The first distinctive white jazz style to come out of New York was the invention of
white cornet player Ernest "Red" Nichols (1905), who had emigrated to the city in 1923.
He pioneered "chamber jazz" with his Five Pennies, a rotating cast of white
virtuosi that initially featured Miff Mole on trombone and Jimmy Dorsey on
alto sax and clarinet, but later, at different times, absorbed
Glenn Miller and Jack Teagarden on trombones, Bud Freeman on tenor sax, Pee Wee Russell on clarinet, Eddie Condon on guitar, Gene Kupra on drums.
Nichols' compositions were rare:
The Hurricane (september 1926),
That's No Bargain (december 1926),
Five Pennies (june 1927),
I May Be Wrong (august 1929),
They Didn't Believe Me (august 1929).
He was much more interested in sculpting a "white" sound for jazz music,
a sound that maintained little of jazz's exuberance and vitality, and instead
focused on a more intellectual experience.
This idea turned him into one of the most famous (and prolific) musicians
of the time.
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