I was going to remark that British jazz couldn't have started with the ODJB
because they were Americans, but luckily I remembered Billy Jones before I
said it. Morally though I think it's still true!
Nick Dellow and I are completely in agreement that there is a discontinuity
between the jazz of the 1919-1923 period, which was influenced by the ODJB
and The Jazz Kings and the musicians who fanned out into the clubs from the
Southern Syncopated Orchestra, and the return to hotter models after 1930
and the period when New York chamber jazz was regarded as the best thing
since sliced bread (which probably hadn't been invented). (Did Max Goldberg
tell you, Nick, in what chronological order he was influenced by the three
musicians he named.)
As to whether the earlier musicians influenced the general scheme of things,
we have an objective test in the fates of non-American musicians who worked
alongside these guys in the Southern Syncopated Orchestra and the recroding
This isn't the forum for a detailed analysis, but from the SSO let's just
mention Cyril Blake, who became a stalwart of the Soho jam scene and made
significant records in 1941, Ted Heath, who became a major figure, drummer
Harry Robbins who was Jack Hylton's drummer for a time and is on numerous
studio recordings of the 30s including some as leader, and drummer Billy
Taylor (Manchester-born son of an African-American minstrel man) who
recorded with Freddy Johnson's band in Paris in the 30s.
From Vorzanger's band clarinettist Nat Star went on to be highly regarded.
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