Johnny Dodds






































Johnny Dodds
Birth name Johnny Dodds
Born
(1892-04-12)April 12, 1892
Origin
Waveland, Mississippi, U.S.
Died August 8, 1940(1940-08-08) (aged 48)
Chicago, Illinois
Genres

  • Dixieland

  • Jazz
Occupation(s) Musician
Instruments Clarinet, Saxophone
Associated acts

  • Joe "King" Oliver

  • Baby Dodds

  • Art Hodes

  • Fate Marable

  • Jelly Roll Morton

Johnny Dodds (/ˈdɒts/; April 12, 1892 – August 8, 1940)[1] was an American jazz clarinetist and alto saxophonist based in New Orleans, best known for his recordings under his own name and with bands such as those of Joe "King" Oliver, Jelly Roll Morton, Lovie Austin and Louis Armstrong.[2] Dodds (pronounced dots)[citation needed] was the older brother of the drummer Warren "Baby" Dodds, one of the first important jazz drummers.[2] They worked together in the New Orleans Bootblacks in 1926.[3] Dodds is an important figure in jazz history.[4] He was the premier clarinetist of his era and, in recognition of his artistic contributions, he was posthumously inducted into the Jazz Hall of Fame.[5] He has been described as "a prime architect in the creation of the Jazz Age."[4]




Contents






  • 1 Biography


  • 2 Sibling rivalry


  • 3 Discography


  • 4 References


  • 5 Bibliography


  • 6 External links





Biography


Dodds was born in Waveland, Mississippi. His childhood environment was a musical one.[2] His father and uncle were violinists, his sister played a melodeon, and in adolescence Johnny sang high tenor in the family quartet.[1] According to legend, his instrumental skill began with a toy flute which had been purchased for his brother, Warren "Baby" Dodds.[1]


He moved to New Orleans in his youth and studied the clarinet with Lorenzo Tio and Charlie McCurdy.[6][2] He played with the bands of Frankie Duson, Kid Ory,[7] and Joe "King" Oliver.[8][2] Dodds went to Chicago and played with Oliver's Creole Jazz Band, with which he first recorded in 1923. He also worked frequently with his good friend Natty Dominique during this period, a professional relationship that would last a lifetime. After the breakup of Oliver's band in 1924, Dodds replaced Alcide Nunez as the house clarinetist and bandleader of Kelly's Stables.[9] From 1924 to 1930, Dodds worked regularly at Kelly's Stables in Chicago.[2] He recorded with numerous small groups in Chicago, notably Louis Armstrong's Hot Five and Hot Seven and Jelly Roll Morton's Red Hot Peppers. He also recorded prolifically under his own name between 1927 and 1929 for Paramount, Brunswick/Vocalion, and Victor. He became a big star on the Chicago jazz scene of the 1920s, but his career precipitously declined with the Great Depression.[10] Although his career gradually recovered,[4] he did not record for most of the 1930s, affected by ill-health; he recorded only two sessions—January 21, 1938, and June 5, 1940—both for Decca. He died of a heart attack in August 1940, in Chicago.


Known for his professionalism and virtuosity as a musician and his heartfelt, heavily blues-laden style, Dodds was an important influence on later clarinetists, notably Benny Goodman,[11] who stated that no one ever surpassed Dodds in achieving a finer tone with the clarinet.[11] Dodds was inducted into the Jazz Hall of Fame in 1987.[5]



Sibling rivalry


Several accounts suggest the Dodds brothers did not always get along. When the brothers were young children, Johnny received a clarinet from his father while Baby did not get a drum even though he asked for one.[12] In The Baby Dodds Story, Baby Dodds discusses his jealousy of his older brother when they were children. As they grew up, Johnny refused to let Baby play music with him because Baby was a heavy drinker and Johnny did not drink. When Joe Oliver hired Baby to join his band, Johnny realized how much Baby's talent as a drummer had grown, however, Johnny changed his mind.[13] Although they continued to argue about Baby's excessive drinking, they grew closer as brothers and musicians. Baby was greatly affected by his brother's death.[14]



Discography


Releases featuring Johnny Dodds include the following.[5]




  • Johnny Dodds, Vol. 1, Riverside RLP-1015.

  • Johnny Dodds, Vol. 2, Riverside RLP-1002.

  • Johnny Dodds (1923), Best of Jazz 4014.

  • Chicago Mess Around, Milestone M-2011.

  • Johnny Dodds and Kid Ory, Columbia 16004.

  • Blue Clarinet Stomp, Bluebird 2293-2.

  • Sweet Side Chicago Jazz, MCA MCAD-42326

  • In the Alley, Riverside RLP-12135.

  • 1923-1940, Best of Jazz 4014.

  • Wild Man Blues: 24 Clarinet Classics, ASV/Living Era 5252.

  • Great Original Performances 1923-1929, Louisiana Red Hot 622.

  • Myth of New Orleans, Giants of Jazz 53077.

  • The Complete Johnny Dodds, RCA 741110/111.

  • King of New Orleans Clarinet (1926-1938) Brunswick BL-58016.

  • Sixteen Rare Recordings, RCA PV-558.

  • Johnny Dodds & Tiny Parkham, Paramount 261201.

  • Dixieland Jug Blowers, Victor 261211.

  • Johnny Dodds & Tiny Parkham, Paramount 270401.

  • Johnny Dodds Trio, Vocalion 270421.

  • Dodds Black Bottom Stompers, Vocalion 270422.

  • Dodds Black Bottom Stompers, Vocalion 271008.

  • Johnny Dodds Trio, Victor 280705.

  • Johnny Dodds' Washboard Band, Victor 280796.

  • Johnny Dodds' Orchestra, Victor 290116.

  • Johnny Dodds' Orchestra, Victor 290130.

  • Johnny Dodds' Orchestra, Victor 290207.

  • Johnny Dodds' Trio, Victor 290207.

  • Johnny Dodds' Orchestra, Victor 290207.

  • Johnny Dodds' Chicago Boys, Decca 380121.

  • Johnny Dodds' Orchestra, Decca 400605.



References





  1. ^ abc Lambert 1961, p. 3.


  2. ^ abcdef Dicaire 2003, p. 39.


  3. ^ Lambert 1961, p. 27.


  4. ^ abc Dicaire 2003, p. 40.


  5. ^ abc Dicaire 2003, p. 42.


  6. ^ Lambert 1961, p. 4.


  7. ^ Lambert 1961, p. 5.


  8. ^ Lambert 1961, p. 6.


  9. ^ Lambert 1961, p. 9.


  10. ^ Dicaire 2003, pp. 39-40.


  11. ^ ab Lambert 1961, p. 16.


  12. ^ "Warren 'Baby' Dodds". The Percussive Arts Society. Archived from the original on 2011-09-27. Retrieved 2012-04-17..mw-parser-output cite.citation{font-style:inherit}.mw-parser-output q{quotes:"""""""'""'"}.mw-parser-output code.cs1-code{color:inherit;background:inherit;border:inherit;padding:inherit}.mw-parser-output .cs1-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/thumb/6/65/Lock-green.svg/9px-Lock-green.svg.png")no-repeat;background-position:right .1em center}.mw-parser-output .cs1-lock-limited a,.mw-parser-output .cs1-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/thumb/d/d6/Lock-gray-alt-2.svg/9px-Lock-gray-alt-2.svg.png")no-repeat;background-position:right .1em center}.mw-parser-output .cs1-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Lock-red-alt-2.svg/9px-Lock-red-alt-2.svg.png")no-repeat;background-position:right .1em center}.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registration{color:#555}.mw-parser-output .cs1-subscription span,.mw-parser-output .cs1-registration span{border-bottom:1px dotted;cursor:help}.mw-parser-output .cs1-hidden-error{display:none;font-size:100%}.mw-parser-output .cs1-visible-error{font-size:100%}.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registration,.mw-parser-output .cs1-format{font-size:95%}.mw-parser-output .cs1-kern-left,.mw-parser-output .cs1-kern-wl-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right,.mw-parser-output .cs1-kern-wl-right{padding-right:0.2em}


  13. ^ Dodds & Gara 1992, pp. 33–34.


  14. ^ Dodds & Gara 1992, p. 68.




Bibliography


.mw-parser-output .refbegin{font-size:90%;margin-bottom:0.5em}.mw-parser-output .refbegin-hanging-indents>ul{list-style-type:none;margin-left:0}.mw-parser-output .refbegin-hanging-indents>ul>li,.mw-parser-output .refbegin-hanging-indents>dl>dd{margin-left:0;padding-left:3.2em;text-indent:-3.2em;list-style:none}.mw-parser-output .refbegin-100{font-size:100%}



  • Dicaire, David (2003). Jazz Musicians of the Early Years, to 1945. Jefferson, North Carolina, and London: McFarland & Company. ISBN 0-7864-1583-5.


  • Lambert, George Edmund (1961). Kings of Jazz: Johnny Dodds. New York: Cassell. ASIN B000QRYGF2.


  • Rust, Brian (1982). Shaw, Malcolm, ed. Jazz Records 1897–1942 (5th ed.). Storyville Publications. ISBN 9780902391048.


  • Dodds, Baby; Gara, Larry (1992). The Baby Dodds Story: As Told to Larry Gara. Louisiana State University Press. ISBN 9780807117569.




External links


  • Johnny Dodds, redhotjazz.com











Comments

Post a Comment

Popular posts from this blog

Information security

Image
This article is part of a series on Information security Related security categories Internet security Cyberwarfare Computer security Mobile security Network security Threats Computer crime Vulnerability Eavesdropping Malware Spyware Ransomware Trojans Viruses Worms Rootkits Bootkits Keyloggers Screen scrapers Exploits Backdoors Logic bombs Payloads Denial of service Defenses Computer access control Application security Antivirus software Secure coding Secure by default Secure by design Secure operating systems Authentication Multi-factor authentication Authorization Data-centric security Encryption Firewall Intrusion detection system Mobile secure gateway Runtime application self-protection (RASP) v t e Information security , sometimes shortened to InfoSec , is the practice of preventing unauthorized access, use, disclosure, disruption, modification, inspection, recording or destruction of information. Th...
Read more

Lambak Kiri

Image
For Lambak Kiri public housing area, see Lambak Kiri Landless Indigenous Citizens' Housing Scheme. Village in Brunei-Muara, Brunei Lambak Kiri Village Location in Brunei Coordinates: 4°59′26″N 114°57′04″E  /  4.990472°N 114.951114°E  / 4.990472; 114.951114 Coordinates: 4°59′26″N 114°57′04″E  /  4.990472°N 114.951114°E  / 4.990472; 114.951114 Country Brunei District Brunei-Muara Mukim Berakas A Government  • Village head Hamdani Omar Postcode BB1214 Lambak Kiri is a populated place in Brunei-Muara District, Brunei. It is officially a village subdivision under Berakas A, a mukim in the district. Lambak Kiri may also refer to the greater area which includes the Lambak Kiri public housing area of the Landless Indigenous Citizens' Housing Scheme (Malay: Skim Tanah Kurnia Rakyat Jati ), although the latter is a separate subdivision. Contents 1 Name 2 Administration 3 See also 4 References Name ...
Read more

章鱼与海女图

Image
本条目 可参照英語維基百科相應條目来扩充 。 （2014/5/25） 若您熟悉来源语言和主题，请协助参考外语维基扩充条目。请勿直接提交机械翻译，也不要翻译不可靠、低品质内容。依版权协议，译文需在编辑摘要注明来源，或于讨论页顶部标记 {{Translated page}} 标签。 本条目 需要擴充。 （2013年8月15日） 请協助改善这篇條目，更進一步的信息可能會在討論頁或扩充请求中找到。请在擴充條目後將此模板移除。 《 章鱼与海女 》（日语： 蛸と海女 ／ たことあま   Tako to ama ）是一幅由日本畫家葛饰北斋创作的浮世绘，出自1814年（文化4年）出版的艳本《喜能会之故真通》（日语： 喜能会之故真通 ／ きのえのこまつ   Kinoe no Komatsu ）。畫中有兩隻章鱼以觸手攻擊一名採珠的海女，並進行擬似戀獸癖的交媾行為。作品尺寸为6½" × 8¾" （16.51 cm × 22.23 cm）。 [1] 在此之前的类似作品还有北尾重政的艳本《謡曲色番組》及勝川春潮的艳本《艳本千夜多女志》等，有被北斋作为参考的可能性。 《章鱼与海女图》有不同英文翻译，一般称The Dream of the Fisherman's Wife，又作Girl Diver and Octopi、Diver and Two Octopi，Richard Douglas Lane称其为 Girl Diver and Octopi [2] ，Mathi Forrer 称其为 Pearl Diver and Two Octopi [3] ，Danielle Talerico 称其为 Diver and Two Octopi 。 [4] 目录 1 作品介绍 1.1 画中对话 1.2 解释 2 评价 3 影响 3.1 模仿作品 4 另见 5 参考来源 6 外部連結 作品介绍 画中对话 原文 译文 大蛸： いつぞハいつぞハとねらいすましてゐたかいがあつて、けふといふけふ、とうとうとらまへたア。てもむつくりとしたいいぼぼだ。いもよりハなをこうぶつだ。サアサア、すつてすつてすいつくして...
Read more