Donald M. Marquis:
In Search of Buddy Bolden
Louisiana State University Press, 1978
228 Seiten; Auflage: Da Capo Press Inc; New Ed (Oktober 1980)
The beginnings of jazz and the story of Buddy Bolden (1877-1931) are inextricably intertwined. Just after the turn of the century New Orleanians could often hear Bolden’s powerful horn from the city’s parks and through dance hall windows. He had no formal training, but what he lacked in technical finesse he made up for in style. It was this – his unique style, both musical and personal – that made him the first ‘king’ of New Orleans jazz – the inspiration of such later jazz greats as King Oliver, Bunk Johnson, Kid Ory, Louis Armstrong, and Sidney Bechet.
For years the legend of Buddy Bolden was overshadowed by myths about his music, his reckless life-style, and his mental instability. In Search of Buddy Bolden overlays the myths with the substance of reality. Donald M. Marquis has interviewed individuals who knew Bolden and has made use an extensive array of primary documents to present an absorbing portrait of the brief but brilliant career of the first man of jazz. The result is as complete a biography of Bolden as is likely ever to be written.
DONALD M. MARQUIS, a jazz historian who lives in New Orleans. He is the author of Finding Buddy Bolden.
The Loudest Trumpet: Buddy Bolden and the Early History of Jazz
by Daniel Hardie
This is the story of Buddy Bolden, inventor of jazz, who was celebrated as king in New Orleans at the beginning of the 20th century. It tells of his life, his career, and of the effect he had on the music of our time. From eyewitness accounts, published information, and early photographs, The Loudest Trumpet describes how he played the cornet and how his band introduced a new syncopated sound to popular music. It also explains how he influenced the music of his contemporaries in the city and how his raggy, blues-based New Orleans style developed into the music of the Jazz Era—the twenties.
About the Author
Daniel Hardie started playing cornet in a boys brass band at age eight, later played flute, then drum and bugle in high school. After graduating in history at Sydney University, he played clarinet in the house band at the Sydney Jazz Club. He has a fascination for old boats and jazz recordings. Since retiring from the Australian Civil Service, he has devoted himself to historical research and painting. His first book, Forgotten Fleets, a history of the small boats of Sydney harbour, was published in 1990. He has also published a number of monographs and journal articles on maritime historical subjects. He has exhibited his Sea Heritage paintings in major Australian cities and country centres. This is his first foray into the field of musical history. He is married and has two grown daughters.
BUDDY BOLDEN SUITE
By Nate Chinen
Few musicians in modern history have inspired more apocryphal lore than the fin-de-siècle New Orleans cornetist Charles (Buddy) Bolden, who had a hand in shaping early jazz but was never caught on record, and barely on camera. (He stands second from the left at rear, above, in his only known photograph.) Before he entered a state insane asylum in 1907, Bolden brought New Orleans brass band traditions into contact with church music and the blues, by way of an outsize, swaggering style that influenced both Joe (King) Oliver and Louis Armstrong. He is also remembered, more dubiously, as a part-time barber and the publisher of a gossip broadside; Michael Ondaatje made those details an integral part of his portrayal of Bolden in the novel ”Coming Through Slaughter” some 30 years ago. Popular perceptions of Bolden were shaped more than a little by Mr. Ondaatje’s vivid fictionalization, which imagined life inside the humid atmosphere of E. J. Bellocq’s Storyville photographs. A less fanciful depiction appeared in 1978 — ”In Search of Buddy Bolden”, by the historian Donald M. Marquis — and it was this account that eventually captured the imagination of an aspiring trumpeter named Charles Porter, who traced Bolden’s steps in New Orleans and heard the inkling of a theme. Nine years later, Mr. Porter is a Juilliard graduate, a Fulbright scholar and a former student of Wynton Marsalis, and his theme has blossomed into a six-part suite for seven musicians. The clear perils of this undertaking could be a selling point; by most accounts, Bolden was usually up for an adventure. (Thursday at 9 and 10:30 p.m., Jazz Gallery, 290 Hudson Street, at Spring Street, South Village, (212) 242-1063; cover, $15.)
(Abdruck mit freundlicher Genehmigung)