Dixieland

/dik"see land'/, n.

1. (sometimes l.c.) a style of jazz, originating in New Orleans, played by a small group of instruments, as trumpet, trombone, clarinet, piano, and drums, and marked by strongly accented four-four rhythm and vigorous, quasi-improvisational solos and ensembles.

2. Also, Dixie Land. Dixie (def. 1).

[1925-30; DIXIE + LAND]

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Jazz played by a small ensemble featuring collective and solo improvisation.

The term is often ascribed especially to the New Orleans pioneers of jazz, although many critics of popular music believe the term better describes the music of a later wave of white Chicago musicians including Jimmy McPartland, Bud Freeman, and Frank Teschemacher. The earliest jazz ensembles grew out of the ragtime and brass bands of New Orleans, incorporating elements of the blues. In early jazz ensembles, such as those led by King Oliver and Jelly Roll Morton, the trumpet or cornet plays the melody, with clarinet and trombone providing accompaniment. The tension created by soloists contrasts with the release of ensemble refrains. It is played with a distinctive two-beat rhythm, resulting in a joyous cacophony at fast tempos or slow, mournful dirges. Dixieland groups usually include banjo, tuba, and drums.

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▪ music

 in music, a style of jazz, often ascribed to jazz pioneers in New Orleans, La., but also descriptive of styles honed by slightly later Chicago-area musicians. The term also refers to the traditional jazz that underwent a popular revival during the 1940s and that continued to be played into the 21st century. See also Chicago style, New Orleans style.

      New Orleans was not the only city where early jazz took root at the turn of the 20th century, but it was the centre of that musical activity, and most of the seminal figures of early jazz, black and white, were active there. It is likely that both blacks and whites played the music that came to be known as Dixieland jazz.

      New Orleans during the late 19th century was, in effect, two cities: Downtown was home to most whites and Creoles, and Uptown was home to freed black slaves. The strictness of the city's segregation was evidenced in 1897 with the establishment of Storyville (known as “the district” to locals), a 38-square-block area, designed to isolate such activities as prostitution and gambling, that was split by Canal Street into black and white areas. Virtually every brothel, tavern, and gambling hall in Storyville employed musicians. The unique urban culture of New Orleans provided a receptive environment for a distinctive new style of music.

      The scant available evidence (mostly anecdotal) suggests that the black and white musicians of New Orleans shared many common influences, although it would appear that white bands tended to draw on ragtime and European music, whereas black bands also built on their 19th-century ethnic heritage. This distinction is illustrated in the styles of the city's two most popular musicians, “Papa” Jack Laine and Buddy Bolden (Bolden, Buddy). Laine, a drummer who led bands in New Orleans from 1891, is often referred to as the father of white jazz. Specializing first in French and German marching music, his band by 1910 had converted almost entirely to ragtime. Nick La Rocca, one of the many musicians who apprenticed with Laine, incorporated the sound, and much of the repertoire, of Laine's band when forming the Original Dixieland Jazz (originally “Jass”) Band (ODJB) in 1916. A highly influential group, the ODJB also borrowed from the marching band tradition in employing the trumpet (or cornet), clarinet, and trombone as front-line instruments. The following year, the ODJB cut what is regarded as the first jazz record, "Livery Stable Blues," which also became the first million-selling recording in history. This and subsequent ODJB recordings, such as "Tiger Rag," "Dixie Jazz Band One Step," and "At the Jazz Band Ball," reflected the “white style” of playing: technically proficient but less experimental than black styles.

      The approach that was more characteristic of black bands could be heard in the music of Buddy Bolden (Bolden, Buddy), known as “the King” to Uptown residents. A flamboyant, tragic figure with a prodigious appetite for women and whiskey, Bolden has been credited as the first jazz cornet player. His bold style showed blues influences as early as the 1890s in his use of “bent” notes and an overtly emotional style. He is also credited with establishing the tradition of group improvisation, as well as being the primary influence on the young Louis Armstrong (Armstrong, Louis). Bolden, like other very early jazz figures, was never recorded. Yet traces of his style could probably be heard in the playing of such pioneering figures as Bunk Johnson (Johnson, Bunk) and Sidney Bechet (Bechet, Sidney).

      With the closing of Storyville during World War I, many New Orleans musicians who had relied on the district for employment moved elsewhere, many of them to Chicago, which became the next major urban centre of jazz. The form called Dixieland actually flourished and had its greatest success in Chicago. There were two important differences, however, in the cities' styles. New Orleans music had continued to show the heavy influence of marching bands in its square rhythm and in its ensemble focus. The Chicago style incorporated more blues trademarks: the music emphasized the second and fourth beats (the offbeats) in each measure, and the soloist came to the fore.

 King Oliver (Oliver, King), who moved from New Orleans to Chicago in 1918, made what are considered to be the first authentic New Orleans-style jazz recordings with his Creole Jazz Band in 1923. Featuring the young Louis Armstrong on second cornet, the band exemplified the group improvisation approach to early jazz, in which all members of the ensemble were free to embellish the melody. Particularly effective, and of great interest to jazz historians, are the cornet duets in which Armstrong played harmony to Oliver's lead; their recording of "Dippermouth Blues" is a much-heralded example. Within a few years, Armstrong would emerge as jazz's first great soloist and would influence many white Chicago-area musicians in this regard. The white players of the “Chicago school”—Jimmy McPartland, Bud Freeman (Freeman, Bud), Frank Teschemacher, and Bix Beiderbecke (Beiderbecke, Bix)—were the leading practitioners of solo improvisation, the trait that most distinguishes Chicago jazz from New Orleans jazz.

      In the 1930s the big bands overshadowed Dixieland, but by the early 1940s older styles were returning to fashion. The popular recordings (beginning in 1942) of Chicago-based Dixieland bands led by Bunk Johnson are often cited as the catalyst for the revival of traditional jazz. Older black players, such as Johnson, trombonist Kid Ory (Ory, Kid), and clarinetist George Lewis, figured prominently in the revival; younger black musicians avoided associating themselves with the past.

      In the years since, much of the music of the traditional revival of the 1940s—particularly that of Wilbur de Paris, Turk Murphy, Lu Watters, Art Hodes (Hodes, Art), and Chris Barber—has proven to be of great lasting value. Dixieland continued to be essential to the musical life of New Orleans, particularly during Mardi Gras time, and its traditions were carried on in later years by such popular New Orleans natives as clarinetist Pete Fountain and trumpeter Al Hirt.

Additional Reading

Tex Wyndham, Texas Shout: How Dixieland Works (1997).

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