Traditional Jazz: A Brief Style Guide
Clockwise from the top: King Oliver’s Creole Jazz Band (credit: Pictorial Press Ltd/Alamy King Oliver's Creole Jazz Band, 1923); Preservation Hall Jazz Band featuring Sweet Emma Barrett, 1964 (credit: aislebeseeingyou.blogspot.com); Original Pinettes Brass Band, 2017 (credit: Jafar M. Pierre/Red Bull Content Pool).
by Marc T. Gaspard Bolin
June 26, 2023
The concept of traditional jazz can often be confusing, even among experts, enthusiasts, and musicians who have deep knowledge of the style. There is often disagreement about the terminology and classifications used to describe different styles within traditional jazz. Outside of New Orleans, traditional jazz is commonly referred to as "Dixieland jazz." However, in this piece, I want to clarify the distinction between “Dixieland” and traditional jazz, also known as early jazz, classic jazz, or simply "trad" jazz. My colleagues and I consider "Dixieland" a negative term. On the other hand, trad jazz represents a connection to the performance styles of jazz legends from the early 20th century, such as King Oliver, Louis Armstrong, Jelly Roll Morton, and Sydney Bechet.
Frederic Ramsey, Jr. and Charles E. Smith's book Jazzmen (1939) and Willie Geary "Bunk" Johnson's 1945 sessions played a significant role in the Dixieland Revival movement in the United States and internationally. This movement appealed to a predominantly white audience tired of big band jazz and the demanding nature of bebop musicians. The conservative approach of the revival movement evoked nostalgia through hymns, Tin Pan Alley songs, and other pre-World War II era tunes. It also brought back the banjo and tuba, considered outdated, and focused on prearranged music for nostalgia.
This guide aims to provide a clear and organized perspective on the various stylistic categories of traditional jazz—a thriving living tradition that continues to this day. It is intended to be a valuable resource and starting place for jazz musicians and educators in their quest to develop a comprehensive understanding and proficiency in traditional jazz's diverse range of styles. I will also highlight several prominent women musicians along the way, such as Lil Hardin Armstrong, Lovie Austin, "Sweet Emma" Barrett, Dolly Jones, and others, as well as other interesting contextual information to help "fill out" the history for you.
What is Traditional Jazz?
To better understand the concept of "traditional jazz," let's first describe what it entails. Several common characteristics can define traditional jazz:
wind instruments playing polyphonically, often incorporating improvisation without altering the melody.
pre-bop harmonies and phrasing; easily recognizable chord patterns
common or 4/4 meter
and specific instrumentation:
Winds:
The front line typically consists of trumpet or cornet, clarinet or soprano saxophone, trombones, and sometimes tenor, alto, or baritone saxophone.
Rhythm section:
Includes piano (though not commonly before 1915), guitar (or banjo in later years), tuba or bass saxophone (or bass in later years), and drums (also in later years; typically one player utilizing a kit, two players on snare and bass drum, or a washboard).
Vocals may or not be utilized.
In summary, "traditional jazz" refers to jazz that exhibits most or all of these characteristics. Therefore, traditional New Orleans jazz is a type of band music that features a front line typically made up of cornet or trumpet, clarinet, and trombone. These instruments (winds) play together in polyphony, often incorporating improvisation without altering the melody. The rhythm section, which usually includes piano, guitar or banjo, tuba or bass, and drums, provides syncopated rhythms that are perfect for dancing, typically in 4/4 time.
The defining characteristic of traditional jazz is the simultaneous playing of different melodic lines by wind instruments (#1 above), a tradition originating in New Orleans. This polyphonic style is commonly found in most traditional jazz performances. However, a performance can still be considered traditional jazz even if it lacks this characteristic, depending on how well it meets the other criteria, particularly #2 and #4—the appropriate counts for claps!
Using the four criteria mentioned above as the broad definition of the genre, we can identify various stylistic approaches within traditional jazz. While most traditional jazz groups blend these stylistic approaches to create their unique sound, the following divisions serve as the primary stylistic foundations. The listed recorded output for each style represents some of the earliest and most definitive instances of that style, though it may also include recordings that are not relevant.
* Please be aware that the mentioned recorded output for each artist/group in a particular style (below) is an important reference point for that style.
New Orleans Styles
In the early days of New Orleans jazz, traditional jazz combos featured a lineup of violin, trumpet, clarinet, and trombone. However, as the volume levels increased in the 1910s, violins gradually lost their popularity. The rhythm section typically consisted of instruments such as the drum "kit"—an ever-evolving assemblage of drums and other percussion instruments that didn’t solidify until the 1930s, piano, guitar or banjo, and bass or tuba. In the 1920s, saxophones became a prominent part of the genre, and improvised solos gained popularity. You can hear this evolution in recordings from renowned bands of the era, including Oliver's Creole Jazz Band and Armstrong's Hot Five.
The Brass Band: The Birth of It All
Brass Bands tend to be large ensembles—larger than most "jazz bands." They typically employ two or more trumpets and a combination of clarinets, trombones, saxophones, and sousaphones, accompanied by separate snare and bass drums. Occasionally, alto or baritone horns are included as well.
An unrestrained, relaxed, and improvisational feel characterizes the style. Drummers a rhythmic march-like tempo, emphasizing beat four every other measure—but swinging. Drums continue playing between songs, with "roll-offs" announcing the start of each tune. The bass drummer often adds a cymbal crash on the offbeat (played with their left hand). Dirges are executed with an amplified sense of sorrow, while fast-paced compositions are played with an elevated sense of delight.
Repertoire: Marches, dirges, popular songs, spirituals, and hymns.
Representative Artists: Bunk Johnson's Brass Band (1945); Eureka Brass Band (active from 1920-75; they were first recorded in 1957); and Harold Dejan's Olympia Brass Band (1956-90s; founded in 1883).
Bunk's Brass Band, "In Gloryland," (1945)
Eureka Brass Band, Live Television Broadcast (early 1960s)
Dejan's Olympia Brass Band, "Willie The Weeper" (1971)
Representative Artists (Contemporary Brass Band Style): Anthony "Tuba Fats" Lacen's Chosen Few Jazzmen (mid-1970s-2003); Dirty Dozen Brass Band (1977-present); Original Pinettes Brass Band (1991-present); Rebirth Brass Band (1983-present); To Be Continued Brass Band (TBC; 2002-present).
Rebirth Brass Band, “Down By The Riverside,” (2013; Riddle Films)
To Be Continued Brass Band (TBC), “‘Sweet Georgia Brown’ & ‘Come Together,’” at Red Bull's Street King Competition (2010)
Original Pinettes Brass Band, 2017 (credit: Jafar M. Pierre/Red Bull Content Pool). https://www.redbull.com/us-en/the-original-pinettes-record-with-mannie-fresh
The Original Pinettes Brass Band is an all-female brass band from New Orleans, founded in 1991 at St. Mary's Academy. Initially, the band played traditional New Orleans jazz, but after receiving a positive response from the crowd at a concert, they switched to contemporary brass band music. Although they had a rotating lineup and were managed by their band director until he left in 1998, the band released a cassette tape and participated in second line parades with minimal success outside New Orleans. After Hurricane Katrina, they recruited new members and changed their name to the Original Pinettes Brass Band. They won the Red Bull Street Kings competition in 2013 and have had a Friday night residency at Bullet's Sports Bar since 2014.
The Original Pinettes Brass Band, "When The Saints Go Marching In," at Jazz Fest 2010.
* An example of a band that bridges the early and contemporary brass band styles is Jazz Begins (1959) by John Casimir and his Young Tuxedo Brass Band (1938-1983). Jazz Begins is a great example of a band combining traditional and modern brass band styles. This album perfectly captures brass bands' evolving instrumentation and music-making approach during the mid-20th century.
John Casimir's Young Tuxedo Brass Band records its first full-length LP for Atlantic Records; Jazz Begins, 1959, front jacket cover.
Young Tuxedo Brass Band, "Whoopin' Blues" (1958)
Classic New Orleans Style (Jazz Band):
Classic New Orleans style typically features one or two cornets or trumpets, a clarinet or soprano saxophone, and a trombone. The instrumentation may include a piano, banjo, or guitar, a tuba or string bass, and occasionally drums or a washboard.
There is a focus on ensemble playing, and a thick texture characterizes the style of Classic New Orleans music. The cornet and clarinet are known for their frequent use of heavy vibrato. The cornet may use straight and/or plunger mute and techniques like rips, growls, halftones, and shakes, and the trombone alternates between "smeary" fills and gruff staccato punctuations. The rhythm section, consisting of piano and banjo, typically maintains a steady quarter-note pattern that can be described as "chenk-chenk-chenk-chenk." In instances where drums are included, they are generally played at a lower volume and produce a muffled sound by utilizing a choked cymbal, woodblock, and a snare drum with a lighter touch.
The Original Dixieland Jass Band (1917 - 1922)
The Original Dixieland Jass (later Jazz) Band (ODJB) was a white Dixieland jazz band formed in 1916. The band consisted of five musicians: Nick LaRocca on cornet, Eddie Edwards on trombone, Larry Shields on clarinet, Henry Ragas on piano, and Tony Sbarbaro on drums. They played a style of jazz popularized by Black musicians from New Orleans.
In 1917, the band recorded what is believed to be the first recorded jazz song, "Livery Stable Blues." This recording, along with their other early sides such as "Tiger Rag," established them as pioneers of jazz. The band's recordings showcased elements such as dance rhythms, improvised solos, and a unique blend of diverse cultures. The Original Dixieland Jazz Band's first records, including their hit song "Livery Stable Blues," had a significant impact on the genre and played a crucial role in popularizing jazz worldwide. Their recordings, made in 1917, were the first jazz records ever issued, establishing them as pioneers of the genre. These early recordings by the ODJB helped define the sound and style of jazz, showcasing its energetic rhythms, improvisation, and collective improvisation. Their success led to the formation of numerous other jazz bands that emulated their style, and their compositions, such as "Tiger Rag," became jazz standards. The ODJB's recordings were widely distributed and heard on radio, in cinemas, clubs, and jukeboxes, further spreading the popularity of jazz.
It is important to discuss the ODJB in the context of jazz history because they played a significant role in popularizing jazz and shaping the Jazz Age. They are not without fault and a discussion can one understand the complexities and evolution of jazz as a musical genre.
I hesitate to discuss the Original Dixieland Jass (later Jazz) Band for several reasons. Firstly, their name is problematic. The name "Dixieland" has historical associations with the Confederate South and the era of slavery, which can be offensive and insensitive to many people. Secondly, their leader, Nick LaRocca, was notorious for expressing racist views. He controversially claimed that African Americans learned to play jazz from white musicians, perpetuating racial stereotypes and denying the significant contributions of Black musicians to the genre. Which leads us to the third issue: appropriation.
LaRocca's statement reflects the racist attitudes prevalent during that time and highlights the appropriation of Black culture by white musicians. Additionally, the ODJB was a white band that appropriated Black culture, and despite being associated with New Orleans, they recorded their music in New York.
Considering these factors, I question why I should even introduce them to a student of jazz. It is important to acknowledge and condemn these views, as they contribute to a broader understanding of the problematic aspects associated with the Original Dixieland Jazz Band and the cultural context in which they operated. These aspects raise important questions about cultural appropriation, racism, and the ethics of popularizing music that has its roots in marginalized communities.
By the time the Classic New Orleans style gained wide appeal, Chicago’s South Side hosted many New Orleans musicians, such as Louis Armstrong, Jelly Roll Morton, and King Oliver. King Oliver and clarinetist Jimmy Noone settled in Chicago in 1918. King Oliver brought Louis Armstrong up from New Orleans to augment his Creole Jazz Band in 1922—Armstrong remained in the city for most of the 1920s. Jelly Roll Morton also resided there between the mid-teens and mid-1920s. Even trombonist Edward "Kid" Ory resided in the Windy City in 1925. The music they made there was often referred to as "hot" jazz, emerging and gaining popularity in dance halls and cabarets located in Chicago’s South Side.
Additionally, the vibrant sounds from New Orleans also inspired a group of white teenagers from the west side of the city. Although they may not be as well-known as the aforementioned giants, the Austin High Gang played a crucial role in laying the groundwork for Chicago jazz (see below).
Repertoire: multi-themed jazz compositions, blues, rags (multi-part), and popular song.
Representative Artists: Joseph Nathan "King" Oliver's Creole Jazz Band (1923-1929); New Orleans Rhythm Kings (1922-1925); Clarence Williams small groups (1923-1935); Louis Armstrong's Hot Five/Seven (1925-1928); Celestin's Original Tuxedo Jazz Orchestra (1925-1928); Jelly Roll Morton's Red Hot Peppers (1926-1930); Johnny Dodds (1927-1929).
King Oliver's Creole Jazz Band, "Dipper Mouth Blues" (1923)
Lil Hardin Armstrong (February 3, 1898 – August 27, 1971) was a visionary talent who played a crucial role in shaping early jazz. She was a pianist, band leader, and composer and is perhaps best known for her composition "Struttin' with Some BBQ," which Louis Armstrong and his Hot Five band recorded in 1927. Lil Hardin Armstrong was born in Memphis. She was a highly influential jazz pianist, composer, arranger, singer, and bandleader. Lil received musical training at Fisk University, the Chicago College of Music and obtained both a graduate degree and a post-graduate diploma from the New York College of Music. She became widely known as the first major woman jazz instrumentalist, pianist, and songwriter. She married Louis Armstrong in 1924 and played a key role in his musical development, encouraging him to pursue a solo career. Lil Hardin Armstrong's notable compositions include "Struttin' with Some Barbecue,", "Don't Jive Me," "Two Deuces," "Knee Drops," "Doin' the Suzie-Q," "Just for a Thrill," (which was a hit when revived by Ray Charles in 1959), "Clip Joint, and "Bad Boy" (a hit for Ringo Starr in 1978).
Jelly Roll Morton's Red Hot Peppers, "Doctor Jazz" (1926)
Sam Morgan's Jazz Band, "Over In The Glory Land" (1927)
Sam Morgan's recordings for Columbia in 1927 are the epitome of pure New Orleans style. They stand out as the only ones at that time to incorporate a prominent 4-beat bass and a unique ensemble sound, which includes the addition of two saxophones, an element not commonly found in other regions.
The New Orleans Revival Style:
New Orleans Revival style refers to the renewed interest in traditional jazz during the 1940s. There is some debate about whether this style evolved from the Classic New Orleans Style or if New Orleans musicians were influenced by musicians from New York, Chicago, and the West Coast; generally speaking, outside of the Crescent City; it's the old "chicken and egg" cliché.
While having little impact on the Crescent City directly, this movement did have some positive outcomes in NOLA: one of which was the revival of the careers of many NOLA musicians that had continued to play traditional jazz, or "trad," through the ebbs and flows of several waves of popular music. Black New Orleanian musicians largely rejected the revival movements as the projected image by many of the musicians taking part was one of nostalgia entertainment with whom they did not share such wistful reminiscence, nor did they identify with the Jim Crow associations of the name. Moreover, the Revival music was not representative of the contemporary brass band style in the city. Nevertheless, the preservationist approach became intimately tied to both Black pride and economic survival for brass musicians in NOLA. Much more, it helped shape NOLA's image into one that the local tourist industry successfully leveraged in the coming years.
The typical lineup includes trumpet or cornet, clarinet, trombone, occasional alto or tenor saxophone, often piano, banjo, bass (sometimes tuba), and drums. Albert system clarinets are commonly used, and clarinet arpeggios are frequently played.
The New Orleans Revival style is known for its spontaneous, free-flowing, and rambunctious nature, creating a lively and expressive atmosphere. It has a relaxed vibe that focuses on conveying emotions rather than technical precision—though there is no lack of virtuosity! The trumpet player typically follows the lead line closely, incorporating vibrato as desired. The clarinet tone resembles the Classic New Orleans and brass band styles, but the phrasing is less rigidly on the beat. The trombone adds sliding fills and moans, while the rhythm section maintains a steady four-beat rhythm throughout. The bass is often played with a "slapped" technique. The drums emphasize the snare, particularly with energetic press rolls (Bzzzzip, Bzzzzip), and incorporate fills using the tom, woodblock, and/or rims at the end of eight-bar phrases. The ride cymbal is used, but sparingly. This particular style places great importance on the collective performance of the entire ensemble, while still allowing for passionate and energetic solos to shine through.
Repertoire: popular songs, blues, marches, spirituals, rags (multi-part), and occasionally more complex jazz compositions.
Representative Artists: Bunk Johnson (1945); George Lewis (1943-65); Kid Ory (1922-61); Kid Thomas Valentine (1951-83); Preservation Hall Jazz Band (1961-present).
Preservation Hall Jazz Band, "Bill Bailey" (1970)—featuring Barrett on piano and vocals
Preservation Hall Jazz Band featuring Sweet Emma Barrett, 1964 (credit: aislebeseeingyou.blogspot.com)
Emma "Sweet Emma" Barrett was a pioneering self-taught jazz pianist and vocalist from New Orleans. She began performing publicly as a child and was known for her signature red skullcap and bell-adorned garters (seen above). She led the Preservation Hall Jazz Band on tours during the 1960s jazz revival until a stroke paralyzed her left side in 1967. Despite this setback, Barrett reappeared in 1968 and died in 1983 at 85.
Preservation Hall Jazz Band, "Tailgate Ramble" (2010)
New York Style:
New York-style ensembles feature a cornet/trumpet, clarinet, trombone, and sometimes the saxophone (tenor or alto), violin, piano, banjo or guitar, tuba, bass sax, or string bass, and drums.
The performance style is meticulously organized, highlighting intricate and syncopated arrangements that are pre-arranged. The sound is characterized as polished and smooth. The horns typically use "straight-eighth(ish)" phrasing, sometimes with a softer attack than employed in other styles. In horn performances, the soloists often play wide intervals without the use of mutes. Drumming involves the frequent use of cymbals that are suddenly stopped. Both the group and individual soloists are given equal attention, and arrangements and solos may include whole tones. The endings sometimes feature a "long-short" tag.
Repertoire: popular songs and jazz compositions with multiple themes.
Representative Artists: University Six (late 1920s); Red Nichols and his Five Pennies (late 1920s); Miff Mole's Molers (late 1920s); Bix Beiderbecke and his Gang (late 1920s).
Red Nichols and the Five Pennies, "Boneyard Shuffle" (1926)
Chicago Styles
Chicago Style is often thought of as a uniform genre, but there are actually notable variations in recordings of this style. These styles incorporated uncomplicated accompanying rhythms, often consisting of a chord played on each beat by instruments like piano, guitar, or banjo, along with bass and drums. The melody instruments, such as trumpet, clarinet, trombone, saxophone, and occasionally violin, would improvise counterlines. Some choruses had mutual embellishments, while most included some sort of solo in the foreground, with the background partially or completely worked out by the non-soloing musicians. The level of complexity appeared to depend primarily on the leader's specific interests. For instance, Jelly Roll Morton, a Black leader from New Orleans, meticulously arranged his Chicago record dates, while Louis Armstrong, another Black New Orleans native, did not. Similarly, recordings by the Austin High Gang (often referred to as often McPartland and his fellow white players (trumpeter Jimmy McPartland), varied in complexity, ranging from intricate to informal.
Early Chicago style—those originated and recorded in Chicago—was an often pale imitation of the Classic New Orleans style, while the later Chicago style—mainly developed in New York among musicians who were originally from Chicago—was something else entirely.
Early Chicago Style:
Early Chicago-style ensembles' instrumentation includes trumpet/cornet, clarinet, tenor sax, and sometimes the trombone. The rhythm section includes piano, banjo or guitar, tuba or bass, and drums. The repertoire mainly comprises popular songs.
These high-energy ensembles can be characterized as busy and boisterous. The music often builds up to sudden climaxes and anticlimaxes, with a crash on beat four at the end of a phrase, followed by a drop in intensity. Performances typically begin and end with the ensemble, and solos are featured in between. Introduction sections are frequently used in ensembles. The music typically has a steady 4-beat rhythm, occasionally switching to a 2-beat pattern. Mutes are not commonly utilized, and the phrasing is energetic and precisely timed. The drumming style is vibrant, characterized by an eighth-note rhythm, and fills at the conclusion of musical phrases. Tunes often utilize a "double ending" (a repetition of the last 8 bars of the tune) and the "long-short" tag.
Repertoire: popular songs/tunes of the 1920s and 30s and jazz compositions with multiple themes.
Representative Artists: Wolverines Orchestra (sometimes referred to as "The Original Wolverines"; one of the most successful territory bands of the American Midwest in the 1920s); McKenzie and Condon's Chicagoans (1927); Chicago Rhythm Kings/Jungle Kings (1928); Wingy Manone and his Club Royale Orchestra/Hot Dogs (1928-30); The Cellar Boys (1930).
Lovie Austin's Blue Serenaders, "Traveling Blues" (1924)
Lovie Austin (credit: discogs.com).
Lovie Austin was a jazz pianist, bandleader, and composer born in Chattanooga, Tennessee, on September 19, 1887. She was one of the few female bandleaders of her time and played a significant role in the development of Chicago jazz in the 1920s. Austin led her own band, the Blues Serenaders, and worked as a session musician for many prominent jazz musicians of the time. She also composed several jazz standards, including "Traveling Blues," which she recorded with her band, the Blue Serenaders, in 1924. Her band is an early example of a mixed-gender band.
Albert Wynn's Gutbucket Five, "That Creole Band" (1926), featuring the great Dolly Jones on trumpet
Dolly Jones plays "I May Be Wrong" with the Leon Gross Orchestra in Oscar Michauex's 1938 classic film Swing! (credit: genderavenger.com; view film clip here).
Dolly Jones, also known as Doli Armenra and Dolly Hutchinson, was a groundbreaking female jazz musician who played the trumpet and trombone. She was born in Chicago, Illinois, in the early 1900s and was part of the Jones Family Band. Her mother, Dyer Jones, was a pre-Armstrong jazz trumpeter who taught Valaida Snow. Jones taught herself to play the trumpet at a young age and formed her own band, the Twelve Spirits of Rhythm. She toured with Ma Rainey and Ida Cox and played trumpet in Oscar Michaux's 1936 musical film Swing! In 1926, she became the first female trumpet player to record a jazz record as part of Albert Wynn's Gut Bucket Five.
Later Chicago Style, also known as "Nicksieland":
Chicago style, also known as "Nicksieland," is a jazz style that—as legend has it—originated in a New York tavern and jazz club called "Nick's" (located at the northwest corner of 10th Street and 7th Avenue in the Greenwich Village), which was at its peak in the 1940s and 1950s.
Chicago-style ensembles include trumpet/cornet, clarinet, trombone, and sometimes alto, tenor, or baritone saxophone, piano, guitar, bass, and drums. The main focus is on taking turns for successive solos on each tune, with the horn section riffing behind the soloists. The overall phrasing is usually smooth, melodic, and technically skillful, with horn players varying in intensity. Various mutes, like a cup, Harmon (stem out), and plunger, are occasionally used. The piano accompanies the soloists, and the drums use a combination of ride cymbal, hi-hat, and brushes. Drum solos are common. Performances typically start with a 4- or 8-bar introduction played by the piano and end with a 4-bar drum tag followed by the ensemble repeating the final 4 or 8 bars. Alternatively, the performance may conclude with a cowbell sound on beats 4 and 1, followed by ensemble hits on beats 2 and 3.
Representative Artists: Bobby Hackett small groups (1938-58); Bud Freeman (late 30s-80s); Muggsy Spanier (1939-58); George Wettling (1940-58); Art Hodes (early 40s-80s); Jack Teagarden small groups (1943-62); Wild Bill Davison (1943-80s).
Miff Mole and his Nicksieland, "St.Louis Blues" (1944)
Jack Teagarden, "Lover" (1951)
San Francisco Style, also known as "West Coast” or "Yerba Buena” Style
San Francisco Style, also known as "West Coast Style" or "Yerba Buena style," should not be confused with the "cool" West Coast" style of the 1950s. The typical instrumentation for this style includes one or two trumpets or cornets, a clarinet or soprano saxophone, a trombone, a piano, a banjo, a tuba, and usually drums or a washboard, or a combination of these instruments.
The music style is inspired by the Classic New Orleans style, but it has a livelier and more vibrant sound with a distinct two-beat feel. The rhythm is deliberate and exudes a confident swagger. The trumpet takes the lead with its powerful and energetic performance, accompanied by a clarinet that adds a touch of New Orleans flavor. The trombone provides a rough and gritty sound, while the piano adds a ragtime-style element. The banjo plays a prominent role, emphasizing beats 2 and 4, while the tuba leans into beats 1 and 3. The drumming is minimalistic, focusing on choked cymbal and woodblock sounds. The ensemble is given importance, and it is common to have "double endings" in the music.
Repertoire: The repertoire of this style consists of jazz compositions with multiple themes, including new pieces specifically written for this style, as well as blues and rags. Occasionally, popular songs and hymns/spirituals are also performed.
Representative Artists: Lu Watters' Yerba Buena Jazz Band (1941-50); Turk Murphy (1947-88); Dixieland Rhythm Kings (1948-58); Firehouse Five Plus Two (1949-69); Original Salty Dogs (1962-99).
Turk Murphy & His San Francisco Jazz Band, "Jazz Casual" (1962)
Lu Watters Yerba Buena Jazz Band, "Copenhagen" (1946)
European "Trad" Style
European traditional jazz artists and bands emerged in the early 20th century in the U.K. and other parts of Europe, drawing inspiration from the jazz music that originated in New Orleans. Some key European traditional jazz artists and bands include Chris Barber's Jazz Band, Acker Bilk and his Paramount Jazz Band, and Kenny Ball and his Jazzmen.
Instrumentation in this genre typically includes the trumpet/cornet, trombone, clarinet, and occasionally the saxophone. The piano is optional, while the banjo, bass, and drums are essential. While the style is based on the New Orleans Revival Style, it is generally more refined and structured. The rhythm remains steady at four beats per measure. The banjo and bass combination forms the core of this style, with the banjo producing a distinctly crisp and ringing sound. The drumming in this style leans more towards Chicago or swing-oriented rather than New Orleans-oriented.
The music style is inspired by the Classic New Orleans Style but differs with its distinct two-beat feel. The rhythm is deliberate and exudes a confident yet "stilted" swagger. The trumpet takes the lead with its powerful and energetic performance, accompanied by a clarinet that adds flowery obligate lines. The trombone provides a rough and gritty sound, while the piano adds a ragtime-style element. The banjo plays a prominent role, emphasizing beats 2 and 4, while the tuba leans into beats 1 and 3. The drumming is minimalistic, focusing on choked cymbal and woodblock sounds. The ensemble is given importance, and it is common to have "double endings" in the music.
Repertoire: These bands often played a mix of spirituals/hymns, rags, jazz compositions with multiple themes, and original compositions, incorporating elements of swing and the blues into their music.
Representative Artists: Chris Barber small groups (1949-2003); Dutch Swing College Band (1948-85); Acker Bilk (1955-63); Kenny Ball (1957-99); Monty Sunshine (1961-97).
Chris Barber, "Just A Closer Walk With Thee" (Live in Sesjun, The Netherlands, 1997)
Dutch Swing College Band, "Bei mir bist du Schön" (1960)
The Revival Style
As mentioned earlier, the book "Jazzmen" by Ramsey, Jr. and Smith (1939) and the 1945 sessions of Bunk Johnson played a significant role in the Dixieland Revival movement in the United States and internationally. This movement provided a nostalgic appeal to white audiences tired of big band jazz and the complexities of bebop musicians. You know, the ole "History repeats itself, and the pendulum swings" adage.
The revival movement embraced a conservative approach that evoked nostalgia through hymns, Tin Pan Alley songs, and other tunes from the pre-World War II era. It also reintroduced the banjo and tuba, which were considered outdated, and focused on prearranged music to evoke a sense of nostalgia.
Revival-style ensembles include a cornet or trumpet, clarinet, trombone, and sometimes the alto saxophone. Other optional instruments may include the piano, banjo, string bass or tuba, and drums.
Performances in this style are highly structured and exhibit a somewhat polished sound. The rhythm is heavily syncopated, reminiscent of ragtime, and brisk tempos are common. Ensemble choruses are emphasized, often played repetitively with minimal variation. "Breaks" are frequently used. The horns often phrase in a rhythmically stilted manner, and the clarinet may have a high and shrill sound. If used at all, drums are sparingly employed and usually limited to cymbal crash punctuations.
Repertoire: jazz compositions with multiple themes and popular songs
Representative Artists: Dukes of Dixieland (1956-67; 1975-present); The Dixieland Ramblers (1957); Ted Lewis Jazz Band (1919-1971).
Ted Lewis, "Tiger Rag" on The Ed Sullivan Show (1958)
The Dixieland Ramblers, "Across The Field" (1957)
Later Styles that Incorporate Swing
The Chicago-style approach combines traditional New Orleans instrumentation and polyphony with post-swing musical vocabulary and sensibilities (depending on the era).
Later Chicago-style ensembles typically include a trumpet/cornet, clarinet, saxophone (alto/tenor) and/or trombone, piano, occasional guitar, bass, and drums. The specific configuration of horns may vary.
The style's construction and phrasing, as well as the rhythmic feel, are influenced by mainstream jazz and reflect some developments in postwar jazz. The focus is primarily on solo performances, with ensemble polyphony occasionally taking a backseat. The piano accompaniments incorporate modern voicings, while the drums make use of ensemble "setups" and bass drum "kicks." The bass provides long sustain, and the trumpet/trombone may employ cup or stemless Harmon mutes. The overall sound is smooth, swinging, and somewhat contemporary. Performances tend to be on the longer side.
Repertoire: it's a "grab bag" of pop and jazz songs, encompassing both early and later popular music and compositions from the early and later jazz periods.
Representative Artists: Eddie Condon (1933-71); Vic Dickenson (1953-4); Red Allen (late 50s); Ruby Braff (late 50s-90s); George Wein (1956-67); Pee Wee Russell (1958-66).
Credit: artic.edu
Swing Style:
This particular style is closely related to the Later Chicago style. However, it should be noted that for the purpose of "traditional jazz," this category does not include big-band swing or the majority of small-band swing. Instead, it focuses solely on the small-band swing that displays New Orleans characteristics described below.
Chicago-style swing bands include a trumpet, clarinet, trombone and/or sax (usually tenor), piano, guitar (usually), bass, and drums, with the possibility of additional horns.
The style strongly emphasizes early swing rhythm (dotted-eighths), with drums utilizing the ride cymbal, hi-hat, and brushes extensively. Horns employ the phrasing and harmonic language of swing, with the trumpet and trombone sometimes utilizing a cup mute. The approach to performance can either be a jam session in a swing style with collective improvisation at the beginning and/or end (first and last choruses, respectively), or the horns can be scored in harmony in a big-band-type arrangement with room for solos. Riffs are also commonly used.
Repertoire: early jazz and swing repertoire, popular songs, and multi-themed jazz compositions.
Representative Artists: Louis Prima and his New Orleans Gang (1934-39); Fats Waller and his Rhythm (1934-43); Wingy Manone (1934-41); Teddy Wilson small groups (1935-44); Tommy Dorsey's Clambake Seven (1935-8); Frankie Newton (1937-9); Bob Crosby's Bobcats (1937-45).
Louis Prima and his New Orleans Gang, "Jamaica Shout" (1934)
Tommy Dorsey Clambake Seven, "The Big Apple" (YEAR)
Predecessors and Parallel Styles
Orchestrated Ragtime Ensembles:
Orchestrated Ragtime Ensembles emerged in the early 1900s due to the popularity of ragtime music. These ensembles typically consisted of a relatively large group of musicians playing various instruments, including brass, reeds, strings, and percussion. The instrumentation of these groups evolved over time, with some ensembles even incorporating banjos and guitars. But typically, they consisted of clarinets, saxophones, trumpets and cornets, alto horns, French horns, both valved and slide trombones, snare and bass drums, cymbals, and—you guessed it—tubas and helicons holding down the bass.
The characteristic elements of Orchestrated Ragtime Ensembles include the use of syncopation, improvisation, and a steady bass line. The lead melody is generally played in the treble register, while the bass line is played in a steady, rhythmic pattern. The use of call-and-response techniques between the various instruments is also common.
The repertoire of Orchestrated Ragtime Ensembles typically includes popular ragtime compositions of the time and original compositions by the musicians themselves. Some notable composers and performers in this genre include James Reese Europe and his Society Orchestra, which was one of the first African American ensembles to perform for white audiences. Other notable performers include James Reese Europe, W. C. Handy, and Wilbur Sweatman. Historical examples of Orchestrated Ragtime Ensembles can be found in early jazz and ragtime recordings, often made on phonograph cylinders or early gramophone records.
Representative Artists: James Reese Europe (1914-1919), W. C. Handy (1912-1944), and Wilbur Sweatman (1903-1920).
W.C. Handy, "St. Louis Blues" (1914)
James Reese Europe, "Missouri Blues" (1919)
Wilbur Sweatman, "Down Home Rag" (1916; composed in 1911 and recorded numerous times)
Jug Band and Spasm Styles:
Jug Band and Spasm styles intersect with traditional jazz. Vocals take the spotlight, and ad hoc or homemade instruments are utilized as accompaniment. Some jug band and spasm performances involve wind instruments playing polyphonically, which aligns with the criteria of traditional jazz. The instruments commonly found in Jug and Spasm bands can include a combination of guitar, banjo, mandolin, washtub bass, washboard, jug, harmonica, kazoo, comb with wax paper (produces a kazoo-like sound), cornet, fiddle, clarinet, musical saw, and more.
Spasm Style:
A spasm band is a type of musical group that plays various genres such as Dixieland, trad jazz, jug band, or skiffle music. The term "spasm" was used to describe any band, often consisting of children, who created musical instruments from unconventional objects. The first spasm bands originated on the streets of New Orleans in the late 1800s. This style of music quickly spread along the Mississippi and Ohio Rivers, reaching cities like Baton Rouge, Memphis, St. Louis, Minneapolis, Louisville, and Cincinnati. Jug bands were spasm bands that included a jug player to handle the bass parts.
Jug Band Style:
The Jug Band originated in Louisville, Kentucky, in the early 1900s. It was an African American idiom that emerged from early forms of theater in the U.S., such as Vaudeville (a type of variety show that included singing, dancing, comedy, and other acts), tent shows (traveling productions that would set up tents in towns and cities and perform plays and other forms of entertainment), melodramas, and medicine shows. Early jug band musicians played for entertainment on street corners and various public venues. In the early 20th century, the jug band gained enough popularity to make its way onto wax.
The jug band is closely related to early jazz and the Classic Blues. Representative artists were Gus Cannon, Wilbur Sweatman, Ma Rainy, Mamie Smith, and the Memphis Jug Band. Gus Cannon's Jug Stompers was one of the most popular bands of the time, and their hit song "Walk Right In" is still remembered today. The Memphis Jug Band, led by Will Shade, was also well-known, and their song "Stealin', Stealin'" is a classic jug band tune. Another notable recording is Mamie Smith's "Crazy Blues," which was the first recording by a Black vocalist and helped to popularize the Classic Blues genre.
Representative Artists: Alabama Jug Band (1934); Five Harmaniacs (1926-7); Ma Rainy's Dixieland Jug Blowers (1926-7); Memphis Jug Band Tub Jug Washboard Band (1928); State Street Ramblers (1931).
Gertrude 'Ma' Rainey, "Prove It On Me Blues" (1928)
Memphis Jug Band, "On The Road Again" (1929)
* A fun aside: The Grateful Dead started out as a jug band in the mid-1960s, playing in cafes and small venues around the San Francisco Bay Area. The band's lineup included Jerry Garcia on guitar and vocals, Ron "Pigpen" McKernan on harmonica and vocals, Bob Weir on guitar and vocals, Phil Lesh on bass, Bill Kreutzmann on drums, and several others who came and went. The band's early sound was heavily influenced by traditional folk, blues, and jug band music. Over time, their sound evolved to incorporate elements of psychedelic rock, jazz, and improvisation, and they became one of the most influential bands of the era.
Grateful Dead, "Stealin'" (1999)
The Memphis Jug Band originally recorded the song "Stealin', Stealin'" in September 1928 in Memphis, Tennessee. The band members included Will Shade on harmonica, Charlie Burse on lead vocals and guitar, Ben Ramey on harmony vocals and kazoo, and Jab Jones on jug. Victor Records released it as a single in 1929, with Shade credited as the songwriter. Gus Cannon claimed to be the author of the opening line, "Put your arms around me like a circle 'round the sun." As a result, some people give him credit for writing the song. However, this line is not found in his recorded songs. It does, however, appear in the folk song "I Know You Rider" and may have existed before Cannon's time. Another lyric associated with Gus Cannon is, "She's a married woman, but she comes to see me all the time." This lyric can be found in his song "Minglewood Blues," which was recorded on January 30, 1928.
Commercialization
Over the years, many artists and groups have achieved success by combining traditional jazz with elements that appeal to a broader audience. This approach is typically influenced by either the Chicago or Swing Style, but can also take inspiration from the San Francisco or European "Trad" Style. The resulting performances are meticulously arranged and stylized, known for their bold and visually captivating nature. Phrasings are occasionally exaggerated to create a specific effect, and soloists often showcase impressive technical skills. The recorded examples feature a variety of traditional jazz styles, all of which incorporate a certain commercial element. An adaptation of the "commercial method" includes mixing traditional jazz with different popular music genres.
Louis Armstrong even made "crowd-pleasing" sides. Following his agreement with Decca in the mid-1930s, Armstrong embarked on a collaboration with Jack Kapp, a producer known for his ability to gauge popular tastes. This partnership led Armstrong to transition from his respected traditional jazz style to more crowd-pleasing genres such as Bing Crosby collaborations, Hawaiian instrumentals, sentimental love songs, Iberian mariachis, and comedy films. With remarkable speed, Armstrong rose to incredible heights. An example from the 1960s is the "folk dixie," made famous by groups like the Village Stompers.
* Jack Kapp (born Jacob Kaplitzky; June 15, 1901 – March 25, 1949) was a prominent figure in the music industry. He was involved with Brunswick played a key role in establishing both American Decca Records. Alongside Edward Lewis and Milton Rackmil, he co-founded American Decca Records in 1934. Kapp oversaw Bing Crosby's rise to success as a recording artist in the early 1930s. Later, Jack partnered with his brother, David, to form Kapp Records, in 1954.
Representative Artists: Louis Armstrong's All Stars (1947-68); Firehouse Five Plus Two (1949-69); Al Hirt (1955-67); Dukes of Dixieland (1956-67; 1975-present); Pete Fountain (1956-90); Kings of Dixieland (1959-62).
Louis Armstrong's All Star, "What A Wonderful World" (1967)
The Village Stompers, "Washington Square" (1963)
NOLA-Themed Restaurants, Bar and Theme Parks:
It is common to witness brass bands playing in Los Angeles at various events such as weddings, funerals, festivals, and establishments inspired by New Orleans (like restaurants, bars, and theme parks such as Disneyland, Six Flags, and Americana). These venues aim to create a sense of "romance and intrigue"—a microcosm of the New Orleans experience, or" world in miniature." However, it's important to note that these recreations are not mere replicas but a means of understanding and immersing oneself in these places. Therefore, even if someone has never visited New Orleans, exposure to media representations can shape their perception of the city. But there is a direct line from New Orleans to Los Angeles.
New Orleans musicians began traveling to other cities to perform as early as 1894, when the Southern Pacific Railroad introduced the Sunset Limited, offering regular train service from New Orleans to Los Angeles. Many of New Orleans' most celebrated musicians spent time performing and recording in L.A., such as cornetist Freddie Keppard came to L.A. in 1911 and was there off and on until 1915, performing with his band, the Original Creole Band; cornetist King Oliver spent the summer and fall months of 1921 performing in L.A. before heading to Chicago in 1922; trombonist Kid Ory moved to L.A. in 1919 and made the first record of black New Orleans jazz at a studio in Santa Monica. He spent the next six years there.
(To read more about New Orleans migration to Los Angeles, read my blog "Celebrating New Orleans Culture in Los Angeles: The New Orleans Corridor")
From 1960 through 1964, Ory later resided at Disneyland in Anaheim, CA. This residency included performances by other renowned New Orleans jazz artists, such as Louis Armstrong and Johnny St. Cyr. Additionally, pianist and composer Jelly Roll Morton spent five years on the West Coast from 1918 to 1923 before heading East. In a T.V. broadcast called "Walt Disney's Wonderful World of Color," which first aired on April 15th, 1962, an episode titled "Disneyland After Dark" showcased Louis Armstrong's performance aboard the Disneyland riverboat, the Mark Twain. The episode also featured Monette Moore on vocals, Mike DeLay on trumpet, Kid Ory on trombone, Paul Barnes on clarinet, Harvey Brooks on piano, Johnny St. Cyr on banjo, and Alton Redd on drums (Storyville Magazine, February-March, 1974).
Disney has a history of capitalizing on the New Orleans image. In fact, as early as the mid-1950s, Walt Disney started envisioning a reproduction of New Orleans that drew inspiration from the city's music and architecture. New Orleans Square, which was officially dedicated on July 24, 1966, by Walt Disney and Victor Schiro, is a themed area or "Land" situated in Disneyland Park in Anaheim, California. Designed to resemble a "sanitized replica" of the French Quarter, it offers visitors a charming square with eateries, shops, and picturesque views of the Rivers of America. The area aims to evoke a sense of nostalgia with its relaxed, "old-fashioned" atmosphere.
In 1996, Jesus "Chuy" Martinez founded the Bayou Brass Band, which he claims was the first brass band dedicated to the spirit and music of New Orleans east of the Mississippi River. They quickly gained popularity by performing at festivals and private events in the area. Their talent caught the attention of the Disney Company, who hired them to entertain at Disneyland's New Orleans Square. The band continued performing there until 2006.
In 2009, Disney gave a fresh twist to the popular story of a frog searching for a princess to break the spell that had transformed him. Set in New Orleans, the movie "The Princess and the Frog" showcased a vibrant jazz soundtrack created by Randy Newman. Anika Noni Rose—the voice of Tiana, Disney's first African-American princess—Bruno Campos, and Keith David provided their voices for the film. Additionally, renowned jazz musician Wynton Marsalis, who hails from New Orleans, played a crucial role as the jazz consultant and significantly contributed to the film's soundtrack.
Today, you can see several bands playing the music of New Orleans: the Main Street Straw Hattters, Jambalaya Jazz Band, Hook and Ladder Company, and Queenie and the Royal Street Bachelors. These bands' repertoires range from early jazz standards to spirituals, and rags. The details above reflect Disney's enduring fascination with the culture and music of New Orleans.
Straw Hatters Perform at Disneyland on Main Street USA
Jambalaya Jazz band Performs on Mark Twain Riverboat FULL SHOW at Disneyland
Quennie & the Royal Street Bachelors Perform on the Mark Twain River Boat at Disneyland Resort
Conclusions
Traditional jazz encompasses many of the core elements found in other forms of early jazz that originated in New Orleans and later spread to different parts of the United States and beyond. It prominently features jazz instruments in the front line, accompanied by rhythm section instruments like piano, guitar, and banjo, as well as a drum kit. The genre has a distinct rhythmic quality.
Although traditional jazz may not enjoy widespread popularity among the general public, there is a growing resurgence of interest among dedicated enthusiasts and musicians. Over the past two decades, there has been a renewed global recognition of the genre and a revived appreciation for New Orleans' rich musical heritage. Passionate artists and organizations, like Tuba Skinny and the Preservation Hall Foundation, have been instrumental in revitalizing traditional jazz and working toward its preservation and promotion. In fact, in 2021, a bill was introduced in the House of Representatives called H.R.139 - National Jazz Preservation, Education, and Promulgation Act of 2021, further demonstrating the commitment to preserving this unique genre (read more about it here).
Lastly, it is worth emphasizing that very few traditional jazz performances are "true" representations of any single style mentioned above. Mixing and matching different stylistic elements is the norm—this is, after all, the essence of the creative process. Traditional jazz is a vibrant amalgamation of styles, constantly evolving to produce new and unique sounds.