Download PDF by Sean J. O'Connell: Los Angeles's Central Avenue Jazz (Images of America)

By Sean J. O'Connell

From the overdue 1910s until eventually the early Fifties, a chain of competitive segregation regulations towards Los Angeless swiftly increasing African American group inadvertently ended in the most culturally wealthy avenues within the usa. From Downtown la to the mostly undeveloped urban of Watts to the south, principal road grew to become the heart of the West Coast jazz scene, nurturing homegrown skills like Charles Mingus, Dexter Gordon, and blood brother Collette whereas additionally webhosting numerous traveling jazz legends resembling Duke Ellington, Louis Armstrong, and Billie vacation. Twenty-four hours an afternoon, the sound of stay jazz wafted out of nightclubs, eating places, resort lobbies, track colleges, and anyplace else a jazz blend might squeeze in its tools for almost 50 years, assisting to enhance and outline the sound of Americas maximum musical contribution.

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In the shadow of Los Angeles City Hall, the nightlife surged in the tiny district. ) 62 Other jazz clubs popped up in the neighborhood as well. Trumpeter Howard McGee ran the Club Finale, which regularly featured Charlie Parker in the mid-1940s. ” Breakfast clubs were nightclubs that were open in the morning. The 24-hour defense industry was releasing workers at all times of day, and they had cash in their pockets; it would have been foolish not to offer them an opportunity to trade that cash for some new sounds.

What must Harlem have thought of that claim? 48 The Last Word was a more modest venue located across the street from Club Alabam at 4206 South Central Avenue. Curtis Mosby’s younger brother Esvan, who also served as an honorary mayor of Central Avenue, owned it. It was another major player in the thriving nightclub scene concentrated on that small strip of Central Avenue. The phrase “Smartest Sepia Night Club” aimed at a sophisticated crowd, drawing blues and jazz musicians to their bandstand.

It also starred Lena Horne, Cab Calloway, and pianist Fats Waller. Although the resulting movie was about as racially sensitive as Hollywood was capable of in the 1940s, it featured stellar performances, memorable dance sequences by the Nicholas Brothers, and was an unparalleled opportunity for African American actors to break out of the limited roles they were being offered by major movie studios. ) 53 Cabin in the Sky was happy to employ the same successful formula as Stormy Weather. Based on the 1940 musical of the same name, the film also featured Lena Horne, but this time she was paired with comedian Eddie “Rochester” Anderson with appearances by Louis Armstrong and Duke Ellington.

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