Early Jazz of 1900-1930 - Essay Example

Early Jazz 1900-1930 Buddy Bolden and Willy Cornish – ‘Funky Butt’ (between 1900-1907) Buddy Bolden’s contribution to jazz is as one of the earlyragtime musicians. He was a cornetist who formed his first band as early as 1895. The early date of the band’s formation has led many historians to deem this the start of jazz. ‘Funky Butt’ was one of Bolden’s most popular songs. While it was never recorded by Bolden, it has since been reconstructed and performed by a variety of musicians. In addition to being one of the first jazz compositions, it is also the first time the word ‘funk’ was used in a song. The song is said to refer to either flatulence or sweat, and during it’s time it was considered offensive to even whistle the song in public.1 Jelly Roll Morton – ‘Original Jelly Roll Blues’ (1926) Perhaps most well-known now for his exaggerated statement that he had invented jazz in 1902, Jelly Roll Morton’s contribution to the medium is undeniable. He was a well-regarded pianist from the famed Storyville red-light district in New Orleans, but become an itinerant musician after his grandmother discovered where he had been working. While ‘Original Jelly Roll Blues’ wasn’t recorded until 1926 in Chicago, it’s believed to have been written as early as 1905. The song is an enjoyable melody that one can envision existing in early 20th century New Orleans. Today it stands as one of the first great early jazz compositions.2 W.C. Handy – ‘Memphis Blues’ (1912) While not specifically ‘jazz’ in the strictest sense, W.C. Handy’s contribution to bringing to blues to mainstream acclaim is well-documented. For his role in recording and popularizing what had previously been regional southern music, Handy is now referred to as the ‘Father of the Blues’. While ‘Memphis Blues’ is not Handy’s most famous recording (that honor belongs to ‘St. Louis Blues’), it perhaps has the most interesting story. The song was originally titled ‘Mr. Crump’ to criticize a local politician, but was actually adopted by that same politician to promote his campaign. Three years later the song was given different lyrics, and its named was changed to ‘Memphis Blues.’3 James Reese Europe – Victor recordings (1913-1914) In organizing the Clef Club, a ragtime band of assorted musicians, in 1912 James Reese Europe became the first proto-jazz band to perform at Carnegie Hall. In 1913 Europe became involved with a ballroom dancing group named the Castles. Europe’s musical accompaniments to the Castle’s ballroom dancing helped break racial barriers within the United States and Europe, and their recordings by the Victor label made them, along with the Original Dixieland Jazz Band’s works, some of the earliest known jazz recordings.4 Original Dixieland Jazz Band – ‘Tiger Rag’ (1917) No comprehensive history of early jazz recordings would be complete without including the Original Dixieland Jazz Band. The Original Dixieland Jazz Band are well-known as the first recorded jazz artists, beginning with their 1917 song ‘Livery Stable Blues’. While ‘Tiger Rag’ wasn’t the first recorded song, many critics regard it as their most popular (XXXX). Even as the sound recording is poor, the song preserves an essential moment in the history of jazz and New Orleans. It has since lived on, being covered by a wide-array of artists, including Louis Armstrong, and was even featured in an Xbox commercial. Eubie Blake – Charleston Rag (1915) Eubie Banks was the son of ex-slaves and was born in 1887. Blake (along with singer Noble Sissle) is renowned today for composing for being the first African American to compose a Broadway musical, Shuffle Along. Although ‘Charleston Rag’ wasn’t officially written on paper until 1915, Blake was known as somewhat of a child prodigy and claimed he composed the song when he was only 12 years old. Blake lived to a very late age and became known as the last living link to ragtime, even appearing on the Johnny Carson show in the late 1970s. Papa Celestin – Okeh Recordings (1925) Around 1910 Celestin began his tenure as one the leader of a jazz band in New Orleans famed Storyville district. The band was known as the Original Tuxedo Orchestra after the tuxedos they wore during performances, and was one of most steady jobs a young musician could get at the time. Louis Armstrong is said to have been Celestin’s second cornet from 1921-1922. The Okeh Recordings were made in 1925 in New Orleans and marked Celestin’s first ever recorded material. The recordings also marked the last time Celestin was featured with his original trombonist William Ridley, who started his own Tuxedo Orchestra shortly after the recordings were released. Freddie Keppards Jazz Cardinals – Misc. Recordings (1924-1927) After Buddy Bolden retired Freddie Keppard became regarded as the best horn player on in the jazz music scene. A famous anecdote about Keppard is that in 1915 the Victor Talking Machine Company offered him $25 dollars to record with his Original Creole Orchestra, but Keppard refused the offer as he feared other musicians would steal his material. It’s notable as this would have been the first jazz recording. His first known recordings were made Chicago from 1924-1927, under the Freddie Keppard’s Jazz Cardinals moniker. More ragtime than blues, among the early jazz musicians Keppard is said to most resemble Buddy Bolden. Spike’s Seven Pods of Pepper Orchestra (Kid Ory) -- Orys Creole Trombone (1919) Kid Ory received his nickname after he began leading a jazz band in Southern Louisiana during his teenage years. After this period Ory moved to New Orleans where he became regarded as one of the premier jazz trombonists. Ory was most renowned for his ‘tailgate’ style, which he claims was derived from his time as a banjo player. The tailgate style is when the trombone trails under the trumpets and clarinets. In 1911 Ory was leading one of the best known jazz bands, which included members as renowned as Sidney Bechet. In 1919 he moved to California where he made some of his first recordings, including ‘Ory’s Creole Trombone’. Louis Armstrong and his Hot Five – West End Blues (1928) Louis Armstrong’s immense influence on jazz and popular music is difficult to adequately convey. Growing up in turn-of-the century New Orleans, Armstrong played with many of jazz’s famed progenitors, and became one of the first to participate in extended trumpet solos. Although composed by King Oliver, Louis Armstrong’s 1928 recording of ‘West End Blues’ is regarded today as one of the masterpieces of early jazz. Armstrong’s solo at the end of the recording has been recognized as one of the finest solos in jazz history. The West End is a reference to a place on the shore of New Orleans called Lake Pontchartrain. Clarence Williams Blues Five (Sidney Bechet) – Wild Cat Blues (1923) Similar to Louis Armstrong, Sidney Bechet was born in New Orleans and grew up playing with the most famed jazz musicians of the early period. He would also go on to become one of the most renowned musicians in jazz history. Bechet grew widespread acclaim and was jailed for a period after becoming involved in a gun fight in Paris, France that caused serious injury to a female bystander. ‘Wildcat Blues’ marks Bechet’s first known recording, and it was made in New York upon Bechet’s return from Europe. The song is in the ragtime tradition, and it also features pianist and songwriter Clarence Williams. King Olivers Creole Jazz Band - Dippermouth Blues (Sugarfoot Stomp) (1923) One of the most renowned jazz musicians of the early era, King Oliver is reported to have had the greatest influence on the Louis Armstrong. Indeed, this 1923 recording featured the young Louis Armstrong on cornet. It is in this writer’s opinion the finest and most visceral example of early jazz ever recorded. While the song is nearly impossible to adequately capture with words, reviewer Peter Gerler wrote of it, “Olivers blues was the essence of his playing, and it shapes this tune. It was said he could carry a conversation using only his "talking" horn. Here, amidst the swing, he is a lone voice crying to be heard.”5 Fate Marable’s Society Syncopators – Frankie and Johnny (1924) Fate Marable was the most renowned Mississippi riverboat band leader during the early jazz era. While he has lost considerable clout in today’s jazz climate, he is recorded as having a legion of fans, including former President Theodore Roosevelt. While at one point Louis Armstrong was a member of Marable’s band, he is not featured on this, one of two of Marable’s only recorded tracks. The song has much in common with artists such as King Oliver and Jelly Roll Morton, and is a superb example of riverboat jazz. Johnny Dodds -- Perdido Street Blues (1926) While generally the trumpet and cornet players are the most renowned jazz musicians in their group, Johnny Dodds gained widespread recognition as one of the finest clarinetist of the early jazz period. He played in a number of bands, along with jazz artists such as Louis Armstrong and King Oliver. He is recognized today as one of the largest influence on famed clarinetist Benny Goodman. This track features Kid Ory on trombone and stands as one of the greatest examples of clarinet playing ever recorded. Boswell Sisters – Shout, Sister, Shout (1931) The Boswell Sisters were a vocal group composed of three sisters born in New Orleans. While their first recording was in 1925, they didn’t gain national prominence until moving to New York in the 1930s. Their 1930s Brunswick Recordings are understood to be some of the most renowned and influential examples of vocal jazz. The sisters later went on to perform with many famous musicians including Benny Goodman. The track features famed big band musicians Jimmy and Tommy Dorsey, and exhibits the Boswell Sisters vocal patterns in a number of thematic arrangements. References Gerler, Peter. ‘King Oliver Dippermouth Blues’. Jazz.com http://www.jazz.com/music/2009/3/24/king-oliver-s-creole-jazz-band-dippermouth-blues Gioia, Ted. (1998) History of Jazz. Oxford University Press. Read More