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Decoding the Jelly Roll Document: A Comprehensive Guide
Introduction:
Have you ever encountered the term "jelly roll document" and felt a wave of confusion wash over you? This seemingly quirky name actually refers to a crucial concept in the world of document management and legal proceedings. Understanding jelly roll documents is vital for anyone involved in archiving, litigation support, or simply efficient document organization. This comprehensive guide will unravel the mystery, explaining what jelly roll documents are, how they're created, their advantages and disadvantages, and when you might need one. We'll provide clear examples, practical tips, and address common questions to equip you with the knowledge to confidently navigate this specialized area.
What is a Jelly Roll Document?
A jelly roll document, in its simplest form, is a bound collection of documents arranged chronologically or thematically, rolled tightly like a jelly roll—hence the name. Unlike traditional bound books or binders, this method prioritizes compactness and easy access to individual pages. This is particularly useful when dealing with a large volume of documents that need to be preserved and readily available for review. Think of it as a highly organized, portable archive.
Creating a Jelly Roll Document: Step-by-Step
The process of creating a jelly roll document involves several key steps:
1. Document Preparation: Begin by organizing your documents chronologically or thematically, depending on your needs. Ensure each document is clearly labeled and easily identifiable. High-quality scanning and digital preservation are recommended to maintain integrity and accessibility.
2. Collation and Sequencing: Once organized, collate your documents in the desired order. Accuracy is paramount here, as any error can disrupt the flow and usability of the final product.
3. Binding Method: This is where the "jelly roll" aspect comes in. Documents are typically bound using a strong adhesive or, for more archival applications, specialized archival tape. The key is to ensure a tight, secure roll that prevents documents from unraveling or becoming damaged.
4. Labeling and Indexing: Clearly label the jelly roll with relevant information, such as dates, case numbers, or project names. Creating a detailed index or table of contents is highly recommended for easy navigation. This index should cross-reference document numbers and page numbers for swift retrieval.
Advantages of Using Jelly Roll Documents
Compactness: Jelly roll documents are significantly more compact than loose papers or binders, saving considerable storage space. This is especially important when dealing with voluminous records.
Easy Access: While seemingly counterintuitive, a well-made jelly roll allows for relatively easy access to individual documents. You simply unroll the document to the desired section, making retrieval efficient.
Protection: The rolled format offers a degree of protection against damage, such as creasing or tearing, compared to loose papers.
Cost-Effectiveness: Depending on the volume of documents, creating a jelly roll can be a more cost-effective method of archiving than using multiple binders or specialized storage solutions.
Portability: The compact nature makes these documents ideal for transportation, essential for court presentations, on-site inspections, or transferring documents between locations.
Disadvantages of Using Jelly Roll Documents
Difficult to Update: Adding or removing documents from an existing jelly roll is cumbersome and often necessitates creating a new roll.
Potential for Damage: While offering some protection, improper handling or storage can still lead to damage, such as fraying edges or tearing.
Limited Accessibility for Multiple Users: Only one person can easily access the document at a time, unlike digital archives allowing simultaneous access.
Dependence on Physical Integrity: Damage to the roll can render the entire archive inaccessible. This contrasts with digital versions offering redundancy and backups.
Not Ideal for Frequent Access: If documents need to be accessed frequently, a jelly roll might prove less practical than other organization methods.
When to Use a Jelly Roll Document
Jelly roll documents are most useful in specific scenarios:
Litigation Support: Presenting a large volume of documents in a courtroom requires an organized, easily-manageable format. Jelly rolls offer a viable solution.
Archival Storage: For long-term storage of documents that don't require frequent access, a jelly roll provides compact and reasonably secure storage.
Field Work: In situations where you need to transport a large number of documents to a remote location, the portability of a jelly roll is advantageous.
Example Jelly Roll Document Outline: "Project Phoenix Case Files"
I. Introduction:
Brief overview of Project Phoenix and the purpose of these documents.
Date range covered by the included documents.
Key personnel involved in Project Phoenix.
II. Main Chapters:
Chapter 1: Initial Planning Documents: Meeting minutes, project proposals, budget allocations.
Chapter 2: Development Phase Documents: Design specifications, progress reports, testing results.
Chapter 3: Deployment and Launch Documents: Marketing materials, user manuals, launch event reports.
Chapter 4: Post-Launch Analysis: Performance metrics, user feedback, financial summaries.
III. Conclusion:
Summary of Project Phoenix's success or challenges.
Suggestions for future improvements or related projects.
Detailed Explanation of Example Chapters
Chapter 1: Initial Planning Documents: This chapter would meticulously organize all documents related to the initial stages of Project Phoenix. This might include meeting minutes, where each page would be numbered and clearly identifiable, ensuring accurate referencing during legal proceedings or internal review.
Chapter 2: Development Phase Documents: Detailed documentation of the project's development lifecycle would reside here. This section would contain design specifications, carefully organized by date and revision number. Progress reports, illustrating milestones achieved and challenges faced, would also be included. Testing results, both positive and negative, would be meticulously documented, providing a complete picture of the project's development journey.
Chapter 3: Deployment and Launch Documents: This chapter focuses on the official rollout of Project Phoenix. Marketing materials would be compiled, showcasing promotional strategies and their efficacy. User manuals and training documents would be organized to ensure clarity and easy access during the launch and beyond. Reports from the launch event, detailing attendance, feedback, and any significant occurrences, would also be incorporated.
Chapter 4: Post-Launch Analysis: The final chapter delves into an in-depth analysis of Project Phoenix's performance after launch. Key performance indicators (KPIs) would be documented, showing quantitative results. Qualitative data, such as user feedback gathered through surveys or reviews, would be analyzed and included, providing insights into user satisfaction and potential areas for improvement. Financial summaries, demonstrating the project's return on investment (ROI), would be presented.
FAQs about Jelly Roll Documents
1. Are jelly roll documents legally admissible in court? Yes, provided they are properly authenticated and maintained.
2. What type of adhesive is best for creating a jelly roll? Archival-quality adhesives are preferred to prevent damage to documents over time.
3. Can digital documents be included in a jelly roll? While not typical, printed copies of digital documents can be included.
4. How do I search for specific information within a jelly roll? A detailed index and careful labeling are essential for efficient searching.
5. What are the storage requirements for jelly roll documents? Cool, dry conditions are recommended to prevent damage from moisture or temperature fluctuations.
6. Are there any software programs that assist in creating jelly roll documents? Not directly; however, document management software can aid in organization before creating the physical roll.
7. Is it possible to create a digital equivalent of a jelly roll document? While not a true physical "jelly roll," a well-organized digital archive could achieve a similar purpose.
8. What happens if a page becomes damaged within the jelly roll? Careful handling is crucial. Damaged pages might need to be digitally preserved or replaced.
9. What is the long-term preservation strategy for jelly roll documents? Regular inspection, appropriate storage, and potentially digitization are key for long-term preservation.
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| jelly roll document: Jelly Roll Blues Elijah Wald, 2024-04-02 A bestselling music historian follows Jelly Roll Morton on a journey through the hidden worlds and forbidden songs of early blues and jazz. In Jelly Roll Blues: Censored Songs and Hidden Histories, Elijah Wald takes readers on a journey into the hidden and censored world of early blues and jazz, guided by the legendary New Orleans pianist Jelly Roll Morton. Morton became nationally famous as a composer and bandleader in the 1920s, but got his start twenty years earlier, entertaining customers in the city’s famous bordellos and singing rough blues in Gulf Coast honky-tonks. He recorded an oral history of that time in 1938, but the most distinctive songs were hidden away for over fifty years, because the language and themes were as wild and raunchy as anything in gangsta rap. Those songs inspired Wald to explore how much other history had been locked away and censored, and this book is the result of that quest. Full of previously unpublished lyrics and stories, it paints a new and surprising picture of the dawn of American popular music, when jazz and blues were still the private, after-hours music of the Black sporting world. It gives new insight into familiar figures like Buddy Bolden and Louis Armstrong, and introduces forgotten characters like Ready Money, the New Orleans sex worker and pickpocket who ended up owning one of the largest Black hotels on the West Coast. Revelatory and fascinating, these songs and stories provide an alternate view of Black culture at the turn of the twentieth century, when a new generation was shaping lives their parents could not have imagined and art that transformed popular culture around the world—the birth of a joyous, angry, desperate, loving, and ferociously funny tradition that resurfaced in hip-hop and continues to inspire young artists in a new millennium. |
| jelly roll document: Field Recordings of Black Singers and Musicians , 2018-07-10 Traditional African musical forms have long been accepted as fundamental to the emergence of blues and jazz. Yet there has been little effort at compiling recorded evidence to document their development. This discography brings together hundreds of recordings that trace in detail the evolution of the African American musical experience, from early wax cylinder recordings made in West Africa to voodoo rituals from the Carribean Basin to the songs of former slaves in the American South. |
| jelly roll document: The Original Blues Lynn Abbott, Doug Seroff, 2017-02-27 Blues Book of the Year —Living Blues Association of Recorded Sound Collections Awards for Excellence Best Historical Research in Recorded Blues, Gospel, Soul, or R&B–Certificate of Merit (2018) 2023 Blues Hall of Fame Inductee - Classic of Blues Literature category With this volume, Lynn Abbott and Doug Seroff complete their groundbreaking trilogy on the development of African American popular music. Fortified by decades of research, the authors bring to life the performers, entrepreneurs, critics, venues, and institutions that were most crucial to the emergence of the blues in black southern vaudeville theaters; the shadowy prehistory and early development of the blues is illuminated, detailed, and given substance. At the end of the nineteenth century, vaudeville began to replace minstrelsy as America’s favorite form of stage entertainment. Segregation necessitated the creation of discrete African American vaudeville theaters. When these venues first gained popularity, ragtime coon songs were the standard fare. Insular black southern theaters provided a safe haven, where coon songs underwent rehabilitation and blues songs suitable for the professional stage were formulated. The process was energized by dynamic interaction between the performers and their racially-exclusive audience. The first blues star of black vaudeville was Butler “String Beans” May, a blackface comedian from Montgomery, Alabama. Before his bizarre, senseless death in 1917, String Beans was recognized as the “blues master piano player of the world.” His musical legacy, elusive and previously unacknowledged, is preserved in the repertoire of country blues singer-guitarists and pianists of the race recording era. While male blues singers remained tethered to the role of blackface comedian, female “coon shouters” acquired a more dignified aura in the emergent persona of the “blues queen.” Ma Rainey, Bessie Smith, and most of their contemporaries came through this portal; while others, such as forgotten blues heroine Ora Criswell and her protégé Trixie Smith, ingeniously reconfigured the blackface mask for their own subversive purposes. In 1921 black vaudeville activity was effectively nationalized by the Theater Owners Booking Association (T.O.B.A.). In collaboration with the emergent race record industry, T.O.B.A. theaters featured touring companies headed by blues queens with records to sell. By this time the blues had moved beyond the confines of entertainment for an exclusively black audience. Small-time black vaudeville became something it had never been before—a gateway to big-time white vaudeville circuits, burlesque wheels, and fancy metropolitan cabarets. While the 1920s was the most glamorous and remunerative period of vaudeville blues, the prior decade was arguably even more creative, having witnessed the emergence, popularization, and early development of the original blues on the African American vaudeville stage. |
| jelly roll document: Charming Jelly Roll Quilts Scott Flanagan, 2021-08-25 If you love working with precuts, you'll love these creative designs from Scott A. Flanagan. He has created eight stunning quilts using precut 2 1/2”-wide strips along with a bonus mini quilt for each quilt made from 5” charm squares. Choose the size you want to make—or make both. Find hours offun sewing within these pages. Start with your favorite pack of precut strips or squares and start sewing! |
| jelly roll document: A Historical Guide to Ralph Ellison Steven C. Tracy, 2004-05-13 Ralph Ellison has been a controversial figure, both lionized and vilified, since he seemed to burst onto the national literary scene in 1952 with the publication of Invisible Man. In this volume Steven C. Tracy has gathered a broad range of critics who look not only at Ellison's seminal novel but also at the fiction and nonfiction work that both preceded and followed it, focusing on important historical and cultural influences that help contextualize Ellison's thematic concerns and artistic aesthetic. These essays, all previously unpublished, explore how Ellison's various apprenticeships--in politics as a Black radical; in music as an admirer and practitioner of European, American, and African-American music; and in literature as heir to his realist, naturalist, and modernist forebears--affected his mature literary productions, including his own careful molding of his literary reputation. They present us with a man negotiating the difficult sociopolitical, intellectual, and artistic terrain facing African Americans as America was increasingly forced to confront its own failures with regard to the promise of the American dream to its diverse populations. These wide-ranging historical essays, along with a brief biography and an illustrated chronology, provide a concise yet authoritative discussion of a twentieth-century American writer whose continued presence on the stage of American and world literature and culture is now assured. |
| jelly roll document: Black Recording Artists, 1877-1926 , 2013-01-03 This annotated discography covers the first 50 years of audio recordings by black artists in chronological order, music made in the acoustic era of recording technology. The book has cross-referenced bibliographical information on recording sessions, including audio sources for extant material, and appendices on field recordings; Caribbean, Mexican and South American recordings; piano rolls performed by black artists; and a filmography detailing the visual record of black performing artists from the period. Indexes contain all featured artists, titles recorded and labels. |
| jelly roll document: The Ghost of the Cuban Queen Bordello Peggy Hicks, 2011 The account begins as a true ghost story based on actual events. After an unsettling, modern day, ghostly encounter at a crumbling 1920's bordello in Jerome, Arizona, the author sets out on a quest and uncovers some deplorable secrets regarding the attractive, but devious Madam that once resided there. This curvaceous Madam began her career in the early 1900's in the red light district of Storyville in New Orleans. It was there where she met and eventually married the famous Jelly Roll Morton. She frequently changed her name and even her race in order to accommodate g=her ever-changing circumstances. She bleached her skin and straighten her hair as if to deny her African heritage ... or was it just a trick of her trade? Constantly on the move, she operated the Arcade Saloon in the pioneer town of Las Vegas, Nevada, and then a jazz club in San Francisco. Moving on to the rich mining town of Jerome, Arizona, she ran a house of pleasure called the Cuban Queen Bordello. Much went on behind her closed doors, where gambling, prostitution, and bootlegged whiskey were always on the menu. Late one night in 1927, one of her working girls was murdered in her own bed. This cunning madam, along with her handsome accomplice, kidnapped the dead girl's baby boy and slipped out of town never to be heard from again.... until now.--Back cover. |
| jelly roll document: Frankie and Johnny Stacy I. Morgan, 2017-04-18 Originating in a homicide in St. Louis in 1899, the ballad of Frankie and Johnny became one of America's most familiar songs during the first half of the twentieth century. It crossed lines of race, class, and artistic genres, taking form in such varied expressions as a folk song performed by Huddie Ledbetter (Lead Belly); a ballet choreographed by Ruth Page and Bentley Stone under New Deal sponsorship; a mural in the Missouri State Capitol by Thomas Hart Benton; a play by John Huston; a motion picture, She Done Him Wrong, that made Mae West a national celebrity; and an anti-lynching poem by Sterling Brown. In this innovative book, Stacy I. Morgan explores why African American folklore—and Frankie and Johnny in particular—became prized source material for artists of diverse political and aesthetic sensibilities. He looks at a confluence of factors, including the Harlem Renaissance, the Great Depression, and resurgent nationalism, that led those creators to engage with this ubiquitous song. Morgan's research uncovers the wide range of work that artists called upon African American folklore to perform in the 1930s, as it alternately reinforced and challenged norms of race, gender, and appropriate subjects for artistic expression. He demonstrates that the folklorists and creative artists of that generation forged a new national culture in which African American folk songs featured centrally not only in folk and popular culture but in the fine arts as well. |
| jelly roll document: August Wilson Alan Nadel, 2010-05-16 Contributors to this collection of 15 essays are academics in English, theater, and African American studies. They focus on the second half of Wilson's century cycle of plays, examining each play within the larger context of the cycle and highlighting themes within and across particular plays. Some topics discussed include business in the street in Jitney and Gem of the Ocean, contesting black male responsibilities in Jitney, the holyistic blues of Seven Guitars, violence as history lesson in Seven Guitars and King Hedley II, and ritual death and Wilson's female Christ. The book offers an index of plays, critics, and theorists, but not a subject index. Nadel is chair of American literature and culture at the University of Kentucky. |
| jelly roll document: Continuum Encyclopedia of Popular Music of the World, Volume 1 John Shepherd, David Horn, Dave Laing, Paul Oliver, Peter Wicke, 2003-03-06 The Bloomsbury Encyclopedia of Popular Music Volume 1 provides an overview of media, industry, and technology and its relationship to popular music. In 500 entries by 130 contributors from around the world, the volume explores the topic in two parts: Part I: Social and Cultural Dimensions, covers the social phenomena of relevance to the practice of popular music and Part II: The Industry, covers all aspects of the popular music industry, such as copyright, instrumental manufacture, management and marketing, record corporations, studios, companies, and labels. Entries include bibliographies, discographies and filmographies, and an extensive index is provided. |
| jelly roll document: The Cambridge Companion to Blues and Gospel Music Allan Moore, 2003-03-13 From Robert Johnson to Aretha Franklin, Mahalia Jackson to John Lee Hooker, blues and gospel artists figure heavily in the mythology of twentieth-century culture. The styles in which they sang have proved hugely influential to generations of popular singers, from the wholesale adoptions of singers like Robert Cray or James Brown, to the subtler vocal appropriations of Mariah Carey. Their own music, and how it operates, is not, however, always seen as valid in its own right. This book provides an overview of both these genres, which worked together to provide an expression of twentieth-century black US experience. Their histories are unfolded and questioned; representative songs and lyrical imagery are analysed; perspectives are offered from the standpoint of the voice, the guitar, the piano, and also that of the working musician. The book concludes with a discussion of the impact the genres have had on mainstream musical culture. |
| jelly roll document: Chasin' that Devil Music Gayle Wardlow, 1998 Traces the development and characteristics of the Delta blues, and describes the most influential blues musicians and recordings of the 1920s and 1930s |
| jelly roll document: The Second Line Edmond Souchon, 1982 |
| jelly roll document: Jazz Cultures David Ake, 2002-01-07 From its beginning, jazz has presented a contradictory social world: jazz musicians have worked diligently to erase old boundaries, but they have just as resolutely constructed new ones. David Ake's vibrant and original book considers the diverse musics and related identities that jazz communities have shaped over the course of the twentieth century, exploring the many ways in which jazz musicians and audiences experience and understand themselves, their music, their communities, and the world at large. Writing as a professional pianist and composer, the author looks at evolving meanings, values, and ideals--as well as the sounds--that musicians, audiences, and critics carry to and from the various activities they call jazz. Among the compelling topics he discusses is the visuality of music: the relationship between performance demeanor and musical meaning. Focusing on pianists Bill Evans and Keith Jarrett, Ake investigates the ways in which musicians' postures and attitudes influence perceptions of them as profound and serious artists. In another essay, Ake examines the musical values and ideals promulgated by college jazz education programs through a consideration of saxophonist John Coltrane. He also discusses the concept of the jazz standard in the 1990s and the differing sense of tradition implied in recent recordings by Wynton Marsalis and Bill Frisell. Jazz Cultures shows how jazz history has not consisted simply of a smoothly evolving series of musical styles, but rather an array of individuals and communities engaging with disparate--and oftentimes conflicting--actions, ideals, and attitudes. |
| jelly roll document: The Exile's Song Sally McKee, 2017-01-03 The extraordinary story of African American composer Edmond D d , raised in antebellum New Orleans, and his remarkable career in France In 1855, Edmond D d , a free black composer from New Orleans, emigrated to Paris. There he trained with France s best classical musicians and went on to spend thirty-six years in Bordeaux leading the city s most popular orchestras. How did this African American, raised in the biggest slave market in the United States, come to compose ballets for one of the best theaters outside of Paris and gain recognition as one of Bordeaux s most popular orchestra leaders? Beginning with his birth in antebellum New Orleans in 1827 and ending with his death in Paris in 1901, Sally McKee vividly recounts the life of this extraordinary man. From the Crescent City to the City of Light and on to the raucous music halls of Bordeaux, this intimate narrative history brings to life the lost world of exiles and travelers in a rapidly modernizing world that threatened to leave the most vulnerable behind. |
| jelly roll document: Democracy of Sound Alex Sayf Cummings, 2017 Democracy of Sound tells the story of the pirates, radicals, jazzbos, Deadheads, and DJs who challenged the record industry for control of recorded sound throughout the twentieth century. A political and cultural history, it shows how the primacy of intellectual property gradually eclipsed an American political tradition that was suspicious of monopolies and favored free competition. |
| jelly roll document: Photoshop® CS Timesaving Techniques For Dummies® Phyllis Davis, 2004-05-03 This guide will probably change your image of Photoshop. Many users tend to use it to do certain things in certain ways and don’t even explore additional features and capabilities. Photoshop cs Timesaving Techniques For Dummies gives you more than 60 timesaving techniques that will speed up the way you do the things you do now and inspire you to do lots more. You’ll discover how to: Install and use peripheral devices such as digital cameras, scanners, tablets, and printers Customize Photoshop to fit your needs with custom keyboard shortcuts, a color management system, presets, and more Create custom palette groups and workspaces Use a drawing tablet and stylus to easily double your output Create sketches, water colors, and silkscreens and paint with oils Create professional-quality separations for high-quality offset printing, including using the CMYK prepress settings, soft proofing, adding printer’s marks and more Create action sets so you can perform repetitive tasks that would take an hour in seconds Organize, color code, and lock layers and create layer sets Use Blending Modes (there are more than 20 to choose from) to enhance images Written by Phyllis Davis, a writer, graphics and Web designer, teacher, and graphics software expert , this guide features a Color Insert so you can see the results of many of the techniques explained, and a companion Web site (www.dummies.com/go/photoshopcstt) where you can download many of the images and follow along and experiment. You’ll discover how to get results like a pro as you experiment with: Creating great effects with layer styles, using the five types of bevel and emboss, inner and outer glows, blending, and more Using the Brush and Pencil painting tools and the Blur, Sharpen, Smudge, Burn, and Sponge editing tools Enhancing photos, creating montages and panoramas, recoloring, retouching, and more Creating shadow type, knock-out type, liquid type, metal type, and more Creating GIF animations, hotspots, and rollovers for the Web You’ll save steps and discover exciting new possibilities with these 60-plus timesaving, image-saving techniques. |
| jelly roll document: United States Army in the World War, 1917-1919: Reports of the commander-in-chief, AEF, staff sections and services , 1988 A seventeen-volume compilation of selected AEF records gathered by Army historians during the interwar years. This collection in no way represents an exhaustive record of the Army's months in France, but it is certainly worthy of serious consideration and thoughtful review by students of military history and strategy and will serve as a useful jumping off point for any earnest scholarship on the war. --from Foreword by William A Stofft. |
| jelly roll document: The United States Army in the World War, 1917-1919 United States Historical Division (Army)., 1948 |
| jelly roll document: United States Army in the World War, 1917-1919 United States. Department of the Army. Office of Military History, 1948 |
| jelly roll document: Luck's In My Corner Todd Bryant Weeks, 2014-06-11 Luck’s in My Corner is a comprehensive biography of one of the most compelling jazz musicians of the Swing Era, Oran Hot Lips’ Page. Page was the greatest of the Kansas City trumpeters, whose crackling, growling solos made him the go-to man during Count Basie’s earliest days as a bandleader. Page went on to be a featured trumpeter with Artie Shaw, a star of New York’s 52nd street, and a pioneer of the R & B scene of the 1950s. This book presents an in-depth chronology of Page’s career, with special attention paid to the development of his trumpet style. Luck’s in My Corner examines the life and music of a forgotten figure of the Swing Era and returns him to his rightful place as a leading light in the world of jazz. Todd Bryant Weeks has combined genealogical, musicological, discographical and historical research, resulting in a revealing and entertaining examination of a life that spanned major changes in American popular music. This book includes a new and complete discography by the author and dozens of unpublished photos. |
| jelly roll document: Jelly's Blues Howard Reich, William M. Gaines, 2008-11-05 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. |
| jelly roll document: Alan Lomax John Szwed, 2010-12-30 The remarkable life and times of the man who popularized American folk music and created the science of song Folklorist, archivist, anthropologist, singer, political activist, talent scout, ethnomusicologist, filmmaker, concert and record producer, Alan Lomax is best remembered as the man who introduced folk music to the masses. Lomax began his career making field recordings of rural music for the Library of Congress and by the late 1930s brought his discoveries to radio, including Woody Guthrie, Pete Seeger, and Burl Ives. By the 1940s he was producing concerts that brought white and black performers together, and in the 1950s he set out to record the whole world. Lomax was also a controversial figure. When he worked for the U. S. government he was tracked by the FBI, and when he worked in Britain, MI5 continued the surveillance. In his last years he turned to digital media and developed technology that anticipated today's breakthroughs. Featuring a cast of characters including Eleanor Roosevelt, Leadbelly, Carl Sandburg, Carl Sagan, Jelly Roll Morton, Muddy Waters, and Bob Dylan, Szwed's fascinating biography memorably captures Lomax and provides a definitive account of an era as seen through the life of one extraordinary man. |
| jelly roll document: Classic Jazz Floyd Levin, 2002-04-30 Floyd Levin's half-century collection of reportage, reviews and recollections are an irreplaceable and totally enjoyable trove of writing about the vibrancy, past and still-present, of traditional American jazz.—Charles Champlin, author of Back There Where the Past Was I've known Floyd and his wife Lucille for more than fifty years. Floyd's book is a colorful, intimate account of his lifelong love affair with jazz. I'm especially fascinated when he writes about his personal encounters with some of the jazz legends of the Century. This book is essential reading for anyone concerned about jazz - its present, its past, and his evolution.—Milt Hinton Floyd Levin's dedicated and unselfish life-long work for the cause of jazz has illuminated many a corner that would otherwise have remained in the dark. All who care about the music are in his debt. Classic Jazz, like Floyd himself, is a classic.—Dan Morgenstern, Director, Institute of Jazz Studies, Rutgers University What a rich, passionate and human book this is! Drawing on fifty years of devotion to classic, New Orleans jazz and the artists who performed it, Floyd Levin brilliantly weaves anecdotal material, primary research, intimate personal observations, and analyses to create an historical goldmine of the music's evolution in New Orleans and on the West Coast. In rendering portraits of legendary musicians in such a beautifully moving, honest way, he offers not just standard history, but a strong sense of the emotional core of the music as well.—Steve Isoardi, co-author of Central Avenue Sounds |
| jelly roll document: Music at Michigan , 1986 |
| jelly roll document: Public History Jennifer Lisa Koslow, 2021-02-02 PUBLIC HISTORY PROVIDES A BACKGROUND IN THE HISTORY, PRINCIPLES, AND PRACTICES OF THE FIELD OF PUBLIC HISTORY Public History: An Introduction from Theory to Application is the first text of its kind to offer both historical background on the ways in which historians have collected, preserved, and interpreted history with and for public audiences in the United States since the nineteenth century to the present and instruction on current practices of public history. This book helps us recognize and critically evaluate how, why, where, and who produces history in public settings. This unique textbook provides a foundation for students advancing to a career in the types of spaces–museums, historic sites, heritage tourism, and archives–that require an understanding of public history. It offers a review of the various types of methodologies that are commonly employed including oral history and digital history. The author also explores issues of monuments and memory upon which public historians are increasingly called to comment. Lastly, the textbook includes a section on questions of ethics that public historians must face in their profession. This important book: Contains a synthetic history on the significant individuals and events associated with museums, historic preservation, archives, and oral history. Includes exercises for putting theory into practice Designed to help us uncover hidden histories, construct interpretations, create a sense of place, and negotiate contested memories Offers an ideal resource for students set on working in museums, historic sites, heritage tourism, and more Written for students, Public History: An Introduction from Theory to Application offers in one comprehensive volume a guide to an understanding of the fundamentals of public history in the United States. |
| jelly roll document: Write Me a Few of Your Lines Steven Carl Tracy, 1999 A major anthology of writings on the blues published between 1911 and 1998, this collection includes sections by folklorists, literary artists, musicians, critics and aficionados. |
| jelly roll document: A Historical Guide to Langston Hughes Steven Carl Tracy, 2004 Langston Hughes has been an inspiration to generations of readers and writers seeking a passionate and socially responsible art. In this text, Steven Tracy has gathered a range of critics to produce an interdisciplinary approach to the historical and cultural elements reflected in Hughes's work. |
| jelly roll document: Louis Armstrong, in His Own Words Louis Armstrong, 2001 Louis Armstrong has been the subject of countless biographies and music histories. Yet scant attention has been paid to the remarkable array of writings he left behind. Louis Armstrong: In His Own Words introduces readers to a little-known facet of this master trumpeter, bandleader, and entertainer. Based on extensive research through the Armstrong archives, this important volume includes some of his earliest letters, personal correspondence, autobiographical writings, magazine articles, and essays. |
| jelly roll document: Yodel in Hi-Fi Bart Plantenga, 2013-02-08 Yodel in Hi-Fi explores the vibrant and varied traditions of yodelers around the world. Far from being a quaint and dying art, yodel is a thriving vocal technique that has been perennially renewed by singers from Switzerland to Korea, from Colorado to Iran. Bart Plantenga offers a lively and surprising tour of yodeling in genres from opera to hip-hop and in venues from cowboy campfires and Oktoberfests to film soundtracks and yogurt commercials. Displaying an extraordinary versatility, yodeling crosses all borders and circumvents all language barriers to assume its rightful place in the world of music. “If Wisconsin wasn’t on the yodel music map before, this book puts it there.”—Wisconsin State Journal |
| jelly roll document: Legislative Document New York (State). Legislature, 1928 |
| jelly roll document: The Penguin Guide to Blues Recordings Tony Russell, Chris Smith, 2006 From its roots in the American South to today's world stage, the journey of the blues has encompassed countless artists and recordings. But how can you find the best of them? The Penguin Guide to Blues Recordingsis a uniquely informative, insightful and easy-to-use guide through the jungles of the record shop and the online music store. It surveys the recorded work of more than a thousand blues artists, from towering figures of the past like Charley Patton, Bessie Smith and Robert Johnson to stars of the modern era such as B.B. King, Buddy Guy and Stevie Ray Vaughan, providing crisp, expert and witty reviews of almost six thousand CDs. Whether you're a blues aficionado or just starting a collection, this is required reading. |
| jelly roll document: More Jelly Roll Quilts Annie's, 2016-03-15 Enjoy 8 inspirational patterns perfect for weekend projects. All designs use 2 1/2 strips in the construction making this your go-to book for moments when you want to create the perfect quilt without all the added planning and preping. Save time and frustration by using preselected and precut strips. |
| jelly roll document: City document Worcester (Mass.), 1906 |
| jelly roll document: Big Ears Nichole T. Rustin, Sherrie Tucker, 2008-11-07 In jazz circles, players and listeners with “big ears” hear and engage complexity in the moment, as it unfolds. Taking gender as part of the intricate, unpredictable action in jazz culture, this interdisciplinary collection explores the terrain opened up by listening, with big ears, for gender in jazz. Essays range from a reflection on the female boogie-woogie pianists who played at Café Society in New York during the 1930s and 1940s to interpretations of how the jazzman is represented in Dorothy Baker’s novel Young Man with a Horn (1938) and Michael Curtiz’s film adaptation (1950). Taken together, the essays enrich the field of jazz studies by showing how gender dynamics have shaped the production, reception, and criticism of jazz culture. Scholars of music, ethnomusicology, American studies, literature, anthropology, and cultural studies approach the question of gender in jazz from multiple perspectives. One contributor scrutinizes the tendency of jazz historiography to treat singing as subordinate to the predominantly male domain of instrumental music, while another reflects on her doubly inappropriate position as a female trumpet player and a white jazz musician and scholar. Other essays explore the composer George Russell’s Lydian Chromatic Concept as a critique of mid-twentieth-century discourses of embodiment, madness, and black masculinity; performances of “female hysteria” by Les Diaboliques, a feminist improvising trio; and the BBC radio broadcasts of Ivy Benson and Her Ladies’ Dance Orchestra during the Second World War. By incorporating gender analysis into jazz studies, Big Ears transforms ideas of who counts as a subject of study and even of what counts as jazz. Contributors: Christina Baade, Jayna Brown, Farah Jasmine Griffin, Monica Hairston, Kristin McGee, Tracy McMullen, Ingrid Monson, Lara Pellegrinelli, Eric Porter, Nichole T. Rustin, Ursel Schlicht, Julie Dawn Smith, Jeffrey Taylor, Sherrie Tucker, João H. Costa Vargas |
| jelly roll document: Continuum Encyclopedia of Popular Music of the World , 2003-01-30 ‘This is an extraordinary achievement and it will become an absolutely vital and trusted resource for everyone working in the field of popular music studies. Even more broadly, anyone interested in popular music or popular music culture more generally will enjoy - and find many uses for - the wealth of information and insight captured in this volume.' Lawrence Grossberg, Morris Davis Professor of Communication Studies and Cultural Studies, University of North Carolina at Chapel Hill The first comprehensive reference work on popular music of the world Contributors are the world's leading popular music scholars Includes extensive bibliographies, discographies, sheet music listings and filmographies. Popular music has been a major force in the world since the nineteenth century. With the advent of electronic and advanced technology it has become ubiquitous. This is the first volume in a series of encyclopedic works covering popular music of the world. Consisting of some 500 entries by 130 contributors from around the world. Entries range between 250 and 5000 words, and is arranged in two Parts: Part 1: Social and Cultural Dimensions, covering the social phenomena of relevance to the practice of popular music. Part II: The Industry, covers all aspects of the popular music industry, such as copyright, instrumental manufacture, management and marketing, record corporations, studios, companies, and labels. Entries include bibliographies, discographies and filmographies, and an extensive index is provided. For more information visit the website at: www.continuumpopmusic.com |
| jelly roll document: Document Boston (Mass.), 1917 |
| jelly roll document: Ragged but Right Lynn Abbott, Doug Seroff, 2009-09-17 The commercial explosion of ragtime in the early twentieth century created previously unimagined opportunities for black performers. However, every prospect was mitigated by systemic racism. The biggest hits of the ragtime era weren't Scott Joplin's stately piano rags. “Coon songs,” with their ugly name, defined ragtime for the masses, and played a transitional role in the commercial ascendancy of blues and jazz. In Ragged but Right, Lynn Abbott and Doug Seroff investigate black musical comedy productions, sideshow bands, and itinerant tented minstrel shows. Ragtime history is crowned by the “big shows,” the stunning musical comedy successes of Williams and Walker, Bob Cole, and Ernest Hogan. Under the big tent of Tolliver's Smart Set, Ma Rainey, Clara Smith, and others were converted from “coon shouters” to “blues singers.” Throughout the ragtime era and into the era of blues and jazz, circuses and Wild West shows exploited the popular demand for black music and culture, yet segregated and subordinated black performers to the sideshow tent. Not to be confused with their nineteenth-century white predecessors, black, tented minstrel shows such as the Rabbit's Foot and Silas Green from New Orleans provided blues and jazz-heavy vernacular entertainment that black southern audiences identified with and took pride in. |
| jelly roll document: A Blues Bibliography Robert Ford, 2008-03-31 This revised and updated definitive blues bibliography now includes 6,000-7,000 entries to cover the last decade’s writings and new figures to have emerged on the Country and modern blues to the R&B scene. |
| jelly roll document: The Great Jazz Guitarists Scott Yanow, 2013-04-01 B&W photos throughout |
