1924
The acoustic era’s last full year — next year’s electrical microphones will change the sound of everything. Jazz breaks into the mainstream on its own terms: Paul Whiteman premieres Gershwin’s “Rhapsody in Blue” at Aeolian Hall in February, and the record charts at #21 despite running two sides. The Charleston becomes a national dance craze, fast and syncopated and inescapable. King Oliver’s Creole Jazz Band (with Louis Armstrong on second cornet) sneaks onto the bottom of the chart, and the future of American music is audibly in that recording. Country establishes itself as a chart force — Fiddlin’ John Carson has four entries, Henry Whittier charts a railroad ballad. Al Jolson has nine entries; Irving Berlin is the country’s most important songwriter (“What’ll I Do?”). Ukulele novelties like Wendell Hall’s #1 prove pop doesn’t have to be orchestral, and Sophie Tucker is claiming her Red-Hot Mama title on record. It’s the roar of the Roaring Twenties, captured for the last time by a horn.
Wendell Hall — “It Ain’t Gonna Rain No Mo’” (#1) — Archive.org
Al Jolson — “California, Here I Come!” (#2) — Archive.org
Isham Jones & His Orchestra — “It Had to Be You” (#4) — Archive.org
Paul Whiteman & His Orchestra with George Gershwin — “Rhapsody in Blue, Parts 1 & 2” (#21) — Archive.org
Marion Harris — “Jealous” (#23) — Archive.org
Ted Lewis & His Band — “June Night” (#15) — Archive.org
Arthur Gibbs & His Gang — “Charleston” (#12) — Archive.org
King Oliver & His Jazz Band — “Dipper Mouth Blues” (#112) — Archive.org
Sophie Tucker — “Red-Hot Mama” (#83) — Archive.org
Paul Whiteman & His Orchestra — “What’ll I Do?” (#5) — Archive.org