Lewis, George (originally Zeno, George Louis Francis)

Lewis, George (originally Zeno, George Louis Francis), early New Orleans clarinetist, alto saxophonist; b. New Orleans, La., July 13,1900; d. there, Dec. 31, 1968. The family name was originally Zenon. He bought a toy fife at the age of seven, then saved to buy his first clarinet at 16. By 1917 he was playing in the young musicians’ band the Black Eagles. For the succeeding five years he worked with various leaders, including Buddie Petit, Henry “Kid” Rena, Kid Ory, Chris Kelly, Leonard Parker, among others and also played in the Pacific Brass Band. He formed his own band in 1923 and that same year began a long association with the Eureka Brass Band. In 1928 he had to stop playing temporarily because of a broken leg, but he then joined Arnold DuPas’s Olympia Band and remained until 1932. He played briefly with trumpeter Evan Thomas’s Band in Crowley, La. (Bunk Johnson played second trumpet), until the leader was murdered on the stand at a dance in Rayne (1932). After returning to New Orleans, he worked as a stevedore, continued to gig, and played in parades with Kid Howard and the Eureka; he subsequently played a residency at the Harmony Inn (New Orleans), mainly on alto sax. In 1942 he took part in the first Bunk Johnson recordings, which placed him at the forefront of the traditional revival. He continued to lead his own band in New Orleans, including a residency at the Gypsy Pea Room in 1943. He left New Orleans in September 1945 to work in N.Y. with Bunk Johnson’s Band. They disbanded in 1946 and George returned home and continued to lead his own small groups. In the summer of 1946 Lewis (with Kid Howard’s Brass Band) took part in the filming of New Orleans, but the sequence was not used in the film. He had a residency at Manny’s Tavern (1947-48), playing clarinet and alto sax. From 1949 until 1951 he worked mainly at the El Morocco Club on Bourbon Street with the trumpeter Elmer Talbot, and at the Dream Room, which was broadcast over WDSU in 1950 and 1951. In 1952 he worked at the Hangover Club in San Francisco with Lizzie Miles, then began regular touring, leading his own band and occasionally working as a soloist. By this time he was considered by many to be the central figure in the “traditional” jazz revival. The George Lewis Ragtime Band earned regular work in New Orleans (at Preservation Hall 1961-68) as well as long residencies on the West coast, festival work, and tours to Europe and Japan several times. Though he had to contend with failing health for many of his later years, he continued to play regularly until late 1968, and last worked at the Preservation Hall (New Orleans). His style was a major influence on Sammy Rimington, Tommy Sancton, and Woody Allen, among others.

Discography

Echos of New Orleans, Vol. 1 (1943); G. L.’s New Orleans Stomp (1943); G. L. with Kid Shots Mad (1944); With Kid Shots (1944); American Music by G. L.(1945); G. L. of New Orleans (1946); At Herbert Otto’s Party (1949); Jazz in the Classic New Orleans (1950); G. L. Jam Session (1950); G. L. and His New Orleans (1951); G. L.’s Ragtime Band of New Orleans (1952); Beverly Caverns Sessions (1953); G. L. at Club Hangover (1953); G. L.’s Ragtime Band of New Orleans (1953); Hot Creole Jazz: 1953 (1953); Sounds of New Orleans, Vol.7 (1953); G. L. Concert! (1954); G. L.’s Ragtime Band of New Orleans (1954); Jazz at Vespers (1954); Jazz at the Ohio Union (1954); New Orleans Music (1954); G. L. & His New Orleans (1955); G. L. with Guest Artist (1955); G. L.’s New Orleans Stomp (1955); New Orleans Stompers (1955); G. L. in Hi-Fi (1956); G. L, Vol. 1 (1956); On Stage: G. L. Concert (1956); Spirituals in Ragtime (1956); Doctor Jazz (1957); G. L/Paul Barbarin (1957); G. L. and Turk Murphy (1957); On Parade (1958); Perennial G. L.(1958); Singing Clarinet (1958); Oh, Didn’t He Ramble! (1959); Blues from the Bayou (1960); G. L/s Dixieland Band (1960); Hot Time int the old Town Tonight (1960); G. L. Band (1962); Jazz at Preservation Hall (1962); At the San Jacinto Hall (1964); G. L. in Japan (1964); In Concert (1965); Reunion with Don Ewell (1966).

Bibliography

Tom Bethell, G. L.: A Jazzman from New Orleans (Berkeley, London, 1977); Ann Fairbairn, Call Him George (N.Y., 1969); Eberhard Kraut, G. L: Streifzug durch ein Musikerleben (Menden, Germany, 1980).

—John Chilton, Who’s Who of Jazz/Music Master Jazz and Blues Catalogue/Lewis Porter