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following beat, which created a smoother time feel that he later developed into the jazz ride pattern most commonly used ever since. Dodds was best known, however, for what he called his "shimmy beat", which he first used in 1918 at Jack
Sheehan's in New Orleans. He described it in his autobiography: "One night a French soldier came in. When he heard the music he couldn't dance to it, but he just started to shake all over. That's the way it affected me. I saw him do it and I did it, too". Dodds' unique shimmy beat caught Louis Armstrong's eye as well, who said: "To watch him play, especially when he beat on the rim of his bass in a hot chorus, he sort of shimmied when he beat with his sticks. Oh! Boy that alone was in my estimation the whole worth of admission". Besides his unique drumming style, something important to Dodds was paying attention to the musicians in the outfit and fitting his drumming into the style the band was playing. He tried to get to know each member in the outfit and learn about how each person played his or her instrument. Throughout his autobiography, Dodds talks about listening to the different band members and using his role as a drummer to help the band come together: "It was my job to study each musician and give a different background for each instrument. When a man is playing it's up to the drummer to give him something to make him feel the music and make him work. That's the drummer's job".
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Johnny Dodds or anyone to take his place. And his passing on made a big difference in my life. I had been connected with him for many years and from then on I had to be wholly on my own". After his brother's death, Baby Dodds worked mostly as a freelance drummer around
Chicago. This was the time of the New Orleans Revival, which was a movement in response to the emerging style of bebop. Many jazz traditionalists wanted jazz to return to its roots during this time. Dodds, having remained a New Orleans style drummer untouched by the influence of swing, found himself playing a role in the New Orleans jazz revival. In 1941, he played with
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366:. Dodds ended up playing with Johnson's band in New York. Dodds described his impressions of New York as a place where people listened to jazz rather than dancing to it: "When I first went to New York it seemed very strange to have people sitting around and listening rather than dancing. In a way, it was similar to theatre work. But it was peculiar for me because I always felt as though I was doing something for the people if they danced to the music". After playing with several outfits in New York, he joined
196:, told the story of making his first drum: "I took a lard can and put holes in the bottom and turned it over and took nails and put holes around the top of it. Then I took some rungs out of my mother's chairs and made drumsticks out of them". At age 16, Dodds saved up enough money to buy his own drum set. Although Dodds had several paid teachers during his early years as a drummer, various jazz drummers around New Orleans also influenced him. He started playing in street parades around New Orleans with
407:, Dodds discusses his jealousy of his older brother when they were children. As they grew up, Johnny refused to let Baby play music with him because Baby was a heavy drinker and Johnny did not drink. When Joe Oliver hired Baby and Johnny saw how much Baby's talent as a drummer had grown, however, Johnny changed his mind. Although they continued to argue about Baby's drinking habits, they grew closer as brothers and musicians, and as suggested above, Baby was greatly affected by his brother's death.
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introduction, Gara explains the interview process, which took place in 1953, every Sunday for about twelve weeks. Gara's wife transcribed the interview between Gara and Dodds, and Gara then edited the interviews. Gara wanted this book to be Baby Dodds telling his story rather than Gara telling it. Gara did, however, exhibit the same concerns that various critics have exhibited: one person may not remember things exactly as they happened. He, therefore, consulted jazz historian
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273:, which would be his base of operations for several years. They began playing at the Lincoln Gardens, and Armstrong also joined this outfit. Dodds describes playing with this band as "a beautiful experience". King Oliver's Creole Jazz Band broke up in 1924 due to disagreements about travel and musical style; the argument became so heated that the Dodds brothers threatened to beat up Oliver. Dodds recorded with Armstrong,
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241:, though they also sometimes traveled further north. They played jazz, popular, and classical music while on the boats. Dodds and Armstrong left Fate Marable's band in 1921 due to a disagreement about musical style, and Dodds soon joined King Oliver's Creole Jazz Band. At this time, the personnel in Oliver's band were
221:, and he was part of the New Orleans tradition of playing jazz during funeral marches. Dodds describes this experience in his autobiography: "The jazz played after New Orleans funerals didn't show any lack of respect for the person being buried. It rather showed their people that we wanted them to be happy".
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and his band for a short time. This band featured Mada Roy on piano, Noone on clarinet, Bill
Anderson on bass, and Dodds on drums. Dodds stayed with this outfit for only three months before they went to California, while Dodds decided to stay in Chicago. In the late 1940s he worked at Jimmy Ryan's in
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rather than a drum set because of the nature of the recording technology. It was therefore difficult to hear Dodds' original style from early recordings, such as his 1923 sessions with King Oliver's Creole Jazz Band. Dodds did, however, begin recording again in 1940, and by this time, the technology
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Dodds returned to
Chicago after the European tour and while taking a trip to New York in April 1949, he suffered a stroke. In 1950 he had his second stroke and in 1952 suffered a third. After his three strokes, Dodds tutored and played in public as much as he could, though he was unable to complete
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was published for the first time. The revised edition was published in 1992. Several critics have questioned the validity of this book, given the fact that it is solely Baby Dodds giving an extensive interview, and therefore the events in the book are based on what Dodds himself remembers. In his
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After the Oliver band broke up, the Dodds brothers played at Burt Kelley's
Stables in Chicago, and soon after, Johnny Dodds began leading his own outfit, of which Baby was a part. Johnny Dodds died of a stroke in 1940. Of his brother, Baby Dodds said the following: "There just couldn't be another
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The
Historic New Orleans Collection opened the Williams Research Center in 1966 as part of its plan to promote education about New Orleans history. The center has The Baby Dodds Collection on display, which features 334 items that document much of Dodds' career. Included in this collection are
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Dodds continues to be admired for the creativity of his playing. He believed in playing something different for every chorus of every tune. Most of his contemporaries played a short buzz or press roll on the backbeats (the 2nd and 4th beats), but Dodds played a long roll that lasted till the
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Dodds' way of playing press rolls ultimately evolved into the standard jazz ride-cymbal pattern. Whereas many drummers would play very short press rolls on the backbeats, Dodds would start his rolls on the backbeats but extend each one to the following beat, providing a smoother time
184:. His mother, who died when he was nine years old, taught him valuable lessons about persistence and putting one's whole effort into endeavors, and he carried these with him through his career as a jazz drummer. He was born into a very musical family. His father and uncle played
452:. On his part of the record, Dodds discusses his drumming techniques and his drumset and playing examples of techniques. This record gives an idea of what Dodds would have sounded like in his prime had the recording technology been what it is today. In 1954, he played for a
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about Dodds' induction again blames the recording technology in the 1920s, and it also acknowledges the fact that when Dodds was in his prime, the hi-hat had not yet been invented. By today's standards, Dodds played with an incomplete drum set for much of his career.
370:'s group on a tour of Europe in 1948 that lasted eight weeks. The group ended up playing solely in France, and Dodds had a great experience, saying that Europeans "take our kind of music much more seriously than they do in our own country". They played at the
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magazine's
Veterans Committee inducted Dodds into the DownBeat Hall of Fame. The Veterans Committee specifically looks at jazz artists who are no longer living who were overlooked for one reason or another while they were alive. The article in
427:, who helped Gara check Dodds' interviews for details that historical findings did not support. The finished product is a narrative by Baby Dodds with minimal footnotes from Gara. Although some details may be exaggerated,
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Several accounts of the Dodds brothers suggest that they did not always get along. When the brothers were younger, Johnny got a clarinet from his father but Baby did not get a drum even though he asked for one. In
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and his band and then gained a job playing in Willie
Hightower's band, the American Stars. The band played in various venues around New Orleans, and Dodds recalled hearing many musicians along the way, including
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era. He varied his drum patterns with accents and flourishes, and he generally kept the beat with the bass drum while playing buzz rolls on the snare. Early influences included
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also joined the band, and the two of them were on the boats together. The band played on four different boats, and usually left New
Orleans in May and traveled to
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in 1921 to work with Oliver there, and they played together for about fifteen months. In 1922, the band, excepting
Garland, Palao, and Jones, followed Oliver to
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cymbals and stands. Dodds never liked them: "I didn't like them and I still don't. Some drummers can't play without them. I can't play with them."
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was able to show his talent on the drum set. Dodds is perhaps the first jazz drummer to record unaccompanied: in 1945 he recorded two solos for
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transcribed interviews from Larry Gara and Bill Russell as well as material for a movie about Dodds that Russell worked on.
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Baby Dodds also played washboard. He recorded together with his brother's washboard band occasionally (Victor BVE 46063-6).
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Dodds gained a reputation as a top young drummer in New Orleans. In 1918, Dodds left Sonny Celestin's group to play in
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192:. In addition, his father was religious and the family regularly sang hymns together. Dodds, in his autobiography
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297:, and Baby Dodds. From September to December 1927, the Hot Five Armstrong assembled consisted of Johnny Dodds,
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entire performances. He retired in 1957. He died on February 14, 1959, in Chicago, and was buried at
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groups. In May 1927, Armstrong recorded with the Hot Seven, which consisted of Johnny Dodds,
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serves as a depiction of early jazz and its many influences as seen through Dodds' eyes.
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McDonough, John. Veterans Committee Hall of Fame: "Baby Dodds - The Pulse."
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513:"Live At New York Town Hall 1947" (Mezz Mezzrow and Sidney Bechet-1947)
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Louisiana History: The Journal of the Louisiana Historical Association
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448:, and the next year recorded a series of solos and reminiscences for
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519:"Albert's Blues / Buddy Bolden Blues" Tell Record 29655 (78RPM)
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378:, Louis Armstrong, and several other American jazz musicians.
213:. He played with several different outfits including those of
144:(December 24, 1898 – February 14, 1959) was an American
362:. On some of his trips back to New Orleans, he recorded with
156:. He is regarded as one of the best jazz drummers of the pre-
281:, and his brother Johnny Dodds. Dodds played in Armstrong's
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on violin, and Eddie Garland on bass fiddle. They moved to
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Baby Dodds, Ole South, New York, c. December 1946, Image:
843:"The Legacy of Johnny and Baby Dodds: Profiles in Jazz"
586:
Raeburn, Bruce Boyd (October 4, 2012). "Dodds, Baby".
890:"Encyclopedia of Jazz Musicians: Warren "Baby" Dodds"
663:. Oxford: Oxford University Press. pp. 4–5, 145.
180:"Baby" Dodds was the younger brother of clarinetist
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Louis Armstrong's Hot Five and Hot Seven Recordings
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The Baby Dodds Story Edition: As Told to Larry Gara
341:During the 1930s, Dodds performed with Lil Hardin,
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868:"Baby Dodds: Talking and Drum Solos (1946) (2003)"
817:"Baby Dodds: Baby Dodds Talking & Drum Solos"
892:. Jazz.com. September 21, 1946. Archived from
456:recording session which also featured bassman
439:In many of his recordings, Dodds had to use a
918:. The Percussive Arts Society. Archived from
748:. The Percussive Arts Society. Archived from
726:. Chicago. UPI. February 17, 1959. p. 11
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1043:The Baby Dodds Story: As Told to Larry Gara
720:"Rites Set For 'Baby' Dodds, Jazz Immortal"
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787:The Baby Dodds Story as Told to Larry Gara
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996:. The Historic New Orleans Collection
293:, Lil Hardin Armstrong, John Thomas,
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1165:20th-century American male musicians
1020:Louis Armstrong, Master of Modernism
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516:"Bunk Johnson- The King Of The Blue"
504:"Jazz à La Creole" (Baby Dodds Trio)
1041:Dodds, Warren; Gara, Larry (1992).
1097:Selected Discography of Baby Dodds
1063:Visions of Jazz: The First Century
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870:. allaboutjazz.com. July 12, 2004
16:American jazz drummer (1898–1959)
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1051:Louisiana State University Press
385:Dodds' grave at Lincoln Cemetery
1140:Jazz musicians from New Orleans
1018:Brothers, Thomas David (2015).
245:on cornet, Baby Dodds' brother
1155:20th-century American drummers
841:Yanow, Scott (March 1, 2018).
793:, vol. 34, no. 3, pp. 375-376.
488:Notable is the absence of the
233:'s riverboat band. A teenaged
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476:Drum set used by Baby Dodds,
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1170:American male jazz musicians
734:– via Newspapers.com.
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994:"Williams Research Center"
394:in Blue Island, Illinois.
1145:African-American drummers
1024:W.W. Norton & Company
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1135:Dixieland jazz musicians
510:"Talking and Drum Solos"
480:, Baton Rouge, Louisiana
1175:Red Hot Peppers members
1071:Oxford University Press
1185:The Eagle Band members
1160:American male drummers
1150:American jazz drummers
706:, pp. 86, 88, 91.
694:. 2010-08-01;77:36-36.
659:Harker, Brian (2011).
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478:Louisiana State Museum
418:In 1959, Larry Gara's
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188:and his sister played
46:Background information
1092:at Wikimedia Commons
981:Dodds & Gara 1992
969:Dodds & Gara 1992
945:Dodds & Gara 1992
922:on September 27, 2011
916:"Warren 'Baby' Dodds"
896:on September 19, 2011
771:Dodds & Gara 1992
752:on September 27, 2011
746:"Warren 'Baby' Dodds"
704:Dodds & Gara 1992
674:Dodds & Gara 1992
637:, pp. 21–24, 34.
635:Dodds & Gara 1992
613:, pp. 4, 12, 18.
611:Dodds & Gara 1992
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468:Dodds' drumming style
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307:Black Bottom Stompers
847:The Syncopated Times
773:, p. 33–34, 68.
724:The Monroe News-Star
462:Lil Hardin Armstrong
429:The Baby Dodds Story
420:The Baby Dodds Story
413:The Baby Dodds Story
405:The Baby Dodds Story
194:The Baby Dodds Story
1022:. New York London:
589:Oxford Music Online
536:Induction into the
311:Chicago Footwarmers
253:on alto saxophone,
162:Louis Cottrell, Sr.
39:William P. Gottlieb
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435:Recording sessions
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301:, Johnny St. Cyr,
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1033:978-0-393-06582-4
959:, pp. 79–80.
785:Spedale, Rhodes.
333:Dodds (left) and
275:Jelly Roll Morton
243:Joe "King" Oliver
211:Jelly Roll Morton
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1012:Bibliography
998:. Retrieved
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957:Giddins 1998
952:
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926:November 21,
924:. Retrieved
920:the original
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898:. Retrieved
894:the original
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872:. Retrieved
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850:. Retrieved
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803:Giddins 1998
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540:Hall of Fame
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507:"Baby Dodds"
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483:
460:and pianist
438:
428:
425:Bill Russell
419:
417:
412:
404:
401:
388:
368:Mezz Mezzrow
364:Bunk Johnson
355:Jimmie Noone
351:
347:Three Deuces
340:
337:in July 1947
247:Johnny Dodds
231:Fate Marable
228:
203:Buddy Bolden
198:Bunk Johnson
193:
182:Johnny Dodds
179:
166:Dave Perkins
141:
137:
133:
132:
83:(1959-02-14)
56:Warren Dodds
18:
1130:1959 deaths
1125:1898 births
1047:Baton Rouge
900:October 11,
499:Discography
376:Rex Stewart
374:along with
325:Later years
295:Pete Briggs
263:Jimmy Palao
251:Davey Jones
225:Prime years
176:Early years
150:New Orleans
67:New Orleans
1119:Categories
1106:Baby Dodds
1090:Baby Dodds
852:October 3,
826:October 3,
567:References
441:wood block
345:, and the
335:Rudi Blesh
267:California
261:on piano,
259:Lil Hardin
170:Tubby Hall
121:Instrument
113:Occupation
52:Birth name
25:Baby Dodds
1000:April 17,
874:April 24,
756:April 17,
544:In 2010,
287:Hot Seven
279:Art Hodes
239:St. Louis
190:harmonica
154:Louisiana
107:Dixieland
71:Louisiana
1110:AllMusic
1061:(1998).
821:AllMusic
692:Downbeat
551:DownBeat
546:DownBeat
538:Downbeat
283:Hot Five
158:big band
116:Musician
92:Illinois
730:May 30,
299:Kid Ory
271:Chicago
88:Chicago
1067:Oxford
1030:
490:hi-hat
317:, and
209:, and
186:violin
168:, and
134:Warren
99:Genres
73:, U.S.
933:flow.
142:Dodds
124:Drums
1028:ISBN
1002:2013
928:2011
902:2011
876:2012
854:2023
828:2023
758:2012
732:2022
524:Book
285:and
217:and
146:jazz
138:Baby
103:Jazz
94:, US
78:Died
61:Born
1108:at
1099:on
594:doi
1121::
1069::
1065:.
1049::
1045:.
1026:.
930:.
845:.
819:.
778:^
722:.
711:^
681:^
592:.
574:^
464:.
321:.
313:,
309:,
277:,
205:,
164:,
152:,
140:"
105:,
90:,
69:,
1073:.
1053:.
1036:.
1004:.
904:.
878:.
856:.
830:.
760:.
600:.
596::
136:"
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