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Territory bands were dance bands that crisscrossed specific regions of the United States from the 1920s through the 1960s.〔 Beginning in the 1920s, the bands typically had 8 to 12 musicians. These bands typically played one-nighters, 6 or 7 nights a week at venues like VFW halls, Elks Lodges, Lions Clubs, hotel ballrooms, and the like. Francis Davis, jazz critic for The Village Voice, likened territory bands to "the Top 40 cover bands (of the 1970s and 1980s) of their day, typically relying on stock arrangements of other ensembles' hits." He said, "many historians give much credit to territory bands for popularizing modern ballroom dancing that began during the World War I era with the influence of Vernon and Irene Castle."〔 Territory bands helped disseminate popular music — which included swing, jazz, sweet dance music, or any combination thereof — bringing it to remote gin mills and dance halls that were otherwise ignored by national booking agents representing genuine recording stars like Ellington and Armstrong. Many developed original repertoires and signature sounds, none more storied than Walter Page's Blue Devils, the Oklahoma City-based outfit that Count Basie joined in 1926.〔 == Ethnicities of the bands == There were black bands and white bands, and bands of various immigrant ethnicities.〔 There were also all-female bands, such as the International Sweethearts of Rhythm. Musician, composer, and scholar Gunther Schuller asserted in one of his books, ''The Swing Era: The Development of Jazz, 1930–1945 (The History of Jazz, Vol. 2)'' that, "territory bands, by definition, were black. There were, of course, many white bands in the 'territories' but they tended to have the more lucrative and permanent jobs and therefore not required to travel as much as the black bands."〔 Another musician (former territory band musician and historian), Jack Behrens, expressed in a book that Schuller's depiction of divergent work conditions was narrow. "During my playing days in the 1940s and 50s in several white territory bands, we didn't have "lucrative and permanent jobs" unless you count day labor in a dairy bar or clerking at a military surplus store. Worse, there were times we didn't get paid at all and we had little recourse given the cost of legal advice."〔 For most territory bands — whether black, white, integrated, male, female — the musicians were nearly always paid. Neither the booking agencies nor the musicians got rich, but regular salaries helped maintain pretty decent musicianship.〔 Most musicians witnessed and experienced a wide variety of Jim Crow practices, from city to city and region to region. One common present-day misconception is that Jim Crow practices were more prevalent in the South. The practices were prevalent everywhere, especially in New York City〔 and the Midwest. The bands that were racially integrated commonly experienced problems, mostly from having to dodge different applications and degrees of Jim Crow among cities and regions. Many bands, especially The International Sweethearts of Rhythm, handled some of the absurdities with a degree of inward, sarcastic humor. When musicians grew wary or even felt vulnerable to injustices of Jim Crow, the band bus, for those who had one, served as a safe haven. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「territory band」の詳細全文を読む スポンサード リンク
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