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This is an old revision of this page, as edited by John M Baker (talk | contribs) at 22:26, 22 April 2024 (Undid revision 1220293903 by 2603:9000:8502:F920:8205:56BA:54CE:5405 (talk)). The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

Former featured articleJazz is a former featured article. Please see the links under Article milestones below for its original nomination page (for older articles, check the nomination archive) and why it was removed.
Main Page trophyThis article appeared on Wikipedia's Main Page as Today's featured article on October 21, 2004.
Article milestones
DateProcessResult
January 19, 2004Refreshing brilliant proseKept
February 12, 2006Featured article reviewDemoted
March 17, 2007Good article nomineeNot listed
September 20, 2018Good article nomineeNot listed
Current status: Former featured article

Semi Protected Edit Request for Jazz


Cioa fellow Wikipedia editors: Just a quick suggestion of additional text and references to be added to the section entitled Diversity in Jazz: Jews in Jazz. The following text might be helpful:

Shep Fields also helped to popularize "Sweet" Jazz music through his appearances and Big band remote broadcasts from such landmark venues as Chicago's Palmer House, Broadway's Paramount Theater and the Starlight Roof at the famed Waldorf-Astoria Hotel. He entertained audiences with a light elegant musical style which remained popular with audiences for nearly three decades from the 1930s until the late 1950s.[1][2][3]

I hope it proves useful. Many thanks for your consideration and Happy Editing!160.72.80.178 (talk) 23:56, 20 November 2023 (UTC)NHPL[reply]

  1. ^ The Telegraph, Feb. 24, 1981 p. 9 Shep Field Obituary on Google
  2. ^ The Big Bands - 4th Edition George T. Simon. Schirmer Trade Books, London, 2012 ISBN 978-0-85712-812-6 "Shep Fields Biography" on Books.google.com
  3. ^ "SHEP FIELDS, LEADER OF BIG BAND KNOWEN FOR RIPPLING RYTHEM (Published 1981)". The New York Times. 24 February 1981. Retrieved 28 October 2020.

160.72.80.178 (talk) 23:56, 20 November 2023 (UTC) 160.72.80.178 (talk) 00:00, 21 November 2023 (UTC)[reply]

I don't know who makes the final decision, but this seems like a reasonable request to me. --Comment by Selfie City (talk about my contributions) 14:39, 23 November 2023 (UTC)[reply]
Where should it be added? M.Bitton (talk) 20:04, 24 November 2023 (UTC)[reply]
OP has suggested adding it to "Jews in jazz" --Comment by Selfie City (talk about my contributions) 20:52, 24 November 2023 (UTC)[reply]
 Done By the way, SelfieCity, as long as you have the proper privileges for editing a page, if you see an edit request that you think looks acceptable, please do feel free to make the decision and implement it on your own. In many cases, editors who frequent pages about specialized topics are more likely to have more knowledge about those topics than those of us (like me and M.Bitton) who watch for and respond to edit requests. As such, they are in a better position to evaluate and implement such changes.
(Though, in this specific case, I do have specialized knowledge regarding jazz music.)
-- Pinchme123 (talk) 03:29, 26 November 2023 (UTC)[reply]
Cool, thanks for letting me know! I'll keep that in mind in future. --Comment by Selfie City (talk about my contributions) 14:19, 26 November 2023 (UTC)[reply]

Cio Fellow Editors: Just another quick suggestion for additional text to be added into the paragraph DIVERSITY IN JAZZ: JAZZ AND RACE after the sentence: The original Dixeland Jazz Band, whose members were white, were the first jazz group to record....

One can add the sentence===> In New York City, Mike Danzi is credited as being one of several white musicians who contributed to the introduction of the jazz genre into Germany's Weimar Republic during the early 1920s.[1][2][3]
  1. ^ Jazz Research and Performance Materials. Meadows, Eddie S. p. 121 Michael Danzi on Google Books
  2. ^ Jazz Research and Pedagogy. Meadows, Eddie S. Talyor & Francis 2013 p. 113 ISBN 9781136776038 Biography #485 of Michael Danzi on Google Books
  3. ^ Review of "American Musician in Germany, 1942-1939 Memoirs of the Jazz, Entertainment and Movie World in Berlin During the Weimar Republic and the Nazi Era-and in the United States", American Music, Vol. 6 No. 1 (Spring 198) p. 98-102 Memoirs of Michael Danzi on JSTOR.org

I Hope it also proves to be helpful! Ciao 160.72.80.178 (talk) 17:29, 25 November 2023 (UTC)NHPL[reply]

 Not done: please provide reliable sources that support the change you want to be made. The only source actually provided for this edit is the memoirs of Mike Danzi himself, and thus a primary source. The links are to two annotated bibliographic entries summarizing his memoir, and to a review of the same. The following are excerpts from that review:
The reader should be warned that the book ... is vastly underedited: misspellings, misusage, and errors in grammar and punctuation abound.
And the book is loaded with "factual" information, recalled by Danzi in miraculous detail without the aid of his correspondence, scrapbooks, and diaries, which he destroyed after his wife's death in 1956. None of Danzi's "facts" can therefore be accepted at face value without corroborative evidence
This review specifically cautions against relying solely on Danzi's memoir for factual statements. The review itself says nothing about Danzi as being credited with the process of introducing jazz to Germany's Weimar Republic. So this edit will require reliable (preferably secondary) sources beyond Danzi's memoir for support.
-- Pinchme123 (talk) 03:43, 26 November 2023 (UTC)[reply]
Ciao Pinchmel123: Many thanks for the expert insights--Quite correct-- several of the references cited above are in fact reviews of Danzi's autobiography. Sorry about that --they seemed relevant. For what it might be worth, it should also be noted, however, that his autobiography has been routinely used "with caution" as a primary source of information by various scholars of Jazz over the years despite the misspellings, errors in grammar and punctuation cited above. (See "Mike Danzi" on JSTOR & Google Books for the use of his book as a reference source in the bibliographies of numerous scholarly articles/books about Jazz in Europe in the early 20th century).[1][2] Admittedly, accurate documentation from this period is somewhat problematic, largely due to the attempts by the Nazi regime to suppress the evolution of Jazz, which it characterized as a degenerate art form--a situation which Danzi appears to have encountered quite often while in Germany for an extended period of time prior to World War II. In any case, here are a few more reference citations from additional independent sources which may prove to be relevant and supportive of the suggested additional text. I hope they help. Thanks again for your help and Happy editing.[3][4][5][6][7][8][9]. — Preceding unsigned comment added by 160.72.80.178 (talk) 20:03, 26 November 2023 (UTC)[reply]
  1. ^ Mike Danzi on JSTOR
  2. ^ Mike Danzi on Google Books
  3. ^ Kater, Michael H., Different Drummers: Jazz in the Culture of Nazi Germany: Introduction the Ambiguous Culture Jazz in the Weimar Republic (New York, 2003; online edn, Oxford Academic, 1 Jan. 2010), https://doi.org/10.1093/acprof:oso/9780195165531.001.0001, accessed 14 Nov. 2023. Mike Danzi's important influence native German colleagues and transplanted Anglo-Americans..."(See https://academic.oup.com/book/41759?searchresult=1) on academic.oup
  4. ^ Kater, Michael H., Different Drummers: Jazz in the Culture of Nazi Germany: Introduction the Ambiguous Culture Jazz in the Weimar Republic (New York, 2003; online edn, Oxford Academic, 1 Jan. 2010), https://doi.org/10.1093/acprof:oso/9780195165531.001.0001, accessed 14 Nov. 2023. Mike Danzi recalls the reluctance on the part of his German pals, who wanted to play with him but now feared official repercussions" (See https://academic.oup.com/book/41759?searchresult=1) on academic.oup
  5. ^ Phonographic Bulletin Issues 44-52 International Association of Sound Archives 1986 p. 49 Mike Danzi on Google Books
  6. ^ Wickstrom, David-Emil, Ringsmut, Martin, Seibt, Oliver. Made In Germany Studies in Popular Music Taylor 7 Francis Sept. 22, 202o ebook Transnational and Intermedial Aspects of a National Popular Music Group in the 1920s: The Comedian Harmonists - "Michael Danzi arrived in Germany (1924) to record with various German orchestras...and would stay until the outbreak of World War II in 1939.om Google Books
  7. ^ Kater, Michael. Different Drummers Jazz in the Culture of Nazi Germany. Oxford University Press New York 1992 ebook 2003 p. 139 "Probably the last alien jazz musician to leave Nazi Germany was American Jazz guitarist Mike Danzi, whos was harassed before he and his family could sail for New York ...in 1939" Mike Danzi on Google Books
  8. ^ Popel, Anthony. Cook, Nicholas. Editors. The Cambridge History of Twentieth Century Music. Cambridge University Press Cambridge 2004 p. 172 "...white performers like American banjoist Michael Danzi and violinist Alex Hyde perfromed and recorded in Berlin. Danzi performed with a number of highly regarded German band leaders including Erno Rapee..." Mike Danzi on Google Books
  9. ^ Wolfer, Jurgen. Jazz in Germany The Lexicon all musicians and record companies from 1920 to today. Hannibal 2008 p. 71 Mike Danzi Biography on Google Books
 Not done: please provide reliable sources that support the change you want to be made. Linking to search results, more generic reviews of books (rather than the book itself?), and instances where Danzi's name is mentioned in print will not help. In my opinion you'll need to provide page-specific references from reliable secondary sources that support the language you've requested be added to this article. That means the pages of specific sources that support the claim that Danzi contributed to introducing jazz to Germany during the time period in question, not just that he performed in Germany. (For me, an exception to the page-specific part of this would be articles or books that are clearly entirely about Danzi introducing jazz to Germany in the '20s.) It would also probably be useful to also see sources that emphasize his race/ethnicity, since the language you've proposed highlights it. --Pinchme123 (talk) 21:01, 26 November 2023 (UTC)[reply]
===>>A very intriguing discussion about a murky period in the history of Jazz as it evolved in Europe. One possible solution to the scarcity of "page specific secondary reference sources" might be to amend the proposed additional text to the following:

In addition, several Anglo-American musicians such as Mike Danzi influenced the development of the Jazz genre in Germany during the early days of the Weimar Republic in the 1920s. The following reference citations from the book Different Drummers: Jazz Culture of Nazi Germany (Publisher Oxford University Press, sorry but a specific page is not available on this ebook) & Phonographic Bulletin (Publisher International Association of Sound Archives, Pg. 49) and the article "The Jazz Experience in Weimar Germany" (Publihser Oxford University Press pp. 145-158) might be helpful in this regard.[1][2][3][4] I hope some of this is helpful Cia!160.72.81.86 (talk) 18:08, 27 November 2023 (UTC)GCL[reply]

  1. ^ "The Jazz Experience in Weimar Germany" Kater, Michael. German History, Oxford University Press, Vol. 6 Issue 2 (1 April, 1988) pp. 145-158 "American Jazz was imported into Germany in the early 1920s...some two to five years after it had entered Britain or France...genuine American Jazz musicians (such as)... Mike Danzi embarked on a German tour with American bandleader Alex Hyde before deciding to make Berlin his permanent European base....As the great majority of German musicians still found jazz very difficult to master, it was Americans and a few Englishmen who came to dominate the jazz scene of the Roaring Twenties..." See https://doi.org/10.1093/gh/6.2.145 on academic.oup.com
  2. ^ Phonographic Bulletin Issues 44-52 International Association of Sound Archives 1986 p. 49 "During the 1920s a number of British and American musicians were responsible for bringing Jazz to Germany....Many stayed on to play with local dancebands and as studio musicians. Hence the obscurity of such figures as Mike Danzi..." on Google Books
  3. ^ Kater, Michael H., Different Drummers: Jazz in the Culture of Nazi Germany: Introduction the Ambiguous Culture Jazz in the Weimar Republic (New York, 2003; online edn, Oxford Academic, 1 Jan. 2010), https://doi.org/10.1093/acprof:oso/9780195165531.001.0001, accessed 14 Nov. 2023. "Among those who stayed, American banjoist and guitarist Mike Danzi was probably the most important....because of the length of time he remained in Germany and his influence on native German colleagues and transplanted Anglo-Americans" (See Oxford Scholarship online at https://academic.oup.com/book/41759?searchresult=1) on academic.oup
  4. ^ The Kurt Weill Newsletter - Books "An American Musician in Berlin" by Geoffrey Abbott. The Kurt Weill Foundation for Music, New York 1987 p. 19 Biography of Mike Danzi and book review "In 1923 he (Danzi) went to Germany and established himself as Berlin's foremost banjo player throughout the roaring Twenties and into the Thirties....Danzi's uniquely rich experience as a leading musician in two important cities necessarily remains essential for the historian and the popular music scholar..." Mike Danzi on Google Books
 Not done for now: Page specific refs have not been provided in all instances.  Spintendo  23:42, 27 December 2023 (UTC)[reply]

Semi-protected Edit request

Ciao fellow editors; Kindly consider including the following text at the start of the section The Jazz Age following the paragraph In 1924, Louis Armstrong joined the Fletcher Henderson dance band for a year... to include the text:

By 1924, one of Armstrong's favorite "Sweet Jazz" Big bands was also formed in Canada by Guy Lombardo. His Royal Canadians Orchestra specialized in performances of "the Sweetest music this side of Heaven" which remained popular with audiences for decades and transcended racial boundaries.[1][2] [3][4][5][6] 

Enjoy160.72.81.86 (talk) 21:48, 27 November 2023 (UTC)GCL[reply]
  1. ^ Encyclopedia of music in the 20th Century. Stacey, Lee. Henderson, Lol Editors. Routledge Taylor and Francis Group London 2014 p. 379 Guy Lombardo Biography on Google Books
  2. ^ Continuum Encyclopedia of Popular Music of the World Volume 8- Genres North America. Horn, David. Shephard, John Editors. Bloombury Publishing 2012 p. 472 "Armstrong and Lombardo did not view their worlds as diametrically opposed, nor did many other contemporary musicians of the 1930s. ...Lombardo himself always took great pride in the number of black orchestras that imitated his style." Guy lombardo band popularity on Google Books
  3. ^ Wald, Elijah (September 2012). "Louis Armstrong Loves Guy Lombardo". In Ake, David; Garret, Charles; Goldmark, Daniel (eds.). Jazz/Not Jazz: The Music and Its Boundaries. University of California Press Online. p. 31. doi:10.1525/california/9780520271036.003.0003. ISBN 9780520271036. Louis Armstrong often referred to Guy Lombardo's Royal Canadians as his favorite band, but this fact is rarely cited and almost never pursued.Critics and historians who celebrate African American music tend to dismiss Lombardo's music as boring, mainstream pap, unworthy to be treated alongside the masterpieces of Armstrong or Duke Ellington. Thus, while celebrating Armstrong, they ignore his musical opinion—and that of the public, which made Lombardo's orchestra the most popular dance band not only of white America, but also at Harlem's Savoy Ballroom. How have such prejudices affected our views of the past? How has our understanding of black musicians been limited by an insistence that they fit modern definitions of hipness or authenticity?
  4. ^ Crump, William D. Encyclopedia of New Year's Holidays Worldwide. McFarland & Co. Publishers. London. 2008 p. 101 ISBN 978-0-7864-3393-3 Guy Lombardo on Google Books
  5. ^ Guy Lombardo Biography on allmusic.com
  6. ^ Auld Acquaintance: An Autobiography. Lombardo, Guy. Altshul, Jack. Doubleday 1975 on Google books.com

160.72.81.86 (talk) 21:48, 27 November 2023 (UTC)160.72.80.178 (talk) 23:20, 30 November 2023 (UTC)NHPL[reply]

Ciao Fellow editors--in the interests of simplicity, I've amended the proposed text as indicated above and included an additional reference citation for the academic distinction between "Sweet" and "hot" jazz during the 1920s-1930s era and the apparent irrelevance of this arbitrary distinction from the frame of reference enjoyed by leading jazz musicians of the time such as Louis Armstrong and Guy Lombardo. [1]
  1. ^ Lonesome Roads and Streets of Dreams: Place Mobility and Race in Jazz of the 1930 sand '40s. Berish, Andrew S. University of Chicago Press 2012 p.45, "The Casino Ballroom: White and Sweet" pp.41-50 ISBN 9780226044941 Guy Lombardo Sweet Jazz on Google Books

Enjoy!! 160.72.80.178 (talk) 18:55, 3 December 2023 (UTC)NHPL[reply]

 Not done: Per WP:TOOMANYREFS.  Spintendo  23:39, 27 December 2023 (UTC)[reply]
O.K.--This seems reasonable so perhaps only two of the numerous references shown above are required to support the proposed text as shown here [1][2] Any thoughts? Ciao160.72.80.178 (talk) 00:06, 5 January 2024 (UTC)NHPL[reply]

References

  1. ^ Encyclopedia of music in the 20th Century. Stacey, Lee. Henderson, Lol Editors. Routledge Taylor and Francis Group London 2014 p. 379 Guy Lombardo Biography on Google Books
  2. ^ Continuum Encyclopedia of Popular Music of the World Volume 8- Genres North America. Horn, David. Shephard, John Editors. Bloombury Publishing 2012 p. 472 "Armstrong and Lombardo did not view their worlds as diametrically opposed, nor did many other contemporary musicians of the 1930s. ...Lombardo himself always took great pride in the number of black orchestras that imitated his style." Guy lombardo band popularity on Google Books
 Done Geardona (talk to me?) 17:21, 9 January 2024 (UTC)[reply]

Semi-protected edit request on 13 February 2024

In the 5th paragraph of the Bebop section, can we add a wiki link and fix an incorrect chord from that link?

Please edit:

"rhythm changes" (I–VI–ii–V)

to become:

"rhythm changes" (I-vi-ii-V)

Many thanks! —173.56.111.206 (talk) 01:38, 13 February 2024 (UTC)[reply]

 Done TheWikiCyclone (talk) 21:53, 13 February 2024 (UTC)[reply]
Thanks for the quick fix. —173.56.111.206 (talk) 00:11, 14 February 2024 (UTC)[reply]
no problem :) TheWikiCyclone (talk) 02:06, 14 February 2024 (UTC)[reply]
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