Roots of jazz

At the root of jazz is the blues, the folk music of former African slaves in the U.S. South and their descendants, heavily influenced by West African cultural and musical traditions that evolved as black musicians migrated to the cities.

Early jazz influences found their first mainstream expression in the marching band and dance band music of the day, which was the standard form of popular concert music at the turn of century. The instruments of these groups became the basic instruments of jazz: brass, reeds, and drums.

Black musicians frequently used the melody, structure, and beat of marches as points of departure; but, says "North by South, from Charleston to Harlem," a project of the National Endowment for the Humanities: "...a black musical spirit (involving rhythm and melody) was bursting out of the confines of European musical tradition, even though the performers were using European styled instruments. This African-American feel for rephrasing melodies and reshaping rhythm created the embryo from which many great black jazz musicians were to emerge." Many black musicians also made a living playing in small bands hired to lead funeral processions in the New Orleans African-American tradition. These Africanized bands played a seminal role in the articulation and dissemination of early jazz. Traveling throughout black communities in the Deep South and to northern big cities, these musician-pioneers were the Hand helping to fashion the music's howling, raucous, then free-wheeling, "raggedy," ragtime spirit, quickening it to a more eloquent, sophisticated, swing incarnation.

For all its genius, early jazz, with its humble, folk roots, was the product of primarily self-taught musicians. But an impressive postbellum network of black-established and -operated institutions, schools, and civic societies in both the North and the South — of which Jenkins' orphanage was only one — plus widening mainstream opportunities for education, produced ever-increasing numbers of young, formally trained African-American musicians, some of them schooled in classical European musical forms. Lorenzo Tio and Scott Joplin were among this new wave of musically literate jazz artists. Joplin, the son of a former slave and a free-born woman of color, was largely self-taught until age 11, when he received lessons in the fundamentals of music theory from a classically trained German immigrant in Texarkana, Texas.

Also contributing to this trend was a tightening of Jim Crow (racial segregation) laws in Louisiana in the 1890s, which caused the expulsion from integrated bands of numbers of talented, formally trained African-American musicians. The ability of these musically literate, black jazz men to transpose and then read what was in great part an improvisational art form became an invaluable element in the preservation and dissemination of musical innovation that took on added importance in the approaching big-band era.