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Rhythm section

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Piano, Bass, drums

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Importance of piano in rhythm section

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popularity and range

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Importance of bass in rhythm section

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foundation of the jazz ensemble, although seldom noticed; it provides 2 functions: harmonic support and rhythmic foundation and is usually played pizzicato in jazz; the electric kind is sometimes used instead of the acoustic kind; in early jazz, the tuba provided the this sound

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Importance of drums in rhythm section

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can alter timbre by using different size sticks, wire brushes, mallets; the bass ___, snare ___, hanging symbols, and tom-toms (middle size) are all played by one person

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Melody

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rhythmically organized sequence of single tones so related to one another as to make up a particular phrase or idea

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Harmony

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The use of simultaneous pitches or chords

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Rhythm

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- Movement marked by the regulated succession of strong and weak elements

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Minstrelsy

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was an American entertainment consisting of comic skits, variety acts, dancing, and music, performed by white people in blackface or, especially after the Civil War, black people in blackface. It portrayed African Americans in a derogatory light.

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Sheet music

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-Jelly Roll Morton starts using it first -Main way of spreading music until the arrival of the record

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Mississippi delta

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- northwest section of Mississippi - home of the Delta Blues (one of earliest styles ß first recorded in 1920s) - Signature "bottleneck" slide

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The Missouri School of Ragtime piano music

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- Scott Joplin ("king of ragtime") - Pioneered classic ragtime

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Stephen Foster:

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(1826-1864) Known as the "father of American music", was an American songwriter primarily known for his parlour and minstrel music. wrote over 200 songs; among his best known are "Oh! Susanna", "Camptown Races", "Old Folks at Home", "My Old Kentucky Home", "Jeanie with the Light Brown Hair", "Old Black Joe", and "Beautiful Dreamer". Many of his compositions remain popular more than 150 years after he wrote them.

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James Bland

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black performer who started to perform in minstrelsy, accepting the stereotypes of the genre (after emancipation)

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Robert Johnson and his legend

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An American blues singer and musician. His landmark recordings from 1936-37 display a combination of singing, guitar skills, and songwriting talent that has influenced later generations of musicians. Johnson's shadowy, poorly documented life and death at age 27 have given rise to much legend, including the Faustian myth that he sold his soul at a crossroads to achieve success. As an itinerant performer who played mostly on street corners, in juke joints, and at Saturday night dances, he had little commercial success or public recognition in his lifetime. - performed by solitary male thryought rural Sourth Early style

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Scott Joplin

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:(1867-1917) Born in Northeast Texas. An African-American composer and pianist. achieved fame for his ragtime compositions, and was later titled "The King of Ragtime". During his brief career, he wrote 44 original ragtime pieces, one ragtime ballet, and two operas. One of his first pieces, the "Maple Leaf Rag", became ragtime's first and most influential hit, and has been recognized as the archetypal rag.

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African forms

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Ring shout, shout, work song, and field holler

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ring shout

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A shout or ring shout is an ecstatic, transcendent religious ritual,in which worshipers move in a circle while shuffling and stomping their feet and clapping their hands.

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work song

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accompanied manual labor to set pace

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field holler

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unaccompanied, rhymically loos, designed to accompany farm labor

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The blues

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12 bar form, AAB poetic form, has its own notes and scale

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Country blues

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combination of folk elements (e.g. field holler) and new technology (wide availability of the guitar); performed by solitary male musicians accompanying themselves on guitar in the American South; loosely based around blues form

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ragtime

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- Like jazz, this embodied the mix of African American and white art, popular and folk musics. Name comes from "ragged time". during Civil War it was mostly played on the banjo but later played on piano, where left hand kept a steady two-beat rhythm between bass notes and chords while the right hand created contrasting rhythms. Scott Joplin most famous ragtime artist who used sheet music, Wilbur Sweatman represented the new generation of ragtime artists that used recordings (recordings became popular around 1917)

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Congo square

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: slaves were commonly allowed Sundays off from their work. They were allowed to gather at the "back of town" , an open plot of land where the slaves would set up a market, sing, dance, and play music. It was a popular tourist destination and white people would often come to watch.

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Brass bands

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· Band consists entirely of brass instruments · One of two sources from which New Orleans Style derived its instrumentation (other was string ensemble) · gave the music its melody instruments: trumpet/cornet, trombone, clarinet (front line) · Fostered the drum set, combining elements of parade percussion (bass drum, snares, cymbals) · Most every town in England had a brass band made up of local townsfolk to play at parades and dances. · African Americans formed their own kinds of these bands, offering insurance and brass-led burials for its members. They played dances with boiled-down versions including violin, cornet, trombone, clarinet, and drum set. · Primary contribution to jazz: its formal compositional structure, which was made up of a succession of distinctive 16-bar strains, each of which was usually repeated. · The third strain (known as the trio) contrasts with the other strains. It introduces a new key, is often twice as long as other strains, and may be introduced by a short passage.

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cutting contest

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Activity where jazz musicians would compete against each other. Each would improvise part of a song or a solo and try to outdo the others

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New Orleans funeral tradition

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dirge, second line: - Jelly Roll Morton used polyphony to heighten mood in New Orleans Funeral style (originally bery slow and sad) - 12 bars

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Dirge

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Somber Christian hymns sung at a low tempo (funeral)

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Second Line

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Lack the slow hymns and dirges played at funerals

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New Orleans ethnic mix

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- In the north, there were only 2 races: black and white (anybody with any mix was considered black) - Caribbean approach (which spread to New Orleans) acknoledged mulatto culture and allowed it an intermediary social status to benefit free blacks with lighter skin -"Creoles of color": mixed race negroes; usually result of black and French or black and Spanish alliances. -"Uptown Negroes": largely uneducated/unskilled; played lowud upbeat impassioned music combining elements of late 19th century marching band, ragtime, and fold music.

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Reconstruction

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(1865-1877) -Process of Rebuilding the south after the civil war - Former slaves given citizenship and black men given the right to vote - lead to increasingly intolerant racism in the south → Jim Crow Laws

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Legislative Code No. 111 (discriminatory codes)

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In 1894, the same year that Buddy Bolden introduced his new style of cornet playing to the crowd at Globe Hall, a new law, this code, designated that anyone of African ancestry was "negro". This placed the creoles on the same social level as the blacks they had previously snubbed. The creoles were forced out of their homes and into the uptown ghetto district. This profound social change in the city of New Orleans brought European and African music together in a completely new way.

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Storyville

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Part of New Orleans where prostitution was legal. -establishments hired a lot of musicians

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black storyville

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was called "The Battlefield" and was a notoriously bad part of town.

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Professors

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Every brothel in Storyville had a "professor" who played the piano.

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ragging

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A term referring to a way of playing music. Its main characteristic trait is its syncopated, or "ragged," rhythm.

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Front line

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Trumpet/Trombone/Clarinet; reflected their position at the head of the band

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collective improv

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front line improvised a dense polyphonic texture,

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tailgating

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Trombone played fewer notes than the clarinet, many of them exaggerated slurs or glassindos.

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polyphony

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A texture consisting of two or more simultaneous lines of independent melody, as opposed to music with just one voice (monophony) or music with one dominant melodic voice accompanied by chords (homophony).

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spanish tinge

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Afro-Latin rhythmic touch offers a reliable method of spicing the more conventional 4/4 rhythms commonly used in jazz and pop music Quote from Jelly Roll Morton

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rent party

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People would take turns hosting musicians in their houses. They would ask a cover charge to offset the cost of rent.

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Buddy Bolden

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First important musician in jazz history. Father of Jazz; Played Trumpet

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Freddie Keppard and his famous story

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played Bolden's style of jazz, lost to King Oliver in a cutting contest - First to turn down recording (afraid others would copy his music)

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King Oliver: three reasons he is important:

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-Discovered Louis Armstrong (prodigy) -Muting Devices -Creole Jazz Band

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Jelly Roll Morton

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-his music embodies raw,restless social energy of the early years of the century, before there were rules to be broken He may not have invented jazz, but he did propel it forward - First to notate Jazz - Recorded with NORK for Gannet Records

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Dead Man Blues

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- Morton's interpretation of the New Orleans burial ritual - His logic comes from scripture: rejoice at death and cry at birth - Although it is a 12-bar blues, its organized like march/ragtime for

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Sidney Bachet

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first great improvisor in jazz history; made the saxophone extremely popular; did not like playing second fiddle to anyone; only musician who could stand head to head with Armstrong - Originally played clarinet, but switched to Saxophone because clarinet was too easily drowned out. -Only person to play vibrato on the clarinet - Creole of Color

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James P. Johnson

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Father of the stride piano; almost every major jazz pianist learned from him; wrote Charleston, which may have been the most influential melody of the 1920s

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Fats Waller

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Popular Stride piano player, pupil of James P. Johnson -gift as pianist is sometimes overlooked because he was also a composer, singer, actor and comedian -most commercially successful of the stride performers. -made a living playing Rent Parties

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Willie "The Lion" Smith

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-Stride Piano Master - Masterful at cutting contests

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Art Tatum

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- jazz pianist and virtuoso who played with phenomenal facility despite being nearly blind from birth. -is widely acknowledged as the greatest jazz pianist of all time,[1] and he was a major influence on later generations of jazz pianists

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The Original Dixieland Jass Band

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-The First band to make a recording after Freddy Keppard refused -5 white artists from New orleans · music was unprecedented. They were so popular that they brought the word "jazz" into common parlance. · has been labeled as mediocre. But they played a spirited, unpretentious music that established many Dixieland standards, broke with ragtime, and, by visiting Europe in 1919, made jazz international. · The group dissolved in 1922.

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New Orleans Rhythm Kings:

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-As opposed to the short, choppy style of the ODJB, they played more legato pieces.[2] Leon Roppolo's famous clarinet sound gave the band its characteristic, bluesy whine. -one of the most influential jazz bands of the early to mid-1920s. The band was a combination of New Orleans and Chicago musicians who helped shape Chicago Jazz and influenced many younger jazz musicians. - Talented white band; recorded with Jelly Roll Morton à first significant integrated recording session

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New Orleans Style

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- Featured collective improvisation - Eventually became the foundation of jazz itself -"Jazz as we know it started in New Orleans, as ragtime, blues, march music, and social dance combined"

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Stride

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-jazz piano style that was developed in the large cities of the East Coast, mainly New York, during 1920s and 1930s. -The left hand characteristically plays a four-beat pulse with a single bass note, octave, seventh or tenth interval on the first and third beats, and a chord on the second and fourth beats

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Boogie-woogie

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-Style of blues piano that spread north rapidly during the 20s as a result of the Great Migration (became very popular in Kansas City and Chicago) - Doubled the pace of ragtime/stride with fierce, rhythmic bass notes ostinatos (divided the beats in 2) -early nickname= "Fast Western"

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Chicago

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-Reasons why it became an important jazz center in the 20's (Prohibition, the Great Migration)- - Prohibition: led to a lot of organized crime and illicit salloons à gangsters competed for customers by hiring the most talented artists (very successful because this City was a very mob-controlled city in the 1920s) -Great Migration: Late 'teens' and early 1920's, New Orleans Jazz musicians started moving north to Chicago (a lot of unskilled labor job openings, and wanted to escape Jim Crow Laws) -Black Belt - New immigrants who settled on the South Side just below the loop - Nightlife flourished there (hundreds of dance halls, theatres, speakeasies, etc) - Good place for jazz musicians - the club scene (North Side, South Side and the Lincoln Gardens) -North: More middle-class white population -South: Flourished; predominately black -Lincoln Gardens: swanky, black-owned nightclub -Urban gangs, bootlegging, speakeasies- - Very beneficial to Jazz musicians (many jobs in illicit saloons and speakeasies; bootlegging and urban gangs made it possible) -The emergence of the 1st major white contributions to jazz (Austin High Gang)- -Why the demise of the Chicago scene came at the end of the 20's- - Depression (many jazz musicians left for NY for more job opportunities)

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Acoustical recording

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•First recording in 1916 by ODJB

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Electrical recording

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1925; replaced primitive acoustical recording o Records could now reproduce more instruments and vocal ranges o Brought recording industry out of 5 yr slump.

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• Gannett Studio

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Recorded NORK and Jelly Roll Morton (First important integrated recording) o Also recorded King Oliver's Creole Jazz Band o Typically only recorded white bands

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Scat singing

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Singing without real words. Imitates an instrument. Invented by Louis Armstrong.

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Cadenza

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Section of music with no written time, soloist does what they want

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Lincoln Gardens

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Black-owned nightclub in Chicago where King Oliver's Creole Jazz Band played. Armstrong joined the band in 1922 and played here.

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King Oliver's Creole Jazz Band

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o All but one Musician had immigrated north o Immediate success o Armstrong joined later (mentored by Oliver) o Oliver had to be responsive to dancers and listeners alike o **Band embodied ascendancy of the Uptown improvised approach over the Creole written tradition o **Caused Gennett Records to realize the commercial potential of music aimed at black audiences

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Red Hot Peppers

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o Jelly Roll Morton o Existed only in recording studio o Represented the pinnacle of NO tradition, an ideal balance between composition and improvisation o Morton's music embodies the raw, restless social energy of the early 1900s, when jazz was a new hustle and the rules had to be made before they could be broken

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Hot Fives and Hot Sevens

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o Expressed jazz's rapid evolution from individual a group concept dominated by polyphony to a showcase for soloists and individual expression.The force of Armstrong's creativity and instrumental control (vitality and spirit) impart the sensation of a great art coming into flower

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Louis Armstrong

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His life/general career path: part 1 - up to 1922 in New Orleans • Took lessons from Joe Oliver as a teen • Spent three years playing on the Mississippi river part 2 - 1922-29 in Chicago and New York • Summoned by Joe Oliver to become play the trumpet for his Creole Jazz Band at Lincoln Gardens in Chicago • Left for new york in 1924 to play for Fletcher Henderson o Year was a time of strict segregation o Recorded more than 3 dozen albums in a 14 months o Accompanist of choice for blues divas • Returned to Chicago because of disagreements with Henderson and misjudged singing ability • Hot Fives and Hot Sevens (1925-1928) o Back in Chicago o Appeared as sideman in support of vocalists or other band leaders • West End Blues o call to arms of a new world-shaking art; unmatched to this day o Alters the notes so precisely that they cannot be notated o Theme chorus with him in the lead

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5 contributions of Armstrong

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• Blues o Established the blues scale/feeling as jazz's harmonic foundation at a time when significant jazz figuresthought blues might be a mere fashion (like ragtime) • Improvisation o Established jazz as a music that prizes individual expression o records show that improvised music can have weight and durability of written musicInspires musicians with his ability to make his instrument an extension of himself • Singing o mastered scat singing o Introduced a true jazz vocal style, dependent on mastery of pitch and time as well as reflexes and imagination o Influence heard in the works of singers such as Bing Crosby and Billie Holiday • Repertory o In 1930s, NO "purists" argued that jazz musicians should confine themselves to original NO jazz themes and avoid popular tunes as lacking authenticity o Created masterworks based on Tin Paan Ally songs, showing that pop music could broaden jazz's potential both musically and commercially • Rhythm o Perhaps the greatest contribution: taught the world to swing. o Introduced new rhythmic energy that would eventually become second nature to people everywhere o Approach to rhythm exemplified the contagiously joyous, bawdy, accessible, human nature of his music.

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Earl 'Fatha' Hines: trumpet style, octave

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Very original jazz pianist. Works with Armstrong in Hot Five recordings. Used tremolos, alternation between a few notes, to create single-note melodies like a trumpet.

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Austin High Gang

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- generation of white jazz musicians born in the 1910s who attended Austin High school together in Chicago -Figureheads= Bix Beiderbecke and Frank Trumbauer Chicago style

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Eddie Condon

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Helped create Chicago style. Plays guitar.

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Bix Beiderbecke

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Cornetist, pianist, played in Frank Trumbauer's band, very pure tone, contrasted with Louis Armstrong.

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Frank Trumbauer

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Chicago style saxophonist; known for his sweet timbre, lyricism, phrasing, songlike use of smears and glides, delicacy -C-melody sax: popular in 20th century because of strong limber sound (cross between alto and tenor) and its in the key of C (same as the piano) - One of the most admired white small-group jazz records of the 1920s.

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Bessie Smith: (1894-1937)

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• Most popular blues diva of the era ("Empress of the Blues") • brassy voice • Accompanied by Louis Armstrong • Career peaked in 1929 when she appeared in the short "St. Louis Blues"

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Chicago Style

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- Began by imitating New Orleans bands and evolved into a more slapdash, aggressively rhythmic school that combined expansive solos with polyphonic theme statements - Represented both homage to black jazz and a rebellion against the gentility of the white middle class.

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Classic Blues

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· Vaudeville Blues · Made famous by "Ma Rainey" (black singer in early 1900s) · Female singers accompanied by small bands on stages of black theater circuits in the 1910s & 20s

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The Big 3

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- Cotton Club: nightclub financed by mobsters; featured top black performers and sexy floor shows; White patrons allowed only Small's Paradise: very successful; first class acts; elaborate shows; allowed black audience (made it less popular among whites -Connie's Inn: Connie was a white bootlegger; very famous musicians; white only audience

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NY ballroom scene

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Savoy Ballroom: Harlem dance palace; enormous; luzurious environment for modest fee Swing dance emerged from Savoy Ballroom - Lindy Hop: name for Savoy dance style Lower to the ground, more improvisation, breakaways; "African" - reasons why public dancing was becoming popular and its impact on jazz - Changes made to rhythm section to help band adjust to new groove (tuba replaced by string bass; banjo replaced with guitar (more subtle, secure pulation)) - Result in head arrangement

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Sweet bands

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- Played "sweet tunes" (rather than "hot tunes" which were faster) - less improvised, slower, heart-felt - Mostly popular among white middle class

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Battle of the Bands

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- Chick Webb often engaged in Battles at the Savoy with other bands - each have sets on opposite sides of the hall

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Tin Pan Alley

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Tin Pan Alley is the name given to the collection of New York City music publishers and songwriters who dominated the popular music of the United States in the late 19th century and early 20th century.

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Symphonic jazz:

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- 1921 new broadcast medium achieved lifelike clarity - First radio networks united nation with simultaneous broadcasts à spread music across the nation. - Advances in radio and recording allowed people to be entertained from own home; created emotional attachment to broadcasts and/or collecting records

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Concerto

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- Musical composition usually composed in 3 parts in which one solo instrument is accompanied by an orchestra - Piano concerto (1924)

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Rhapsody in Blue

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- 1924 musical composition by George Gershwin for solo piano and jazz band; combines elements of classical music with jazz-influenced effects (concerto) - Commissioned by Whiteman; performed by Whiteman's band and Gershwin on Piano Established Gershwin's rep as serious composer - Has become one of the most popular of all American concert works

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Smearing

answer

AKA glissando; When the player glides seamlessly from one note to another on a trombone.

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Head arrangements:

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Popular style in Kansas City. Play the melody first, "head," then play solos for as long as wanted and end with melody again.

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Shouters

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- Blues singer capable of singing unamplified with a band - Count basie

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Paul Whiteman

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: (1980-1967) - came out of Hickman's shadow by building bigger band, therefore producing more lavish and flexible sound - "Experiment in Modern Music": Whiteman's attempt to prove contention that jazz was a form of classical music with a concert; fervent response -Formed band: - Singer: Bing Crosby (vaudeville) (first time popular bandleader hired a full-time singer) ← inspired by Armstrong -Most admired young white jazz instrumentalists in the country ← Beiderbeck (cornet), Frank Trumbauer (sax), Eddie Lang (guitar), Joe Venuti (violin), Bill Challis (able to combine every aspect of Whiteman's orchestra

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Fletcher Henderson

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: (1897-1952) "Arranger" -Initially looked to Whiteman for inspiration (like every other NY bandleader) -1924: began playing at luxurious ballroom; offered polished and conventional dance music, but also had access to the best black musicians (including Coleman Hawkin on the sax) and felt a need to keep up with ever-changing dance scene - by 1926: widely regarded as best jazz orchestra anywhere until Ellington - Produced stream of compositions and arrangements that helped define big-band music in Swing Era (grew to about 15 instruments) ← his instrumentation still unchanging today - Added Armstrong to band 1924 → embraced authority of swing, power of blues, and imporvisation of a born storyteller. - Throughout career, continued to provide showcase for finest black musicians in NY - No other big-band leader can lay claim to such a roll

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Duke Ellington

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A US composer, pianist and bandleader of jazz-orchestras. His career spanned over 50 years, leading his orchestra from 1923 until death. Though widely considered to have been a pivotal figure in the history of jazz, Ellington himself embraced the phrase "beyond category" as a "liberating principle," and referred his music to the more general category of "American Music," rather than to a musical genre such as "jazz." Born in Washington, D.C., he was based in New York City from the mid-1920s onwards, and gained a national profile through his orchestra's appearances at the Cotton Club. In the 1930s they toured in Europe. - Jungle Style

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Bubber Miley

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An American early jazz trumpet and cornet player, specializing in the use of the plunger mute. Miley was born in South Carolina. He joined a jazz formation named the Carolina Five, and remained a member for the next three years, playing small clubs and boat rides all around New York City. After leaving the band at the age of nineteen, Miley briefly toured the Southern States with a show titled The Sunny South, and then joined Mamie Smith's Jazz Hounds, replacing trumpeter Johnny Dunn. They regularly performed in famous clubs around New York City and Chicago. While touring in Chicago, he heard King Oliver's Creole Jazz Band playing and was captivated by Oliver's use of mutes. Soon Miley found his own voice by combining the straight and plunger mute with a growling sound.

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Irving Mills

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Jazz music publisher and musician, also managed talent, started Mills Music

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Kansas City

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- Origen of the boogie-woogie (underground music of black Kansas city) ß type of swing - Major figure of Kansas city jazz= Count Basie o Head Arrangements and Jam Sessions - Most crucial characteristic of Kansas City jazz: distinctive groove of 4 beats to the bar (to accommodate dancing)

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