Abstract
The economic boom of the 1920s presented New Orleans’s black musicians opportunities to reach out to new audiences ready to dance to the current rhythms. As a result, their music found its way into record stores everywhere and onto mail-order lists in newspapers such as the Chicago Defender. The black musicians recorded songs from one end of the continent to the other. Three such musicians, Jelly Roll Morton and Reb and Johnny Spikes, set up recording sessions with the band called Kid Ory’s in Los Angeles in the summer of 1922. The Creole musician Peter Bocage, a member of the Superior Orchestra, moved easily between the ragtime music from Uptown and the legitimate music of Downtown. Morton, Freddie Keppard, and the King Oliver’s Creole Jazz Band also had recording sessions in Chicago. Armand J. Piron, who made recordings in New York together with the New Orleans Orchestra, was one of the most influential figures in the history of New Orleans jazz.
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