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City of a Million DreamsNew Orleans at Year 300$
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Jason Berry

Print publication date: 2018

Print ISBN-13: 9781469647142

Published to North Carolina Scholarship Online: September 2019

DOI: 10.5149/northcarolina/9781469647142.001.0001

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PRINTED FROM UNIVERSITY OF NORTH CAROLINA PRESS SCHOLARSHIP ONLINE (www.northcarolina.universitypressscholarship.com). (c) Copyright University of North Carolina Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in NCSO for personal use.date: 21 September 2021

The Time of Jazz

The Time of Jazz

(p.166) 9 The Time of Jazz
City of a Million Dreams

Jason Berry

University of North Carolina Press

Jazz began as a story of the city in church and parades, a performance narrative countering that of the Lost Cause. A chorus of various instruments with vocal-like warmth, jazz offered moderate, relaxed tempos to which people could dance or march, even in a hot climate. Jazz rose from working class roots to popularity with the elite. Some jazz songs satirized issues in the city. Brass bands flourished in towns near New Orleans, and the bands often played funerals for prominent people and benevolent society members. Influential jazz and ragtime musicians included John Robichaux, Buddy Bolden, Paul Barbain, Kid Ory, Jelly Roll Morton, Louis Armstrong, Manuel Perez, Lorenzo Tio, and James Brown Humphrey. A white redemption narrative also grew during this time. A large white-unity event happened in 1889 in the form of the funeral of Jefferson Davis, who died in New Orleans. African American funeral processions faced pushback from whites. In 1903, Pope Pius X banned bands from playing in church except in special circumstances. As Catholic churches fell into line, black Creole musicians from Catholic families played funerals in other churches as the burial tradition spread.

Keywords:   jazz, ragtime, performance narrative, Lost Cause, brass bands, Buddy Bolden, Jelly Roll Morton, Louis Armstrong, Jefferson Davis, Funeral processions

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