HIST OF JAZZ MIDTERM # 2

During the blank(s) (A Year), jazz was called Swing

1930s

Swing was characterized by a blank-beat foundation, perfect for dancing. Although not new, it was firmly established by the early 1930s.

4

The following describes who? Born in Toledo, Ohio, and was partially blind all his life. Even so, and perhaps because of his disability, his spectacular dexterity impresses listeners now as much as it did during the 1930s. He studied violin, guitar and piano as a child, led his own bands by the age of 17, and signed a two-year radio contract before he was 20. Ellington sought him out while passing through Toledo and encouraged him to come to New York, where the influence of higher standards would improve his playing. Singer Adelaide Hall hired him in 1932 and Gershwin threw a party for him to introduce him to the classical elite. His superiority was instantly recognized by stride pianists in New York. Blank's virtuosic style is inseparable from his technique. Blank was admired by many jazz pianists, such as Waller (whom Blank named as an inspiration), and more recent players such as Hank Jones, as well as classical pianists such as Vladimir Horowitz and Sergei Rachmaninoff. Blank played nightclubs, dives, after-hours joints, and radio broadcasts, but he played few concerts and recorded only for independent labels. In short, he never was accepted by the mainstream. Perhaps this is because his playing was viewed as "merely" technical, impressive but without artistry. blank had an original approach that included harmonic and rhythmic ingenuity as well as virtuosic technique.

Art Tatum

blank blank(1920-2004) blank 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. He also listened to European composers such as Stravinsky and Debussy. 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. Never expecting to make much 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 dissolved his band several time before retiring from music in 1954.

Artie Shaw

The Blue Devils dissolved in 1933. The most prosperous band in the territory, run by BLANK BLANK, hired Basie, bassist Walter Page, and others from this band. Blank was a ragtime pianist well connected to the regime of Kansas City political boss Tom Pendergast. 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 blank band. In 1935 blank 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 blank band at the Reno Club in Kansas City. They played mostly head arrangements.

BENNIE MOTEN

The following describes who: Born in Kansas City, his mentors included Budd Johnson and Lester Young. 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. Originally a tempestuous soloist, he was known in his later career as a distinctive ballad player and accompanist for singers. Along with Young and Hawkins, he was one of the three pillars of prewar saxophonists. His playing during the 1950s and 1960s became even more distinctive, marked by an idiosyncratic embouchure technique. For the last nine years of his life he lived in Europe due to lack of work in the States.

Ben Webster

Louis Armstrong's influence led many arrangers, like blank blank, 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.

Benny Carter

Blank grew up very poor in Chicago but found he could escape a life of menial labor through music. He studied with Chicago Symphony clarinetist Franz Schoep while listening to Chicago jazz. He modeled his playing on both white (Leon Rappolo) and black (Jimmie Noone) players. By the 1920s he had played with Ben Pollack's band as a good player leaning toward jazz.

Benny Goodman

The following characteristics describes who's style? Her main influences were Ethel Waters, Bessie Smith, and, especially, Louis Armstrong, for his sense of swing, paraphrase, and embellishment. Unlike other singers she did not scat and she rarely sang blues. Her timbre was thin but she could make a song her own by altering the melody. Jazz musicians adored her phrasing. She had a musical romance with Lester Young.

Billie Holiday

The following describes who: Born in Philadelphia, raised in Baltimore and was the Illegitimate daughter of guitarist Clarence Holiday. Left by her mother in the care of abusive relatives. At age ten remanded to a school for delinquent girls. In 1929 joined her mother in New York, where she worked at menial labor. Then gets arrested for prostitution; started singing at this time. By 1933, heard at a Harlem club by John Hammond, who invited her to record with Benny Goodman. In 1934 wowed the audience at the Apollo Theatre. In 1935 Hammond recorded her with pianist Teddy Wilson and other top musicians, including Lester Young. 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 only interracial nightclub in the country, New York's Café Society. Her recordings sold well. "Strange Fruit" (1939), about a lynching, raised her standing with the intelligentsia. Her downfall was long and painful due to her drug addiction, bad marriage, a sensationalized trial in 1947, an eight-month jail term, and the deprivation of her cabaret card.By the 1950s she was focusing on ballads as her voice weakened. She made a TV appearance in 1957. She died at age forty-four.

Billie Holiday

Blank 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. Blank met Ellington in 1938 when he played a few of his piano variations on Ellington's "Sophisticated Lady." Ellington invited him to New York. Blank'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. "Swee' Pea," as he was known, worked very closely with Ellington during the 1950s and 1960s, so close that is difficult to separate their work. Blank shared the composer credits with Ellington, and on some pieces was named as the sole composer. "Blood Count"

Billy Strayhorn

A month after he returned from Europe, Hawkins went into the studio to record 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 "Blank blank Blank," which became a hit. Originally written for a Broadway review 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. 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. 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; Benny Carter made a big-band arrangement out of it. In 1948 Hawkins used the same harmonies for a piece called "Picasso" for unaccompanied saxophone, the first of its kind. The solo has become a must for saxophonists since then.

Body and Soul

Blank-Blank is a blues piano style. It began in the Southwest and spread during the 1920s, finding a home in Kansas City and Chicago.

Boogie-woogie

andy Kirk's Twelve Clouds of Joy was a "BLANK" band, in which income, business decisions, and responsibilities were equally divided. Typical for a territory band, they toured constantly, didn't record, and were under constant financial pressure. In 1936, with a contract with Decca Records, which wanted them to play blues, Kirk convinced the recording company to let him record a ballad, "Until the Real Thing Comes Along." It was a hit, and the Kirk band started to tour nationally. The musical genius of the band was Mary Lou Williams, who had an uncanny musical memory and perfect pitch. She proudly claimed that she played heavy ("like a man"), reflecting the biases of the time. She absorbed the influences around her, including Earl Hines, Jelly Roll Morton, James P. Johnson, and Count Basie. She also started writing arrangements for the band after she learned how to read music. "Walkin' and Swingin' Williams left Kirk in 1942 and started to work at Café Society in New York. She started composing more. Her interest in modern harmony pulled her into the bebop scene during the 1940s, and many of the bebop luminaries hung out at her apartment. During the 1950s she retired, but during the1960s she started giving concerts highlighting the history of jazz. She eventually became a music professor at Duke University.

COMMONWEALTH

Blank Blank (1907-1944) -To whites, blank represented an entrance e into African American cultural life; to blacks he represented the hope that a man with talent and ambition could rise to the top. He grew up in Baltimore. He studied classical singing but sang jazz at night. 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. 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. Here, he joined up with songwriter Harold Arlen and lyricist Ted Koehler to create a number of pieces that depicted imaginary Harlem scenes. Blank's exuberant personality and scat singing added excitement to the songs. 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, evoking often-hostile reactions to their New York hipness. But at least they traveled in style, on their own Pullman car. By the 1930s Blank 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. Blank also played the role of Sportin' Life in the 1950 production of Gershwin's Porgy and Bess. Finally, he appeared in the 1980 movie The Blues Brothers.

Cab Calloway

Johnson and Turner played in Hammond's 1938 "Spirituals to Swing" concert at blank blank. They had to trim the length of their performances and blank blank was certainly no Sunset Café, but being professionals, they made it work anyway, to great success.

Carnegie Hall

The following describes who: Born in West Virginia and educated at the university there. He started on alto sax and switched to tenor in 1929. In 1930 he went to New York and played in a number of bands, finally taking Hawkins's place in Henderson's band when Hawk went to Europe in 1935¿1937. 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.

Chu Berry

Ellington as a blank: -thought that the word jazz marginalized black musicians. He thought of himself as "beyond category" or, at times, a composer of "Negro folk music." -Although he, like European composers, wrote musical ideas in isolation, most of his composing was done in collaboration with others. He would come up with musical ideas and the band would respond, often offering alternatives, which makes his scores very confusing, and no permanent record of his music survives. This led to some confusion. In 1965 he was nominated for a Pulitzer Prize but was overruled by the Pulitzer board, probably because there were no published scores for them to consider. He had been a graphic artist and often used visual approach to his music. He also used the timbres and styles of individual musicians like paint colors on a palette. -His talent came out most 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.

Composer

Blank Blank 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.

Count Basie

The following describes who: The only European to be considered one of jazz's prime movers Born a Gypsy, he grew up in a Gypsy settlement near Paris. He learned violin and banjo from relatives and then learned guitar. He started playing professionally at age twelve. In 1928, just before he turned nineteen, his left hand was burned in a caravan fire, which left his fourth and fifth fingers paralyzed. Amazingly, he learned to play with only two fingers and his thumb. He developed a strong right-hand, percussive picking style and a rapid-fire left-hand fretting technique. He was turned on to jazz by the recordings of guitarist Eddie Lang and violinist Joe Venuti.

Django Reinhardt

In the early 1930s, Blank's group had replaced Henderson's as the foremost black dance band. They recorded, toured and made radio appearances. Even after World War II, when many dance bands started to disappear, Blank kept going and even revived his orchestra after a performance at the 1956 Newport Jazz Festival. He continued to play concert halls, and country fairs all across the country.

Duke Ellington

The following characteristics describes who? Was a great scat singer; had a four-octave range Used falsetto, cries, and low growls;Had luscious timbre Like Holiday, rarely sang the blues, but unlike her, used blues as just another vehicle for improvisation. Born in VA and raised in Yonkers, she sang in church. After her mother died, she went to live with aunt in Harlem, who treated her like an orphan. By 1934 she was living in the streets. She sang at the Apollo in 1934; although she was hooted when she walked on because of her looks, she won the competition. 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." 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 songbook series of recordings. Recorded the song "Blue Skies"

Ella Fitzgerald

The following describes who? Composer, songwriter, pianist, vocalist, satirist, and prolific recording artist,blank straddled the line between pop and jazz. Born in New York, learned piano and organ and got his appreciation for Bach from his mom. At 15 he started accompanying silent movies and at 18n (1922) he recorded two pieces inspired by James P. Johnson. He worked rent parties, played cutting contests, and gained a reputation as an expressive, ebullient interpreter of blues and ballads. By the late 1920s, he was a prominent composer in jazz and theater music. Louis Armstrong had hits with some of his songs, such as "Ain't Misbehavin'" and "Honeysuckle Rose," yet he was unknown to the general public. blank Goes Pop. In 1934 blank and his six-piece band signed with RCA-Victor and recorded two typically comic and swinging pieces, one of which, "I Wish I Were Twins," became a hit, one of many over the next five years.blank satirized Tin Pan Alley and sentimental songs but could also compose sincere material. He used different registers of his voice for different effects. His success had another side, however: RCA only wanted hits, not his more serious work, and as a result, by the time he died at age thirty-nine, some of his best work had still not been recorded. Recorded the song "Christopher Columbus"

Fats Waller

blank blank, the most prolific black recording artist of the day, used both written and head arrangements. He had a stable of very good arrangers-his brother Horace, Carter, and Redman-but most of his hits were head arrangements of older tunes such as "Sugar Foot Stomp" ( derived from "Dippermouth Blues" ) and Jelly Roll Morton's "King Porter Stomp." Eventually, after he started to arrange for the band, blank notated these arrangements. His arranging style was characterized by short, memorable riffs typically in call-and-response fashion. He often transformed the melody into short burst of notes. He left lots of room for solos, for which he wrote either held-chord or riffs backgrounds. His arrangements also featured driving, riff-based climactic choruses.

Fletcher Henderson

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 "Blank," Texas, Oklahoma, and Kansas, working on the rivers and railroads and in turpentine factories and mines. The music in this relatively free blank was bluesy, orally based, and improvisational. Count Basie was its foremost exponent.

Frontier

Blank Blank (1904-1944) Probably the most popular band leader of the 1940s, blank had no intentions of forming a jazz band. He aimed for 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. 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. blank also worked with the armed services. His 1942 Blank Blank Army Air Force Band, a large ensemble that included strings and brass, featured an eclectic mixture of music. In 1944 Blank disappeared over the English Channel.

Glen Miller

Name the 4 reasons why King Carter is important?

Instrumentalist: with Johnny Hodges, established the alto saxophone as a major jazz instrument; also played trumpet Composer-arranger Bandleader Social activist

In 1934 Hawkins signed with British bandleader blank blank 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. When Hitler invaded Poland in 1939, Hawkins returned to the States and started recording again with some of the musicians he had influenced.

Jack Hylton

Soloists' styles were as well known as band styles during this period, with individual players often having a very short space in an arrangement to take a solo. Famous soloists often switched bands but shone only as brightly as the arrangement allowed. The lack of soloing time led many players to participate in blank blanks

Jam sessions

blank blank (1902-1947) blank did not fit the bandleader mold: he was not a star performer; although he learned to play a number of instruments, he did not play in the band; and he was university educated and a high school music teacher before he started the band. Like many African American educators, he saw music as a means of social and economic uplift. He organized his students into this first band, the Chickasaw Syncopators. He augmented his band with friends from Fisk University. The band got its first big break in 1934, when they were asked to play at the Cotton club. They recorded for Decca Records and toured the United States. blank was a strict disciplinarian in terms of music, appearance, and behavior. While putting on a show, the performers played hard-driving swing music as well as humorous novelties. A black band such as blank's had to tour continually. By 1942, many of the musicians had had enough and the best soloists quit.

Jimmie Lunceford

Who does the following characteristics describe? 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. 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. His two passions were a hatred of racial injustice and a love of black folk music and jazz. Because of the first passion, he was involved in left-wing causes. The second passion led him to believe that black music was better than white music. At first blank's two interests did not fit together, but in response to the rise of fascism, a broad coalition of left-wing forces was formed. Known as the Popular Front, its members viewed folk music as the voice of the common man (previously, the Communist Party saw jazz as a product of capitalism). As a leftist, blank was unusual. He decided to work within the capitalist system. He joined Columbia Records and scouted out new talent, which, one way or another, he recorded.. However, some black musicians, such as Ellington, resented his aristocratic insistence.

John Hammond

Alto saxophonist blank blank was probably the most important soloist to join the band during these early years. Bluesy and lyrical, blank became Ellington's main soloist and thereby a strong influence on a whole generation of alto players due to his swooping glissandos and elegant soft passages. Two trombonists, Lawrence Brown and Juan Tizol, added a rich tone to the band, in the case of the former, and a classical tone, in case of the latter. As a Latino, Tizol was one of the few whites to play with a black band at that time. He contributed "exotic" sounds, updating Ellington's "jungle sound."

Johnny Hodges

In 1941 Ellington wrote "Blank blank Blank", a musical that opened in Los Angeles. It was designed to eliminate the African American stereotypes propagated by Hollywood and Broadway. His Black, Brown and Beige was a wordless piece that was just as politically and musically persuasive. It premiered in 1943 but was not received well by white critics, who saw it as pretentious. During the 1940s, Ellington brought in new players like Ben Webster.

Jump for Joy

The "Paris of the plains", which is blank city, became a wide-open town during the Depression under the protection of political boss Tom Pendergast. Starting in 1926, when he formed a partnership with hood Johnny Lazia, this city alderman ran the city. While offering a kind of populism, he allowed a thriving nightlife during Prohibition. This meant there was a lot of work for black musicians playing hip, urbanized blues and jazz.

Kansas

The following describes who: Among musicians, considered the real King of Swing Born in New York, he was a largely self-taught instrumentalist, composer, and arranger. By seventeen he was playing professionally, and soon he was writing for major band leaders such as Fletcher Henderson, Charlie Johnson, and McKinney's Cotton Pickers, which he took over in 1931. He played alto saxophone, trumpet, clarinet, tenor saxophone, soprano saxophone, and piano. He occasionally sang. He started his own band in 1932.

King Carter

The following describes who? 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 the 1961 issue Further Definitions, which is associated with the avant-garde.He also arranged music for singers such as Ella Fitzgerald and Ray Charles.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.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. "I'm Coming, Virginia"

King Carter

The following describes what man's style: Very different from Hawk: 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. He would repeat, slightly altering the pitch in doing so. He was more liberal with rhythm. He would sometimes disregard the beat, creating a counterrhythm. 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 had 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. White musicians copied his lyricism and timbre; black musicians, his blues riffs and darker timbre in the middle and low registers.

Lester Young

The following describes who: His style was radically different from Hawkins's. A fan of Frankie Trumbauer, blank produced a light, vibrato-less tenor sound by trying to reproduce the Trumbauer sound. He grew up in New Orleans and played many instruments in the traveling blank 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 Hawk, blank, and Ben Webster, which blank won. When Hawk left for New York, Henderson asked blank to join the band, but he didn't last because his sound was so radically different from Hawk's. He worked his way back to Kansas City with the Andy Kirk band. In Kansas City he rejoined Count Basie. He fit in well with this blues-based, improvisation-centered band, in contrast to the heavily arranged Henderson band. His playing exhibited a new freedom in jazz.

Lester Young

Goodman wanted to lead a band that bridged jazz and the commercial world of music. Mildred Bailey suggested he hire some black arrangers, many of whom were out of work due to the Depression. He hired some of the best: Benny Carter, Edgar Sampson, and Fletcher Henderson. In 1935 the band was featured as the "hot" orchestra on the radio program blank blank. They went on a national tour that summer to a dismal response until they played the Palomar Ballroom in Los Angeles, where they were an immediate hit, probably due to the fact that their late-night radio broadcasts were aired at prime time in California. White teenagers launched the Swing Era.

Let's dance

Savoy Ballroom: The new dance style was called the blank blank. It was more African-lower to the ground, 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.

Lindy Hop

The increasing popularity of soloists garnered new respect for jazz musicians, provided diverse playing opportunities, and helped spur the rapid development of musical technique. In 1944, when swing was coming to a halt, Blank Blank produced a ten-minute film, Jammin' the Blues, featuring well-known soloists of the day and capturing the informal environment of the jam session.

Norman Ganz

blank in swing bands took solos, but blank-bandleaders limited themselves to introductions, solo choruses, and an occasional mini-concerto. Earlier self-sufficient piano styles peaked during the 1930s.

Pianists

The following describes who: Inherited the mantle of Armstrong and set the stage for Dizzy Gillespie He could play Hawkins's tenor solo from "The Stampede" on trumpet and developed his distinctive style copying tenor saxophone solos, not trumpet solos, although he studied Armstrong closely. Moved to New York in 1930 after working in the Midwest He joined Henderson in 1935. In 1936 he formed his own eight-piece band. He was a brassy, high-note player. In the 1940s he became the first black musicians 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.

Roy Eldridge

By the 1930s swing had disseminated out from New York through recordings, radio, and national tours by musicians who came from all over the country. Nevertheless, there was one strong regional influence where African American folk traditions influenced the mainstream: the Blank, which, in this case, means an area whose headquarters was in Kansas City.

Southwest

Goodman met pianist blank blank (1912-1986) on his way back to Chicago from California. He jammed with blank and was impressed with his polished, inventive improvisations. He was also dismayed by the possibility of forming a mixed-race trio with his white drummer, Gene Krupa, and African American blank. The trio recording sold well so, rather than putting blank in the big band, Goodman brought him on as a special guest. This "band-within-a-band" concept soon caught on with other bandleaders. In 1936, Goodman added vibraphonist blank blank (1908-2002) to form a quartet. Blank saw himself as an entertainer as well as a musician. He later formed his own band and took part in early R and B. The extroverted blank blank and Krupa contrasted with the shy Goodman and blank.

Teddy Wilson/ Lionel Hampton

Swing was bounded by two events? Name them

The Great Depression and WWII

Songbirds -By 1929 Crosby was extremely popular and created the template of the pop singer, who translates popularity into a film and broadcast career. Bailey illustrates a different template by providing a feminine touch. -Many female singers doubled as eye-candy and were referred to using blank metaphors. This is in stark contrast to the female blues singers of the 1920s, with the exception of Ethel Waters. -This next generation of female singers found themselves adopting the persona of the weaker sex in song lyrics. Earlier blues singers celebrated sex; the new generation had to represent themselves as more innocent. But there were exceptions.

bird

Nazis banned jazz as the decadent product of blanks and blanks, but as they conquered other countries, they realized that the captured population listened to local radio that played jazz more than German broadcasts. They decided to exploit this by providing imitations of swing.

blacks, jews

After four years of fighting in WWII and devoting the nation's manpower and production capabilities to the war, the country demilitarized, and as servicemen and women returned home, the dancing culture flared, and with it the economic basis for swing. During the war, swing was very popular. For many it symbolized the strengths of American democracy: it was participatory, informal, and blank blank

built community

Industry blank also occurred in the radio business, Hollywood movies, and Tin Pan Alley. All of these intersected: pop music depended on radio and movies often premiered songs. Stars moved from radio to Hollywood and back.

concentration

There is a long history of white musicians listening carefully to black musicians and thereby learning how to play jazz. Many white musicians learned how to play "legit" and then blank whatever jazz they could find. But playing jazz made them outsiders to the community. Their "day gig" was generally to play in commercial ensembles like radio orchestras so that they could play jazz at night. This all changed with Benny Goodman

copied

Swing, like other popular culture forms, acted as a counterstatement to the deep anxiety caused by the blank . But swing also demanded action in the form of exuberant and partly improvised dance. Moreover, it was teenagers' music, perhaps the first of its kind

depression

Hammond was one jazz enthusiast among many. 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 led to the beginnings of jazz blank, the science of jazz record classification. They also formed "Hot Clubs" in the towns across the United States. New magazines such as Downbeat and Metronome were formed to meet the reading needs of these fans. Fans applauded the mainstream acceptance of jazz but were wary of "commercialism," even though it was the commercial success of jazz that fostered the "anticommercialism" of the fans.

discography

Usually the club would hire a rhythm section, say blank and blank, as was the case at the Sunset Café. A long line of horn players would be waiting their turn to play. Often one piece could last more than an hour. Improvisational skill and meaningfully played solos were highly valued. While one was soloing, other horn players might start playing a harmonized riff. This was considered a specialized skill in Kansas City, and if you couldn't find the correct note to harmonize the riff, you were told to sit down. With many horn players, 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.

drums/piano

The problem with the guitar was that it was difficult to hear in an ensemble. Various methods of amplification started to develop (resonators, microphones, pick-ups). Meanwhile, the recordings of Django Reinhardt showed the potential of jazz guitar. In the early 1930s, the Gibson Company began building blank guitars. After a breakthrough in 1936, guitarists such as Eddie Durham (with Count Basie's band) and Floyd Smith (with Andy Kirk's band) started playing Gibson blank guitars, as did Western swing musicians, who combined jazz and Hawaiian steel guitar practices. The real breakthrough came with Charlie Christian, who showed that the blank guitar was more than a loud acoustic guitar.

electric

Originally, Basie did not aspire to live in an integrated world and his band was known in Kansas City only. Once John Hammond heard them on shortwave radio and then in person, he brought them to New York. At first, they had intonation problems and a restricted repertory of head arrangements. But this 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 blank; true of Basie's piano style. Basie understood the importance of leaving room, and a relaxed manner of playing was the best way to build momentum. His chords are simple enough, but his timing is not. Drummer Jo Jones/ Guitarist Freddie Green Trumpeter Buck Clayton/ Eddie Durham was one of the trombonists as well an arranger and one of the earliest electric guitar players. One innovative feature of the band was dueling tenor saxophonists Lester Young and Herschel Evans, a full tone Texas-style player, who was featured on slow blues tunes and ballads and who contrasted markedly with Young. The idea of dueling tenors was picked up by countless other bands. Basie's vocalist, Jimmy Rushing ("Mister Five by Five"), sang pop songs but became famous for his blues singing.

groove

During the 1920s, the blank held a prominent place as a solo instrument, exemplified by performers such as Eddie Lang, Lonnie Johnson, and Carl Kress, among others. By the early 1930s, however, Lang had died, Kress had left jazz for studio work and to run a nightclub, and Johnson had reinvented himself as a blues star. This reflects a change in the blank's role during the 1930s to primarily a rhythm instrument that reinforced the roles of the drummer and bassist. Even this role diminished as band leaders (such as Ellington) saw the blank as unnecessary.

guitar

The Rhythm Section: The blank took over from the banjo. Again, because of electrical recording technology, the raucous loud sound of the banjo was no longer necessary to cut through the sound of the band. The blank added a more subtle and secure sound to the music.

guitar

After the war, American jazz musicians were treated as blanks

heroes

Pianists, guitarists, drummers, and bass players developed technical skills in order to keep up with the advances made by blank players, so that eventually every player in a band could be featured as a soloist. The nature of the rhythm section thus began to change.

horn

Economically, segregation worked in favor of whites. The highest-paying venues usually hired white bands, and Jim Crow laws in the South kept black bands on their toes. Because of racial stereotyping, black bands specialized in "blank" dance music. But they also had to be versatile in order to survive. They had to be great readers, able to perform all kinds of danced styles. The major black bands, such as Duke Ellington's and Cab Calloway's, were able to remain viable during the Depression.

hot

A woman on stage was assumed to be "blank"-whether a singer or an instrumentalist. Nevertheless, some of those who stuck to it became quite famous, including singers Billie Holiday and Anita O'Day and instrumentalists Billie Rogers (Woody Herman's band) and Clora Bryant. Another way to be successful was to band together. The all-female group could protect reputations.Even so, most women's careers were short due to family pressures. But they did show that women could swing

loose

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. All pianists were expected to know how to play it, and the famous World War II song "Boogie Woogie Bugle Boy" illustrates how this former underground Kansas City music had made it to the blank.

mainstream

-By the mid-1940s, a number of band members, tired of the constant touring, cashed in on their growing reputations, and In 1951 Johnny Hodges left, partly out of his irritation with Ellington's appropriation of his music ideas. He took Lawrence Brown and Sonny Greer with him. After World War II, the band business began changing. Obsolete theaters were demolished or renovated to new uses, radio no longer broadcast live music, film and television were not very open to black bands. The rise of modern jazz, blanked Ellington's sound. In 1956 his fortunes picked up. At the third annual Newport Jazz Festival, Ellington went on late and played the two-part "Diminuendo and Crescendo in Blue." The two parts of the piece were separated by an open-ended twelve-bar blues, during which tenor saxophonist Paul Gonsalves played twenty-seven 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. For the next twenty 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.

marginalized

Singers were added to big bands because lyrics made melodies more blank and more likely to become a hit. The first to recruit a singer was Paul Whiteman, who recruited Bing Crosby in 1926 and Mildred Bailey in 1929.

memorable

Jazz mutually interacted with local musical practices when it arrived in many parts of the world, generating new musical blank. American jazz musicians remained stars but internationally, many local musicians also achieved fame

mixes

Arranging in Kansas City was more casual than elsewhere. There musicians specialized in head arrangements that were created collectively and passed down blank. 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.

orally

blank singers during the 1930s and 1940s were influenced by jazz but were not jazz singers per se. They were often resented for achieving the success that jazz musicians sought but rarely achieved.

pop

Jazz, then, was part of a blank entertainment network whose products were shared by the nation. Some saw this homogenization as a loss, similar to fascism, or at the very least demeaned through commercialism. In this context, big-band music can be thought of as pop with occasional jazz interpolations. On the other hand, commercialism made this jazz possible in that it attracted many musicians from all over, and as competition increased, so did the musical standards in terms of technical reading ability.

popular

On the other hand, jazz was a reminder of a horrific time, so it lost some its blank.

popularity

Head Arrangements and Jam Sessions: Sometimes head arrangement riffs were written down in order to blank 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.

preserve

As the dance business boomed, so did the blank of dance bands, often from within the ranks of established ensembles such as Benny Goodman's.

proliferation

Through the 1930s, the music industry was divided by blank. Although there were exceptions, musicians, venues, and audiences followed this pattern either by segregating the venue on a particular night or reserving performances for either blacks or whites, although black bands could play for white audiences and vice versa.

race

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 dances, which kept the band grounded. Ellington's public persona was one of aristocratic sophistication, although this contrasted with the private Ellington. You can see the public persona in the 1935 short film Symphony in Black. He was also a "blank blank," insisting that the black man was the creative voice of America. To the black community, Ellington and his band represented worldly sophistication.

race man

As many players left big bands for the armed forces during the 1940s, others played public jam sessions or joined small groups, especially groups started by successful orchestra leaders These settings allowed for more playing time. These small groups consisted of some of the first blank mixed ensembles on stage. Small groups also encouraged experimentation and captured the informal flavor of the 1920s Armstrong and Beiderbecke recordings

racially

Boogie-woogie: Like blank it had a strong left-hand rhythmic foundation, but unlike blank it was made up of percussive ostinati (or "chains") in four-four time. The right hand played bluesy patterns, often in cross-rhythms.

ragtime

Jazz was carried all over the world through recordings. Two factors stimulated its growth overseas: Europeans recognized it as serious. There was racism, but not supported by the law of the land as in the United States. In some places, like Nazi Germany and Russia, jazz was illegal and so was associated with blank and blank. It was appreciated underground, despite being banned.

rebellion, freedom

The Depression almost destroyed the blank industry, along with the availability of free music on the radio. Familiar companies went bankrupt or were bought out. By the mid-1930s, things were beginning to look up due to the popularity of the jukebox and price reductions by a few of the surviving recording companies, Decca plus two firms owned by radio networks (Columbia by CBS; Victor by NBC). These were the three majors.

record

blank of boogie-woogie start to appear in the 1920s. The name seems to have come from a kind of dance. During the Depression, sales of boogie-woogie records declined, as with most other popular music. Performers worked at other jobs or died young.

recordings

The band [Goodman's] 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 take black music and use it in such a way that whites could dance to this liberating and exciting sound. Goodman brought dance music into the mainstream. "Sweet" bands were considered corny. But Goodman could play both "hot" and "sweet," and he programmed his music to match the tastes of a broad audience. His band played a successful concert at Carnegie Hall in 1938, cementing their blank. Teenagers adopted black dance ("jitterbugs") and slang ("jive"). They lined up for concerts and danced in the aisles. This shocked their parents (as it was probably meant to do). Goodman could satisfy jitterbugs while at the same time make jazz acceptable.

respectability

The foundation of the swing band lay in the blank section: piano, guitar, bass, and drums. blank sections supplied the beat and marked the harmonies in distinctive ways that fit a particular style. They also made advances toward the musical foreground, helping to set the stage for bebop.

rhythm

Boogie-woogie: t was a raucous social music, good for dancing and blues singing. In blank areas it was played in the outbuildings of work camps, or barrelhouses. In blank, it was played in speakeasies, where pianists would work all night for tips and few dollars in pay. Boogie-woogie was like the southwestern version of stride piano. By the 1930s it had become popular in New York as well.

rural/cities

Swing dance came out of Harlem's blank Ballroom. A block long, luxurious, and charging a modest entrance fee, one could hear two bands a night there and enjoy them in a mixed ethnic and social environment.

savoy

African Americans, as usual, lined up to volunteer to fight. But, again as usual, the armed forces were blank and, except for a few exceptions, African Americans were trained in blank camps with white officers and restricted to menial labor. Racism was in the air. The Japanese were characterized as "yellow." Accordingly, black newspapers called for a "Double V" campaign-victory abroad and victory over racial prejudice at home.

segregated

After World War II, Basie, like many leaders of big bands, faced hard times. In 1950 he formed a blank. He did re-form the big band, the New Testament, later with studio musicians and Freddie Green. Gone were the heard 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.

septet

blanks model themselves on the rhythmic freedom of instrumentalists while instrumentalists model themselves on the flexibility and expressiveness of the voice. blank concentrate on melody, not the abstract variations typical of instrumentalists. They occupy a middle ground between jazz and commercial music.

singers

John Hammond visited Kansas City in 1936 and recalled that blank tunes could last more than half an hour and faster tunes twenty minutes. They built up a tremendous momentum in performance that excited the dancers, foreshadowing teenagers' intense reaction to rock and roll. Turner's 1950s recording of "Shake Rattle and Roll" took a leading role in that reaction as well.

slow

Goodman launched a number of blank groups that emphasized the soloist, renewing an interest in improvisation. Some of them were interracial

small

Unlike other bands, Ellington did not write arrangements that could be played by any competent dance band musician. He wrote for the blank musicians in the band. By 1935, he had manned his band with the idiosyncratic musicians that sparked his imagination. Each section could blend together beautifully but each musician had his own particular sound as well Bubber Miley, Tricky Sam Nanton, and Sonny Greer were some of the unique players in the band; Harry Carney, the baritone saxophonist, who like many of Ellington' s musicians, he stayed with the band for many years. But some players didn't last as long. Ellington had to fire Miley bc he drank too much; Replaced with Cootie Williams. Williams learned to use mutes from Nanton, adding his own, unique voice to the trumpet section without Ellington telling him what to do. 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 in for bringing an older, New Orleans sound into the mix.

specific

Swing and Race: Whites didn't know the black origins of the music, the dance, or the language ("jive" ) that went with it; black bands had to tour the Jim Crow South; and some black musicians felt the music had been blank from them.

stolen

The Rhythm Section: to accommodate the new groove, the Tuba was replaced by the the blank blank, which was now easily recordable with the invention of electrical recording technology. The blank blank has a more percussive quality than the tuba, adding to the excitement of the music to match the Lindy Hop's energy. And it could play a steady four-to-the-bar beat throughout an entire performance.

string bass

The blank 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.

sunset

The features of blank include: Played by big bands made of instrumental sections of reeds, brass, and rhythm Derived from music of the 1920s Retained rhythmic contrast, bluesy phrasing, and balance between improvisation and composition Commercial Homophonic textures, bluesy riffs, clearly defined melodies, dance grooves

swing

Swing played both sides of the race card. On the one hand it was a symbol of black culture: its dance steps were developed by black Blank ; its call-and-response, riff-based performance practices mimicked black church music; and it boosted the careers of some black bandleaders.

teenagers

Savoy Ballroom: Social dancing at the Savoy was communal and intense. Thousands packed the huge dance floor, with the best dancers doing their best moves right next to the bandstand and often rehearsing in the afternoons at the Savoy. In both cases, communication between dancers and musicians on issues of blank and blank was typical.

tempo and groove

Hawkins's influence was like Armstrong's: players of other kinds of sax switched to blank; his solo on "The Stampede" was especially influential. Except for an indigenous blank saxophone style emerging from the American Southwest (embodied in Lester Young), Hawk's primacy was almost absolute.

tenor

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 widespread tours. By the end of the 1930s, blank bands were considered "minor league"-a good place for musicians to break into the business. There were thousands of blank bands during the 1920s-white and black, hot and sweet. Some were all female. Their names often had little to do with reality.

territory

Franco-American relations The year that Coleman Hawkins started his five-year stay in Europe, 1934, was important in the history of European jazz. A few years earlier, French fans started the Hot Club de France. In 1934, Hugues Panassie published Le Jazz Hot, the first serious book on jazz in any language and the first to suggest the preeminence of African Americans in jazz. The year 1934 also saw the first publication of the magazine Jazz Hot, published by Panassie and Charles Delauney, and the formation of a band to represent the club: Quintettte du Hot Club de France. The Quintette grew out of jam sessions and featured two great soloists, Reinhardt and Grappelli, who was largely self-taught and inspired by Joe Venuti. The rhythm section was made up of two guitars and a bass; there were no drums or piano. They were praised both in Europe and America, confirming that white Europeans could play jazz and thus validating its blank. Grappelli was considered on a par with the best American jazz violinists, but Reinhardt was in a class by himself. Delauney started recording Reinhardt with visiting American jazz musicians like Coleman Hawkins and Benny Carter.

universality

As the men went off to fight in World War I, able bodies were needed for the Swing Era dance bands. BLANK had to overcome the prejudice against playing an instrument in public. Most BLANK in the business up to that time were singers or dancers. The only exception were BLANK pianists.

women