1920s in jazz

[1] Dances such as the Charleston and the Black Bottom were very popular during the period, and jazz bands typically consisted of seven to twelve musicians.

The first jazz artist to be given some liberty in choosing his material was Louis Armstrong, whose band helped popularize many of the early standards in the 1920s and 1930s.

[3] Some compositions written by jazz artists have endured as standards, including Fats Waller's "Honeysuckle Rose" and "Ain't Misbehavin'".

However, it was not until the 1930s that musicians became comfortable with the harmonic and melodic sophistication of Broadway tunes and started including them regularly in their repertoire.

[5] Duke Ellington had developed in a successful band leader and Louis Armstrong began to amaze audiences with New Orleans Jazz.

"[8] Chicago in 1922 in particular was attracting bands such as Joe "King" Oliver's Creole Jazz Band at the Lincoln Gardens, joined by Louis Armstrong on 8 August 1922 and the Austin High Gang featuring Frank Teschemacher (clarinet), Jimmy McPartland (cornet), Richard McPartland (guitar and banjo) and Lawrence "Bud" Freeman (sax) who began playing at the Friar's Inn in Chicago.

[7]Coleman Hawkins, already well noted for his high level of profiency joined Mamie Smith's Jazz Hounds and were later hired in New York by Fletcher Henderson.

[21] Black jazz entrepreneur and producer Clarence Williams successfully recorded groups in the New Orleans area, among them Sidney Bechet and Louis Armstrong.

On 5 December 1924, a 17-year-old Jimmy McPartland replaced Beiderbecke in the Wolverines (Personality Kids) band and violinist Dave Harmon joins.

King & Carter Jazzing Orchestra, Houston, Texas, 1921
Cover of a 1922 edition of F. Scott Fitzgerald 's book Tales of the Jazz Age
Caucasian man in his thirties smiling and looking to the camera. He has a round face, full lips and large dark eyes, and his short dark hair is combed to the side. He is wearing a dark jacket, a white shirt and a black tie with white dots.
Cole Porter was one of the few Tin Pan Alley songwriters to write both lyrics and music for his songs. [ 42 ] His standards include "What Is This Thing Called Love?" (1929), "Love for Sale" (1930) and "Night and Day" (1932).