Editing Buddy Bolden (section)

==Musical career==

Bolden was known as "King" Bolden<ref>[https://www.heraldsun.com/entertainment/arts-culture/article211593334.html Greenberg, Blue, "New exhibit on jazz 'King' Buddy Bolden at Duke's Nasher Museum is a story of the South"], ''[[The Herald-Sun (Durham, North Carolina)|The Herald-Sun]]'' (Durham, North Carolina), May 21, 2018</ref> (see [[Jazz royalty]]), and his band was at its peak in New Orleans from around 1900 to 1907. He was known for his loud sound and improvisational skills, and his style had an impact on younger musicians. Bolden's trombonist [[Willie Cornish]], among others, recalled making [[phonograph cylinder]] recordings with the Bolden band, but none are known to survive.<ref>See {{harvnb|Marquis|2005|p=107}}: "on that fabled cylinder, according to Willie Cornish, they [Buddy Bolden's band] had recorded a couple of marches." In the 2005 epilogue to the book, Marquis also discusses these recordings that have not been found {{harv|Marquis|2005|pp=158–159}}. On pages 44–45 of the same book the question is discussed in detail {{harv|Marquis|2005|pp=44–45}}. Marquis concludes: "That the cylinder was made is quite believable; that it is gone forever is even more believable..." {{harv|Marquis|2005|p=44}}</ref>

[[File:Bolden band.gif|thumb|upright=1.4|The Bolden band c. 1905 (top: Jimmy Johnson, bass; Bolden, cornet; [[Willy Cornish]], valve trombone; Willy Warner, clarinet; bottom: Brock Mumford, guitar; Frank Lewis, clarinet)]]
Many early jazz musicians credited Bolden and his bandmates with having originated what came to be known as ''jazz'', though the term was not in common musical use until after Bolden was musically active. Jazz historian Ted Gioa has labelled Bolden the father of jazz, though this is quickly qualified: 'even if he did not invent jazz, he had mastered the recipe for it, which combined the rhythms of ragtime, the bent notes and chord patterns of the blues, and an instrumentation drawn from New Orleans brass bands and string ensembles.'<ref>Gioia, Ted. ''The History of Jazz''. Oxford/ and New York, 2011. p. 34.</ref> In his ''A New History of Jazz,'' Alyn Shipton describes Bolden as having invented 'the music that became jazz.'<ref>Shipton, Alyn. 2002. ''A New History of Jazz.'' London: Continuumh, p.83.</ref> He is credited with creating a looser, more improvised version of [[ragtime]] and adding [[blues]]; Bolden's band was said to be the first to have brass instruments play the blues. He was also said to have adapted ideas from [[gospel music]] heard in uptown African-American [[Baptist]] churches.<ref>Hardie, Daniel, ''The Loudest Trumpet: Buddy Bolden and the Early History of Jazz'' (self-published via iUniverse, 2000), 86–87. {{ISBN|9781583486078}}.</ref>

Instead of imitating other cornetists, Bolden played the music he heard "by ear" and adapted it to his horn. In doing so, he created an exciting and novel fusion of ragtime, black sacred music, [[Marching band|marching-band music]], and rural blues. He rearranged the typical New Orleans dance band of the time to better accommodate the blues: string instruments became the rhythm section, and the front-line instruments were clarinets, trombones, and Bolden's cornet. Bolden was known for his powerful, loud, "wide open" playing style.<ref name=barlow/> [[Joe "King" Oliver]], [[Freddie Keppard]], [[Bunk Johnson]],  and other early New Orleans jazz musicians were directly inspired by his playing.{{sfn|Marquis|2005|p={{page needed|date=September 2021}}}}

One of the best known Bolden numbers is "Funky Butt" (later known as "Buddy Bolden's Blues"), which represents one of the earliest references to the concept of [[funk]] in popular music. Bolden's "Funky Butt" was, as [[Danny Barker]] once put it, a reference to the olfactory effect of an auditorium packed full of sweaty people "dancing close together and belly rubbing."<ref name="npr" /> This tune was incendiary in New Orleans at the time: clarinettist Sidney Bechet recalled that 'the police put you in jail if they heard you singing that song.'<ref>Bechet, quoted in Marquis 2005, p.111.</ref> 

Bolden is also credited with the invention of the "Big Four",<ref>[[Ken Burns|Burns, Ken]], and [[Geoffrey C. Ward]]. ''[[Ken Burns Jazz]]: The Story of America's Music''. New York: Sony Music Entertainment, 2000. Sound recording. Episode 1.</ref> a key rhythmic innovation on the marching band beat, which gave early jazz more room for individual improvisation. As [[Wynton Marsalis]] explains,<ref>{{cite web |url=http://jazz.nuvvo.com/lesson/10127-what-is-the-big-four-beat |title=What Is the Big Four Beat? - Jazz & More |publisher=Jazz.nuvvo.com |date=2008-11-24 |access-date=2013-09-20 |url-status=dead |archive-url=https://web.archive.org/web/20130921060804/http://jazz.nuvvo.com/lesson/10127-what-is-the-big-four-beat |archive-date=2013-09-21 }}</ref> the big four (below)<ref>"[https://www.pbs.org/jazz/classroom/rhythmicinnovations.htm Jazz and Math: Rhythmic Innovations]", [[PBS]]. The Wikipedia example shown in [[half time (music)|half-time]], compared to the source.</ref> was the first syncopated bass drum pattern to deviate from the standard on-the-beat march.<ref>[[Wynton Marsalis|Marsalis, Wynton]]. ''[[Jazz (miniseries)|Jazz]]''. (DVD, n. 1). 2000. [[PBS]].</ref> The second half of the Big Four is the pattern commonly known as the [[habanera (music)|habanera]] rhythm developed from [[sub-Saharan African music traditions]].

:<score sound="1" override_midi="Big four Buddy Bolden.mid">
    \new Staff <<
       \relative c' {
           \clef percussion
           \time 4/4
           \repeat volta 2 { g8 \xNote a' g, \xNote a' g, \xNote a'16. g,32 g8 <g \xNote a'> }
           \repeat volta 2 { r8 \xNote a'\noBeam g, \xNote a' g, \xNote a'16. g,32 g8 <g \xNote a'> }
       }
   >>
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