Editing Thomas A. Dorsey (section)

==Blues career (1919–1925)==
Seeking a greater challenge, Dorsey relocated to Chicago in 1919, where he learned that his style of playing was unfashionable compared to the newer uptempo styles of [[jazz]]. Encountering more competition for jobs and with his concentration primarily on blues, Dorsey turned to composing, [[copyright]]ing his first song in 1920, titled "If You Don't Believe I'm Leaving, You Can Count the Days I'm Gone". In doing so, he became one of the first musicians to copyright blues music.<ref name="harris47-66">Harris pp. 47–66.</ref>

Dorsey seemed ambivalent about writing church music until 1921 when he was inspired by W. M. Nix's rendition of "I Do, Don't You?"{{efn|Originally published by [[Edwin Othello Excell]]}} after hearing him perform at the [[National Baptist Convention, USA, Inc.|National Baptist Convention]]. Nix elongated some notes to emphasize specific syllables and words and sped up others. Dorsey found appeal in the freedom and potential that came with improvising within established hymns, allowing singers and musicians to infuse more emotion – particularly joy and elation – into their performances to move congregations. Upon hearing Nix sing, Dorsey was overcome, later recalling that his "heart was inspired to become a great singer and worker in the Kingdom of the Lord – and impress people just as this great singer did that Sunday morning".<ref>Harris p. 68.</ref> The experience prompted him to copyright his first religious song in 1922, "If I Don't Get There", a composition in the style of [[Charles Albert Tindley|Charles Tindley]], whom Dorsey idolized. Sacred music could not sustain him financially, however, so he continued to work in blues.<ref name="harris47-66"/><ref>Heilbut, p. 23.</ref>

Two of his secular songs were recorded by [[Monette Moore]] and another by [[King Oliver|Joe "King" Oliver]], ensuring Dorsey a place as one of Chicago's top blues composers. His reputation led him to become a music arranger for [[Paramount Records]] and the Chicago Music Publishing Company. In 1923, he became the pianist and leader of the Wild Cats Jazz Band accompanying [[Ma Rainey|Gertrude "Ma" Rainey]], a charismatic and bawdy blues shouter who sang about lost love and hard times. Rainey interacted with her audiences, who were often so enthralled they stood up and shouted back at her while she sang. The night Rainey opened at Chicago's largest black theater Dorsey is remembered as "the most exciting moment in my life".<ref>Harris p. 89.</ref>

Dorsey worked with Rainey and her band for two years, wherein he composed and arranged her music in the blues style he was accustomed to, as well as vaudeville and jazz to please audiences' tastes. In 1925, he married Nettie Harper, who Rainey hired as a wardrobe mistress despite her inexperience, so she could join Dorsey on tour.<ref>Harris pp. 67–90.</ref>