The song Livery Stable Blues by the ODJB in 1917 personified the vaudevillian style that white audiences sought in Jazz: choppy, comedic, almost poking fun at itself.

" Richard Hadlock describes Beiderbecke's contribution to " Jazz Me Blues " as " an ordered solo that seems more inspired by clarinetists Larry Shields of the ODJB and Leon Roppolo of the NORK than by other trumpet players.

When the New Orleans Jazz style swept New York by storm in 1917 with the arrival of the Original Dixieland Jazz Band, Jimmy Durante was part of the audience at Reisenweber's Cafe on Columbus Circle when ODJB played that venue.

Jazz pianist and composer, Frank Signorelli, who collaborated on the jazz standards " A Blues Serenade ", recorded by Glenn Miller and Duke Ellington, " Gypsy ", and " Stairway to the Stars ", joined ODJB for a brief time in 1921.

Jazz cornetist Bix Beiderbecke recorded nine compositions by ODJB in various bands and orchestras from 1924 to 1930: " Fidgety Feet ", his first recording in 1924, " Tiger Rag ", " Sensation ", " Lazy Daddy ", " Ostrich Walk ", " Clarinet Marmalade ", " Singin ' the Blues " with Frankie Trumbauer and Eddie Lang, " Margie ", and " At The Jazz Band Ball ".

In the first session at Gennett, the Friars Society Orchestra ( The name that they released the record under ) recorded 8 songs: “ Panama ”, “ Tiger Rag ”, “ Livery Stable Blues ” representing the New Orleans Jazz “ standbys ” as well as some originals of the group, “ Oriental ”, “ Discontented Blues ”, and “ Farewell Blues ” as well as a never-released ODJB song called “ Eccentric ”.

This proved to be a fantastic idea: the New Orleans Rhythm Kings were outstanding in that they played a more serious, crafted music than then-famous white jazz group the Original Dixieland Jazz Band ( ODJB ).

Despite a significant bias that only black musicians could play “ real ” jazz, white bands such as the New Orleans Rhythm Kings and the Original Dixieland Jazz Band ( ODJB ) emerged and found great success, especially in their recordings.

ODJB, on the other hand, played for dancing and hence, were the first " jass " band to get a following of fans in New York and then record at a time when the USA's recording industry essentially, was centered in New York and New Jersey.

#" Darktown Strutters ' Ball "/"( Back Home Again in ) Indiana ", 1917, Columbia A2297, the ODJB recording of " Darktown Strutters ' Ball " was inducted into the Grammy Hall of Fame on February 8, 2006

#" Beale Street Mama ", composed by ODJB pianist J. Russel Robinson, was recorded by the Fletcher Henderson Orchestra in 1923 as an instrumental and was released on Paramount

#" Aggravatin ' Papa ", a collaboration with ODJB pianist J. Russel Robinson, was recorded by the Fletcher Henderson Dance Orchestra in 1923 with Alberta Hunter on vocals

Beiderbecke was influenced by ODJB to become a jazz musician and was heavily influenced by Nick LaRocca's trumpet style with the band.

ODJB was the first band to record jazz successfully, establishing and creating jazz as a new musical idiom and genre of music.

In 1977, the ODJB classic " Singin ' the Blues ", co-written by ODJB pianist J. Russel Robinson, was inducted into the Grammy Hall of Fame in a landmark 1927 recording by Frankie Trumbauer and His Orchestra featuring Bix Beiderbecke on cornet and Eddie Lang on guitar, as Okeh 40772-B, recorded on February 4, 1927.

Robinson was a member of the ODJB until it broke up in 1923 and rejoined the band when it reformed in 1936.

The classic " Margie ", written when Robinson was in the ODJB, has been recorded by Louis Armstrong, Ray Charles, Benny Goodman, Jim Reeves, Al Jolson, Cab Calloway, Gene Krupa, and Fats Domino, among others.

Though NORK and ODJB were not by any stretch of the imagination the first white jazz bands ( there were many others that played around Chicago and New Orleans ), they were some of the first to make recordings and one of the first white jazz bands that made mixed race recordings ( Jelly Roll Morton was creole ).

The ODJB 1917 recording of " Darktown Strutter's Ball " on Columbia was inducted into the Grammy Hall of Fame in 2006.

The Original Dixieland Jass Band ( ODJB ) were a New Orleans, Dixieland jazz band that made the first jazz recordings in early 1917.

Band leader and trumpeter Nick LaRocca argued that ODJB deserved recognition as the first band to record jazz commercially and the first band to establish jazz as a musical idiom or genre.

Numerous jazz bands were formed in the wake of the success of ODJB that copied and replicated its style and sound.

Compared to later jazz, the ODJB recordings have only modest improvisation in mostly ensemble tunes.

Nonetheless, ODJB arrangements were wild, impolite, and definitely had a jazz feel, and that style still is referred to as the style of music known as Dixieland.

Fletcher Henderson and His Orchestra, one of the most popular and influential jazz bands of the 1920s, recorded several ODJB compositions:

Louis Armstrong acknowledged the importance of ODJB in the evolution and development of jazz and the influence they had on him:

The influence and enduring impact of the ODJB in the history and development of modern jazz are undeniable.

While the ODJB advertised their music as a novelty act, the NORK sought to distance themselves from the popular image of jazz as novelty and instead market it as a genuine musical genre.

The ODJB compositions have been covered by everyone from Louis Armstrong to Duke Ellington to Joe Jackson.

9 hit for ODJB in 1921 with J. Russel Robinson on piano.

Eddie Cantor had the biggest hit version of the ODJB classic, spending five weeks at no.

* The ODJB on RedHotJazz Contains. ram files of their vintage recordings.

* U. S. Library of Congress, National Jukebox, featuring original ODJB recordings on Victor.

In 1936 Nick LaRocca reunited the ODJB for a successful tour and more recordings.

* The ODJB on RedHotJazz Contains. ram files of their vintage recordings.

* The ODJB on RedHotJazz Contains. ram files of their vintage recordings.

LaRocca and Nunez had personality conflicts, and on October 30 Tom Brown's Band and ODJB agreed to swap clarinetists, bringing Larry Shields into the Original Dixieland Jass Band.

W. C. Handy recorded one of the earliest cover versions of a ODJB song when he released a recording of " Livery Stable Blues " by Handy's Orchestra of Memphis on Columbia Records in 1917, as Columbia A2419 and Columbia 2912, recorded on September 25, 1917.

The ODJB classic " Margie ", composed by J. Russel Robinson with Con Conrad, with lyrics added by Benny Davis, has been covered over a hundred times.

15 in 1939 with a cover of the ODJB song.

Edwards and Sbarbaro formed some bands without other original members in the 1940s and 1950s under the ODJB name.

Back in New Orleans, LaRocca licensed bandleader Phil Zito to use the ODJB name for many years.

1 on the charts in 1931 – 1932 with their version of the ODJB song.