Jelly Roll Morton, Birth of the Hot - 1h 14m 52s

Tracks & Durations

1. Black Bottom Stomp	3:13
2. Smoke House Blues	3:27
3. The Chant	3:12
4. Sidewalk Blues - Take 3	3:29
5. Dead Man Blues - Take 1	3:14
6. Steamboat Stomp	3:04
7. Someday Sweetheart	3:29
8. Grandpa's Spells - Take 3	2:53
9. Original Jelly-Roll Blues	3:04
10. Doctor Jazz	3:24
11. Cannon Ball Blues - Take 2	3:31
12. Hyena Stomp	3:09
13. Billy Goat Stomp	3:30
14. Wild Man Blues	3:08
15. Jungle Blues	3:26
16. Beale Street Blues	3:15
17. The Pearls	3:25
18. Wolverine Blues	3:19
19. Mr. Jelly Lord	2:52
20. Sidewalk Blues - Take 2	3:33
21. Dead Man Blues - Take 2	3:18
22. Grandpa's Spells - Take 2	2:54
23. Cannon Ball Blues - Take 1	2:50

Note: The information about this album is acquired from the publicly available resources and we are not responsible for their accuracy.

Review

Jelly Roll Morton was at a creative peak in Chicago in 1926 and '27, surrounded by first-rate fellow New Orleans musicians and with plenty of opportunities to record. Many of the musicians who contributed to Louis Armstrong's Hot Five and Hot Seven recordings appear here--trombonist Kid Ory, banjoist Johnny St. Cyr, clarinetist Johnny Dodds, and his drummer brother Baby Dodds--while George Mitchell contributes sterling cornet leads. Each track is a compressed masterpiece, a jigsaw puzzle of written composition, improvised ensembles, solos and duets, often with sound effects and bantering comic patter thrown in. "Black Bottom Stomp" and "The Chant" are brilliant examples of Morton's energized fusion of contrasting elements, while the piquant "Someday Sweetheart," with its combination of violins, guitar, and Omer Simeon's bass clarinet, demonstrates Morton's inventiveness as an orchestrator. From low humor to high mimicry, Morton was an artist of ebullient spirit who brought the whole of his experience to the recording studio: the car horn of "Sidewalk Blues," the forced laughter of "Hyena Stomp," and the barnyard vocals of "Billy Goat Stomp." By contrast, the final Chicago session includes compact trio performances of "Wolverine Blues" and "Mr. Jelly Lord" by Morton and the Dodds brothers that are refined intersections of ragtime and jazz improvisation. --Stuart Broomer

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