George Lewis was an American jazz clarinetist who achieved his greatest fame and influence in the later decades of his life.
Ancestry
Lewis was born in the French Quarter of New Orleans, Louisiana. Through his mother, Alice Zeno, his maternal great-great-grandmother was a Senegalese slave who was brought to Louisiana around 1803. Zeno's family retained some knowledge of Senegalese language and customs until Alice's generation. Personal George married Emma Zeno in 1918 in New Orleans they had 4 children, Mildred Zeno-Major born 1919-1996 Joseph Zeno 1921-2003 William Zeno 1923-1993 and George 1925-2005
Musical career
During the 1920s he started the New Orleans Stompers. In that decade he also worked with Chris Kelly, Buddy Petit, Kid Rena, and was a member of the Eureka Brass Band and the Olympia Orchestra. In the 1930s he played with Bunk Johnson, De De Pierce, and Billie Pierce. He recorded with Johnson in the early 1940s and with Kid Shots Madison. Alan Lomax brought Lewis on a Rudi Bleshradio show in 1942 in which Lewis played "Woodchopper's Ball" by Woody Herman. Unable to make enough money as a musician, he worked loading and unloading cargo on ships at the docks of the Mississippi River. In 1944 Lewis was injured while working on the docks. A heavy container nearly crushed his chest. He practiced while convalescing in bed at his St. Phillips Street home in the French Quarter. His friends, banjoist Lawrence Marrero and double bassistAlcide Pavageau, brought their instruments to his bedside. Bill Russell brought his portable recorder and they recorded "Burgundy Street Blues", improvised blues song that was to become the Lewis signature piece. As Russell recorded Lewis, he occasionally gave new titles to interpretations of pop tunes, such as "New Orleans Hula" for "Hula Lou". These changes may have been made for copyright reasons, but occasionally it was because musicians reported the titles inaccurately to Russell. Lewis stayed with Johnson's band through 1946. This included a trip to New York City, where they played for dancing at the Stuyvesant Casino on Second Avenue. Band members included Johnson, Marrero, Pavageau, trombonist Jim Robinson, pianist Alton Purnell, and drummer Baby Dodds. While in New York, they recorded for Decca and Victor. After Johnson retired, Lewis took over leadership of the band, which included Robinson, Pavageau, Marrero, Purnell, Joe Watkins, and a succession of New Orleans trumpeters: Elmer Talbert, Kid Howard, and Percy Humphrey. Starting in 1949, Lewis was a regular on Bourbon Street clubs and radio stationWDSU. His band was profiled in the June 6, 1950 issue of Look magazine with photographs by Stanley Kubrick. His reputation grew and he became a leader of the New Orleans revival. In the late 1940s and early 1950s his recordings reached the UK and influenced clarinetists Monty Sunshine and Acker Bilk. They became important contributors to the traditional jazz scene in the UK and accompanied Lewis when he toured the country. Lewis visited England in 1957, playing throughout the country with Ken Colyer's Jazzmen. In 1959 he returned, this time with his full band, and received a warm response. In 1959 he visited Denmark and played at Jazzhus Montmartre in Copenhagen. Beginning in the 1960s, he played regularly at Preservation Hall as leader of the Preservation Hall Jazz Band until shortly before his death. His performances were painted by New Orleans artists. Sitting portraits by Noel Rockmore were sold to collectors. Rockwell painted several musicians who had performed at Preservation Hall. John Van Beuren bought portraits that he put in other residences. His home in Morristown, New Jersey that was built by Ludwig Mies van der Rohe had portraits of George Lewis and Louis Nelson. Jazz critic Gary Giddins described Lewis as "an affecting musician with a fat-boned sound but limited technique".
