The Dixieland style was developed in the 1910s by white musicians imitating New Orleans jazz and spread from New Orleans to Chicago and New York.
When white musicians interpreted New Orleans jazz, Dixieland jazz was born. The father of Dixieland jazz – not so much because of the music he played, but because the white musicians in his band made a name for themselves in early jazz – is Papa Jack Laine, who took his street band parade on the road in New Orleans. Nick LaRocca is one of his musicians. The original Dixieland Jazz Band and the King of Rhythm in New Orleans were instrumental in spreading the new style. Around the mid-1920s, the Dixieland style evolved into Chicago jazz. In the late 1930s, as the swing era began to explore the origins of jazz, Dixieland resurfaced. Bandleaders such as Tommy Dorsey and Bob Crosby formed the Dixieland formation to accommodate the members of their swing band (the so-called “band within the band”).
Dixieland jazz is characterized by collective improvisation or variant murmuring realized by melody groups. It is therefore, for example, a call and response function. The rhythm part is responsible for the “timing”, i.e. keeping the rhythm. Consisting of bass drum, tuba, double bass, banjo and piano, it also takes on the task of emphasizing the first and third beats. This is another important feature of Dixieland jazz – “two beats”. The primacy or leading position of the trumpet is undisputed in Dixieland jazz and is also true in New Orleans jazz. As another part of the melody group, the trombone forms a kind of basic voice, and the clarinet surrounds the trumpet part to form a harmonic play.
Give yourself a break, such as ragtime rest, the piano is mainly taken care of. Compared to classic New Orleans jazz, Dixieland’s melody is smoother, the harmony cleaner, and the technique more exquisite. The components of the “hot sound”, namely dirty sound (dirty tone), “off-pitch” (slightly different pitch), vibrato, roar (playing several notes at the same time to break the tone), the “tailgate” of the slideshow The trombone (similar to portamento, that is, the sliding filler voice) and the tapping of the double bass (the technique that creates the clapping sound) take a back seat in Dixieland. Animal voices are sometimes found in Dixieland jazz works (for example in the original version of the Dixieland Jazz Band: “Barnyard Blues”, 1917).