Jazz Age - Knowledge

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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.

377:. 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. 838:

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

61: 318: 443: 485: 871:. 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 6120: 913:, 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. 743:

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.

2024:, 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.'" 202:. 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 399:(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 353:, 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. 811:, 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. 883:

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

950:, 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 1265:, 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." 365:

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

962:", 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 419:'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 1010:

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

584:' 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. 502: 997:

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

1089:, 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'." 1352:, 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." 2034: 982:

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

2199:, 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." 501: 875:, 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. 361:, 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 2980: 2271:

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...

607:'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 463:), 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 278:, 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 706:. 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. 467:

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

3650: 759:. 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 4277: 3280: 470:

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.

2966: 3687: 603:, where they entertained audiences nationwide for decades with a velvety-smooth interpretation of the "sweetest music this side of heaven". Despite 290:, which repealed the Eighteenth Amendment on December 5, 1933. Some states continued statewide prohibition, marking one of the latter stages of the 5146: 2139:, p. 128: "Ella Fitzgerald's extensive 'songbook' recordings made between 1956 and 1964 remain among the best-selling vocal albums in jazz." 591:, who collaborated with his brothers Carmen and Lebert in Canada to form the Royal Canadians Orchestra in the early 1920s. By 1929 their "sweet" 863:

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

4240: 4230: 1892: 22: 3503: 4262: 3113: 2919: 357:, the famous organized crime leader, gave jazz musicians previously living in poverty a steady and professional income. Thaddeus Russell, in 5449: 4235: 403:

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

5781: 423:, the most famous of the 1920s blues singers. Chicago, meanwhile, was the main center developing the new " 5171: 5085: 4635: 4252: 3981: 3939: 2486: 5065: 2454: 5350: 5151: 4662: 4545: 4309: 4056: 4044: 3634: 3549:. Vol. 24–25. Philadelphia, Pennsylvania: E. F. Houghton & Co. 1919 – via Google Books. 3139: 771: 596: 387: 1168:"Jazz Origins in New Orleans - New Orleans Jazz National Historical Park (U.S. National Park Service)" 6169: 6149: 5428: 5345: 5095: 4134: 3866: 3602: 3080: 3042: 910: 510: 245: 29: 4065: 2583:

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

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

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

2756: 2363: 864: 830: 592: 424: 3919: 3419:(2006). "The Search for America's Soul: Theatre in the Jazz Age". 3157: 1355: 6031: 6016: 5878: 4973: 4857: 4359: 3573: 999: 946:

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

804: 416: 370: 330: 211: 199: 151:. The movement also helped introduce the European jazz movement. 66: 4021:

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

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

2108: 2106: 2104: 1566: 1061: 2552:

Association for the Study of African American Life and History

545:

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

6119: 5994: 5868: 4847: 3296:

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

2327: 2142: 1931:"America's Music Makers: Big Bands & Ballrooms 1912-2011" 1386: 215: 195: 163:

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

144: 139:, and overlapped in significant cross-cultural ways with the 3827:

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

3719:

Only Yesterday: An Informal History of the Nineteen-Twenties

3525:. Studies in Jazz. Vol. 38. Lanham, Maryland / London: 3220:

Circular Breathing: The Cultural Politics of Jazz in Britain

2651:"Musical Literacy and Jazz Musicians in the 1910s and 1920s" 2101: 1228: 1082: 1080: 892:

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

878: 4723: 3496:"The Threat of Jazz: John Bulloch Souter's 'The Breakdown'" 1670:. London: Routledge Taylor and Francis Group. p. 379. 940: 187: 182: 143:. The movement was largely affected by the introduction of 117: 103: 2379: 206:

In New Orleans, the development of jazz was influenced by

135:

The Jazz Age is often referred to in conjunction with the

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

1846: 1333: 1331: 1304: 1077: 1039: 747:

broadcasts from nightclubs, dance halls, and ballrooms.

4066:"Jazz Places: How Performance Spaces Shape Jazz History" 3798:

American Babel: Rogue Radio Broadcasters of the Jazz Age

2638:(June 29, 1996). "Women in Jazz: Music on Their Terms". 2339: 2166: 1772: 1542: 1470: 1398: 4692: 3669:

Cross the Water Blues: African American Music in Europe

2407: 2315: 2077: 2064:

National Museum of African American History and Culture

1458: 1376: 1374: 1292: 1140: 1092: 755:

singers. Other jazz vocalists include Bessie Smith and

2089: 1796: 1578: 1518: 1506: 1446: 1328: 1190: 1188: 3104: 2202: 1834: 1822: 1744: 1554: 1422: 1280: 1268: 1110: 2967:"What the Great Gatsby Got Right About the Jazz Age" 2752:

The Jazz Age: A Historical Exploration of Literature

1371: 958:, a mix of 1930s American swing, French dance hall " 4278:

Bureau of Alcohol, Tobacco, Firearms and Explosives

3522:

Jazz in New Orleans: The Postwar Years Through 1970

2431: 2419: 2351: 2178: 2154: 1784: 1482: 1434: 1410: 1185: 1128: 782:'s Rippling Rhythm Orchestra at Chicago's landmark 4048: 4018: 3993: 3973: 3931: 3893: 3858: 3824: 3736: 3716: 3565: 3470: 3393:The Big Book of Blues: A Biographical Encyclopedia 3390: 3243: 3014: 2997: 2939: 2817: 2723: 2693: 2514: 2303: 2003: 1494: 1200: 1116: 6136: 2901:The Jazz Book: From Ragtime to Fusion and Beyond 1945:"Obituaries: Shep Fields Dies -noted bandleader" 918:tour by the Original Dixieland Jazz Band in 1919 770:'s Royal Canadian Orchestra, at New York City's 2453: 2214: 1663: 1055: 4051:Our Times, 1900–1925: Volume IV – The Twenties 3976:Middletown: A Study in Modern American Culture 1625:"Famed Orchestra Leader Guy Lombardo, 75, Dies 887: 622:shift the popularity of jazz music generated. 4708: 4263:Association Against the Prohibition Amendment 4135: 3996:The Twenties: Fords, Flappers, & Fanatics 3543: 3473:Early Jazz: Its Roots and Musical Development 1868:Encyclopedia of New Year's Holidays Worldwide 1643:. Bloomington, Il.: AuthorHouse. p. 95. 1600:Encyclopedia of New Year's Holidays Worldwide 1051: 557:'s orchestra. In 1924, Whiteman commissioned 2467:. August 23, 1919 – via Google Books. 1690: 977: 567:, premiered by Whiteman's Orchestra. Writer 3135:Last Call: The Rise and Fall of Prohibition 3004:(Ph.D. dissertation). Ann Arbor, Michigan: 1871:. London: McFarland & Co. p. 101. 1730:. University of Chicago Press. p. 45. 1603:. London: McFarland & Co. p. 101. 856:often are ranked as two of the best female 369:There were many speakeasies, especially in 116:was a period in the 1920s and 30s in which 4715: 4701: 4325:Medicinal Liquor Prescriptions Act of 1933 4142: 4128: 3639:"Fletcher Henderson: 'Architect of Swing'" 3591:Ward, Larry F. (December 2004). "Bessie". 2850: 1691:Horn, David; Shephard, John, eds. (2012). 1664:Stacey, Lee; Henderson, Lol, eds. (2014). 1548: 793: 599:in New York City and later in 1959 at the 380: 230:jazz derived its harmony and instruments. 59: 3556: 3164: 2995: 2964: 2795: 2413: 2397: 2172: 2148: 1961: 1778: 1667:Encyclopedia of music in the 20th Century 1627:Pittsubrg Post Gazette 7 Nov. 1977, p.26 1476: 1365: 1322: 1298: 1246: 1234: 1146: 1071: 879:Influence of middle-class white Americans 3465: 3388: 2878: 2748: 2634: 2112: 2095: 1802: 1697:. Vol. 8. Bloomsbury. p. 472. 1584: 1524: 1512: 1464: 1250: 1134: 441: 5749: 4149: 4064:Teal, Kimberly Hannon (June 15, 2021), 3493: 3342:A Renegade History of the United States 3338: 3268: 3241: 3039: 2934: 2401: 2385: 2373: 2345: 2333: 2321: 2286:Jazz Research and Performance Materials 2283:Meadows, Eddie S. (February 27, 1995). 2282: 2260:(2). Oxford University Press: 145–158. 2220: 1933:. AuthorHouse – via Google Books. 1928: 1762: 1636: 1416: 1361: 1337: 1222: 1161: 1159: 1157: 1155: 359:A Renegade History of the United States 65:King & Carter Jazzing Orchestra in 21:For the 2012 album by Bryan Ferry, see 6137: 3672:(1st ed.). Jackson, Mississippi: 3633: 3506:from the original on November 22, 2021 3415: 3283:from the original on December 13, 2019 3189: 3128: 3092:from the original on November 20, 2021 2942:A History of Jazz in Britain 1919–1950 2857:Conversations with F. Scott Fitzgerald 2773: 2679:from the original on February 25, 2021 2648: 2582: 2539: 2474: 2437: 2208: 2196: 2184: 2021: 1852: 1840: 1828: 1790: 1750: 1724:"The Casino Ballroom: White and Sweet" 1721: 1560: 1500: 1428: 1380: 1349: 1310: 1286: 1274: 1194: 124:as mainly sourced from the culture of 16:American period in the 1920s and 1930s 4696: 4303:List of dry communities by U.S. state 4123: 4055:(1st ed.). New York and London: 3853:(1945). "Echoes of the Jazz Age". In 3739:Since Yesterday: The 1930s in America 3723:(1st ed.). New York and London: 3518: 3363: 3216: 2983:from the original on February 6, 2020 2691: 2609: 2425: 2369: 2357: 2251: 2136: 2124: 1998:Shep Fields is set for the Copacabana 1864: 1766: 1596: 1572: 1536: 1488: 1452: 1440: 1218: 1206: 1086: 639: 4375:Swedish prohibition referendum, 1922 4063: 3665: 3590: 3295: 3012: 2812: 2718: 2509: 2309: 2160: 2083: 2009: 1885: 1404: 1392: 1262: 1152: 1122: 1098: 1067: 4227:Australian prohibition referendums 3934:The Perils of Prosperity, 1914–1932 3653:from the original on April 21, 2018 3269:Rodgers, Andrew (August 27, 1997). 2618:Pennsylvania State University Press 1165: 867:and then his next group called the 618:, learned on homemade instruments. 595:appeared regularly at the landmark 13: 4425:Woman's Christian Temperance Union 4223:21st Amendment (U.S. Constitution) 4218:18th Amendment (U.S. Constitution) 4072:, University of California Press, 3704: 3690:from the original on July 18, 2022 3568:Jazz: A History of America's Music 3165:Orchowski, Margaret Sands (2015). 2922:from the original on July 18, 2022 2879:Germuska, Joe (October 17, 1995). 2233:from the original on June 26, 2022 1968:. Arcadia Publishing. p. 61. 1005: 483: 28:. For the 1998 album by Jack, see 14: 6181: 6070:Album covers of Blue Note Records 4102: 3494:Shearer, Carly (April 24, 2018). 3116:from the original on June 5, 2020 2616:. University Park, Pennsylvania: 2603:10.1111/j.0022-3840.1990.2402_1.x 2289:. Psychology Press. p. 121. 2221:Hershey, Burnet (June 25, 1922). 1996:. February 24, 1945. p. 34. 26:(The Bryan Ferry Orchestra album) 6118: 4000:. Englewood Cliffs, New Jersey: 3803:University of Pennsylvania Press 3372:The University of Michigan Press 3210:10.1111/J.1540-5931.2008.00541.X 818: 529:Problems playing this file? See 499: 316: 271:Prohibition in the United States 266:Prohibition in the United States 4652:National Prohibition Party (UK) 3674:University Press of Mississippi 3367:Jazz: America's Classical Music 2965:Henderson, Amy (May 10, 2013). 2862:University Press of Mississippi 2276: 2245: 2190: 2130: 2118: 2052: 2027: 2015: 1982: 1955: 1937: 1929:Behrens, John (March 4, 2011). 1922: 1911: 1858: 1808: 1715: 1684: 1657: 1630: 1617: 1590: 1539:, pp. 56–59, 66–70, 78–79. 1343: 1316: 1256: 948:Quintette du Hot Club de France 933:'s controversial 1926 painting 439:formed The Wolverines in 1924. 5450:Institutions and organizations 4405:Voluntary Committee of Lawyers 4390:Temperance (Scotland) Act 1913 3795:Doerksen, Clifford J. (2005). 3764:Johns Hopkins University Press 3435:Johns Hopkins University Press 3308:Johns Hopkins University Press 3193:The Journal of Popular Culture 2586:The Journal of Popular Culture 2455:"A German Interpreter of Jazz" 2446: 1040:Oxford English Dictionary 2021 987:. Professor Henry van Dyke of 654:The 1930s belonged to popular 297: 259: 1: 6160:Eras of United States history 5147:Cool jazz and West Coast jazz 4682:(2011 documentary miniseries) 4059:– via Internet Archive. 4039:– via Internet Archive. 4012:– via Internet Archive. 3984:– via Internet Archive. 3960:– via Internet Archive. 3922:– via Internet Archive. 3879:– via Internet Archive. 3845:– via Internet Archive. 3747:– via Internet Archive. 3727:– via Internet Archive. 3586:– via Internet Archive. 3489:– via Internet Archive. 3411:– via Internet Archive. 3264:– via Internet Archive. 3106:"Jazz Origins in New Orleans" 3050:(1). Durham, North Carolina: 3035:– via Internet Archive. 3017:Defining Moments: Prohibition 3008:– via Internet Archive. 2960:– via Internet Archive. 2846:– via Internet Archive. 2755:. Santa Barbara, California: 2744:– via Internet Archive. 2714:– via Internet Archive. 2662:Columbia University Libraries 2644:. Vol. 108, no. 26. 2535:– via Internet Archive. 2517:Max Perkins: Editor of Genius 1818:– via Internet Archive. 1022: 860:piano players of the period. 176: 154: 4017:Parrish, Michael E. (1992). 3252:University of Illinois Press 2797:10.1080/03007766.2014.994320 2660:. No. 71–73. New York: 2543:The Journal of Negro History 1027: 132:continued long afterwards. 7: 4636:Izzy Einstein and Moe Smith 4253:American Temperance Society 3982:Harcourt, Brace and Company 3940:University of Chicago Press 3666:Wynn, Neil A., ed. (2007). 3647:National Public Radio (NPR) 3601:(2). Middleton, Wisconsin: 3242:Peretti, Burton W. (1992). 2487:Modern Language Association 1962:Baggelaar, Kristin (2006). 888:Beginnings of European jazz 10: 6186: 4663:Scottish Prohibition Party 3762:(2). Baltimore, Maryland: 3572:(1st ed.). New York: 3339:Russell, Thaddeus (2010). 3306:(4). Baltimore, Maryland: 3223:. Durham, North Carolina: 3200:(4). Hoboken, New Jersey: 3108:. New Orleans, Louisiana: 2996:Hennessey, Thomas (1973). 2593:(2). Hoboken, New Jersey: 2485:(2). St. Louis, Missouri: 2463:. Vol. 62. New York: 1865:Crump, William D. (2008). 1722:Berish, Andrew S. (2012). 1597:Crump, William D. (2008). 1575:, pp. 82–83, 100–103. 1111:National Park Service 2015 916:British jazz began with a 822: 643: 611:as one of his favorites. 580:in 1927) in New York, and 410: 349:Formed as a result of the 301: 263: 180: 106:music in the United States 20: 6114: 6062: 5972: 5856: 5836: 5815: 5799: 5716: 5607: 5552: 5509: 5502: 5476:See Template: Jazz theory 5437: 5359: 5223: 5185: 5129: 5051: 4833: 4730: 4671: 4644: 4433: 4210: 4157: 3900:. Westport, Connecticut: 3815:– via Google Books. 3698:– via Google Books. 3603:Music Library Association 3389:Santelli, Robert (2001). 3384:– via Google Books. 3359:– via Google Books. 3237:– via Google Books. 3185:– via Google Books. 3160:– via Google Books. 3081:Oxford English Dictionary 3060:10.1215/00161071-25-1-149 3043:French Historical Studies 2930:– via Google Books. 2874:– via Google Books. 2780:Popular Music and Society 2769:– via Google Books. 2630:– via Google Books. 1990:"New Band for Kelly-Wood" 1395:, pp. 153, 155, 156. 978:Criticism of the movement 511:United States Marine Band 333:await the opening of the 98: 90: 82: 74: 58: 50: 35:. For the 1929 film, see 4722: 4241:Western Australian, 1950 4231:Western Australian, 1925 3173:Rowman & Littlefield 2860:. Jackson, Mississippi: 2749:De Roche, Linda (2015). 2670:10.7916/cm.v0i71-73.4825 798: 737: 543:New Orleans Rhythm Kings 246:call and response vocals 102:Increased popularity of 6155:1930s in American music 6145:1920s in American music 4616:William Harvey Thompson 4576:The LaMontages brothers 4395:United Kingdom Alliance 4109:The Jazz Age In America 4057:Charles Scribner's Sons 4025:. New York and London: 3519:Suhor, Charles (2001). 3498:. Edinburgh, Scotland: 3479:Oxford University Press 3370:. Ann Arbor, Michigan: 3086:Oxford University Press 3006:Northwestern University 2977:Smithsonian Institution 2885:Northwestern University 2826:Oxford University Press 2732:Oxford University Press 2550:(4). Washington, D.C.: 2478:African American Review 794:Elements and influences 513:'s 2018 performance of 381:Rum running/bootlegging 94:Jazz musicians and fans 4451:Thomas Holliday Barker 3938:. Chicago and London: 3733:Allen, Frederick Lewis 3713:Allen, Frederick Lewis 3364:Sales, Grover (1984). 3250:. Urbana and Chicago: 3217:McKay, George (2005). 2896:Berendt, Joachim-Ernst 2883:. Evanston, Illinois: 2774:Dunkel, Mario (2015). 2692:Cooke, Mervyn (1998). 2649:Chevan, David (2002). 2336:, pp. 29, 46, 67. 1637:Behrnes, Jack (2011). 903: 488: 447: 329:Several patrons and a 288:Twenty-first Amendment 192:New Orleans, Louisiana 4521:Frederic Richard Lees 4415:Wickersham Commission 4283:Bureau of Prohibition 4236:New South Wales, 1928 4197:Russia / Soviet Union 4078:10.1525/9780520972841 3928:Leuchtenburg, William 3725:Harper & Brothers 3637:(December 19, 2007). 3611:10.1353/not.2004.0171 3279:. Chicago, Illinois. 3225:Duke University Press 3110:National Park Service 3052:Duke University Press 3021:. Detroit, Michigan: 2948:Northway Publications 2904:. Chicago, Illinois: 2891:on December 10, 1997. 2786:(2). United Kingdom: 2414:Ward & Burns 2001 2398:Ward & Burns 2001 2173:Ward & Burns 2001 2149:Ward & Burns 2001 1779:Ward & Burns 2001 1477:Ward & Burns 2001 1366:Ward & Burns 2001 1323:Ward & Burns 2001 1247:Ward & Burns 2001 1147:Ward & Burns 2001 898: 776:Waldorf-Astoria Hotel 614:Some musicians, like 601:Waldorf-Astoria Hotel 487: 445: 170:Tales of the Jazz Age 5864:Bibliography of jazz 5644:Continental European 4116:from U S History.com 3851:Fitzgerald, F. Scott 3772:10.1353/aq.2003.0012 3645:. Washington, D.C.: 3443:10.1353/tj.2006.0171 3271:"The Genna Brothers" 3171:. Lanham, Maryland: 2975:. Washington, D.C.: 2972:Smithsonian Magazine 2852:Fitzgerald, F. Scott 2610:Blake, Jody (1999). 2523:Simon & Schuster 2151:, pp. 270, 272. 2115:, pp. 1, 94–96. 1951:. February 24, 1981. 1407:, pp. 120, 121. 1101:, pp. 305, 312. 1056:Literary Digest 1919 989:Princeton University 854:Lil Hardin Armstrong 835:Nineteenth Amendment 351:eighteenth amendment 6105:Straight, No Chaser 5894:Straight-ahead jazz 5351:Winter & Winter 4800:French horn in jazz 4601:Howard Hyde Russell 4420:Willis–Campbell Act 4385:Temperance movement 4288:Cullen–Harrison Act 4151:Alcohol prohibition 3970:Lynd, Helen Merrell 3643:NPR's Jazz Profiles 3527:The Scarecrow Press 3500:Lyon & Turnbull 3431:Baltimore, Maryland 3084:. Oxford, England: 3013:Hill, Jeff (2004). 2906:Lawrence Hill Books 2465:Funk & Wagnalls 2460:The Literary Digest 2388:, pp. 149–170. 2372:, p. 121–122; 2086:, pp. 458–460. 1899:. February 24, 1981 1855:, pp. 326–327. 1313:, pp. 207–210. 1237:, pp. 470–473. 974:in the late 1920s. 931:John Bulloch Souter 569:F. Scott Fitzgerald 397:Genna brothers gang 308:Black and tan clubs 165:F. Scott Fitzgerald 47: 6049:West African music 5874:British dance band 5664:European free jazz 5637:British dance band 5130:Musicians by genre 4910:Free improvisation 4446:Harry J. Anslinger 4340:Neo-prohibitionism 4330:Molly Pitcher Club 4258:Anti-Saloon League 3869:. pp. 13–22. 3755:American Quarterly 3347:Simon and Schuster 3299:American Quarterly 3132:(April 30, 2010). 3088:. September 2021. 2788:Taylor and Francis 2658:Current Musicology 2266:10.1093/gh/6.2.145 2227:The New York Times 1897:The New York Times 1816:"Big Band Remotes" 1052:Houghton Line 1919 994:The New York Times 894:The New York Times 784:Palmer House Hotel 774:(1929) and at the 761:James Reese Europe 684:Fletcher Henderson 640:Swing in the 1930s 541:recorded with the 495:"Rhapsody in Blue" 489: 456:Fletcher Henderson 448: 45: 6132: 6131: 6005:New Orleans blues 5852: 5851: 5795: 5794: 5369:Beaches (Toronto) 4780:Swing performance 4690: 4689: 4657:Prohibition Party 4645:Political parties 4581:Lanzetta Brothers 4496:Clinton N. Howard 4441:Martha Meir Allen 4087:978-0-520-97284-1 3812:978-0-8122-0176-5 3683:978-1-60473-546-8 3583:978-0-679-76539-4 3558:Ward, Geoffrey C. 3546:The Houghton Line 3536:978-0-8108-3907-6 3467:Schuller, Gunther 3381:978-0-13-509126-5 3356:978-1-4165-7109-4 3234:978-0-8223-8728-2 3182:978-1-4422-5137-3 3149:978-0-7432-7702-0 3032:978-0-7808-0768-6 2871:978-1-57806-605-6 2835:978-0-19-502148-6 2766:978-1-61069-668-5 2711:978-0-500-20318-7 2702:Thames and Hudson 2627:978-0-271-01753-2 2348:, pp. 29–31. 2296:978-0-8153-0373-2 1975:978-0-7385-4919-4 1878:978-0-7864-3393-3 1737:978-0-226-04494-1 1704:978-1-4411-4874-2 1677:978-1-135-92946-6 1650:978-1-4567-2952-3 1610:978-0-7864-3393-3 1455:, pp. 20–21. 1054:, pp. 6, 9; 720:Charlie Christian 553:'s orchestra and 539:Jelly Roll Morton 504: 126:African Americans 110: 109: 6177: 6170:Roaring Twenties 6150:1920s neologisms 6123: 6122: 5889:Continental jazz 5782:Washington, D.C. 5747: 5746: 5649:Czech and Slovak 5507: 5506: 5291:India Navigation 4989:Progressive jazz 4843:Avant-garde jazz 4717: 4710: 4703: 4694: 4693: 4596:Arnold Rothstein 4506:Enoch L. Johnson 4345:Roaring Twenties 4144: 4137: 4130: 4121: 4120: 4114:Roaring Twenties 4097: 4096: 4094: 4060: 4054: 4040: 4024: 4013: 3999: 3990:Mowry, George E. 3985: 3979: 3961: 3937: 3923: 3899: 3880: 3864: 3846: 3830: 3816: 3801:. Philadelphia: 3791: 3748: 3742: 3728: 3722: 3699: 3697: 3695: 3662: 3660: 3658: 3630: 3587: 3571: 3553: 3540: 3515: 3513: 3511: 3490: 3476: 3462: 3412: 3396: 3385: 3360: 3335: 3292: 3290: 3288: 3265: 3249: 3238: 3213: 3186: 3161: 3125: 3123: 3121: 3101: 3099: 3097: 3071: 3036: 3020: 3009: 3003: 2992: 2990: 2988: 2961: 2945: 2931: 2929: 2927: 2892: 2887:. Archived from 2875: 2847: 2823: 2809: 2799: 2770: 2745: 2729: 2715: 2699: 2688: 2686: 2684: 2678: 2655: 2645: 2636:Borzillo, Carrie 2631: 2606: 2579: 2536: 2520: 2506: 2471: 2441: 2435: 2429: 2423: 2417: 2411: 2405: 2395: 2389: 2383: 2377: 2367: 2361: 2355: 2349: 2343: 2337: 2331: 2325: 2324:, pp. 8–11. 2319: 2313: 2307: 2301: 2300: 2280: 2274: 2273: 2249: 2243: 2242: 2240: 2238: 2218: 2212: 2206: 2200: 2194: 2188: 2182: 2176: 2170: 2164: 2158: 2152: 2146: 2140: 2134: 2128: 2122: 2116: 2110: 2099: 2093: 2087: 2081: 2075: 2074: 2072: 2070: 2056: 2050: 2049: 2047: 2045: 2031: 2025: 2019: 2013: 2007: 2001: 2000: 1986: 1980: 1979: 1959: 1953: 1952: 1941: 1935: 1934: 1926: 1920: 1915: 1909: 1908: 1906: 1904: 1889: 1883: 1882: 1862: 1856: 1850: 1844: 1838: 1832: 1826: 1820: 1819: 1812: 1806: 1800: 1794: 1788: 1782: 1776: 1770: 1760: 1754: 1748: 1742: 1741: 1719: 1713: 1712: 1688: 1682: 1681: 1661: 1655: 1654: 1634: 1628: 1621: 1615: 1614: 1594: 1588: 1582: 1576: 1570: 1564: 1558: 1552: 1546: 1540: 1534: 1528: 1522: 1516: 1510: 1504: 1498: 1492: 1486: 1480: 1474: 1468: 1462: 1456: 1450: 1444: 1438: 1432: 1426: 1420: 1414: 1408: 1402: 1396: 1390: 1384: 1378: 1369: 1359: 1353: 1347: 1341: 1335: 1326: 1320: 1314: 1308: 1302: 1296: 1290: 1284: 1278: 1272: 1266: 1260: 1254: 1244: 1238: 1232: 1226: 1216: 1210: 1204: 1198: 1192: 1183: 1182: 1180: 1178: 1163: 1150: 1144: 1138: 1132: 1126: 1120: 1114: 1108: 1102: 1096: 1090: 1084: 1075: 1065: 1059: 1049: 1043: 1037: 985:Roaring Twenties 952:Django Reinhardt 734:from the 1930s. 696:Jimmie Lunceford 632:The Great Gatsby 573:Rhapsody in Blue 564:Rhapsody in Blue 519:Rhapsody in Blue 506: 505: 486: 343:Washington, D.C. 320: 137:Roaring Twenties 63: 53:Roaring Twenties 48: 44: 6185: 6184: 6180: 6179: 6178: 6176: 6175: 6174: 6135: 6134: 6133: 6128: 6125:Jazz portal 6117: 6110: 6091:The Jazz Singer 6058: 6037:Novelty ragtime 5968: 5848: 5832: 5811: 5791: 5745: 5712: 5603: 5548: 5503:Regional scenes 5498: 5433: 5355: 5281:Groove Merchant 5271:Flying Dutchman 5219: 5181: 5125: 5047: 4979:Orchestral jazz 4959:Mainstream jazz 4947:Afro-Cuban jazz 4829: 4738:Outline of jazz 4726: 4721: 4691: 4686: 4667: 4640: 4631:Frances Willard 4621:Andrew Volstead 4586:The Purple Gang 4551:J. Howard Moore 4491:J. Edgar Hoover 4429: 4410:Webb–Kenyon Act 4206: 4153: 4148: 4105: 4100: 4092: 4090: 4088: 4043: 4037: 4016: 3988: 3966:Lynd, Robert S. 3964: 3950: 3926: 3912: 3902:Greenwood Press 3890:Kyvig, David E. 3888: 3877: 3849: 3843: 3819: 3813: 3794: 3751: 3731: 3711: 3707: 3705:Further reading 3702: 3693: 3691: 3684: 3656: 3654: 3584: 3537: 3509: 3507: 3422:Theatre Journal 3409: 3382: 3357: 3316:10.2307/3031415 3286: 3284: 3276:Chicago Tribune 3262: 3235: 3202:Wiley-Blackwell 3183: 3150: 3119: 3117: 3095: 3093: 3033: 2986: 2984: 2958: 2925: 2923: 2916: 2894: 2872: 2836: 2767: 2742: 2712: 2682: 2680: 2676: 2653: 2628: 2595:Wiley-Blackwell 2560:10.2307/2714928 2533: 2495:10.2307/3042311 2449: 2444: 2436: 2432: 2424: 2420: 2412: 2408: 2400:, p. 299; 2396: 2392: 2384: 2380: 2368: 2364: 2356: 2352: 2344: 2340: 2332: 2328: 2320: 2316: 2308: 2304: 2297: 2281: 2277: 2250: 2246: 2236: 2234: 2229:. pp. T5. 2223:"Jazz Latitude" 2219: 2215: 2207: 2203: 2195: 2191: 2183: 2179: 2171: 2167: 2159: 2155: 2147: 2143: 2135: 2131: 2123: 2119: 2111: 2102: 2094: 2090: 2082: 2078: 2068: 2066: 2058: 2057: 2053: 2043: 2041: 2033: 2032: 2028: 2020: 2016: 2008: 2004: 1988: 1987: 1983: 1976: 1960: 1956: 1943: 1942: 1938: 1927: 1923: 1916: 1912: 1902: 1900: 1891: 1890: 1886: 1879: 1863: 1859: 1851: 1847: 1839: 1835: 1827: 1823: 1814: 1813: 1809: 1801: 1797: 1789: 1785: 1777: 1773: 1761: 1757: 1749: 1745: 1738: 1720: 1716: 1705: 1689: 1685: 1678: 1662: 1658: 1651: 1635: 1631: 1622: 1618: 1611: 1595: 1591: 1583: 1579: 1571: 1567: 1559: 1555: 1549:Fitzgerald 2004 1547: 1543: 1535: 1531: 1523: 1519: 1511: 1507: 1499: 1495: 1487: 1483: 1475: 1471: 1463: 1459: 1451: 1447: 1439: 1435: 1427: 1423: 1415: 1411: 1403: 1399: 1391: 1387: 1379: 1372: 1360: 1356: 1348: 1344: 1336: 1329: 1321: 1317: 1309: 1305: 1297: 1293: 1285: 1281: 1273: 1269: 1261: 1257: 1245: 1241: 1233: 1229: 1217: 1213: 1205: 1201: 1193: 1186: 1176: 1174: 1164: 1153: 1149:, pp. 2–3. 1145: 1141: 1133: 1129: 1121: 1117: 1109: 1105: 1097: 1093: 1085: 1078: 1070:, p. 217; 1066: 1062: 1050: 1046: 1038: 1034: 1030: 1025: 1017:Herbert Howells 1013:George Gershwin 1008: 1006:Classical music 980: 890: 881: 827: 821: 801: 796: 772:Roosevelt Hotel 740: 714:, vibraphonist 652: 644:Main articles: 642: 609:Louis Armstrong 597:Roosevelt Hotel 547:Red Hot Peppers 536: 535: 527: 525: 524: 523: 522: 515:George Gershwin 507: 500: 497: 490: 484: 465:George W. Meyer 461:Coleman Hawkins 452:Louis Armstrong 450:The same year, 437:Bix Beiderbecke 413: 383: 347: 346: 345: 328: 323: 322: 321: 310: 302:Main articles: 300: 292:Progressive Era 268: 262: 234:Louis Armstrong 185: 179: 157: 141:Prohibition Era 130:popular culture 70: 43: 17: 12: 11: 5: 6183: 6173: 6172: 6167: 6162: 6157: 6152: 6147: 6130: 6129: 6115: 6112: 6111: 6109: 6108: 6101: 6098:Round Midnight 6094: 6087: 6079: 6072: 6066: 6064: 6060: 6059: 6057: 6056: 6051: 6046: 6041: 6040: 6039: 6029: 6024: 6019: 6014: 6009: 6008: 6007: 6002: 5992: 5987: 5982: 5976: 5974: 5970: 5969: 5967: 5966: 5961: 5956: 5951: 5946: 5941: 5936: 5931: 5926: 5921: 5916: 5911: 5906: 5901: 5896: 5891: 5886: 5881: 5876: 5871: 5866: 5860: 5858: 5854: 5853: 5850: 5849: 5847: 5846: 5840: 5838: 5834: 5833: 5831: 5830: 5828:Latin American 5825: 5819: 5817: 5816:South American 5813: 5812: 5810: 5809: 5803: 5801: 5797: 5796: 5793: 5792: 5790: 5789: 5784: 5779: 5774: 5769: 5764: 5759: 5757:Baltimore jazz 5753: 5751: 5744: 5743: 5742: 5741: 5734:Latin American 5731: 5726: 5720: 5718: 5717:North American 5714: 5713: 5711: 5710: 5705: 5704: 5703: 5693: 5692: 5691: 5681: 5676: 5671: 5666: 5661: 5656: 5651: 5646: 5641: 5640: 5639: 5629: 5624: 5623: 5622: 5611: 5609: 5605: 5604: 5602: 5601: 5596: 5591: 5590: 5589: 5584: 5574: 5573: 5572: 5562: 5556: 5554: 5550: 5549: 5547: 5546: 5541: 5540: 5539: 5534: 5524: 5519: 5513: 5511: 5504: 5500: 5499: 5497: 5496: 5491: 5486: 5481: 5480: 5479: 5467: 5462: 5457: 5452: 5447: 5441: 5439: 5435: 5434: 5432: 5431: 5426: 5421: 5416: 5411: 5406: 5401: 5396: 5391: 5386: 5381: 5376: 5371: 5365: 5363: 5357: 5356: 5354: 5353: 5348: 5343: 5338: 5333: 5328: 5323: 5318: 5313: 5308: 5303: 5298: 5293: 5288: 5283: 5278: 5273: 5268: 5263: 5258: 5253: 5248: 5243: 5238: 5233: 5227: 5225: 5221: 5220: 5218: 5217: 5212: 5207: 5202: 5197: 5191: 5189: 5183: 5182: 5180: 5179: 5174: 5169: 5164: 5159: 5154: 5149: 5144: 5139: 5133: 5131: 5127: 5126: 5124: 5123: 5118: 5113: 5108: 5103: 5098: 5093: 5088: 5086:Percussionists 5083: 5078: 5073: 5068: 5063: 5057: 5055: 5049: 5048: 5046: 5045: 5040: 5035: 5034: 5033: 5023: 5018: 5017: 5016: 5009:Spiritual jazz 5006: 5001: 4996: 4991: 4986: 4981: 4976: 4971: 4966: 4961: 4956: 4951: 4950: 4949: 4939: 4934: 4929: 4924: 4919: 4918: 4917: 4912: 4907: 4897: 4892: 4887: 4882: 4877: 4872: 4867: 4866: 4865: 4860: 4855: 4845: 4839: 4837: 4831: 4830: 4828: 4827: 4822: 4817: 4812: 4807: 4802: 4797: 4792: 4787: 4782: 4777: 4772: 4767: 4766: 4765: 4755: 4750: 4745: 4740: 4734: 4732: 4731:General topics 4728: 4727: 4720: 4719: 4712: 4705: 4697: 4688: 4687: 4685: 4684: 4675: 4673: 4669: 4668: 4666: 4665: 4660: 4654: 4648: 4646: 4642: 4641: 4639: 4638: 4633: 4628: 4623: 4618: 4613: 4611:Eliza Thompson 4608: 4603: 4598: 4593: 4588: 4583: 4578: 4573: 4568: 4563: 4558: 4553: 4548: 4543: 4538: 4533: 4528: 4523: 4518: 4513: 4508: 4503: 4498: 4493: 4488: 4486:William Harvey 4483: 4478: 4473: 4468: 4463: 4458: 4453: 4448: 4443: 4437: 4435: 4431: 4430: 4428: 4427: 4422: 4417: 4412: 4407: 4402: 4397: 4392: 4387: 4382: 4377: 4372: 4367: 4362: 4357: 4352: 4347: 4342: 4337: 4332: 4327: 4322: 4317: 4312: 4307: 4306: 4305: 4300: 4290: 4285: 4280: 4275: 4270: 4265: 4260: 4255: 4250: 4248:American Mafia 4245: 4244: 4243: 4238: 4233: 4225: 4220: 4214: 4212: 4208: 4207: 4205: 4204: 4199: 4194: 4189: 4184: 4179: 4174: 4169: 4163: 4161: 4155: 4154: 4147: 4146: 4139: 4132: 4124: 4118: 4117: 4111: 4104: 4103:External links 4101: 4099: 4098: 4086: 4061: 4045:Sullivan, Mark 4041: 4035: 4014: 3986: 3962: 3948: 3924: 3910: 3886: 3875: 3867:New Directions 3855:Wilson, Edmund 3847: 3841: 3817: 3811: 3792: 3749: 3745:Harper and Row 3729: 3708: 3706: 3703: 3701: 3700: 3682: 3663: 3631: 3588: 3582: 3554: 3541: 3535: 3529:. p. 18. 3516: 3491: 3463: 3413: 3407: 3386: 3380: 3361: 3355: 3336: 3293: 3266: 3260: 3239: 3233: 3214: 3187: 3181: 3162: 3148: 3130:Okrent, Daniel 3126: 3102: 3076:"jazz age, n." 3072: 3037: 3031: 3010: 2993: 2962: 2956: 2932: 2914: 2876: 2870: 2848: 2834: 2814:Fass, Paula S. 2810: 2771: 2765: 2746: 2740: 2726:Jazz Anecdotes 2716: 2710: 2689: 2646: 2632: 2626: 2607: 2580: 2537: 2531: 2511:Berg, A. Scott 2507: 2472: 2450: 2448: 2445: 2443: 2442: 2430: 2418: 2406: 2404:, p. 201. 2390: 2378: 2362: 2350: 2338: 2326: 2314: 2302: 2295: 2275: 2254:German History 2244: 2213: 2211:, p. 325. 2201: 2189: 2177: 2175:, p. 272. 2165: 2163:, p. 251. 2153: 2141: 2129: 2117: 2100: 2088: 2076: 2060:"Bessie Smith" 2051: 2026: 2014: 2002: 1981: 1974: 1965:The Copacabana 1954: 1936: 1921: 1910: 1884: 1877: 1857: 1845: 1843:, p. 461. 1833: 1831:, p. 327. 1821: 1807: 1795: 1783: 1781:, p. 107. 1771: 1765:, p. 50; 1755: 1753:, p. 201. 1743: 1736: 1714: 1703: 1683: 1676: 1656: 1649: 1629: 1616: 1609: 1589: 1577: 1565: 1563:, p. 123. 1553: 1541: 1529: 1517: 1505: 1493: 1481: 1479:, p. 101. 1469: 1467:, p. 423. 1457: 1445: 1433: 1431:, p. 201. 1421: 1409: 1397: 1385: 1370: 1364:, p. 31; 1354: 1342: 1340:, p. 230. 1327: 1315: 1303: 1299:Orchowski 2015 1291: 1289:, p. 360. 1279: 1277:, p. 321. 1267: 1255: 1249:, p. 10; 1239: 1235:Hennessey 1973 1227: 1221:, p. 52; 1211: 1199: 1184: 1151: 1139: 1127: 1125:, p. 306. 1115: 1103: 1091: 1076: 1072:Henderson 2013 1060: 1044: 1031: 1029: 1026: 1024: 1021: 1007: 1004: 979: 976: 911:Lonnie Johnson 889: 886: 880: 877: 840:Billie Holiday 823:Main article: 820: 817: 800: 797: 795: 792: 757:Florence Mills 739: 736: 718:and guitarist 716:Lionel Hampton 676:Duke Ellington 641: 638: 551:Jean Goldkette 526: 508: 498: 493: 492: 491: 482: 481: 480: 412: 409: 382: 379: 335:Krazy Kat Klub 325: 324: 315: 314: 313: 312: 311: 299: 296: 264:Main article: 261: 258: 181:Main article: 178: 175: 156: 153: 108: 107: 100: 96: 95: 92: 88: 87: 84: 80: 79: 76: 72: 71: 64: 56: 55: 15: 9: 6: 4: 3: 2: 6182: 6171: 6168: 6166: 6163: 6161: 6158: 6156: 6153: 6151: 6148: 6146: 6143: 6142: 6140: 6127: 6126: 6121: 6113: 6107: 6106: 6102: 6100: 6099: 6095: 6093: 6092: 6088: 6086: 6084: 6080: 6078: 6077: 6073: 6071: 6068: 6067: 6065: 6061: 6055: 6054:Western swing 6052: 6050: 6047: 6045: 6042: 6038: 6035: 6034: 6033: 6030: 6028: 6025: 6023: 6020: 6018: 6015: 6013: 6010: 6006: 6003: 6001: 5998: 5997: 5996: 5993: 5991: 5988: 5986: 5983: 5981: 5978: 5977: 5975: 5971: 5965: 5962: 5960: 5957: 5955: 5952: 5950: 5947: 5945: 5942: 5940: 5937: 5935: 5932: 5930: 5927: 5925: 5922: 5920: 5917: 5915: 5912: 5910: 5907: 5905: 5902: 5900: 5897: 5895: 5892: 5890: 5887: 5885: 5882: 5880: 5877: 5875: 5872: 5870: 5867: 5865: 5862: 5861: 5859: 5855: 5845: 5842: 5841: 5839: 5835: 5829: 5826: 5824: 5821: 5820: 5818: 5814: 5808: 5805: 5804: 5802: 5798: 5788: 5785: 5783: 5780: 5778: 5777:New York City 5775: 5773: 5770: 5768: 5765: 5763: 5760: 5758: 5755: 5754: 5752: 5748: 5740: 5737: 5736: 5735: 5732: 5730: 5727: 5725: 5722: 5721: 5719: 5715: 5709: 5706: 5702: 5701:Flamenco jazz 5699: 5698: 5697: 5694: 5690: 5687: 5686: 5685: 5682: 5680: 5677: 5675: 5672: 5670: 5667: 5665: 5662: 5660: 5657: 5655: 5652: 5650: 5647: 5645: 5642: 5638: 5635: 5634: 5633: 5630: 5628: 5625: 5621: 5618: 5617: 5616: 5613: 5612: 5610: 5606: 5600: 5597: 5595: 5592: 5588: 5585: 5583: 5580: 5579: 5578: 5575: 5571: 5568: 5567: 5566: 5563: 5561: 5558: 5557: 5555: 5551: 5545: 5542: 5538: 5535: 5533: 5530: 5529: 5528: 5527:South African 5525: 5523: 5520: 5518: 5515: 5514: 5512: 5508: 5505: 5501: 5495: 5492: 5490: 5487: 5485: 5482: 5478: 5477: 5473: 5472: 5471: 5468: 5466: 5463: 5461: 5458: 5456: 5453: 5451: 5448: 5446: 5443: 5442: 5440: 5436: 5430: 5427: 5425: 5422: 5420: 5417: 5415: 5412: 5410: 5407: 5405: 5402: 5400: 5397: 5395: 5392: 5390: 5387: 5385: 5382: 5380: 5377: 5375: 5372: 5370: 5367: 5366: 5364: 5362: 5358: 5352: 5349: 5347: 5344: 5342: 5339: 5337: 5334: 5332: 5329: 5327: 5324: 5322: 5319: 5317: 5314: 5312: 5309: 5307: 5304: 5302: 5299: 5297: 5294: 5292: 5289: 5287: 5284: 5282: 5279: 5277: 5274: 5272: 5269: 5267: 5264: 5262: 5259: 5257: 5254: 5252: 5249: 5247: 5244: 5242: 5239: 5237: 5234: 5232: 5229: 5228: 5226: 5224:Discographies 5222: 5216: 5213: 5211: 5208: 5206: 5203: 5201: 5198: 5196: 5193: 5192: 5190: 5188: 5184: 5178: 5175: 5173: 5170: 5168: 5165: 5163: 5160: 5158: 5155: 5153: 5150: 5148: 5145: 5143: 5140: 5138: 5135: 5134: 5132: 5128: 5122: 5119: 5117: 5114: 5112: 5111:Vibraphonists 5109: 5107: 5104: 5102: 5099: 5097: 5094: 5092: 5089: 5087: 5084: 5082: 5079: 5077: 5074: 5072: 5069: 5067: 5064: 5062: 5059: 5058: 5056: 5054: 5050: 5044: 5041: 5039: 5036: 5032: 5031:Swing revival 5029: 5028: 5027: 5024: 5022: 5019: 5015: 5012: 5011: 5010: 5007: 5005: 5002: 5000: 4997: 4995: 4992: 4990: 4987: 4985: 4982: 4980: 4977: 4975: 4972: 4970: 4967: 4965: 4962: 4960: 4957: 4955: 4952: 4948: 4945: 4944: 4943: 4940: 4938: 4935: 4933: 4930: 4928: 4925: 4923: 4920: 4916: 4913: 4911: 4908: 4906: 4903: 4902: 4901: 4898: 4896: 4893: 4891: 4890:Flamenco jazz 4888: 4886: 4883: 4881: 4878: 4876: 4873: 4871: 4868: 4864: 4861: 4859: 4856: 4854: 4851: 4850: 4849: 4846: 4844: 4841: 4840: 4838: 4836: 4832: 4826: 4825:Women in jazz 4823: 4821: 4818: 4816: 4813: 4811: 4810:Jazz trombone 4808: 4806: 4803: 4801: 4798: 4796: 4793: 4791: 4790:Jazz drumming 4788: 4786: 4783: 4781: 4778: 4776: 4773: 4771: 4768: 4764: 4761: 4760: 4759: 4758:Improvisation 4756: 4754: 4751: 4749: 4746: 4744: 4741: 4739: 4736: 4735: 4733: 4729: 4725: 4718: 4713: 4711: 4706: 4704: 4699: 4698: 4695: 4683: 4681: 4677: 4676: 4674: 4670: 4664: 4661: 4658: 4655: 4653: 4650: 4649: 4647: 4643: 4637: 4634: 4632: 4629: 4627: 4626:Wayne Wheeler 4624: 4622: 4619: 4617: 4614: 4612: 4609: 4607: 4606:Dutch Schultz 4604: 4602: 4599: 4597: 4594: 4592: 4589: 4587: 4584: 4582: 4579: 4577: 4574: 4572: 4569: 4567: 4564: 4562: 4561:Carrie Nation 4559: 4557: 4554: 4552: 4549: 4547: 4546:William McCoy 4544: 4542: 4541:Joseph Malins 4539: 4537: 4534: 4532: 4529: 4527: 4526:Lucky Luciano 4524: 4522: 4519: 4517: 4514: 4512: 4509: 4507: 4504: 4502: 4501:Bumpy Johnson 4499: 4497: 4494: 4492: 4489: 4487: 4484: 4482: 4479: 4477: 4474: 4472: 4469: 4467: 4464: 4462: 4459: 4457: 4456:Lyman Beecher 4454: 4452: 4449: 4447: 4444: 4442: 4439: 4438: 4436: 4432: 4426: 4423: 4421: 4418: 4416: 4413: 4411: 4408: 4406: 4403: 4401: 4398: 4396: 4393: 4391: 4388: 4386: 4383: 4381: 4378: 4376: 4373: 4371: 4368: 4366: 4365:Sly-grog shop 4363: 4361: 4358: 4356: 4353: 4351: 4348: 4346: 4343: 4341: 4338: 4336: 4333: 4331: 4328: 4326: 4323: 4321: 4318: 4316: 4313: 4311: 4308: 4304: 4301: 4299: 4296: 4295: 4294: 4291: 4289: 4286: 4284: 4281: 4279: 4276: 4274: 4271: 4269: 4266: 4264: 4261: 4259: 4256: 4254: 4251: 4249: 4246: 4242: 4239: 4237: 4234: 4232: 4229: 4228: 4226: 4224: 4221: 4219: 4216: 4215: 4213: 4209: 4203: 4202:United States 4200: 4198: 4195: 4193: 4190: 4188: 4185: 4183: 4180: 4178: 4175: 4173: 4170: 4168: 4165: 4164: 4162: 4160: 4156: 4152: 4145: 4140: 4138: 4133: 4131: 4126: 4125: 4122: 4115: 4112: 4110: 4107: 4106: 4089: 4083: 4079: 4075: 4071: 4067: 4062: 4058: 4053: 4052: 4046: 4042: 4038: 4036:0-393-03394-5 4032: 4028: 4023: 4022: 4015: 4011: 4007: 4003: 4002:Prentice-Hall 3998: 3997: 3991: 3987: 3983: 3978: 3977: 3971: 3967: 3963: 3959: 3955: 3951: 3949:0-226-47368-6 3945: 3941: 3936: 3935: 3929: 3925: 3921: 3917: 3913: 3911:0-313-29555-7 3907: 3903: 3898: 3897: 3891: 3887: 3884: 3878: 3876:0-8112-0051-5 3872: 3868: 3863: 3862: 3856: 3852: 3848: 3844: 3842:0-8090-1566-8 3838: 3834: 3833:Hill and Wang 3829: 3828: 3822: 3821:Dumenil, Lynn 3818: 3814: 3808: 3804: 3800: 3799: 3793: 3789: 3785: 3781: 3777: 3773: 3769: 3765: 3761: 3757: 3756: 3750: 3746: 3741: 3740: 3734: 3730: 3726: 3721: 3720: 3714: 3710: 3709: 3689: 3685: 3679: 3675: 3671: 3670: 3664: 3652: 3648: 3644: 3640: 3636: 3635:Wilson, Nancy 3632: 3628: 3624: 3620: 3616: 3612: 3608: 3604: 3600: 3596: 3595: 3589: 3585: 3579: 3575: 3570: 3569: 3563: 3559: 3555: 3552: 3548: 3547: 3542: 3538: 3532: 3528: 3524: 3523: 3517: 3505: 3501: 3497: 3492: 3488: 3484: 3480: 3475: 3474: 3468: 3464: 3460: 3456: 3452: 3448: 3444: 3440: 3436: 3432: 3428: 3424: 3423: 3418: 3417:Savran, David 3414: 3410: 3408:0-14-100145-3 3404: 3400: 3399:Penguin Books 3395: 3394: 3387: 3383: 3377: 3373: 3369: 3368: 3362: 3358: 3352: 3348: 3344: 3343: 3337: 3333: 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1949:The Telegraph 1946: 1940: 1932: 1925: 1919: 1914: 1898: 1894: 1888: 1880: 1874: 1870: 1869: 1861: 1854: 1849: 1842: 1837: 1830: 1825: 1817: 1811: 1805:, p. 18. 1804: 1803:De Roche 2015 1799: 1792: 1787: 1780: 1775: 1769:, p. 40. 1768: 1764: 1759: 1752: 1747: 1739: 1733: 1729: 1725: 1718: 1711: 1706: 1700: 1696: 1695: 1687: 1679: 1673: 1669: 1668: 1660: 1652: 1646: 1642: 1641: 1633: 1626: 1620: 1612: 1606: 1602: 1601: 1593: 1587:, p. 88. 1586: 1585:Schuller 1968 1581: 1574: 1569: 1562: 1557: 1551:, p. 93. 1550: 1545: 1538: 1533: 1527:, p. 93. 1526: 1525:Schuller 1968 1521: 1515:, p. 91. 1514: 1513:Schuller 1968 1509: 1502: 1497: 1491:, p. 79. 1490: 1485: 1478: 1473: 1466: 1465:Santelli 2001 1461: 1454: 1449: 1443:, p. 54. 1442: 1437: 1430: 1425: 1418: 1413: 1406: 1401: 1394: 1389: 1382: 1377: 1375: 1367: 1363: 1358: 1351: 1346: 1339: 1334: 1332: 1324: 1319: 1312: 1307: 1301:, p. 32. 1300: 1295: 1288: 1283: 1276: 1271: 1264: 1259: 1252: 1251:Schuller 1968 1248: 1243: 1236: 1231: 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She and 851: 850:classic blues 847: 843: 841: 836: 832: 829:With women's 826: 825:Women in jazz 819:Role of women 816: 812: 810: 806: 791: 789: 785: 781: 777: 773: 769: 764: 762: 758: 753: 750:Musicologist 748: 746: 735: 733: 732:boogie-woogie 729: 725: 721: 717: 713: 707: 705: 701: 697: 693: 689: 685: 681: 680:Benny Goodman 677: 673: 669: 665: 661: 657: 651: 650:1930s in jazz 647: 637: 634: 633: 627: 623: 619: 617: 612: 610: 606: 605:Benny Goodman 602: 598: 594: 590: 585: 583: 579: 574: 570: 566: 565: 560: 556: 555:Paul Whiteman 552: 548: 544: 540: 534: 532: 520: 516: 512: 496: 479: 477: 473: 468: 466: 462: 457: 453: 444: 440: 438: 434: 430: 426: 422: 418: 408: 406: 402: 401:Johnny Torrio 398: 394: 389: 388:William McCoy 378: 376: 375:New York City 372: 367: 364: 360: 356: 352: 344: 340: 336: 332: 327: 319: 309: 305: 295: 293: 289: 283: 281: 277: 272: 267: 257: 255: 254:improvisation 251: 247: 243: 239: 235: 231: 228: 224: 219: 217: 213: 209: 205: 201: 197: 193: 189: 184: 174: 172: 171: 166: 162: 152: 150: 149:youth culture 146: 142: 138: 133: 131: 127: 123: 119: 115: 105: 101: 97: 93: 89: 86:United States 85: 81: 77: 73: 68: 62: 57: 54: 49: 41: 39: 34: 32: 27: 25: 19: 6165:Jazz culture 6116: 6103: 6096: 6089: 6085:(miniseries) 6082: 6074: 6044:Sophisti-pop 5883: 5474: 5465:Jazz royalty 5455:Jazz funeral 5251:Contemporary 5142:Chamber jazz 5096:Saxophonists 5066:Clarinetists 5038:Third stream 4875:Chamber jazz 4775:Scat singing 4679: 4591:George Remus 4571:Roy Olmstead 4536:Owney Madden 4516:Meyer Lansky 4476:Texas Guinan 4471:Waxey Gordon 4466:Mickey Duffy 4400:Volstead Act 4320:Local option 4314: 4091:, retrieved 4069: 4050: 4020: 3995: 3980:. New York: 3975: 3933: 3895: 3883:The Crack-Up 3865:. New York: 3861:The Crack-up 3860: 3831:. New York: 3826: 3797: 3759: 3753: 3743:. New York: 3738: 3718: 3694:November 22, 3692:. Retrieved 3668: 3657:November 21, 3655:. Retrieved 3642: 3598: 3592: 3567: 3550: 3545: 3521: 3510:November 21, 3508:. Retrieved 3477:. New York: 3472: 3426: 3420: 3397:. New York: 3392: 3366: 3345:. New York: 3341: 3303: 3297: 3287:December 13, 3285:. Retrieved 3274: 3245: 3219: 3197: 3191: 3167: 3138:. New York: 3134: 3120:November 21, 3118:. Retrieved 3096:November 20, 3094:. Retrieved 3079: 3047: 3041: 3023:Omnigraphics 3016: 2999: 2987:November 21, 2985:. Retrieved 2970: 2941: 2936:Godbolt, Jim 2926:November 22, 2924:. Retrieved 2900: 2889:the original 2856: 2824:. New York: 2819: 2783: 2779: 2751: 2730:. New York: 2725: 2695: 2683:November 21, 2681:. Retrieved 2657: 2639: 2612: 2590: 2584: 2547: 2541: 2521:. New York: 2516: 2482: 2476: 2468: 2458: 2440:, p. 9. 2433: 2421: 2409: 2402:Peretti 1992 2393: 2386:Jackson 2002 2381: 2374:Shearer 2018 2365: 2353: 2346:Godbolt 2005 2341: 2334:Godbolt 2005 2329: 2322:Godbolt 2005 2317: 2305: 2285: 2278: 2269: 2257: 2253: 2247: 2235:. Retrieved 2226: 2216: 2204: 2192: 2187:, p. 3. 2180: 2168: 2156: 2144: 2132: 2120: 2091: 2079: 2067:. Retrieved 2063: 2054: 2042:. Retrieved 2038: 2029: 2017: 2005: 1997: 1993: 1984: 1964: 1957: 1948: 1939: 1924: 1913: 1901:. Retrieved 1896: 1887: 1867: 1860: 1848: 1836: 1824: 1810: 1798: 1793:, p. 3. 1786: 1774: 1763:Peretti 1992 1758: 1746: 1727: 1717: 1708: 1693: 1686: 1666: 1659: 1639: 1632: 1619: 1599: 1592: 1580: 1568: 1556: 1544: 1532: 1520: 1508: 1496: 1484: 1472: 1460: 1448: 1436: 1424: 1417:Rodgers 1997 1412: 1400: 1388: 1362:Peretti 1992 1357: 1345: 1338:Russell 2010 1318: 1306: 1294: 1282: 1270: 1258: 1253:, p. 3. 1242: 1230: 1223:Peretti 1992 1214: 1209:, p. 3. 1202: 1197:, p. 1. 1175:. Retrieved 1171: 1142: 1130: 1118: 1106: 1094: 1063: 1047: 1035: 1009: 992: 981: 972:Okeh Records 954:popularized 945: 934: 915: 904: 899: 893: 891: 882: 862: 846:Lovie Austin 844: 828: 813: 802: 778:(1959), and 768:Guy Lombardo 765: 752:Charles Hamm 749: 741: 724:Lester Young 712:Teddy Wilson 708: 700:Glenn Miller 672:Tommy Dorsey 664:Cab Calloway 653: 630: 628: 624: 620: 613: 589:Guy Lombardo 586: 572: 571:opined that 562: 537: 528: 476:scat singing 469: 449: 433:Bill Johnson 421:Bessie Smith 414: 393:Frankie Yale 384: 368: 358: 348: 284: 269: 232: 220: 208:Creole music 203: 186: 168: 160: 158: 134: 113: 111: 91:Participants 51:Part of the 38:The Jazz Age 37: 33:(Jack album) 31:The Jazz Age 30: 24:The Jazz Age 23: 18: 6027:Quiet storm 5990:Contradanza 5772:New Orleans 5767:Kansas City 5570:Jazz mugham 5565:Azerbaijani 5489:Second line 5484:Rare groove 5470:Jazz theory 5460:Jazz poetry 5445:Contrafacts 5429:Saint Lucia 5409:New Orleans 5341:Strata-East 5316:MPS Records 5246:Cobblestone 5167:Smooth jazz 5157:Jazz fusion 5101:Trombonists 5014:Sacred jazz 4999:Smooth jazz 4932:Jazz fusion 4815:Jazz violin 4795:Jazz guitar 4770:Jam session 4743:Jazz (word) 4680:Prohibition 4511:Norman Kerr 4481:Frank Hamer 4380:Teetotalism 4350:Rum-running 4268:Bathtub gin 4070:Jazz Places 4027:W.W. Norton 3766:: 303–313. 3437:: 459–476. 3310:: 305–316. 3054:: 149–170. 2790:: 122–139. 2554:: 461–494. 2489:: 325–328. 2447:Works cited 2438:Biocca 1990 2209:Barlow 1995 2197:Berger 1947 2185:McCann 2008 2022:Berger 1947 1903:October 28, 1853:Barlow 1995 1841:Savran 2006 1829:Barlow 1995 1791:Biocca 1990 1751:Chevan 2002 1561:Dunkel 2015 1501:Wilson 2007 1429:Okrent 2010 1381:Okrent 2010 1350:Okrent 2010 1311:Okrent 2010 1287:Okrent 2010 1275:Okrent 2010 1195:Biocca 1990 1172:www.nps.gov 927:moral panic 920:. In 1926, 790:nightclub. 780:Shep Fields 692:Harry James 660:Count Basie 646:Swing music 616:Pops Foster 578:Cotton Club 454:joined the 429:King Oliver 415:From 1919, 341:located in 337:in 1921, a 298:Speakeasies 280:speakeasies 260:Prohibition 250:polyrhythms 227:traditional 122:New Orleans 78:1920s–1930s 6139:Categories 6012:Brass band 6000:Jump blues 5844:Ethno jazz 5807:Australian 5787:West Coast 5544:Zimbabwean 5384:Copenhagen 5306:Mainstream 5116:Violinists 5106:Trumpeters 5076:Guitarists 4984:Organ trio 4969:Modal jazz 4942:Latin jazz 4922:Gypsy jazz 4820:Vocal jazz 4805:Jazz piano 4566:Eliot Ness 4556:Bugs Moran 4355:Rum Patrol 4293:Dry county 4273:Blaine Act 4167:Bangladesh 4159:By country 3920:2001023857 3562:Burns, Ken 3158:2009051127 2946:. London: 2720:Crow, Bill 2700:. London: 2426:Suhor 2001 2370:McKay 2005 2358:Blake 1999 2137:Cooke 1998 2125:Cooke 1998 1767:Cooke 1998 1623:Obituary: 1573:Cooke 1998 1537:Cooke 1998 1489:Cooke 1998 1453:Cooke 1998 1441:Cooke 1998 1219:Cooke 1998 1207:Sales 1984 1087:Cooke 1998 1023:References 968:Joe Venuti 964:Eddie Lang 956:gypsy jazz 907:Mike Danzi 873:Chick Webb 858:jazz blues 809:Charleston 788:Copacabana 728:jump blues 704:Artie Shaw 688:Earl Hines 582:Earl Hines 531:media help 405:racketeers 363:Earl Hines 242:blue notes 177:Jazz music 155:Background 5980:Acid jazz 5837:Worldwide 5823:Brazilian 5620:Bulgarian 5582:Indo jazz 5532:Cape jazz 5419:North Sea 5374:Cape Town 5361:Festivals 5336:Riverside 5311:Milestone 5236:Blue Note 5231:Bethlehem 5215:post-1950 5187:Standards 5172:Soul jazz 5121:Vocalists 5081:Organists 5053:Musicians 5043:Trad jazz 5004:Soul jazz 4927:Jazz-funk 4915:Punk jazz 4905:Free funk 4900:Free jazz 4895:Folk jazz 4885:Dixieland 4880:Cool jazz 4870:Cape jazz 4785:Jazz bass 4748:Jazz band 4531:Sam Maceo 4461:Al Capone 4370:Speakeasy 4335:Moonshine 4298:Dry state 4093:April 25, 3788:145194943 3627:201766523 3459:192117168 3324:0003-0678 3068:161520728 2938:(2005) . 2881:"The Map" 2806:191480580 2641:Billboard 2576:149563657 2310:Wynn 2007 2161:Crow 1990 2084:Ward 2004 2035:"jazzlib" 2010:Fass 1977 1405:Hill 2004 1393:Hill 2004 1263:Roth 1952 1166:Orleans. 1123:Roth 1952 1099:Roth 1952 1068:Berg 1978 1028:Citations 896:in 1922: 869:Hot Seven 629:In 1925, 427:", where 355:Al Capone 339:speakeasy 304:Speakeasy 276:Al Capone 223:dixieland 159:The term 5985:Afrobeat 5899:Pre-1920 5884:Jazz Age 5800:Oceanian 5750:American 5724:Canadian 5608:European 5599:Japanese 5560:Armenian 5522:Malawian 5517:Ethiopia 5404:Montreux 5399:Montreal 5394:Monterey 5331:Prestige 5301:Landmark 5286:Impulse! 5266:ESP-Disk 5195:Pre-1920 5152:Hard bop 5091:Pianists 5071:Drummers 5061:Bassists 4994:Ska jazz 4937:Jazz rap 4863:Post-bop 4853:Hard bop 4753:Big band 4315:Jazz Age 4211:By topic 4047:(1936). 4010:63-19425 3992:(1963). 3972:(1929). 3930:(1958). 3892:(2002). 3823:(1995). 3780:30041974 3735:(1939). 3715:(1931). 3688:Archived 3651:Archived 3564:(2001). 3504:Archived 3487:68-17610 3469:(1968). 3451:25069871 3281:Archived 3140:Scribner 3114:Archived 3112:. 2015. 3090:Archived 2981:Archived 2920:Archived 2898:(1992). 2854:(2004). 2844:76-42644 2816:(1977). 2757:ABC-Clio 2722:(1990). 2674:Archived 2597:: 1–15. 2513:(1978). 2237:June 27, 2231:Archived 865:Hot Five 831:suffrage 593:big band 559:Gershwin 472:Hot Five 425:Hot Jazz 395:and the 161:jazz age 114:Jazz Age 83:Location 46:Jazz Age 6032:Ragtime 6017:Exotica 5973:Related 5879:Ragtime 5857:History 5762:Chicago 5729:Haitian 5708:Swedish 5696:Spanish 5679:Italian 5632:British 5627:Belgian 5594:Iranian 5510:African 5438:Culture 5414:Newport 5389:Jakarta 5379:Chicago 5276:Freedom 4974:Nu jazz 4858:Neo-bop 4672:Related 4360:Rum row 4182:Iceland 4177:Finland 3958:58-5680 3857:(ed.). 3619:4487383 3574:Pimlico 3332:3031415 2568:2714928 2503:3042311 2069:June 5, 2044:June 5, 1177:June 5, 1000:Siberia 960:musette 805:flapper 431:joined 417:Kid Ory 411:History 371:Chicago 331:flapper 212:ragtime 200:ragtime 99:Outcome 69:in 1921 67:Houston 5684:Polish 5674:German 5669:French 5654:Danish 5615:Balkan 5577:Indian 5537:Marabi 5494:Venues 5021:Stride 4964:Marabi 4954:M-Base 4835:Genres 4434:People 4172:Canada 4084: 4033: 4008: 3956: 3946: 3918: 3908: 3873: 3839: 3809: 3786: 3778: 3680: 3625: 3617: 3580: 3533: 3485: 3457: 3449: 3405: 3378: 3353: 3330: 3322: 3258: 3231: 3179: 3156: 3146: 3066: 3029: 2954: 2912: 2868: 2842: 2832: 2804: 2763: 2738: 2708: 2624: 2574: 2566: 2529: 2501: 2293: 1972: 1875: 1734: 1710:style. 1701: 1674: 1647: 1607: 745:remote 214:, and 145:radios 40:(film) 6063:Media 6022:Plugg 5995:Blues 5949:2010s 5944:2000s 5939:1990s 5934:1980s 5929:1970s 5924:1960s 5919:1950s 5914:1940s 5909:1930s 5904:1920s 5869:Blues 5739:Cuban 5659:Dutch 5587:Sitar 5553:Asian 5346:Verve 5210:1940s 5205:1930s 5200:1920s 5177:Swing 5137:Bebop 5026:Swing 4848:Bebop 4659:(USA) 4310:Islam 4187:India 3784:S2CID 3776:JSTOR 3623:S2CID 3615:JSTOR 3594:Notes 3455:S2CID 3447:JSTOR 3429:(3). 3328:JSTOR 3064:S2CID 2802:S2CID 2677:(PDF) 2654:(PDF) 2572:S2CID 2564:JSTOR 2499:JSTOR 799:Youth 738:Radio 668:Jimmy 656:swing 238:swing 216:blues 196:blues 6083:Jazz 6076:Bird 5964:2022 5959:2021 5954:2020 5689:Yass 5424:Pori 5326:Muse 5162:Scat 4763:Jazz 4724:Jazz 4192:Iran 4095:2024 4082:ISBN 4031:ISBN 4006:LCCN 3954:LCCN 3944:ISBN 3916:LCCN 3906:ISBN 3881:See 3871:ISBN 3837:ISBN 3807:ISBN 3696:2021 3678:ISBN 3659:2021 3578:ISBN 3531:ISBN 3512:2021 3483:LCCN 3403:ISBN 3376:ISBN 3351:ISBN 3320:ISSN 3289:2019 3256:ISBN 3229:ISBN 3177:ISBN 3154:LCCN 3144:ISBN 3122:2021 3098:2021 3027:ISBN 2989:2021 2952:ISBN 2928:2021 2910:ISBN 2866:ISBN 2840:LCCN 2830:ISBN 2761:ISBN 2736:ISBN 2706:ISBN 2696:Jazz 2685:2021 2622:ISBN 2527:ISBN 2291:ISBN 2239:2022 2071:2024 2046:2024 1970:ISBN 1905:2020 1873:ISBN 1732:ISBN 1699:ISBN 1672:ISBN 1645:ISBN 1605:ISBN 1179:2024 1015:and 966:and 941:jazz 909:and 702:and 670:and 648:and 517:'s " 509:The 373:and 306:and 252:and 240:and 198:and 188:Jazz 183:Jazz 118:jazz 112:The 104:jazz 75:Date 5321:MPS 5296:JMT 5261:ECM 5256:CTI 5241:BYG 4074:doi 3768:doi 3607:doi 3439:doi 3312:doi 3206:doi 3056:doi 2792:doi 2666:doi 2599:doi 2556:doi 2491:doi 2262:doi 561:'s 6141:: 4080:, 4068:, 4029:. 4004:. 3968:; 3952:. 3942:. 3914:. 3904:. 3835:. 3805:. 3782:. 3774:. 3760:55 3758:. 3686:. 3676:. 3649:. 3641:. 3621:. 3613:. 3605:. 3599:61 3597:. 3576:. 3560:; 3502:. 3481:. 3453:. 3445:. 3433:: 3427:58 3425:. 3401:. 3374:. 3349:. 3326:. 3318:. 3302:. 3273:. 3254:. 3227:. 3204:. 3198:41 3196:. 3175:. 3152:. 3142:. 3078:. 3062:. 3048:25 3046:. 3025:. 2979:. 2969:. 2950:. 2918:. 2908:. 2864:. 2838:. 2828:. 2800:. 2784:38 2782:. 2778:. 2759:. 2734:. 2704:. 2672:. 2664:. 2656:. 2620:. 2591:24 2589:. 2570:. 2562:. 2548:32 2546:. 2525:. 2497:. 2483:29 2481:. 2457:. 2268:. 2256:. 2225:. 2103:^ 2062:. 2037:. 1992:. 1947:. 1895:. 1726:. 1707:. 1373:^ 1330:^ 1187:^ 1170:. 1154:^ 1079:^ 1019:. 1002:. 842:. 698:, 694:, 690:, 686:, 682:, 678:, 674:, 666:, 662:, 478:. 435:. 294:. 256:. 248:, 244:, 218:. 210:, 173:. 4716:e 4709:t 4702:v 4143:e 4136:t 4129:v 4076:: 3885:. 3790:. 3770:: 3661:. 3629:. 3609:: 3539:. 3514:. 3461:. 3441:: 3334:. 3314:: 3304:4 3291:. 3212:. 3208:: 3124:. 3100:. 3070:. 3058:: 2991:. 2808:. 2794:: 2687:. 2668:: 2605:. 2601:: 2578:. 2558:: 2505:. 2493:: 2376:. 2299:. 2264:: 2258:6 2241:. 2073:. 2048:. 1978:. 1907:. 1881:. 1740:. 1680:. 1653:. 1613:. 1503:. 1419:. 1368:. 1181:. 1137:. 1113:. 1074:. 1042:. 533:. 204:. 42:.

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