Paul Whiteman called himself the King of Jazz and, for a time, perhaps he was, if the measure is popularity. His 1920 orchestra recording of “Whispering”, a mid-tempo, easy listening, instrumental light jazz piece, made a huge impact in its day, helping to popularize the genre. It’s been re-recorded by hundreds of artists in the decades that followed, but the original Victor recording has been honored with inclusion in the National Recording Registry.

         In 1924 Whiteman commissioned George Gershwin, son of Russian-Jewish immigrants, who was making a name for himself collaborating on Broadway musicals, to compose a new piece for a New York concert. “Rhapsody in Blue”, an unusual jazz-classical-pop hybrid, has since become one of the most recognized musical numbers in American history and an iconic symbol of jazz-age New York. The 1924 9-minute acoustic version features Whiteman and his orchestra with Gershwin on piano. The unabridged 14-minute version has been redone innumerable times by various artists, on record and in concert.

         Gene Austin was a vaudeville style “crooner” who recorded the sweet, melodic, instantly memorable “My Blue Heaven” in 1927 with a hastily thrown together pick-up band when the hired musicians at the Camden Victor Studios departed abruptly for another gig. The record sold in the millions and is believed to be among the best-sellers of the first half on the 20th century.

         Louis Armstrong released a number of classics in the 1920s, but perhaps “West End Blues”, his 1928 bluesy jazz recording of a “King” Oliver composition, best showcases his amazing Hot Five era and features Armstrong’s scintillating trumpet dexterity.

         “St. Louis Blues” was written by the legendary W.C. Handy and recorded countless times, but it was Bessie Smith’s 1925 version that mournfully brings this lost love lament powerfully to life and featured Louis Armstrong on cornet.

         Certainly there are other worthy contenders, notably “Swanee” by the theatrical Al Jolson and Vernon Dalhart’s country lament, “The Prisoner’s Song”, but it’s hard to argue with the above five as a representative time capsule.                       – Steve Williams (4/24/23)