Editing Jazz (section)

== Diversity in jazz ==

===Jazz and race===
For some African Americans, jazz has drawn attention to African-American contributions to culture and history. For others, jazz is a reminder of "an oppressive and racist society and restrictions on their artistic visions".<ref>{{cite news|title=African American Musicians Reflect On 'What Is This Thing Called Jazz?' In New Book By UC Professor |newspaper=[[Oakland Post (California)|Oakland Post]]|date=20 March 2002 |volume=38 |issue=79 |page=7 |id={{ProQuest|367372060}}}}</ref> [[Amiri Baraka]] argues that there is a "white jazz" genre that expresses [[Whiteness studies|whiteness]].<ref name="BarakaReader">{{cite book |last1=Baraka |first1=Amiri |url=https://archive.org/details/leroijonesamirib00bara |title=The LeRoi Jones/Amiri Baraka reader |date=2000 |publisher=Thunder's Mouth Press |isbn=978-1-5602-5238-2 |edition=2nd |page=42 |url-access=registration}}</ref> White jazz musicians appeared in the Midwest and in other areas throughout the U.S. [[Papa Jack Laine]], who ran the Reliance band in New Orleans in the 1910s, was called "the father of white jazz".<ref name="Yurochko">{{cite book |last1=Yurochko |first1=Bob |title=A Short History of Jazz |date=1993 |publisher=Rowman & Littlefield |isbn=978-0-8304-1595-3 |page=10 |quote=He is known as the 'Father of White Jazz'}}</ref> The [[Original Dixieland Jazz Band]], whose members were white, were the first jazz group to record, and [[Bix Beiderbecke]] was one of the most prominent jazz soloists of the 1920s.<ref name="Larkin">{{cite book |last1=Larkin |first1=Philip |title=Jazz Writings |url=https://archive.org/details/jazzwritingsessa00lark |url-access=limited |date=2004 |publisher=Continuum |isbn=978-0-8264-7699-9 |page=[https://archive.org/details/jazzwritingsessa00lark/page/94 94]}}</ref> The Chicago Style was developed by white musicians such as [[Eddie Condon]], [[Bud Freeman]], [[Jimmy McPartland]], and [[Dave Tough]]. Others from Chicago such as [[Benny Goodman]] and [[Gene Krupa]] became leading members of swing during the 1930s.<ref name="midwest">{{cite book |url=https://books.google.com/books?id=n3Xn7jMx1RYC&pg=PA569 |title=The American Midwest: An Interpretive Encyclopedia |date=2006 |publisher=Indiana University Press |isbn=978-0-2530-0349-2 |editor1-last=Cayton |editor1-first=Andrew R.L. |page=569 |editor2-last=Sisson |editor2-first=Richard |editor3-last=Zacher |editor3-first=Chris}}</ref> Many bands included both Black and white musicians. These musicians helped change attitudes toward race in the U.S.<ref name="HowHentoff">{{cite news |last1=Hentoff |first1=Nat |title=How Jazz Helped Hasten the Civil Rights Movement |work=The Wall Street Journal |date= January 15, 2009}}</ref>

===Roles of women===
{{Main|Women in jazz}}
[[File:Ethel_Waters_-_William_P._Gottlieb.jpg|thumb|right|175px|[[Ethel Waters]] sang "[[Stormy Weather (song)|Stormy Weather]]" at the [[Cotton Club]].]]
Female jazz performers and composers have contributed to jazz throughout its history. Although [[Betty Carter]], [[Ella Fitzgerald]], [[Adelaide Hall]], [[Billie Holiday]], [[Peggy Lee]], [[Abbey Lincoln]], [[Anita O'Day]], [[Dinah Washington]], and [[Ethel Waters]] were recognized for their vocal talent, less familiar were bandleaders, composers, and instrumentalists such as pianist [[Lil Hardin Armstrong]], trumpeter [[Valaida Snow]], and songwriters [[Irene Higginbotham]] and [[Dorothy Fields]]. Women began playing instruments in jazz in the early 1920s, drawing particular recognition on piano.<ref name=Murph>{{cite web |title=NPR's Jazz Profiles: Women In Jazz, Part 1 |url= https://news.npr.org/programs/jazzprofiles/archive/women_1.html |website=NPR |access-date= June 16, 2021 |first=John |last=Murph}}</ref>

When male jazz musicians were drafted during World War II, many [[all-female bands]] replaced them.<ref name=Murph/> [[The International Sweethearts of Rhythm]], which was founded in 1937, was a popular band that became the first all-female integrated band in the U.S. and the first to travel with the [[USO]], touring Europe in 1945. Women were members of the big bands of [[Woody Herman]] and [[Gerald Wilson]]. Beginning in the 1950s, many women jazz instrumentalists were prominent, some sustaining long careers. Some of the most distinctive improvisers, composers, and bandleaders in jazz have been women.<ref name="Placksin">{{cite book |last1=Placksin |first1=Sally |title=Jazzwomen |date=1985 |publisher=[[Pluto Press]] |location=London}}</ref> Trombonist [[Melba Liston]] is acknowledged as the first female horn player to work in major bands and to make a real impact on jazz, not only as a musician but also as a respected composer and arranger, particularly through her collaborations with [[Randy Weston]] from the late 1950s into the 1990s.<ref>{{cite news|url=https://www.latimes.com/archives/la-xpm-1999-apr-28-mn-31919-story.html|title=Melba Liston; Jazz Trombonist, Composer|first=Myrna|last=Oliver|newspaper=Los Angeles Times|date=April 28, 1999}}</ref><ref>{{cite journal|url=http://www.cocosse-journal.org/2019/04/the-first-woman-trombonist-in-big-bands.html|title=The First Woman Trombonist in Big Bands – Melba Liston, 1926–1999|first=S. |last=Beckett|journal=Cocosse Journal|date=April 2019}}</ref>

===Jews in jazz===

{{Main|Jews in jazz|Jewish women in jazz}}

[[File:Al_Jolson_-_publicity.JPG|thumb|right|175px|[[Al Jolson]] in 1925]]
Jewish Americans played a significant role in jazz. As jazz spread, it developed to encompass many different cultures, and the work of Jewish composers in [[Tin Pan Alley]] helped shape the many different sounds that jazz came to incorporate.<ref>{{Cite news |url=https://www.haaretz.com/jewish/9-jews-who-changed-jazz-1.5352736 |title=Nine Jews Who Changed the Sound of Jazz |newspaper=Haaretz |access-date=November 13, 2021 |archive-date=November 13, 2021 |archive-url=https://web.archive.org/web/20211113023418/https://www.haaretz.com/jewish/9-jews-who-changed-jazz-1.5352736 |url-status=live}}</ref>

Jewish Americans were able to thrive in Jazz because of the probationary whiteness that they were allotted at the time.<ref>{{Cite journal|last=Marin|first=Reva|date=December 2015|title=Representations of Identity in Jewish Jazz Autobiography|journal=Canadian Review of American Studies|volume=45|issue=3|pages=323–353|doi=10.3138/cras.2015.s10|s2cid=162673161|issn=0007-7720}}</ref> George Bornstein wrote that African Americans were sympathetic to the plight of the Jewish American and vice versa. As disenfranchised minorities themselves, Jewish composers of popular music saw themselves as natural allies with African Americans.<ref>{{Cite web |url=https://www.chicagotribune.com/entertainment/music/howard-reich/ct-ent-jazz-body-soul-0207-story.html |title='Body and Soul' doc explores links between jazz and Jews |website=[[Chicago Tribune]] |date=February 6, 2018 |access-date=November 13, 2021 |archive-date=November 13, 2021 |archive-url=https://web.archive.org/web/20211113014541/https://www.chicagotribune.com/entertainment/music/howard-reich/ct-ent-jazz-body-soul-0207-story.html |url-status=live}}</ref>

''[[The Jazz Singer]]'' with [[Al Jolson]] is one example of how Jewish Americans were able to bring jazz, music that African Americans developed, into popular culture.<ref>{{Citation|title=The jazz singer.|isbn=978-1-7854-3944-5|oclc=970692281}}</ref> [[Benny Goodman]] was a vital Jewish American to the progression of Jazz. Goodman was the leader of a racially integrated band named King of Swing. His jazz concert in the [[Carnegie Hall]] in 1938 was the first ever to be played there. The concert was described by Bruce Eder as "the single most important jazz or popular music concert in history".<ref>{{Citation|last=Goodman|first=Benny|title=Benny Goodman live at Carnegie Hall, 1938: complete.|date=2006|publisher=AVID Entertainment|oclc=213466278}}</ref>

[[Shep Fields]] also helped to popularize "Sweet" Jazz music through his appearances and [[big band remote]] broadcasts from such landmark venues as Chicago's [[Palmer House Hilton|Palmer House]], Broadway's [[Paramount Theater (New York City)|Paramount Theater]] and the Starlight Roof at the famed [[Waldorf-Astoria Hotel]]. He entertained audiences with a light elegant musical style which remained popular with audiences for nearly three decades from the 1930s until the late 1950s.<ref>[https://news.google.com/newspapers?id=oaYrAAAAIBAJ&sjid=5fwFAAAAIBAJ&pg=6717,4906729&dq=broadcast+hotel+shep+fields&hl=en The Telegraph, Feb. 24, 1981 p. 9 Shep Field Obituary on Google]</ref><ref name="The Big Bands - 4th Edition">[https://books.google.com/books?id=gj4DAwAAQBAJ&q=Shep+Fields&pg=PT325 ''The Big Bands - 4th Edition''] George T. Simon. Schirmer Trade Books, London, 2012 {{ISBN|978-0-8571-2812-6}} "Shep Fields Biography" on Books.google.com</ref><ref name="nyt1">{{cite web |title=SHEP FIELDS, LEADER OF BIG BAND KNOWEN FOR RIPPLING RYTHEM (Published 1981) |url=https://www.nytimes.com/1981/02/24/obituaries/shep-fields-leader-of-big-band-knowen-for-rippling-rythem.html |website=The New York Times |accessdate=28 October 2020 |date=24 February 1981}}</ref>