BLACK SOCIAL HISTORY : AFRICAN AMERICAN " KID ORY " ONE OF THE GREAT NEW ORLEANS PIONEERS AN EARLY TROMBONIST WHO VIRTUALLY DEFINES "TAILGATE " STYLE : GOES INTO THE " HALL OF BLACK GENIUS "

                                        BLACK                 SOCIAL               HISTORY                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                          Kid Ory was one of the great New Orleans pioneers, an early trombonist who virtually defined the "tailgate" style (using his horn to play rhythmic bass lines in the front line behind the trumpet and clarinet) and who was fortunate enough to last through the lean years so he could make a major comeback in the mid-'40s. Originally a banjoist, Ory soon switched to trombone and by 1911 was leading a popular band in New Orleans. Among his trumpeters during the next eight years were Mutt Carey, King Oliver and a young Louis Armstrong and his clarinetists included Johnny Dodds,Sidney Bechet, and Jimmie Noone. In 1919, Ory moved to California and in 1922 (possibly 1921) recorded the first two titles by a Black New Orleans jazz band ("Ory's Creole Trombone" and "Society Blues") under the band title of Spike's Seven Pods of Pepper Orchestra. In 1925 he moved to Chicago, played regularly with King Oliver, and recorded many classic sides with Oliver, Louis Armstrong (in his Hot Five and Seven), and Jelly Roll Morton, among others.

The definitive New Orleans trombonist of the 1920s, Ory (whose "Muskrat Ramble" became a standard) was mostly out of music after 1930, running a chicken ranch with his brother. However in 1942 he was persuaded to return, and after a stint with Barney Bigard's group, he formed his own band. Ory's group was featured on Orson Welles' radio show in 1944 and the publicity made it possible for the band to catch on. The New Orleans revival was in full swing and Ory (whose group included trumpeter Mutt Carey and clarinetists Omer Simeon or Darnell Howard) was still in prime form. He appeared in the 1946 film New Orleans (and later on in The Benny Goodman Story) and worked steadily in Los Angeles. After Mutt Carey departed in 1948, Ory used Teddy Buckner, Marty Marsala, Alvin Alcorn (the perfect musician for his group), and Red Allen on trumpets and his Dixieland bands always boasted high musicianship (even with the leader's purposely primitive style) and a consistent level of excitement. They recorded regularly (most notably for Good Time Jazz) up to 1960 by which time Ory (already 73) was cutting back on his activities. He retired altogether in 1966, moving to Hawaii.

Edward "Kid" Ory  December 25, 1886 – January 23, 1973  was a jazz trombonist and bandleader. He was born in Woodland Plantation near La Place, Louisiana.

Ory started playing music with home-made instruments in his childhood, and by his teens was leading a well-regarded band in Southeast Louisiana. He kept La Place, Louisiana, as his base of operations due to family obligations until his twenty-first birthday, when he moved his band to New Orleans, Louisiana. He was one of the most influential trombonists of early jazz.]

Ory was a banjo player during his youth and it is said that his ability to play the banjo helped him develop "tailgate," a particular style of playing the trombone. In "tailgate" style the trombone plays a rhythmic line underneath the trumpets and cornets.

BLACK        SOCIAL           HISTORY

The house on Jackson Avenue in the picture to the right is where Buddy Bolden discovered Ory, playing his first New trombone, instead of the old civil war trombone. Unfortunately his sister said he was too young to play with Bolden.

He had one of the best-known bands in New Orleans in the 1910s, hiring many of the great jazz musicians of the city, including, cornetists Joe "King" Oliver, Mutt Carey, and Louis Armstrong, who joined the band in 1919; and clarinetists Johnny Dodds and Jimmie Noone.

In 1919 he moved to Los Angeles —one of a number of New Orleans musicians to do so near that time—and he recorded there in 1921 with a band that included Mutt Carey, clarinetist and pianist Dink Johnson, and string bassist Ed Garland. Garland and Carey were longtime associates who would still be playing with Ory during his 1940s comeback. While in Los Angeles Ory and his band recorded two instrumentals, "Ory's Creole Trombone" and "Society Blues", as well as a number of songs. They were the first jazz recordings made on the west coast by an African-American jazz band from New Orleans. His band recorded with the recording company Nordskog and Ory paid them for the pressings and then sold them under his own label of "Kid Ory's Sunshine Orchestra" at a store in Los Angeles called Spikes Brothers Music Store. In 1925, Ory moved to Chicago, where he was very active, working and recording with Louis Armstrong, Jelly Roll Morton, Joe "King" Oliver, Johnny Dodds, Bessie Smith, Ma Rainey, and many others. He mentored Benny Goodman, and later Charles Mingus.

During the Great Depression Ory retired from music and would not play again until 1943. From 1944 to about 1961 he led one of the top New Orleans style bands of the period. In addition to Mutt Carey and Ed Garland, trumpeters Alvin Alcorn and Teddy Buckner; clarinetists Darnell Howard, Jimmie Noone, Albert Nicholas, Barney Bigard, and George Probert; pianists Buster Wilson, Cedric Haywood, and Don Ewell; and drummer Minor Hall were among his sidemen during this period. All but Probert, Buckner, and Ewell were originally from New Orleans.

The Ory band was an important force in reviving interest in New Orleans jazz, making popular 1941-1942 radio broadcasts—among them a number of slots on the Orson Welles Almanac broadcast and a jazz history series sponsored by Standard Oil—as well as by making recordings. During the late 1940s and early 1950s, Ory and his group appeared at the Beverly Cavern in Los Angeles.

Ory retired from music in 1966 and spent his last years in Hawaii, with the devoted assistance of Trummy Young. He died in Honolulu.