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During that time jazz was also synonymous with dance music. According to Faecq it was only when she saw the original black bands that he and his friend Goffin realized that jazz was more than just dance music. Together they discovered jazz music through listening to the Mitchell's Jazz Kings and other black bands in the Alhambra theater.

In that period Belgium was in fact the 'jazz capital' of Europe. There were also successful white jazz bands, such as "The Georgians" with Charles Remue - now considered a pioneer of jazz in Belgium. From on he led his "The Bing Boys. This was the first time the word "jazz" appeared on a poster in Belgium. In those days the "Mohawks Jazz Band" among others was active in Antwerp and many other groups also embraced the new music, especially in Brussels and Antwerp.

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They modeled themselves mainly after the U. Dozens of orchestras brought the Roaring Twenties to Belgium. Faecq made sure that the first Belgian jazz records of the Gennett label arrived in Belgium via Chicago and London. In he also published along with his schoolmate Paul Mayaert "Music Magazine", which is possibly the first music magazine in the world with serious articles about jazz.

It was a breakthrough for the popularization of jazz in Belgium, because the only other existing journal, La Revue Musicale Belge , of Marcel Poot did not talk about jazz but about marching music. In , The Jazz Singer , one of the first American sound films , was played in the cinemas, with Al Jolson as the leading actor.

He took the orchestra to London, were on June 17, , they made recordings for " Edison Bell Studios ".

Best Online Dating Apps and Sites in Belgium – Belgium Dating Pralido

The first historical Belgian jazz recording had become reality. The excellent musicians who were part of the recording sessions such as Charles Remue and His New Stompers Orchestra were jazz trumpeter Alfons Cockx, tenor saxophonist Gaston Frederic and the classically trained pianist Stan Brendus who would later become the founder of the first Radio Jazz Orkest Radio Jazz Orchestra.

They recorded fourteen songs that would become popular when they reached the homeland. Even from a European perspective it was pioneering work, because at that time, apart from Belgium, only France and England could draw on a few experienced jazz musicians. On that first Belgian jazz record, they covered some American hits from that era such as "Ain't she sweet" but Remue still managed to record more than half 7 out of 13 Belgian compositions.

This duo also made records in the United States. Meanwhile, Faecq had become a central figure of the Belgian jazz, and almost all jazz musicians and composers of some renown eventually came to him. He also made good use of his contacts with London publishers to provide Belgian professional musicians with the latest jazz scores so that they did not have to rely on just hearing the records.

After first having distributed the scores, Faecq became agent and publisher for the Stazny publishers in London and sold the original jazz scores in Belgium.

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His "Universal Music Store" became a kind of warehouse where Belgian jazz musicians could draw on. In the s, there were plenty of Belgian jazz musicians working in dance halls, cinemas, theaters, bars, cafes and 'cabarets chantants'. Musicians and bands could even be engaged for several weeks in the same venue. Belgian musicians also traveled abroad and made recordings.


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Jazz musicians also found work on the steamers of the Europe-America lines. David Bee, for example, was bandleader on the ocean liner Ile de France. Two American ships of the Red Star Line , the "Belgian Country" and the "Lapland", transporting passengers between Antwerp and New York, took care of a lot of Belgian musicians by offering them a contract. An additional advantage was that it gave them the opportunity to make international contacts and enabled them to visit the country where jazz originated.

On the radio a lot of newly released American records were played.

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With his Jazz Club de Belgique Faecq organized an annual international tournament for amateur musicians. During this period the innovating music of Louis Armstrong reached Belgian listeners as well. Goffin immediately understood the genius of this musician and started to write about him, and later befriended his idol. Goffin wrote in his Aux Frontieres du Jazz about "the true genius of jazz" Armstrong and the "black jazz" that he had discovered. The early s brought two Belgian trumpet players to the fore that took control of the Belgian jazz scene: Robert De Kers and Gus Deloof.

In De Kers had taken over leadership of Packay orchestra. He then went abroad and after the disintegration of his group he founded the Cabaret Kings in Spain, consisting of one part black musicians, a few Spaniards and five Belgians. He continued performing with this group up to the Spanish Civil War in After he left, The Cabaret Kings remained active for another 20 years, with varying line-ups. In the U. A number of American orchestras came to Belgium.

Their performances proved inspiring. Candrix would lead several bands and make a hundred records. Clarinetist Jean Omer formed his first orchestra in after listening to records of King Oliver and Louis Armstrong. In he opened his nightclub Le Boeuf sur le toit "The Ox on the Roof" in Brussels where his orchestra "Jean Omer Jazz Orchestra" with 16 to 18 musicians performed alongside other jazz bands.

The rhythm section gained international fame and was even compared with that of Count Basie. This orchestra played several jazz compositions and film music in a typical American swing style. Brenders, who played solid swing numbers, won the 'battle' in a convincing way. Later in life, Brenders would make a lot of recordings for radio and also had the opportunity to work with Django Reinhardt.

Many new bands emerged as a result of the activities of these three jazz musicians Candrix, Brenders and Omer and for many musicians the great pre-war big bands and other ensembles ensured a fixed income. The arrangements were usually supplied by the aforementioned Peter Packay and David Bee. And then there was the classically trained musician Frank Engelen , an excellent guitarist but also a well respected composer and arranger.

During World War II jazz music was banned by the occupying Germans and therefore was forced to go underground. Even so, it seemed to flourish more than ever. Belgian orchestras continued to make new recordings and new bands kept popping up. Few records reached Europe, and of course no American bands were touring Belgium.

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