Music Midterm 2

Swing era Big-band music What events outlined and influenced the Swing era? How did these events influence this era? The Savoy Ballroom in Harlem

In the 1930s, jazz became the world's popular music performed by large dance orchestras divided into sections of trumpets, saxophones, and trombones, as well as rhythm. The depression; WWll Depression:(swing's improvisatory flair and buoyant energy encouraged America to recover from an emotional malaise; no less than the ingenuity of the New Deal, swing made average citizens feel alive, alert, and engaged) WWll:(swing exemplified what Americans were fighting for: compared with Nazi or Japanese authoritarianism, the casual, participatory nature of swing, yoking together people from different backgrounds, was a rousing statement of democracy) Blacks were part of politics to get FDR in office. Swing was a counter statement to reality. Music was sort of used as propaganda. Where the swing dance style emerged...called Lindy Hop 1) From Jazz to Swing a) Distinguished from jazz of the 1920s, the 1930s period is known as the Swing Era. b) Swing music: i) was primarily performed by larger "big bands" featuring instrumental sections of reeds, brass, and rhythm. ii) was derived from music of the 1920s. iii) retained rhythmic contrast, bluesy phrasing, and balance between improvisation and composition. iv) developed a more commercial profile than 1920s jazz. v) favored homophonic textures, bluesy riffs, clearly defined melodies, and dance grooves. c) The Swing Era was bounded by two events. i) The first was the Great Depression, which started in 1929 and deepened into the 1930s. Swing, like other popular culture forms, acted as a counterstatement to the deep anxiety caused by the Depression. But swing also demanded action in the form of exuberant and partly improvised dance. Moreover, it was teenagers' music, the first in the nation's history. ii) World War II was the second major event. After four years of fighting and devoting the nation's manpower and production capabilities to the war, the country demilitarized. As servicemen and -women returned home, the dancing culture flared out, and with it, the economic basis for swing. d) During the war, swing was very popular. For many it symbolized the strengths of American democracy: it was participatory and informal, and it built community. b) Swing dance came out of Harlem's Savoy Ballroom. It was a block long and luxurious, yet charged a modest entrance fee. One could hear two bands a night there in a mixed ethnic and social environment. c) Social dancing at the Savoy was communal and intense. Thousands packed the huge dance floor, with the top dancers executing their best moves right next to the bandstand and often rehearsing there in the afternoons. Communication between dancers and musicians on issues of tempo and groove was typical. d) At the Savoy, the new dance style was called the Lindy Hop. It was more African—lower to the ground, with more flexibility in the hips and knees. It also allowed for improvisation during the breakaway. As the dance grew more athletic, "air steps" started to be used. White commentators were amazed.

Who did he imitate?

Ellington

How were Brubeck's pieces unique?

Brubeck's primary trademark was an innovative use of irregular meters such as 5/4 and 9/4. Hot and cool and the primary trademark was the use of odd-numbered meters. b) Dave Brubeck (1920-2012) i) Dave Brubeck grew up in California with a musical family and learned classical piano from his mother. He studied with composer Darius Milhaud, who employed aspects of the blues in his music. During the late 1940s, he organized an octet, which was not successful. In 1951, he hooked up with another "white Lester," Paul Desmond, and organized a successful quartet (making the cover of Time in 1954). ii) The quartet was both hot (Brubeck) and cool (Desmond). Both were good at chord substitutions, but Brubeck's improvisations were formally predictable. His primary trademark was the use of odd-numbered meters. iii) Time Out (1959) became a national sensation and "Take Five," in 5/4 time, became a hit. These odd meters were subdivided into groups of twos and threes. For example, 5/4 was counted as two plus three. By the end of the century, such time signatures were no longer uncommon.

Who were Glenn Miller and Cab Calloway? How did Glenn Miller differ from Benny Goodman?

most popular bandleader/trombonist who brought swing firmly into mainstream entertainment & a curiously ambivalent icon of black culture during the Swing Era; he didn't create the type of music the audience wanted 9) Glenn Miller (1904-1944) a) Probably the most celebrated bandleader of the 1940s, Miller had no intention of forming a jazz band. The audience he aimed for was the white American middle class. Born in the Midwest, he developed a liking for jazzy dance music. During the 1920s, he was both an arranger and a soloist, working at various times with Goodman, the Dorsey Brothers, and Ray Noble. b) In 1938, he started his own band, which played clear melodies in a smooth, danceable rhythm with a distinctive sound. He created this sound by combining the saxophone section with a clarinet; he also added vocals to some of his arrangements. This combination resulted in a great number of hits during the 1940s. c) Miller also worked with the armed services. The Glenn Miller Army Air Force Band, a large ensemble founded in 1942 that included strings and brass, featured an eclectic mixture of music. In 1944, Miller disappeared over the English Channel. 10) Cab Calloway (1907-1944) a) To whites, Calloway represented an entrée to African American cultural life; to blacks, he represented the hope that a man with talent and ambition could rise to the top. b) He grew up in Baltimore. He studied classical singing but sang jazz at night. i) In the 1920s, he met Armstrong, from whom he learned about scat-singing. His band, the Alabamians, played New York's Savoy Ballroom but were viewed as corny. ii) In 1930, he took over a swinging band from Kansas City, the Missourians. It was this band that was asked to replace Duke Ellington at the Cotton Club. c) In New York, he collaborated with songwriter Harold Arlen and lyricist Ted Koehler to create a number of pieces that depicted imaginary Harlem scenes. Calloway's exuberant personality and scat-singing added excitement to the songs. d) He was a very good singer with a broad range. He was also a good businessman, hiring the best musicians he could find. His band toured the South, often evoking hostile reactions to their New York hipness. But at least they traveled in style, on their own Pullman railroad car. e) By the 1930s, Calloway started to focus on jazz. He hired the best jazz musicians, including a young Dizzy Gillespie. The quality of the music, including some of Gillespie's first arrangements, was always high, and there were plentiful opportunities to solo. Calloway appeared in the 1980 hit movie The Blues Brothers.

Study the Modern Jazz Quartet (MJQ)?

An African American, East Coast, and long-lasting band. Started by John Lewis, it was a cooperative band with each member having extra-musical duties. n) John Lewis (1920-2001) and the Modern Jazz Quartet (MJQ) i) In contrast to the Mulligan quartet, the MJQ was an African American, East Coast, and long-lasting band. Started by John Lewis, it was a cooperative band, with each member having extra-musical duties. Lewis, who was in charge of the music, had a lifelong interest in polyphony and a conviction that Bach and the blues were compatible.

Review and Listen to "A Night in Tunisia"

Clifford Brown's, It's a 32 bar pop song (AABA) with an interlude. Hard Bop. Clifford Brown. This recording was one of Brown's last. It was made in Philadelphia in 1956 in a small club. The recording only surfaced in the 1970 and is a good indicator of how he interpreted music as a soloist. vi) "Night in Tunisia" (excerpt) (1) This recording was one of Brown's last. It was made in Philadelphia in 1956 in a small club. The recording only surfaced in the 1970s and is a good indicator of how he interpreted music as a soloist. (2) It also shows how the reliable but not outstanding rhythm section tried to keep up. In 1999, this solo was used in the play Side Man.

Know about pianist John Lewis. What instrument did he play?

He was a jazz educator and activist, directing the Lenox School of Jazz ( 1957-1960 )and the Monterey Jazz Festival (1958-1982), and co-founding and conducting Orchestra U.S.A. (1962) and the American Jazz Orchestra (1986-92). He was a pianist and had a lifelong interest in polyphony and the conviction that Bach and blues were compatible. He studied at the University of New Mexico, where he heard and was influenced by Ellington. He played with Kenny Clarke and Dizzy Gillespie's band. He resumed his studies at the Manhattan School of Music and recorded with the likes of Charlie Parker. His style was spare but inflected with the blues. Dizzy encouraged him to compose and to feature the rhythm section. n) John Lewis (1920-2001) and the Modern Jazz Quartet (MJQ) i) In contrast to the Mulligan quartet, the MJQ was an African American, East Coast, and long-lasting band. Started by John Lewis, it was a cooperative band, with each member having extra-musical duties. Lewis, who was in charge of the music, had a lifelong interest in polyphony and a conviction that Bach and the blues were compatible. ii) Lewis studied at the Manhattan School of Music. He worked with Gillespie and recorded with the likes of Charlie Parker. His style was spare but inflected with the blues. Dizzy encouraged him to compose and to feature the rhythm section. iii) Milt Jackson: Lewis formed his group by 1952. It included the first major vibes player since the 1930s, Milt Jackson. In contrast to Lewis, Jackson played with blues-drenched energy. iv) Kenny Clarke: The most established of the group, he was interactive and rambunctious. v) Percy Heath: A bassist who had been playing for only a few years, he was the eldest of the famous Heath family. vi) Lewis wanted to change how jazz was presented. He insisted that every performance be treated as a concert. All the MJQ members had to wear identical tuxedoes, pieces were formally introduced, and the musicians entered and exited from the stage. vii) Only after they were lauded in Europe did American critics get on board. The music was cool (genteel and cerebral) on the surface, but hot (rhythmic and intense) at the core. viii) The MJQ lasted for over 40 years. During these years, it played with both jazz and classical-music ensembles. ix) Lewis composed many pieces that became standards in the jazz repertoire, including "Django" and "Afternoon in Paris," as well as film scores. He was a jazz educator and activist, directing the Lenox School of Jazz (1957 - 1960) and the Monterey Jazz Festival (1958 - 1982), and cofounding and conducting Orchestra U.S.A. (1962) and the American Jazz Orchestra (1986 - 1992). x) Lewis collaborated with composer, conductor, and musicologist Gunther Schuller on what he called Third Stream. He suggested that a mix of Western art music and jazz would emerge as a "third stream." Though the architects of cool set the stage for Third Stream, it did not last. xi) "Vendome" (1) "Vendome" was the third of four selections recorded by the Modern Jazz Quartet at its very first session, in 1952, and it captures the group in a state of becoming. (2) This number was the first of the group's fugues—a Baroque polyphonic form in which a short melody or phrase (the fugue subject) is introduced by one part and successively taken up by others. Yet though Lewis's later fugues (including subsequent renditions of "Vendome") are more confidently performed and configured than this one, there is something to be said for the excitement of a performance that breaks new ground.

Who made up the "Third Stream"?

John Lewis, Gunther Sculler jazz and classical fusion x) Lewis collaborated with composer, conductor, and musicologist Gunther Schuller on what he called Third Stream. He suggested that a mix of Western art music and jazz would emerge as a "third stream." Though the architects of cool set the stage for Third Stream, it did not last.

Listen to and Review the unique aspects of "Venus de Milo" Know the instrumentation of this song.

Miles Davis k) "Venus de Milo" i) This is often characterized as one of the most straightforward of the cool recordings: intro, head, interlude, a full-chorus solo by Davis, a half chorus by Mulligan, a closing variation on the written material, and coda. Yet precisely because everything is so front-and-center, it has to be performed with a reasonable degree of perfection: the right tempo, dynamics, texture, as well as improvisations that embellish rather than replace the composition. ii) Mulligan's solo, interestingly, is the only passage in the piece without ensemble counterpoint—other than the rhythm section, which is stellar, particularly the dashing Kenny Clarke.

Why were hard bop bands inclined toward longer solos?

Partly because of the LP Hard-bop musicians were inclined to play long solos partly because of the new technology. Another reason the independents liked longer solos is that longer solos meant fewer tunes on a recording, which in turn meant fewer royalties to pay out.

How did cool jazz differ from hard bop?

bop but with a harder edge. It was an East Coast revival of bop but with a harder edge. The timbre was heavy, dark, and impassioned and focused on the lower tenor sax and drummers who played in a more assertive style. 5) Hard Bop a) In opposition to cool, hard bop was an East Coast revival of bop, but with a harder edge. b) Miles Davis instigated this turn when he reacted to what he viewed as over-intellectualized jazz and started, in 1954, to record a tougher, more urban, straight-ahead, more rhythmic and emotional music ("Walkin'"). Even his work with Gil Evans reflected this change to the new mainstream jazz, which was adverse to experimentation. c) This music was played mostly by urban musicians—originally from Detroit and Philadelphia—and reflected an East Coast, extroverted response to urban life. It contrasted with the West Coast's cooler, more introverted response. d) In contrast to cool jazz, the timbre of hard bop was heavy, dark, and impassioned, and focused on the lower tenor sax and drummers, who played in a more assertive style. i) Some hard bop bands reduced the harmonic complexity of bop to chords in a way reminiscent of the church or R&B, resulting in a subset of hard bop called "soul jazz," typified by Julian "Cannonball" Adderley's groups during the 1960s and early 1970s. ii) Some of the bands that played this music featured the electric organ, a mainstay of church music. In effect, they were trying to reconnect with popular music. e) Both cool and hard bop represented natural developments from bop. f) Microgroove and Long Solos i) In 1948, Columbia introduced 12-inch microgroove LP recordings that had about 20 minutes per side of music and were made of unbreakable vinyl. RCA Victor introduced the 45-rpm vinyl single-play recording the same year. ii) The LP allowed recordings of longer jazz pieces that better reflected live performance, while the 45-rpm replaced those three-minute pop recordings previously released in the 78-rpm format. iii) A number of jazz musicians, such as Ellington, started to take advantage of the longer recording time available through LPs by composing longer pieces. iv) Hard bop musicians were inclined to play long solos partly because of the new technology. The longer solos, however, threatened to alienate audiences, so some major labels were not enthusiastic about recording hard bop. The slack was taken up by independents such as Blue Note, Prestige, Contemporary, and Riverside, which realized that there was an audience for a creative style of jazz closer to its improvisatory roots. v) By adding a backbeat on beats 2 and 4, hard bop musicians added to the interest of the music, since now audiences could tap, snap their fingers, or move their heads to the beat. Another reason the independents liked longer solos is that longer solos meant fewer tunes on a recording, which in turn meant fewer royalties to pay out. g) Art Blakey (1919-1990) i) Originally from Pittsburgh, Blakey came to New York in 1942 to work with Mary Lou Williams; in 1944, Dizzy recruited him for the Eckstine band. ii) He became one of the central drummers of bebop, using idiosyncratic techniques such as the press-roll, usually during the turnaround sending the soloist into the next chorus. His attentiveness made him a good drummer for Monk. iii) In 1953, Blakey formed a quintet with pianist Horace Silver called the Jazz Messengers. They made a few recordings that in two years codified hard bop: quintet music that combines harmonically complex improvisation with bluesy simplicity, gospel-inspired themes, and backbeat rhythms. Silver left in 1956 to form his own group. iv) Blakey's musicians: There is a long list of well-known musicians who began or matured in the Messengers, and a long list of albums that reflect the consistency of the hard bop musical concept. h) Horace Silver (1928-2014) i) Stan Getz discovered Silver playing in Hartford, Connecticut. Silver worked with Hawkins, Young, and Parker. In 1954, he helped Miles turn from cool jazz to hard bop. ii) Silver could mix gospel, R&B, and folk song, filtering each through bop. He also wrote catchy melodies and revived the word "funk" with his piece "Opus de Funk" (1953). This word has a long history in African American culture. For music it meant back-to-roots musical values. Many of his compositions, such as "Song for My Father," became standards. iii) "Song for My Father" (1) Previously, Silver was known for compositions grounded in the church ("The Preacher"), blues ("Home Cookin'"), and bop ("Cookin' at the Continental"). "Song for My Father" suggests a new accent straightaway, with its four-note vamp—an unforgettable pace-setting phrase. (2) This is a spacious performance in which every detail stands out. With only two wind instruments, Silver makes us conscious of his carefully calculated harmonies.

Who is Duke Ellington? Be able to answer questions about Ellington's life and career. Be able to answer questions about "Mood Indigo"

most prominent black bandleader in the world ellington, inspired by a plaintive scene 4) The Incomparable Ellington a) In the early 1930s, Ellington's group had replaced Henderson's as the foremost black dance band. They recorded, toured, and made radio appearances. b) Ellington thought that the word "jazz" marginalized black musicians. He thought of himself as "beyond category" or, at times, a composer of "Negro folk music." c) Although Ellington, like European composers, wrote down his musical ideas in isolation, most of his composing was done in collaboration with other musicians. Ellington would present his ideas and the band would respond, often offering alternatives. This made his scores confusing, and no permanent record of his music survives. In 1965, he was nominated for a Pulitzer Prize but was turned down by the Pulitzer board, probably because there were no published scores for them to consider. d) Ellington's talent came out most strongly in the recording studio. He made many three-minute recordings while at the same time creating longer, more ambitious pieces for multiple 78-rpm discs, and later, starting in the 1950s, for LPs. e) Ellingtonians i) Unlike other bands, Ellington did not write arrangements that could be played by any competent dance-band musician. He wrote for the specific musicians in his band. ii) By 1935, Ellington had manned his band with the idiosyncratic musicians that sparked his imagination. Each section could blend beautifully, but each musician had his own particular sound as well, and Ellington took full advantage of it. iii) Bubber Miley and "Tricky" Sam Nanton were some of the unique players in the band. Harry Carney, the baritone saxophonist, was also an integral part of the Ellington sound. Like many of Ellington's musicians, he stayed with the band for many years. iv) Other players didn't last as long. Ellington had to fire Miley because he drank too much. Ellington replaced him with Cootie Williams. Williams learned to use mutes from Nanton, thereby adding his own unique voice to the trumpet section without Ellington telling him what to do. v) Ellington learned to love the New Orleans woody clarinet sound when he played with Bechet in the mid-1920s. Barney Bigard was the perfect fit for bringing an older, New Orleans sound into the mix. f) "Mood Indigo" i) Recorded in 1930, "Mood Indigo" is a good example of how Ellington used his instrumental resources. Ellington's inspiration for this piece is a story about a "little girl and a little boy" and the unrequited love between them. The melody comes from Barney Bigard, but Ellington turns it into his own. ii) Although Ellington uses the New Orleans front line of trumpet, trombone, and clarinet, the sound is entirely distinctive, with muted brass and low-register clarinet. g) Alto saxophonist Johnny Hodges was probably the most important soloist to join the band during these early years. Bluesy and lyrical, Hodges became Ellington's main soloist and thereby a strong influence on a whole generation of alto players, who emulated his swooping glissandos and elegant soft passages. h) Two trombonists, Lawrence Brown and Juan Tizol, added a rich and a classical tone, respectively. As a Latino, Tizol was one of the few whites to play with a black band at that time. i) In the Swing Era i) Ellington became a celebrity during the 1930s. After a trip in 1933 to France and England, where he was adored, he returned home with new expectations. He also continued to play theaters and dance halls, which kept the band grounded. ii) Ellington's public persona was one of aristocratic sophistication, although this contrasted with the private Ellington. One can see his public persona in the 1935 short film Symphony in Black. iii) He was also a "race man," insisting that the black man was the creative voice of America. To the black community, Ellington and his band represented worldly sophistication. iv) His Black, Brown, and Beige was a wordless piece that was politically and musically persuasive. It premiered in 1943 but was not received well by white critics, who saw it as pretentious. j) "Conga Brava" i) This piece starts with "exotic" evocations and covers a tremendous amount of stylistic territory before it returns to the opening mood played by Juan Tizol. During the 1940s, Ellington also brought in new players, such as Ben Webster (featured here). k) The Later Years i) By the mid-1940s, a number of band members, tired of the constant touring (Sam Nanton even died of a stroke on the job), cashed in on their growing reputations. In 1951, Johnny Hodges left, partly out of irritation with Ellington's appropriation of his musical ideas. He took Lawrence Brown and Sonny Greer with him. ii) Though the rise of modern jazz marginalized Ellington's sound, in 1956 his fortunes picked up. At the third annual Newport Jazz Festival, Ellington went on late and played "Diminuendo and Crescendo in Blue." The two parts of the piece were separated by an open-ended 12-bar blues, during which tenor saxophonist Paul Gonsalves played 27 choruses while a woman in the audience danced. The intensity grew to such a pitch that the audience went wild. A recording of the performance became a best-seller, and Ellington made the cover of Time magazine. iii) For the next 20 years Ellington wrote longer pieces, taking advantage of LP technology. These included reworkings of older pieces and compositions inspired by special circumstances. He also wrote a number of film scores and made a few albums with modernists such as John Coltrane, Charles Mingus, and Max Roach.

Who is Lestor Young? Why was he called "President of Saxophonists"? Who called him that? What is his style? Listen to "Oh! Lady Be Good", be able to answer questions about the song.

nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument; billie holiday called him that because he called her 'lady day' Lester Young's style at its peak; by George and Ira Gershwin, 4) Lester Young (1909-1959) and the Lestorian Mode a) Young's style was radically different from Hawkins's. Young produced a light, vibratoless tenor sound by trying to emulate Frankie Trumbauer. b) He grew up in New Orleans and played many instruments in the traveling Young Family Band. In 1927, he left to work with King Oliver, Benny Moten, and the Blue Devils. In 1933, he settled in Kansas City. In December of that year, there was a legendary battle of the tenor saxophones between Hawkins, Young, and Webster, which Young won. c) After Hawkins left for Europe, Henderson asked Young to join the band in New York. However, he didn't last because his sound was so radically different. He worked his way back to Kansas City and rejoined Count Basie, whose blues-based, improvisation-centered band proved a better fit than the Henderson band, with its emphasis on arrangements. d) Young's playing exhibited a new freedom in jazz. Some of his melodic phrases used notes of the chord, and some did not. He did not detail every harmony. He was more liberal with dissonance and often repeated a succession of single pitches to play with intonation, often flattening each slightly. He was also more liberal with rhythm. He would sometimes disregard the beat, creating a counterrhythm. e) He traveled with Basie to New York and Chicago in 1936. Although accepted this time, he remained an outsider. Diffident, shy, and unconventional, he introduced "cool" into jazz. He wielded an idiosyncratic style. He wore a porkpie hat and narrow knit ties, held the saxophone to the side at an angle when he played, and spoke a colorful slang of his own invention. f) White musicians copied his lyricism and timbre; black musicians, his blues riffs and darker timbre in the middle and low registers. g) "Oh! Lady Be Good" i) One of his best solos: slurred notes, polyrhythm, staccato single notes, pitch variation, and swing. The song was written by the Gershwins for a 1924 Broadway musical. ii) Basie plays the melody. iii) The pseudonym Jones-Smith Incorporated was provided by John Hammond because Basie was already signed to Decca. h) After he was drafted into the armed forces in 1944, his life changed irrevocably. Upon admitting to smoking marijuana, he was sentenced to a year of hard labor in Georgia. On returning to civilian life nine months later, he was never quite the same. He started drinking heavily and his playing suffered.

Miles Davis Nonet or the "Birth of Cool Band"

nonet is a composition which requires nine musicians for a performance, or a musical group that consists of nine people It consisted of a coalition that was interracial, intergenerational, and culturally diverse. Improvisations were woven into written arrangements. All the instruments, low or high, gravitated to the mid-range, medium dynamics, and economical phrasing. 3) The Birth of the Cool a) In 1945, nineteen-year-old Miles Davis played on Parker's first recording. One can hear major differences in his lyricism and personal timbre, longer tones, and silences. b) Four years later, in 1949, Davis led a group of musicians who were interested in slowing down the pace of the music and rebalancing the mix between improvisation and composition. c) Although there were precedents in jazz for this concept of music (e.g., Ellington), these young modernists looked to classical chamber music for sonorities that favored the middle range instead of high notes, the French horn and tuba to complete the instrumental palette, and a toned-down rhythm in place of the up-front beat of dance music. d) In 1949, Miles Davis was the youngest of the cool school and had yet to establish himself as a bandleader or distinctive stylist. He was, however, a good organizer, spearheading discussions, rehearsals, and support for new compositions. He landed a recording deal, for which he put together a brass-heavy ensemble of nine musicians—halfway between a big band and a small combo—made up of many players who would go on to become leading jazz figures in their own right. e) Gil Evans was the oldest of the group. An ingenious orchestrator, he made different kinds of repertoire—jazz, pop tunes, classical music—his own. He had led bands as early as 1933, but he really started exploring instrumental possibilities when he worked in the Claude Thornhill band, which included French horns, tuba, flute, and bass clarinet in addition to the regular big-band instrumentation. f) Evans lived on West 55th Street in New York, which was close to the center of the action on 52nd Street. Musicians, composers, and singers continually dropped by to eat, drink, nap, or converse. g) Two such visitors were Lee Konitz—whom Evans featured in the nonet—and arranger Gerry Mulligan (soon to be a famous baritone sax player). Both played in the Thornhill band. Mulligan did most of the writing for the nonet. h) Another regular was composer-pianist John Lewis, who had played with Parker and Gillespie. Davis insisted that the marquee at the Royal Roost, the site of their only live gig, mention the names of the arrangers. This special billing was a first. i) The nonet consisted of a coalition that was interracial, intergenerational, and culturally diverse. Improvisations were woven into written arrangements. All the instruments, low or high, gravitated to the mid-range, medium dynamics, and economical phrasing. j) Though proving influential later, the nonet initially garnered little interest from public or press. k) "Venus de Milo" i) This is often characterized as one of the most straightforward of the cool recordings: intro, head, interlude, a full-chorus solo by Davis, a half chorus by Mulligan, a closing variation on the written material, and coda. Yet precisely because everything is so front-and-center, it has to be performed with a reasonable degree of perfection: the right tempo, dynamics, texture, as well as improvisations that embellish rather than replace the composition. ii) Mulligan's solo, interestingly, is the only passage in the piece without ensemble counterpoint—other than the rhythm section, which is stellar, particularly the dashing Kenny Clarke. l) Later, members of the nonet took the new musical ideas to their own bands. Some innovators included John Lewis with the Modern Jazz Quartet and Gerry Mulligan with his piano-less quartet. m) Gerry Mulligan (1927-1996) and West Coast Jazz i) Born in New York, Mulligan started writing arrangements as a teenager for radio bands, touring, composing, and playing reeds. In 1948, he joined the Thornhill band, where he met Gil Evans. Evans brought him into the Davis nonet, for which he did most of the writing. In 1951, he went to Los Angeles to look for a job with the Stan Kenton band. His own 1952 quartet, formed in California, epitomized West Coast jazz. ii) Kenton did not hire Mulligan but did record a few of his compositions ("Young Blood," "Limelight," "Walking Shoes"). These arrangements influenced a generation of composers. iii) Piano-less (1) After Mulligan briefly returned to New York to lead a ten-piece group, he went back to Los Angeles and started to play at the Haig restaurant with a quartet of baritone sax, trumpet, drums, and bass—no piano. This band exemplified the laid-back southern California attitude. After a reasonably successful recording of "My Funny Valentine," they became popular. (2) Chet Baker: without a pianist, Mulligan and trumpeter Chet Baker found that they had room to include more contrapuntal interplay. Baker played with an even lighter timbre than Miles and also kept to the middle register. In addition, he was a good ballad singer. (3) Chico Hamilton, Mulligan's drummer, was known for his mallet rolls. He later went on to form his own band. He also stood for racial integration. (4) The quartet only lasted for around a year, but it was popular. Mulligan and Hamilton played in some Hollywood movies, and actors often tried to copy Baker's look when playing jazz musicians. Mulligan went on to lead a number of bands, both large and small, and to write several jazz standards. n) John Lewis (1920-2001) and the Modern Jazz Quartet (MJQ) i) In contrast to the Mulligan quartet, the MJQ was an African American, East Coast, and long-lasting band. Started by John Lewis, it was a cooperative band, with each member having extra-musical duties. Lewis, who was in charge of the music, had a lifelong interest in polyphony and a conviction that Bach and the blues were compatible. ii) Lewis studied at the Manhattan School of Music. He worked with Gillespie and recorded with the likes of Charlie Parker. His style was spare but inflected with the blues. Dizzy encouraged him to compose and to feature the rhythm section. iii) Milt Jackson: Lewis formed his group by 1952. It included the first major vibes player since the 1930s, Milt Jackson. In contrast to Lewis, Jackson played with blues-drenched energy. iv) Kenny Clarke: The most established of the group, he was interactive and rambunctious. v) Percy Heath: A bassist who had been playing for only a few years, he was the eldest of the famous Heath family. vi) Lewis wanted to change how jazz was presented. He insisted that every performance be treated as a concert. All the MJQ members had to wear identical tuxedoes, pieces were formally introduced, and the musicians entered and exited from the stage. vii) Only after they were lauded in Europe did American critics get on board. The music was cool (genteel and cerebral) on the surface, but hot (rhythmic and intense) at the core. viii) The MJQ lasted for over 40 years. During these years, it played with both jazz and classical-music ensembles. ix) Lewis composed many pieces that became standards in the jazz repertoire, including "Django" and "Afternoon in Paris," as well as film scores. He was a jazz educator and activist, directing the Lenox School of Jazz (1957 - 1960) and the Monterey Jazz Festival (1958 - 1982), and cofounding and conducting Orchestra U.S.A. (1962) and the American Jazz Orchestra (1986 - 1992). x) Lewis collaborated with composer, conductor, and musicologist Gunther Schuller on what he called Third Stream. He suggested that a mix of Western art music and jazz would emerge as a "third stream." Though the architects of cool set the stage for Third Stream, it did not last. xi) "Vendome" (1) "Vendome" was the third of four selections recorded by the Modern Jazz Quartet at its very first session, in 1952, and it captures the group in a state of becoming. (2) This number was the first of the group's fugues—a Baroque polyphonic form in which a short melody or phrase (the fugue subject) is introduced by one part and successively taken up by others. Yet though Lewis's later fugues (including subsequent renditions of "Vendome") are more confidently performed and configured than this one, there is something to be said for the excitement of a performance that breaks new ground.

What are territory bands?

thousands of dance bands crisscrossed the United States. 3) Territory Bands: Andy Kirk (1898-1992) and Mary Lou Williams (1910-1981) a) During the 1920s and 1930s, most dance music remained local. People hired bands that they knew from live performance and that were within a day's drive—in the territory. All bands started this way, but eventually some bands became national through radio network broadcasts and tours. There were thousands of territory bands during the 1930s—white and black, hot and sweet. Some were all-female. By the end of the decade, territory bands were considered "minor league"—a good place for musicians to break into the business. b) Andy Kirk's Twelve Clouds of Joy was a "commonwealth" band, in which income, business decisions, and responsibilities were equally divided among the musicians. Typical for a territory band, they toured constantly, didn't record, and were under constant financial pressure. c) The musical genius of the band was Mary Lou Williams, who had an uncanny musical memory and perfect pitch. She absorbed the influences around her, including Earl Hines, Jelly Roll Morton, and James P. Johnson. She also started writing arrangements for the band after she learned how to read music. d) "Walkin' and Swingin'" i) Written by Mary Lou Williams in 1936, just after the band signed with Decca. ii) The band was smaller than most in 1936. To make it sound bigger, Williams had one of the trumpeters play with the saxophone section, using a mute to help blend. iii) The last chorus contains a riff that Thelonious Monk later used for his composition "Rhythm-a-ning." e) Williams left Kirk in 1942 and started to work at Café Society in New York. She began composing more. Her interest in modern harmony pulled her into the bebop scene during the 1940s, and many bebop luminaries hung out at her apartment. During the 1950s she retired, but during the 1960s she started giving concerts highlighting the history of jazz and eventually became a professor of jazz history at Duke University.

Who was Ellington's saxophonist?

Johnny Hodges

Describe an arpeggio. How did Coleman Hawkins use these? Was he successful in Europe? Be able to answer questions about "Body and Soul" Describe Hawkins' solos? Were they well received?

a chord's notes are played successively, one at a time, they can be played in any order; he broke them down into these component notes, which he shaped into powerful rhythmic melodies; yes hawkins; thirty-two-bar A A B A melody His solos on Fletcher Henderson's records so mesmerized musicians around the country that many who had taken up the C-melody saxophone after hearing Trumbauer switched to the tenor. 3) The Hawkins School a) Hawkins's influence was similar to Armstrong's: players of other kinds of sax switched to tenor. (His solo on "The Stampede" was especially influential.) Except for an indigenous tenor saxophone style emerging from the American Southwest (embodied in Lester Young), Hawk's primacy was almost absolute. b) Ben Webster (1909-1973) i) Born in Kansas City, Webster counted Budd Johnson and Lester Young among his mentors. He arrived in New York in 1932 with Benny Moten's band and then worked with several key bandleaders before joining Duke Ellington's band. ii) Originally a tempestuous soloist, he was known in his later career as a distinctive ballad player and accompanist for singers. iii) Along with Young and Hawkins, he was one of the three major prewar saxophonists. His playing during the 1950s and 1960s became even more distinctive than the innovations of his earlier period. c) Chu Berry (1908-1941) i) Born in West Virginia and educated at the state university, he started on alto sax and switched to tenor in 1929. ii) In 1930, he went to New York and played in a number of bands, finally taking Hawkins's place in Henderson's band after he left for Europe in 1935-37. iii) He impressed a young Charlie Parker with his ability to stay relaxed at fast tempos. In 1937, he joined Cab Calloway's band, where he achieved his greatest success. d) Roy Eldridge (1911-1989) i) He inherited the mantle of Armstrong and set the stage for Dizzy Gillespie. ii) He could play Hawkins's tenor solo from "The Stampede" on trumpet and developed his distinctive style by copying tenor saxophone solos. iii) He moved to New York in 1930 after working in the Midwest. iv) He joined Henderson in 1935. In 1936, he formed his own eight-piece band. v) He was a brassy, high-note player. vi) In the 1940s, he became the first black musician to sit in a white orchestra, in this case led by Gene Krupa. He accompanied singers, played with Artie Shaw, and participated in the "Birth of Bebop" jam sessions. He played with both swing and bop musicians.

Who is Dexter Gordon? Who were his early mentors? Who was Wardell Gray and how did he associate with Dexter Gordon? Discuss the Jazz at the Philharmonic Hall?

He was a tenor sax player, would regularly be in tenor battles with Gordon. Equally matched they became partners Fellow saxophonist from Oklahoma City. They did jam sessions together and have recorded one of the longest jazz improvisations on record. Norman Granz held concerts at the LA Philharmonic hall featuring his favorite musicians, regardless of race, in jam sessions. It soon was banned from the Hall, but it became a touring show of the same name to spite those who banned it. 10) Dexter Gordon (1923-1990) a) He came from a middle-class home with a jazz-loving father who was a doctor to jazz musicians such as Lionel Hampton and Duke Ellington. Dr. Gordon took Dexter to big-band shows on a regular basis. b) Dexter studied clarinet and then saxophone in high school. He saw Coleman Hawkins as a master, but he was initially inspired by Lester Young. He studied music theory with Gillespie, and a later encounter with Parker molded him into a young disciple of bebop. His style combined a relaxed mode of playing (after Young) with rhythmic intricacies (after Parker). c) "Long Tall Dexter" i) This song features many of the so-called bebop generation's most talented figures: it is built off of a singular riff and strategically introduces a bit of unexpected dissonance. Interaction of the group typifies the atmosphere of a jam session as Dexter methodically builds to a climax over seven choruses in an intense virtuosic display. d) During the 1950s, Gordon alternated playing and prison, but the 1960s saw him return to form, recording for Blue Note. He spent much of his time in Europe, where black musicians felt less prejudice. e) He returned to New York and a successful career in 1976. He recorded for Columbia, acted in films, and took on the role of elder statesman.

How was live recording done in 1944?

LP Norman Granz started JATP in 1944 he began recording the concerts on a disc-recorder and releasing them on his own newly created labels (Clef, Norgan) in the form of several three-minute 78s.

Who was Bud Powell? What instrument did he play? What was his style? How was his playing unique? Listen to "Tempus Fugue-it" and be able to answer questions about this song. What does the title mean? What styles are combined in this song?

a jazz pianist, born and raised in Harlem, New York City. While Thelonious Monk became his close friend, his greatest influence on piano was Art Tatum The form is standard thirty-two-bar A A B A, with the A section barely moving from the tonic; powell 8) Bud Powell (1924-1966) a) Part of a musical family, he knew classical music but learned about jazz by hanging out at Minton's Playhouse, where Monk spotted his talent—a recognition that Powell never forgot. b) After dropping out of high school, Powell joined Cootie Williams's band. While touring with Ellington during this period, he was badly beaten by police in Philadelphia, leaving him with crippling headaches. This started a protracted bout of psychiatric treatments, which included incarceration, medication, and electroshock treatments that affected his memory. Powell also had a weakness for alcohol. c) Stylistically, he laid the foundation for all bebop pianists to follow. His left hand played chords while his right hand improvised lines rivaling those of Parker and Gillespie. Sometimes he would play block-chord style, where the melody is supported by rich chords; at other times he might play a stride-piano style scattered with Tatum-like runs. He also pioneered the piano trio format. d) "Tempus Fugue-It" i) Recorded in 1949. Powell had just emerged from a sanitarium and would return shortly after this recording. He seems surprisingly in control, given the circumstances. This side was recorded by a young Norman Granz for his Clef Records. ii) Accompanied by Ray Brown (bass) and Max Roach (drums), he recorded at a variety of tempos. This piece suggests Powell's familiarity with Baroque music. It is a 32-bar A A B A form, with the bridge more active harmonically than the relatively static A sections. This recording illustrates the intensity of Powell's playing.

Be able to answer questions about Billie Holiday and her life and career. Be able to answer questions about "A Sailboat in the Moonlight". Be able to answer questions about Ella Fitzgerald. Be able to discuss "Blue Skies"

an American jazz musician and singer-songwriter. Nicknamed "Lady Day" by her friend and music partner Lester Young, Holiday had a seminal influence on jazz music and pop singing an American jazz singer often referred to as the First Lady of Song, Queen of Jazz and Lady Ella;; "Blue Skies," a pop standard frequently adapted by jazz musicians, was recorded for the album Ella Fitzgerald Sings the Irving Berlin Songbook c) Billie Holiday (1915-1959) i) Born in Philadelphia and raised in Baltimore, Holiday was the illegitimate daughter of guitarist Clarence Holiday. ii) She was left by her mother in the care of abusive relatives. At age ten she was remanded to a school for delinquent girls. In 1929, she joined her mother in New York, where she worked at menial labor and was arrested for prostitution. She started singing at this time. iii) In 1933, she was heard at a Harlem club by John Hammond, who invited her to record with Benny Goodman. In 1934, she wowed the audience at the Apollo Theater. In 1935, Hammond recorded her with pianist Teddy Wilson and other top musicians, including Lester Young. iv) She worked with the Basie and Artie Shaw big bands but had to leave the latter because of racial injunctions. In 1939, she sang at the interracial nightclub Café Society in New York. Her recordings sold well. "Strange Fruit" (1939), about lynching, raised her standing with the intelligentsia. v) Her long and painful downfall was the result of drug addiction, a bad marriage, a sensationalized trial in 1947, an eight-month jail term, and the denial of her cabaret card. By the 1950s, she was focusing on ballads as her voice weakened. She made a TV appearance in 1957 and died at age forty-four. vi) Lady Day's Style (1) Her main influences were Ethel Waters, Bessie Smith, and, especially, Louis Armstrong, for his sense of swing, paraphrase, and embellishment. (2) Unlike other singers, she did not scat, and she rarely sang blues form. She had a limited vocal range, and although the timbre of her voice was thin, she could make a song her own through melodic variation. (3) Jazz musicians adored her phrasing. She had a musical romance with Lester Young. vii) "A Sailboat in the Moonlight" (1) Written by Carmen Lombardo and a hit for Guy Lombardo, it was banal and sentimental. Yet Holiday's rendition (with Young) is rhythmic, inspired, and touching. d) Ella Fitzgerald (1917-1996) i) In contrast to Holiday, she: (1) was a great scat-singer and had a four-octave range; (2) used falsetto cries and low growls; (3) wielded a luscious timbre; and (4) treated the blues as just another vehicle for improvisation, though, like Holiday, she rarely sang blues form. ii) Born in Virginia and raised in Yonkers, she sang in church. After her mother died, she went to live with an aunt in Harlem, who treated her like an orphan. By 1934 she was living in the streets. Singing at the Apollo Theater in 1934, she was teased when she walked onstage because of her looks but won the competition all the same. iii) Benny Carter recommended her to Chick Webb. He became her legal guardian and restructured his band to feature her voice. She recorded from 1935 on and had a big hit in 1938 with "A-Tisket, a-Tasket." iv) After Webb's death, she recorded with other musicians and was recruited by Norman Granz for his Jazz at the Philharmonic program. He became her personal manager, building the Verve Record label around her. During the 1950s and 1960s, she made the highly acclaimed American songbook series of recordings. v) "Blue Skies" (1) Originally recorded for the Irving Berlin songbook album, the song was judged too adventurous but was released on a later album, Get Happy! Harry "Sweets" Edison provides a trumpet obbligato. She sings a three-chorus scat solo quoting from Gershwin's Rhapsody in Blue and Wagner's "Wedding March."

What is Cool Jazz? Who was it initially associated with? What was West Coast Jazz?

it was usually associated with white musicians who relocated from the East Coast to California, A style of modern jazz in the 1950s that used a relaxed approach to timbre and experimented with such basic elements as form, texture, instrumentation, and meter. Lennie Tristano, the Miles Davis Nonet ("Birth of the Cool"), Gil Evans, Gerry Mulligan, Stan Getz, Dave Brubeck, and the Modern Jazz Quartet, as well as the convergence with classical music under the rubric Third Stream. By the early 1950s, "cool" was used to describe a kind of toned-down jazz. Later the term became associated with a number of white musicians who relocated to California where they could get day gigs at movie studios (unlike African Americans) while playing jazz at night. 2) Cool Jazz a) By the early 1950s, "cool" was used to describe a kind of toned-down jazz. Later the term became associated with a number of white musicians who relocated to California, where they could get day gigs at movie studios (unlike African Americans) while playing jazz at night. In this form it was called West Coast jazz. b) For white players to represent a kind of cool jazz is ironic, since the idea of coolness has its roots in African American culture. c) Cool jazz contrasts with hot jazz. i) Cool: characterized by limited vibrato, restrained timbre, stable dynamics, melodic calm, and sophisticated harmonies that temper the blues idiom (Bix Beiderbecke, Lester Young, Teddy Wilson, Red Norvo, John Kirby, Eddie Sauter, Benny Carter). ii) Hot: characterized by aggressive rhythms and improvisation, heavy timbre and vibrato, evocative blues scales, and overt expressiveness. d) Still, bebop and cool jazz are connected. Charlie Parker composed the cool "Yardbird Suite" and "Cool Blues," and the young Miles Davis wrote "Sippin' at Bells," which obscures blues feeling by using complex harmonies. This link can also be seen through two pianist-composers, Lennie Tristano and Tadd Dameron. e) Lennie Tristano (1919-1978) i) Blind pianist Lennie Tristano was schooled in the European classics in Chicago. He attracted a coterie of musicians including guitarist Billy Bauer and alto saxophonist Lee Konitz. In 1946, he moved to New York, where he played with Parker and Gillespie and built his own following, playing with Konitz, Bauer, and saxophonist Warne Marsh. ii) Tristano adapted chord changes of pop songs and added his own convoluted melodies to create a music that sounded virtuosic, experimental, and emotionally aloof. His piano playing featured long, winding phrases that include counterpoint, sometimes in different meters. iii) Although he attracted only a small cult following, his influence loomed large through his teaching and protégés such as Konitz. f) Tadd Dameron (1917-1965) i) In contrast to Tristano, Dameron was limited as a pianist. Instead of Tristano's intellectual, difficult music, Dameron wrote lyrical melodies and breezy rhythms, at times with a Latin feeling. He wrote ballads ("If You Could See Me Now"), fast instrumentals ("Hot House"), and jazz standards. ii) In 1948, he organized a small band at Broadway's Royal Roost with trumpeter Fats Navarro and Wardell Gray, and Allen Eager on sax. The spare melodies combined with rich harmonies prefigured the cool jazz of the following year. 3) The Birth of the Cool a) In 1945, nineteen-year-old Miles Davis played on Parker's first recording. One can hear major differences in his lyricism and personal timbre, longer tones, and silences. b) Four years later, in 1949, Davis led a group of musicians who were interested in slowing down the pace of the music and rebalancing the mix between improvisation and composition. c) Although there were precedents in jazz for this concept of music (e.g., Ellington), these young modernists looked to classical chamber music for sonorities that favored the middle range instead of high notes, the French horn and tuba to complete the instrumental palette, and a toned-down rhythm in place of the up-front beat of dance music. d) In 1949, Miles Davis was the youngest of the cool school and had yet to establish himself as a bandleader or distinctive stylist. He was, however, a good organizer, spearheading discussions, rehearsals, and support for new compositions. He landed a recording deal, for which he put together a brass-heavy ensemble of nine musicians—halfway between a big band and a small combo—made up of many players who would go on to become leading jazz figures in their own right. e) Gil Evans was the oldest of the group. An ingenious orchestrator, he made different kinds of repertoire—jazz, pop tunes, classical music—his own. He had led bands as early as 1933, but he really started exploring instrumental possibilities when he worked in the Claude Thornhill band, which included French horns, tuba, flute, and bass clarinet in addition to the regular big-band instrumentation. f) Evans lived on West 55th Street in New York, which was close to the center of the action on 52nd Street. Musicians, composers, and singers continually dropped by to eat, drink, nap, or converse. g) Two such visitors were Lee Konitz—whom Evans featured in the nonet—and arranger Gerry Mulligan (soon to be a famous baritone sax player). Both played in the Thornhill band. Mulligan did most of the writing for the nonet. h) Another regular was composer-pianist John Lewis, who had played with Parker and Gillespie. Davis insisted that the marquee at the Royal Roost, the site of their only live gig, mention the names of the arrangers. This special billing was a first. i) The nonet consisted of a coalition that was interracial, intergenerational, and culturally diverse. Improvisations were woven into written arrangements. All the instruments, low or high, gravitated to the mid-range, medium dynamics, and economical phrasing. j) Though proving influential later, the nonet initially garnered little interest from public or press. k) "Venus de Milo" i) This is often characterized as one of the most straightforward of the cool recordings: intro, head, interlude, a full-chorus solo by Davis, a half chorus by Mulligan, a closing variation on the written material, and coda. Yet precisely because everything is so front-and-center, it has to be performed with a reasonable degree of perfection: the right tempo, dynamics, texture, as well as improvisations that embellish rather than replace the composition. ii) Mulligan's solo, interestingly, is the only passage in the piece without ensemble counterpoint—other than the rhythm section, which is stellar, particularly the dashing Kenny Clarke. l) Later, members of the nonet took the new musical ideas to their own bands. Some innovators included John Lewis with the Modern Jazz Quartet and Gerry Mulligan with his piano-less quartet. m) Gerry Mulligan (1927-1996) and West Coast Jazz i) Born in New York, Mulligan started writing arrangements as a teenager for radio bands, touring, composing, and playing reeds. In 1948, he joined the Thornhill band, where he met Gil Evans. Evans brought him into the Davis nonet, for which he did most of the writing. In 1951, he went to Los Angeles to look for a job with the Stan Kenton band. His own 1952 quartet, formed in California, epitomized West Coast jazz. ii) Kenton did not hire Mulligan but did record a few of his compositions ("Young Blood," "Limelight," "Walking Shoes"). These arrangements influenced a generation of composers. iii) Piano-less (1) After Mulligan briefly returned to New York to lead a ten-piece group, he went back to Los Angeles and started to play at the Haig restaurant with a quartet of baritone sax, trumpet, drums, and bass—no piano. This band exemplified the laid-back southern California attitude. After a reasonably successful recording of "My Funny Valentine," they became popular. (2) Chet Baker: without a pianist, Mulligan and trumpeter Chet Baker found that they had room to include more contrapuntal interplay. Baker played with an even lighter timbre than Miles and also kept to the middle register. In addition, he was a good ballad singer. (3) Chico Hamilton, Mulligan's drummer, was known for his mallet rolls. He later went on to form his own band. He also stood for racial integration. (4) The quartet only lasted for around a year, but it was popular. Mulligan and Hamilton played in some Hollywood movies, and actors often tried to copy Baker's look when playing jazz musicians. Mulligan went on to lead a number of bands, both large and small, and to write several jazz standards. n) John Lewis (1920-2001) and the Modern Jazz Quartet (MJQ) i) In contrast to the Mulligan quartet, the MJQ was an African American, East Coast, and long-lasting band. Started by John Lewis, it was a cooperative band, with each member having extra-musical duties. Lewis, who was in charge of the music, had a lifelong interest in polyphony and a conviction that Bach and the blues were compatible. ii) Lewis studied at the Manhattan School of Music. He worked with Gillespie and recorded with the likes of Charlie Parker. His style was spare but inflected with the blues. Dizzy encouraged him to compose and to feature the rhythm section. iii) Milt Jackson: Lewis formed his group by 1952. It included the first major vibes player since the 1930s, Milt Jackson. In contrast to Lewis, Jackson played with blues-drenched energy. iv) Kenny Clarke: The most established of the group, he was interactive and rambunctious. v) Percy Heath: A bassist who had been playing for only a few years, he was the eldest of the famous Heath family. vi) Lewis wanted to change how jazz was presented. He insisted that every performance be treated as a concert. All the MJQ members had to wear identical tuxedoes, pieces were formally introduced, and the musicians entered and exited from the stage. vii) Only after they were lauded in Europe did American critics get on board. The music was cool (genteel and cerebral) on the surface, but hot (rhythmic and intense) at the core. viii) The MJQ lasted for over 40 years. During these years, it played with both jazz and classical-music ensembles. ix) Lewis composed many pieces that became standards in the jazz repertoire, including "Django" and "Afternoon in Paris," as well as film scores. He was a jazz educator and activist, directing the Lenox School of Jazz (1957 - 1960) and the Monterey Jazz Festival (1958 - 1982), and cofounding and conducting Orchestra U.S.A. (1962) and the American Jazz Orchestra (1986 - 1992). x) Lewis collaborated with composer, conductor, and musicologist Gunther Schuller on what he called Third Stream. He suggested that a mix of Western art music and jazz would emerge as a "third stream." Though the architects of cool set the stage for Third Stream, it did not last. xi) "Vendome" (1) "Vendome" was the third of four selections recorded by the Modern Jazz Quartet at its very first session, in 1952, and it captures the group in a state of becoming. (2) This number was the first of the group's fugues—a Baroque polyphonic form in which a short melody or phrase (the fugue subject) is introduced by one part and successively taken up by others. Yet though Lewis's later fugues (including subsequent renditions of "Vendome") are more confidently performed and configured than this one, there is something to be said for the excitement of a performance that breaks new ground.

What was bebop? Why was Minton's Playhouse important to bebop performers? What is meant by dropping bombs? What does this relate to? What particular dissonant harmony was known as the "Devil in Music" in the Middle Ages?

the swing jazz that had risen from its New Orleans origins to become an extroverted popular music turned a sharp corner with the sounds known as hosted some of the most celebrated jam sessions in Manhattan; a place to stay and listen and perform unexpected bass drum explosions; battle of britian tritone 1) Bebop and Jam Sessions a) In the mid-1940s, bebop, or simply bop, represented a turning away from jazz as a popular music, part of the mainstream of American culture, to a music that is isolated, non-danceable, played by small combos to a small audience in a virtuosic style that was difficult to grasp. b) There are two ways to view this change: one labels bebop as revolutionary, something apart from the jazz that preceded it; the second—the view adopted here—s ees bebop as evolutionary, part of the jazz tradition that made it into an art music and linked to the preceding Swing Era through the jam session. 2) Dropping Bombs at Minton's a) Swing musicians started work in the evening and continued to play after their regular gigs at jam sessions, which were relaxing in their informality, but work-like in their competitiveness. b) Musicians kept inexperienced players off the bandstand by playing tunes at ridiculously fast tempos in unfamiliar keys. Standards like "I Got Rhythm" were reharmonized with difficult chord substitutions. Bebop musicians were continually tested, confronting fast tempos and complicated harmonies. c) Charlie Parker and other beboppers played jam sessions at Minton's Playhouse on 118th Street in Manhattan, a venue at the forefront of experimentation with this new style and its adventurous challenges. d) Drummer Kenny Clarke relates how he changed drumming while playing a fast tune with Teddy Hill's band in the 1930s. He couldn't play every quarter note on the bass drum, so he started keeping the beat on the ride cymbal, producing a lighter, more flexible way of keeping time and leaving the bass drum available for fills. e) When Hill's band later collapsed, Minton offered him the job of running the music at his playhouse. Hill realized that Clarke's style of playing might be perfect for a jam session. Clarke's combinations of snare and bass drum accents were called "klook-mop." "Klook," as he came to be known, played unexpected bass drum accents in a technique known as "dropping bombs" (this all took place, after all, during World War II) that became popular with younger drummers such as Max Roach and Art Blakey. f) Soloists played unpredictable melodies (inspired by Lester Young), often ending with two eighth notes ("be-bop" or "re-bop"), which irritated older musicians. g) Pianists, inspired by Basie, started "comping"—putting in accompanying chords in unpredictable places that complemented the drummer. Because of the new drum technique, guitarists no longer needed to play four to the bar and instead comped on the newly popular electric guitar. h) Bassists continued to be timekeepers but raised the level of virtuosity. Oscar Pettiford could play swiftly and also take melodic solos.

How was Juan Tizol's trombone different than a regular trombone?

valve trombonist

What was a "race man"? Why did Ellington think this was important? Be able to answer questions about Conga Brava.

a spokesperson for black America, and whenever possible reminded his audiences about race consciousness; the black man was the country's "creative voice":

Know about the following performers: Miles Davis Lennie Tristano Tadd Dameron Gerry Mulligan John Lewis and "MJQ" - (what does this stand for?)

an American jazz musician, trumpeter, bandleader, and composer. Widely considered one of the most influential and innovative musicians of the 20th century, an American jazz pianist, composer, arranger, and teacher of jazz improvisation. He was a blind pianist and schooled in the European classics in Chicago. In 1946 he moved to New York, where he played with Bird and Dizzy and built his own following. He adapted chord changes of pop songs and added his own convoluted melodies to create a music that sounded virtuosic, experimental, and emotionally aloof. He replaced his drummer with taped percussion tracks. an American jazz composer, arranger and pianist. Saxophonist Dexter Gordon called him the "romanticist" of the bop movement, He was limited as a pianist, but he was one of the few bop arranger-composer-bandleaders who originally made his mark in swing, composing for Harlan Leonard and his Rockets from Kansas City. He wrote lyrical melodies and breezy rhythms, at times with a Latin feeling. He wrote ballads. ("If You Could See Me Now"), fast instrumentals ("Hot House"), and jazz standards. In 1948 he organized a small band at Broadway's Royal Roost with trumpeter Fats Navarro and Wardell Gray and Allen Eager on sax. The spare melodies combined with rich harmonies prefigured the cool jazz of the following year. an American jazz saxophonist, clarinetist, composer and arranger. an American jazz pianist, composer and arranger, best known as the musical director of the Modern Jazz Quartet. e) Lennie Tristano (1919-1978) i) Blind pianist Lennie Tristano was schooled in the European classics in Chicago. He attracted a coterie of musicians including guitarist Billy Bauer and alto saxophonist Lee Konitz. In 1946, he moved to New York, where he played with Parker and Gillespie and built his own following, playing with Konitz, Bauer, and saxophonist Warne Marsh. ii) Tristano adapted chord changes of pop songs and added his own convoluted melodies to create a music that sounded virtuosic, experimental, and emotionally aloof. His piano playing featured long, winding phrases that include counterpoint, sometimes in different meters. iii) Although he attracted only a small cult following, his influence loomed large through his teaching and protégés such as Konitz. f) Tadd Dameron (1917-1965) i) In contrast to Tristano, Dameron was limited as a pianist. Instead of Tristano's intellectual, difficult music, Dameron wrote lyrical melodies and breezy rhythms, at times with a Latin feeling. He wrote ballads ("If You Could See Me Now"), fast instrumentals ("Hot House"), and jazz standards. ii) In 1948, he organized a small band at Broadway's Royal Roost with trumpeter Fats Navarro and Wardell Gray, and Allen Eager on sax. The spare melodies combined with rich harmonies prefigured the cool jazz of the following year. m) Gerry Mulligan (1927-1996) and West Coast Jazz i) Born in New York, Mulligan started writing arrangements as a teenager for radio bands, touring, composing, and playing reeds. In 1948, he joined the Thornhill band, where he met Gil Evans. Evans brought him into the Davis nonet, for which he did most of the writing. In 1951, he went to Los Angeles to look for a job with the Stan Kenton band. His own 1952 quartet, formed in California, epitomized West Coast jazz. ii) Kenton did not hire Mulligan but did record a few of his compositions ("Young Blood," "Limelight," "Walking Shoes"). These arrangements influenced a generation of composers. iii) Piano-less (1) After Mulligan briefly returned to New York to lead a ten-piece group, he went back to Los Angeles and started to play at the Haig restaurant with a quartet of baritone sax, trumpet, drums, and bass—no piano. This band exemplified the laid-back southern California attitude. After a reasonably successful recording of "My Funny Valentine," they became popular. (2) Chet Baker: without a pianist, Mulligan and trumpeter Chet Baker found that they had room to include more contrapuntal interplay. Baker played with an even lighter timbre than Miles and also kept to the middle register. In addition, he was a good ballad singer. (3) Chico Hamilton, Mulligan's drummer, was known for his mallet rolls. He later went on to form his own band. He also stood for racial integration. (4) The quartet only lasted for around a year, but it was popular. Mulligan and Hamilton played in some Hollywood movies, and actors often tried to copy Baker's look when playing jazz musicians. Mulligan went on to lead a number of bands, both large and small, and to write several jazz standards. n) John Lewis (1920-2001) and the Modern Jazz Quartet (MJQ) i) In contrast to the Mulligan quartet, the MJQ was an African American, East Coast, and long-lasting band. Started by John Lewis, it was a cooperative band, with each member having extra-musical duties. Lewis, who was in charge of the music, had a lifelong interest in polyphony and a conviction that Bach and the blues were compatible. ii) Lewis studied at the Manhattan School of Music. He worked with Gillespie and recorded with the likes of Charlie Parker. His style was spare but inflected with the blues. Dizzy encouraged him to compose and to feature the rhythm section. iii) Milt Jackson: Lewis formed his group by 1952. It included the first major vibes player since the 1930s, Milt Jackson. In contrast to Lewis, Jackson played with blues-drenched energy. iv) Kenny Clarke: The most established of the group, he was interactive and rambunctious. v) Percy Heath: A bassist who had been playing for only a few years, he was the eldest of the famous Heath family. vi) Lewis wanted to change how jazz was presented. He insisted that every performance be treated as a concert. All the MJQ members had to wear identical tuxedoes, pieces were formally introduced, and the musicians entered and exited from the stage. vii) Only after they were lauded in Europe did American critics get on board. The music was cool (genteel and cerebral) on the surface, but hot (rhythmic and intense) at the core. viii) The MJQ lasted for over 40 years. During these years, it played with both jazz and classical-music ensembles. ix) Lewis composed many pieces that became standards in the jazz repertoire, including "Django" and "Afternoon in Paris," as well as film scores. He was a jazz educator and activist, directing the Lenox School of Jazz (1957 - 1960) and the Monterey Jazz Festival (1958 - 1982), and cofounding and conducting Orchestra U.S.A. (1962) and the American Jazz Orchestra (1986 - 1992). x) Lewis collaborated with composer, conductor, and musicologist Gunther Schuller on what he called Third Stream. He suggested that a mix of Western art music and jazz would emerge as a "third stream." Though the architects of cool set the stage for Third Stream, it did not last. xi) "Vendome" (1) "Vendome" was the third of four selections recorded by the Modern Jazz Quartet at its very first session, in 1952, and it captures the group in a state of becoming. (2) This number was the first of the group's fugues—a Baroque polyphonic form in which a short melody or phrase (the fugue subject) is introduced by one part and successively taken up by others. Yet though Lewis's later fugues (including subsequent renditions of "Vendome") are more confidently performed and configured than this one, there is something to be said for the excitement of a performance that breaks new ground.

Who are Milt Jackson and Percy Heath?

The first major vibes player since the 1930s. He played with John Lewis. In contrast to Lewis he played with blues-drenched energy. A bassist who had only been playing for a few years. He was the eldest of his famous family. iii) Milt Jackson: Lewis formed his group by 1952. It included the first major vibes player since the 1930s, Milt Jackson. In contrast to Lewis, Jackson played with blues-drenched energy. v) Percy Heath: A bassist who had been playing for only a few years, he was the eldest of the famous Heath family.

Who was Count Basie? What groups did he perform with? What are head arrangements? Be able to answer questions about "One'O Clock Jump" Were Basie's band members good at head arrangements? What did Basie think of them?

an American jazz pianist, organist, bandleader, and composer. His mother taught him to play the piano and he started performing in his teens; Blue Devils, Benny Motens band a fluid, twelve-bar blues arrangement that had evolved gradually for more than a decade before finding its final form; basie 3) Count Basie (1904-1984) a) He grew up in New Jersey, near New York. He taught himself stride piano and started working in New York until he joined a traveling vaudeville show. In the mid-1920s, he was stranded in Oklahoma City when the vaudeville act disbanded. There he heard a territory band called the Blue Devils and was impressed by their sense of fun and team spirit. He played occasionally with them over the next several years. However, as a commonwealth band, they found it difficult to operate in an increasingly centralized music business. b) Benny Moten i) The Blue Devils dissolved in 1933. The most prosperous band in the territory, run by Benny Moten, hired Basie, bassist Walter Page, and others from this band. Moten was a ragtime pianist well connected to the regime of Kansas City political boss Tom Pendergast. ii) Even at this early stage, the characteristic four-beat groove of Kansas City jazz was starting to be heard. Although many of the early recordings of bands from this period have a two-beat rhythm, once bassist Walter Page changed from tuba to string bass, four-beat rhythms became typical for the Moten band. iii) In 1935, Moten died on the operating table during a tonsillectomy, bleeding to death from a severed artery. Basie started his own small band from the remnants of the Moten band at the Reno Club in Kansas City. They played mostly head arrangements. c) Head Arrangements and Jam Sessions i) Arranging in Kansas City was more casual than elsewhere. There, musicians specialized in head arrangements that were created collectively and passed down orally. The skill of creating and remembering arrangements in one's head came in handy for the jam sessions that were common in Kansas City. Out-of-work musicians would gravitate to clubs where they could just sit in and play. These jam sessions were friendly, but also competitive. ii) Usually the club would hire a rhythm section—say, drums and piano, as was the case at the Sunset Café. A long line of horn players would be waiting their turn to play. Often one piece lasted more than an hour. Improvisational skill and meaningfully played solos were highly valued. While one horn player was soloing, others might start playing a harmonized riff. This was considered a specialized skill in Kansas City, and if the player couldn't find the correct note to harmonize the riff, he or she was told to sit down. With many horn players involved in the jam session, each had to find a note that wasn't already being played. This sometimes resulted in the addition of extended notes to the chord. This process is reminiscent of African American folk practices. iii) Sometimes head-arrangement riffs were written down to preserve their order. The spontaneous oral character of head arrangements, however, allowed the band to extend the performance of a piece as long as dancers required it. d) "One O'Clock Jump" i) A 12-bar blues, this piece evolved gradually for more than a decade before it was recorded. Various players in the band added riffs. The original melody, found in the ninth chorus, can be heard in the 1920s Redman arrangement of "Six or Seven Times." All of these musical ideas were considered public property. It became Basie's first hit. ii) Basie often started a piece, as he does here, to set the right tempo and groove. The next few choruses are mostly solos. After the rhythm-section chorus, which includes Basie's characteristic jabbing chords, the band enters with a series of interlocking riffs. This commercial recording lasts about three minutes, but live or on radio, it could go as long as a half hour. e) The Basie Band i) After John Hammond heard Basie's band on shortwave radio and then in person, he brought them to New York. ii) At first, they had intonation problems and a restricted repertory of head arrangements. The latter was their strength. Working with Eddie Durham, they wrote out their head arrangements and edited submitted arrangements to fit their uncluttered, clean style. This marked a new emphasis in jazz on the centrality of the groove. This was also true of Basie's piano style. iii) Drummer Jo Jones contributed by keeping the pulse on the bass drum light, matching the sound of the bass and the guitar, and moving the basic sound to the high-hat cymbals, prefiguring bebop drumming. Guitarist Freddie Green held the rhythm section together by his soft, felt-rather-than-heard, four-to-the-bar chording. iv) Trumpeter Buck Clayton added spare, bluesy solos that contrasted with trumpeter Eddie "Sweets" Edison's low, muted tone. Eddie Durham was one of the trombonists, as well as an arranger and one of the earliest electric guitar players. v) One innovative feature of the band was dueling tenor saxophonists Lester Young and Herschel Evans, a full-tone Texas-style player. He was featured on slow blues tunes and ballads and contrasted markedly with Young. The idea of dueling tenors was picked up by countless other bands. vi) Basie's vocalist, Jimmy Rushing ("Mister Five by Five"), sang pop songs but became famous for his blues singing. f) Later Basie i) After World War II, Basie, like many leaders of big bands, faced hard times. In 1950 he formed a septet. Later, he re-formed the big band as the New Testament, with studio musicians and Freddie Green. Gone were the head arrangements in favor of some excellent written arrangements by Neil Hefti and Thad Jones. They also worked with singers such as Sinatra, Tony Bennett, and Billy Eckstine.

How was Jazz seen overseas? Was it popular? How was it received in Germany? and the Soviet Union? Who is Django Reinhardt?

recognized as a serious, exhilarating new art; jazz illegal in germany and su; a Belgium-born French guitarist and composer of Romani ethnicity. 5) Over There a) Jazz was carried all over the world through recordings. b) Two factors stimulated its growth overseas: i) Europeans recognized it as a serious art form. There was racism, but not supported by the law of the land as in the United States. ii) In some places, like Nazi Germany and Communist Russia, jazz was illegal. It was associated with rebellion and freedom, but was appreciated underground. c) The Nazis banned jazz as the decadent product of blacks and Jews, but as they conquered other countries, they realized that the captured populations listened to local radio that played jazz, in preference to German broadcasts. They decided to exploit this by providing imitations of swing. d) After the war, American jazz musicians were treated as heroes. Jazz mutually interacted with local musical practices when it arrived in many parts of the world, generating new musical mixes. American jazz musicians remained stars, but many local musicians in other countries also achieved fame.

Listen to and Review "Vendome"

was the third of four selections recorded by the Modern Jazz Quartet at its very first session, xi) "Vendome" (1) "Vendome" was the third of four selections recorded by the Modern Jazz Quartet at its very first session, in 1952, and it captures the group in a state of becoming. (2) This number was the first of the group's fugues—a Baroque polyphonic form in which a short melody or phrase (the fugue subject) is introduced by one part and successively taken up by others. Yet though Lewis's later fugues (including subsequent renditions of "Vendome") are more confidently performed and configured than this one, there is something to be said for the excitement of a performance that breaks new ground.

Who is Jimmie Lunceford? Where did he graduate from college? What did he require of his band? What were the three P's? How did this help his band succeed and have problems?

An American jazz alto saxophonist and bandleader in the swing era; fisk university; punctuality, precision, and presentation; the result was a band that embodied the best in black middle-class dignity b) Jimmie Lunceford (1902-1947) i) Lunceford did not fit the bandleader mold: he was not a star performer, and although he learned to play a number of instruments, he did not play in his own band. Moreover, he was university-educated high school music teacher before he started to lead his own group. ii) Lunceford was a strict disciplinarian in terms of music, appearance, and behavior. While putting on a show, the performers played hard-driving swing music. iii) A black band such as Lunceford's had to tour continually, and the leader lost many of his best men to other bands owing to his predilection for stingy salaries and a grueling work schedule. iv) "Annie Laurie" (1) "Annie Laurie" is a brilliant example of the Lunceford band's individuality, and particularly of Sy Oliver's highly original style of arranging. Oliver insisted on the two-beat rhythmic feeling that became the band's signature: the music was written in four but executed in a manner that emphasized the backbeat. Dancers loved it. (2) The "Annie Laurie" ballad (initially published in 1838) was a musical setting by Scottish composer Alicia Ann Spottiswood of a seventeenth-century love poem. Its dramatic octave leap in the first measure evokes the Scottish folk tradition, and it became a great favorite in America after P. T. Barnum presented the "Swedish Nightingale," Jenny Lind, singing it. Oliver, adapting the original melody into 32-bar song form (A A B A), creates a swinging euphoria that recalls the polyphonic revelry of New Orleans jazz.

Who was in the Brown-Roach Quintet?

Clifford Brown, Max Roach Brown, Roach, Harold Land, Sonny Rollins - In 1954, drummer Max Roach brought Brown to Los Angeles for a concert. After this they formed their own band, which was considered by many as the last great bebop band. It influenced emerging hard-bop bands with its driving performances of unusual pieces and originals (e.g., Brown's "Joy Spring"). iv) Brown-Roach Quintet (1) In 1954, drummer Max Roach brought Brown to Los Angeles for a concert. After this they formed their own band, which was considered by many as the last great bebop band. It influenced emerging hard bop bands with its driving performances of unusual pieces and originals (e.g., Brown's "Joy Spring"). (2) Brown also recorded with Zoot Sims and singer Dinah Washington, which led to requests from other singers such as Sarah Vaughan and Helen Merrill, as well as an album with strings—the most successful jazz album with strings since Parker.

Who was nicknamed "Father of the Tenor"? Whose band did he play with?

Coleman Hawkins British bandleader Jack Hylton 2) Coleman Hawkins a) He was the prime exemplar of the rise of the independent Swing Era soloist. b) The first swing jazz focused on the soprano sax (Bechet) or the C-melody sax (Trumbauer). These instruments eventually fell into disuse as Hawkins distanced the tenor sax from its comic associations and established it as a rival to the trumpet. c) Known as "Bean" or "Hawk," Hawkins established the approved style of saxophone playing while with the Henderson band (1923-34): heavy vibrato, powerful timbre, emotional zeal, and harmonic ingenuity. He changed improvisation from varying the melody to creating lines based on arpeggiated harmonies. d) In exploring various ways to break down chords, he frequently added more intricate harmonies and harmonic substitutions, thereby prefiguring bebop. e) In 1934, Hawkins signed with British bandleader Jack Hylton to tour England. He was so impressed by the reception of jazz in Europe that he stayed for five years, touring all over Europe while staying in touch with developments in the United States through recordings. One of these developments was the emergence of Lester Young. f) Weeks before Hitler invaded Poland in 1939, Hawkins returned to the States and started recording again with some of the musicians he had influenced—Ben Webster and Chu Berry. g) "Body and Soul" i) A month after he returned from Europe, Hawkins went into the studio to record with the nine-piece band then playing at Kelly's Stables. They recorded three arranged pieces and needed a fourth to complete four recorded sides. They played an ad-lib "Body and Soul," which became a hit. ii) Originally written for a Broadway revue in 1930, it had since become a standard for torch singers and jazz musicians such as Armstrong, Goodman, Django Reinhardt, and Chu Berry. Hawkins's recordings acted as a challenge to other saxophonists. iii) Hawkins started with the melody, but after two measures he headed into new territory. Hawkins described the climactic passages as a kind of sexual release. iv) It was at the top of pop charts for six weeks in 1940. Audiences clamored for his solo. He later played it as if it were composed. Lyrics were eventually put to it and Benny Carter arranged it for big band. In 1948, Hawkins used the same harmonies for a piece called "Picasso" for unaccompanied saxophone, the first of its kind. The solo has remained a staple of the saxophone literature ever since.

Listen to and Review "I'm an old Cowhand"

Johnny Mercer's , fun it pokes at phony cowboys. vii) "I'm an Old Cowhand (from the Rio Grande)" (1) Few jazz musicians knew Tin Pan Alley as well as Rollins, who often chose unlikely songs as vehicles for improvisation. Johnny Mercer's "I'm an Old Cowhand" suited him as much for its satirical attitude as for its spare chords and loping melody. In the 1950s, almost anyone familiar with American popular music would have known the song and the fun it pokes at phony cowboys. (2) He wanted to record an album with just bass and drums--no piano, guitar, or secondary wind instrument (as in Gerry Mulligan's piano-less quartet) to state the harmonies. This was a rather avant-garde gesture, which the western theme helped make accessible, as did Rollins's lucid command of thematic variation: no matter how far out he goes, the listener is always aware that he's elaborating on the original melody.

Who is Artie Shaw? Be able to answer questions about Star Dust.

One of the most gifted and eccentric figures in jazz history was Goodman's bête noir, a rival as leader and clarinetist; a restrained and lyrical performance, focusing on the haunting melody written by Hoagy Carmichael in 1927. a) Artie Shaw (1920-2004) i) Shaw was Goodman's chief rival, having come from the same kind of background, studied clarinet, and learned from the great African American musicians of Chicago. ii) He led a double life: one as a jazz musician playing with Harlem musicians such as Willie "The Lion" Smith, and one as a member of the CBS staff orchestra playing commercial music. iii) Never expecting to make much money out of his music, he nevertheless had a huge hit in 1938 with "Begin the Beguine." He became a major celebrity, which he felt got in the way of the music. He particularly detested jitterbugs. He retired from music in 1954. iv) "Star Dust" (1) Shaw was a skilled improviser. He sometimes played raucous music, but at other times he played music that bridged the jazz and classical worlds. In 1936, he wrote a piece for clarinet and string quartet, and in 1940, he added a nine-piece string section to his band, which was well used by arranger Lennie Hayton. (2) "Star Dust" comes from this period and provides a new sound for a swing band. It focuses on the melody rather than the dance-evoking, riff-based arrangements of many bands from that period. All of the solos are restrained.

Who was Charlie Parker? What was his style? What was his nickname? Who was Dizzy Gillespie? What does 52nd street have to do with bebop? What two musicians were involved?

One of the most gifted instrumentalists in music history; known as "Yardbird" and "Bird" extravagantly talented trumpet player; he with parker debuted at the Onyx Club on 52nd Street Gillespie & Parker g) Charlie Parker (1920-1955) i) Parker ("Bird") is considered among the best alto saxophonists in jazz history. He grew up in Kansas City and received his nickname after he provided a "Yardbird" (dinner in the form of a run-over chicken) to his band mates during a trip to a gig. But the name "Bird" also resonated with the sense of taking flight embodied by Parker's approach to playing--qualities that include speed, agility, elusiveness, and melodic beauty. ii) Parker did not show any great gift for music at first and was humiliated by drummer Jo Jones at a jam session early on. This spurred him to start practicing seriously for a summer in the Ozarks. His model was Lester Young, whose solos he memorized. By the time he returned to Kansas City, he was described as playing like Lester Young, only twice as fast. iii) He joined the well-known territory band lead by Jay McShann. He also started using alcohol, pills, and, after a car accident, morphine. Eventually he started using heroin. iv) His solo playing seemed to be both bluesy and modern, enlivening traditional blues progressions with modern harmonic substitutions and rapid-fire solos. At the same time, he could blend into a big-band reed section when needed. v) Although he could play well while on heroin, his constant movement from band to band taxed the patience of most bandleaders. In New York, Parker had a readily available drug supply and jam sessions to play. It was through these sessions that he found a network of musicians who shared his approach to "advanced" music. One such was trumpeter Dizzy Gillespie. h) Dizzy Gillespie (1917-1 993) i) Dizzy was as much a virtuoso as Parker and also the intellectual force behind bebop. If Parker was the Pied Piper, Gillespie was the master craftsman. ii) Originally from Cheraw, South Carolina, he was self-taught on the trumpet and had unusual technique. He earned a music scholarship to attend Laurinburg Institute in North Carolina, where he studied trumpet and piano. He first heard jazz on the radio, including players like Roy Eldridge. He left to play jazz in Philadelphia, then in New York. He was an excellent soloist and reader. iii) By 1939, he was at the top of the heap, playing with Cab Calloway; he also wrote arrangements and composed for the band. However, Gillespie chafed against the staid atmosphere of the band, and a misunderstanding with Calloway resulted in his termination in 1941. For the next several years he freelanced around New York, which included playing in the small-combo jam sessions that gave birth to bebop. iv) Gillespie became the center of gravity for bebop. He was generous to other musicians, showing them the harmonic and rhythmic features of the new music. v) He adapted dissonant chords to his compositions such as "Salt Peanuts," which was based on a bop drum lick, thus introducing his humorous side to the music. Another of his compositions, "A Night in Tunisia," illustrates his deepening fascination with Latin music. i) On 52nd Street i) Gillespie first met Parker when they both played in the Earl Hines big band in 1942. Gillespie admired Parker's fluidity and Parker, Gillespie's sound and harmonic knowledge. In 1944 they played together again in former Hines vocalist Billy Ekstine's band. Gillespie's arrangements for this band made it the first big band to embrace bebop. Even so, bebop never became widely popular, owing to the complexity of the music and the pervasive racism in America at that time, which made it impossible for a black musician to be taken seriously in the mainstream. By the end of 1944, Parker and Gillespie turned to the jam-session-style small ensemble. ii) The words "bebop" and "rebop" were already in place by the time Gillespie brought his quintet to 52nd Street. This band played composed heads that were rhythmically disjointed and confusing to many listeners.

How was Coleman Hawkins a diplomat of sorts in Paris? Who was King Carter? Describe the ways he was influential as a instrumentalist, a composer-arranger, a bandleader, and a social activist.

the same year Coleman Hawkins embarked on his five-year visit an American jazz alto saxophonist, clarinetist, trumpeter, composer, arranger, and bandleader;; As a composer, Carter emerged in the 1930s as one of the most accomplished tunesmiths in jazz, he was the first important jazz arranger to cut away the complex ornamentation of most dance bands, setting a standard for swing;; As a bandleader, Carter enjoyed little commercial success; at a time when most bands courted dancers, he concentrated on musical refinement.;; As an activist, Carter steadfastly fought racism by opening doors closed to African Americans. 7) Benny Carter (1907-2003) a) Among musicians, Carter was considered the true King of Swing. b) Born in New York, he was a largely self-taught instrumentalist, composer, and arranger. c) By seventeen he was playing professionally, and soon he was writing for major bandleaders such as Fletcher Henderson and Charlie Johnson. He took over McKinney's Cotton Pickers in 1931. d) He played alto saxophone, trumpet, clarinet, tenor saxophone, soprano saxophone, and piano. He occasionally sang. He started his own band in 1932. e) His importance has four components: i) Instrumentalist: With Johnny Hodges, he established the alto saxophone as a major jazz instrument. He also played trumpet. ii) Composer-arranger: He composed several standards. His arranging style was streamlined, setting the standard for Basie and Henderson. As an arranger, his trademark was his solid reed-section writing, which swung like an improvised solo. His most acclaimed album is Further Definitions (1961), which is associated with the avant-garde. He also arranged music for singers such as Ella Fitzgerald and Ray Charles. iii) Bandleader: As a bandleader, he enjoyed little commercial success because he concentrated on the music rather than courting dancers, but he was so well respected among musicians that he had his pick of players. iv) Social activist: As an activist, he continually fought racism. In 1937, he started the first integrated international orchestra. He worked his way into the Hollywood studio system, cracking the "color bar." Thus he enjoyed financial security, living in Beverly Hills and driving a Rolls-Royce. He worked on both movies and television. In 1978, he was inducted into the Black Filmmakers Hall of Fame, rejuvenating his playing career. v) "I'm Coming, Virginia" (1) This is a 1938 treatment of a 1926 standard by black songwriters Will Marion Cook and Donald Heywood. (2) The piece is played by an integrated, pan-national ensemble that includes Django Reinhardt.

Listen to and be able to answer questions about "Annie Laurie"?

a brilliant example of the band's individuality, a musical setting by Scottish composer Alicia Ann Spottiswood to a seventeenth-century love poem iv) "Annie Laurie" (1) "Annie Laurie" is a brilliant example of the Lunceford band's individuality, and particularly of Sy Oliver's highly original style of arranging. Oliver insisted on the two-beat rhythmic feeling that became the band's signature: the music was written in four but executed in a manner that emphasized the backbeat. Dancers loved it. (2) The "Annie Laurie" ballad (initially published in 1838) was a musical setting by Scottish composer Alicia Ann Spottiswood of a seventeenth-century love poem. Its dramatic octave leap in the first measure evokes the Scottish folk tradition, and it became a great favorite in America after P. T. Barnum presented the "Swedish Nightingale," Jenny Lind, singing it. Oliver, adapting the original melody into 32-bar song form (A A B A), creates a swinging euphoria that recalls the polyphonic revelry of New Orleans jazz.

Who was Billy Strayhorn?

a composer in his own right as well as Ellington's co-composer, rehearsal pianist, deputy conductor, and occasional lyricist. 5) Billy Strayhorn (1915-1967) a) Strayhorn was Ellington's musical partner during this late activity. Originally interested in classical music, he moved to popular music after discovering that opportunities in the classical world were limited for blacks. He was also homosexual. b) Strayhorn met Ellington in 1938, when he played a few of his piano variations on Ellington's "Sophisticated Lady." Ellington invited him to New York. Strayhorn's first piece for Ellington was based on the directions he was given to get to Ellington's apartment: "Take the 'A' Train." It became the band's new theme. c) "Swee' Pea," as he was known, worked closely with Ellington during the 1950s and 1960s, so closely that is difficult to separate their work. Strayhorn shared the composer credits with Ellington, and on some pieces he was named as the sole composer. d) "Blood Count" i) Written while Strayhorn was in the hospital dying of esophageal cancer, this was his last composition. Although it is tonally ambiguous at the beginning, soloist Johnny Hodges takes the melody through a number of keys before reaching a crescendo in the second bridge. The intensity then subsides through a number of chromatically descending chords over a pedal point. The album ends with Ellington playing Strayhorn's "Lotus Blossom" as the band leaves.

What is the form of Dinah? What style is used in this piece?

a thirty-two-bar A A B A pop song; by Goodman e) "Dinah" i) A 32-bar A A B A pop song composed in 1925, it became a standard. It has the feeling of a jam session about it. Goodman starts by playing the melody but then plays a busy bridge. Hampton uses riff figures and complicated harmonic substitutions. ii) Krupa starts interacting rhythmically while Goodman improvises. Wilson adds a brief solo. By the end, the three are playing polyphonically. The style of the playing is polished and the feeling is relaxed. Other recordings show the quartet ending on riffs.

Who were Art Blakey and Horace Silver?

an American jazz drummer and bandleader. He was known as Abdullah Ibn Buhaina after he became a Muslim. Blakey made a name for himself in the 1940s in the big bands of Fletcher Henderson and Billy Eckstine.//an American jazz pianist and composer. He is known for his distinctive playing style and pioneering compositional contributions to hard bop. A drummer popular for the press roll. He was originally from Pittsburgh, he came to New York in 1942 to work with Mary Lou Williams; in 1944 Dizzy recruited him for the Eckstine band. He became one of the central drummers of bebop, using idiosyncratic techniques such as the press-roll, usually during the turnaround sending the soloist into the next chorus. His attentiveness made him a good drummer for Monk. In 1953 he formed a quintet with pianist Horace Silver called the Jazz Messengers. He revived the term "funk". He was influenced by a wide variety of musics, including Cape Verdean folk music, the study of tenor saxophone, blues singers, boogie-woogie, swing, and bebop. Stan Getz discovered him playing in Hartford, Connecticut. He worked with Hawkins, Young, and Bird. In 1954, he helped Miles to turn from cool jazz to hard bop. He could mix gospel, R & B, and the folk song. He also wrote catchy melodies and revived the word funk with his piece "Opus de Funk" (1953). g) Art Blakey (1919-1990) i) Originally from Pittsburgh, Blakey came to New York in 1942 to work with Mary Lou Williams; in 1944, Dizzy recruited him for the Eckstine band. ii) He became one of the central drummers of bebop, using idiosyncratic techniques such as the press-roll, usually during the turnaround sending the soloist into the next chorus. His attentiveness made him a good drummer for Monk. iii) In 1953, Blakey formed a quintet with pianist Horace Silver called the Jazz Messengers. They made a few recordings that in two years codified hard bop: quintet music that combines harmonically complex improvisation with bluesy simplicity, gospel-inspired themes, and backbeat rhythms. Silver left in 1956 to form his own group. iv) Blakey's musicians: There is a long list of well-known musicians who began or matured in the Messengers, and a long list of albums that reflect the consistency of the hard bop musical concept. h) Horace Silver (1928-2014) i) Stan Getz discovered Silver playing in Hartford, Connecticut. Silver worked with Hawkins, Young, and Parker. In 1954, he helped Miles turn from cool jazz to hard bop. ii) Silver could mix gospel, R&B, and folk song, filtering each through bop. He also wrote catchy melodies and revived the word "funk" with his piece "Opus de Funk" (1953). This word has a long history in African American culture. For music it meant back-to-roots musical values. Many of his compositions, such as "Song for My Father," became standards. iii) "Song for My Father" (1) Previously, Silver was known for compositions grounded in the church ("The Preacher"), blues ("Home Cookin'"), and bop ("Cookin' at the Continental"). "Song for My Father" suggests a new accent straightaway, with its four-note vamp—an unforgettable pace-setting phrase. (2) This is a spacious performance in which every detail stands out. With only two wind instruments, Silver makes us conscious of his carefully calculated harmonies.

Who is Wes Montgomery?

an American jazz guitarist. He is widely considered one of the major jazz guitarists, emerging after such seminal figures as Django Reinhardt and Charlie Christian He altered the sound and chordal approach of the guitar. Born in Indianapolis, he had two brothers who are also jazz musicians. He taught himself starting at the age of twenty and ended up using a right-hand thumb technique, creating a mellow tone. e) Wes Montgomery (1923-1968) i) Charlie Christian opened the floodgates for electric guitar players who, each in his or her own way, phrased like horn players or combined linear solos with chords voiced in ways that were idiosyncratic to the guitar. One of these, Wes Montgomery, altered the sound and chordal approach of the guitar. ii) Born in Indianapolis, he had two brothers who are also jazz musicians. He taught himself starting at age twenty and ended up using a right-hand thumb technique, creating a mellow tone. iii) He also learned to play octaves and chords as part of his improvised solos. His solos usually started with single notes before moving on to rhythmically intense octaves and then chord riffs. In 1948, Lionel Hampton hired him. iv) Cannonball Adderley heard him and brought him to New York, where he made an immediate impression. v) In 1967, he moved over to a pop label and emerged as a mainstream pop musician, while continuing to play jazz live. vi) Montgomery did not have much time to savor his success. His 1965 album Goin' Out of My Head received a Grammy, and his more commercial A Day in the Life for A&M Records was the bestselling jazz album of 1967. From then on his label insisted that he follow the formula of his pop album. He died in 1968. For other musicians, the moral became: for every commercial album, make one for yourself. None of Montgomery's post-1965 live jazz performances was ever recorded.

Who was Chet Baker? and Chico Hamilton?

an American jazz trumpeter, flugelhornist and vocalist.//an American jazz drummer and bandleader. He came to prominence as sideman with the likes of Lester Young, Gerry Mulligan, Count Basie and Lena Horne. A trumpeter who played with Mulligan and included more contrapuntal interplay. He played with an even lighter timbre than Miles and also kept to the middle register. In addition, he was a very good ballad singer. A drummer who was known for his mallet rolls. He later went on to form his own band. As an African American, he stood for racial integration in the band. (2) Chet Baker: without a pianist, Mulligan and trumpeter Chet Baker found that they had room to include more contrapuntal interplay. Baker played with an even lighter timbre than Miles and also kept to the middle register. In addition, he was a good ballad singer. (3) Chico Hamilton, Mulligan's drummer, was known for his mallet rolls. He later went on to form his own band. He also stood for racial integration.

Blakey was famous for the press roll? What is a press roll? Review and listen to "Song for my Father"

an intense rumbling on the snare drum, usually at a turnaround, which had the effect of boosting a soloist into the air for a few seconds and then setting him down in the next chorus. Blue Note released the album Song for My Father, Silver was one of the most acclaimed artists on the label, i) Originally from Pittsburgh, Blakey came to New York in 1942 to work with Mary Lou Williams; in 1944, Dizzy recruited him for the Eckstine band. ii) He became one of the central drummers of bebop, using idiosyncratic techniques such as the press-roll, usually during the turnaround sending the soloist into the next chorus. His attentiveness made him a good drummer for Monk. iii) "Song for My Father" (1) Previously, Silver was known for compositions grounded in the church ("The Preacher"), blues ("Home Cookin'"), and bop ("Cookin' at the Continental"). "Song for My Father" suggests a new accent straightaway, with its four-note vamp—an unforgettable pace-setting phrase. (2) This is a spacious performance in which every detail stands out. With only two wind instruments, Silver makes us conscious of his carefully calculated harmonies.

Who composed 'Blue Lou'? Why was this piece important to Coleman Hawkins and his band? Be able to answer questions about 'Blue Lou'.

composed by Edgar Sampson; oriented it toward the band's chief soloists: the brilliant trumpeter Roy Eldridge and one of Coleman Hawkins's most brilliant followers on tenor saxophone, Chu Berry Fletcher Henderson + orchestra. Composed by Edgar Sampson 32-bar pop song AABA. Big band swing. Why was this piece important to Coleman Hawkins and his band? The song worked well live but not recorded. The song perfected that? 4) Henderson Arrangements a) Fletcher Henderson, the most prolific black recording artist of the day, used both written and head arrangements. Most of his hits were head arrangements of older tunes such as Jelly Roll Morton's "King Porter Stomp." b) His arranging style was characterized by short, memorable riffs, typically played in call-and-response fashion. He often transformed the melody into short bursts of notes, and his arrangements left considerable room for solos, for which he wrote either held-chord or riff backgrounds. His arrangements also featured a driving, riff-based climactic chorus, often termed a "shout chorus." c) "Blue Lou" i) Earlier recordings of the Henderson band never lived up to their live performances. But by 1936, when "Blue Lou" was recorded, they were a much better recording ensemble. ii) This piece was written by saxophonist Edgar Sampson and arranged by Horace Henderson. It featured soloists Roy Eldridge (trumpet) and Chu Berry (tenor saxophone). iii) Although the recording starts in a relaxed, two-beat rhythmic feel, a 4/4 swing rhythm eventually prevails. The first chorus introduces the melody, which is deformed by the last chorus. Oddly, the last chorus also modulates to another key near its conclusion, perhaps reflecting the performance practice of remaining flexible for live dancers.

What are soli? What is a head arrangement?

elaborate lines for an entire section, harmonized in block chords, a passage for a section of a jazz band (sax, trumpets, trombones) in block chord texture. an unwritten arrangement created by the entire band g) Louis Armstrong's influence led many arrangers, like Benny Carter, to create elaborate solo lines for an entire section (soli) that were harmonized in block chords, and to creatively orchestrate and harmonize their arrangements. At the same time, simpler, orally derived arrangements, or "head arrangements," were also popular.

Who was Mary Lou Williams? Describe "Walkin' and Swingin'" Who did the solo in this piece? Why were women so rare in jazz performances?

pianist and arranger; solo done by Thelonious Monk d) "Walkin' and Swingin'" i) Written by Mary Lou Williams in 1936, just after the band signed with Decca. ii) The band was smaller than most in 1936. To make it sound bigger, Williams had one of the trumpeters play with the saxophone section, using a mute to help blend. iii) The last chorus contains a riff that Thelonious Monk later used for his composition "Rhythm-a-ning." e) Williams left Kirk in 1942 and started to work at Café Society in New York. She began composing more. Her interest in modern harmony pulled her into the bebop scene during the 1940s, and many bebop luminaries hung out at her apartment. During the 1950s she retired, but during the 1960s she started giving concerts highlighting the history of jazz and eventually became a professor of jazz history at Duke University.

Who made up the Dave Brubeck Quartet?

piano, alto saxophone, bass, drums Dave Brubeck piano, Paul Desmond alto sax b) Dave Brubeck (1920-2012) i) Dave Brubeck grew up in California with a musical family and learned classical piano from his mother. He studied with composer Darius Milhaud, who employed aspects of the blues in his music. During the late 1940s, he organized an octet, which was not successful. In 1951, he hooked up with another "white Lester," Paul Desmond, and organized a successful quartet (making the cover of Time in 1954). ii) The quartet was both hot (Brubeck) and cool (Desmond). Both were good at chord substitutions, but Brubeck's improvisations were formally predictable. His primary trademark was the use of odd-numbered meters. iii) Time Out (1959) became a national sensation and "Take Five," in 5/4 time, became a hit. These odd meters were subdivided into groups of twos and threes. For example, 5/4 was counted as two plus three. By the end of the century, such time signatures were no longer uncommon.

Listen to and be able to answer questions about "It's All Right, Baby"

recording of "Roll 'Em Pete," a number roughly recast as "It's All Right, Baby" at Carnegie. 2) "It's All Right, Baby": Pete Johnson (1904-1967) and Big Joe Turner (1911-1985) a) The Sunset Café in Kansas City was one of the centers of boogie-woogie. Here pianist Pete Johnson and singer Big Joe Turner performed driving, percussive blues. Turner worked across the room as a bartender and would sing from behind the bar; occasionally he would step outside and sing to lure customers into the bar. b) Johnson and Turner played in Hammond's 1938 "From Spirituals to Swing" concert at Carnegie Hall. They had to trim the length of their performances, and Carnegie Hall was certainly no Sunset Café, but being professionals, they made it work anyway, to great success. c) Performed at the Carnegie Hall concert, this recording of "It's All Right, Baby" is filled with Turner's "shouts," Johnson's percussive playing, and the call-and-response exchange between the two.

What is microgroove?

recording process,long-playing records (LPs): twelve-inch platters that turned at 33 1/3 revolutions per minute and accommodated about twenty minutes of music per side with excellent fidelity. LP recordings that had about twenty minutes per side of music and were made of unbreakable vinyl. f) Microgroove and Long Solos i) In 1948, Columbia introduced 12-inch microgroove LP recordings that had about 20 minutes per side of music and were made of unbreakable vinyl. RCA Victor introduced the 45-rpm vinyl single-play recording the same year. ii) The LP allowed recordings of longer jazz pieces that better reflected live performance, while the 45-rpm replaced those three-minute pop recordings previously released in the 78-rpm format. iii) A number of jazz musicians, such as Ellington, started to take advantage of the longer recording time available through LPs by composing longer pieces. iv) Hard bop musicians were inclined to play long solos partly because of the new technology. The longer solos, however, threatened to alienate audiences, so some major labels were not enthusiastic about recording hard bop. The slack was taken up by independents such as Blue Note, Prestige, Contemporary, and Riverside, which realized that there was an audience for a creative style of jazz closer to its improvisatory roots. v) By adding a backbeat on beats 2 and 4, hard bop musicians added to the interest of the music, since now audiences could tap, snap their fingers, or move their heads to the beat. Another reason the independents liked longer solos is that longer solos meant fewer tunes on a recording, which in turn meant fewer royalties to pay out.

What is boogie-woogie? What is an ostinato? Describe the boogie-woogie revival.

the blues piano style Known as "chains" for their repetitive quality, these patterns divide each beat in two, so that the four-beat measure now has an eight-beat pulse, a nonstop torrent of sound in the pianist's left hand credited to a revival of vernacular music, which began as a self-conscious attempt to publicize black folk traditions; its central figure, once again, was John Hammond. 1) The Southwest and Boogie-Woogie a) By the 1930s, there was one strong regional center where African American swing traditions influenced the mainstream: the Southwest, an area whose headquarters was in Kansas City. Since the Civil War, American blacks had been fleeing the South, looking for economic and social opportunities. Many of them went to the urban North during World War I, but some went to the "frontier"—Texas, Oklahoma, and Kansas—working on the rivers and railroads and in turpentine factories and mines. The music in this relatively free frontier was bluesy, orally based, and improvisational. Count Basie was its foremost exponent. b) Boogie-woogie is a blues piano style. It began in the Southwest and spread during the 1920s, finding a home in Kansas City and Chicago. c) Like ragtime, it had a strong left-hand rhythmic foundation, but unlike ragtime, it was made up of percussive ostinatos (or "chains") in 4/4 time. The right hand played bluesy patterns, often in cross-rhythms. d) It was a raucous social music, good for dancing and blues singing. In cities, it was played in speakeasies, where pianists would work all night for tips and a few dollars in pay. Boogie-woogie was like the southwestern version of stride piano. Though it struggled to survive in black markets, by the mid-1930s it had become popular with the mainstream white audience. e) Taking advantage of the interest in black music generated by swing, John Hammond decided to put on a concert at Carnegie Hall in 1938 called "From Spirituals to Swing," which included swing, blues, and spirituals. He hired some of the best boogie-woogie pianists for the concert, which reinvigorated interest in the style. Eventually, as pianists were increasingly expected to know how to play in boogie-woogie style, this former underground Kansas City music made it to the mainstream.

Who is John Hammond? How did he influence Benny Goodman?

the most influential jazz entrepreneur and activist of the period; his intense commitment and political convictions make him a significant figure in jazz history. 7) John Hammond and Other Fans a) Hammond was a longtime music entrepreneur and activist. He was important in many musical careers and styles, including boogie-woogie, Kansas City jazz, Billie Holiday, Bessie Smith, Fletcher Henderson, Benny Goodman, Count Basie, Bob Dylan, and Bruce Springsteen. b) He was born into a wealthy New York family. He was attracted to the black music of Harlem from an early age. After graduating from Yale, he became a jazz reporter and, eventually, a record producer. c) His two passions were a hatred of racial injustice and a love of black folk music and jazz. The latter especially led him to believe that black music was better than white music. d) He joined Columbia Records and scouted out new talent, which, one way or another, he recorded. However, some black musicians resented his aristocratic insistence and patriarchal attitude. e) Hammond was one jazz enthusiast among many. i) A growing legion of jazz record collectors started searching for old recordings. This led to the first jazz reissues, which preserved the jazz of the 1920s. Some collectors noted the discographical details of each recording they found. This was the beginning of jazz discography, the science of jazz record classification. ii) They also formed "Hot Clubs" in towns across the United States. iii) New magazines such as Downbeat and Metronome were formed to meet the reading needs of these fans; they published the work of the first jazz critics.

How did bop expand in regard to timbre, motive, and cadenzas?

timbre:commanding, virile, and smooth as oak; motive:paraphrases key phrases (motives) during his improvisation as touchstones; cadenzas:makes them an integral part of live and recorded performances. Timbre: it frequently changes and yet is always recognizable. Motives: instead of just playing off the chords, key phrases of the melody are reprized. Cadenzas: although these have been used in jazz before (e.g., Armstrong on "West End Blues"), they are an integral part of performances. Ebullience: since Armstrong, elation has been part of the jazz experience.Bop musicians aim for transcendence. vi) Rollins had taken bop's swing, harmonic sophistication, and melodic invention into other areas such as calypso ("St. Thomas"), avant-garde, and rock (he has recorded with the Rolling Stones and written rock-type pieces). His solos are characterized by humor and the following musical characteristics: (1) Timbre: It frequently changes and yet is always recognizable as his voice. (2) Motives: Instead of just playing off the chords, he reprises key phrases of the melody. (3) Cadenzas: Although these have been used in jazz before (e.g., Armstrong on "West End Blues"), Rollins makes them an integral part of his performances. (4) Ebullience: Rollins aims for transcendence through intensity, searching, and release.

Know about the Gerry Mulligan Quartet of 1952.

trumpet player, Chet Baker; drummer, Chico Hamilton; lasted little more than a year m) Gerry Mulligan (1927-1996) and West Coast Jazz i) Born in New York, Mulligan started writing arrangements as a teenager for radio bands, touring, composing, and playing reeds. In 1948, he joined the Thornhill band, where he met Gil Evans. Evans brought him into the Davis nonet, for which he did most of the writing. In 1951, he went to Los Angeles to look for a job with the Stan Kenton band. His own 1952 quartet, formed in California, epitomized West Coast jazz. ii) Kenton did not hire Mulligan but did record a few of his compositions ("Young Blood," "Limelight," "Walking Shoes"). These arrangements influenced a generation of composers. iii) Piano-less (1) After Mulligan briefly returned to New York to lead a ten-piece group, he went back to Los Angeles and started to play at the Haig restaurant with a quartet of baritone sax, trumpet, drums, and bass—no piano. This band exemplified the laid-back southern California attitude. After a reasonably successful recording of "My Funny Valentine," they became popular. (2) Chet Baker: without a pianist, Mulligan and trumpeter Chet Baker found that they had room to include more contrapuntal interplay. Baker played with an even lighter timbre than Miles and also kept to the middle register. In addition, he was a good ballad singer. (3) Chico Hamilton, Mulligan's drummer, was known for his mallet rolls. He later went on to form his own band. He also stood for racial integration. (4) The quartet only lasted for around a year, but it was popular. Mulligan and Hamilton played in some Hollywood movies, and actors often tried to copy Baker's look when playing jazz musicians. Mulligan went on to lead a number of bands, both large and small, and to write several jazz standards.

Benny Goodman How did Benny Goodman influence racial integration of jazz and what events led to the popularization of jazz into the American mainstream?

was an American jazz and swing musician, clarinetist and bandleader, known as the "King of Swing". In the mid-1930s, Benny Goodman led one of the most popular musical groups in America he had the clout to include black musicians as a regular part of his shows 5) Benny Goodman (1909-1986) a) Through the 1930s, the music industry was divided by race. Because of racial stereotyping, black bands specialized in "hot" dance music. b) There is a long history of white musicians listening carefully to black musicians and thereby learning how to play jazz. i) Many white musicians learned how to play "legit" and then copied whatever hot jazz they could find. They saved its performance for fun, at after-hours jam sessions, since playing hot jazz made them outsiders to the community. ii) Their "day gig" was generally playing in commercial ensembles like radio orchestras or dance bands. This all changed with Benny Goodman and the breakthrough he achieved with his white orchestra, ultimately probing well beyond dance music to help real jazz become mainstream for white audiences. c) Goodman grew up poor in Chicago but found he could escape a life of menial labor through music. By the 1920s, his exposure to the jazz idiom had begun with work in Ben Pollack's band. d) Goodman wanted to lead a band that bridged the jazz he loved and the commercial music realities of his day. i) Mildred Bailey suggested he hire some black arrangers, many of whom were out of work because of the Depression. He hired some of the best: Benny Carter, Edgar Sampson, and Fletcher Henderson. ii) In 1935, the band was featured as the hot orchestra on the radio program Let's Dance! On a national tour that summer, the musicians elicited a dismal response until they played the Palomar Ballroom in Los Angeles, where they were an immediate hit, probably because their late-night radio broadcasts were aired at prime time in California. White teenagers launched the Swing Era. e) The band applied jazz arrangements to current pop songs. Arrangements usually started with a clear rendition of the melody, but in later choruses the tune turned into swing. Goodman was viewed as someone who could use black music in such a way that whites could dance to its liberating and exciting sound. f) Goodman brought dance music into the mainstream. His band played a successful concert at Carnegie Hall in 1938, cementing their respectability.

Listen to "Ko-Ko" and "Embraceable You"and be able to answer questions about these songs.

written by British bandleader Ray Noble in 1938 and turned into a popular hit the following year by Charlie Barnet, was an alleged tribute to Native Americans, with lyrics to match; parker parker; recorded in 1947, is the best known of his several interpretations of the chord changes to George Gershwin's celebrated ballad; on none of them, however, does he play the actual tune b) "Ko-Ko" i) This piece is based on the chord progression of Ray Noble's 1938 piece "Cherokee," which was recorded in 1939 by Charlie Barnett and Count Basie. It has a 64-bar form (twice the 32-bar A A B A form), with a difficult bridge. Parker practiced this piece as a teenager, and it became his showpiece with the Jay McShann band. When the band came to New York to play the Savoy Ballroom, which had a broadcast "wire" setup, Parker let loose with a long solo in this piece that amazed everyone who heard it. ii) In 1945, "Cherokee" became "Ko-Ko," recorded for Savoy Records. The owner of the label would not tolerate a copyrighted melody, so they left the "Cherokee" melody out. The pianist was supposed to be Bud Powell, but he didn't show, so for this piece it is probably Gillespie on piano, except when he is playing trumpet. The other pianist was Argonne Thornton (later Sadik Hakim). c) "Embraceable You" i) This Gershwin piece was recorded in 1948, but Parker avoids the melody. Instead he plays a popular 1939 melody, "A Table in the Corner," recorded by Artie Shaw. After Parker's impressive solo, a young Miles Davis takes the next solo.