They ensured that the police would ignore the illegal alcohol, gambling, and prostitution that permeated the night scene. Riffs referred to the practice of using rhythms to accompany the soloists who became the main focus.įrom the mid-1920s through the Depression years of the 1930s, Kansas City's nightlife thrived under the protection of political boss Tom Pendergast and gangster Johnny Lazia. Their music became known as the 'Kansas City style,' characterized by complex rhythms, carefully restrained drum beats, and especially riffs. Moten continued aggressively hiring the best performers he could find, and their form of jazz matured into some of the best examples of big band swing.

This first recording session would have been unremarkable were it not for the continued evolution of the orchestra's style after 1923. They included 'Selma 'Bama Blues,' 'Chattanooga Blues,' 'Break o' Day Blues,' 'Evil Mama Blues,' 'Elephant's Wobble,' 'Crawdad Blues,' 'Waco Texas Blues,' and 'Ill-Natured Blues.' The songs were an early form of jazz that really just added additional beats to blues songs. With the help of Kansas City's Winston Holmes Music Store, which previously concentrated on blues records, the orchestra arranged a recording session in Chicago with the Okeh Recording Company. On September 23, 1923, the Bennie Moten Orchestra became the first Kansas City band to make a phonograph recording of its tunes. The well-known jazz artists who later joined Moten's band included Eddie Barefield, William 'Count' Basie, Eddie Durham, Thamon Hayes, Joe Keyes, Harlan Leonard, Ed Lewis, Willie MacWashington, Dan Minor, Hot Lips Page, Walter Page, Jimmy Rushing, Buster Smith, Woodie Walder, Booker Washington, Jack Washington, Ben Webster, and Lester Young. In 1923 the group officially became the name 'Bennie Moten Orchestra,' Kansas City's first great jazz band. Most notable among them were cornet player Lamar Wright, trombonist Thamon Hayes, clarinet player Woodie Walder, and drummer Willie Hall. Moten shrewdly hired some of the most promising musicians in Kansas City to bring them within one band. and B.,' and Moten was serving as its manager.

By 1922, the group seems to have changed its name to 'B. and D.'s performances became a staple of a thriving jazz scene that was a great source of pride within the black community. got started with a gig at the Labor Temple, an important gathering place for Kansas City's African American community as well as for local labor leaders, both black and white. Photo courtesy LaBudde Special Collections, UMKC Libraryī.

Kansas city jazz museum swing shop