Blog #2 Chicago: the hub of contemporary jazz

Chicago was a very important breeding ground for innovations in jazz during the 1920s.  Chicago was even referred to as as “the hub of contemporary and forward looking jazz”  (The Chicagoans, 153).  Many of the great jazz musicians who began their musical careers in New Orleans had moved to Chicago by the 1920s, including Louis Armstrong, King Oliver and Earl Hines (Gioia, 71), and they were not alone.  In the early 1920s, there was a great migration of African Americans from the south towards the north.  This movement can partially be attributed to the closing of the District and racism in New Orleans and partially to the draw of increased economic opportunity in the north.  This economic opportunity was not just available to musicians, but also to laborers as jobs in factories and other industries opened up to African Americans.  These jobs therefore created a new audience for jazz music: an African America middle class with a disposable income.  However, Chicago was also home to a wealthy white middle class, yet another new audience for jazz musicians.  There was segregation in the concert and dance halls in this time, and therefore a separation of the black and white audiences.  As the demand for jazz music increased and changed in demographic, the style of jazz morphed as well. 

Chicago jazz is distinct from other styles of jazz, including New Orleans and New York styles, in several ways.  First, Chicago jazz can be defined as a soloist backed by a small ensemble (The Chicagoans, 162; Gioia, 53).  This shift from the ensemble focused New Orleans style may be a reaction to the demands of the audiences of jazz music, but regardless of the cause, the movement of jazz musicians to Chicago shows a definite and new emphasis on soloists.  Second, Chicago style jazz also shows an increase in the attention on improvisation (Gioia, 71).  The up and coming soloists in Chicago and this era of jazz all share an ability to improvise above the ensemble and rhythm sections. 

Some of these Chicago style jazz musicians include King Oliver, Louis Armstrong, Earl Hines, Bix Beiderbecke and the members of the Austin High School, Gang. This era for jazz presents an interesting twist as both white and black jazz musicians were creating and altering the trajectory that jazz music took.  For some individuals, the effect that they had on jazz music is obvious.  For example, King Oliver and his band, Oliver’s Creole Jazz Band were an important transition between New Orleans jazz and Chicago jazz, slightly more traditional and old school than what would come later, but moving in the direction of solos and improv.  Armstrong made an impact on the importance of the soloist, as well as major strides in the technicality of improvisation (Gioia, 57). Earl Hines, a pianist, innovated the use of the piano by incorporating Armstrong-like trumpet style into his playing (Gioia, 61).  

Figures like Beiderbecke and the Austin High boys, all white jazz musicians, are more controversial.  Beiderbecke dropped out of school to pursue a career in jazz, and was a self-taught and talented musician who is known for “beautiful” and “hot” solos (Gioia, 70).  The Austin High School Gang, mainly native Chicagoans are possibly the most debated group in terms of their contributions to Chicago jazz.  While their sound is different than that of Beiderbecke and Armstrong, it is unclear if this is the result of choices they made, or rather the result of poor execution and lack of talent (The Chicagoans, 161).  In my opinion, Armstrong and his Hot Five and Hot Seven (Gioia, 57) are the best representatives of Chicago jazz.  There is the clear dynamic of a soloist and an ensemble and Armstrong is arguably the greatest improviser of his time, therefore representing the two key aspects of Chicago jazz.  

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