Although, as bands increased in size, some larger ones were successful playing without written arrangements, it was more difficult to improvise adequate performances. A band from the United States performed in Japan as early as 1920, and the written record indicates the new music was prevalent in the Philippines as well as Japan by the early 1920s, just before the King Oliver Creole Jazz Band recorded.ĭuring the early jazz era, orchestras expanded from seven to 16 instrumentalists. Its introduction to France by James Reese Europe’s “Hellfighters” is well known, and jazz bands arrived in the Far East shortly thereafter. They became known as the inventors of the music, which flourished in subsequent years throughout the United States and beyond, causing numerous musicians to form bands and play the standards recorded by the ODJB.īig bands were not only instantly national, but international as well. A popular vaudevillian, Sweatman mastered the art of playing three reed instruments simultaneously (long before Rahsaan Roland Kirk) and was a sensation on the stage in the early 20th century and into the jazz age.īecause of their willingness to record, the Original Dixieland Jazz Band (ODJB), made up of white musicians, established a jazz canon with their records in early 1917. Recent research indicates that composer and multi-instrumentalist Wilbur Sweatman made the first jazz records (including “Down Home Rag”) in December 1916-before the Original Dixieland Jazz Band recorded. Researchers and fans place considerable emphasis on identifying the first jazz recordings. ![]() Louis Toodle-Oo” (1926), “Black and Tan Fantasy” (1927), and “Creole Love Call” (1927). His compositions included sounds never before heard in any jazz arrangements or compositions, such as “East St. Performing at the Roseland Ballroom in Times Square, Henderson became a major attraction in the city with “The Stampede” (1926).Īn innovator throughout his long career, Duke Ellington, from Washington, DC, came to New York in 1923 and established his orchestra, “The Washingtonians.” He used blues and folk traditions in his swing arrangements, and he developed a new big band sound and swing style in the 1930s. Henderson established this orchestra in 1924, including such innovators as Louis Armstrong, Coleman Hawkins, Don Redman, and later Roy Eldridge and Lester Young. Armstrong remained with Oliver until 1924, when he moved to New York City to join Fletcher Henderson’s new orchestra. “King” Oliver created a style that featured all instruments playing the melody in harmony or in unison, alternating with an extended solo (for example, “Boogie Woogie,” 1930). ![]() Louis Armstrong followed in his footsteps, arriving in Chicago in 1922 to join Oliver’s combo. Another New Orleans innovator, Joseph “King” Oliver, was the first New Orleans jazzman to make an indelible impact on the West Coast and in Chicago.
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