Ate van Delden
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781496825155
- eISBN:
- 9781496825148
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496825155.003.0011
- Subject:
- Music, History, American
In the fall of 1927, Rollini was in a position to set up a top band and he selected an all-star team. From Jean Goldkette's band he had a.o. Bix Beiderbecke, Frank Trumbauer, and Don Murray. Others ...
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In the fall of 1927, Rollini was in a position to set up a top band and he selected an all-star team. From Jean Goldkette's band he had a.o. Bix Beiderbecke, Frank Trumbauer, and Don Murray. Others include Sylvester Ahola, Frank Signorelli, and Bobby Davis. He called his band the New Yorkers after the Club where they worked. Their music was quite advanced and not suited for the general public.Publicity was good, colleagues came to listen, but the public stayed away, so it ended after a few weeks. During those weeks several recordings were made under various names, including Rollini's and Trumbauer's and Red Nichols'. When it ended, his band members went their various ways and Rollini accepted an offer to go abroad.Less
In the fall of 1927, Rollini was in a position to set up a top band and he selected an all-star team. From Jean Goldkette's band he had a.o. Bix Beiderbecke, Frank Trumbauer, and Don Murray. Others include Sylvester Ahola, Frank Signorelli, and Bobby Davis. He called his band the New Yorkers after the Club where they worked. Their music was quite advanced and not suited for the general public.Publicity was good, colleagues came to listen, but the public stayed away, so it ended after a few weeks. During those weeks several recordings were made under various names, including Rollini's and Trumbauer's and Red Nichols'. When it ended, his band members went their various ways and Rollini accepted an offer to go abroad.
Joshua Berrett
- Published in print:
- 2004
- Published Online:
- October 2013
- ISBN:
- 9780300103847
- eISBN:
- 9780300127478
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300103847.003.0004
- Subject:
- Music, History, American
This chapter considers Louis Armstrong's association with Lil Hardin's band, after his split from Fletcher Henderson's band. His next four years in Chicago were to be spent composing a body of work ...
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This chapter considers Louis Armstrong's association with Lil Hardin's band, after his split from Fletcher Henderson's band. His next four years in Chicago were to be spent composing a body of work in the form of the Hot Five and Hot Seven recordings. Armstrong then followed a traditional New Orleans formula, and this “New Orleans groove” was the kind of hot jazz that was in Armstrong's blood. It differentiated him from the likes of Paul Whiteman and symphonic jazz. His collaboration with Lil Hardin helped Armstrong to make this brand of hot jazz what it was. The chapter also mentions Armstrong's attendance of a performance of Bix Beiderbecke and Paul Whiteman at the Chicago Theater in July 2, 1928. It also notes Whiteman's hiring of Bing Crosby, and how Whiteman's association with Beiderbecke and Crosby brought the worlds of Paul Whiteman and Louis Armstrong closer together than ever before.Less
This chapter considers Louis Armstrong's association with Lil Hardin's band, after his split from Fletcher Henderson's band. His next four years in Chicago were to be spent composing a body of work in the form of the Hot Five and Hot Seven recordings. Armstrong then followed a traditional New Orleans formula, and this “New Orleans groove” was the kind of hot jazz that was in Armstrong's blood. It differentiated him from the likes of Paul Whiteman and symphonic jazz. His collaboration with Lil Hardin helped Armstrong to make this brand of hot jazz what it was. The chapter also mentions Armstrong's attendance of a performance of Bix Beiderbecke and Paul Whiteman at the Chicago Theater in July 2, 1928. It also notes Whiteman's hiring of Bing Crosby, and how Whiteman's association with Beiderbecke and Crosby brought the worlds of Paul Whiteman and Louis Armstrong closer together than ever before.
Ate van Delden
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781496825155
- eISBN:
- 9781496825148
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496825155.003.0007
- Subject:
- Music, History, American
The band-within-a-band concept caught on and Kirkeby created more of this for more record labels. The Vagabonds, the Little Ramblers, Kentucky Blowers, Five Birmingham Babies, and the Goofus Five. ...
More
The band-within-a-band concept caught on and Kirkeby created more of this for more record labels. The Vagabonds, the Little Ramblers, Kentucky Blowers, Five Birmingham Babies, and the Goofus Five. The latter was named after the "goofus" a novelty instrument that was used by Rollini in addition to his bass saxophone to produce great jazz. In 1925 trumpeter Red Nichols and trombone player Tommy Dorsey were hired, which brought the band to an artistic top. Even Bix Beiderbecke stayed with the band for a few days, as Red Nichols' guest, but didn't join. For Kirkeby, this trend meant a financial loss.Less
The band-within-a-band concept caught on and Kirkeby created more of this for more record labels. The Vagabonds, the Little Ramblers, Kentucky Blowers, Five Birmingham Babies, and the Goofus Five. The latter was named after the "goofus" a novelty instrument that was used by Rollini in addition to his bass saxophone to produce great jazz. In 1925 trumpeter Red Nichols and trombone player Tommy Dorsey were hired, which brought the band to an artistic top. Even Bix Beiderbecke stayed with the band for a few days, as Red Nichols' guest, but didn't join. For Kirkeby, this trend meant a financial loss.
Joshua Berrett
- Published in print:
- 2004
- Published Online:
- October 2013
- ISBN:
- 9780300103847
- eISBN:
- 9780300127478
- Item type:
- book
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300103847.001.0001
- Subject:
- Music, History, American
This book offers a provocative revision of the history of early jazz by focusing on two of its most notable practitioners—Whiteman, legendary in his day, and Armstrong, a legend ever since. Paul ...
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This book offers a provocative revision of the history of early jazz by focusing on two of its most notable practitioners—Whiteman, legendary in his day, and Armstrong, a legend ever since. Paul Whiteman's fame was unmatched throughout the twenties. Bix Beiderbecke, Bing Crosby, and Jimmy and Tommy Dorsey honed their craft on his bandstand. Celebrated as the “King of Jazz” in 1930 in a Universal Studios feature film, Whiteman's imperium has declined considerably since. The legend of Louis Armstrong, in contrast, grows ever more lustrous: for decades it has been Armstrong, not Whiteman, who has worn the king's crown. This dual biography explores these diverging legacies in the context of race, commerce, and the history of early jazz. Early jazz was not a story of black innovators and white usurpers. In this book, a much richer, more complicated story emerges—a story of cross-influences, sidemen, and sundry movers and shakers who were all part of a collective experience that transcended the category of race. In the world of early jazz, the book contends, kingdoms had no borders.Less
This book offers a provocative revision of the history of early jazz by focusing on two of its most notable practitioners—Whiteman, legendary in his day, and Armstrong, a legend ever since. Paul Whiteman's fame was unmatched throughout the twenties. Bix Beiderbecke, Bing Crosby, and Jimmy and Tommy Dorsey honed their craft on his bandstand. Celebrated as the “King of Jazz” in 1930 in a Universal Studios feature film, Whiteman's imperium has declined considerably since. The legend of Louis Armstrong, in contrast, grows ever more lustrous: for decades it has been Armstrong, not Whiteman, who has worn the king's crown. This dual biography explores these diverging legacies in the context of race, commerce, and the history of early jazz. Early jazz was not a story of black innovators and white usurpers. In this book, a much richer, more complicated story emerges—a story of cross-influences, sidemen, and sundry movers and shakers who were all part of a collective experience that transcended the category of race. In the world of early jazz, the book contends, kingdoms had no borders.
