Editor, Webmaster: Phil Cartwright Editor@earlyjas.org
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Chicago Jazz Influences March 2005
In 1921, The trombonist, Tom Brown, became the first 'White' orchestra from New Orleans to play in
Chicago. In 1922, Stein's Dixie Jass Band followed (with Nick LaRocca on cornet).
Schoebel (pianist from Illinois); Frank Snyder (drums); Alfred Loyacano (bass) and Louis Black (banjo), and
later changed their name to "The New Orleans Rhythm Kings" (NORK). Strictly speaking, both Bix and
were hired by the Friar's Club in Chicago. They first called themselves "The Friar's Society later changed
their name to "The New Orleans Rhythm Kings" (NORK). Strictly speaking, both Bix and more than
influenced the Chicagoans (and many other musicians, as well), they inspired the Chicagoans.
Frankie Trumbauer (reeds) were not Chicagoans but spent their formative years in Chicago. Their playing
more than influenced the Chicagoans (and many other musicians, as well), they inspired the Chicagoans.
Nick LaRocca and the Original Dixieland Jazz Band (ODJB) had created a huge demand for the new 'jazz'
music. And, with the ODJB going to New York City and on to London, the NORK became the mainstay of
Chicago Jazz. They first recorded in 1922, and made some personnel changes that strengthened the band,
yet strangely, by 1925, the group had folded leaving just a few recordings and a lasting impression on all
jazz artists.
The playing of the NORK truly inspired Chicagoans, especially, a small group of Austin High School
students, that originally included Jimmy (cornet) and Dick (guitar) McPartland; Frankie Teschmacher
(clarinet); Bud Freeman (reeds) and Jim Lanigan on piano. This group of students listened to the NORK
recordings and literally taught themselves to play music by trying to emulate what they heard on the
records. They first called themselves the "Austin High Gang", but later changed the name to the Austin
Blue Friar's. Still later they were joined by Dave North on piano (Lanigan moved to the bass). Dave Tough,
from the Lewis Institute in Oak Park, IL, became the drummer. Still later, Floyd O'Brien's trombone was
added.
Many other Chicagoans must be mentioned: Eddie Condon (banjo and guitar); Art Hodes (piano); Joe
Sullivan (piano); Mugsy Spanier (cornet), and Mezz Mezzrow on clarinet, and let's not forget Benny
Goodman and Gene Krupa.
The Chicagoans, were representative of "new" dixielanders. Most were not from New Orleans, but had
absorbed the music. And, along the way, they improved it greatly.
On the North Side of Chicago, one finds White musicians, such as Mugsy Spanier, Bunny Berigan, Wingy
Manone (one armed cornetist from New Orleans), George Wettling and Eddie Condon.
On the South Side of Chicago, one finds Black musicians such as Jimmy Noone, Lovie Austin, Johnny
Dodds, Joe "King" Oliver, Louis Armstrong and Freddie Keppard.
The two styles are easily discernible when listening. The original Dixie is an ensemble effort, with the
music seeming to "unravel" itself as you listen. The Chicago style, is Dixie, but with a "hard, driving" feel to
it, and with solos by the bandsmen.
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