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JAZZ GRAMOPHONE RECORDS 115 |
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with a new source of inspiration (Columbia 33S 1065). The cohesion of the traditional New Orleans ensemble front line disintegrated with time, and by the middle of the '20s Louis Armstrong, fresh out of the Oliver band, was making a much more soloistic styled sound (Columbia 33S 1058).
Another important figure from Crescent City was Ferdinand 'Jelly Roll' Morton whose ragtime piano playing had spiced the earlier ragtime era. With New Orleans musicians he brought recorded jazz to fresh heights, wedding piano ragtime to jazz in brilliant fashion (HMV DLP 1016).
Throughout the history of jazz, the white musicians who were attracted to negro music hung around the bandstands and took away with them this way of playing music. Just as the Original Dixieland Jass Band followed the native New Orleans patterns, so the Chicagoans followed Louis Armstrong and Jimmy Noone and began a new school (Brunswick 03413) headed by men like Frank Teschemacher, Muggsy Spanier, and Eddie Condon.
As the years went by, New York became the focal point, and the bands grew larger and more organised. The old New Orleans spirit was dying as white and European 'legitimate' influences took over.
One important if slightly secondary upsurge of jazz activity took place in Kansas City where pianists had, for some time, spread a healthy two-fisted keyboard style over America. The primary band |
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