Original Dixieland Jass Band

Original Dixieland Jass Band

Company type	Musical ensemble
Industry	Music, Jazz
Founded	1916
Headquarters	New York City , United States
Products	Jazz recordings, live performances

The Original Dixieland Jass Band (ODJB) was a trailblazing Dixieland jazz ensemble credited with producing the earliest jazz recordings in early 1917. Their track "Livery Stable Blues" holds the distinction of being the first jazz record ever released. The band created and recorded numerous jazz standards, with "Tiger Rag" standing out as their most famous composition. By late 1917, the group's name was altered to Original Dixieland Jazz Band.

Comprising five musicians who had previously collaborated with Papa Jack Laine, the band promoted themselves as "the Creators of Jazz." They were pioneers in commercially recording jazz and achieving popular success in the genre. Cornetist and leader Nick LaRocca highlighted the ODJB’s significant contribution to defining jazz as a unique musical style.

The initial incarnation of the quintet dissolved in 1926. Ten years later, LaRocca regrouped most of the members to form a swing band under the ODJB banner. The complete original lineup reunited in 1936, receiving critical praise before disbanding once more in 1938.

Origins

In early 1916, a promoter from Chicago invited clarinetist Alcide Nunez and drummer Johnny Stein to assemble a New Orleans-style group for performances in Chicago, where Tom Brown’s Brown's Band From Dixieland had found success. They recruited trombonist Eddie Edwards, pianist Henry Ragas, and cornetist Frank Christian. However, Christian withdrew shortly before departure, and Nick LaRocca joined as his replacement at the last moment.

The ensemble began playing on March 3, 1916, at Schiller's Cafe in Chicago under the name Stein’s Dixie Jass Band. After experiencing internal conflicts and contractual difficulties, they reformed with drummer Tony Sbarbaro and adopted the name The Dixie Jass Band on June 5. Due to personal tensions between LaRocca and Nunez, clarinetists were exchanged with Tom Brown’s band on October 30, bringing Larry Shields into what would become the ODJB lineup. Their theatrical agent Max Hart helped secure engagements in New York City. By early 1917, they were performing at Reisenweber's Cafe located on Columbus Circle in Manhattan.

First recordings

Although earlier New Orleans ensembles had appeared in New York City within vaudeville shows, ODJB was the first "jass" band to cultivate a dedicated audience through dance performances and make commercial recordings during a period when the American recording industry was primarily concentrated in the Northeast, especially New York City and Camden, New Jersey.

Soon after arriving in New York, the group auditioned for the Columbia Graphophone Company on January 31, 1917, but none of these recordings were released.

Subsequently, on February 26, 1917, they recorded two tracks—"Livery Stable Blues" and "Dixieland Jass Band One-Step"—at Victor Talking Machine Company’s studios in New York. These were issued as Victor 18255 in May 1917, becoming the inaugural jazz record available to the public. Initially promoted as a novelty item, these records unexpectedly became hits that introduced jazz to a broad American audience. Musician Joe Jordan filed a lawsuit over "One Step," claiming it incorporated elements from his 1909 ragtime composition "That Teasin' Rag," which resulted in revised label credits acknowledging Jordan. Meanwhile, "Livery Stable Blues" was declared public domain following a legal dispute over its authorship.

Building on this success, ODJB returned to Columbia in May to record popular selections chosen by the label—likely to avoid copyright complications—such as "Darktown Strutters' Ball" and "(Back Home Again in) Indiana" (catalogue A-2297).

The band's achievements inspired numerous jazz groups across the country to emulate their style, including ensembles from Chicago and California like the Frisco Jass Band. Established leaders such as Wilbur Sweatman renamed their bands as "jass" or "jazz" groups. At another New York venue, bandleader Earl Fuller was instructed to form a "jass" band.

Significantly, W. C. Handy produced an early rendition of "Livery Stable Blues" with Handy’s Orchestra of Memphis for Columbia Records in 1917.

In 1918, Shelton Brooks—dubbed "the King of Ragtime Writers"—published "When You Hear That Dixieland Jazz Band Play" through Will Rossiter in Chicago; this tribute featured ODJB prominently on its cover.

Original New Orleans Jazz Ensemble

The rise of New Orleans Jazz in New York during 1917 was marked by the Original Dixieland Jazz Band's (ODJB) performances, which Jimmy Durante attended at Reisenweber's Cafe located on Columbus Circle. Struck by their music, Durante extended an invitation for them to perform at Harlem's Alamo, where he himself played piano.

Durante called upon his acquaintance Johnny Stein, who had formerly been the drummer and leader of the group, to gather musicians from New Orleans to accompany his act at the Alamo. Stein assembled a band composed mainly of veterans from the Laine band, without including Durante. Toward the end of 1918, this group recorded two pieces for Okeh under the name New Orleans Jazz Band and later re-recorded those tracks for Gennett as the Original New Orleans Jazz Band. In 1920, they returned to Gennett for another session, this time credited as Jimmy Durante's Jazz Band, before eventually adopting the name "Durante's Jazz and Novelty Band."

Sicilian Heritage

Both LaRocca and Sbarbaro were descendants of Sicilian immigrants. The city of Palermo, Sicily’s capital, maintained robust cotton and citrus commerce with New Orleans, establishing a direct maritime route that encouraged significant Sicilian immigration to American urban centers from the late 19th century into the early 20th century. This influx introduced Sicilian musical traditions into New Orleans' cultural milieu, blending with local African-American music styles—a combination that influenced the band's distinctive sound.

Subsequent Band Developments

After their initial recordings with Victor Company, ODJB produced records for Columbia Records and Aeolian-Vocalion in 1917, before returning to Victor in 1918 while sustaining considerable popularity in New York. In 1918, trombonist Edwards was conscripted and replaced by Emile Christian, while pianist Henry Ragas succumbed to the 1918 flu pandemic, with pianist-composer J. Russel Robinson stepping in as his successor.

Robinson penned several significant hits that emerged in 1920, such as "Margie" and "Palesteena (Lena from Palesteena)." The track "Aggravatin' Papa," co-authored with lyricist Roy Turk and Addie Britt, was recorded by notable artists including Alberta Hunter and Bessie Smith. Robinson also contributed to songs like "Sweet Man O' Mine," "A-Wearin' Away the Blues," and composed "Mama Whip! Mama Spank!" for blues vocalist Mamie Smith, distributed via Okeh Records. He remained part of the band until 1923 and rejoined during its revival in 1936.

"Margie," created by Robinson and Con Conrad, with lyrics by Benny Davis, has been widely interpreted by numerous artists such as Louis Armstrong, who also performed "Tiger Rag," alongside musicians like Ray Charles, Al Jolson, Duke Ellington, and Fats Domino.

The ODJB’s 1921 rendition of "Margie," featuring Robinson on piano, climbed to number 9 on music charts. Eddie Cantor’s version dominated charts for five weeks that year and was prominently featured in The Eddie Cantor Story film and television series (1961–1962). Other successful charting covers include Gene Rodemich’s version (no. 7 in 1920), Ted Lewis (no. 4 in 1921), Frank Crumit (no. 7 in 1921), Claude Hopkins (no. 5 in 1934), and Don Redman (no. 15 in 1939). Esteemed jazz figures such as Dave Brubeck, Bing Crosby, Oscar Peterson, and Jimmie Lunceford have also recorded their own versions of "Margie."

London tour

After the success of the ODJB, other jazz musicians from New Orleans, including Nunez, Tom Brown, and Frank Christian, relocated to New York to pursue jazz careers, intensifying the competitive scene. LaRocca took the group to London, where they stood out as the sole authentic New Orleans jazz ensemble and promoted themselves as the Originators of Jazz, emphasizing their status as the first to record in the genre. Their performance on April 7, 1919, in the revue Joy Bells at the London Hippodrome marked the United Kingdom’s inaugural official live jazz event. This was soon followed by a Royal Command Performance for King George V at Buckingham Palace. Although initially met with aristocratic doubt, the king’s enthusiastic applause for their rendition of "The Tiger Rag" helped win over skeptics. The British tour concluded amid controversy when Lord Harrington pursued the band to Southampton docks over his daughter’s involvement with the lead singer. During their time in London, they recorded an additional twenty tracks for Columbia’s British division, including a commercially successful second take of their popular "Soudan" (also known as "Oriental Jass").

Upon returning to America in July 1920, the band embarked on a four-year tour adopting a more commercial approach by incorporating saxophones to align with prevailing orchestra trends. In 1921, jazz pianist and composer Frank Signorelli, noted for standards such as "A Blues Serenade" and "Stairway to the Stars", briefly joined ODJB.

Nick LaRocca retired from music in November 1925 and was replaced by 19-year-old trumpeter Henry Levine, who later introduced this repertoire on NBC's The Chamber Music Society of Lower Basin Street. Tony Sbarbaro, the last founding member remaining, assumed leadership. The final group lineup featured Sbarbaro on drums, Levine on trumpet, Artie Seaberg on clarinet, Al Caplan on trombone, and Wilder Chase on piano. They fulfilled their contract at New York’s Cinderella Ballroom until February 1926 before disbanding.

Break-ups and reunions

By 1926, the band dissolved as their spontaneous style of jazz was considered outdated. Leader and trumpeter Nick LaRocca returned to his construction career in New Orleans. Clarinetist Larry Shields alternated between Chicago and New Orleans while working for a Bible publishing company. Trombonist Eddie Edwards was discovered managing a newsstand in New York before leading a nightclub orchestra. Drummer Tony Sbarbaro transitioned to work as a mechanic, whereas pianist J. Russel Robinson became NBC’s musical director. Although Victor Records intended to remake some of the band’s hits in 1932, only Edwards and Sbarbaro participated; live shows featured nightclub host Kendall Capps but resulted in no new recordings.

In October 1935, Sbarbaro recorded four tracks for Vocalion with his quintet billed as "Original Dixieland Jazz Band." Early in 1936, LaRocca and Shields reunited in New Orleans performing at clubs and private functions. LaRocca assembled a 14-piece swing orchestra that included four original members: himself, Shields, Robinson, and Sbarbaro. This group recorded nine sides for Victor in September 1936 receiving favorable trade reviews praising enhanced sound quality and Shields’ clarinet performance.

Edwards joined these sessions late September when the original quintet recorded "Skeleton Jangle" without the larger band. Victor invited them back in November for five additional songs released under "The Original Dixieland Five" to distinguish these from previous Victor releases. Benny Goodman attended these sessions, citing Shields as an early influence and featuring the band on his radio program. In April 1937 they appeared at New York’s Paramount Theater with Victor issuing a paired release of their "Clarinet Marmalade" alongside Goodman’s "St. Louis Blues" on a 78-rpm disc.

This reunion attracted significant media attention including a March of Time newsreel that recreated their initial recording session and Boston performance from December 31, 1936. Robinson contrasted their style with contemporary swing by emphasizing arranged harmonies over improvisation.

Entertainer Ken Murray engaged the band for personal appearances late in 1936; bassist Harry Barth joined in January 1937. However, a Variety review criticized Murray for overshadowing the musicians during performances. Subsequently, manager Ed Kirkeby secured radio and stage bookings. The band inaugurated Billy Rose's Frontier Fiesta club in Fort Worth in July 1937 and played at the Dallas-Fort Worth Exposition before returning to New York’s Old New York nightclub that October. Internal disputes emerged over LaRocca’s leadership; Barth departed after being denied a pay raise while tensions between LaRocca and Edwards intensified. LaRocca declared the band would disband effective February 1, 1938.

Following this split, two factions operated under the Original Dixieland Jazz Band name. Edwards, Shields, and Sbarbaro recorded six tracks for Victor’s Bluebird label in February 1938 accompanied by additional musicians and vocalist Lola Bard while touring southern states. Meanwhile, LaRocca and Robinson led their own New York-based ensemble.

After LaRocca left music permanently most members stayed active professionally. In November 1943 Sbarbaro revived the ODJB name alongside Edwards for Sol Hurok’s Tropical Review. In 1944 they issued new recordings of "Tiger Rag" and "Sensation Rag" as V-Discs exclusively for U.S. military personnel. By 1946 Sbarbaro (under the name Tony Spargo) led “The Emperors of Jazz,” featuring former ODJB pianist Frank Signorelli. Robinson moved to California continuing his songwriting career and founded Southern California Music publishing company in 1952.

In 1960 H.O. Brunn published The Story of the Original Dixieland Jazz Band, based largely on LaRocca’s memoirs.

Among the original quintet members only Sbarbaro lived to see RCA Victor’s 50th anniversary tribute; Shields died in 1953; LaRocca passed away in 1961; Edwards and Robinson both died in 1963; and Sbarbaro died in 1969.

LaRocca authorized bandleader Phil Zito to use the ODJB name for performances in New Orleans over many years. His son Jimmy LaRocca continues leading ensembles under The Original Dixieland Jazz Band name which he has legally trademarked.

Influence

The Original Dixieland Jazz Band holds the distinction of being the first group to successfully record jazz, thereby establishing it as a distinct musical genre. Notably, Bix Beiderbecke drew inspiration from ODJB, especially admiring Nick LaRocca's cornet technique. Louis Armstrong also acknowledged the band's important role in jazz history.

Film appearances

In 1917, ODJB made history by becoming the first jazz band to appear in a film, featuring in the silent movie The Good for Nothing, directed by Carlyle Blackwell. The lineup included Nick LaRocca on cornet, Larry Shields on clarinet, Tony Sbarbaro on drums, and Henry Ragas on piano. This production was created by Peerless Productions and distributed through World Pictures.

Later, in 1937, LaRocca reunited with the band to perform "Tiger Rag" in the newsreel segment "Birth of Swing," part of The March of Time, which was shown in theaters across the United States.

"Tiger Rag"

The 1917 composition "Tiger Rag" by the band became one of the most enduring jazz standards, accumulating 136 recorded versions by 1942 and maintaining its presence in jazz performances worldwide.

Their debut recording, "Livery Stable Blues", showcased inventive instrumental techniques that imitated barnyard noises using a full trap set, wood blocks, cowbells, gongs, and Chinese gourds. This pioneering approach broadened the tonal palette of early jazz and introduced vibrant rhythms that contrasted with popular music of that era.

Several ODJB tunes such as "Tiger Rag" and "Margie" were extensively covered by prominent jazz orchestras and bands including those led by Louis Armstrong, Duke Ellington, Glenn Miller, and Benny Goodman. "Tiger Rag" was especially favored by colleges with tiger mascots. Lewis Porter notes in John Coltrane: His Life and Music that "Margie" was among John Coltrane’s signature pieces during his formative years. Other compositions like "Clarinet Marmalade", "At The Jazz Band Ball", "Sensation Rag", and "Fidgety Feet" continue to be staples within traditional jazz and Dixieland repertoires. These works were frequently published as joint efforts among band members, with leader Nick La Rocca often credited.

The Original Dixieland Jazz Band’s rendition of "Tiger Rag" reached number one on the U.S. Hit Parade for two weeks beginning December 11, 1918. Additionally, The Mills Brothers’ vocal adaptation in 1931 also secured the top spot for four consecutive weeks.

Eddie Edwards’ piece "Sensation Rag" gained prominence when performed at Benny Goodman’s historic 1938 concert at Carnegie Hall, later issued on The Famous 1938 Carnegie Hall Jazz Concert album.

ODJB’s recordings emphasized ensemble cohesion over improvisation. Clarinetist Larry Shields was notable for his smooth tone and melodic interludes that influenced many future musicians.

Despite arrangements that could be seen as repetitive and lacking bass accompaniment—only partially compensated by piano—the band’s vigorous and spirited style helped define the Dixieland sound that remains influential in jazz today.

Covers

Several distinguished artists recorded ODJB compositions, including Fletcher Henderson and His Orchestra, a leading jazz ensemble of the 1920s:

• "Beale Street Mama" – composed by J. Russel Robinson; recorded by Henderson in 1923 on Paramount.
• "Clarinet Marmalade" – recorded in 1926 on Vocalion and Brunswick; Henderson re-recorded it in 1931 for Columbia.
• "Livery Stable Blues" – recorded in 1927 and released on Columbia.
• "Fidgety Feet" – written by Nick LaRocca; recorded in 1927 on Vocalion.
• "Sensation" – recorded in 1927 on Vocalion.
• "Tiger Rag" – recorded in 1931 on Crown.
• "Aggravatin' Papa" – co-authored with Robinson; recorded in 1923 featuring Alberta Hunter.
• "Singin' the Blues (Till My Daddy Comes Home)" – recorded in 1931 with Rex Stewart.

Between 1924 and 1930, Bix Beiderbecke recorded nine compositions associated with ODJB, including his debut track "Fidgety Feet," as well as hits like "Tiger Rag," "Clarinet Marmalade," and "Singin' the Blues," collaborating with Frankie Trumbauer and Eddie Lang.

Discography

Significant 78-rpm records were issued through Victor, Columbia, and Aeolian Vocalion:

1917–1920

1. "Dixie Jass Band One-Step"/"Introducing That Teasin' Rag"/"Livery Stable Blues", 1917, Victor 18255 (second pressing).
2. "At the Jazz Band Ball"/"Barnyard Blues", 1917, Aeolian Vocalion A1205.
3. "Ostrich Walk"/"Tiger Rag", 1917, Aeolian Vocalion A1206.
4. "Reisenweber Rag"/"Look at 'Em Doing It Now", 1917, Aeolian Vocalion 1242.
5. "Darktown Strutters' Ball"/"(Back Home Again in) Indiana", 1917, Columbia A2297; the ODJB rendition was honored in the Grammy Hall of Fame in 2006.
6. "At the Jazz Band Ball"/"Ostrich Walk", 1918, Victor 18457.
7. "Skeleton Jangle"/"Tiger Rag", 1918, Victor 18472.
8. "Bluin' the Blues"/"Sensation Rag", 1918, Victor 18483.
9. "Mournin' Blues"/"Clarinet Marmalade", 1918, Victor 18513; the B side also known as "Clarinet Marmalade Blues."
10. "Fidgety Feet (War Cloud)"/"Lazy Daddy", 1918, Victor 18564.
11. "Lasses Candy"/"Satanic Blues", 1919, Columbia 759.
12. "Oriental Jazz (Jass)", recorded November 24, 1917; released April 1919 as Aeolian Vocalion 12097 paired with Ford Dabney's Band's "Indigo Blues."
13. "At the Jazz Band Ball"/"Barnyard Blues", recorded in London on April 16, 1919, English Columbia 735.
14. "Soudan (Oriental Jass/Oriental Jazz)", recorded in London May 1920, English Columbia 829; composed by Gabriel Sebek in 1906. The flip side featured "Me-Ow" by London Dance Orchestra.
15. "Margie"/"Singin' the Blues"/"Palesteena", 1920, Victor 18717.
16. "Broadway Rose"/"Sweet Mama (Papa's Getting Mad)"/"Strut, Miss Lizzie", 1920, Victor 18722.

1921–1923

1. "Home Again Blues"/"Crazy Blues"/"It's Right Here For You (If You Don't Get It, Tain't No Fault O' Mine)", 1921, Victor 18729
2. "Tell Me/Mammy o' Mine", recorded in the UK, Columbia 804, 1921
3. "I'm Forever Blowing Bubbles"/"My Baby's Arms", Columbia 805, recorded in 1921
4. "I've Lost My Heart in Dixieland"/"I've Got My Captain Working for Me Now", Columbia 815, recorded in 1921
5. "Sphinx/Alice Blue Gown", Columbia 824, recorded in 1921
6. "Jazz Me Blues/St. Louis Blues", Victor 18772, recorded in 1921
7. "Royal Garden Blues"/"Dangerous Blues", Victor 18798, issued in 1921
8. "Bow Wow Blues (My Mama Treats Me Like a Dog)", Victor 18850, released in 1922; B side featured Benson Orchestra of Chicago under Roy Bargy performing "Railroad Blues"
9. "Toddlin' Blues"/"Some of These Days", Okeh 4738, released in 1923

Original Dixieland Jazz Band (under Tony Sbarbaro's leadership)

1. "I'm Sittin' High on a Hilltop" (vocal by Terry Shand)/"I Live for Love" (vocal by Russ Morgan), Vocalion 3084, issued in 1935
2. "You Stayed Away Too Long/Slipping Through My Fingers", Vocalion 3099, released in 1935

Nick LaRocca and the Original Dixieland Band

(Featuring LaRocca, Shields, Robinson, Sbarbaro alongside orchestra)

1. "Tiger Rag"/"Bluin' the Blues", Victor 25403, issued in 1936
2. "Clarinet Marmalade", Victor 25411-B from the B-side to Benny Goodman's "St. Louis Blues," released in 1936
3. "Who Loves You?"/"Did You Mean It?", Victor 25420 with vocals by Chris Fletcher, issued in 1936
4. "Ostrich Walk"/"Toddlin' Blues", Victor 25460 from the year 1936
5. "Fidgety Feet," recorded in '36 but released as the B-side to Ray Noble's "Vieni, Vieni" in '37
6. "Old Joe Blade," recorded during '36 and issued as B-side to Lionel Hampton's "Any Time at All" in '38; featuring vocals by J. Russel Robinson

The Original Dixieland Five

(Reunion featuring the 1919 lineup: LaRocca, Shields, Edwards, Robinson, Sbarbaro)

1. "Original Dixieland One-Step/Barnyard Blues" (a refreshed take on "Livery Stable Blues"), 1936, Victor 25502
2. "Tiger Rag"/"Skeleton Jangle", 1936, Victor 25524
3. "Clarinet Marmalade"/"Bluin' the Blues", 1936, Victor 25525

Original Dixieland Jazz Band with Shields, Edwards, and Sbarbaro; vocals by Lola Bard

1. "oooOO-Oh! Boom!"/"Please Be Kind", 1938, Bluebird B-7442
2. "Good-Night, Sweet Dreams, Good-Night"/"In My Little Red Book", 1938, Bluebird B-7444
3. "Drop a Nickel in the Slot"/"Jezebel", 1938, Bluebird B-7454

Subsequent Recordings

1. "Tiger Rag" (1943 rendition), 1944, V-Disc 214B1; featuring Eddie Edwards and Tony Sbarbaro
2. "Sensation" (1943 rendition), 1944, V-Disc 214B2; featuring Eddie Edwards and Tony Sbarbaro
3. "Shake It and Break It"/"When You and I Were Young, Maggie", 1946, Commodore C-613

Soundtrack Contributions

The HBO series Boardwalk Empire (2011) soundtrack includes Original Dixieland Jazz Band tracks such as "Livery Stable Blues," "Mournin' Blues," and "Margie," performed by Vince Giordano and the Nighthawks Orchestra. This compilation earned the Grammy Award for Best Compilation Soundtrack for Visual Media at the 54th Grammy Awards.

Honors

In 1977, the ODJB's notable piece "Singin' the Blues", co-authored by pianist J. Russel Robinson, was inducted into the Grammy Hall of Fame for a significant 1927 recording by Frankie Trumbauer and His Orchestra featuring Bix Beiderbecke and Eddie Lang.

On April 3, 1992, members of the band were officially recognized by the New Orleans City Council. Their historic 1918 recording of "Tiger Rag" was added to the U.S. Library of Congress National Recording Registry in 2003. Additionally, in 2006, their 1917 recording of "Darktown Strutters' Ball" received induction into the Grammy Hall of Fame.

The Original Dixieland Jazz Band has been posthumously honored by the Grammy Hall of Fame, which celebrates recordings over a quarter-century old that hold historical importance.

Original Dixieland Jazz Band: Grammy Hall of Fame Recognitions
Year Recorded	Title	Genre	Label	Year Inducted	Notes
1917	"Darktown Strutters' Ball"	Jazz (single)	Columbia	2006

References

• The ODJB on RedHotJazz Vintage recordings repository.
• Jimmy LaRocca's Original Dixieland Jazz Band official site.
• Stewart, Jack. "The Original Dixieland Jazz Band's Place in History". The Jazz Archivist, Vol. VI, No. 1 (May, 1991), pp. 7–8.
• Stewart, Jack. "The Original Dixieland Jazz Band's Place in the Development of Jazz". New Orleans International Music Colloquium, 2005.
• Lange, Horst H. Wie der Jazz begann: 1916–1923. Berlin: Colloquium Verlag, 1991.
• Brunn, H.O. The Story of the Original Dixieland Jazz Band. Baton Rouge: Louisiana State University Press, 1960; reissued by Da Capo Press, 1977.
• Original Dixieland Jazz Band Discography

External links

• Recordings by the Original Dixieland Jazz Band at the U.S. Library of Congress National Jukebox
• Original Dixieland Jass Band featured on the Red Hot Jazz Archive