Now let’s go back now into the history of Jazz !
Dixieland jazz, also referred to as traditional jazz, hot jazz, or simply Dixieland, is a style of jazz based on the music that developed in New Orleans at the start of the 20th century. The 1917 recordings by the Original Dixieland Jass Band (which shortly thereafter changed the spelling of its name to “Original Dixieland Jazz Band”), fostered awareness of this new style of music.
History
A traditionalist jazz band plays at a party in New Orleans in 2005. Shown here are Chris Clifton, on trumpet; Brian O’Connell, on clarinet; Les Muscutt, on banjo; Chuck Badie, on string bass; and Tom Ebert, on trombone.
The Original Dixieland Jass 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 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 is a reference to the “Old South”, specifically anything south of the Mason-Dixon line. The term encompasses earlier brass band marches, French Quadrilles, biguine, 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 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 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 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, 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 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 the Southern United States, wherein New Orleans – the birthplace of Dixieland Jazz – is located. (wikipedia)
Swing music is a style of jazz that developed in the United States during the late 1920s and early ’30s. It became nationally popular from the mid-1930s. The name derived from its emphasis on the off-beat, or nominally weaker beat. Swing bands usually featured soloists who would improvise on the melody over the arrangement. The danceable swing style of big bands and bandleaders such as Benny Goodman was the dominant form of American popular music from 1935 to 1946, known as the swing era, when people were dancing the Lindy Hop. The verb “to swing” is also used as a term of praise for playing that has a strong groove or drive. Musicians of the swing era include Duke Ellington, Benny Goodman, Count Basie, Cab Calloway, Jimmy Dorsey, Tommy Dorsey, Woody Herman, Harry James, Lionel Hampton, Glenn Miller, Artie Shaw and Django Reinhardt.
Swing has its roots in 1920s dance music ensembles, which began using new styles of written arrangements, incorporating rhythmic innovations pioneered by Louis Armstrong, Coleman Hawkins, Benny Carter and other jazzmen. During the World War II era Swing began to decline in popularity, and after war, bebop and jump blues gained popularity.
Swing blended with other genres to create new musical styles. In country music, artists such as Jimmie Rodgers, Moon Mullican, Milton Brown and Bob Wills introduced elements of swing along with blues to create a genre called “western swing”. Famous roma guitarist Django Reinhardt created gypsy swing music[4] and composed the gypsy swing standard “Minor Swing”. In the late 1980s to early 1990s, new urban-styled swing-beat emerged called new jack swing (New York go-go), created by young producer Teddy Riley. In the late 1990s and into the 2000s, there was a swing revival, led by Squirrel Nut Zippers, Brian Setzer orchestra and Big Bad Voodoo Daddy. (wikipedia)
Oh … what a wonderful and fantastic compilation …
It´s time to discover the very early roots of Jazz …
… Here you have the opportunity !
And it is really surprising what sophisticated musical ideas all these musicians of that time already had … listen to “Dixieland Jass Band One-Step” or “Song Of India”.
And of course we hear on this album quite a few classics of this music style like “Maple Leaf Rag”, “Muskrat Ramble”, “Tiger Rag”, “In The Mood”, “Moonlight Serenade”, “Mood Indigo”, “Take The ‘A’ Train” or “Night And Day”.
Tracklist:
CD 1:
Original Dixieland Jass Band:
01. Indiana (McDonald/Hanley) 3.28
02. Dixieland Jass Band One-Step (LaRocca/Edwards/Shields/Ragas/Sbarbaro) 2.39
03. At The Jass Band Ball (Shields) 2.48
04. Sensation Rag (Edwards) 2.57
New Orleans Rhythm Kings:
05. Bugle Call Blues (Snyder/Pettis) 2.21
06. Farewell Blues (Rappolo/Schoebel) 2.41
07. Tin Roof Blues (Pollack/Martin/Murray/Schoebel/Snyder/Brunies/Scoville/Long/Pettis/Roppolo/Black/Stitzel/Spanier/Mares) 3.02
08. Maple Leaf Rag (Joplin) 3.00
King Oliver & His Dixie Syncopators:
09. Wa Wa Wa (Schaefer) 2.48
10. Showboat Shuffle (Bigard/Oliver) 2.58
11. Willie The Weeper (Ryman/Bloom/Melrose) 2.56
12. West End Blues (Oliver) 3.05
Louis Armstrong & His Hot Five:
13. Heebie Jeebies (Atkins) 3.04
14. Cornet Chop Suey (Armstrong) 3.07
15. Muskrat Ramble (Ory/Gilbert) 2.41
16. Struttin’ With Some Barbecue (Hardin) 3.01
Bix Beiderbecke & The Wolverines:
17. Fidgety Feet (La Rocca/Shields) 2.26
18. Riverboat Shuffle (Carmichael/Mills) 2.35
19. Royal Garden Blues (Williams) 2.54
20. Tiger Rag (La Rocca) 2.39
CD 2:
Glenn Miller And His Orchestra:
01. In The Mood (Garland/Razaf) 3.38
02. Moonlight Serenade (Parish/Miller) 4.24
03. Pensylvania 6-5000 (Gray/Sigman) 3.18
04. Chattanooga Choo Choo (Gordon/Warren) 3.27
Benny Goodman And His Orchestra:
05. King Porter Stomp (Morton) 3.09
06. Stompin’ At The Savoy (Goodman/Webb/Sampson) 3.15
07. St. Louis Blues (Handy) 3.24
08. Alexander’s Ragtime Band (Berlin) 2.10
Count Basie Orchestra:
09. One O’Clock Jump (Basie) 3.05
10. Taxi War Dance (Basie/Young) 2.49
11. Twelfth Street Rag (Sumner/Bowman) 3.05
12. Super Chief (Mundy/Basie) 3.27
Duke Ellington And His Orchestra:
13. Cotton Club Stomp (Hodges/Ellington) 2.55
14. Mood Indigo (Ellington/Mills) 3.05
15. Take The ‘A’ Train (Strayhorn) 4.29
16. The Mooche (Ellington/Mills) 3.50
Tommy Dorsey And His Orchestra:
17. Song Of India (Rimsky-Korsakov) 3.07
18. Night And Day (Porter) 2.35
19. Smoke Gets In Your Eyes (Harbach/Kern) 3.08
20. Boogie Woogie (Smith) 3.09
ManyFantasticColors 