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Creating Jazz CounterpointNew Orleans, Barbershop Harmony, and the Blues$
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Vic Hobson

Print publication date: 2014

Print ISBN-13: 9781617039911

Published to University Press of Mississippi: September 2014

DOI: 10.14325/mississippi/9781617039911.001.0001

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PRINTED FROM Mississippi SCHOLARSHIP ONLINE (www.mississippi.universitypressscholarship.com). (c) Copyright University Press of Mississippi, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in MSSO for personal use.date: 04 June 2020

New Orleans

New Orleans

Capital of Jazz

Chapter:
(p.109) 8 New Orleans
Source:
Creating Jazz Counterpoint
Author(s):

Vic Hobson

Publisher:
University Press of Mississippi
DOI:10.14325/mississippi/9781617039911.003.0008

This chapter considers Robert Goffin’s book La Nouvelle-Orléans Capital du Jazz (1946) that has never been published in English. Consistently those interviewed by Goffin said that Bolden did not lead a band until after the Robert Charles riots of1900. Goffin was given a detailed account of where Buddy Bolden was; who he was playing with, and also that before 1900 his principal instrument was accordion. This chapter also discusses the roles of Manuel Perez. Buddy Petit who never recorded is credited as being the best cornet player for playing second (harmony parts) in New Orleans. Punch Miller reproduced Petit’s harmony part on “High Society,” and this is discussed in relationship to barbershop voice leading. The recordings of the Joe Oliver’s “Creole Jazz Band” and Louis Armstrong’s “Hot Fives” are discussed in relation to jazz counterpoint.

Keywords:   Robert Goffin, Robert Charles, Punch Miller, Buddy Petit, Manuel Perez

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