Today is the 100th anniversary of the first recording of the music we call jazz. The Original Dixieland Jass Band went to New York and recorded for the Victor Talking Machine Company on February 26, 1917. Not long into the 1920s, the preferred spelling became ”jazz.” By the end of the twenties another young New Orleanian, Louis Armstrong, moved to Chicago and the music rapidly developed sophistication as a soloist’s art. Nonetheless, and regardless of arguments over the quality of the their music, the ODJB were the first jazz performers whose efforts were preserved on wax. Cornetist Nick LRocca was the leader, with Eddie Edwards, trombone; Larry Shields, clarinet; Henry Ragas, piano; and Ton Sbarbaro, drums. Their first record released had “Livery Stable Blues” on side A and “The Original Dixieland Jass Band One Step” on Side B.
Here’s to the second century and the recordings to come.
It’s possible to trace the rise and fall of “jass” through public-domain historic newspaper repositories like the Library of Congress’ Chronicling America. In that collection, “jazz” had outpaced “jass” by 1917. The New York Times (which has its own archive of openly accessible publications through 1922) appears only to have used “jass” if it was in an ensemble name. In both Chronicling America and Newspapers.com, the use of “jazz” rises exponentially between 1918 and 1919 as its reach expanded.
Of course, historical newspapers also offer an entertaining view of the early reception of jazz, from moral panic to imaginative origin stories (China, Romani, Incas!), as well as reassurances that this jazz thing was only a fad and should clear up by 1920 or so. Thankfully, they were wrong.