By William Howland Kenney
The surroundings is the Royal Gardens Cafe. It's darkish, smoky. The scent of gin permeates the room. individuals are leaning over the balcony, their beverages spilling at the clients less than. On degree, King Oliver and Louis Armstrong roll on and on, piling up choruses, the rhythm part development the beat till tables, chairs, partitions, humans, flow with the rhythm. The time is the Twenties. where is South facet Chicago, a city of dance halls and cabarets, Prohibition and segregation, a city the place jazz might flourish into the musical assertion of an era.
In Chicago Jazz, William Howland Kenney bargains a wide-ranging examine jazz within the Windy urban, revealing how Chicago grew to become the most important middle of jazz within the Twenties, the most very important classes within the background of the tune. He describes how the migration of blacks from the South to Chicago in the course of and after global warfare I set the degree for the improvement of jazz in Chicago; and the way the nightclubs and cabarets catering to either black and white shoppers supplied the social environment for jazz performances. Kenney discusses the coming of King Oliver and different greats in Chicago within the past due youth and the early Twenties, specially Louis Armstrong, who may develop into the main influential jazz participant of the interval. And he travels past South aspect Chicago to examine the evolution of white jazz, concentrating on the effect of the South facet university on such younger white gamers as Mezz Mezzrow (who followed the mannerisms of black express enterprise performers, an urbanized southern black accessory, and black slang); and Max Kaminsky, deeply inspired through Armstrong's "electrifying tone, his impressive process, his energy and simplicity, his hotness and depth, his whole mastery of the horn." the private memories of many others--including Milt Hinton, Wild invoice Davison, Bud Freeman, and Jimmy McPartland--bring alive this intriguing interval in jazz history.
here's a new interpretation of Chicago jazz that finds the position of race, tradition, and politics within the improvement of this bold musical kind. From black-and-tan cabarets and the Savoy Ballroom, to the Friars resort and Austin excessive, Chicago Jazz brings to existence the hustle and bustle of the sounds and forms of musical leisure within the recognized toddlin' city.
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Additional info for Chicago Jazz: A Cultural History, 1904-1930
We must awaken to the fact that we are living in a "show me" age ... "Make Good" is the password that opens the door of Success. Among South Side jazzmen in the 19205, Earl Hines took the honors for sophistication when stepping out in his tux, Chesterfield overcoat, and bowler hat, swinging a walking stick. Hines had been raised in Pittsburgh, where he had learned northern ways. Lacking a union, black jazzmen in Pittsburgh had dressed up like dandies and hung out on Wylie Avenue, where bookers regularly hired musicians off the sidewalks.
4° While Virgil Williams was its proprietor and James Griffin its manager from 1918 to 1921, the Royal Gardens consistently hired Clarence Muse, a mainstay of black vaudeville who went on to a long career as a character actor in Hollywood, to stage what were often elaborate floor South Side Jazz: Cultural Context 21 shows. The facility led the way into the jazz age by featuring King Oliver's Band for an exceptionally long run, from 1919 to 1924 (with time out for a trip to the West Coast). 4" Like Dreamland, this cabaret, even under white ownership, served the local community by providing one of two relatively large dance floors in a neighborhood otherwise deprived.
Gold Coasters, for example, provided a lively market for society dance bands such as that of William Samuels. Black musicians often worked for private parties, particularly on New Year's Eve, but there were one-night stands, not the sort of regular work on which to build a career. With the help of cabaret entrepreneur and loyal Thompsonite John M. Kantor, Eddie South, "The Dark Angel of the Violin," and black bandleaders Albert Wynn and Jimmy Wade led orchestras at Kantor's elegant Moulin Rouge Cafe at 416 South Wabash Avenue in the Loop.