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Wynton Marsalis - Jazz in Marciac 2009
The Richards family, who were described as mulattoes, were living in another house they owned at Willow Street at the time of the U. Census 1st January but Frank, unfortunately, was not with them. These centres were the meeting places, usually only a club or a saloon, where pianists and other musicians could play the music they wanted to, and display their musical talents to their peers, without the restrictions imposed by a paying audience. The cities in the South were not any different from other cities around the country. Indeed, in New Orleans, there existed the most star-studded gathering of them all in a saloon that was both famous and well patronised in its day. Imagine going there on almost any night of the week in the latter half of the first decade of the twentieth century and finding Tony Jackson, Albert Carroll, Alfred Wilson, Sammy Davis and young Ferd Morton or was it Mouton? A magical experience never to be forgotten, one would say, but, in truth, remembered by so few. Where was this holy relic of a place, which gave so much to American music yet took so little from it, and what was it called? At that time, that was the year of nineteen-two. I was about seventeen years old. I happened to go to Villere and Bienville, at that time one of the most famous nightspots after everything was closed. No, only a backroom, where all the greatest pianists frequented after they got off from work. All the pianists got off from work in the sporting houses at around four or after, unless they had plenty of money involved. And there would be everything in the line of hilarity there. Whatever the date, it was the great Tony Jackson who was the leader of his piano-playing peers, primus inter pares as it were, in New Orleans. You hurting its feelings. Laban was listed in the census as a baker by trade, living with his wife, Rose, at Bayou Road, near Esplanade Avenue, which seemed to be a small French colony in the city at the time. The property was actually on the river corner of Bienville, not the lake corner as previous commentators Rose and Souchon, and Richard M. Jones had stated, and the entrance to the saloon was from Villere. Laban had not become a citizen of the United States, but remained an alien. Even though it was part of the social establishment of the city, most of those who attended loved both the drama and the music of the opera. It was often said that New Orleanians sang the well known arias at home with as much gusto as the singers themselves did at the performances, although without the necessary technical skill which lifts the music from mere melody and harmony to high art. That was the first time I decided that the the instrument was good for a gentleman; same as it was a lady. All the French opera players were supposed to be from France. I remember the old building very well on Royal Street. Well, they used to play numbers like Faust and tunes like that, you know — French numbers. And for an instant used to play this number and sing it. Miserere from Il Trovatore. Royal is the next street on the riverside of Bourbon so he was in the right locality, even if he was in the wrong street. There is little doubt that Jelly Roll attended performances at the French Opera House because it was an institution among all sections of New Orleans: Creole, white, and African-American alike. The French Opera House was not the first opera theatre in New Orleans, but it was easily the best known. Davis started a tradition in New Orleans opera performances by going to Europe each year to recruit his company of performers. Such grand operas as La Vestale The Vestal by Gasparo Spontini , rarely heard today, were regularly produced and taken to the larger eastern cities of New York, Philadelphia, Baltimore and Boston, once the New Orleans season had finished. His singers and musicians were acclaimed wherever they performed. The building was designed by James Gallier, the younger, a distinguished architect in New Orleans. The striking building occupied about three quarters of an acre on the site at the corner of Bourbon and Toulouse, and seated around two thousand patrons. Built in the Greek Revival style, it consisted of a ground level hall and four encircling tiers of boxes and other seating accommodation. The fourth tier or gallery was the Negro Gallery which was always well patronised from the earliest times. Rossini, Meyerbeer, Donizetti, Bellini, Verdi, Gounod and other masters of the art of opera all had their influence on the music of New Orleans for many decades. It is interesting to read contemporary reminiscences of the French Opera House, especially those written by knowledgeable opera enthusiasts. Except on rare occasions, and in the case of some visiting troupes, the operas were sung in French, and operagoers knew the words by heart, and understood everything that was going on. Voss Collection, quoted in Leonard V. Caruso is said to have taken time off from his singing duties at the opera to avail himself of the services of Lizette Smith, one of the most popular Storyville madams, and her girls at North Basin Street. The opera was sung in French, in keeping with the tradition in New Orleans, rather than the original Italian. With the coming of the First World War, European opera companies were not able to perform in New Orleans and the regular opera season was suspended. By the opera house building was in need of substantial repairs when it was purchased by an anonymous benefactor and given to Tulane University, together with a substantial sum of money for its restoration. Unfortunately, fate determined otherwise for, in the early hours of the morning of Thursday, 4th December , the French Opera House burned to the grounds to the shock and horror of the people of New Orleans. The emotional account of the fire in The Times-Picayune echoed the sentiments of everyone in the city: Only the toppling walls remain, surrounding a heap of ruins. Gone is all the glory which marked the building for more than half a century — gone in a blaze of burning gauze and tinsel, a blaze more splendid and more terrible than Walpurgis Night, that long-famous brocken of the opera Faust. For there are few women here who have not tender memories of their vanished youth, their debutante days, loves, heartburnings, joy — all intimately linked with the French Opera House. There are few men who have loved or been loved, who have not recollections of the nights when they sat in the dreamy darkness of the old building, listening to the voices of the great singers blending with the orchestra, and thrilling at the touch of a bit of gauze as it brushed their cheeks. The curtain has fallen for the last time upon Les Huguenots, long a favorite with the New Orleans public. The opera house has gone in a blaze of horror and of glory. There is a pall over the city; eyes are filled with tears and hearts are heavy. Old memories, tucked away in the dusty cobwebs of forgotten years, have come out like ghosts to dance in the ghastly Walpurgis ballet of flame. Fabulous New Orleans, Robert L. That great writer about New Orleans people and places, Lyle Saxon, summed up perfectly the influence of the French Opera House on the city of New Orleans when he wrote in There was no cutting of the great operas then; and people went to the performance at six in the evening, and left the opera to attend midnight mass at the Cathedral. It is doubtful if any one can be found who loves music to that extent now; but at any rate, one will hear boys in the streets and the Negroes on the levee whistling bars from some tuneful opera without slurring one liquid note. Fabulous New Orleans, ibid. The contemporary descriptions of these Basin Street mansions attest that they were all decorated and furnished with the most lavish and expensive taste imaginable for the period. Basin Street was the elite area of the district and no house was more grand than that of Madam Hilma. I felt sick and bad. Something seemed to be wrong with my hands. I should have realized that he used some very powerful ingredients. I should have been more appreciative, for I have lived to regret this ungrateful action. Not much is known about the early career of Hilma Burt and it is not clear when she arrived in New Orleans to take over the house at North Basin Street, for she was not a native New Orleanian. Al Rose, in his book on the Storyville District, puts it at , but I suspect that it may have been a few years later. The premises at North Basin Street were not occupied at that time. This is what the edition had to say about the career of Hilma Burt: Meeker, who was noted for keeping one of the best places of its kind in this section of the States. Miss Burt, while very young, is of a type that pleases most men of today — the witty, pretty and natty — a lady of fashion. Her managerial possibilities are phenomenal to say the least, and her success here has proven itself beyond a doubt. Miss Burt has been with us but a short while but has won all hearts. Her palace is second to none. There are no words for her ladies — one can only realize the grandeur of feminine beauty and artistic settings after an hour or so in the palace of Helma [sic] Burt. Miss Burt, aside from having two handsome homes here, has one in St. Louis and one in Kansas City, Mo. Hilma Burt is listed in the U. The year of her immigration to the United States was not recorded. Jelly Roll explains the relationship between the two and goes on to tell of the grandeur of the place: Tom Anderson was supposed to be the husband of this Hilma Burt, was no doubt one of the best paying places in the city. And it was a very bad night when we made under a hundred dollars. It was very often men would come into the houses and hand you a twenty or hand you forty or fifty dollar note. It was just like a match. Beer was sold for a dollar a bottle, wine sold from five to ten, depending upon the type of wine that you bought. Of course, they were all imported. Louis, returned last Sunday. He published this now celebrated and intriguing photograph in his book on Storyville. All that one can say is that it might be Jelly Roll. The slender build and other features of the pianist certainly leave the possibility open. The photograph shows Hilma seated, second from the right. The elderly lady with the look of a disapproving Sunday School teacher , on the extreme right, is probably her housekeeper, Lizzie Hamilton, from Missouri. It has been reproduced in a number of other books including: Ward and Ken Burns. Hilma Burt continued on as operator of the mansion at North Basin Street until when Gertrude Dix or Hoffmire took over the management and ran it for Tom Anderson until the closure of Storyville in November Hilma Burt seems to have left New Orleans about and perhaps returned to her other ventures in the Mid-West.
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