As it had happened with the flute a few years earlier, the violin knew in the decade of a period of splendor that was turning out to be somewhat paradoxical if there is born in mind the role that had redeemed the instrument in the history of the jazz. In the first bands of New Orleans it was relatively usual, and some of the most important figures of the epoch were violinists (John Robechaux, Will Marion Cook, Johnny Schenk. . . ). Nevertheless, the instrument was not provided with a stamp so powerful as that of the wind instruments, by what its role remained relegated to of those.