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With the Kansas town center jazz developed for Stomp in a short period 1926-1938 a play way of the Swing, there mentioned. It is very much bluesorientiert and rhythmic. The repeating chord sequences are noticeable and urgent reef of the Bläser.
This in Kansas town center, Missouri, developed play way is first by the orchestra of Bennie Moten admits become. The music the volume of Jay McShann and COUNT Basie stands representatively of the style. This Swingorchester played style than volume the east coast of the USA with a drier clay/tone and in a ramming (stomp down) and tanzbareren. The predominantly used pieces simple [of 1] reef and Head arrangements. The Swing and the Bebop took over musical conceptions from this style direction.
Particularly COUNT Basie announced this Kansas town center style supraregional in the USA and soon thereafter internationally.
On the simple Bluesgrundlage of this style Julia Lee and other musicians could contribute promptly to the Rhythm & Blues.
Drift and urban Blues
Approximately at the beginning of the 1920er years played for the special development of the jazz in Kansas town center some facts a meaning: The Landbevölkerung walked first increased into the city off, as it was typical for Chicago or Detroit also; the rural Blues, which she along-brought, changed. It took care of urban topics and connected themselves with the music of the cities, for example the Ragtime Stride. The rising up time was still popular in Kansas town center (e.g. Tomcat Street rise up, 1925), likewise the early jazz. Instrument valleyists and singers argued with their mutual style means for the use of both. The Ragtime Stride took over vocal Phrasierungen. Each jazz style was to be heard in Kansas town center. There an exchange between the primitive, raw and pure Blues and the Ragtime Stride took place.
The Bluessänger reminds the public not only nostalgically on „the good old (rural) times “(down home), but had with that modern current expression of humans and their attitudes to the city to argue. First the rising up time piano players began to accompany the Bluessänger, which extended its style, because they had to adapt to them and reorient themselves vocally. Often nevertheless the singers had a rhythmic concept, which did not fit with the companion; all this did not prevent with one another to play and take up however both.
The developing urban Blues expressed the city life, the industrialization, dance music, party music and personal pleasure. The music developed itself further and requested to collective actions with social function. The original sound of the Blues was often received and brought into the new styles. In Kansas town center was formed out the instrumentale Blues into a orchestralen style, which took over Blues reef , BREAK and other inventions, which developed the pianists such as Mary Lou Williams, Benny Moten, COUNT Basie, Pete Johnson and Jay McShann from Boogie Woogie, other Bluesstilen, Ragtime Stride and that budding Swingstil, and which began to exert large influence in the following years.
Locally there was in Kansas town center groups of music, which covered volume, Ten Piece volume etc. between 8 and 10 persons and were called according to Eigth Piece. Already before emergence of the jazz large sized afro American of concert volume came out from the military chapels, which maintained Kansas town center with a mixed program: Classical concert music, marches, popular, plantation songs and Spirituals. One of her teachers, major N. Clark Smith, trained these groups with military twisting in fundamental music theory and performance practice, and another teacher, professor Charles T. Watt created private Musikinstitut, where he informed pupils. [4] There was the 1917 created association Musicians' Protective union, local No. 627 (briefly Musicians local No. 627) with its respected leader of many years, President William Shaw. The Musicians local one obligated the members to the participation in an annual removal, interspersed minimum wages and a kind collective agreement for members and took over so at a time unionized tasks [5], when Afroamerikaner were impossible from trade unions frequently still.
Generally low of the world economic crisis, with the Prohibition, with the longing after süßlicher music at the expense of the Blues and with a policy new deal, set the popularity of the new jazz music in Kansas town center and parts of the southwest hopeful indications. While generally speaking the Speakeasys, Rough and ready Taverns (board taverns) closed country, the Blues remained in Kansas town center and in the southwest of the USA continues to like.
Kansas town centers „economics “
Kansas town center in the Federal State Missouri was a commercial centre and a rich city. From 1911 to 1938 there abstinent living, but corrupt businessman and politician gave the Tom to PEND suppl. branch the clay/tone on. It controlled the liquor smuggling and the Nachtlokale just like the urban mechanisms for example the police. Its own Zementfabrik it used for a largely promoted „social “provision of work program and earned to it. Likewise it had his party (democrat) in the Jackson County firmly in the hand. The government steered by it was socially, although for choice-technical reasons, and glided toward end into the crime.
Daily hundreds of dealers - with agricultural goods - in Kansas town center looked for the pleasure, which was offered to 18th and Vine also in the black quarter of corner for the business. In the area around the corner 18. and Vine road and in the 12ten road were the most clubs and theatres. This formed a complete capable of surviving unit for the cultural life, similarly the Basin Street in new Orleans or the 52. Road in the New York of the Bebop. Kansas town center ranked one half million inhabitant among this time; of it 10 to 15% Afroamerikaner. 1939 were put PEND suppl. branch because of for one half million dollar tax evasion into the prison. This amount did not correspond to the actual sum which can be paid duty, which could have been higher after Arrigo Polillo, because its legal business already brought billion-conversions. PEND suppl. branch let itself also with the local mafia, Johnny in Lazia. Even electoral fraud was repeated to him.
Jazz musicians had to suffer no hunger in the Kansas town center of Tom PEND suppl. branch first and had good earning facilities. For example Moten could hold itself 1922 to its zweiköpfigen group of rhythms, three Bläser. Moten sat at the piano and formed with a Schlagzeuger the group of rhythms. The Bläsergruppe consisted of trombone, cornet and saxophone and/or clarinet. Many musicians were and looked for there after terminated tours new work. The number of the musicians organized in local one 627 rose between 1927 and 1930 of 87 to 347 members. Starting from 1933 the depression particularly became in Kansas town center a problem for the musicians, and large volume, who could after unsuccessful under-paid tours also in Kansas town center no longer enough earn. Often the musicians left their volume without commitment, or volume had to dissolve completely, like the Blue Devils.
When the best restaurants were valid the Sunset and the Subway club, which was led both by the Afroamerikaner Piney Brown, which good jazz musicians pleased. Reno was called the most important club; it had a small gallery, on which one could hear the volume well and the marijuana of the unhindered smoking musicians could inhalieren in vain. The Reno club was subdivided and separated the Tanzfläche, the bar and the restaurant, which gave it for white and for black visitors. From the Reno club radio transmissions were sent, it took place to Jamsessions. Volume of Moten, McShann with DTE Stuart or Basie had there commitments. The club was closed end of 1938 because of tax evasion.
Volume from Kansas the town center were first unknown in the remaining USA, since the disk industry sent rarely mobile photograph teams into the south and after Kansas town center. Only the Bennie Moten Orchestra was supraregional well-known. At Motens one knows early photographs the strong Bluestradition (e.g. Crawdad Blues, Tulsa Blues) in Kansas town center hear. Although it had success with its style in New York, it continued to develop it not, but changed it toward the stylistic Swing variant that volume of Fletcher Henderson.
Volume and the style
Volume from Kansas the town center had a rougher style than those in New York and a little spanned public. COUNT Basie brought orchestra Bluesiges in the Moten into the arrangement after the model of the Blue Devils („once a Blue Devil always a Blue Devil. “) The requirements of the shows and the music industry were not as strong in Kansas town center as in New York, where exotic emotions were looked for with jungle noises. The public in Kansas town center wanted to amuse itself, dances and somewhat to antrinken itself. The musicians could play, how they wanted, although a direction of the music by volume, which admits outside of the city was, was pointed out, like the Moten orchestra, and the style remained not provinziell. The requirement in terms of the music was to be expressed something, grind, annoyance, joy or sadness; if it did not succeed to it, it had to be changed or was rejected.
For the transition from the by heart played Headarrangements to the noted arrangements in the period 1926-1929 there are concrete incidents to report. Mary Lou Williams was substantially involved in the success of Andy Kirks volume by their arrangements. Jess Stone struck 1926 in one „battle “Moten and Lee, on which Lee took him soon in its volume as Arrangeur. After the lost „battle “Lee (with Stones arrangement) against Moten 1929, Moten Basie and Eddie Durham for its volume let arrange.
In the Bennie Motens orchestras those of reef between the Blechbläsern and Holzbläsern alternating blow upon blow and were thrown and increased with precision to a high point, which was to be subordinated first of all to the rhythmically propelling requirements. For it the guitar into the orchestra and the bass came began to run. The saxophonists preferred a dry clay/tone and had a slower Vibrato than those at the east coast.
Reef were rhythmic and melodisch salient two or viertaktige taktige motives (clay/tone sequences), which, over the harmonies of the Chorus to different stages shifts, of bläser and group of rhythms over whole sections often as answer play or Gegenpart to the solo one - were incessantly repeated. (A Chorus corresponds thereby to a run by the song form of the played piece.)
The Blues Shouter
The Bluesgesang of the city called itself Blues Shout, the singers was Bluesschreier or - more rufer, the Blues Shouter. The tradition is similar to the Jubilee and Sermon lectures, with a wuchtigen clay/tone, and is merrier than the schwermütige, low-intimate and oppressed rural Blues.
Big Joe Turner, „the Blues boss “, placed itself on the road beside a blind Bluesgitarristen and began to sing. It persuaded to play the pianist Pete Johnson with him in the duo and was quite successful with the Blues Shout. Turner had late Rhythm and Blues hits, under others: „Chain OF Love “, „Chill is on “, „Corrine, Corrina “and „Shake Rattle and roll “, which short time after by Bill Haley and Elvis Presley was gecovert.
Likewise the Boogie tradition sets off clearly from that of Chicago. The rising up time was popular, for example through blind in Kansas town center Boone (*1864, † 1927) a concert pianist, who played and taught simple rising up time, and who composer James Scott, which directed theatres of volume in the Eblon and Lincoln. In this way its own straight Synkopierung began itself in Kansas town center to train. Johnson played Stride piano, Shout piano and rural styles of „skiffle “up to the pulsating Boogie Woogie. Basie admired it and took up its model. In its initial years Basie played more aggressively and put on themselves on Competitions with many artists. This argument with other artists was for its work in Kansas town center a good condition. It developed its economical style later. The rhythmic discipline of Boogie and Stride strengthened Basies concept of the jazz rhythm, when it took up the Blues to the orchestra arrangements. The whole development going beyond Basie released the Blues from the impression, it is underlaid for other styles. The expression of the Blues extended in this time strongly, by the example of many musicians, many Bluesstile could be taken up, extended and processed.
Pete Johnson plays lying Quinten (or without it) in the Boogie Blues Stride bass in Dezimen between them and has rhythmically completely differently organized bass figures for the Boogie, than she admits conventional and from Chicago is. On Boogie compilations as well as the Chicagoern Albert Ammons and Meade lux Lewis one can hear that. An introduction of it partly sounds like pure classical music, which finds easy the transition to Turners Bluesgesang, without gliding between them in Boogie Phrasendrescherei.
Mary Lou Williams was an alive example of this summary of the styles. It controlled Boogie Woogie, Blues, Swing, Bebop and other styles. Their experience stated it in a short history of the jazz even once before American president Jimmy Carter. It affected some Bebopmusiker and arranged for Duke Ellington, who estimated it.
Territory of volume
Kansas town center was a center, which was visited by the regional „Territory of volume “of the southwest of the USA. This volume were settled in small cities and traveled to One Nightern (jobs for one night) around these output places, whereby they put often daily several hundred kilometers back between the appearances. The Bandleader defended jealous its area. If a Bandleader in the sphere of influence of another musician wanted to play, he had to ask him for permission. This volume often possessed on appearances and jobs in „the province “a kind monopoly; it accelerated the development of the Kansas town center style by hard competition. Into the late 20s came ever more Territory of volume to Kansas town center; the spheres of influence the volume overlapped, the selection of musicians and the exchange of the musicians became larger. Decisions over the popularity and effectiveness volume were looked for into „the battles “before public.
Sunday 18 April 1929 for example outdid George Ewing Lees volume Bennie Motens in one „battle OF the of volume “in St Joseph, Missouri, before 4000 visitors in their favour, because it had the better arrangements of Jesse Stone. That led to the fact that Moten Bill Basie and Eddie Durham took up to the volume, in order to improve the arrangements and to organize the volume better. With Moten those had volume already a pianist, why Basie had played, in order to come as „Arrangeur “into the volume, Durham something at the piano, which should arrange then.
Territory of volume were for example the Alphonso Trents volume in Texas and that from Troy Floyd around San Antonio, which took only few photographs, which did not become fair however Floyds volume. The Blue Devils came around in the area around Oklahoma: Walter PAGE had in its volumes musician such as Jimmy Rushing, COUNT Basie, Buster Smith and Hot Lips PAGE. Further ones of volume were George Ewing Lee and His Novelty Singing Orchestra, in Kansas town center, which starting from 1927 one year in Oklahoma town center played and then in the southwest, Harlan Leonard and his Rockets also in Kansas town center, Lloyd Hunter in Omaha and Don Albert in San Antonio. Andy Kirk and the Twelve Clouds OF Joy came from Oklahoma town center (after Dallas), the George Morrison Orchestra from Denver, Jesse Stone and His Blues Serenaders from Atchison (Kansas).
The union local one 627 organized an annual musician ball and 1929 a Benefizkonzert with six Territory of volume, in order to collect money (50 cent entrance) for the new trade union building. Six of volume played in the completely overfilled Paseo resound before approximately 2200 humans from early in the evening until early in the morning. The public inspired those of volume to always new high points. Apart from more well-known volume of George the E. Lee, Bennie Moten, Andy Kirk and walter PAGE played Paul Bank's Rhythm Aces and George Wilkerson and his musical of magnet.
Jamsessions
The Jamsessions was important between 1933 and 1936, on which the musicians could develop, without by producers to be used for heating. The best musicians of the city, all black one, felt to participate obligated in it and set call and ambition on the play around itself with other musicians and beginners to measure and improvise.
Kansas town center was the terminator point of many TOBA Vaudeville tours for excluding afroamerikanisches Pubklikum, in which also jazz volume were involved. One the most famous Jamsessions, by which some are reminded, is of 1934 as Coleman the Hawkins, which was with the through traveler Fletcher Henderson volume in the city, against Lester Young, Ben Webster and Herschel Evans began and lost. It increased in such a way inside that it gave the departure of the Fletcher Henderson volume and broken-made in the pursuit it afterwards to its new Cadillac. COUNT Basie denied the drama this session; it was nevertheless special that Hawkins had gotten and along-played its saxophone, which he had otherwise never done.
The straight group of rhythms of the Jamsessions showed, since it played continuously, fatigue symptoms. Thus Mary Lou Williams for the Jamsession mentioned above was out-knocked at night at four o'clock, in order to substitute again. Sammy Price reported, like it, after he at 22 o'clock home change had gone, at 1 o'clock, when he came again to the session, stated that they played and had constantly played the same piece like three hours before.
The Jamsessions took place naturally with constantly changing Bläsern, why by heart played reef and Headarrangements there were used. Only in the further process of the development arrangements were noted. The Jamsessions in the argument with national jazz sizes was a reason, why the Kansas town center style did not remain local.
In the sessions the Bennie Moten musician and the musicians von Andy Kirks Clouds OF Joy, which became famous with the arrangements of Mary Lou Williams, participated. In addition soloists of the Territory of volume, musician regional volume of the southwest of the USA came. One knew the young Charlie Parker, Sammy Price, Hot Lips PAGE, Jo Jones, thickly Wilson, on such sessions at the same time Buster Smith, which mentioned above and find Mary Lou Williams. Some bassists pilgerten with geschultertem bass of the neighbouring city Kansas town center in the Federal State Kansas to the sessions.
However the musicians on the Jamsessions did not make money.
Places of occurence
For dance volume and Blues Shouters gave to arise it different possibilities.
In the 18th and Vine district gave it some large dance halls and large annual removals on the day to the work. The laboratories men place offered Temple with Tanzveranstaltungen for 2000. In so a surrounding field took place „the battles “between volume. Lincoln the Theatre with afro American organization was member with the TOBA, the reservation federation of the owners of theatre, and showed Vaudeville and Blues Shouters. The Eblon Theatre opened 1923 offered to 1000 people place, 1928 the orchestra by an organ was replaced, on which Basie played. 1933 it converted in the Cherry Blossom club, a protzigen night club. The 1928 opened Pla Mor Ballroom, were one of the first places of event, which let afroamerikanische volume, the Chauncy Downs and arise his to Rinkey Dinks (1927-29), at one „white “place of event.
These large places of event were particularly important for the Big of volume as source of income.
To Paseo resound opened 1924. Bennie Moten managed it with a program for Afroamerikaner. The Paseo resound had an enormous dance ground and place for approximately 2000 humans. Fletcher Henderson and Duke Ellington closed their tours there with appearances Monday in the evening off (and of Kansas town center volume their arranging technology was taken over as model). Likewise for example carnival was celebrated there. 1941 were sold it to a church and converted into a lecture-room.
From 1931 to 1933 film and broadcast became ever more important, because in the depression the disk photographs decreased and the radio receivers comparatively low-priced to be acquired were. For example Lester Young and John Hammond COUNT Basie in the radio heard, and Lester Young took up contact to it. However also many transmitters had an only local range; the musicians tried to play if possible with the transmitters, which were country-wide radiated.
The TOBA constantly continued to bring by the city, Blues Shouters, Komödianten, dancer and special performances to musician.
The Blues, which was played first at street corners and front entrances found as urban Blues as the first the way in the small art stages, restaurants, Varietés and night clubs. Money was present in the clubs by alcohol bar during the Prohibition (1919-1933), „tax exemption “in the world economic crisis (1929), gambling and bets. These clubs were important for smaller of volume than source of income. COUNTs Basie and Jimmy Rushing arose there after the work in larger volume gladly. While Rushing sang „officially “Balladen, he sang the Blues here.
End and effects
The enterprise in Kansas town center erlahmte until 1940. On the one hand 1938 took above all numerous musicians under contract, who left Kansas town center to John Hammond. On the other hand the era PEND suppl. branch went to end, of 1938 beendtete the new governor the vice and the corruption. The raids made the musicians unemployed and the good earning facilities stopped. [5] 1938 came a wave from musicians to New York, somewhat later in a second thrust Charlie Christian and Charlie Parker, which did not affect any more the Swing, but the Bebop.
The Bluestradition brought itself after this time into the Rhythm and Blues. The jazz tradition from Kansas town center was trained unnoticed into the entire jazz. With COUNTs Basie and Jay McShann for example one hears the Kansas town center style of the earlier time in later photographs after 1940 partly still directly and unmachined. With Mary Lou Williams and Charlie Parker one does not hear him any longer, but both work further much with the Blues.
_ the era branch in Kansas town center be legendary („if it the sin become acquainted with want forget Paris, go after Kansas town center “write a journalist) and of Robert Altman 1996 in the film Kansas town center film. According to own data it knew the tendency from its youth and tried it to catch with large assistance of contemporary jazz musicians. In its film three action strands are intertwined: The music, PEND suppl. branch and the mafia, and a small gangster history with person studies among other things to the surrounding field of Charlie Parker. The scene of for liquor and a few dollar bought wrong voters, who are herbeigekarrt from the surrounding countryside with trucks to the choice, are informative. Fronts, which were developed for the film at original places, stood to end of the 1990er.
Bruce Ricker turned 1980 the documentary film The load OF the Blue Devils, in which many involved ones from at that time come to word.
2007 stand the Amercian jazz museum in Kansas town center. Still the combination Kansas City's local one exists 627, the African American Musicians union, which was already created 1917. It is now well-known under the name Mutual Musicians Foundation, is however like once in the historical 18th and Vine District of Kansas town center, Missouri, to the Highland Avenue 1823.
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