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Personally I wouldn't mind also calling the music as recorded by Bix/Rollini in 6 piece setting in october 1927 Dixieland, as long as it can be agreed there is nothing wrong with these works on musical values. Dixieland certainly describes it better than N.O.
jazz or Chicago obviously and it is not very typical New York jazz from that period either. It think it typified the music Bix and Rollini loved to play most, but in the end could not find regular and lasting employment with. The Club New Yorker booking they
had only lasted one month. Bix went to Whiteman, Rollini to London, where both of them could find more secure work. </div>
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The interesting parallel of course being that Armstrong also had no employment at all for his Hot Five or Seven outside the recording studio. In reality he was working in the orchestra pit in Chicago's Vendome Theatre, with Erskine Tate. </div>
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So apparently the market for jazz in life situation, in what we might feel as in it's most pure form from that period, was allready in decline in 1927. It needed to blend with other forms of more "commercial" music in order to survive. (I realise this is debatable,
since jazz needed to be commercial as well) Allready at that early stage, which in effect of course it was allready doing big time for some years. </div>
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Kind regards,</div>
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Bert </div>
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<div>Thanks for the copy Bert</div>
<div>Most interesting</div>
<div> Of course Dixieland can be properly used to refer to the music of the ODJB but sadly we are way past that.</div>
<div>Regards Dan Hardie</div>
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<div class="">On 5 Nov 2019, at 2:48 am, Bert <<a href="mailto:mister_bertje@hotmail.com" class="">mister_bertje@hotmail.com</a>> wrote:</div>
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Personally I never had any problems with the term Dixieland. </div>
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When I started playing music (Classical at first, at 11 I "discovered" a music to which I responded strongly, is what we might call Jazz in a very broad definition) we were more or less taught at school, and what was at that time also supported by the press,
that music called New Orleans Jazz was good, and Dixieland was bad. </div>
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New Orleans Jazz stood for: authentic, black, the real thing, uncommercial.</div>
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Dixieland stood for: imitation, white, cheap, commercial.</div>
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But pretty soon I discovered that I could not live with these simple generalisations. When I listened to a great variety of jazz records, I simply liked those that were well-played. Independed from the fact if they were recorded in N.O. Chicago, N.Y, Japan
or Europe. I could have appreciated wellplayed music recorded on the moon, if that would exist. And of course that accounts for skin color exactly the same. </div>
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