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59-655: New Orleans Jazz may refer to: Dixieland , a style of jazz music (New Orleans Jazz) Music of New Orleans § Jazz New Orleans Jazz (NBA team) , professional basketball team that relocated and became the Utah Jazz New Orleans Jazz football club , an American football team in the Stars Football League New Orleans Jazz National Historical Park Topics referred to by

118-563: A washboard . There are several active periodicals devoted to traditional jazz: the Jazz Rambler , a quarterly newsletter distributed by San Diego's America's Finest City Dixieland Jazz Society; The Syncopated Times , which covers traditional jazz, ragtime, and swing; Just Jazz and The Jazz Rag in the UK; and, to an extent, Jazz Journal , an online-only publication based in Europe covering

177-417: A " rhythm section " of at least two of the following instruments: guitar or banjo , string bass or tuba, piano, and drums. Louis Armstrong 's All-Stars was the band most popularly identified with Dixieland during the 1940s, although Armstrong's own influence during the 1920s was to move the music beyond the traditional New Orleans style. The definitive Dixieland sound is created when one instrument (usually

236-406: A "front line" of trumpet (or cornet ), trombone, and clarinet, with a " rhythm section " of at least two of the following instruments: guitar or banjo , string bass or tuba, piano, and drums. The Dixieland sound is created when one instrument (usually the trumpet) plays the melody or a variation on it, and the other instruments improvise around that melody. This creates a more polyphonic sound than

295-608: A New Baby ", " Royal Garden Blues " and many others. All of these tunes were widely played by jazz bands of the pre- WWII era, especially Louis Armstrong. They came to be grouped as Dixieland standards beginning in the 1950s. Largely occurring at the same time as the "New Orleans Traditional" revival movement in the United States, traditional jazz music made a comeback in the Low Countries . However, most Dutch jazz bands (such as The Ramblers ) had long since evolved into

354-502: A band known for its virtuoso improvisation and recording history's first stereo record , the movement brought many semi-retired musicians a measure of fame late in their lives, as well as bringing retired musicians back onto the jazz circuit after years of not playing (such as Kid Ory and Red Nichols ). Many Dixieland groups of the revival era consciously imitated the recordings and bands of decades earlier. Other musicians continued to create fresh performances and new tunes. For example, in

413-403: A foretaste of the coming deluge. "Rhythm is our business/ Rhythm is what we sell," Lunceford's singer declared: "Rhythm is our business / Business sure is swell."[7] If rhythm defined the swing bands, its foundation lay in the rhythm section: piano, guitar, bass, and drums. In big bands, rhythm sections fused into a unified rhythmic front: supplying the beat and marking the harmonies. Each of

472-556: A new form of jazz ensemble generally referred to "Oude Stijl" ("Old Style") jazz in Dutch . Influenced by the instrumentation of the two principal orchestral forms of the wind band in the Netherlands and Belgium , the "harmonie " and the " fanfare ", traditional Dutch jazz bands do not feature a piano and contain no stringed instruments apart from the banjo . They include multiple trumpets, trombones and saxophones accompanied by

531-580: A resurgence starting in the mid-1950s, but it would never attain the same popularity as it had during the swing era. During the 1920s the older two-beat style of jazz was superseded by four-beat jazz, facilitated by replacement of the sousaphone with the string bass. Four beat rhythm was the foundation of the Chicago style jazz developed by Louis Armstrong and Earl Hines, and of the swing era rhythmic styles. The change in rhythm started first with solo pianists and small ensembles, then larger ensembles towards

590-432: A single clarinet, sousaphone and a section of marching percussion usually including a washboard . The music played by Dutch jazz bands includes both the original New Orleans tunes and the songs of the revival era. In terms of playing style, Dutch jazz bands occupy a position between revivalist and original New Orleans jazz, with more solos than the latter but without abandoning the principle of ensemble playing. With

649-479: A sonic force that pushed through cavernous dance halls. "If you were on the first floor, and the dance hall was upstairs," Count Basie remembered, "that was what you would hear, that steady rump, rump, rump, rump in that medium tempo." As often noted by commentators on jazz history, the Swing era saw the saxophone supersede in many ways the trumpet as the dominant jazz solo instrument. Swing arrangements often emphasized

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708-416: A variety of jazz styles. Arguably the happiest of all music is Dixieland jazz. The sound of several horns all improvising together on fairly simple chord changes with definite roles for each instrument but a large amount of freedom, cannot help but sound consistently joyful. By the mid-1930s the word 'Dixieland' was being applied freely to certain circles of white musicians. First by the trade press, then by

767-468: Is a movement that was begun in the late 1930s by Lu Watters and his Yerba Buena Jazz Band in San Francisco and extended by trombonist Turk Murphy . It started out as a backlash to the Chicago style , which is closer in development towards swing . The repertoire of these bands is based on the music of Joe "King" Oliver , Jelly Roll Morton , Louis Armstrong , and W.C. Handy . Bands playing in

826-463: Is a reference to the "Old South", specifically anything south of the Mason-Dixon line . The term encompasses earlier brass band marches, French Quadrilles , beguine , ragtime , and blues with collective, polyphonic improvisation . While instrumentation and size of bands can be very flexible, the "standard" band consists of a "front line" of trumpet (or cornet ), trombone, and clarinet, with

885-439: Is different from Wikidata All article disambiguation pages All disambiguation pages Dixieland The Original Dixieland Jazz Band , recording its first disc in 1917, was the first instance of jazz music being called "Dixieland", though at the time, the term referred to the band, not the genre. The band's sound was a combination of African American/New Orleans ragtime and Sicilian music . The music of Sicily

944-598: The Rebirth Brass Band , have combined traditional New Orleans brass band jazz with such influences as contemporary jazz, funk , hip hop , and rap. The M-Base (Multi-Basic Array of Synchronous Extemporization) improvisational concept used by ensembles including Cassandra Wilson , Geri Allen , Greg Osby , Steve Coleman , Graham Haynes , Kevin Eubanks and others is an extension of the polyphonic improvisation of New Orleans jazz. The Dixieland revival renewed

1003-517: The big band era ) was the period (1933–1947) when big band swing music was the most popular music in the United States , especially for teenagers. Though this was its most popular period, the music had actually been around since the late 1920s and early 1930s, being played by black bands led by such artists as Duke Ellington , Jimmie Lunceford , Bennie Moten , Cab Calloway , Earl Hines , and Fletcher Henderson , and white bands from

1062-490: The string bass for the tuba and the guitar for the banjo . Musically, the Chicagoans play in more of a swing-style 4-to-the-bar manner. The New Orleanian preference for an ensemble sound is deemphasized in favor of solos. Chicago-style Dixieland also differs from its southern origin by being faster paced, resembling the hustle-bustle of city life. Chicago-style bands play a wide variety of tunes, including most of those of

1121-507: The swing era while the few remaining traditional jazz bands (such as the Dutch Swing College Band ) did not partake in the broader traditional revival movement, and continued to play ragtime and early jazz, greatly limiting the number of bands aspiring jazz musicians could join or (as they were using instruments unavailable to most Dutch musicians such as double basses and the piano) were forced to improvise, resulting in

1180-438: The "cabaret tax", which was as high as 30%, the rise of vocalist-centered pop and R&B as the dominant forms of popular music, and the rising interest in bebop among jazz musicians. Though some big bands survived through the late 1940s (Duke Ellington, Count Basie, Stan Kenton , Boyd Raeburn , Woody Herman ), most of their competitors were forced to disband, bringing the swing era to a close. Big-band jazz would experience

1239-591: The 1920s led by the likes of Jean Goldkette , Russ Morgan and Isham Jones . An early milestone in the era was from "the King of Swing" Benny Goodman's performance at the Palomar Ballroom in Los Angeles on August 21, 1935 , bringing the music to the rest of the country. The 1930s also became the era of other great soloists: the tenor saxophonists Coleman Hawkins , Ben Webster and Lester Young ;

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1298-448: The 1930s, cited Trumbauer's linear, melodic approach to improvisation as his main inspiration for his own style. The Fletcher Henderson Orchestra in 1927 consisted of two trumpets, two trombones, three reeds, piano, banjo, tuba, and drums. The Goodman band in 1935 had three trumpets, two trombones, the leader's clarinet, two alto saxes, two tenor saxes, piano, guitar, bass, and drums, fourteen pieces in all, compared to Henderson's eleven in

1357-493: The 1930s. Arrangers learned to write elaborate lines for an entire section, harmonized in block chords, called soli. They were conversant with chromatic (complex) harmony and knew how to make the most of their flexible orchestra. Arrangements could also arise spontaneously out of oral practice. But even in New York, where bands prided themselves on their musical literacy, musicians could take improvised riffs and harmonize them on

1416-405: The 1950s a style called "Progressive Dixieland" sought to blend polyphonic improvisation with bebop -style rhythm . Spike Jones & His New Band and Steve Lacy played with such bands. This style is sometimes called "Dixie-bop". Lacy went on to apply that approach to the music of Thelonious Monk , Charles Mingus , Duke Ellington , and Herbie Nichols . The word " Dixie " is the nickname of

1475-530: The Isham Jones band in 1936 to start his own band. Several factors led to the demise of the swing era: the 1942–1944 musicians' strike from August 1942 to November 1944 (The union that most jazz musicians belong to told its members not to record until the record companies agreed to pay them each time their music was played on the radio), the earlier ban of ASCAP songs from radio stations, World War II which made it harder for bands to travel around as well as

1534-606: The R&;B style of James Brown . Soprano saxophonist Steve Lacy combined New Orleans style polyphonic improvisation with bebop . Bassist Charles Mingus paid homage to traditional jazz styles with compositions such as "Eat Dat Chicken" and "My Jellyroll Soul". The contemporary New Orleans brass band styles, such as the Dirty Dozen Brass Band , The Primate Fiasco, the Hot Tamale Brass Band and

1593-561: The Southern United States, wherein New Orleans – the birthplace of Dixieland Jazz – is located. Dixieland largely evolved into Chicago style in the late 1910s and the new style was popularly called that name by the early 1920s. "Chicago style" is often applied to the sound of Chicagoans such as Jimmy McPartland , Eddie Condon , Muggsy Spanier , and Bud Freeman . The rhythm sections of these bands substitute

1652-535: The Swing era employed a beat that was simultaneously 2/4 and 4/4. The Bob Crosby Orchestra and the Lionel Hampton Orchestra also featured two-beat rhythms long after four-beat rhythm became the standard. In May 1935, the No. 1 record in the country was Jimmie Lunceford's "Rhythm Is Our Business". Released a few months before Benny Goodman triggered the national craze known as swing, the song offered

1711-722: The West Coast style use banjo and tuba in the rhythm sections, which play in a two-to-the-bar rhythmic style. Much performed traditional Dixieland tunes include: " When the Saints Go Marching In ", " Muskrat Ramble ", " Struttin' with Some Barbecue ", " Tiger Rag ", " Dippermouth Blues ", " Milenberg Joys ", " Basin Street Blues ", " Tin Roof Blues ", " At the Jazz Band Ball ", " Panama ", " I Found

1770-523: The alto saxophonists Benny Carter and Johnny Hodges ; the drummers Chick Webb , Gene Krupa , Jo Jones and Sid Catlett ; the pianists Fats Waller and Teddy Wilson ; the trumpeters Louis Armstrong , Roy Eldridge , Bunny Berigan , and Rex Stewart . Developments in dance orchestras and jazz music culminated in swing music during the early 1930s. It brought to fruition ideas originated with Louis Armstrong , Earl Hines , Fletcher Henderson , Duke Ellington , and Jean Goldkette . The swing era also

1829-468: The audience for musicians who had continued to play in traditional jazz styles and revived the careers of New Orleans musicians who had become lost in the shuffle of musical styles that had occurred over the preceding years. Younger black musicians shunned the revival, largely because of a distaste for tailoring their music to what they saw as nostalgia entertainment for white audiences with whom they did not share such nostalgia. The Jim Crow associations of

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1888-498: The average band containing up to 15 players, Dutch jazz bands tend to be the largest ensembles to play traditional jazz music. Musical styles showing influences from traditional jazz include later styles of jazz, rhythm and blues , and early rock and roll . Traditional New Orleans second-line drumming and piano playing are prominent in the music of Fats Domino . The New Orleans drummer Idris Muhammad adapted second-line drumming to modern jazz styles and gained crossover influence on

1947-661: The bandstand. One was "Sugar Foot Stomp", derived in the early 1920s from the King Oliver tune "Dippermouth Blues" and still in the repertory. By the 1930s, it had evolved into a thoroughly up-to-date dance tune, with a faster tempo to match the tastes of the dancers. Another hit was "King Porter Stomp", a ragtime piece by Jelly Roll Morton that became radically simplified, shedding its two-beat clumsiness and march/ragtime form as it went. Many of these pieces were ultimately written down by Henderson, who became his band's chief arranger. His genius for rhythmic swing and melodic simplicity

2006-406: The barrier to early acceptance of the saxophone as a jazz instrument but it was the style of Frankie Trumbauer on C melody sax, showcased in the recordings he did with Bix Beiderbecke in 1927, that laid the groundwork for the style of saxophone playing that would make it a dominant influence on soloing styles. Lester Young , whose influence on saxophone playing became dominant towards the end of

2065-417: The bass drum continued to play a rock-solid four beat pulse, the tuba, commonly used in large dance bands of the 1920s, was replaced by the string bass. During the early years of recording, the tuba was able to project a clear, huffing sound. But the string bass had been replacing the tuba over the rhythmic devices available with it and many players, including Wellman Braud with Duke Ellington's band, showed that

2124-480: The earlier days. The piano-guitar-bass-drums rhythm section had become standard and kept a steady and uncluttered beat that was very easy to follow. Goodman was quite skilled at setting the perfect dance tempo for each song while alternating wild "killer dillers" with slower ballads. In addition to Henderson and his younger brother Horace, Goodman employed top arrangers such as Fletcher Henderson , Jimmy Mundy , Deane Kincaide , Edgar Sampson , and Spud Murphy who put

2183-518: The end of the decade. Toward the end of the twenties the two-beat styles seemed all but exhausted. First in Chicago, then in Harlem and Kansas City, a new way of playing developed around 1928–29. Chicago musicians migrating to Harlem brought their rhythmic ideas with them. As is so often the case in jazz, there are confusing exceptions to this general outline. Jimmie Lunceford's big band at the height of

2242-681: The enduring popularity of traditional jazz. Country Joe McDonald 's Vietnam-era protest song " Feel Like I'm Fixin' to Die Rag " is based on tonal centers and incorporates the "B" refrain from the New Orleans standard " Muskrat Ramble ". Traditional jazz is a major tourist attraction for New Orleans to the present day. It has been an influence on the styles of more modern players such as Charles Mingus and Steve Coleman . New Orleans music combined earlier brass band marches, French quadrilles , biguine , ragtime , and blues with collective, polyphonic improvisation . The "standard" band consists of

2301-443: The foreground of jazz. In the process, they helped set the stage for bebop. In 1939, Duke Ellington discovered virtuoso young bassist Jimmie Blanton and hired him into his Orchestra. Blanton revolutionized the bass as a featured instrument in the band, until he left the band in late 1941 due to terminal tuberculosis. Towards the end of the 1930s the roles of the piano, bass, and drums in the rhythm section changed significantly under

2360-409: The heavily arranged big band sound of the 1930s or the straight melodies (with or without harmonizing) of bebop in the 1940s. The "West Coast revival", which used banjo and tuba, began in the late 1930s in San Francisco. The Dutch "old-style jazz" was played with trumpets, trombones and saxophones accompanied by a single clarinet, sousaphone and a section of Marching percussion usually including

2419-462: The importance of the bass and guitar in timekeeping, ably held by Walter Page and Freddie Green . The lighter and sparser, yet more dynamic, sense of rhythm expressed by the Basie rhythm section lent greater freedom for the band's soloists and set a trend that would culminate in the rhythmic ideas of bebop . To help bands adjust to the new groove, major changes were made in the rhythm section. While

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2478-526: The influence of the Count Basie Orchestra. Early swing drumming relied heavily on the bass and snare drums, with a secondary role for the high hat cymbal in timekeeping. Jo Jones inverted that relationship, making the high hat the primary timekeeper and using the bass and snare drums for accents and lead-ins. Basie introduced a rhythmically sparse style of piano playing emphasizing accents, lead-ins, and fills. Both of those changes increased

2537-464: The instrument had a special percussive flavor when the strings were given a pizzicato "slap" (plucked rather than bowed). Change came gradually in the late 1920s, once word had gotten around about how well the string bass worked; many tuba players realized that they'd better switch instruments or lose their jobs. With Walter Page 's bass replacing the tuba in Bennie Moten 's Kansas City Orchestra,

2596-444: The leading bands presented a distinct, well-designed rhythmic attack that complemented its particular style. The rhythm sections of Ellington, Basie, and Lunceford, for example, sounded nothing alike. Just as the soloists were champing at the bit of big-band constraints, rhythm players were developing techniques and ideas that demanded more attention than they usually received. In the 1930s, rhythm instruments made dramatic advances toward

2655-440: The melody first but included rhythmic figures in their charts and wrote arrangements that built to a logical climax. Mundy and Sampson had previously done arranging for Earl Hines and Chick Webb , respectively. In 1935, Goodman did not have many major soloists in his band. Unlike Duke Ellington, who went out of his way to hire unique individualists, and Count Basie, who came from a Kansas City tradition emphasizing soloists, Goodman

2714-524: The more traditional bands plus many of the Great American Songbook selections from the 1930s by George Gershwin , Jerome Kern , Cole Porter , and Irving Berlin . Non-Chicagoans such as Pee Wee Russell and Bobby Hackett are often thought of as playing in this style. This modernized style came to be called Nicksieland , after Nick's Tavern, where it was popular, though the term was not limited to that club. The "West Coast revival"

2773-499: The name "Dixieland" also did little to attract younger black musicians to the revival. The Dixieland revival music during the 1940s and 1950s gained a broad audience that established traditional jazz as an enduring part of the American cultural landscape, and spawned revival movements in Europe. Well-known jazz standard tunes such as " Basin Street Blues " and " When the Saints Go Marching In " are known even to non-jazz fans thanks to

2832-498: The older style. Though younger musicians developed new forms, many beboppers revered Armstrong and quoted fragments of his recorded music in their own improvisations. The Dixieland revival in the late 1940s and 1950s was formed in reaction to the orchestrated sounds of the swing era and the perceived chaos of the new bebop sounds (called "Chinese music" by Cab Calloway ). Led by the Assunto brothers' original Dukes of Dixieland ,

2891-606: The other hand, the easy melodic quality and clean intonation of Goodman's band made it possible to "sell" jazz to a mass audience.[4] The swing era brought to swing music Louis Armstrong, Billie Holiday , and by 1938 Ella Fitzgerald . Armstrong, who had heavily influenced jazz as its greatest soloist in the 1920s when working with both small bands and larger ones, now appeared only with big swing bands. Other musicians who rose during this time include Jimmy Dorsey , his brother Tommy Dorsey , Glenn Miller , Count Basie , Goodman's future rival Artie Shaw , and Woody Herman , who departed

2950-581: The public. By the end of the decade it all but lost any direct 'Southern' association. Swing era There was a time, from 1933–1947, when teenagers and young adults danced to jazz-orientated bands. When jazz orchestras dominated pop charts and when influential clarinettists were household names. This was the swing era. Scott Yanow , Du Noyer, Paul (2003). The Illustrated Encyclopedia of Music (1st ed.). Fulham, London: Flame Tree Publishing. p. 128. ISBN   1-904041-96-5 . The swing era (also frequently referred to as

3009-459: The reed section to carry the melody, with trumpets providing accents and highlights. For this reason the types of solo improvisations would change dramatically during the thirties. Trumpeter Roy Eldridge deviated from the more common Armstrong-influenced styles towards a style of improvisation resembling that of reed players, and in turn would be an early influence on bebop trumpet pioneer Dizzy Gillespie . Coleman Hawkins and Benny Carter broke

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3068-429: The same term [REDACTED] This disambiguation page lists articles associated with the title New Orleans Jazz . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=New_Orleans_Jazz&oldid=1133208112 " Category : Disambiguation pages Hidden categories: Short description

3127-503: The spot. The result, known as a head arrangement, was a flexible, unwritten arrangement created by the entire band. One musician compared it to child's play—"a lot of kids playing in the mud, having a big time." Both kinds of arrangements, written and unwritten, could be heard in the hundreds of recordings made in the 1930s by Fletcher Henderson. For flashy pieces, Henderson relied on experienced arrangers, from his brother Horace to Don Redman and Benny Carter. But his biggest hits emerged from

3186-479: The trumpet) plays the melody or a recognizable paraphrase or variation on it, and the other instruments of the "front line" improvise around that melody. This creates a more polyphonic sound than the arranged ensemble playing of the big band sound or the straight "head" melodies of bebop . During the 1930s and 1940s, the earlier group-improvisation style fell out of favor with the majority of younger black players, while some older players of both races continued on in

3245-410: The way was laid clear for the band to develop the kinetic style of swing it would show under the leadership of Count Basie. The banjo, with its loud and raucous tone, was replaced with the guitar, which provided a more subtle and secure pulsation (chunk-chunk) in the foundation rhythm. As the saying went, the guitar was more felt than heard. Listeners felt the combined sound of bass, guitar, and drums as

3304-506: Was most concerned that his musicians read music perfectly, blended together naturally, and did not mind being subservient to the leader. It was the sound of the ensembles, the swinging rhythm section, and the leader's fluent clarinet that proved to be irresistible to his young and eager listeners. To fit the new groove, dance-band arranging became more inventive. To some extent, this was a belated influence of Louis Armstrong, whose rhythms continued to be absorbed by soloists and arrangers through

3363-404: Was one of the many genres in the New Orleans music scene during the 1910s, alongside sanctified church music, brass band music and blues. Much later, the term "Dixieland" was applied to early jazz by traditional jazz revivalists, starting in the 1940s and 1950s. In his book Jazz , the critic Rex Harris defined Dixieland as "Jazz played in a quasi-New Orleans manner by white musicians." The name

3422-425: Was precipitated by spicing up familiar commercial, popular material with a Harlem-oriented flavor and selling it via a white band for a white musical/commercial audience.[3] In Benny Goodman's band, the most diversified styles flowed together: the ensemble style developed by Fletcher Henderson , who arranged for Goodman; the riff technique of Kansas City ; and the precision and training of many white musicians. On

3481-428: Was so effective that his music became the standard for numerous swing arrangers. Henderson was fond of short, memorable riffs—simple, bluesy phrases—in call and response: saxophones responding to trumpets, for example. In some passages, he distorted the melody into ingenious new rhythmic shapes, often in staccato (detached) bursts that opened up space for the rhythm section. Henderson was shrewd and efficient. He wrote only

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