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"Make Love to Me", a 1954 pop song by Jo Stafford, using the New Orleans Rhythm King's music from the 1923 jazz standard "Tin Roof Blues", became a number 1 hit. Anne Murray and B. B. King also recorded "Make Love to Me". Jo Stafford's recording of "Make Love to Me" was number 1 for three weeks on the Billboard chart and number 2 on the Cashbox ...
"Tin Roof Blues" is a jazz composition by the New Orleans Rhythm Kings first recorded in 1923. It was written by band members Paul Mares, Ben Pollack, Mel Stitzel, George Brunies and Leon Roppolo. [1] The tune has become a jazz standard and is one of the most recorded and often played New Orleans jazz compositions. [2]
"New Orleans, Louisiana" by Dr. John and Chris Barber "New Orleans Low Down" by Duke Ellington "New Orleans Mambo" by James Rivers Quartet "New Orleans (Mardi Gras)" by Southwind "New Orleans Moan" by Roselyn Lionhart (of duo David and Roselyn) "New Orleans Music" by Rebirth Brass Band "New Orleans Music" by Tony Wilson (a member of Hot Chocolate)
Carnival season 2024 entered its final days in New Orleans on Friday as a parade of “fabulous women and the men who support them” walked the narrow streets of the old French Quarter handing ...
BUKU Music + Art Project is a New Orleans–based two-day music and arts festival founded in 2012 by Winter Circle Productions and held annually at Mardi Gras World. [ 1 ] [ 2 ] BUKU considers itself to be a boutique event that delivers a big festival punch without compromising its house-party vibe.
On September 30, 2005, Walter "Wolfman" Washington played the Maple Leaf's first post-Katrina show in New Orleans. (Some other local musicians who were playing in the aftermath of the storm dispute the claim that it was the city's first post-Katrina public performance, but this was the first to generate such sizable crowds and media attention.)
Although technically, the pattern is only half a clave, Marsalis makes the important point that the single-celled figure is the guide-pattern of New Orleans music. The New Orleans musician Jelly Roll Morton considered the tresillo/habanera (which he called the Spanish tinge) to be an essential ingredient of jazz. [26]
The night spot attracted complaints, but owners tried to calm the furor and prohibited attire representing hate groups.