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{{Use dmy dates|date=March 2012}}
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{{Year in music|1924}}
{{Year in jazz
{{Year in jazz
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==Jazz scene==
==Jazz scene==
In 1924 the improvised solo had become an integral part of most jazz performances<ref name="Cook & Pople">{{cite book|url=https://books.google.co.uk/books?id=g3NweXtHo7wC&pg=PA131 |author=Cook, Nicholas |author2=Pople, Anthony |title=The Cambridge history of twentieth-century music |publisher=Cambridge University Press |year=2004 |page=131 |isbn=978-0-521-66256-7 }}</ref>
In 1924 the improvised solo had become an integral part of most jazz performances<ref name="Cook & Pople">{{cite book|url=https://books.google.com/books?id=g3NweXtHo7wC&pg=PA131 |author=Cook, Nicholas |author2=Pople, Anthony |title=The Cambridge history of twentieth-century music |publisher=Cambridge University Press |year=2004 |page=131 |isbn=978-0-521-66256-7 }}</ref>
Jazz was becoming increasingly popular in New Orleans, Kansas City, Chicago and New York City and 1924 was something of a benchmark of jazz being seen as a serious musical form.<ref>{{cite book |url=https://books.google.co.uk/books?id=qNOciojh-80C&pg=PA114|author=Ewen, David |title=Men of popular music |publisher=Ayer Publishing |year=1972 |page=114 |isbn=978-0-8369-7263-4 }}</ref><ref>{{cite book |title=American Popular Music: The nineteenth century and Tin Pan Alley |author=Scheurer, Timothy E. |publisher=Popular Press |year=1989 |page=147 |isbn=978-0-87972-466-5 }}</ref> [[John Alden Carpenter]] insisted that jazz was now 'our contemporary popular music',<ref>{{Cite book|url=https://books.google.co.uk/books?id=KYl1_KVoSY0C&pg=PA111 |author1=Cooke, Mervyn |author2=Horn, David |title=The Cambridge companion to jazz |series=[[Cambridge Companions to Music]] |publisher=Cambridge University Press |year=2003 |page=111 |isbn=978-0-521-66388-5 }}</ref> and [[Irving Berlin]] made a statement that jazz was the "rhythmic beat of our everyday lives" and the music's "swiftness is interpretive of our verve and speed". [[Leopold Stokowski]], the conductor of the [[Philadelphia Orchestra]] in 1924, publicly embraced jazz as a musical art form and praised jazz musicians.<ref>{{cite book |title=African American jazz and rap: social and philosophical examinations of Black expressive behavior |author=Conyers, James L. |publisher=McFarland |year=2001 |isbn=978-0-7864-0828-3 |url-access=registration |url=https://archive.org/details/africanamericanj00jame }}</ref> In 1924, [[George Gershwin]] wrote ''[[Rhapsody in Blue]]'', widely regarded as one of the finest compositions of the 20th century,<ref>{{cite book |url=https://books.google.co.uk/books?id=t3AEWtKgklsC&pg=PA34 |author=Studwell, William Emmett |title=The popular song reader: a sampler of well-known twentieth century-songs |publisher=Routledge |page=34 |year=1994 |isbn=978-1-56024-369-4 }}</ref> saying he conceived it "as a sort of musical kaleidoscope of America–of our vast melting pot, of our incomparable national pep, our blues, our metropolitan madness."<ref name="abbeville">{{cite web |url=http://www.abbeville.com/jazz/055.asp |title=An Experiment in Modern Music |work=abbeville.com |accessdate=4 December 2010 |archive-url=https://web.archive.org/web/20110430034100/http://www.abbeville.com/jazz/055.asp |archive-date=30 April 2011 |url-status=dead |df=dmy-all }}</ref>
Jazz was becoming increasingly popular in New Orleans, Kansas City, Chicago and New York City and 1924 was something of a benchmark of jazz being seen as a serious musical form.<ref>{{cite book |url=https://books.google.com/books?id=qNOciojh-80C&pg=PA114|author=Ewen, David |title=Men of popular music |publisher=Ayer Publishing |year=1972 |page=114 |isbn=978-0-8369-7263-4 }}</ref><ref>{{cite book |title=American Popular Music: The nineteenth century and Tin Pan Alley |author=Scheurer, Timothy E. |publisher=Popular Press |year=1989 |page=[https://archive.org/details/americanpopularm0000unse/page/147 147] |isbn=978-0-87972-466-5 |url=https://archive.org/details/americanpopularm0000unse/page/147 }}</ref> [[John Alden Carpenter]] insisted that jazz was now 'our contemporary popular music',<ref>{{Cite book|url=https://books.google.com/books?id=KYl1_KVoSY0C&pg=PA111 |author1=Cooke, Mervyn |author2=Horn, David |title=The Cambridge companion to jazz |series=[[Cambridge Companions to Music]] |publisher=Cambridge University Press |year=2003 |page=111 |isbn=978-0-521-66388-5 }}</ref> and [[Irving Berlin]] made a statement that jazz was the "rhythmic beat of our everyday lives" and the music's "swiftness is interpretive of our verve and speed". [[Leopold Stokowski]], the conductor of the [[Philadelphia Orchestra]] in 1924, publicly embraced jazz as a musical art form and praised jazz musicians.<ref>{{cite book |title=African American jazz and rap: social and philosophical examinations of Black expressive behavior |author=Conyers, James L. |publisher=McFarland |year=2001 |isbn=978-0-7864-0828-3 |url-access=registration |url=https://archive.org/details/africanamericanj00jame }}</ref> In 1924, [[George Gershwin]] wrote ''[[Rhapsody in Blue]]'', widely regarded as one of the finest compositions of the 20th century,<ref>{{cite book |url=https://books.google.com/books?id=t3AEWtKgklsC&pg=PA34 |author=Studwell, William Emmett |title=The popular song reader: a sampler of well-known twentieth century-songs |publisher=Routledge |page=34 |year=1994 |isbn=978-1-56024-369-4 }}</ref> saying he conceived it "as a sort of musical kaleidoscope of America–of our vast melting pot, of our incomparable national pep, our blues, our metropolitan madness."<ref name="abbeville">{{cite web |url=http://www.abbeville.com/jazz/055.asp |title=An Experiment in Modern Music |work=abbeville.com |accessdate=4 December 2010 |archive-url=https://web.archive.org/web/20110430034100/http://www.abbeville.com/jazz/055.asp |archive-date=30 April 2011 |url-status=dead}}</ref>


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Black jazz entrepreneur and producer [[Clarence Williams (musician)|Clarence Williams]] recorded groups in New Orleans, among them [[Sidney Bechet]] and [[Louis Armstrong]].<ref name="Cook & Pople"/> Williams moved from New Orleans to Chicago and opened a record store. In Chicago, [[Earl Hines]] formed a group and incidentally inhabited the neighboring apartment to Armstrong while he was in Chicago.<ref name="AAJ">{{cite web |url=http://www.allaboutjazz.com/jazz1924.htm |title=History of Jazz Time Line: 1924 |publisher=All About Jazz |accessdate=2 December 2010 |archive-url=https://web.archive.org/web/20110415042151/http://www.allaboutjazz.com/jazz1924.htm |archive-date=15 April 2011 |url-status=dead |df=dmy-all }}</ref> Also in Chicago, trumpeter [[Tommy Ladnier]] begins playing in [[King Oliver]]'s band. Bechet moved to New England with Ellington during the summer of 1924, playing dances.
Black jazz entrepreneur and producer [[Clarence Williams (musician)|Clarence Williams]] recorded groups in New Orleans, among them [[Sidney Bechet]] and [[Louis Armstrong]].<ref name="Cook & Pople"/> Williams moved from New Orleans to Chicago and opened a record store. In Chicago, [[Earl Hines]] formed a group and incidentally inhabited the neighboring apartment to Armstrong while he was in Chicago.<ref name="AAJ">{{cite web |url=http://www.allaboutjazz.com/jazz1924.htm |title=History of Jazz Time Line: 1924 |publisher=All About Jazz |accessdate=2 December 2010 |archive-url=https://web.archive.org/web/20110415042151/http://www.allaboutjazz.com/jazz1924.htm |archive-date=15 April 2011 |url-status=dead}}</ref> Also in Chicago, trumpeter [[Tommy Ladnier]] begins playing in [[King Oliver]]'s band. Bechet moved to New England with Ellington during the summer of 1924, playing dances.


While in 1924 in jazz, ensembles in the [[Kansas City Metropolitan Area|Kansas City]] area began play a style with a four even beat ground beat as opposed to a New Orleans two beat ground beat behind a 4/4 melody,<ref name="AAJ"/> European jazz included a fox trot by the Swiss composer Frank Martin for the Marionette Theatre in Paris.<ref name="Slonimsky & Yourke">{{cite book |last1=Slonimsky |first1=Nicolas |last2=Yourke |first2=Electra |title=Nicolas Slonimsky: Early articles for the Boston evening transcript |url=https://books.google.com/books?id=6Exa2oNv7lsC&pg=PA53 |year=2003 |publisher=Psychology Press |isbn=978-0-415-96865-2 |page=53}}</ref>
While in 1924 in jazz, ensembles in the [[Kansas City Metropolitan Area|Kansas City]] area began play a style with a four even beat ground beat as opposed to a New Orleans two beat ground beat behind a 4/4 melody,<ref name="AAJ"/> European jazz included a fox trot by the Swiss composer Frank Martin for the Marionette Theatre in Paris.<ref name="Slonimsky & Yourke">{{cite book |last1=Slonimsky |first1=Nicolas |last2=Yourke |first2=Electra |title=Nicolas Slonimsky: Early articles for the Boston evening transcript |url=https://books.google.com/books?id=6Exa2oNv7lsC&pg=PA53 |year=2003 |publisher=Psychology Press |isbn=978-0-415-96865-2 |page=53}}</ref>
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*5 February: Louis Armstrong marries pianist and composer [[Lil Hardin]].<ref name="AAJ"/>
*5 February: Louis Armstrong marries pianist and composer [[Lil Hardin]].<ref name="AAJ"/>
*12 February: [[Paul Whiteman]] brings jazz to the concert stage, at Aeolian Hall in New York City. The concert includes such jazz tunes as [[Livery Stable Blues]], and was the premier of [[George Gershwin]]'s [[Rhapsody in Blue]].<ref>Ward, Geoffrey C., "Jazz: a history of America's music." Knopf, 2000. pp. 99–100. {{ISBN|978-0-679-44551-7}}</ref> According to jazz historian [[Marshall Stearns]], "Paul Whiteman made jazz semi-respectable in 1924."<ref>Shaw, p. 43</ref>
*12 February: [[Paul Whiteman]] brings jazz to the concert stage, at Aeolian Hall in New York City. The concert includes such jazz tunes as [[Livery Stable Blues]], and was the premier of [[George Gershwin]]'s [[Rhapsody in Blue]].<ref>Ward, Geoffrey C., "Jazz: a history of America's music." Knopf, 2000. pp. 99–100. {{ISBN|978-0-679-44551-7}}</ref> According to jazz historian [[Marshall Stearns]], "Paul Whiteman made jazz semi-respectable in 1924."<ref>Shaw, p. 43</ref>
*18 February: A 20-year old [[Bix Beiderbecke]] (cornet), [[Min Lelbrook]] (tuba), [[Jimmy Hartwell]] (clarinet), [[George Johnson (saxophone)|George Johnson]] (tenor sax), [[Bob Gilette]] (banjo), [[Vic Moore]] (drums), [[Dick Voynow]] (piano) and [[Al Gandee]] (trombone) form [[The Wolverines (jazz band)|The Wolverines]] and make their first recording at the [[Gennett]] studios in [[Richmond, Indiana]] with "[[Fidgety Feet]]".<ref name="AAJ"/>
*18 February: A 20-year-old [[Bix Beiderbecke]] (cornet), [[Min Lelbrook]] (tuba), [[Jimmy Hartwell]] (clarinet), [[George Johnson (saxophone)|George Johnson]] (tenor sax), [[Bob Gilette]] (banjo), [[Vic Moore]] (drums), [[Dick Voynow]] (piano) and [[Al Gandee]] (trombone) form [[The Wolverines (jazz band)|The Wolverines]] and make their first recording at the [[Gennett]] studios in [[Richmond, Indiana]] with "[[Fidgety Feet]]".<ref name="AAJ"/>
* June: Armstrong quits the Oliver band upon the request of his wife much to his dismay and is later rejected by [[Sammy Steward]] because he "wasn't dicty enough".<ref name="AAJ"/>
* June: Armstrong quits the Oliver band upon the request of his wife much to his dismay and is later rejected by Sammy Stewart because he "wasn't dicty enough".<ref name="AAJ"/>
* July: [[Meyer Davis]] was reportedly offered a hundred dollars to come up with a new name for "jazz". Concern over the name disappeared by the end of 1924 and did not resurface until 1949 when ''[[Down Beat Magazine]]'' ran a $1000 contest in the searching for a new name, remarking that the name "jazz" had lost all significance.<ref>{{cite book|url=https://books.google.co.uk/books?id=z5SFqRWrtkMC&pg=PA26|last=O'Meally|first= Robert G. |title=The jazz cadence of American culture|publisher=[[Columbia University Press]]|year=1998|page=26|isbn=978-0-231-10449-4}}</ref>
* July: [[Meyer Davis (musician)|Meyer Davis]] was reportedly offered a hundred dollars to come up with a new name for "jazz". Concern over the name disappeared by the end of 1924 and did not resurface until 1949 when ''[[Down Beat Magazine]]'' ran a $1000 contest in the searching for a new name, remarking that the name "jazz" had lost all significance.<ref>{{cite book|url=https://books.google.com/books?id=z5SFqRWrtkMC&pg=PA26|last=O'Meally|first= Robert G. |title=The jazz cadence of American culture|publisher=[[Columbia University Press]]|year=1998|page=26|isbn=978-0-231-10449-4}}</ref>
*30 September: [[Louis Armstrong]], having left [[King Oliver]]'s band in Chicago to be replaced by [[Lee Collins (musician)|Lee Collins]], arrives in New York City.<ref name="AAJ"/><ref>{{cite book|title=The world of jazz trumpet: a comprehensive history & practical philosophy|last=Barnhart |first= Scotty |publisher=[[Hal Leonard Corporation]]|year=2005|page=188|isbn=978-0-634-09527-6}}</ref>
*30 September: [[Louis Armstrong]], having left [[King Oliver]]'s band in Chicago to be replaced by [[Lee Collins (musician)|Lee Collins]], arrives in New York City.<ref name="AAJ"/><ref>{{cite book|title=The world of jazz trumpet: a comprehensive history & practical philosophy|last=Barnhart |first= Scotty |publisher=[[Hal Leonard Corporation]]|year=2005|page=188|isbn=978-0-634-09527-6}}</ref>
* October: Armstrong joins [[Fletcher Henderson]]'s band in New York City upon his wife's insistence. They begin performing at the [[Roseland Ballroom]] on 51st street and Broadway in Manhattan.<ref name="AAJ"/> His new style of jazz playing greatly influences the style of other New York musicians such as [[Coleman Hawkins]] and [[Duke Ellington]].<ref>Ward, Geoffrey C., "Jazz: a history of America's music." Knopf, 2000. Page 112, 115. {{ISBN|978-0-679-44551-7}}</ref> Ellington and his Washingtonians perform at the [[Hollywood Club]] on 49th street and Broadway, whilst Bix Beiderbecke and the Wolverines, renamed [[Personality Kids]] perform at the [[Cinderella Ballroom]] on 41st street and Broadway. [[Hoagy Carmichael]] is much impressed by Beiderbecke and the Wolverines and later states, "I could feel my hands trying to shake and getting cold when I saw Bix getting out his horn. Just four notes...But he didn't blow them; he hit 'em like a mallet hits a chime..."<ref name="AAJ"/>
* October: Armstrong joins [[Fletcher Henderson]]'s band in New York City upon his wife's insistence. They begin performing at the [[Roseland Ballroom]] on 51st street and Broadway in Manhattan.<ref name="AAJ"/> His new style of jazz playing greatly influences the style of other New York musicians such as [[Coleman Hawkins]] and [[Duke Ellington]].<ref>Ward, Geoffrey C., "Jazz: a history of America's music." Knopf, 2000. Page 112, 115. {{ISBN|978-0-679-44551-7}}</ref> Ellington and his Washingtonians perform at the [[Hollywood Club]] on 49th street and Broadway, whilst Bix Beiderbecke and the Wolverines, renamed [[Personality Kids]] perform at the [[Cinderella Ballroom]] on 41st street and Broadway. [[Hoagy Carmichael]] is much impressed by Beiderbecke and the Wolverines and later states, "I could feel my hands trying to shake and getting cold when I saw Bix getting out his horn. Just four notes...But he didn't blow them; he hit 'em like a mallet hits a chime..."<ref name="AAJ"/>
*5 December – A 17-year-old [[Jimmy McPartland]] replaces Beiderbecke in the Wolverines (Personality Kids) band and violinist [[Dave Harmon]] joins.<ref>{{cite book|url=https://books.google.co.uk/books?id=EdKGpTw4ZwIC&pg=PA133|first1=Max |last1=Harrison |first2=Charles |last2=Fox|first3= Eric|last3= Thacker|title=The Essential Jazz Records: Ragtime to swing|publisher=Continuum International Publishing Group|year=2000|page=133|isbn=978-0-7201-1708-0}}</ref> Bix reportedly quietly sat in the back of the club during the audition, later revealing himself with the compliment, "I like ya, kid. Ya sound like me, but you don't copy me." They became friends and roomed together while Bix gave McPartland pointers. At that time, Bix picked out a cornet for McPartland that he then played throughout his career.
*5 December – A 17-year-old [[Jimmy McPartland]] replaces Beiderbecke in the Wolverines (Personality Kids) band and violinist [[Dave Harmon]] joins.<ref>{{cite book|url=https://books.google.com/books?id=EdKGpTw4ZwIC&pg=PA133|first1=Max |last1=Harrison |first2=Charles |last2=Fox|first3= Eric|last3= Thacker|title=The Essential Jazz Records: Ragtime to swing|publisher=Continuum International Publishing Group|year=2000|page=133|isbn=978-0-7201-1708-0}}</ref> Bix reportedly quietly sat in the back of the club during the audition, later revealing himself with the compliment, "I like ya, kid. Ya sound like me, but you don't copy me." They became friends and roomed together while Bix gave McPartland pointers. At that time, Bix picked out a cornet for McPartland that he then played throughout his career.


==Standards==
==Standards==
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{{see also|List of 1920s jazz standards}}
{{see also|List of 1920s jazz standards}}
* Standards published that year included "[[Everybody Loves My Baby]]" and [[Jelly Roll Morton]]'s "[[King Porter Stomp]]".
* Standards published that year included "[[Everybody Loves My Baby]]" and [[Jelly Roll Morton]]'s "[[King Porter Stomp]]".
* "[[When My Sugar Walks Down the Street]]", a "sweet jazz" song written in 1924 by [[Gene Austin]], [[Jimmy McHugh]] and [[Irving Mills]]. [[Victor Talking Machine]] (later known as [[RCA Victor]]) recorded the song in January 1925. Victor A&R executive [[Nathaniel Shilkret]] selected [[Aileen Stanley]], a well-known Victor artist, and Austin, then unknown, as the recording artists, accompanied by Shilkret and the Victor Orchestra.<ref>Shilkret, Nathaniel, ed. Niel Shell and Barbara Shilkret, ''Nathaniel Shilkret: Sixty Years in the Music Business'', Scarecrow Press, Lanham, Maryland, 2005, pp. 73–74. {{ISBN|978-0-8108-5128-3}}</ref><ref>{{cite book|url=https://books.google.co.uk/books?id=PzbYj-kKjXIC&pg=PA242&dq=When+My+Sugar+Walks+Down+the+Street&hl=en&ei=ONX3TJyoGs60hAf8vZjFDw&sa=X&oi=book_result&ct=result&resnum=2&ved=0CC4Q6AEwAQ#v=onepage&q=When%20My%20Sugar%20Walks%20Down%20the%20Street&f=false|author1=Lornell, Kip |author2=Laird, Tracey E.W. |title=Shreveport sounds in black and white|publisher=University Press of Mississippi|year=2008|page=242|isbn=978-1-934110-42-3}}</ref> The recording was very popular and launched Austin's career. Austin estimated his lifetime sales at 80 million records. It was recorded by the Wolverines late in 1924, Duke Ellington, and numerous other artists.
* "[[When My Sugar Walks Down the Street]]", a "sweet jazz" song written in 1924 by [[Gene Austin]], [[Jimmy McHugh]] and [[Irving Mills]]. [[Victor Talking Machine]] (later known as [[RCA Victor]]) recorded the song in January 1925. Victor A&R executive [[Nathaniel Shilkret]] selected [[Aileen Stanley]], a well-known Victor artist, and Austin, then unknown, as the recording artists, accompanied by Shilkret and the Victor Orchestra.<ref>Shilkret, Nathaniel, ed. Niel Shell and Barbara Shilkret, ''Nathaniel Shilkret: Sixty Years in the Music Business'', Scarecrow Press, Lanham, Maryland, 2005, pp. 73–74. {{ISBN|978-0-8108-5128-3}}</ref><ref>{{cite book|url=https://archive.org/details/shreveportsounds00lorn|url-access=registration|quote=When My Sugar Walks Down the Street.|author1=Lornell, Kip |author2=Laird, Tracey E.W. |title=Shreveport sounds in black and white|publisher=University Press of Mississippi|year=2008|page=[https://archive.org/details/shreveportsounds00lorn/page/242 242]|isbn=978-1-934110-42-3}}</ref> The recording was very popular and launched Austin's career. Austin estimated his lifetime sales at 80 million records. It was recorded by the Wolverines late in 1924, Duke Ellington, and numerous other artists.


==Criticism==
==Criticism==
Both Europe and the US had critics of jazz in 1924. While the songwriter and music business executive [[Arnold Shaw (author)|Arnold Shaw]] wrote in 1989 that "1924 was a 'hot' year in jazz...",<ref name="Shaw">Shaw, p. 150</ref> a columnist for ''[[The New York Times]]'' wrote in 1924 that "Jazz is to real music exactly what most of the 'new poetry,' so-called, is to real poetry. Both are without the structure and form essential to music and poetry alike, and both are the products, not of innovators, but of incompetents."<ref name="Whitworth">{{cite book|last=Whitworth|first=Michael H. |title=Modernism|url=https://books.google.com/books?id=v6cwDNs6RRsC&pg=PA161|year=2007|publisher=Wiley-Blackwell|isbn=0-631-23077-7|page=161}}</ref> The American composer and critic, [[Virgil Thomson]], wrote in 1924 that jazz rhythm shakes but doesn't flow; it lacks a climax; and it "never gets anywhere emotionally".<ref name="Thomson & Kostelanetz">{{cite book|last1=Thomson|first1=Virgil |last2=Kostelanetz|first2=Richard |title=Virgil Thomson: a reader : selected writings, 1924–1984|url=https://books.google.com/books?id=R6aFuR24I-IC&pg=PA138|year=2002|publisher=Psychology Press|isbn=978-0-415-93795-5|page=138}}</ref> Jazz in 1924 was just "popular syncopated music" according to the Austrian composer [[Hugo Riesenfeld]].<ref name="Wyatt & Johnson">{{cite book|last1=Wyatt|first1=Robert |last2=Johnson|first2=John Andrew |title=The George Gershwin reader|url=https://books.google.com/books?id=VAASy2Z3aZ4C&pg=PA124|year=2004|publisher=Oxford University Press US|isbn=978-0-19-513019-5|page=124}}</ref>
Both Europe and the US had critics of jazz in 1924. While the songwriter and music business executive [[Arnold Shaw (author)|Arnold Shaw]] wrote in 1989 that "1924 was a 'hot' year in jazz...",<ref name="Shaw">Shaw, p. 150</ref> a columnist for ''[[The New York Times]]'' wrote in 1924 that "Jazz is to real music exactly what most of the 'new poetry,' so-called, is to real poetry. Both are without the structure and form essential to music and poetry alike, and both are the products, not of innovators, but of incompetents."<ref name="Whitworth">{{cite book|last=Whitworth|first=Michael H. |title=Modernism|url=https://books.google.com/books?id=v6cwDNs6RRsC&pg=PA161|year=2007|publisher=Wiley-Blackwell|isbn=978-0-631-23077-9|page=161}}</ref> The American composer and critic, [[Virgil Thomson]], wrote in 1924 that jazz rhythm shakes but doesn't flow; it lacks a climax; and it "never gets anywhere emotionally".<ref name="Thomson & Kostelanetz">{{cite book|last1=Thomson|first1=Virgil |last2=Kostelanetz|first2=Richard |title=Virgil Thomson: a reader : selected writings, 1924–1984|url=https://books.google.com/books?id=R6aFuR24I-IC&pg=PA138|year=2002|publisher=Psychology Press|isbn=978-0-415-93795-5|page=138}}</ref> Jazz in 1924 was just "popular syncopated music" according to the Austrian composer [[Hugo Riesenfeld]].<ref name="Wyatt & Johnson">{{cite book|last1=Wyatt|first1=Robert |last2=Johnson|first2=John Andrew |title=The George Gershwin reader|url=https://books.google.com/books?id=VAASy2Z3aZ4C&pg=PA124|year=2004|publisher=Oxford University Press US|isbn=978-0-19-513019-5|page=124}}</ref>


==Deaths==
==Deaths==
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** [[Dinah Kaye]], Scottish singer (died [[2011 in jazz|2011]]).
** [[Dinah Kaye]], Scottish singer (died [[2011 in jazz|2011]]).
** [[Sonny Stitt]], American saxophonist (died [[1982 in jazz|1982]]).
** [[Sonny Stitt]], American saxophonist (died [[1982 in jazz|1982]]).
* '''6''' – [[Sammy Nestico]], American composer and arranger of big band music.
* '''6''' – [[Sammy Nestico]], American composer and arranger of big band music (died [[2021 in jazz|2021]]).
* '''7''' – [[Ray Crawford (musician)|Ray Crawford]], American guitarist (died [[1997 in jazz|1997]]).
* '''7''' – [[Ray Crawford (musician)|Ray Crawford]], American guitarist (died [[1997 in jazz|1997]]).
* '''15''' – [[Jiří Šlitr]], Czech songwriter, pianist, and singer (died [[1969 in jazz|1969]]).
* '''15''' – [[Jiří Šlitr]], Czech songwriter, pianist, and singer (died [[1969 in jazz|1969]]).
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* '''14''' – [[Coco Schumann]], German guitarist (died [[2018 in jazz|2018]]).<ref>{{cite web | url=http://www.sueddeutsche.de/kultur/swing-legende-jazz-gitarrist-coco-schumann-ist-tot-1.3845251 | title=Jazz-Gitarrist Coco Schumann ist tot | language=de | newspaper=[[Süddeutsche Zeitung]] | date=2018-01-29 | accessdate=2018-04-10}}</ref>
* '''14''' – [[Coco Schumann]], German guitarist (died [[2018 in jazz|2018]]).<ref>{{cite web | url=http://www.sueddeutsche.de/kultur/swing-legende-jazz-gitarrist-coco-schumann-ist-tot-1.3845251 | title=Jazz-Gitarrist Coco Schumann ist tot | language=de | newspaper=[[Süddeutsche Zeitung]] | date=2018-01-29 | accessdate=2018-04-10}}</ref>
* '''25''' – [[Marshall Allen]], American saxophonist.
* '''25''' – [[Marshall Allen]], American saxophonist.
* '''30''' – [[Armando Peraza]], American percussionist (died [[2014 in jazz|2014]]).
* '''30''' – [[Armando Peraza]], American percussionist (died [[2014 in jazz|2014]]).


; June
; June
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; July
; July
* '''1''' – [[Ruth Olay]], American singer (died [[2021 in jazz|2021]]).
* '''6''' – [[Louie Bellson]], American drummer (died [[2009 in jazz|2009]]).
* '''6''' – [[Louie Bellson]], American drummer (died [[2009 in jazz|2009]]).
* '''10''' – [[Major Holley]], American upright bassist (died [[1990 in jazz|1990]]).
* '''10''' – [[Major Holley]], American upright bassist (died [[1990 in jazz|1990]]).
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; December
; December
* '''11''' – [[Nunzio Rotondo]], Italian trumpeter and bandleader (died [[2009 in jazz|2009]]).
* '''11''' – [[Nunzio Rotondo]], Italian trumpeter and bandleader (died [[2009 in jazz|2009]]).
* '''20''' – [[Arne Domnérus]], Swedish saxophonist and clarinetist (died [[2008 in jazz|2008]]).
* '''20''' – [[Arne Domnérus]], Swedish saxophonist and clarinetist (died [[2008 in jazz|2008]]).
* '''21''' – [[Rita Reys]], Dutch singer (died [[2013 in jazz|2013]]).
* '''21''' – [[Rita Reys]], Dutch singer (died [[2013 in jazz|2013]]).
* '''24''' – [[Pupo De Luca]], Italian actor and musician (died [[2006 in jazz|2006]]).
* '''24''' – [[Pupo De Luca]], Italian actor and musician (died [[2006 in jazz|2006]]).
* '''31''' – [[Wilbur Harden]], American trumpeter (died [[1969 in jazz|1969]]).
* '''31''' – [[Wilbur Harden]], American trumpeter (died [[1969 in jazz|1969]]).

; Unknown date
* [[Ruth Olay]], American singer of Hungarian ancestry.


==References==
==References==
Line 184: Line 183:


==Bibliography==
==Bibliography==
* {{cite book |title=Visions of Jazz: The First Century |last=Giddins |first=Gary |authorlink=Gary Giddins |year=2000 |publisher=Oxford University Press US |isbn=978-0-19-513241-0}}
* {{cite book |title=Visions of Jazz: The First Century |last=Giddins |first=Gary |authorlink=Gary Giddins |year=2000 |publisher=Oxford University Press US |isbn=978-0-19-513241-0 |url-access=registration |url=https://archive.org/details/visionsofjazzfir0000gidd }}
* {{cite book |title=Tin Pan Alley: An Encyclopedia of the Golden Age of American Song |last=Jasen |first=David A. |year=2003 |publisher=Taylor & Francis |isbn=978-0-415-93877-8}}
* {{cite book |title=Tin Pan Alley: An Encyclopedia of the Golden Age of American Song |last=Jasen |first=David A. |year=2003 |publisher=Taylor & Francis |isbn=978-0-415-93877-8}}
* {{cite book |title=Ragtime: An Encyclopedia, Discography, and Sheetography |last=Jasen |first=David A. |year=2007 |publisher=CRC Press |isbn=978-0-415-97862-0}}
* {{cite book |title=Ragtime: An Encyclopedia, Discography, and Sheetography |last=Jasen |first=David A. |year=2007 |publisher=CRC Press |isbn=978-0-415-97862-0}}
* {{cite book |title=Louis Armstrong: The Life, Music, and Screen Career |last=Nollen |first=Scott Allen |year=2004 |publisher=McFarland |isbn=978-0-7864-1857-2}}
* {{cite book |title=Louis Armstrong: The Life, Music, and Screen Career |url=https://archive.org/details/louisarmstrongli0000noll |url-access=registration |last=Nollen |first=Scott Allen |year=2004 |publisher=McFarland |isbn=978-0-7864-1857-2}}
* {{cite book |title=Texan Jazz |last=Oliphant |first=Dave |year=1996 |publisher=University of Texas Press |isbn=978-0-292-76045-5}}
* {{cite book |title=Texan Jazz |url=https://archive.org/details/texanjazz0000olip |url-access=registration |last=Oliphant |first=Dave |year=1996 |publisher=University of Texas Press |isbn=978-0-292-76045-5}}
* {{cite book |title=The Swing Era: The Development of Jazz, 1930–1945 |last=Schuller |first=Gunther |year=1991 |publisher=Oxford University Press US |isbn=978-0-19-507140-5}}
* {{cite book |title=The Swing Era: The Development of Jazz, 1930–1945 |last=Schuller |first=Gunther |year=1991 |publisher=Oxford University Press US |isbn=978-0-19-507140-5}}
* {{cite book|last=Shaw|first=Arnold |title=The jazz age: popular music in the 1920s|url=https://books.google.com/books?id=MECLMrzcC9kC&pg=PA150|year=1989|publisher=Oxford University Press US|isbn=978-0-19-506082-9}}
* {{cite book|last=Shaw|first=Arnold |title=The jazz age: popular music in the 1920s|url=https://books.google.com/books?id=MECLMrzcC9kC&pg=PA150|year=1989|publisher=Oxford University Press US|isbn=978-0-19-506082-9}}
* {{cite book |title=Stardust Melody: The Life and Music of Hoagy Carmichael |last=Sudhalter |first=Richard M. |authorlink=Dick Sudhalter |year=2003 |publisher=Oxford University Press US |isbn=978-0-19-516898-3}}
* {{cite book |title=Stardust Melody: The Life and Music of Hoagy Carmichael |last=Sudhalter |first=Richard M. |authorlink=Dick Sudhalter |year=2003 |publisher=Oxford University Press US |isbn=978-0-19-516898-3}}



{{Jazz|state=collapsed}}
{{Jazz|state=collapsed}}

Latest revision as of 17:36, 13 March 2024

1924 in jazz
The Wolverines with Bix Beiderbecke at Doyle's Academy of Music in Cincinnati, Ohio in 1924
Decade1920s in jazz
Music1924 in music
StandardsList of 1920s jazz standards
See also1923 in jazz1925 in jazz
List of years in jazz
+...

This is a timeline documenting events of jazz in the year 1924.

Musicians born that year included the drummer Max Roach and singers Sarah Vaughan and Dinah Washington. In 1924, Leopold Stokowski, the British orchestral conductor of the Philadelphia Orchestra, observed that jazz had "come to stay."[1]

Jazz scene[edit]

In 1924 the improvised solo had become an integral part of most jazz performances[2] Jazz was becoming increasingly popular in New Orleans, Kansas City, Chicago and New York City and 1924 was something of a benchmark of jazz being seen as a serious musical form.[3][4] John Alden Carpenter insisted that jazz was now 'our contemporary popular music',[5] and Irving Berlin made a statement that jazz was the "rhythmic beat of our everyday lives" and the music's "swiftness is interpretive of our verve and speed". Leopold Stokowski, the conductor of the Philadelphia Orchestra in 1924, publicly embraced jazz as a musical art form and praised jazz musicians.[6] In 1924, George Gershwin wrote Rhapsody in Blue, widely regarded as one of the finest compositions of the 20th century,[7] saying he conceived it "as a sort of musical kaleidoscope of America–of our vast melting pot, of our incomparable national pep, our blues, our metropolitan madness."[8]

Black jazz entrepreneur and producer Clarence Williams recorded groups in New Orleans, among them Sidney Bechet and Louis Armstrong.[2] Williams moved from New Orleans to Chicago and opened a record store. In Chicago, Earl Hines formed a group and incidentally inhabited the neighboring apartment to Armstrong while he was in Chicago.[9] Also in Chicago, trumpeter Tommy Ladnier begins playing in King Oliver's band. Bechet moved to New England with Ellington during the summer of 1924, playing dances.

While in 1924 in jazz, ensembles in the Kansas City area began play a style with a four even beat ground beat as opposed to a New Orleans two beat ground beat behind a 4/4 melody,[9] European jazz included a fox trot by the Swiss composer Frank Martin for the Marionette Theatre in Paris.[10]

Charlie Parker grew up in Kansas City listening to this style of jazz. In 1924, Django Reinhardt became a guitarist and began playing the clubs of Paris.[9] Noted Classic Blues singer Bessie Smith began to achieve major fame.[9]

Events[edit]

  • 5 February: Louis Armstrong marries pianist and composer Lil Hardin.[9]
  • 12 February: Paul Whiteman brings jazz to the concert stage, at Aeolian Hall in New York City. The concert includes such jazz tunes as Livery Stable Blues, and was the premier of George Gershwin's Rhapsody in Blue.[11] According to jazz historian Marshall Stearns, "Paul Whiteman made jazz semi-respectable in 1924."[12]
  • 18 February: A 20-year-old Bix Beiderbecke (cornet), Min Lelbrook (tuba), Jimmy Hartwell (clarinet), George Johnson (tenor sax), Bob Gilette (banjo), Vic Moore (drums), Dick Voynow (piano) and Al Gandee (trombone) form The Wolverines and make their first recording at the Gennett studios in Richmond, Indiana with "Fidgety Feet".[9]
  • June: Armstrong quits the Oliver band upon the request of his wife much to his dismay and is later rejected by Sammy Stewart because he "wasn't dicty enough".[9]
  • July: Meyer Davis was reportedly offered a hundred dollars to come up with a new name for "jazz". Concern over the name disappeared by the end of 1924 and did not resurface until 1949 when Down Beat Magazine ran a $1000 contest in the searching for a new name, remarking that the name "jazz" had lost all significance.[13]
  • 30 September: Louis Armstrong, having left King Oliver's band in Chicago to be replaced by Lee Collins, arrives in New York City.[9][14]
  • October: Armstrong joins Fletcher Henderson's band in New York City upon his wife's insistence. They begin performing at the Roseland Ballroom on 51st street and Broadway in Manhattan.[9] His new style of jazz playing greatly influences the style of other New York musicians such as Coleman Hawkins and Duke Ellington.[15] Ellington and his Washingtonians perform at the Hollywood Club on 49th street and Broadway, whilst Bix Beiderbecke and the Wolverines, renamed Personality Kids perform at the Cinderella Ballroom on 41st street and Broadway. Hoagy Carmichael is much impressed by Beiderbecke and the Wolverines and later states, "I could feel my hands trying to shake and getting cold when I saw Bix getting out his horn. Just four notes...But he didn't blow them; he hit 'em like a mallet hits a chime..."[9]
  • 5 December – A 17-year-old Jimmy McPartland replaces Beiderbecke in the Wolverines (Personality Kids) band and violinist Dave Harmon joins.[16] Bix reportedly quietly sat in the back of the club during the audition, later revealing himself with the compliment, "I like ya, kid. Ya sound like me, but you don't copy me." They became friends and roomed together while Bix gave McPartland pointers. At that time, Bix picked out a cornet for McPartland that he then played throughout his career.

Standards[edit]

Criticism[edit]

Both Europe and the US had critics of jazz in 1924. While the songwriter and music business executive Arnold Shaw wrote in 1989 that "1924 was a 'hot' year in jazz...",[19] a columnist for The New York Times wrote in 1924 that "Jazz is to real music exactly what most of the 'new poetry,' so-called, is to real poetry. Both are without the structure and form essential to music and poetry alike, and both are the products, not of innovators, but of incompetents."[20] The American composer and critic, Virgil Thomson, wrote in 1924 that jazz rhythm shakes but doesn't flow; it lacks a climax; and it "never gets anywhere emotionally".[21] Jazz in 1924 was just "popular syncopated music" according to the Austrian composer Hugo Riesenfeld.[22]

Deaths[edit]

Unknown date
  • Black Benny, New Orleans-based bass drummer (born 1890).
Max Roach in Holland, around 1979
Rita Reys at Hotel De Watergeus, Noorden (The Netherlands) in 2004

Births[edit]

January
February
March
April
May
June
July
August
September
October
November
December

References[edit]

  1. ^ Lopes, Paul Douglas (2002). The Rise of a Jazz Art World. Cambridge University Press. p. 82. ISBN 978-0-521-00039-0.
  2. ^ a b Cook, Nicholas; Pople, Anthony (2004). The Cambridge history of twentieth-century music. Cambridge University Press. p. 131. ISBN 978-0-521-66256-7.
  3. ^ Ewen, David (1972). Men of popular music. Ayer Publishing. p. 114. ISBN 978-0-8369-7263-4.
  4. ^ Scheurer, Timothy E. (1989). American Popular Music: The nineteenth century and Tin Pan Alley. Popular Press. p. 147. ISBN 978-0-87972-466-5.
  5. ^ Cooke, Mervyn; Horn, David (2003). The Cambridge companion to jazz. Cambridge Companions to Music. Cambridge University Press. p. 111. ISBN 978-0-521-66388-5.
  6. ^ Conyers, James L. (2001). African American jazz and rap: social and philosophical examinations of Black expressive behavior. McFarland. ISBN 978-0-7864-0828-3.
  7. ^ Studwell, William Emmett (1994). The popular song reader: a sampler of well-known twentieth century-songs. Routledge. p. 34. ISBN 978-1-56024-369-4.
  8. ^ "An Experiment in Modern Music". abbeville.com. Archived from the original on 30 April 2011. Retrieved 4 December 2010.
  9. ^ a b c d e f g h i j "History of Jazz Time Line: 1924". All About Jazz. Archived from the original on 15 April 2011. Retrieved 2 December 2010.
  10. ^ Slonimsky, Nicolas; Yourke, Electra (2003). Nicolas Slonimsky: Early articles for the Boston evening transcript. Psychology Press. p. 53. ISBN 978-0-415-96865-2.
  11. ^ Ward, Geoffrey C., "Jazz: a history of America's music." Knopf, 2000. pp. 99–100. ISBN 978-0-679-44551-7
  12. ^ Shaw, p. 43
  13. ^ O'Meally, Robert G. (1998). The jazz cadence of American culture. Columbia University Press. p. 26. ISBN 978-0-231-10449-4.
  14. ^ Barnhart, Scotty (2005). The world of jazz trumpet: a comprehensive history & practical philosophy. Hal Leonard Corporation. p. 188. ISBN 978-0-634-09527-6.
  15. ^ Ward, Geoffrey C., "Jazz: a history of America's music." Knopf, 2000. Page 112, 115. ISBN 978-0-679-44551-7
  16. ^ Harrison, Max; Fox, Charles; Thacker, Eric (2000). The Essential Jazz Records: Ragtime to swing. Continuum International Publishing Group. p. 133. ISBN 978-0-7201-1708-0.
  17. ^ Shilkret, Nathaniel, ed. Niel Shell and Barbara Shilkret, Nathaniel Shilkret: Sixty Years in the Music Business, Scarecrow Press, Lanham, Maryland, 2005, pp. 73–74. ISBN 978-0-8108-5128-3
  18. ^ Lornell, Kip; Laird, Tracey E.W. (2008). Shreveport sounds in black and white. University Press of Mississippi. p. 242. ISBN 978-1-934110-42-3. When My Sugar Walks Down the Street.
  19. ^ Shaw, p. 150
  20. ^ Whitworth, Michael H. (2007). Modernism. Wiley-Blackwell. p. 161. ISBN 978-0-631-23077-9.
  21. ^ Thomson, Virgil; Kostelanetz, Richard (2002). Virgil Thomson: a reader : selected writings, 1924–1984. Psychology Press. p. 138. ISBN 978-0-415-93795-5.
  22. ^ Wyatt, Robert; Johnson, John Andrew (2004). The George Gershwin reader. Oxford University Press US. p. 124. ISBN 978-0-19-513019-5.
  23. ^ "Jazz-Gitarrist Coco Schumann ist tot". Süddeutsche Zeitung (in German). 29 January 2018. Retrieved 10 April 2018.
  24. ^ "Jacques Pelzer". OxfordIndex.oup.com. Retrieved 1 April 2018.
  25. ^ Nelson, Valerie J. (9 October 2011). "Roger Williams dies at 87; 'Autumn Leaves' pop pianist found commercial success". Los Angeles Times. Retrieved 7 November 2016.
  26. ^ Keepnews, Peter (25 August 2016). "Rudy Van Gelder, Audio Engineer Who Helped Define Sound of Jazz on Record, Dies at 91". The New York Times. Retrieved 6 November 2016.

Bibliography[edit]