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Bechet moved from clarinet to playing mainly soprano saxophone. He was to become one of the most famous early jazzmen abroad, visiting
England and France in 1919 and Moscow in 1927.

Most veteran jazz musicians state that their music had no specific name at first, other than ragtime or syncopated sounds. The first band to use the term Jazz was that of trombonist Tom Brown, a white New Orleanian who introduced it in Chicago in 1915. The origin of the word is cloudy and its initial meaning has been the subject of much debate.

The band that made the word stick was also white and also from New

Orleans, the Original Dixieland Jass Band. This group had a huge success in New York in 1917-18 and was the first more or less authentic

Jazz band to make records. Most of its members were graduates of the bands of Papa Jack Laine (1873-1966), a drummer who organized his first band in 1888 and is thought to have been the first white Jazz musician. In any case, there was much musical integration in New
Orleans, and a number of light skinned Afro-Americans "passed" in white bands.

By 1917, many key Jazz players, white and black, had left New Orleans and other southern cities to come north. The reason was not the notorious

1917 closing of the New Orleans red light district, but simple economics.

The great war in Europe had created an industrial boom, and the musicians merely followed in the wake of millions of workers moving north to the promise of better jobs.

LITTLE LOUIS & THE KING

King Oliver moved to Chicago in 1918. As his replacement in the best band in his hometown, he recommended an 18-year-old, Louis Armstrong.

Little Louis, as his elders called him, had been born on August 4,
1901, in poverty that was extreme even for New Orleans' black population. His earliest musical activity was singing in the streets for pennies with a boy's quartet he had organized. Later he sold coal and worked on the levee.

Louis received his first musical instruction at reform school, where he spent eighteen months for shooting off an old pistol loaded with blanks on the street on New Year's Eve of 1913. He came out with enough musical savvy to take jobs with various bands in town. The first established musician to sense the youngster's great talent was King Oliver, who tutored

Louis and became his idol.

THE CREOLE JAZZ BAND

When Oliver sent for Louis to join him in Chicago, that city had become the world's new Jazz center. Even though New York was where the

Original Dixieland Jass Band had scored its big success, followed by the spawning of the first dance craze associated with the music, the New
York bands seemed to take on the vaudeville aspects of the ODJB's style without grasping the real nature of the music. Theirs was an imitation

Dixieland (of which Ted Lewis was the first and most successful practitioner), but there were few southern musicians in New York to lend the music a New Orleans authenticity.

Chicago, on the other hand, was teeming with New Orleans musicmakers, and the city's nightlife was booming in the wake of prohibition. By all odds, the best band in town was Oliver's Creole Jazz Band, especially after Louis joined in late 1922. The band represented the final great flowering of classic New Orleans ensemble style and was also the harbinger of something new. Aside from the two cornetists, its stars were the Dodds Brothers, clarinetists Johnny (1892-1940) and drummer Baby

(1898-1959). Baby Dodds brought a new level of rhythmic subtlety and drive to jazz drumming. Along with another New Orleans-bred musician,

Zutty Singleton (1897-1975), he introduced the concept of swinging to the

Jazz drums. But the leading missionary of swinging was, unquestionably,

Louis Armstrong.

FIRST JAZZ ON RECORDS

The Creole Jazz Band began to record in 1923 and while not the first black

New Orleans band to make records, it was the best. The records were quite widely distributed and the band's impact on musicians was great.

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