Negro music in America; 26

Negro music in America. Her. Or. Her. Negro music going to be an exploration of it and its impact on American culture. Here is your host for the series. Tony look at the box. Chicago jazz history. To my way of thinking is not as complete as it should be. The influx of negroes into Chicago from the South to work in industry during World War One undoubtedly brought into the city many musicians whose styles and talents went unrecognized at that time. They simply were not heard outside of the black belt. However in the early 1920s two great bands were responsible for a musical revolution in Chicago. First we'll hear the flute and relaxed music of the famous King Oliver jazz band and then second a variant. The same piece played by the New Orleans Rhythm Kings white musicians who freely admitted their efforts to reproduce the music of the nigger musicians of New Orleans

that inspired them. The music of these two bands gave to young white musicians in Chicago a means of expressing themselves that they seized upon joyously. A being that even though it ran across wise to their heritage they left their cosy homes in schools and entered a world of both politics and gangsterism. But more important to them where jazz was understood and accepted. In our first recording we hear the king all of a jazz band just as they heard it back in the early 1920s recorded in Chicago on June 22nd 1923. Joe Oliver Louis Armstrong Johnny and maybe Don's and Lola Armstrong play sweet love in me and I. Thank you.

Also regarded in 1923 or next week 11 man is played by the New Orleans

rhythm gangs with ball more as on trumpet George Burn his own trombone Lenora ball on clarinet Mills duds along Van Owen Frank Snyder on drums most into their version of Sweet Love in man will enable you to make an interesting comparison to the King Oliver version you have just heard. The McKenzie Condon's Chicagoans also known as the Austin High getting help to pioneer the

new jazz in Chicago as starry eyed they grasp a new beat a different concept of solo and ensemble work and in the spirit of jazz improvised until it crystallize into their own way of performing. They took negro jazz pushed the beat mixed in their own brass failings and came up with Chicago jazz. Here the Chicagoans Jimmy McPartland on cornet Frank Tessmacher and clarinet Bud Freeman on tenor sax Joe Sullivan on piano Eddie Condon on banjo Jim Lanigan on bass and Gene Krupa on drums. Play nobody's sweetheart now recorded on December 9th 1927. My last number reflects a further change in the sound of Chicago Jazz the Chicago

Rhythm Kings lax Kaminski cornet Floyd O'Brien trombone the way Russell clarinet and Bud frame and the alto sax. Alex Hill had a gun and said Get lead recorded in 1933 a number called Tennessee twilight. Join us again next week for more facets of Chicago jazz.

Negro music in America with Tony look at Bach resided transcribed by the SEIU Radio Network. Got us again next week as we continue our exploration of the negro and American music. This is the SEIU a broadcasting service. This program was distributed by national educational radio. This is the national educational radio network.