The Wisconsin-Texas Jazz Nexus Jazz Wisconsin-Texas the the Wisconsin-Texas Jazz Nexus Nexus Jazz Wisconsin-Texas the Dave Oliphant
Oliphant: The Wisconsin Texas Jazz Nexus The Wisconsin-Texas Jazz Nexus Jazz Wisconsin-Texas The The Wisconsin-Texas Jazz Nexus Nexus Jazz Wisconsin-Texas The Dave Oliphant The institution of slavery had, of course, divided the nation, and Chicago. Texas blacks had earlier followed the cattle trails and on opposite sides in the Civil War were the states of Wis- north, but, in the 1920s, they also felt the magnetic pull of consin and Texas, both of which sent troops into the bloody, entertainment worlds in Kansas City and Chicago that catered decisive battle of Gettysburg. Little could the brave men of the to musicians who could perform the new music called jazz that Wisconsin 6th who defended or the determined Rebels of the had begun to crop up from New Jersey to Los Angeles, beholden Texas Regiments who assaulted Cemetery Ridge have suspected to but superseding the guitar-accompanied country blues and that, one day, musicians of their two states would join to pro- the repetitive piano rags. The first jazz recordings had begun to duce the harmonies of jazz that have depended so often on the appear in 1917, and, by 1923, classic jazz ensembles had begun blues form that was native to the Lone Star State yet was loved performing in Kansas City, Chicago, and New York, led by such and played by men from such Wisconsin towns and cities as seminal figures as Bennie Moten, King Oliver, Fletcher Jack Teagarden, courtesy of CLASSICS RECORDS. Teagarden, Jack Fox Lake, Madison, Milwaukee, Waukesha, Brillion, Monroe, Henderson, and Duke Ellington.
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