Intro to Jazz - Lecture notes 1-22 PDF

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Jazz ● Originated in African-American communities in New Orleans, Louisiana, US ● Developed in late 19th and early 20th centuries ● Roots in blues and ragtime Jazz is a music genre African slaves were allowed to play their drums in Congo Square in New Orleans. “America’s Classical Music” is rooted in ● West African culture ● African-American music traditions ● European military band music Jazz is American - While jazz was created by African-Americans using rhythms and vocal styles that came from West Africa as the basis for “the blues”, it is not African music. Jazz also has its roots in European military brass band tradition. 5 Elements of Jazz ● Syncopation ○ Accenting a part of the beat other than the first part ● Jazz Sounds ○ Jazz instruments or classical instruments played in different ways Horn sounds, for example, were often manipulated to reflect vocal qualities. Mutes, bends, growls, glisses, etc. ● Rhythms ○ A steady beat that does not speed up or slow down ● Form ○ The musical road map. It lets the performers know how long the song is. Freedom of expression is a characteristic of jazz music. IN order to have freedom, you must have form and boundaries with which to play. (Musical irony?) It is like syncopation. Syncopation is only effective if you have a steady downbeat. Freedom only works if there is form. ● Improvisation ○ To play and compose at the same time. Not written down. Speaking from the heart versus reading a speech. SWING-the feeling not the style ● Swing is the result of a number of musical elements ● Steady beat, the pulse of the music doesn’t change ● An altering of the 8th note compared to classical music ● Syncopation-Accenting a part of the beat other than the first part Improvisation ● To improvise is to play and compose at the same time ● The “standard” procedure is to: ○ Use the original melody as a reference ○ Improvise a new line to fit in its place

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The new line can be very similar or very different Improvisers must possess several skills ○ Instrumental technique-must be proficient musical performers ○ Knowledge of music theory-knowing the in’s and out’s of a piece of music

Rhythm ● In jazz a steady beat is maintained ○ Beat is the pulse of the music ● In almost all jazz music, syncopation is present ○ Syncopation is accenting a part of the beat other than the first part Origins of Jazz ● Jazz emerged around the turn of the century in the United States ● Specifically in the late 1890s in New Orleans ● It was cultivated by the blending of cultures and musical styles 4 Contributors to Early Jazz Development ● Blues ● Ragtime Music ● Brass Bands ● The need for live music Blues Music Origins ● Originated as a style of African-American vocal music ● It is the root from which all jazz developed. ● Work songs, chants, field hollers sung by slaves, ex-slaves, and descendants of slaves in the south Blues Form ● Blues evolves into a 12 bar song form containing only three basic chords. I, IV and V ● I I I I IV IV I I V IV I I 2 Types of Early Blues ● Country Blues (Rural) ○ Guitar based ● City Blues (Urban) ○ Vocal, more refined Country Blues ● Sung by itinerant men who played wherever people gathered for food, liquor, or money thrown into a hat ● Informal music for informal settings ● Discussed basic human problems ● Accompanied by guitar or harmonica

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Popular from 1890-1930 The most notable Country Blues figure was Robert Johnson(1911-1938)

City Blues ● Began in Minstrel and Vaudeville shows ● Sung by Women from a stage ● Accompanied by piano or a small group ● Popular from 1910-1940 ● The most notable City Blues figure was Bessie Smith(1894-1937) Blues and Some of Its Parts ● Spirituals ● Field Hollers - sounds and singing made by workers from the fields ● Work Songs - songs workers would sing all together to get through the day Ragtime Music ● Turn of the century style of written piano music ● Developed by affluent African-Americans ● Evolved as a merger of the march music of the American band tradition and the syncopated style of African-American banjo playing played on the piano, where the left hand kept a steady two-beat rhythm between bass notes and chords while the right hand created contrasting rhythms. ● Highly popular style ● Musicians “ragged” other tunes ● Began a dance craze which reached its peak in the 1920’s ● As its most popular time there were ragtime pianists, banjo players, singers, and bands Musically… ● Piano player’s left hand played bass notes and chords in alternation ● This created a two beat “boom-chick” feel ● The right hand plays a syncopated melody ● This technique was difficult, it gives the piano “one man hand” sound, it can sound as though the piano player has three hands Important Figures ● Scott Joplin(1868-1917) Improvised piano ragtime was toned down and translated into sheet music starting in 1897. It was wildly popular and featured many composers, of whom Scott Joplin was the best known. - Born in east Texas, Joplin believed in racial uplift, studied with a local German piano teacher Scott Joplin ● Family owned a piano, he had professional lessons ● One of America’s greatest composers

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First significant African-American composer First composer to be universally claimed as “American”

Career Highlights ● First million seller in the music industry ● Died in 1917, had a number one song in 1974 in the movie “The Sting” as the result of the opera Important Figures ● Jelly Roll Morton (1890-1941) Morton spans or bridges ragtime and “modern jazz.” 1920’s was modern jazz at the time, but we now call it early jazz. The point is that Morton was a foundational piece in the development of jazz music. Jelly Roll Morton ● Piano virtuoso, bandleader ● Considered by many as the first tru composer of jazz music ● Claimed to be the inventor of jazz Jelly Roll Morton is a semiannual figure in the birth and development of jazz in the early decades of the 20th century. A multi-talented pianist, composer, arranger and bandleader, he has been called “one of the handful of Atlases upon whose shoulders rests the entire structure of our music” by jazz historian Orrin Keepnews. Morton wove disparate musical strands–blues, stomps and ragtime, plus French and Spanish influences–into the fabric of early jazz. New Orleans ● Jazz comes from a mixture of African, European, and Caribbean experiences ● Demographics of New Orleans contributed to the creation of jazz -New Orleans was a city on the Gulf Coast, which made it home to… New Orleans ● Race Relations -Race relations were different from those in other parts of the United States. Unlike Protestant North America, New Orleans was oriented toward the Caribbean and shared many of its racial practices. For instance, slaves were allowed to retain much of their culture, including music. ● Jim Crow Effect -Creoles lost this status around 1894 with the enactment of Jim Crow laws and the U.S. Supreme Court decision in 1896. This was significant because it forced blacks and Creoles of Color to integrate. They no longer lived in separate parts of the city. ● Cultural Collision Course -They were on a cultural collision course. -Blacks played music that was highly rhythmic, blusy, and improvised, based on rags, folk songs, and marches. Creoles saw black music as unprofessional and inferior, because of racial

bias that was ingrained. They taught blacks and young Creoles how to read music. -At first, Creoles got the better-paying jobs playing traditional European dances, but blacks eventually came to offer a new, alternative way of playing that appealed to audiences for different reasons. ● Turning of the Tide -By 1910, improvisation was becoming more important and began affecting which musicians got called to play gigs. The tide had clearly turned toward musicians who could improvise. Turn of the century New Orleans ● New Orleans was thriving because it was a port city ● It was the gateway to the south ● It was a hotbed for commerce, social mixing, and partying ● It saw travelers from around the world ● Because of its party atmosphere there was plenty of work for musicians The nascent New Orleans jazz style is exemplified by the music of cornetist BUddy Bolden, whose work was never recorded. This was a music that simultaneously privileged oral musical techniques of lower-class origin while adapting them to the new demands of professional dance music–a development that set the direction of jazz for decades to come. Port City led to the Great Migration and its importance to the development of jazz. The word “JAZZ” ● Jazz has had several connotations throughout time ● It appeared on the first Jazz recording in 1917 spelled Jass ● Among all the speculation surrounding its origin, the most plausible is that Jazz is a derivative of the French word “Jasser” which means to chatter ● Often the syncopated improvisation of early jazz can sound like people chattering Even today, some of the music’s greatest ambassadors reject the word “Jazz” to describe the music that they play. Storyville ● Of particular interest was an area named Storyville ● In 1897 councilman Sidney Story drafted legislation which sectioned off a part of the city where prostitution was legal ● At its peak Storyville employed 1,500 to 2,000 prostitutes ● Most of these establishments needed music for their legitimate business areas Obviously, this association with prostitution did not make it easy for this young, fledgling music called “jazz” to be considered legitimate art. Even today, some of the terminology remains among musicians. I have heard Classical music called “legit.” Although no one calls jazz “illegitimate” music. Saying things like do you play jazz or “legit” implies the same thing. Even though things have changed a lot, words still matter. Purposes of the Bands ● Bands were sponsored by local churches and clubs and played for nearly every public event

● Outdoor events used a big brass band so that the music could be heard ● When events were indoors a string band was used Pre-Television. No Twitter or Instagram. Bands were how they advertised. The Birth of Jazz Buddy Bolden (1877-1931) ● First important jazz musician ● Had large black and Creole following ● Represents the triumph of African American culture ● Known for loud and great blues playing and individual style -1895: started working in parades and other functions. -1901–1902: went into music full time. -1906: experienced a mental breakdown after years of depression and alcoholism; incarcerated in state hospital for the insane. -1931: died in the hospital. Musically ● Early bands were all brass and drums ● They used trumpets, trombones, tubas, and drums ● Later, the clarinet was added, and then the saxophone ● String bands replaced the brass instruments with string instruments to make things softer (tuba/string bass; trumpet/violin) ● Music was generally not written down Funerals ● The French slaves were from the west African region. They were from the JuJu tribe ● The JuJu culture had special traditions surrounding funerals ● The brass band played a role in the JuJu oriented funeral ● Going to the cemetery, the band would play a slow dirge. Coming out, they would play an uptempo march. ● The Rebirth Brass Band is a modern brass band that has won several awards. They still play traditional jazz funerals in New Orleans.. Early New Orleans Jazz - Dixieland What Elements? Dixieland is music: ● Played in a BLUES style ● With RAGTIME rhythms ● With BRASS BAND instruments ● Which filled the Need for Live Music It is the inclusion of each of these elements that defined Dixieland.

Dixieland Characteristics ● Music was for groups (5-6 players) ● Groupes used the instrumentation of the “later” brass bands ● Style was based largely on improvisation, with songs based loosely around a familiar melody Collective Improvisation ● Collective improvisation is a style in which all players improvise simultaneously ● Each member of the group had a different responsibility ● This style was unique to New Orleans Roles of the Instruments ● Each player in the group had certain responsibilities ● These were fulfilled to maintain balance, and were assigned based on each instrument’s strengths What Roles Do They Play? ● Trumper (or cornet) player the melody ● Clarinet played a countermelody which had lots of notes, was usually high, and was played against the melody ● Trombone played a harmonic role with lower notes, and served to fill in holes with effects Rhythm ● Tuba, drums and banjo kept time ● Tuba and bass drum - downbeats ● Snare drum and banjo - upbeats ● This was the steady beat that the group syncopated against Jazz Migration In the early 1920’s, New Orleans is no longer the epicenter of jazz. Chicago Dixieland ● By the early 1920’s, many of the New Orleans jazz players were moving to Chicago ● By the mid 1920’s Chicago had become the center for jazz music Louis Armstrong and His Hot Fives. Notice texture feels thinner because of less collective improv. More space for soloists to stretch out. Why The Move to Chicago? ● Natural movement up the MIssissippi river 1920’s Jazz in Chicago ● Joe “King” Oliver was THE bandleader. He was one of the great musicians from New Orleans who had made Chicago home. ● For health reasons, King Oliver needed a second cornetist in the band, so he sent for his

student, Louis Armstrong to join his band. This hire changed the course of jazz history. Greatest jazz soloist (Louis Armstrong) given the biggest platform with the best band at the time. ● New Orleans Jazz spread throughout Chicago as white and black musicians flocked to see them play ● New Orleans Jazz spread quickly as White, Chicago-born musicians irritated the New Orleans groups Music started creating environments where integration was natural. As the culture affected the music, music also made an impact on the culture. Chicago School Characteristics ● More hurried sound ● More solo improvisation, less collective improvisation ● Replacing the clarinet, with the saxophone ● Replacing the banjo with the guitar “Original” Dixieland “Jass” Band ● The first jazz recordings were made by a white group called the Original Dixieland Jass Band (ODJB) ● They were New Orleans born musicians who traveled to Chicago in 1916 ● Made the first recordings of New Orleans Jazz in 1917 O.D.J.B. ● Their first 78 r.p.m. recording contained “Dixie Jass Band One Step” and “Livery Stable Blues” ● First New orleans group to play in New York and Europe ● An African-American band (Freddie Keppard) was offered the chance to do these recordings but turned it down Another move. . . ● Toward the end of the 1920’s a New York jazz scene was developing ● By the 1930’s most of the Chicago players, (many who were from New Orleans) had moved to New York ● Further urbanization and sophistication Early Piano Styles ● During the 1900’s a number of new piano styles were developing ● Ragtime had attracted many pianists ● Many of these bagan to experiment with new styles, especially after the death of Scott Joplin Piano Changes ● New changes included adding notes and using improvisation ● The two most prominent styles to develop were Stride Style and Boogie Woogie

Stride Style ● Short for “Harlem Stride” ● Stride is a piano style which developed in Harlem, NY in the 1920’s as a refinement of ragtime ● Like ragtime, the player’s left hand alternated between bass notes and chords Differences ● Rags were written, stride was improvised ● Stride was usually more intense ● Stride used more of the piano’s range Boogie Woogie ● Surfaced in the south earlier, but was popular around the same time as Stride (1920’s and 30’s) ● Grew out of the blues and ragtime ● Reached its peak in the 1930’s but stayed popular into the 1950’s and 60’s with players like Little Richard and Jerry Lee Lewis Boogie Woogie Changes ● Biggest change was in the left hand ● The L.H. doubled its number of bass notes, playing 8 in a bar instead of 4 ● The R.H. mimics a brass section ● The music was exciting and rhythmic Piano Players ● Ferdinand “Jelly Roll” Morton (1890-1941) Jelly Roll ● Born in 1890 into the sophisticated Creole culture of New Orleans ● One of the most influential of all early Jazz figures ● Aside from being a great pianist, he was a singer, dancer, composer, arranger, and band leader Other influences ● His music blended composition and improvisation ● HE was one of the first solo recording artists ● Employed a lighter more swinging style than ragtime UNIT 2 Red Hot Peppers ● Jelly Roll led one of the finest early Jazz bands, the Red Hot Peppers ● The group played in his style, blending composition with improvisation ● Well organized with good arrangements

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Finest, most famous, early Jazz records

James P. Johnson (1894-1955) Extremely influential musician. ● Born in New Jersey in 1894, became the innovator and leader of the East coast piano tradition ● Known as the “Father of Stride pIano” ● Helped smooth the transition from ragtime to early jazz Career Highlights ● First to broadcast on the radio ● Worked as a conductor for stage shows ● Wrote over 200 popular songs (Charleston) ● Recorded hundreds of piano rolls Thomas “Fats” Waller (1904-1943) ● Born in New York in 1904, carried stride for a generation ● Most recognizable stride pianist ● Known for great technique and being a great entertainer Career Highlights ● Played piano for silent movies ● Appeared in a film ● Recorded over 500 sides ● Published 160 original songs ● Had at least 160 more go unpublished ● Musical about his life made in the 1970’s; Ain’t Misbehavin’ ● Ashes scattered over harlem Earl “Fatha Hines (1903-1983) ● Recorded with Louis Armstrong in the 1920’s, already setting the stage for what was to come ● Although an early Jazz pianist, he influenced the next two generations of pianists ○ Directly influenced Swing ○ Indirectly influenced Modern Jazz Career Highlights ● Brought about single-note improvisation, the style which would be called trumpet style ● Played the piano like a frontline instrument ● Known for breaking piano strings, played heavily, this was before amplification 5 innovations of louis armstrong: 1. Blues 2. Improv

3. Singing 4. Repertoire 5. Rhythm 3 bands: 1. Hot 5s 2. Hot 7s 3. Louis’ all stars Clarinet and Soprano Saxophone The clarinet is part of the “front line” of the early New Orleans jazz band. Soprano sax was also used when the music moved to Chicago and New York. Sidney Bechet (1897-1959) The best-known clarinet player. ● Considered by many to be the second most important musician from New Orleans. ● Self-taught, discovered when he was 6 ● Best known of all early jazz clarinetists Career Highlights ● First player to achieve fame on the soprano saxophone ● World traveler who settled in France in 1951 ● Represents the essence of the “New Orleans” Musically ● Had a big, warm sound ● Used a wide, rapid vibrato ● Used a “bluesy” feeling ● Known for “bending” notes ● Along with Louis, aided in making Jazz a soloists’ art Johnny Dodds (1892-1940) ● Born in New Orleans in 1892 ● Moved with many musicians to Chicago ● Played with King Oliver and Louis Armstrong Musically ● His sound was rough and edgy ● Used a small, fast vibrato ● His playing was very aggressive Trombonists ● Edward “Kid” Ory (1886-1973)

Ory ● ● ● ●

Born in LaPlace in 1886 Brought his band to New Orleans in 1919 Most famous of all the New Orleans trombone players Knew all of the trombone “tricks”

Musically ● Not a great solo improviser, but was the model for collective improvisation ● Had a sharp, cutting tone ● Used hard hitting attacks ● Known for his boisterous and loud playing Jack Teagarden (late 1880s) ● First important white jazz trombonist ● Considered by many to be the Louis Armstrong of trombone ● Had a long career, played Dixieland and Swing ● Had a smooth, round sound ● Known for thoughtful, relaxed playing ● Also sang the blues ● Performed with Louis in 1929 and again from 1947-51 Rhythm Section ● Also known as the backline ● Defined as: a group of players in jazz, whose band function is accompanying ● Existed as a combination of three to four instruments What might it include? ● Piano ● Drums ● Either banjo or guitar...