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Racial And Social Stratification of New Orleans

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Racial And Social Stratification of New Orleans

New Orleans in the late 1800s and early 1900s was racially divided, with Creoles of

Color occupying a unique middle status between white Creoles and black Americans. As

landowners and educated French speakers, Creoles of Color had more rights and privileges than

black Americans. The Plessy vs Ferguson ruling upholding segregation excluded black

Americans from white spaces, but Creoles of Color could still access some opportunities

(Wegmann, 2015). This environment nurtured jazz, as black and Creole musicians blended

European and African musical traditions at racially integrated gatherings.

Sweet jazz, as played by white bands, was restrained and melodic. Hot jazz, developed by

black musicians like Louis Armstrong, was lively and improvisational, emphasized syncopation

and swing rhythms. Sweet jazz was seen as sophisticated, while hot jazz was considered

unrefined. This dichotomy enabled jazz to gain mainstream popularity through white bands

playing sweet jazz, while innovative black musicians developed hot jazz.

Duke Ellington broke conventions in his elegant, intricately orchestrated jazz suites.

Rather than emphasize improvisation, he focused on compositional technique and arranging for

the ensemble (LaCour, 2016). In contrast, Fletcher Henderson led a tightly rehearsed big band

focused on featuring hot solo improvisations. Ellington challenged perceptions of jazz with his

sophisticated compositional approach, while Henderson showcased the exciting virtuosity of

individual soloists.
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References

Wegmann, A. N. (2015). Skin Color and Social Practice: The Problem of Race and Class

Among New Orleans Creoles and Across the South, 1718-1862. Louisiana State

University and Agricultural & Mechanical College.

LaCour, D. (2016). The Long-Playing Ellington: Analyzing Composition and Collaboration in

the Duke Ellington Orchestra. Washington University in St. Louis.