1920s in jazz

In 1920, the jazz age was underway and was indirectly fueled by prohibition of alcohol.[5] In Chicago, the jazz scene was developing rapidly, aided by the immigration of over 40 prominent New Orleans jazzmen to the city, continuous throughout much of the 1920s, including The New Orleans Rhythm Kings who began playing at Friar's Inn.[5] However, in 1920, the cabaret business began in New York City and the growing number of speakeasies developing in the cellars of New York City provided many aspiring jazz musicians with new venues which gradually saw many musicians who had moved to Chicago ending up in on the east coast.[5] Classic Blues became very prominent from 1920 after Mamie Smith recorded Crazy Blues and grew in popularity along with jazz.[5]

In 1920, Paul Whiteman and his band recorded "Whispering" in New York City, in a subgenre known as symphonic jazz. Meanwhile, in New York City Adrian Rollini began playing bass saxophone with the California Ramblers and would later in the decade play with Bix Beiderbecke.[5] Duke Ellington had developed in a successful band leader and Louis Armstrong began to amaze audiences with New Orleans Jazz.[5]

Cover of a 1922 edition of F. Scott Fitzgerald's book Tales of the Jazz Age

In 1922, Chicago and New York City were becoming the most important centres for jazz, and jazz was becoming very profitable for jazz managers such as Paul Whiteman who by 1922 managed some 28 different jazz ensembles on the East Coast, earning more than $1 million in 1922.[7] Yet as a form of music it was still not appreciated by many critics, including Anne Faulkner, who passed off jazz as "a destructive dissonance," asking if the music "put the sin in syncopation"and Henry van Dyke who described jazz as "an unmitigated cacophony, a species of music invented by demons for the torture of imbeciles."[8]

Chicago in 1922 in particular was attracting bands such as Joe "King" Oliver's Creole Jazz Band at the Lincoln Gardens, joined by Louis Armstrong on 8 August 1922 and the Austin High Gang featuring Frank Teschemacher (clarinet), Jimmy McPartland (cornet), Richard McPartland (guitar and banjo) and Lawrence "Bud" Freeman (sax) who began playing at the Friar's Inn in Chicago.[7] Meanwhile, on the New York scene, Duke Ellington arrived in New York City with Sonny Greer and banjo player Elmer Snowden and met his idol James P. Johnson, Fats Waller who had begun to make a name for himself with his piano rolls and Willie "The Lion" Smith.[7]Coleman Hawkins, already well noted for his high level of profiency joined Mamie Smith's Jazz Hounds and were later hired in New York by Fletcher Henderson.[7]

Jazz began to emerge in the Soviet Union with the "First Eccentric Orchestra of the Russian Federated Socialist Republic – Valentin Parnakh's Jazz Band ".

In 1924, the improvised solo had become an integral part of most jazz performances[16] Jazz was becoming increasingly popular in New Orleans, Kansas City, Chicago and New York City and 1924 was something of a benchmark of jazz being seen as a serious musical form.[17][18] John Alden Carpenter made a statement insisting that jazz was now 'our contemporary popular music',[19] and Irving Berlin made a statement that jazz was the "rhythmic beat of our everyday lives," and the music's "swiftness is interpretive of our verve and speed". Leopold Stokowski, the conductor of the Philadelphia Orchestra in 1924, publicly embraced jazz as a musical art form and delivered praise to various jazz musicians.[20] In 1924, George Gershwin wrote Rhapsody in Blue, widely regarded as one of the finest compositions of the 20th century.[21]

Black jazz entrepreneur and producer Clarence Williams successfully recorded groups in the New Orleans area, among them Sidney Bechet and Louis Armstrong.[16] Williams, like Armstrong soon moved from New Orleans and opened a record store in Chicago. In Chicago, Earl Hines formed a group and incidentally inhabited the neighboring apartment to Armstrong while he was in Chicago.[22] Also in Chicago, trumpeter Tommy Ladnier begins playing in Joe Oliver's band. Meanwhile, Bechet soon moved to New England with Ellington during the summer of 1924, playing dances and later New York City.

In 1924, in jazz, ensembles in the Kansas City area began play a style with a four even beat ground beat as opposed to a New Orleans two beat ground beat behind a 4/4 melody.[22] Charlie Parker grew up in Kansas City listening to this style of jazz.

In 1924, Django Reinhardt became a guitarist and began playing the clubs of Paris.[22] Noted Classic Blues singer Bessie Smith began to achieve major fame.[22]

In October 1924, Louis Armstrong joined Fletcher Henderson's band in New York City upon his wife's insistence. They began performing at the Roseland Ballroom on 51st street and Broadway in Manhattan.[22] His new style of jazz playing greatly influenced the style of other New York musicians such as Coleman Hawkins and Duke Ellington.[23] Ellington and his Washingtonians performed at the Hollywood Club on 49th street and Broadway, while Bix Beiderbecke and the Wolverines, renamed Personality Kids performed at the Cinderella Ballroom on 41st street and Broadway. On 5 December 1924, a 17-year-old Jimmy McPartland replaced Beiderbecke in the Wolverines (Personality Kids) band and violinist Dave Harmon joins.[24]

• The New Real Book, Volume I. Sher Music. 1988. ISBN 0-9614701-4-3.
• The New Real Book, Volume II. Sher Music. 1991. ISBN 0-9614701-7-8.
• The New Real Book, Volume III. Sher Music. 1995. ISBN 1-883217-30-X.
• The Real Book, Volume I (6th ed.). Hal Leonard. 2004. ISBN 0-634-06038-4.
• The Real Book, Volume II (2nd ed.). Hal Leonard. 2007. ISBN 978-1-4234-2452-9.
• The Real Book, Volume III (2nd ed.). Hal Leonard. 2006. ISBN 0-634-06136-4.
• The Real Jazz Book. Warner Bros. ISBN 978-91-85041-36-7.
• The Real Vocal Book, Volume I. Hal Leonard. 2006. ISBN 0-634-06080-5.