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Southern Jazz Musicians

Southern Jazz Musicians Top Ten B y c h a r l e s J o y n e r The cornetist, trumpeter, vocalist, composer, and bandleader Louis Armstrong (here) synthesized the contributions of the New Orleans pioneers, but his own chops—his tone, his range, his speed, and his creative solos—were like nothing jazz had known before. Photograph courtesy of the New York World Telegram and the Sun Newspaper Photograph Collection at the Library of Congress. 21 Selecting the top ten southern jazz musicians proved to be a more dicult ffi task than I expected. Some of the choices are obvious, others perhaps less so. Had I used other criteria, some selections might well have been die ff rent. But when I chose to base my list on their signicanc fi e to the historical development of jazz, many brilliantly talented musicians and personal favorites did not make the cut. Except for the top two places, which would have been the same in any case, I have arranged my selections by chronology rather than by their popularity or my critical assessment. Numbers eight through ten are great New Orleans pioneers. It is dicult ffi to imagine what jazz would have become without http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Southern Cultures University of North Carolina Press

Southern Jazz Musicians

Southern Cultures , Volume 15 (3) – Aug 13, 2009

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Publisher
University of North Carolina Press
Copyright
Copyright © 2008 Center for the Study of the American South.
ISSN
1534-1488

Abstract

Top Ten B y c h a r l e s J o y n e r The cornetist, trumpeter, vocalist, composer, and bandleader Louis Armstrong (here) synthesized the contributions of the New Orleans pioneers, but his own chops—his tone, his range, his speed, and his creative solos—were like nothing jazz had known before. Photograph courtesy of the New York World Telegram and the Sun Newspaper Photograph Collection at the Library of Congress. 21 Selecting the top ten southern jazz musicians proved to be a more dicult ffi task than I expected. Some of the choices are obvious, others perhaps less so. Had I used other criteria, some selections might well have been die ff rent. But when I chose to base my list on their signicanc fi e to the historical development of jazz, many brilliantly talented musicians and personal favorites did not make the cut. Except for the top two places, which would have been the same in any case, I have arranged my selections by chronology rather than by their popularity or my critical assessment. Numbers eight through ten are great New Orleans pioneers. It is dicult ffi to imagine what jazz would have become without

Journal

Southern CulturesUniversity of North Carolina Press

Published: Aug 13, 2009

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