Editing Jazz (section)

== The Jazz Age ==
{{Main|Jazz Age}}
[[File:Jazzing orchestra 1921.png|thumb|right|The King & Carter Jazzing Orchestra photographed in Houston, Texas, January 1921]]
From 1920 to 1933, [[Prohibition in the United States]] banned the sale of alcoholic drinks, resulting in illicit speakeasies which became lively venues of the "Jazz Age", hosting popular music, dance songs, novelty songs, and show tunes. Jazz began to get a reputation as immoral, and many members of the older generations saw it as a threat to the old cultural values by promoting the decadent values of the Roaring 20s. [[Henry van Dyke]] of Princeton University wrote, "... it is not music at all. It's merely an irritation of the nerves of hearing, a sensual teasing of the strings of physical passion."<ref name=ward/> ''[[The New York Times]]'' reported that Siberian villagers used jazz to scare away bears, but the villagers had used pots and pans; another story claimed that the fatal heart attack of a celebrated conductor was caused by jazz.<ref name=ward>{{harvnb|Ward|Burns|2000|pp=78-79}}</ref>

{{listen|type=music|filename=OriginalDixielandJassBand-JazzMeBlues.ogg|title=Jazz Me Blues |description= The [[Original Dixieland Jass Band]] performing "Jazz Me Blues", an example of a jazz piece from 1921}}

In 1919, [[Kid Ory]]'s Original Creole Jazz Band of musicians from New Orleans began playing in San Francisco and Los Angeles, where in 1922 they became the first black jazz band of New Orleans origin to make recordings.{{sfn|Cooke|1999|p=54}}<ref name=ory>{{cite web|url=http://www.redhotjazz.com/ory.html|title=Kid Ory|access-date=October 29, 2007|publisher=The Red Hot Archive|archive-url=https://web.archive.org/web/20130827025414/http://www.redhotjazz.com/ory.html|archive-date=August 27, 2013}}</ref> During the same year, [[Bessie Smith]] made her first recordings.<ref>{{cite web|url=http://www.redhotjazz.com/bessie.html|title=Bessie Smith|access-date=October 29, 2007|publisher=The Red Hot Archive|archive-url=https://web.archive.org/web/20071016081233/http://redhotjazz.com/Bessie.html|archive-date=October 16, 2007}}</ref> Chicago was developing "[[Hot Jazz]]", and [[Joe "King" Oliver|King Oliver]] joined [[Bill Johnson (double-bassist)|Bill Johnson]]. Bix Beiderbecke formed The Wolverines in 1924.

Despite its Southern black origins, there was a larger market for jazzy dance music played by white orchestras. In 1918, [[Paul Whiteman]] and his orchestra became a hit in San Francisco. He signed a contract with [[Victor Talking Machine Company|Victor]] and became the top bandleader of the 1920s, giving hot jazz a white component, hiring white musicians such as [[Bix Beiderbecke]], [[Jimmy Dorsey]], [[Tommy Dorsey]], [[Frankie Trumbauer]], and [[Joe Venuti]]. In 1924, Whiteman commissioned [[George Gershwin]]'s ''[[Rhapsody in Blue]]'', which was premiered by his orchestra. Jazz began to be recognized as a notable musical form. [[Olin Downes]], reviewing the concert in ''The New York Times'', wrote, "This composition shows extraordinary talent, as it shows a young composer with aims that go far beyond those of his ilk, struggling with a form of which he is far from being master. ... In spite of all this, he has expressed himself in a significant and, on the whole, highly original form. ... His first theme ... is no mere dance-tune ... it is an idea, or several ideas, correlated and combined in varying and contrasting rhythms that immediately intrigue the listener."<ref name="Downes">{{cite news |last1=Downes |first1=Olin |title=A Concert of Jazz |work=The New York Times |date=February 13, 1924 |page=16}}</ref>

After Whiteman's band successfully toured Europe, huge hot jazz orchestras in theater pits caught on with other whites, including [[Fred Waring]], [[Jean Goldkette]], and [[Nathaniel Shilkret]]. According to Mario Dunkel, Whiteman's success was based on a "rhetoric of domestication" according to which he had elevated and rendered valuable (read "white") a previously inchoate (read "black") kind of music.<ref name="Dunkel">{{cite journal |last1=Dunkel |first1=Mario |title=W. C. Handy, Abbe Niles, and (Auto)biographical Positioning in the Whiteman Era |journal=Popular Music and Society |date=2015 |volume=38 |issue=2 |pages=122–139|doi=10.1080/03007766.2014.994320 |s2cid=191480580 |doi-access=free}}</ref>
[[File:Louis Armstrong in Color (restored).jpg|thumb|[[Louis Armstrong]] began his career in New Orleans and became one of jazz's most recognizable performers.]]
Whiteman's success caused black artists to follow suit, including [[Earl Hines]] (who opened in The Grand Terrace Cafe in Chicago in 1928), Washington, D.C.-native [[Duke Ellington]] (who opened at the [[Cotton Club]] in Harlem in 1927), [[Lionel Hampton]], [[Fletcher Henderson]], [[Claude Hopkins]], and [[Don Redman]], with Henderson and Redman developing the "talking to one another" formula for "hot" swing music.{{sfn|Cooke|1999|pp=82–83, 100–103}}

In 1924, Louis Armstrong joined the Fletcher Henderson dance band for a year, as featured soloist. By 1924, one of [[Louis Armstrong|Armstrong]]'s favorite "Sweet Jazz" [[Big bands]] was also formed in Canada by [[Guy Lombardo]]. His Royal Canadians Orchestra specialized in performances of "the Sweetest music this side of Heaven" which transcended racial boundaries.<ref>[https://books.google.com/books?id=m8W2AgAAQBAJ&dq=Guy+Lombardo+recordings&pg=PA379 Encyclopedia of music in the 20th Century. Stacey, Lee. Henderson, Lol Editors. Routledge Taylor and Francis Group London 2014 p. 379 Guy Lombardo Biography on Google Books]</ref><ref>[https://books.google.com/books?id=__DTvryrBZkC&dq=Guy+Lombardo+band+popularity&pg=PA472 Continuum Encyclopedia of Popular Music of the World Volume 8- Genres North America. Horn, David. Shephard, John Editors. Bloombury Publishing 2012 p. 472 "Armstrong and Lombardo did not view their worlds as diametrically opposed, nor did many other contemporary musicians of the 1930s. ...Lombardo himself always took great pride in the number of black orchestras that imitated his style." Guy lombardo band popularity on Google Books]</ref>  The original New Orleans style was polyphonic, with theme variation and simultaneous collective improvisation. Armstrong was a master of his hometown style, but by the time he joined Henderson's band, he was already a trailblazer in a new phase of jazz, with its emphasis on arrangements and soloists. Armstrong's solos went well beyond the theme-improvisation concept and extemporized on chords, rather than melodies. According to Schuller, by comparison, the solos by Armstrong's bandmates (including a young [[Coleman Hawkins]]), sounded "stiff, stodgy", with "jerky rhythms and a grey undistinguished tone quality".{{sfn|Schuller|1986|p=91}} The following example shows a short excerpt of the straight melody of "Mandy, Make Up Your Mind" by [[George W. Meyer]] and Arthur Johnston (top), compared with Armstrong's solo improvisations (below) (recorded 1924).{{sfn|Schuller|1986|p=93}} Armstrong's solos were a significant factor in making jazz a true 20th-century language. After leaving Henderson's group, Armstrong formed his [[Louis Armstrong and his Hot Five|Hot Five]] band, where he popularized [[scat singing]].{{sfn|Cooke|1999|pp=56–59, 78–79, 66–70}}

===Swing in the 1920s and 1930s===
{{Main|Swing music|1930s in jazz}}
[[File:BennyGoodmanStageDoorCanteen.jpg|thumb|left|[[Benny Goodman]] (1943)]]

The 1930s belonged to popular [[swing (music)|swing]] big bands, in which some virtuoso soloists became as famous as the band leaders. Key figures in developing the "big" jazz band included bandleaders and arrangers [[Count Basie]], [[Cab Calloway]], [[Jimmy Dorsey|Jimmy]] and [[Tommy Dorsey]], [[Duke Ellington]], [[Benny Goodman]], [[Fletcher Henderson]], [[Earl Hines]], [[Harry James]], [[Jimmie Lunceford]], [[Glenn Miller]] and [[Artie Shaw]]. Although it was a collective sound, swing also offered individual musicians a chance to "solo" and improvise melodic, thematic solos which could at times be complex "important" music.

Over time, social strictures regarding racial segregation began to relax in America: white bandleaders began to recruit black musicians and black bandleaders white ones. In the mid-1930s, Benny Goodman hired pianist [[Teddy Wilson]], vibraphonist [[Lionel Hampton]] and guitarist [[Charlie Christian]] to join small groups. In the 1930s, Kansas City Jazz as exemplified by tenor saxophonist [[Lester Young]] marked the transition from big bands to the bebop influence of the 1940s. An early 1940s style known as "jumping the blues" or [[jump blues]] used small combos, uptempo music and blues chord progressions, drawing on [[boogie woogie (music)|boogie-woogie]] from the 1930s.

===The influence of Duke Ellington===
[[File:Duke Ellington at the Hurricane Club 1943.jpg|thumb|upright|Duke Ellington at the Hurricane Club (1943)]]

While swing was reaching the height of its popularity, [[Duke Ellington]] spent the late 1920s and 1930s in Washington, D.C.'s jazz scene, developing an innovative musical idiom for his orchestra. Abandoning the conventions of swing, he experimented with orchestral sounds, harmony, and [[musical form]] with complex compositions that still translated well for popular audiences; some of his tunes became [[hit single|hits]], and his own popularity spanned from the United States to Europe.<ref>{{cite book|last=Van de Leur |first=Walter |chapter=12 "Seldom seen, but always heard": Billy Strayhorn and Duke Ellington |title=The Cambridge Companion to Duke Ellington |editor-last=Green |editor-first=Edward |publisher=[[Cambridge University Press]] |isbn=978-1-3161-9413-3 |date=2015}}</ref>

Ellington called his music ''American Music'', rather than ''jazz'', and liked to describe those who impressed him as "beyond category".<ref>{{Harvnb|Tucker|1995|p=6}} writes "He tried to avoid the word 'jazz' preferring 'Negro' or 'American' music. He claimed there were only two types of music, 'good' and 'bad' ... And he embraced a phrase coined by his colleague [[Billy Strayhorn]] – 'beyond category' – as a liberating principle."</ref> These included many musicians from his orchestra, some of whom are considered among the best in jazz in their own right, but it was Ellington who melded them into one of the most popular jazz orchestras in the history of jazz. He often composed for the style and skills of these individuals, such as "Jeep's Blues" for [[Johnny Hodges]], "Concerto for Cootie" for [[Cootie Williams]] (which later became "[[Do Nothing Till You Hear from Me]]" with [[Bob Russell (songwriter)|Bob Russell]]'s lyrics), and "The Mooche" for [[Tricky Sam Nanton]] and [[Bubber Miley]]. He also recorded compositions written by his bandsmen, such as [[Juan Tizol]]'s "[[Caravan (1937 song)|Caravan]]" and "[[Perdido (song)|Perdido]]", which brought the "Spanish Tinge" to big-band jazz. Several members of the orchestra remained with him for several decades. The band reached a creative peak in the early 1940s, when Ellington and a small hand-picked group of his composers and arrangers wrote for an orchestra of distinctive voices who displayed tremendous creativity.<ref>{{cite web|url=http://theoryjazz.com/artists/ellington.html |title=Jazz Musicians – Duke Ellington |publisher=Theory Jazz |access-date=July 14, 2009  |url-status=usurped |archive-url=https://web.archive.org/web/20150903233432/http://theoryjazz.com/artists/ellington.html |archive-date=September 3, 2015}}</ref>

===Beginnings of European jazz===
[[File:Django Reinhardt and Duke Ellington (Gottlieb).jpg|thumb|left|200px|[[Django Reinhardt]] and [[Duke Ellington]]. Reinhardt, a guitarist, was key in shaping European jazz with his creation of gypsy jazz, blending American swing, French "musette" music, and Eastern European folk, especially in 1946.]]

As only a limited number of American jazz records were released in Europe, European jazz traces many of its roots to American artists such as James Reese Europe, Paul Whiteman, and [[Lonnie Johnson (musician)|Lonnie Johnson]], who visited Europe during and after World War I. It was their live performances which inspired European audiences' interest in jazz, as well as the interest in all things American (and therefore exotic) which accompanied the economic and political woes of Europe during this time.<ref>{{cite book |editor-last1=Wynn |editor-first1=Neil A.|title=Cross the Water Blues: African American music in Europe |url=https://archive.org/details/crosswaterbluesa00wynn |url-access=limited |date=2007 |publisher=University Press of Mississippi |location=Jackson, MS |isbn=978-1-6047-3546-8 |page=[https://archive.org/details/crosswaterbluesa00wynn/page/n79 67] |edition=1}}</ref> The beginnings of a distinct European style of jazz began to emerge in this interwar period.

British jazz began with a [[Original Dixieland Jass Band#London tour|tour by the Original Dixieland Jazz Band in 1919]]. In 1926, [[Fred Elizalde]] and His Cambridge Undergraduates began broadcasting on the BBC. Thereafter jazz became an important element in many leading dance orchestras, and jazz instrumentalists became numerous.<ref name="Godolt">{{cite book |last1=Godbolt |first1=Jim |title=A History of Jazz in Britain 1919–1950 |date=2010 |publisher=Northway |location=London |isbn=978-0-9557-8881-9 |edition=4th}}</ref>

This style entered full swing in France with the [[Quintette du Hot Club de France]], which began in 1934. Much of this French jazz was a combination of African-American jazz and the symphonic styles in which French musicians were well-trained; in this, it is easy to see the inspiration taken from Paul Whiteman since his style was also a fusion of the two.<ref>{{cite journal |last=Jackson | first=Jeffrey |title=Making Jazz French: The Reception of Jazz Music in Paris, 1927–1934 |journal=[[French Historical Studies]]| year=2002 |volume=25 |issue=1 |pages=149–170 |doi=10.1215/00161071-25-1-149 | s2cid=161520728}}</ref> Belgian guitarist [[Django Reinhardt]] popularized [[gypsy jazz]], a mix of 1930s American swing, French dance hall "[[Bal-musette|musette]]", and Eastern European folk with a languid, seductive feel; the main instruments were steel stringed guitar, violin, and double bass. Solos pass from one player to another as guitar and bass form the rhythm section. Some researchers believe [[Eddie Lang]] and [[Joe Venuti]] pioneered the guitar-violin partnership characteristic of the genre,<ref>{{cite web |url=http://www.redhotjazz.com/edlango.html |title=Ed Lang and his Orchestra |access-date=March 28, 2008 |website=redhotjazz.com |archive-date=April 10, 2008 |archive-url=https://web.archive.org/web/20080410160536/http://www.redhotjazz.com/edlango.html }}</ref> which was brought to France after they had been heard live or on [[Okeh Records]] in the late 1920s.<ref>{{cite book |first=Bill |last=Crow |title=Jazz Anecdotes |url=https://archive.org/details/jazzanecdotes0000crow |url-access=registration |publisher=Oxford University Press |location=New York |date=1990}}</ref>