THE BRAND NEW Orleans Rhythm Kings (NORK) were the best possible jazz group to become on record in 1922, as well as the white band has served as proof that, even that early, African-Americans weren’t the only real ones who could play jazz with individuality and integrity. The main element associates of the group (head/cornetist Paul Mares, trombonist George Brunis, and clarinetist Leon Roppolo) had been childhood close friends from New Orleans. In 1922, they began a 17-month residency on the Friar’s Inn Nightclub in Chicago and in August they produced their 1st recordings. Although Mares (unlike Nick LaRocca of the initial Dixieland Jazz Music group) was moderate about his personal playing, stating that he was extremely influenced by Ruler Oliver, he in fact sounded a lot different and experienced a tone of voice of his personal. Roppolo was the 1st significant soloist on record, while Brunis could have a long profession playing Dixieland. The changing tempo sections occasionally included the very first great jazz bassist Steve Brownish (although mainly inaudible on his early program), drummer Ben Pollack (another bandleader), and, on a set of memorable classes in 1923, pianist Jelly Move Morton. Among the near future standards introduced from the NORK had been “Farewell Blues,” “Panama,” “That is clearly a Lots,” and “Tin Roof Blues”; the latter included a popular Brunis trombone single. The band split up in 1924 when Mares and Roppolo came back to New Orleans. With Santo Pecora on trombone they regrouped for an excellent program on January 1925, but Roppolo had been experiencing mental complications; the group’s last date 8 weeks later on was without Roppolo, who soon become institutionalized for the rest of his existence. Mares returned for one additional program in 1935 but appeared happy in pension, departing the legacy from the NORK to background.