drummers Tommy Benford, Paul Barbarin and Zutty Singleton.

But with the rise of the Depression, Jelly Roll Morton drifted into obscurity. He had made few friends in New York, his music was considered old-fashioned and he did not have the temperament to work as a sideman. During 1931-37 his only appearance on records was on a little-known Wingy Manone date. He ended up playing in a Washington D.C. dive for patrons who had little idea of his contributions. Ironically Morton's "King Porter Stomp" became one of the most popular songs of the swing era, but few knew that he wrote it. However in 1938 Alan Lomax recorded him in an extensive and fascinating series of musical interviews for the Library of Congress. Morton's storytelling was colorful and his piano playing in generally fine form as he reminisced about old New Orleans and demonstrated the other piano styles of the era. A decade later the results would finally be released on albums.

Morton arrived in New York in 1939 determined to make a comeback. He did lead a few band sessions with such sidemen as Sidney Bechet, Red Allen and Albert Nicholas and recorded some wonderful solo sides but none of those were big sellers. In late 1940, an ailing Morton decided to head out to Los Angeles but, when he died at the age of 50, he seemed like an old man. Ironically his music soon became popular again as the New Orleans jazz revivalist movement caught fire and, if he had lived just a few more years, the chances are good that he would have been restored to his former prominence (as was Kid Ory).

Jelly Roll Morton's early piano solos and classic Victor recordings (along with nearly every record he made) have been reissued on CD. ~ Scott Yanow, All Music Guide

Complete Library of Congress Recordings Buy this CD	Complete Library of Congress Recordings Buy this CD	Original Versions of the Music Inspiring "Jelly's Last Jam" & Other Morton Classics Buy this CD	Jelly Roll Morton [JSP] Buy this CD	Jelly Roll Morton, Vol. 5 Buy this CD
Best of Jelly Roll Morton Buy this CD	Essential Collection Buy this CD	1929, Vol. 6 Buy this CD	Dr. Jazz [Arpeggio Jazz] Buy this CD	Alternative Takes, Vol. 2: 1929-1940 Buy this CD

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