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Jazz Timeline

Pre-1900
Pre-1900

Pre-1900 - In the beginning

The music to become known as ‘jazz’ is generally thought to have been conceived in America during the second half of the nineteenth century by African-Americans.

They combined their work songs, melodies, spirituals and rhythms with European music and instruments – a process that accelerated after the abolition of slavery in 1865.

Black entertainment was already a reality, however, before this evolution had taken place and in 1873 the Fisk Jubilee Singers, an Afro-American a cappella ensemble, came to the UK on a fundraising tour during which they were asked to sing for Queen Victoria.

The Fisk Singers were followed into Britain by a wide variety of Afro-American presentations such as minstrel shows and full-scale revues, a pattern that continued into the early twentieth century.

Image: The Fisk Jubilee Singers c1890s © Fisk University

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1900s
1900s

1900s - The ragtime era

Ragtime, a new style of syncopated popular music, was published as sheet music from the late 1890s for dance and theatre orchestras in the USA.

The availability of printed music for the piano (as well as player-piano rolls) encouraged American – and later British – enthusiasts to explore the style for themselves.

Early rags like Charles Johnson’s ‘Dill Pickles’ and George Botsford’s ‘Black and White Rag’ were widely performed by parlour-pianists.

Ragtime became a principal musical force in American and British popular culture (notably after the publication of Irving Berlin’s popular song ‘Alexander’s Ragtime Band’ in 1911 and the show Hullo, Ragtime! staged at the London Hippodrome the following year) and it was a central influence on the development of jazz.

Scott Joplin, dubbed the ‘King of Ragtime’, gained fame after the 1899 publication of his ‘Maple Leaf Rag’ and wrote many of the genre’s most famous compositions.

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1910s
1910s

1910s - A music called jazz

During this period, jazz (or ‘jass’ as it was originally called) became identified as a distinctive musical genre developed primarily by black musicians.

It drew from ragtime, blues and popular songs and was based principally on improvisation – initially usually collectively performed – rather than on reading from a score.

A thriving community of musicians, including cornetist Charles ‘Buddy’ Bolden (born in 1877 and romantically credited as ‘the first jazzman’) and later players such as cornetists Joe ‘King’ Oliver and the young Louis Armstrong had established New Orleans as the home of jazz by 1920.

The music was played for a wide variety of social functions – dances, picnics, street events and funerals. Via recordings, news of it soon spread throughout the USA.

The first jazz record is often considered to be ‘Dixie Jass Band One Step/Livery Stable Blues,’ recorded by the (all-white) Original Dixieland Jazz Band (ODJB) in February 1917.

The arrival in London of the ODJB and the (all-black) Southern Syncopated Orchestra featuring soprano-saxophonist Sidney Bechet in 1919 were central inspirations for an aspirant community of musicians and fans in Britain and launched Britain’s own ‘jazz age’.

Image: Original Dixieland Jazz Band programme from The Palladium, Argyll Street, London, 1919. National Jazz Archive.

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1920s
1920s

1920s - Jazz takes root in Britain

By the mid-1920s jazz was a thriving preoccupation in British culture, and publication of the magazine Melody Maker from 1926 and the BBC’s first broadcasts (principally of dance music) helped to build popularity.

Records were available too, though the earliest to reach Britain from America were mainly by white artists such as cornetist ‘Red’ Nichols and trombonist ‘Miff’ Mole. But recordings by Afro-American players, including Louis Armstrong and Duke Ellington, quickly followed.

It was Armstrong whose solo recordings from 1925 with his Hot Five and Hot Seven definitively established jazz as a soloist’s art rather than an ensemble-based music as most of the early New Orleans jazz had been.

Aspiring British musicians learned from these records, but also from American musicians who were employed in British dance bands before government restrictions made this difficult.

The best example is probably Fred Elizalde’s Anglo-American band. From 1927, British bandleader Bert Ambrose was noted for incorporating jazz into his orchestrations and Billy Cotton, Roy Fox and Lew Stone followed his example.

1927 also saw the publication of the first British book on jazz, R.W.S. Mendl’s The Appeal of Jazz.

Home-grown British stars such as bassist ‘Spike’ Hughes also achieved prominence at this time. Hughes’ career as musician, composer, author, arranger, journalist and prolific recording artist culminated in a visit to New York City where, in 1933, he arranged three historic recording sessions for his All-American Orchestra featuring his own compositions and black American stars saxophonist Coleman Hawkins, trumpeter ‘Red’ Allen and trombonist Dickie Wells.

Image: National Jazz Archive collection

Download the full British Jazz Timeline written by Roger Cotterrell and Digby Fairweather

Explore our online collections from across the timeline