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.