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the south side
They closed Storyville one day during World War I, so everybody packed up and moved to Chicago. . . .
Well, maybe it wasn't quite as simple as that, but they did show up in Chicago in the free-spending 'Twenties, and they proceeded to play some remarkable jazz. Some of them had been big names in New Orleans (like Jimmy Noone, and most of King Oliver's Creole Jazz Band), and some of them had just been kids on the second line down there (like, of course, Louis Armstrong), and some of them had never been in New Orleans at all. The music wasn't quite like the marching band and ensemble thing it had first been. It was played in night clubs, in dance halls, in theatres: the Lincoln Gardens, the Dreamland, Vendome, Apex, Kelly's Stable.
For those audiences there was more emphasis on soloes, and more spotlight on individual bandleaders and virtuosi: Louis, Johnny Dodds, Hines, Noone, Natty Dominique. But it was still very much the righteous stuff, and it was this period that gave us perhaps the richest heritage of jazz on wax, as the recording industry began to get big. It was the era of Louis' Hot Five and Seven, of Joe Oliver, of an unparalleled number of other highly talented men and bands.
Above: Louis' Hot Five — a rather unfamiliar photo of a most familiar recording group, about which certainly nothing need be said except that in the usual order you'll find Johnny St. Cyr, Ory, Louis, Johnny Dodds, and Lil.
At the left are three of the many outstanding trumpets stars of the day; from left to right: Punch Miller, Lee Collins, Herb Morand. Above them is Richard M. Jones, equally celebrated as accompanist to blues singers and as a recording director.