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Louis Albert Cottrell Jr. (March 7, 1911 – March 21, 1978) was a Louisiana Creolejazzclarinetist and tenor saxophonist. He was the son of the influential drummer Louis Cottrell, Sr., and grandfather of New Orleans jazz drummer Louis Cottrell III. As leader of the Heritage Hall Jazz Band, he performed at Carnegie Hall in 1974.[1]
Cottrell was born into an upper-class Creole musical family in New Orleans. His father, Louis "Old Man" Cottrell, Sr., was a famed drummer, and cornetist Manny Perez was his godfather.[2] The young Cottrell grew up around such great musicians as Barney Bigard, John Robichaux, and A.J. Piron.[3] Cottrell studied clarinet under Lorenzo Tio Jr. and Bigard. He began his career in the 1920s with the Golden Rule Orchestra, and then in 1925 played with Paul "Polo" Barnes.[4]
Later in the 1920s he worked with Chris Kelly and Kid Rena, then in 1929 found work on the riverboatSS Island Queen with Lawrence Marrero's Young Tuxedo Brass Band and Sidney Desvigne. These were the years when he became a prominent union organizer. He joined Don Albert's orchestra soon after, recording an album with the orchestra in 1935 under the Vocalion label. He tried his hand at composing, and with Lloyd Glenn and Albert wrote, "You Don't Love Me (True)."[5]
Rhythm and blues bandleader Paul Gayten would later approach Cottrell to record "You Don't Love Me" and it became one of the first hits of the R & B New Orleans era, having made it to the number 5 spot nationally on the R & B top ten charts. Cottrell toured widely throughout North America with Albert until 1939.
After leaving Albert he returned to New Orleans, playing with Paul Barbarin in 1940. They would form an enduring collaboration. He performed with A.J. Piron in 1941, then returned to play with Desvigne from 1942 to 1947. In the 1950s he played again with Barbarin, and recorded with him in 1951 and 1955.
コットレルは1961年にリーダーとして初めてレコーディングを行い、リバーサイドの「リビング・レジェンズ」シリーズのためにルイ・コットレル・トリオを結成した。1960年にはバーバリンとコットレルがオンワード・ブラス・バンドを復活させた。サイドマンとして、ピーター・ボカージュ（1960年）、ジム・ロビンソン（1961 ～ 64年）、ハロルド・デジャン（1962年）、トーマス・ジェファーソン（1962年）、プリザベーション・ホールでのポール・バーバリン（1962年）、スウィート・エマ・バレット（1963年） 、エイブリー・キッド・ハワード（1964年）、ウォルドレン・ジョセフ（1964～65年）、バーバリンのオンワード・ブラス・バンド（1968年、1968年）、ポール「ポロ」バーンズ（1969年）とレコーディングを行った。1967年、コットレルはベトナムとタイの兵士を慰問するUSOツアーに参加した。[ 1 ]コットレルは1969年にポール・バルバリンが亡くなった後、オンワード・ブラスバンドを引き継いだ。
彼は1971年にヘリテージ・ホール・ジャズ・バンドを結成し、亡くなるまでそのアンサンブルを率いた。[ 6 ]当時、ヘリテージ・ホールは、フレンチ・クォーターにあるより有名なプリザベーション・ホールと肩を並べる存在だった。1974年のこの時期に、コットレルの指揮の下、ヘリテージ・ホール・ジャズ・バンドはニューヨーク市のカーネギー・ホールで演奏した。ブランシュ・トーマスがフィーチャー・ボーカリストを務めた。ライブ・コンサートの録音はVikoで入手できる。[ 7 ]彼は1976年のペリー・コモの「スプリング・イン・ニューオーリンズ」[ 8 ]や「マイク・ダグラス・ショー」など、いくつかのテレビ番組に出演した。彼はアカデミー賞にノミネートされたサウンドトラック「プリティ・ベイビー」（1978年）に「ビッグ・リップ・ブルース」を収録し、同名の映画にカメオ出演した。[ 9 ]
ルイス・コットレルは1978年、ニューオーリンズの自宅で短い闘病生活の後、67歳で急逝した。[ 10 ]彼にふさわしく、数千人がジェンティリーの小さなカトリック教会に集まり、別れを告げ、ジャズ葬が執り行われた。[ 11 ]
コットレルの孫であるルイス・コットレル3世はドラマーとなり、ヤング・タキシード・ブラスバンド、ドクター・マイケル・ホワイト、その他数多くのトラディショナル・ジャズバンドで演奏した。
America throughout much of the 20th Century was a country which was racially divided. Chris Albertson, producer of the "Living Legends" series, recalls an incident in 1961 with a Black musician, McNeal Breaux, during recording of the "Living Legends" series in 1961: "[Breaux] owned a restaurant and invited Dave and me to have dinner there, but we had to enter through the back door, because of our color."[12] Starting in his teens, Cottrell worked diligently to organize the Colored Musicians Union as a chapter of the American Federation of Musicians, Local 496. He would be elected president in 1956. He was as well known for seeking equitable treatment for musicians as for his music.[3][4] Cottrell was able to see firsthand the fruits of his labor. Doug Ramsey wrote, "shortly before he died, [Cottrell] told a friend how happy he was that New Orleans had finally become a city where he and other musicians like him could make a living playing as they wanted to play.[13]
Cottrell played traditional jazz, also referred to as Dixieland, the earliest form of jazz. It is distinguished by polymorphic improvisation by trumpet, trombone and clarinet. It has its origins in the marching bands of New Orleans which played at funerals. The main instruments of the bands, brass and woodwinds, would become the basic instruments of jazz. Cottrell's mastery of the clarinet and tenor saxophone enabled him to become a member of these bands and later lead his own. These brass bands were integral to the culture of the time. They performed at a wide variety of events, weddings, dances and most famously the jazz funeral. Rose of Sharon Witmer writes that the jazz funeral is a "living tradition carried on to this day and it owes a great debt to Louis Cottrell Jr."[3]
Master clarinetist Lorenzo Tio Jr. taught Cottrell how to play the Albert system. The "Albert System" is a clarinet keying/fingering system. The Albert system of fingering requires the player to utilize "roller" keys to alternate between some notes on the instrument. The Albert system also generally has fewer keys than the more widely known "Boehm" fingering system. A fine example of his playing can be heard on Paul Barbarin's Onward Brass Band—in Concert. Cottrell leads the band during his favorite hymn, "What a Friend We Have in Jesus." His beautiful clarinet playing is a standout on the album.[14]
In 1960-61 Riverside Records produced an acclaimed series of albums featuring jazz and blues greats such as Jim Robinson, Sweet Emma Barrett and Alberta Hunter. The objective was to record the music of veteran musicians before their artistry was lost forever. Many of the musicians were no longer active and their union memberships had expired. Recognizing the importance of the project, the American Federation of Musicians suspended the rules. This "Living Legends" series was initially recorded in New Orleans. Later sessions were recorded in Chicago. The sessions took place at Societé des Jeunes Amis Hall, built in the 1800s. According to the producer, Chris Albertson, the hall was a "Creole fraternal headquarters and it proved to have every advantage over a studio; apart from its live sound, it gave the performers familiar surroundings... The hall's acoustical sound was exactly what I wanted to recapture: the same kind of ambience that lent such character to Bill Russell's 1940's American Music recordings from San Jacinto Hall." One of the musicians invited to participate was Louis Cottrell Jr.[12] Cottrell organized a trio comprising McNeal Breaux, Alcide "Slow Drag" Pavageau with Emanuel Sayles sitting in playing guitar and banjo. The band was so well received that they continued to play together. The music on this album has been described as "more polite and subtle than the city's 'downtown' music... an intimate, low-key delight."[15] Cottrell's playing has also been well received:
[1961年] コットレルは『ニューオーリンズ：生ける伝説』というタイトルの傑作を録音し、1994年に再発売された。それを聴くと、その時代の創造に大きく貢献した人物による、過ぎ去った時代の優雅さが思い浮かぶ。「バーボン・ストリート・パレード」の冒頭の音から、魅力的な「スリー・リトル・ワーズ」、敬虔な「イエスはわが友」まで、リスナーはジャズの生きた歴史を聴いているのだ。[ 3 ]
「You Don't Love Me (true)」という曲は、ポール・ゲイトン、ロイ・ミルトン、カミーユ・ハワード、ザ・スパイダーズ、ジャック・ゴーテ、プリザベーション・ホール・ジャズ・バンドなどのアーティストによって録音されている。
プレスロールコットレル。
{{cite web}}: CS1メンテナンス: アーカイブサービスは非推奨になりました (リンク)