Early Jazz / Derived and influenced by African music in the slave culture. / Ragtime and Dixieland. / Started in New Orleans - seaport / Chicago and New.

Early JazzEarly Jazz

Derived and influenced by African music in the slave culture.

Ragtime and Dixieland. Started in New Orleans - seaport Chicago and New York became big jazz

cities for recording. Much of the music was improvised.

Derived and influenced by African music in the slave culture.

Ragtime and Dixieland. Started in New Orleans - seaport Chicago and New York became big jazz

cities for recording. Much of the music was improvised.

RagtimeRagtime Rags were first written for piano and later

arranged for small groups. Introduced accents in the right hand and

syncopations throughout. Still used today but not very often. Rags that were orchestrated for various

instrumental groups led to the development of Dixieland music.

Ragtime was not specifically jazz music but led to the creation of it.

Rags were first written for piano and later arranged for small groups.

Introduced accents in the right hand and syncopations throughout.

Still used today but not very often. Rags that were orchestrated for various

instrumental groups led to the development of Dixieland music.

Ragtime was not specifically jazz music but led to the creation of it.

Scott Joplin1868-1917Scott Joplin1868-1917

Composer of piano rags. One of the first to publish

rags. Met many other

“ragtimers” but decided to concentrate on composing rather than performing with them.

Composer of piano rags. One of the first to publish

rags. Met many other

“ragtimers” but decided to concentrate on composing rather than performing with them.

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Jelly Roll Morton1890-1941

Jelly Roll Morton1890-1941

Pianist First started in Brothels Lot of recordings in 1923

and 24. Played on West Coast from

1917-1922. Had all performers solo. Blamed his death on a

voodoo spell.

Pianist First started in Brothels Lot of recordings in 1923

and 24. Played on West Coast from

1917-1922. Had all performers solo. Blamed his death on a

voodoo spell.

James P. Johnson1894-1955

James P. Johnson1894-1955

Made famous for his piano style known as stride piano, fast moving left hand.

Studied classical and ragtime piano.

Became known as the best piano player on the East Coast.

Has accompanied for over 400 recordings.

Stride piano smoothed the transition from ragtime to jazz and influenced piano styles much like Jelly Roll Morton’s playing.

Made famous for his piano style known as stride piano, fast moving left hand.

Studied classical and ragtime piano.

Became known as the best piano player on the East Coast.

Has accompanied for over 400 recordings.

Stride piano smoothed the transition from ragtime to jazz and influenced piano styles much like Jelly Roll Morton’s playing.

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Jim Hession playingStride style piano

DixielandDixieland

Several melodies played at the same time by trumpet, clarinet, and trombone. These were accompanied by combinations of piano, tuba, bass, banjo, guitar, and drums.

Major contributors to this style: Jelly Roll Morton Louis Armstrong Nick LaRocca Bix Beiderbecke

Several melodies played at the same time by trumpet, clarinet, and trombone. These were accompanied by combinations of piano, tuba, bass, banjo, guitar, and drums.

Major contributors to this style: Jelly Roll Morton Louis Armstrong Nick LaRocca Bix Beiderbecke

Early New Orleans Dixieland

1900-1917

Early New Orleans Dixieland

1900-1917These groups used coronet or

trumpet, clarinet, and trombone in the front lines.

The rhythm section was made up of a banjo, a tuba, and drums.

This style was played with equal emphasis on each beat. Chicago style will later change that.

These groups used coronet or trumpet, clarinet, and trombone in the front lines.

The rhythm section was made up of a banjo, a tuba, and drums.

This style was played with equal emphasis on each beat. Chicago style will later change that.

1920s Chicago Style Dixieland

1920s Chicago Style Dixieland

» Exciting time in Chicago “Roaring 20s.”» Workers migrated from the south.» This style added saxophone and piano to N.O.

style.» Created emphasis on beats 2 and 4 instead of all

4 beats.» Banjo exchanged for guitar and tuba for string

bass.» Performed more aggressively.» Chicago was the center of jazz.» Louis Armstrong was very influential.» Chicago was where the first recordings took place.

Earl Hines1903-1983Earl Hines1903-1983

• Jazz pianist who influenced piano styles in the 30s and 40s.

• Got his start by recording with Louis.

• His style was often called “brassy” because of the force he used to strike the keys.

• His style influenced Art Tatum and Count Basie.

• Jazz pianist who influenced piano styles in the 30s and 40s.

• Got his start by recording with Louis.

• His style was often called “brassy” because of the force he used to strike the keys.

• His style influenced Art Tatum and Count Basie.

Louis “Satchmo” Armstrong1901-1971

Louis “Satchmo” Armstrong1901-1971

• “Father of Jazz”• Most widely imitated

jazz improviser before Charlie Parker.

• His solos played on 1927, 1928 recordings served as a model for the swing era.

• Appeared in about 50 movies.

• Father of Scat.

• “Father of Jazz”• Most widely imitated

jazz improviser before Charlie Parker.

• His solos played on 1927, 1928 recordings served as a model for the swing era.

• Appeared in about 50 movies.

• Father of Scat.

Play Stardust

Why Louis is importantWhy Louis is important• One of the first great soloists in history.• One of the first to refine rhythm:

• No stiffness like ragtime.• Used swing eighth note patterns.• Syncopated selected rhythmic figures. Today

called “Jazz swing feeling.”

• Not many players come close to his talent. Always thought ahead in phrases while maintaining the feeling of spontaneity.

• One of the first great soloists in history.• One of the first to refine rhythm:

• No stiffness like ragtime.• Used swing eighth note patterns.• Syncopated selected rhythmic figures. Today

called “Jazz swing feeling.”

• Not many players come close to his talent. Always thought ahead in phrases while maintaining the feeling of spontaneity.

• He added a great sense of drama to soloing with perfect use of dynamics and range with perfect timing.

• Frequently broke away from just melody embellishments and improvised original, melody like lines, that fit in the chord progressions.

• Popularized the N.O. trumpet style and extended it.

• Provided jazz with a collection of phrases and ways of constructing improvisations.

• He added a great sense of drama to soloing with perfect use of dynamics and range with perfect timing.

• Frequently broke away from just melody embellishments and improvised original, melody like lines, that fit in the chord progressions.

• Popularized the N.O. trumpet style and extended it.

• Provided jazz with a collection of phrases and ways of constructing improvisations.

• His singing style influenced many famous singers such as:• Billie Holiday • Bing Crosby

• Popularized Scat singing• Style of singing which includes

improvisation and does not include any lyrics.

• His singing style influenced many famous singers such as:• Billie Holiday • Bing Crosby

• Popularized Scat singing• Style of singing which includes

improvisation and does not include any lyrics.

Swing and Big Band EraSwing and Big Band Era

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Swing and Big Band EraSwing and Big Band Era

Began in the late 1920s into 1930s due to the less stiff, looser rhythmic feeling.

Most popular style in jazz history. Swing Era is also called the Big Band Era because

the size of swing bands was 10 or more. Saxophones, bass, and high-hat cymbals became

more common. Collective improv was rare. Smoother rhythmic feel than rags and dixieland.

Began in the late 1920s into 1930s due to the less stiff, looser rhythmic feeling.

Most popular style in jazz history. Swing Era is also called the Big Band Era because

the size of swing bands was 10 or more. Saxophones, bass, and high-hat cymbals became

more common. Collective improv was rare. Smoother rhythmic feel than rags and dixieland.

3 categories of instruments: Brass: trumpets, flugelhorns, and trombones.

2-5 trumpets (usually 3) with lead in the middle. 2-5 trombones (usually 3) with lead in the middle.

Saxophones/reed section: saxophones, clarinets, and flutes. Sax players switch between saxes, clarinets, and

flutes. Rhythm Section: Piano, Bass, rhythm guitar,

and drums. Rhythm guitar faded out in the late 40s except for

Basie’s band.

3 categories of instruments: Brass: trumpets, flugelhorns, and trombones.

2-5 trumpets (usually 3) with lead in the middle. 2-5 trombones (usually 3) with lead in the middle.

Saxophones/reed section: saxophones, clarinets, and flutes. Sax players switch between saxes, clarinets, and

flutes. Rhythm Section: Piano, Bass, rhythm guitar,

and drums. Rhythm guitar faded out in the late 40s except for

Basie’s band.

Rhythm SectionRhythm Section Pianists played melody sometimes, Basie liked

comping (playing accompanying chords as accents behind soloist), most used stride or chords every beat or every other.

Guitar and bass usually had timekeeping duties. Bassists played in the background in two styles:

Two-beat style - played notes on the first and third beats out of every four.

Walking bass style - played on every beat. Drummers made beat obvious for dancers with

occasional dramatic effects.

Pianists played melody sometimes, Basie liked comping (playing accompanying chords as accents behind soloist), most used stride or chords every beat or every other.

Guitar and bass usually had timekeeping duties. Bassists played in the background in two styles:

Two-beat style - played notes on the first and third beats out of every four.

Walking bass style - played on every beat. Drummers made beat obvious for dancers with

occasional dramatic effects.

Larger bands demanded written arrangements. Musicians had to read and write music.

Some tunes made up and taught to members of the band but not many. These were called “Head Arrangements.”

Most arrangements were simple Melodies played by entire band in unison or harmony. Improv followed with accompaniment from rhythm

section and riffs from other sections. Melodies and accompaniment traded between sections. Arrangements often contained themes and variations. Call and response melodies and accompaniments were

common.

Larger bands demanded written arrangements. Musicians had to read and write music.

Some tunes made up and taught to members of the band but not many. These were called “Head Arrangements.”

Most arrangements were simple Melodies played by entire band in unison or harmony. Improv followed with accompaniment from rhythm

section and riffs from other sections. Melodies and accompaniment traded between sections. Arrangements often contained themes and variations. Call and response melodies and accompaniments were

common.

Recordings were helping the popularity of jazz to spread until the stock market crash in 1929. RCA was only one left.

Big bands gained exposure through radio broadcasts. When recording returned, it only added the growing popularity of big bands and swing music.

Certain jazz musicians were known in this era much like rock stars are known to us.

Big bands used showy costumes and stage settings.

They sometimes traveled with 6 singers at a time.

Recordings were helping the popularity of jazz to spread until the stock market crash in 1929. RCA was only one left.

Big bands gained exposure through radio broadcasts. When recording returned, it only added the growing popularity of big bands and swing music.

Certain jazz musicians were known in this era much like rock stars are known to us.

Big bands used showy costumes and stage settings.

They sometimes traveled with 6 singers at a time.

Coleman Hawkins (1904-1969)

First important jazz tenor saxophonist.

Sax was considered a novelty before his style brought recognition to it.

Deep, husky tone became model and made tenor sax one of the most popular instrument in jazz.

Loved to play over complex chord progressions.

Harmonic improviser

Count Basie (1904-1984)

Count Basie (1904-1984)

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Count Basie (1904-1984)Count Basie (1904-1984)

Most swinging band. Originally a stride style pianist. Began as a drummer. Unique touch of the piano:

Choice of notes near perfect Sense of time was equal to a good

drummer’s Very light and precise

Led a big band from 1937 til death.

Most swinging band. Originally a stride style pianist. Began as a drummer. Unique touch of the piano:

Choice of notes near perfect Sense of time was equal to a good

drummer’s Very light and precise

Led a big band from 1937 til death.

Led the first rhythm section in history that consistently swung in a smooth, relaxed way. Excellent sense of tempo Ability to keep time and swing

consistently w/out using hard approach Quiet, relaxed playing Even stress on each beat Emphasis on buoyancy rather than

intensity No rhythm section member stuck

out, blended well.

Led the first rhythm section in history that consistently swung in a smooth, relaxed way. Excellent sense of tempo Ability to keep time and swing

consistently w/out using hard approach Quiet, relaxed playing Even stress on each beat Emphasis on buoyancy rather than

intensity No rhythm section member stuck

out, blended well.

Piano - Count Basie Rhythm Guitar - Freddie Green 1911-

87 String Bass - Walter Page 1900-57 Drums - Jo Jones 1911-85

Famous for sharp and lively comping Most used model for comping Comping is playing accompanying

chords as accents behind the soloist Pianist must listen and play

interactively

Piano - Count Basie Rhythm Guitar - Freddie Green 1911-

87 String Bass - Walter Page 1900-57 Drums - Jo Jones 1911-85

Famous for sharp and lively comping Most used model for comping Comping is playing accompanying

chords as accents behind the soloist Pianist must listen and play

interactively

Basie’s specialty style was Kansas City Style: Lighter and more relaxed Arrangements based on riffs Head arrangements -

memorized

Lester Young (1909-1959) “Prez” Basie’s most notable soloist Style served as model - “cool

jazz” One of the five most

influential saxes Paved the way for modern

tone color, vibrato, rhythmic conception, and phrasing.

Musical storyteller

Basie’s specialty style was Kansas City Style: Lighter and more relaxed Arrangements based on riffs Head arrangements -

memorized

Lester Young (1909-1959) “Prez” Basie’s most notable soloist Style served as model - “cool

jazz” One of the five most

influential saxes Paved the way for modern

tone color, vibrato, rhythmic conception, and phrasing.

Musical storyteller

Roy Eldridge (1911-1959)

One of the most advanced/daring improvisers of Swing Era.

Link between Swing and modern jazz.

Played sax-like lines - swooping.

Often used upper register. Influenced modern

trumpeters to use greater instrumental facility.

Played in Gene Krupa’s big band.

Art Tatum (1910-1956) One of the most widely

admired pianists. Partially blind and self-

taught. Combined styles. Long, fast runs with

odd rhythm combos. Advanced knowledge

of chords structures. Chord substitution. Influenced Charlie

Parker.

Play Danny Boy

Billie Holiday (1915-1959)

One of the greatest singers in Swing Era.

Troubled childhood created raw emotion brought forth in her singing.

Combination of swinging, blues, delicate sound.

Stretched the musical phrases to fit feelings.

“Strange Fruit” Great American Songbook

Play Just One