Džässirada - The Jazz Track

Džässirada on reisikava külastamiseks jazzseotud kohad (eriti big band ja traditsiooniline jazz) Ühendriigid.

Reisi avaldus

See on juhend džässi marsruudi järgimiseks autoga reisi ettevalmistamiseks. Reis on kavandatud 13 päevaks mööda Ameerika Ühendriike jazziajalooga seotud ajalooliste paikade ja klubide külastamiseks.

New Yorgi linn → Chicago → Kansas City → Memphis → New Orleans

Taust (1895–1935)

Alustame mõnest taustast tegelikust teekonnast, mida džässmuusikud 20. sajandi esimesel poolel jälgisid.

Memphis

Bluus pärineb juba enne džässi algust ja selle päritolu on täpsete dokumentide lootusest ebaselge, ehkki see pidi olema sündinud kuskil sügavas lõunaosas, mõni aeg enne 20. sajandi vahetust. Suurest hulgast ajaloolistest paikadest, mis mängisid keskset rolli bluusi kasvus, kuulutati 1977. aastal Kongressi aktiga Memphises Beale tänav ametlikult bluusi koduks. 1900. aastate alguses oli Beale Street täis klubisid, restorane ja poode, paljud neist kuuluvad afroameeriklastele. WC Handy lõi Memphises mõned kõige varasemad ja kuulsamad bluusid, "Memphise Blues" (1909), "Saint Louis Blues" (1914) ja "Beale Street Blues" (1916). 1920-ndatest kuni 1940-ndateni mängisid Beale Streetil Louis Armstrong, Muddy Waters, Albert King, Memphis Minnie, B.B. King, Rufus Thomas, Rosco Gordon ning teised bluusi- ja džässilegendid ning aitasid välja arendada Memphise Bluesina tuntud stiili.

New Orleans

Jazz sündis New Orleansis 1890. aastate lõpus ja 1900. aastate alguses. Sellest sai kiiresti populaarne muusika kogu linnas, enamasti Storyville'i linnaosas. Storyville'is võis seaduslikult nautida prostitutsiooni, kuulates ajaloo esimest džässbändi Buddy Bolden Band. Kahjuks, kuigi meenutati, et Bolden on teinud vähemalt ühe fonograafisilindri, pole Boldenist teadaolevaid lindistusi säilinud. Kümme aastat hiljem (1917) sulges föderaalvalitsus Storyville'i, sundides džässmuusikuid kolima põhjapoolsematesse linnadesse - enamasti Chicagosse ja New Yorki ning vähemal määral Kansas Citysse.

Chicago

Aastatel 1917–1928 sai Chicago kiiresti džässi pealinnaks. Isegi kui ansamblid ei saanud ebasoodsate ilmastikutingimuste tõttu tänavatel marssida, jäi New Orleansi stiil peaaegu puutumata. "South Side" linnaosas tekkis suur hulk kabareid. Nende seas olid kõige asjakohasemad „Kuninglikud aiad” (võõrustas “King Oliver Creole Jazz Band”, kus Cornet mängis Louis Armstong) ja “Apex Club” (võõrustas suurimat klarnetisti Jimmy Noone'i ja pianisti Earl Hinesi).

New Yorgi linn

Vahepeal nägi Harlem silmapaistvate jazzpianistide sündi ragtime stiilis, nagu Willie “Lõvi” Smith ja James P. Johnson. See klaveristiil sai populaarseks osaliselt tänu maja üüripidudele (üüride rahastamiseks juhuslikult korterites korraldatud erapeod). Harlemi suurim tantsuklubi oli Savoy, kahe lavaga hiiglaslik ruum, mis võimaldas bändidel kogu öö lahinguid pidada. Kõige populaarsemaks said kaks bigbändi, kõigepealt Fletcher Hendersoni orkester, järgnes Duke Ellingtoni orkester. Harlemis ilmus 1920. aastatel välja kaks pimestavat naisvokalisti: bluusi keisrinna Bessie Smith ja Ethel Waters.

Kansas City

Suur depressioon (algas 1929. aastal) tähistas kõigi aegade ühe suurima džässiajastu lõppu. Korraga leidsid Chicago ja Harlemi jazzmuusikud end töötuna. Kriis levis kiiresti kogu riigis, välja arvatud Kansas City. 1930. aastatel oli Kansas City Ameerika Ühendriikide ristmik ja mandritevahelised reisid eeldasid linnas peatumist. Kansas City oli laialt avatud linn, kus alkoholiseadusi ja tunde täielikult ignoreeriti. Paljud jazzmuusikud sattusid esinejate seas sõbralikele muusikalistele võistlustele, mis suutsid terve õhtu hoida ühte lugu erinevates variatsioonides. Sellised muusikalised võistlused viisid uue stiili, Kansase linna stiilini. Kansas City stiili kehtestamine on seotud Bennie Moteniga, kuid see sai ülipopulaarseks, kui krahv Basie pärast tema surma oma bändi üle võttis.

Kansas City on pikka aega tunnustatud kui suur džässikeskus, mis on tähtsuselt alles New Yorgi taga, New Orleansja Chicago. 1920. aastate keskpaigast kuni 1930. aastate lõpuni olid Ameerika keskosariikidest pärit džässmuusikud töökohta, muusikalist väljakutset ja häid aegu otsimas "Kansas Citysse". Kohale jõudes sisenesid nad muusikalisse kogukonda, mis oli erakordselt toetav, nõudlik ja kunstiliselt meeliülendav.

Kui suurem osa Ameerikast kannatas suure depressiooni all, siis Kansas City džäss õitses, seda peamiselt Boss Tom Pendergasti korrumpeerunud, kuid majanduslikult stimuleeriva administratsiooni tõttu. Džäss oli tolle aja populaarne seltskonnamuusika ning asepresidentide keskused - ööklubid ja mänguhallid - palkasid klientide meelitamiseks tavaliselt muusikuid. Edukad tulemused olid küllaldased, kuigi madala palgaga töökohad kogu Kesk-Lääne džässmuusikutele ja uhke uue muusika valamine.

Vaata Ameerika Ühendriikide industrialiseerimine selle perioodi laiemaks vaatamiseks.

Suured džässmuusikud (1895–1935)

Memphis
  • Frank Stokes
  • Karvane Lewis
  • Memphis Minnie
  • Unine John Estes
  • Ida Cox
  • WC mugav
  • Sidney Kirk II
  • Sidney "Lusikas" Kirk III
New Orleans
  • Buddy Bolden
  • Freddie Keppard
  • Nariv Johnson
  • Clarence Williams
  • Joe "Kuningas" Oliver
  • Poiss Ory
  • Jelly Roll Morton
Chicago
  • Joe kuningas Oliver
  • Louis Armstrong
  • Jimmie Noone
  • Johnny Dodds
  • Earl Hines
  • Jelly Roll Morton
  • Lil Hardin Armstrong
New Yorgi linn
  • Hertsog Ellington
  • Fletcher Henderson
  • Willie Smith
  • James P. Johnson
  • Thomas Fats Waller
  • Joe Turner
  • Coleman Hawkins
  • Thelonious munk
  • Bennie Carter
  • Ben Webster
  • Johnny Hodges
  • Cootie Williams
  • Bessie Smith
  • Ethel Waters
Kansas City
  • Krahv Basie
  • Buck Clayton
  • Herschel Evans
  • Coleman Hawkins
  • Jo Jones
  • Pete Johnson
  • Harlan Leonard
  • Jay McShann
  • Bennie Moten
  • Kuumade huulte leht
  • Charlie Parker
  • Sammy Price
  • Jimmy Rushing
  • Joe Turner
  • Ben Webster
  • Claude Williams
  • Mary Lou Williams
  • Lester Young

Millal minna

Ideaalis tuleks reis teha selleks, et jõuda mõnda külastatud linna kuulsate džässifestivalideni. Vikipeedia Džässifestivalide nimekiri loendi jaoks.

The Beale tänavamuusika festival mail Memphises.

The New Orleansi džässi- ja pärandifestival toimub aprillis ja mais.

The Scott Joplini rahvusvaheline Ragtime'i festival juunis toimub Missouris Sedalias.

Võite liikuda Chicagosse kokkulangevusega Chicago džässifestival, tavaliselt augusti lõpus.

Mine

1. päev (reede): Boston kuni New Yorgi linn

2. päev (laupäev): külastamine New Yorgi linn

  • 52. tänav Ajavahemikul 5. – 7.
Viienda avenüü ja Seitsmenda avenüü vahelised 52. tänava kvartalid olid 20. sajandi keskel tuntud džässiklubide rohkuse ja elava tänavaelu poolest. 52. tänavat on tuntud kui "Swing Street", "džässi tänav", "tänav, mis kunagi ei maga" ja lihtsalt "tänav". Tänapäeval on panku, poode ja kaubamaju täis ning selle džässiajaloost on vähe jälgegi.
Charlie 'Bird' Parker okupeeris oma karjääri haripunktis esimese korruse korteri, olles saavutanud märkimisväärset edu ja olnud tuntud kui bebopi kaasasutaja - tänapäevane džässistiil, mille tema ja trompetist Dizzy Gillespie lõid New Yorgis keskel 1940. aastad. Parker nautis siin elades rahvusvahelist kuulsust, esinedes nii suurte ja väikeste ansamblitega kui ka ladina bigbändide ja keelpillidega. Avenue B (7. ja 10. tänava vahel - piki Tompkinsi väljaku parki) nimetati 1992. aastal ümber Charlie Parker Place'iks ja alates 1993. aastast korraldatakse pargis igal aastal linnu sünnipäeva tähistamiseks Charlie Parkeri džässifestivali (29. august 1920 Kansas City, Kansas). ja tema panus 20. sajandi muusikasse.
  • Harlem
    • Kongo tuba Capitoliumist, Lääne 115. osa ja Malcolm X puiestee, c. 1940
    • Bamville Club, 65. lääneosa 125. tänav, c. 1920-1930 - Coleman Hawkins
    • Plantation, läänes 126., Malcolm X Blvd lähedal, c. 1930 - konkureeris puuvillaklubiga; Kabiin Calloway
    • Klubi kabaree, Malcolm X puiestee 416, c. 1923-25
    • Klubi parun, Malcolm X puiestee 437, c. 1940–46
    • Goldgraben, I.G. Kohvik, Malcolm X puiestee 439, c. 1919-30; 1964. aastal nimetati see ümber Baron's Loungeiks - muusikute lemmik hangout pärast tööd teistes klubides
    • Põdra rendezvous, 464 Malcolm X puiestee, c. 1930-45 - peeti seltskondlikke klubitantse
    • Club Harlem, 130. lääneosa ja Malcolm X Blvd, c. 1927–29; 1964. aastal nimetati see ümber Harlem Grilliks
    • Gee-Hawi tallid, Lääne 132. tänav 7. ja Malcolm X Blvd vahel, c. 1940-45; 1964. aastal oli Pärsia lahe bensiinijaam - hobuse pea oli sissepääsu kohal, klubi pärast tundi
    • Lincolni teater, 58. läänepoolne 135. tänav, c. 1909-1964 - paigaldas Fats Wallerile Wurlitzeri 10 000 dollari suuruse oreli; nüüd kirik (1964. aasta andmed)
    • Põdra kohvik, Malcolm X Blvd. Lääne 137. ja Lääne 138. tänava vahel, c. 1917–20
    • Kapitooliumi palee, 575 Malcolm X puiestee, c. 1922-50 - nüüd mänguväljak
    • Brittwoodi baar ja grill, Malcolm X puiestee 594, c. 1932–42 - Willie Ganti muusikalised maniakkid;
    • Kuldse värava ballisaal, Malcolm X Boulevard ja West 142. tänav, c. 1939-50 - luksuslik ballisaal
    • Rhone'i orkestriklubi, 625 Malcolm X Boulevard, c. 1920-35 hiljem Lenoxi klubi, teise nimega "Hommikusöögiklubi", 652 Malcolm X Boulevard, c. 1935–45 - Louis Armstrong, Fletcher Henderson, Duke Ellington, 3 näitab öösel 8-neiu joonega; lammutati 1958. aastal Bethune Towers / Delano Village jaoks.

Jazziklubid New Yorgis

Mintoni's asutas tenorsaksofonist Henry Minton 1938. aastal. Mintoni oma on kuulus oma rolli poolest tänapäevase jazzi, tuntud ka kui bebopi arendamises, kus 1940. aastate alguse moosisessioonidel osalesid Thelonious Monk, Kenny Clarke, Charlie Christian, Dizzy Gillespie. ja Charlie Parker, olid uue muusika teerajajad. Mintoni õitseng kestis kolm aastakümmet kuni languseni 1960. aastate lõpus ja sulgemiseni 1974. aastal. Pärast enam kui 30-aastast sulgemist avas äsja ümberehitatud klubi oma uksed 19. mail 2006 nime all Uptown Lounge Mintoni mängumajas. Seda kohta võib pidada moodsa jazzi sünnikohaks ja lisaks võib seda mõne puritaani jaoks pidada varajase jazzi surmapaigaks, seega on see parim lähtepunkt, mida siit džässi pala jälgida.
Savojele esitati arve kui maailma ilusaimale ballisaalile; see asus hoone teisel korrusel, mis ulatus kogu kvartalini 140. ja 141. tänava vahel ning kus oli suur tantsupõrand (200 jalga 50 jalga), kaks ansamblit ja sissetõmmatav lava. See muutus kiiresti Harlemi populaarseimaks tantsupaigaks ning paljud 1920. ja 1930. aastate džässitantsuhullused said alguse just sealt; see nautis pikka ja sädelevat karjääri, mis kestis ka 1950. aastatel, enne kui varanduse langus algas.
Kesklinn oli tuntud kui "õnnelike jalgade kodu", kesklinnas aga Harlemis "rada". Savoy korraldas regulaarselt kampaaniaid "Bändide lahing", mis tavaliselt toimusid maja ja külalisbändi vahel, kuigi mitte tingimata. Mõnikord vahetasid ansamblid numbreid komplektide vahelises üleminekupunktis. Nende sündmuste toimumise ajal oli alati vähe ruumi, kus oli vähe ruumi tantsimiseks ja rahvas hääletas, kes on nende lemmikbänd, bändijuht, vokalist jne. Kaks kõige kuulsamat "lahingut" juhtusid siis, kui Benny Goodmani orkester kutsus Chicki välja Veeb 1937. aastal ja 1938. aastal, kui krahv Basie Band tegi sama. Üldine hinnang oli, et nad mõlemad kaotasid Chick Webbile.
Sedalaadi väljatöötatud üritusi korraldas ka juhtkond: 15. mail 1927 esitles Savoy "Jazzilahingut", kus esinesid ansambel King Oliver's Dixie Syncopators, Williamsi juhtimisel, Chick Webbi Harlem Stompers ja Hendersoni Roselandi orkester; muud lahingud peeti ansamblite vahel, mida juhtisid Lloyd Scott, Webb, Alex Johnson, Charlie Johnson, Williams ja Henderson (6. mai 1928) ning Cab Calloway Missourians ja rühmad, mida juhtisid Duke Ellington, Henderson, Cecil Scott, Lockwood Lewis Webb (14. mai 1930).
Tänapäeval võib Savoy asukohast leida ainult mälestustahvli.
  • Puuvillaklubi, Lenoxi avenüü, lääne 142. tänav (1923–1936); 200 lääne 48. tänav (1936 - 1940). 666 West 125th Street (tänaseni 1997) 1 888 640-7980. [3][4]
Varem "Club De Lux" nime kandnud puuvillaklubi oli 1920. ja 1930. aastatel linna ööklubidest kõige kuulsam, meelitades publikut, kuhu kuulus sageli ka New Yorgi ühiskonna koor. Selle sädelev revüü oli meedium selle päeva silmapaistvamate džässmuusikute esinemisteks ning klubi tegevust tõid sagedased ülekanded laiale publikule. Fletcher Henderson juhtis esimest seal mänginud bändi aastal 1923. Esikoha esmakordsel avamisel oli majabänd Andy Preeri puuvillaklubi sünkopaatorid; pärast Preeri surma 1927. aastal oli Duke Ellingtoni orkester kaasatud ja selle residentuur sai klubi ajaloo kõige kuulsamaks, mis kestis aastani 1931. Cab Calloway ja tema Missourians, kes esmakordselt ilmusid üliedukalt 1931. aastal, võtsid siis üle ja Calloway aeg kui Cotton Clubi bändijuht (mis laienes aastani 1934, kui Jimmie Lunceford tema järglaseks sai) pidi tegema oma maine. Nii Wellington kui Calloway naasid pärast klubi kesklinna kolimist.
Enamik selle perioodi peamistest džässmuusikutest, lauljatest ja tantsijatest ilmusid mingil etapil puuvillaklubisse, sealhulgas Louis Armstrong, Ethel Waters, Ivie Anderson, Bill Robinson ja Nicholas Brothers. Klubi olemasolu hiilgeaeg loodi uuesti Francis Ford Coppola filmis Puuvillaklubi (1984).
Pärast võistluste rahutusi Harlemis 1935. aastal peeti seda piirkonda valgete jaoks (kes moodustasid Puuvillaklubi klientuuri) ohtlikuks. ja klubi oli sunnitud sulgema (16. veebruar 1936). See avati uuesti 1936. aasta septembris kesklinnas West 48th Streeti ruumides, kus varem asusid Palais Royal ja Connie's Inn (1933–6); puuvillaklubi jätkas selles kohas tegevust 1940. aasta juunini.
Klubi taasavati samal aastal hiljem Broadwayl ja 48. tänaval, kuid suleti lõplikult 1940. aastal kõrgemate üüride, maitsetundide muutumise ja föderaalse uurimise tõttu Manhattani ööklubide omanike maksudest kõrvalehoidumise survel. Puuvillaklubi taasavati 1978. aastal Harlemis. Puuvillaklubi algne asukoht lammutati 1958. aastal koos Savoy ballisaali ja Lenoxi klubiga (1935–45 Louis Armstrong, Fletcher Henderson, Duke Ellington, 3 etendust igal õhtul) Bethune Towers / Delano Village ehitamiseks; selle pärand elab aga uues samanimelises kohas aadressil 666 West 125th Street.
Oma hiilgeajal keelas puuvillaklubi mustadele patroonidele lubamise, ehkki kõik esinejad olid mustanahalised.
  • Sinine noot, 131 W. 3rd St., New York, NY, [5] Greenwichi küla südames.
Avatud 1981. aastal. Lipulaev New York Blue Note klubi on pälvinud tunnustuse olla maailma juhtiv džässiklubi ja restoran. Tony Bennett, George Benson, Ray Charles, Natalie Cole, Oscar Peterson, David Sanborn, Nancy Wilson, kadunud Sarah Vaughan ja Dizzy Gillespie.
Maailmakuulus talent astub lavale kuue päeva jooksul, esmaspäevad on tavaliselt reserveeritud suurepärastele kohalikele talentidele. Kaks komplekti on 9:00 ja 11:30. Hinnad on vähemalt 35 dollarit laudibroneeringute eest või baaris 25 dollarit. Reede ja laupäeva hilisõhtuste jamaseansside eest tuleb maksta 5 USD. Pühapäevane brunch serveeriti keskpäeval - 18.00. Saate kellaajad kell 13.00 ja 15.30.
1935. aastal asutatud The Vanguard on Greenwichi külas pime kelder. Vanguard on arhetüüpne Greenwich Village jazziklubi. Alates (algselt singlina ilmunud) albumist Sonny Rollinsi nime all 1957. aastal on kohapeal salvestatud üle saja džässialbumi. Klubi ajaloo kaks kuulsamat tegevust on ilmselt Bill Evansi ja John Coltrane, mõlemad toimusid aastal. 1961. Wynton Marsalis salvestas klubis regulaarselt 1990. aastate alguses.
Komplektid: pühapäev - neljapäev 9:30 ja 23:30, reede ja laupäev 9:30, 23:30 ja 1:30. Esmaspäeva õhtuti jätkab Thad Jonesi ja Mel Lewise üle 33 aasta tagasi asutatud Vanguard Jazz Orchestra oma bigbändi traditsiooni. Pühapäev - neljapäev: uksel 25 dollarit (sisaldab sissepääsu 15 dollarit pluss minimaalselt 10 dollarit jooki). Reedel ja laupäeval: 30 dollarit uksel (sisaldab sissepääsu 20 dollarit pluss 10 dollari joogi miinimum). millel on õiged võnked ja suurepärane broneerimispoliitika. Püüdke siin pianist Tommy Flanagan täiuslikuks džässiõhtuks.
  • Linnumaa, (1949-1965) 52nd St, (1986-1996) 2745 Broadway, (1996 - tänaseni) 315 lääne 44. tänav, 8. ja 9. puiestee vahel.
Avati 1949. Esialgu oli klubi Broadwayl, kuid see kolis kiiresti 52. tänavale, mis oli 1930. – 40. Krahv Basie ja tema smokini bigbänd muutsid Birdlandi oma New Yorgi peakontoriks, salvestades lõpuks klubis otse-eetris George Shearingi "Lullland of Birdland". John Coltrane'i klassikakvartett ilmus regulaarselt klubis 1960. aastate alguses, salvestades "Live at Birdland".
Linnumaal esinenud inimesed: Charlie Parker, Dizzy Gillespie, Thelonious Monk, Miles Davis, John Coltrane, Bud Powell, Stan Getz, Lester Young, Erroll Garner ja paljud, paljud teised.
Kõik etenduste ajad: 9 ja 23:00 (M, Tu ja F ajakavasse lisatakse 17:30 alguse austuskomplektid). Muusikatasu on erinev, 20–35 dollarit. Laudades on minimaalne 10 dollari suurune söögi / joogi inimese kohta. Baaris sisaldab muusikatasu ühte jooki. Pühapäevad kuuluvad Arturo O'Farrilli Afro-Kuuba jazzi bigbändile, esmaspäevad on hilisemateks koosseisudeks reserveeritud Toshiko Akiyoshi džässiorkestrile, kus osaleb Lew Tabackin, ja nüüd igal esmaspäeval kell 17.30–19.30 - The Art Blakey Jazz Messenger Revue esinema. Teisipäeviti minnakse Paul Mercer Ellingtoni juhitud kuulsa Duke Ellingtoni orkestri koosseisus varakult kell 17:30 - 19:30, näidates David Ostwaldi Louis Armstrongi sajandiaastast ansamblit. Kolmapäevast laupäevani ootavad kohalike ja rahvusvaheliste tuuritavate artistide parimat. Äsja lisatud: igal reedel kell 17.30–19.30 - Lew Andersoni All American Big Band. Kõik saavad nautida suurepäraseid vaatevälju lavale.

Muud džässiga seotud kohad

3. päev (pühapäev) New York kuni Boston

4. päev (reede): Boston kuni Chicago.

Kontsertõhtu Chicagos.

5. päev (laupäev): külastus Chicago

Chicago džässiajaloolised paigad asuvad enamasti lõunaküljel, välja arvatud Roheline veski, mis asub Uptownis. Külastage veebisaiti Chicago South Side'i džässiklubid veebisaidil. Hoone asukoha ja seisukorraga saab tutvuda aadressil [6]

Haiti paviljon oli mustanahaliste meelelahutuskeskuste kohtumine Kolumbia maailmamessil 1893. aastal. Ekspositsioon tõi Chicagosse palju musti rändmuusikuid, näiteks W.C. Handy (peetakse bluusi isaks), Scott Joplin (Ragtime'i isa). Haiti paviljon oli džässmuusika inkubaator, seal avastasid Scott Joplin ja paljud teised muusikud, et paljudel teistel mustanahalistel muusikutel on arenenud sarnased oskused ja jagatud oma kogemusi erinevas muusikas, millest džässmuusika sündis. Tänapäeval on maailma Kolumbia ekspositsioonist jäänud kaks muljetavaldavat sümbolit. Skulptuur "Kuldne leedi" on väiksem versioon Daniel Chester Frenchi Vabariigi ausambast, mis algselt seisis aukohtu jalamil. Algses kaunite kunstide palees asub nüüd Chicago teaduse ja tööstuse muuseum.
See piirkond on üks Aafrika-Ameerika linnaajaloo kõige olulisemaid keskusi. Oma 20. sajandi laienemise eel enne suurt depressiooni oli klubisid ja kohvikuid täis mänginud suurt rolli Chicago muusikamaastiku kuldajastu ajaloos ja arengus. Louis Armstrong elas naabruskonnas ja esines paljudes piirkonna ööklubides, näiteks kohvikus Sunset, teatris The Vendome ja Plantation. Endise hoone Päikeseloojangukohvik on endiselt seal ja seda peetakse Chicago maamärgiks.

Ajaloolised džässiklubid Chicagos

  • Pekini võõrastemaja 2700 S. osariigi St.
Avatud 1910. – 20. seda peetakse üheks olulisemaks lõunapoolseks klubiks enne 1910. aastat. See võttis esimesena tööle muusikuid, kes olid tihedalt seotud ragtime'i ja džässieelse populaarse muusikaga, nagu Joe Jordan, Tony Jackson ja Wilbur Sweatman. Mõned inimesed peavad Pekini võõrastemaja Chicago jazzimaastiku sünnikohaks ja üheks esimeseks muusikalaboriks, kus inimesed katsetasid ragtime'i ja pre-jazzstiile.
  • Dreamlandi ballisaal 3618-20 S. osariik, 35. tänav. Chicago
Unistuste maa oli Chicago ajaloos üks esimesi ballisaale, mis avati 1912. aastal ja kus osalesid sellised mängijad nagu King Oliver, Johnny & Warren "Baby" Dodds, Louis Armstrong ja Hot Five, Alberta Hunter, Sidney Bechet, Lawrence Duhé, Ethel Waters .
  • Lincolni aiad (Kuninglikud aiad). 459 East 31. tänav, South Cottage Grove Avenue.
Lincolni aiad (endine Kuninglik aed) oli tantsusaal, kuhu mahtus kuni 1000 tantsijat. Pärast tulekahju hilja 1924. aastal renoveeriti saali suurepäraselt, et seda uuesti avada 28. oktoobril 1925, kui nimi muudeti New Charlestoni kohvikuks; hiljem sai see nimeks Café de Paris. Dave Peyton juhtis seal bändi alates novembri lõpust 1926, kuid juunis 1927 pommitati - võib-olla jõukude sõjas - ja suleti.
Bill Cre Johnsoni juhitud Original Creole Band'i residentuur Royal Gardensis 1918. aastal kinnitas tantsusaali mainet džässipaigana ja algatas New Orleansi muusikute esinemissarja, millel oli suur tähtsus kontserdi arengule. muusika Chicagos. Joe kuningas OliverCreole Jazz Band mängis residentuuri 17. juunist 1922 kuni veebruarini 1924. Sel perioodil saatis ta telegrammi oma New Orleansis asuvale Cornet'i õpilasele, et tulla Chicagosse ja liituda oma bändina teise trompetina Lincolni aedades. Trompetisti nimi oli Louis Armstrong. Armstrongi jaoks oli see unistus ja tema hämmastav mäng bändis muutis ta peagi teiste Chicago muusikute seas sensatsiooniks.
Kaheaastase seismise ajal Lincolni aedades tõi kuningas Oliver koos Louis ja Creole Serenadersiga kuuma New Orleansi stiilis jazzi Chicagosse ja hiljem lindistuste kaudu maailma.
"Kui kuningas Joe Oliver saatis mind 1922. aastal New Orleansist lahkuma ja tema juurde Lincolni aedadesse, et mängida oma esimese trompetini teist trompet, hüppasin ma rõõmust taevani. Päev, mil sain papa Joeilt telegrammi - see on see, mis Ma helistasin talle - mängisin matuseid New Orleansis ja kõik Tuxedo puhkpilliorkestri liikmed ütlesid mulle, et ma ei läheks, sest Papa Joe ja tema bändil on mingid ametiühinguprobleemid ... Ma jõudsin Chicagosse umbes üksteist kella ööl vastu 8. juulit 1922 Illinoisi pearaudteejaamas kaheteistkümnes ja Michigani avenüü. Ma ei unusta seda kunagi. Kuningas oli juba tööl. Mul polnud kedagi, kes minuga kohtuks. Võtsin kabiini ja läksin otse Lincolni aiad. " (Louis Armstrong)
Esimeseks rifflauluks peetakse 'Royal Garden Blues'
Ehitatud 1909. aastal, ümberehitatud 1937. aastal. Pärast 1921. aasta ümberehitust muudeti see lihtne autogaraaž üheks linna kõige varasemaks ja legendaarsemaks džässipaigaks. Selle majaorkestris esinesid sellised kuulsad muusikud nagu Louis Armstrong, Johnny Dodds ja Earl "Fatha" Hines, samal ajal kui põrandaetendused tutvustasid kohalikule publikule uusimaid tantse. Paljud paljulubavad noored kunstnikud, sealhulgas Bix Beiderbecke, Jimmy Dorsey, Benny Goodman ja Gene Krupa said siin hilisõhtustel istungitel alguse. Pärast 1937. aasta ümberehitust nimetati see ümber Grand Terrace Ballroomiks (koliti oma varasemast asukohast 3955 South Parkway Blvd) ja püsis populaarse ööklubina kuni 1950. aastani.
Earl Hinesil oli seal suur edu, ehkki teised suured ansamblid, sealhulgas Fletcher Henderson, Count Basie ja Horace Henderson, mängisid enne II maailmasõda ka Grand Terrassi. Kaupluse kontor, mis oli juba ammu osa ülestõstetud kioskist, vaatega Grand Terrace'i tantsupõrandale. Kandidaadi tagaküljel oli suur seinamaal, mis kujutas džässirütme ja osa on siiani nähtav.
Grand Terrace ballisaalis ja teistes Chicago öökohtades oli klubi lahkumine ilma juhtkonna loata paljude Chicago džässmuusikute tervisele ohtlik. Seetõttu jäi Earl Hines Grand Terrassile kauemaks kui kümnendiks.
1936. aastal Grand Terrace'i ballisaalis, kus Fletcher Henderson koos oma bändiga esines, mängis Goodman bändi ees, Krupa istus trummidel. See on võib-olla esimene kord, kui mustvalge jazzmuusik mängis koos tasulise publiku ees koos
Uues asukohas asuv hoone, mille välimus näeb välja väga sarnane muusikalise hiilgeajaga, on nüüd riistvara pood. Mõned siseruumides olevad seinad on endiselt maalitud nagu Grand terrassi aegadel. on võimalik paluda omanikel külastada seestpoolt.
Klubi oli inspiratsioon Louis Armstrongi ja Hot Five'i loo nimega "Sunset Cafe Stomp".
  • Roheline veski, 4802 N. Broadway ave Chicago, IL
Avatud 1907. aastal Pop Morse'i teehoonena oli "Veski" peatuspaigaks leinajatele, et tähistada sõbra möödumist enne Püha Boniface'i kalmistule minekut. Aastaks 1910 muutsid uued omanikud teehoone Green Milli aedadeks, koos laternaga valgustatud välitingimustes tantsu- ja joogialadega ning uhkeldasid selliste pealehtedega nagu Al Jolson, Eddie Cantor ja Sophie Tucker.
Kui kahekümnendad kohisesid, muutus roheline veski mafioosterritooriumiks, kui Al Capone käsilane "Machinegun" Jack McGurn omandas klubi 25% -lise osaluse ja Al Capone ise külastas regulaarselt klubi. Mänedžer Danny Cohen andis McGurnile 25% osaluse, et koomikut / lauljat Joe E. Lewist "veenda" kolima oma tegu lõuna poole Clarki ja Diversey kohvikusse New Rendezvous. McGurnil õnnestus Lewist veenda, lõigates kurgu ja lõigates keele ära. Imekombel toibus Lewis, kuid tema laulud ei taastanud enam oma lopsakat kõla. Hiljem jäädvustati vahejuhtum filmis „Jokker on metsik“, Frank Sinatra Joe E. Lewise rollis ja Hollywoodi helilava Green Milli rollis. Muidugi tekkis tema huvi, Sinatra pidi klubi külastama. 1986. aastal taastati rohelise veski kaunistused keeluaegse sisekujundusega.
  • Vendome teater 3145 Lõuna osariigi tänav,
Ehitatud 1919. aastal ja lammutatud 1949. Asub Chicago nn musta vöö südames. Vendome orkestri populaarsus suurenes 1925. aasta detsembris, kui koronettmeister Louis Armstrong tuli pärast Dreamlandi kohvikus viibimist pardale. Kui Armstrong soolot mängis, rõõmustas Vendome'i publik meeletult. 1926. aastal lahkus Armstrong, et töötada linnas Sunset Cafe, mis on üks linna tuntumaid mustanahalisi. Teised džässartistid, kes 1920-ndatel aastatel Vendome'is esinesid, olid pianist Earl Hines, trummar Jimmy Bertrand, kornetist Freddie Keppard ja pianist Lil Hardin-Armstrong.
King Oliveri bändi, kreooli jazzbändi mängiti palju Plantationi kohvikus, kuni see 1927. aastal tules hävis.
  • Apexi klubi S. Calumeti ja S. Prairie avenüü vaheline 35. p [9]
Avatud 1920. aastal, esinevad Junie Cobb, Johnny St. Cyr, Dave Nelson, Joe Poston, Johnny Wells, Earl Hines ja klarnetist Jimmy Noone.
  • Meelelahutaja kohvik 209 E. 35. St. Michiganis 1910. – 20
Esinevad Sammy Stewart ja tema sünkoopia rüütlid, Freddy Keppardi ansambel, Earl Hines, Natty Dominique, Vernie Robinson, Carroll Dickerson.
  • Monogrammiteater 3435-40 S. osariigi St.
Avatud aastal 1910. Esinevad varased jazzmuusikud, nagu Sidney Bechet, Ethel Waters, Erskine Tate, Ma Rainey.
  • Eliitklubi 3030 S. osariigi St.
Avatud aastal 1910. Esinevad Jelly Roll Morton, Earl Hines, Alberta Hunter.
  • Ententaineri kohvik
  • Friar's Inn kelder aadressil 60 East Van Buren või 343 South Wabash Chicago Loopis,
Friar's Inn oli ööklubi, mis asus Chicago Loopi piirkonnas keldris, East Van Bureni tänaval 60, South Wabash Avenue 343. Moulin Rouge kohvik oli samas kompleksis. Friar's Inn'i juhtis Mike Fritzel ja see jäi muusikute mälestustes meelde kui gangsterite hangout. Friar's Innil oli kolm ansamblit: üks kella 3–18, üks kella 6–10, õhtusöögiks tavaliselt rütmisektsioon ja põhibänd kella 10–8 varahommikuni - see oli Maresi rühm. Klubi rakendas ranget "ainult valgetele" poliitikat. Friar's Inniga seotud märkimisväärsete ansamblite seas olid New Orleans Rhythm Kings (algselt "Friar's Society Orchestra") ja Austin High Gang (tuntud ka kui "Blue Friars").
Friar's Innis mänginud muusikute hulka kuulusid Frank Teschemacher, Bud Freeman, Steve Brown, George Brunies, Merritt Brunies, Emmett Hardy, Paul Mares, Leon Roppolo, Bee Palmer ja Mel Stitzel. Joan Crawford töötas seal oma karjääri alguses tantsijana.

Rohkem ajaloolisi džässiklubisid on loetletud jaotises siin

Kaasaegsed džässiklubid Chicagos

Õnneks ei lõppenud Jazzi lugu BeBopiga. See väntas kohe avangardisse. Osa sellest seiklusrikkast komplektist oli Chicagos (peamiselt Aafrika-Ameerika) muusikute selts nimega Association for the Advancement of Creative Musicians (AACM).
Missiooniks "tõsise originaalmuusika kasvatamine, esitamine ja salvestamine" toetab AACM Jazzis töötavaid muusikuid, heliloojaid ja haridustöötajaid. Alates 1965. aastast on AACM (esimene Muhal Richard Abramsi juhtimisel) koolitanud Chicagos noori muusikuid ja kummalisel kombel, Amsterdam ja Pariis kus mõned asutajaliikmed elasid 1970. aastate alguses iseenda poolt välja pandud eksiilis.
AACM-iga seotud muusikud, nagu Henry Threadgill, Anthony Braxton, Jack DeJohnette ja Chicago kunstiansambel: Lester Bowie, Roscoe Mitchell, Joseph Jarman, Famoudou Don Moye ja Malachi Favors, tegid kõige põnevamat ja väljakutsuvamat džässmuusikat 1970ndatel, muusikat, mida peavool ja akadeemiline ringkond hakkasid tunnustama alles 1990ndatel.
1980. aastate lõpus ja 1990. aastate alguses tõi muusik ja Columbia kolledži professor Hal Russell AACMi mõjusfääri nii uute õpetajate kui ka NRG ansamblis mängimise kaudu suure hulga uute muusikute sissevoolu. Russelli õpilased ja järgijad nagu Ken Vandermark, Kent Kessler, Mars Williams ja Weasel Walter on aidanud AACM-i stseeni taaselustada ja selle tähelepanu väärinud ning meedia on sellele tähelepanu pööranud.
Õnneks on üsna paljud esialgsed AACM-i mängijad endiselt areenil, nagu ka paljud nende õpilased nii Chicagost kui ka Euroopast, samuti uuema stseeni mängijad, kes põlvnevad Russellist. Peaaegu nädala igal õhtul saate tabada saateid, mis ulatuvad linna ümber, kuid kõige ettearvatavamalt keskendub see stseen käputäis klubisid, kellel on muusikutega ühendust.
  • Velvet Lounge, Ida-Cermaki tee 67. Omanik Fred Anderson on pikaajaline AACMi liige ja tema ühendused ulatuvad sügavalt läbi mõlema kaasaegse stseeni. In most evenings from Wednesday through Saturday, you'll find him alternately watching the door, and joining the band on stage to play a ripping sax solo.
  • The New Apartment Lounge, 504 East 75th. Von Freeman is your host here at the new apartment, another club frequented by AACM members both onstage and off. The club is a must-see, and the Wednesday night jam sessions are legendary.
  • The Hideout seems to be the successor on Wednesday nights to the long running Tuesday and Wednesday night gigs by Ken Vandermark and friends at The Empty Bottle, where he and music critics John Corbett and Peter Margasak have created a platform for exposing Chicago hipsters to Avant Garde Jazz from the AACM scene, the Russell scene, and from around the world. Wednesday nights are usually reserved for overseas guests, such as Han Bennik or, maybe if you're lucky, Misha Mendelberg.
  • The HotHouse, 31 East Balboa. Having moved to Printers Row after many years in Wicker Park, the HotHouse regularly hosts concerts mostly by younger members of the AACM scene (like Eight Bold Souls) and associated traveling artists, in a somewhat more upscale atmosphere than the other three clubs in this group - the old location was a dive, but they took the move as an opportunity to dress up a bit.
  • Andy's Jazz Club 11 East Hubbard St. Chicago, IL, 1 312-642-6805.
One of Chicago's best-known and most respected Jazz establishments, historic Andy's offers casual dining and live jazz. Local acts focusing on mainstream, traditional, be-bop jazz and blues are featured with sets at lunchtime, late afternoon and evenings. Located just off Michigan Ave in downtown Chicago and just steps away from Chicago's Magnificent Mile, Andy's Jazz Club has been a destination for the work weary and hungry hipsters for over a quarter of a century. Established in 1951, this onetime newspaper pub has evolved from a shot & beer joint into a full service music Mecca.
Taste and variety define the music menu as well, showcasing Jazz and Blues 7 days a week. No other venue can boast of the three shows daily and a weekend rotations of world-class headliners.
Friday's Live Jazz At Noon provides a variety of lunchtime favorites with conversation friendly music, guaranteed to satisfy the cravings of the clock-watchers and leisure lovers alike. Open for lunch Monday-Friday with live music only on Friday. Jazz At Five ups the intensity when locals and visitors mingle beneath the "Wall of Fame" and exchange ideas in the universal language of Jazz. Jazz At Nine expands the experience with a range of world-renowned artists with diverse styles continuing until 1AM. To accommodate a more energetic weekend crowd, hours are extended to 1:30AM and serve from the complete menu until 1AM. On Sunday, entertainment jump starts your morning with a 11AM-2:30PM Brunch and continues on with evening music offered from 5PM-midnight. Located in the heart of the River North Neighborhood of the Chicago Loop, you can find Andy's Jazz Club & Restaurant at the intersection of State Street and Hubbard Street.

More modern Chicago clubs at www.chicagojazz.com

Other jazz-related places in Chicago

  • The Chicago Jazz Archive, part of the Library of the University of Chicago, open Tuesday to Friday by appointment only (call 702-8541); contains pictures, magazines and recordings from the early jazz in the Chicago scene.
  • Chicago teater, 175 N. State St.,
Many big bands played at the Chicago in the 1930s and '40s, including, to name a few, Benny Goodman, Dick Jurgens, Harry James, and Orrin Tucker. Having narrowly survived demolition in the mid-1980s, the Chicago Theatre continues to operate, with most of its elegance still evident.

Day 6 (Sunday): Chicago kuni Kansas City

Distance: (532 Miles)

Concert in the Phoenix?

Day 7 (Monday): Visiting Kansas City

Jazz places in Kansas City

  • 18th and Vine District
...we came to the corner of Eighteenth Street and Wham! Everything along that street was all lit up like klieg lights... And everywhere you went, there was at least a piano player and somebody singing, if not a combo or maybe a jam session... we were walking into a scene where the action was greater than anything I've ever heard of." ca 1924-25, William Basie, from Good Morning Blues, the Autobiography of Count Basie.
...The Flavor of 18th street was on the sidewalks, you could find everybody who was anybody on 18th street.But it was grand. 12th street was joints, 18th street was class. It was all we had, and it was the only place we could go." Reuben Benton, long time resident.
18th and Vine in Kansas City is internationally recognized as one of the cradles of jazz. Along with New Orleans's Basin Street, Beale Street in Memphis, 52nd Street in New York and Los Angeles's Central Avenue - the 18th and Vine area was a midwife to the birth of a new style of jazz. Like the spicy barbecue for which Kansas City is so widely noted, the jazz that evolved in the 18th and Vine district was likewise distinctive. Simmered in the blues, Kansas City's jazz was a riff-based sound fueled by jam sessions in the district's crowded clubs.
A list of the musicians who worked and made their home in the historic district reads like a veritable Who's Who of Jazz in the 1930s and 1940s. Charlie Parker is likely the most noted modern jazz musician to come from Kansas City. However, many notables call the city home or got their start in this significant jazz scene.
Located just east of Downtown Kansas City, it is the Kansas City metropolitan area's historic center of African American culture. It has been the focus of more than $30 million of civic investment since the late 1980s, but the district's redevelopment has struggled. In the 1990s, parts of the film Kansas City were filmed there. Façades left from the movie remained on most of the dilapidated buildings until the end of the 1990s. Today, the 18th and Vine district includes the Mutual Musicians Foundation, the Gem Theater, the long-time offices of African-American newspaper The Call, the Blue Room jazz club, the American Jazz Museum, the Negro Leagues Baseball Museum, restaurants and apartments.
The clubs sported colorful names such as the Cherry Blossom, the Chez Paree, Lucille's Paradise, the Subway Club, the Sportsmen Club, the Ol' Kentuck' Bar-B-Q and Fox's. Many of the clubs featured "Blue Monday" sessions. Former bassist for Andy Kirk, Laverne Barker remembered how, "People would go to the area on Sunday Nights and would wait for Blue Monday parties to start in the clubs at midnight. The jam sessions would start and go `til Monday afternoon."
Vine Street also has been celebrated by many songs including "Vine St. Bustle," "Vine St. Boogie," "Vine St. Drag" and "Kansas City."
Located in the Historic 18th and Vine Jazz District in Kansas City, MO., this is the place where jazz masters such as Charlie Parker, Count Basie, Big Joe Turner, and hundreds of others defined the sounds of the 1920s, 30s, and 40s. Contains rare photos, album covers, memorabilia, and personal items telling the stories of jazz legends Louis Armstrong, Duke Ellington, Ella Fitzgerald, and Charlie Parker, More than 100 recordings of the greatest jazz ever played, Studio 18th & Vine, where visitors experiment with harmony, melody, and rhythm, Films and special collections honoring the impact of jazz on the American experience, Special exhibits highlighting Kansas City’s unique contributions to jazz.
'Closed on Mondays'
  • The Mutual Musicians Foundation 1823 Highland Avenue, 18th & Vine district, 1 816 471-5212
Otherwise known and the Musicians local No. 627, This modest musicians union house is nearly 100 years old and represents KC jazz/blues/ragtime history far better than the museum down the street. Open jazz jams and cutting sessions Saturdays starting at around midnight lasting til sometimes past dawn - if the crowd and musicians can keep each other interested. (Blues jams on Fri night.) Charlie Parker grew up in the area and there are stories of him peeking through the window of this place to see perhaps Basie, Lester Young, etc. Upstairs there is a piano that locals say Scott Joplin, Mary Lou Williams and Count Basie played on. Downstairs reside the Saturday jams in a room that has a grandma's formica kitchen feel. Lester Young (hear 1958 audio discussion with Chris Albertson), Bennie Moten, Walter Page, Charlie Parker, Coleman Hawkins, Ben Webster, Buster Smith, Mary Lou Williams, Pat Metheny, Count Basie, Jimmy Rushing, Big Joe Turner, Kevin Mahogany, Ahmad Alaadeen, Bob Brookmeyer, Claude Fiddler Williams, George E Lee, Bobby Watson, Jay McShann, Andy Kirk, The Blue Devils, Karrin Allyson and many others had/has strong ties to this district (or the 12th Street scene which is completely destroyed).
  • Fox's Tavern, Corner of 18th St and Vine.
Very popular with loudspeakers on the street broadcasting music and shows, contributing enormously to the atmosphere of the district.
  • Piccolo's club, Corner of 18th and vine (west of Fox's Tavern).
  • Street hotel, featured the early location of the Blue Room, an exclusive jazz club.
  • Shannon building featured on the basement, one of the most famous jazz clubs, the Subway. The most recognized jazz musicians jammed at the Subway: Benny Goodman, Coleman Hawkins, Gene Krupa, Harry James, Chu Berrym, Jimmy and Tommy Dorsey, Ben Webster and countless other held cutting contest with local musicians.
  • The El Capitan Club, 1608-10 E 18th St.
  • Elk's Lodge, 1606-E 18th, (open in 1906).
  • Moten and Hayes records owned by two men that would become famous bandleaders, Benny Moten and Thamon Hayes. Bennie Moten's Kansas City Orchestra was the most successful Jazz band of the Midwest. The band toured all over the country and had a top selling recording in 1927 for Victor named "South". In 1929 Count Basie of The Blue Devils joined the band, and several other members of that band soon joined Moten's Orchestra. Count Basie took over the band after Moten's death in 1935.
  • Lucille's Paradise Club, 1709-11E 18st st, featured radio broadcast in the lates '30s.
  • Scott's Show Bar Corner of 18th st and Highland Avenue, an elite supper club in the '40s opening as the 'Highland Gardens' in 1922. Also called the Airdome and the Quaterne, and later the Rialto and the Boone.
  • Centennian Church, Count Basie played the Organ at this congregational church.
  • Gem Theatre operated from 1912 as a segregated movie theatre.
  • The Parrot Inn, 1813 Vine St.
  • The Mardi Grass Club opened in the 1950s. Had many names, turnovers through the years. Much the same since the 1930s, raw urban club. "Bird, Basie, Miles, Monk played it". It closed due to lease dispute according to Ignatius' secret sources and apparently will reopen down the street. Rumor is another club will go in this spot.
  • The OI Kentucy Barbecue. Musicians jammed here and ate barbecue soup for 10 cents.
  • Eblon Theater is the site of the Count Basie first job in Kansas city. His band came to play to the city and left him here. He played as an organist in silent films, as the Cherry Blossom in 1934, it featured Japanese decor and some of the hottest jam sessions in town. Later was called the 'Chez Paree'.

Jazz clubs in Kansas City

  • Reno Club. 12th Street, between Cherry Street and Locust Street, Kansas City, MO.
Known as the "Queen" of Kaycee clubs, the Reno Club flourished during the 1930s, but was closed for tax evasion in 1938. The club's activities, directed by Papa Sol Epstein, were segregated, and separate dance floors, bars, and dining areas were reserved for black and white patrons. Bennie Moten played there in the early 1930s, and in 1935 Count Basie formed a nine-piece group, the Barons of Rhythm, for a residency; it was in this venue that Basie was discovered by John Hammond in 1936.
The balcony above the bandstand here was Charlie Parker's favorite roost. He'd sit there, the air thick with marijuana smoke rising from the band downstairs, and listen to his idol, Lester Young, blowing with the "Count" Basie band.
Nightly broadcasts from the club were relayed on radio station W9XBY. In 1938 Jesse Price's big band played there, and the following year George E. Lee, whose career passed through a decline in the mid-1930s, brought his new band (formed the preceding year for a residency at the Brookside Club) to play an engagement at the Reno. The club was as important for after-hours jam sessions by the many jazz musicians playing in the city at that time as it was for the music that was played to entertain the clientele.
A police parking lot now occupies the sacred ground where Club Reno once stood.

Modern jazz clubs in Kansas City

  • Fööniks 8th & Central, 1 816 472-0001
  • Jardines Restaurant & Jazz Club 4536 Main Street 1 816 561-6480
The American Jazz Museum's Blue Room is a museum by day and at night comes to life as a working jazz club. Four nights a week, the Blue Room resonates with the sweet sounds of Kansas City jazz. As the only Kansas City club included in DownBeat magazine's 2004 list of Top 100 Jazz Clubs in the world, the Blue Room consistently books top name national and international entertainers while it continues to showcase the best of jazz in Kansas City.
The Blue Room was recognized again in DownBeat magazine's February 2007 issue as the only Kansas City club to make the list of Top 100 Jazz Clubs in the world:
As part of the American Jazz Museum, the Blue Room is designed to resemble a nightclub from the 1930s. Shows in the room hit on Monday (a regular jam session), Thursday, Friday and Saturday, featuring top regional straightahead talent.
  • Majestic Steakhouse 931 Broadway (walking distance from Phoenix) 1 816 471-8484
Jazz and jam 6 days, but Monday. Art deco/Victorian classic club feel with typically 50 crowd. Cigar club upstairs with walkin humidor (said to once be Tom Pendergast's hangout). Bram Wijnands' regular gig spot (weekends).
  • Grand Emporium 3832 Main Street 1 816 531-7557, 1 816 531-1504
Mostly touring blues and bluesrock acts on weekends but also jazz/punk/zydeco/reggae weekdays. Many blues mags consider it one of best urban blues clubs in US and it is a multi WC Handy award winner. This place usually has a soul you can breathe in but lately they seem to book a bit more blue collar and suburban twangy blues over the urban blues they've been known for. Gotta do Amazing Grace's soul food (and/or bring in pizza from next door). Open blues jams, second Thu of each month, no cover (for this event).
  • Harling's Upstairs 3941-A Main Street 1 816 531-0303
Urban blues/jazz/irish/celtic/swing/rock. Tuesdays (?) - 18 piece swing orchestra. Saturday 2PM (open) jams too - Mama Ray (no cover). Usually weekend cover charge. Jean Harlow and Joan Crawford were once showgirl dancers at this club. A Midtowner's favourite, where local filmmakers hang.

(More jazz clubes at Foursquare)

Other jazz-related places in Kansas City

  • Charlie Parker birthplace 852 Freeman Avenue, Wyandotte County, Kansas City, Kansas [10]
At year 1999, the location is a vacant lot.
  • Charlie Parker Home 1516 (1535) Olive St Kansas City, MO
Parker was living here during the period he was going as a kid to jam sessions in 18th St (close to his school) and 12th (the Reno Club). He spent the chilhood and adolescence here until he moved to New York, already as a formed musician.
  • Charlie Parker Grave site Lincoln cemetery, 8604 E Truman Rd, Kansas City, MO
Charlie Parker asked explicitly not to be buried in Kansas City, but the family decided to do it so.
  • Other Charlie Parker Houses 109 W34th St. Kansas City, MO, and 114 W 36th St. Kansas City, MO
Charlie Parker moved here in 1927, and lived here for about four years, after moving from his birthplace at the other side of the river, in Kansas City, Kansas. At least seven homes have been identified in Kansas and Missouri at which the Parkers lived at one time or other. Both buildings are still there at year 1999.

Day 8 (Tuesday): Kansas City to Memphis

  • American Jazz Museum Visit in the morning. Tu–Sa 9AM to 6PM, Su noon to 6PM, M closed

Driving distance: 538 miles.

Sedalia, MO

  • Sedalia, Missouri. (25 km off road, in the way of Kansas City to Memphis is consider the Birth Place of the Ragtime). Sedalia was once the residence of the famous ragtime composer Scott Joplin. Joplin and ragtime music are honored in a yearly Ragtime Festival, usually held in June.
Sinna jõudes Scott Joplin House saab külastada.

Once in Memphis, try to catch a Blues concert.

Day 9 (Wednesday): Visiting Memphis

  • Tänav[surnud link], Memphis, TN
When the self-proclaimed "Father of the Blues" W.C. Handy, an accomplished bandleader and songwriter, arrived on Beale Street from the Delta in 1908, he brought with him the blues, a new style of music he "discovered" down south. With his publication of "Memphis Blues" in 1912, Handy became one of the first people to publish a song featuring characteristic "blue notes" and containing the word "blues" in its title. By the 1920s, Beale Street was a showcase for jug bands, where he played a mixture of blues, ragtime, and humorous tunes.
In the 1920s, the area took on a carnival atmosphere and gambling, drinking, prostitution, murder and voodoo thrived alongside the booming nightclubs, theaters, restaurants, stores, pawnshops and hot music. By mid-evening, the street would be packed and a one-block walk could take forever, especially if he had to detour around the medicine show set up in the little hole in the wall, or if he stopped and listened to the wandering bluesman playing for pennies and nickels. There were big vaudeville shows at the Palace and the Daisy, hot snoot sandwiches at the corner café jug bands playing down at the park and one block over on Gayoso there was a red-light district to rival New Orleans’ Storyville.
Beale Street was completely shut down and the buildings demolished. Nowadays, it is just a street for tourism and shopping wiith some reopened blues clubs, but missing the spirit of the early 20s.
A. Schwab Dry Goods, in the family since 1876, is the only remaining original business on Beale St. Open M-Sa 9AM-5PM. The Orpheum Theatre also remains, opened on October 15, 1928 on the corner of Main and Beale.
Clubs on Beale street: Alfred's On Beale, Mr. Handy’s Blues Hall, Alley Cats, New Daisy Theater, A. Schwab, New York Pizza, B. B. Kings Blues Club, Pat O'Briens, Beale St. Tap Room, People’s Billiard Club, The Black Diamond, The Pig on Beale, Blues City Cafe & Band Box, Psychics of Beale Street, Club 152, Rum Boogie Cafe, Dyer’s Famous Hamburgers, Shake Shack, Eel Etc. Fashions. Silky O Sullivan’s, Hard Rock Cafe, Strange Cargo, King’s Palace Cafe, Tater Red’s, Memphis Music, Wet Willies.
  • Sun Studio 706 Union Ave, Memphis, TN, 1 901 521-0664
'Where rock'n roll was born'. The studio where Elvis Presley recorded his first four albums, and changed the music industry. Johnny Cash, the inimitable Jerry Lee Lewis, and the "Rockin' Guitar Man", Carl Perkins were first recording here. Nowadays, is a sort of museum, so you can enter and visit the studio.
  • W C Handy Blues Museum & Performing Arts Center 1275 Royal Oaks Cv, Memphis, TN, 1 901 396-3914
WC Handy is considered the father of the blues. He is the one that bought the blues from the Mississippi Delta up to New Orleans through the Highway 61.
The Memphis Rock ‘n’ Soul Museum’s exhibition about the birth of rock and soul music tells the story of musical pioneers who, for the love of music, overcame racial and socio-economic barriers to create the music that shook the entire world.
Located at 191 Beale, on the corner of legendary Highway 61 at the FedExForum sports and entertainment complex, the museum offers a comprehensive Memphis music experience from the rural field hollers and sharecroppers of the 1930s, through the explosion of Sun, Stax and Hi Records and Memphis’ musical heyday in the 1970s, to its global musical influence. The museum’s digital audio tour guide is packed with over 300 minutes of information, including over 100 songs, and takes visitors at their own pace through seven galleries featuring 3 audio visual programs, more than 30 instruments, 40 costumes and other musical treasures.
Stax was a major player in the creation of the Southern soul and Memphis soul music styles, and frequently released early funk and 1960s Chicago blues recordings. While Stax was involved almost exclusively in the production of African-American music, the label is noted for having some of the first popular ethnically-integrated bands. Featuring recordings of Otis Redding, Wilson Pickett and Albert King.
Today, the Stax Museum of American Soul Music, located at the original site of Stax Records, pays tribute to all of the artists who recorded there with a rare and amazing collection of more than 2,000 interactive exhibits, films, artifacts, items of memorabilia, and galleries designed to keep Stax alive forever. Because it is the only soul music museum in the world, it also spotlights America's other major soul music pioneers, including the sounds of Muscle Shoals, Motown, Hi, and Atlantic Records, spotlighting the contributions of such soul pioneers as Ike & Tina Turner, Aretha Franklin, The Jackson Five, Ann Peebles, Al Green, Sam Cooke, James Brown, Ray Charles, and many others.
Hours: March-October: M-Sa 9AM-4PM, Su 1-4PM; November-February: M-Sa 10AM-4PM
  • WDIA 706 Union Avenue, Memphis, TN
The radio station where Beale Street went on the air (1948). It became the first all-black radio station in the country, with African-American deejays and programming that specifically targeted a black audience. WDIA’s torrent of gospel, blues, and the sounds of rhythm and blues (R&B) put it on its way to becoming the most powerful station in Memphis.
In 1948, Blues Boy King was hired by Memphis blues station WDIA for a 15-minute live radio spot where he performed and hawked a health tonic called Pep-Ti-Kon. A year after, B.B. King records for the first time, cutting four songs (including his debut single, “Miss Martha King”) at Memphis radio station WDIA.
The WDIA studio on Union Avenue, just up the street from the Peabody Hotel, is also still in operation, broadcasting a steady stream of talk and music, and you can stop in for a quick tour. On Saturday mornings, Rufus Thomas, the senior statesman of the local music scene, still broadcasts a weekly show, and the station’s all-blues programming on Saturdays remains an unpretentious tribute to the city’s blues tradition. Listen to the radio as you drive around the city or take a day trip down to the Delta.
  • TUALETT. Handy House & Museum 352 Beale Street, Memphis, TN, 901-527-3427
  • Aretha Franklin's birth home 406 Lucy St., Memphis, TN
Just a few blocks from Stax stands the house where Aretha Franklin was born and raised until she moved north at the age of eight.
The most significant landmark of Tupelo's modern history is a modest, two-room house where the King of Rock & Roll was born on Jan 8, 1935. From this humble beginning, Elvis Presley began his meteoric rise to become the world's most popular entertainer.
The Elvis Presley Birthplace is part of the Elvis Presley Park and has been restored to the period before the singer's family moved to Memphis. The birthplace has been designated a Mississippi landmark. The Elvis Presley Park includes the Elvis Presley Museum, Memorial Chapel, Gift Shop and a lifesize statue of "Elvis at 13". The Park offers complete recreation facilities for picnics and community events.
Hours: May-Sep: M-Sa 9AM-5PM; Oct-Apr M-Sa 9AM-5PM; Su year-rpund 1-5PM
This huge mansion was once the home of Elvis, the most famous entertainer in the US. Now it is a pilgrimage place for many fans and one of the landmarks of Memphis.
This memorable tour of Gibson’s Memphis guitar factory consists of an intimate viewing of the facility as Gibson’s skilled luthiers craft some of the finest guitars in the world. An opportunity to witness the intricate process of binding, neck-fitting, painting, buffing, and tuning that creates these incredible musical instruments. See and hear how Gibson has helped shape the world of music for over 100 years and continues to set the pace for the musical innovations of tomorrow. Tour lasts approximately 45 minutes.
Tours are given: Monday- Saturday 11AM, noon, 1PM, 2PM, 3PM, and 4PM; Sunday noon, 1PM, 2PM, 3PM, and 4PM
  • Heartbreak Hotel,
Elvis Hotel. Across the street from Graceland. It features unique decor. You can try to see the lobby.

Day 10 (Thursday): Memphis kuni New Orleans

Driving distance: 396 miles. Take route 61, the Blues Highway, and follow it as weaves into Mississippi, all the way to New Orleans.

Clarksdale

Once one of the Delta’s main trading towns, Clarksdale is possibly the most important blues-town in Mississippi. John Lee Hooker, Sam Cooke, Jackie Brenston and Ike Turner were born and raised here. Other influential bluesmen who made their names in Clarksdale include Muddy Waters, Bukka White, Son House, and Robert Nighthawk. On September 26th, 1937, Bessie Smith died in Clarksdale after a car accident on Highway 61 near Coahoma.

  • Riverside Hotel. 615 Sunflower Avenue. Here stood the GT Thomas Hospital for blacks, where Bessie Smith died. The owner of the Hotel, Frank Ratliff claims his mother, who turned the hospital into a hotel in 1944, knew what really happened, but Frank’s is not willing to tell anyone. Bessie´s Room (room #2) can be visited. John Fitzgerald Kennedy chose to stay at the Riverside when he visited Clarksdale. He stayed opposite Bessie’s in room 2a.
  • WC Handy's marker. WC Handy heard the blues for the first time in 1903 when he was living in Clarksdale.
  • Delta Blues Museum. #1 Blues Alley, Clarksdale, MS. Mar-Oct: M-Sa 9AM-5PM; Nov-Feb: M-Sa 10AM-5PM. Go south on 61 Highway to Clarksdale. 61 Turns into N. State Street. Turn right on DeSoto, go under the railroad tracks and turn left on 3rd Street.

Dockery Plantation

Take Highway 8 east from Cleveland (Here, WC Handy pronounced his famous words "An American composer is Born") for about 5 miles to reach the Dockery Plantation founded around 1895. According to many, the blues was born right here. Charley Patton, pioneer of the Delta blues was a worker here.

Where the “Southern meet the Dog”

These were the lyrics of the first Blues WC heard in Tutwiler. He asked the singer what they meant. They actually mean a point where the Yazoo and the Mississippi railroads meet. This point is in Moorhead and the railroads still exist

Natchez

When Natchez was the old capital of cotton industry, more millionaires lived here than anywhere else in America. This is today a city of contrasts full of Southern Charm and elegance.

Day 11 (Friday): Visiting New Orleans

  • The French Quarter. The city's historic center is its main tourist draw.
  • Faubourg Treme. Founded by free people of color the Treme is home to New Orleans' African American Museum, historic St. Augustine Church, Louis Armstrong Park and Congo Square (and the National Jazz Museum) as well as a vibrant Secondline tradition.
  • Faubourg Marigny. New Orleans' "bohemian" neighborhood is also home of the Frenchmen Street Entertainment District.
  • Storyville. The now defunct district where prostitution and gambling was legal in New Orleans. Storyville was a key in the development of jazz and that its closing was responsible for New Orleans musicians leaving for Chicago. Almost all the buildings in the former District were demolished in the 1930s to clear the land for the building of the Iberville Projects. While much of the area contained old and decayed buildings, the old mansions along Basin Street, some of the finest structures in the city, were leveled, too.
  • Basin Street. The back side of Basin Street was the front of the Storyville red light district, with a line of high end saloons and mansions devoted to prostitution. Basin Street was commemorated in the Basin Street Blues composed by Spencer Williams in 1926 and recorded by Louis Armstrong in 1929 and Miles Davis in 1963.

There are a series of monuments on the neutral ground of Basin Street, including statues of Simón Bolívar, Benito Juárez, and Francisco Morazán, and a metal sign commemorating Storyville.

Jazz clubs in New Orleans

  • Anderson's Annex. 201 North Basin Street, at Iberville Street.
  • Irvin Mayfield's Jazz Playhouse. 300 Bourbon Street.
  • Preservation Hall. 726 St. Peter Street.
  • Candlelight Lounge. 925 N. Robertson Street.
  • d.b.a.. 618 Frenchmen Street.
  • Tihe sadam. 626 Frenchmen Street.
  • The Spotted Cat. 623 Frenchmen Street.
  • Sweet Lorraine's. 1931 St. Claude Avenue.
  • Maple Leaf Bar. 8316 Oak Street.

New Orleans has a vibrant live music scene throughout the city. Although Bourbon Street has lost its luster as an exclusively musical destination (with a few exceptions) have no fear, this is New Orleans. The Frenchman Street entertainment district in the Faubourg Marigny (the neighborhood next to the French Quarter) is one of the best places to catch a live Jazz Performance in New Orleans. Arrive any day of the week, later in the evening. Quality street musicians abound in New Orleans.

Saloon. [11]From 1901 to around 1925, Anderson's Annex was the headquarters of Tom Anderson, from where he controlled the brothel district of New Orleans. The venue was managed by Bille Struve, who also produced the famous Blue Book (a guidebook to the district), which advertised it somewhat misleadingly as a "café and restaurant."

From about 1905, it was sometimes known as the Arlington Annex, after Josie Arlington's whorehouse, one of the three largest and most popular on Basin Street. The saloon offered music on a modest scale, presenting small bands, such as string trios (mandolin or violin, guitar and double bass); among the musicians who played there were Bill Johnson, the black guitarist Tom Brown, and Wellman Braud, playing violin. In published accounts, such famous musicians as Louis Armstrong and Albert Nicholas are said to have played at Anderson's Annex, but they actually worked at Tom Anderson's New Cabaret and Restaurant.

Day 12 (Saturday): Visiting New Orleans

Day 13 (Sunday): New Orleans kuni Boston

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