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Washington was a well-established and popular figure in New Orleans during the late s and s, playing ragtime, blues, jazz, and boogie-woogie. After a sojourn in St. Yes, there are players with more sophisticated jazz chops Allen Toussaint, Henry Butler and greater versatility James Booker. He suffered poverty and ill health before being rediscovered in the s, his newfound popularity due to his appearances at the New Orleans Jazz and Heritage Festival and to late-career albums like Crawfish Fiesta and New Orleans Piano.

He would lay down habanera and rumba rhythms with his left hand while playing triplets and intricate, surging rolls with his right. Given his preeminence in the NOLA piano pantheon, just one sample of his brilliance will not do. Professor Longhair died in his sleep of a heart attack in , at age 61, just as his resurgent career was really taking off. In , Smith formed his band the Clowns with singer and bandleader — and female impersonator — Bobby Marchan.

Pop, blues, and gospel; the sacred and the profane; defiance and devotion: Booker flawlessly merges styles and moods into a deeply affecting performance. Personal testimony is more like it. John, has enjoyed a remarkably long, if tumultuous, career, beginning as a teenage session player in the s. At first, he mainly played guitar, but after he lost part of a finger in a barroom shooting, he made the piano his main instrument. When he was in his early teens, Rebennack met Professor Longhair, whose music — and personal style — made an enormous impression. Just everything about the man was totally hip. Rebennack has made some 30 albums as Dr. Blind since birth, he took up the piano when he was six; at 12, he became a professional musician, composer, and arranger.

The pianist and composer wrote, arranged, produced, and played on many of the biggest hits to come out of the Crescent City. The story of the original Creole Orchestra is a case in point. This band was organized in Los Angeles by bassist Bill Johnson, who traveled with a band to that city as early as While performing at a prizefight, the Creole band fell victim to the venom of a writer for the Los Angeles Times , who characterized their playing as "a vile imitation of music. However, theater audiences were not in a position to respond appropriately because New Orleans jazz was essentially dancing music.

Keppard feared with some justification that recording would enable the competition to copy his style. When the Creole Orchestra disbanded in , there was little to show for their efforts. The individual members went on to join or form new musical alliance as best they could. In retrospect, however, they were the first New Orleans style band to travel extensively, pioneering a path that would be followed by others. Bill Johnson landed in Chicago, where a growing economy attending American entry into the Great War created a boom, which meant jobs for ambitious musicians.

Then a series of problems resulting from police raids on the saloon where he was performing convinced him that he should pursue greener pastures elsewhere. His use of mutes to achieve vocal effects, his fluid and adventurous sense of rhythm, and his blues phrasing, made Oliver a major influence on all who followed, including Louis Armstrong, his most famous protégé. They arrived in Chicago in and then went to New York at the beginning of Within six months of its release, over one million copies had been sold, thus fusing the New Orleans sound with the term "jazz" in a commercial product which could be widely distributed. While sheet music continued to be an important medium for the spread of new music, phonograph records were far superior, capturing almost every nuance of a performance and conveying aspects of playing style that were essential to jazz but difficult to write down.

The records made by ODJB were extremely influential in spreading jazz throughout the nation and the world, but they also had an important impact on musicians back home in New Orleans. An advertisement by Maison Blanche a local department store affirmed that these records promoted all New Orleans music and were a model for further development: "Here is positively the greatest dance record ever issued. This standardized the jazz band lineup and demonstrated dramatically how recordings could be used to promote the music. It is not by coincidence that the decade of the s has come to be known as "The Jazz Age. Americans were now more urbanized, affluent, and entertainment-oriented than ever before. The music industry was quick to take advantage of the situation.

In , million phonograph records were produced in the United States compared to 25 million in Two years later production remained high at 92 million, setting a trend, which continued, for the better part of the decade until the impact of radio. This prosperity relied heavily on the demand of records by dancers. In the Streckfus Company asked St. Sidney, and then on their flagship the S. Marable had high musical standards, and his musicians were expected to read music as well as improvise. This recording still effects a jazz feeling, much like that of the Fletcher Henderson Orchestra, which dominated the s New York scene. These bands had to file their contracts with the Mobile, Alabama chapter the closest black local , which was well over a hundred miles away.

Having been denied membership into the Musicians Protected Union No. Another of the top performance sites for local jazz bands was the Pythian Temple Roof Garden, part of the multi-story complex run by the Knights of Pythia. Whereas the Streckfus officials usually hired black bands to play on the boat for white audiences, the clients of the Pythian Temple was black affluent, representing a cross-section of New Orleans black middle and upper classes. By the mids, jazz bands were in demand at the Pythian Temple and debutante balls in the mansions of the Garden District.

Growing social acceptance allowed jazz musicians to transcend associations with crime and poverty, which had sometimes haunted music in its earliest days. Even so, for those who wanted to make it to the top of the entertainment industry, all roads led out of town. During the better part of the recording boom of the s, Chicago was the place to be. These two groups continued to use many of the elements associated with early jazz recordings, such as stop-time, breaks, and ensemble riffing. However, they did much more with them, thus taking the concept of collective- improvised jazz to a higher artistic level. This included an expanded repertoire of "riffs" and new compositions, a more consistent and "swinging" rhythmic pulse, and "solo improvisation".

Cornetist Paul Mares led the New Orleans Rhythm Kings, another Laine alumnus, who had worked the riverboats in before relocating to Chicago in Classic renditions of "Milneberg Joys" sic , "London Blues," and "Clarinet Marmalade" resulted, but the sessions were not only musically significant. This was the first racially integrated jazz recording session. Crossing the color line in Indiana—a state where the Ku Klux Klan was politically powerful in the s—was potentially hazardous, even for something as anonymous as a recording session.

Yet, what mattered to the individuals were the respective talents of the musicians involved. They all shared a common understanding of the New Orleans idiom that enabled them to interact effectively. The band was known for spectacular dual breaks which Oliver created with his young protégé. Many observers and listeners regarded the Creole Jazz Band as the finest jazz band of its day. It was the first black jazz band to record extensively. Oliver had a hand in the composition of most of the recorded material.

The contributions of Joe Oliver, Louis Armstrong, and Johnny Dodds as soloist like those of Roppolo and Brunies indicated the course that jazz was destined to follow. However, the glory days of the Creole Jazz Band were of short duration. In , Lil Hardin who became Mrs. The Dodds brothers were pursuing a career on their own. Oliver was left to pick up the pieces, forming a big band, the Dixie Syncopators by the end of the year. Shifts in popular tastes began to undermine the influences of New Orleans style bands in a number of ways.

Star soloists took the spotlight, abandoning the collective approach to improvisation. Composers and arrangers controlled the balance between soloists and sections of instruments that supported them in the big band format. Ironically, it was two New Orleans musicians who perhaps best illustrated these trends. Jelly Roll Morton became recognized as the first great jazz composer. The goal of every jazz musician is to find their own "voice," a sound that is at once unique and identifiable. One of the best examples is Louis Armstrong whose distinctive tone on cornet and personal singing style changed the course of American music. In this group, he raised the New Orleans collective concept to unparalleled heights of creativity and then set a new direction with the sheer brilliance of his solo performances.

Jones , who conceived the notion of showcasing Armstrong in a recording band. Beginning in November , the Hot Five produced almost three dozen records for Okeh which was acquired by Columbia in and revolutionized the jazz world in the process. However, it was not until the spring of that Armstrong broke entirely free of the collective format with his rendition of "Wild Man Blues" credited to both Armstrong and Jelly Roll Morton. Morton has been identified as the first great composer of jazz—a role that started with the publication of his "Jelly Roll Blues" in

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