Reasons behind the increased opportunities afforded white jazz musicians in the early recording industry of the 1920s

Document Type:Research Paper

Subject Area:Music

Document 1

Therefore, its high demand in the market offers a chance for the white jazz musicians to record more music. In addition, at some times, the audience considers jazz as a social unifier and leveler. This makes the white jazz musicians to get more opportunities of selling their music and becoming famous in the market (Leonard, 12). For some of those who live rhythmic and fast music, they get chances of listening to them via radio. The white jazz music can be said to have succeeded in bringing together the white and black citizens. In addition, Paul Whiteman was a successful white California orchestra leader and owned the jazz music as his major dance orchestra and managed to be widely known band in the 1920s.

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His entire white jazz was similar to the original jazz band that was performing in New York in 1917 and became very successful among all jazz teams. It was possible for the artists such as Kid Ory, Duke Ellington, Luis Armstrong, and King Oliver to deeply explain the future of Jazz music across the entire world (Shaw, 16). Through the conduct of live performance and acting in a booming recording industry, this helped in the increase of the white jazz music. The night life of many people turned to be more fashionable because of the ability of the white jazz musicians to perform in the nightclubs, especially in Europe and in the United States(Leonard, 13). Through swing, the white jazz musicians managed to create their music in a way that enabled there to be prosperity among the white bands.

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Many white jazz musicians were expected to prosper just because of the advent of the swing music, therefore finding many audiences who made their jazz music more successful. It is evident that the swing jazz music was designed to be performed by larger musical groups(Leonard, 15). Moreover, based on the fact that swing was performed to all races and classes as a style and dance music, this enabled the white jazz musicians to appear more in different bands. As the swing music continued being popular in the 1920s, the bands were able to cross the racial lines given that before the swing music emerged, bands focused on playing their music to their racial audience. Through their training and skills in relation to how to perform the music, the white jazz musicians made the music improve its social acceptance unlike the moment it was only performed by the African Americans (Shaw, 21).

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From the understanding that the African American jazz musicians would not be highly known in the market, this motivated the white jazz bands to focus on recording with many companies through “the sound of New Orleans” which was performed from 1917 to 1922. It is evident that white jazz benefited from the availability of some talented composers and instrumentalists like Randy Weston, Wayne Shorter, Thelonious Monk, Horace Silver, Miles Davis, Charles Mingus, Dizzy Gillespie, Louis Armstrong, and Bix Beiderbecke among many who were able to play major parts in the development of the jazz music sector (Leonard, 15). This enabled jazz musicians like Ellington Orchestra to be highly known by playing their favorites. Their dedication to the jazz music made the white performers to effectively operate as a vehicle to popularize the jazz music in the entire American nation (Shaw, 23).

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Moreover, the association of jazz music with the sentiments and innovations of beats, as well as the lifestyle, this made the white jazz to be linked to the civil rights practices (Leonard, 18). Therefore, the aspect of the jazz music being popular in the New York City, Chicago, Kansas City, and New Orleans City made the type of music to be more serious, thus generating more opportunities for the white jazz musicians. As the white jazz musicians continued with their performance, jazz became highly respectable and educational as the majority of the audiences identified it as a cultural phenomenon. Universities and conservatories started providing courses about the jazz musicians, composition, and its history, therefore preparing other new jazz musicians (Mooney, 78). The praise afforded to the white jazz musicians because of the nature of their musical art made them to effectively record as groups.

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