Jazz in the Public Domain

The Original Dixieland Jazz Band with intermittent piano by Clarence Williams. Royal Garden Blues (Al Bernard voc.), Darktown Strutters Ball, At the Jazz Band Ball, Clarinet Marmalade, Some of These Days. C. Williams: My Own Blues. OJDB: Soudan, Toddlin’ Blues, Sensation Rag, Lazy Daddy, Fidgety Feet, Indiana, Lasses Candy. C. Williams: Gravier St. Blues. ODJB:Tiger Rag, Satanic Blues. C. Williams: Weary Blues.Tony Sbarbaro’s percussion is evident particularly in Sensation Rag. LaRocca apparently taught younger people like Bix indirectly by phonograph, who had a worn out ODJB collection of otherwise durable shellac and covered the tunes on his own recordings. Armstrong in one of his books lavishes praise on the Dixieland. Edwards on trombone, Larry Shields clarinet, Henry Ragas and J. Russel Robinson on piano. A quintet with sometimes addition of a saxophone like Benny Krueger. Included for fun is the house pianist here, the gifted Clarence Williams.A theory, Armstrong and Bix both had an admiration for LaRocca. Those two were the way forward. ODJB as laying a foundation through their recordings. Hosted on Acast. See acast.com/privacy for more information.

Clara Smith: Freight Train Blues, Cold Weather Papa, The Basement Blues, The Clearing House Blues. Clarence Williams: Gravier St. Blues. Clara Smith: War Horse Mama (Pig Meat Sweetie), 31st St. Blues. Clarence Williams: My Own Blues. C. Williams Blue Five (Armstrong and Bechet): Texas Moaner Blues. C. Williams: Weary Blues, C. Williams Blue Five (Thomas Morris with Bechet): House Rent Blues. Atlantic Dance Orchestra: Lime House Blues, Henderson (Billy Fowler bass sax): Doo Doodle Oom, C. Williams: Mixing the Blues.Clarence Williams composed Texas Moaner Blues with Fay Barnes, and Charlie Irvis is on trombone. Don Redman is on Clearing House Blues, War Horse Mama and Cold Weather Papa. Charlie Dixon is on banjo and Don Redman plays the goofus on Freight Train Blues. Fletcher Henderson played on several tunes including Freight Train Blues, War Horse Mama and Cold Weather Papa, on which he also plays the whistle. Smith’s vocal with Ernest Elliott and Charles Mattson in WC Handy’s Basement Blues is among the higher points of 1924.Comparable high points were reached by Clarence Williams on his solo piano records and with the Blue Five and also by Henderson’s Orchestra who are included here. Limehouse Blues fits in as one of the hits of 1924 bringing more orientalism or chinoiserie to the fox trot.Henderson played a big role in some of these recordings of Clara and gave her a modicum of the special production support Bessie Smith received in 1924. Clara was at home anywhere but particularly in Henderson’s special world of Redman, goofus and whistle and she makes brrrr noises of her own on Cold Weather Papa. “My razor and your neck are going to connect” in War Horse Mama delivered without losing her usual smoothness, illustrates Clara’s brand: transcendent beauty and calm in the face of anything life deals out. There is more to her 1924 catalogue and these are some personal favorites. Hosted on Acast. See acast.com/privacy for more information.

Clara Smith, vocals with varied artists: Waitin’ for the Evenin’ Mail, I Never Miss the Sunshine, I’m Gonna Tear Your Playhouse Down, You Don’t Know My Mind. Clarence Williams with Bechet: Mean Blues. Clara Smith: Don’t Advertise Your Man, Good Lookin’ Papa Blues, I Don’t Love Nobody Blues. Clarence Williams: My Own Blues. Clara Smith with Coleman Hawkins: Texas Moaner Blues, Deep Blue Sea Blues.Clara Smith is popular in any era. It is not a stretch to imagine her singing jazz in the 1950s if she had lived that long. Which came first: her perfect voice or the lengthy performance career that developed that perfection? C. Williams and Bechet are included for support alongside the ubiquitous Fletcher Henderson. Hosted on Acast. See acast.com/privacy for more information.

Coleman Hawkins with Clara Smith: Texas Moaner Blues, Deep Blue Sea Blues. Fletcher Henderson Orchestra: Sudbustin’ Blues, He’s the Hottest Man in Town, Doo Doodle Oom, West Indian Blues, You’ve Got to Get Hot, Old Black Joe’s Blues, Charleston Crazy, Houston Blues, Jealous, I Can’t Get The One I Want, My Papa Doesn’t Two-Time No Time, 31st St. Blues.Listening for Hawkins you also hear Redman, Fowler, Chambers. In 1924 Hawkins was still nineteen, in 1944 he was 39 playing bop, in 1964 he charted popular jazz albums. With Clara Smith here he solos at length in his blues style and also with Henderson plays more of a blues attack than of the orthodox straight melodic tone. Billy Fowler is on bass sax on several tunes.Although Prez represented a new direction from the Hawkins style, the opposite is also true. Hawkins developed a unique rhythm-based style distinct from the customary tenor leads of Pettis and Krueger or lead c melody. Prez developed the c melody lead style taken from Tram. Possibly for the reason that a dance band tenor lead didn’t give as much excitement at that time. Hawk’s explosive approach led to Rollins and Roland Kirk.No sax section had better trained musicians than Redman and Hawkins. But neither messed with the fox trot orthodoxy at this point. Together they created a parade of hits. The Redman/Hawkins reed section -supplemented by Billy Fowler - by the results obtained, was among the most successful in highly competitive 1924.Prez from the Tram c melody approach started with the free floating popular dance band alto lead melodic line style heard early in Loren McMurray. But he drenched this high melodic line in rhythm with the band riffing behind him polyphonically. We are left rocking and rolling. Hawkins started from within the rhythm section as a basso foundation bouncing the beat but shaped by melody, like a bassist soloing. He brought a bass sax style to the tenor. Hawk and Prez both went off the beaten track, Hawk went low and Prez went high. Hosted on Acast. See acast.com/privacy for more information.

Loren McMurray (saxophone) with the orchestras of Eddie Kuhn (1920): You’re Just Like a Rose. Mike Markel (1921): I Wonder If You Still Care For Me, I Wonder Who You’re Calling Sweetheart, Say Persianna Say!, Idola, Blue Eyes Blues, Alabama Blues, Two Wooden Shoes. The Virginians (1922): I Wish I Could Shimmy Like My Sister Kate. Bailey’s Lucky Seven: Homesick. Lanin’s Southern Serenaders: Doo Dah Blues, Shake It and Break It, Eddie Leonard Blues. Eddie Davis: Hot Lips. Mike Markel (1922): Lonesome Mama Blues.This starts in 1920 with a KC band where Mac got his launch. Seven tunes from Markel is maybe a slog but this music is interesting and well recorded for 1921 from a talented society orchestra, McMurray being featured. In the second half the jazz tunes from 1922 pick up the pace. That’s Cliff Edwards eefing on Doo Dah Blues, a sample of what would become widespread two years later. McMurray helped expand the paradigm for the alto as the dominant melodic instrument (as did Bechet for soprano) plus low register slap tongue in rhythm support. McMurray had a busy recording career for about three years 1920-1922 and then he was gone at age 25, leaving the legacy of the alto as a star lead instrument. Hosted on Acast. See acast.com/privacy for more information.

Henderson: Somebody Stole My Gal. Nick Lucas: My Best Girl. Gene Rodemich: Shanghai Shuffle. Oriole Terrace Orch.: Off and Gone. Bennie Krueger: Charley My Boy (Voc. Billy Jones). James Blythe: Armour Avenue Struggle. Marion Harris: Jealous. Armstrong (Henderson Orch.): Everybody Loves My Baby. Loren McMurray: Haunting Blues, Charlie Creath: Pleasure Mad. M. Harris: I Can’t Get The One I Want (lyrics by Billy Rose). Arcadia Peacock Orch. (Jules Schneider ts, Chick Harvey voc.): Where's My Sweetie Hiding. Rosa Henderson (with Fletcher Henderson): Papa Will be Gone. M. Harris: Tain't Nuthin' Else. The Texas Blues Destroyers (Bubber Miley, Alvin Ray): Lennox Avenue Shuffle.Jealous is a dream reverie that Harris could deliver as in I’ll See You In My Dreams and Tea for Two. Another Harris tune Haunting Blues is here from Loren McMurray in 1922 his final year. Coleman Hawkins is identified as the bass sax or was it baritone-player on Somebody Stole My Gal. James Blythe played early boogie out of Chicago.The Arcadia Peacock Orch. was from St. Louis as was Charles Creath. Here also is the original Shanghai Shuffle by its composer, borrowing from Limehouse Blues which swept the US in 1924 with Gertrude Lawrence, whose career crossed with Harris who started in the US and then went to England. The OTO provide our title, led by Ted Fiorito. Nick Lucas is also on the guitar. Jules Schneider plays string slap tongue tenor sax. Hosted on Acast. See acast.com/privacy for more information.

Fletcher Henderson Orchestra: I Can't Get the One I Want, Where the Dreamy Wabash Flows, Say Say Sadie, Prince of Wails, My Papa Doesn't Two Time No Time (Don Redman Voc.), Mobile Blues, Chicago Blues, That's Georgia, Sudbustin' Blues, Copenhagen, Shanghai Shuffle.Many of the late ‘24 tunes with Armstrong are provided separately in the episode titled Pops season 2 episode 11. Here cornetist Elmer Chambers is featured and in a section with Howard Scott. Hawkins’ slap tongue works particularly on Sudbustin which is an uptempo variation of the slow swinging Piron dance tune. Which is telling because any tune Henderson played was reconstructed to a bouncy Henderson fox trot regardless of the lyrics. This Prince of Wails, the Schoebel tune, is the most elaborate version of this tune which Schoebel didn’t record in 1924. Shanghai Shuffle is notable and includes an Armstrong solo, and composer Rodemich’s own version is heard in episode 41. Redman scatting here on My Papa gives syllables to the eefing/kazoo/comb tradition of pure vocalizing that swept 1924 including the goofus guy Redman himself voicing without syllables on Mobile Blues. We also apparently hear a washboard on Chicago Blues.Henderson played in a league with Lanin, the Virginians, the Ramblers, OTO, Krueger, Rodemich, many others and you hear these same tunes and dance ideas circulating on Brunswick and Vocalion and various labels. Redman elaborated on the trends and fads particularly from Irving Brodsky and Adrian Rollini, while also developing the bouncy Henderson style before Ellington put into words about what don’t mean a thing. Ellington took the space opened by Henderson for the African American cultural contribution to the fox trot further into the classical art song. Jazz coming from port city NOLA was inherently global and not possible to segregate. Plessy v. Ferguson to the contrary. Henderson with Redman integrated the national fox trot market by providing the African American difference. And then there was the whole blues market they dominated. Bert Williams had already been the Jackie Robinson of Broadway with Flo Ziegfeld. Henderson competed in the dance band major leagues by providing his own brand led by the unique Hawk and Redman sound. Although Morton invented jazz he was more off in a league with Joplin, Mozart and Monk. A composer’s league. Ellington went there also. Redman of the weekly fox trot business abandoned the polyphonic front line for more industrial strength. Morton’s New York phase brought New Orleans jazz to a fulfillment as a concert music, but didn’t exactly capture NY dancers and was considered old fashioned, but more like Brahms versus Wagner. Henderson still has a bouncy and free feel with these smaller bands in 1924 although played from across the Rubicon from a Clarence Williams Blue Five which was jazz only. By bringing in Armstrong, like Whiteman with Bix, Henderson spotlighted the talent but didn’t embrace the NOLA concept, as did Armstrong to the very end or Clarence Williams with Armstrong and Bechet in 1924. Hosted on Acast. See acast.com/privacy for more information.

Frank Trumbauer (cms): with Ray Miller's Orch.: Mama's Gone Goodbye, I Can’t Get the One I Want, Doodle Doo Doo, The Cotton Pickers: Jimtown Blues, Benson Orch.: I Never Miss the Sunshine, Mound City Blue Blowers: San, Red Hot, Lanin’s Arkansaw Travelers: Lost My Baby Blues, Ray Miller; Where is that Old Girl of Mine (Billy Jones Voc.), The Cotton Pickers: Prince of Wails, Ray Mlller: Red Hot Mama, Lotsa Mama, Come on Red, Sioux City Six: Flock of Blues, I'm Glad. Trumbauer solos and performs section work as a sideman from 1923-24. Joined by Andy Sannella (ts) and Miff Mole (tb) in the Ray Miller Orch. Bix and Miff with the Sioux City Six. Frank Signorelli (p) with the Cotton Pickers. Tram was adept in duets and here particularly with Miff Mole and Andy Sannella. Hosted on Acast. See acast.com/privacy for more information.

Henderson: Hard Hearted Hannah, Houston Blues, A New Kind of Man (Redman on goofus), Driftwood, The Oriole Terrace Orchestra, Sobbin' Blues, Oh Mabel (Nick Lucas voc.), Copenhagen, Back Where the Daffodils Grow, Mandy Make Up Your Mind, Isham Jones: Land O' Lingo Blues, Gene Rodemich: Choo Choo, OTO: I Need Some Pettin', Abe Lyman: A New Kind of Man, OTO: That Lullaby Strain, Arnold Johnson: Sweet Lovin' Mama, Bennie Krueger: Wet Yo' Thumb, Abe Lyman: If You Do What You Do.Nick Lucas lays a strong foundation on banjo and guitar. Rodemich gives a fun rendering of the Ellington train song.The durable Brunswick product (Henderson recorded on Brunswick but those are not included here) are of a high level of production quality.Henderson is included here because dance band hit records like these Brunswicks are his niche. Henderson was not so dedicated to New Orleans jazz as were Clarence Williams, Bechet, Armstrong or Mezz. Paul Whiteman and hotel bands dominated the charts that Henderson competed in. Although Henderson was essential to the blues recording craze, and had a hot jazz band on some of those tunes, this apparently did not influence his dance band recording strategy although it made his bands sound more grounded and soulful than bands without that extensive blues commitment. Moten had that blues sound also and on Goofy Dust showed the Redman trademark exposure to humorous bands like the Goofus Five.On “A New Kind of Man” Redman borrows from the Goofus 5 comic model, does a good job with the goofus and Charlie Green makes magic on the trombone. We hear the violin of Allie Ross on Driftwood. Hawkins steps up on these tunes.Perhaps, the arrival of Bailey, Green and Armstrong represented less an evolution of jazz than a way of rising to the level of the nationally popular dance bands like OTO. Hosted on Acast. See acast.com/privacy for more information.

James P. Johnson solo piano: Bleeding Heart Blues, Carolina Shout, You Can't Do What My Last Man Did, Harlem Strut, Worried and Lonesome Blues, Weeping Blues, Toddlin', Scouting Around, Keep Off the Grass. C. Williams: Achin' Heart Blues, Texas Moaner Blues, Richard M. Jones: Jazzin' Babies Blues.For your next house rent party. The promise of novelty piano is not a far jump later to Monk and then Jaki Byard. Contemporaneous band tunes are added here in deference to the horns and banjo that gave a pianist like Johnson an orchestra. Assembled therein by Clarence Williams is an All Star lineup of Armstrong and Bechet with Charlie Irvis on trombone for Texas Moaner Blues. Then composer Richard M. Jones delivers his own blues not far afield from Johnson. Hosted on Acast. See acast.com/privacy for more information.

Ellington (Sonny Greer, Alberta Hunter voc.) Social Parlor Deluxe, Armstrong with Bechet (Alberta Hunter voc.) Cakewalkin’ Babies, The Old Southern Jug Band: Hatchet Blues, Ma Rainey: Countin Blues, Armstrong with Bechet: Texas Moaner Blues, Sippie Wallace: Baby I Can’t Use You No More, Trouble Eveywhere I Roam, Off and On Blues, Alberta Hunter with Bechet on sarrusophone: Mandy Make Up Your Mind, Benny Kreuger: Pleasure Mad.Bechet and Armstrong and Lil together-thank you, Clarence Williams. Hosted on Acast. See acast.com/privacy for more information.

Ma Rainey with the Pruett Twins: Lost Wandering Blues, Butterbeans and Susie with Oliver: Construction Gang, Piron: Bright Star Blues, Steamboat 4 (Morton): Mr. Jelly Lord, Ma Rainey: Dream Blues, Moten: Tulsa Blues, Jimmy Joy: Wolverine Blues, Moten: Baby Dear, Henderson: Shanghai Shuffle, Bix: Jazz Me Blues, Oriole Orch.:Shimmee Sha Wabble, The Wolverines (Bix):Royal Garden Blues, Armstrong and Bechet with Eva Taylor: Little Blackbird, Coon-Sanders: Nighthawk Blues, Oliver: Jazzin’ Babies Blues, Goofus 5: Everybody Loves My Baby. Hosted on Acast. See acast.com/privacy for more information.

Lottie Kimbrough Beaman: Mama Can’t Lose, Honey Blues, Regular Man Blues, Lowdown Painful Blues, Sugar Daddy Blues, Moten: Vine St. Blues, Tulsa Blues, Oliver with Butterbeans and Susie: Kiss me Sweet, Piron: West Indies Blues, Southern Woman Blues (Lela Boldon voc.) Squabblin Blues (reed section), Bright Star Blues, Seawall Special Blues (Lela Boldon voc.), Sylvester Weaver: Guitar Blues. Beaman was an early KC blues singer with the Pruett twins on banjo and guitar. Sam Tall was the banjo player with Moten. Hosted on Acast. See acast.com/privacy for more information.

Bennie Moten with Ada Brown: Ill Natured Blues, Evil Mama Blues, Moten: Elephant's Wobble, Crawdad Blues, Selma 'Bama Blues (Mary Bradford, voc.), Break O' Day Blues (Ada Brown, voc.), Waco Texas Blues (Mary Bradford, voc.), Vine Street Blues, Tulsa Blues, Goofy Dust, Baby Dear. Plus the Kansas City Five: Get Yourself a Monkey Man, Original Memphis Five: Jelly Roll Blues. Moten defers to the vocalists but his piano is a feature of this blues band. That’s Sam Tall on banjo. Lamar Wright on cornet. Hosted on Acast. See acast.com/privacy for more information.

AJ Piron: West Indies Blues, Sud Bustin' Blues, New Orleans Wiggle, Mama's Gone Goodbye, NORK: That Da Da Strain, Piron: Sittin' on the Curbside, Doo Doodle Oom, Kiss Me Sweet, Louisiana Swing, Bouncing Around, Wolverines: Lazy Daddy, Richard M. Jones: Jazzin' Babies Blues, 12th St. Rag, Morton: Tia Juana, Mamanita.Peter Bocage on trumpet, AJ Piron on violin, Lorenzo Tio, Jr. on clarinet. A glimpse at the diversity of New Orleans music. Piron was master of the slow swing beat, for dancing rather than for sitting still and listening. The bridge in Sudbustin is one of Piron’s sublime moments. Hosted on Acast. See acast.com/privacy for more information.

Jimmy Joy: Milenberg Joys, Clarinet Marmalade, Mama Will Be Gone. Dick Long: Hoop Em Up Blues, Bring Back Those Rock- A -Bye-Baby Days (Max Covert on trumpet). Goofus 5: Oh Mabel (voc, Billy Jones), Henderson: Jealous, Do That Thing (voc. Rosa Henderson), Mobile Blues, Chicago Blues, I Never Care About Tomorrow, Somebody Stole My Gal, He's the Hottest Man in Town, Lots O’ Mama, Red Nichols: Back Where the Daffodils Grow.This is all 1924 pre-Armstrong for the Henderson Orchestra. Do That Thing was a top selling hit. Jimmy Joy had a creative Austin,Texas band and Dick Long led a talented Minneapolis band. Five weeks at #1 as a hit for Ted Weems, Somebody Stole My Gal leads the way here in comic personality. Also in Mobile Blues we seem to hear a shoe shine towel. Red Nichols makes his debut with a Ramblers tune. He would eventually become a Rambler. Hawkins delivers a strong solo in Hottest. Lotsa Mama was a tune introduced by Schoebel who also provided Henderson with Prince of Wails. The 1924 Armstrong sides are featured on an earlier episode titled Pops. Hosted on Acast. See acast.com/privacy for more information.

NORK '22: Eccentric, Farewell Blues, Discontented Blues. Schoebel ‘23: There Ain’t No Gal Like My Gal, Blue Grass Blues, I Never Knew What a Gal Could Do, Lots O’ Mama, House of David Blues, Black Sheep Blues, Wonderful Dream. Oliver '23: London Cafe Blues, Golden Gate Orch. ‘24: Back Where the Daffodils Grow. Elmer Schoebel with NORK in 1922 was ahead of the 1923 recording boom when he left to direct the Midway Dance Orchestra, the Original Memphis Melody Boys, etc. He wrote but did not record in 1924 You’re Nobody’s Sweetheart Now and Prince of Wails. Schoebel created hit tunes with arrangements showing off his musicians in larger numbers. Schoebel invented a show style coming from Chicago ball rooms. Here included are peers in the art of arranging from his era, King Oliver with a Morton tune and a Rambler arrangement. Hosted on Acast. See acast.com/privacy for more information.

On cornet with Goofus Five, etc. Hard Hearted Hannah, Tessie Stop Teasin’ Me, Ramblin’ Blues, I'm Satisfied, Deep Blue Sea Blues, Hey Hey and Hee Hee, Go Emmaline (2), Choo Choo, Lucille, Southern Rose, Me and the Boyfriend.The California Ramblers embraced the record market under numerous names and labels. Henderson made a lot of records too.. Fronting the eccentric small groups, in the Groucho role, Bill Moore on cornet played alongside a comb, a kazoo and a goofus. Moore kept the comb and drums of Stan King, and the bass sax, kazoo and goofus of Rollini moving in their orbits with free spirit Bobby Davis - he of the good vibrations-on reeds, the amazing Irving Brodsky piano and staunch leader Ray Kitchingman on banjo, no trombone in the small groups.Moore had a metallic tone fitting nicely with King’s comb and Rollini’s kazoo. Bobby Davis floats above it all analogous to Zeppo. Moore’s range starts with the animal calls and proceeds to a fussy baby and chatty voices. Very comparable are Elmer Chambers and Bubber Miley who had a similar sound at that time. But here Moore was more fully comedic. Chambers had some comic roles in the Redman arrangements but Moore was doing more comedy if the group was not the full Rambler Orch.This is not gin mill adults-only music. This goes into homes that have family Victrolas. These tunes include some fun arrangements including on Duke’s Choo Choo. Duke relies on stars Hardwick and Miley for virtuoso weaving whereas the Ramblers develop an ensemble dynamic through a range of solos. The arrangements are attributed to Brodsky and Rollini. Moore’s cornet led the goofus crew as well as the Ramblers. Subsequent Ramblers such as Nichols and the Dorseys would go on to dominate the culture.Moore was said to be Hawaiian, but the family history suggests that as with Morton he was not stopped by the ordinary barriers. And like maestro Morton what could be mistaken for dime-store quality, was not. The Ramblers gave top performances for budget labels, even if the material was not theIr best, like Moore’s solo on Looka’ What I Got Now for Paramount (episode 2.26). Hosted on Acast. See acast.com/privacy for more information.

Oliver: Snake Rag, Froggie Moore, Zulu's Ball, Weatherbird Rag, Where Did You Stay Last Night, Just Gone, Mandy Lee Blues, Morton/NORK: Sobbin’ Blues, Oliver: High Society, Henderson: Cotton Pickers Ball, Oliver: Canal Street Blues, Golden Gate Orch: Back Where the Daffodils Grow.(Irving Brodsky on piano and arrangements. Phil S. wanted an Irving Brodsky Day on April 3), Henderson: Go ‘Long Mule.It’s not just that Oliver’s versions are supreme. Few, if any, have made the attempt to imitate his 1923 band. Morton appropriated “Dr. Jazz”, but Morton’s tunes were done better by the 1923 Oliver band such as Froggie Moore and London Cafe Blues. The 1923 band had the top talent and a rocking rhythm led by Hardin. What Oliver recorded in 1923 lasts in all particulars as a demonstration of what jazz can be throughout jazz history which encompasses rhythm and blues and rock ‘n roll. Hosted on Acast. See acast.com/privacy for more information.

Southern Stomps, Chimes Blues, Room Rent Blues, I Ain't Gonna Tell Nobody, Mabel's Dream, Sweet Baby Doll, Tears, Buddy's Habit,Working Man Blues, Riverside Blues, Chhattanooga Stomp, Camp Meeting Blues, Alligator Hop, Krooked Blues, London Cafe Blues, Jazzin' Babies Blues, Dippermouth Blues. The October, ‘23 sessions are the essence here from Room Rent to Riverside. Alligator Hop is an Oliver tune co-written with Piron. Oliver also wrote Chattanooga Stomp which shows off the great rhythm section led by Lil Hardin. Oliver’s unique style supported playing full out blues with the rhythmic heavy beat. The music jumps out. There isn’t any comparison in 1923 with Ory or Morton who used more nuanced -not wall of sound -dynamics. And there have been apparently no successful close imitators in a century that went in the direction of Dixieland. Not even Armstrong went with the wall of sound. Ellington Rockin’ in Rhythm shows how far it goes symphonically but without the pounding grounded dance rhythm of Hardin. Mezz Mezzrow appreciated Hardin’s pounding piano. Ironically this best of all bands in 1923, Oliver’s, was no model for others to try to surpass. Oliver himself changed his style to stay current with trends. Hosted on Acast. See acast.com/privacy for more information.