Abstract
This thesis aims to recontextualise Kid Ory’s contribution to the development of early jazz by correcting the misconceptions that are found in his reception history. Through a performance study of his improvisation, the research examines his recordings from both the 1920s and during the revival era. By using a multi-parametric analysis model, different aspects of Ory’s improvisations are examined to better understand his musical voice and improvisational authenticity. This includes the analysis of musical features including melody, harmony, rhythm, and timbre, alongside time and feel analysis of his improvisations. All analysis is framed within the context in which the recordings were made. Chapters One, Two and Three explore the context and literature on perceptions of early jazz and improvisation. In these chapters, agreed handling of terminology and the methodology of the research are presented. Chapter Four explores Ory’s musical contribution through the recordings with Louis Armstrong and the Hot Five. Transcriptions are produced and analysed to examine Ory’s musical language and approach to improvisation. This analytical approach is continued in Chapter Five, examining Ory’s recordings with other bandleaders of the 1920s including Joe ‘King’ Oliver and Jelly Roll Morton. Recordings from the Revival era are examined in Chapter Six, focussing on live performances by Ory’s Creole Jazz Band at the Beverly Cavern during 1948 and 49. Chapter Seven applies a range of time-feel analytical approaches to twenty-one different recordings of ‘Savoy Blues’ by Ory with various ensembles. This chapter focusses on examining the nuances of his performances to better understand his musical voice, as well as to explore the concept of improvisation during this period. By using a multi-parametric analytical model, Ory’s performances can be analysed in a non-anachronistic way to reveal different aspects of his approach to improvisation, including the use of signature licks in the construction of melodic phrases and his range of swing feel. His performances employ subtle variations of swing and demonstrate how melodic spontaneity was becoming an increasing part of his improvisational practice. Ory’s output reflected wider practices of the early jazz period, and this study enhances our understanding of those characteristics of nascent jazz improvisation which are often neglected or misunderstood.