|
Viola player; “Symphonic Jazz” – blend of jazz and classical;
“king of jazz”
Hire a custom writer who has experience. It's time for you to submit amazing papers!
order now
huge success. introduced most people to jazz |
|
|
blend of jazz and classical; it was to be performed not for dancing but for respectful and attentive listening |
|
|
influenced by a white group called the New Orleans Rhythm Kings; from Chicago; they created the Chicago style jazz |
|
|
New Orleans-inspired music of white jazz musicians in the 1920’s |
|
|
cornet player (known as Armstrong’s white counterpart); influenced by ODJB |
|
|
|
|
despite race difference, musicians admired one another and the bands often faced off in good natured competition; Henderson played there often |
|
Fletcher Henderson was inspired by |
|
New Orleans – and therefore started incorporating swing and big band jazz – BIG BAND SWING. first to develop a swinging large ensemble |
|
|
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 |
|
|
Duke Ellington and the Cotton Club |
|
|
pianists influenced by African ring shout which made their music emphasize “swing feel” – accented upbeats, legato phrasing etc. |
|
|
virtuosic swinging form of east coast ragtim in the 1920’s;
stride is more spontaneous and improvisational, intended for live performance |
|
|
James P Johnson (father of the stride, Carolina shout) Willie the Lion Smith Fats Waller Earl Hines (trumpet style piano) |
|
|
harlem stride piano, father of stride, Carolina Shout – standard test piece |
|
|
standard test piece, James P Johnson |
|
difference between ragtime and harlem stride |
|
in harlem stride, the right hand improvises |
|
|
first jazz musician to use the organ
in the 1920’s and 1930’s he was the most important keyboardist |
|
|
Fats Waller; replaced the Carolina Shout as a test piece |
|
|
descended from the country blues (Texas and Louisiana)
left hand has a repeating ostinato pattern improv in the right hand driving swing feel |
|
|
left = ostinato melody right = improv rhythm |
|
|
|
|
|
|
descended from country blues Jimmy Yancey and Meade Lux Lewis |
|
effect the Depression had on jazz |
|
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 |
|
|
Lindy Hop jitterbug dance 1927 Lester Young and Erskine Hawkins played there |
|
|
consistently staging perofrmances by leading black musicians, it became the most influential of the jam-session concerts |
|
|
comping – rhythmic impetus but not dominating the song; a more conservative approach |
|
|
2000 songs, unique sounds, combining instruments in unorthodox way |
|
|
|
|
|
|
|
|
|
|
first jazz textless recording |
|
|
first jazz textless recording |
|
|
|
|
first jazz textless recording by Adelade Hall |
|
|
integral to the Ellington woodwinds, tries to make alto sax sound like a voice |
|
|
|
|
primarily dance band; swing |
|
|
technique common in swing bands; melodic rhythmic pattern accompanying who’s soloing; easily memorized.
purpose is to back up soloist |
|
|
1. riffs 2. blues – 12 bar form
*improv is key *head arrangements used in great deal (remember everything without having to write it down) |
|
|
|
|
|
|
one of the most important venues for big bands in the 1920’s |
|
Henderson jumpstarted many careers |
|
he jumpstarted Colman Hawkins’ and Paul Gonzales’ career |
|
|
|
|
jazz wasn’t pop music — rock n roll was in the jazz world, swing wasn’t prominent, bebop was |
|
|
1956 Ellington and Paul Gonzales (played 27 choruses) |
|
|
|
|
|
|
pianist and arranger for Ellington |
|
|
drummer for Goodman first to make drum sorta the frontline drums soloing band boogie, boogie=piano? tried to make it drums too |
|
|
Goodman’s rival clarinetist |
|
|
|
|
traditional sound, oldschool tenor sax lot of vibrato vertical improv – improvise thru the changes |
|
|
coleman hawkins; improvise through the changes, don’t worry about the melodies as much |
|
|
first AABA tune to learn when trying to improvise |
|
|
tenor sax the most influential player because he produced a new sound, not so much vibrato |
|
|
Trumpet first real high-range trumpet player |
|
|
electric guitar player connection between tune and improv (linear improv)
experimented with Gillespie, Monk, and Charlie Park to form BEBOP |
|
|
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 |
|
|
drummer, major figure in hard bop |
|