Jelly Roll Morton

Ferdinand Joseph LaMothe (October 20, 1890 July

10, 1941),[1] known professionally as Jelly Roll Morton, was an American ragtime and early jazz pianist, bandleader and composer who started his career in New Orleans, Louisiana.

and were not legally married. No birth certicate has

been found to date.

Ferdinand started playing music as a child, showing early

talent. After his parents separated, his mother married
a man named Mouton. Ferdinand took his stepfathers
Widely recognized as a pivotal gure in early jazz, Mor- name and anglicized it as Morton.
ton is perhaps most notable as jazzs rst arranger, proving that a genre rooted in improvisation could retain its
essential spirit and characteristics when notated.[2] His 1.2 Musical career
composition "Jelly Roll Blues" was the rst published
jazz composition, in 1915. Morton is also notable for
naming and popularizing the "Spanish Tinge" (habanera
rhythm and tresillo), and for writing such standards as
"King Porter Stomp", "Wolverine Blues", "Black Bottom
Stomp", and I Thought I Heard Buddy Bolden Say, the
last a tribute to New Orleans musicians from the turn of
the 19th century to 20th century.
Reputed for his arrogance and self-promotion as often
as recognized in his day for his musical talents, Morton claimed to have invented jazz outright in 1902
much to the derision of later musicians and critics.[3] The
jazz historian, musician, and composer Gunther Schuller
says of Mortons hyperbolic assertions that there is
no proof to the contrary and that Mortons considerable accomplishments in themselves provide reasonable
substantiation.[4] However, the scholar Katy Martin has
argued that Mortons bragging was exaggerated by Alan
Lomax in the book Mister Jelly Roll, and this portrayal
has inuenced public opinion and scholarship on Morton
since.[5]

1
1.1

Biography
Early life and education

Morton claimed to have written Jelly Roll Blues in 1905.

Morton was born into a creole of color family in the

Faubourg Marigny neighborhood of downtown New Orleans, Louisiana. Sources dier as to his birth date: a
baptismal certicate issued in 1894 lists his date of birth
as October 20, 1890; Morton and his half-sisters claimed
he was born on September 20, 1885. His World War I
draft registration card showed September 13, 1884, but
his California death certicate listed his birth as September 20, 1889. He was born to F. P. Lamothe and Louise
Monette (written as Lemott and Monett on his baptismal
certicate). Eulaley Haco (Eulalie Hcaud) was the godparent. Hcaud helped choose his christening name of
Ferdinand. His parents lived in a common-law marriage

At the age of fourteen, Morton began working as a piano

player in a brothel (or, as it was referred to then, a sporting
house). In that atmosphere, he often sang smutty lyrics;
he took the nickname Jelly Roll, which was African
American slang for female genitalia.[6][7] While working
there, he was living with his religious, church-going greatgrandmother; he had her convinced that he worked as a
night watchman in a barrel factory.
After Mortons grandmother found out that he was playing jazz in a local brothel, she kicked him out of her
house.[8]
He said:
1

2
When my grandmother found out that I was
playing jazz in one of the sporting houses in
the District, she told me that I had disgraced
the family and forbade me to live at the house...
She told me that devil music would surely bring
about my downfall, but I just couldn't put it behind me.[8]

Cornetist Rex Stewart recalled that Morton had chosen the nom de plume 'Morton' to protect his family from disgrace if he was identied as a whorehouse
'professor'.[6]
Tony Jackson, also a pianist at brothels and an accomplished guitar player, was a major inuence on Mortons
music. Jelly Roll said that Jackson was the only pianist
better than he was.

1.3

Touring

Around 1904, Morton also started touring in the American South, working with minstrel shows, gambling and
composing. His works "Jelly Roll Blues", New Orleans Blues, Frog-I-More Rag, Animule Dance, and
"King Porter Stomp" were composed during this period.
He got to Chicago in 1910 and New York City in 1911,
where future stride greats James P. Johnson and Willie
The Lion Smith caught his act, years before the blues
were widely played in the North.[9]
In 19121914, Morton toured with his girlfriend Rosa
Brown as a vaudeville act before settling in Chicago for
three years. By 1914, he had started writing down his
compositions. In 1915, his Jelly Roll Blues was arguably the rst jazz composition ever published, recording as sheet music the New Orleans traditions that had
been jealously guarded by the musicians. In 1917, he
followed bandleader William Manuel Johnson and Johnsons sister Anita Gonzalez to California, where Mortons
tango, The Crave, made a sensation in Hollywood.[10]

MARRIAGE AND FAMILY

as piano rolls, then on record, both as a piano soloist and

with various jazz bands.[12]
In 1926, Morton succeeded in getting a contract to record
for the largest and most prestigious company in the
United States, Victor. This gave him a chance to bring a
well-rehearsed band to play his arrangements in Victors
Chicago recording studios. These recordings by Jelly Roll
Morton & His Red Hot Peppers are regarded as classics of
1920s jazz. The Red Hot Peppers featured such other
New Orleans jazz luminaries as Kid Ory, Omer Simeon,
George Mitchell, Johnny St. Cyr, Barney Bigard, Johnny
Dodds, Baby Dodds, and Andrew Hilaire. Jelly Roll Morton & His Red Hot Peppers were one of the rst acts
booked on tours by MCA.[13]

2 Marriage and family

In November 1928, Morton married the showgirl Mabel
Bertrand in Gary, Indiana.

2.1 New York City

They moved that year to New York City, where Morton
continued to record for Victor. His piano solos and trio
recordings are well regarded, but his band recordings suffer in comparison with the Chicago sides, where Morton could draw on many great New Orleans musicians for
sidemen.[14] Although he recorded with the noted musicians clarinetists Omer Simeon, George Baquet, Albert
Nicholas, Wilton Crawley, Barney Bigard, Russell Procope, Lorenzo Tio and Artie Shaw, trumpeters Bubber
Miley, Johnny Dunn and Henry Red Allen, saxophonists Sidney Bechet, Paul Barnes and Bud Freeman, bassist
Pops Foster, and drummers Paul Barbarin, Cozy Cole
and Zutty Singleton, Morton generally had trouble nding musicians who wanted to play his style of jazz. His
New York sessions failed to produce a hit.[15]

Morton was invited to play a new Vancouver, British

Columbia, nightclub called The Patricia, on East Hastings Street. The jazz historian Mark Miller described
his arrival as an extended period of itinerancy as a pianist, vaudeville performer, gambler, hustler, and, as legend would have it, pimp.[11]

With the Great Depression and the near collapse of the

record industry, Victor did not renew Mortons recording contract for 1931. Morton continued playing in New
York, but struggled nancially. He briey had a radio
show in 1934, then took on touring in the band of a traveling burlesque act for some steady income. In 1935,
Mortons 30-year-old composition King Porter Stomp, as
arranged by Fletcher Henderson, became Benny Goodman's rst hit and a swing standard, but Morton received
no royalties from its recordings.[16]

1.5

2.2 Washington, D.C.

1.4

Vancouver

Chicago

Morton returned to Chicago in 1923 to claim authorship

of his recently published rag, The Wolverines, which
had become a hit as Wolverine Blues in the Windy City.
He released the rst of his commercial recordings, rst

In 1935, Morton moved to Washington, D.C., to become the manager/piano player of a bar called, at various times, the Music Box, Blue Moon Inn, and Jungle Inn in the African-American neighborhood of Shaw.

3
(The building that hosted the nightclub stands at 1211 U
Street NW.) Morton was also the master of ceremonies,
bouncer, and bartender of the club. He lived in Washington for a few years; the club owner allowed all her friends
free admission and drinks, which prevented Morton from
making the business a success.[17]

Worsening asthma sent him to a New York hospital for

three months at one point. He continued to suer from
respiratory problems when visiting Los Angeles with a series of manuscripts of new tunes and arrangements, planning to form a new band and restart his career. Morton
died on July 10, 1941, after an eleven-day stay in Los
In 1938, Morton was stabbed by a friend of the owner and Angeles County General Hospital.
suered wounds to the head and chest. After this incident, According to the jazz historian David Gelly in 2000,
his wife Mabel demanded that they leave Washington.[17] Mortons arrogance and bumptious persona alienated
that no colleagues or
During Mortons brief residency at the Music Box, the so many musicians over the years
[19]
admirers
attended
his
funeral.
But,
a contemporary
folklorist Alan Lomax heard the pianist playing in the
news
account
of
the
funeral
in
the
August
1, 1941, issue
bar. In May 1938, Lomax invited Morton to record muof
Downbeat
says
that
fellow
musicians
Kid
Ory, Mutt
sic and interviews for the Library of Congress. The sesCarey,
Fred
Washington
and
Ed
Garland
were
among his
sions, originally intended as a short interview with mupall
bearers.
The
story
notes
the
absence
of
Duke
Ellingsical examples for use by music researchers in the Liton
and
Jimmie
Lunceford,
both
of
whom
were
appearbrary of Congress, soon expanded to record more than
eight hours of Morton talking and playing piano. Lomax ing in Los Angeles at the time. (The article is reproduced
also conducted longer interviews during which he took in Alan Lomaxs biography of Morton, Mister Jelly Roll,
notes but did not record. Despite the low delity of these University of California Press, 1950.)
non-commercial recordings, their musical and historical
importance have attracted numerous jazz fans, and they
have helped to ensure Mortons place in jazz history.[18]
Lomax was very interested in Mortons Storyville days in
New Orleans and the ribald songs of the time. Although
reluctant to recount and record these, Morton eventually
obliged Lomax. Because of the suggestive nature of the
songs, some of the Library of Congress recordings were
not released until 2005.[18]
In his interviews, Morton claimed to have been born in
1885. He was aware that if he had been born in 1890, he
would have been slightly too young to make a good case as
the inventor of jazz. He said in the interview that Buddy
Bolden played ragtime but not jazz; this is not accepted
by the consensus of Boldens other New Orleans contemporaries. The contradictions may stem from dierent
denitions for the terms ragtime and jazz. These interviews, released in dierent forms over the years, were
released on an eight-CD boxed set in 2005, The Complete
Library of Congress Recordings. This collection won two
Grammy Awards.[18] The same year, Morton was honored with the Grammy Lifetime Achievement Award.

3 Piano style
Mortons piano style was formed from early secondary
ragtime and shout, which also evolved separately into
the New York school of stride piano. Mortons playing was also close to barrelhouse, which produced boogie
woogie.
Morton often played the melody of a tune with his right
thumb, while sounding a harmony above these notes with
other ngers of the right hand. This added a rustic or
out-of-tune sound (due to the playing of a diminished
5th above the melody). This may still be recognized as
belonging to New Orleans. Morton also walked in major
and minor sixths in the bass, instead of tenths or octaves.
He played basic swing rhythms in both the left and right
hand.

4 Compositions
Some of Mortons songs (listed alphabetically):

2.3

Later years

When Morton was stabbed and wounded, a nearby

whites-only hospital refused to treat him, as the city had
racially segregated facilities. He was transported to a
black hospital farther away. When he was in the hospital,
the doctors left ice on his wounds for several hours before
attending to his eventually fatal injury. His recovery from
his wounds was incomplete, and thereafter he was often
ill and easily became short of breath. Morton made a new
series of commercial recordings in New York, several recounting tunes from his early years that he discussed in
his Library of Congress interviews.

Several of Mortons compositions were musical tributes to himself, including Winin' Boy, The Jelly Roll
Blues, subtitled The Original Jelly-Roll"; and Mr.
Jelly Lord. In the Big Band era, his King Porter
Stomp, which Morton had written decades earlier, was
a big hit for Fletcher Henderson and Benny Goodman; it
became a standard covered by most other swing bands of
that time. Morton claimed to have written some tunes that
were copyrighted by others, including "Alabama Bound"
and "Tiger Rag". Sweet Peter, which Morton recorded
in 1926, appears to be the source for the melody of the
hit song All Of Me, ostensibly written by Gerald Marks
and Seymour Simons in 1931.

His musical inuence continues in the work of Dick Hyman and Reginald Robinson.

REFERENCES

7 Selected discography
1923/24 19231924 (Milestone Records)

4.1

Albums

The Piano Rolls (Nonesuch, 1997)

Red Hot Peppers Session: Birth of the Hot, The Classic Red Hot Peppers Sessions ( RCA Bluebird) 1926
1927

Giants of Jazz (Collectables, 1998)

The Pearls 19261939 (RCA Bluebird Records)

Mr. Jelly Roll (Tomato Music, 2003)

Jazz King of New Orleans 19261930 (RCA Bluebird Records)

Legacy
Jelly Roll Morton was inducted in the Rock and Roll
Hall of Fame and was elected as a charter member
of the Gennett Records Walk of Fame.
In 2008, Jelly Roll Morton was inducted into The
Louisiana Music Hall of Fame.[20]

Representation in other media

Two Broadway shows have featured his music, Jelly
Roll and Jellys Last Jam. The rst draws heavily on
Mortons own words and stories from the Library of
Congress interviews.
Jelly Roll Morton appears as the piano professor in
Louis Malles Pretty Baby, where he is portrayed by
actor Antonio Fargas, with piano and vocals played
by James Booker.
Jelly Roll Mortons Last Night at the Jungle Inn: An
Imaginary Memoir (1984) was written by the ethnomusicologist and folklorist Samuel Charters, embellishing Mortons early stories about his life.[21]
Morton and his godmother, Eulalie, appear as characters in David Fulmer's mystery novel Chasing the
Devils Tail.
Jelly Roll Morton is featured in Alessandro Baricco's book Novecento. He is the inventor of jazz
and the protagonists rival throughout the book. This
book was adapted as a movie: The Legend of 1900,
directed by Giuseppe Tornatore. His character is
played by the actor Clarence Williams III.
The play Don't You Leave Me Here, by Clare Brown,
which premiered at West Yorkshire Playhouse on 27
September 2008, deals with Mortons relationship
with musician Tony Jackson.
Mortons name is mentioned in Cornet Man, sung
by Barbra Streisand in the Broadway musical Funny
Girl (1964).[22]

(1938) The Complete Library of Congress Recordings, Vol. 1-8 (8CD) (Rounder Records)

8 See also
List of ragtime composers
Chord names and symbols (popular music) Jerry
Gates, a professor of Berklee College of Music, tells
that he has heard chord symbols came from Ferde
Grof and Jelly Roll Morton.[23]

9 References
[1] Scott Yanow (1941-07-10). Jelly Roll Morton | Biography & History. AllMusic. Retrieved 2015-10-05.
[2] Giddins, Gary & Scott DeVeaux (2009). Jazz. New York:
W.W. Norton & Co, ISBN 978-0-393-06861-0
[3] Critic Scott Yanow writes, Jelly Roll Morton did himself a lot of harm posthumously by exaggerating his worth,
claiming to have invented jazz in 1902. Mortons accomplishments as an early innovator are so vast that he did not
really need to stretch the truth.
[4] Schuller, Gunther (1986). The History of Jazz. Volume 2.
Oxford University Press US. p. 136. ISBN 0-19-5040430.
[5] Martin, Katy. The Preoccupations of Mr. Lomax, Inventor of the 'Inventor of Jazz'", Popular Music and Society 36.1, p. 3039. Taylor and Francis, February 2013.
doi:10.1080/03007766.2011.613225.
[6] Stewart, Rex. Boy Meets Horn, Claire P. Gordon, ed. U.
of Mich. Press, 1991. Cited in Levin, Floyd (2000).
Classic Jazz: A Personal View of the Music and the Musicians. U. of Calif. Press. pp. 109110. ISBN
9780520213609. Retrieved 16 October 2015.
[7] Major, Clarence (1994). Juba to Jive: The Dictionary of
African-American Slang. New York: Penguin. p. 256.
ISBN 9780140513066.
[8] Culture Shock: The TV Series and Beyond: The Devils
Music: 1920s Jazz. Pbs.org. 2000-02-02. Retrieved
2015-10-05.

[9] Reich, Howard; Gaines, William (2003). Jellys Blues: the

Life, Music and Redemption of Jelly Roll Morton. Cambridge MA: Da Capo Press. pp. 3941. ISBN 0-30681350-5.
[10] Reich, Howard; Gaines, William (2003). Jellys Blues: the
Life, Music and Redemption of Jelly Roll Morton. Cambridge MA: Da Capo Press. pp. 4259. ISBN 0-30681350-5.

10 Sources
Dapogny, James. Ferdinand Jelly Roll Morton:
The Collected Piano Music. Washington, D.C.,
Smithsonian Institution Press, 1982.
The Devils Music: 1920s Jazz
Ellison, Ralph. Invisible Man; page 486.

[11] Jelly Rolled into Vancouver. CBC Radio 2. 2010-0331. Retrieved 2010-09-09.

Ferdinand J. 'Jelly Roll' Morton, A Dictionary of

Louisiana Biography (1988), pp. 586587.

[12] Reich, Howard; Gaines, William (2003). Jellys Blues: the

Life, Music and Redemption of Jelly Roll Morton. Cambridge MA: Da Capo Press. pp. 7098. ISBN 0-30681350-5.

Jelly, Time magazine, March 11, 1940.

[13] Reich, Howard; Gaines, William (2003). Jellys Blues: the

Life, Music and Redemption of Jelly Roll Morton. Cambridge MA: Da Capo Press. pp. 114127. ISBN 0-30681350-5.
[14] Reich, Howard; Gaines, William (2003). Jellys Blues: the
Life, Music and Redemption of Jelly Roll Morton. Cambridge MA: Da Capo Press. pp. 132135. ISBN 0-30681350-5.
[15] Reich, Howard; Gaines, William (2003). Jellys Blues: the
Life, Music and Redemption of Jelly Roll Morton. Cambridge MA: Da Capo Press. pp. 132144. ISBN 0-30681350-5.
[16] Reich, Howard; Gaines, William (2003). Jellys Blues: the
Life, Music and Redemption of Jelly Roll Morton. Cambridge MA: Da Capo Press. pp. 144146. ISBN 0-30681350-5.
[17] U Street Jazz Performers Prominent Jazz Musicians:
Their Histories in Washington, D.C. Gwu.edu. Retrieved 2015-10-05.
[18] Library of Congress Recordings of Jelly Roll Morton
Win at Grammys. Library of Congress. 2006-01-14.
Retrieved 2009-12-27.
[19] Gelly, David, Icons of Jazz: A History In Photographs,
19002000, San Diego, Ca: Thunder Bay Books, 2000,
ISBN 1-57145-268-0
[20] Louisiana Music Hall of Fame. Louisiana Music Hall
of Fame. Retrieved 2015-10-05.
[21] Charters, Samuel Barclay (1984). Jelly Roll Mortons Last
Night at the Jungle Inn: An Imaginary Memoir. Marion
Boyars. ISBN 0-7145-2805-6.
[22] Cornet Man Lyrics. MetroLyrics. Retrieved 27 January
2015.

Ward, Georey C., and Kenneth Burns. Jazz, a History of Americas Music 1st Ed. Random House Inc.

11 Further reading
Lomax, Alan. Mister Jelly Roll, University of California Press, 1950, 1973, 2001. ISBN 0-52022530-9
Wright, Laurie. Mr. Jelly Lord, Storyville Publications, 1980.
Russell, William. Oh Mister Jelly! A Jelly Roll Morton Scrapbook, Jazz Media ApS, Copenhagen, 1999.
Pastras, Phil. Dead Man Blues: Jelly Roll Morton
Way Out West, University of California Press, 2001.
Dapogny, James. Ferdinand Jelly Roll Morton:
The Collected Piano Music, Smithsonian Institution
Press, 1982.
Gushee, Lawrence. Pioneers of Jazz : The Story of
the Creole Band, Oxford University Press.
Martin, Katy. The Preoccupations of Mr. Lomax, Inventor of the 'Inventor of Jazz.'" Popular
Music and Society 36.1, p. 30-39. Taylor and Francis, February 2013. DOI:10.1080/03007766.2011.
613225
Pareles, Jon. New Orleans Sauce For Jelly Roll
Morton: 'He was the rst great composer and jazz
master.' Tribute to Jelly Roll Morton. New York
Times, 1989, sec. The Arts.

12 External links
Ferd 'Jelly Roll' Morton
Genealogy of Jelly Roll Morton

[23] Gates, Jerry (2011-02-16). Chord Symbols As We Know

Them Today Where Did They Come From?". Berklee
College of Music. Retrieved 2013-10-13.

Ferd Joseph Morton WWI Draft Registration Card

and essay

12
Jelly Roll Morton on RedHotJazz.com; biography
with audio les of many of Mortons historic recordings
Mister Jelly Roll, complete 1950 book by Alan Lomax; chronicles the early days of jazz and one of its
main developers
Free scores by Jelly Roll Morton at the International
Music Score Library Project
Jelly Roll Morton at Find a Grave

EXTERNAL LINKS

13
13.1

Text and image sources, contributors, and licenses

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from the Tango project. Original artist: Benjamin D. Esham (bdesham)

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