Jazz

Front 1

understanding jazz

Back 1

performer more important than composer, not written out, more than one way to play

Front 2

most important element of jazz

Back 2

improvisation (spontaneous compostition)

Front 3

melody

Back 3

main tune theme that stands out

Front 4

frontline

Back 4

front band usually horns plays the melody

Front 5

backline

Back 5

behind front line rhythm sections, drums piano bass responsible for timing, harmony and comping

Front 6

African Americans in 19th century

Back 6

served as a social function, included dance steady pulse, call and response, snycapation (off beat notes) more percussion, and polyrhythms (more than more rhythm)

Front 7

congo square

Back 7

town center, african american used it as a meeting place for slaves on Sundays played music

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blue notes

Back 8

bent and slightly out of tune

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syncopation

Back 9

off beat

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European American in 19th century

Back 10

three basic elements instrumentation (all but the banjo) song form, and harmony
-all written out
-classicaly trained

Front 11

minstrelsy

Back 11

1st form of entertainment in US whites would wear black faces, derogatory to blacks, blacks later made a living this way performances, Jame Bland

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Ragtime

Back 12

rag means rough or ragged very snycopated (off beat) left hand parts Joesph Lamb, James scott, and Scott Joplin
-Maple Leaf Rag 16 bar

Front 13

Jazz in Europe

Back 13

WWII helped intro jazz, Germany it was popular until Nazi took over and deemed it degenerate music, paris was most receptive of Europe cities

Front 14

Swing Era (1930s)

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Ellingtons 'it don't mean a thing if it aint got that swing' more access to jazz through radio, movies, and live performances difference between races were lessened Benny Goodman King of Swing declined in popularity in the 40s

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Big Bands in Swing Era

Back 15

four sections (1) trumpets (2) bones (3) saxs (4) rhythms completely written out call and respond electric guitar introduced

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Kansas City and territory bands

Back 16

centered in regional capital, common in midwest/southwest looser composition riff, less emphasis on arranger not good at reading

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riff

Back 17

replaced melody figure one or two bars long shorter than melody ususually rhythmic and simple

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Blue Devils

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led by bassist Walter Page

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William Basie

Back 19

swing machine 'jumpin at the wood'

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Benny Goodman

Back 20

grew up in Chicago son of jewish immigrant 1st big gig was Ben Polluck bands moved to NY did weekly radio shows 'lets dance' sextet used Africans and played at Carnegie Hall with a mixed race band 'sing sing sing'

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sextet

Back 21

band within a band

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The blues

Back 22

AAB lyric pattern, two basic early styles
-Urban Blues sung by women with a piano
-Country Blues solo style played with bottle neck slide and guitar

Front 23

early jazz

Back 23

shift from ragtime to jazz called either Dixieland or New Orleands Jazz

Front 24

New Orleans jazz

Back 24

many styles frontline-clarinet cornet, trombone backline-drums, tuba, sax, piano, banjo
-collective improv, stop times, quick tempos

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major innovations of new orleans jazz

Back 25

Buddy Bolen original Dixieland jazz band all white led by Nick LaRocca "livery Stable Blues" Jelly Roll Morton and Red Hot Peppers

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Chicago Jazz

Back 26

frontline-trumpet replaces cornet clarinet some sax, trombone backline- upright bass piano drums guitar replaces banjo
-collective improv stop time, soloist more written parts

Front 27

Jelly Roll Morton

Back 27

Creole pianist composer singer hustler traveled all over started in New Orleans storyville, claimed to invent jazz created first ever mixed race band Red Hot Peppers

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Louis Armstrong

Back 28

high range, big brassy sounds, simple harmony exciting solos 1st with swing feel 1st to scat sing started with Joe King Olivers band
West End Blues

Front 29

Leon Bix Beiderback

Back 29

davenport more mid range less brassy more sophisticated harmony doesn't swing hard less vibrato classically influenced 1st band Wolverines

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song pluggers

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play/sing latest songs of publishing house many famous musicians started as pluggers sound would fill cacophony banging cans

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Harlem Renaissance

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Central location for black artist/writers Henderson and Ellington both part of the movement

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Harlem Stride Piano

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around WWII left hand strides up/down piano bass notes 1&3 and chords 2&4 difference from rag
-not concerned with form
-more improv
-faster with more drive

Front 33

Euble Blake

Back 33

wrote and recorded the Charleston Rag

Front 34

James P. Johnson

Back 34

"father of stride piano" the charleston

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fats waller

Back 35

student of Johnson great pianist and entertainer

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Art Tatum

Back 36

almost blind both hands influenced Nat Cole

Front 37

beginning of big bands

Back 37

sweet bands gradually became jazz bands late 20s 9 to 11 members now sections were formed written parts less improv no collective improv

Front 38

Duke Ellington

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born and raised in DC influenced by stride player 1st band washingiorian played at cotton club unique writing
-jungle style
-mood style
-concerto style
-standard style

Front 39

Fletcher Henderson

Back 39

song plugger recorder with many great female singers Bessie Smith noted for 1st all star black dance band performed at Roseland Ballroom in NYC pitted one section against another worked with Benny Goodman

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after Cotton Club

Back 40

shorter big bands with standard songs and larger scale works divided into (1) extended works (2) sweets (3) religious

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Count Basie

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pianist composer bandleader riff based very blue improv swing feel rhythm sections

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Duke Ellington style

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pianist composer arranger unusual voice range improv with lines written wordless vocal innovatation many great sideman

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Cab Calloway

Back 43

flamboyant singer and entertainer replaced Ellington at cotton club blues brothers movie

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Coleman Hawkins

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hot NY henderson vertical approach to chord changes heavy vibrato slap tounge rough heavy father of tenor sax 'hawk'

Front 45

Lester Young

Back 45

cool, southwest with Basie, hortizontal approach to chord changes less vibrato smooth 'Pres'

Front 46

blues form

Back 46

12 bar

Front 47

32 bar song form

Back 47

a (8) a (8) b (8) a (8)

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Billie Holiday

Back 48

father played with Henderson played with Wilson sang for Basie and Shaw but said be nobodys girl