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| A person of mixed Black and European ancestry who speaks a creolized language, especially one based on French or Spanish. (e.g., Jelly Roll Morton) |
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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
Ragged time = syncopated versions of popular songs
Piano replicates parts for a 6-7 piece brass band
Pianists expected to improvise
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Ragtime does not “swing:
Form: AABBACCDD |
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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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| brought two million Southern black Americans north to cities like Chicago and New York by 1930 |
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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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| 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
Addition of saxophone
Guitar replaces banjo
Double bass replaces tube
More complex music |
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| wind instruments played with a cup-shaped mouthpiece. This category includes the trumpet, cornet, trombone, and tuba. |
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| Bridges Hard Bop to Free Form. Leading saxophonist. Joined Miles in 1955. Sacred music. |
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| No structure or form; chords not prescribed. Rhythms not always 4/4; High communication needed |
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Pianist, composer, band leader. ODJB
First famous jazz composer
Creole |
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Piano
A Prominent ragtime performers |
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-“King of Jazz”
-mixed jazz into dance music
-28 #1 records |
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composer, band leader and pianist
2000+ compositions.
“Master of the three minute form”
took the idiom of jazz into the format of extended works
often wrote more than one versoin to a song
“jungle” pieces at the cotton club
dance pieces
cotton club was his important engagement
Discovered the “Golden section” |
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1894-1955 – Pianist
-father of stride piano (smoother, more modern, improvisation, than ragtime)
Bessie Smith’s favorite accompanist |
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where ellingtons early band played for floor shows
High end club in harlem
Minstrel-type entertainment
“Jungle Music” – Bubber Miley’s trumpet growl |
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| Jazz evolved during the _____ century. |
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| The beginnings of jazz occurred: |
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| What technology brought musical styles and musicians to the attention of vast numbers of listeners and other musicians? |
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| What is the title of the first jazz recording? Where was it? |
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| Original Dixieland Jazz Band (1917), NYC |
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| Who was the first to break the race barrier in jazz? In what year and under what circumstances did it occur? |
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| In 1936, Benny Goodman breaks the racial barrier by hiring Lionel Hampton, Teddy Wilson and Charlie Christian to play a Carnegie Hall concert. |
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| What constitutional action profoundly changed the lives of jazz musicians on the road? |
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| The Civil Rights Act of 1964 outlawed racial segregation in schools, public places, and employment. |
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| Who was the first “giant” of jazz (name, dates, style, instrument and contributions). |
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Louis Armstrong
NYC – Plays 1st trumpet w/ Fletcher Henderson
(1901-1971)
Dixieland
Trumpet and Vocal
virtuoso soloist art form |
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| Who was the second “giant” of jazz (name, dates, style, instrument and contributions). |
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| Duke Ellington
(1899-1974)
Swing Era and beyond
Band Leader and Pianist
first great composer of jazz music |
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| Who was the third “giant” of jazz (name, dates, style, instrument and contributions). |
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| Charlie Parker
(1920-1955)
Be-bop
Alto Sax and Composer
modernized jazz soloing with a newer, “hipper” rhythmic style
expanded harmonic vocabulary
elevated technical standards |
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| What time period constitutes the Dixieland jazz era? |
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| Who are the major musicians of the Dixieland era (4)? |
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| Louis Armstrong
“Jelly Roll” Morton
Sidney Bechet
Bix Beiderbecke |
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| What are the major characteristics of Dixieland jazz? |
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blues, rags and marches
collective improvisation
soloist established as an artist
stride piano style established |
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| What time period constitutes the Swing Era? |
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| Who are the major musicians of the Swing Era (9)? |
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| Duke Ellington
Count Basie
Fletcher Henderson
Jimmy Lunceford
Glenn Miller
Benny Goodman
Tommy Dorsey
Artie Shaw
Claude Thornhill
(and many others) |
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| What are the major characteristics of the Swing Era? |
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Big bands are the “kings of swing”
much competition and variety
only time a form of jazz is the popular music of the USA
“American Popular Song” forms (AABA/32 bar variations)
composers and arrangers important |
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| What period constitutes the Be-bop era? |
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| Who are the major musicians of the Be-bop era (5)? |
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| Charlie Parker
Dizzy Gillespie
Thelonius Monk
Bud Powell
Art Tatum |
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| What are the major characteristics of the Be-bop era? |
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Redefining of soloist art forms
More modern “hip”
higher technical standards
solos based on chord progressions
smaller groups than the swing era
AABA, blues forms (and others)
not popular music
Latin influence |
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1885-1938 – Trumpet
Creole jazz band
New Orleans
Pioneered use of mutes
2nd trumpet = Louis Armstrong |
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severly limited vision
amazing technique and velocity at piano
reharminization
songs: Willow Weep for Me, Tiger Rag
transition |
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nicknamed yardbird
possibly the most important musical figures in jazz history
played and lots of notes. densley packed solos
saxiphonist
songs: Shaw Nuff(with Dizzy), Embraceable You (two alternate takes)
bebop |
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| a person descended from of culturally related to the original French settlers of the southern United States, especially Louisiana |
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| an anticipation of the beat, often accented; function of rhythm |
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A place where slaves were permitted to dance
Now called Louis Armstrong park
New Orleans City Council 1817 designated Congo square as the official site for slave dances
Other parts of the country did not permit this and outlawed any African elements in the music of slaves. New Orleans Latin-Catholic influence was tolerant |
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As a soloist, he defined jazz clarinet as no other, before or since.
Established standards of technical perfection unheard of in that era.
Popularized Swing Style
Had First Racially Mixed band |
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| instrumentation of swing group |
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| 5 saxophones, 3-4 trumpets, 3-4 trombones, piano, bass, guitar, and drums. |
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| ragtime turned mainstream |
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-country/hillbilly music
-spread by radio
-discoverd by guys looking for Blues artists in the south |
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| First black jazz recording |
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| Joe Oliver’s Creole Band 1923 |
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-cultural environment
-French and Spanish influence (interracial marriage)
-slaves, free blacks, refugees, Caribbean, Italian refugees
-PORT CITY ($ tourism, entertainment) |
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-white musician majority
-more integration
-Bix Beiderbecke (trumpet) |
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| European Influence on Jazz |
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Harmony – from polka/marches
Symmetrical form
Instrumentation – from marching bands |
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| African Influence on Jazz |
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Emphasis on rhythm (syncopation/polyrythm)
Use of vocal inflection
Call and response |
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Refers to mourners who follow marching band in N.O. funeral
Play sad, then happy hymns |
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| Characteristics: The Blues |
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Simultaneous expression of joy/grief
Born out of repression of slavery/hate
Religious overtones |
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| Characteristics: Country Blues |
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Earliest form of blues, from rural south
Singer and guitar
Loose and improvisatory |
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| Refers to a note that is changed (flatted) and outside the normal scale |
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| Characteristics: Stride Piano |
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Played popular music
More improvisation than rag
Faster, more aggressive style |
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Red light district in N.O.
Clubs hire jazz bands/pianists
Musicians play in streets |
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| Instrumentation: Cornet/Trumpet |
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Loudest instrument
Plays melody |
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| Instrumentation: Clarinet |
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Plays counter melody/harmony
Provides momentum |
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| Instrumentation: Trombone |
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| Louis Armstrong: New Orleans and Chicago |
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N.O. – born there, takes lessons from Joe “king” Oliver
Later leads Oliver’s band when Oliver moves to CHI
CHI – Plays 2nd trumpet for Oliver, then leaves CHI
Returns to record Hot Fives/Hot Sevens |
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| father of blues
not a blues player, educated
champion of blues players, opened a talent agency wrote contracts for blacks so they didnt get ripped off |
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| Why did the big band swing era end? |
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| because war, war tax, recording bann
musicians thought it was about time- sick of playing dance music |
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| Ballroom in Harlem where Chick Webb was a regular performer |
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