Music 497 Final Review

Hard Bop Schools

1. Musicians on borderline between jazz and popular black music (Cannonball Adderley, had song on charts, drew on blues, gospel, Latin, groove and blues emphasis) 2. Less popular, less defined (Elmo Hope, never achieved recognition, very emotionally expressive) 3. Experimentalists (expansion of structural and technical boundaries, e.g. Monk, Mingus, keeping the medium from stagnation)

Jazz Triangle

1. NOLA 2. Chicago 3. NY other locations often ignored, i.e. Mississippi River - a possible lifeline for jazz (took blues roots up North)

Minton's Playhouse

118th st in harlem, attracts some of most adventurous and dissatisfied musicians in jazz, created idea of monday night jam session that has stuck to this day in jazz community, "sidemen" tryna get out of phony music, want to play music for self Hip rep, a birthplace of bebop

Hard Bop

Prime years: 1954-1962 - heavier use of minor mode -strong rhythmic aspects / patterns - slower tempos - Blues / gospel influenced phrasing - more mature sound, willingness to embrace popular ideas - think simplified but more personalized bebop. similar instrumentation, adding vibraphone and stronger trombone - earthy, rhythmic hard driving as compared to cool jazz's mellow, particular arrangements - bass played 4 but w more expressive melodic approach - drums emphasized back beats (2n4) more, shuffle groove, more interaction w soloist - more decisive, harsh in timbre. more blending and slurring of pitches - emerged in 1950s, resurgence of jazz along w/ new division of jazz/non jazz music (& musicians forced to take 'non-jazz' gigs) - late 40s fusion w pop elements (i.e. whitey takes over cool jazz) weakened acceptance for jazz - RnB experiences played into creating, new source of ideas - bop became increasingly codified - in second half of 50s: developing, reflects black artistic expression in america - more complex original tunes than bebop, more unconventional melodic and phrase length, faster moving harmonic rhythm (more chords) - often simpler, catchy melodies - FEEL over technical facility, more organic sounds and tonalities asc. w blues, RnB, folk norms, gospel (obv not new, but greater emphasis. soulful, funky) - more emphasis on 1 style rather than being groundbreaking - new style more expressive, more formal style through Cannonball, Sonny Rollins, Lee Morgan, Horace Silver, Art Blakey, etc. - Miles returns from music break to raspier, more tentative sound, marking shift from cool jazz to hard bop (simple melodies, rarely based on bop chord changes, emphasis on minor mode, darker feel, complex scalar ideas). - Bridge between bebop and hard bop = Davis, Max Roach quintet, but major players Blakey and Silver - existed alongside trad jazz, gospel, blues, rnb, swing, bebop, cool jazz, free jazz. No specific genre for jazz - got name from bop-based jazz originating out east in mid 50s - wedged between two easier to describe styles (bop, free jazz) - overall: period of consolidation, expansion, renewed interests among jazz musicians in blues/gospel. opening out jazz in new directions - playing atmosphere more congenial than bebop, "saying something" over technical facility

Ellington at Carnegie Hall

(attempted "Jump For Joy" musical celebrating black music contributions, didn't succeed in sum. 1941) Efforts to break molds like 3 min recording, as big band music asc. w pop numbers, show tunes, dance tunes, forcing jazz musicians into limitations Jan 23rd 1943: Presents 44 min work at CH - 3 movements: 1. Black and Tan, 2: Portrait Series, 3: BLACK BROWN AND BEIGE -> history of america in 3 movements. Black: "work song", "come sunday", "light" Work fought for freedom, against conformism, nazism, racism. Proceeds went to war victims

War Effect on Jazz

- blackouts (shutting off lights to void enemy planes, ppl thought america might become battleground) fuced with night clubs and dance halls. Started after pearl harbor, civillians volunteered as air raid wardens - cabaret and entertainment tax (ppl stayed home) - rubber and gas rationing (bands couldn't travel) - Trains filled w servicemen (bands couldn't travel) - shortage of shellac (used to make records) - companies stopped making jukeboxes, instruments for time - band leaders and musicians drafted, new leaders had to pay members more even tho not first choice - jazz takes on patriotic role - conscription issues = more women

Race Records

78 record marketed towards Black people between 20s and 40s, which encompassed most commercial and popular recordings of Black artists in US. Predominantly blues, jazz, gospel, comedy. 300, 500 blues and gospel recordings released in 1926, 1927.

Five Chars of early Black Music

- call and response (as opposed to western idea of barrier between performer and audience) - integration of performance into the social fabric (not just for functionality, like elevator music) - cross fertilization of music and dance - focus on sound - richness of rhythmic content (rhythm everywhere, in everything)

Chicago Jazz Scene

- 'make shift' night spots, chicken wire ceiling vibe, doubled as roller skating rink type shit - Chicago sound brought to New York like how NOLA sound brought to Chicago - stereotype that Chicago jazz mostly white (Bix, Krupa, Goodman, Wolverines, etc.), however all the goated black dudes at the time were there from NOLA. All styles part of Chicago Non-jazz influences: - melodies in minor keys - adoption of contemporary classical esoteric harmonies and rhythms - broadened vocab, more highly arranged tunes, more expressive range and variety, more separation between ensemble and soloist Influence on Nola scene: - 32 bar forms become more common (AABA, B bridge, 8 measure each) - Blues/multi-themed ragtime structs less common (were central to NOLA music, not due to aesthetic but demands of audience) - Blues recording craze subsides - Jazz now mass entertainment, encompassing many different styles

Louis Armstrong

- 1922-24 w King Oliver's band in Chi - 1924-25 w Fletcher Henderson in NY - 1925 in wife's band back in Chi 1925: Louis becomes most dominant jazz instrumentalist, making "hot five" recordings. Small group SHIFTS FOCUS OF JAZZ FROM ENSEMBLE TO SOLOIST. less heavily arranged trombone

Bird

- 1945 first album out, one of the first big records after AFM recording ban ended (7/31/42, lasted two years), which meant sound was new to most people. They went fucing berserk, like hearing Louis in the 20s.

Jazz Fusion in 70s

- Broadening rhythmic pallet (rock grooves, world beat drones, quasi classical styles, experiments w free time, outward focus, encompassing all music) - meant commercial attempts to blend jazz and rock to most ppl, Davis bitches brew, but meant exploration and experimentation for jazz musicians - broaded jazz audience through rock aspect, listeners got into more improvisatory stuff through it, new economic base for jazz after years of decline, helped all jazz styled financially - jazz musicians returned form overseas exile, much more money in it - Rock fusion groups: davis, corea's return to forever, weather report (former davis sidemen big time) - 1973 herbie dropped Head Hunters, which placed him between jazz and commercial projects (or just popular music exploration, whatever u wanna call it), where he remains - rock groups adopt jazz techniques - came to mostly unhappy end in end of 70s (return to forever split '77, jaco died '87)

Hamm's Founding Father's of Jazz

- Buddy Bolden - Joe "King" Oliver - Freddie Keppard - Kid Ory - Johnny Dodds - Louis Armstrong

NOLA Diaspora

- Center of pre-jazz/jazz world shifted North to Chicago in early 1920s (including JRM, Kep, Bechet, Louis, etc. never returned but to visit) - "irony of history of NOLA is that so much of it took place in chicago" - Sam Morgan stayed, influenced Kansas City jazz. 4/4 sound (denser, forward motion than 1,3 rag vibe), but musicians had to leave to succeed Nashville: only southern city that had a regional music scene, had rep created by local talent, became destination rather than starting place like NOLA NOLA: famous for birthing musicians, but never reached nash level self sufficiency White musicians moved north as well to tap larger economic base. Original Dixieland Jazz Band (not actually an example of this, stayed in NOLA bc of success), had monopoly on jazz records before race records gained popularity

Freedom

- Cold war ideology of freedom shown in jazz (Davis modal stuff, Sonny Rollins playing several chords at same time), Mingus (free form shit, collective improv, mid piece tempo change). Experimentation w boundaries of structures - Experimentalists who didn't have the name recognition of these folks struggled greatly, e.g. Cecil Taylor - US represented as culturally barbaric, discriminative by Soviets - jazz as as symbol of wider american values and improving race relations - became a politically charged word in 50s, battle cry, goal, grounding principle. Printed in public conscious - Freedom riders: activists who challenged non-enforcement of anti segregation laws on buses - Freedom Summer (1965): activists organizing to register black voters in anticipation of fall presidential election - Freedom Singers: Choir touring country raising money for civil rights advocacy

Image of Jazz mid 20s

- Definition an issue, like in ragtime, now more pop tunes being called Jazz, resulting in expansion of jazz repertoire ("the jazz singer" had no jazz, first talkie) - Pop music of time was Gerswins jazz based clasical compositions ("Rhapsody in Blue"), Paul Whiteman's "Blue Heaven", Whiteman called king of jazz, but didn't make jazz. - Romanticized, permeated through mythology of rebellion and Hollywood anti-hero glamorization Chicago jazz man antihero contradictions: 1. Wise/wordly and innocent 2. hard edged and romantic 3. self-centered, deep sense of comraderie

Harlem Renaissance (and high brow Harlem)

- Mid 1920s: Harlem NY black society balanced between two extremes (intellectuals and laborers), = flowering of black cultural and intellectual life during late 1920s - New Negro movement goes hand in hand (trying to change image of black folk in America to be more 'respectable') - Black folk to build self-sufficient community - Wide range of cultural elites (across arts and academics) Results: - forward looking optimism, sense of community pride, feeling of freedom to pursue vision of civil society (through own community, not american gov) Created an ideology and cultural context for jazz BUT contributions of black folks in Harlem not involved in this Harlem ought be recognized Middle class and upper class families hesitant to celebrate cultural contributions of syncopated music (ragtime, jazz, blues), found hostile, Southern black folk the most (trying to distance themselves, appear more sophisticated, denying cultural origins, trying to assimilate into northeast ways).

Summer 1943

- New black migration from South, in search of defense work. - Savoy ballroom closed, bc was integrated: first step towards enforced segregation of city, Jim Crow - Race riots over jobs and housing in north. 6 killed, 700 injured, 1500 mostly white owned shops damaged or destroyed after new of black soldiers hot and killed by cop - Harlem earns rep as dangerous, rather than "black paradise", jazz headquarters moves to West side, "the street". Cellar clubs.

Postwar Shift

- New level of growth/prosperity meets - looming nuclear threat, migration to suburbs - growth of frustration in black communities-returning home to same bigotry fought abroad - growth in narcotic use - before modern jazz became style, modernism already embraced in jazz. "progress" a word that best describes the music, exploration. Went from belittled and scorned to its own medium n producing Ellington n Armstrong all w/in decade. Dramatic shift from folk to art music - now, more overt modernism in music, extension of music's ability to grow. music shifts to Modern jazz

Women Bands During War

- Vaudeville Circuits that had employed women in 20s and 30s closed, women optimistic in 40s but often audience saw them as "passing through". - Now seen as female companions for soldiers, rather than professionals as they had in the 30s - Pressure for glamour, looked at first listened to second. Glamour as labor, look good while playing. Strapless dresses, high heels, femininity and skill, some required to lose weight (which some musicians used creative stage personas to avoid) - When touring w Gene Krupa, Anita O'Day tried to swap gown for band uniform to counteract these pressures. Scorned as sexually suspect - Club owners expected women to double as B-girls, spend breaks making ppl buy drinks - Many all women bands led by men, some male bands had women in em tho - on USO tours, women musicians given name CAMP FOLLOWERS, which made military officers expect more than a stage show - Idea of them as "loose women"crated more problems - travel could be extremely dangerous, especially for black women in southern states -traveling overseas for USOs close to combat, unreliable equipment for transportation (some ppl died in plane crashes, boats were attacked, etc.) - at time: booking agents in charge of filling a schedule, not taking care of transport, resulting in fucy ass schedules in terms of distance, transporation issues, danger, rule put in place so no more than 300 miles a night, frequently broken -worry about reputation as 'good girls', many knew European abortionists

Brass Bands in NOLA

- crucial to birth of jazz, not limited to NOLA - after civil war all over country, band masters hired by town to get groups together - Often funding from fraternal orgs, social clubs or the musicians themselves - very important to NOLA culture, played many social events - Swing feel Line up (pretty much from front to back): - Trombones - traditionally bass (not if moving obv) - tubas, baritone - altos (2 or 3) - clarinet - trumpets ( 2 or 3) - drums (1 bass, 1 snare) - Muffled for funeral marches on way to cemetery - unmuffled on way back from cemetery (and for all parades) (see Second line) Bc of ragtime popularity, practice of "ragging" other compositions. Genre blurring central to jazz creation (Experimentation w/ combining ragtime syncopation and blues harmonies, improvisation introduced to ornament the melodies) also played: - Quadrilles (four coupled dance in triangular formation, comparable to square dancing) - Two-steps - Polkas - Schottisches (slow polka) - Mazurkas (Polish folk dance in triple meter - also European concert music (high brow Creole production generally)

Cool

- defined by miles davis and lester young, etc. but soon showed up in other mediums. Populist movement - More ironic, quickly shifting tone - rejected materialism - more defined by image; fashion, lifestyle, trends - indirect and ironic communication = cool things down - comes in face of McCarthyism, in the Red Scare (1947 to 1954) -> heightened fear over potential spread of communism and prospect of communist infiltration in US

Free Jazz

- esoteric practices and growing assertiveness threatened jazz' viability as a respectable art form, also emphasis on defining new self rather than expressing self disparate from folk traditions - by mid decade, framework of free imrpov transforms into black nationalism, hostile to existing business practices. Thus, need for resurrecting collectives like Mingus' "Jazz artist guild" - reactionary to nuclear threat, desperation to make something new. front line - forefront of black nationalism - after 2/21/1965 assassination of Malcom X, Baraka calls press conference: launch black arts repertory theater, school offering black drama, music, art and history. Build group identity, take black arts to the streets. - 3/28/1964: Baraka puts on major benefit concert at BARTS featuring Marion Brown, Archie Shepp, Sun Ra, John coltrane, representing intersection between emerging black arts movement, radicalization of free jazz musicians, black power philosophy - thought of as political, rebellion against societal structures, amplified undertones of political advocacy in jazz greatly - "atonal", first execution of such music by black artists and as an anti-establishment practice (as opposed to composers like Tristano, Graettinger, Stravinsky) - practitioners outsiders of jazz and society (by being black and experimental), no concert halls, grants, etc. - Ornette coleman worked as elevator operator in dept store, Cecil taylor washed dishes Bebop comparison: made by young guys, ridiculed early on, to the extent of violence

Jam Session

- huge for development of Bebop, diz and monk used to post at Minton's playhouse - characterized by flexibility, lack of pretension, isolation (locations unknown to outsiders), casual virtuosity, musicians playing for themselves, not entertainment - formed a sort of exclusive subculture around bebop, music wasn't even intended to be public, very little framework for recordings or just general music sesh - playing for no money: sessions were condemned by musicians union, bc they didn't do the min wage thing - Tune prep included song structure (blues, rhythm changes, standards), fixed rhythm section (usually piano, bass, guitar, drums), format of solos, tune intro, weak endings - conviction that this setting represented jazz in truest form - dance bands helped jam sessioners make money while exploring new ideas after hours. This career another aspect of developing their music, networking, not just a 'ew i gotta play capitalist music' type thing. Nature of swing band life and emphasis on after hours helped form self sufficient community of bebop - jam session as an act of defiance - not for everyone, biggest focus on improv over site reading, section leading, high note range - dance bands and jam sesh both arenas for practice, Diz and monk would play like 10 a night. - accommodated taste for leaders like Basie, Goodman, (house band did that is), but for the new guys it was all about playing whatever. Shift from pleasing public to virtuosity Caused shift: - big band->small group - intricate arrangements->free-flowing improv - pop entertainment-> format free of asc. w comedy or dance

Newport Jazz Festival

- in 1960s not even jazz, more crossover and rock (for the most part) - Mingus said losing identity, leading jazz innovators far from leading the bill - Mingus and Roach organize rebel festival same weekend, musician orientated, run, jazz of all gens. Featured more black artists, where newport catered to white clientele

Latin-Catholic Church

- more tolerant than English-protestant ideals - under Spanish law, enslaved folks cold b set free w/o official permission, own property. Less rigid slave laws allowed for more musical expression, impactful on development of jazz - more tolerance shaped NOLA attitudes

Congo Square

- open space in Louis Armstrong park in NOLA, famous for African music and historical dances - enslaved folks gather to sing and dance, transfer of culture (syncretism, gumbo metaphor) - separation of song and dance eradicated (in African music tradition), as barriers between secular and spiritual impulses - dances interrupted during civil war until ~1885, coinciding w/ emergence of first jazz bands in NOLA. Funeral marches become a new form of musical expression - Environment allowed for music and folklore from various African cultures to be brought into NOLA - effort to control by NOLA religious groups

Modern Jazz

- retained 32 bar AABA form, 12 bar blues form, and instruments used from earlier forms. - Now: more complex melodies over standard chord changes. Improvised lines longer, faster, more complex, with longer phrases. Greatly extended solos - Four feel (forward motion) rather than NOLA two feel (1 &3) - Phrases Starting on weak beats (2 & 4) - more complex harmony than ever before, instrumental technique more central. - added altered scale degrees to chords, unconventional and ahead of its time, took over gen to be added to jazz repertoire. Flat 9ths, sharp 11ths - simplicity in sparse arrangements and monophonic melodic statements, renouncing big band - no goal of extended compositional forms, soloing main artery - many changes driven by rhythm section -clusters of personnel rather than linear sections HISTORY - Not from Carnegie hall or Ellington or Goodman, or directly from Harlem stride or the experimental big bands (like Basie), though influenced by them all - main influences: KC sound and art music - dance craze to serious listening trend in jazz - brash and unapologetic sound from after hour grind - distinctly black art form, but white contributions in a more collegial setting than before. Music capable of transcending racial barriers - racial hostility and need to establish (in the sense of forcefully demonstrate) agency, individuality - advanced harmonic motions and themes, extensive improv - art music (we talkin Bebop btw) - possibly in tandem w growing civil rights sentiment after WWII, with the end of the great depression - most pioneers in 20s, had been committed to careers as dance musicians. Sidemen, not stars - formative years informed by boom and bust cycle of swing era (and like, rebellion against its racism and commerciality and lack of expression n what not), outbreak of WWII - higher expectations, saw how much money could be made off of jazz - Wanted to be acknowledged as artists, a status only folks like Ellington and Joplin achieved. Elevate status to other artistic mediums like painting, classical, poetry, etc. Emphasis on soloing, tho remained music of ensembles - Came out of the underground, blew up after Dizzy at Onyx on 52nd, legitimized by quasi-respectable venues, then got radio time and what not. Close to Times Square, drawing the scene - panned by man initially, treated as joke by all media - Resulted (in tandem w/ tech changing the way that music was listened to, road costs, etc.) in the decline of big bands fat, Sinatra, Nat King Cole, Doris Day pop era takes over

James Reese Europe

- work reflects syncopation before 1920s - ragtime and early jazz band leader, arranger, composer, led military band 'Harlem Hellfighters' which popularized dance music overseas, to the world - 1912: brought black orchestra to Carnegie Hall, silencing naysayers of new music. Huge influence on dance, hired by Castle couple (Irene and Vernon Castle, incorporated black styles into their performances, less defined style), their dance school a link between black dance and white society. Castle/Europe combo drove change in music scene and dance floor - two stages which are very mutually influential and drive eachother.

Jazz at War

-symbol of democracy, youth, vibrancy, affluence, freedom -remind soldiers of home, what was unique abt US, meaning of freedom and democracy - popular songs become wartime anthems, morale music - soldiers w instruments played often - many bandleaders in army (Glen Miller, Artie Shaw) - V discs: record label that made records for US army - Ellington hosted weekly program, sold war bonds, Louis played segregated army camps and military hospitals - When Germans take over most of Europe in end of 41, jazz becomes rebellious underground 'Swing Kids' - Nazi organized swing orchestra, broadcasting American tunes w anti-Semitic lyrics, downplaying and justifying atrocities. Some american, British and Japanese nazi sympathizers broadcasted it (names in notes). Many forms of propoganda - nazis banned word "jazz" in 1943, parisian musicians changed the names of American tunes and kept playing. Thus: paris saw groth in jazz music not seen since 20s, French jazz musicians called selves "Zazzuzz" after scatting of Cab Calloway - Black folks role in defense based off strict segregation, beaten, harassed, etc. Tired of fighting bigotry abroad and coming back to it at home - World speeding up w wartime tech advancements, jazz music went with it

Growth in Piano

1890-1909 = dramatic increase in piano production 1897 = cabinet piano released 1909 = number of ragtime pieces produced at all time high, taking advantage of piano market

Great Migration

1916-1919: half mil black folk from south to north 1920s: a mil more - People from all aspects of society: doctors, lawyers, musicians, teachers, ministers, etc. - Sought better life, more work, support family, more freedom economically and socially - work equality was more difficult in segregated south - Black pop tripled in Chicago, NY, Cleveland

Jazz Age

1920s (think when all the NOLA guys went to Chi, and it kinda grew up a little and got popular.) focus on soloing not orchestration, and on different instruments (not sections as in the big bands that would follow) Transition to big band music through commercial pressures. Satch and Bix move to big band. Big band sound becomes more decisive, comes out of NY scene. Omnivorous tastes

Shuffle Along

1921 musical w all black cast, writers (written by Eubie Blake and Noble Cissel, big in the music scene), premiered uptown (couldn't get on Broadway), drew white audiences, had love scenes, treated black people as people. Big for breaking down racial barriers in music and dance.

Great Depression

1929 wall street crash, people can't afford to go to shows or buy records, 90% decline in record sales between 1927 and 1932, lasting effect on jazz world. Popularity of talking videos grew, less live shows, membership in musicians unions down 1/3 1928-1934 End of prohibition, speakeasies into legit night clubs, liquor could be consumed at home, w/ jazz on the radio Came at time radio got huge, so that happened. See tech Ends in 1939, jazz huge in jukeboxes everywhere

Hipster Aesthetic

1940s subculture, term hipster used to refer to jazz aficionado, who adopted jazz musician lifestyle: - Dress, slang, drug used, relaxed attitude, relaxed sex, in some self-imposed poverty - calling each other "man" - Bird and Diz targeted by white policemen and servicemen due to being well dressed, Hipster language, new assertiveness

Swing Shift

= extra shift temporarily aded for the purpose of wartime production. - idea of women who filled this spots (which extended to all women in workforce) were attractive, competent, patriotic, Temporary (to the extent that women who wanted to keep place in workforce after war looked down on) - women in bands therefore might elevate themselves by embracing rosie persona, glamour, etc. at risk of accusations of being selfish and unpatriotic by being more of themselves, or pushing back on temporary vibe. Viola Smith fought this in DownBeat article to sexist replies. - Women involvement in labor force, and music and everything during WWII. - Double edged sword for women already working - ads for female musicains called for young, attractive, modern readers who can take off (improvise/solo for choruses), fake (able to play appropriate notes w/o knowing tune), ride (improvise w/ good time), play the spots (site read) - illusion that all women in workforce "Swing Shift Maisies", 40s lingo for temporary women in workforce. Many women, esp those working/music makin before the war, found this was derogatory, they weren't not replacements or temporary - Rosie the Riveter = symbol for women workers during war, designed to resemble swing shift worker

Brotherhood of Sleeping Car Porters (BSCP)

A union of independent black Pullman sleeping car workers. Lead by Asa Philip Randolph. Randolph threatened lead march on Washington unless Roosevelt opened jobs to black folk in defense. Afterwards, 1 millon black folk ended up serving towards war efforts (in deeply segregated way) First black led labor organization

4F and role advertising

Ads for musicians in 1930s and 40s would be like "drummer available" (white male), "colored drummer available" (black male), etc. During War, draft status 4F popular "4F drummer", 4F meaning deferred some how (medical, etc.) Rebel class like Bird who managed to get out by feigning insanity and what not

Minstrel Shows

American form of racially charged entertainment, developed in early 19th century, variety of acts which mocked Blackness. Emerged as form of black people, black performers eventually took over, but had to do performances under veil of commercially viable racist stereotypes Paradox: 'coon songs' most popular form of music, while extreme racism and violence against black folks flourishes Presented black people as simple folk, an effort to promote Jim Crow

Spasm bands

Bands that played instruments made from paper, gourds, cigar boxes, pipes, and other makeshift materials, often children, found all over

Syncretism

Blending together of cultural elements that previously existed separately

Ma Rainey

Blues singer. Contrasted delta blues style w/ stage presentation of classic blues style. Brought trunks of props lighting, etc., focus on entertainment influenced by minstrel show

Bessie Smith

Blues singer. Slower tempos, emphasis on feel, used sexual themes (sold records, POd religious groups and members of black middle class)

Ragtime

Characteristics: - fully body sound, too busy for vocalists (some vocal and band arrangements but high point was piano music) - very similar to NOLA jazz in its early days. Jelly RM: piano technique/ swing differentiates the two - just piano accompaniment - emphasis on brass (trumpet, trombone) - Clarinet or two, alto sax, drumline - same polyphonic approach as to brass bands, had swung feel - call and resonse - Compositional style (as opposed to Rag) - Rag = performance style, syncopated right hand for melody, stride style in left Joplin recipe: - octaves on 1 & 3 - Chordal idea on 2 & 4 - melody in right hand First published rag in 1897 (Mississippi Rag by Krell) Tom Turpin = first black man to publish rag in 1897 (Harlem Rag) Form: AA-BB-A-CC-DD, modulation in C section

Battle of Tours (732)

Charles Martel took over Muslim inhabitants of Iberian peninsula. Subsequent merging of Spanish, French, African influences big to jazz. Jazz from creole, spanish hybrid

Dr. Isaac Watts

Christian minister and hymn writer of the people trying to control congo square. Tried to black folk to western music practice, which had opposite effect. Watts quoted saying collective improvisation, wherein each person contributes personal ideas, common to af. am. tradition.

Sidney Bechet

Clarinet, first solo jazz recording (beat Louis by a couple months)

Classic Blues

Closer ties to jazz, more women singers (in vein of Billie Holiday). Singers front bands, musicians stick to 12 bar form. Draws from forms like front an ensemble(?), Tin pan Alley, Minstrel shows, Circuses, Vaudeville Construction: Intro-Solos-Call and response formula made it easy for listeners Female awareness, nature of love (unrequited, unfair, etc.) becomes blues ethos

Harlem Stride Piano

result of the disparate harlems (Harlem of literary aspirations and Harlem of jazz and blues) coming together, expanding audiences and merging styles - Piano to Harlem what brass bands were to NOLA (very culturally significant, ragtime) - Bridge between ragtime to new style of piano playing - kept rag tradition alive, and ate up jazz aspects

NOLA history

Diversity 1764: France gives NOLA to Spain 1792-93: 6000 fleeing Haitian refugees arrive in Nola 1800: France takes NOLA back 1803: France sells NOLA to US Result: NOLA huge melting pot of musical tradition - improvisation as a necessity to adapt to a strange and hostile environment. Freedom, escaping oppressions Shit Hole Stature After civil War: boom subsides, massive population growth (quadrupled) 1825-1875, below sea level & no sewage system until 1892 & long hot damp summers = bugs and disease oh my. Foreign born pop declines In 1880: avg. black lifespan = 36 (and 46% infant mortality rate), white = 46 (in NOLA) Named after debauche noble Heavy population of criminals n lots o sex work Seen as place to go to have fast loose time Said NOLA's party vibe a survival response Dumb asc. between "hot" music and degeneracy due to environment (when often, church music was more of an inspiration)

Bert Williams

First Black vaudeville performer to break across racial barriers in industry. Started in 1893, by 1910 was most famous comedian in America. Played racist stereotypes in a way that was perhaps more human, using the racist medium for antiracism Sort of a Jackie Robinson of showbusiness, first Black man to perform in all white show on Broadway

"White" Chicago jazz attributes

Flare Up: Polyphonic outburst initiated by a drum break (aaand BOP) Explosion: Dropping a "bomb" Term for bebop drummers. Igniting the soloist at the top on another 8 measure phrase Shuffle Rhythm Consistent groove. Gives feeling of a forward motion A Break: Purely NOLA attribute. 2 or 4 measure interlude when the band pauses and the soloist steps forward. Jelly Roll Morton famous stop times

'Other' Harlem

Mid 20s: Harlem more white, European immigrants, Lutheran churches, German music in the streets. In years following WWI: black pop boom, southern migrants to overcrowded Manhattan. Late 1920s: 70% of Harlem real estate occupied by Black folk. Other Harlem (as in, not the intellectual elite) cruel, less promising, becoming a slum, 40% of harlem renters spent more than twice as much of their income on rent than white folks, many take in at elast one lodger, mattresses got day and night shifts. Wages for black folk far lower than white. Rent parties: - Hosting parties for the purpose of paying rent w/ flyers put out weeks in advance (advertising who performs, cost (bout .25 to a buck)) - 100+ guests stuffed in seen room RR flat - ignored in Harlem renaissance scholarship, sort of dividing feature of the two harlems

Scott Joplin

Founding father of ragtime, his 1900 Maple Leaf Rag sold 1 million copies, first achievement of its kind, fewer than 100000 musicians in US at time Composition Treemonisha demonstrates high art potential of vernacular music forms like ragtime, however found little support

Rhythm Club

Harlem, NY - before swing: most important jam sesh spot - Ran by bert hall, who made AFM pay black musicians on time - social activities as well, strictly for musicians - people employed there all time, house band but informal vibe to it. musicians would hang there monday afternoons, collect that check, scope the scene, write availability - huge for networking, hiring, which created lots of competition in the jam session, perhaps barrier for those reaching new levels: proving grounds.

Harlem Stride Stars

Imbued stride w/ macho, competitive sense. Cutting contests, artist as half musician half warrior, proving rep, etc. Big for jazz - James P Johnson: link between ragtime of Scott Joplin and jazz of Fats Waller. Earlier tunes resemble ragtime, made some concert music like "Harlem Symphony" that likely inspired Ellington's. - Willie "The Lion" Smith: rep built in cutting contests, mean, "a gladiator" - Thomas "Fats" Waller: biggest contributor to bringing this music to American public. Put on shows, funny, comedic style went against competitive stride vibe. Played religious services n Lincoln Theatre (silent movie accompaniment), rent parties, etc. Brought blues, classical, boogie woogie and some ragtime together. Made a bunch of stndards ("Ain't Misbehavin'", "Honey Suckle Rose"). Went where there was money: both an entertainer and a musician. Died of pnemonia at peak of career 1943 Most musician of the generation gravitated to big band sound in 30s and 40s, where the money was.

Head Arrangements

In swing style: Spontaneous improvisations within sections of band, other section members chime in and help Flexible, unwritten, throwing different ideas out. Big in Kansas City bands, esp Basie

Swing in 30s

Integration in dance (in the sense that everyone was doing the same dances), and popularization of big dance venues movement driven by Harlemites. Also economic changes, big bands become viable, more money in it, etc. As took off, Swing became huge. Swing gained acceptance in 30s as dance equal importance to the band stand. Black entertainment for white audiences becomes huge industry as all the most popular dances for everyone were to black music, but segregation still norm obv. Whites chose clubs where role as cultural elite upheld, 11 whites only halem clubs, white bands occasionally played black clubs. Slow progress Easy, relatable recipe. Repetitive, easy to relate to. Kind of blues, already familiar to Americans Danceable tempo FEELING of music changed to almost entirely 4 beat feel (emphasis on every beat, forward motion, easier to dance) rather than 2 beat (1 and 3) More demand on rhythm, bass replaced the tuba, guitar replaced the bajo, now piano guitar bass rhythm section Drums and their role changed: before, rely on bass drum as ride keeper, Now->(as w/ Basie) Joe Jones made hi-hat and ride cymbal primary ride keepers, bass drum and snare conversation pieces Shift from fletcher henderson style to benny goodman style in band makeup (although swing came inspired by henderson's section make up), bigger and different layout Spontaneous imrpovisations within sections of band, other section members chime in and help called HEAD ARRANGEMENTS, flexible, unwritten, throwing different ideas out. Big in KC esp w Basie Range of styles: KC more riff oriented (like Basie) NY more orchestration, range of colors (Ellington, Glenn Miller) All pinnacle of American music, w/ improvisation and danceable accessibility

Jazz as (not) Folk Music

Jazz artists presenting realities of Black folk in south, not music of cultural tradition. Also, was the merging of different types of musical and cultural identities Helped to shape and express new senses of personal and communal identity, in and beyond jazz (as in, not just Black white and creole)

Soul Jazz

Late 50s and 60s branch of hard bop - black roots-infused style, blues voicing, song title displaying vernacular speech - influence of blues, gospel, use of organ - horace silver tunes brought it up, coincided w civil rights events, soul insisting roots valuable - perhaps somewhat reactionary to cool jazz, "low in soul high in pretention" - used as marketing device

Benny Goodman

Music became abt music business, which became consolidated to a few bands, which Goodman helped kick into motion, helping set off "swing craze" Broke down barriers of swing/bop, and also through racial barriers Family part of Jewish migration. 80% Chi pop was 1st or 2nd gen immigrants. Raised on poor maxwell street, music as a way out of the ghetto, played clarient for synagogue at 10

Storyville, New Orleans

NOLA's red light district - Considered the "birth place of jazz" - Early 1900s: Sex work at its peak w aprox 2000 sex workers, 200 brothels - Nola jazz scholar Donald Marquis: Called buddy bolden first jazz musicians, "Buddy did not play in brothels"- no one did - most establishments only had player piano, jazz more commonly found in dance halls and cabarets (again, pushing back on the image of devils music or whatever. again, greater ties to church than storyville - "Buddy would go to church not for religion, but to get ideas", he went to Holy Roller church)

First interracial jazz recording

New Orleans Rhythm Kings (all white band) w/ Jelly Roll Morton. Made in Chi. "Clarinet Marmalade" NO RK: influenced by King Oliver, more linear approach to soloing rather than arpeggiated approach practiced by many cornetists (more horizontal than vertical)

Savoy Ballroom

Opened in 1926: new cultural spirit to highest caliber (e.g. integration in dance and music), spacious floors, fully integrated from start, original location of "Lindy Hop"-> "Jitterbug" (Harlem) Other dances of cultural influence: - Charleston, Shimmy, Black Bottom

Second line

People who follow funeral march in song and dance, celebration of life. (first line is dead ppl/those involved in procession e.g. famly). New form of expression when dances in congo square shut down, think "straightening out" circle dance into a line

Creole

Person of mixed European and African descent Respectability politics, trying to distance from elements associated with black culture, emphasis of difference to try and elevate socially (but in America drop of blood shit) Downtown Many musicians, frowned upon participation in jazz, more focus on western music tradition, "class". This created a weird thing where creole musicians wouldn't play "hot" music in high demand, so shortage of musicians meaning musicians playing "hot" music could make good money 'Creole' distinction still culturally present in NOLA, similar issues live on to this day

Technology Advancement 20s-30s

RADIO 1920: First commecial radio station KDKA in pittsburgh 1921: $11 mil of radio equp sold in US close of 20s: $850 mil in annual radio sales, forever changing recording industry, recording and broadcasting gain major influence over music world, production groups create 'talent agent', radio transformed from novelty to necessity 30s: 23 million homes w radio 'golden age of radio' 30s: RCA microphone introduced, huge for broadcast recording, came w/ radio sets, new depth Record tech improving, not as loud, recording easier, quieter surface, immediate playback (so musicians could edit shit during recordings) 1933: Jukebox invented, got huge, exposure to new music actually boosted record sales. Swing everywhere. As radio grew faster than num ppl doing live acts, shows became playing recorded discs w triva/games before and after, introducing role of DJ radio stations not paying musicians, AFM institutes recording ban: strike on recording as radios refused to pay more in royalties OVERALL: - fame to few (radio made select few musicians achieve level of celebrity previously impossible (superstars)), irreparable damage to most - supply and demand further skewed - decline in gigs = less $ guarantees, paid less

Spirituals

Religious songs asc. w/ Black christians in south Performance practice: "ragged" style, "growls", "scoops" (starting on one pitch, elevating to another)

Harlem Swing Clubs

Savoy Ballroom Connie's Inn: White's only, black performers such Louis and Fats to wider audiences Smalls Paradise: Black owned, integrated, wait staff did song and dance stuff, open 24 hours, 6am bfast dance. Barron's Exclusive Club: Fancy, ppl pull up in limos, big spenders, gamblers, membership only, white only or black celebrities w black artists, Ellington did first NY show here Cotton Club: Carnegie hall for those who couldn't play there. Known for organized crime, bougie location for peddling goods, demanding environment

Cellar Clubs

Social club of young men in poor urban area Jimmy Ryan's, The Onyx (Art Tatum intermission pianist in 1935, same year it was burned down and rebuilt), The Famous Door (drinks started at .50, Pianist Teddy Wilson fired for mingling w Charlie Barnet, white band leader), Downbeat, Spotlight, 3 Deuces. Places where everyone would play, all the music played hear could hear out in street, filling 52nd street - streets filled w servicemen, mix of alcohol and racism= constant conflict, Southern servicemen n sailors enraged seeing black people well dressed - Dizzy once attacked for walking down street w white woman, causing riot. Had to hide in subway

Dionysian

Spontaneous and emotional aspect of life

Smooth Jazz

Success in 70s, overnight success type beat rather than paying dues as per jazz tradition. Easy listening, Chuck Mangione, George Benson shit - this had the effect of linking jazz to easy listening forever. many musicians wish it never existed. Jazz component modest - Biggest issue: exlusion of real jazz from TV and radio

Vaudeville

Theatrical genre made up of variety of entertainment, separate, unrelated acts together. As more immigrant groups came to US, Black people became group of people that could always be made fun of without risking commercial loss, evolving into Minstrel Shows.

Acid Jazz

Think "jazz rap", fusion of soul, rap, house and other sources. DJs experimenting w/jazz records, international movement, popular in London at close of 1980s (US3), Tribe, Guru, Miles Doo Bop

Uptown Black Culture

Think musical opposite of Creole ig. - not accomplished in site reading/music reading generally - blues inflected slurs and growls (looked down on by creole folks) - improvisatory (perhaps more acknowledged by creole folks, grudgingly) - demand for their "hot" style - went outside social norms

Blues

Uptown community growing, creating a new sort of 'blues' community, sense of identity Lived underground life in black communities before popularity Emerged in popular recordings in 1920s, but early traces back to 19th century. Found in rural areas, impoverished First appeared as sheet music in 1912 Folk art that became mass entertainment. High demand for it street corners to concert halls, fueled by growth of recording market and talented Black women "an exploration, revelation, and narration of a community looking for and becoming one's self" Found its form in slavery, but the result of musical and expressive ideas from far before.

Minstrelsy

White performers in black face, caricaturizing black performers. Had little to no knowledge of southern black music. Black performers participated later on, as ironic as that sounds, as clearly they could do it better.

Code Noir

a set of laws governing the conduct of the slaves during the French colonial period, allotted privileges that created a social class of free black folks in France, separate, socially elevated group of Afro-Diaspora people in NOLA

Cool Jazz

a style of jazz that emerged in the 1950s that is softer, more relaxed, and less frenzied than bebop - most pressing challenge to bop - promising alt. to bop - younger gen players, cool was overtly modernist music w radical implications, and an allegiance to contemporary trends in music - Pioneered by Miles Davis, who used to roll with Bird, "cool school": his Nonet, thought of as single section, more of a choir

Genre

based one more than sound: identity, culture (see uniformity at concerts)

Slumming

groups of whites visited Harlem's dance halls, jazz clubs, and speakeasies in search of exotic adventure (also gay communities, poor, other minorities, etc., 'progressive' whites)

Tin Pan Alley

is the name given to the collection of New York City-centered music publishers and songwriters who dominated the popular music of the United States in the late 1800's and early 1900's.

110th Street in Harlem

line that seperated black and white harlem. Written word crossed this boundary first, e.g. Alaine Locke's "The New Negro" , "Book of American Negro Poetry" by James Weldon Johnson

Spanish Tinge

reference to an Afro-Latin rhythmic touch that spices up the more conventional 4/4 rhythms commonly used in jazz and pop music. The phrase is a quotation from Jelly Roll Morton. Latin/African hybrid music: - Salsa - Calypso - Tango - Cubia

Work Song

song sung encouraging music making when it contributed to productivity of labor, call and response Types: Field hollers, levee camp hollers, prison work songs, street cries.

Country Blues

vocalist with guitar accompaniment- most traditional form of blues (also called delta blues). Musical practice linked to 21 string kora, reminiscent of blues guitar, used by griots (west african storytellers, way of preserving oral tradition). More liberties w/ bar lines