Whiteman (Gershwin p.): Rhapsody in Blue (side 1). Bix, Bessie Smith, Moten, OTO, Arcadian Serenaders {Wingy Manone), Oliver, ODJB, Henderson, The New Jersey Dance Orch, Williams and Walker, Clara Smith, Coon-Sanders, Arcadia Peacock Orch. of St.Louis, Vincent Lopez, Gershwin (side 2). The Gershwin recording with Grofe’s orchestration emphasizes the 1924 jazz style in Whiteman’s Orch fused with Gershwin’s classical keyboard. This is Third Stream of which Whiteman was the King. The Gorman opening clarinet solo is spiced with laughing tricks and is apparently never played with these 1924-isms anymore in favor of more modern jazz phrasing. This episode ends with side two of the Whiteman/Gershwin rhapsody. Marcus Roberts did a modern update on piano worth watching, changing some of Gershwin’s notes. George Walker sings lead on Pretty Desdemona from 1906. Oliver in 1923 does the majestic Southern Stomps with a powerful basso weight. Bix in 1924 and the Wolverines play Tia Juana. Oriole Terrace Orch (OTO) plays Back Where The Daffodils Grow. Clara Smith sings WC Handy’s Basement Blues, not so well known but maybe his most significant composition. Moten plays Vine St. Blues and from that blues concept KC jazz would eventually dominate US dance halls. Vincent Lopez plays Palesteena. ODJB provides Satanic Blues. Bessie Smith sings Frankie Blues. The Arcadia Peacock Orch. from the Arcadia Ballroom in St. Louis does 4 numbers: Tripping Along, Ain’t You Ashamed, She Wouldn’t Do What I Want Her To (vocal deleted), Dream Boat. The Arcadian Serenaders apparently also from the Arcadia in St. Louis play Bobbed Hair Bobbie. Coon-Sanders Nighthawks from KC play Show Me The Way. The New Jersey Dance Orchestra plays Last Night on the Back Porch. Henderson with Redman on goofus and Hawkins on bass sax (sound familiar?) play You’ll Never Go To Heaven With Those Eyes. Previous episodes have gone deep with many of these performers and here the Arcadian Peacock Orchestra gets some deeper attention along with Whiteman/Gershwin. Although Whiteman was acclaimed the King of Jazz, within the narrow category of jazz at this time it is possible that Fletcher Henderson was that King, in the Whiteman lineage with Redman, Buster Bailey, Elmer Chambers, Charlie Green, Hawkins, Armstrong et al in his organization. Whiteman was the King of Third Stream uniting classical and jazz. Henderson was also third stream uniting hotel foxtrot with jazz. But maybe never was there the sound of New Orleans polyphony on a foxtrot by Henderson. For Southern jazz there was Clarence Williams. But for Henderson that kind of jazz was saved for the blues records to which Whiteman and the hotel bands had no access. The Hendersons were royalty that included brother Horace and Leora with whom Fletcher was married on December 25, 1924. Horace was born Nov. 22, 1904 one day after Coleman Hawkins. Jazz as named for New Orleans music as a type was off the dance floor being Dixieland or trad for listeners while jazz became swing, also for listeners came bebop. and the term Jazz was used include mainstream and an all inclusive expression as in a jazz festival. But New Orleans music at the beginning was just as various early on. ODJB, NORK, Morton, Ory, Oliver, Piron, C. Will with Bechet, Ladnier. Dodds. Armstrong all in their own orbits. Hosted on Acast. See acast.com/privacy for more information.
