section_path: Early development/New Orleans origins/Swing in the early 20th century
section_name: Swing in the early 20th century
paragraph_text: Swing in the early 20th century
  
  Morton loosened ragtime's rigid rhythmic feeling, decreasing its embellishments and employing a swing feeling. Swing is the most important and enduring African-based rhythmic technique used in jazz. An oft quoted definition of swing by Louis Armstrong is: "if you don't feel it, you'll never know it." The New Harvard Dictionary of Music states that swing is: "An intangible rhythmic momentum in jazz...Swing defies analysis; claims to its presence may inspire arguments." The dictionary does nonetheless provide the useful description of triple subdivisions of the beat contrasted with duple subdivisions: swing superimposes six subdivisions of the beat over a basic pulse structure or four subdivisions. This aspect of swing is far more prevalent in African-American music than in Afro-Caribbean music. One aspect of swing, which is heard in more rhythmically complex Diaspora musics, places strokes in-between the triple and duple-pulse "grids".
  
  New Orleans brass bands are a lasting influence, contributing horn players to the world of professional jazz with the distinct sound of the city whilst helping black children escape poverty. The leader of New Orleans' Camelia Brass Band, D'Jalma Ganier, taught Louis Armstrong to play trumpet; Armstrong would then popularize the New Orleans style of trumpet playing, and then expand it. Like Jelly Roll Morton, Armstrong is also credited with the abandonment of ragtime's stiffness in favor of swung notes. Armstrong, perhaps more than any other musician, codified the rhythmic technique of swing in jazz and broadened the jazz solo vocabulary.
  
  The Original Dixieland Jass Band made the music's first recordings early in 1917, and their " Livery Stable Blues " became the earliest released jazz record. That year, numerous other bands made recordings featuring "jazz" in the title or band name, but most were ragtime or novelty records rather than jazz. In February 1918 during World War I, James Reese Europe's "Hellfighters" infantry band took ragtime to Europe, then on their return recorded Dixieland standards including " Darktown Strutters' Ball ".