JAZZChapter 9

WHAT YOU WILL LEARN

• Describe the beginnings of jazz

• Identify the musical characteristics that make jazz a uniquely American music

• Distinguish among various jazz styles and eras

• Identify significant jazz musicians

VOCABULARY

• Jazz

• Polyrhythmic

• Break

• Scat singing

• Swing

• Bridge

• Chromatic

• Bebop

• Dorian mode

• Fusion

MUSICIAN PROFILESLouis Armstrong

Benny Goodman

Charlie Parker

THE ROOTS OF JAZZ

• African roots• From 1619-1800’s slaves were brought to America from Africa• Music there was functional (not artistic): works songs, spiritual songs, healing

songs, etc.• Slave owners took everything away from slaves (family, freedom,

possessions)• Owners let them keep their music to keep them “happy”• African slaves sang spirituals and work songs, dance tunes, and blues

• Traits of jazz from Africa• Rhythm, especially polyrhythm and syncopation

• Juxtaposing two or more rhythms• Expressive vocal quality

THE ROOTS OF JAZZ

• European roots• Brass bands of the 1800’s

• Bands used traditional instruments but in unique ways• European music was art and entertainment

• Traits of jazz from Europe• Instruments (clarinet, trumpet, trombone, piano, bass, saxophone)• Harmony and chord progressions

WHAT IS JAZZ

• Jazz• A musical form distinguished by its reliance on improvisation and its rhythmic

urgency

• The word did not appear until 1917

• Both art (Europe) and function (Africa)are essential jazz

• Skill and inventiveness of performers is emphasized

• Jazz Musicians as Cultural Intermediaries - essay

“STRIDE” PIANO

• A distinctive trait of early jazz

• Built on a steady oom-pah

• Left hand – timekeeping bass

• Right hand – shifted accents as it embellished the tune

• These early pianists made the piano an important part of the jazz band

• Keep off the Grass (1921) James P. Johnson

FERDINAND “JELLY ROLL” MORTON (1885-1941)

• Great legend of early jazz

• Pianist and band leader

• Helped unite the styles that formed jazz

• Perfected the New Orleans Dixieland jazz style that had collective improvisation

• One of the first to combine composition with improvisation

• His group “Jelly Roll” Morton and His Red Hot Peppers introduced a driving swinging sound

• “Black Bottom Stomp” (1926)

ACTIVITY 1, P. 198 CD 6:9

• “Black Bottom Stomp” by Jelly Roll Morton

• Write down the instruments you hear being played

• There are three main improvised solo sections - identify the order of the instruments that play them

• There are four short breaks• A measure or two where everyone stops playing except the soloist

• Name the breaks by instrument in the order they are played

THE MISSISSIPPI CONNECTION

• In the early 20th century, jazz musicians headed north up the Mississippi and Missouri rivers on riverboats looking for work and more freedom

• They settled in Memphis, St. Louis, Chicago, and Kansas City

• Each city developed its own jazz sound

• Jazz began to draw a wider audience by becoming dance music

• White musicians began to play jazz

DIXIELAND JAZZ

• Dixieland jazz has a march like feel

• New Orleans(Dixieland) bands were small groups or combos• Clarinet, cornet, trombone, and drums – each with a specific role• Trumpet/cornet – melody• Clarinet – embellishes the melody• Tuba/bass – bass line• Piano/banjo – provide chords and rhythm• Drums – keep stead tempo and provide rhythm

• “Tiger Rag” – The Original Dixieland Jazz Band• The first band to make a jazz recording

Original Dixieland Jazz Band

DIXIELAND • Performance practices

• Everybody plays all the time – except for solos• March like• Embellished the melody of existing song• Improvisation• Collective improvisation – everyone improvises at the same time• Simple harmonies• Improvisation based on embellishing the melody• Usually learned by ear• Unlike classical musicians who want a clear tone, jazz musicians will bend the

pitches

• Activity 2, p. 200 CD 6:10

• Improvisation/Conversation comparison - handout

LOUIS ARMSTRONG (1898-1971)

• Played trumpet and sang

• Musical prodigy

• Set standard for jazz soloists

• Introduced scat singing:• A from of vocal improvisation on nonsense syllables

• Raised in roughest section of New Orleans

• Began on trumpet at age 13

• Joined King Oliver’s band in 1922

• First to insist on staying where he played

• In 1957 criticized the government's failure to enforce Civil Rights

• “When the Saints Go Marching In”

• “What a Wonderful World”

• “Hello Dolly” – knocked the Beatles out of first place on the charts

ASSIGNMENT

• Go to www.redhotjazz.com/louie.html

• Answer the following questions

• Why was Louis Armstrong considered one of the world’s greatest jazz musicians?

• How did Armstrong’s early musical career and his migration to Chicago in 1922 coincide with the spread of jazz?

• What accounts for Armstrong’s popularity during his more than 50 years in the profession?

• How was he able to remain in the limelight through the shift over time from “New Orleans Jazz” through Swing and big band jazz to Bebop?

SECTIONAL ORGANIZATION• During the 1920’s, jazz evolved into a sectional form with the full

ensemble alternation with solo sections

• “Hotter than That” (1922)• Example of the new style of hot jazz with sectional organization• Performed by Louis Armstrong• Composed by Lil Hardin, Armstrong’s wife, one of the few females working in

jazz• Activity 3, p. 202 CD 6:11

CHICAGO AND SWING 1935-1945

• Swing:• Refers to the special rhythmic character that jazz musicians add to the music

• Fletcher Henderson (1897-1952)• Progressive leader of big band jazz• Gave feeling of small combo with larger groups• Treated each section like a single voice• Pivotal in the development of Swing• “The Stampede” (1926) jazz cd1-4

HENDERSON’S BAND

• He enlarged the band and established the instrumentation that became the standard – 3 sections• Brass – 3 trumpets and 2trombones• Reed - 3 or 4 saxes(could double on clarinet)• Rhythm – drums, piano, guitar, and double bass

• Emphasis on solo playing over arranged accompaniments

• Call and response

• Activity 4, p. 203 CD 6:12

THE BIG BAND ERA

• Swing was primarily dance music

• Big bands played music for kids to dance the jitterbug and Lindy Hop

• Legends of the big band era• Benny Goodman• Woody Herman• William “Count” Basie• Lester Young• Duke Ellington• Mary Lou Williams

Woody Herman

BENNY GOODMAN

• Clarinet virtuoso

• Classical education

• Called the “King of Swing”

• Born into poverty

• Began playing clarinet early

• Heard by Ben Pollack at age 12

• Pollack put him in his band

• His first recordings were made with Pollack’s band in 1926

• Put his first group together in 1934• They used arrangements by Fletcher Henderson

• Spent next 50 years recording and touring the world with various groups

• His band members became band leaders

• “Sing, Sing, Sing”

Ben Pollack

WILLIAM “COUNT” BASIE (1904-1984)

• Piano player and band leader

• Born in New Jersey but settled in Kansas City

• Important to Kansas City sound

• Along with Ellington, most influential in establishing the Swing style

• Took over Benny Moten’s band in 1935

• His star soloists went on to lead bands

• Music was ultra-relaxed and ultra swinging

• “One O’clock Jump”

THE RISE OF THE SAXOPHONE

• Clarinet eventually gave way to the saxophone

• Lester Young (1909-1959)• Member of Count Basie’s band• Set standard for other musicians• Inspired Charlie Parker

• Activity 5, p. 206 CD 6:13-14 – Should the saxophone have replaced the clarinet as the favored reed instrument for jazz solos?• “China Boy” – Benny Goodman soloist• “Cherokee” – Lester Young soloist, Count Basie Orchestra

Lester Young

32 BAR SONG FORM

• Improvisation occurs within a structure

• AABA form

• Can include a bridge:• A connective part of a composition

• Activity 6, p. 206 CD 6:15-16

DUKE ELLINGTON (1899-1974)

• Raised in a middle class family in Washington D.C.

• He showcased his musicians

• Made a jazz a sophisticated art form

• Music was often chromatic:• Incorporating tones from a musical scale consisting entirely of half steps

• His work celebrated African-American culture

• Received the Presidential Medal of Freedom

• “It Don’t Mean a Thing” (1932) sung by Ella Fitzgerald• Anticipated and summarized the entire swing era• First to use the word swing• Activity 7, p. 208 CD 6:17

• Listen for Ella Fitzgerald’s scat singing

“COTTON TAIL”

• Trend setting piece

• Ellington and arranger Billy Strayhorn

• New chord changes

• No introduction

• Activity 8, p. 210 CD 6:18 TRB 9-4• “Cotton Tail”

MARY LOU WILLIAMS (1910-1981)

• One of the few women to succeed in jazz

• Great piano player

• Composer and arranger

• Arranged for Benny Goodman and Duke Ellington

• Played professionally by age 6

• 1931 – she joined the band Twelve Clouds of Joy

• Zodiac Suite (1945) “Gemini”

• Activity 9, p. 211 CD 6:19

RACE RELATIONS

• In this era racial integration was frowned upon

• Integration was more accepted in jazz bands

• Emphasis was on skill not skin color

• Benny Goodman was a leader in this

• Jazz increased appreciation by both black and white communities for the cultural achievements of African Americans

• “A Reaction to Racism in American Literature” essay• “Strange Fruit”

Billie Holiday

THE 1940’S AND BEBOP

• Bebop:• A complex and sophisticated type of improvised jazz

• Revolt against the restrictions of Swing

• Not completely accepted – Swing remained popular

• More freedom and improvisation

• Greater playing ability was needed

• Goal was to see how much they could stretch a composition while maintaining its basic formal structure

• Too fast for dancing

• Smaller groups

• Leaders of bop started in Swing bands

JOHN BIRKS”DIZZY” GILLESPIE(1917-1996)

• Pioneer of Bebop

• Trumpet

• Born in South Carolina

• Started in Swing bands

• Joined with Charlie Parker – beginning of Bebop

• Later formed his own bands

• Added Latin elements to music

• “Night in Tunisia”

CHARLIE “YARDBIRD” PARKER (1920-1955)

• Saxophone

• Works are now jazz standards

• Grew up in Kansas City

• Joined the Jay McShann swing band in 1938

• Met Dizzy and begin inventing bebop in the mid-1940’s

• Activity 10, p. 213 CD 6:20• “Shaw Nuff” performed by Gillespie and Parker• Based on Gershwin’s “I Got Rhythm”

COOL JAZZ, FUSION, AND BEYOND

• New directions in jazz• Reactions against the complexity of bebop• Revived older forms• Danceable blues became rhythm and blues – R & B• Modal jazz – using different scales• Jazz was expanded

COOL JAZZ

• Reaction against the emotional intensity of bop

• Simpler melody and rhythm

• Miles Davis (1926-1991)• The Miles Davis Sextet

• Leading jazz group of the time• Influential albums – Birth of the Cool and Kind of Blue (birth of

modal jazz)• “So What” from Kind of Blue

• Davis perfected a style of trumpet playing that was restrained and mood

• Modal jazz – Dorian mode:• A scale with the pattern of whole step, half, whole, whole, whole,

half, and whole

THELONIOUS MONK (1917-1982)

• Pianist, composer, and arranger

• Born in North Carolina

• Played piano for Dizzy Gillespie

• His piece “’Round Midnight” became a jazz standard

AND BEYOND

• Free jazz – stretched expression, atonal• Ornette Coleman

• Fusion:• Combination of jazz and rock• Miles Davis

• Activity 12, p. 217 CD 7:1-3• You will hear 3 different jazz pieces. Label each as fusion, Latin, or blues• “Birdland” (1977) by Weather Report• “So Danco Samba (1964) Stan Getz• “I Got You”(1992) Joshua Redman – winner of the 1991 Thelonious Monk Jazz

Competition

THE QUEST CONTINUES

• Today – diversity of styles

• Smooth jazz – has a popular almost easy listening appeal

• Activity 13, p. 218 CD 7:4• “Don’t Know Why” performed by David Benoit(cover of a Norah Jones

original)• Why do you think this music is called “smooth jazz”?• In the original, Norah Jones sang the soulful lyrics. What are the

differences in mood when listening to music with words compared to a purely instrumental performance?

• How does this music differ from much of the jazz you have studied in this chapter?

THE FUTURE OF JAZZ• Activity 14, p. 219 CD 7:5 & 10

• Toshiko Akiyoshi (b. 1929) “Bebop”• International success story• 18 albums and 14 Grammy nominations• Combines Japanese culture with American jazz• Why is the title appropriate to the piece• Can you tell which parts of the piece are arranged and which are improvised?• There are two extended solos. Identify the solo instruments

• Jane Monheit (b. 1977) “Over the Rainbow”• Singer from Long Island, New York• First runner-up in the 1998 Thelonious Monk Institute Vocal Competition• What qualities in her singing might have impress the judges?• What adjectives would you use to describe the style of jazz represented by this

recording?

MEET THE MUSICIAN

• Reggie Berg – piano/composition

• CD 1:17-18

REVIEW - TERMS• Bebop

• A complex and sophisticated type of improvised jazz

• Break• A measure or two where everyone stops playing except the soloist

• Bridge• A connective part of a composition

• Chromatic• Incorporating tones from a musical scale consisting entirely of half steps

• Dorian mode• A scale with the pattern of whole step, half, whole, whole, whole, half, and whole

• Fusion• Combination of jazz and rock

• Jazz• A musical form distinguished by its reliance on improvisation and its rhythmic

urgency

• Polyrhythmic• Juxtaposing two or more different rhythms

• Scat singing• A form of vocal improvisation on nonsense syllables

• Swing• The special rhythmic character that jazz musicians add to the music

• “Stride” piano• Trait of early jazz/built on a steady “oom-pah”, timekeeping left-hand base

ACCOMPLISHMENTS• Composer and pianist who wrote “Gemini”

• Mary Lou Williams

• One of the first to include Latin rhythms in jazz• Dizzy Gillespie

• Band that made the first jazz recording• The Original Dixieland Jazz Band

• Pianist and bandleader who perfected Dixieland jazz• Jelly Roll Morton

• Clarinet soloist of both jazz and classical music• Benny Goodman

• Complemented his trumpet improvisations with scat singing• Louis Armstrong

• Composed “It Don’t Mean a Thing”• Duke Ellington

• Established the instrumentation of the jazz band• Fletcher Henderson

• Early sax player who inspired others• Lester Young

• Nicknamed “King of Swing”• Benny Goodman

• An original and influential jazz artist who took up the trumpet at age 13• Louis Armstrong

• Composer who made jazz a sophisticated art• Duke Ellington

• Female vocalist known for scat singing• Ella Fitzgerald

• What instrument replaced the clarinet as the favored reed instrument for jazz solos?• saxophone

• When was the jazz age?• 1920’s

• Characteristics of Swing Music• Larger bands• Less improvisation• Nearly all written• Emphasis on dance

music

• Three sections of the Swing band• Brass• Reeds• Rhythm

• Characteristics of Bebop Music• Smaller bands• More freedom and

improvisation• Not completely

accepted• Not dance music• Leaders of Bebop

started in Swing bands

ESSAY• Describe why jazz music left New Orleans and how it traveled and became

popular in other parts of the country?• In the early 20th century, jazz musicians headed north up the Mississippi and

Missouri rivers on riverboats looking for work and more freedoms• They settled in Memphis, St. Louis, Chicago, and Kansas City• Each city developed its own jazz sound

COMPARE THE SWING MUSIC OF THE BIG BAND ERA WITH THE BEBOP MUSIC OF THE

1940’S

Swing

• Dance music

• Played by big bands

• Mainly for entertainment

• Less improvisation

Bebop

• Music for listening

• Played by small combos

• Deeper and more sophisticated

• Musicians would stretch the composition with creative improvisations

DISCUSS HOW IMPROVISATION RELATES TO CONVERSATION

See conversation/improvisation handout