By Joshua Berrett
In Louis Armstrong and Paul Whiteman the jazz pupil Joshua Berrett bargains a provocative revision of the historical past of early jazz via targeting of its such a lot striking practitioners—Whiteman, mythical in his day, and Armstrong, a legend ever since.Paul Whiteman’s status was once unequalled through the twenties. Bix Beiderbecke, Bing Crosby, and Jimmy and Tommy Dorsey honed their craft on his bandstand. Celebrated because the “King of Jazz” in 1930 in a common Studios function movie, Whiteman’s imperium has declined significantly given that. The legend of Louis Armstrong, by contrast, grows ever extra lustrous: for many years it's been Armstrong, no longer Whiteman, who has worn the king’s crown.This twin biography explores those diverging legacies within the context of race, trade, and the historical past of early jazz. Early jazz, Berrett argues, was once now not a narrative of black innovators and white usurpers. during this ebook, a miles richer, extra complex tale emerges—a tale of cross-influences, sidemen, sundry movers and shakers who have been all a part of a collective event that transcended the class of race. on the earth of early jazz, Berrett contends, kingdoms had no borders.
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In Louis Armstrong and Paul Whiteman the jazz student Joshua Berrett deals a provocative revision of the heritage of early jazz by means of concentrating on of its such a lot awesome practitioners—Whiteman, mythical in his day, and Armstrong, a legend ever because. Paul Whiteman’s repute was once unequalled during the twenties.
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Additional resources for Louis Armstrong and Paul Whiteman: Two Kings of Jazz
In sharp contrast to the Creoles, and in a totally different universe from Paul Whiteman, Louis Armstrong hailed from squalid Jane Alley, located in the poorest area of the city, west of Canal Street, in the “Back o’ Town” slum. His parents were anything but socially prominent. He was born to the fifteenyear-old daughter of a former slave, Mary Albert (better known as Mayann), 20 BEGINNINGS and her largely absent common-law husband, William Armstrong, who, by the time Louis was baptized at three weeks, had already abandoned mother and child.
53 In 1923 Piron and his band were engaged to perform at both New York’s Roseland Ballroom and the Cotton Club. He was so popular that Paul Whiteman reportedly wanted to hire him away. But Piron became homesick; besides, he owned the Crescent City’s society ballroom scene. Piron was a man of many parts. Around 1916 he joined forces with Clarence Williams, pianist, entrepreneur, composer, and publisher, to create a vaudeville trio performing song-and-dance routines, with Jimmy Noone on clarinet.
The day of ‘aunties,’ ‘uncles’ and ‘mammies’ is equally gone. ”5 Speaking for the majority, Locke was seeking to emulate the values of high European culture. In that scheme of things the idioms of blues and jazz were properly to be transformed and incorporated into symphonic music or symphonic jazz. ” For Rogers, even though there is a link with the “barbaric rhythm and exuberance” of the African and Haitian bamboula, we learn that “jazz time is faster and more complex than African music. With its cowbells, auto horns, calliopes, rattle, dinner gongs, kitchen utensils, cymbals, screams, crashes, clankings and monotonous rhythm it bears all the marks of a nerve-strung, strident, mechanized civilization.