A bandleader is the leader of a band of musicians. The term is most commonly, though not exclusively, used with a group that plays popular music as a small combo or a big band, such as one which plays jazz, blues, rhythm and blues or rock and roll music.

Most bandleaders are also performers with their own band. The bandleader role is dependent on a variety of skills, not just musicianship. A bandleader needs to be a music director and performer. Often the bands are named after their bandleaders. Some older bands have continued operating under their bandleaders' names long after the death of the original bandleader.

Noted American bandleaders and their instruments

Harold B. Bachman

Count Basie - piano

Terence Blanchard - trumpet

Will Bradley - trombone

Les Brown - saxophone

James Brown - singer

Dave Brubeck - piano

Cab Calloway - singer

George Clinton - keyboard, vocals

John Coltrane - saxophone

Patrick “Patsy” Conway - cornet

Miles Davis - trumpet

Jimmy Dorsey - saxophone

Tommy Dorsey - trombone

Duke Ellington - piano

Edwin Franko Goldman

Buddy Guy - guitar, singer

Benny Goodman - clarinet

Lionel Hampton - vibraphone, percussion

Bill Haley - guitar, singer

Albert Austin Harding

Emmylou Harris - guitar, singer

Isaac Hayes - singer

Jimi Hendrix - guitar, singer

Woody Herman - clarinet

Buddy Holly - guitar, singer

Elmore James - guitar, singer

BB King - guitar, singer

Jimmie Lunceford - saxophone

Pat Metheny - guitar

Glenn Miller - trombone

Charles Mingus - bass

Rickey Minor - bass

Dave Mustaine - guitar, singer

Mike Ness - guitar, singer-songwriter

Buck Owens - guitar

Jimmy Palao - Violin, Cornet

Gloria Parker - Marimba

George Paxton - tenor saxophone

Tom Petty - singer, guitar

Mike Portnoy - drums

Arthur Pryor - trombone

Buddy Rich - drum kit

Little Richard - piano, singer

Omar Rodríguez-López - guitar, vocals

Billie Joe Armstrong - guitar, vocals, piano

B.A. Rolfe - trumpet

Jon Schaffer - guitar, vocals

Paul Shaffer - keyboards

Artie Shaw - clarinet

Lew Soloff - Trumpet, Flugelhorn

John Philip Sousa - wind instruments

Bruce Springsteen - guitar, singer

Lew Tabackin - tenor saxophone, flute

Gary Tole - trombone

Derek Trucks - guitar

Ernest Tubb - singer-songwriter

Tommy Tucker - piano

Ike Turner - guitar, piano

Rebekah Vangorde - flute

Muddy Waters - guitar, singer

Max Weinberg - drums

Lawrence Welk - accordion

Barry White - singer

Jack White - guitar, singer, drums

Maurice White - percussion

Paul Whiteman - violin

Anna Mae Winburn - singer

Frank Zappa - guitar, singer

British bandleaders

Bert Ambrose

Ian Anderson - flute, guitar, singer

Gary Barlow - singer

Jeff Beck - guitar

Ian Gillan - singer

Acker Bilk - clarinet

John Barry

Ritchie Blackmore - guitar

David Bowie - saxophone, guitar, singer

Gerald Bright - (Geraldo)

Elvis Costello - guitar, singer

Billy Cotton

Stewart Copeland - drummer

Alex Harvey - singer

Ted Heath - trombone

Julian Miles "Jools" Holland - piano

Spike Hughes

Jack Hylton

Yusuf Islam - guitar, singer

Max Jaffa - violin

Elton John - piano, singer

Cab Kaye - drums, guitar, piano, singer

Mark Knopfler - guitar, singer

Geoff Love

Joe Loss

Humphrey Lyttelton - trumpet

John McLaughlin (musician) - guitar

Michael Nyman - piano

Simon Park

Jack Payne

Johnny Pearson

Rod Stewart - singer

Les Reed

Italian bandleaders

Pippo Barzizza

Renato Carosone - piano

Gorni Kramer

Mantovani

Swedish bandleaders

Yngwie J. Malmsteen - guitar

Helmut Jederknüller - drums

Mikael Åkerfeldt - guitar, singer

Dutch bandleaders

Michiel Borstlap

Michiel Braam

Willem Breuker - trumpet

Jack Coenen - trombone, leading the Jack Million Band specialized in the music of Glenn Miller

Tonny Eijk

Pim Jacobs

Erik van der Luijt

Malando - violin

Rogier van Otterloo

André Rieu - violin

Cees Schrama - keyboards

Joop Stokkermans - piano

Lajos Veres - multi-instrumentalist, mostly violin

German bandleaders

Peter Herbolzheimer

Bert Kaempfert

Uli Jon Roth - guitar

Michael Schenker - guitar

James Last - double bass

Max Raabe - singer

Muhammed Suiçmez - guitarist, vocalist

Tobias Sammet - vocalist, bass

French bandleaders

Raymond Lefevre

Paul Mauriat

Franck Pourcel

Belgian bandleaders

Francis Bay

Jack Coenen - trombone, leading the Jack Million Band specialized in the music of Glenn Miller

Argentine bandleaders

Waldo de los Rios

Ricardo Iorio

Japanese bandleaders

Keisuke Kuwata - guitar, multi-instrumentalist

Toshiko Akiyoshi - piano

Michiro Endo - vocals

Yoshiki - drums, piano

J - bass

Tetsuya - bass

Sakura - drums

Tetsu Takano - vocals, guitar

Kaoru - guitar

Kai - drums

Australian bandleaders

Stuart Lang - cornet

Mark "Slim" Roberts - cornet, trumpet

See also

Bandmaster

* Category:Occupations in music

da:Dirigent (musik) de:Bandleader es:Líder de banda it:Bandleader he:מוביל הרכב hu:Zenekarvezető nl:Orkestleider ja:バンドマスター no:Orkesterleder ru:Бэнд-лидер simple:Bandleader sv:Orkesterledare

name	Jelly Roll Morton
background	non_vocal_instrumentalist
birth name	Ferdinand Joseph LaMothe (possibly spelled Lemott, LaMotte or LaMenthe)
alias	Jelly Roll Morton
birth date	September 20, 1885
death date	July 10, 1941
origin	New Orleans, Louisiana, U.S.
instrument	Piano
genre	RagtimeJazzJazz bluesDixielandSwing
occupation	Vaudeville comedianBandleaderComposerArranger
years active	ca. 1900–1941
associated acts	Red Hot PeppersNew Orleans Rhythm Kings}}

Ferdinand Joseph LaMothe (September 20, 1885July 10, 1941), known professionally as Jelly Roll Morton, was an American ragtime and early jazz pianist, bandleader and composer.

Widely recognized as a pivotal figure in early jazz, Morton is perhaps most notable as jazz's first arranger, proving that a genre rooted in improvisation could retain its essential spirit and characteristics when notated. His composition "Jelly Roll Blues" was the first published jazz composition, in 1915. Morton is also notable for naming and popularizing the "Spanish tinge" of exotic rhythms, and for penning such standards as "Wolverine Blues," "Black Bottom Stomp," and "I Thought I Heard Buddy Bolden Say", the latter a tribute to turn-of-the-century New Orleans personalities.

Reputed for his arrogance and self-promotion as often as recognized in his day for his musical talents, Morton claimed to have invented jazz outright in 1902 — much to the derision of later musicians and critics. However, jazz historian Gunther Schuller writes about Morton's "hyperbolic assertions" that there is "no proof to the contrary" and that Morton's "considerable accomplishments in themselves provide reasonable substantiation."

Biography

Birth

Morton was born into a Creole community in the Faubourg Marigny neighborhood of downtown New Orleans, Louisiana. A baptismal certificate issued in 1894 lists his date of birth as October 20, 1890; however Morton himself and his half-sisters claimed the September 20, 1885, date is correct. His World War I draft registration card showed September 13, 1884 but his California death certificate listed his birth as September 20, 1889. He was born to F.P. Lamothe and Louise Monette (written as Lemott and Monett on his baptismal certificate). Eulaley Haco (Eulalie Hécaud) was the godparent. Eulalie helped him to be christened with the name Ferdinand. Ferdinand’s parents were in a common-law marriage and not legally married. No birth certificate has been found to date. He took the name "Morton" by Anglicizing the name of his stepfather, Mouton.

New Orleans

Morton was, along with Tony Jackson, one of the best regarded pianists in the Storyville District early in the 20th century. At the age of fourteen, he began working as a piano player in a brothel (or as it was referred to then, a sporting house.) While working there, he was living with his religious church-going great-grandmother and had her convinced that he worked as a night watchman in a barrel factory.

In that atmosphere he often sang smutty lyrics and it was at this time that he took the nickname ''"Jelly Roll"'' which at the time was black slang for the female genitalia.

Morton's grandmother eventually found out that he was playing jazz in a local brothel, and subsequently kicked him out of her house. "When my grandmother found out that I was playing jazz in one of the sporting houses in the District, she told me that I had disgraced the family and forbade me to live at the house... She told me that devil music would surely bring about my downfall, but I just couldn't put it behind me." Tony Jackson, also a pianist at brothels and an accomplished guitar player, was a major influence on his music; according to Morton, Jackson was the only pianist better than himself.

Touring

Around 1904, Morton started wandering the American South, working with minstrel shows, gambling and composing. His works "Jelly Roll Blues," "New Orleans Blues," "Frog-I-More Rag," "Animule Dance," and "King Porter Stomp" were composed during this period. He got to Chicago in 1910 and New York City in 1911, where future stride greats James P. Johnson and Willie "The Lion" Smith caught his act, years before the blues were widely played in the North.

In 1912–1914 he toured with girlfriend Rosa Brown as a vaudeville act before settling in Chicago for three years. By 1914 he had started writing down his compositions, and in 1915 his "Jelly Roll Blues" was arguably the first jazz composition ever published, recording as sheet music the New Orleans traditions that had been jealously guarded by the musicians. In 1917 he followed bandleader William Manuel Johnson and Johnson's sister Anita Gonzalez to California, where Morton's tango "The Crave" made a sensation in Hollywood.

Vancouver

Morton was invited to play a new Vancouver nightclub called The Patricia, on East Hastings Street. Jazz historian Mark Miller described his arrival as "an extended period of itinerancy as a pianist, vaudeville performer, gambler, hustler, and, as legend would have it, pimp."

Chicago

Morton moved back to Chicago in 1923 to claim authorship of his recently-published rag "The Wolverines," which had become a hit as "Wolverine Blues" in the Windy City. There he released the first of his commercial recordings, first as piano rolls, then on record, both as a piano soloist and with various jazz bands.

In 1926, Morton succeeded in getting a contract to make recordings for the US's largest and most prestigious company, Victor. This gave him a chance to bring a well-rehearsed band to play his arrangements in Victor's Chicago recording studios. These recordings by Jelly Roll Morton & His Red Hot Peppers are regarded as classics of 1920s jazz. The Red Hot Peppers featured such other New Orleans jazz luminaries as Kid Ory, Omer Simeon, George Mitchell, Johnny St. Cyr, Barney Bigard, Johnny Dodds, and Baby Dodds. Jelly Roll Morton & His Red Hot Peppers were one of the first acts booked on tours by MCA.

New York City

In November 1928, Morton married showgirl Mabel Bertrand in Gary, Indiana and moved to New York City, where he continued to record for Victor. His piano solos and trio recordings are well regarded, but his band recordings suffer in comparison with the Chicago sides where Morton could draw on many great New Orleans musicians for sidemen. Although he did record with such great musicians as clarinetists Omer Simeon, George Baquet, Albert Nicholas, Wilton Crawley, Barney Bigard, Lorenzo Tio and Artie Shaw, trumpeters Bubber Miley, Johnny Dunn and Henry "Red" Allen, saxophonists Sidney Bechet, Paul Barnes and Bud Freeman, bassist Pops Foster, and drummers Paul Barbarin, Cozy Cole and Zutty Singleton, Morton generally had trouble finding musicians who wanted to play his style of jazz, and his New York sessions failed to produce a hit.

With the Great Depression and the near collapse of the phonograph record industry, Morton's recording contract was not renewed by Victor for 1931. Morton continued playing less prosperously in New York, briefly had a radio show in 1934, then was reduced to touring in the band of a traveling burlesque act while his compositions were recorded by Fletcher Henderson, Benny Goodman and others, though he received no royalties from these recordings.

Washington, D.C.

In 1935, Morton moved to Washington, D.C. to become the manager/piano player of a bar called, at various times, the "Music Box," "Blue Moon Inn," and "Jungle Inn" in the African American neighborhood of Shaw. (The building that hosted the nightclub still stands, at 1211 U Street NW.) Morton was also the master of ceremonies, bouncer, and bartender of the club. He was only in Washington for a few years; the club owner allowed all her friends free admission and drinks, which prevented Morton from making the business a success. Morton was stabbed by one of the owner's friends in 1938, suffering wounds to the head and chest. After this incident his wife Mabel demanded that they leave Washington.

During Morton's brief residency at the Music Box, folklorist Alan Lomax heard Morton playing piano in the bar. In May 1938, Lomax invited Morton to record music and interviews for the Library of Congress. The sessions, originally intended as a short interview with musical examples for use by music researchers in the Library of Congress, soon expanded to record more than eight hours of Morton talking and playing piano, in addition to longer interviews during which Lomax took notes but did not record. Despite the low fidelity of these non-commercial recordings, their musical and historical importance attracted jazz fans, and they have helped to ensure Morton's place in jazz history.

Lomax was very interested in Morton's Storyville days and some of the off-color songs played in Storyville. Morton was reluctant to recount and record these, but eventually obliged Lomax. Morton's "Jelly Roll" nickname is a sexual reference and many of his lyrics from his Storyville days were vulgar. Some of the Library of Congress recordings were unreleased until near the end of the 20th century due to their nature.

Morton was aware that if he had been born in 1890, he would have been slightly too young to make a good case for himself as the actual inventor of jazz, and so may have presented himself as being five years older than he actually was, and his statement that Buddy Bolden played ragtime but not jazz is not accepted by consensus of Bolden's other New Orleans contemporaries. It is possible, however, that the contradictions stem from different definitions for the terms ''ragtime'' and ''jazz''. These interviews, released in different forms over the years, were released on an eight-CD boxed set in 2005, ''The Complete Library of Congress Recordings''. This collection won two Grammy Awards. The same year, Morton was honored with the Grammy Lifetime Achievement Award.

Later years

During the period when he was recording his interviews, Morton was seriously injured by knife wounds when a fight broke out at the Washington, D.C. establishment where he was playing. A nearby whites-only hospital refused to treat him, and he had to be transported to a lower-quality hospital further away. When he was in the hospital the doctors left ice on his wounds for several hours before attending to his eventually fatal injury. His recovery from his wounds was incomplete, and thereafter he was often ill and easily became short of breath. Morton made a new series of commercial recordings in New York, several recounting tunes from his early years that he had been talking about in his Library of Congress interviews.

A worsening asthma affliction sent him to a New York hospital for three months at one point and when visiting Los Angeles with a series of manuscripts of new tunes and arrangements, planning to form a new band and restart his career, the ailment took its toll. Morton died on July 10, 1941 after an eleven-day stay in Los Angeles County General Hospital.

Piano style

Morton's piano style was formed from early secondary ragtime and "shout," which also evolved separately into the New York school of stride piano. Morton's playing, however, was also close to barrelhouse, which produced boogie woogie.

Morton often played the melody of a tune with his right thumb, while sounding a harmony above these notes with other fingers of the right hand. This added a rustic or "out-of-tune" sound (due to the playing of a diminished 5th above the melody). This may still be recognized as belonging to New Orleans. Morton also walked in major and minor sixths in the bass, instead of tenths or octaves. He played basic swing rhythms in both the left and right hand.

Compositions

Some of Morton's songs (listed alphabetically):

"Big Foot Ham" (a.k.a. "Ham & Eggs")

"Black Bottom Stomp"

"Burnin' the Iceberg"

"The Crave"

"Creepy Feeling"

"Doctor Jazz Stomp"

"The Dirty Dozen"

"Fickle Fay Creep"

"Finger Buster"

"Freakish"

"Frog-I-More Rag"

"Ganjam"

"Good Old New York"

"Grandpa's Spells"

"Jungle Blues"

"Kansas City Stomp"

"London Blues"

"Mama Nita"

"Milenberg Joys"

"Mint Julep"

"My Home Is in a Southern Town"

"New Orleans Bump"

"Pacific Rag"

"The Pearls"

"Pep"

"Pontchartrain"

"Red Hot Pepper"

"Shreveport Stomp"

"Sidewalk Blues"

"Stratford Hunch"

"Sweet Substitute"

"Tank Town Bump"

"Turtle Twist"

"Why?"

"Wolverine Blues"

Several of Morton's compositions were musical tributes to himself, including "Winin' Boy," "The Jelly Roll Blues," subtitled "The Original Jelly-Roll," and "Mr. Jelly Lord." In the Big Band era, his "King Porter Stomp," which Morton had written decades earlier, was a big hit for Fletcher Henderson and Benny Goodman, and became a standard covered by most other swing bands of that time. Morton also claimed to have written some tunes that were copyrighted by others, including "Alabama Bound" and "Tiger Rag."

Legacy and fictional portrayals

Two Broadway shows have featured his music, ''Jelly Roll'' and ''Jelly's Last Jam''. The first draws heavily on Morton's own words and stories from the Library of Congress interviews.

Jelly Roll Morton appears as the piano 'professor' in Louis Malle's ''Pretty Baby'', where he is portrayed by actor Antonio Fargas, with piano and vocals played by James Booker.

Jelly Roll Morton's Imaginary Memoirs was written by ethnomusicologist and folklorist Samuel Charters in 1984, embellishing Morton's early stories about his life.

Jelly Roll Morton is featured in Alessandro Baricco's book, ''Novecento''. He is the "inventor of jazz" and the protagonist's rival throughout the book. This book was later turned into a movie: Giuseppe Tornatore's ''The Legend of 1900''. His character is played by actor Clarence Williams III. In this movie, he is depicted as an arrogant master in a piano competition against the film's main protagonist. He performed "Big Foot Ham," "The Crave," and "Fingerbreaker," in that order, against the protagonist.

Jelly Roll Morton is in the Rock and Roll Hall of Fame and is a charter member of the Gennett Records Walk of Fame. In 2008, Jelly Roll Morton was inducted into The Louisiana Music Hall of Fame.

The play, ''Don't You Leave Me Here'', by Clare Brown, which premiered at West Yorkshire Playhouse on 27 September 2008, deals with Morton's relationship with Tony Jackson. Morton and his godmother, Eulalie, appear as characters in David Fulmer's mystery novel, ''Chasing the Devil's Tail''. His influence continues to this day in the work of Dick Hyman and Reginald Robinson.

Footnotes

Sources

Dapogny, James. ''Ferdinand "Jelly Roll" Morton: The Collected Piano Music''. Washington, D.C., Smithsonian Institution Press, 1982.

The Devil's Music: 1920s Jazz

Ellison, Ralph. ''Invisible Man''; page 486.

"Ferdinand J. 'Jelly Roll' Morton," ''A Dictionary of Louisiana Biography'' (1988), pp. 586–587.

"Jelly," ''Time'' magazine, March 11, 1940.

Ward, Geoffrey C., and Kenneth Burns. ''Jazz, a History of America's Music'' 1st Ed. Random House Inc.

Further reading

External links

Ferd 'Jelly Roll' Morton

Genealogy of Jelly Roll Morton

Ferd Joseph Morton WWI Draft Registration Card and essay

Jelly Roll Morton on RedHotJazz.com; biography with audio files of many of Morton's historic recordings

''Mister Jelly Roll'', complete 1950 book by Alan Lomax; chronicles the early days of jazz and one of its main developers

Category:1885 births Category:1941 deaths Category:American jazz pianists Category:Dixieland jazz musicians Category:Grammy Lifetime Achievement Award winners Category:Jazz bandleaders Category:Jazz composers Category:Louisiana Creole people Category:Musicians from New Orleans, Louisiana Category:Jazz musicians from New Orleans, Louisiana Category:Rock and Roll Hall of Fame inductees Category:Vaudeville performers Category:Gennett recording artists Category:Vocalion Records artists Category:Victor Records artists Category:People from New Orleans, Louisiana

de:Jelly Roll Morton es:Jelly Roll Morton eo:Jelly Roll Morton fr:Jelly Roll Morton it:Jelly Roll Morton he:ג'לי רול מורטון la:Ferdinandus Morton nl:Jelly Roll Morton ja:ジェリー・ロール・モートン no:Jelly Roll Morton pl:Jelly Roll Morton pt:Jelly Roll Morton ru:Мортон, Джелли Ролл sc:Jelly Roll Morton sr:Џели Рол Мортон sh:Jelly Roll Morton fi:Jelly Roll Morton sv:Jelly Roll Morton zh:杰利·罗尔·莫顿

Arsenio Rodríguez (born ''Ignacio Arsenio Travieso Scull'', Gúira de Macurijes, 31 August 1911 – Los Angeles, 31 December 1970) was a Cuban musician who played the ''tres'' (Cuban guitar), reorganized the conjunto and developed the son montuno, and other Afro-Cuban rhythms in the 1940s and 50s. He claimed to be the true creator of the mambo, and was an important and prolific composer who wrote nearly two hundred song lyrics.

Early life

Rodrígues was born in Güira de Macurijes in Bolondrón, Matanzas Province as the third of fifteen children, fourteen boys and one girl. As a young child, Rodríguez was blinded when a horse (or a mule) kicked him in the head.

Rise to Fame

Later, he became a musician, and eventually became one of the most renowned bandleaders on the island earning him the nickname ''El Ciego Maravilloso'' (the marvellous blind man). His music emphasized Afro-Cuban rhythm as well as the melodic lead of the tres, which he played. In 1936 he played his own compositions with the Sexteto Boston, led by his cousin Jacinto Scull. This disbanded in 1937, and he joined the Septeto Bellamar of cornetist José Interián in 1938. From 1940 to 1947 he led a band in Cuba, ''Arsenio Rodríguez y su Conjunto''.

He then went to New York where he hoped to get cured from his blindness but was told that his optic nerves had been completely destroyed. This experience led him to compose the bolero ''La Vida es un Sueño'' (Life is a dream). He went on to play with percussionist Chano Pozo and other great musical artists of what became Latin Jazz like Dizzy Gillespie, Tito Puente, and Mario Bauza.

Arsenio's bassist and close friend for eight years Alfonso "El Panameño" Joseph as well as other members of Arsenio's band, such as Julian Lianos, who performed with Arsenio at the Palladium Ballroom in New York during the 1960s, have had their legacies documented in a national television production called ''La Epoca'', expected to be released in theaters across the US in September 2008 and in Latin America in 2009. He had much success in the US and migrated there in 1952 one of the reasons being the better pay of musicians.

Innovations

Rodríguez improved the sonority of the Cuban septetos by using two or three trumpets instead of one, and introduced a piano, and later a conguero (conga drummer). His bongo player played the cencerro during montunos, which raised the sound level still further. These larger groups (8-12 musicians) were called conjuntos. Rodríguez also added a new repertoire and a variety of rhythms and harmonic concepts to enrich the son, the bolero, the guaracha and some fusions, such as the bolero-mambo and the bolero-son. Similar changes had been made somewhat earlier by the Lecuona Cuban Boys, who (because they were mainly a touring band) had less influence in Cuba. The overall 'feel' of the Rodríguez conjunto was more African than other Cuban conjuntos.

Rodríguez' claim to have invented the mambo is not really convincing, if by mambo he meant the big-band arrangements of Pérez Prado. Rodríguez was not an arranger: his lyrics and musical ideas were worked over by the group's arranger. The compositions were published with just the minimal bass and treble piano lines. To achieve the big-band mambo such as by Prado or Tito Puente requires a full orchestration where the trumpets play counterpoint to the rhythm of the saxophones. This, a fusion of Cuban with big-band jazz ideas, is not found in Rodríguez, whose musical forms are set in the traditional categories of Cuban music: the bolero, the son, the guaguancó and their various fusions. He wrote La fonda de el bienvenido, Mami me gusto, papa upa.

Later life and death

At the end of the 1960s the mambo craze petered out, and Rodríguez continued to play in his typical style, although he did record some boogaloo numbers, without much success. As times changed, the popularity of his group declined. He tried a new start in Los Angeles. He invited Joseph to fly out to Los Angeles with him but died only a week later. Arsenio died in 1970 and his body was returned for burial to New York. There is much speculation about his financial status during his last years, but Mario Bauza denied that he died in poverty, arguing that Rodríguez had a modest income from royalties.

Tributes

Of the many tributes to Arsenio Rodríguez four are of special interest. The first, in 1972, was a Larry Harlow LP ''Tribute to Arsenio Rodríguez'', Fania 404. On this, five of the numbers had been recorded earlier by Rodriguez' conjunto. Later, in 1994, The Cuban band Sierra Maestra recorded a CD ''Sierra Maestra: Dundunbanza!'', World Circuit WCD 041. This had four Rodríguez numbers at full length. Jazz guitarist Marc Ribot recorded two albums made mostly of Rodríguez' compositions or songs in his repertoire called ''Marc Ribot y los Cubanos Postizos'' and ''Muy Divertido!''.

Arsenio Rodriguez is mentioned in a national television production called ''La época'', about the Palladium-era in New York, and Afro-Cuban music. The film discusses Arsenio's contributions, and features some of the musicians he recorded with. Others interviewed in the movie ''840AM Interview'' include the daughter of legendary Cuban percussionist Mongo Sanatamaria – Ileana Santamaria, bongocero Luis Mangual and others.

References

There is a useful discography in García, David F. 2006. ''Arsenio Rodríguez and the transnational flows of Latin popular music''. Philadelphia. p147 et seq. This includes 78rpm, LPs and CDs.

Category:1911 births Category:1970 deaths Category:Burials at Ferncliff Cemetery Category:Cuban musicians Category:Blind musicians Category:Cuban songwriters Category:Bandleaders Category:Tres players

cs:Arsenio Rodríguez de:Arsenio Rodríguez es:Arsenio Rodríguez fr:Arsenio Rodriguez gl:Arsenio Rodríguez ru:Родригес, Арсенио

This is a list of people whose names in English are commonly appended with the phrase "''the Great''", or who were called that or an equivalent phrase in their own language. Other languages have their own suffixes such as ''e Bozorg'' and ''e azam'' in Persian and Urdu respectively.

In Persia, the title "the Great" at first seems to be a colloquial version of the Old Persian title "Great King". This title was first used by the conqueror Cyrus II of Persia.

The Persian title was inherited by Alexander III of Macedon (336–323 BC) when he conquered the Persian Empire, and the epithet "Great" eventually became personally associated with him. The first reference (in a comedy by Plautus) assumes that everyone knew who "Alexander the Great" was; however, there is no earlier evidence that Alexander III of Macedon was called "''the Great''".

The early Seleucid kings, who succeeded Alexander in Persia, used "Great King" in local documents, but the title was most notably used for Antiochus the Great (223–187 BC).

Later rulers and commanders began to use the epithet "the Great" as a personal name, like the Roman general Pompey. Others received the surname retrospectively, like the Carthaginian Hanno and the Indian emperor Ashoka the Great. Once the surname gained currency, it was also used as an honorific surname for people without political careers, like the philosopher Albert the Great.

As there are no objective criteria for "greatness", the persistence of later generations in using the designation greatly varies. For example, Louis XIV of France was often referred to as "The Great" in his lifetime but is rarely called such nowadays, while Frederick II of Prussia is still called "The Great". A later Hohenzollern - Wilhelm I - was often called "The Great" in the time of his grandson Wilhelm II, but rarely later.

Rulers

Abbas I of Persia (1571-1629), Shah of Iran

Akbar (1542-1605), ruler of the Mughal Empire of South Asia, mainly India

Alain I of Albret (1440-1522), French aristocrat

Alexander the Great (356-323 BC), King of Macedonia, Persia, Greece, Egypt, and all of Mesopotamia

Alexander I of Georgia (1386–1446), King of Georgia

Alfonso III of León (c. 848-910), King of León, Galicia and Asturias

Alfred the Great (848/849-899), King of Wessex

Antiochus III the Great (c. 241–187 BC), ruler of the Seleucid Empire

Ashoka the Great (c. 304–232 BC), Indian emperor of the Maurya dynasty

Ashot I of Iberia “the Great”(died 826/830), presiding prince of Iberia (modern Georgia),

Askia Mohammad I (c. 1442–1538), ruler of the Songhai Empire

Bhumibol Adulyadej (born 1927), King of Thailand

Bolesław I Chrobry (967-1025), sometimes called "the Great", first King of Poland

Bruno the Great (925–965), Archbishop of Cologne and Duke of Lotharingia (also listed in the following section)

Buddha Yodfa Chulaloke (1736-1809), founder and ruler of the Rattanakosin Kingdom (in what is now Thailand)

Cnut the Great (c. 985 or 995-1035), King of Denmark, England, Norway and parts of Sweden

Casimir III the Great (1310-1370), King of Poland

Catherine the Great (1729-1796), Empress of Russian

Chandragupta II (reigned 375-413/415), also known as Vikramaditya, ruler of the Gupta empire in India

Charlemagne (died 814), King of the Franks and Emperor of the Romans

Chulalongkorn (1853-1910), King of Siam (now Thailand)

Chlothar II (584-629), King of Neustria and King of the Franks

Conrad, Margrave of Meissen (c. 1097-1157), Margrave of Meissen

Constantine I (c. 272-337), Roman Emperor

Cyrus the Great (c. 600 BC or 576 BC–530 BC), founder and ruler of the Persian or Achaemenid Empire

Darius the Great (550 – 486 BC), third ruler of the Persian Empire

Devapala (died 850), ruler of the Pala Empire in the Indian subcontinent

Dionysius I, Greek tyrant of Syracuse

Ferdinand I of León and Castile (c. 1015–1065), King of León and Count of Castile

Frederick the Great (1712-1786), King of Prussia

Genghis Khan (1162?-1227), founder and Great Khan of the Mongol Empire

Gero (c. 900–965), ruler of Marca Geronis, a very large march in Europe

Gustavus Adolphus of Sweden (1594-1632), King of Sweden, founder of the Swedish Empire, and noted military leader

Gwanggaeto the Great, King of Goguryeo, one of the Three Kingdoms of Korea

Hanno the Great, the name of three leaders of Carthage, in the 4th, 3rd, and 2nd centuries BC

Henry I, Duke of Burgundy (946–1002)

Henry IV of France (1553-1610), King of France and King of Navarre

Herod the Great (73/74 BC-4 BC), King of Judea

Hugh the Great (898-956), Duke of the Franks and Count of Paris

Hugh Magnus of France (1007-1025), co-King of France

Hugh I, Count of Vermandois (1057-1101)

Humphrey I de Bohun (died c. 1123), Anglo-Norman aristocrat

Ivan III of Russia (1440-1505), Tsar of Russia

John I of Portugal (1358-1433), King of Portugal and the Algarve

John II of Aragon (1398-1479), King of Aragon and, through his wife, King of Navarre

Justinian I (483-565), Byzantine Emperor

Kamehameha I (c. 1758-1819), first King of Hawai'i

Kanishka (died c. 127), ruler of the Kushan Empire in Central Asia and parts of India

Kvirike III of Kakheti (1010-1029), King of Kakheti in eastern Georgia

Kublai Khan (1215-1294), Mongol ruler in the 13th century and Emperor of China; founder of the Yuan Dynasty

Llywelyn the Great (c. 1172–1240), Prince of Gwynedd and de facto ruler of most of Wales

Louis I of Hungary (1326-1382), King of Hungary, Croatia and Poland

Mangrai the Great (1238-1317), Lanna, northern Thailand

Emperor Meiji (1852-1912), Emperor of Japan

Mircea I of Wallachia (1355–1418)

Mithridates II of Parthia (died 88 BC), ruler of the Parthian Empire (in present day Iran)

Mithridates VI of Pontus (134 BC–63 BC), ruler of Pontus and the Bosporan Kingdom

Mstislav I of Kiev (1076-1132), Grand Prince of Kievan Rus

Narai (1633-1688), King of Ayutthaya (in what is now modern Thailand)

Naresuan (1555-1605), King of Ayutthaya

Odo the Great (died c. 735), Duke of Aquitaine

Otto I, Holy Roman Emperor (912-973)

K'inich Janaab' Pakal (603-683), ruler of the Mayan city-state of Palenque

Parakramabahu I of Polonnaruwa (1123–1186), King of Sri Lanka

Peter Krešimir IV of Croatia (died 1075), King of Croatia

Peter the Great (1672-1725), Tsar of Russia

Peter III of Aragon (1239-1285), King of Aragon and King of Sicily

Pompey (106 BC-48 BC), military and political leader of the late Roman Republic, rival of Julius Caesar

Radama I (1793–1828), first king of greater Madagascar

Raja Raja Chola I (c. 947-1014), Indian emperor of the Cholas.

Rajendra Chola I (reigned 1014-1044), Tamil King of India

Ramesses II (reigned 1279 BC – 1213 BC), considered the greatest pharaoh of Ancient Egypt

Ram Khamhaeng (around 1237 to 1247-1298), King of Sukhothai (in present day Thailand)

Ramon Berenguer III, Count of Barcelona (1082-1131), also Count of Provence and various other counties

Rhodri the Great (c. 820–878), King of Gwynedd (in present day Wales)

Roman the Great (after 1160-1205), Grand Prince of Kiev

Samudragupta (c. 335–375), ruler of the Gupta empire in the Indian subcontinent

Sancho III of Navarre (c. 992-1035), King of Kingdom of Navarre

Sargon of Akkad (died c. 2215 BC), ruler of the Akkadian Empire

Sejong the Great (1397-1450), Korean king

Shapur II (309-379), king of the Sassanid Empire, Persia

Simeon I of Bulgaria (864/865-927), ruler of the First Bulgarian Empire

Stephen III of Moldavia (1433-1504), Prince of Moldavia (Romania)

Stephen Uroš IV Dušan of Serbia (c. 1308-1355), King of Serbia and Emperor of the Serbs and Greeks

Taksin (1734-1782), King of the Thonburi Kingdom (Thailand)

Timur (1336-1405), better known as Tamerlane, founder of the Timurid Dynasty

Theobald II, Count of Champagne (1090–1151), Count of Blois and of Chartres as Theobald IV, Count of Champagne and of Brie

Theodoric the Great (454-526), King of the Ostrogoths, regent of the Visigoths and a viceroy of the Byzantine Empire

Theodosius I (347-395), Roman emperor

Tigranes the Great (140-55 BC), Emperor of Armenia

Tiridates III of Armenia (285-339), King of Armenia

Umar (c. 586 to 590–644), second caliph of the Muslim Empire

Valdemar I of Denmark (1131-1182), King of Denmark

Valentinian I (364-375), Roman Emperor

Vladimir I of Kiev (c. 958-1015), ruler of Kievan Rus

Vytautas (c. 1350-1430), archduke of the Lithuanian Grand Duchy

William I, Count of Burgundy (1020-1087), Count of Burgandy and Mâcon

William V, Duke of Aquitaine (969-1030), also Count of Poitou

Xerxes I (519-465 BC), King of Kings of the Achaemenid Empire (Persia)

Yu the Great (c. 2200-2100 BC), legendary ruler in ancient China

Religious figures

Abraham the Great of Kashkar (ca. 492-586), monk and saint of the Assyrian Church of the East

Abraham Kidunaia (died c. 366, hermit, priest, and Christian saint of Mesopotamia

Albertus Magnus (1193/1206–1280), medieval German philosopher and theologian

Anthony the Great (c. 251–356), early Christian saint of Egypt

Babai the Great (c. 551–628), Assyrian church leader

Basil of Caesarea (330-379), Greek bishop and theologian

Bruno the Great (925–965), Archbishop of Cologne and Duke of Lotharingia (also listed in the previous section)

Euthymius the Great (377-473), abbot and Roman Catholic and Eastern Orthodox saint

Gertrude the Great (1256-c. 1302), German Benedictine, mystic, theologian and Roman Catholic saint

Pope Gregory I (c. 540-604)

Hiyya the Great, 3rd-century rabbi, Palestine

Pope John Paul II (1920-2005)

Pope Leo I (c. 391 or 400-461)

Macarius of Egypt (c. 300-391), Egyptian hermit

Pope Nicholas I (c. 800-867)

Photius I of Constantinople (c. 810–c. 893), Eastern Orthodox saint and Patriarch of Constantinople

William of Maleval (died 1157), founder of the Catholic congregation of Williamites

Other

Beli Mawr, a figure in medieval Welsh literature and genealogies

Emmy the Great, folk singer

Matteo Rosso the Great, Roman politician and father of Pope Nicholas III

Prokop the Great, Hussite general in Bohemia

See also

Epithet

List of monarchs by nickname

List of nicknames of European Royalty and Nobility: G-I

James, son of Zebedee, also known as James the Greater, one of the twelve apostles of Jesus

Ajax (mythology), called Ajax the Greater

Notes

Category:Monarchs Great, List of people known as The Category:Greatest Nationals Category:Epithets

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name	Gene Krupa
background	non_vocal_instrumentalist
birth name	Eugene Bertram Krupa
born	January 15, 1909Chicago, Illinois, U.S.
died	October 16, 1973Yonkers, New York, U.S.
instrument	Drums
genre	JazzSwingDixielandBig band
occupation	DrummerComposerBandleader
years active	1920s – mid 1960s, with intermittent performances in the 1970s
associated acts	Eddie CondonBenny GoodmanLouie BellsonAnita O'Day }}

Gene Krupa (January 15, 1909 – October 16, 1973) was an influential American jazz and big band drummer and composer, known for his highly energetic and flamboyant style.

Biography

Eugene Bertram Krupa was born in Chicago, Illinois, the youngest of Anna (Oslowski) and Bartlomiej Krupa's nine children. Bartlomiej was an immigrant from Poland, and Anna was born in Shamokin, Northumberland County, Pennsylvania. His siblings were Clarence, Eleanor, Casimir, Leo, Peter and Julius.

Krupa studied with Sanford A. Moeller and began playing professionally in the mid 1920s with bands in Wisconsin. He broke into the Chicago scene in 1927, when he was picked by MCA to become a member of "Thelma Terry and Her Playboys," the first notable American Jazz band (outside of all-girl bands) to be led by a female musician. The Playboys were the house band at ''The Golden Pumpkin'' nightclub in Chicago and also toured extensively throughout the eastern and central United States.

Krupa made his first recordings in 1927, with a band under the leadership of banjoist Eddie Condon and Red McKenzie: along with other recordings beginning in 1924 by musicians known in the "Chicago" scene such as Bix Beiderbecke, these sides are examples of "Chicago Style" jazz. The numbers recorded at that session were: "China Boy", "Sugar", "Nobody's Sweetheart" and "Liza". The McKenzie - Condon sides are also notable for being some of the early examples of the use of a full drum kit on recordings. Eddie Condon describes what happened in the Okeh Records studio on that day (in 'We Called It Music' - pub: Peter Davis, 1948):

Krupa's big influences during this time were Tubby Hall and Zutty Singleton. The drummer who probably had the greatest influence on Gene in this period was the great Baby Dodds. Dodds' use of press rolls was highly reflected in Gene's playing.

Quietly we waited for the playback. When it came, pounding out through the big speaker, we listened stiffly for a moment. We had never been an audience for ourselves...Rockwell came out of the control-room smiling. 'We'll have to get some more of this... (Rockwell nodded towards Krupa): didn't bother the equipment at all,' he said. 'I think we've got something,'.

Krupa also appeared on six recordings made by the Thelma Terry band in 1928 In 1929, he was part of the Mound City Blue Blowers sessions, that also included Red McKenzie, Glenn Miller, and Coleman Hawkins, which produced "Hello Lola" and "One Hour", which Krupa was credited with co-writing.

In 1929 he moved to New York City and worked with the band of Red Nichols. In 1933, Krupa first played with Benny Goodman. He became part of the Benny Goodman trio, the first popular integrated musical group in the United States. In 1934 he joined Benny Goodman's band, where his featured drum work made him a national celebrity. His tom-tom interludes on their hit "Sing, Sing, Sing" were the first extended drum solos to be recorded commercially. In 1938, Krupa performed with the Goodman Orchestra in the famous Carnegie Hall Jazz Concert.

After a public fight with Goodman at the Earl Theater in Philadelphia, Krupa left Goodman to launch his own band and had several hits with singer Anita O'Day and trumpeter Roy Eldridge.

In 1939, Gene Krupa and his Orchestra appeared in the Paramount movie ''Some Like It Hot,'' which starred [Bob Hope & Shirley Ross], performing the title song, "Blue Rhythm Fantasy," and "The Lady's in Love with You." Krupa made a memorable cameo appearance in a pivotal scene of the 1941 film ''Ball of Fire,'' in which he and his band performed an extended version of the hit "Drum Boogie," which he composed with trumpeter Roy Eldridge.

thumb|300px|Gene Krupa Drive in Yonkers, NYIn 1943, Krupa was arrested for possession of two marijuana cigarettes and was given a three-month jail sentence. Krupa was not a wealthy man and spent most of his savings defending himself of this charge and fell into a depression for several months, believing his career to be over. Then, Goodman invited him to perform with his orchestra. Audiences welcomed Krupa's performances, and while the reunion would never last, Krupa was performing again, thanks to this nudge.

Krupa soon formed his second orchestra. This one was notable for its large string section, and also featured Charlie Ventura on sax. It was one of the largest dance bands of the era, sometimes containing up to forty musicians. He also invited another drummer into the band so that he could take breaks and lead the orchestra from the front. However, audiences were not paying to see him conduct, and he gradually accepted this.

The end of the swing era

As the 1940s closed, large orchestras fell by the wayside: Count Basie closed his large band and Woody Herman reduced his to an octet. Krupa also gradually cut down the size of the band in the late 1940s, and from 1951 on led a trio or quartet, often featuring the multi-instrumentalist Eddie Shu on tenor sax, clarinet and harmonica. He appeared regularly with the ''Jazz At the Philharmonic'' shows.

Krupa also had a fleeting brush with Hollywood. Along with his musical sequence in the 1941 film comedy hit Ball of Fire, he also delivered a cameo appearance in the 1946 screen classic ''The Best Years Of Our Lives''. His athletic drumming style, timing methods and cymbal technique evolved during this decade to fit in with changed fashions and tastes, but he never quite adjusted to the Be-Bop period. In 1954, Krupa returned to Hollywood, performing, along with Louis Armstrong, "Basin Street Blues" in Jimmy Stewart's bio-pic ''The Glenn Miller Story''. He also joined fellow Benny Goodman alumni Harry James, Teddy Wilson, and Lionel Hampton in ''The Benny Goodman Story'', starring Steve Allen. In 1959, the movie biography ''The Gene Krupa Story'' was released, with Sal Mineo portraying Krupa and a cameo appearance by Red Nichols. Rainn Wilson writes for Turner Classic Movies about this film, which was most unusual for a biopic in its era. Wilson says, "More fact than fiction, The Gene Krupa Story avoids sugarcoating Krupa's life and takes a warts-and-all approach which gives the film an emotional honesty that other screen biographies often lack. In fact, Mineo's portrayal of Krupa is so needy, egocentric, manic and ruthlessly ambitious that you may find yourself rooting for his comeuppance which he receives in spades, starting with a drug bust for marijuana. Dave Frishberg, a pianist who played with Krupa, was particularly struck by the accuracy of one key moment in the film. "The scene where the Krupa character drops his sticks during the big solo, and the audience realizes that he's "back on the stuff." I remember at least a couple of occasions in real life when Gene dropped a stick, and people in the audience began whispering among themselves and pointing at Gene."

Krupa continued to perform even in famous clubs in the 1960s like the Metropole, near Times Square in New York City, often playing duets with African American drummer Cozy Cole. Increasingly troubled by back pain, he retired in the late 1960s and opened a music school. One of his pupils was Kiss drummer Peter Criss. He occasionally played in public in the early 1970s until shortly before his death. Krupa married Ethel Maguire—twice, in fact; the first marriage lasted from 1934–1942; the second one dates from 1946 to her death in 1955. Their relationship was dramatized in the biopic about him. Krupa remarried in 1959 (to Patty Bowler). He died of leukemia and heart failure in Yonkers, New York at the age of sixty-four. He was buried in Holy Cross Cemetery in Calumet City, Illinois.

Legacy

Many consider Krupa to be one of the most influential drummers of the 20th century, particularly regarding the development of the drum kit. Many jazz historians believe he made history in 1927 as the first kit drummer ever to record using a bass drum pedal. Others, however, believe this was done earlier by Baby Dodds. His drum method was published in 1938 and immediately became the standard text. He is also credited with inventing the rim shot on the snare drum.

Krupa in the 1930s prominently featured Slingerland drums. At Krupa's urging, Slingerland developed tom-toms with tuneable top and bottom heads, which immediately became important elements of virtually every drummer's set-up. Krupa also developed and popularised many of the cymbal techniques that became standards. His collaboration with Armand Zildjian of the Avedis Zildjian Company developed the modern hi-hat cymbals and standardized the names and uses of the ride cymbal, the crash cymbal, the splash cymbal, the pang cymbal and the swish cymbal.

Krupa was featured in the 1946 Warner Bros. cartoon ''Book Revue'' in which a rotoscoped version of Krupa's drumming is used in an impromptu jam session.

The 1937 recording of Louis Prima's "Sing, Sing, Sing (With a Swing)" by Benny Goodman and His Orchestra featuring Gene Krupa on drums was inducted into the Grammy Hall of Fame.

In 1978, Gene Krupa became the first drummer inducted into the Modern Drummer Hall of Fame.

Krupa was mentioned in the Simpsons episode "Hurricane Neddy", when Ned Flanders parents are being told they must control Ned, Ned's father responds "We can't do it man! That's discipline! That's like tellin' Gene Krupa not to go "Boom boom bah bah bah, boom boom bah bah bah, boom boom boom bah bah bah bah, boom boom tss!"".

Rhythm, the UK's best selling drum magazine voted Gene Krupa the third most influential drummer ever, in a poll conducted for its February 2009 issue. Voters included over 50 top-name drummers.

Discography

Benny Goodman: ''The Famous Carnegie Hall Concert 1938'' (Columbia)

''Drummin´ Man'' (Charly, 1938–41) with Roy Eldridge, Anita O'Day, Benny Carter, Charlie Ventura

''Drum Boogie'' (Columbia, 1940–41)

''Uptown'' (Columbia, 1941–1949)

''Lionel Hampton/Gene Krupa'' (Forlane, 1949) with Don Fagerquist, Frank Rehak, Frank Rosolino, Roy Eldridge

''The Exciting Gene Krupa'' (Enoch's Music, 1953) with Charlie Shavers, Bill Harris, Willie Smith, Ben Webster, Teddy Wilson, Herb Ellis, Ray Brown, Israel Crosby

''Krupa and Rich'' (Verve, 1955) with Roy Eldridge, Dizzy Gillespie, Illinois Jacquet, Flip Phillips, Oscar Peterson, Herb Ellis, Ray Brown, Buddy Rich

''Gene Krupa Big Band: Drummer Man featuring Anita O'Day & Roy Eldridge'' (Verve, 1956)

References

External links

Gene Krupa at traditional-jazz.com

The Gene Krupa Reference Page

Gene Krupa Drummerworld Page

''Let Me Off Uptown: A Gene Krupa Biography'' by John Twomey

Category:1909 births Category:1973 deaths Category:American jazz drummers Category:American jazz bandleaders Category:American people of Polish descent Category:American musicians of Polish descent Category:Big band bandleaders Category:Big band drummers Category:Cancer deaths in New York Category:Deaths from leukemia Category:Dixieland drummers Category:Musicians from Chicago, Illinois Category:RCA Victor artists Category:Verve Records artists Category:Columbia Records artists Category:Swing drummers

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