King Porter Stomp

King Porter Stomp is the title of an early jazz composition by Jelly Roll Morton. The song was recorded in 1923, his composer Jelly Roll Morton to record and evolved into the swing era jazz standard. In addition, many musicians took the harmonies to create new songs. The rarely sung text created Sonny Burke and Sid Robin until years after publication of the composition.

Genesis

Morton had the first idea for the composition by its own account in 1905, but the literature dated mostly the work year between 1906 and 1910, when Morton met the man, for the first time after the song is named. Morton tells the history at the end of his official Library of Congress Recording: " Porter King was a Florida -derived, already deceased pianist with good music education. He liked ... one of my pieces especially, so I named it after him " to name he continued: ". . For, stomping ' there was no other meaning than that people stamped their feet "

Stomp is one invented by Morton expression to describe the rhythm caused by foot stamping ( "stamp" ). The neologism was published by Morton for the first time on record, and was subsequently transferred to the jazz language (" Stompin 'at the Savoy " by Chick Webb's Harlem Stompers, taken on May 18, 1934) and found a rhythm name input in the general language. Since then, " Stomp ", the term for a heavy beat.

Morton first saw no reason for the publication of the King Porter Stomp, because he could use the number in Piano Battles so without the competing pianist the details of the piece knew and could respond as appropriate; also paid the publisher for a composition only a sum of between fifteen and twenty dollars.

Features of composition and first recordings

The to be played in moderate pace King Porter Stomp corresponds in its musical structure with Trio Share a typical ragtime, but is not limited to the march - form, but written in the form AABBXCCC'T. The left hand had, while the right hand syncopated patterns interjected the typical role of the rhythm generator against the pulse of the piece. The Strains each comprise 16 bars, where in the second Strain the right hand plays patterns on the motives of the Maple Leaf Rag. In later versions of the King Porter Stomp the B- parts are omitted and inserted additional trio parts, but more and more get the quality of a stomp.

Ferdinand " Jelly Roll " Morton had recorded his first four tracks for Paramount Records in June 1923. Shortly thereafter he moved to Gennett Records, where he grossed on July 17, 1923 piano solo King Porter (A Stomp ). It was combined with the Wolverine Blues formed on 18 July 1923 and published in November 1923 as the first single ( Gennett 5289 ). Since 1923, Morton was at the Melrose brothers in Chicago under contract, which led a music publishing with Melrose Music Corporation. In that year he was here his London ( Cafe ) Blues register. The copyright for King Porter Stomp was registered through December 6, 1924. On 24 December 1924, he played an instrumental duet with a cornetist Joe "King" Oliver, the Tom Cat Blues was released combined with the ( Autograph 617). Since the two musicians had not played each other, Oliver was limited in his playing it, while highlighting the piano parts.

Cover versions

The first cover version comes apparent of Al Turk 's Princess Orchestra, recorded in October 1924 ( Olympic 1463 ). On April 20, 1926 Morton stood with his orchestra in the recording studio ( Vocalion Records 1020). After a warped recording ( 1925) Fletcher Henderson was with his orchestra on March 14 in 1928 for Columbia Records ( 1543) in the studio to record the King Porter Stomp in its own Head Arrangement; the highly swinging number was already a " harbinger of the swing era ." Henderson played a another version in 1932; in the same year, Cab Calloway recorded the song. Claude Hopkins was followed on September 14, 1934 with a solo by Edmond Hall, which he later drove in another recording at Zutty Singleton further.

As Benny Goodman took up the piece of Fletcher Henderson arranged and provided with one of the most famous trumpet solos by Bunny Berigan, on July 1, 1935 ( Victor Records 25090 ), was a classic of the big band era. Shortly after his recording studio at the Palomar Ballroom (Los Angeles ), he presented the Stomp on August 21, 1935 live; no later that evening jazz historian Marshall Stearns was allegedly born in the swing era. Not only the two versions, the published Henderson and his orchestra were successful hits in the United States (1928 to rank 11 in 1933 to rank 20 ), but also the version of Benny Goodman (1935, rank 10).

All the leading big bands of the period also song has since taken up and presented with rich variety of arrangements. In Chick Webb with Ella Fitzgerald (vocals; February 1936, Polydor 423 248 ), for example, was followed by Count Basie (10 January 1937), Erskine Hawkins on September 12, 1938 ( Bluebird 7839 ), Glenn Miller on September 27, 1938 ( Bluebird 7853 ) and Harry James on April 6, 1939 ( Brunswick Records 8366 ). The Metronome All-Stars were on 7 February 1940 at Studio (Columbia 36389 ) to improvise on the Henderson - Arrangement; Bob Crosby was followed on January 27, 1942 ( Decca Records 4390 ).

Alone 1923-1942 there were 36 cover version, including five remakes of Morton. Then it got even to publish many other versions. For example, the King Porter Stomp was repeatedly performed by Sun Ra Arkestra and his since the 1970s. Gil Evans wrote for his album New Bottle, Old Wine (1958 ) an arrangement that the first versions of the piece reminded (and also from the National Jazz Ensemble, Chuck Israels was submitted in 1976 ) again. Jon Hendricks wrote a new text for the version of Manhattan Transfer. Even the Chicago Creative Music Trio Air sat apart in 1979 with Morton's classic.

Derived songs

Especially the last part (C ') of the original composition, the actual Stomp, already wandered into the swing era in numerous compositions of other musicians: Benny Carter built his piece Everybody Shuffle ( 1934) on it. Similar ideas pursued in the coming years, Harry James ( Call the Porter, Jump Town), Cab Calloway (At the Clambake Carnival ) or Goodman ( Slipped Disc) based also on it. Duke Ellington also Bojangles (A Portrait of Bill Robinson) took a loan here. John Lewis used Mortons composition later than bebop head and built on the harmonies, the topics of Golden Striker and Odds Against Tomorrow on.