jazz history 1 exam

Edward WangJazz History 1 Exam

Walter Page (Bass) & Bennie Moten (Piano)

Context:

Page born in Gallatin, Missouri, and Moten born in Kansas City, Missouri Kansas City 1920s. Thomas J. Pendergast was the political boss of Kansas City an extremely influential patron of Kansas City who would gradually climb up political ranks to effectively control Kansas City With the distribution of alcohol during the Prohibition era, clubs, cabarets, bars and the like flourished - creating lots of jobs for musicians The boosted night-life virtually safety-netted Kansas City from being heavily affected by the Depression Back to the Blue Devils: Blue Devils had by the mid 1920s built reputation as one of the hottest territory bands around. At one stage, musicians such as Buster Smith, Count Basie, Eddie Durham, Druie Bess and Lester Young were part of the Blue Devils. Blue Devils disintegrate after the 1930s, and Walter Page joins Bennie Motens orchestra. In 1932, they record Toby. In 1934, Count Basie took over the band, creating the legendary rhythm section Blue Devils were signed to Victor Records, known for their interpretation of the New Orleans sound, stomping beat, influenced by the more sophisticated style of Fletcher Henderson

Theres a SquabblinWalter Pages Blue Devils

Instrumentation: 2 trumpets, trombone, clarinet, alto sax, piano, guitar, baritone sax / bass, drums

Horns chromatic descending line at the beginning Trumpets quasi-2-time melody feel Sparse textures, solos begin after the intro Bari, sax, trumpet, piano, solos are all at different parts of the song Collective playing only happens at the end

Bennie Motens Kansas City Orchestra Toby

Instrumentation: 3 trumpets, trombone, guitar, clarinet, alto sax, baritone sax, tenor sax, piano, bass, drums

Quick rhythmic swing, rapid walking bass Band shout choruses at the end of the song Intro: piano solo for 8 bars

Fletcher Henderson:

Context:

Born in Georgia, originally works as a chemist, but works as a session pianist due to racial tensions Forms the Fletcher Henderson Orchestra in 1922 in New York Orchestra lands a residency at New Yorks Roseland Ballroom in 1924, one of the best white dance halls at the time In 1924, Henderson also hires Louis Armstrong Don Redman, the director starts writing more swing charts, turning the orchestra into more of a jazz band, which then made many historians regard the band as the first truly great jazz big band Redmans arrangements prominently featured call and response improvisation Louie Armstrong, Roy Eldridge, Coleman Hawkins, Lester Young, Benny Carter and Horace Henderson all passed through the big band After Don Redman leaves, Henderson begins arranging for the band With the depression in the 1930s, Henderson is forced to break up the band in 1935 Benny Goodman begins his orchestra in 1934 and buys many of Hendersons arrangements, thus, Henderson wrote many songs that propelled Goodman into fame

Copenhagen:

Chromatic line, motif Call and response between sections of the band, rather than individual instruments Dixieland style jazz comes through with the interweaving solos Trumpet solos through it, rather than over it Evident swing jazz phrasing, running quaver lines

The Stampede

Intro is a call and response, that increases in volume, leading up to the trumpet solo; piano, reeds, then brass, then whole band plays the theme Solos use similar licks in different keys In general, arrangements were written out in musical notation

Fats Waller

Context:

Born in New York, pianist; James P Johnsons prized student Collaborated with Clarence Williams, Sidney Bechet, Fletcher Hendersons Orchestra, Jack Teagarden, Benny Carter and Zutty Singleton Solo works are influenced by blues, ragtime and classical First to use organ in a jazz setting Pioneer of the stride piano style

Handful of Keys:

AABA melody with 8 bar sections Heavy stride in the left hand

Minor Drag:

6 bar piano intro, stride or 4 bars, clarinet solo, trumpet solo, trombone solo, piano solo, modulation into relative major key, back to minor key, then back to major key, then 4 bar ending No distinct melody, but ideas carry through different instruments

James P Johnson

Context

Born in New Brunswick, New Jersey The popular African-American songs and dances Johnson heard at home and around the city had a massive influence on his musical tastes Grew up listening to Scott Joplin Produced many piano rolls, his own ragtime compositions Ethel Waters and Bessie Smith thought of Johnson as the best accompanist During the depression, Johnsons career took a hit as the swing era, superseding his own music Johnson then started to compose orchestral music In 1949, he joined a band with Edmond Hall, Pops Foster, Henry Goodwin and Baby Dodds

Carolina Shout

Theme is ABAC, with the B section being based on a one bar theme, and the A sections based on four bar themes Backbeat in B section is a disruption of the march-like rhythm

Youve Got to be Modernistic

Whole-tone chord introduction Opening melody leads to a chromatic passage with more whole tone harmonies Melody changes to the down beat at times, changing the groove Rhythmic alterations to the melody in the right hand

Baby Dodds (drummer)

Context:

One of the best jazz drummers in the pre-big band era Thorough knowledge of rudiments due to his military background Born in New Orleans Played with Bunk Johnson, and got a job in Willie Hightowers band, the American Stars Around New Orleans, Dodds was exposed to Bubby Bolden, John Robichaux and Jelly Roll Morton Dodds and Armstrong played in King Olivers Creole Jazz Band and both moved to California in 1921 to work with King Oliver

Buddy Bolden Blues (1946)

Baby Dodds (drums), Don Ewell (piano), Albert Nicholas (clarinet)

16 bar form, with 12 bar blues with an added tag of 4 bars Clarinet plays the head over the piano, then improvises on the melody an octave higher Drums keep a steady 4 feel with syncopated buzz/press rolls on the snare drum Throughout the piano solo, Dodds switches between double time feel and half time triplet feel, on woodblock, playing rudiments such as flams Clarinet comes back in, playing the head, and the drums move to the ride cymbal, with snare rolls in a half time feel with fills

China Boy (1946)

Sidney Bechet (sax), James P Johnson (piano), Popps Foster (bass), Baby Dodds (drums)

8 bar piano intro 64 bar AB form In the B section, it modulates to a new key, then modulates back Sax plays the head with piano comps, Dodds plays on cymbals and fills on snare, toms and woodblock Drum solo over the 64 bar AB form, Dodds plays on rims and woodblock using lots of different syncopated licks and overlapping rhythms; piano plays the chord changes, making the form more obvious There is a sax solo over the form. The first 16 bars Dodds plays on the snarewith a heavy bass drum beat. He then switches to the cymbal for 8 bars with no bass drum then back to the snare for 8 bars with bass drum. The next 32 bars Dodds drops out while the sax solos with piano and bass accompaniment. Dodds joins in on the snare drum in the last 8 before a tight finish.

Bix Beiderbecke (piano and cornet)

Context:

Born in Davenport, Iowa In 1923, Beiderbecke joined the Wolverine Orchestra, in 1924 he left them to join Jean Goldkettes Orchestra In 1925, Beiderbecke work in Chicago where he played with Louis Armstrong, king Oliver and Jimmy Noone In St Louis, Missouri, Beiderbecke joined Frank Trumbauer. The two played in the Jean Goldkette Band and in Paul Whitemans orchestra from 1927-30. From 1930, Beiderbecke moved to New York and recorded under the moniker, Bix Beiderbecke and his Orchestra

Singin the Blues (1927)

Begins with horn block-chord textured introduction, accompanied by cymbals 32-bar chorus form (ABAC within the 32 bar form) Frankie Trumbauer (sax) takes the first chorus; scooped entrances, triplet passages which is echoed by Eddie Lang on guitar Beiderbecke (trumpet) takes the second chorus; rip at the beginning of the second A in the 32 bar form Jimmy Dorsey (clarinet) takes the third chorus, the chorus begins with the cornet and trombone, with clarinet improvising with the group collectively (in a New Orleans style [polyphony]) Dorsey imitates Beiderbeckes restrained and simplistic improvisation over the B section Horns re-enter in the third chorus

In a Mist (1927)

Whole tonal harmonies (Debussy and Ravel) in the introduction (first 8 bars) Contrary motion between left and right hands Emphasis on heavy chords rather than melody and improvisation Descending chromatic harmonies and lines

Duke Ellington (pianist and bandleader)

Context:

Born Washington DC in 1899 Moved to New York in 1923, facing difficulty whenever he moved there, and formed the Washingtonians. Bubber Miley joined in late 1923 Landed engagement at Cotton Club in 1927 Recorded large and small ensembles throughout the 30s Toured Europe during post-war popularity slump 1956 revival after Newport Jazz Festival

East St Louis Toodle-Oo (1926)

8 bar intro (minor chord progression minor key) 32 bar form 16 bars minor, 8 bars major, 8 bars minor Bubber Miley solo over first chorus Harry Carney and Joe Nanton solo over 18 bars of new major tonality (bari and trombone) Return to main form with tag (42 bars [10 bar tag]) Clarinet solo over 16 bars of minor chord progression Whole band shout over 18 bars of major chord progression) Outro for 8 bars (Mileys solo) Arrangement shows individuality of musicians; jungle sounds of Nanton and Miley

Black and Tan Fantasie (1927)

Minor blues melody 16 bars of major tonality interlude Bubber Miley has 2 major blues solos (high sustained note) Duke has 1 major blues solo Nanton has 2 major blues solos Return to minor chord progressions Stomp beat, straight four drum beat

King Oliver (cornet, bandleader)

Context:

Born in Louisiana in 1881, lived in New Orleans In 1922, Oliver formed the Joe Oliver and his Creole Jazz Band in New Orleans with Louis Armstrong, Lil Hardin Armstrong, Baby Dodds, Johnny Dodds and Honore Detrey In 1925, he disbanded it and took over Dave Peytons band, called it King Olivers Dixie Syncopators Mentored Louis Armstrong, and like Armstrong, was in demand for jobs in the mid 20s across white and black communities

Chimes Blues

Louis Armstrongs first recorded solo Themes are heard twice before moving onto the next section New Orleans collective improvisation, clarinet improvises while cornets have the tune Piano imitates chimes of a bell ringing

Dippermouth Blues

New Orleans improvisation straight after introduction Clarinets improvisation over the form, cornet solo uses plunger mute Castanets are featured prominently

Louis Armstrong

Context:

Born in 1900 in New Orleans Humble upbringing, playing music from a young age, performed with brass bands Joined King Olivers Creole Jazz Band in Chicago in 1922 Left for New York to play in Fletcher Hendersons Orchestra Made recordings with his famous Hot Five

Potato Head Blues (Hot 5) (1927)

Johnny Dodds (clarinet), Baby Dodds (drums), Louis Armstrong (trumpet), Lil Armstrong (piano), Johnny St Cyr (banjo), Pete Briggs (tuba), John Thomas (trombone) 32 bar form Stop time solo Collective improvisation

West End Blues (1928)

Louis Armstrong (trumpet), Zutty Singleton (drums), Fred Robinson (trombone), Jimmy Strong (clarinet, tenor sax), Earl Hines (piano), Mancy Carr (banjo) West End; the most westernmost point of Lake Pontchartrain in Orleans Parish Louisiana, a thriving summer resort with live music 12 bar blues (I-VI7-V7 and V+7) Short chorus

Boswell Sisters

Context:

3 white, female, conservative, middle-class harmony singers; they were heavily influenced by early jazz in New Orleans Listened to tunes from black churches, local bars and hot jazz records Connie, Martha and Vet Ella Fitzgerald named Connie Boswell as her main influence

Was That The Human Thing To Do? (1932)

Personnel: Connie Boswell, Martha Boswell, Vet Boswell, Dorsey Brothers Orchestra: Bunny Berigan (trumpet), Tommy Dorsey (trombone), Jimmy Dorsey (clarinet, sax), Joe Venuti (violin), Arthur Schutt (piano), Eddie Lang (guitar), Artie Bernstein (bass), Stan King (drums)

Dramatic tempo changes Alterations of original melody Sectional key changes

Everybody Loves My Baby (1932)

Personnel: Connie Boswell, Vet Boswell (vocals), Martha Boswell (vocals, piano), Dorsey Brothers Orchestra: Bunny Berigan (trumpet), Tommy Dorsey (trombone), Bennie Krueger (sax), Jimmy Dorsey (clarinet, sax), Harry Hoffman (violin), Dick McDonough (guitar), Joe Tarto (bass), Larry Gomar (drums, xylophone)

Gibberish scatting in harmony, imitation of instruments Tempo changes as trumpet comes in

Jabbo Smith

Context:

Rhythm Aces, Smiths quintet Competed with Armstrongs Hot Fives and Sevens Influenced Roy Eldridge, extended use of the high-register, explosive attack and speedy passages Influenced Dizzy Gillespie

Jazz Battle / Take Me To The River (Smith scats and plays a rapid and virtuosic intro)

Personnel: Jabbos Smiths Rhythm Aces 1929 Hayes Alvis (tuba), Willard Brown (clarinet, alto and baritone sax), Lawson Buford (tuba), Earl Frazier (piano), George James (alto saxophone), Ikey Robinson (banjo), Omer Simeon (clarinet, alto saxophone), Cassino Simpson (piano), Jabbo Smith (cornet, vocals, trombone)

Zutty Singleton

Context:

Worked with John Robichaux and his Orchestra At the time, Baby Dodds was the other big jazz drummer Singleton was part of many of Louis Armstrongs Hot 5 and 7 recordings Born in Bunkie, Louisiana, left for Chicago, and left again to New York

Smilin The Blues Away

Personnel: Jelly Roll Morton (piano), Barney Bigard (clarinet), Zutty Singleton (drums) Jelly Roll Morton Trio Stops for the clarinet Typical ragtime style of piano playing

King Porter Stomp

Personnel: Bernard Addison (guitar), Red Allan (trumpet), Lil Hardin-Armstrong (piano), Pops Foster (bass), Edmond Hall (clarinet), Benny Morton (trombone), Zutty Singleton (drums) Zutty Singleton and his Orchestra Prominent drum solo Melodic, collective improvisation between members of the orchestra Drum using snare, bass drum and cymbals stomp beat Hushed introduction from the orchestra

Jelly Roll Morton

Context:

From New Orleans, played professionally in Storyville Throughout his travels, Morton began to develop his stylistic approach blending ragtime, minstrelsy and the blues, as well as Hispanic Traditions including the Habanera, described by Morton as the Spanish tinge. Moved to Chicago in 1922, which had been the cultural but for jazz Morton formed his Red Hot Peppers in Chicago Moved to New York in 1928 Depression of the 1930s made it difficult for musicians to flourish His style of liberating ragtime extended to making it accessible in an ensemble format, through homophony By the 30s, his popularity waned, as his music came to be seen as old fashioned

Black Bottom Stomp (1926)

Personnel: Morton (piano), Omer Simeon (clarinet), George Mitchell (cornet), Kid Ory (trombone), Johnny St Cyr (banjo), John Lindsay (bass) and Andrew Hilaire (drums). Monophonic ensemble, then call and response, extensive use of obligato

The Pearls (1927)

Personnel: Morton (piano), George Mitchell (cornet), Gerald Reeves (trombone), Johnny Dodds (clarinet), "Paul Stump" Evans (alto sax), Bud Scott (guitar), Quinn Wilson (tuba), Baby Dodds (drums), Lew Mar (effects) Challenges diatonicism and the jazz harmony that was common at the time

Earl Hines

Context:

Born in Duquesne, Pennsylvania In 1927, he played in a trio with Armstrong and Zutty Singleton and played regularly at the Caf Sunset, which catered to gangsters and other rich people of Chicago In 1928, Hines joined the Hot Five and Seven

A Monday Date (1928)

Includes rubato, dense harmonic sound Stride style of playing Long flowing chords and sparse melodies

Weather Bird (1928)

Louis Armstrong (cornet), Earl Hines (piano) - duet Intricate bass line Hines sounds full as a full rhythm section Complex melodies and complex rhythms

Henry Red Allen (trumpet)

Joined King Olivers band in 1927 Joined Luis Russells orchestra in 1929, recorded with Eddie Condons band, with Fats Waller and Tommy Dorsey Joined Fletcher Hendersons orchestra in 1933 Lyrical phrasing, similar to Louis Armstrong

Biffly Blues (1929)

Vibraphone introduction Each section (ABCBC) changes tonality and modulates to different keys within each section, and is 16 bars long Prominent trumpet solo

Swing Out (1929)

Upbeat, horns introduction Banjo, piano strumming the changes, fast stomping beat up tempo swing feel AABA Form (each section 8 bars), returns to the 12 bar intro lick to finish the song Intro: piano, brass and horns trade the lick

Luis Russell (piano)

Context:

Born Panama in 1902, moved to New Orleans after winning the lottery In 1924, Russell moved to Chicago to play with Doc Cooks Dreamland Orchestra, and King Olivers band

Dolly Mine (1926)

Heebie Jeebie Stompers Diminished chords harmony Trumpet feature at the beginning, entering into a prominent piano solo feature Stop time trumpet solo Clarinet solo in the high register Stride piano, accenting beats 2 and 4

Call of the Freaks (1930)

King Olivers Orchestra Henry Red Allen (trumpet) / Luis Russell (piano) 12 bar blues, appears to be minor, but seems major Sop sax, trombone, trumpet and piano all have solos of one chorus Bass riff, makes the tonality of the blues (major or minor) sound ambiguous Halfway through the song, chords become fuller and more obvious Prominent bass riff Lastly, trumpet solo on the 12 bar blues (Henry Red Allen)

Jimmy Noone (clarinet)

Context:

One of the greatest second generation jazz clarinets In 1920, Noone joined Doc Coos orchestra In 1926, Noone started leading the band at Apex Club

Messin Around (1926)

Sound is strongly influenced by New Orleans brass bands Melody-based song; melody is played by the cornet and clarinet Form: Intro, AABA Interesting chord change in the first A section Apex Jazz Orchestra

Here Comes the Hot Tamale Man (1926)

Recorded with Doc Cooks orchestra Soloists include clarinet, trombone, cornet plays the melody the first time through the form The second time through the form, the trombone plays the melody, accompanied by the clarinet and cornet playing long swelling tones The third time, the clarinet plays another melody over the changes Still very much melody-based song, but with different instruments playing the melody soloistically Jimmy Noones shouted vocals are featured Piano and banjo strums the changes Intro, AABAC

Johnny Dodds (clarinet)

Context:

Started his career in New Orleans Left for Chicago in 1920 to join King Olivers band Recorded with the Hot Five and Seven

Balling the Jack (1927)

Chicago Footwarmers WASHBOARD sets the fast tempo introduction 4 bars Piano, clarinet and cornet take the choruses (2 choruses each) Band drops out periodically for hot fills and features Shout chorus at the end of the song

Bull Fiddle Blues (1928)

Washboard Six Trombone introduction washboard as percussion Blues, proper form; one chorus before a piano solo Collective improvisation each chorus Stop time chorus for trombone solo, bass solo and clarinet solo No discernable melody; simply collective improvisation

Paul Barbarin (drummer)

Context:

Born New Orleans in 1899, moved to Simple drive of all early New Orleans drummers Played with Jimmy Noone and King Olivers Dixie Syncopators In 1928, moved to New York to play with the Luis Russell Orchestra

Bourbon Street Parade

32 bar form, played once through with singing Chorus solos: trumpet, clarinet (with trombone and trumpet fills), chorus shout VOCALS

Panama

Luis Russell and his Orchestra 32 bar form, trumpet solo, trombone solo, tenor solo Solos have background figures Prominent clarinet solo

Kid Ory (trombone)

Context:

Influential trombonist early jazz Moved to Chicago in 1925 and played with King Oliver, Jelly Roll Morton and Louis Armstrong Orys Creole Orchestra: personnel Kid Ory (trombone), Mutt Carey (cornet), Dink Johnson (clarinet), Fred Washington (piano), Ed Garland (bass), Ben Borders (drums)

Orys Creole Trombone (1922)

Ragtime elements, old New Orleans jazz Think transcription! Trombone sliding

Society Blues (1922)

12 bar blues structure Cabaret and music hall type melodies, as opposed to typical blues melodies Trombone plays the main melody Prominent trombone sliding and main line

Sidney Bechet (sop sax)

House Rent (1923)

Personnel: Thomas Morris (cornet); John Mayfield (trombone); Sidney Bechet (soprano sax); Clarence Williams (piano); Buddy Christian (banjo)

Cake Walkin Babies From Home (1925)

Personnel: Louis Armstrong (cornet); Charlie Irvis (trombone); Sidney Bechet (soprano saxophone); Clarence Williams (piano); Buddy Christian (banjo); Eva Taylor (vocals) Clarence Williams Blue Five

Red McKenzie and Eddie Condon

McKenzie and Condons Chicagoans

China Boy (1927)Nobodys Sweetheart (1927)

Coon-Sanders Original Nighthawk OrchestraCarleton Coon (drummer) / Joe Sanders (piano)

Hallucinations (1927) Kansas City, MissouriAlone in the Rain (1929) Chicago, Illinois

Red Nicholls (trumpet)

Boneyard Shuffle (1926)

Miff Mole (trombone), Jimmy Dorsey (clarinet, alto sax), Arthur Schutt (piano), Eddie Lang (guitar), Vic Berton (drums and timpani)

Buddys Habits (1926)

Bessie Smith

St Louis Blues (1925)Louis Armstrong (cornet), Fred Longshaw (harmonium)Careless Love (1925)Louis Armstrong (cornet), Fred Longshaw (piano), Charlie Green (trombone)

Eddie Lang & Joe Venuti

Goin Places (1927)Doin Things (1927)

Ethel Waters

Am I BlueTaking a Chance on Love