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| Blues poetry of lycrics that follow an established AAB format. Over the 12 bar form, three phrases are sung, the first two being identical, the last phrase generally responding in some way to the first two. |
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| a group of ragtime composers and performers working in St. Louis and other Missouri cities in the 1890s that included Scott Joplin. |
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| people in New Orleans with a European (usually French) and African ancestry |
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| a melodic phrase played or sung by one performer that is answered by the rest of the group |
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| a form characterized by the use of a 12-bar chorus and an AAB lyrical verse that can be incorporated into jazz, rock, and other styles. The blues is also a separate style in and of itself that comes in many different forms |
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| a notated and fully composed piano style that was popular during the 1890s and early 20th century |
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| a virtuosic piano style played by Earl “Fatha” Hines that incorporated the use of octaves in the right hand |
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| the up-tempo and joyous music played on the return from a funeral in New Orleans; also denotes a rhythmic groove occasionally used in jazz performance |
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| an arrangement that is created in a spontaneous fashion without written music |
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| short melodic phrase or melody |
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| the wind instruments in a small jazz group |
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| a traveling show that was popular during the 19th entury featuring songs, skits, and dancing that usually portrayed African Americans in a derogatory fashion |
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| the solo pianists that played in the sporting houses (bordellos) of New Orlean’s Storyville district |
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| an improvised solo sung by a vocalist using nonsense syllables |
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| brought two million Southern black Americans north to cities like Chicago and New York by 1930 |
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| the Duke Ellington composing style from the 20s characterized mainly by the growling trumpet style of Bubber Miley |
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| gang controlled establishment where liquor was sold illegally |
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| like farm baseball teams, containing players whose talent was not quite ready for a band with a national rep. Occasionally a player with outstanding talent would get “called up” and sometimes a territory band would get a big break. KC was homebase to most territory bands |
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| an increased awareness and promoting of African American artistic culture in Harlem in the 1920s that included theatre, literature, art, poetry, and music |
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| the jazz style that evolved in Kansas City in the 1920s and 30s that is characterized by the use of 12-bar blues forms and head arrangements |
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| recorded in 1926, Louis Armstrong’s first hit record |
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| a nightclub in the 20s and 30s where both black and white patrons were welcome |
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| parties that charged an admission price that helped pay the next month’s rent; popular in Harlem in the 1920s |
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| a style of jazz that emerged from white bands in Chicago in the 1920s |
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| 1896 decision stating that separate facilities for clacks and whites were permissible, as long as they were equal. “Separate but equal” |
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| recorded in 1920 by vaudeville singer and dancer Mamie Smith |
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| 1st Blues recording by a black singer |
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| 1st recording by a black jazz band |
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| in Kansas City, located closer to downtown at 12th and Cherry, catered to both black and white customers ( although they were seperated by a divider that ran down the middle of the club), and four shows nightly. There were also rooms upstairs where prostitutes took clients via a private stairway. It was here that John Hammond discovered Count Basie Orchestra in 1935. It was also where young Charlie Parker would often hang out and listen to Lester Young, Basie’s main tenor soloist |
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| located in KC at 18th and Vine, a basement club underneath a bar/restaurant with regular jam sessions that often attracted out-of-town musicians who were passing through |
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| located at 12 and Vine in KC, where one of the most notorious cutting contests in jazz history took place in late 1933 |
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| extended from Texas to Minnesota, Ohio to Colorado where territory bands would play |
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| home of the Maple Leaf Club |
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| southside Chicago in the area just below the Loop where new immigrants settled |
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| originally used to describe the sound of the many pianos plinking out melodies along 28th st between broadway and 6th avenues in the early 20th century that sounded like dishpans being struck. Eventually became catchphrase to describe entire publishing industry based in NY |
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| located 4th and Cherry in KC |
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| rhythmically placing or accenting notes away from the beat in unexpected places |
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| the act of simultaneously composing and performing |
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| a solo song-shout without form or steady rhythm that is highly spontaneous |
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| songs sung during the performance of a job, task, or work to make the work easier |
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| Original Dixieland Jass Band |
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