Jazz History

Front 1

Coleman Hawkins

Back 1

First major jazz tenor saxophonist. Vertical improviser. Famous for "Body and Soul"!!!!!

Front 2

Horizontal Improv Solo Example

Back 2

"Body and Soul" - Benny Goodman Trio (1935). Goodman-Clarinet, Teddy Wilson-piano, Gene Krupa-Drums.

Front 3

Vertical Improv Solo Example

Back 3

"Body and Soul" - Coleman Hawkins.
Coleman Hawkins and His Orchestra (1939) featuring Coleman Hawkins-Tenor Sax

Front 4

Lester Young

Back 4

Born in Mississippi. 'Prez'-short for president of tenor (given by Billie Holiday). Style served as model for modern jazz saxophonists. Inspired 'cool jazz'. Style influenced trumpeters, guitarists and saxophonists. Hipster vocabulary.

Front 5

Lester Young Style

Back 5

Horizontal lines. Melodic Approach

Front 6

Coleman Hawkins Style

Back 6

Vertical Approach, Harmonic improviser, A lot of notes, accented hard and often on main beats, husky sound, wide vibrato

Front 7

Roy Eldridge

Back 7

TRUMPET MASTER. Link between swing and modern jazz(Between Louis and Gillespie). Fiery, aggressive style. Long seamless lines. Memorized Coleman Hawkins 'Body and Soul' and applied it to his horn. High Register work, unorthodox choice of notes, saxophone style of phrasing. Played with Fletcher Henderson. "Sittin' In"- 1938 w/ ts Chu Berry

Front 8

Art Tatum

Back 8

PIANIST. Stride-style in left hand w/ horn style in right. Fast and clean playing. Master at spontaneously adding and changing chords during his performances of pop tunes (chord substitution). Extremely harmonically/rhythmically sophisticated. "Tiger Rag"

Front 9

Benny Goodman

Back 9

CLARINET. Led best-known jazz oriented big band in 30's and 40's. 1935- band performed on 3 hour dance program on NBC 'Let's Dance' and 1938 Carnegie Hall performance. Revolutionized dance-band business. Band modeled after Fletcher Henderson band and owned a lot of Henderson arrangements. Began breaking racial barriers by having both white and black musicians. Teddy Wilson-piano, Charlie Christian - guitar, Lionel Hampton- vibraharp. "Sing, Sing, Sing" - Gene Krupa Feature YOUTUBE

Front 10

Billie Holiday

Back 10

Syncopation and Swing feeling (ala "Pops"). Toured and recorded with Artie Shaw, B. Goodman, Count Basie. 1937 recording of 'Carelessly' reached #1 on the pop charts. By 1945 she had 35 other recordings reach the top twenty. "Back in Your Own Back Yard" - 1938 w/ Holiday and pianist Teddy Wilson. "She's Funny That Way", "God Bless the Child", "Gloomy Sunday", "Strange Fruit"

Front 11

Duke Ellington: The Pianist

Back 11

Reflected the James P. Johnson stride tradition, developed original methods for setting pace and mood of his pieces and ornamenting solos of band members ("A single pedal of a rose")

Front 12

Duke Ellington: The Bandleader

Back 12

Maintained large ensemble from 1920's until death in 1974. Many musicians remained for 10-30 yrs. Most stable and longest-lived ensemble in jazz history)

Front 13

Duke Ellington: The Composer

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Wrote over 2000 compositions, plus arrangements and re-arrangements. Many turned into popular songs "It don't mean a thing, if it ain't got that swing", "Satin Doll", "Mood Indigo", "Do Nothin' till you hear from Me," and "Don't get Around Much Anymore"

Front 14

Duke Ellington: The Arranger

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Known for : 1) Including diversity of themes within a single piece 2)Drawing instruments from different sections of the band to play a part together (voicing across sections - Mood Indigo video), 3)Assigning a part to female voice as though it were an instrument, a.k.a wordless vocal ("Creole Love Call"). Achieved successful integration of improvised lines and prewritten parts

Front 15

Duke Ellington: Black, Brown and Beige"

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Lengthy composition in jazz, 50 minute tone poem parallel to the history of the American Negro

Front 16

Johnny Hodges

Back 16

Duke Ellington's most famous sideman. ALTO SAX. Romantic style was widely imitated. "I've Got it Bad, and That Ain't Good"

Front 17

Jimmy Blanton

Back 17

Duke Ellington BASSIST. "Jack the Bear", was showcased i band from '39-'41. Great imagination and unprecedented instrumental command revolutionized jazz bass conception by making bass a horn-like solo instrument.

Front 18

Plunger-Muted growl style of brass playing

Back 18

Distinctive feature in Ellington sound, perfected by trumpeters Bubber Miley and Cootie Williams and trombonist Joe "Tricky Sam" Nanton

Front 19

Paul Gonsalves

Back 19

Ellington's main soloist during '50's and '60's. TENOR SAXOPHONE. Unique style, diffuse tone, and intense delivery.

Front 20

Billy Strayhorn

Back 20

Ellington's coauthor from '39-'67, having contributed several originals, including the band's theme "Take the 'A' Train"

Front 21

"The Swing Era"

Back 21

Early 1930's-mid 1940's. AKA "The Big Band Era". Benny Goodman, Count Basie, Duke Ellington, Chick Webb and Glenn Miller were household names.

Front 22

Swing Era

Back 22

Attracted millions of dancers, performed in large concert halls/ballrooms, big band instead of combo, more written arrangements

Front 23

Saxophone in Swing Era

Back 23

Emerges as leading instrument

Front 24

Hi-hat cymbals in Swing Era

Back 24

Used more for time-keeping providing a smoother feel for dancers

Front 25

Swing musicians

Back 25

Usually showed higher level of instrumental proficiency in terms of speed, agility, tone control, and playing in tune.

Front 26

Big Band Instrumentation

Back 26

4 Trumpets, 4 Trombones, 5 Saxophones (Sop, Alto, Ten, Bari), 4 Rhythm Section (Guitar, piano, bass, drum)

Front 27

Basic Big Band Arrangement

Back 27

Melody, Jazz Improv (solos), Melody, Coda

Front 28

Fletcher Henderson and His Orchestra

Back 28

Arranger Don Redman, Hired Louis Armstrong in 1924- short stint. "The Stampede" 1926 (w/ Coleman Hawkins) Heavily influenced by Armstrong. "Wrappin' It Up" 1934 - Mature Henderson band. 3tpts, 2tbns, 4saxes/cl, 4 rhythm

Front 29

Count Basie

Back 29

Band leader from 1937 until death in 1984. Pianist

Front 30

Count Basie: Piano characteristics

Back 30

Originally a stride pianist with a very light touch with precision/accuracy. Compact musical statements. Solos- he used silence to pace his lines, "Less is more"

Front 31

Count Basie: Big Band

Back 31

He led 1st rhythm section in jazz history that consistently swung in a smooth, relaxed way. ** Youtube - 1941 "Swingin' the Blues"

Front 32

Count Basie: Rhythm Section

Back 32

Bass: Walter Page
Guitar: Freddie Green
Drummer: 'Papa' Jo Jones
Pianist: Count Basie
Excellent sense of tempo, consistent time keeping approach, stress on each beat instead of every other beat

Front 33

Walter Page

Back 33

Count Basie Rhythm Section BASSIST. Bouncy walking bass. One of the first masters of walking style. Strong, even, articulated sound (drive)