Nick LeTRocca Interviewed by; David WinsteinReel I Digest: Jill InfioratiJanuary 3^ 1960 First Check: Kathy L. Alien

Second Check: Richard B, AlienTyped; Kathy L. Alien

DW introduces NLR, "one of the most famous characters who has

ever come from the city of New Orleans," DW explains that NLR is;^, if

\ V/

the organizer of, trumpet player^ and leader of the Original Dixieland

Jazz Band, NLR is being interviewed by telephone because^ at

seventy-one years old, he is unable to get around easily. NLR

mentions'that his legs bother him .

12;35 DW asks NLR how he got started in music. MiR replies that

he took up a horn in 1898, about the time of fclie Spanish-American

War. When he was nine years old, he tried to teach himself, He

would take his father's cornet to an empty house down the street

and try to learn to play. -?iis father was a musician but didn't

want NLR to learn bow to play.

1:52 NLR began to play professionally around 1908 when he was

sixteen or seventeen. He was playing in string outfits without

pay before this; that was around 1902-1903. Of those outfits,

NIiR says "we'd go serenading around the Irish Channel." He had

the only brass instrument in the band. he played a cornet which

had such a high pitch that it broke the strings (of the other players);

eventually he had a piece of pipe put into the cornet to lower the

pitch. NLR had no band of his own at this time and played with

any band, usually free. NLR said they would go to parties to

play where they were known as the "no beer, no music bunch."

.^

Nick La Rocca 2-^ >-

Reel I

January 3, 1960

1;15 DW pauses to give a sample of the type of music which NLR

played as a very young man. The Dixieland Jass ^sic.J Band [i.e.,

the<Original Dixieland Jazz Band] plays a song of the same title>

^̂

[i.e., actually "Original Dixieland One Step", wtiich first had

the title "Dixieland Jass Band One-Step "].t

2:10 In 1908 NLR was about to become a professional muscian./\

f~\

He had a band, called LaRocca's Band, but found that he had played^^

so much free music that no one wanted to pay him. He began to

play with other bands, including; Joe Barrocca/ Lean Roppolo,o^^-

Bill Gallaty^ Sousou Ramas,^Harry Nunez. NLR says about 1912

he began to play with Jack "Papa" Laine. He became the leader of

Papa Laine's Ragtime Band from about 1912 to about 1916. Until this

time NLR says, everyone was playing ragtime, not jazz. NLR says

the record of "The Dixieland Jass Band" was made in 1917. Ragtime

was music syncopated to four beat music while NLR's new music was.

2:37 syncopated to "a march beat or a two beat," DW says there was not

jazz until roughly 1912 or 1913 then. NLR responds that it was

even as late as 1916.

2:41 DW asks about NLR's first organized band- NLR says he was

playing on a cart on Canal Streetj where the impresario Harry James

[not the trumpet player, see besLow} heard him play and asked if

NLR could furnish him with a band. .NLR was also working at the old

Haymarket [Cafe] and he formed a band with the men he knew there.

[Cf. H.O. Brunn, The Story of The Original Dixieland Jazz Band on

Johnny Stein role.] He took that band to Chicago in March of 1916,

f-^.

Nick La .Rocca 3\J

Reel I

January 3, 1960

and stayed for nine months, (DW explains that NLR is referring to

the cabaret manager. Harry James, not the trumpeter of the same

name) . NLR thought he would be a flop in Chicago so he had thesf

t

band swing some of the tunes they had done in carnival parades. He

also added syncopation because he noticed that the people were

dancing the one-step. NLR was a very good dancer. NLR says "and

we tried one and the people hollered Give us more jazz. In. . .

less than a week, they had the police and firemen to come out there."

The band developed jazz rhythm by watching the dancers try to imitate

Vernon castle/ doing "The Castle Walk," a one-step. Until he went

to Chicago, NLR says, he had never heard the word "jazz". Harry

James renamed the band the Original Dixieland Jazz Band/ because

the band's success brought many people from New Orleans and every

band called themselves a New Orleans Jazz band.

DW plays a song which NLR and Harry Shields [actually Larryr \

^l ff

Shields^ composed, called "At the Jazzband Ball"J, performed toy ./>''". J'.w: f-,;

^ ' <. "/TC <. /

\ .<h.

ff^ / ^~he Original Dixieland Jazz Band..,/ ^\* ^

\H^-\f

3:55-^ ^ DW mentions "Livery Stable Blues"^ NLR recalls that one of\ ^

his band members (whom NLR had let go) wanted to take a part of

NLR's "Livery Stable Blues" and get it published himself. NLR got

an injunction against them [i-e., the composer and publisher].

NLR was able to prove that he had written the song and it is now

^.copyrighted under his name jL." L^ -. F^ 6; 11^ ( ,'J.^FT

9

^^^3- -J^.f'^*/ v^ ^t"2" ^--^^^.JNLR""coul5"n'"t learrTnew tunes^as~fast as the people would ask for

them. He had to have new tunes- Although NLR couldn't writeJ

'~'\Nick La 'Rocca 4

L-fReel I

*

January 3, 1976

music/ he would take the chord construction of an old tune and

construct a new melody around its chord construction, "Shine on

Harvest Moon's" chord was the basis for "[At] The Jazz Band Ball."^

\

"Georgia Camp Meetin' Ball" became the basis for "Fidgety Feet",

except for the last part. [i-e-/ "At a Georgia Camp Meeting"].

ilNLR says he played chords on the piano. e

adds^"Most all fakers can play 2 or 3 instruments It.

Originally, no one in the band could read music. [Cf. H,0. Brunn,

The Story of the Original Dixieland Jazz Band, Baton Rouge, L.S.U.,

1960, pp, 91-92..1 Later; after the original piano player. Henry^ r^c?/^>^^J

Ragas/ had died, ^pianist Russel (<obinson^ could read music,

Eddie Shields came up from New Orleans and couldn't fit in, NLR

says, however, that the band members understood one another and^

he was always one note ahead of them, Uiey could follow wherever {^^ T)he went. From Chicago^ the band went to New York and "turned F"r/'T- \-f 't

,-f

Broadway upside down." They were at Reisen ^ebers Cafe, 58th^'/- ^:^)/

^\

^/^Vrv

and Columbus Circle. DW says he is looking at an old picture of

NLR and comments that NLR originally played comet left handed.

4:45 In 1918, [Eddie] Edwards was drafted and NLR had to find his

replacement. . NLR came to New Orleans^ and picked up Emile Christian.

After rehearsing for a ^ew weeks they went back to New York where

they fulfilled that contract and in the middle of January they

went to London/ England and "introduced jazz into England."

DW says that he has a copy of the tune "Satanic Blues" that was

composed in England- "Satanic Blues" was written by Emile [Christian}

< ^~\ 5Nick La ^occa:A ^'^t>' ^( Reel I<

January 3, 1960

^'4

and [Larryl Shields. DW asks if there is a story behind "Satanic*

Blues" . NLR says they were a cooperative band; it didn't matter+

whose name was on a tune. NLR would play the melody. Shieldsi rf /r\>..^

would "put the lace on it" and the trombone player "sewed it up"J. /d

*,.''

^'w*"'

NLR agrees with DW that the Original Dixieland jazsa Band

was made up of good friends. NLR says again that they were a

cooperative band but that he handled the business and leading.

When it came to splitting the money upjit was a five way split."

DW then announces "Satanic Blues," but "Livery Stable Blues" is~7

played. Then DW plays part of "Satanic Blues." NLR and DW discuss

the fact that these songs were in the tradition of 2-beat dance

ic which was born in Chicago as the "sudden inspiration" ofmus

watching people dance. This was the only music The Original

Dixieland Jazz Band played *

6:00 NLR continued to write nujffibers while in New York. There

were about thirty or forty popular .numbers. NIiR names "Old Joe

Blades" t.ic.L "Ra^lin, Bluest ..Toddlin- Bluest and ..So.eRainy Night He would listen to a band in Central Park forII

.

iration. While listening to this band that was playing the.j-nsp

"Second Hungarian Rapsody," lie got the idea for "Skeleton Jangle".V^tL??

^ ".".... "."., ,.. " . «.» . .»..«p-..... ."».^^DW plays a recording of "Skeleton Jangle^ They had a contract Y,..-^ ^

ith Victor for twelve numbers. NLR had only three or four so hew

had to make eight more. He started to work on these tunes.

!

».*>Nick LcC'Rocca 6^

Reel I

January 3, 1960

6:45 La Rocca's "Tiger Rag" is mentioned, NLR seats parts of this

composition; it is based on a tango, "London Bridge is Falling

Down", and the chord construction of Sousa's National Anthem.J

',

[i.e., Emblemj jWarch.

Their recording [the ODJB'sJ were sold all over the world-

NLR went to London but didn't remain long. He returned to New

York in 1920. NLR came back to New Orleans in 1925 brokenhearted

because they were "run off" of Broadway. NLR believes it "has

something to do with the appearance of the white man in jazz and

with the "petty moralists" whose laws forced them to leave Broadway.

The band was to appear in The Big Broadcast of 1936 [CjE. Brunn,

the samel, but NLR. was building a house on Jackson Avenue. NLR

says he could not get the boys together in time. Because of theke^\

adverse publicity^the fact that "they" were playing Dixieland

idioms/ NLR made up his mind that he was' going back into the business

to show the people that th^s musi^c came from New Orleans'cz.'^".lilttc ^.^^'\'K^3/i^'s^^ .

Nick's address^is given thatt soI *.

people may make him happy by writing to him. DW asks about another

tune "Lasses Candy" which NLR wrote in London. NIjR says he originally

named this tune "Belgian Doll", but the publisher did not like

the name so he named ft after the candy which was popular in

New Orleans. A record of the tune is played.

End of Keel

<A-

.t.

AUGUST LAURENT 1I [of 4]-Digest-Re type dMarch 21, 1960 Also present: William Russell, Ralph Collins

Paul Gaytoen, who was in Calufornia but is on his way to

Chicago, sold August Laurent the house he now lives in [at 3800f

Paris Avenue]--s

August Robert Laurent was born August 28, 1897, in the

Seventh Ward of New Orleans, at Prieur and Lapeyrouse [streets].

Some musicians [all clarinetists] who lived within two blocks of

him were "Big Eye Louis" [Nelson], [Alphonse] Picou, Lorenzo

Tio [Jr.], and [Louis] Papa Tio. "Big Eye Louis" lived on Prieur

between Lapeyrouse and Onzaga; AL lived on Prieur between Lapey-

rouse and Laharpe; "Papa" Tio lived at Laharpe and Derbingy?

Lorenzo Tio lived on Columbus between Prieur and Roman; Picou

lived on Johnson near St. Bernard.

AL began studying violin, his first instrument, when he was

nine years old; he didn't like it. When he was about twelve, he

began taking piano with his sister [in company of, or from?];

he began playing jazz, so his family wouldn't let him touch the

piano anymore. Giving up piano, AL began working with his father

at his father's trade/ which was roofing. Lorenzo Tio persuaded AL

to take up clarinet; AL began studying with Tio, who taught him the

fingering, plus the freak [i.e., alternate (AL demonsteates some of

the fraak,[i.e., alternate] fingerings Tio showed him)] fingerings?

in six months/ AL was.,piaping. Tio would never get his clarinet

fixed; he would plug holes if they [the keys concerned] didn't

work, and use freak [i.e., alternate] fingerings; [A.J.] Piron

persuaded Tio to get a new clarinet when they went to New York.

AUGUST LAURENT 2

I [of 4]-Digest-RetypedMarch 21, 1967

AX quit playing clarinet "out" [i<e-, in public] about five

years ag-o .

rf

Lorenzo Tio*s fatlier and uncle (Louis "Papa" Tio) are\

mentioned* They played "up in town" [RBA ?]., around the red light

district* "Papa" was aupposed to be t'he best clarinetist in New

Or leans .during his time^ L<prenzo^ Jr.^ who studied with hiro^ was

the best in his time. AI* says tlie Tios could T^ave been Mexican or

French [See Louis Tio, Jr., interview], Lorenzo^ Jr. ^ was only two

or three years older tlian AL, Lorenao^. Jr., played mostly with

[in the company of?] Peter Bocage; they were on one job together for

th±Aty-five years, playebdg at TrancTiina's^ seven nights a wee'k/ [;.*j RBA]

AIf enjoyed playing; it was his recreation? 1-ie would work all day at

his trade and play music much of the night/ getting little sleep? some

nights he would come in from playing and make arrangements for his

band.

Talk of the methods AL used when studying with Tio^ and later.

Besides his sister and Tio^. AL studied music witl-i [Paul] Chaligny and

with "Papa" Tio.

AL worked in a band with Charlie McCurdy^ aboufc IEWO years 'before

the latter*s death. McCurdy played clarinet and alto [saxoplione] ;

AL played clarinet and soprano [saxophone]? Wendall McNeal played

violin; [ ?] Martin played trumpet? Helen Edwards played piano;

Chris [Minor? Goldston§] played drums. The time was around 1921-23.

A picture showing^ among others/ AL and Dr. [Leonard] Becliet^

was taken ajbout 1935^ in Dr. Bechet's T-iome; a band was reheasing there.

Some of the 'band members shown in anott'ier picture: Picou? Shelley

AUGUST LAURENT 3

I [of 4]-Digest-RetypedMcorcl'i 21^ 1967

Lemelle, trumpet (who had replaced [for tliat night only?] DeDe

Pierce, who was sick); Billie Pierce (wife of DeDe)^ piano;rf

\

[Joseph] "Fan" Bourgeau, guitar; Bechet^ trombone; Albert Francis^

drums. AIj sliows a picture of himself playing at Bechet's? lie was

playing bff to himself, as the band mentioned above was playing^ too.

A picture talcen about 1927 is s1"iown, [See photos in ANOJ.] AL

tells of making some records on a home recorder (fcwo dides^ "Sty Louis

Blues" and "That's My Desire" [whicli "had just come out]) about 1930;

Willie Pajaud played trumpet on the records; AIi left the records on bis

car seat while he visited a friend,, and they were stolen; it was tlie

only cppy.

AI* shows some of his copyrighted music* One piece is called

"I Got A Woman Doing What You Used To Do;" another is "Only You."

Tat3^ of "Papa" Tio and AL's lessons with him. Tio was very

strict. Tio wouldn*t take money for a lesson a student couldn't

play? he would maT^e tlie dtudent stay Kaway until be could play the

particular lesson. Tio also taught some of the white musicians

from tte steamer Capitol* Tom Albert is mentioned.

Helen Edwxards [mentioned previously] played the piano with

[John] Robichaux at the Lyric [i.e.gn Lyrie] during its heyday; she

died in California^ in 1950^ AL thinks- STae was adept at trensposition.

End of Reel I

AUGUST IAURESTT 4

XI [of 4]-Digest-RetypedMarcli 21, 19671P Also present^ William Russell/ Ralph Collins

Helen Edwards was so good that tahe could be sound asleep^

snoring on the bandstand^ and she would wake up in tbe middle of a.f

number and begin playing. Sadie [Goodson]^ sister of Billie [Pierce]^»

[both pianists] could do the saxsss fhing; Sadie played with AL longer

ttian Billie did; Sadie was better than Bill^e; [because ?RBA] she

could read^ but Billie couldn't,

AL shows one of his uncopyrighted numbers^ called "You Left

Me On That Early Morning Train." He whows another composition

"I WfliA And You Woc^ Too^." and "Xlve Got A Woman Doing Wliat You Bsed

To Day? he wrote botli words and music^ and did the arrangements also.

Several popular songs of some period are mentioned^ including the

Huey Long number, "Every Man A King A number by George Guesnon/»

"Chica Mia," written about his daughter who had died, is shown?

Guesaon/ played with AL; AL says he bimself was about the first in

the city to play the number *

AL says he had tt^e only three-piece band in the city which^

played all of "Copenl-iagen"; Sadie Goodson was on piano^ Chris

[Goldston?] on drums, and AL played clariKnet. WR tliinks Sadie

may have been married at one time to drummer Abbey "Chinee Foster^

who played wit^i [Oscar] "Papa" Eelestin. AL shows anther of his

compeeitions^ called "Memory of You ^ " which is a waltz. (AL g-ives

names of more tunes from time to time) Mi got the tune "Boost New

Orleans" from a police corporal who also played sax; the policeman

would come to listen and learn from ALy who was tlien playing at a

place run by Bernard Micbel [S ?]^ during bootlegging times. The

policeman said he learned more from AI» than he did from his teah'hery

AUGBST LAURENT 5

IX [of 4]-Digest-RetypedMartah 21^ 1960

the orchestra diector at the Orpheum Theater. WR says Jelly Roll

Morton and the New Orleans RTnythm Kings are (i,e.^ Paul Mares and^

Lean Poppolo) listed as composersofif "Milenburg Joys." "Song of\s

New Orleans" is mentioned. Another uncopyrigl-ited number by AL,

"The Chinaman and Mabel^" is shown; AL sings it, [Cf. Richard B *

Alien University College course on New Orleans Jazz^ Danny Barker,

guefet lecturer reel] v

Charlie Love was the last trumpet jblayer to use AL's trumpet

book^ from which he has been reading names of tunes. AL*s last band

had Willie HumpTirey/ the elder^ on tenor sax and clarinet; tliey worked

at the Happy Landing. HumpTirey had a stroke about two wee'kw after

the Tsand quit playing at the Happy Landing? he had not been up since/

although "he is in a wheelcbair now? Harrison [Verrett], brotlier-in-law

of Fats Domino^ was playing guitar with AL then (AL says Harrison

showed Domino Tnow to play the plano^ and now [that Domimo is so

successful] Domino won't give "him a job. [Cf. Harrison Vecrett/ reel].

A woman named Odette Davis^ now dead^ played piano with AL near the

end of his career? she was very good. The last pianist AL had was George

Decou^ cousin of Walter Decou,. who also played piano with AL at one

time^ George Decou is now dead. Louis [i.e.^ Albert?] Wariuer played

tromboras with AIi before Doc [Leonard Becht] worked witb him. AL

says fhat at one time he had all worly [A..J.] Piron was loafing^ and

begging AL for work. AL gave Ricard Alexis a job in his band when no

one else would hire him; Alexis would accept deposits on Jobs from

more than one person for the same night» so after a while no one

called him. AL says that is the way that Buddy Petit lost the job

AUGUST LAUKENT 6

II [of 4]-Digest-RetypedMarch 21, 1960

in the Gold Room of the Roosevelt Hotel, Helen Edwards was his

pianist at the Gold Room. Petit would ta'ke deposits from other/

jobs? he would go around to them^ when "he should "have been at the'<

Roosevelt. "Big Eye Louis" [Nelson] worked with AL; Big Eye Louis

was playing C Glarinet at the time,- he .switched to B flat in late

years about 1940. [AlpTaonse] Picou played alto [saxophone] and

clarinet in AL*s band, wliile AL played clarinet and soprano [saxoplnone] .

Big Eye was better on C clarinet than on C flat- AL says some

clarinetists used to carry four clarinets-A^ B I flat]/ D^ and E

flat-for transposing various parts; the E flat was used mostly in

brass bands. AL played some brass band jobs^ tout never walking^ as

he didn't like tliat; he was a letter carrier for eighteen months^\

until 1919, when he teturned to his trade [roofing]. Big Eye Louis

didn't read music/ but played well litee Fats Domino* Picou was a

pretty good reader, AL mentions George Baquet^ Ernest Trepagnier, a

great drummer, and Lorenzo Tio [>Tr«] 7 AL says George Bqquet was ttie

first clarinetist to play the clarinet solo in "Higla Society"?

Baquet made the claim at a meeting also attended by Picou^ popularly

believed to be the composer or originator of the part; Baquet said lie

transposed a flute part for clarinet^ as there was no clarinet part/

aid played tt, the first to do so- [See orcl-iestration of "High Society"

in the Robichaux Sheet Music Collection] [C£. Monte Hazel^ reel IVr

July 16, 1959^. p. 59 for more on this orcl-iestration. RBA] .

AL mentions [Albert] Glenny^ bass^ Who played with AL for years;

AL mentions another great bassist^ Joe Brown? AL mentions [cornetist]

Manuel Pay&z; all three lived near AL's liome. George Filile is mentioned.

w

AUGUST IAURENT 7

II [of 4]-Digest-RetypedMarch 21^ 1960

WR says Carlie McCurdy is mentioned as the possible originator of^

the "High Society" solo; AL says he just knows the Baquet story andI/

claim? [by Willie Pajand to walk Lewerki and RBA at a funeral. C McC',

was playing witti John Robichaux and needed a part as he could not

improvise. OR gave him the piccolo part, RBA] "he tliinks tTie solo

was first played on ajob in Philadelpl-iia. The number and solo later

came to New Orleans AIi knwss for a fact that Picou didnlt*

originate ttie number; AL knew Picou from AL's youfh? they used to

play duets together at the ouse of one of Picou's lady friends.

S&lk of clarinets v

End of Reel II

AUGUST LAURENT 8Ill [of 4.t-Diges-b-Re-typedMarch 21, 1960 Also presenl;! William Russell, Rat|)h Colllns

AL plays "The Rosary" on his clarlnet. He used to play "opera and everything".

AL says Willie [j*] Humphrey, now playing vi-bh Paul BarTsarln^ and [Manuel] "FeBB"/

[Mane-fcta] both wanted a Pen^el-Muller clarlnet he had, but he sold it to someone else.%<

.*l

Manetta nov has ihe^one^George Baquet bought for Alfred Vilson, says WR. AL mentions'A .A[Harold] Pe-fcerson^ AL noodles. Talk of reeds, embouchures. AL had a good lip

vhen he was playing; he once played for three days and nights, playing for the boss

a-b nlgh-t and for Al Capone at picnics 'by -fche lake [at Milne'burg.l during the day;

Capone supplied ALts Tsose with [boo-tleg] whiskey. George Guesnon played vlth AL

during that time. AL played l9iOO[p*M,]- 3[A?M.l at the one place for five-and-a-

half years., working for Mlchel Bernard j the place -was at Frenchnan and Gentilty Road)

Eddie Victor had -the place before Bernard, who "bought It from him; AL worked there

for Vlc-bor, and vae asked by Bernard to stay on, which he did. Capone had a trick

of putting half-dollars on every key of the piano and telling the piano player he

could have every one he dldnT-b knock off when he played; the piano player was afraid

to play, but AL told him to play, that Capone vouldntt vorry aT^ou-fc picking -fchem up,/

and they would pick them up* AL plays some number he vrote. AL plays "Darktcwn

Strut-ters Ball".

/wr"^'f'^-. ..'AL got his embouchure from Lorenzo Tio, Jr. AL describes it ssgaln/1

Plays "Rose Room [not on copy tape], AL likes Arfcie Shawts number [recording?],

"Rose Room". AL plays "You Call Everybody Dafllng".

Talk of vlbrato.

Sam Dutrey, Sr., [clarlnet] played -with pianlBt Helen Edvards at one time;

Dutrey vas a great Improvlser^ and could aleo read.

At men-tions [Nat] "King" Cole. AL plays "Too Young" [a tune associated -with

Cole toecause of his recording of itj,/

^ f^tW ^J ; ^.^^^r^T , WMW^f/iM.

AUGUST LAURENT 9Ill [of 4]-Digest"Re-fcypedMarch 21, I960

AL has heard of J'lnunie Noone and Johnny Dodds^ the latter played with Joe

["King"] Oliver. When Johhny St. Cyr "came from playing with LGuis" Armstrong,'»

h» ven-fc to work with AL [when he returned from Chicago?}, playing guitar. AL says

St. Cyr new lives In California.

AIi never played with Manetta on Jobs, just in someone's home^ for fun. Manetta

worked wi-fch Helen Edwards at the Sans Souci Hall^ which was operated lay old man Riley.

AL*s favorite clarlne-fcis'fc was Lorenao Tio^ ^r., who 'W&B a good all-around ^/

f/

clarinetist and msicianj he played any kind of music. Tio -was a member of the -fcvo

largest brass Tsands; she played E fla-b clarinet on .the street. Tlo worked at

Tranchina*s a-t nightj Steve Lewis was on plano^ [A,J»] Plron played violin [and

was leader]; [Loails] Cottrell [Sr-] vas the drummer; his [?] nephew, Charlie [Bocage?],

was on guitarj [Peter] Bocage vas on -trumpet^ [Al'bert?] Varner vas on trombon.e. [Cf.

crfriler intiervlewB . ].

A clarinetis-b AL likes now is Pete Fountain, -who played on Charlie Welch* s

[i.e., Iia-wsrence Welk] shsw^ but is new on Bourbon Street.

End of Reel III

AUGUST LAUKENT 10IV [of 4]-Digest-RetypedMarch 21, I960 Also present: William Russell, Ralph Colllns, Mrs. Laurent

AL says [jrving] Fazola, vho died, was a good clarinetist .

AL talks a'bout his past ability -to mem.orlze Qnisic quickly./

\

AL plays his clarine-b; one number is ["Someday (Youjll Want Me to Want You)"]. *\

AL eings 1-fc. He -fcalks about the job at the Happy Landing .

Sidney Bechet grew up in the same neighborhood as AL^ he vas about four years

older tl&n AL. When Beche-fc left New Orleans, he didn't return for twenty yeare^ AL

picked him and his manager up a-fc "bhe airport when he re-fcurned. Bechet played clarinet

when he started out^ he picked up soprano sax in later years. He really started on

a 11-btle six-holej fifteen cent flu-te, vhlch he learned to play so well that someone

gave him a clarlnet. He became so good on clarinet .that when he .WQ.G still in shorfc

pants Pete Lala hired him to play at his place at Iberville and Marals for one dollar

a nlgh-fc. Bechet was composing numberB for a T^ot-fcle of -whiskey j he -was selling the

numbers for five doiallars*

AIi shews more of his compoBi-fcions; one is "Acceptable Waltz". AL shews "Kinklets">

which VR says comeB from the Red Back Book; AL and Charlie Love used to play i-b.

Mendelssohn*s "Spring Song" and [Scott] Joplln*s "The Entertainer" are mentioned,

Another AL number is called "We Can*t Agree". AL showB Sidney Bechetrs larb number,

"Pe-blte Fleur". WR says S RC had to learn the number last summer -when he was s-budyft^g

elarinet with [Manuel] "Fess" Mane-bta. On rainy days/ AL vould write [i.e., arrange]

for his 'band all day, until late at night* George Lewises mother [Alice Zeno] is

mentioned.

Sidney Bechet and his brother, Dr. [Leonard] Bechet^ had a falling out [.ahwhen

SB -was a "boy] because Sidnsy would do no-bhlng but play clarlnetj he tried -bo have

Sidney put In -the [Waits] Home, bu-t to no avail. AL says Louis Armstrong was pu-b in«

^ which he calls "Until Tomorrcw *

11AUGUST LAURENTTV [of 4]-Digest-RetypedMarch 21, I960

the Home, and vas given his first instrument -by ALTB cousin (^ Peter Davis),

Charlie Valteau (related to violinis-t [Ferdinand] Valteau). AL mentions anotfaer

relation of his awriy a great viollnist named [Armajan ?}. When AL was a tto-y, Sidney\

Bechet lived on Urquhart S'tre^t^ then Bechet moved -to Marais S'bree-fc, to St. Bernard

and Morals^ tehn to St* Bernard/and Villere. AL Bays Beche-t;fs brother [Leonard] was

not; proud of Sidnew until AL picked Sidney up at the airport, [gee a'bove, this reel].

The years vas during the [Vorld] War [ill. AL mjen-tlons Maurice DurandjWR says he and

Manet-ba sa-w him in California last year. AL -was playing -when -the Durand and [Villiv J.l

Humphrey band was playlngj they -were at the Alamo and the Music Box* Pianist Dwight

Newman had -the Job at the Music Box^ his Bon> trumpeter Joe Newman, was in a class

taught ly AL's wife in public school; Joe Newmn could glay "High Society' on the

.trumpet just like It ie played on the clarinet; he has been in New York a long time^

<Toe Newman was vi-th Ersklne Hawkins [at one time]. Albert Snaer [trumpet] vas in that

"band, too-

Barney Blgard studied -with Tlo, Jr.? also, AL iehelped Altierb N'icholas leam to

read musJLc, so -bhsi-t he and Bigard, bo-fch then playing at Tom Andersen's, could leave

and go to Chicago. Blgard didn*t play very -well when In New Orleans; AL says he was

'bashful*

A first cousin of AL is Albert Dominique^ new kncwn as Don Albert. VR mentions

Na-fcty Dominlque^SMiQ£KSS5Sy^^^6WT(TTK1?yKY and Ferdinand Domlnique.

AL was in Chiaago when Charlie Valteau directed the one hundred and fifty piece

orchestra at the Regal Theater *

Manuel Perex vae -bhe ^ee-b old-time irumpet player; Perez ou-tplayed Joe Oliver

on an advertising job AL mentions. MP used a derby as a mute. AL mentions Kid Piuuech

[Millfirl and BGuy Keltyj he says Perez was the bestj he was a good reader.

AUGUST LAURENT 12

IV [of 4] -Digest -RetypedMarch 21, I960

Buddy Petit had "a good go" at one time^ he los'fc it Tsecause he would take

deposi-bs on -too many Jobs, Jue-t like Rlcard Alexis [see Reel III]. BP bad a good>

band. Joe Oliver had a good 'bs.nd. Perez had a great "band, playing at the PythianI -I

Temple [Roof Ga^denjj Perez put his son In that band, on trumpet; 'bhe 'boy played, Tsut

never made good on i-fc; he gave it up. [Eddie] Cherrle and Adolph ["Tats"] Alexander

[Jr.l -were playing clarinet and sax in Perezts Taand} [Heniy ?] Martin wae playing guitar}

Cie [Frazier] was on drums.

AL mentions Bill Matthews and Tom Al'ber-t .

%&eD, AL was starting in cnisic, a good trombonist vas the man vith the Imperial

Brass Band; Louis [l-e., Albert?] Warner was goodj althosugh he didntt read, Manuel

[i.e., William?] Ridgley] vas a good improvlser. AL has heard of Zue Ko'berbson, but

doesn1t knew anything al3ou-fc him* Vie Gaspard was goodj he vas vith the Tanchina

[Piron?] Taand all -fchose thirty-five years [see Reel l}; [Louis] Cottrell [Sr.], with

.that "band ^ was a great -fclmetekeeper *

Pianist "Little Wlllie" played in ALts "band for a long time; he could play in

any key, although he never had any music lessons. Odette Davis [Cf. Mr. and Mrs. A.C-and

Sy&igal^ reel 2] Helen Edwards,/ Sadie [Goodeon] -were good pianis-ts^ Enfflia

Barrett, who was married to Rlcard Alexis, was good, and is still playing; Walter

Decsu was good. Steve [Le-wisl was good. The above were leading pianists for Jazz

here in -the old days. AL Bays [Joseph] "Fan" [Bourgeau] plays piano, too, 'but JUBt

chords, as he never could pick up the melody. AL says he himself learned -bo play

melody when he worked three-plece Jo'bs; he had -bo know -the melodies. AL plays

"Copenhagen". Discussion of vibrato.

End of Reel TV