Chicago Jazz in the 1920's

     Determining the relative importance of Chicago and New York as facilitating locations of jazz production is difficult for two reasons; first, many talented musicians came out of each location, in some cases the same musician produced music in both Chicago and New York at different times. Second, the music produced in one location influenced and in turn, was influenced by the music produced in the other. Undoubtedly, the mutual influence of these different forms of music coupled with the varying preferences of their respective audiences are the key elements in the formation of a modern day conception of jazz music. That being said, the developments underwent by the genre in Chicago during the 1920's, thanks in large part to the work of musical figures like Bix Beiderbecke, Louis Armstrong and Earl Hines constitute a new brand of jazz, one involving faster tempos and greater influence on solos. Appealing to a wider audience, it was these types of changes that strengthened jazz as an art form and ultimately allowed for its appreciation on a much larger scale.

     Undoubtedly, a contributing factor to the establishment of Chicago as a home for jazz music was the Great Migration, in which “some half-million African Americans left the South for more tolerant communities in the North” (Gioia 45). Among them, the future major players in the Chicago jazz scene, indeed “only those that departed [the south] made major reputations” (Gioia 45). Those making the move however, were not all African American; in fact, musicians of all races and styles converged on the city to take advantage of the economic and expressive opportunities the city presented (Gioia 76). As a result of this demographic influx, Chicago became a hallmark of diversity. This, in combination with the adoption of gigs on a more contractual basis, contributed to Chicago's recognition as an important jazz center (Travis 48). As many of Chicago's nightclubs came under the control of criminal organizations, black jazz artists received recognition from a larger segment of society as they took the stage in front of white audiences (Travis). In summation, each of these factors in cohesion allowed jazz to thrive in Chicago during the 1920's.

     Although some may argue that jazz in Chicago was simply a reformulation of earlier New Orleans' styles, the developments made by musicians such as the Austin High Gang, Eddie Condon, Bix Beiderbecke, and Louis Armstrong provide justification for Chicago jazz not only as a unique musical style, but as “a way of life” (Gioia 74). Widely referred to as 'hot jazz,' the music produced here during this time caught many people off guard. The fast-paced syncopation and upbeat rhythm of early Chicago jazz contained within it a certain “restless energy” (Gioia 75). It was this “juxtaposition of rhythmic notions” that promoted a sort of “agitated feeling” within the mind of the listener” (Chicagoans 161). During this time, thirty-two-bar forms became the prefered medium of performance while elements of blues and ragtime largely fell by the wayside. (Gioia 77). As jazz gained recognition from different segments of society, the mass market began to take hold of jazz music contributing to the genre's place in popular culture.

     Of the dozens of incredibly talented musicians present at the time, none exemplifies the adaptive nature of Chicago jazz music better than Louis Armstrong. Aside from his renowned capacities for improvisation, Louis Armstrong possessed the ability to adapt to the preferences of different audiences. This ability comes to light in Armstrong's level of comfort “working within the narrower confines of popular music” (Gioia 66). It was in the bustling environment of Chicago that Louis Armstrong composed the Hot Fives and Hot Sevens, perhaps the most beloved and inspirational body of work ever produced under the heading of jazz (Gioia 60).