Subject: Re: [Dixielandjazz] Military bands and OKOM

[Graham Martin]

Dr. Luis Daniel Flores FRCOG wrote:

"David,
It would be interesting an essay about the insertion of the military band on the creation of jazz, I think there are much to be said about it
cheers
Luis"

I have been thinking lately that military music may even be one of the main influences that went into the mixture of music genres that led to the creation of jazz. I have not written anything detailed about the influence of military music on jazz but I have attempted a bit of a history of jazz in a tutor I have been writing for Dixieland jazz. Parts of this tutor are available as free downloads on my website. http://tromjazz.netfirms.com/page5.html The reason it is only 'parts' is because it seems to have become an unending task. Eventually all of it will all be available for free download. It was intended for the younger generation. I strongly believe it is the youngsters we have to concentrate on if OKOM is to survive. Anyway, methinks it is about time for another 'Revival'. 

I wrote this prior to a recent occasion when I was playing some John Philip Sousa marches with our local concert band. I am fairly new to playing 'straight' music and I was struck by the fact that many of the trombone lines are what I would previously have described as pure Kid Ory ensemble lines.

Anyway here is my little 'essay' on Early New Orleans Jazz and I would be very pleased to hear from anybody if they think I got it wrong - or maybe if I got it right:

Early New Orleans Jazz

The music forms which were played in the American Southland and elsewhere in the late 1800's and which are thought to have lead to jazz, include African Drums, Work Songs, Spirituals, Plantation songs and music, Marches, Cakewalks, Opera, Creole music (French, French-Haitian and Spanish-Mexican), Brass band music, Cabaret music, Minstrel music, Blues, Stomps and Ragtime. 

The first jazz played in New Orleans, probably in the 1890's, was by small bands often having a frontline of Cornet, Trombone and Clarinet/Saxophones and a rhythm section of Piano, Banjo/Guitar, Brass Bass and drums. Some of the musicians had formal training and others played by ear in a 'hot' style. The style that mainly became associated with these musicians was a loose-knit ensemble, using collective improvisation and reportedly very few solos. Many of the tunes played were multi thematic. It is evident that there were black, Creole and white bands playing different forms of early jazz mixed with dance and marching band music. The musicians listened to and borrowed from each other. There were black bands from 'Uptown' New Orleans and Creole bands and white bands from 'Downtown'. After stricter segregation laws were enacted in 1890 there was a closer musical liaison between the black Uptowners and the Creoles who had been ejected from Downtown, eventually producing the important traditions of New Orleans jazz. 

>From around 1900 a transition was taking place in the music, taking it from ragtime to an early form of jazz. The description 'jass' or 'jazz' was not in general use and the musicians still called their music 'ragtime' or 'playing hot'. This last term I particularly like!

Unfortunately the early music of pioneers such as Buddy Bolden was not recorded but it was probably much like the music we hear on recordings of the 1920's by Spike's Seven Pods of Pepper Orchestra (Kid Ory/Mutt Carey), Freddie Keppard's Jazz Cardinals, Sam Morgan's Jazz Band; and perhaps the 1940's bands of Bunk Johnson and George Lewis. However, with Bunk, George, and the other survivors of the early 'hot' bands, we are talking thirty years plus from the early days of jazz. It is fairly certain that they would have absorbed new influences and continued to develop their music. 

The first recordings of black bands were in what was described as the 'old' style, which was still very ragtime sounding. The sophisticated 'head' arrangements that one hears on these recordings were, in all likelihood, an integral part of the music right from the beginning.

In some parts of America these bands became known as Dixieland bands. There are several sources promoted for the use of the name "Dixie" or "Dixieland". We know it referred to New Orleans or the Southern States and it is not too difficult to imagine how the name came to be applied to a form of music originating from that area. Particularly when a white band called Tom Brown's Band from Dixieland had toured some parts of the U.S.A. as early as 1915.

After this I tackle (or intend to tackle):

Classic New Orleans

Vintage White Dixieland 

Chicago Style Dixieland

New York Dixieland

San Francisco Style

New Orleans Revival

    Swing - Big Band & Small Band/Mainstream

    British Revival ("Trad")

    International Dixieland/Mainstream/Legacy Bands

Grah


Graham Martin
Email: grahmartin at bigpond.com
Website: http://tromjazz.netfirms.com