Hi Yves and everyone,
An alternative hypothesis is that Shields and Nunez drew on an established canon of clarinet playing in New Orleans. We have reports of the musical scene in NO before the ODJB recorded, but alas no recorded evidence. We have Jelly Roll Morton's account of the "Tiger Rag", but this is from 1938, and we don't really know what to think of Jelly's stories. We also have accounts that "Tiger Rag" was known as "Play Jack Carey" or "Number Two".
It is certainly correct that recordings did have a big influence both outside New Orleans and within: bands were cut in size when people realised that the 5-man format was sufficient.
Nunez' family was from the Canary Islands and the Tios came to NO from Mexico long before 1850, so I doubt that they were rooted in the same kind of culture. We know the Creoles didn't consider themselves black and that even Kid Ory and Bebe Ridgley, as ouit-of-towners, weren't accepted by established New Orleans Creole society, but do we know that the Creoles mingled with poor white immigrant families?
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