James P. Johnson's influence was strong until the be-bop era. He influenced Duke Ellington, Count Basie, Art Tatum, Joe Sullivan, Ralph Sutton, and to some extent, Thelonius Monk. The stride sound was large, hearty. Stride was the way ragtime could survive in the New York City of 1920's - 1930's: it was bluesy, it swung. It was fresh. Not for nothing, this music was as difficult and complex as classical piano. To some extent Fats Waller, James P. Johnson, and Eubie Blake were "classically" oriented; they loved the romantic pianists.

The only other major figure who advanced ragtime into jazz (and blues) was Jelly Roll Morton, who is a counterpart to the stride movement. Jelly Roll operated in New Orleans, Chicago and eventually in New York City. He also operated throughout the gulf coast as a part-time pool shark, pimp, and hustler when piano playing

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