By Arnold Shaw
F. Scott Fitzgerald named it, Louis Armstrong introduced it, Paul Whiteman and Fletcher Henderson orchestrated it, and now Arnold Shaw chronicles this extraordinary period in his marvelously engrossing ebook, correctly referred to as The Jazz Age. Enriching his account with full of life anecdotes and inside of tales, he describes the astounding outpouring of important musical options that emerged through the ''Roaring Twenties''--including blues, jazz, band tune, torch ballads, operettas, and musicals--and units them opposed to the heritage of the Prohibition global of the Flapper and the Gangster. The Jazz Age deals an insider's view into the numerous advancements and personalities of the jazz age, together with the maturation and Americanization of the Broadway musical theater, the explosion of the humanities celebrated within the Harlem Renaissance, the increase of the vintage Blues Singers, and the evolution of ragtime into stride piano. It additionally includes a bibliography, designated discography, and listings of the songs of the twenties in Variety's ''Golden 100'' and of flicks that includes singers and songwriters of the period.
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Additional resources for The Jazz Age: Popular Music in the 1920s
And I'm all in a daze. My what a punch that man had. . And could he shout a tune . . like Panama or High Society. . All of a sudden it would dawn on the lady I was still in the crib very silent while she hustled those tricks—and she'd say—'What's the matter with you, boy? ' And then I'd have to explain that I was very inspired by the King and his orchestra. . And then she handed me a cute one by saying—'Well, this is no place to daydream. ' "2* Armstrong came from a broken home and an impoverished boyhood and first encountered the cornet at the Colored Waifs' Home, where he had been sent for harmlessly firing a pistol.
2 And that was the beginning of the famous Austin High School Gang, out 31 32 THE JAZZ AGE of which came not only the jazzmen already mentioned but also Benny Goodman, Eddie Condon, Dave Tough, and others. The band that inspired and spawned Bix and the Austin jazzmen, though composed of New Orleans white musicians, was formed in Chicago. The NORK, in fact, never played in the Crescent City. According to Paul Mares, who organized the group, people yelled for a substitute when the Original Dixieland Jazz Band left Chicago for New York—so he packed his horn when the offer came to a New Orleans associate who preferred to remain in the cab business.
10 But it was the playing of the ODJB itself that motivated the Royal Gardens of Chicago to call upon bassist Bill Johnson to supply another band when the ODJB left for the Reisenweber booking in New York. Among those who came to the Windy City early in 1918 was King Oliver, whose chair in Edward Kid Ory's New Orleans band was taken by young Louis Armstrong. When the King took up residence at the Lincoln Gardens (formerly the Royal Gardens) as leader of the Creole Jazz Band, he sent for Armstrong.