Jazz Age - Knowledge (XXG)

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royally welcomed back as its own; to China where the mandarins and even the coolies look upon it as a helpful sign that the Occident at last knows what is music; to Siam, where the barbaric tunes strike a kindred note and come home to roost; to India, where the natives receive it dubiously, while the colonists seize upon it avidly; to the East Indies, where it holds sway in its elementary form — ragtime; to Egypt, where it sounds so curiously familiar and where it has set Cairo dance mad; to Palestine, where it is looked upon as an inevitable and necessary evil along with liberation; across the Mediterranean, where all ships and all shores have been inoculated with the germ; to Monte Carlo and the Riviera, where the jazz idea has been adopted as its own enfant-chéri; to Paris, which has its special versions of jazz; to London, which long has sworn to shake off the fever, but still is jazzing; and back again to Tinpan Alley, where each day, nay, each hour, adds some new inspiration that will slowly but surely meander along jazz latitude.

388:. New York City had, at the height of Prohibition, 32,000 speakeasies. At speakeasies, both payoffs and mechanisms for hiding alcohol were used. Charlie Burns, in recalling his ownership of several speakeasies employed these strategies as a way to preserve his and Jack Kriendler's illegal clubs. This includes forming relationships with local police. Mechanisms that a trusted engineer created include one that when a button was pushed, tongue blocks under shelves of liquor would drop, making the shelves drop back and liquor bottles fall down a chute, break, and drain the alcohol through rocks and sand. An alarm also went off if the button was pushed to alert customers of a raid. Another mechanism used by Burns was a wine cellar with a thick door flush with the wall. It had a small, almost unnoticeable hole for a rod to be pushed in to activate a lock and open the door. 849:

Ideas such as equality and open sexuality were very popular during the time and women seemed to capitalize on these ideas during this period. The 1920s saw the emergence of many famous women musicians, including Bessie Smith. Bessie Smith gained attention because she was not only a great singer but also an African-American woman as well as an icon in the LGBTQ+ community. Throughout her musical career she was unapologetically herself, expressing the struggles of the Black working class, addressing issues such as poverty, racism, and sexism alongside themes of love and female sexuality in her lyrics. She has grown through the ages to be one of the most well respected singers of all time and inspired later performers such as

72: 329: 454: 496: 882:. It was not until the 1930s and 1940s that many women jazz singers, such as Bessie Smith and Billie Holiday, were recognized as successful artists in the music world. Another famous female vocalist who attained stardom at the tail-end of the Jazz Age was Ella Fitzgerald, one of the more popular female jazz singers in the United States for more than half a century and later dubbed "The First Lady of Song". She worked with all the jazz greats of the era, including 924:, who visited Europe during and after World War I. It was their live performances which inspired European audiences' interest in jazz, as well as the interest in all things American (and therefore exotic) which accompanied the economic and political woes of Europe during this time. The beginnings of a distinct European style of jazz began to emerge in this interwar period. 754:

originated from clubs in leading centers such as New York, Chicago, Kansas City, and Los Angeles. There were two categories of live music on the radio: concert music and big band dance music. The concert music was known as "potter palm" and was concert music by amateurs, usually volunteers. Big band dance music is played by professionals and was featured in

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psychology of the 1920s, jazz promoted "childlike" behavior, with frequenters known as Flappers often called "Jazz Babies." The uninhibited and spontaneous nature of jazz encouraged primal and sensual expression. As the older generation dismissed jazz, it became a vehicle for young women (and men) to challenge the values of their parents and grandparents.

2035:, p. 463: "Calling jazz an 'agency of the devil,' the pastor of the Calvary Baptist Church in New York said in 1926: 'Jazz, with its . . . appeal to the sensuous, should be stamped out.' The rector of the Episcopal Church of the Ascension in New York said in 1922: 'Jazz is retrogression. It is going to the African jungle for our music.'" 213:. New Orleans provided a cultural humus in which jazz could germinate because it was a port city with many cultures and beliefs intertwined. In New Orleans, people of different cultures and races often lived close together which allowed for cultural interaction which facilitated the development of the active musical environment of the city 410:(both involved in organized crime) was to give poor Italian Americans alcohol stills to make alcohol for them at $ 15 per day's work. Another strategy was to buy liquor from rumrunners. Racketeers would also buy closed breweries and distilleries and hire former employees to make alcohol. Another person famous for organized crime named 364:, speakeasies were places (often owned by organized criminals) where customers could drink alcohol and relax or speakeasy. Jazz was played in these speakeasies as a countercultural type of music to fit in with the illicit environment and events going on. Jazz artists were therefore hired to play at speakeasies. 822:, developed by African Americans, suddenly became popular among the youth. Traditionalists were aghast at what they considered the breakdown of morality. Some urban middle-class African Americans perceived jazz as "devil's music", and believed the improvised rhythms and sounds were promoting promiscuity. 894:

The birth of jazz is credited to African Americans. But it was modified to become socially acceptable to middle-class white Americans. Those critical of jazz saw it as music from people with no training or skill. White performers were used as a vehicle for the popularization of jazz music in America.

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on August 18, 1920, and the entrance of the free-spirited flapper, women began to take on a larger role in society and culture. With women now taking part in the work force after the end of the First World War there were now many more possibilities for women in terms of social life and entertainment.

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Jazz aimed to cultivate empathy by initially challenging established norms and those who adhered to them, before captivating them with its ethereal and enchanting allure. It sought to blur the societal divides of race, class, and political allegiance, as illustrated in James Baldwin's renowned short

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was a nationwide constitutional ban on the production, importation, transportation, and sale of alcoholic beverages from 1920 to 1933. In the 1920s, the laws were widely disregarded, and tax revenues were lost. Well-organized criminal gangs took control of the beer and liquor supply for many cities,

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Jazz latitude is marked as indelibly on the globe as the heavy line of the equator. It runs from Broadway along Main Street to San Francisco: to the Hawaiian Islands, which it has lyricized to fame; to Japan, where it is hurriedly adopted as some new Western culture; to the Philippines, where it is

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and popular musical styles, all linked by the common bonds of Black-American and European-American musical parentage with a performance orientation. From African traditions, jazz derived its rhythm, "blues", and traditions of playing or singing in one's own expressive way. From European traditions,

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described three types of jazz music at the time: black music for black audiences, black music for white audiences, and white music for white audiences. Jazz artists like Louis Armstrong originally received very little airtime because most stations preferred to play the music of white American jazz

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Jazz served as a platform for rebellion on multiple fronts. In dance halls, jazz clubs, and speakeasies, women found refuge from societal norms that confined them to conventional roles. These spaces offered them more freedom in their speech, attire, and behavior. Reflecting the prevalent Freudian

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The introduction of large-scale radio broadcasts enabled the rapid national spread of jazz in 1932. The radio was described as the "sound factory." Radio made it possible for millions to hear music for free — especially people who never attended expensive, distant big city clubs. These broadcasts

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had some of the best of it. Bill McCoy was in the rum-running business, and at certain points of time was ranked among the best. To avoid being caught, he sold liquor just outside the territorial waters of the United States. Buyers would come to him to pick up his booze as a precaution for McCoy.

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Urban radio stations played African-American jazz more frequently than suburban stations, due to the concentration of African Americans in urban areas such as New York and Chicago. Younger demographics popularized the black-originated dances such as the Charleston as part of the immense cultural

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dance band as featured soloist, leaving in 1925. The original New Orleans style was polyphonic, with theme variation and simultaneous collective improvisation. Armstrong was a master of his hometown style, but by the time he joined Henderson's band, he was already a trailblazer in a new phase of

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American Jazz was imported into Germany in the early 1920s...some two to five years after it had entered Britain or France...genuine American Jazz musicians (such as)... Mike Danzi embarked on a German tour with American bandleader Alex Hyde before deciding to make Berlin his permanent European

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idealized the youthful zeitgeist of the Jazz Age. By the mid-1920s, Whiteman was the most popular bandleader in the U.S. His success was based on a "rhetoric of domestication" according to which he had elevated and rendered valuable a previously inchoate kind of music. Other influential large

961:, which began in 1934. Much of this French jazz was a combination of African-American jazz and the symphonic styles in which French musicians were well-trained; in this, it is easy to see the inspiration taken from Paul Whiteman since his style was also a fusion of the two. Belgian guitarist 1276:, p. 312: "It is here that we find one of the white, or European, influences upon American Negro music; it is the central one, I think, and the one which has the most to do with the birth of jazz. We may call it⁠—as I have called it heretofore⁠—the instrumentalizing of the human voice." 376:

remembered that 'Scarface got along well with musicians. He liked to come into a club with his henchmen and have the band play his requests. He was very free with $ 100 tips." The illegal culture of speakeasies led to what was known as "black and tan" clubs which had multiracial crowds.

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story, "Sonny's Blues," where the transformative power of jazz unites two estranged brothers through the deeply emotive melodies played by Sonny. In Fitzgerald's works and beyond, jazz acted as a leveling influence, fostering a degree of equality within both literature and society.

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By the late 1920s, a new opposition mobilized across the U.S. Anti-prohibitionists, or "wets", attacked prohibition as causing crime, lowering local revenues, and imposing rural Protestant religious values on urban America. Prohibition ended with the ratification of the

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epitomized this phase of Fitzgerald's career, capturing the romanticism and superficial charm of the "Jazz Age." This era started with the conclusion of World War I, the onset of women's suffrage, and Prohibition, and ultimately crumbled with the Great Crash of 1929.

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McCoy's liquor specialty was selling high-quality whiskey without diluting the alcohol. Bootlegging was making and or smuggling alcohol around the U.S. As selling the alcohol could make plenty of money, there are several major ways this was done. One strategy used by

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jazz, with its emphasis on arrangements and soloists. Armstrong's solos went well beyond the theme-improvisation concept, and extemporized on chords, rather than melodies. According to Schuller, by comparison, the solos by Armstrong's bandmates (including a young

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and His Cambridge Undergraduates began broadcasting on the BBC. Thereafter jazz became an important element in many leading dance orchestras, and jazz instrumentalists became numerous. Very soon, the resulting music craze in the United Kingdom led to a

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As to where speakeasies obtained alcohol, there were rum runners and bootleggers. Rum running, in this case, was the organized smuggling of liquor by land or sea into the U.S. Decent foreign liquor was high-end alcohol during prohibition, and

973:", and Eastern European folk with a languid, seductive feel; the main instruments were steel-stringed guitar, violin, and double bass. Solos pass from one player to another as guitar and bass form the rhythm section. Some researchers believe 430:'s Original Creole Jazz Band of musicians from New Orleans played in San Francisco and Los Angeles, where in 1922 they became the first black jazz band of New Orleans origin to make recordings. The year also saw the first recording by 1021:

As jazz flourished, American elites who preferred classical music sought to expand the listenership of their favored genre, hoping that jazz would not become mainstream. Conversely, jazz became an influence on composers as diverse as

595:' Band in Chicago (who opened in The Grand Terrace Cafe there in 1928). All significantly influenced the development of big band-style swing jazz. By 1930, the New Orleans-style ensemble was a relic, and jazz belonged to the world. 1008:

in the 1920s intimated that jazz was responsible for the decline of Western civilization and of the quality of Italian tenors, a poor trade balance with Hungary, a classical musician's fatal heart attack, and frightening bears in

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Armstrong and Lombardo did not view their worlds as diametrically opposed, nor did many other contemporary musicians of the 1930s. ...Lombardo himself always took great pride in the number of black orchestras that imitated his

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Over time, social strictures regarding racial segregation began to relax in America: white bandleaders began to recruit black musicians and black bandleaders recruit white ones. In the mid-1930s, Benny Goodman hired pianist

1100:, p. 52: "The popularity of new dance styles helped jazz to develop from the march-like tread of its early days into the snappy, syncopated music so characteristic of what F. Scott Fitzgerald dubbed 'The Jazz Age'." 1363:, p. 212: "Another barrier fell with the arrival of the 'black and tans,' integrated cabarets and nightclubs, usually in black neighborhoods and usually featuring leading African-American jazz musicians." 2045: 993:

During this period, jazz began to get a reputation as being immoral, and many members of the older generations saw it as threatening the old cultural values and promoting the new decadent values of the

2562: 2210:, p. 463: "Those who opposed jazz with no qualification whatever saw in it an appeal to sensuousness, a return to primitive forms, and described it as the music of persons without any training." 886:, Duke Ellington, Count Basie, and Benny Goodman. These women were persistent in striving to make their names known in the music industry and to lead the way for many more women artists to come. 372:, states: "The singer Ethel Waters fondly recalled that Capone treated her 'with respect, applause, deference, and paid in full.'" Also from A Renegade History of the United States, "The pianist 2991: 2282:

base....As the great majority of German musicians still found jazz very difficult to master, it was Americans and a few Englishmen who came to dominate the jazz scene of the Roaring Twenties...

618:'s claim that "sweet" music was a "weak sister" as compared to the "real music" of America, Lombardo's band enjoyed widespread popularity which crossed racial divides and was even praised by 474:), sounded "stiff, stodgy," with "jerky rhythms and a grey undistinguished tone quality." The following example shows a short excerpt of the straight melody of "Mandy, Make Up Your Mind" by 289:, and approximately $ 60 million (equivalent to $ 1,271,666,667 in 2023) in illegal alcohol was smuggled across the borders of Canada and the United States. The resulting illicit 717:. Although it was a collective sound, swing also offered individual musicians a chance to "solo" and improvise melodic, thematic solos which could at times be complex "important" music. 4233: 298: 478:

and Arthur Johnston (top), compared with Armstrong's solo improvisations (below) (recorded 1924). (The example approximates Armstrong's solo, as it does not convey his use of swing.)

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Jazz is seen by many as "America's classical music". The earliest Jazz styles, which emerged in New Orleans, Chicago, and New York in the early 1920s, are sometimes referred to as "

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As only a limited number of American jazz records were released in Europe, European jazz traces many of its roots to American artists such as James Reese Europe, Paul Whiteman,

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Young people in the 1920s used the influence of jazz to rebel against the traditional culture of previous generations. This youth rebellion of the 1920s included such things as

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Top: excerpt from the straight melody of "Mandy, Make Up Your Mind" by George W. Meyer & Arthur Johnston. Bottom: corresponding solo excerpt by Louis Armstrong (1924).

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music and dance styles gained worldwide popularity. The Jazz Age's cultural repercussions were primarily felt in the United States, the birthplace of jazz. Originating in

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wrote: "t is not music at all. It's merely an irritation of the nerves of hearing, a sensual teasing of the strings of physical passion." The media also spoke ill of it.

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brought the improvisational solo to the forefront of a piece, replacing the original polyphonic ensemble style of New Orleans jazz. Jazz is generally characterized by

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Although jazz was taken over by the white middle-class population, it facilitated the mesh of African American traditions and ideals with white middle-class society.

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big bands, in which some virtuoso soloists became as famous as the band leaders. Key figures in developing the "big" jazz band included bandleaders and arrangers

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Several musicians grew up in musical families, where a family member would often teach how to read and play music. Included in this group was the bandleader

5460: 4246: 3661: 770:. In urban areas, such as Chicago and New York, African-American jazz was played on the radio more often than in the suburbs. Big-band jazz, like that of 4335: 4169: 3291: 481:

Armstrong's solos were a significant factor in making jazz a true 20th-century language. After leaving Henderson's group, Armstrong formed his virtuosic

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band, which included instrumentalist's Kid Ory (trombone), Johnny Dodds (clarinet), Johnny St. Cyr (banjo), and wife Lil on piano, where he popularized

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that grew from this era became lively venues of the "Jazz Age", hosting popular music that included current dance songs, novelty songs and show tunes.

2977: 3698: 5399: 614:, where they entertained audiences nationwide for decades with a velvety-smooth interpretation of the "sweetest music this side of heaven". Despite 505: 301:, which repealed the Eighteenth Amendment on December 5, 1933. Some states continued statewide prohibition, marking one of the latter stages of the 5419: 2150:, p. 128: "Ella Fitzgerald's extensive 'songbook' recordings made between 1956 and 1964 remain among the best-selling vocal albums in jazz." 602:, who collaborated with his brothers Carmen and Lebert in Canada to form the Royal Canadians Orchestra in the early 1920s. By 1929 their "sweet" 874:

Piano player Lil Hardin Armstrong was originally a member of King Oliver's band with Louis, and went on to play piano in her husband's band the

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partnered with two other mobsters and legitimate brewer Joseph Stenson to make illegal beer in a total of nine breweries. Finally, some

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pioneered the guitar-violin partnership characteristic of the genre which was brought to France after they had been heard live or on

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America's Music Makers Big bands and Ballrooms 1912-2011 - Shep Fields society band broadcasting on radio from the Palmer House

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marked the transition from big bands to the bebop influence of the 1940s. An early 1940s style known as "jumping the blues" or

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McCann, Paul (2008). "Performing Primitivism: Disarming the Social Threat of Jazz in Narrative Fiction of the Early Sixties".

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jazz." In the 1920s, jazz became recognized as a major form of musical expression. It then emerged in the form of independent

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fashions, women who smoked cigarettes in public, a willingness to talk about sex freely, and radio concerts. Dances like the

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music, and the painting was later destroyed by its author to placate critics who insisted the work should be burned.

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Several "sweet jazz" dance orchestras also achieved national recognition in big band remote broadcasts including:

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ensembles included Fletcher Henderson's band, Duke Ellington's band (which opened an influential residency at the

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unleashing a crime wave that shocked the U.S. This prohibition was taken advantage of by gangsters such as

5787: 5659: 5414: 5404: 5371: 5131: 5091: 5076: 5063: 4461: 4192: 2982: 798: 434:, the most famous of the 1920s blues singers. Chicago, meanwhile, was the main center developing the new " 202: 6175: 6108: 5499: 5424: 5389: 5121: 5101: 5081: 5071: 4768: 4591: 4531: 4425: 4293: 4182: 4177: 3976: 3743: 3723: 3235: 3120: 3062: 2958: 2906: 2465: 786: 742: 611: 180: 3560:. Vol. 24–25. Philadelphia, Pennsylvania: E. F. Houghton & Co. 1919 – via Google Books. 1179:"Jazz Origins in New Orleans - New Orleans Jazz National Historical Park (U.S. National Park Service)" 6059: 5874: 5782: 5486: 5261: 5172: 4320: 4138: 3938: 3735: 2916: 2651: 999: 864: 860: 4420: 4076: 2594:

Biocca, Frank (1990). "Media and Perceptual Shifts: Early Radio and the Clash of Musical Cultures".

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I am not convinced, however, that the 'jazz age' is the cause of the church losing its influence.

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Jackson, Jeffrey (2002). "Making Jazz French: The Reception of Jazz Music in Paris, 1927–1934".

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Who Is Who In Music. Berghan Publishing Co. 1941 p. 93 Biography of Shep Fields on Google Books

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Lonesome Roads and Streets of Dreams: Place Mobility and Race in Jazz of the 1930s and '40s

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Berger, Morroe (October 1947). "Jazz: Resistance to the Diffusion of a Culture-Pattern".

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to join small groups. In the 1930s, Kansas City Jazz as exemplified by tenor saxophonist

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The Law that Changed the Face of America: The Immigration and Nationality Act of 1965

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Le Tumulte Noir: Modernist Art and Popular Entertainment in Jazz-Age Paris, 1900-1930

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Dinerstein, Joel (2003). "Music, Memory, and Cultural Identity in the Jazz Age".

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further popularized the term with the publication of his short story collection

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Barlow, William (January 1, 1995). "Black Music on Radio During the Jazz Age".

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nationwide. During this time, the Jazz Age was intertwined with the developing

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Continuum Encyclopedia of Popular Music of the World: Genres North America

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in which the threat of jazz to society was exemplified by Scottish artist

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used small combos, uptempo music and blues chord progressions, drawing on

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stole industrial grain alcohol and redistilled it to sell in speakeasies.

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Kater, Michael (April 1, 1988). "The Jazz Experience in Weimar Germany".

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Daily Life in the United States, 1920–1939: Decades of Promise and Pain

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Some might, indeed, suppose that this muse had her jazz age behind her.

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is a music genre that originated in the Black-American communities of

5547: 4974: 4964: 774:

and Fletcher Henderson in New York, attracted large radio audiences.

3326: 2570: 2505: 3011:

From Jazz to Swing: Black Jazz Musicians and Their Music, 1917–1935

6005: 5879: 4858: 3930: 3430:(2006). "The Search for America's Soul: Theatre in the Jazz Age". 3168: 452: 226: 206: 155: 957:

The European style of jazz entered full swing in France with the

162:. The movement also helped introduce the European jazz movement. 4734: 4032:

Anxious Decades: America in Prosperity and Depression, 1920–1941

4020: 3497: 2854: 951: 198: 193: 128: 114: 4707: 4134: 3968: 3257:

The Creation of Jazz: Music, Race, and Culture in Urban America

2119: 2117: 2115: 3657: 2563:

Association for the Study of African American Life and History

556:

in an early mixed-race collaboration, then in 1926 formed his

3307:

Roth, Russell (1952). "On the Instrumental Origins of Jazz".

1942:"America's Music Makers: Big Bands & Ballrooms 1912-2011" 174:

was in popular usage prior to 1920. In 1922, American writer

150:, and overlapped in significant cross-cultural ways with the 3838:

The Modern Temper: American Culture and Society in the 1920s

3730:

Only Yesterday: An Informal History of the Nineteen-Twenties

3536:. Studies in Jazz. Vol. 38. Lanham, Maryland / London: 3231:

Circular Breathing: The Cultural Politics of Jazz in Britain

2662:"Musical Literacy and Jazz Musicians in the 1910s and 1920s" 1093: 1091: 903:

By the 1920s jazz had spread around the world. According to

494: 3507:"The Threat of Jazz: John Bulloch Souter's 'The Breakdown'" 1681:. London: Routledge Taylor and Francis Group. p. 379. 154:. The movement was largely affected by the introduction of 217:

In New Orleans, the development of jazz was influenced by

146:

The Jazz Age is often referred to in conjunction with the

2831:

The Damned and the Beautiful: American Youth in the 1920s

1344: 1342: 1050: 758:

broadcasts from nightclubs, dance halls, and ballrooms.

4077:"Jazz Places: How Performance Spaces Shape Jazz History" 3809:

American Babel: Rogue Radio Broadcasters of the Jazz Age

2649:(June 29, 1996). "Women in Jazz: Music on Their Terms". 4703: 3680:

Cross the Water Blues: African American Music in Europe

2075:

National Museum of African American History and Culture

1387: 1385: 766:

singers. Other jazz vocalists include Bessie Smith and

1201: 1199: 1121: 2978:"What the Great Gatsby Got Right About the Jazz Age" 2763:

The Jazz Age: A Historical Exploration of Literature

969:, a mix of 1930s American swing, French dance hall " 6073: 5983: 5867: 5847: 5826: 5810: 5760: 5727: 5618: 5563: 5520: 5513: 5448: 5370: 5234: 5196: 5140: 5062: 4844: 4741: 4682: 4655: 4444: 4289:

Bureau of Alcohol, Tobacco, Firearms and Explosives

4221: 4168: 3533:

Jazz in New Orleans: The Postwar Years Through 1970

793:'s Rippling Rhythm Orchestra at Chicago's landmark 109: 101: 93: 85: 4059: 4029: 4004: 3984: 3942: 3904: 3869: 3835: 3747: 3727: 3576: 3481: 3404:The Big Book of Blues: A Biographical Encyclopedia 3401: 3254: 3025: 3008: 2950: 2828: 2734: 2704: 2525: 2912:The Jazz Book: From Ragtime to Fusion and Beyond 1956:"Obituaries: Shep Fields Dies -noted bandleader" 929:tour by the Original Dixieland Jazz Band in 1919 781:'s Royal Canadian Orchestra, at New York City's 1066: 909: 4062:Our Times, 1900–1925: Volume IV – The Twenties 3987:Middletown: A Study in Modern American Culture 1636:"Famed Orchestra Leader Guy Lombardo, 75, Dies 633:shift the popularity of jazz music generated. 4719: 4274:Association Against the Prohibition Amendment 4146: 4007:The Twenties: Fords, Flappers, & Fanatics 3484:Early Jazz: Its Roots and Musical Development 1879:Encyclopedia of New Year's Holidays Worldwide 1654:. Bloomington, Il.: AuthorHouse. p. 95. 1611:Encyclopedia of New Year's Holidays Worldwide 1062: 568:'s orchestra. In 1924, Whiteman commissioned 8: 2478:. August 23, 1919 – via Google Books. 578:, premiered by Whiteman's Orchestra. Writer 56: 3146:Last Call: The Rise and Fall of Prohibition 3015:(Ph.D. dissertation). Ann Arbor, Michigan: 1882:. London: McFarland & Co. p. 101. 1741:. University of Chicago Press. p. 45. 1614:. London: McFarland & Co. p. 101. 867:often are ranked as two of the best female 380:There were many speakeasies, especially in 127:was a period in the 1920s and 30s in which 5757: 5517: 4726: 4712: 4704: 4336:Medicinal Liquor Prescriptions Act of 1933 4153: 4139: 4131: 3650:"Fletcher Henderson: 'Architect of Swing'" 3602:Ward, Larry F. (December 2004). "Bessie". 1702:Horn, David; Shephard, John, eds. (2012). 1675:Stacey, Lee; Henderson, Lol, eds. (2014). 1559: 610:in New York City and later in 1959 at the 241:jazz derived its harmony and instruments. 70: 55: 2806: 2424: 2408: 2183: 2159: 1789: 1678:Encyclopedia of music in the 20th Century 1638:Pittsubrg Post Gazette 7 Nov. 1977, p.26 1487: 1376: 1333: 1309: 1257: 1245: 1157: 1082: 890:Influence of middle-class white Americans 2123: 2106: 1813: 1708:. Vol. 8. Bloomsbury. p. 472. 1595: 1535: 1523: 1475: 1261: 1145: 4075:Teal, Kimberly Hannon (June 15, 2021), 3353:A Renegade History of the United States 2412: 2396: 2384: 2356: 2344: 2332: 2297:Jazz Research and Performance Materials 2294:Meadows, Eddie S. (February 27, 1995). 2271:(2). Oxford University Press: 145–158. 1944:. AuthorHouse – via Google Books. 1773: 1427: 1372: 1348: 1233: 1172: 1170: 1168: 1166: 1043: 370:A Renegade History of the United States 76:King & Carter Jazzing Orchestra in 32:For the 2012 album by Bryan Ferry, see 3683:(1st ed.). Jackson, Mississippi: 3517:from the original on November 22, 2021 3294:from the original on December 13, 2019 3103:from the original on November 20, 2021 2953:A History of Jazz in Britain 1919–1950 2868:Conversations with F. Scott Fitzgerald 2690:from the original on February 25, 2021 2448: 2219: 2207: 2195: 2032: 1863: 1851: 1839: 1801: 1761: 1735:"The Casino Ballroom: White and Sweet" 1571: 1511: 1439: 1391: 1360: 1321: 1297: 1285: 1205: 539: 135:as mainly sourced from the culture of 27:American period in the 1920s and 1930s 4314:List of dry communities by U.S. state 4066:(1st ed.). New York and London: 3864:(1945). "Echoes of the Jazz Age". In 3750:Since Yesterday: The 1930s in America 3734:(1st ed.). New York and London: 2994:from the original on February 6, 2020 2436: 2380: 2368: 2147: 2135: 2009:Shep Fields is set for the Copacabana 1777: 1583: 1547: 1499: 1463: 1451: 1229: 1217: 1097: 7: 4386:Swedish prohibition referendum, 1922 2320: 2171: 2094: 2020: 1415: 1403: 1273: 1133: 1109: 1078: 4238:Australian prohibition referendums 3945:The Perils of Prosperity, 1914–1932 3664:from the original on April 21, 2018 3280:Rodgers, Andrew (August 27, 1997). 2629:Pennsylvania State University Press 878:and then his next group called the 629:, learned on homemade instruments. 606:appeared regularly at the landmark 4436:Woman's Christian Temperance Union 4234:21st Amendment (U.S. Constitution) 4229:18th Amendment (U.S. Constitution) 4083:, University of California Press, 3701:from the original on July 18, 2022 3579:Jazz: A History of America's Music 3176:Orchowski, Margaret Sands (2015). 2933:from the original on July 18, 2022 2890:Germuska, Joe (October 17, 1995). 2244:from the original on June 26, 2022 1979:. Arcadia Publishing. p. 61. 39:. For the 1998 album by Jack, see 25: 6081:Album covers of Blue Note Records 3505:Shearer, Carly (April 24, 2018). 3127:from the original on June 5, 2020 2627:. University Park, Pennsylvania: 2614:10.1111/j.0022-3840.1990.2402_1.x 2300:. Psychology Press. p. 121. 2232:Hershey, Burnet (June 25, 1922). 2007:. February 24, 1945. p. 34. 37:(The Bryan Ferry Orchestra album) 6129: 4011:. Englewood Cliffs, New Jersey: 3814:University of Pennsylvania Press 3383:The University of Michigan Press 3221:10.1111/J.1540-5931.2008.00541.X 540:Problems playing this file? See 510: 327: 282:Prohibition in the United States 277:Prohibition in the United States 4663:National Prohibition Party (UK) 3685:University Press of Mississippi 3378:Jazz: America's Classical Music 2976:Henderson, Amy (May 10, 2013). 2873:University Press of Mississippi 1940:Behrens, John (March 4, 2011). 1550:, pp. 56–59, 66–70, 78–79. 959:Quintette du Hot Club de France 944:'s controversial 1926 painting 450:formed The Wolverines in 1924. 5461:Institutions and organizations 4416:Voluntary Committee of Lawyers 4401:Temperance (Scotland) Act 1913 3806:Doerksen, Clifford J. (2005). 3775:Johns Hopkins University Press 3446:Johns Hopkins University Press 3319:Johns Hopkins University Press 3204:The Journal of Popular Culture 2597:The Journal of Popular Culture 2466:"A German Interpreter of Jazz" 1051:Oxford English Dictionary 2021 998:. Professor Henry van Dyke of 665:The 1930s belonged to popular 1: 6171:Eras of United States history 5158:Cool jazz and West Coast jazz 4693:(2011 documentary miniseries) 4070:– via Internet Archive. 4050:– via Internet Archive. 4023:– via Internet Archive. 3995:– via Internet Archive. 3971:– via Internet Archive. 3933:– via Internet Archive. 3890:– via Internet Archive. 3856:– via Internet Archive. 3758:– via Internet Archive. 3738:– via Internet Archive. 3597:– via Internet Archive. 3500:– via Internet Archive. 3422:– via Internet Archive. 3275:– via Internet Archive. 3117:"Jazz Origins in New Orleans" 3061:(1). Durham, North Carolina: 3046:– via Internet Archive. 3028:Defining Moments: Prohibition 3019:– via Internet Archive. 2971:– via Internet Archive. 2857:– via Internet Archive. 2766:. Santa Barbara, California: 2755:– via Internet Archive. 2725:– via Internet Archive. 2673:Columbia University Libraries 2655:. Vol. 108, no. 26. 2546:– via Internet Archive. 2528:Max Perkins: Editor of Genius 1829:– via Internet Archive. 871:piano players of the period. 4028:Parrish, Michael E. (1992). 3263:University of Illinois Press 2808:10.1080/03007766.2014.994320 2671:. No. 71–73. New York: 2554:The Journal of Negro History 143:continued long afterwards. 4647:Izzy Einstein and Moe Smith 4264:American Temperance Society 3993:Harcourt, Brace and Company 3951:University of Chicago Press 3677:Wynn, Neil A., ed. (2007). 3658:National Public Radio (NPR) 3612:(2). Middleton, Wisconsin: 3253:Peretti, Burton W. (1992). 2498:Modern Language Association 1973:Baggelaar, Kristin (2006). 899:Beginnings of European jazz 6197: 4674:Scottish Prohibition Party 3773:(2). Baltimore, Maryland: 3583:(1st ed.). New York: 3350:Russell, Thaddeus (2010). 3317:(4). Baltimore, Maryland: 3234:. Durham, North Carolina: 3211:(4). Hoboken, New Jersey: 3119:. New Orleans, Louisiana: 3007:Hennessey, Thomas (1973). 2604:(2). Hoboken, New Jersey: 2496:(2). St. Louis, Missouri: 2474:. Vol. 62. New York: 1876:Crump, William D. (2008). 1733:Berish, Andrew S. (2012). 1608:Crump, William D. (2008). 1586:, pp. 82–83, 100–103. 1122:National Park Service 2015 927:British jazz began with a 833: 654: 622:as one of his favorites. 591:in 1927) in New York, and 360:Formed as a result of the 312: 274: 191: 117:music in the United States 31: 6125: 5487:See Template: Jazz theory 3911:. Westport, Connecticut: 3826:– via Google Books. 3709:– via Google Books. 3614:Music Library Association 3400:Santelli, Robert (2001). 3395:– via Google Books. 3370:– via Google Books. 3248:– via Google Books. 3196:– via Google Books. 3171:– via Google Books. 3092:Oxford English Dictionary 3071:10.1215/00161071-25-1-149 3054:French Historical Studies 2941:– via Google Books. 2885:– via Google Books. 2791:Popular Music and Society 2780:– via Google Books. 2641:– via Google Books. 2001:"New Band for Kelly-Wood" 1406:, pp. 153, 155, 156. 989:Criticism of the movement 522:United States Marine Band 344:await the opening of the 69: 61: 46:. For the 1929 film, see 4252:Western Australian, 1950 4242:Western Australian, 1925 3184:Rowman & Littlefield 2871:. Jackson, Mississippi: 2760:De Roche, Linda (2015). 2681:10.7916/cm.v0i71-73.4825 554:New Orleans Rhythm Kings 257:call and response vocals 113:Increased popularity of 6166:1930s in American music 6156:1920s in American music 4627:William Harvey Thompson 4587:The LaMontages brothers 4406:United Kingdom Alliance 4120:The Jazz Age In America 4068:Charles Scribner's Sons 4036:. New York and London: 3530:Suhor, Charles (2001). 3509:. Edinburgh, Scotland: 3490:Oxford University Press 3381:. Ann Arbor, Michigan: 3097:Oxford University Press 3017:Northwestern University 2988:Smithsonian Institution 2896:Northwestern University 2837:Oxford University Press 2743:Oxford University Press 2561:(4). Washington, D.C.: 2489:African American Review 805:Elements and influences 524:'s 2018 performance of 392:Rum running/bootlegging 105:Jazz musicians and fans 4462:Thomas Holliday Barker 3949:. Chicago and London: 3744:Allen, Frederick Lewis 3724:Allen, Frederick Lewis 3375:Sales, Grover (1984). 3261:. Urbana and Chicago: 3228:McKay, George (2005). 2907:Berendt, Joachim-Ernst 2894:. Evanston, Illinois: 2785:Dunkel, Mario (2015). 2703:Cooke, Mervyn (1998). 2660:Chevan, David (2002). 2347:, pp. 29, 46, 67. 1648:Behrnes, Jack (2011). 914: 499: 458: 340:Several patrons and a 299:Twenty-first Amendment 203:New Orleans, Louisiana 4532:Frederic Richard Lees 4426:Wickersham Commission 4294:Bureau of Prohibition 4247:New South Wales, 1928 4208:Russia / Soviet Union 4089:10.1525/9780520972841 3939:Leuchtenburg, William 3736:Harper & Brothers 3648:(December 19, 2007). 3622:10.1353/not.2004.0171 3290:. Chicago, Illinois. 3236:Duke University Press 3121:National Park Service 3063:Duke University Press 3032:. Detroit, Michigan: 2959:Northway Publications 2915:. Chicago, Illinois: 2902:on December 10, 1997. 2797:(2). United Kingdom: 2425:Ward & Burns 2001 2409:Ward & Burns 2001 2184:Ward & Burns 2001 2160:Ward & Burns 2001 1790:Ward & Burns 2001 1488:Ward & Burns 2001 1377:Ward & Burns 2001 1334:Ward & Burns 2001 1258:Ward & Burns 2001 1158:Ward & Burns 2001 787:Waldorf-Astoria Hotel 625:Some musicians, like 612:Waldorf-Astoria Hotel 498: 456: 181:Tales of the Jazz Age 5875:Bibliography of jazz 5655:Continental European 4127:from U S History.com 3862:Fitzgerald, F. Scott 3783:10.1353/aq.2003.0012 3656:. Washington, D.C.: 3454:10.1353/tj.2006.0171 3282:"The Genna Brothers" 3182:. Lanham, Maryland: 2986:. Washington, D.C.: 2983:Smithsonian Magazine 2863:Fitzgerald, F. Scott 2621:Blake, Jody (1999). 2534:Simon & Schuster 2162:, pp. 270, 272. 2126:, pp. 1, 94–96. 1962:. February 24, 1981. 1418:, pp. 120, 121. 1112:, pp. 305, 312. 1067:Literary Digest 1919 1000:Princeton University 865:Lil Hardin Armstrong 846:Nineteenth Amendment 362:eighteenth amendment 6116:Straight, No Chaser 5905:Straight-ahead jazz 5362:Winter & Winter 4811:French horn in jazz 4612:Howard Hyde Russell 4431:Willis–Campbell Act 4396:Temperance movement 4299:Cullen–Harrison Act 4162:Alcohol prohibition 3981:Lynd, Helen Merrell 3654:NPR's Jazz Profiles 3538:The Scarecrow Press 3511:Lyon & Turnbull 3442:Baltimore, Maryland 3095:. Oxford, England: 3024:Hill, Jeff (2004). 2917:Lawrence Hill Books 2476:Funk & Wagnalls 2471:The Literary Digest 2399:, pp. 149–170. 2383:, p. 121–122; 2097:, pp. 458–460. 1910:. February 24, 1981 1866:, pp. 326–327. 1324:, pp. 207–210. 1248:, pp. 470–473. 985:in the late 1920s. 942:John Bulloch Souter 580:F. Scott Fitzgerald 408:Genna brothers gang 319:Black and tan clubs 176:F. Scott Fitzgerald 58: 6060:West African music 5885:British dance band 5675:European free jazz 5648:British dance band 5141:Musicians by genre 4921:Free improvisation 4457:Harry J. Anslinger 4351:Neo-prohibitionism 4341:Molly Pitcher Club 4269:Anti-Saloon League 3880:. pp. 13–22. 3766:American Quarterly 3358:Simon and Schuster 3310:American Quarterly 3143:(April 30, 2010). 3099:. September 2021. 2799:Taylor and Francis 2669:Current Musicology 2277:10.1093/gh/6.2.145 2238:The New York Times 1908:The New York Times 1827:"Big Band Remotes" 1063:Houghton Line 1919 1005:The New York Times 905:The New York Times 795:Palmer House Hotel 785:(1929) and at the 772:James Reese Europe 695:Fletcher Henderson 651:Swing in the 1930s 552:recorded with the 506:"Rhapsody in Blue" 500: 467:Fletcher Henderson 459: 6143: 6142: 6016:New Orleans blues 5863: 5862: 5806: 5805: 5380:Beaches (Toronto) 4791:Swing performance 4701: 4700: 4668:Prohibition Party 4656:Political parties 4592:Lanzetta Brothers 4507:Clinton N. Howard 4452:Martha Meir Allen 4098:978-0-520-97284-1 3823:978-0-8122-0176-5 3694:978-1-60473-546-8 3594:978-0-679-76539-4 3569:Ward, Geoffrey C. 3557:The Houghton Line 3547:978-0-8108-3907-6 3478:Schuller, Gunther 3392:978-0-13-509126-5 3367:978-1-4165-7109-4 3245:978-0-8223-8728-2 3193:978-1-4422-5137-3 3160:978-0-7432-7702-0 3043:978-0-7808-0768-6 2882:978-1-57806-605-6 2846:978-0-19-502148-6 2777:978-1-61069-668-5 2722:978-0-500-20318-7 2713:Thames and Hudson 2638:978-0-271-01753-2 2359:, pp. 29–31. 2307:978-0-8153-0373-2 1986:978-0-7385-4919-4 1889:978-0-7864-3393-3 1748:978-0-226-04494-1 1715:978-1-4411-4874-2 1688:978-1-135-92946-6 1661:978-1-4567-2952-3 1621:978-0-7864-3393-3 1466:, pp. 20–21. 1065:, pp. 6, 9; 731:Charlie Christian 564:'s orchestra and 550:Jelly Roll Morton 515: 137:African Americans 121: 120: 16:(Redirected from 6188: 6181:Roaring Twenties 6161:1920s neologisms 6134: 6133: 5900:Continental jazz 5793:Washington, D.C. 5758: 5660:Czech and Slovak 5518: 5302:India Navigation 5000:Progressive jazz 4854:Avant-garde jazz 4728: 4721: 4714: 4705: 4607:Arnold Rothstein 4517:Enoch L. Johnson 4356:Roaring Twenties 4155: 4148: 4141: 4132: 4125:Roaring Twenties 4108: 4107: 4105: 4071: 4065: 4051: 4035: 4024: 4010: 4001:Mowry, George E. 3996: 3990: 3972: 3948: 3934: 3910: 3891: 3875: 3857: 3841: 3827: 3812:. Philadelphia: 3802: 3759: 3753: 3739: 3733: 3710: 3708: 3706: 3673: 3671: 3669: 3641: 3598: 3582: 3564: 3551: 3526: 3524: 3522: 3501: 3487: 3473: 3423: 3407: 3396: 3371: 3346: 3303: 3301: 3299: 3276: 3260: 3249: 3224: 3197: 3172: 3136: 3134: 3132: 3112: 3110: 3108: 3082: 3047: 3031: 3020: 3014: 3003: 3001: 2999: 2972: 2956: 2942: 2940: 2938: 2903: 2898:. Archived from 2886: 2858: 2834: 2820: 2810: 2781: 2756: 2740: 2726: 2710: 2699: 2697: 2695: 2689: 2666: 2656: 2647:Borzillo, Carrie 2642: 2617: 2590: 2547: 2531: 2517: 2482: 2452: 2446: 2440: 2434: 2428: 2422: 2416: 2406: 2400: 2394: 2388: 2378: 2372: 2366: 2360: 2354: 2348: 2342: 2336: 2335:, pp. 8–11. 2330: 2324: 2318: 2312: 2311: 2291: 2285: 2284: 2260: 2254: 2253: 2251: 2249: 2229: 2223: 2217: 2211: 2205: 2199: 2193: 2187: 2181: 2175: 2169: 2163: 2157: 2151: 2145: 2139: 2133: 2127: 2121: 2110: 2104: 2098: 2092: 2086: 2085: 2083: 2081: 2067: 2061: 2060: 2058: 2056: 2042: 2036: 2030: 2024: 2018: 2012: 2011: 1997: 1991: 1990: 1970: 1964: 1963: 1952: 1946: 1945: 1937: 1931: 1926: 1920: 1919: 1917: 1915: 1900: 1894: 1893: 1873: 1867: 1861: 1855: 1849: 1843: 1837: 1831: 1830: 1823: 1817: 1811: 1805: 1799: 1793: 1787: 1781: 1771: 1765: 1759: 1753: 1752: 1730: 1724: 1723: 1699: 1693: 1692: 1672: 1666: 1665: 1645: 1639: 1632: 1626: 1625: 1605: 1599: 1593: 1587: 1581: 1575: 1569: 1563: 1557: 1551: 1545: 1539: 1533: 1527: 1521: 1515: 1509: 1503: 1497: 1491: 1485: 1479: 1473: 1467: 1461: 1455: 1449: 1443: 1437: 1431: 1425: 1419: 1413: 1407: 1401: 1395: 1389: 1380: 1370: 1364: 1358: 1352: 1346: 1337: 1331: 1325: 1319: 1313: 1307: 1301: 1295: 1289: 1283: 1277: 1271: 1265: 1255: 1249: 1243: 1237: 1227: 1221: 1215: 1209: 1203: 1194: 1193: 1191: 1189: 1174: 1161: 1155: 1149: 1143: 1137: 1131: 1125: 1119: 1113: 1107: 1101: 1095: 1086: 1076: 1070: 1060: 1054: 1048: 996:Roaring Twenties 963:Django Reinhardt 745:from the 1930s. 707:Jimmie Lunceford 643:The Great Gatsby 584:Rhapsody in Blue 575:Rhapsody in Blue 530:Rhapsody in Blue 517: 516: 497: 354:Washington, D.C. 331: 148:Roaring Twenties 74: 64:Roaring Twenties 59: 21: 6196: 6195: 6191: 6190: 6189: 6187: 6186: 6185: 6146: 6145: 6144: 6139: 6136:Jazz portal 6128: 6121: 6102:The Jazz Singer 6069: 6048:Novelty ragtime 5979: 5859: 5843: 5822: 5802: 5756: 5723: 5614: 5559: 5514:Regional scenes 5509: 5444: 5366: 5292:Groove Merchant 5282:Flying Dutchman 5230: 5192: 5136: 5058: 4990:Orchestral jazz 4970:Mainstream jazz 4958:Afro-Cuban jazz 4840: 4749:Outline of jazz 4737: 4732: 4702: 4697: 4678: 4651: 4642:Frances Willard 4632:Andrew Volstead 4597:The Purple Gang 4562:J. Howard Moore 4502:J. Edgar Hoover 4440: 4421:Webb–Kenyon Act 4217: 4164: 4159: 4116: 4111: 4103: 4101: 4099: 4074: 4054: 4048: 4027: 3999: 3977:Lynd, Robert S. 3975: 3961: 3937: 3923: 3913:Greenwood Press 3901:Kyvig, David E. 3899: 3888: 3860: 3854: 3830: 3824: 3805: 3762: 3742: 3722: 3718: 3716:Further reading 3713: 3704: 3702: 3695: 3676: 3667: 3665: 3644: 3601: 3595: 3567: 3554: 3548: 3529: 3520: 3518: 3504: 3476: 3433:Theatre Journal 3426: 3420: 3399: 3393: 3374: 3368: 3349: 3327:10.2307/3031415 3306: 3297: 3295: 3287:Chicago Tribune 3279: 3273: 3252: 3246: 3227: 3213:Wiley-Blackwell 3200: 3194: 3175: 3161: 3139: 3130: 3128: 3115: 3106: 3104: 3085: 3050: 3044: 3023: 3006: 2997: 2995: 2975: 2969: 2945: 2936: 2934: 2927: 2905: 2889: 2883: 2861: 2847: 2823: 2784: 2778: 2759: 2753: 2729: 2723: 2702: 2693: 2691: 2687: 2664: 2659: 2645: 2639: 2620: 2606:Wiley-Blackwell 2593: 2571:10.2307/2714928 2550: 2544: 2520: 2506:10.2307/3042311 2485: 2464: 2460: 2455: 2447: 2443: 2435: 2431: 2423: 2419: 2411:, p. 299; 2407: 2403: 2395: 2391: 2379: 2375: 2367: 2363: 2355: 2351: 2343: 2339: 2331: 2327: 2319: 2315: 2308: 2293: 2292: 2288: 2262: 2261: 2257: 2247: 2245: 2240:. pp. T5. 2234:"Jazz Latitude" 2231: 2230: 2226: 2218: 2214: 2206: 2202: 2194: 2190: 2182: 2178: 2170: 2166: 2158: 2154: 2146: 2142: 2134: 2130: 2122: 2113: 2105: 2101: 2093: 2089: 2079: 2077: 2069: 2068: 2064: 2054: 2052: 2044: 2043: 2039: 2031: 2027: 2019: 2015: 1999: 1998: 1994: 1987: 1972: 1971: 1967: 1954: 1953: 1949: 1939: 1938: 1934: 1927: 1923: 1913: 1911: 1902: 1901: 1897: 1890: 1875: 1874: 1870: 1862: 1858: 1850: 1846: 1838: 1834: 1825: 1824: 1820: 1812: 1808: 1800: 1796: 1788: 1784: 1772: 1768: 1760: 1756: 1749: 1732: 1731: 1727: 1716: 1701: 1700: 1696: 1689: 1674: 1673: 1669: 1662: 1647: 1646: 1642: 1633: 1629: 1622: 1607: 1606: 1602: 1594: 1590: 1582: 1578: 1570: 1566: 1560:Fitzgerald 2004 1558: 1554: 1546: 1542: 1534: 1530: 1522: 1518: 1510: 1506: 1498: 1494: 1486: 1482: 1474: 1470: 1462: 1458: 1450: 1446: 1438: 1434: 1426: 1422: 1414: 1410: 1402: 1398: 1390: 1383: 1371: 1367: 1359: 1355: 1347: 1340: 1332: 1328: 1320: 1316: 1308: 1304: 1296: 1292: 1284: 1280: 1272: 1268: 1256: 1252: 1244: 1240: 1228: 1224: 1216: 1212: 1204: 1197: 1187: 1185: 1176: 1175: 1164: 1160:, pp. 2–3. 1156: 1152: 1144: 1140: 1132: 1128: 1120: 1116: 1108: 1104: 1096: 1089: 1081:, p. 217; 1077: 1073: 1061: 1057: 1049: 1045: 1041: 1036: 1028:Herbert Howells 1024:George Gershwin 1019: 1017:Classical music 991: 901: 892: 838: 832: 812: 807: 783:Roosevelt Hotel 751: 725:, vibraphonist 663: 655:Main articles: 653: 620:Louis Armstrong 608:Roosevelt Hotel 558:Red Hot Peppers 547: 546: 538: 536: 535: 534: 533: 526:George Gershwin 518: 511: 508: 501: 495: 476:George W. Meyer 472:Coleman Hawkins 463:Louis Armstrong 461:The same year, 448:Bix Beiderbecke 424: 394: 358: 357: 356: 339: 334: 333: 332: 321: 313:Main articles: 311: 303:Progressive Era 279: 273: 245:Louis Armstrong 196: 190: 168: 152:Prohibition Era 141:popular culture 81: 54: 28: 23: 22: 15: 12: 11: 5: 6194: 6192: 6184: 6183: 6178: 6173: 6168: 6163: 6158: 6148: 6147: 6141: 6140: 6126: 6123: 6122: 6120: 6119: 6112: 6109:Round Midnight 6105: 6098: 6090: 6083: 6077: 6075: 6071: 6070: 6068: 6067: 6062: 6057: 6052: 6051: 6050: 6040: 6035: 6030: 6025: 6020: 6019: 6018: 6013: 6003: 5998: 5993: 5987: 5985: 5981: 5980: 5978: 5977: 5972: 5967: 5962: 5957: 5952: 5947: 5942: 5937: 5932: 5927: 5922: 5917: 5912: 5907: 5902: 5897: 5892: 5887: 5882: 5877: 5871: 5869: 5865: 5864: 5861: 5860: 5858: 5857: 5851: 5849: 5845: 5844: 5842: 5841: 5839:Latin American 5836: 5830: 5828: 5827:South American 5824: 5823: 5821: 5820: 5814: 5812: 5808: 5807: 5804: 5803: 5801: 5800: 5795: 5790: 5785: 5780: 5775: 5770: 5768:Baltimore jazz 5764: 5762: 5755: 5754: 5753: 5752: 5745:Latin American 5742: 5737: 5731: 5729: 5728:North American 5725: 5724: 5722: 5721: 5716: 5715: 5714: 5704: 5703: 5702: 5692: 5687: 5682: 5677: 5672: 5667: 5662: 5657: 5652: 5651: 5650: 5640: 5635: 5634: 5633: 5622: 5620: 5616: 5615: 5613: 5612: 5607: 5602: 5601: 5600: 5595: 5585: 5584: 5583: 5573: 5567: 5565: 5561: 5560: 5558: 5557: 5552: 5551: 5550: 5545: 5535: 5530: 5524: 5522: 5515: 5511: 5510: 5508: 5507: 5502: 5497: 5492: 5491: 5490: 5478: 5473: 5468: 5463: 5458: 5452: 5450: 5446: 5445: 5443: 5442: 5437: 5432: 5427: 5422: 5417: 5412: 5407: 5402: 5397: 5392: 5387: 5382: 5376: 5374: 5368: 5367: 5365: 5364: 5359: 5354: 5349: 5344: 5339: 5334: 5329: 5324: 5319: 5314: 5309: 5304: 5299: 5294: 5289: 5284: 5279: 5274: 5269: 5264: 5259: 5254: 5249: 5244: 5238: 5236: 5232: 5231: 5229: 5228: 5223: 5218: 5213: 5208: 5202: 5200: 5194: 5193: 5191: 5190: 5185: 5180: 5175: 5170: 5165: 5160: 5155: 5150: 5144: 5142: 5138: 5137: 5135: 5134: 5129: 5124: 5119: 5114: 5109: 5104: 5099: 5097:Percussionists 5094: 5089: 5084: 5079: 5074: 5068: 5066: 5060: 5059: 5057: 5056: 5051: 5046: 5045: 5044: 5034: 5029: 5028: 5027: 5020:Spiritual jazz 5017: 5012: 5007: 5002: 4997: 4992: 4987: 4982: 4977: 4972: 4967: 4962: 4961: 4960: 4950: 4945: 4940: 4935: 4930: 4929: 4928: 4923: 4918: 4908: 4903: 4898: 4893: 4888: 4883: 4878: 4877: 4876: 4871: 4866: 4856: 4850: 4848: 4842: 4841: 4839: 4838: 4833: 4828: 4823: 4818: 4813: 4808: 4803: 4798: 4793: 4788: 4783: 4778: 4777: 4776: 4766: 4761: 4756: 4751: 4745: 4743: 4742:General topics 4739: 4738: 4733: 4731: 4730: 4723: 4716: 4708: 4699: 4698: 4696: 4695: 4686: 4684: 4680: 4679: 4677: 4676: 4671: 4665: 4659: 4657: 4653: 4652: 4650: 4649: 4644: 4639: 4634: 4629: 4624: 4622:Eliza Thompson 4619: 4614: 4609: 4604: 4599: 4594: 4589: 4584: 4579: 4574: 4569: 4564: 4559: 4554: 4549: 4544: 4539: 4534: 4529: 4524: 4519: 4514: 4509: 4504: 4499: 4497:William Harvey 4494: 4489: 4484: 4479: 4474: 4469: 4464: 4459: 4454: 4448: 4446: 4442: 4441: 4439: 4438: 4433: 4428: 4423: 4418: 4413: 4408: 4403: 4398: 4393: 4388: 4383: 4378: 4373: 4368: 4363: 4358: 4353: 4348: 4343: 4338: 4333: 4328: 4323: 4318: 4317: 4316: 4311: 4301: 4296: 4291: 4286: 4281: 4276: 4271: 4266: 4261: 4259:American Mafia 4256: 4255: 4254: 4249: 4244: 4236: 4231: 4225: 4223: 4219: 4218: 4216: 4215: 4210: 4205: 4200: 4195: 4190: 4185: 4180: 4174: 4172: 4166: 4165: 4160: 4158: 4157: 4150: 4143: 4135: 4129: 4128: 4122: 4115: 4114:External links 4112: 4110: 4109: 4097: 4072: 4056:Sullivan, Mark 4052: 4046: 4025: 3997: 3973: 3959: 3935: 3921: 3897: 3886: 3878:New Directions 3866:Wilson, Edmund 3858: 3852: 3828: 3822: 3803: 3760: 3756:Harper and Row 3740: 3719: 3717: 3714: 3712: 3711: 3693: 3674: 3642: 3599: 3593: 3565: 3552: 3546: 3540:. p. 18. 3527: 3502: 3474: 3424: 3418: 3397: 3391: 3372: 3366: 3347: 3304: 3277: 3271: 3250: 3244: 3225: 3198: 3192: 3173: 3159: 3141:Okrent, Daniel 3137: 3113: 3087:"jazz age, n." 3083: 3048: 3042: 3021: 3004: 2973: 2967: 2943: 2925: 2887: 2881: 2859: 2845: 2825:Fass, Paula S. 2821: 2782: 2776: 2757: 2751: 2737:Jazz Anecdotes 2727: 2721: 2700: 2657: 2643: 2637: 2618: 2591: 2548: 2542: 2522:Berg, A. Scott 2518: 2483: 2461: 2459: 2456: 2454: 2453: 2441: 2429: 2417: 2415:, p. 201. 2401: 2389: 2373: 2361: 2349: 2337: 2325: 2313: 2306: 2286: 2265:German History 2255: 2224: 2222:, p. 325. 2212: 2200: 2188: 2186:, p. 272. 2176: 2174:, p. 251. 2164: 2152: 2140: 2128: 2111: 2099: 2087: 2071:"Bessie Smith" 2062: 2037: 2025: 2013: 1992: 1985: 1976:The Copacabana 1965: 1947: 1932: 1921: 1895: 1888: 1868: 1856: 1854:, p. 461. 1844: 1842:, p. 327. 1832: 1818: 1806: 1794: 1792:, p. 107. 1782: 1776:, p. 50; 1766: 1764:, p. 201. 1754: 1747: 1725: 1714: 1694: 1687: 1667: 1660: 1640: 1627: 1620: 1600: 1588: 1576: 1574:, p. 123. 1564: 1552: 1540: 1528: 1516: 1504: 1492: 1490:, p. 101. 1480: 1478:, p. 423. 1468: 1456: 1444: 1442:, p. 201. 1432: 1420: 1408: 1396: 1381: 1375:, p. 31; 1365: 1353: 1351:, p. 230. 1338: 1326: 1314: 1310:Orchowski 2015 1302: 1300:, p. 360. 1290: 1288:, p. 321. 1278: 1266: 1260:, p. 10; 1250: 1246:Hennessey 1973 1238: 1232:, p. 52; 1222: 1210: 1195: 1162: 1150: 1138: 1136:, p. 306. 1126: 1114: 1102: 1087: 1083:Henderson 2013 1071: 1055: 1042: 1040: 1037: 1035: 1032: 1018: 1015: 990: 987: 922:Lonnie Johnson 900: 897: 891: 888: 851:Billie Holiday 834:Main article: 831: 828: 811: 808: 806: 803: 768:Florence Mills 750: 747: 729:and guitarist 727:Lionel Hampton 687:Duke Ellington 652: 649: 562:Jean Goldkette 537: 519: 509: 504: 503: 502: 493: 492: 491: 423: 420: 393: 390: 346:Krazy Kat Klub 336: 335: 326: 325: 324: 323: 322: 310: 307: 275:Main article: 272: 269: 192:Main article: 189: 186: 167: 164: 119: 118: 111: 107: 106: 103: 99: 98: 95: 91: 90: 87: 83: 82: 75: 67: 66: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 6193: 6182: 6179: 6177: 6174: 6172: 6169: 6167: 6164: 6162: 6159: 6157: 6154: 6153: 6151: 6138: 6137: 6132: 6124: 6118: 6117: 6113: 6111: 6110: 6106: 6104: 6103: 6099: 6097: 6095: 6091: 6089: 6088: 6084: 6082: 6079: 6078: 6076: 6072: 6066: 6065:Western swing 6063: 6061: 6058: 6056: 6053: 6049: 6046: 6045: 6044: 6041: 6039: 6036: 6034: 6031: 6029: 6026: 6024: 6021: 6017: 6014: 6012: 6009: 6008: 6007: 6004: 6002: 5999: 5997: 5994: 5992: 5989: 5988: 5986: 5982: 5976: 5973: 5971: 5968: 5966: 5963: 5961: 5958: 5956: 5953: 5951: 5948: 5946: 5943: 5941: 5938: 5936: 5933: 5931: 5928: 5926: 5923: 5921: 5918: 5916: 5913: 5911: 5908: 5906: 5903: 5901: 5898: 5896: 5893: 5891: 5888: 5886: 5883: 5881: 5878: 5876: 5873: 5872: 5870: 5866: 5856: 5853: 5852: 5850: 5846: 5840: 5837: 5835: 5832: 5831: 5829: 5825: 5819: 5816: 5815: 5813: 5809: 5799: 5796: 5794: 5791: 5789: 5788:New York City 5786: 5784: 5781: 5779: 5776: 5774: 5771: 5769: 5766: 5765: 5763: 5759: 5751: 5748: 5747: 5746: 5743: 5741: 5738: 5736: 5733: 5732: 5730: 5726: 5720: 5717: 5713: 5712:Flamenco jazz 5710: 5709: 5708: 5705: 5701: 5698: 5697: 5696: 5693: 5691: 5688: 5686: 5683: 5681: 5678: 5676: 5673: 5671: 5668: 5666: 5663: 5661: 5658: 5656: 5653: 5649: 5646: 5645: 5644: 5641: 5639: 5636: 5632: 5629: 5628: 5627: 5624: 5623: 5621: 5617: 5611: 5608: 5606: 5603: 5599: 5596: 5594: 5591: 5590: 5589: 5586: 5582: 5579: 5578: 5577: 5574: 5572: 5569: 5568: 5566: 5562: 5556: 5553: 5549: 5546: 5544: 5541: 5540: 5539: 5538:South African 5536: 5534: 5531: 5529: 5526: 5525: 5523: 5519: 5516: 5512: 5506: 5503: 5501: 5498: 5496: 5493: 5489: 5488: 5484: 5483: 5482: 5479: 5477: 5474: 5472: 5469: 5467: 5464: 5462: 5459: 5457: 5454: 5453: 5451: 5447: 5441: 5438: 5436: 5433: 5431: 5428: 5426: 5423: 5421: 5418: 5416: 5413: 5411: 5408: 5406: 5403: 5401: 5398: 5396: 5393: 5391: 5388: 5386: 5383: 5381: 5378: 5377: 5375: 5373: 5369: 5363: 5360: 5358: 5355: 5353: 5350: 5348: 5345: 5343: 5340: 5338: 5335: 5333: 5330: 5328: 5325: 5323: 5320: 5318: 5315: 5313: 5310: 5308: 5305: 5303: 5300: 5298: 5295: 5293: 5290: 5288: 5285: 5283: 5280: 5278: 5275: 5273: 5270: 5268: 5265: 5263: 5260: 5258: 5255: 5253: 5250: 5248: 5245: 5243: 5240: 5239: 5237: 5235:Discographies 5233: 5227: 5224: 5222: 5219: 5217: 5214: 5212: 5209: 5207: 5204: 5203: 5201: 5199: 5195: 5189: 5186: 5184: 5181: 5179: 5176: 5174: 5171: 5169: 5166: 5164: 5161: 5159: 5156: 5154: 5151: 5149: 5146: 5145: 5143: 5139: 5133: 5130: 5128: 5125: 5123: 5122:Vibraphonists 5120: 5118: 5115: 5113: 5110: 5108: 5105: 5103: 5100: 5098: 5095: 5093: 5090: 5088: 5085: 5083: 5080: 5078: 5075: 5073: 5070: 5069: 5067: 5065: 5061: 5055: 5052: 5050: 5047: 5043: 5042:Swing revival 5040: 5039: 5038: 5035: 5033: 5030: 5026: 5023: 5022: 5021: 5018: 5016: 5013: 5011: 5008: 5006: 5003: 5001: 4998: 4996: 4993: 4991: 4988: 4986: 4983: 4981: 4978: 4976: 4973: 4971: 4968: 4966: 4963: 4959: 4956: 4955: 4954: 4951: 4949: 4946: 4944: 4941: 4939: 4936: 4934: 4931: 4927: 4924: 4922: 4919: 4917: 4914: 4913: 4912: 4909: 4907: 4904: 4902: 4901:Flamenco jazz 4899: 4897: 4894: 4892: 4889: 4887: 4884: 4882: 4879: 4875: 4872: 4870: 4867: 4865: 4862: 4861: 4860: 4857: 4855: 4852: 4851: 4849: 4847: 4843: 4837: 4836:Women in jazz 4834: 4832: 4829: 4827: 4824: 4822: 4821:Jazz trombone 4819: 4817: 4814: 4812: 4809: 4807: 4804: 4802: 4801:Jazz drumming 4799: 4797: 4794: 4792: 4789: 4787: 4784: 4782: 4779: 4775: 4772: 4771: 4770: 4769:Improvisation 4767: 4765: 4762: 4760: 4757: 4755: 4752: 4750: 4747: 4746: 4744: 4740: 4736: 4729: 4724: 4722: 4717: 4715: 4710: 4709: 4706: 4694: 4692: 4688: 4687: 4685: 4681: 4675: 4672: 4669: 4666: 4664: 4661: 4660: 4658: 4654: 4648: 4645: 4643: 4640: 4638: 4637:Wayne Wheeler 4635: 4633: 4630: 4628: 4625: 4623: 4620: 4618: 4617:Dutch Schultz 4615: 4613: 4610: 4608: 4605: 4603: 4600: 4598: 4595: 4593: 4590: 4588: 4585: 4583: 4580: 4578: 4575: 4573: 4572:Carrie Nation 4570: 4568: 4565: 4563: 4560: 4558: 4557:William McCoy 4555: 4553: 4552:Joseph Malins 4550: 4548: 4545: 4543: 4540: 4538: 4537:Lucky Luciano 4535: 4533: 4530: 4528: 4525: 4523: 4520: 4518: 4515: 4513: 4512:Bumpy Johnson 4510: 4508: 4505: 4503: 4500: 4498: 4495: 4493: 4490: 4488: 4485: 4483: 4480: 4478: 4475: 4473: 4470: 4468: 4467:Lyman Beecher 4465: 4463: 4460: 4458: 4455: 4453: 4450: 4449: 4447: 4443: 4437: 4434: 4432: 4429: 4427: 4424: 4422: 4419: 4417: 4414: 4412: 4409: 4407: 4404: 4402: 4399: 4397: 4394: 4392: 4389: 4387: 4384: 4382: 4379: 4377: 4376:Sly-grog shop 4374: 4372: 4369: 4367: 4364: 4362: 4359: 4357: 4354: 4352: 4349: 4347: 4344: 4342: 4339: 4337: 4334: 4332: 4329: 4327: 4324: 4322: 4319: 4315: 4312: 4310: 4307: 4306: 4305: 4302: 4300: 4297: 4295: 4292: 4290: 4287: 4285: 4282: 4280: 4277: 4275: 4272: 4270: 4267: 4265: 4262: 4260: 4257: 4253: 4250: 4248: 4245: 4243: 4240: 4239: 4237: 4235: 4232: 4230: 4227: 4226: 4224: 4220: 4214: 4213:United States 4211: 4209: 4206: 4204: 4201: 4199: 4196: 4194: 4191: 4189: 4186: 4184: 4181: 4179: 4176: 4175: 4173: 4171: 4167: 4163: 4156: 4151: 4149: 4144: 4142: 4137: 4136: 4133: 4126: 4123: 4121: 4118: 4117: 4113: 4100: 4094: 4090: 4086: 4082: 4078: 4073: 4069: 4064: 4063: 4057: 4053: 4049: 4047:0-393-03394-5 4043: 4039: 4034: 4033: 4026: 4022: 4018: 4014: 4013:Prentice-Hall 4009: 4008: 4002: 3998: 3994: 3989: 3988: 3982: 3978: 3974: 3970: 3966: 3962: 3960:0-226-47368-6 3956: 3952: 3947: 3946: 3940: 3936: 3932: 3928: 3924: 3922:0-313-29555-7 3918: 3914: 3909: 3908: 3902: 3898: 3895: 3889: 3887:0-8112-0051-5 3883: 3879: 3874: 3873: 3867: 3863: 3859: 3855: 3853:0-8090-1566-8 3849: 3845: 3844:Hill and Wang 3840: 3839: 3833: 3832:Dumenil, Lynn 3829: 3825: 3819: 3815: 3811: 3810: 3804: 3800: 3796: 3792: 3788: 3784: 3780: 3776: 3772: 3768: 3767: 3761: 3757: 3752: 3751: 3745: 3741: 3737: 3732: 3731: 3725: 3721: 3720: 3715: 3700: 3696: 3690: 3686: 3682: 3681: 3675: 3663: 3659: 3655: 3651: 3647: 3646:Wilson, Nancy 3643: 3639: 3635: 3631: 3627: 3623: 3619: 3615: 3611: 3607: 3606: 3600: 3596: 3590: 3586: 3581: 3580: 3574: 3570: 3566: 3563: 3559: 3558: 3553: 3549: 3543: 3539: 3535: 3534: 3528: 3516: 3512: 3508: 3503: 3499: 3495: 3491: 3486: 3485: 3479: 3475: 3471: 3467: 3463: 3459: 3455: 3451: 3447: 3443: 3439: 3435: 3434: 3429: 3428:Savran, David 3425: 3421: 3419:0-14-100145-3 3415: 3411: 3410:Penguin Books 3406: 3405: 3398: 3394: 3388: 3384: 3380: 3379: 3373: 3369: 3363: 3359: 3355: 3354: 3348: 3344: 3340: 3336: 3332: 3328: 3324: 3320: 3316: 3312: 3311: 3305: 3293: 3289: 3288: 3283: 3278: 3274: 3272:0-252-01708-0 3268: 3264: 3259: 3258: 3251: 3247: 3241: 3237: 3233: 3232: 3226: 3222: 3218: 3214: 3210: 3206: 3205: 3199: 3195: 3189: 3185: 3181: 3180: 3174: 3170: 3166: 3162: 3156: 3152: 3148: 3147: 3142: 3138: 3126: 3122: 3118: 3114: 3102: 3098: 3094: 3093: 3088: 3084: 3080: 3076: 3072: 3068: 3064: 3060: 3056: 3055: 3049: 3045: 3039: 3035: 3030: 3029: 3022: 3018: 3013: 3012: 3005: 2993: 2989: 2985: 2984: 2979: 2974: 2970: 2968:0-9537040-5-X 2964: 2960: 2955: 2954: 2948: 2944: 2932: 2928: 2926:9781556520990 2922: 2918: 2914: 2913: 2908: 2904:Derived from 2901: 2897: 2893: 2888: 2884: 2878: 2874: 2870: 2869: 2864: 2860: 2856: 2852: 2848: 2842: 2838: 2833: 2832: 2826: 2822: 2818: 2814: 2809: 2804: 2800: 2796: 2792: 2788: 2783: 2779: 2773: 2769: 2765: 2764: 2758: 2754: 2752:0-19-505588-8 2748: 2744: 2739: 2738: 2732: 2728: 2724: 2718: 2714: 2709: 2708: 2701: 2686: 2682: 2678: 2674: 2670: 2663: 2658: 2654: 2653: 2648: 2644: 2640: 2634: 2630: 2626: 2625: 2619: 2615: 2611: 2607: 2603: 2599: 2598: 2592: 2588: 2584: 2580: 2576: 2572: 2568: 2564: 2560: 2556: 2555: 2549: 2545: 2543:0-671-82719-7 2539: 2535: 2530: 2529: 2523: 2519: 2515: 2511: 2507: 2503: 2499: 2495: 2491: 2490: 2484: 2481: 2477: 2473: 2472: 2467: 2463: 2462: 2457: 2450: 2445: 2442: 2439:, p. 18. 2438: 2433: 2430: 2427:, p. 78. 2426: 2421: 2418: 2414: 2410: 2405: 2402: 2398: 2393: 2390: 2386: 2382: 2377: 2374: 2371:, p. 89. 2370: 2365: 2362: 2358: 2353: 2350: 2346: 2341: 2338: 2334: 2329: 2326: 2323:, p. 67. 2322: 2317: 2314: 2309: 2303: 2299: 2298: 2290: 2287: 2283: 2278: 2274: 2270: 2266: 2259: 2256: 2243: 2239: 2235: 2228: 2225: 2221: 2216: 2213: 2209: 2204: 2201: 2197: 2192: 2189: 2185: 2180: 2177: 2173: 2168: 2165: 2161: 2156: 2153: 2149: 2144: 2141: 2137: 2132: 2129: 2125: 2124:Borzillo 1996 2120: 2118: 2116: 2112: 2109:, p. 20. 2108: 2107:Santelli 2001 2103: 2100: 2096: 2091: 2088: 2076: 2072: 2066: 2063: 2051: 2050:www.d.umn.edu 2047: 2041: 2038: 2034: 2029: 2026: 2023:, p. 22. 2022: 2017: 2014: 2010: 2006: 2005:The Billboard 2002: 1996: 1993: 1988: 1982: 1978: 1977: 1969: 1966: 1961: 1960:The Telegraph 1957: 1951: 1948: 1943: 1936: 1933: 1930: 1925: 1922: 1909: 1905: 1899: 1896: 1891: 1885: 1881: 1880: 1872: 1869: 1865: 1860: 1857: 1853: 1848: 1845: 1841: 1836: 1833: 1828: 1822: 1819: 1816:, p. 18. 1815: 1814:De Roche 2015 1810: 1807: 1803: 1798: 1795: 1791: 1786: 1783: 1780:, p. 40. 1779: 1775: 1770: 1767: 1763: 1758: 1755: 1750: 1744: 1740: 1736: 1729: 1726: 1722: 1717: 1711: 1707: 1706: 1698: 1695: 1690: 1684: 1680: 1679: 1671: 1668: 1663: 1657: 1653: 1652: 1644: 1641: 1637: 1631: 1628: 1623: 1617: 1613: 1612: 1604: 1601: 1598:, p. 88. 1597: 1596:Schuller 1968 1592: 1589: 1585: 1580: 1577: 1573: 1568: 1565: 1562:, p. 93. 1561: 1556: 1553: 1549: 1544: 1541: 1538:, p. 93. 1537: 1536:Schuller 1968 1532: 1529: 1526:, p. 91. 1525: 1524:Schuller 1968 1520: 1517: 1513: 1508: 1505: 1502:, p. 79. 1501: 1496: 1493: 1489: 1484: 1481: 1477: 1476:Santelli 2001 1472: 1469: 1465: 1460: 1457: 1454:, p. 54. 1453: 1448: 1445: 1441: 1436: 1433: 1429: 1424: 1421: 1417: 1412: 1409: 1405: 1400: 1397: 1393: 1388: 1386: 1382: 1378: 1374: 1369: 1366: 1362: 1357: 1354: 1350: 1345: 1343: 1339: 1335: 1330: 1327: 1323: 1318: 1315: 1312:, p. 32. 1311: 1306: 1303: 1299: 1294: 1291: 1287: 1282: 1279: 1275: 1270: 1267: 1263: 1262:Schuller 1968 1259: 1254: 1251: 1247: 1242: 1239: 1236:, p. 76. 1235: 1231: 1226: 1223: 1219: 1214: 1211: 1207: 1202: 1200: 1196: 1184: 1180: 1173: 1171: 1169: 1167: 1163: 1159: 1154: 1151: 1147: 1146:Germuska 1995 1142: 1139: 1135: 1130: 1127: 1123: 1118: 1115: 1111: 1106: 1103: 1099: 1094: 1092: 1088: 1084: 1080: 1075: 1072: 1069:, p. 31. 1068: 1064: 1059: 1056: 1052: 1047: 1044: 1038: 1033: 1031: 1029: 1025: 1016: 1014: 1012: 1007: 1006: 1001: 997: 988: 986: 984: 980: 976: 972: 968: 964: 960: 955: 953: 949: 948: 947:The Breakdown 943: 939: 934: 933:Fred Elizalde 930: 925: 923: 919: 913: 908: 906: 898: 896: 889: 887: 885: 881: 877: 872: 870: 866: 863:era. She and 862: 861:classic blues 858: 854: 852: 847: 843: 840:With women's 837: 836:Women in jazz 830:Role of women 829: 827: 823: 821: 817: 809: 804: 802: 800: 796: 792: 788: 784: 780: 775: 773: 769: 764: 761:Musicologist 759: 757: 748: 746: 744: 743:boogie-woogie 740: 736: 732: 728: 724: 718: 716: 712: 708: 704: 700: 696: 692: 691:Benny Goodman 688: 684: 680: 676: 672: 668: 662: 661:1930s in jazz 658: 650: 648: 645: 644: 638: 634: 630: 628: 623: 621: 617: 616:Benny Goodman 613: 609: 605: 601: 596: 594: 590: 585: 581: 577: 576: 571: 567: 566:Paul Whiteman 563: 559: 555: 551: 545: 543: 531: 527: 523: 507: 490: 488: 484: 479: 477: 473: 468: 464: 455: 451: 449: 445: 441: 437: 433: 429: 421: 419: 417: 413: 412:Johnny Torrio 409: 405: 400: 399:William McCoy 391: 389: 387: 386:New York City 383: 378: 375: 371: 367: 363: 355: 351: 347: 343: 338: 330: 320: 316: 308: 306: 304: 300: 294: 292: 288: 283: 278: 270: 268: 266: 265:improvisation 262: 258: 254: 250: 246: 242: 239: 235: 230: 228: 224: 220: 216: 212: 208: 204: 200: 195: 187: 185: 183: 182: 177: 173: 165: 163: 161: 160:youth culture 157: 153: 149: 144: 142: 138: 134: 130: 126: 116: 112: 108: 104: 100: 97:United States 96: 92: 88: 84: 79: 73: 68: 65: 60: 52: 50: 45: 43: 38: 36: 30: 19: 6176:Jazz culture 6127: 6114: 6107: 6100: 6096:(miniseries) 6093: 6085: 6055:Sophisti-pop 5894: 5485: 5476:Jazz royalty 5466:Jazz funeral 5262:Contemporary 5153:Chamber jazz 5107:Saxophonists 5077:Clarinetists 5049:Third stream 4886:Chamber jazz 4786:Scat singing 4690: 4602:George Remus 4582:Roy Olmstead 4547:Owney Madden 4527:Meyer Lansky 4487:Texas Guinan 4482:Waxey Gordon 4477:Mickey Duffy 4411:Volstead Act 4331:Local option 4325: 4102:, retrieved 4080: 4061: 4031: 4006: 3991:. New York: 3986: 3944: 3906: 3894:The Crack-Up 3876:. New York: 3872:The Crack-up 3871: 3842:. New York: 3837: 3808: 3770: 3764: 3754:. New York: 3749: 3729: 3705:November 22, 3703:. Retrieved 3679: 3668:November 21, 3666:. Retrieved 3653: 3609: 3603: 3578: 3561: 3556: 3532: 3521:November 21, 3519:. Retrieved 3488:. New York: 3483: 3437: 3431: 3408:. New York: 3403: 3377: 3356:. New York: 3352: 3314: 3308: 3298:December 13, 3296:. Retrieved 3285: 3256: 3230: 3208: 3202: 3178: 3149:. New York: 3145: 3131:November 21, 3129:. Retrieved 3107:November 20, 3105:. Retrieved 3090: 3058: 3052: 3034:Omnigraphics 3027: 3010: 2998:November 21, 2996:. Retrieved 2981: 2952: 2947:Godbolt, Jim 2937:November 22, 2935:. Retrieved 2911: 2900:the original 2867: 2835:. New York: 2830: 2794: 2790: 2762: 2741:. New York: 2736: 2706: 2694:November 21, 2692:. Retrieved 2668: 2650: 2623: 2601: 2595: 2558: 2552: 2532:. New York: 2527: 2493: 2487: 2479: 2469: 2451:, p. 9. 2444: 2432: 2420: 2413:Peretti 1992 2404: 2397:Jackson 2002 2392: 2385:Shearer 2018 2376: 2364: 2357:Godbolt 2005 2352: 2345:Godbolt 2005 2340: 2333:Godbolt 2005 2328: 2316: 2296: 2289: 2280: 2268: 2264: 2258: 2246:. Retrieved 2237: 2227: 2215: 2203: 2198:, p. 3. 2191: 2179: 2167: 2155: 2143: 2131: 2102: 2090: 2078:. Retrieved 2074: 2065: 2053:. Retrieved 2049: 2040: 2028: 2016: 2008: 2004: 1995: 1975: 1968: 1959: 1950: 1935: 1924: 1912:. Retrieved 1907: 1898: 1878: 1871: 1859: 1847: 1835: 1821: 1809: 1804:, p. 3. 1797: 1785: 1774:Peretti 1992 1769: 1757: 1738: 1728: 1719: 1704: 1697: 1677: 1670: 1650: 1643: 1630: 1610: 1603: 1591: 1579: 1567: 1555: 1543: 1531: 1519: 1507: 1495: 1483: 1471: 1459: 1447: 1435: 1428:Rodgers 1997 1423: 1411: 1399: 1373:Peretti 1992 1368: 1356: 1349:Russell 2010 1329: 1317: 1305: 1293: 1281: 1269: 1264:, p. 3. 1253: 1241: 1234:Peretti 1992 1225: 1220:, p. 3. 1213: 1208:, p. 1. 1186:. Retrieved 1182: 1153: 1141: 1129: 1117: 1105: 1074: 1058: 1046: 1020: 1003: 992: 983:Okeh Records 965:popularized 956: 945: 926: 915: 910: 904: 902: 893: 873: 857:Lovie Austin 855: 839: 824: 813: 789:(1959), and 779:Guy Lombardo 776: 763:Charles Hamm 760: 752: 735:Lester Young 723:Teddy Wilson 719: 711:Glenn Miller 683:Tommy Dorsey 675:Cab Calloway 664: 641: 639: 635: 631: 624: 600:Guy Lombardo 597: 583: 582:opined that 573: 548: 487:scat singing 480: 460: 444:Bill Johnson 432:Bessie Smith 425: 404:Frankie Yale 395: 379: 369: 359: 295: 280: 243: 231: 219:Creole music 214: 197: 179: 171: 169: 145: 124: 122: 102:Participants 62:Part of the 49:The Jazz Age 48: 44:(Jack album) 42:The Jazz Age 41: 35:The Jazz Age 34: 29: 6038:Quiet storm 6001:Contradanza 5783:New Orleans 5778:Kansas City 5581:Jazz mugham 5576:Azerbaijani 5500:Second line 5495:Rare groove 5481:Jazz theory 5471:Jazz poetry 5456:Contrafacts 5440:Saint Lucia 5420:New Orleans 5352:Strata-East 5327:MPS Records 5257:Cobblestone 5178:Smooth jazz 5168:Jazz fusion 5112:Trombonists 5025:Sacred jazz 5010:Smooth jazz 4943:Jazz fusion 4826:Jazz violin 4806:Jazz guitar 4781:Jam session 4754:Jazz (word) 4691:Prohibition 4522:Norman Kerr 4492:Frank Hamer 4391:Teetotalism 4361:Rum-running 4279:Bathtub gin 4081:Jazz Places 4038:W.W. Norton 3777:: 303–313. 3448:: 459–476. 3321:: 305–316. 3065:: 149–170. 2801:: 122–139. 2565:: 461–494. 2500:: 325–328. 2458:Works cited 2449:Biocca 1990 2220:Barlow 1995 2208:Berger 1947 2196:McCann 2008 2033:Berger 1947 1914:October 28, 1864:Barlow 1995 1852:Savran 2006 1840:Barlow 1995 1802:Biocca 1990 1762:Chevan 2002 1572:Dunkel 2015 1512:Wilson 2007 1440:Okrent 2010 1392:Okrent 2010 1361:Okrent 2010 1322:Okrent 2010 1298:Okrent 2010 1286:Okrent 2010 1206:Biocca 1990 1183:www.nps.gov 938:moral panic 931:. In 1926, 801:nightclub. 791:Shep Fields 703:Harry James 671:Count Basie 657:Swing music 627:Pops Foster 589:Cotton Club 465:joined the 440:King Oliver 426:From 1919, 352:located in 348:in 1921, a 309:Speakeasies 291:speakeasies 271:Prohibition 261:polyrhythms 238:traditional 133:New Orleans 89:1920s–1930s 6150:Categories 6023:Brass band 6011:Jump blues 5855:Ethno jazz 5818:Australian 5798:West Coast 5555:Zimbabwean 5395:Copenhagen 5317:Mainstream 5127:Violinists 5117:Trumpeters 5087:Guitarists 4995:Organ trio 4980:Modal jazz 4953:Latin jazz 4933:Gypsy jazz 4831:Vocal jazz 4816:Jazz piano 4577:Eliot Ness 4567:Bugs Moran 4366:Rum Patrol 4304:Dry county 4284:Blaine Act 4178:Bangladesh 4170:By country 3931:2001023857 3573:Burns, Ken 3169:2009051127 2957:. London: 2731:Crow, Bill 2711:. London: 2437:Suhor 2001 2381:McKay 2005 2369:Blake 1999 2148:Cooke 1998 2136:Cooke 1998 1778:Cooke 1998 1634:Obituary: 1584:Cooke 1998 1548:Cooke 1998 1500:Cooke 1998 1464:Cooke 1998 1452:Cooke 1998 1230:Cooke 1998 1218:Sales 1984 1098:Cooke 1998 1034:References 979:Joe Venuti 975:Eddie Lang 967:gypsy jazz 918:Mike Danzi 884:Chick Webb 869:jazz blues 820:Charleston 799:Copacabana 739:jump blues 715:Artie Shaw 699:Earl Hines 593:Earl Hines 542:media help 416:racketeers 374:Earl Hines 253:blue notes 188:Jazz music 166:Background 5991:Acid jazz 5848:Worldwide 5834:Brazilian 5631:Bulgarian 5593:Indo jazz 5543:Cape jazz 5430:North Sea 5385:Cape Town 5372:Festivals 5347:Riverside 5322:Milestone 5247:Blue Note 5242:Bethlehem 5226:post-1950 5198:Standards 5183:Soul jazz 5132:Vocalists 5092:Organists 5064:Musicians 5054:Trad jazz 5015:Soul jazz 4938:Jazz-funk 4926:Punk jazz 4916:Free funk 4911:Free jazz 4906:Folk jazz 4896:Dixieland 4891:Cool jazz 4881:Cape jazz 4796:Jazz bass 4759:Jazz band 4542:Sam Maceo 4472:Al Capone 4381:Speakeasy 4346:Moonshine 4309:Dry state 4104:April 25, 3799:145194943 3638:201766523 3470:192117168 3335:0003-0678 3079:161520728 2949:(2005) . 2892:"The Map" 2817:191480580 2652:Billboard 2587:149563657 2321:Wynn 2007 2172:Crow 1990 2095:Ward 2004 2046:"jazzlib" 2021:Fass 1977 1416:Hill 2004 1404:Hill 2004 1274:Roth 1952 1177:Orleans. 1134:Roth 1952 1110:Roth 1952 1079:Berg 1978 1039:Citations 907:in 1922: 880:Hot Seven 640:In 1925, 438:", where 366:Al Capone 350:speakeasy 315:Speakeasy 287:Al Capone 234:dixieland 170:The term 5996:Afrobeat 5910:Pre-1920 5895:Jazz Age 5811:Oceanian 5761:American 5735:Canadian 5619:European 5610:Japanese 5571:Armenian 5533:Malawian 5528:Ethiopia 5415:Montreux 5410:Montreal 5405:Monterey 5342:Prestige 5312:Landmark 5297:Impulse! 5277:ESP-Disk 5206:Pre-1920 5163:Hard bop 5102:Pianists 5082:Drummers 5072:Bassists 5005:Ska jazz 4948:Jazz rap 4874:Post-bop 4864:Hard bop 4764:Big band 4326:Jazz Age 4222:By topic 4058:(1936). 4021:63-19425 4003:(1963). 3983:(1929). 3941:(1958). 3903:(2002). 3834:(1995). 3791:30041974 3746:(1939). 3726:(1931). 3699:Archived 3662:Archived 3575:(2001). 3515:Archived 3498:68-17610 3480:(1968). 3462:25069871 3292:Archived 3151:Scribner 3125:Archived 3123:. 2015. 3101:Archived 2992:Archived 2931:Archived 2909:(1992). 2865:(2004). 2855:76-42644 2827:(1977). 2768:ABC-Clio 2733:(1990). 2685:Archived 2608:: 1–15. 2524:(1978). 2248:June 27, 2242:Archived 876:Hot Five 842:suffrage 604:big band 570:Gershwin 483:Hot Five 436:Hot Jazz 406:and the 172:jazz age 125:Jazz Age 94:Location 57:Jazz Age 18:Jazz age 6043:Ragtime 6028:Exotica 5984:Related 5890:Ragtime 5868:History 5773:Chicago 5740:Haitian 5719:Swedish 5707:Spanish 5690:Italian 5643:British 5638:Belgian 5605:Iranian 5521:African 5449:Culture 5425:Newport 5400:Jakarta 5390:Chicago 5287:Freedom 4985:Nu jazz 4869:Neo-bop 4683:Related 4371:Rum row 4193:Iceland 4188:Finland 3969:58-5680 3868:(ed.). 3630:4487383 3585:Pimlico 3343:3031415 2579:2714928 2514:3042311 2080:June 5, 2055:June 5, 1188:June 5, 1011:Siberia 971:musette 816:flapper 442:joined 428:Kid Ory 422:History 382:Chicago 342:flapper 223:ragtime 211:ragtime 110:Outcome 80:in 1921 78:Houston 5695:Polish 5685:German 5680:French 5665:Danish 5626:Balkan 5588:Indian 5548:Marabi 5505:Venues 5032:Stride 4975:Marabi 4965:M-Base 4846:Genres 4445:People 4183:Canada 4095: 4044: 4019: 3967: 3957: 3929: 3919: 3884: 3850: 3820: 3797: 3789: 3691: 3636: 3628: 3591: 3544: 3496: 3468: 3460: 3416: 3389: 3364: 3341: 3333: 3269: 3242: 3190: 3167: 3157: 3077: 3040: 2965: 2923: 2879: 2853: 2843: 2815: 2774: 2749: 2719: 2635: 2585: 2577: 2540: 2512: 2304: 1983: 1886: 1745: 1721:style. 1712: 1685: 1658: 1618: 756:remote 225:, and 156:radios 51:(film) 6074:Media 6033:Plugg 6006:Blues 5960:2010s 5955:2000s 5950:1990s 5945:1980s 5940:1970s 5935:1960s 5930:1950s 5925:1940s 5920:1930s 5915:1920s 5880:Blues 5750:Cuban 5670:Dutch 5598:Sitar 5564:Asian 5357:Verve 5221:1940s 5216:1930s 5211:1920s 5188:Swing 5148:Bebop 5037:Swing 4859:Bebop 4670:(USA) 4321:Islam 4198:India 3795:S2CID 3787:JSTOR 3634:S2CID 3626:JSTOR 3605:Notes 3466:S2CID 3458:JSTOR 3440:(3). 3339:JSTOR 3075:S2CID 2813:S2CID 2688:(PDF) 2665:(PDF) 2583:S2CID 2575:JSTOR 2510:JSTOR 810:Youth 749:Radio 679:Jimmy 667:swing 249:swing 227:blues 207:blues 6094:Jazz 6087:Bird 5975:2022 5970:2021 5965:2020 5700:Yass 5435:Pori 5337:Muse 5173:Scat 4774:Jazz 4735:Jazz 4203:Iran 4106:2024 4093:ISBN 4042:ISBN 4017:LCCN 3965:LCCN 3955:ISBN 3927:LCCN 3917:ISBN 3892:See 3882:ISBN 3848:ISBN 3818:ISBN 3707:2021 3689:ISBN 3670:2021 3589:ISBN 3542:ISBN 3523:2021 3494:LCCN 3414:ISBN 3387:ISBN 3362:ISBN 3331:ISSN 3300:2019 3267:ISBN 3240:ISBN 3188:ISBN 3165:LCCN 3155:ISBN 3133:2021 3109:2021 3038:ISBN 3000:2021 2963:ISBN 2939:2021 2921:ISBN 2877:ISBN 2851:LCCN 2841:ISBN 2772:ISBN 2747:ISBN 2717:ISBN 2707:Jazz 2696:2021 2633:ISBN 2538:ISBN 2302:ISBN 2250:2022 2082:2024 2057:2024 1981:ISBN 1916:2020 1884:ISBN 1743:ISBN 1710:ISBN 1683:ISBN 1656:ISBN 1616:ISBN 1190:2024 1026:and 977:and 952:jazz 920:and 713:and 681:and 659:and 528:'s " 520:The 384:and 317:and 263:and 251:and 209:and 199:Jazz 194:Jazz 129:jazz 123:The 115:jazz 86:Date 5332:MPS 5307:JMT 5272:ECM 5267:CTI 5252:BYG 4085:doi 3779:doi 3618:doi 3450:doi 3323:doi 3217:doi 3067:doi 2803:doi 2677:doi 2610:doi 2567:doi 2502:doi 2273:doi 572:'s 6152:: 4091:, 4079:, 4040:. 4015:. 3979:; 3963:. 3953:. 3925:. 3915:. 3846:. 3816:. 3793:. 3785:. 3771:55 3769:. 3697:. 3687:. 3660:. 3652:. 3632:. 3624:. 3616:. 3610:61 3608:. 3587:. 3571:; 3513:. 3492:. 3464:. 3456:. 3444:: 3438:58 3436:. 3412:. 3385:. 3360:. 3337:. 3329:. 3313:. 3284:. 3265:. 3238:. 3215:. 3209:41 3207:. 3186:. 3163:. 3153:. 3089:. 3073:. 3059:25 3057:. 3036:. 2990:. 2980:. 2961:. 2929:. 2919:. 2875:. 2849:. 2839:. 2811:. 2795:38 2793:. 2789:. 2770:. 2745:. 2715:. 2683:. 2675:. 2667:. 2631:. 2602:24 2600:. 2581:. 2573:. 2559:32 2557:. 2536:. 2508:. 2494:29 2492:. 2468:. 2279:. 2267:. 2236:. 2114:^ 2073:. 2048:. 2003:. 1958:. 1906:. 1737:. 1718:. 1384:^ 1341:^ 1198:^ 1181:. 1165:^ 1090:^ 1030:. 1013:. 853:. 709:, 705:, 701:, 697:, 693:, 689:, 685:, 677:, 673:, 489:. 446:. 305:. 267:. 259:, 255:, 229:. 221:, 184:. 4727:e 4720:t 4713:v 4154:e 4147:t 4140:v 4087:: 3896:. 3801:. 3781:: 3672:. 3640:. 3620:: 3550:. 3525:. 3472:. 3452:: 3345:. 3325:: 3315:4 3302:. 3223:. 3219:: 3135:. 3111:. 3081:. 3069:: 3002:. 2819:. 2805:: 2698:. 2679:: 2616:. 2612:: 2589:. 2569:: 2516:. 2504:: 2387:. 2310:. 2275:: 2269:6 2252:. 2084:. 2059:. 1989:. 1918:. 1892:. 1751:. 1691:. 1664:. 1624:. 1514:. 1430:. 1379:. 1192:. 1148:. 1124:. 1085:. 1053:. 544:. 215:. 53:. 20:)

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