[Dixielandjazz] ODJB and "Ballyhoo"

[Rob McCallum]

Hi all,

I would suggest that the immense popularity of the ODJB in its day and the
subsequent racial oriented backlash has a lot to do with the idea that their
recordings and the publicity surrounding their "antics" helped to usher in
the "Jazz Age." Was it not Al Jolson who got them their gig at
Reisenweber's?  Apparently, the media loved ODJB and their shock value
statements and they fit right in with all the "ballyhoo."  They became
symbols of the white upper and middle class youth movement rebellion and
played the part to a T.  A black band, I don't think, could have ever become
a symbol for this going into the decade of the 1920's, and I would also
hypothesize that, even if Keppard had recorded the first jazz record it
wouldn't have made a bit of difference regarding the ODJB, they still
would've been the ones to get all the attention and press.  Keppard or King
Oliver could have never been a "symbol" of the much touted freedom of that
youth movement, regardless of the fact that he was a superior musician and
that some whites, including musicians, were paying attention to him.

The ODJB's arrival in New York was a media circus (they played the part and
enjoyed playing the part) that was designed to shock and entertain
mainstream America.  That it did, and that's why they are both loved by some
and rejected and hated by others.  They capitalized off of a style of music
that had grown out of black culture, commercialized it with barnyard noises,
wild antics and hype, and caused a sensation.  No doubt many black musicians
resented this, but on the other hand, the breaking of jazz ice by the ODJB
to mainstream America also opened the floodgates for the black musicians who
followed to get exposure in the national spotlight.  Would Armstrong have
been such a commercial success had ODJB, and the sensation it caused, never
happened?  Maybe in time, but then again... If ODJB hadn't existed, would
some savvy record producer have come up with another white band to
sensationalize the "new" music?  There's not a doubt in my mind.

To me, that's where the significance of the ODJB lies.  It's, perhaps, an
historical accident that a white band was the first to record jazz, but on
the other hand, their approach hit at the perfect moment in time for them
and the marketers knew the mood was ripe for them.  To me, it's like when
Fitzgerald published This Side of Paradise.  Is that the greatest book of
the era?  Absolutely not.  Even his later The Great Gatsby, a superior book,
was a flop in its day.  Why?  Because the culture of the time embraced the
shock value of This Side of Paradise, and that's what was related to.

Just another 2 cents,

Rob McCallum

----- Original Message -----
From: Stephen Barbone <barbonestreet at earthlink.net>
To: john petters <jpettjazz at btinternet.com>
Cc: DJML <dixielandjazz at ml.islandnet.com>
Sent: Tuesday, November 18, 2003 9:53 AM
Subject: Re: [Dixielandjazz] ODJB


>
>
> john petters wrote:
>
> > Steve said
> >
> > > Why all the flap about the ODJB as being so important to the
development
> > > of jazz?
> >
> > Why is it so fashionable to knock the ODJB? Yes it was close to
ragtime -
> > yes there was not much in the way of improvisation - but it swung harder
> > than the Bix records (Wolverines are very lumpy) and other early white
non
> > New Orleans bands. Sbarbaro was a great drummer with a driving beat.
>
> I'm not knocking them, just asking why all the flap? Why "answer" the
> question with another question? A very simple, direct question which no
one
> has yet answered so far in the thread. Seems to me that Oliver was light
> years ahead of ODJB as soon as his music was recorded. And, I'm not
comparing
> ODJB to other white bands, Bix, et al. Just asking why all the flap?  To
> extend the thought, why not more flap about Oliver's contribution? He
swung
> harder than ODJB, had great improvisation, and to my ears, a much better
jazz
> band.
>
> > >Why? Because it was not really very jazzy, contained a lot of >hokum
and
> > >had virtually no improvisation. That kind of music is very >stultifying
> > to play and very boring to most listeners
> > >
> > Surley the hokum aspect is the equivalent of you showbiz antics which
you
> > use to sell your band to audiences. Jelly used hokum as did Louis.If you
> > find the 1936 version of Tiger Rag  boring with LaRocca's wonderfulride
out
> > cornet driven by Sbarbaro's drumming, then you must be missing something
> > Steve. Listen again!!
>
> I'm talking about ODJB circa 1917-1925. Re 1936 music, there are hundreds
of
> bands that were better or more artistic, or well ahead of ODJB, circa
1936.
> Plus, I never said a ride out chorus, or other short segment was boring.
> Every band has a stunning moment somewhere or other. Also, not sure what
you
> mean by my "show business antics".
>
> > I would sooner hear records of the ODJB than many contemporary bands who
> > have lost touch with the drive and soul of Dixieland and New Orleans
music.
>
> No argument with what you would rather hear. Me? My examples would be
Condon
> groups, Beebe groups, Yerba Buena, Ingle groups, Loy groups, Reinhart
Groups,
> Kellso groups, Barrett groups and countless other fiery bands. There many
> today, including yours, that I would rather hear than ODJB. I've heard
them,
> absorbed what they did, and so have no need to hear them again and again.
>
> Also wholeheartedly agree that many contemporary bands have lost touch
with
> the drive and soul of the music. That is an ongoing point which I preach.
> Most of us have lost the interest of the younger generations because we
have
> lost the drive and soul of the music.
>
> Interesting how the original question and thread took on a life of it's
own,
> eh? Perhaps the answer to the "why" is because: (in part)
> 1. They were fiery.
> 2. They were sexy.
> 3. They recorded first.
> 4. They appealed to rebellious youth
> 5. They brought the music to the most populous audience. (whites)
>
> Cheers,
> Steve
>
>
>
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