Swing

During the "Swing Era", an accumulation of factors brought race to the forefront of the jazz discourse. Some of these key factors were the following: the widespread popularity of jazz; politics; an emerging, independent black culture; and the disparity between performers and critics.   

Indeed, during the "Jazz Age" of the 1920's, jazz had become mainstream music. However, the "Swing Era" of the 1930's was a "golden age" that saw jazz reach even deeper into every crevice of American society (Gioia 145). More and more white Americans began listening to this predominantly black form of music. As a result, black jazz legends such as Louis Armstrong, Chick Webb, Duke Ellington, and Count Basie became household names. Furthermore, white and black musicians started performing together more often - even in white clubs and concert halls. As a white man, Benny Goodman enjoyed certain social advantages that allowed him to bring Swing more popularity. Although his jazz bands were not the first racially integrated bands, they were by far the most well-known and prominent (Gioia 143).  Goodman's performance at Carnegie Hall and later his face-off with Chick Webb at The Savory marked a turning point in American racial views. Of course as the syncretism of black and white musicians and jazz fans became more apparent, the issue of interracial fraternization became more of a social concern. In particular, there was widespread fear among many Americans of miscegenation (Lecture 2/14).

During the "Swing Era," there was a unique relationship between musical stars, producers, and critics. What people of all races wanted to hear was mostly played by black men; but, those who produced, distributed, and criticized this product were mostly white men. This "small coterie of young white men, typically from privileged social backgrounds, exercised enormous influence in shaping American's understanding of the swing phenomenon" (Swing Changes 52). Of course such a relationship served to further intensify the conversation of race in relation to jazz.

Politics also played an important role in making race more explicit in the 1930's. In the US, the Great Depression was raging and capitalism was being tested. Political radicals like Hammond started targeting the African-American population - in particular jazz musicians (Lecture 2/14). Meanwhile, jazz was also doing well internationally - especially in Europe. However, with Nazism taking over, many black artists such as Coleman Hawkins were forced to leave the continent (Gioia 173). With this intense political environment, jazz music itself also started taking on "a more explicit set of ideological meanings" (Swing Changes 53). Jazz became linked with leftist ideas and a desire for change. Part of these ideas involved more freedom for African-Americans.

The 1930's saw the rise of a stronger, more independent African-American culture. The popularity of jazz gave African-Americans more power. They were producing a product that had a large demand and a huge market. The earning potential of great jazz artists was like nothing most African-Americans had ever seen before. Scholars like Langston Hughes used the momentum of jazz to propel their artistic works forward while at the same time their works provided more fuel for this stronger, more independent black culture. It was beginning to become more apparent that black men could compete with white men.

Due to political intensity, the popularity of jazz, a more independent African-American culture, and the racial discrepancy between performers, producers, and critics of jazz, the discourse on race in jazz became more explicit in the 1930's.

 

 

Chicago-Style Jazz

Jazz is more than an art form. It is a reflection of culture and an insight into history. As such, there are different dialects in this language of jazz. The Chicago dialect was the most important dialect of jazz in the 1920s because it was "the quintessential sound of jazz," and it was in this city that the jazz age really took flight (Gioia 74).

            In order to understand the dialect of jazz Chicago produced, we must understand the economic conditions and the racial communities in Chicago. First of all, Chicago was a major industrial and trade city. In 1893, the city hosted the World Fair. This event attracted many musicians from all over the country who decided to live in Chicago even after the Fair ended. During the great migration, the population of African-Americans in Chicago increased ten-fold to over half a million. These immigrants brought with them their own cultures and musical traditions, but they were also willing to adapt and assimilate with others of their race. The South-Side became home to this new African-American community and the birthplace of Chicago jazz (Lecture 1/29). These jazz clubs were often controlled by white gangsters such as Al Kapone who protected the music because they needed it to attract people to their clubs. Although the status of black musicians may have improved some, African-Americans in Chicago in the 1920's still found themselves oppressed and controlled by whites (Slave Masters). However, the Race Riot of 1919 saw blacks fight back at an intensity not seen before. Out of this race riot was born a desire for economic independence. This "black economy" strengthened the African-American community (Cohen). Instead of assimilating into middle-class, white culture, African-Americans were able to create a culture that was "modern, urban, new, and hip" (Lecture 1/29).

            The Chicago style of jazz can be divided into two classes. The first class is the actual style produced in the South-Side jazz clubs, and the second class is the white imitation that became known world-wide as "Chicago Jazz." Compared to New Orleans and New York, Chicago jazz was more about the individual instead of the ensemble. It was also geared more towards the working class than the brothel-playing of New Orleans or the rent parties of NYC (Gioia). The sound was more "brash, sparkling, upbeat, and danceable" (Lecture 1/31). Emphasis was placed on the trumpet and a new, bluesy swinging rhythm. Although there were many great Chicago jazz artists such as Joe Oliver, Bix Beiderbecke, and Louis Armstrong, the Austin High School Gang best represents the culture and community of Chicago Jazz. This is an ironic opinion since the Austin High Gang did not even imitate the South-Side style incredibly well - never mind create it. In fact, their "style" may not even have been a style at all since it was such a mix of styles like Beiderbecke's and Oliver's (The Chicagoans 162). However, it was through their recordings that the "Chicago style", even if it was a second-class version, became known globally. The Austin High Gang is also a great representation of the culture and community of the time because they were a white group embracing a fundamentally black art form. As Louis Travis points out, what the Austin High Gang did by imitating Armstrong and Oliver was another act of white men taking advantage of black men. However, there is a more important concept revealed by this white jazz band. Despite segregation and racism, the Austin High Gang epitomizes the fact that no matter what society one is in, the culture and art of that society is affected by every element and every individual in it.