![]() ![]() A significant goal of the revitalization effort is to add a strong entertainment component to the neighborhood mix. The heart of the District is about two miles southeast of downtown Kansas City. The neighborhood was important to the evolution of jazz, a truly American art form. People could attend performances by jazz greats such as Count Basie, Ella Fitzgerald, Louie Armstrong and others. It earned the name, “Jazz District” during the period from 1920 to 1940 when it became the center of jazz music. Scott, Boone and other ragtime professors introduced the syncopation that rhythmically distinguished Kansas City jazz.ĭrawing from these influences, the members of Colored Musicians' Local 627, affiliated with the American Federation of Musicians, created Kansas City jazz style.The 18th and Vine Historic District is the African-American cultural district in Kansas City. Primarily a concert pianist, Boone, according to ragtime scholar Dave Jasen, occasionally put "the cookies on the lower shelf where everyone can reach them," and performed standards in "ragged time." Ragtime composer James Scott conducted bands at the Eblon and Lincoln theaters. ![]() Students of Watts and Smith mastered their instruments and musical theory, enabling them to become confident soloists.īlind Boone, a piano pioneer based in Columbia, Missouri frequently played concerts in Kansas City. Bennie Moten and other first generation jazz musicians cut their teeth as members of Blackburn's kid band. Watts organized full-sized concert bands, performing a challenging repertoire of classical music. Blind Boone's Southern Rag Medley #2 performed by Trebor Tichenor, 1966 Original Sheet Music composed by Blind Boone, 1909īand leader Dan Blackburn along with educators Major N. "Blind" Boone courtesy Kansas City Museum Your browser does not support the audio element. The form and feel of the blues provided a firm foundation for Kansas City jazz style. Brothers Mulles, Miles and Millus Pruit played the blues on string instruments at house parties and saloons with sawdust floors. Blind blues shouters preached the blues on street corners. Woods, Criterion and Williams orchestras, along with the Ladies Band led by trumpeter Josie Williams and other early orchestras performed ragtime, light classical and popular standards at dances and other social events. The Great Western, Dude Knox, Fountain B. During the summer crowds flocked to Lincoln Electric Park, an Edison wonderland modeled after the larger Electric Park across town. Social activities whirled around the dance halls, theaters and cabarets scattered liberally throughout the district. Fire stations, grocery stores, pharmacies, hotels, fish shops and other small businesses crowded the intersection of 18th and Vine streets, located one half mile southeast of downtown Kansas City. Established in the late-1800s, 18th and Vine (originally known as the Bowery) provided residents with the services and goods they were denied downtown. In the days of public segregation, 18th and Vine served as a business and social hub for the African-American community. Kansas City's distinctive style of jazz evolved from blues, ragtime and concert band music spawned in the 18th and Vine area. Intersection of 18th & Vine Streets MMF Photo Collection, #161 Newspaper clippings: 18th & Vine Culture ![]()
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