• Wendell Brunious and band perform at the Old U.S. Mint

    New Orleans Jazz

    National Historical Park Louisiana

Jazz History Bibliography

Armstrong, Louis 1954, Satchmo: My Life in New Orleans. Englewood Cliffs, New Jersey: Prentice Hall.

Armstrong, Louis 1936, Swing That Music. New York: Longman's.

Asbury, Herbert 1938, The French Quarter: an Informal History of the New Orleans Underworld. New York: Garden City Publishing Co.

Barker, Danny 1988, A Life In Jazz. Edited by Alyn Shipton. New York: Green and Company, Oxford University Press.

Bechet, Sidney 1960, Treat It Gentle: An Autobiography. 1978 paperback ed. New York: Da Capo Paperback.

Berry, Jason, Jonathan Foose, and Tad Jones1986 Up from the Cradle of Jazz. Atlanta: University of Georgia Press.

Berry, Lemuel, Jr. 1991, "The Impact of Creole Music on Jazz." The Second Line, vol. 43, no. 1,9-10.

Bigard, Barney and Barry Martyn (ed.) 1980, With Louis and the Duke: Autobiograph of a Jazz Clarinetist. New York: Oxford University Press.

Bird, Christiane 1991, The Jazz and Blues Lover s Guide to the U.S., New York: Addison Wesley Publishing Company Inc.

Blesh, Rudi 1958, Shining Trumpets. New York: Knopf, 1946, rev. 1958.

Blesh, Rudi and Harriet Janis 1950, They All Played Ragtime. New York: Knopf, 1950, rev. 1959.

Boudreaux, Ellen 1985, “A Photographic Tour of New Orleans Jazz Heritage.” New Orleans Preservation In Print, April:10.

Boudreaux, Ellen 1985, “Heritage.” New Orleans Preservation In Print, April.

Bourdeaux, Ellen D. 1985, “Jazz Festival Previews Artists.” New Orleans Preservation In Print, April.

Brunn, H.O. 1960, The Story of the Original Dixieland Jazz Band. Baton Rouge: Louisiana State University Press.

Buerkle, Jack V. and Danny Barker 1973, Bourbon Street Black: The New Orleans Black Jazzman. New York: Oxford University Press.

Bushell, Garvin, as told to Mark Tucker 1988, Jazz from the Beginning. Ann Arbor: University of Michigan Press.

Gable, George 1959, "The Dance In Place Congo." Creoles and Cajuns: Stories of Old Louisiana. New York: Doubleday.

Carroll, Pat 1945, "Bunk Johnson Tells His Story to Gus P. Statiras: An Interview in Bunk's Room, September, 1945." Reprinted from JAZZFAX, pp.3-4, 23, 25.

Charters, Samuel B. 1958, Jazz: New Orleans 1885-1957. Belleville, New Jersey:

Walter C. Allen. 1981, The Roots of the Blues: an African Search. New York: DaCapo.

Charters, Samuel B. and Leonard Kunstadt 1981, Jazz: A History of the New York Scene. Doubleday, 1962; DaCapo, 1981.

Chilton, John 1979, Who's Who of Jazz: Storyville to Swing Street. New York: Time-Life.

Chilton, John 1987, Sidney Bechet: the Wizard of Jazz. New York: Oxford University Press.

Clayton, Peter and Peter Gammond 1989, The Guinness Jazz Companion. Great Britain: Guinness Publishing Ltd.

Collier, James Lincoln 1983, Louis Armstrong: An American Genius. New York: Oxford University Press.

Collins, Lee 1989, Oh Didn’t He Ramble: the Life Story of Lee Collins as Told to Mary Collins. Chicago: University of Illinois Press.

Dodds, Warren 1959, The Baby Dodds Story, as told to Larry Gara. Los Angeles: Contemporary Press.

Fairbairn, Ann 1971, Call Him George: Biography of George Lewis. Crown, 1969, New York: Bantam ed. 1971.

Fieher, Thomas 1991, "From Quadrille to Stomp: The Creole Origins of Jazz." Popular Music, 10 (January 1991): 21-38.

Federation Jazz 1991, Vol. 5, No.2, (May-June).

Foster, Pops, as told to Tom Stoddard 1971, Pops Foster: The Autobiography of a New Orleans Jazzman. Los Angeles: University of California Press.

Giddins, Gary 1988, Satchmo. New York: Doubleday.

Gushee, Lawrence 1985, "A Preliminary Chronology of the Early Career of Ferd 'Jelly Roll' Morton." American Music, 3.

Gushee, Lawrence 1989, "New Orleans Area Musicians on the West Coast, 1908-1925." Black Music Research Journal, 9 (Spring).

Gushee, Lawrence 1988, "How The Creole Band Came To Be." Black Music Research Journal, 8.

Hillerman, Christopher 1988, Bunk Johnson, His Life and Times. New York: Universe Books.

Hasse, John Edward, ed. 1985, Ragtime: Its History, Composers, and Music. New York: Schirmer Books.

Hodeir, Andre 1956, Jazz: Its Evolution and Essence. New York: Grove Press.

Holbrook, Dick 1976, "Mr. Jazz Himself -The Story of Ray Lopez," Storyville, 64 (April-May).

Jankowiak, William R., Helen Regis, and Chris Turner 1990, Black Social Aid and Pleasure Clubs: Marching Associations in New Orleans. Department of Anthropology, Tulane University, under contract with the National Park Service.

Jerde, Curtis 1990, Architectural Record and Resources Related to Jazz in the New Orleans Area. Earth Search, Inc. under contract with the National Park Service.

Jerde, Curtis, and Jeffrey Treffinger 1990, Jazz-Related Sites and Structures in the New Orleans Area. Earth Search, Inc. under contract with the National Park Service.

Johnson, Jerah 1991, "New Orlean's Congo Square: An Urban Setting for Early Afro-American Culture Formation." Louisiana History, 32 (Spring):117-157.

Jones. LeRoi 1963, Blues People: The Negro Experience in White America and The Music that Developed from It. New York: Morrow Quill Paperbacks.

Keepners, Orrin and Bill Grauer, Jr. 1966, A Pictorial History of Jazz: People and Places from New Orleans to Modern Jazz. New York: Crown Publishers, Inc.

Kernfeld, Barry 1988, The New Grove Dictionary of Jazz. 2 vols. McMillan Press. Ltd.. London.

Kmen. Henry A. 1966, Music in New Orleans: The Formative Years, 1791-1841. Baton Rouge: Louisiana State University Press.

Kmen, Henry A. 1968, "The Music of New Orleans." The Past as Prelude: New Orleans, 1718-1968. New Orleans: Tulane University Press.

Kmen, Henry A. 1972, "The Roots of Jazz and the Dance in Congo Square: A Re-Appraisal." Inter-American Musical Research Yearbook. 8 (1972):5-16.

Koenig, Dr. Karl 1982, "Deer Range Plantation and Band." The Second Line. (Fall): 4-9.

Koenig, Dr. Karl 1990, Sonic Boom: Drums, Drummers & Drumming in Early Jazz. Covington. LA: Basin Street Press.

Lewis, Pierce F. 1976, New Orleans: The Maklng of an Urban Landscape. Cambridge, MA: Ballinger Publishing Co.

Lomax. Alan 1973, Mister Jelly Roll: The Fortunes of Jelly Roll Morton, New Orleans Creole and "Inventor of Jazz." Berkley: University of. California Press.

Marquis, Donald M. 1978, In Search of Buddy Bolden, First Man of Jazz. Baton Rouge: Louisiana State University Press.

Marquis, Donald M. 1990, Finding Buddy Bolden, First Man of Jazz. Goshen. Indiana: Pinchpenny Press.

McGinty. Brian 1981, Jazz: Red Hot & Cool. Philadelphia: Eastern Acorn Press, (Eastern National Park & Monument Association).

National Park Service, U.S. Department of the Interior 1987, History and Prehistory in the National Park System and the National Historic Landmarks Program. Washington, D.C.

National Park Service, U.S. Department of the Interior 1989, Management Policies. Washington. D.C.

Palao, Mike 1976, "Dominic James 'Nick' LaRocca. Dixieland Jazz Pioneer." Reprinted from Italian-American Digest, March.

Raeburn, Bruce Boyd 1991, "Jazz and the Italian Connection." The Jazz Archivist, 6 (May): 1-8.

Raeburn, Bruce Boyd, Curator n.d., William Ransom Hogan Jazz Archive. Howard-Tilton Memorial Library, Tulane University, New Orleans. LA.

Ramsey, Frederick, Jr. and Charles Edward Smith (eds.) 1939, Jazzmen. Harcort, Brace and Company.

Rose, Al 1974, Storyville, New Orleans: Being an Authentic, Illustrated Account of thr Notorious Red-Light District. Tuscaloosa, Alabama: University of Alabama Press.

Rose, Al 1987, I Remember Jazz. Baton Rouge: Louisiana State University Press.

Rose AI and Edmond Souchon 1984, New Orleans Jazz: A Family Album. Baton Rouge: Louisiana State University Press.

Schafer, William and Richard B. Allen 1977, Brass Bands and New Orleans Jazz. Baton Rouge: Louisiana State University Press.

Schuller, Gunther 1968, Early Jazz: Its Roots and Musical Development. New York: Oxford University Press.

Shapiro, Nat and Nat Hentoff 1957, The Jazz Makers. New York: Grove Press Inc.

Shpiro, Nat and Nat Hentoff 1966, Hear Me Talkin' To Ya. New York: Inehart & Company, Inc.

Smith, Charles Edward 1961, "New Orleans and Traditions in Jazz." Jazz. New York: Grove Press.

Smith, Michael P. 1984, Spirit World, Pattern in the Expressive Folk Culture of Afro-American New Orleans. New Orleans Urban Folklife Society.

Smith, Michael P. 1990, "New Orleans' Hidden Carnival." Cultural Vistas, 1(3) (Autumn).

Smith, Michael P. 1990, A Joyful Noise: A Celebration of New Orleans Music. Taylor Publishing Co., Dallas, TX.

Smith, Michael P. 1991, Conserving Urban Cultural Heritage: A Conference Co-Presented by The New Orleans Urban Folklife Society and the College of Urban and Public Affairs, University of New Orleans, Louisiana. (March 3D, 1991).

Southern, Eileen 1983, The Music of Black Americans -A History. New York: W. W. Norton & Co. Press.

Stearns, Marshall 1956, The Story of Jazz. New York: Oxford University Press.

Stewart, Jack 1982, I Didn't Mean Good-Bye: Dedicated To The Memory of George Blanchin and Tom Tooke. record album liner notes, N.P.

Stewart, Jack 1991, "The Mexican Band Legend: Myth, Reality, and Musical Impact; A Preliminary Investigation." The Jazz Archivist, 6 (December): 1-14.

Stewart, Jack 1991, "The Original Dixieland Jazz Band's Place in History." The Jazz Archivist, 6 (May): 7-8.

Stokes, W. Royal 1991, The Jazz Scene. Oxford University Press.

Turner, Fredrick 1982, Remembering Song: Encounters with the New Orleans Jazz Tradition. New York: Viking Press.

White, Michael G. 1984, "The New Orleans Brass Band: Nature Style and Social Significance." Xavier Review. New Orleans: Xavier University.

White, Michael G. 1991, "Evolution of a Cultural Tradition." Cultural Vistas (Winter).

Williams, Martin 1979, Jazz Masters of New Orleans. New York: Da Capo.

Wilson, Charles Reagan, and William Ferris, eds. 1989, Encyclopedia of Southern Culture. Chapel Hill, NC: University of North Carolina Press.

Did You Know?

Original Dixieland Jazz Band (1916)

The Original Dixieland Jazz Band is credited with making the first jazz recording in 1917. Cornetist Freddie Keppard was offered the chance to record first, but refused for fear that other musicians would steal his ideas.