Race and its role during the Swing Era

By: James Dalrymple

During the Great Depression the music industry was incredibly damaged. Record sales declined by over 90% and band membership in unions was only 1/3 of what it used to be. Instead of music, the entertainment industry became heavily focused on movies as a form of a getaway for the American people (Gioia 127-128). Although the Great Depression hurt many artists and the success of jazz musicians, the swing era took off by around 1933-1934 (Gioia 132). 

During the swing era, there was fierce competition between black musicians and white musicians. The Jazz industry was already a very competitive field; however, the race factor played a major role in the swing era. White musicians had a much easier time during the swing era than black musicians. Although many black musicians reached great success during the swing era, including the legendary Duke Ellington, it is important to note that African American musicians faced many hardships that white musicians did not have to face.

Black musicians were still playing and selling records during the Swing Era; however, they did not experience the same privileges that certain white artists were able to experience. For example, "Unlike the black bandleaders, [white musicians] were more readily accepted by mainstream America… encountered easier working conditions, stayed at better accommodations while on the road, received higher pay, and had more secure careers," (133). In a nutshell, the fact that black people were not equal in society paralleled the african american experience in the jazz industry- they were not equally paid or appreciated compared to white musicians. Although black musicians faced hardships during the swing era; black jazz musicians still made a major mark on the music industry during this period of time. Black Jazz singer Billie Holiday's work with Benny Goodman are some of the most well known pieces of music from the swing era (135).

 In the end, the swing era seems to be remembered by the dominance of Benny Goodman, the white jazz clarinetist (133). Goodman was well known for his reorganization of the rhythm section. Benny Goodman found one of the best drummers in Gene Krupa (133). The Benny Goodman band was one of the most commercially successful during this era. Goodman and the success of other white musicians during the swing era overshadowed the work of other black musicians. Does this diminish Goodman's work or his talent? No.  However, Gioia clearly notes that black musicians faced a much harder road to success than Benny Goodman during the 1930's swing era.

Black Studies 4 Post (Chicago Jazz

Which city was more important to jazz in the 1920s--Chicago or New York? What role did the particular social, economic, and racial conditions of that city play in creating the cultural conditions for jazz to triumph in that city?  Was there a Chicago or New York style of jazz (depending on which of the two cities you choose)? If so, what was it, who played it, and what distinguished it from other styles?  Whose (band or individual) art best represents the culture and community of the city you choose?  Why?  Please provide references. 


Both New York and Chicago were incredibly important to jazz during the 1920's. Although New York played a heavy role in late 1920's jazz music, I would argue that Chicago played a more influential role in the 1920's jazz era. Many New Orleans artists found greater opportunities in Chicago than they did in their hometown of New Orleans. This caused a migration of talented musicians to Chicago. One of these artists was Jelly Roll Morton. Another artist, Louis Armstrong, moved from New York to Chicago to advance his career. Louis Armstrong and his wife and fellow pianist Lil Hardin moved from New York to Chicago and Armstrong was signed with a record label in 1925 (Gioia 57). However, what was so unique about Armstrong's music in Chicago? Louis Armstrong's "role in transforming the focus of jazz from the ensemble to the soloist" is one of the major unique aspects of Armstrong's contribution to jazz music (Gioia 57). "To gauge his true impact, one must go back and compare his solo work with what came before," states Gioia (58). In fact, the "lead line" that Armstrong dominates in his Chicago recordings are well known and are much different from his earlier work (59). Armstrong took a risk by moving to Chicago. The music industry was very competitive and had multiple incoming artists that were trying to work their way to the top. When Armstrong was given his chance to shine- he sure did. "Armstrong's new conception of jazz, with its emphasis on the soloist, demanded a [hard-swinging foundation]" (60).  The fact is that an "untrained" listener is so used to solos now that if they were listening to an early Armstrong recording, they might not understand how groundbreaking his work was. Armstrong's solos and the emphasis that he placed on the soloist are legendary and are a well known piece of the Chicago 1920 jazz era.

What was the mixing of Chicago Artists and the mixing of New Orleans based artists?

 How did this mixing occur and what did it represent?

New Orleans was a hot bed of jazz music during the late 1800's and during the early 1900's. Latinos that had once lived in Mexico and African Americans in Louisiana both contributed heavily to this early twentieth century jazz movement. However, many jazz musicians decided to make the move to Chicago. Why?

White musicians ended up leaving New Orleans for a much different reason than why Black musicians left New Orleans. White musicians ended up leaving so they could tap into a bigger economic market. White musicians felt that by moving to Chicago, they could be earning more money and tapping into a market that had a higher demand for jazz music (Goia, 44).

On the other hand, many of the black musicians who once were performing in Louisiana decided to move north to escape racism and suppression. During this time period, black people did not have the same rights as white people and they did not have the same abilities or social standing (Goia, 43). Therefore, they moved to Chicago to find a more tolerant and accepting place to explore the jazz scene.

One of the first interracial music events was "the collaboration between Jelly Roll Morton and the New Orleans Rhythm Kings, a chicago based unit of white Louisiana instrumentalists," (Goia, 44). This is well known as one of the first interracial mixings of jazz artists.

I commented on Will Holland's blog.