Jazz History 1

• Bass (Tuba)
• Piano
• Guitar (Banjo)
• Drums

• This is one of the time keepers
• Creates rhythmic drive
• "Walks" during swing with emphasis on beats 2 and 4

• Provides harmonic framework by playing chords
• Improvises rhythms and chord voicings
• Provides creative accompaniment for soloists

Same function as piano

• Establishes the beat along with the bass by using the ride cymbal heavily
• In swing, the hi-hat is closed on beats 2 and 4

• Each section labeled with capital letter
• Each section is usually 8 bars
• Jazz musicians use this form to keep track of where they are when they are playing

• AAB form
• Each section is 4 bars
• The form is 12 bars

• One complete revolution or cycle through a piece of music.
• Songs are usually performed with more than one time through the form (chorus).

Intermittent events (notes) that happen between beats and/or sounds, which are stressed in unexpected ways.

• Events organized in time
• This encompasses beats, tempo, meter, and various time values assigned to events

The instruments used in a piece of music

• Sequence of single notes arranged in time
• Usually the primary part in a song

An arrangement of two or more notes that occur simultaneously.

The band stops playing and a player has a short solo

• Bending the pitch
• Black singers would bend (lower) the seventh and third scale degrees and the naturally occuring half steps are eliminated.
• These notes are known as blue notes.

Techniques used for thickening the tone of an instrument

• These are central to African rhythm
• In simple terms, it is the superimposition of duple over triple rhythms.
• The central rhythm is usually established by the lead drummer

It was customary for the leader or minister to perform in a call-and-response manner, with the congregation giving the responses in spoken prayer and music.

• Popular form of entertainment starting in the 1840s
• Started out with white people performing in blackface
• Eventually included black people performing in blackface

• This was the majority of black music
• These songs were based on the type of work being done

• The Father of the Blues
• Listened to songs of birds and riverboat whistles
• First composition- "Memphis Blues"
• Most popular composition- "St. Louis Blues"
• Wasn't the first blues musician, but he was the first to write it down

• Many of these are based on biblical passages
• Used call-and-response technique

• Started with piano players' efforts to improvise versions of brass band marches in the absence of an actuall brass band.
• Players began to syncopate march melodies.

• Left hand goes back and forth, alternating bass notes or octaves
• Right hand plays melodies syncopated against the regular left hand rhythm

• Instrumentation grew out of the brass band tradition
• Consisted of front line (cornet, clarinet, and trombone) and rhythm section (tuba/bass, drums, cymbals, piano, and banjo/guitar)
• Built around "hot" bands playing interpretations of marches, rags, polkas, blues, quadrilles, and popular tunes
• Featured collective improvisation, with several players improvising at once

• Given credit as first "jazz" musician
• Remembered by New Orleans musicians as one of the best cornet players from 1895 to 1906

• One of most popular and best-known New Orleans cornetists
• Mentor for Louis Armstrong
• Excelled at collective improv, master of tonal manipulation
• His Creole Jazz Band was one of most popular bands in Chicago (finest musicians from New Orleans)

• One of the top cornet players in New Orleans
• Declined invitation to record ahead of the Original Dixieland Jazz Band because he didn't want to "give away his tricks"

• Played clarinet and soprano sax
• One of most highly regarded musicians in early jazz and one of first important soloists
• Big sound with wide vibrato

• Pianist, composer, and arranger
• Given credit for being first jazz composer/arranger
• Created more loose rhythmic feel and swung rhythm
• His most famous band was the Red Hot Peppers

• Rooted in ragtime style
• Right hand uses improv, unlike ragtime
• Swing eighth-note rhythmic feel
• Existence of tenths or walking tenths in the left hand

• Important stride pianist
• Taught Fats Waller and collaborated with him
• Accompanied blues singers Bessie Smith, Ethel Waters, and Ida Cox

• Famous Stride pianist
• Protegé of James P. Johnson
• Became famous as a singer, entertainer, and composer of popular songs ("Ain't Misbehavin'" and "Honeysuckle Rose")

• His style of stride piano playing demonstrated the influences of the trumpet playing of Louis Armstrong.
• Right hand single note improvisations that imitated trumpet melodies
• Fast right hand octave tremolos to imitate Armstrong's fast vibrato
• Forceful right hand octave melodies to imitate Armstrong's powerful sound

• Has roots in blues style
• Created exciting dance rhythms using repetitive, stationary left hand patterns instead of the stride style of piano
• Improvised blues riffs in the right hand while left hand has stationary, repetitive pattern

• Father of Boogie-Woogie
• Recorded his famous "Honky Tonk Train Blues" in 1927
• Appeared in movie New Orleans with Louis Armstrong

• Father of Jazz (first jazz vocalist)
• Joined King Oliver's group in Chicago as 2nd cornet
• 1925-1928: his Hot 5/Hot 7 recordings
• He was a virtuoso- double time, increased upper range, "hot" sound, fast vibrato, attractive sense of swing
• SCAT vocals
• Impacted all jazz players and singers
• One soloist at a time

• Cornet and piano player
• Became one of first white jazz musicians to be widely admired by black jazz musicians
• Influenced by impressionistic composers Ravel and Debussy
• Unorthodox, self-taught system gave him unique sound
• Played on the beat, differing from Louis Armstrong's behind the beat playing

• Saxophonist
• Worked with Beiderbecke
• He was an important "hot" jazz soloist

• Change in instrumentation: saxophone is introduced and eventually takes over clarinet, string bass appears and takes over tuba, trumpet replaces cornet, guitar replaces banjo, piano became standard
• Collective improv replaced by one soloist at a time
• More arrangements are used

• Group of young white aspiring jazz players from Austin High School
• Inspired by New Orleans Rhythm Kings, Bix Beiderbecke with the Wolverines, and King Oliver

• Consisted of larger ensemble (9-16 players) rather than combo
• More arrangements used due to more instruments
• Big Bands have a sax section (double on clarinet), a brass section, and a rhythm section
• Drummers use more cymbals
• One soloist at a time

• Born in Cuthbert, GA
• Band leader, arranger, and pianist
• Made name for himself in NY, played at Roseland Ballroom
• His band featured Coleman Hawkins on sax and Louis Armstrong on trumpet

• Jazz musician, arranger, band leader, and composer
• Played saxophone and clarinet with Fletcher Henderson's orchestra
• Began writing arrangements and had a lot to do with formulating the sound that became Big Band Swing

• First tenor sax star
• Developed into prolific improviser and saxophonist after 1924
• Transferred Louis Armstrong's innovation to tenor sax
• Played with Fletcher Henderson

• Given nickname because of impeccable manners and good taste
• "Painter of sounds"
• Composer, arranger, band leader, pianist
• 1924-1927 his band played at the Kentucky Club
• 1927-1931 his band played at the Cotton Club (his big break)

• Bubber Miley- trumpet growl specialist
• Cootie Williams- trumpet growl specialist
• "Tricky" Sam Nanton- trombone growl specialist
• Johnny Hodges- alto sax

• 1) Jungle: extensively uses muted brass sounds to capture exotic flavor of African culture
• 2) Mood: intended to capture or depict a particular mood or setting
• 3) Concerto: intended to feature talents of a specific band member
• 4) Extended Works: intended to extend the length and scale of a work
• 5) Dance: intended for dancing

• Biggest influence is blues
• These bands can also be called riff bands
• Count Basie style
• Had head arrangements (performing the arrangement from memory)

• Composer, arranger, band leader, pianist
• Led a very successful band
• New style of comping (began to jab chords intermittently between beats and used chords in the extreme upper register of the piano to penetrate the texture effectively)

• "the All American Rhythm Section"
• Walter Page- bass
• Jo Jones- drums
• Freddie Green- guitar
• Basie- piano

• Played tenor sax for Count Basie's band
• Preeminent soloist in the band
• One of the most significant tenor sax players of 1930s and 1940s

• One of the most important aspects in African music
• Makes the audience a contributing member of the overall product

• Functional music
• Usually one solitary performer

Type of blues used as entertainment