Winin Boy Blues - B-flat Lead Sheet

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The Francis P. Mellon Foundation. Francis P. Squibb, jazz musician, curator, and writer. Squibb Papers contain advertisements, articles, correspondence, interviews, photographs, songbooks, fake books, method books, programs, publications, liner notes, record catalogs and discographies, essays, and manuscripts. There is handwritten, printed, and photocopied music as well as music transcriptions. When quoting material from this collection, the preferred citation is: Squibb, Francis P.

Squibb was born July 20, in Brookline, MA. He earned his B. After serving two years in the U. Army, Squibb became a jazz musician in the Chicago area. From , Squibb edited and prepared jazz records for William Russell in Chicago. He then worked for the American Peoples Encyclopedia from Series I, Personal, contains advertisements, correspondence, interviews, ephemera about musicians, photographs, programs, and drafts of manuscripts written by others.

The correspondence not addressed to Squibb consists mostly of photocopied letters to and from musicians. The photocopied interviews are with Mrs. Also included is a music lesson journal. Series II, Catalogs, Discographies, and Publications, contains record catalogs, discographies, and jazz publications. See Series IV for additional publications.

As received from Squibb, folders are grouped by musician, composer, or style and are arranged alphabetically by subject and alphabetically by title within each subject. Songbooks are listed last. Sheet music is documented by title, lyricist, composer, publisher, and date. Method books and fake books are transcribed and edited mostly for piano. And, of course, Im a little bit ahead of my time before the song came out.

After the killing that first day which, I believe, was on Sunday the next day, the riots broke out after the newspapers was full, uh, was filled with the killing of the policemens. This man [Robert Charles] also killed a policeman that was gazing at another brother officer that was dying when a priest was making his rites, and looking over the priests shoulders. And he [Robert Charles] raised his rifle and shot the officer, supposedly, right between the eyes.

And didnt harm the priest. Men were beat up on streetcars, white and colored. Any place a white man seen a colored man there was a fight. Or a colored man seen a white man, there was a fight. All for the trouble of Robert Charles. The streetcars had to stop. Transportation had absolutely quit. Abe Baldwin was a big prominent factor in New Orleans at the time. Abe Baldwin, I believe, was a great ammunition dealer, considered one of the biggest in the in the world. He also supposed to be connected, as I understand, with the big locomotive companies.

And he issued a statement that if they didnt quit killing the colored people, that he would all arm em. Hed arm all of them in order to let em fight back for their rights. And through this, I believe was, uh, came a halt of the Robert Charles riot. Alan Lomax: Well, were were the white men made so angry that they just started killing the killing the colored people off? Is that what happened? Jelly Roll Morton: I believe so.

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I believe so. And of course, vice versa. Arguments with you and I, I dont see why anybody else. For an instant, we had one of the famous ones, at that time nothing but blues what was his name Game Kid. Game Kid was one of the favorites in the Garden District, right, uh, right in the section where the Robert Charles riot began. Heres one of the blues he played. Sings Game Kid Blues: Could sit right here and think a thousand miles away, I could sit right here, think a thousand miles away, Since I had the blues, cannot remember the day. Jelly Roll Morton, spoken over playing: Game Kid wouldnt work.

Hes a man that really wouldnt work, just ragged as a pet pig, a big smile on his face, kind of nice looking, sort of brown-skinned fellow, until you got to his lips nice and fat and greasy lips. He just played the piano all day long after hed get up andd go around from one girls house to another what they call the goodtime houses not for any financial purposes at all, just to have a lot of fun hed rush the can all day long. Thats when you could get a can of beer for ten cents. And, of course, you got this little half pint of whiskey for twenty-five cents. All you had to do was go in.

Thats I dont mean the piano player, it didnt cost him nothing, see just go in, rush a can of beer right quick. And, after your can of beer, maybe at the same time, you might say, Well, bring half a pint of whiskey. Thatd cost you thirtyfive cents. Well, you see, a real big sport would go in, and hed rush about ten cans right straight and get about a quart of whiskey, and the whole doggone thing wouldnt cost him over two dollars and he was a big sport, and he had all evening there and Game Kid would be playin there and just swillin all the lush in the world, right there.

He was a good blues player. One of the best there was in the section. Alan Lomax: Play us another one. Jelly Roll Morton: But, of course, we had another one, uh, you shall get another one, see. We had another one that, uh, was a very good blues player, too. And Buddy Carter, of course, he played blues, as well as, uh, he did some of these hot, honky tonk numbers, such as, these numbers like this:. Plays Buddy Carter Rag. They call them stomps now, but he could play them at all times. That was when I was a little bit of a fellow there. I guess times have changed considerable.

Those days I belonged to a quartet. And we, of course, we specialized in spirituals for the purpose of finding somebody that was dead. And we could sing em too, Im telling you. The minute wed walk in of course, wed have our correct invitation and that would be right to the kitchen where all the food was.

Of course, the dead man or the dead woman would always be laid out in the front. And theyd be by theirselves most all the time. They was dead and there was no other reason to be where there was living people. Alan Lomax: How about one of those spirituals, Jelly, that you used to sing? Let me see. Steal away, steal away, Steal away home to my Lord. Nearer to Thee, There where my heart should be, Nearer to Thee. Alan Lomax: But youd be thinking about that ham, wouldnt you?

Terribly sad. Spoken: Plenty whiskey in the flask and everything. The boysd bring it there. Nearer, my God, to Thee [Spoken: That would be some of the harmony wed use. Jelly Roll Morton, spoken over playing: The boys had some beautiful harmony they sang. And, of course, we got together and made all kinds of crazy ideas of the harmony, which made it beautiful and made it impossible for anybody to jump in and sing. Of course, now, when the dead man would be there, he wouldnt hear anything that we would be singing, at all. And, of course, wed all go right on back to the kitchen and get our cheese sandwiches, ham sandwiches, all slapped over with mustard, and some whiskey and cans of beer, sometimes.

And, sometimes, if it was a man dead, a lot of times the lady would be glad you know, the wife to the husband would be glad that hes gone. And she would, of course shed be having a wonderful time, also. TRACK 7 A Funeral Marches Spoken Flee as a Bird to the Mountain Piano instrumental Jelly Roll Morton, spoken over playing: Of course, everybody in the city of New Orleans was always organization-minded, which, I guess, the world knows, and, uh, a dead man always belonged to several organizations, such as clubs, and, uh, well say, secret orders, and those so forth and so on.

And every time one died, why, nine out of ten, there was always a big band turned out, when the day that he was supposed to be buried never buried at night, always in the day. And, of course, a lot of times right in the heart of the city, the burial would take place. Well at at when the band would start, why, wed know that the man was fixing to be buried. So, you could hear the band come up the street before they would get to the to the place where the gentleman was to be taken in for his last rites.

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And they would play different dead marches. And on leaving, this would be the march they would usually start to playing, Flee as the Bird to the Mountain. Plays Flee as a Bird to the Mountain. Jelly Roll Morton: When they would enter the graveyard, some of em call em ceme cemeteries, and so forth and so on. Very seldom they would bury em in the deep.

They would never bury em in the mud. Theyd always bury em in a vault. And theyd leave the graveyard, as they call it, while the band would get ready to strike up. Theyd have a second line behind em, well, maybe a couple of blocks long, with broomsticks, baseball bats, and all forms of ammunition, wed call it, to combat some of their foe when they come to the to the dividing line. And of course theyd start.

The band would get started. Theyd hear the drums. Didnt He Ramble. Didnt He Ramble: Didnt he ramble, he rambled, Rambled all around, in and out the town, Didnt he ramble, ramble, Rambled till the butchers cut him down. Spoken: That would be the last of the dead man, hes gone, and everybody came back home and they believed truly to stick right close to the Bible.

That means rejoice at the death and cry at the birth. New Orleans sticks close to the to the Scripture. Alan Lomax: What would happen on the way home, though, with those baseball bats? Jelly Roll Morton, spoken over playing: Well, on the way home, everything was sad when theyd be playing the dead march. There would be no fights, no trouble. But on the way back, they had boundary lines. The boys had knives, baseball bats, pickaxe, shovel handles, axe handles everything in the form that they was supposed to try to win a battle. When they got to a dividing line, which was not supposed to be their district, theyd better not cross.

If they do, they would be beaten up. And sometimes they were beaten up so bad that they had to go to the hospital. Ebooks and Manuals

Thats the way it always ended in New Orleans. Now the boys from then on the band would always figure on a big night, because they had some. It wasnt very much, cause the band men didnt make very much in New Orleans. The only musicians that made real money was the piano players. The other fellows, they a lot of times, theyd work for a dollar a night. Maybe a funeral procession like that would maybe be two dollars or two dollars and a half.

So they had to make the best of it that way. So that was always the end of a perfect death. And this, uh, Tiger Rag happened to be transformed from an old quadrille that was in many different tempos. And Ill, no doubt, give you an idea how it went. This was the introduction, meaning that everyone was supposed to get their partners. And people would be rushing around the hall getting their partners. And maybe have maybe five minutes lapsed between that time and, of course, theyd start it over again and that was the first part of it.

Plays fragment of introduction. Spoken: And the next strain would be a waltz strain, I believe. Plays waltz. Spoken: That would be the waltz strain. Of course, that was that third strain. And, of course, they had another strain and that was in a different tempo. Plays in two-four time. Alan Lomax: What kind of a time [Playing like a little amateur pianist at a Sunday school supper. Jelly Roll Morton, spoken over playing: Thats a two-four time.

Of course they had another one. Alan Lomax: That makes five. Jelly Roll Morton: Yeah. Plays fifth strain, Hold That Tiger. Jelly Roll Morton: Now I will show you how it was transformed. It happened to be transformed by your performer at this particular time. Tiger Rag, for your approval. Alan Lomax: Who named it the Tiger Rag? Jelly Roll Morton: I also named it. Came from the way that I played it by making the tiger on my elbow.

And I also named it. A a person said once, It sounds like a tiger hollerin. I said, Fine. To myself, I said, Thats the name. So, Ill play it for you. Plays Tiger Rag. Spoken: Hold that tiger! Of course, we named it Tiger Rag, but we had a lot of other numbers around thatd was supposed to be good. For an instant, well say Thats-a Plenty. Thats-a Plenty, uh no, we wont say that, well say Panama. That was a very good hot number. And we played it pretty good around there.

Plays Panama. Show us how they used to play, getting faster and faster. Jelly Roll Morton: Okay. Alan Lomax: And everybody had their own style of playing. You had yours, and Tony Jackson had his, and all the rest of them had theirs. Jelly Roll Morton: Oh, yes, all of em had. Everybody had their different style. Of course, there was some more accurate than others. Of course, that style that I just got through playing was the style of the ones that couldnt play very well. They'd have an inspiration that they would be doing better if they continued increasing the tempo.

Alan Lomax: And, uh, what did you decide to do about that? Jelly Roll Morton: Well, I decided that that was a mistake. And I believe it was a mistake, because everybody grabbed the style. I thought that the accurate tempo would be the right tempo suited for any tune, regardless to what any tempo that you would set, fast or slow, you should end it up, especially if it was meant for a dance tune. So that was the idea that I decided on. But I find that the slow tunes did more in the development of jazz, that is, the medium slow tunes, than any other thing.

Due to the fact that you would always have time to hit a note twice, when ordinarily you would only hit it once. And that give it a very good flavor. Alan Lomax: Show us how you used to play when you were developing Jelly Roll plays. Alan Lomax: And tell us about your theory of harmony in jazz, Jelly. Jelly Roll Morton: Well, of course, my theory is to never discard the melody. Always have the melody going some kind of a way. With what is known today as riffs, meaning figures, musically speaking, as figures.

Alan Lomax: Show us a riff. Jelly Roll demonstrates a riff. Jelly Roll Morton: That would be a riff against a melody. For an instant wed say the melody was was this: [Plays melody with riff. Of course, a riff is something that gives, uh, any orchestra a great background. And the the main idea of playing jazz theres no jazz piano player can ever really play jazz unless they try to get to give the imitation of a band. Play jazz with the discords. Well, of course, they do a lot of that. They dont regard the harmony or the rules or the system of the music at all.

They just play anything. The main idea is to keep the bass going. That is, they thought, by keeping the bass going, it gives them a sort of of a set rhythm. And by giving them a set rhythm, they imagine theyre doing the right thing, which is wrong. Theres only a very few jazz pianists, if theres any, that as I state today so far as the present time musicians as pianists.

I dont know of but only one that have a tendency to be on the right track, and thats Bob Zurke of the Bob Crosby Band. As far as the rest of em, all I can see is ragtime pianists in a very fine form. Anything else, sir? Alan Lomax: Where does that start?

I wrote the Kansas City Stomp down on the on the borders of Mexico. Right near the American border from near the California side, in a little place called Tijuana, Mexico. The tune was named after a saloon that was ran by a friend of mine, or run, rather [laughs], by a friend of mine by the name of Jack Jones. A very unfortunate gentleman, although he was worth a million dollars. And he asked me to name the tune after his saloon, and his saloon was named the Kansas City Bar. So I named it the Kansas City Stomp. I was Alan Lomax: Why was he unfortunate?

Jelly Roll Morton: Well, unfortunately, he had some trouble, and he had to go to the penitentiary for twenty years [Alan Lomax laughs], with all the money he had. So Ill play the tune for him. I guess I havent time on, on this side, but Ill do my best. Recorder paused. Spoken: That was the Kansas City Stomp. You may notice that in playing jazz, the breaks are one of the most essential things that you can ever do in jazz. Without breaks and without clean breaks, without beautiful ideas in breaks, you dont need to even think about doin anything else.

If you cant have a decent break, you havent got a jazz band, or you cant even play jazz. Alan Lomax: Show us a good break, Jelly. Jelly Roll Morton plays. Spoken: Now thats what youd call a pretty good break. For instance, Ill play just a little bit of melody of somethin and show you. Maybe Id better play something that youd understand more.

For an instance, Strutters Ball. Plays Darktown Strutters Ball. Spoken: I made those blakes breaks kind of clean, because the fact of it is, everybody know this tune and they know how its played and they'll know where the break come in. Without a break you have nothing. Even if a tune havent a break in it, it is always necessary to arrange some kind of a spot to make a break.

Because without a break, as I said before, you havent got jazz and now your accurate tempos with your backgrounds of your figures, which is called riffs today. Of course that that happens to be a musical term: riffs. Alan Lomax: Whats the difference between a riff and a break? Arent they about the same thing? Jelly Roll Morton: Oh, no, no. Theres a difference a riff is a background. A riff is what you would call a foundation, as, like you would walk on. Something thats standard. And a break is something that you break. When you make the break that means that all the band break, with maybe one, two, or three instruments.

It depends upon how the combination is arranged. And as you as the band breaks, you have a set, given time, possibly two bars, to make the break. Alan Lomax: Isnt isnt the break what you when you make breaks, isnt that what you mean by swinging? Jelly Roll Morton: No no, thats not what swinging is. Swing dont mean that. Swing means something like this: [begins to play; disc runs out. Now, naturally, a persons conception is got to be wrong, unless they know what theyre talking about. A lot of times you may be right, but that only comes from guesswork. The fact of it is, every musician in America had the wrong understanding about, uh, jazz music.

Uh, somehow or another it got into the dictionary that jazz was considered a lot of blatant noise and discordant tones, that is, something that would be even harmful to the ears. I know, many times, that I would be playing against different orchestras, and I would notice some of the patrons, as they would be dancing around, theyd get near to an orchestra of course, I wouldnt permit mine [to play so loudly], so Id Id be a little more careful than that theyd get near to an orchestra, and theyd hold their ears.

I heard a very funny fellow say it once, in a colored dance, If that fellow blows any louder he'll knock my eardrums down. Of course, youve got to be careful of that. Jazz music is based on strictly music. You have the finest ideas from the greatest operas, symphonies, and overtures in jazz music. Theres nothing finer than jazz music, because it comes from everything of the finest class music. Alan Lomax: Well, show us what this discordant type of jazz was like, Jelly. Jelly Roll Morton: Well, its its so noisy, its impossible for me to to prove to you, because I only have one instrument to show to you.

But I guess the world is familiar with it. Even Germany dont want it. But she dont know why she dont want it. Because of the noise. Thats why.

Winin' Boy Blues

Italy dont want it, because of the noise. Jazz music is to be played sweet, soft, plenty rhythm. When you have your plenty rhythm with your plenty swing, it becomes beautiful. To start with, you cant make crescendos and diminuendos when one is playing triple forte.

Youve got to be able to come down in order to go up. If a glass of water is full, you cant fill it any more. But if you have a half a glass you have an opportunity to put more water in it. And jazz music is based on the same principles. Which you can apply to any type tune. That depends upon your ability for transformation. Alan Lomax: Whats the name of it? Jelly Roll Morton: I dont I dont have any name for it. Just a number that I just thought Id play. Ive seen this blundered up so many times that its given me the heart failure.

No, I havent got a drum. Thats my foot, if you happen to, to think of something I, I can say [Laughs]. Spoken [over playing]: That one had a name that was the Salty Dog. Thats the Salty Dog. Jelly Roll Morton: Huh? No that wasnt mentioned in there. Thats all all the words there was.

Spoken: Thats the way Bill Johnson used to play him and his three-piece organization and Bill Johnson is a brother-in-law of mine and is older than I am was a very, very good-looking boy in those days. And my, how did the girls take to him and those bad chords on the bass fiddle! My, [laughs] he really changed that, Im telling you! Alan Lomax: Was he the one that took the first jazz to New York? They played the Palace Theater. Well, Im a little bit ahead of my story. Bill Bill wanted to come to California. And, uh, in the meantime, he wrote my wife a letter, and she financed the trip.

He had a band. Hed composed this band formerly of some of the Tuxedo Orchestra which was Freddie Keppards old original orchestra, which was the first combination of what is known now as the Dixieland combination. But, of course, this band was augmented a bit from the Dixieland combination. They had added, then, the guitar and the bass fiddle. Of course, Bill seen the opportunity, so he got into the band and got the bass fiddle and got the band for himself. So he wes financed the trip and came to Los Angeles.

On entering Los Angeles, they made such a tremendous success that the Pantages Circuit signed them up immediately. That was the year of And they made the trip throughout the country of the Pantages Circuit, which was the largest circuit at that time in the world. And through this trip they came east, and they came into Chicago in early I happened to be there, myself, with a similar combination of what Freddie Keppard used to have, which was considered a Dixieland which is considered now a Dixieland combination.

They came to Chicago and turned the town upside down. Caused my trumpet player to quit, which was considered the best trumpet player in Chicago at the time. His name was Armstrong. And John couldnt play that kind of trumpet. And I had been teaching him little bit and he was little stubborn. And when Freddie played, he wanted to hit me with a rack. When I mean a rack, that is something thats very. I used to sell em just a little bit of lead copies for thirty-five cents there. I kept the sheet music so nobody could see it. Can I get it now do I have to hesitate? If I had a woman, she was tall, She make me think about my parasol, Oh, how long do I have to wait?

Know an old lady by the name of Jane, I hit and knocked her right off her cane, Oh, how long do I have to wait? Mama, mama, look at Sis, Shes out on the levee doin the double twist, Lord, how long do I have to wait? Can I get you now do I have to hesitate? She said, Come in here, you dirty little sow, You tryin to be a bad girl, you dont know how, How long do I have to wait? She said, Touch my bonnet, touch my shawl, But do not touch my waterfall, Oh, how long do I have to wait? Yes, if I get you now won't have to hesitate.

Theres a girl sittin on the stump, I know, I know, shes on the stump, Just for how long [Spoken: This is a dirty, little verse. Tell me, babe, what youve got on your mind, I'm eatin and drinkin, havin' a lovely time, How long do I wait? Yes, to get you now do I have to hesitate? Alan Lomax: About when? Jelly Roll Morton: Well, about, uh, the year of nineteen-six, nineteen-seven. Sings original version of My Gal Sal:. They call her Frivolous Sal, A peculiar sort of a gal, With a heart that was mellow, An all around good fellow, Is my old pal.

For troubles, worries, and cares, Shes always willing to share, A wild sort of a devil, But dead on the level, Was my gal Sal. Spoken: This was my transformation, one of the first to transform in the business. Of course, I used to transform em all the same way: Sings his transformation of My Gal Sal: They call her just Frivolation Sal, babe, Yes, that peculiar sort of a gal, Heart that was mellow, All round good little fellow, Shes-a, shes my old pal. Oh, them troubles, just worries and cares, Shes always willing to share, Yes, wild sort of little devil, Just knows, babe, shes on the level, Shes my, shes my gal Sal.

Yes, them cold people miss Sal, A peculiar sort of a gal, Heart thats mellow, Yes, all round good little fellow, She's my old pal. Oh, them troubles, just worries and cares, Shes always willing to share. Yes, wild sort of little devil, Just know, babe, shes on the level, Shes my, my gal sal. Now this tune You ready now? Jelly Roll Morton: Uh, this tune, I never really know the name of it, but it seems to be a tune that everybody played around St. Louis in the early days.

Alan Lomax: When? Jelly Roll Morton: Uh, well, around , twelve, and like that. There wasnt very many good piano players around there, with the exception of Tom Turpin. And even a little earlier than that, uh, Scott Joplin. He was around. And, uh, Louis Chauvin11 no doubt was among the best. Ebooks and Manuals

And none of these boys read any music, with the exception of Artie Matthews, to amount to anything. Of course, they were good composers and things like that. And they always had arrangers to take the tunes down. The time that I came into St. Louis I came in, I was afraid that Id meet somebody that could top me a whole lot, so I wouldnt admit that I could play. So, when I went in I, I claimed that I was a singer, because I would I just had came off circuits and things like that. And I was afraid.

I was hired at a club called the Democratic Club.

Instrumente in B | Orpheus

That was a nightclub. Run by the proprietors name was Noah OWarrington. And he had, uh, the pianist there called George Randalls. Janette Mason At the Mambo Inn. Spencer Williams arr. Pete Churchill Basin Street Blues. Dizzy Gillespie, Frank Paparelli arr. Liam Noble Blue? Richard Rogers, Lorenz Hart arr. Bill Kinghorn Blue Room. Woody Shaw, Ronald Mathews arr. Nikki Iles Blues For Wood. Phil Peskett Broadway. Charles Beale Caravan. James P. Johnson, Cecil Mack arr. Keith Nichols Charleston. Thad Jones, Alec Wilder arr. Jerome Kern, Johnny Mercer arr. Bill Kinghorn Dearly Beloved. Don Cherry arr.

Dorothy Fields, Jimmy McHugh arr. Huw Warren Diga Diga Doo. Benny Golson arr. Kenny Wheeler, Norma Winstone arr. Nikki Iles For Jan. Tom Scott arr. Kenny Wheeler arr. Duke Ellington, Irving Mills arr.