Quoted from HHaase:Best I can come up with for 6-7/8.....
There was a Jazz band formed in the 1910's era, and active until around the 40's. Edmond “Doc” Souchon’s 6 7/8 String Band. They had 7 members (initially), with their 7th member being noticeably shorter than the rest. This is the earliest, and only explained version, that I can find where the number comes up.
-Hans
Sounds good to me. Thanks for finding that.
During the last two decades of the 19th Century, string bands with skilled highly Creole musicians were in demand all around New Orleans. They performed at various functions, including picnics, parlor room parties and balls. Between 1884 and 1917 there were major changes in how the music was played, brought on by the changing demands of dancers and the changing attitudes in response to the implementation of the Black Codes (U.S. laws limiting civil liberties of blacks) in the late 1800s.There were three main types of ensemble performing around New Orleans from the 1880s to 1917: brass bands (for funerals), society orchestras and string bands [which despite the name could include clarinet, cornet, trombone and even drums]. Being smaller and in demand in more diverse settings, the string ensembles had more flexibility and were expected to entertain with up-to-date songs and dancing music. In 1897, the Storyville District opened, and at Tom Anderson’s Annex on the corner of Basin Street and Canal a string band played every night and, over the decades, featured musicians such as Wendell McNeil, Bill Johnson and, probably, Lorenzo Tio, Jr. The location of this venue, at the border of the uptown and downtown areas, is highly symbolic, as pioneers of the new musical concepts arose from the cultural interaction between uptown and downtown groups.The string bands that performed at Anderson’s Annex potentially had some of the most important traits of the new music that would come to be called jazz: a swinging rhythm built on the bass’ harmonic foundation; sophisticated soloists mixing virtuoso technical ability; Eurocentric harmonies and forms (and probably a Latin lilt to boot), with syncopated rhythms (giving an element of surprise); personal expression; and individual and collective improvisation, within the repetitive forms of up-to- date pop songs, including blues.Whatever happened to the string bands in New Orleans? Somehow, around 1917, these popular ensembles fell between the cracks. Yet the concept of a swinging band dominated by a rhythm section of strings was picked up in the 1920s by Belgian gypsy guitarist Djanjo Reinhardt and his peers, and even by Hawaiian bands (most famously Sol Hoopii.) In the 1930s and ‘40s, Western Swing bands, and Bill Monroe’s bluegrass groups followed suit in string bands tinged with New Orleans jazz. It isn’t until the late 1940s that we have recordings of a New Orleans string band. Edmond “Doc” Souchon’s 6 7/8 String Band (so called because of the short stature of their 7th member) originally formed around 1910 and modeled themselves after bands the players heard playing in Anderson’s Annex during the Storyville era. By the 1940’s they were reduced to a quartet, with rhythm guitar, mandolin, “Hawaiian” slide guitar and bass. These 1949-1954 recordings of the 6 7/8 band may be the best surviving evidence of a string band performing in the style of collective improvisation music from the turn of the century birthplace of jazz