Morton, Jelly Roll, 1890–1941, American jazz jazz, the most significant form of musical expression of African-American culture and arguably the most outstanding contribution the United States has made to the art of music.

Origins of Jazz

Jazz developed in the latter part of the 19th cent.
..... Click the link for more information. musician, composer, and band leader, originally named Ferdinand Joseph Lamothe, b. Gulfport, La. He began studying piano as a child and in his youth was a pianist in the colorful Storyville district of New Orleans. Later he played with Johnny Dodds, Baby Dodds, Kid Ory, Barney Bigard, and other noted jazz musicians, and in the late 1920s made a series of highly praised recordings at the head of the Red Hot Peppers band. His popularity severely declined in the 1930s. Although Morton is regarded by many as the greatest New Orleans pianist and the first great jazz composer, his egocentricity, moodiness, and quarrelsome disposition led many musicians and critics to disparage him. His compositions and arrangements, many of which reflect his Creole background, include "Dead Man Blues," "Jelly Roll Blues," "King Porter Stomp," "Black Bottom Stomp," "Mama Nita," "Mamie's Blues" (or "219 Blues"), "Moi pas l'aimez ça," "The Pearls," "Sidewalk Blues," and "Wolverine Blues". The publication of his collected scores in 1982 helped to spark a Morton revival in the United States.

Bibliography

See biography by A. Lomax (1950).

Morton, Jelly Roll

orig. Ferdinand Joseph La Menthe

(born Oct. 20, 1890, New Orleans, La., U.S.—died July 10, 1941, Los Angeles, Calif.) U.S. pianist and the first important composer in jazz. In his youth Morton was apparently active as a gambler, pool shark, and procurer. A pioneer ragtime piano player, he toured the country as a pianist from 1904, making his first recordings in Chicago in 1923 with his ensemble the Red Hot Peppers. An exponent of the New Orleans tradition, Morton achieved success integrating elements of ragtime with improvised and arranged ensemble passages, often on his own compositions such as “King Porter Stomp.” By the early 1930s Morton's fame had been overshadowed by that of Louis Armstrong and other emerging innovators.