1924 in jazz

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1924 in jazz
Wolverine orchestra 1924.jpg
The Wolverines with Bix Beiderbecke at Doyle's Academy of Music in Cincinnati, Ohio in 1924
Decade 1920s in jazz
Music 1924 in music
Standards List of 1920s jazz standards
See also 1923 in jazz 1925 in jazz
List of years in jazz
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This is a timeline documenting events of jazz in the year 1924.

Contents

Musicians born that year included the drummer Max Roach and singers Sarah Vaughan and Dinah Washington. In 1924, Leopold Stokowski, the British orchestral conductor of the Philadelphia Orchestra, observed that jazz had "come to stay." [1]

Jazz scene

In 1924 the improvised solo had become an integral part of most jazz performances [2] Jazz was becoming increasingly popular in New Orleans, Kansas City, Chicago and New York City and 1924 was something of a benchmark of jazz being seen as a serious musical form. [3] [4] John Alden Carpenter insisted that jazz was now 'our contemporary popular music', [5] and Irving Berlin made a statement that jazz was the "rhythmic beat of our everyday lives" and the music's "swiftness is interpretive of our verve and speed". Leopold Stokowski, the conductor of the Philadelphia Orchestra in 1924, publicly embraced jazz as a musical art form and praised jazz musicians. [6] In 1924, George Gershwin wrote Rhapsody in Blue , widely regarded as one of the finest compositions of the 20th century, [7] saying he conceived it "as a sort of musical kaleidoscope of America–of our vast melting pot, of our incomparable national pep, our blues, our metropolitan madness." [8]

Black jazz entrepreneur and producer Clarence Williams recorded groups in New Orleans, among them Sidney Bechet and Louis Armstrong. [2] Williams moved from New Orleans to Chicago and opened a record store. In Chicago, Earl Hines formed a group and incidentally inhabited the neighboring apartment to Armstrong while he was in Chicago. [9] Also in Chicago, trumpeter Tommy Ladnier begins playing in King Oliver's band. Bechet moved to New England with Ellington during the summer of 1924, playing dances.

While in 1924 in jazz, ensembles in the Kansas City area began play a style with a four even beat ground beat as opposed to a New Orleans two beat ground beat behind a 4/4 melody, [9] European jazz included a fox trot by the Swiss composer Frank Martin for the Marionette Theatre in Paris. [10]

Charlie Parker grew up in Kansas City listening to this style of jazz. In 1924, Django Reinhardt became a guitarist and began playing the clubs of Paris. [9] Noted Classic Blues singer Bessie Smith began to achieve major fame. [9]

Events

Standards

Criticism

Both Europe and the US had critics of jazz in 1924. While the songwriter and music business executive Arnold Shaw wrote in 1989 that "1924 was a 'hot' year in jazz...", [19] a columnist for The New York Times wrote in 1924 that "Jazz is to real music exactly what most of the 'new poetry,' so-called, is to real poetry. Both are without the structure and form essential to music and poetry alike, and both are the products, not of innovators, but of incompetents." [20] The American composer and critic, Virgil Thomson, wrote in 1924 that jazz rhythm shakes but doesn't flow; it lacks a climax; and it "never gets anywhere emotionally". [21] Jazz in 1924 was just "popular syncopated music" according to the Austrian composer Hugo Riesenfeld. [22]

Deaths

Unknown date
Max Roach in Holland, around 1979 Max roach.jpg
Max Roach in Holland, around 1979
Rita Reys at Hotel De Watergeus, Noorden (The Netherlands) in 2004 Ritareys1.jpg
Rita Reys at Hotel De Watergeus, Noorden (The Netherlands) in 2004

Births

January
February
March
April
May
June
July
August
September
October
November
December

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References

  1. Lopes, Paul Douglas (2002). The Rise of a Jazz Art World. Cambridge University Press. p. 82. ISBN   978-0-521-00039-0.
  2. 1 2 Cook, Nicholas; Pople, Anthony (2004). The Cambridge history of twentieth-century music. Cambridge University Press. p. 131. ISBN   978-0-521-66256-7.
  3. Ewen, David (1972). Men of popular music. Ayer Publishing. p. 114. ISBN   978-0-8369-7263-4.
  4. Scheurer, Timothy E. (1989). American Popular Music: The nineteenth century and Tin Pan Alley. Popular Press. p.  147. ISBN   978-0-87972-466-5.
  5. Cooke, Mervyn; Horn, David (2003). The Cambridge companion to jazz. Cambridge Companions to Music. Cambridge University Press. p. 111. ISBN   978-0-521-66388-5.
  6. Conyers, James L. (2001). African American jazz and rap: social and philosophical examinations of Black expressive behavior . McFarland. ISBN   978-0-7864-0828-3.
  7. Studwell, William Emmett (1994). The popular song reader: a sampler of well-known twentieth century-songs. Routledge. p. 34. ISBN   978-1-56024-369-4.
  8. "An Experiment in Modern Music". abbeville.com. Archived from the original on 30 April 2011. Retrieved 4 December 2010.
  9. 1 2 3 4 5 6 7 8 9 10 "History of Jazz Time Line: 1924". All About Jazz. Archived from the original on 15 April 2011. Retrieved 2 December 2010.
  10. Slonimsky, Nicolas; Yourke, Electra (2003). Nicolas Slonimsky: Early articles for the Boston evening transcript. Psychology Press. p. 53. ISBN   978-0-415-96865-2.
  11. Ward, Geoffrey C., "Jazz: a history of America's music." Knopf, 2000. pp. 99–100. ISBN   978-0-679-44551-7
  12. Shaw, p. 43
  13. O'Meally, Robert G. (1998). The jazz cadence of American culture. Columbia University Press. p. 26. ISBN   978-0-231-10449-4.
  14. Barnhart, Scotty (2005). The world of jazz trumpet: a comprehensive history & practical philosophy. Hal Leonard Corporation. p. 188. ISBN   978-0-634-09527-6.
  15. Ward, Geoffrey C., "Jazz: a history of America's music." Knopf, 2000. Page 112, 115. ISBN   978-0-679-44551-7
  16. Harrison, Max; Fox, Charles; Thacker, Eric (2000). The Essential Jazz Records: Ragtime to swing. Continuum International Publishing Group. p. 133. ISBN   978-0-7201-1708-0.
  17. Shilkret, Nathaniel, ed. Niel Shell and Barbara Shilkret, Nathaniel Shilkret: Sixty Years in the Music Business, Scarecrow Press, Lanham, Maryland, 2005, pp. 73–74. ISBN   978-0-8108-5128-3
  18. Lornell, Kip; Laird, Tracey E.W. (2008). Shreveport sounds in black and white . University Press of Mississippi. p.  242. ISBN   978-1-934110-42-3. When My Sugar Walks Down the Street.
  19. Shaw, p. 150
  20. Whitworth, Michael H. (2007). Modernism. Wiley-Blackwell. p. 161. ISBN   978-0-631-23077-9.
  21. Thomson, Virgil; Kostelanetz, Richard (2002). Virgil Thomson: a reader : selected writings, 1924–1984. Psychology Press. p. 138. ISBN   978-0-415-93795-5.
  22. Wyatt, Robert; Johnson, John Andrew (2004). The George Gershwin reader. Oxford University Press US. p. 124. ISBN   978-0-19-513019-5.
  23. "Jazz-Gitarrist Coco Schumann ist tot". Süddeutsche Zeitung (in German). 29 January 2018. Retrieved 10 April 2018.
  24. "Jacques Pelzer". OxfordIndex.oup.com. Retrieved 1 April 2018.
  25. Nelson, Valerie J. (9 October 2011). "Roger Williams dies at 87; 'Autumn Leaves' pop pianist found commercial success". Los Angeles Times . Retrieved 7 November 2016.
  26. Keepnews, Peter (25 August 2016). "Rudy Van Gelder, Audio Engineer Who Helped Define Sound of Jazz on Record, Dies at 91". The New York Times . Retrieved 6 November 2016.

Bibliography