The period from the end of theFirst World War until the start of theDepression in 1929 is known as the "Jazz Age". Jazz had become popular music in America, although older generations considered the music immoral and threatening to cultural values.[1] Dances such as theCharleston and theBlack Bottom were very popular during the period, and jazz bands typically consisted of seven to twelve musicians. Important orchestras in New York were led byFletcher Henderson,Paul Whiteman andDuke Ellington. Many New Orleans jazzmen had moved to Chicago during the late 1910s in search of employment; among others, theNew Orleans Rhythm Kings,King Oliver's Creole Jazz Band andJelly Roll Morton recorded in the city. However, Chicago's importance as a center of jazz music started to diminish toward the end of the 1920s in favor of New York.[2]
In the early years of jazz, record companies were often eager to decide what songs were to be recorded by their artists. Popular numbers in the 1920s were pop hits such as "Sweet Georgia Brown", "Dinah" and "Bye Bye Blackbird". The first jazz artist to be given some liberty in choosing his material wasLouis Armstrong, whose band helped popularize many of the earlystandards in the 1920s and 1930s.[3]
In 1920, thejazz age was underway and was indirectly fueled byprohibition of alcohol.[5] In Chicago, the jazz scene was developing rapidly, aided by the immigration of over 40 prominent New Orleans jazzmen to the city, continuous throughout much of the 1920s, includingThe New Orleans Rhythm Kings who began playing atFriar's Inn.[5] However, in 1920, the cabaret business began in New York City and the growing number ofspeakeasies developing in the cellars of New York City provided many aspiring jazz musicians with new venues which gradually saw many musicians who had moved to Chicago ending up in on the east coast.[5] ClassicBlues became very prominent from 1920 afterMamie Smith recordedCrazy Blues and grew in popularity along with jazz.[5]
1921 – "The Sheik of Araby" is a song composed byAndrew Lamont with lyrics byHarry B. Smith and Francis Wheeler. It was written in response to the popularity of theRudolph Valentino filmThe Sheik.[6] The Club Royal Orchestra introduced the song on their first recording in 1921.[6] The two recordings of trombonistJack Teagarden have been cited as a big influence for the song's standard status.[6]
In 1922, Chicago and New York City were becoming the most important centres for jazz, and jazz was becoming very profitable for jazz managers such asPaul Whiteman who by 1922 managed some 28 different jazz ensembles on the East Coast, earning more than $1 million in 1922.[7] Yet as a form of music it was still not appreciated by many critics, including Anne Faulkner, who passed off jazz as "a destructive dissonance," asking if the music "put the sin in syncopation"andHenry van Dyke who described jazz as "an unmitigated cacophony, a species of music invented by demons for the torture of imbeciles."[8]
Jazz began to emerge in the Soviet Union with the "First Eccentric Orchestra of the Russian Federated Socialist Republic –Valentin Parnakh's Jazz Band ".
1923 – "Charleston"[9] is a jazz orchestration for theCharleston dance, composed byJames P. Johnson with lyrics byCecil Mack. Introduced byElisabeth Welch in the 1923 Broadway musicalRunnin' Wild,[10] its success brought the Charleston dance to international popularity.[11] Johnson's original rhythmic accompaniment inspired several later songs, many of which used the word "Charleston" in the title.[10] The song was played in the 1946 filmIt's a Wonderful Life, withJames Stewart andDonna Reed, at a dance scene.[12] It was also a featured production number in the 1950 filmTea for Two.[12]
1923 – "Tin Roof Blues" is a jazz composition by George Brunies, Paul Mares, Ben Pollack, Leon Roppolo and Mel Stitzel of the New Orleans Rhythm Kings.[13] The band first recorded the tune in 1923, and it became a major influence for later white jazz groups.[14] It is one of the early New Orleans jazz pieces most often played.[15] Credited to Rhythm Kings band members on the original record, the tune may have been based onJoe "King" Oliver's rendition of "Jazzin' Babies Blues" by New Orleans pianistRichard M. Jones.[14]Jo Stafford's 1953 hit "Make Love to Me" used the tune's music with ad
In 1924, the improvised solo had become an integral part of most jazz performances[16] Jazz was becoming increasingly popular in New Orleans, Kansas City, Chicago and New York City and 1924 was something of a benchmark of jazz being seen as a serious musical form.[17][18]John Alden Carpenter made a statement insisting that jazz was now 'our contemporary popular music',[19] andIrving Berlin made a statement that jazz was the "rhythmic beat of our everyday lives," and the music's "swiftness is interpretive of our verve and speed".Leopold Stokowski, the conductor of thePhiladelphia Orchestra in 1924, publicly embraced jazz as a musical art form and delivered praise to various jazz musicians.[20] In 1924,George Gershwin wroteRhapsody in Blue, widely regarded as one of the finest compositions of the 20th century.[21]
Black jazz entrepreneur and producerClarence Williams successfully recorded groups in the New Orleans area, among themSidney Bechet andLouis Armstrong.[16] Williams, like Armstrong soon moved from New Orleans and opened a record store in Chicago. In Chicago,Earl Hines formed a group and incidentally inhabited the neighboring apartment to Armstrong while he was in Chicago.[22] Also in Chicago, trumpeterTommy Ladnier begins playing inJoe Oliver's band. Meanwhile, Bechet soon moved to New England with Ellington during the summer of 1924, playing dances and later New York City.
In 1924, in jazz, ensembles in theKansas City area began play a style with a four even beat ground beat as opposed to a New Orleans two beat ground beat behind a 4/4 melody.[22]Charlie Parker grew up in Kansas City listening to this style of jazz.
In 1924,Django Reinhardt became a guitarist and began playing the clubs of Paris.[22] Noted Classic Blues singerBessie Smith began to achieve major fame.[22]
In October 1924, Louis Armstrong joinedFletcher Henderson's band in New York City upon his wife's insistence. They began performing at theRoseland Ballroom on 51st street and Broadway in Manhattan.[22] His new style of jazz playing greatly influenced the style of other New York musicians such asColeman Hawkins andDuke Ellington.[23] Ellington and his Washingtonians performed at the Hollywood Club on 49th street and Broadway, while Bix Beiderbecke and the Wolverines, renamed Personality Kids performed at the Cinderella Ballroom on 41st street and Broadway. On 5 December 1924, a 17-year-oldJimmy McPartland replaced Beiderbecke in the Wolverines (Personality Kids) band and violinist Dave Harmon joins.[24]
1925 – "Squeeze Me"[30] is a jazz song composed byFats Waller. The lyrics were credited toClarence Williams, althoughAndy Razaf claims to have actually written the lyrics.[31] The song was based on an old blues tune called "The Boy in the Boat".[31] It was introduced byBuster Bailey.Albert Brunies's Halfway House Orchestra recorded an important instrumental version in 1925, and later the same year Williams made a popular recording with Louis Armstrong,Coleman Hawkins and vocalistEva Taylor.[31]Bessie Smith recorded an influential blues version in 1926.[31]
1925 – "Sweet Georgia Brown"[25] is a jazz song composed byMaceo Pinkard with music byKenneth Casey. BandleaderBen Bernie popularized the song and was given co-credit for the lyrics, although it is unclear whether or not he participated in the writing.[32][33] Bernie's recording with his Hotel Roosevelt Orchestra stayed at number one of the pop charts for five weeks.[34] TheHarlem Globetrotters basketball team has been usingBrother Bones and His Shadows' version as their anthem since 1952.[35] Several later jazz tunes have been based on the song's chord progression, such asJackie McLean's "Donna",Miles Davis's "Dig" andThelonious Monk's "Bright Mississippi".[34]
1925 – "Tea for Two"[25] is a show tune from the Broadway musicalNo, No, Nanette, composed byVincent Youmans with lyrics byIrving Caesar. The first hit recordings were by The Benson Orchestra of Chicago andMarion Harris in 1925.[36]Art Tatum famously played the song in a 1931cutting contest with Fats Waller and James P. Johnson.[36] Tatum's use ofsubstitute chords on the tune had a lasting effect on jazz harmony, and his 1939 piano solo recording was inducted into theGrammy Hall of Fame in 1986.[36][37] The song became one of the most popular songs of the 1920s, and continues to be performed often.[38][39][40] Caesar has said that the lyrics took him only five minutes to write.[41]
Cole Porter was one of the few Tin Pan Alley songwriters to write both lyrics and music for his songs.[42] His standards include "What Is This Thing Called Love?" (1929), "Love for Sale" (1930) and "Night and Day" (1932).
1926 – "Big Butter and Egg Man"[43] is a jazz song written by Percy Venable for Louis Armstrong andMay Alix. It was first recorded by Armstrong'sHot Five; the original 1926 recording contains one of Armstrong's most highly regardedcornet solos.[44][45]
1926 – "Bye Bye Blackbird"[46][47][48] is a song composed byRay Henderson with lyrics byMort Dixon. It was first recorded by Gene Austin, whose rendition became a number one hit.Nick Lucas recorded a popular version the same year.[49] Among jazz performers, the tune only gained popularity after its inclusion on the soundtrack of the 1955 filmPete Kelly's Blues and onMiles Davis's 1957 album'Round About Midnight.[49]
1926 – "'Deed I Do"[50] is a song composed byFred Rose with lyrics by Walter Hirsch.[51] It was introduced by vaudeville performer S. L. Stambaugh[52] and popularized by Ben Bernie's recording.[53] It was influential clarinetist and bandleaderBenny Goodman's debut recording, made withBen Pollack and His Californians in 1926.[54]Ruth Etting's rendition of the song became a top ten hit in 1927.[55]
1926 – "I've Found a New Baby"[46][58][59] is a song by Jack Palmer and Spencer Williams. Also known as "I Found a New Baby", it was introduced by Clarence Williams' Blue Five. The Benny Goodman Orchestra's 1940 version includes an influential guitar solo byCharlie Christian.[58]Charlie Parker recorded the tune several times, first in 1940 as part of theJay McShann Orchestra. Parker's interpretation was influenced by Lester Young, and the saxophonist even included quotations from Young in his later recordings.[60] The tune is particularly popular among Dixieland bands.[58]
1926 – "Muskrat Ramble"[61] is a jazz composition byKid Ory. Lyrics were added in 1950 byRay Gilbert.[62] First recorded by Louis Armstrong and his Hot Five in 1926, it became the group's most frequently recorded piece.[63] Composer credit was given to Ory, although bandleader Armstrong has claimed to have written the song himself.[63] Others, like New Orleans clarinetistSidney Bechet, have argued that it was originally aBuddy Bolden tune titled "The Old Cow Died and the Old Man Cried".[64] The tune was a prominent part of theDixieland revival repertoire in the 1930s and 1940s.[63]
1926 – "Someone to Watch Over Me"[25] is a show tune from the Broadway musicalOh, Kay!, composed by George Gershwin with lyrics by Ira Gershwin.Gertrude Lawrence introduced the song on stage, singing it to a rag doll. Lawrence also made the first hit recording of the song in 1927. LyricistHoward Dietz claims to have come up with the song's name and helped with the lyrics, but received no official credit. The song's jazz popularity was established in the mid-1940s by the recordings ofBilly Butterfield,Eddie Condon, Coleman Hawkins andIke Quebec.[65]
1926 – "Sugar"[66] is a song byMaceo Pinkard, Edna Alexander andSidney D. Mitchell. It was first recorded byEthel Waters in 1926[67][68] and popularized as a standard by Eddie Condon's 1927 recording that featured first-timersGene Krupa,Joe Sullivan and Frank Teschmaker.[66] The song is also known as "That Sugar Baby o' Mine",[66] and is not to be confused by another song named "Sugar" from 1927, written by Jack Yellen, Milton Ager, Frank Crum and Red Nichols.[69]
1927 – "Blue Skies"[46][70] is a show tune byIrving Berlin from the musicalBetsy.Richard Rodgers andLorenz Hart had originally written a solo number forBelle Baker, titled "This Funny World", but the star was unsatisfied with the song and asked Berlin to write a show-stopper for the musical.[71][72] Berlin responded with "Blue Skies", and on the opening night the audience demanded 24encores of Baker's song.[72] A 1927 rendition byBen Selvin and His Orchestra, recorded under the name "The Knickerbockers", became a number one hit.Al Jolson performed the song in 1927 in the first ever feature-length sound film,The Jazz Singer.[72] Jazz renditions include Benny Goodman's 1938 concert in Carnegie Hall andTommy Dorsey's 1941 recording with youngFrank Sinatra on vocals.[72]
"Basin Street Blues"[46][74][75] is a blues song written by Spencer Williams and introduced by Louis Armstrong. Trombonist and singer Jack Teagarden recorded the song several times, first in 1929 with the Louisiana Rhythm Kings. Teagarden's 1931 recording with The Charleston Chasers, led by Benny Goodman, popularized the song. An additional verse was later added by Teagarden and Glenn Miller, who also claimed to have written the lyrics for the chorus.[76]
"Crazy Rhythm"[25] is a show tune composed byRoger Wolfe Kahn andJoseph Meyer with lyrics byIrving Caesar. It was introduced in the Broadway musicalHere's Howe by Ben Bernie, who also made a successful vocal recording.[77] Roger Wolfe Kahn and His Orchestra recorded it the same year with vocalist Franklyn Baur. The song has inspired the names of several albums, jazz groups, organizations and nightclubs.[78]
"If I Had You" is a popular ballad byIrving King (a pseudonym for James Campbell and Reginald Connelly) andTed Shapiro. It was popularized in Britain byAl Bowlly withFred Elizalde and His Orchestra, and shortly thereafter byRudy Vallée in the United States. It was marketed as "the favorite fox-trot of thePrince of Wales". The first jazz recording was made in 1941 by Benny Goodman's sextet.Art Blakey recorded a memorable ballad version with saxophonistLou Donaldson in 1954.[84]
"Mack The Knife" is a song fromThe Threepenny Opera, composed byKurt Weill with lyrics byBertolt Brecht. Originally called "Die Moritat von Mackie Messer" in German, the song was translated into English byMarc Blitzstein in 1954. The first jazz recording was made by Sidney Bechet in 1954 under the title "La Complainte de Mackie". Louis Armstrong's 1955 version established the song's popularity in the jazz world.[88] It is also known as "The Ballad of Mack the Knife".[88]
"Nagasaki"[89] is a jazz song composed byHarry Warren with lyrics byMort Dixon. It was first recorded by Friar's Society Orchestra.[90]The Ipana Troubadors made a hit recording in 1928.[91] The most famous jazz versions were recorded by Benny Goodman in 1936 and 1947.[91] Fletcher Henderson played it in 1934 in theHarlem Opera House as the "national anthem of Harlem".[92]
"Softly, As in a Morning Sunrise"[46][93] is a song from the Broadway showThe New Moon, composed by Sigmund Romberg with lyrics by Oscar Hammerstein II. The first jazz recording was made byArtie Shaw in 1938.[94] The tune was a regular number in theModern Jazz Quartet's repertoire; it was already considered a standard when the group recorded their first rendition in 1952.[95][96]
"Sweet Lorraine"[97] is a song composed byCliff Burwell with lyrics byMitchell Parish.Teddy Wilson's version was the first to make the pop charts in 1935.[98] The song is closely associated with Nat King Cole, who recorded it in 1940 and several times afterwards.[98] According to a common story, Cole's singing career started in 1938 when a drunk customer insisted on the pianist singing "Sweet Lorraine" during a show.[98][99]
"Ain't Misbehavin'"[25][100][101] is a song from the musical revueHot Chocolates, composed by Fats Waller andHarry Brooks with lyrics by Andy Razaf.Leo Reisman and His Orchestra was the first to take the song to the pop charts in 1929, followed by several artists includingBill Robinson, Gene Austin and Louis Armstrong. At the intermission ofHot Chocolates at the Hudson Theatre, Armstrong made his Broadway debut playing a trumpet solo on the song.[102] Waller's original instrumental recording was inducted into the Grammy Hall of Fame in 1984.[37]
"Black and Blue"[103][104] is a song from the musicalHot Chocolates, composed by Fats Waller with lyrics by Harry Brooks and Andy Razaf. It was introduced by Louis Armstrong. Ethel Waters's 1930 version became a hit.[105] The song is also known as "What Did I Do to Be So Black and Blue".[105]
"Honeysuckle Rose"[25][46][106][107] is a song from the musical revueLoad of Coal, composed by Fats Waller with lyrics by Andy Razaf. It was popularized by Fletcher Henderson and His Orchestra in 1933.[108] Waller's 1934 recording of the song was inducted into the Grammy Hall of Fame in 1999.[37] Benny Goodman's Orchestra played a 16-minutejam session on the tune in their 1938 Carnegie Hall concert, featuring members from the bands of Count Basie and Duke Ellington. Charlie Parker used a part of the song's harmony in "Scrapple from the Apple" (1947).[108]
"Just You, Just Me"[109] is a song from the filmMarianne, composed by Jesse Greer with lyrics by Raymond Klages. It was introduced byMarion Davies andCliff Edwards. Lester Young recorded the tune several times.Thelonious Monk's 1948 composition "Evidence" was loosely based on it.[110]
"Liza (All the Clouds'll Roll Away)" is a show tune from the Broadway musicalShow Girl, composed by George Gershwin with lyrics by Ira Gershwin andGus Kahn. It was introduced on stage byRuby Keeler and Dixie Dugan, accompanied by the Duke Ellington Orchestra.[111][112] Keeler's husband and popular singer Al Jolson appeared at the opening performance and sang a chorus of the song from the third row, creating a sensation and popularizing the song.[111]
"Mean to Me"[113][114] is a song composed byFred E. Ahlert with lyrics byRoy Turk. It was first recorded byRuth Etting. The song was a regular number in Billie Holiday's repertoire, and Holiday's 1937 recording with saxophonist Lester Young is considered the definitive vocal version. Young later made an instrumental recording with Nat King Cole andBuddy Rich.[115]
"More Than You Know"[46][116] is a Broadway show tune composed byVincent Youmans with lyrics byEdward Eliscu andBilly Rose. Introduced byMayo Methot inGreat Day, the song became a hit even though the musical only lasted for 29 performances. Ruth Etting took it to number nine in 1930, and sexophonistBenny Carter played an acclaimed trumpet solo on his 1939 recording, despite the trumpet not being his main instrument.[117]
"Rockin' Chair"[118][119][120] is a song by Hoagy Carmichael. It was first recorded by Louis Armstrong in a duet with the composer.[121] Carmichael has said that he wrote the song as a kind of sequel to his 1926 "Washboard Blues", which had lyrics by Fred Callahan.[122] The song was made famous byMildred Bailey, who used it as her theme song.[123] Bailey's first hit recording was made in 1937.[124]
"Stardust"[46][125][126] is a song composed by Hoagy Carmichael with lyrics by Mitchell Parish. Originally recorded by Carmichael as a mid-tempo jazz instrumental, the 1930 romantic ballad rendition byIsham Jones and His Orchestra became a top-selling hit. Louis Armstrong recorded an influential ballad rendition in 1931. The song is arguably the most recorded popular song, and one of the top jazz standards.Billboard magazine conducted a poll of leading disk jockeys in 1955 on the "popular song record of all time"; four different renditions of "Stardust" made it to the list, including Glenn Miller's (1941) at third place and Artie Shaw's (1940) at number one.[127] The title was spelled "Star Dust" in the 1929 publication, and both spellings are used.
