On February
26, 1917, a less-than-famous five piece band recorded what was called the first
jazz record. The Original Dixieland “Jass” band was comprised of five musicians
from New Orleans who formed their band in Chicago in 1916. Their recording
consisted of a semi-improvised conversation between trumpet, clarinet and
trombone, with rhythm provided by piano and drums.
In a now familiar
occurrence regarding innovators and imitators, the Original Dixieland Jass Band,
an all-white quintet, was afforded the now historic opportunity to make the
first jazz record. Their music was a re-creation of the style they had heard in
New Orleans, provided by black musicians such as King Oliver, Buddy Bolden and
Freddie Keppard. According to jazz lore, trumpeter Keppard was offered a chance
to be the first jazz musician to record but he declined, believing that his
personal style would be stolen easily by way of this new medium of re-created
music on wax.
“Livery Stable Blues” is a pale imitation of the real thing. The New
Orleans style had been around for a number of years, an offshoot of the
joyous music provided by marching
bands in New Orleans. It was the first incarnation of swing, and set the stage
for many jazz superstars to come, including Louis Armstrong, Benny Goodman and
Bix Beiderbecke. The Victor Talking Machine Company released this record
complete with the indication of “Fox Trot,” a popular dance style at the time.
The Original Dixieland Jass Band enjoyed modest success both here and abroad,
but eventually faded away, like all bands, partly due to the racist and
exaggerated statements by their leader and trumpeter, Nick LaRocca, who
insisted that he was a key player in the invention of jazz.
Have a
listen to “Livery Stable Blues” — you’ll find it quaint and hopelessly
dated both in sound and style. Reflecting the title, the instrumentalists
imitate barnyard sounds and barely manage to achieve a swinging rhythm.
Whatever we think of it, it was a milestone. Victor Talking Machine Company, whose
mind was always on profits, felt it worthy of exposure to the public. In the
early part of the twentieth century music was mostly spread through live
performances. A 78 RPM disc brought home to be played on the family Victrola
was always an event. I can picture the adults in the room wondering what is
this “jass music” I’m hearing? — and thinking this can’t possibly last. A few
decades later they said the same thing about rock & roll.
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