Freddie Keppard

Freddie Keppard (sometimes rendered as Freddy Keppard) (February 27, 1890 - July 15, 1933) was an early jazz cornetist.
Keppard was born in the Creole of Color community of downtown New Orleans, Louisiana. His older brother Louis Keppard was also a professional musician. Freddie played violin, mandolin, and accordion before switching to cornet. After playing with the Olympia Orchestra he joined Frankie Dusen's Eagle Band, taking the place recently vacated by Buddy Bolden. Soon after Bolden was off the music scene Keppard was proclaimed "King Keppard" as the city's top horn player (see: jazz royalty).

About 1914 Joe "King" Oliver won a musical "cutting contest" and claimed Keppard's crown; soon after Keppard accepted an offer to join Bill Johnson's band in Los Angeles, California.
Johnson and Keppard's band became the Original Creole Orchestra which toured the Vaudeville circuit, giving other parts of the USA a first taste of the music that was not yet known as "jazz". While playing a successful engagement in New York City in 1915 the band was offered a chance to record for the Victor Talking Machine Company. In retrospect this would probably have been the first jazz recording. An often repeated story says that Keppard didn't want to record because then everyone else could "steal his stuff." Another well known story is that he was so paranoid about the risk of being copied that he sometimes played with a handkerchief over his fingers to conceal how he played. The recording company offered him $25 flat fee to make a record (a fairly standard rate for non-star performers at the time), far less than he was earning on the vaudeville circuit. His retort to this offer, according to Lawrence Gushee's research, was: "Twenty-Five dollars? I drink that much gin in a day!" The reminiscences of the other members of the Creole Orchestra reveal that another factor was that the Victor representative had asked them to make a "test recording" without pay, and the band balked, fearing it was a ploy to have them make records without being paid.
About 1917 Keppard settled in Chicago, which would remain his home (except for briefly going to the East Coast to work with Tim Brymn's band about 1920). Keppard worked in Chicago both as a soloist and with the bands of Jimmie Noone, Johnny Dodds, Erskine Tate, Doc Cook (for several years), Don Pasquall, and Lil Hardin Armstrong.

Keppard made all his known recordings in Chicago from 1924 to 1927. The only recordings he is certainly on are three sides under his own name ("Freddie Keppard's Jazz Cardinals") and a dozen with Doc Cooke's Orchestra, most of which are wonderfully arranged and with Keppard on second cornet. Note that second cornet was the logical and quite demanding seat for the premier cornetist in a two-cornet band, as evidenced by Louis Armstrong's role (one example of many) in similar sized bands and orchestras around the same period. His "Stockyard Strut" is in fact a stunning improvisation on the chords of "Tiger Rag". Aficionados will derive great pleasure from his contributions to the Doc Coooke recordings, wherein he plays the 'walking-talking' style of Stomp Cornet that pre-dates jazz by about a half generation and follows naturally from ragtime by the same margin. There are a few other recordings on which he plausibly may appear, and a great many more that are often dubiously attributed to him. Keppard was widely imitated both in New Orleans and Chicago, including contemporaneous and highly regarded players such as Louis Panico and Frank Guarante.
Many of his contemporaries said that either Keppard was past his prime when he recorded or that his recordings do not do him justice. Nonetheless, informed listening to the sides on which he is undoubtedly present reveal Keppard to be technically a very proficient player and an adventurous improviser. Many make the mistake of comparing his accomplishments to jazz of a later era, a comparison which does neither approach any favours.

Keppard's style is much more raggy compared to Oliver's blues tinged style. While Oliver had more admirers, to some extent preference was a matter of taste; Jelly Roll Morton, Lil Hardin Armstrong, and Wellman Braud all thought Keppard superior to Oliver.
Several musicians with clear memories of Buddy Bolden said that Freddie Keppard sounded the most like Bolden of anyone who recorded.
Keppard suffered from alcoholism and tuberculosis in his final years, and died, largely forgotten, in Chicago.



Freddie Keppard (Nueva Orleáns, 27 de febrero de 1890 - Chicago, 15 de julio de 1933) fue un cornetista estadounidense de jazz. Se trata de uno de los pioneros del jazz, que llegó a ser proclamado, tras la muerte de Buddy Bolden, como el rey de la corneta.

Con un hermano también músico (Louis, que tocaba la guitarra y la tuba), Freddie, después de probar con varios instrumentos, se decidió por la corneta y así ya a comienzos del siglo XX tocaba en la orquesta de John Brown. En 1906 se convirtió en el líder de la Olympia Band, orquesta que quedó disuelta cuando se trasladó a Los Ángeles en 1914.
Se une a la Original Creole Orchestra y realiza varias giras por todo el país; en 1916, dos años antes de disolverse, la orquesta tiene la oportunidad de realizar la primera grabación de una banda de jazz, aunque Keppard renuncia, por miedo a que su estilo sea copiado.

En 1918 establece su residencia en Chicago y toca en una orquesta con Erskine Tate y Jimmie Noone, aunque progresivamente su salud va empeorando, debido, en parte, a su afición a la bebida.

Buddy Bolde

Charles "Buddy" Bolden (September 6, 1877 – November 4, 1931) was an African American cornetist and is regarded by contemporaries as a key figure in the development of a New Orleans style of rag-time music which later came to be known as jazz.
He was known as King Bolden (see Jazz royalty), and his band was a top draw in New Orleans (the city of his birth) from about 1900 until 1907, when he was incapacitated by schizophrenia (then called dementia praecox). He left no known surviving recordings, but he was known for his very loud sound and constant improvisation.

While there is substantial first hand oral history about Buddy Bolden, facts about his life continue to be lost amongst colorful myth. Stories about him being a barber by trade or that he published a scandal sheet called The Cricket have been repeated in print despite being debunked decades earlier. Reputedly, his father was a teamster.
Bolden suffered an episode of acute alcoholic psychosis in 1907 at the age of 30. With the full diagnosis of dementia praecox, he was admitted to the Louisiana State Insane Asylum at Jackson, a mental institution, where he spent the rest of his life.
Bolden was buried in an unmarked grave in Holt Cemetery, a pauper's graveyard in New Orleans. In 1998 a monument to Bolden was erected in Holt Cemetery, but his exact gravesite remains unknown.



Charles "Buddy" Bolden (Nueva Orleans, 6 de septiembre de 1877 – Jackson, 4 de noviembre de 1931) fue un cornetista de hot, considerado como uno de los padres y fundadores del Jazz.
Lo conocían como "King" Bolden, y era un hombre con clásicos rasgos de negro "criollo" de Nueva Orleans, y procedía del distrito negro de esta ciudad americana. La vida de Bolden continúa envuelta en leyendas que lo hacen aún más fascinante. Con graves problemas de alcoholismo y mentales (era esquizofrénico), mujeriego, de carácter violento y fanfarrón, era un peluquero que de día cortaba y afeitaba a sus clientes y al anochecer prestaba sus servicios como músico en ceremonias, picnics, fiestas y bailes íntimos, o en sitios tan dispares como en entierros o en los vapores del Mississipi. Aquellas actuaciones le hicieron conocido como la mejor corneta de toda Nueva Orleans y quien más magistralmente tocaba el blues.

La conducta excéntrica de Bolden, sus problemas con la justicia (fue detenido y encarcelado el día del trabajo de 1906) y su adicción al alcohol le provocaron un agravamiento de su trastorno mental que lo llevó a ser ingresado por su familia durante 1907 en un hospital para enfermos mentales en Jackson (Luisiana) donde permaneció hasta su muerte en 1931.
La leyenda de Buddy Bolden incrementa por el hecho de no haber ninguna grabación disponible de su música, y aunque sí que llegó a realizar grabaciones, ninguna de ellas ha sobrevivido.

James Scott

James Sylvester Scott (February 12, 1885 – August 30, 1938) was an African-American ragtime composer, regarded as one of the three most important composers of classic ragtime, along with Scott Joplin and Joseph Lamb.

He was born in Neosho, Missouri to James Scott Sr. and Molly Thomas Scott, both former slaves. In 1901 his family moved to Carthage, Missouri, where he attended Lincoln High School. In 1902 he began working at the music store of Charles L. Dumars, first at menial labor, but before long demonstrating music at the piano, including his own pieces. Demand for his music convinced Dumars to print the first of Scott's published compositions, "A Summer Breeze", in 1903.

In 1906 he moved to St. Louis, Missouri, where Scott Joplin introduced him to publisher John Stillwell Stark. The first Scott rag that Stark published, "Frog Legs Rag", became a hit, and Scott became a regular contributor to the Stark catalogue. In 1914 Scott moved to Kansas City, Missouri, where he married Nora Johnson, taught music, and accompanied silent movies.

James Scott's 1904 "On the Pike", which refers to the midway of the St. Louis World's Fair of 1904.
With the arrival of sound movies, his fortunes declined. He lost his theater work, his wife died without child, and his health deteriorated. Though it is said he continued to compose, he published nothing after Stark's retirement in 1922. He died in Kansas City, Kansas and was buried there in the Westlawn Cemetery.
Scott's best-known compositions include "Climax Rag", "Frog Legs Rag", "Grace and Beauty", "Ophelia Rag" and "The Ragtime Oriole".
Scott was a cousin of blues singer Ada Brown.



James Sylvester Scott (Neosho, Misuri, 12 de febrero de 1885 - Kansas City, Kansas, 30 de agosto de 1938) fue un compositor y pianista de rag. Scott fue un artesano que supo crear obras de calidad siempre notable dentro de su formato estándar.

De formación principalmente autodidacta, recibió algunas clases de música por parte de John Coleman, pianista negro, que le enseñó a leer música y a refinar su técnica pianística. A los 13-14 años, se trasladó a Ottawa y en 1900 a Carthage, donde publicó a los 17 años su primera composición, A Summer Breeze.
Trabajó como empleado de una tienda de discos en Carthage, y en 1914 se marchó a San Luis, donde ya conocía a Scott Joplin. Trabajó allí como profesor de piano y luego como organista y arreglista en el Panama Theater.

Se trasladó en 1919 a Kansas City, lugar donde publicó sus composiciones hasta 1922, fecha de aparición de su famoso Broadway Rag, y donde siguió trabajando como profesor y director de banda.
Muerta su esposa, se trasladó a Kansas, donde terminaría sus días trabajando como compositor.