Jelly’s Blues vividly recounts the tumultuous life of Jelly Roll Morton (1890-1941), born Ferdinand Joseph Lamonthe to a large, extended family in New Orleans. A virtuoso pianist with a larger-than-life personality, he composed such influential early jazz pieces as “Kansas City Stomp” and “New Orleans Blues.” But by the late 1930s, Jelly Roll Morton was nearly forgotten as a visionary jazz composer. Instead, he was caricatured as a braggart, a hustler, and, worst of all, a has-been. He was ridiculed by the white popular press and robbed of due royalties by unscrupulous music publishers. His reputation at rock bottom, Jelly Roll Morton seemed destined to be remembered more as a flamboyant, diamond-toothed rounder than as the brilliant architect of that new American musical idiom: Jazz.In 1992, the death of a New Orleans memorabilia collector unearthed a startling archive. Here were unknown later compositions as well as correspondence, court and copyright records, all detailing Morton’s struggle to salvage his reputation, recover lost royalties, and protect the publishing rights of black musicians. Morton was a much more complex and passionate man than many had realized, fiercely dedicated to his art and possessing an unwavering belief in his own genius, even as he toiled in poverty and obscurity. An especially immediate and visceral look into the jazz worlds of New Orleans and Chicago, Jelly’s Blues is the definitive biography of a jazz icon, and a long overdue look at one of the twentieth century’s most important composers.
___________________________________ From Publishers Weekly
There has been a resurgence of interest in Jelly Roll Morton (1890- 1941) in recent years, much of it highlighting the unattractive characteristics of the legendary Creole jazz pianist, composer and bandleader, such as his flashy clothes, diamond-studded tooth, boastfulness and denial of his race. In their sympathetic biography, Reich, jazz critic of the Chicago Tribune, and Gaines, an investigative reporter who retired from the Chicago Tribune in 2001, play down these aspects of Morton’s personality and concentrate on his musicianship, keyboard virtuosity, innovative compositions and ingenuity in devising a way to set improvisational music down on paper. The authors also highlight the redemptive qualities of Morton’s last years, basing their discussion on letters, documents and scores from the voluminous archive of Morton material in the collection of New Orleans jazz historian William Russell that became available after Russell’s death in 1992. They show that at the end of his life Morton composed revolutionary new works, though he couldn’t get anyone to play or record them. At the same time, he kept up a running battle with his publishers, who had exploited him for years, and launched a crusade against ASCAP (the American Society of Composers, Authors, and Publishers), which collected royalties for composers and robbed black songwriters of what was due them by denying them membership. Morton’s correspondence with the Justice Department concerning his case against ASCAP and his music publishers is included in the book (though not seen by PW), as an annotated discography. Copyright 2003 Reed Business Information, Inc.