Natalia Michalak M171297 Page 1 of 7

Natalia Michalak

M171297

Critical Studies: Jazz 1

G1CS5

Matt Amy

Assessment 1: Research paper (1500-2000 words)

15.04.2018
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Jelly Roll Morton did not create jazz by himself, however,

unquestionably he was the influential “Godfather of Jazz”
who has left a rich heritage and formalized many aspects of Jazz.

Ferdinand Joseph La Menthe, known as Jelly Roll Morton, was a Creole musician who
had one of the most amazing careers in the history of jazz. (Bryce & Hill, 1977, p.16) In his
ragtime compositions he applied African and Spanish influences to give it a smoother
sound and syncopated feel. His syncopation was more swinging, and his pieces provided
greater freedom in improvisation. He could play any tune in the style of early jazz.
(Schuller, 1968, p.140) What is more, as catalyst of ragtime development (Giddins, 1998,
p.70) he broke down a strict ragtime into semi-improvised form (Bryce & Hill, 1977). He
was among the first creators of jazz era (Giddins, 1998, p.69-76), also known to be the
first person to standardize and name the 8 bars ‘stomp’ progression (Magee, 2001). Even
though he is not the sole creator of jazz, he was the first composer of jazz (Lomax, 1950)
who wrote and arranged a great number of loveliest and most tricky jazz standards,
(Giddins, 1998, p.69-76) which become the base for jazz performers. (Schuller, 1968,
p.135) In 1938 Morton has written a letter to a Down Beat Magazine which he signed:
“Jelly Roll Morton, Originator of Jazz and Stomps, Victor Artist, World’s Greatest Hot
Tune Writer.” (Gioia, 1997, p.44) At that time Morton often claimed in public that he was
the inventor of jazz, and that “there is no jazz, but Jelly Roll’s jazz.” (Pastras, 2001, p.2)
Most of examined sources state that he had a talent for bragging, nonetheless, it is also
proven that his contribution to jazz development and its preservation (recordings,
notated arrangements) is inestimable.

According to Jasen, Morton’s sound reflected his upbringing in cosmopolitan New

Orleans, where folk music from Africa, the West Indies, Portugal, Spain, France, England
and Italy mixed with the blues and the syncopated sounds of ragtime. (Jasen & Trebor,
2013, p.392) Therefore, his version of New Orleans jazz is craftier and richer. (Giddins,
1998, p.69) In examining the nature of jazz rhythm, one discovers that its uniqueness
derives from sources such as swing and emphasizing weak beats. Both characteristics
derive from African ancestry. (Schuller, 1968, p.6-8) In his book, Schuller says, that
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African background musicians are known for a natural gift of against-the-beat

accentuation, which with time, they transformed into syncopation. The strong influence
on jazz development, in nineteenth century, were Sunday Slave dances at Congo Square
(today Louis Armstrong Park) in New Orleans. This is where African-American styles
blended with European, Asian, and Latin. (Gioia, 1997, p.5) The other Morton’s influence
is habanera rhythm. He started using it as the first person in jazz history. (Giddins, 1998,
p.70-71) Even though the mixture of African and Western (European) culture began
around thousand years before founding New Orleans, the cultural syncretism advanced
significantly during the slave trade period in U.S. (Gioia, 1997, p.4) What is more, North
African conquest (Moorish incursion) of the Iberian Peninsula in the eighth century left
a tangible impact on Europe, still visible today in the distinctive quality of Spanish music.
(Gioia, 1997, p.6) Gunther Schuller supports this argument explaining, in the chapter
“Rhythm,” that most of the Latin rhythms come from simplified African polyrhythmic
music. (Schuller, 1968, p.6-26) Hence, we have a few successful African and Latin hybrids
such as: salsa, calypso, samba, and cumbia, says Gioia. The above-mentioned styles fit
into category, called by Morton, “the Spanish tinge.” As to his African roots in music,
Morton would live in denial and rather emphasize his European background. He claimed
that “if you can’t manage to put tinges of Spanish in your tunes, you will never be able to
get the right seasoning, I call it, for jazz.” (Gioia, 1997, p.6-39)

According to Eric Bryce, Jelly Roll Morton made a significant impact on jazz era as he
developed ragtime to more smooth and free form and was a pioneer of early jazz. Giddins
justifies uniqueness of Morton’s compositions in his background: French tutorial style in
his family and delightful blues improvisation coming from the poor black quarter uptown.
(Giddins, 1998, p.71) Working in medium tempos (Williams, 1962, p.38) “he began to
break down the strict, non improvisory ragtime into a personal semi-improvised structure
that allowed for short impromptu variations, fills and breaks” (Bryce & Hill, 1977, p.1),
becoming one of the first workshop composers. (Giddins, 1998, p.7) According to Jasen,
in comparison with other ragtime composers, Morton’s works had many more diverse
moods than anyone else, and a spark of originality. He would also use such tools as:
playing sixths in the left hand (to provide uncommon voicings and so greater interest of
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listener), unexpected rhythmic patterns within a performance, improvisation of the same

section over and over. Nevertheless, his variations were built upon each section of the
tune. “He had definite ideas about his music and was the most articulate ragtimer and
jazzman of his time (…) Nothing was haphazard or accidental. Every musical device he
used was well thought out and deliberately done.” (Jasen & Trebor, 2013, p.392) Morton
was the first one who tried to define and distinguish this new evolving style. He would
play Joplin’s ‘Maple Leaf Rag’ in the style of Missouri ragtime tradition and second time
in New Orleans Jazz style, just to present the difference to listeners. (Gioia, 1997, p.21) In
1938 Morton said, “All these people play ragtime in a hot style, but man, you can play hot
all you want to, and you still won’t be playing jazz.” (Pastras, 2001, p.2) The self-
proclaimed creator of jazz, tried to teach other musicians of 20 th century the concept of
jazz music, and what jazz is. After all he was the one who started using the word ‘jazz’ (in
1902) to differentiate it from ragtime. (Schuller, 1968, p.139) To show the difference, he
explained that ragtime is a type of syncopation which can be applied only to certain tunes.
Whereas jazz is a style that that can be applied to any type of tune. (Pastras, 2001, p.2).

Jelly Roll Morton, as creator of hot tunes, was famous for his stomps. In fact, the very first
jazz piece ever written is his “King Porter Stomp” supposedly written in 1905 (Murray,
2017, p.140) or 1902 (Giddins, 1998, p.71) and named after Jelly’s old friend, Porter King.
(Murray, 2017, p.140) Originally his compositions were formal and compound, but still
grounded in blues with elemental twelve- and sixteen-bars sonatas written in New
Orleans style with exciting bass patterns and seductive moods. (Giddins, 1998, p.71) Good
examples of Morton music are: “King Porter Stomp” and “Grandpa’s Spells” – each is a
piano ragtime structure tricked up with a stomp inside. (Lomax, 1950, p.290) According
to Giddins, Morton’s formula for Stomps was AABBACCA (where every letter is a sixteen-
bar strain), with a four-bar intro and four-bar transition into stomp. It differed from
Joplin’s rag by the length of strains However, the rolling stomp (C section) and the final
section (third variation of A section) made it sound jazz. Morton’s stomp development
was influential especially on the swing era, when Fletcher Henderson made it a big band
riff chorus. The other Morton’s tune – “Black Bottom Stomp” – shows how creative
arranger Morton was and how he completely “exploit seven musicians while dodging
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disarray.” (Giddins, 1998, p.71-72) Magee writes in his research that Morton said he was
the first one in Unites States to include the word "stomp" as a part of his tune’s title,
therefore he is remembered for naming this style, even though he confessed that he does
not know what the term 'stomp' means. He said: “There wasn't really any meaning only
that people would stamp their feet and I decided that the name 'stomp' would be fitted for
it.” According to Magee, when it comes to definition of the stomp, it can be described as
"synonymous with blues" and characterizing the piece with "heavy or strongly marked
beat.” By the 1920s stomps would be identified as fast, hard-driving jazz-oriented tunes,
somehow recognized as different from blues. (Magee, 2001, p.24)

Morton’s career started early composing New Orleans jazz tunes in 1902-1903 and was
the first composer of jazz who notated his tunes. (Schuller, 1968, p.136) Morton’s
compositions are a true display of his artistry with stimulating cross-rhythms, ringing
overtones, skillful syncopation and steady bass to make any tune evocation. (Giddins,
1998, p.71) The self-proclaimed creator of jazz was very influential in his approach to
arranging pieces. (Williams, 1962, p.38) He was a remarkably creative arranger, who
recognized unique properties of each instrument and knew how to show that richness of
sound and different texture and timbre to a listener, therefore his arrangements were
always carefully organized structures including all the details of instrumentations.
(Giddins, 1998, p.72-73) Morton set couple of standard rules that made his tunes
especially effective. The most important for him was that the melody would go some way.
Another rule, often obeyed, was that riffs would be functioning as background in the piece,
making soloist sound especially powerful. (Williams, 1962, p.38) The third point was, that
a piano player can achieve a distinctive sound trying to play like an entire jazz band.
(Gaines & Reich, 2003, p.136) This actually has historical confirmation, as most of piano
styles in jazz were consequence of imitation of a whole band or a horn section. (Williams,
1962, p.38) By 1926, Morton was a skillful and innovative arranger. According to Giddins,
he would insist to hire three clarinet players to the trio of “Dead Man Blues” or would be
determined to obtain a Klaxon horn for a special effect in “Sidewalk Blues.” As his tools
were unconventional, his studio recordings were fresh and captivating, and his popularity
grew. (Giddins, 1998, p.72) “Red Hot Peppers” (Morton’s session band, which provided
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best recordings of New Orleans music (Schuller, 1968, p.136) was announced “The
Number One Hot Band,” even though they never performed outside of studio. Morton
was great in connecting spontaneity and formalism, equally in arranging and performing.
He influenced music society of that time pursuing cooperation with various people who
had different backgrounds (including self-taught blacks uptown). (Giddins, 1998, p.72)

Jelly Roll Morton was one of the most important creators of jazz. With confidence, one
can say that he was one of pioneers in using stop-time and standardized form of stomp.
Furthermore, Morton revolutionized ragtime with unique music ideas coming from his
interesting background. Historically, especially influential was Morton’s use of habanera
rhythm, applying improvisation and smoothening ragtime style. During his career he has
proved to be an exceptional musician, arranger and band leader influencing many later
generations. He was the first one in jazz era to immortalize his tunes by notating them in
detail. Morton was the first composer of jazz era as he wrote the first jazz tune – “King
Porter Stomp.” The World’s Greatest Hot Tune Writer has left for next generations many
of the loveliest and difficult works for piano in American repertory. His contribution to
development of jazz is inestimable. He was the man who could talk and talk and walk the
walk. (Lomax, 1950, p.290) Therefore, thanks to his great input and excessively high self-
esteem, Jelly Roll Morton will be remembered – as the “Godfather of Jazz.”
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Reference List

Bryce, E. & Hill, M. (1977). Jelly Roll Morton: a microgroove discography and musical
analysis. Salisbury East: Salisbury College of Advanced Education.
Gaines, W. & Reich, H. (2003). Jelly's blues: the life, music, and redemption of Jelly
Roll Morton. Cambridge: Da Capo Press.
Giddins, G. (1998). Visions of Jazz: the first century. Oxford: Oxford University Press.
Gioia, T. (1997). The history of Jazz. Oxford: Oxford University Press.
Jasen, D. A., & Trebor J. T. (2013). Rags and Ragtime: A Musical History. New York:
Dover Publications. Retrieved from:
https://ebookcentral.proquest.com/lib/aim/detail.action?docID=1900691.
Lomax, A. (1950). Mister Jelly Roll: The fortunes of Jelly Roll Morton, New Orleans
Creole and 'Inventor of Jazz'. Berkeley: University of California Press.
Magee, J. (2001). 'King Porter Stomp' and the Jazz tradition. New York: Current
musicology. Retrieved from:
http://search.proquest.com/openview/af8f46f6f2f1b78b/1.pdf?pq-
origsite=gscholar&cbl=919
Murray, A. (2017). Stomping the blues. Minnesota: University of Minnesota Press.
Retrieved from:
https://ebookcentral.proquest.com/lib/aim/detail.action?docID=5205697.
Pastras, P. (2001). Dead man blues: Jelly Roll Morton way out west. Berkeley:
University of California Press.
Schuller, G. (1968). The history of Jazz. Oxford: Oxford University Press.
Williams, M. (1962). Jelly Roll Morton. London: Cassell & Company Limited.