Editing Kid Ory (section)

==Biography==
Ory was born in 1886 to a [[Louisiana French]]-speaking family of [[Creoles of color|Black Creole]] descent, on [[Woodland Plantation (Laplace, Louisiana)|Woodland Plantation]] in [[LaPlace, Louisiana|Laplace]], now the site of the [[1811 Kid Ory Historic House]].<ref>{{Cite web |last=Hasselle |first=Della |date=February 25, 2016 |title=For sale: Plantation built in 1793, untouched since '04, complete with rich history, original beams, fireplaces |url=https://www.nola.com/news/article_f916d2bd-e026-5e5f-b265-951bd96fc9db.html |access-date=2022-03-23 |website=NOLA.com |language=en}}</ref><ref name=1811KidOryHistoricHouse_2021>{{cite web| title=1811 Kid Ory Historic House| date=2021| url=https://www.1811kidoryhistorichouse.com/| accessdate=2021-01-15}}</ref> Ory started playing music with homemade instruments in his childhood, and by his teens was leading a well-regarded band in southeast [[Louisiana]]. He kept LaPlace as his base of operations because of family obligations until his twenty-first birthday, when he moved his band to [[New Orleans]].<ref name="LarkinJazz"/>

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 with a rhythmic line underneath the trumpets and [[cornet]]s. His use of glissando helped establish it as a central element of New Orleans Jazz.<ref name = smithsonian/>

When Ory was living on Jackson Avenue, he was discovered by [[Buddy Bolden]], playing his first new trombone, instead of an old Civil War trombone. Ory's sister said he was too young to play with Bolden.

He moved his six-piece band to New Orleans in 1910.  Ory had one of the best-known bands in New Orleans in the 1910s, hiring many of the great jazz musicians of the city, including the cornetists [[Joe "King" Oliver]], [[Mutt Carey]], and [[Louis Armstrong]], who joined the band in 1919;<ref>[http://www.d.umn.edu/cla/faculty/tbacig/studproj/is3099/jazzcult/20sjazz/musicians.html "Jazz Greats of the 1920s"] [[University of Minnesota Duluth]]. Retrieved 11 June 2013.</ref> and the clarinetists [[Johnny Dodds]] and [[Jimmie Noone]].

In 1919, he moved to [[Los Angeles]]<ref name="aar" />&mdash;one of several New Orleans musicians to do so at the time&mdash;and he recorded there in 1922 with a band that included Mutt Carey, the clarinetist and pianist [[Dink Johnson]], and the string bassist [[Ed Garland]]. Garland and Carey were long-time 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, Louisiana]].<ref name="LarkinJazz"/> His band recorded with [[Nordskog Records]]; Ory paid Nordskog for the pressings and then sold them with his own label, "Kid Ory's Sunshine Orchestra", at Spikes Brothers Music Store in Los Angeles.

In 1925, Ory moved to [[Chicago]], where he was very active, working and recording with Louis Armstrong, [[Jelly Roll Morton]], Oliver, Johnny Dodds, [[Bessie Smith]], [[Ma Rainey]], and many others.<ref name="LarkinJazz"/> He mentored [[Benny Goodman]] and, later, [[Charles Mingus]]. He was said to have attempted to take trombone lessons from a "German guy" who played in the Chicago symphony, but Ory was turned away after a few lessons.<ref>{{Cite book|last=Brothers|first=Thomas|title=Louis Armstrong: Master of Modernism|publisher=W.W. Norton & Company|year=2014|isbn=978-0-393-06582-4|location=New York, NY|pages=103}}</ref> Ory was a member of the original lineup of Louis Armstrong's [[Hot Five]] which first recorded on November 12, 1925.<ref>{{Cite book|last=Brothers|first=Thomas|title=Louis Armstrong: Master of Modernism|publisher=W.W. Norton & Company|year=2014|isbn=978-0-393-06582-4|location=New York, NY|pages=165}}</ref> His composition "[[Muskrat Ramble]]" was included in the Hot Five session in February 1926.<ref>{{Cite book|last=Brothers|first=Thomas|title=Louis Armstrong: Master of Modernism|publisher=W.W. Norton & Company|year=2014|isbn=978-0-393-06582-4|location=New York, NY|pages=210}}</ref>

During the [[Great Depression in the United States|Great Depression]] Ory retired from music and did not play again until 1943.<ref name = smithsonian>''Coda for the Kid'' by Jim Beaugez Smithsonian magazine January–February 2021 issue Pages 16-20</ref> In 1941, he was a pallbearer at the funeral of [[Jelly Roll Morton]] in [[Los Angeles]], California.<ref>{{cite journal |title=Bury Jelly Roll Morton on Coast |journal=[[DownBeat]] |date=August 1, 1941 |volume=8 |issue=15 |page=13 |url=https://archive.org/details/sim_down-beat_1941-08-01_8_15/page/13/mode/1up |access-date=13 April 2024}}</ref> He ran a [[chicken farm]] in Los Angeles.<ref>{{Cite book|last=Brothers|first=Thomas|title=Louis Armstrong: Master of Modernism|publisher=W.W. Norton & Company|year=2014|isbn=978-0-393-06582-4|location=New York, NY|pages=418}}</ref> From 1944 to about 1961, he led one of the top New Orleans–style bands of the period. His sidemen during this period included, In addition to Carey and Garland, the trumpeters [[Alvin Alcorn]] and [[Teddy Buckner]]; the clarinetists [[Darnell Howard]], [[Jimmie Noone]], [[Albert Nicholas]], [[Barney Bigard]], and [[George Probert]]; the pianists [[Buster Wilson]], [[Cedric Haywood]], and [[Don Ewell]]; and the drummer [[Minor Hall]]. All but Buckner, Probert, and Ewell were originally from New Orleans.

The Ory band was an important force in reviving interest in New Orleans jazz, making popular 1940s radio broadcasts that began with weekly spots on ''[[The Orson Welles Almanac]]'' program (from March 15, 1944).<ref>{{cite web |url=http://radiogoldindex.com/cgi-local/p2.cgi?ProgramName=Radio%20Almanac |title=Radio Almanac |publisher=RadioGOLDINdex |access-date=2014-02-09 |archive-date=2018-09-15 |archive-url=https://web.archive.org/web/20180915215501/http://radiogoldindex.com/cgi-local/p2.cgi?ProgramName=Radio%20Almanac |url-status=dead }}</ref><ref>{{cite web|url=https://archive.org/details/1944OrsonWellesRadioAlmanacpart1 |title=Orson Welles Almanac—Part 1 |publisher=[[Internet Archive]] |access-date=2014-02-09}}</ref><ref>{{cite web|url=https://archive.org/details/1944OrsonWellesRadioAlmanacpart2 |title=Orson Welles Almanac—Part 2 |publisher=[[Internet Archive]] |access-date=2014-02-10}}</ref> In 1944–1945, the group made a series of recordings for the [[Crescent Records|Crescent]] label, which was founded by Nesuhi Ertegun for the express purpose of recording Ory's band.<ref name="Ertegun">[[Nesuhi Ertegun|Ertegun, Nesuhi]]. Liner notes for ''Kid Ory's Creole Jazz Band''. [[Good Time Jazz Records]] L-10 and L-11, 1953, also issued with Good Time Jazz Records L-12022, 1957.</ref>

During the late 1940s and early 1950s, Ory and his group appeared at the Beverly Cavern in Los Angeles. In 1958, he purchased the [[Tin Angel (San Francisco)|''Tin Angel'']] nightclub in San Francisco from Peggy Tolk–Watkins, and he renamed it ''On-The-Levee''.<ref name=":1">{{Cite web |date=2018-08-09 |title=Tin Angel - On the Levee |url=https://exhibits.stanford.edu/sftjf/feature/tin-angel-on-the-levee |access-date=2023-04-16 |website=The San Francisco Traditional Jazz Foundation Collection - Spotlight at Stanford |publisher=Stanford University |language=en}}</ref> The nightclub closed in July 1961, and in 1962 the building was demolished due to the creation of the [[Embarcadero Freeway]].<ref name=":1" />