Sometimes you listen for fun, other times you listen to learn. The Library of Congress recordings of Jelly Roll Morton offers a little bit of both – actually a LOT of both. Jelly Roll Morton: The Complete Library of Congress Recordings by Alan Lomax is an amazing eight disk set, which presents for the first time, the complete recordings (including the spoken word segments) fully restored, speed corrected and remastered, along with a series of interviews and performances from 1949 conducted again by Alan Lomax, exploring the roots of jazz with Morton’s contemporaries. Rounder has long been acclaimed for presenting traditional American music with great attention to detail, and this is certiainly no exception. With 128 tracks in all, the set includes lavish liner notes, photos, letters, notes and more in both printed and digital form.
Recorded in 1938, these recordings offer more than nine hours of music and conversation with one of the self-proclaimed inventors of “jazz, stomps and swing.” Aside from great spontaneous performances of early jazz, ragtime classics, and a little dose of “them dirty blues” (hence the parental advisory), Morton tells the stories behind many of these tunes, and describes the people who inspired them. In what is perhaps one of the first true oral histories, it’s a fascinating first-hand account of the evolution of popular music, told (and played) by someone who not only witnessed it, but actually lived and breathed it. The following dialog is typical and opens the set…
”When I was down on the Gulf Coast in nineteen-four, I missed going to the St. Louis Exposition to get in the piano contest, which was won by Alfred Wilson of New Orleans. I was very much disgusted because I thought I should have gone. I thought Tony Jackson was gonna be there, and of course that kind of frightened me. But I knew I could have taken Alfred Wilson. So then I decided that I would, uh, travel about different little spots. Of course I was down in Biloxi, Mississippi, during the time. I used to often freq— frequent the Flat Top, which was nothing but a old honky-tonk, where nothing but the blues were played. There was fellows around played the blues like Brocky Johnny, Skinny Head Pete, Old Florida Sam, and Tricky Sam, and that bunch.” (excerpt from The Story of “I’m Alabama Bound”)
How fortunate we are to have documents such as this, which allow us to explore the roots of contemporary music and culture. It’s a fascinating set and well worth the time.
Jelly Roll Morton: The Complete Library of Congress Recordings by Alan Lomax