Revised Jazz History Midterm

Charley Patton

• Father of the delta blues

• Singer/guitarist

Ma Rainy

• Mother of the blues

• Singer

• Hustlin Blues

• Moonshine Blues

• Many of the people she worked with became famous

• Worked with Louis Armstrong

Bessie Smith

• Empress of the blues

• Singer

• Ma Raineys protege

• Her only film appearance was in St Louis Blues

Buddy Bolden

• Father of Jazz

James.P Johnson

• Father of the stride piano

• Invented stride piano

W.C. Handy

• Father of the blues

• Pianist/composer

• Memphis Blues

• St Loui Blues

Paul Whiteman

• Conductor

• Bandleader

Edward Kennedy “Duke” Ellington

• Pianist/ composer

• Jazz’s most important composer

• Transformed simple Jazz into a high art form

Wynton Marsalis

• Trumpet

Scott Joplin

• Pianist / composer

• Maple Leaf Rag

• The Entertainer

Robert Johnson

• Guitarist/ singer

Wilbur Sweatman

• Clarinet / composer

• Famously could play 3 clarinets at once

Freddie Keppard

• Cornet/ composer

• Had the opportunity to be the first musician recorded but turned it down out of fear others would steal his style

Jelly Roll Morton

• Pianist / composer

• Led many lives apart of being an entertainer

King Oliver

• Cornet / composer

Louis Armstong

• Cornetist / singer/ composer

• Also known as Satchmo

• The most well loved entertainer

Fletcher Henderson

• Pianist

Lil’ Hardin

• Piano/ singer/ composer

• Struttin’ with some Barbecue

Earl Hines

• Piano

Delta Blues

• Solo singer with a guitar

• Often played with a bottleneck on the guitar

• Free flowing form within the blues

Country Blues

• Solo performance accompanied by a guitar

• Often ballads

• Fingerpicking / slide guitar

Vaudeville Classic Blues

• Lead singer with a band accompaniment

• Merged Southern folk traditions with polished classic blues

Ballad

• A retelling of a local story

• Often used in folk/country songs

Spiritual

• Transformation of the call and response style to religious poetry

• Rooted in the church

Work Song

• Call and response

• Used to pace manual labour

Field Holler

• Free rythyms

• Blues like tonality

• Earliest beginnings of jazz

Dixieland Jazz

• Collective soloing

• Polyphonic textures

• Rooted in minstrelsy

New Orleans Jazz

• Collective improvisation

• African American blues traditions

Hot Jazz

• Collective soloing

• High energy

• Syncopation

• Fusion of Ragtime/blues/march

Modern Jazz

• More structured compositions

• Transitional to big bands

Symphonic Jazz

• Combines a full classical orchestra with jazz instruments

• Traits like syncopation, blue notes, and bent pitches

Ragtime

• Structured form

• Repeating patterns

• Stride piano evolved from ragtime

Early Big Band

• Transitioned from small ensembles to larger groups

• Still rooted in African music

• Became swing dance music

First Blues Published

• 1912

• W.C. Handy’s Memphis Blues

First Jazz Recording

• 1917

• Dixieland Jazz Band’s Livery Stable Blues

Black and Tan Fantasy

Duke Ellington 1927

• Early Big Band

• “Black and Tan” Clubs were desegregated venues

You’ve Got to Be Modernistic

James P. Johnson 1930

• Stride Piano

• Opens with a whole tone harmony

*Charleston

James P. Johnson 1923

• Stride Piano (left handed leaps)

• One of the most popular songs of the 1920’s

• Charleston rhythm is dotted quarter, note eight note, 2 beat rest

Changes

Paul Whiteman 1927

• Big Band/Symphonic Jazz

• Bing Crosby on vocals

• Bix Beiderbecke on cornet solo

• Demonstrated the composed orchestral and commercial transition to a white audience for jazz

Gut Bucket Blues

Louis Armstrong & His Hot Five 1925

• New Orleans Jazz style

• Louis Armstrong on trumpet

• Lil Hardin on piano

• Johnny St Cyr on banjo

• Kid Ory on trombone

• Clear soloists, several people taking turns

*Sugarfoot Stomp

Fletcher Henderson & His Orchestra 1925

• Big Band style

• Composed by King Oliver

• Louis Armstrong on trumpet

• Fletcher Henderson on piano

• Coleman Hawkins on clarinet and tenor saxophone

• Adapted from Dippermouth Blues

• Marks the transition between combo and big band ensemble

• Henderson hired/supported the careers of many black musicians

*Heebie Jeebies

Louis Armstrong & His Hot Five 1926

• Louis on vocals and trumpet

• Johnny St Cyr on banjo

• Lil Hardin on piano

• Johnny Dodds on clarinet

• Kid Ory on trombone

• First recorded scat solo!

*Sruttin’ With Some Barbecue

Louis Armstrong & His Hot Five 1927

• Composed by Lil Hardin

• Louis on trumpet

• Kid “Ory” on trombone

• Johnny Dodds on clarinet

• Written and published by a female composer

West End Blues

Louis Armstrong and His Hot Five 1928

• Earl Hines on piano

• Louis on trumpet

• Mancy Carr on banjo

• Jimmy Strong on clarinet

• Fred Robinson on trombone

• Zutty Singleton on percussion

• Demonstrates the shift between collective improvisation to the time of virtuosic soloing

• Opening cadence is hugely famous

• Canonical and contains staples such as solos and scatting

Weather Bird

Louis Armstrong 1923

• Louis Armstrong on trumpet

• Earl Hines on piano

• Joe Oliver on cornet

• The “most famous duet in jazz history”

• Improvised, and wasn’t released for several years

• Demonstrated how well Louis and Earl played each other and why this piano is different from Louis previous accompanists

Anybody Here Want To Try My Cabbage?

Maggie Jones & Louis Armstrong 1924

• Maggie Jones on voice

• Louis Armstrong on trumpet

• Fletcher Henderson on piano

• Louis interjects countermelodies

• Fletcher Henderson hired many of the best most famous black musicians of the time

St Louis Blues-Bessie Smith and Louis Armstrong

Bessie Smith and Louis Armstrong recorded 1925, composed by W.C Handy

• Blues

• Call/response between Bessie and Louis

• Blues form AAB chorus structure

• Fred LONGshaw on the harmonium

Everybody Loves My Baby

Clarence Williams Blue Five recorded 1924, composed by Jack Palmer

• Eva Taylor on vocals

• Louis Armstrong on trumpet

• Louis’ solo that stands out even among other talented performers

Chimes Blues

King Oliver’s Creole Jazz Band 1923 arranged by Lil Hardin

• Blues form, New Orleans jazz sensibilities

• King Oliver on cornet

• Louis Armstrong on cornet 2

• Lil Hardin on piano

• Louis Armstrongs first recorded solo

Snake Rag

King Oliver’s Creole Jazz Band 1923

• March/ragtime New Orleans Jazz style

• King Oliver on cornet

• Johnny Dodds on clarinet

• Louis Armstrong on cornet 2

• Lil Hardin on piano

• A & B strains, punctuated by “snake'“ chromatic line

• Trombone glissando

Dipper Mouth Blues

King Oliver’s Creole Jazz Band

• Ensemble Jazz Blues, New Orleans sensibilities in blues form

• King Oliver on cornet

• Johnny Dodds on clarinet

• Louis Armstrong on cornet 2

• Lil Hardin on piano

• Use of wah wah (Harmon) trumpet mute

• Oliver pioneered mutes as a genre staple

The Crave

Marcus Roberts recorded 1991, composed by Jelly Roll

• Ragtimelike, modern jazz

• Spanish tinge

• Interpretation of a Jelly Roll song

• Ragtime strain form

Dead Man Blues

Jelly Roll Morton’s Red Hot Peppers 1926

• Jelly Roll on piano

• Kid Ory on trombone

• Johnny St Cyr on banjo

• Interpretation of New Orleans burial ritual, rooted in Christian scripture about rejoicing at death for those now in a better place

• Blues 12-Bar form, also arranged with a ragtime like structure

Original Jelly Roll Blues

Jelly Roll Morton’s Red Hot Peppers composed 1915 recorded 1926

• Jazz Foxtrot

• Kid Ory on trombone

• Johnny St Cyr on banjo

• Jelly Roll claims to have invented jazz

• Electrical recording

• Alternating solos, ending on “ride out” in Dixieland jazz style

Stockyard Strut

Fredie Keppards Jazz Cardinals 1926

• Hot Jazz, a blend of ragtime,mock sensibilities originating in Storyville New Orleans

• Keppard on cornet

• Johnny Dodds on clarinet

Livery Stable Blues

The Original Dixieland Jazz Band 1917

• First Jazz Recording

• Dixieland style

• Nick Larson on clarinet

• First recorded album by Freddie Keppard who was afraid of copycats

• White guys

• Emphasis on comedy, beginning of minstrelsy

• Dixieland Jazz had characteristic collective soloing

Down Home Rag

Wilbur Sweatman 1917

• March/ragtime

• Multiple strain form

• Secondary ragtime

• Improvised solo, potentially counter melody

• Demonstrates transition between composed music and improv

Maple Leaf Rag

Scott Joplin

• Ragtime

• Fully composed, written down music, improvisations were often transcribed

• Characteristic left hand, organized formally onto contouring strains

St Louis Blues-Bessie Smith

Bessie Smith 1929

• Classic Blues

• Composed by W.C. Handy

Reckless Blues

Bessie Smith & Louis Armstrong 1925

• Classic Blues

• The Empress of Blues

• Massive influence on later voices like Billie Holiday/Janis Joplin

Moonshine Blues

Gertrude “Ma” Rainey-Mother of the Blues 1923

• Classic Blues

• Big talent who attracted big talent

• Many of Ma Raineys Bandmates went big ex:Louis Armstrong

*St. Louis Blues-Handy

W.C Handy composed 1914 recorded 1922

• One of the most well known blues of all time

• Habanero rhythm “the Spanish tinge”

• Handy was the first to write down blues

*Memphis Blues

W.C. Handy-Father of the Blues Composed 1909 published 1912

• First ever blues to be published

Crossroad Blues

Robert Johnson 1936

• Delta/country Blues

• Solo blues allow for a more free flowing structure

Pony Blues

Charley Patton-The Father of Delta Blues 1929

• Delta/country blues

• Free flowing form within the blues structure

The Buzzard Lope

Georgia Sea Island Singers-Bessie Jones(Lead Vocal) 1960

• African Folk tradition

• Body percussion, call/response, polyrythyms

• Looping until signal to go around one more time

• Spiritual dance in which singers take turns imitating a buzzard snatching carrion

Revival

The Presidents Own U.S. Marine Band by John Phillip Sousa 1976

• Marching Band

• Organized into ragtime like strains

• Ragtime Melodic Phrasing

• Origins of ragtime sensibilities

Hustlin’ Blues

Gertrude “Ma” Rainy 1929

• Vaudeville Classic Blues

• Prelude of a band

• Structure for a large ensemble

Make Me a Pallet on the Floor

Mississippi John Hurt

• Country Blues

• Solo singer in blues form

Rosie

Inmates of the Mississippi & Louisiana State Prison recorded by Alan Lomax 1947

• A work song

• Used to pace manual labour

• Call/response structure

Joe Savage’s Field Holler-I Wake Up One Morning

Joe Savage, recorded by Alan Lomax 1978

• Shows rots of blues tonality

• A rhythmically loose vocal line

• Expressed lonesome individuality

Belton Sutherland’s Field Holler

Belton Sutherland, recorded by Alan Lomax 1978

• Field Holler

• Shows roots in blues with AAB form

• A monophonic rhythmically loose vocal line sung by an enslaved person which expressed individuality

• Maxwells Farm in Madison County Mississippi

Swing Low Sweet Chariot

Fisk Jubilee Singers, 1909

• Spiritual

• Transforms call/response structure into religious poetry

• Church was a cornerstone of black musical training

• This style evolved into gospel

Kasuan Kura

The People of Dagonba, Ghana Recorded by John Miller Chemhoft

• Demonstrates African musical traditions

• Metronomic Pulse

• Call/Response

• Percussion dominant

• Syncopation/Polyrythyms

John Henry

Lewis Hairston 1977

• Traditional folk ballad which tells a story through music of aural tradition

• Blues solo and merging of folk ballad storytelling