Essay Sample: Compare and Contrast New Orleans and Chicago Dixieland Jazz

Jazz is a select type of music in which its improvisation is considered typically necessary in music performance. Concurrently, in jazz presentation and performance, the actors and the players play different solos, which they create when performing the Jazz. The live version of Jazz requires considerable skill that will assist in giving out quality stylistics and embracing different moods to the audience (Augustyn 5). Jazz music expresses other emotions that are from sheer joy to paint. Equally, in jazz performance, one may hear distant sounds of freedom, which describes the powerful sound voice that is being expressed by people or individuals who are suffering from distress and unfair treatment. The suffering of people can be because of the color of their skin, class, gender, and sexuality (Chidester 2). Therefore, jazz performance requires skills, improvisation, and application of different styles to showcase the emotions that are being expressed by the individuals who are under servitude because of their race and gender.

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Furthermore, in New Orleans, the Creole population in the New Orleans musicians began to migrate and gather themselves in Chicago from New Orleans City in the 19th century. The Creoles could gather to share and improvise their music in Storyville (Augustyn 7). In the 1920s, violence, prejudice, and racism were highly resurfaced against the African American and Creole populations in New Orleans. Jazz musicians play music with a set of values, which is high to assist them in finding their style and sound (Chidester 5). For instance, Davis Miles' jazz sounds different as compared to Louis Trumpeter Armstrong's. Louis Armstrong sounds can be challenging in Loui's music class. Moreover, the musicians of Dixieland Jazz use their distinct styles when playing their songs to attract the audience on the stage. Thus, those are the most reliable reasons why Jazz is a vital art and why the majority consider it as classical American music.

Arguably, Dixieland Chicago is a style of Jazz that is often and ascribed to pioneers of Jazz music practitioners in the city of New Orleans (Chidester 6). Arguably, the Chicago area musicians use descriptive techniques that are that they have slightly honed. The Chicago Dixieland refers to traditional Jazz that has undergone several revivals in the 1940s and continues to exist in the new generation of the 21st century. Precisely, New Orleans was the epicenter of the activity of music and is a figure of seminal of the early Jazz; the whites and blacks were the most and active frontline players of jazz music (Augustyn 8). Also, in this context, Whites and Blacks were the only individuals who began playing the music that is currently known to be Dixieland jazz. For that reason, traditional Jazz evolved from several stages right from New Orleans City as articulated by the Whites and Blacks to the new form that is now known worldwide to be Chicago Dixieland Jazz (Augustyn 10). The Dixieland Jazz played in Chicago was less wild, primitive, and more uniform as compared to the Jazz in New Orleans city. King Oliver the Creole jazz, together with his group, migrated to Chicago after experiencing the racial tension in New Orleans. In this context, as Jazz grew in numbers and popularity, the white middle-class population became segregated.

In essence, during the late 19th century, the city of New Orleans was divided into two categories, that is Downtown and Uptown (Olivia 29). The Downtown is known as the land or the home for the Creoles and the Whites. Uptown is a preserve as a home to freed servitude Blacks. In the Orleans jazz, the strictness in the New Orleans city's first attempt portrayed discrimination in late 1897, which led to the enactment of the Storyville. Notably, a block of 38 square areas in New Orleans city was free to isolate the individuals that partake in activities such as gambling and prostitution (Gerler et al. 1). Also, these categories of the individual backyard were separated by the Street Canal to give a distinct and clear boundary to help in identifying the class of the races that is the White and Black residents (Olivia 33). Apparently, in Orleans city, every gambling hall in Storyville, tavern, and brothel employ musicians. Hence, the drawing of boundaries and the block square of 38 preserved was to facilitate easy identification and showcase the racial line as impacted in the jazz music in the Cities of Orleans.

Again, the unique culture of urban residents in New Orleans city enabled and made the jazz musicians to provide a conducive and receptive atmosphere or environment for the production of different music styles. Based on the reasons listed above, the New Orleans city attributes discrimination, whereby gamblers, prostitutes, and Black Africans were subjected to isolated homes as the Whites remained in the different town set up (Augustyn 14). The act of segregation portrays immoral values such as sexuality and gender imbalance, races and created other classes among the people; this made a negative impact or negative influence on the blacks as they remained under American authority and control without freedom of utterance.

In New Orleans, the White and Black jazz musicians share several and reciprocal influences. For example, the Black bands were built on the line of ethnic heritage, whereas the White bands tended to draw on the line of European and ragtime music (Gerler et al. 2). Additionally, in terms of gender, Laine Jack, who led the production of Jazz in New Orleans in the 1890s, was granted the founder father of White Jazz as he specializes in first Germany and French marching music (Olivia 34). The influential group of Original Dixieland Jazz (ODJB) borrowed the knowledge of Jazz from the traditional marching band that employs the use of trombone, clarinet, and cornet instruments in transmitting the different sounds and expressing emotions to the audience. However, at the bar of Jazz, the styles used by Blacks were more experimental and proficient than those of techniques used by whites (Gerler et al. 3). Concisely, New Orleans jazz male musicians were the majority who were allowed to participate in playing and doing solos performance as compared to the female counterpart, as evident in both the White and Black bands.

The New Orleans music continues and spreads to showcase the influential marching bands that are within its square musicality and rhythm with its focus on ensemble to the audiences (Olivia 37). The Chicago Dixieland jazz style has and incorporated blues trademarks to enhance the fourth and the second beats in each category of its measure to improve soloist fore in the performance. Also, King Oliver put forth the first New Orleans jazz-style recordings using his Cr jazz Creole band in the 1920s. People like Young Armstrong, together with the band group ensemble, were given the freedom and were able to find themselves in their normal state as they embarked on embellishing the melody using jazz styles as used in music production impacts emotions and expression towards the segregation(Gerler et al. 4). In essence, jazz solo improvisation in the Chicago Dixieland jazz was put forth by practitioners such as Bix Beiderbecke, Frank Teschemacher, Bud Freeman, and Jimmy McPartland. Therefore, the Chicago Jazz founders developed the first jazz-style recording, which was made by the Jazz Creole and the soloist beats where improved to add lather and enhance musicality and rhythm in the live jazz performance.

Concurrently, in 1942, a famous recording known as the Dixieland-based Chicago band was improved better by Johnson Bunk (Olivia 38). The tapes made were often seen as the catalyst for reviving the old or traditional Jazz. In this context, Black people such as Johnson Bunk, kid Ory, and George Lewis were honored as prominent figure in reviving young Black musicians to avoid unnecessary associates in New Orleans city and Europe. Particularly, Dixieland jazz continues to be vital to all jazz musicians of New Orleans city and Europe that is during the period of Gras Mardi time. Also, the Gras Mardi in-person facilitates the development of Dixieland jazz in later years. The Gras, the founder of recordings, was given a new name as the notorious famous Orleans in the Orleans New natives of a clarinetist (Gerler et al. 7). Lastly, in New Orleans and Dixieland jazz music, the approach that had a dominant feature of Black bands was to be problematic in public through the music sung by Bolden Buddy as known as the King of Uptown residents. The flamboyant prodigious women and whiskey appetite. Bolden established the old group improvisation and remained the prominent influencer in in recording the beats and came up with other new styles in jazz development (Gerler et al. 8). Thus, a famous recording of the Dixieland-based Chicago band was improved. For instance, recordings made were used as the catalyst for reviving the traditional Jazz. Equally, Dixieland jazz remains vital to all jazz musicians as women, and whiskey appetite remains to be influenced by flamboyant prodigious.

Conclusion

In conclusion, Jazz is a select type of music in which its improvisation is considered typically necessary in music performance. The live version of Jazz requires considerable skill that will assist in giving out quality stylistics and embracing different moods to the audience. Jazz music expresses other emotions that are from sheer joy to paint. The suffering of people can be because of the color of their skin, class, gender, and sexuality. The jazz performance requires skills, improvisation, and application of different styles to showcase the emotions that are being expressed by the individuals who are under servitude because of their race and gender. Whites and Blacks were the only individuals who began playing the music that is currently known to be Dixieland jazz. The New Orleans city attributes discrimination, whereby gamblers, prostitutes, and Black Africans were subjected to the isolated home as the Whites remained in the different town set up. The New Orleans city attributes discrimination, whereby gamblers, prostitutes, and Black Africans were subjected to the isolated home as the Whites remained in the different town set up. The Black bands were built on the line of ethnic heritage, whereas the White bands tended to draw on the line of European and ragtime music. New Orleans jazz male musicians were the majority who were allowed to participate in playing and doing solo performances as compared to their female counterparts. The act of segregation portrays immoral values such as sexuality and gender imbalance, race, and creates other classes among the people.

Works Cited

Augustyn, Adam. Dixieland Jazz: New Orleans. 24 Mar. 2020, www.neworleans.com/things-to-do/music/history-and-traditions/dixieland-jazz-new-orleans/.

Chidester, Bruce. What Is The Difference Between New Orleans and Chicago Dixieland Jazz? 29 Aug. 2020, www.thetrumpetblog.com/what-is-the-difference-between-new-orleans-and-chicago-dixieland-jazz/.

Gerler, Peter, et al. When Jazz Moved to Chicago. 8 Apr. 2019, www.neh.gov/article/when-jazz-moved-chicago.

Olivia, King. When Jazz Moved to Chicago, the Story of Faber and Faber, and Opting Out of the Internet. May 2019, www.theamericanconservative.com/prufrock/when-jazz-moved-to-chicago-the-story-of-faber-and-faber-and-opting-out-of-the-internet/.