Paul Whiteman: King of Jazz or King of Pop?

The term 'King of Jazz' ascribed to Paul Whiteman is not without controversy. This label, though significant, might be more accurately described as a marketing strategy rather than a true reflection of his contributions to the music genre. Let's dive into the rationale behind this title and explore the rich tapestry of early 20th-century jazz music.

The Early Days of Jazz

Early 20th-century jazz was a dynamic and evolving genre, and it was not simply about the music itself, but also about branding and marketability. Notable figures like Jelly Roll Morton claimed to have invented jazz, and others like W.C. Handy and Ma Rainey dubbed themselves titles such as 'Father of the Blues' and 'Mother of the Blues.' These self-proclaimed titles were part of the business of music during that period.

Paul Whiteman's Role in Jazz

Paul Whiteman, widely known as the 'King of Jazz,' was less a master of the genre and more a pioneering arranger and bandleader. His music was often referred to as 'sweet jazz,' contrasting with the 'hot jazz' performed by artists like Louis Armstrong and Bix Beiderbecke, who were more focused on improvisation and live performance, a stark difference in style and approach.

Sweet Jazz vs. Hot Jazz

While Whiteman refined and arranged music in a style that was more polished and balanced, his contribution to the genre was more about creating a marketable and accessible sound rather than pure improvisational jazz. A notable example is the album 'Mississippi Mud,' which featured Bix Beiderbecke and a young Bing Crosby leading the Rhythm Boys. However, despite his contributions, Whiteman's place in the jazz world remains a subject of debate.

Commissioning Classical Jazz Music

Whiteman is also credited with commissioning jazz-inspired classical music, such as George Gershwin's Rhapsody in Blue and Ferde Grofe's Grand Canyon Suite. His efforts in blending classical and popular music styles provided a bridge between traditional orchestral music and the emerging genre of jazz, significantly influencing the musical landscape of the early 20th century.

Questioning the 'King of Jazz' Label

The term 'King of Jazz' has been criticized for potentially overshadowing the contributions of other jazz giants. Critics argue that it perpetuates a narrative of racial segregation, as Whiteman refused to integrate his performances with African-American musicians until 1936, the year after his famous 1934 performance with the Monitor Band.

Addressing Claims of Racism

According to Red Hot Jazz, Whiteman occasionally hired notable African-American jazz musicians such as Duke Ellington, Paul Robeson, and Billie Holiday, despite the racial tensions of the era. However, it's important to note that these collaborations were often riddled with racial epithets and other forms of racial discrimination, as demonstrated by the experiences of Billie Holiday, who had to endure racial slurs while touring with Artie Shaw.

Conclusion

While Paul Whiteman's claim to the title 'King of Jazz' might be more a marketing ploy than a true reflection of his musical contributions, his influence on the evolving landscape of American music is undeniable. His efforts in blending jazz with classical music and his commissioning of significant works like Rhapsody in Blue have left an indelible mark on the genre. Despite this, the debate over his legacy continues, encapsulating a fascinating period in music history.