Two Recordings Made Between 1910-1950. Comment on How Jazz Has Developed Between These Recordings BY Gravedigger’s Compare and contrast the instrumentation and Improvisation of two recordings made between 1910-1950. Comment on how Jazz has developed between these recordings “Dixie Jazz band one-step” was recorded In 1917 by the “Original Dixieland Jazz Band” (ODDS) who inherited much instrumentation from New Orleans Brass Band tradition.
In this piece they made use of a typical small combo with a ‘frontline’, including cornet, clarinet and trombone, and a ‘rhythm’ section consisting of piano and drums. Charlie Parser’s Re-poppers also used a small combo, but with Alto sax and trumpet (replacing the out of date cornet) in the frontline, and piano, drums and bass in the rhythm section in “OK-OK” recorded in 1945. Although both use a similar sized ensemble, there is large umbrae contrast because ODDS have three Instruments Improvising simultaneously except during moments of stop-time’ in the B section, where the band leaves the clarinet unaccompanied on beats 2, 3 and 4.
In “OK-OK” the focus is on the soloist, Parker taking two 64-bar choruses and Roach a 27 bar drum solo. In the Intro, although not a solo, the melody In eves then TTS Is much less dense than the polyphony of the ODDS. The clarinet frequently performs smears, for example the high-pitched descending smear signaling the end of each C section. The trombone plays in the tailgate, style frequently scooping and smearing as In the call-and-response with the clarinet and ornate in section C.
In contrast, Parker and Gillespie play with clean articulation and highlight specific note and phrases using “ghosting”, a technique where a soloist backs of one note to highlight another. In “Dixie Jazz Band One-step”, the drummer rarely uses the cymbal, saving it for climactic moments such as at the end of the piece whereas Roach uses it extensively during Parkers’ solo and his own. Dodo’s drummer also uses many novel blues Influenced percussion sounds such as woodblock and cowbell which are absent from “OK;kid’.
The improvisation in “OK-OK” is much more virtuosic and complex compared to “Dixie Jazz Band One-step, the speed Gillespie and Parker play at Is much of the interest of the piece. The two 64-bar solos also show more Imagination. Using no material from the head and constantly re-inventing ideas, the speed of though all the more 1 OFF of the spontaneity throughout his solo. The phrasing is also less regular, with 8-bar phrases broken up into 3-3-2 in the first 8 bars of his solo, and at 1’41” – 1’51 arpeggios are played with displaced accents.
The complexity is increased by the interplay with the drummer emphasizes beats unpredictably during solos adding elusiveness and sophistication to performance. Max Roach takes an irregular 27-bar solo of his own, demonstrating typical be-bop innovation and a much different role to the Job of the Dodo’s drummer who Just keeps the rhythm. This variety is a contrast to the minor alterations on repeats of sections in “Dixie Jazz Band One Step” which repeat the melodic ideas almost exactly with some slight changes in instrumentation.
These melodic phrases are always periodic and outline simple triads, possibly with the addition of a 7th whilst Parker uses altered extensions of chords for example be, b/#9 and b/# 11 degrees. On these recordings, both groups use similar sized ensembles, although there is a timbres contrast. In terms of improvisation, “Kook” is more focused on solo improvisation compared the polyphonic improvisation ion in “Dixie Jazz band one step”. The level of spontaneity and technical virtuosity in Parker and Gillespie playing goes far beyond that of the ODDS.