Decline of Chicago and Rise of Swing. Chicago Oct 29, 1929: Black Tuesday….Stock Market Crash Marked the beginning of the depression Affected every aspect.

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Presentation transcript:

Decline of Chicago and Rise of Swing

Chicago Oct 29, 1929: Black Tuesday….Stock Market Crash Marked the beginning of the depression Affected every aspect of the music business from record companies to dance halls Musicians started to migrate to New York More opportunities exist for recording, performing, etc.

Decline of Chicago Dance oriented music became more popular More dance orchestras forming in NYC: more opportunity for performance Combination of prohibition, politics, urban reform groups, movies with sound, closing of cabarets, police raids on mob-owned businesses (Mob was a friend and foe to the musicians)

Decline of Chicago Appeal of New York and Kansas City Kansas City: super fast developing town “Wild Town” Still an interest for the N.O. and Chicago style music, but the interest for large dance bands grew. What needs to happen: Prohibition repealed and economic recovery for swing era to start

New York 1920s: Harlem renaissance: center of growing acknowledgement of black culture, even though more southern blacks were moving to NYC; this exodus created overpopulation and ghettos. In spite of the conditions, Harlem produced some of the finest jazz musicians of the time

Harlem, NYC Besides pianists (Fats Waller, James P. Johnson) early hot bands led by Fletcher Henderson and Duke Ellington White bands (Ray Miller) were Downtown and fused hot style jazz with the more marketable dance style Henderson and Ellington moved away from N.O. Style jazz and developed new concepts in arranging, while still seeking out the best soloists

Harlem Pioneered new ways to assemble saxophones, trumpets and trombones plus rhythm section. Became model for standard jazz band Don Redman, Louis Armstrong and Coleman Hawkins were a part of this new sound in NYC Duke Ellington brought Washingtonians to NYC….ended up at the Cotton Club

Harlem Cotton Club had mob connections; provided bootleg alcohol to the white patrons Whites came to see the “barbaric, talented negroes”, who gave glimpses of Africa by using exotic dancers and scenery Success: white were curious about black culture and entertainment and managers fed the curiosity

Harlem Cotton Club kept Duke’s band employed during the depression When Cotton Club closed, drove musicians downtown and Harlem became overcrowded with unemployed.

Marketing/Technology 1920s saw period of growth in entertainment industry. Technology: radio and records Many outlets for musicians in NYC and Chicago: earned dollars weekly for cabaret or dance gig. Most musicians supplement work with recording sessions, radio an theatre work

Marketing/technology Race Records: records targeted to specific audiences. Sold for 1-2 dollars a piece. Records attracted white buyers Vitaphone talking picture: 1926 (Warner Brothers): ended silent film. Some live theatre work available; music provided for news reels and in between feature films

Marketing Amplivox, early version of jukebox (1 st DJ), developed in Opportunity for music to be heard in places that did not have live music. Some bands had regular broadcast weekly on the radio. 1922: 200 radio stations; 1926: 694 (90% played jazz music)

Marketing Problem: stations had white owners and overlooked black artist; best engagements went to the white bands Exception: Earl Hines, who had a radio broadcast in Chicago Radio broadcast in ballrooms in NYC grew, increasing the popularity of bands 800 licensed dance halls in 1925

Marketing Jazz quickly became USA most popular music No musician could except all of the work given to him Some books written: Henry Osgood (1926). Does not mention the black artists or the New Orleans tradition. Promotes white jazz Weak scholarly book and openly opposed the jazz of the black artist Paul Whiteman (Jazz) and King of Jazz Movie Wasn’t until the 1930s that more serious efforts to write about jazz came about