New Orleans Rhythm Kings

At one such club the pair met some of their future bandmates, the drummer Frank Snyder, the pianist Elmer Schoebel, and the saxophonist Jack Pettis.

Palmer's group did not last, but within several months of the breakup of the band, a member of the group, the clarinetist Leon Roppolo, was playing on riverboats in Chicago with Elmer Schoebel, Jack Pettis, Frank Snyder, George Brunies, the banjoist Louis Black and (possibly) Paul Mares.

[1] Mares, ready to move on from riverboat life, found the group an engagement at the Friar's Inn, a club owned by Mike Fritzel.

The bassist Arnold Loyocano joined forces with the growing band, and thus began the group's engagement at the Friar's Inn, which lasted 17 months beginning in 1921.

The cornetist Bix Beiderbecke, who had been sent to school in Chicago by his parents in the hopes of removing him from jazz influences, regularly attended their shows and was often allowed to perform with the band.

They went their separate ways: Paul Mares continued to play music, releasing a record in 1935 and ran the P&M New Orleans Barbeque with his wife in the late 1930s.

[1] Leon Roppolo was (and always had been) mentally unstable and spent the last years of his life in and out of institutions until his early death in 1943, though he managed to keep playing music as best he could.

Gennett's studio was next to a railroad track, which was cursed by many frustrated musicians whose recording sessions were disturbed by the rattling trains.

[1] Paul Mares scheduled another two-day recording session at Gennett later, but the band had recently dissolved somewhat, moving in different directions following their stint at the Friar's Inn.

For the session Mares got Brunies, Roppolo, Stitzel, and Pollack together to release a record as the New Orleans Rhythm Kings, the first time the name had been used since it had referred to Bee Palmer's travelling vaudeville act.

[1] The third recording session occurred after Mares and Roppolo had spent some time playing in a small band in New York City.

Using newly developed restoration technology, Benson stabilized the intermittent speed fluctuations that affected records from the band's 1922 session as Friar's Society Orchestra.

Compositions and arrangements by the New Orleans Rhythm Kings continue to be played by "traditional jazz" or Dixieland bands all over the world today.

"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.

Richard M. Sudhalter, in his book Lost Chords: White Musicians and Their Contributions to Jazz, wrote that "Three takes of 'Tin Roof Blues' exist, three opportunities to listen to Roppolo's mind at work, arranging and rearranging the pieces of his elegiac little statement.

"Livery Stable Blues" recorded by the ODJB in 1917 personified the vaudevillian style that white audiences sought in jazz: choppy, comedic, almost poking fun at itself with its animal sounds.