When one talks of music, most individuals don't mention if they like it. But, these people say they love pop, heavy metal, blues, and rhythm, or any other supplementary music ever since they own different preference of music genre they like, and not just reveling in any general type of music. Among that music genre that people love and enjoy listening to is jazz music. Essentially, jazz music is a hit and popular music in Europe and across the United States of America. Jazz music was established by African Americans in the 20th century. These type of music consist of clear stylistic evolution and identifiable history. It progressed alongside traditional music and the blues. But it went into history books as the kind of music that transformed the path of music in the United States. From the 1920s to 1950s, the heart and soul were a big hit. The mid-1930s, the great depression was a big lift and was deemed to be America's traditional music. Jazz music's impact is seen to be so strong hence termed as a revolutionary by most Americans (Bastien and Todd, 582-602)
Ever since its inauguration, jazz as had a great inspiration on American literature's style and subject matter. Jazz is not entitled to many forms. Thus, instead of people referring to a particular style of jazz, they chose to say that they loved ragtime, blues, or bebop and other types of jazz. Among those who contributed immensely to jazz included a first jazz recording group that was comprised of white guys. The recording was done in 1917. The name of this recordings was known as Original Dixieland Jass Band (ODJB). The recording band was comprised of Nick LaRocca who was their leader. Others were; Henry who was a pianist, Tony the drummer boy, Larry the clarinetist and Eddie who was the trombonist. The recording band was so sensational in drawing large masses of crowds to the jazz gig. This band with their publicity holds a special place in the history of music of jazz in America and across Europe.
The central message the group was passing to their fans is that they expressed the jazz spirit to the audience. They also expressed through jazz songs the pain and pride of black people. They illuminated black peoples' experience, and it's syncopated in America. They showed the passion for African American custom through the swinging sounds of jazz music. The nature of songs they sang was terrific. It consisted of lively tunes that were popular that led to the change of jazz music overnight. The impact this kind of jazz songs brought to the Americans can only be likened to records done by Presley Elvis in the mid-1950s. Its lively recorded songs consisted of the word jazz that is equated to African American primary root, blues, jazz and some other records that were done early. These done includes; "Clarinet Marmalade," "At the Jazz Band Ball," "Dixie Jass Band One-Step" "Fidgety Feet," and "Tiger Rag" (DeVeaux, Scott).
The listeners of today's' world may develop some difficulties to listening some of the recordings done by this band. The reason behind the listeners difficult may be associated with a weak system of electrical microphones they used, those recording they did had reduced fidelity standards as compared to the present ones. Equally, the kind of music they sang consisted of repetitive stanzas that never seemed to build on the climax of most of the songs. At the same time, the recording group never improvised the solos as the modern jazz recording groups does. What Original Dixieland Jass Band (ODJB) embraced is the use of well-rehearsed breaks and variation.
Above and beyond the recording band came up with additional sources of income for composers, performers, arrangers, and music industry. Thus, this income gestured a motion of fandom. The revenue brought the invention of the discography. Hence, the discography expedited the formal jazz canon and education. It also led to sparked periodic stylistic revivals and empowered sense of recording based history.
Work cited
Bastien, David T., and Todd J. Hostager. "Jazz as a process of organizational innovation." Communication Research 15.5 (1988): 582-602.
DeVeaux, Scott. "Constructing the jazz tradition: Jazz historiography." Black American Literature Forum. Vol. 25. No. 3. St. Louis University, 1991.
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