Wednesday, January 3, 2018

Sounds of 1699 NOLA Africans Transitioned to Classical Music / Dec 15, 2017

Dec. 15, 2017  / Tulane University Amistad Research Center

So, my music research continues about the "early black sound / music" of Africans coming off the boat at Port Orleans and connecting it to the early forms of American classical music.   I just read a book recently that says "we should not try to tie the African sounds to "classical" music, it should be Jazz and Blues.  I beg to differ with the book "EXCILE" a book about Edmond Dede, but the classical sound is exactly what I want to tie it to because the earliest forms of Jazz and Blues did not come around until the early 1800's almost 100 years after this particular music I am looking for.  Before I get into the history of early forms of African music on into the classical art form, I would be remiss if I didn't go over briefly the rich history of Orleans, later NEW Orleans.  New Orleans area was founded by Spanish explorers in the sixth century, and the city of New Orleans was founded by the French in the 18th century. The transformation of Orleans from a cotton trade city into an industrial port serving the Mississippi area, happened later in the 1800's but it important to know it's beginning history. This transformation of a cotton trade city made New Orleans wealthy and fast. The rich and elite seeking music had the opera house and Congo Square for the slaves.  New Orleans systematically was designed in 1719 by a man named Chevalier Le Blond de La Tour.  It was located in the wetlands near the Mississippi River.  Chevalier Le Blond de La Tour designed the city with only 66 squares that each measure 300 feet with a levy to prevent flooding.  Development focused at the edge of the city which was 11 squares long or one-mile long.  Center of the city consisted of two parts the area where the troops stayed in the area where the church was, later known as Jackson Square.  Streets were designed to be narrow to better be utilizing shade, much like those found in tropical climates and named in honor of the French royal family.  The original city became known as the French Quarter, due to the influence of French architecture.  With such a demand of work and more workers needed an even more greater demand for entertainment was needed.  OK, so we have established that New Orleans after 1699 and once developed and the settlement started in and around 1719, it is evident that New Orleans destiny was to become a rich city even though the sister states (the 13 colonies were struggling to thrive themselves).  Still under the Spanish rule from 1763 to 1803, there were still problems.  The colony had just signed a 3 year treaty granting Americans to freely navigate the Mississippi River and the right to deposity goods in the Port of Orleans, after the treaty of 1795 expired in 1798, Spain refused to allow those American vessels to enter the Port of Orleans.  This was a problem.  Results:  in 1798 Americans in the Ohio Basin claimed they couldn't survive without the use of the Mississippi River then President Thomas Jefferson suggests the purchase of New Orleans from Spain, which had secretly given Louisiana back to France.   Sneaky as it was IT WORKED.  So, the purchase of Louisiana took place in 1803 for 15 million dollars.  The United States doubled in size all due to the purchase of the this area.  So how does music tie into this history lesson ?  With the area growing after the Louisiana Purchase and 45 years before the Civil War, New Orleans (the cotton trade city and ever growing, needed a way to fix boredom).   With people coming into the exciting and growing city so did new ideas and old ones. Music was an old added luxury that was needed for New Orleans.
The music, whether African sounds, or music from the tribal gatherings or classical music they "did somehow" find its way into the city from the early parts of the 1700, 1800 and on into today.  One such milestone besides the placement of streetcars replacing mule driven wagons and salons for the elite replacing brothels and shacks was the opening of very nice places for music to be heard throughout the city.  The more New Orleans grew the better the entertainment was that came into the city.  By 1815 the city experienced a growth in commercial expansion due to the availability of steamboats.  After the Civil War, Italian and German immigrants from Europe joined the already existing melting pot that caused tension which eventually would end in riot in 1866 and 1900.  

The French opera house opened in 1859 between the streets of Bourbon and Toulouse until it burned down in 1919, It hosted the upper class division of the New Orleans society of both white and creole.  New Orleans was the first United States city to have its own Opera company. New Orleans opera house was reopened in 1943.



Théâtre de l'Opéra, was an opera house in New Orleans. It was one of the city's landmarks from its opening in 1859 until it was destroyed by fire in 1919. It stood in the French Quarter at the uptown lake corner of Bourbon and Toulouse Streets, with the main entrance on Bourbon.
Designed by James Gallier, Jr., the hall was commissioned by Charles Boudousquié, then the director of the opera company, which had previously made its home in the Théâtre d'Orléans. After a dispute with new owners of the Orléans, Boudousquié determined to build a grand new house for French opera. The building went up in less than a year at a cost of $118,500 and for the next sixty years, it was the center of social activity in New Orleans. Not only opera was held there, but also Carnival balls, debuts, benefits, receptions, and concerts. On May 23, 1859, the New Orleans Delta gave a description of the new theater:  By April 25, 1862, New Orleans had been captured by Union forces in the US Civil War and the French Opera ceased to present performances until the end of the war. However, in 1864, the wife of Union General Nathaniel P. Banks held a ball at the theater in honor of George Washington's birthday. At the end of the War, the French Opera House was reopened and continued to present many American operatic premieres.
By 1913, however, the house had fallen on hard times and was forced into receivership. An anonymous donor (later identified as William Ratcliffe Irby) purchased the building and donated it to Tulane University, along with the wherewithal to operate it under the new leadership of the French tenor Agustarello Affré. The building reopened, but went up in flames on the night of December 4, 1919. The last performance was Giacomo Meyerbeer's Les Huguenots, a long favorite among old family Creoles. 
The French Opera House itself was the most fashionable establishment in New Orleans in the years between the Civil War and World War I. The first night of the opera season was the opening of the social season in New Orleans, and it is an important feature of New Orleans social life, attendance being a social event of importance in accordance with its rituals and traditions. The French Opera season became the center of social life for New Orleans' elite, with the oldest and most prominent families owning seats in the theater's boxes or "Loges Grilles".   Here are a few debuts of the French Opera House.










The Storyville red light district was established in 1897 in an attempt to regulate prostitution into a 20 block radius inside the French Quarter.  United States Navy closed Storyville and 1917.
(Storyville detailed further in blog)

One of the effects of immigration in New Orleans from 1860 to 1930 with the jobs that Italian Sicilians immigrants took 


In their impact story bill and the creation of Dixieland Jazz they were forced to live with Creole people in the French quarter upon arrival. Though not as a discriminating as Afro-Americans because of their light-skinned Italians found it hard to find any prestigious job.  

Listed here is a fine composer and artist from France in 1760, he never came to the United States but his music migrated to New Orleans.   

Joseph Bologne, Chevalier de Saint-Georges (December 25, 1745 – June 10, 1799) was a virtuoso violinist, and conductor of the leading symphony orchestra in Paris. Born in Guadeloupe, he was the son of George Bologne de Saint-Georges, a wealthy planter, and Nanon, his African slave.  


(http://www.amistadresearchcenter.org/)  

This Center, like the Williams Research Center (downtown NOLA), houses some of the best pristine special collection of sheet music, recordings, books, pictures and brochures on early New Orleans music. I don't mean 1900's but early 1800's and late 1700's.  12 years ago most of the music and collections were destroyed with the devastation of Katrina.  The smartness of the curators was to send the collections prior to the storm to different geographical locations in the US; digitally and facsimiles thus saving the works of the collections I seek today:

Basile J Bares  1860-1867 collection ( folder one of 4)
Thomas Greene Bethune 1886
Lawrence Dubucues 1893
Laurent Dubuclet 
Eugene Macarty
Sister Seraphine 1896
Samuel Snaer  1865

Now, my pet peeve, is that the music appreciation classes I've taken in the past mentions hardly any of these composers and if the instructors do mention them, their works are hardly mentioned and not played.  I have a problem with this, especially if music composers music should be heard....duhhhhh...  It comes strange to me that just by collecting music and information about these composers, that even a simple blog can house some of the best examples and therefore that is GMP&A quest to do just that.  My recollection of the earliest days of New Orleans bringing Africians into the Port, is 1699.  Remember music could only have been brought in by means of sheet music or in someone's head.)  Also remember that the maturing America had new laws concerning slaves, the 13 colonies differ from that of Port Orleans and the surroundings (like Mobile and Biloxi).  To capture that part of history and make since of it is almost a miracle within itself. I mean the history was so complex with different laws and governments controlling the rights of slaves (as large and massive a story, the music (I want to capture) almost seems infinitesimal).  

The history of slavery in the area currently known as Louisiana did not begin only with colonial settlement by Europeans, as Native Americans also reduced captured enemies to the status of slaves.   Following Robert Cavelier de La Salle establishing the French claim to the territory and the introduction of the name Louisiana, the first settlements in the southernmost portion of Louisiana (New France) were developed at present-day Biloxi (1699), Mobile (1702), Natchitoches (1714), and New Orleans (1718). Slavery was then established by European colonists.  The institution was maintained by the Spanish (1763–1800) when the area was part of New Spain, by the French when they briefly reacquired the colony (1800-03), and by the United States following the Louisiana Purchase of 1803. Due to its complex history, Louisiana had a very different pattern of slavery compared to the rest of the United States.

Chattel slavery was introduced by French colonists in Louisiana in 1706, when they made raids on the Chitimacha settlements. Thousands of indigenous people were killed, and the surviving women and children were taken as slaves. The enslavement of natives, including the Atakapa, Bayogoula, Natchez, Choctaw, Chickasaw, Taensa, and Alabamon peoples, would continue throughout the history of French rule.[citation needed] While Native American peoples had sometimes made slaves of enemies captured in war, they also tended to adopt them into their tribes and incorporate them among their people.

The French introduced African chattel slaves to the territory in 1710, after capturing a number as plunder during the War of the Spanish Succession. Trying to develop the new territory, the French transported more than 2,000 Africans to New Orleans between 1717–1721, on at least eight ships. The death toll for African and native slaves was high, with scurvy and dysentery widespread because of poor nutrition and sanitation. Although sailors also suffered from scurvy, enslaved Africans were subject to more shipboard diseases owing to overcrowding.

>>>  Spanish rule (1763–1803)
When Alejandro O'Reilly re-established Spanish rule in 1768, he issued a decree on December 7, 1769, which banned the trade of Native American slaves.   Although there was no movement toward abolition of the African slave trade, Spanish rule introduced a new law called coartación, which allowed slaves to buy their freedom and that of other slaves.
A group of maroons led by Jean Saint Malo resisted re-enslavement from their base in the swamps east of New Orleans between 1780 and 1784.

>>>>  Pointe Coupée conspiracy
On May 4, 1795, 57 slaves and three local white men were put on trial in Point Coupee. At the end of the trial 23 slaves were hanged and 31 slaves received a sentence of flogging and hard labor. The three white men were deported, with two sentenced to six years forced labor in Havana.

>>>>  U.S. Territory of Orleans (1804–1812)
The demand for slaves increased in Louisiana and other parts of the Deep South after the invention of the cotton gin (1793) and the Louisiana Purchase (1803). The cotton gin allowed the processing of short-staple cotton, which thrived in the upland areas. It made possible a new commodity crop in northern Louisiana, although sugar cane continued to be predominant in southern Louisiana. The Mississippi River Delta area in southeast Louisiana created the ideal alluvial soil necessary for the growing of sugar cane; sugar was the state's prime export during the antebellum period.
The United States banned the importation of slaves in 1807–08. A brisk domestic slave trade developed; many thousands of black slaves were sold by slave holders in the Upper South to buyers in the Deep South, in what amounted to a significant forced migration.
Early in 1811, while Louisiana was yet the U.S. Territory of Orleans, the largest slave revolt in American history began about thirty miles outside of New Orleans (or a greater distance if traveled alongside the twisting Mississippi River), as slaves rebelled against the brutal work regimens of sugar plantations. There had been a sizable influx of refugee French planters from the former French colony of Saint-Domingue following the Haitian Revolution (1791–1804), who brought their slaves of African descent with them. This influence was likely a contributing factor in the revolt. The German Coast Uprising ended with white militias and soldiers hunting down black slaves, peremptory tribunals or trials in three parishes (St. Charles, St. John the Baptist, and Orleans), execution of many of the rebels, and the public display of their severed heads.

>>>>  Statehood & U.S. Civil War (1812–1865)
Slavery was officially abolished by the state constitution of 1864, during the American Civil War. Slavery had theoretically been abolished by President Abraham Lincoln's 1863 Emancipation Proclamation, which provided that slaves located in territories which were in rebellion against the United States were free. In some areas, slaves left the plantations to seek Union military lines for freedom. If such lines were located too far away, they were often held in servitude until the Union gained control of the South.
Difference between slavery in Louisiana and in the rest of the country
Free woman of color with quadroon daughter. Late 18th-century collage painting, New Orleans.
18th-century colonial Louisiana had a completely different slave-trade pattern than that of the Thirteen Colonies. First, the slaves originated from French, and later Spanish, colonies (principally from Senegal, the Bight of Benin and the Congo region), rather than from British colonies.  After the Louisiana Purchase, an influx of slaves and free blacks from the United States occurred.
Secondly, Louisiana's slave trade was governed by the French Code Noir, and later by its Spanish equivalent the Código Negro, As written, the Code Noir gave unparalleled rights to slaves, including the right to marry.  Although it authorized and codified cruel corporal punishment against slaves under certain conditions, it forbade slave owners to torture them or to separate married couples (or to separate young children from their mothers). It also required the owners to instruct slaves in the Catholic faith, implying that Africans were human beings endowed with a soul, an idea that had not been acknowledged until then.
Together with a more permeable historic French system related to the status of gens de couleur libres (free people of color), often born to white fathers and their mixed-race concubines, a far higher percentage of African Americans in the state of Louisiana were free as of the 1830 census (13.2% in Louisiana compared to 0.8% in Mississippi, whose population was dominated by white Anglo-Americans.) The free people of color were on average exceptionally literate, with a significant number of them owning businesses, properties, and even slaves.
The Code Noir also forbade interracial marriages, but interracial relationships were formed in New Orleans society. The mulattoes became an intermediate social caste between the whites and the blacks, while in the English colonies the mulattoes and blacks were considered equal and discriminated against equally.
When control of Louisiana shifted to the United States, the Catholic social norms were deeply rooted in Louisiana; the contrast with predominantly Protestant parts of the young nation, where English norms prevailed, was evident. The Americanization of Louisiana resulted in the mulattoes being considered as black, and free blacks were regarded as undesirable.

I am just finishing Sybil Kein's book Creole "the history and legacy of Louisiana's free people of color" it too suggest that people of color were free in New Orleans, in the early 1700's as does Freddi Williams Evans' book "Congo Square" to make their own minds up as to what music they'd play and music they'd sing. 
   












the beautiful stained glass windows at Tilton Hall / Tulane where the Amistad Collection is housed.  Amistad Research Center | Tilton Hall | Tulane University. 6823 St. Charles Avenue | New Orleans, LA 70118. O (504) 862-3222

These are a few photos I took at the Anistad Research Center.  I will list them in order:  
Pictures 1 through 13
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After thought this music of the era I seek is considered "classical" by all means and purposes.  So, I continue to search and that search took me to Tulane University (Amistad Research Center) on Friday  (Dec 15th). 








Thursday, June 22, 2017

June 17th 2017 New Orleans / Finding out more than the Blues.

Every time  I come to New Orleans I learn something new and something interesting.  How to pronounce French words correctly is hard enough but to remember what foods to order that I like is an undertaking. Arrived Saturday morning and listened WWOZ coming into NOLA, Jazz and Blues. Bluesville on XM radio, got me ready for the New Orleans feel.  This trip would be to use the XA 30 Canon and not concentrate on music as much but that is like giving candy to a child and telling them NOT to eat it. It can't be done, so this will be an educational trip also.  Oragami for lunch on Saturday and it was a late lunch but rolled down the window in the car to hear some music. Wing-stop for a late dinner (bbq chicken wings). Up Sunday morning for worship at Edgewater Baptist Church, service was great, Chad and his family on vacation so Richard (a deacon preached), Dat Dog after church, I had the hamburger hot dog. VERY GOOD. Music in the background.  Hung out at the room (David and I) and then Wing-stop again for dinner.  This morning up at ate breakfast at Pontilly Coffee Shop across the street from NOBTS.  

Monday -  

Tuesday - (20th) Mona's for lunch. Rained most of the day. Museum of Art  (NOMA).  ((earlier))  

Wednesday - (21st), David had to work, so I headed to the Williams Research Center (410 Chartres St., NOLA) www.hnoc.org  I'd been there before (back several months ago) just to say that I'd been but never to ask for anything from the special collections or archive, only to read. Today was unbelievable. I met Heather Szafran and another Heather, both helped me from the time I arrived, through the tornado warning.  I studied without knowing there was a water spout just outside the Center that set off the tornado warning; I just studied through it.  Heather and Heather asked me what I wanted. I told them it was an on going study of the African music (sound) that transformed into classical and then into the early sounds of the blues and jazz.  First things first, to study the African sound I'd need to go back to the Amistad Collection at Tulane (been there and done that, when I studied Freddy Williams "Congo Square") http://www.amistadresearchcenter.org/, 
re:  Amistad Research Center   |   Tilton Hall   |  Tulane University
6823 St. Charles Avenue   |   New Orleans, LA 70118

O  (504) 862-3222  |  F (504) 862-8961

Charles B. Rousseve papers, 1842-1994 | Amistad Research Center

By Andrew Salinas  Title: Charles B. Rousseve papers, 1842-1994Collection Overview
Creator: Rousseve, Charles B. (1902-1993)
Extent: 5.59 Linear Feet
Date Acquired: 01/01/1984


Since I'd been there already Heather suggested that I look into some items of interest for Louis Moreau Gottschalk (1829 - 1869) a composer I'd known about from a few cds that I'd purchased on line about the history of classical to blues transformation. I decided to give it a chance and go for the special collection items on LM Gottschalk. When Heather brought me the items I teared up immediately, as these were not replicas or books about Gottschalk but his own works (originals). I could not and still can not believe that I actually had my hands on such valuable yet fragile items. One such book was so fragile I used a cradle, a cloth rolled up on both ends describing a scroll turned upside down and shoe strings that were weighed down to old the pages as I read or took pictures, oh the book ? written in 1860 several years before the ending of the Civil War and just a year before the war began. My mind was blown.  There the info of LM Gottschalk was so vast and rich it would take a month just to research it alone.  Once my research was complete for the day (I was tired and hungry), I decided to give it a rest and go take David some lunch and get some lunch too. Gottschalk would have to wait until the blog or another day in NOLA. 

www.LouisMoreauGottschalk.com 

Traditionally, Gottschalk is remembered as a virtuoso, as well as a prolific composer of popular (and, so it is said, quite often rather sentimental) music. While there may be some truth in this statement, it is our belief that there is more to Gottschalk and his music than just that. As one of his biographers has put it, Gottschalk was “both an arch-romantic and a rationalist, a sentimentalist and a pragmatist, at once America´s first regionalist composer, its first multiculturalist, and its first true nationalist.”
Gottschalk was also the first and, one might well argue, possibly the last pan-American composer and artist. Not only did he travel frequently outside the United States, as did, by necessity, most virtuoso pianists at the time; he also lived in South America and the Caribbean for extended periods of time, incorporating, without prejudice but with critical judgment, many local influences and musical traditions. He also was politically outspoken on issues such as slavery and the Civil War, and while a true American patriot, he did not spare his countrymen acrimonious criticism whenever he deemed it appropriate.

This website will continue to grow so as to provide as complete and concise an account of Gottschalk´s life and his music as possible. We also intend to provide an up-to-date documentation of books on Gottschalk and a discography of recordings of his music (concentrating on CDs and recordings that are currently available rather than on historic sources). To the extent that the books and CDs featured on this website are available, we provide direct links to online sources (in association with amazon.com, amazon.de, and amazon.co.uk). We encourage you to order music and literature by using the links provided for each title or recording, or (if no individual link is available) by logging on to amazon via one of the general amazon links on this website.
If you have comments or suggestions concerning this website, feel free to let us know by sending an email to info2@louismoreaugottschalk.com. The cool thing about the new pay to park (parking lots) you enter your phone number and tag and then pay. The entrance of the tag obviously keeps up with whom you are BUT the telephone number text warns you about your time limit. My phone warned me that I only had like 10 minutes to get to the car,  3 hours was plenty of time but then all I had to do was go and reset the meter to about one hour more.  This was to study the display of STORYVILLE. A touchy subject BUT I WILL COVER IT. You see Storyville is about the era of time frame I am researching BUT it includes a RATED PG-13 format that I promised my readers someday I may have to cover. UP UNTIL THIS POINT sex, brothels anything to do with a not so pleasant subject matter was not mentioned at GMP&A because as I have promised so many it is a family website.
I will try to be as discreet as I can. Here we go. The display at the Williams Research Center was excellent, information had to really be researched to have such a display as that. The meaning of STORYVILLE is as such..Storyville was the red-light district of New OrleansLouisiana, from 1897 to 1917. It was established by municipal ordinance under the New Orleans City Council, to regulate prostitution and drugs. Sidney Story, a city alderman, wrote guidelines and legislation to control prostitution within the city. The ordinance designated a sixteen block area as the part of the city in which prostitution, although still nominally illegal, was tolerated or regulated. The area was originally referred to as "The District", but its nickname, "Storyville", soon caught on, much to the chagrin of Alderman Story.  It was bound by the streets of North Robertson, Iberville, Basin, and St. Louis Streets. It was located by a train station, making it a popular destination for travelers throughout the city, and became a centralized attraction in the heart of New Orleans. Only a few of its remnants are now visible. The neighborhood lies in Faubourg Tremé and the land is now used for housing.  As I understand the story there were millionaires, bankers, lawyers, high society gentlemen that would frequent these houses in the red-light area of NOLA near Basin Street. These brothels would house for the weekends and after work, musicians that were very talented and the best that NOLA had. Other "not so well brothels" had cheap gramaphones for music entertainment.  There were as such books "BLUE, RED, GREEN, YELLOW, etc.. that one could purchase for 25 cents that listed in alphabetical order the names and address of the ladies of the evening that also worked at the better know brothels in this area.  I will leave this alone for right now but the uneasy part of this story is still untold, not to give NOLA a bad name, because that is where the history is, it is that I'd rather not go into anymore detail unless you contact me by email.  I'd always wondered why NOLA had a bad rep for the 1800's and early 1900's now I know.    One such artist was Tony Jackson, one of the best piano players in NOLA (circa 1880), Jackson passed in 1921. 


There was noting that Jackson could not play from any genre hearing it only once he could play it.  Unfortunately he attended and played at many brothels in the red-light district.  The more famous the artist the more the Madams' wanted them to entertain to keep clients.  Prostitutes were controlled in the mid 1900's but up until then, they were not controlled and they were taxed as any other item for sell in NOLA.  With that part of the pay to the artist would come form the city itself. 
Lulu White was one of the most famous madams in Storyville, running and maintaining Mahogany Hall. She employed 40 prostitutes and sustained a four-story building that housed 15 bedrooms and five parlors. She often found herself in trouble with the law for serving liquor without a license and was known to get violent when another intervened in her practice. Her clients were the most prominent and wealthiest men in Louisiana and she is remembered for her glamour and jewels "which were like the 'lights of the St. Louis Exposition' just as reported in her promotional booklet"
Prior to leaving New Orleans, White lost $150,000 in her investment schemes following the closure of Storyville.

Wednesday night (21st)  David and I went to the French Market Cafe' to eat muffuletta, and heard Richard Knox (one of the best blues / jazz pianist I've ever heard).  His story is as follows: first from ((The New Orleans Jazz Scene, 1970-2000: A Personal Retrospective)) 

Richard Knox was born in Champaign, Illinois (ideally located between St. Louis and Chicago, Il) on September 20th 1941, the last of seven children. For as long as he can remember, he played piano. Relatives say that he started when he was about four years old. The first song that Richard remembers playing was called the "Honey Dipper". By the time he entered high school Richard had a yearning to play in a group. He got together with two of his fellow classmates and formed "Le Trois" (translated "the three".  They played rock and roll hits and imitated stand up groups like Little Anthony and the Imperials. In the latter part of his secondary school years, his interest in the Blues was sparked by the bands that played at local Club call "The Hole" in the Champaign Danton area. At night, Richard with sneak out into the club, take a seat in a secluded corner and absorb himself in the music. Some of the musicians who knew that he could play, would invite him to jam with them on the bandstand. He realized, then, that playing the piano was in important part of his life and he wanted to be a famous musician. Richard Knox started working professionally in Chicago in the 60s with blues artists such as Earl Hooker and Roland Brown and the Jazz Merchants. The music led him to New Orleans in 1966.  Richard work at the renowned Do Drop Inn  ((The Dew Drop Inn, at 2836 LaSalle Street, in New Orleans, Louisiana, United States, is a former hotel and nightclub that operated between 1939 and 1970, and is noted as "the most important and influential club" in the development of rhythm and blues music in the city in the post-war period. The venue primarily served the African-American population in the then heavily-segregated Southern United States)),  ( where he played with various New Orleans artists including Johnny Adams, Earl King, Porgy Jones, and James Rivers. He formed a jazz group called The Three Sages in the mid-70s. This Trio featured John Brunlus on trumpet and Sydney Wilson on drums. After leaving the three sages, he had a desire to play rock and psychedelic music comma so he joined the Deacon John band. 
((Deacon John Moore (born June 23, 1941, New Orleans, Louisiana) better known as Deacon John is a blues, rhythm and blues and rock and roll musician, singer, actor, and bandleader)).
It was during this time that Richard enrolled in southern University of New Orleans School of Music and was greatly influenced by the instruction of Professor and acclaimed jazz musician kid Jordan. By 1980 he began playing with noted New Orleans traditional jazz musician Teddy Riley and Thomas Jefferson. Richard Knox has covered the gamut of music genre. He is most noted among his fellow musicians as the keyboard man who plays much like Jimmy Smith. Richard may be seen in some of the New Orleans finest hotels playing piano with some of the newer New Orleans best musicians and performers such as Walter Peyton, Alva Jacques and Barbara Shorts. Richard has performed at every New Orleans Jazz & Heritage Festival since the Inception of the event. For the last three years, Richard Knox has been traveling the world as piano and keyboard player for the reconstructed Dirty Dozen Brass Band.       

"To play My Piano and keyboard truly quenches my thirst for Creative expression. It's my life's calling. I feel so grateful for this gift that God has given me. I want to share my piano with the world." - Richard Knox

He gave me his telephone number and invited GMP&A for a video and audio interview the next time I'm in NOLA.  

Friday, November 18, 2016

Early Music Research at NOBTS continues on NOV 18 2016

NOBTS research continues on Nov 18th 2016
Early Music Sacred and Secular (the transition of music from Old to New Testament Church). 




Add caption


‎Friday, ‎November ‎18, ‎2016   9:12:37 AM

Got David and myself breakfast at McDonald's, he wanted a breakfast parfait and oatmeal, myself a egg mcmuffin with canadian bacon and cheese. Orange juice and a diet dr. pepper, dropped it off at the guard shack, got me a hug and headed back to the room for my meds and to eat.
Once done back to the Library of Music at NOBTS. Maybe my answer to Old vs New Testament music in secular and sacred music. In the time that Jesus lived to about his 33rd year, music in the church, old and new, has really puzzled me; especially in the past 25 years. My research leads me down a curious road of broken information, not fluidity, as the stories go. The music of the New Testament Church should have began during the ascension of Christ but I am finding now that the music for "the New Testament Church" would not start until some 100 to 300 years later, and songs about the Christ, the Savior, would not be sung with instruments but as in a chant by Georgian singers or Greeks bearing Oxyrhynchus chants. There are instruments praising God in the Psalms but the actual music that celebrates and commemorates the Lord Jesus Christ does not come into existence until much later after his death and ascension as mentioned above (some 300 plus years). I have researched around the 50's and 60's AD and do not find any reference about the birth, death, resurrection or ascension in song.  Shortly after the death of Jesus, persecution of Christians was still happening in and around the 60 AD. It would have been with the massive fire that wiped out most of Rome (only a 1/4 of Rome was left) in 64 AD, that was a relief in the Christian world.  Perhaps composers were even thinking about a music that they could offer to the King of Kings at that point. We are finding out more and more about Christians in the "Early Church" and I have read recently that after the GREAT PERSECUTION in 303 AD (43 years after peace, hardly any news of Christian Persecution was heard of), then in 303 AD, vengeance started again in a wrath so strong it became the Great Persecution. Shortly after this did the relief finally happen and almost 325 years after the death of Christ could Christians finally speak about Jesus as a Savior and live the life modeled after him. Music now could be written and composed about this marvelous man.  The New Testament mentions singing hymns during the LAST SUPPER. "When they sung the hymn, they went to the Mount of Olives...Matt 26:30.  Other ancient witnesses such as Pope Clement 1, Tertulllian, St. Athanasis and Egeria confirm the practice, although in poetic or obscure ways that shed little light on how music sounded during this period.  The 3rd century Greek "OXYRHYNCHUS HYMN" survived with musical notation, but the connection between this hymn and the plainchant tradition is uncertain.  Musical elements that would later be used in ROMAN RITE began to appear in the 3rd century.  The Apostolic Tradition, attributed to the theologian Hippolytus, attests the singing of Hallel psalms (Jewish songs, from the Psalms 113 to 118), which get this was used for PRAISE and Thanksgiving songs includes "with Alleluia as the refrain" (which is Hebrew BUT the Christians picked it up later) in early Christian agape feasts.   Hello ??? any of  this sound like what goes around comes back around.... WOW...  So...   Chants of the Office (of  the Divine Office), sung during the canonical hours, have their roots in the early 4th century, when desert monks following St. Anthony introduced the practice of continuous psalmody, singing the complete cycle of 150 psalms each week. Around 375 AD antiphonal psalmody became poplular in the Christian East.  In 386 St. Ambrose introduced this practice to the West. In the 5th century a singing school Schola Cantorum (was founded in Rome) to provide training in the church musicianship. Below is an example of the Greek OXYRHYNCHUS HYMN. circa about 3rd century Greece.)) doesn't it seem ironic that the singing of CHRISTIAN SONGS Schools.... birthplace began where the very person about the singing died ?
WOW. what a wake up call that  was for me.







NOW on to  the New Orleans Collection after a stop at NOBTS Library...(see Francis at the Collection)....

In the Oxford University / Early Music edition vol xxxiv/2, May 2006 referenced that early Georgian chant (Latin and English)  was the bridge way for the om sound (borrowed from the early Tibetan Monks) in their song.  Did they pick up the idea from the Tibetan monks or did they have an intuition that the OM sound was just what was needed as the soothing sound of God ? or what it took to heal the mind, body and soul.  Nevertheless, the tranquil relaxing sound (almost haunting chants) of the Georgian vocals, is what would entertain and serve as music for sacred and secular alike. Let's face it the entertainment of the early 200's to 900's (if it was not stringed, percussion, woodwinds) it had to be vocal.
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Published: 29 April 2009
...Alexander Lingas At all events, a systematic update of the dossier of evidence for Greek influence on the development of Latin chant would have to begin by acknowledging that the patterns of musical and liturgical influence were undoubtedly more complicated than previously imagined. David Hiley...
Constantin Floros, an eminent and prolific scholar of wide-ranging interests who taught for many years at the University of Hamburg, is well known in the English-speaking world for his writings on 19th- and 20th-century music, especially that of Gustav Mahler. Nearly half a century ago, however, he began producing a series of what are now recognized as seminal contributions to the study of Byzantine and Slavonic chant that began in 1961 with a three-volume Habilitationsschrift on the Middle Byzantine repertory of Kontakia of 1961 and continued with pioneering articles on the decipherment of enigmatic early notations. Complementing and in some ways paralleling the efforts of scholars in Anglo-American academia (including Oliver Strunk, Egon Wellesz, and their students), Floros followed these specialized studies with his monumental three-volume Universale Neumenkunde (Kassel, 1970). The first volume of this ‘Universal theory of neumes’ consolidated his previous work on the development of Byzantine and Slavonic...


Monday, October 24, 2016

Early African Sounds to Jazz

Early African Sounds to Jazz

The curators of the NOMA (New Orleans Museum of Art) have finally given me the ok to share with my fans and followers that in which I have worked so very hard researching. Even though there is a copyright to the following you are about the see, this out of print document needs to be seen by everyone whom enters this sight because mainly you are continuing your research as I am on the early sounds of African music (thanks to Stephen Hayes for putting that thought into my head). What you are about to see if offered by the New Orleans Museum of Art (NOMA) and all rights thereof belong to NOMA and only used here as  educational purposes. No profit will be generated to or by this sight nor this page for Gamble Music Production and Archive or Scott Gamble. If any donation is generated all proceeds go back to fund the arts at NOMA.