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The first jazz artist to be given some liberty in choosing his material was Louis Armstrong, whose band helped popularize many of the early standards in the 1920s and 1930s. [ 5 ] Some compositions written by jazz artists have endured as standards, including Fats Waller 's " Honeysuckle Rose " and " Ain't Misbehavin' ".
This is an A–Z list of jazz tunes which have been covered by multiple jazz artists. It includes the more popular jazz standards, lesser-known or minor standards, and many other songs and compositions which may have entered a jazz musician's or jazz singer's repertoire or be featured in the Real Books, but may not be performed as regularly or as widely as many of the popular standards.
In 1920, the jazz age was underway and was indirectly fueled by prohibition 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, including The New Orleans Rhythm Kings who began playing at Friar's Inn. [5]
S 'S Wonderful; Shanghai Shuffle; She's Funny That Way; The Sheik of Araby; Singin' the Blues (Sam M. Lewis, Joe Young, Con Conrad and J. R. Robinson song)
While the Big Band Era suggests that big bands flourished for a short period, they have been a part of jazz music since their emergence in the 1920s when white concert bands adopted the rhythms and musical forms of small African-American jazz combos.
The resulting illicit speakeasies 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. By the late 1920s, a new opposition mobilized across the U.S. Anti-prohibitionists, or "wets", attacked prohibition as causing crime, lowering local revenues ...
“One can plausibly argue that the debate over jazz was just one of many that characterized American social discourse in the 1920s” (Ogren 3). In 1919, jazz was being described to white people as “a music originating about the turn of the twentieth century in New Orleans that featured wind instruments exploiting new timbres and performance techniques and improvisation” (Murchison 97).
April 6: King Oliver's Creole Jazz Band records the King Oliver/Louis Armstrong song Dippermouth Blues; June 30: Sidney Bechet cuts his first two sides "Wild Cat Blues" and "Kansas City Blues" with Clarence Williams' Blue Five. October 29: African-American musical Runnin' Wild premieres at the New Colonial Theatre in New York.
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