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Viola player; "Symphonic Jazz" - blend of jazz and classical;
"king of jazz"
huge success. introduced most people to jazz |
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| blend of jazz and classical; it was to be performed not for dancing but for respectful and attentive listening |
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| influenced by a white group called the New Orleans Rhythm Kings; from Chicago; they created the Chicago style jazz |
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| New Orleans-inspired music of white jazz musicians in the 1920's |
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| cornet player (known as Armstrong's white counterpart); influenced by ODJB |
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| despite race difference, musicians admired one another and the bands often faced off in good natured competition; Henderson played there often |
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| Fletcher Henderson was inspired by |
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| New Orleans - and therefore started incorporating swing and big band jazz - BIG BAND SWING. first to develop a swinging large ensemble |
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| high class venue featuring black entertainment strictly for white customers; had an African jungle theme - closely associated with Duke Ellington featuring throbbing tom-tom, minor keys, chromatic harmony, and growling trumpets |
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| Duke Ellington and the Cotton Club |
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| pianists influenced by African ring shout which made their music emphasize "swing feel" - accented upbeats, legato phrasing etc. |
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virtuosic swinging form of east coast ragtim in the 1920's;
stride is more spontaneous and improvisational, intended for live performance |
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James P Johnson (father of the stride, Carolina shout)
Willie the Lion Smith
Fats Waller
Earl Hines (trumpet style piano) |
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| harlem stride piano, father of stride, Carolina Shout - standard test piece |
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| standard test piece, James P Johnson |
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| difference between ragtime and harlem stride |
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| in harlem stride, the right hand improvises |
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first jazz musician to use the organ
in the 1920's and 1930's he was the most important keyboardist |
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| Fats Waller; replaced the Carolina Shout as a test piece |
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descended from the country blues (Texas and Louisiana)
left hand has a repeating ostinato pattern
improv in the right hand
driving swing feel |
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left = ostinato melody
right = improv rhythm |
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descended from country blues
Jimmy Yancey and Meade Lux Lewis |
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| effect the Depression had on jazz |
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at first it was tough when clubs closed and the jukebox
the celebratory music of New Orleans was not fit for the harsh times - so NO style faltered
big bands like Ellington, Henderson, and Whiteman faired well with the bigbands |
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Lindy Hop jitterbug dance 1927
Lester Young and Erskine Hawkins played there |
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| consistently staging perofrmances by leading black musicians, it became the most influential of the jam-session concerts |
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| comping - rhythmic impetus but not dominating the song; a more conservative approach |
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| 2000 songs, unique sounds, combining instruments in unorthodox way |
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| first jazz textless recording |
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| first jazz textless recording |
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| first jazz textless recording by Adelade Hall |
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| integral to the Ellington woodwinds, tries to make alto sax sound like a voice |
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| primarily dance band; swing |
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technique common in swing bands; melodic rhythmic pattern accompanying who's soloing; easily memorized.
purpose is to back up soloist |
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1. riffs
2. blues - 12 bar form
*improv is key
*head arrangements used in great deal (remember everything without having to write it down) |
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| one of the most important venues for big bands in the 1920's |
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| Henderson jumpstarted many careers |
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| he jumpstarted Colman Hawkins' and Paul Gonzales' career |
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jazz wasn't pop music -- rock n roll was
in the jazz world, swing wasn't prominent, bebop was |
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| 1956 Ellington and Paul Gonzales (played 27 choruses) |
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| pianist and arranger for Ellington |
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drummer for Goodman
first to make drum sorta the frontline
drums soloing
band boogie, boogie=piano? tried to make it drums too |
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| Goodman's rival clarinetist |
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traditional sound, oldschool
tenor sax
lot of vibrato
vertical improv - improvise thru the changes |
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| coleman hawkins; improvise through the changes, don't worry about the melodies as much |
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| first AABA tune to learn when trying to improvise |
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tenor sax
the most influential player because he produced a new sound, not so much vibrato |
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Trumpet
first real high-range trumpet player |
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electric guitar player
connection between tune and improv (linear improv)
experimented with Gillespie, Monk, and Charlie Park to form BEBOP |
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house player at Minton's
likes to deconstruct his music - try to reduce it to its essentials
originality, almost clumsy
him and ellington inspired by impressionism
WHOLE SCALE AMBIVALENCE, ANGULAR, and PLAYING AGAINST EXPECTATIONS |
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| drummer, major figure in hard bop |
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