Jazz for aficionados

@nogaps,

Thanks for the recommendation and especially thank you for the clarification(s)! But please understand I was simply asking a question and not conflating anything.

I have known all my life, that Cajun in very simple terms referred to a white rural population to show racial, cultural and location differences as the American society has always done. And the same with Creole in very simple terms referred to a negro city population to show racial, cultural and location differences as the American society has always done. 

Where my questions came from is that American Jazz undeniably has a French European influence and I was wondering if the European French that settled in Canada and later migrated to Louisiana had any connection at that nexus? And from what I gleaned from The Making of Jazz" by James Collier, the European French or Cajuns that settled in Canada and later migrated to Louisiana - did not. 

And for the reasons of me knowing that in appalachia and all the way to the lower southern regions and beyond in the US slaves introduced the gord with strings to the america’s introducing the banjo and played with a specific flair also with the european violin or fiddle in helping form what we now call Country and Blues music.

I hope you see and understand why I had questions if the Cajun music communities may have crossed over at times with the Blues, Country and even the earliest Jass musicians communities. Cause one thing I do know. Whether right, wrong and/or indifferent? When people get together, no matter where they may be from? They will mix. If you get my drift/meaning...

What I'm also finding out in very basic terms of course, is Jass was born out of a part of the Creole community that felt their lighter melanated skin tone made them better than persons of the negro community that was of darker melanated hues and all that entailed. 

@nogaps,

And here’s something I’d like to share with you.

Jazz À La Creole:

The Music of the French Creoles of Louisiana and their Contribution to the Development of Early Jazz at the Turn of the Twentieth Century by Caroline Vézina

A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, Ontario, Canada © Caroline Vézina August 11, 2014

What I'm also finding out in very basic terms of course, is Jass was born out of a part of the Creole community that felt their lighter melanated skin tone made them better than persons of the negro community that was of darker melanated hues and all that entailed. 

Per Collier's book, the Creoles (of Spanish/French descent) mixed freely with whites (pre-Civil War) and shunned Black society & music (developing the foundations of the Blues) up until the post Civil War period and the adoption of Jim Crow laws. At that point the Creoles were "lumped in" with Black society and treated as such.  It was the ("forced") mix of Creoles (playing European music) and Blacks(playing early Blues) than fomented early jass in the bordelos of the Storyville area of New Orleans.  Where people exist, music comes out..particularly in a music oriented city like New Orleans.  At the time all this was happening..the Spanish American War ended and a significant portion of the service men were decommissioned in New Orleans. The military at that time was BIG on maintaining marching bands for all occasions.  A large number of those service men-band members dumped their instruments on the secondary market in New Orleans and New Orleans was awash in used brass instruments. Poor folks, like Creoles and Blacks, couldn't afford new brass instruments, but could afford used brass instruments being sold at depressed prices.  Enter the flood of brass instruments into the stew of Creole/Black/EU influenced Blues and "jazz" takes a quantum step forward..into early ragtime..

It's interesting how it all comes together..right place-right time over and over and over...with post-war industrialization in the north there's a wave of poor people headed north for jobs and freedom of another sort and they take their music with them to cities like St, Louis, Detroit and Chicago...and the story continues..

Nice...I appreciate very much so having this and all these conversations with you...I actually did read exactly, almost verbatim what you’ve written here above, I just wanted to try and say it in my own words...

In the bordellos of the Storyville area of New Orleans it’s my understanding if you could play some Jass on the in-house piano, that was all you needed to make a very good hustle, with no band needed. For example, Jelly Roll Morton in his early days before he became a band leader. Years a ago I read a piece on Jelly Roll Morton were legend has it, he coined the term Spanish Tinge.

It seems the call and response shouts and stomps of the early funeral marches had a profound effect in shaping Jass music also with it’s African Spiritual connections.

You know, you got me wondering? By the time Louis Armstrong became a consummate band leader, with him and his band dressed to the nines in tuxes, I dare say in New Orleans, he and his band might have been considered Bourgeois? Now wouldn’t that be something? Indeed...

You know, you got me wondering? By the time Louis Armstrong became a consummate band leader, with him and his band dressed to the nines in tuxes, I dare say in New Orleans, he and his band might have been considered Bourgeois? Now wouldn’t that be something? Indeed...

I guess, the same thing could be said about Jelly Roll too!

JELLY ROLL MORTON (No shrinking violet) Jazz History #5

The only differences between men , be it bourgeois,poor,rich, educated , black,white, the only difference that  "mathematically" and spiritually matter is :creative moral imagination which is also an organ of perception. (Music is a manifestation in our body as source of sound or antenna and listener of this "moral" and mathematical  polar gesture as speech is as Mimesis/logos)

I can explain it as i just did with two different A.I. as pupils (A.I. is only a mirror nothing more) in an ongoing more than 2,000 pages of dialogue mainly about maths essence... But....It will be boring for most...

i am over from my journey  in acoustics, theoretical as practical, i am now back in maths and i listen music... Sound did not bother me anymore and price  tag  marketing dont matter once you understand acoustics not with formulas only but with your ears... ...

Then any bourgeois,war criminal or Nobel prize winner can love Jazz which as its roots ( with Black people as ground and some French Cajun who  were "Acadians" deported by force by English King order etc) was a deep spiritual prayer and protest, and  now a mathematical and moral world  of its own ...

«You are very much too deep in shit man»--Groucho Marx