Kid Ory

Biography

Child Ory was among the fun new Orleans pioneers, an early on trombonist who virtually defined the “tailgate” design (using his horn to try out rhythmic bass lines in leading line at the rear of the trumpet and clarinet) and who was simply luckily enough to last with the low fat years thus he will make a major return within the mid-’40s. Originally a banjoist, Ory quickly turned to trombone and by 1911 was leading a favorite music group in New Orleans. Among his trumpeters through the following eight years had been Mutt Carey, Ruler Oliver and a Louis Armstrong and his clarinetists included Johnny Dodds, Sidney Bechet, and Jimmie Noone. In 1919, Ory shifted to California and in 1922 (probably 1921) recorded the very first two game titles by a Dark New Orleans jazz music group (“Ory’s Creole Trombone” and “Culture Blues”) beneath the music group name of Spike’s Seven Pods of Pepper Orchestra. In 1925 he shifted to Chicago, performed regularly with Ruler Oliver, and documented many classic edges with Oliver, Louis Armstrong (in his Popular Five and Seven), and Jelly Move Morton, amongst others. The definitive New Orleans trombonist from the 1920s, Ory (whose “Muskrat Ramble” became a typical) was mainly from music after 1930, owning a poultry ranch along with his sibling. Yet, in 1942 he was persuaded to come back, and following a stint with Barney Bigard’s group, he created his own music group. Ory’s group was presented on Orson Welles’ radio display in 1944 as well as the publicity managed to get easy for the music group to capture on. THE BRAND NEW Orleans revival was completely golf swing and Ory (whose group included trumpeter Mutt Carey and clarinetists Omer Simeon or Darnell Howard) was still in primary form. He made an appearance within the 1946 film New Orleans (and down the road within the Benny Goodman Tale) and worked well steadily in LA. After Mutt Carey departed in 1948, Ory utilized Teddy Buckner, Marty Marsala, Alvin Alcorn (an ideal musician for his group), and Crimson Allen on trumpets and his Dixieland rings usually boasted high musicianship (despite having the leader’s purposely primitive design) along with a consistent degree of enjoyment. They recorded frequently (especially for Good Period Jazz) as much as 1960 where period Ory (currently 73) was reducing on his actions. He retired completely in 1966, shifting to Hawaii.

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