Jazz History Test 1
Player Pianos
It is a type of piano that plays music without the need for a human to press the keys or petals.
Scott Joplin
(1868-1917) Born in Texas, received free lessons from a German piano teacher. As a teenager he left home and became a professional piano player touring up and down the Mississippi River. In 1894 he settled in Sedalia, Missouri. Published Maple Leaf Rag in 1899.
Joe "King" Oliver
(1885-1938) Born in Louisiana and developed musically in New Orleans. Made the use of mutes famous. He had a blind and protruding eye. Moved to Chicago in 1918 and formed a band from other New Orleans musicians except for Lil Hardin (from Memphis). He then got Louis Armstrong to come up and play with him. Generally played "within the staff." Not known for high notes. He recorded some with the Gennett company.
Jelly Roll Morton
(1890-1941) Best known for his innovative piano work. He was also a singer, arranger, and composer know for thinking and playing orchestrally. He took ragtime to a new level and created the "stomp" feel which eventually led to swing. He claimed to be the "Originator of jazz" and while that is not exactly true, he did do a lot to take music to a new level in the 20's.
Bessie Smith
(1894-1937) Chattanooga, Tennessee "Empress of the Blues." A popular blues diva with an extraordinarily powerful voice. In only 14 years, she made nearly 200 records. She established the standard by which other blues singers were measured. Began recording on OKeh records in 1923. Performed and recorded with Louis Armstrong.
Fletcher Henderson
(1897-1952) Pianist. Known as the father of big band arranging. Don Redman also contributed to the arrangements. Patterned arrangements much like Paul Whiteman. Sent for Louie to give his band the New Orleans sound.
Sidney Bechet
(1897-1959) Played clarinet and soprano saxophone. He is considered the first great jazz improvisor. Made saxophone known as a major lead instrument in jazz. He was hot tempered and took jazz to Europe and missed some recording opportunities to do so. Started in New Orleans and played marching bands. He had some classical training.
Don Redman
(1900-1964) Henderson's principal arranger and reed player (Sax, clarinet; wrote dance arrangements of popular songs from Broadway and Tin pan Alley
Louis Armstrong
(1901-1971)
How improvisation made its way into the playing of early New Orleans musicians
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Ragtime; its structural relationship to the march, its multi-thematic form, its adaptation by wind and string instruments, and the way its reperitoire was adapted by early jazz bands
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The country blues and the way they were influenced by worksong and field holler traditions
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The musical cultures of African American "uptown" musicains and their "downtown" Creole counterparts in New Orleans from the mid-1890's to 1920
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early jazz phrasing and its relationship to the phrasing of both ragtime repertoire and classic blues singers
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King Oliver's Creole Jazz Band
1923, one of the 1st jazz recordings of black musicians from New Orleans, "Dippermouth Blues", early recordings with Louis Armstrong. This band recorded and performed mainly in Chicago.
Louis Armstrong's Hot 7
1927. Consisted of members Louis Armstrong (trumpet), Lil Hardin (piano), Johnny Dodds (clarinet), Johnny St. Cyr (banjo/guitar), Kid Ory (trombone), Pete Briggs (tuba), and Baby Dodds (drums). This band existed solely to record on OKeh records.
The great migration and its effect on the growth of jazz in Chicago in the period 1915-1930
At the end of the 19th century, many former slaves went north to towns such as New York and Chicago as the first world war was about to begin.
The Fletcher Henderson Orchestra
Chicago band that did a lot for the development of the early big band. Started treating instruments in sections. Featured Fletcher Henderson (piano), Don Redman (crarinet/saxophone),
Louis Armstrong's Hot 5
Chicago group. Consisted of members Louis Armstrong (trumpet), Lil Hardin (piano), Johnny Dodds (clarinet), Johnny St. Cyr (banjo/guitar), Kid Ory (trombone).
Gennett Records
Early Jazz record label.
Okeh Records
Early Jazz record label.
Earl Hines
Early jazz pianist who significantly influenced piano playing styles of the 1930s and 1940s; brought an assortment of different jazz techniques; his right-hand lines sometimes sound like jazz trumpet, which has earned his approach the title of trumpet-style or horn-like. Played with Louie Armstrong and his Hot Five.
Jelly Roll Morton's Red Hot Peppers
Existed solely to record.
The Original Dixieland Jazz Band
First group to record jazz in 1917. Featured polyphony and occasional monophonic breaks.
Acoustical and Electrical Recording
Microphones make everything better.
Ma Rainey
Mother of the Blues. Most famous recordings are bo weevil blues and southern blues. Moaning. Black Minstrel. Sang with Louis Armstrong and Kid Ory. Mother of the blues 1886-1939
Bunk Johnson
New Orleans trumpet player and contemporary of King Oliver. He was "rediscovered" later on and was celebrated as a lasting symbol of early New Orleans music.
Johnny Dodds
One of the leading New Orleans clarinetists who moved to Chicago. Used an edgy tone and fast vibrato. With great confidence, he constructed fluid counterlines that managed an almost relentless activity for recordings by Joe Oliver's band in 1923.
Freddie Keppard
Second "Trumpet King." Introduced Louis Armstrong by featuring him in his band. First leader of the "Original Creole Orchestra." First person to be offered an opportunity to record jazz but turned it down because he didn't want his style to get stolen.
Fate Marable
Stern taskmaster known for his powerful playing of the calliope. Did not allow Louis Armstrong to sing in his riverboat band
Buddy Bolden
The elusive "Father of Jazz". New Orleans cornet player often attributed with being the first known Jazz musician. No known recordings exist. Known for a bluesy, big cornet sound. Would face severe psychiatric troubles late in life.
how the unique social makeup, musical culture, and geographical location of New Orleans helped foster the growth of jazz by 1905
Uptown was full of French influence. It was a city very near to the Gulf of Mexico and the Mississippi river. This is one rare spot in the united states where blacks were not forced to part with their heritage and culture. They were able to maintain their musical culture while mixing it with French, Caribbean and other musical cultures that passed through or settled in Louisiana.
Jimmie Noone
more polished player than Johnny Dodds and possessed a greater command of the clarinet. Some consider him to be the best New Orleans clarinetist. He had a dark, warm, round tone.
