A representation of musical dialects (PHD thesis) by Levitt D A PDF

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No one played as vital a role as he in establishing dance music as the popular music of the 1920s, a process by which he helped raise the status of the dance musician. "1 Not the King of Jazz, but surely its unsurpassed publicist. "Paul Whiteman made jazz semi-respectable in 1924," jazz historian Marshall Stearns has said. "2 The Whiteman Orchestra did not play jazz, as the ODJB, Armstrong's Hot Five, or Jelly Roll Morton's Red Hot Peppers played jazz, but its recordings of the day's popular tunes involved arrangements that traded on sounds, harmonies, and rhythms derived from jazz.

All of a sudden it would dawn on the lady I was still in the crib very silent while she hustled those tricks—and she'd say—'What's the matter with you, boy? ' And then I'd have to explain that I was very inspired by the King and his orchestra. . And then she handed me a cute one by saying—'Well, this is no place to daydream. ' "2* Armstrong came from a broken home and an impoverished boyhood and first encountered the cornet at the Colored Waifs' Home, where he had been sent for harmlessly firing a pistol.

In one of his letters to his sister, he wrote of hookers, black and white, who had underpaid him and run off with his earnings, and of one who had mortgaged all the band's instruments. He talked of his pioneering work with mutes— "He did most of his playing with cups, glasses, buckets and mutes," said trumpeter Mutt Carey14—and of how others had turned their manufacture into profitable businesses. He never returned to New York, except to be buried in Woodlawn Cemetery in the Bronx. He died of a cerebral hemorrhage on April 8,1938.

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A representation of musical dialects (PHD thesis) by Levitt D A

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