Cliff Edwards: Fascinatin’ Rhythm, Wolverines: When My Sugar Walks Down the Street, Goofus Five: Everybody Loves My Baby, King Oliver: Canal St. Blues, California Ramblers: Tessie Stop Teasing Me, Cliff Edwards: Somebody Loves Me, Wolverines: Susie, Henderson: Shanghai Shuffle, Morton: Shreveport Stomp, King Oliver: The Southern Stomps, I Ain’t Gonna Tell Nobody, NORK: Weary Blues, Tiger Rag, Oliver: Chattanooga Stomp, Morton: The Pearls, The Little Ramblers (Moore, Davis, Rollini, Brodsky, Fellini, King): Deep Blue Sea Blues, I’m Satisfied Beside That Sweetie of Mine, Those Panama Mamas.The sophistication of Ira Gershwin sung by Cliff Edwards who introduced Fascinatin’ Rhythm on Broadway. Compare to Jobim’s version a la bossa nova. Then the young Wolverines with Jimmy McP. The Goofus Five with Bill Moore-Bobby Davis-Adrian Rollini in a novelty groove. Then Henderson/Redman gravitas with an Armstrong solo. Oliver stomps from the year before with Armstrong. Morton and NORK provide interludes and then Rollini’s ramblers go novelty. The way it was in 1923 and 1924. What a difference a year makes.Syncopation primed earlier generations, George Walker and Bert Williams create a jazz singing tradition. Amidst Souza marches, Joplin ragtime, Creamer and Layton hit tunes, vaudeville, banjo ragtime, etc. all circulating as a national music on the theater and tent circuits. Thereupon emerging everywhere as in Carter Family and Opry, bluegrass, honky tonk, Western, r’n b, rockabilly. But New York hosted the Blues record craze with Bessie Smith recording star for Columbia among 40 or more such recording divas.Ira Gershwin catches the infectious rhythm from his brother. Compare to Hart’s later I’ll Take Manhattan and Staten Island Too as an antidote to the rampant rhythmic invasion that was invading NY. For the local poet Hart, NY is a romantic haven. If you’re going to NYC, from anywhere in the world and you stay you may become a naturalized New Yorker, if not American.NYC used to be Dutch, not a source of Americana, but keeper of professional traditions as in James P. Johnson and T. Waller, Carnegie Hall aspirants. Marion Harris the superstar participated in jazz integration, moving to Columbia Records to sing WC Handy.If you make it in NY not necessarily true you make it anywhere. Take Al Smith. If you make it in America you don’t necessarily make it in NY. Oliver and Morton did some of their best work there but were not greeted with the adoration later generations would confer.NYC did not adopt jazz in its New Orleans form as had Chicago. It has a virtuoso boutique status detached from its Southern and American functions like dances, compare this to polka which is purely a dance music. Or marching bands. From America came C&W, blues, rock, soul, spirituals, gospel, etc. all defined for audiences as distinct from jazz. But for example Fats Domino an inventor of rhythm and blues would be welcome at any jazz festival. NY sounds have also diffused into America, Puente, hip hop, stride, Monk, bebop, Tin Pan Alley, doo wop, salsa. Jazz survives better than ragtime did and It may be that its living popularity in New Orleans will have another impact in the future on America. Hosted on Acast. See acast.com/privacy for more information.

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