Jazz skladba - The Jazz Track

Jazz skladba je pot za obisk jazz- povezani kraji (zlasti big band in tradicionalni jazz) v Združene države.

Izpis o potovanju

To je vodnik za pripravo potovanja z avtom po jazzovski poti. Potovanje je načrtovano za 13 dni po ZDA, obisk zgodovinskih krajev in klubov, povezanih z zgodovino jazza.

New York City → Chicago → Kansas City → Memphis → New Orleans

Ozadje (1895–1935)

Začnimo z nekaj ozadja resničnega potovanja, ki so ga jazz glasbeniki spremljali v prvi polovici 20. stoletja.

Memphis

Blues sega pred začetke jazza, njegov izvor pa je nejasen, ne da bi natančno dokumentiral, čeprav je moral nastati nekje na globokem podeželskem jugu, nekaj časa pred prehodom v 20. stoletje. Od velikega števila zgodovinskih lokacij, ki so igrale osrednjo vlogo pri rasti bluesa, je bila ulica Beale v Memphisu s kongresnim aktom leta 1977 uradno razglašena za "dom modrih". V začetku 19. stoletja je bila ulica Beale napolnjeni s klubi, restavracijami in trgovinami, med katerimi so mnogi v lasti Afroameričanov. WC Handy je v Memphisu sestavil nekaj najzgodnejših in najbolj znanih bluesov, "Memphis Blues" (1909), "Saint Louis Blues" (1914) in "Beale Street Blues" (1916). Louis Armstrong, Muddy Waters, Albert King, Memphis Minnie, B.B. King, Rufus Thomas, Rosco Gordon in druge legende o bluesu in jazzu so od 20. do 40. let prejšnjega stoletja igrali na ulici Beale in pomagali razviti slog, znan kot Memphis Blues.

New Orleans

Jazz se je rodil v New Orleansu v poznih devetdesetih in zgodnjih devetdesetih letih 20. stoletja. Hitro je postala priljubljena glasba po mestu, večinoma v okrožju Storyville. V Storyvilleu bi lahko zakonito uživali v prostituciji ob poslušanju prve jazzovske zasedbe v zgodovini, Buddy Bolden Band. Na žalost, čeprav je bil Bolden odpoklican, da je izdelal vsaj en valj s fonografom, še ni znanih posnetkov Boldna. Deset let pozneje (1917) je zvezno vlado zaprela Storyville, zaradi česar so se jazz glasbeniki prisilili, da so se preselili v severna mesta - večinoma v Chicago in New York ter v manjši meri v Kansas City.

Chicago

Chicago je hitro postal prestolnica jazza med letoma 1917 in 1928. Tudi če skupine zaradi neugodnih vremenskih razmer niso mogle korakati po ulicah, je slog New Orleansa ostal skoraj nedotaknjen. V okrožju "South Side" se je pojavilo veliko število kabarejev. Med njimi sta bila najpomembnejša "Royal Gardens" (gostil je "King Oliver Creole Jazz Band" z Louisom Armstongom, ki je igral kornet) in "Apex Club" (gostila sta največji klarinetist Jimmy Noone in pianist Earl Hines).

New York City

Medtem je Harlem videl rojstvo izjemnih jazzovskih pianistov v ragtime slogu, kot sta Willie "the Lion" Smith in James P. Johnson. Ta slog klavirja je postal priljubljen deloma zaradi zabav za najem hiš (zasebne zabave, ki so bile naključno organizirane v stanovanjih za financiranje najemnine). Največji plesni klub v Harlemu je bil Savoy, velikanska soba z dvema odroma, ki je skupinam omogočala, da so se borili celo noč. Dve veliki skupini sta postali najbolj priljubljeni, najprej orkester Fletcher Henderson, nato pa orkester Duke Ellington. V dvajsetih letih sta se v Harlemu pojavili dve bleščeči ženski vokalisti: Bessie Smith, blues carica, in Ethel Waters.

Kansas City

Velika depresija (začela se je leta 1929) je pomenila konec ene največjih jazzovskih obdobij vseh časov. Kar naenkrat so se jazz glasbeniki v Chicagu in Harlemu znašli brezposelni. Kriza se je hitro razširila po vsej državi, razen v Kansas Cityju. V tridesetih letih je bil Kansas City križišče ZDA in čezcelinska potovanja so zahtevala postanek v mestu. Kansas City je bil široko odprto mesto z zakoni o alkoholnih pijačah in urami, ki so bile popolnoma prezrte. Številni jazz glasbeniki so se ujeli na prijateljskih glasbenih tekmovanjih med izvajalci, ki so lahko celo noč izvajali posamezno skladbo v različnih različicah. Takšna glasbena tekmovanja so privedla do novega sloga, Kansas city Style. Vzpostavitev stila v Kansas Cityju pripisujejo Bennieju Motenu, vendar je postal zelo priljubljen, ko je grof Basie prevzel njegovo skupino po njegovi smrti.

Kansas City že dolgo velja za glavno jazz središče, ki se po pomembnosti uvršča le za New Yorkom, New Orleansin Chicago. Od sredine dvajsetih do poznih tridesetih so jazzovski glasbeniki iz osrednjih zveznih držav Amerike "odhajali v Kansas City" v iskanju službe, glasbenih izzivov in lepih časov. Ko so prispeli, so vstopili v glasbeno skupnost, ki je bila izjemno podporna, zahtevna in umetniško vznemirljiva.

Medtem ko je večina Amerike trpela zaradi velike depresije, je jazz v Kansas Cityju uspeval, predvsem zaradi skorumpirane, a ekonomsko spodbudne administracije šefa Toma Pendergasta. Jazz je bil takrat priljubljena družabna glasba, središča nočnih klubov in igralnic pa so običajno najemala glasbenike, da bi pritegnili stranke. Izredni rezultati so bili obilni, čeprav nizko plačani za jazz glasbenike z vsega Srednjega zahoda in izlivi odlične nove glasbe.

Glej Industrializacija ZDA za širši pogled na to obdobje.

Veliki jazzisti (1895–1935)

Memphis
  • Frank Stokes
  • Furry Lewis
  • Memphis Minnie
  • Zaspani John Estes
  • Ida Cox
  • WC Priročen
  • Sidney Kirk II
  • Sidney "Spoon" Kirk III
New Orleans
  • Buddy Bolden
  • Freddie Keppard
  • Bunk Johnson
  • Clarence Williams
  • Joe "King" Oliver
  • Kid Ory
  • Jelly Roll Morton
Chicago
  • Joe King Oliver
  • Louis Armstrong
  • Jimmie Noone
  • Johnny Dodds
  • Earl Hines
  • Jelly Roll Morton
  • Lil Hardin Armstrong
New York City
  • Duke Ellington
  • Fletcher Henderson
  • Willie Smith
  • James P. Johnson
  • Thomas Fats Waller
  • Joe Turner
  • Coleman Hawkins
  • Thelonious Monk
  • Bennie Carter
  • Ben Webster
  • Johnny Hodges
  • Cootie Williams
  • Bessie Smith
  • Ethel Waters
Kansas City
  • Grof Basie
  • Buck Clayton
  • Herschel Evans
  • Coleman Hawkins
  • Jo Jones
  • Pete Johnson
  • Harlan Leonard
  • Jay McShann
  • Bennie Moten
  • Stran z vročimi ustnicami
  • Charlie Parker
  • Sammy Price
  • Jimmy Rushing
  • Joe Turner
  • Ben Webster
  • Claude Williams
  • Mary Lou Williams
  • Lester Young

Kdaj iti

Idealno bi bilo, če bi se odpravili na kateri od znanih jazz festivalov v enem od obiskanih mest. Glej Wikipedijo Seznam jazz festivalov za seznam.

The Glasbeni festival Beale Street poteka v Memphisu maja.

The Festival džeza in dediščine v New Orleansu poteka aprila in maja.

The Scott Joplin International Ragtime Festival poteka v Sedaliji v Missouriju junija.

V Chicago lahko pridete po naključju z Chicago Jazz Festival, ponavadi konec avgusta.

Pojdi

1. dan (petek): Boston do New York City

2. dan (sobota): Obisk New York City

  • 52. ulica Med 5. in 7. avenijo
Bloki 52. ulice med Peto avenijo in Sedmo avenijo so bili sredi 20. stoletja znani po obilici jazz klubov in živahnem uličnem življenju. 52. ulica je bila znana kot "Swing Street", "ulica jazza", "ulica, ki nikoli ne spi" in preprosto "ulica". Danes je polno bank, trgovin in veleblagovnic in kaže malo sledi svoje zgodovine jazza.
Charlie 'Bird' Parker je na vrhuncu svoje kariere zasedel pritlično stanovanje, saj je dosegel precejšen uspeh in sloves kot soustanovitelj bebopa, modernega jazzovskega sloga, ki sta ga skupaj s trobentačem Dizzyjem Gillespiejem sredi New Yorka ustvarila 40. leta. Parker je med bivanjem tu užival mednarodno slavo, nastopal je z velikimi in malimi zasedbami, pa tudi z latino big bandi in godalnimi odseki. Avenue B (med 7. in 10. ulico - vzdolž Tompkins Square Parka) se je leta 1992 preimenoval v Charlie Parker Place, od leta 1993 pa v parku vsako leto prirejajo jazz festival Charlie Parker, ki praznuje ptičji rojstni dan (29. avgusta 1920 v Kansas Cityju v Kansasu). in njegov prispevek k glasbi 20. stoletja.
  • Harlem
    • Soba Konga Kapitola, zahodna 115. in Malcolm X Boulevard, c. 1940
    • Bamville Club, 65 West 125th Street, c. 1920-1930 - Coleman Hawkins
    • Plantaža, zahodna 126. blizu Malcolma X Blvd., c. 1930 - rivalski bombažni klub; Kabina Calloway
    • Club Cabaret, 416 Malcolm X Boulevard, c. 1923-25
    • Club Baron, 437 Malcolm X Boulevard, c. 1940-46
    • Goldgraben's, I.G. Kavarna, 439 Malcolm X Boulevard, c. 1919-30; Leta 1964 se je preimenoval v Baron's Lounge - najljubši hangout za glasbenike po delu v drugih klubih
    • Elk's Rendezvous, 464 Malcolm X Boulevard, c. 1930-45 - prirejal družabne plesne klube
    • Club Harlem, zahodna 130. in Malcolm X Blvd., c. 1927-29; Leta 1964 se je preimenoval v Harlem Grill
    • Konjušnice Gee-Haw, zahodna 132. ulica med 7. in Malcolm X Blvd., c. 1940-45; Leta 1964 je bila bencinska črpalka v Zalivu - imela je konjsko glavo nad vhodom, klub po koncu delovnega časa
    • Gledališče Lincoln, 58 West 135th Street, c. 1909-1964 - za Fats Wallerja postavil orgle Wurlitzer v vrednosti 10.000 USD; zdaj cerkev (podatki iz leta 1964)
    • Elk's Café, Malcolm X Blvd. med zahodno 137. in zahodno 138. ulico, c. 1917-20
    • Kapitoljska palača, 575 Malcolm X Boulevard, c. 1922-50 - zdaj igrišče
    • Brittwood Bar & Grill, 594 Malcolm X Boulevard, c. 1932-42 - Glasbeni manijaki Willieja Ganta;
    • Plesna dvorana Golden Gate, bulvar Malcolm X in zahodna 142. ulica, c. 1939-50 - razkošna plesna dvorana
    • Rhone's Orchestra Club, 625 Malcolm X Boulevard, c. 1920-35 kasneje Lenox Club, znan tudi kot "The Breakfast Club", 652 Boulevard Malcolm X, c. 1935-45 - Louis Armstrong, Fletcher Henderson, Duke Ellington, 3 oddaje vsako noč z linijo 8 deklet; porušeno leta 1958 za stolpe Bethune / Delano Village.

Jazz klubi v New Yorku

Minton's je leta 1938 ustanovil tenor saksofonist Henry Minton. Minton's slovi po svoji vlogi pri razvoju sodobnega jazza, znanega tudi kot bebop, kjer so v svojih jam seansih v zgodnjih štiridesetih letih Thelonious Monk, Kenny Clarke, Charlie Christian, Dizzy Gillespie in Charlie Parker, pionir nove glasbe. Mintonov klub je uspeval tri desetletja, vse do njegovega propada ob koncu šestdesetih let in do njegovega morebitnega zaprtja leta 1974. Potem ko je bil več kot 30 let zaprt, je nov prenovljeni klub 19. maja 2006 znova odprl svoja vrata pod imenom Uptown Lounge v Mintonovi igralnici. Ta kraj se lahko šteje za rojstni kraj sodobnega jazza, za nekatere puritance pa se lahko šteje za pogin zgodnjega jazza, zato predstavlja najboljše izhodišče za sledenje jazzovskih poti.
Savoy je bil izglasovan za najlepšo plesno dvorano na svetu; zasedla je drugo nadstropje stavbe, ki se je raztezala vzdolž celotnega bloka med 140. in 141. ulico, in je imela veliko plesišče (200 čevljev s 50 čevlji), dve stojnici in zložljiv oder. Takoj je postalo najbolj priljubljeno plesno prizorišče v Harlemu in tam je nastalo veliko noro jazzovskih plesov iz dvajsetih in tridesetih let; užival je dolgo in bleščečo kariero, ki je trajala vse do petdesetih let prejšnjega stoletja, preden je prišlo do upada njegovega bogastva.
V središču mesta je bilo znano kot "Dom srečnih nog", v središču Harlema ​​pa kot "Pot". Savoy je redno prirejal promocije "Battle of the Band", ki so se običajno dogajale med hišo in gostujočo skupino, čeprav ne nujno. Včasih so pasovi zamenjali številke na točki prehoda med sklopi. Ko so se zgodili ti dogodki, je bilo malo prostora za ples in množica je glasovala, kdo je njihov najljubši bend, vodja skupine, vokalist itd. Dve najbolj znani "bitki" sta se zgodili, ko je orkester Benny Goodman izzval Chicka Webb leta 1937 in leta 1938, ko je to storil tudi grof Basie Band. Splošna ocena je bila, da sta oba izgubila od Chicka Webba.
Podrobne tovrstne dogodke je organiziralo tudi vodstvo: 15. maja 1927 je Savoy predstavil "Bitko pri jazzu", v kateri so nastopili Dixie Syncopators kralja Oliverja, skupina pod vodstvom Williamsa, Harlem Stompers Chicka Webba in Hendersonov orkester Roseland; druge bitke so potekale med skupinami, ki so jih vodili Lloyd Scott, Webb, Alex Johnson, Charlie Johnson, Williams in Henderson (6. maja 1928) ter med Missourians Caba Callowaya in skupinami, ki so jih vodili Duke Ellington, Henderson, Cecil Scott, Lockwood Lewis in Webb (14. maj 1930).
Danes je na lokaciji Savoje mogoče najti le spominsko ploščo.
  • Bombažni klub, Lenox Avenue, na Zahodni 142. ulici (1923-1936); 200 West 48th Street (1936 - 1940). 666 West 125th Street (1997 do danes) 1 888 640-7980. [3][4]
The Cotton Club, ki je bil prej imenovan "Club De Lux", je bil v dvajsetih in tridesetih letih 20. stoletja najbolj znan med mestnimi nočnimi klubi in privabljal občinstvo, ki je pogosto vključevalo smetano newyorške družbe. Njene bleščeče revije so bile medij za nastope najvidnejših jazzovskih glasbenikov tistega dne, klubske dejavnosti pa so bile s pogostimi oddajami široko občinstvo. Fletcher Henderson je vodil prvo skupino, ki je tam igrala leta 1923. Hišni bend, ko se je prizorišče prvič odprlo, je bil Andy Preer's Cotton Club Syncopators; po Preerjevi smrti leta 1927 je bil angažiran orkester Dukea Ellingtona in njegova rezidenca je postala najbolj slavna v zgodovini kluba, ki je trajala do leta 1931. Cab Calloway in njegovi Missourians, ki so se prvič z velikim uspehom pojavili leta 1931, so nato prevzeli in Callowayev čas kot vodja skupine Cotton Club (ki se je podaljšal do leta 1934, ko ga je nasledil Jimmie Lunceford) naj bi si ustvaril ugled. Tako Wellington kot Calloway sta se vrnila po tem, ko se je klub preselil v središče mesta.
Večina glavnih jazzovskih glasbenikov, pevcev in plesalcev tega obdobja se je na neki stopnji pojavila v Cotton Clubu, med drugim Louis Armstrong, Ethel Waters, Ivie Anderson, Bill Robinson in Nicholas Brothers. Razcvet obstoja kluba je na novo ustvaril film Francisa Forda Coppole Bombažni klub (1984).
Po dirkah v Harlemu leta 1935 je območje veljalo za nevarno za belce (ki so tvorili stranko Cotton Cluba). in klub je bil prisiljen zapreti (16. februarja 1936). Ponovno se je odprl septembra 1936 v središču mesta na zahodni 48. ulici, v prostorih, v katerih so bili prej Palais Royal in Connie's Inn (1933-6); na tej lokaciji je bombažni klub deloval do junija 1940.
Klub se je pozneje istega leta ponovno odprl na Broadwayu in 48. ulici, vendar se je leta 1940 dokončno zaprl pod pritiskom višjih najemnin, spreminjanja okusov in zvezne preiskave lastnikov nočnih klubov na Manhattnu. Cotton Club je bil ponovno odprt leta 1978 v Harlemu. Prvotno mesto bombažnega kluba je bilo porušeno leta 1958, skupaj s savojsko dvorano in klubom Lenox, (1935–45 Louis Armstrong, Fletcher Henderson, Duke Ellington, 3 oddaje vsako noč) za gradnjo stolpov Bethune Towers / Delano Village; zapuščina pa živi na novem mestu z istim imenom na 666 West 125th Street.
V svojem razcvetu je Cotton Club zavrnil sprejem v črne pokrovitelje, čeprav so bili vsi nastopajoči črnci.
  • Modra nota, 131 W. 3rd St., New York, NY, [5] V središču vasi Greenwich.
Odprt leta 1981. Vodilni klub New York Blue Note si je prislužil odlikovanje, da je vodilni svetovni jazz klub in restavracija. Tony Bennett, George Benson, Ray Charles, Natalie Cole, Oscar Peterson, David Sanborn, Nancy Wilson, pokojna Sarah Vaughan in Dizzy Gillespie.
Svetovno znani talenti nastopajo na odru šestdnevnih tekov, ponedeljki pa so ponavadi rezervirani za odlične lokalne talente. Dva sklopa sta 9:00 in 11:30. Cene so najmanj 35 USD za rezervacije miz ali 25 USD za kritje v baru. Za petek in soboto pozno zvečer je treba plačati 5,00 USD. Nedeljski zajtrk je služil opoldne - 18:00. Pokažite ob 13:00 in 15:30.
The Vanguard, ustanovljen leta 1935, je temna klet v Greenwich Villageu. Vanguard je arhetipski jazz klub Greenwich Village. Od samega (prvotno) albuma pod imenom Sonny Rollins leta 1957 je bilo na prizorišču posnetih več kot sto jazz albumov. Najbrž sta najbolj znana angažmaja v zgodovini kluba Billa Evansa in Johna Coltranea, oba pa sta se odvijala v 1961. Wynton Marsalis je v začetku devetdesetih let redno zapisoval v klubu.
Kompleti: nedelja - četrtek 21:30 in 23:30, petek in sobota 21:30, 23:30 in 01:30. V ponedeljek zvečer Vanguard Jazz Orchestra, ki sta ga pred 33 leti ustanovila Thad Jones in Mel Lewis, nadaljuje svojo tradicijo big banda. Nedelja - četrtek: 25 USD pred vrati (vključuje 15 USD vstopnine in najmanj 10 USD pijače). V petek in soboto: 30 USD pred vrati (vključuje 20 USD vstopnine in najmanj 10 USD pijače). ki ima prave vibracije in odlično politiko rezervacij. Ulovite pianista Tommyja Flanagana tukaj za popoln jazz večer.
  • Ptičja dežela, (1949-1965) 52. St, (1986-1996) 2745 Broadway, (od 1996 do danes) 315 zahodna 44. ulica, med 8. in 9. avenijo.
Odprt leta 1949. Sprva je bil klub na Broadwayu, a se je hitro preselil na 52. ulico, ki je bila v tridesetih in 40-ih letih leglo jazza. Grof Basie in njegov zadimljeni big band so Birdlandu postavili svoj sedež v New Yorku, na koncu pa so v klubu v živo posneli "Uspavanko ptičje države" Georgea Shearinga. V začetku šestdesetih let se je v klubu redno pojavljal klasični kvartet Johna Coltrana, ki je posnel "Live at Birdland".
Ljudje, ki so nastopili v Birdlandu: Charlie Parker, Dizzy Gillespie, Thelonious Monk, Miles Davis, John Coltrane, Bud Powell, Stan Getz, Lester Young, Erroll Garner in mnogi, mnogi drugi.
Vsi časi predvajanja: ob 21. in 23. uri (z zgodnjimi ob 17.30 naborom poklonov, dodanimi na spored M, Tu in F). Glasba znaša od 20 do 35 USD. Na mizi je na osebo najmanj 10 USD hrane in pijače. V baru glasba vključuje eno pijačo. Nedelje pripadajo afro-kubanskemu jazzovskemu velikanskemu bandu Artura O'Farrilla, ponedeljki so bili rezervirani za Jazz orkester Toshiko Akiyoshi Jazz z Lewom Tabackinom za poznejše sete, zdaj pa vsak ponedeljek od 17.30 do 19.30 - Art Blakey Jazz Messenger's Revija nastopa. Ob torkih običajno odidejo na orkester The Famous Duke Ellington Orchestra pod vodstvom Paula Mercerja Ellingtona z zgodnjimi seti ob 17.30 - 19.30, ki prikazujejo Louis Armstrong Centennial Band Davida Ostwalda. Od srede do sobote pričakujte najboljše od domačih in mednarodnih turnejskih umetnikov. Pravkar dodano: Vsak petek od 17.30 do 19.30 - All American Big Band Lewa Andersona. Vsi bodo uživali v izvrstnih razgledih na oder.

Druga mesta, povezana z jazzom

  • Posnetki modre note, Najzgodnejša lokacija je bila 167 Lexington Ave, New York, NY 10016. Zdaj se nahaja v 150 Fifth Ave. 6th Fl. New York NY
  • Posnetki Verve 1755 Broadway, New York, NY
  • Jazz muzej v Harlemu
  • Hiša Louisa Armstronga 34-56 107th St., Corona, NY 11368, 104 E 126. St.
  • Arhiv Louisa Armstronga - Odprto po dogovoru 1 718 997-3670
  • Pokopališče 46th Ave s 162. St, Queens County New York ZDA. Na tem pokopališču so pokopani številni jazzovski glasbeniki, kot so Louis Armstrong, Dizzy Gillespie in Johnny Hodges.

3. dan (nedelja) New York do Boston

4. dan (petek): od Bostona do Chicago.

Koncertna noč v Chicagu.

5. dan (sobota): Obisk Chicago

Jazz zgodovinska mesta v Chicagu se večinoma nahajajo na južni strani, z izjemo Green Mill, ki je v Uptownu. Obiščite Jazz klubi v Chicagu South Side Spletna stran. O lokaciji in stanju stavbe se lahko obrnete na [6]

Haitijski paviljon je bil središče črne zabave med svetovno kolumbijsko razstavo leta 1893. Razstava je v Chicago pripeljala veliko temnopoltih glasbenikov, kot je W.C. Handy (velja za očeta modrih), Scott Joplin (oče Ragtimeja). Haitijski paviljon je bil inkubator za jazz glasbo, tam so Scott Joplin in številni drugi glasbeniki odkrili, da so številni drugi temnopolti glasbeniki razvili podobne veščine in delili svoje izkušnje z različno glasbo, ki je ustvarila jazz glasbo. Danes ostajata dva impresivna simbola svetovne kolumbijske razstave. Skulptura "Zlata dama" je manjša različica kipa republike Daniela Chesterja French, ki je prvotno stal ob vznožju častnega sodišča. V prvotni palači likovnih umetnosti je zdaj muzej znanosti in industrije v Chicagu.
Območje je eno najpomembnejših središč afroameriške urbane zgodovine. Poln klubov in kavarn med širitvijo 20. stoletja pred veliko depresijo je igral veliko vlogo v zgodovini in razvoju zlate dobe čikaške glasbene scene. Louis Armstrong je živel v soseski in nastopal v številnih nočnih klubih, kot so kavarna Sunset, gledališče Vendome Theatre in kavarna Plantation. Stavba nekdanje Kavarna Sunset je še vedno tam in velja za znamenitost Chicaga.

Zgodovinski jazz klubi v Chicagu

  • Gostilna Pekin 2700 S. Državna sv.
Odprto v letih 1910-20. velja za enega najpomembnejših klubov na jugu pred letom 1910. Prvi je zaposloval glasbenike, ki so bili tesno povezani z ragtime in predjazzovsko popularno glasbo, kot so Joe Jordan, Tony Jackson in Wilbur Sweatman. Nekateri ljudje menijo, da je gostilna Pekin rojstno mesto čikaške jazz scene in eden prvih glasbenih laboratorijev, kjer so ljudje eksperimentirali z ragtimeom in predjazzovskimi slogi.
  • Plesna dvorana Dreamland 3618-20 S. State, na 35. ulici. Chicago
Sanjska dežela je bila ena prvih plesnih dvoran v zgodovini Chicaga, odprta leta 1912, v njej so bili igralci, kot so King Oliver, Johnny & Warren "Baby" Dodds, Louis Armstrong in Hot Five, Alberta Hunter, Sidney Bechet, Lawrence Duhé, Ethel Waters .
  • Vrtovi Lincoln (Kraljevski vrtovi). 459 East 31st Street, na South Cottage Grove Avenue.
Lincoln Gardens (prej Royal Gardens) je bila plesna dvorana, ki je lahko sprejela do 1000 plesalcev. Po požaru pozno leta 1924 je bila dvorana čudovito prenovljena, da se je ponovno odprla 28. oktobra 1925, ko je bilo ime spremenjeno v New Charleston Café; kasneje je postala znana kot Café de Paris. Dave Peyton je tam vodil skupino od konca novembra 1926, a junija 1927 je bila bombardirana - morda v tolpi - in zaprta.
Rezidenca Original Creole Band v Royal Gardens leta 1918, ki jo je vodil Bill Johnson, je uveljavila sloves plesne dvorane kot prizorišče jazza in sprožila vrsto nastopov glasbenikov iz New Orleansa, ki so bili zelo pomembni za razvoj glasba v Chicagu. Joe King OliverCreole Jazz Band je igral rezidenco od 17. junija 1922 do februarja 1924. V tem obdobju je svojemu študentu korneta v New Orleansu poslal telegram, da pride v Chicago in se pridruži svoji skupini kot druga trobenta, ki igra v Lincoln Gardens. Ime trobentača je bilo Louis Armstrong. To se je za Armstronga uresničilo in njegovo neverjetno igranje v skupini je kmalu postalo senzacija med drugimi glasbeniki v Chicagu.
Med dveletnim bivanjem v Lincoln Gardens je kralj Oliver z Louisom in kreolskimi Serenadersi prinesel vroč jazz v New Orleansu v Chicago in kasneje s posnetki tudi v svet.
"Ko me je kralj Joe Oliver leta 1922 poslal, naj zapustim New Orleans in se mu pridružim v Lincoln Gardens, da igram drugo trobento do njegove prve trobente, sem od veselja skočil v nebo. Tistega dne, ko sem prejel telegram od Pape Joeja, Poklical sem ga - igral sem pogreb v New Orleansu in vsi člani Pihalne godbe Tuxedo so mi rekli, naj ne grem, ker sta Papa Joe in njegova skupina imela neke vrste sindikalne težave ... V Chicago sem prišel okoli enajstih ponoči na 8. julij 1922 na glavni postaji Illinoisa na Dvanajsti in aveniji Michigan. Nikoli je ne bom pozabil. Kralj je bil že v službi. Nisem imel nikogar, ki bi me srečal. Vzel sem taksi in odšel naravnost do vrtovi Lincoln. " (Louis Armstrong)
'Royal Garden Blues' velja za prvo 'riffovo' pesem
Zgrajena leta 1909, preurejena leta 1937. Po prenovi leta 1921 je bila ta preprosta avtomobilska garaža preoblikovana v eno najzgodnejših in najbolj legendarnih mestnih jazz prizorišč. V njegovem hišnem orkestru so nastopili slavni glasbeniki, kot so Louis Armstrong, Johnny Dodds in Earl "Fatha" Hines, medtem ko so njegove talne oddaje domačemu občinstvu predstavile najnovejše plese. Številni perspektivni mladi umetniki, med njimi Bix Beiderbecke, Jimmy Dorsey, Benny Goodman in Gene Krupa, so tu začeli na poznonočnih seansah. Po preoblikovanju leta 1937 se je preimenoval v dvorano Grand Terrace (preselila se je s prejšnje lokacije v 3955 South Parkway Blvd) in do leta 1950 ostal priljubljen nočni klub.
Earl Hines je tam užival velik uspeh, čeprav so tudi drugi veliki bendi, med njimi Fletcher Henderson, Count Basie in Horace Henderson, pred drugo svetovno vojno igrali tudi Veliko teraso. Pisarna trgovine, ki je bila že davno del dvignjene tribune s pogledom na plesišče Velike terase. Na hrbtni strani stoji je bila velika freska z jazz ritmi, del pa je še vedno viden.
V dvorani Grand Terrace Ballroom in drugih nočnih lokalih v Chicagu je izstop iz kluba brez dovoljenja vodstva tvegal zdravje mnogih jakaških glasbenikov v Chicagu. Zato je Earl Hines na Veliki terasi ostal več kot desetletje.
Leta 1936 je v dvorani Grand Terrace, kjer je nastopal Fletcher Henderson s svojo skupino, Goodman igral pred skupino, Krupa pa je sedel na bobnih. Morda je to prvič, da so črno-beli jazzisti pred plačljivo publiko igrali skupaj
Stavba na novi lokaciji, katere zunanjost je videti tako kot v času glasbenega razcveta, je danes trgovina s strojno opremo. Nekatere stene v notranjosti so še vedno poslikane kot v času velike terase. lastnike je mogoče prositi, da obiščejo notranjost.
Klub je služil kot navdih za pesem Louis Armstrong in Hot Hot, imenovano "Sunset Cafe Stomp".
  • Zeleni mlin, 4802 N. Broadway Ave. Chicago, IL
"Mlin", ki so ga odprli leta 1907 kot Pop Morse's Roadhouse, je bil postanek za žalovalce, ki so proslavili mimo prijatelja, preden so se odpravili na pokopališče sv. Bonifacija. Do leta 1910 so novi lastniki hišo na cesti preuredili v vrtove Green Mill Gardens, skupaj z zunanjimi prostori za ples in pitje, osvetljenimi z lučmi, in se ponašali s takšnimi naslovnicami, kot so Al Jolson, Eddie Cantor in Sophie Tucker.
Ko so dvajseta leta ropotala, je Green Mill postal ozemlje mafijcev, ko je poslušalec Al Capone, "Machinegun" Jack McGurn, dobil 25-odstotno lastništvo kluba, sam Al Capone pa je redno obiskal klub. Direktor Danny Cohen je McGurnu podelil 25-odstotni delež, da bi "prepričal" komika / pevca Joeja E. Lewisa, da se preseli na jug v kavarno New Rendezvous v Clark in Diversey. McGurn je uspel prepričati Lewisa tako, da mu je prerezal grlo in mu odrezal jezik. Lewis se je čudežno okreval, vendar njegove pesmi nikoli niso povrnile svojega bujnega zvoka. Incident je bil kasneje ovekovečen v filmu Joker je divji, Frank Sinatra pa Joe E. Lewis in hollywoodska oder kot Green Mill. Seveda je njegovo zanimanje zbudilo, Sinatra je moral obiskati klub. Leta 1986 je bila okrasju Green Mill obnovljena prepovedna dekoracija.
  • Gledališče Vendome 3145 South State Street,
Zgrajena leta 1919 in porušena leta 1949. Nahaja se v osrčju tako imenovanega "Črnega pasu" v Chicagu. Priljubljenost orkestra Vendome se je povečala decembra 1925, ko se je glavni mojster koronetist, Louis Armstrong, pojavil na krovu v kavarni Dreamland. Ko je Armstrong igral solo, je publika Vendome divje navijala. Leta 1926 je Armstrong odšel delati v kavarno Sunset, eno najbolj razvpitih mestnih temnopoltih. Med drugimi jazzovskimi umetniki, ki so v dvajsetih letih nastopali v Vendomeu, so bili pianist Earl Hines, bobnar Jimmy Bertrand, kornetist Freddie Keppard in pianist Lil Hardin-Armstrong.
Skupina King Oliver, kreolska jazz skupina, je bila v kavarni Plantation obširno igrana, dokler je leta 1927 požar ni uničil.
  • Apex Club 35. St. med avenijama S. Calumet in S. Prairie [9]
Odprt leta 1920, v njem so sodelovali Junie Cobb, Johnny St. Cyr, Dave Nelson, Joe Poston, Johnny Wells, Earl Hines in klarinetist Jimmy Noone.
  • Entertainer's Cafe 209 E. 35. St. v Michiganu 1910-20-ih
V njem nastopajo Sammy Stewart in njegovi vitezi sinkopacije, skupina Freddyja Kepparda, Earl Hines, Natty Dominique, Vernie Robinson, Carroll Dickerson.
  • Monogramsko gledališče 3435-40 S. Državna sv.
Odprto leta 1910. V njem nastopajo zgodnji jazz glasbeniki, kot so Sidney Bechet, Ethel Waters, Erskine Tate, Ma Rainey.
  • Elite Club 3030 S. Državna sv.
Odprt leta 1910. V njem nastopajo Jelly Roll Morton, Earl Hines, Alberta Hunter.
  • Kavarna Ententainer
  • Friar's Inn klet na 60 East Van Buren ali 343 South Wabash v Chicago Loop,
Gostilna Friar's je bila nočni klub, ki se je nahajal v kleti na območju Chicaga Loop, na ulici 60 Van Van Buren na naslovu 343 South Wabash Avenue. V istem kompleksu je bila tudi kavarna Moulin Rouge. Friarjevo gostilno je vodil Mike Fritzel in v spominih glasbenika se je spomnil kot gangsterske klepetalnice. Friar's Inn je imel tri pasove: enega od 15. do 18. ure, enega od 6. do 22. ure, na splošno ritmično sekcijo za večerjo in glavno skupino od 22. ure do zgodnjega jutra - to je bila skupina Mares. Klub je uporabljal strogo politiko "samo za bele". Med opaznimi skupinami, povezanimi s Friar's Inn, sta bila New Orleans Rhythm Kings (prvotno "Orkester Friar's Society") in Austin High Gang (znan tudi kot "Blue Friars").
Med glasbenimi glasbeniki, ki so igrali v gostilni Friar's, so bili Frank Teschemacher, Bud Freeman, Steve Brown, George Brunies, Merritt Brunies, Emmett Hardy, Paul Mares, Leon Roppolo, Bee Palmer in Mel Stitzel. Joan Crawford je tam v začetku svoje kariere delala kot plesalka.

Več zgodovinskih jazz klubov, navedenih v tukaj

Sodobni jazz klubi v Chicagu

Na srečo se zgodba o jazzu ni končala pri BeBopu. Držalo se je prav pri zavijanju v avantgardo. Del tega pustolovskega sklopa je bila družba (večinoma afroameriških) glasbenikov v Chicagu, imenovana Združenje za napredek ustvarjalnih glasbenikov (AACM).
Kot svoje poslanstvo "negovanje, izvajanje in snemanje resne, izvirne glasbe" AACM podpira glasbenike, skladatelje in pedagoge, ki delajo v jazzu. Od leta 1965 je AACM (ki ga je najprej vodil Muhal Richard Abrams) izobraževal mlade glasbenike v Chicagu in nenavadno, Amsterdam in Pariz kjer so nekateri ustanovni člani v zgodnjih sedemdesetih živeli v samoizgnanstvu.
Glasbeniki, povezani z AACM, kot so Henry Threadgill, Anthony Braxton, Jack DeJohnette in Art Ensemble iz Chicaga: Lester Bowie, Roscoe Mitchell, Joseph Jarman, Famoudou Don Moye in Malachi Favors so ustvarili nekaj najbolj vznemirljive in zahtevne jazz glasbe. sedemdesetih let prejšnjega stoletja, glasbo, ki so jo splošni in akademski krogi začeli prepoznavati šele v devetdesetih letih.
V poznih osemdesetih in zgodnjih devetdesetih letih je glasbenik in profesor Columbia College Hal Russell s svojim poučevanjem in igranjem z ansamblom NRG prinesel velik priliv novih glasbenikov v področje vpliva AACM. Študenti in privrženci Russella, kot so Ken Vandermark, Kent Kessler, Mars Williams in Weasel Walter, so pomagali ponovno oživiti sceno AACM in ji pritegnili zasluženo kritično in medijsko pozornost.
Na srečo je kar nekaj prvotnih igralcev AACM še vedno na prizorišču, tako kot mnogi njihovi učenci iz Chicaga in Evrope, pa tudi igralci z novejše scene, ki prihajajo iz Russella. Skoraj vsako noč v tednu lahko ujamete predstave po mestu, toda prizor se najbolj predvidljivo osredotoča na peščico klubov, ki so povezani z glasbeniki.
  • Žametni salon, Vzhodna cesta Cermak 67. Lastnik Fred Anderson je dolgoletni član združenja AACM in ima tesne povezave skozi oba sodobna prizora. 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.
  • Čikaško gledališče, 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 do 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

  • Feniks 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.
Ko je tam, Scott Joplin House lahko obiščete.

Once in Memphis, try to catch a Blues concert.

Day 9 (Wednesday): Visiting Memphis

  • Ulica[mrtva povezava], 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.
  • STRANIŠČE. 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 do 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.
  • Prijetno pristanišče. 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 do Boston

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