Lifelong traditional jazz musician Albert Jiles enjoyed many years of performing with the Preservation Hall Jazz Band. Learn more »
Albert Jiles was a traditional jazz and brass band drummer from New Orleans. In the final years of his life, Jiles regularly performed at Preservation Hall with Billie and Dede Pierce. He enjoyed a long and successful music career in New Orleans, playing with such musicians as Chris Kelly, Isaiah Morgan, Kid Rena, George Lewis, and Papa Celestin.
Jiles was born on November 7, 1905, in Thibodaux, into a musical family: he was the nephew of well-regarded jazz musician Clay Jiles. Albert’s father, Albert Jiles Sr., was a drummer in fiddler Joe Gabriel’s jazz band, which was based in Thibodaux.
Jiles’s first professional gig was with pianist Herman Weiss. In the 1920s, Jiles joined a group that included Lawrence Toca and then moved on to a regular job with trumpeter Chris Kelly. Kelly was originally from Plaquemines Parish, and—like so many others from the more rural parishes outside of New Orleans—faced varying degrees of racism upon moving to the city.
During the Depression, Jiles performed often with Kid Howard’s band as well as in Sam Morgan’s Jazz Band. In the early 1940s, Jiles worked with Papa Celestin. When that ensemble broke up, he moved on to gigs with Kid Clayton and Captain John Handy.
In the late 1940s and 1950s, Jiles formed and led the Albert Jiles Original Creole Stompers, a group that included Louis Nelson, Herb Morand, Austin Young, Albert Burbank, and Johnny St. Cyr. The Stompers enjoyed success as an in-demand dance band. Bill Russell would record Jiles in 1949.
The dawn of the 1960s was perhaps the most prolific time of Jiles’s career, as that period saw fruitful collaborations with trombonist Albert Warner’s band, a septet that included Kid Sheik Colar (trumpet), Charlie Love (trumpet), Emile Barnes (clarinetist), Ernest Roubeleau (banjo), and Papa John Joseph (bass). A later version of the group included Louis James (clarinet, violin), Emanuel Paul (tenor saxophone), Eddie Summers (trombone), and Emanuel Sayles (banjo).
The early 1960s also found Jiles and Charlie Love joining forces to form the Love-Jiles Ragtime Orchestra. Together they performed throughout the region and released a number of classic recordings, including “Shake It and Break It,” “C. C. Rider,” and “High Society.” Jiles was recorded for the Riverside Records’ Living Legends series in 1961 and played regularly with Billie and Dede Pierce at Preservation Hall until his death on September 3, 1964, in New Orleans.
Cite This Entry
Chicago Manual of Style
Hobbs, Holly. "Albert Jiles." In KnowLA Encyclopedia of Louisiana, edited by David Johnson. Louisiana Endowment for the Humanities, 2010–. Article published January 14, 2014. http://www.knowla.org/entry/1714/&view=summary.
Hobbs, Holly. "Albert Jiles." KnowLA Encyclopedia of Louisiana. Ed. David Johnson. Louisiana Endowment for the Humanities, 14 Jan 2014. Web. 17 Jan. 2017.
Would you like to learn more about this topic from books and other reading materials?
Borenstein, Larry, and Bill Russell. Preservation Hall Portraits. Baton Rouge: Louisiana State University Press, 1968.
Hobson, Vic. “Buddy Bolden’s Blues.” The Jazz Archivist 21 (2008).
Hobson, Vic. “New Orleans Jazz and the Blues.” Jazz Perspectives 5, no. 1 (2011).
“Albert Jiles.” Oral history transcripts. June 15, 1960; February 3, 1961; February 24, 1961. Hogan Jazz Archive, Tulane University, New Orleans.
Knowles, Richard. Fallen Heroes: A History of New Orleans Brass Bands. New Orleans: Jazzology Press, 1996.
Raeburn, Bruce Boyd. “New Orleans Jazz Styles of the 1920s: Sam Morgan’s Jazz Band.” In Sam Morgan’s Jazz Band: Complete Recorded Works in Transcription, ed. by John J. Joyce, Bruce Boyd Raeburn, and Anthony M. Cummings, xv–xxxiv. Recent Researches in American Music Volume 73/Music of the United States of America Volume 24. Middleton, WI: A-R Editions, 2012.