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the so-called black jazz. Sam
Wooding (Philadelphia, Pa, 6/17/1895 - 8/1/1985), pianist, arranger and bandleader, joins his orchestra, in 1925, to a magazine show called Chocolate Kiddies, with which he leaves, that year, on an excursion to Europe. There, the band separates from the troupe and continues to perform in several countries on the continent, before heading to South America in 1927. Wooding will return to Europe, touring intensively between 1928 and 1931. For Pujol (2004, p. 24 -27), Sam Wooding's was one of the first - and musically the best, because "de formación más compacta y de mejores solistas" - orchestras that made the Argentine public aware of a type of jazz after ragtime, more syncopated and very marked by improvisation. It would be Humberto Cairo himself, still in full activity as a businessman for Empire and Maipo, to bring Sam Wooding's orchestra to Argentina, apparently with a contract ended on a businessman's trip to Europe. The group will debut at the Empire on April 8, 1927, in a double session - at 6:30 pm – 11:00 pm - and, following the same initial script of the Eight Batutas in December 1922, they will also start playing at Maipo from the day 11, integrating a magazine called La Mejor Revista. The newspapers had been announcing for several days what would be the debut of, as announced in La Nación on April 3, "el jazz más formidable del mundo", or, still in the same newspaper, two days later, "el mejor jazz of black Americans ". The ads invariably highlighted the fact that it was a group of black, or colored, musicians.
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In the year 1927, just a few months before the Oito
Batutas started their tour in southern Brazil in Florianópolis, and four years after the Brazilian musicians passed through Argentina, an orchestra that would be referred to as one of the first public contacts debuted in Buenos Aires Argentine with
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Wooding returned to Europe, performing on the
Continent, in Russia and England throughout most of the 1930s. Wooding's long stays overseas made him virtually unknown at home, but Europeans were among the staunchest jazz fans anywhere, and they loved what the band had to offer. "We found it hard to
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believe, but the
Europeans treated us with as much respect as they did their own symphonic orchestras," he recalled in a 1978 interview. "They loved our music, but they didn’t quite understand it, so I made it a load easier for them by incorporating such melodies as "Du holder Abendstern" from
342:- syncopated, of course. They called it blasphemy, but they couldn't get enough of it. That would never have happened back here in the States. Here they looked on jazz as something that belonged in the gin mills and sporting houses, and if someone had suggested booking a blues singer like
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Returning home in the late 1930s, when World War II seemed a certainty, Wooding began formal studies of music, attained a degree, and began teaching full-time, counting among his students trumpeter
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booked
Wooding and his band – as "the Chocolate Kiddies" – as well as his revue performers for a European tour, performing in Berlin, Hamburg, Stockholm, and Copenhagen. The cast of
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Biographical Dictionary of Afro-American and African Musicians,
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Official Souvenir Program of Spoleto Festival U.S.A. - 1978.
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281:1927 Argentine tour
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322:Chocolate Soldiers
308:Career (continued)
292:1929 European tour
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384:References
348:Nora Bayes
339:Tannhäuser
314:The Apollo
298:Parlophone
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183:impresario
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374:Manhattan
175:Nest Club
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