Jazz Age
The Jazz Age was a period from 1920 to the early 1930s in which jazz 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 New Orleans as mainly sourced from the culture of African Americans, jazz played a significant part in wider cultural changes in this period, and its influence on popular culture continued long afterwards.
The Jazz Age is often referred to in conjunction with the Roaring Twenties, and overlapped in significant cross-cultural ways with the Prohibition Era. The movement was largely affected by the introduction of radios nationwide. During this time, the Jazz Age was intertwined with the developing youth culture. The movement would also help in introducing jazz culture to Europe. The Jazz Age ends before the Swing era.
Background
The term jazz age was in popular usage prior to 1920. In 1922, American writer F. Scott Fitzgerald further popularized the term with the publication of his short story collection Tales of the Jazz Age.Jazz music
is a music genre that originated in the Black-American communities of New Orleans, Louisiana, in the late 19th and early 20th centuries, and developed from roots in blues and ragtime. 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. In New Orleans, the development of jazz was influenced by Creole music, ragtime, and blues.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 "dixieland jazz". In the 1920s, jazz became recognized as a major form of musical expression. It then emerged in the form of independent traditional 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, jazz derived its harmony and instruments.
Louis Armstrong 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 swing and blue notes, call and response vocals, polyrhythms and improvisation.
Prohibition
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, unleashing a crime wave that shocked the U.S. This prohibition was taken advantage of by gangsters such as Al Capone, and approximately $60 million in illegal alcohol was smuggled across the borders of Canada and the United States. 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, and imposing rural Protestant religious values on urban America. Prohibition ended with the ratification of the Twenty-first Amendment, which repealed the Eighteenth Amendment on December 5, 1933. Some states continued statewide prohibition, marking one of the latter stages of the Progressive Era.
Speakeasies
Formed as a result of the eighteenth amendment, speakeasies were places 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. Al Capone, the famous organized crime leader, gave jazz musicians previously living in poverty a steady and professional income. Thaddeus Russell, in A Renegade History of the United States, 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 Earl Hines 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.There were many speakeasies, especially in Chicago and New York City. 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.
Rum running/bootlegging
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 William McCoy 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. 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 Frankie Yale and the Genna brothers gang 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. Johnny Torrio partnered with two other mobsters and legitimate brewer Joseph Stenson to make illegal beer in a total of nine breweries. Finally, some racketeers stole industrial grain alcohol and redistilled it to sell in speakeasies.History
From 1919, Kid Ory'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 Bessie Smith, the most famous of the 1920s blues singers. Chicago, meanwhile, was the main center developing the new "Hot Jazz", where King Oliver joined Bill Johnson. Bix Beiderbecke formed The Wolverines in 1924.The same year, Louis Armstrong joined the Fletcher Henderson 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 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, 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 George W. Meyer and Arthur Johnston, compared with Armstrong's solo improvisations .
Armstrong's solos were a significant factor in making jazz a true 20th-century language. After leaving Henderson's group, Armstrong formed his virtuosic Hot Five band, which included instrumentalist's Kid Ory, Johnny Dodds, Johnny St. Cyr, and wife Lil on piano, where he popularized scat singing.
Jelly Roll Morton recorded with the New Orleans Rhythm Kings in an early mixed-race collaboration, then in 1926 formed his Red Hot Peppers. There was a larger market for jazzy dance music played by white orchestras, such as Jean Goldkette's orchestra and Paul Whiteman's orchestra. In 1924, Whiteman commissioned Gershwin's Rhapsody in Blue, premiered by Whiteman's Orchestra. Writer F. Scott Fitzgerald opined that Rhapsody in Blue 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 ensembles included Fletcher Henderson's band, Duke Ellington's band in New York, and Earl Hines' Band in Chicago. 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.
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 Guy Lombardo, who collaborated with his brothers Carmen and Lebert in Canada to form the Royal Canadians Orchestra in the early 1920s. By 1929 their "sweet" big band appeared regularly at the landmark Roosevelt Hotel in New York City and later in 1959 at the Waldorf-Astoria Hotel, where they entertained audiences nationwide for decades with a velvety-smooth interpretation of the "sweetest music this side of heaven". Despite Benny Goodman'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 Louis Armstrong as one of his favorites.
Some musicians, like Pops Foster, learned on homemade instruments.
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 shift the popularity of jazz music generated.
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 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.
In 1925, The Great Gatsby 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.