Jazz Appreciation Class Notes

October 10th to Present

Louis Armstrong(1901-1971) Grew up extremely poor in nola Working at age 7 and dropped out of school in 3rd grade Trumpet mentor/hero was king Oliver Moved to new York in 1924 to play with fletcher henderson's band but stayed only for a short time Made huge influence on the NY scene Powerful sound Rhythmic sophistication and authority Shakes and vibrato to color the sound first scat singer- vocal solos sound like his trumpet solos one of the greatest in history brought jazz solo to the forefront Rhythmic concept o Abandoned stiffness o Swing 8th notes o Graceful syncopation of phrases, cross rhythms, rhythmic displacement Could improvise either by embellishing the melody or the chord changes Influenced both trumpet players and singers! hot five and hot seven Front line: trumpet/clarinet/trombone Rhythm section:5- piano and banjo; 7- piano, banjo, tuba, percussion(improved technology) Hotter than that(1927) o Cross-rhythm (3 against 2 is most common) o High cs o Scat singing Jack Teagarden(1905-1964) Born in Texas Played with Armstrong Most important early jazz trombonist Sidney Bechet Clarinet and soprano sax One of the earliest to play swing feel Hard-driving improviser, used scoops and smears Played with Armstrong Bessie Smith Most famous early blues singer

 Powerful voice Simple songs Early blues singers hired jazz players and jazz bands would feature blues singers Bix Beiderbecke Born in iowa Became featured soloist with paul whiteman orchestra Bebop: solos use full range of the instrument, aggressive drumming, trumpet/alto sax combo, melodies that sound as complicated as the improvisations Swing era: big band instrumentation (16-17 people), music for dancing, simpler melodies and improvisations Swing vs early jazz Larger instrumentation More saxophones Move away from ragtime/march forms towards AABA and blues Less polyphony, more section playing Early Swing bands Fletcher Henderson(Chicago/New York) Benny moten(Kansas City) Paul whiteman(New York) Fletcher Henderson Led the first prolific black big band Major influence on Duke Ellingtons band Early arrangers for the band: Don Redman and Benny Carter Louis Armstrong joined band briefly in 1924 Popular band but Henderson was not a good businessman Benny Goodman bought his arrangements in the early 30s Territory Bands 1924 were 900 separate touring bands, including 68 separate orchestras under the leadership of Paul Whiteman Post 1929 there was a decline in work Benny Moten Led band in Kansas city that played mainly blues Helped developed riffing style Died from an unsuccessful tonsillectomy Paul Whiteman Called King of Jazz High successful white band leader Gershwin wrote Rhapsody in Blue for Whitemans orchestra Controversy as to whether his band was playing jazz, but many important musicians came out of the band William Count Basie From New Jersey Stride Pianist 1904-1984

 Led the Count Basie Band for nearly 50 years Horns sometimes organized riffs Riff- a repeated musical figure (5-10 notes) Riffs can be pre-composed or improvised on the spot Some of Basies famous tunes evolved from on the spot riffs Theme song: One O'clock Jump Sparse piano comping and soloing-plinks All- American Rhythm Section o Freedie Green- guitar Father Time o 46 years in the Band o Walter Paige o Joe jones Basie 1930s- Lester Young prez Lester Young Coined the words cool and bread(money) Known for sense of style- porkpie hat Easy floating style Melodic player Influenced Charlie parker Unable to maintain success in subsequent eras Coleman Hawkins Tenor sax Featured soloist with fletcher Henderson Band Influenced John Coltrane and Sonny Rollins Dark, Husky Tone Harmonic rather than melodic improviser o Vertical rather than horizontal Successfully transitioned to bebop era Played with thelonious monk Frequently contrasted with Lester Young Ella Fitzgerald Simple pure tone Accurate pitch, perfect intonation Youthful, effortless vocal quality Melodic approach to scat singing Billie Holiday AKA lady day Original style and tone quality Portrays depth of emotion, can tear your heart out Delivered the lyrics using rhythmic manipulation( Like Louis Armstrong) Holiday vs Fitzgerald Heart wrenching Unique/ unusual rhythmic delivery

More improvisational approach to scat singing Fitz Youthful exuberance Swing Drumming Made the beat obvious to dancers Cymbals used for emphasis Less interaction than either early jazz or bebop Gene Krupa Energetic style Insistent pounding on bass drum Played with benny goodmans band and achieved fame Helped develop the modern drum kit esp. tuneable tom-tom drums Influenced art blakey Papa Jo Jones Often omitted bass drum High hat style on 2 and 4 Less abrupt style Continuous ride cymbal pattern Avoided novelty instruments Benny Goodman king of swing Led extremely popular big band Playing was influenced by New Orleans clarinetists who lived in Chicago like Johny Dodds Moved to NY in late 20s, successful freelance musician prior to starting own band Bought all of fletcher hendersons arrangements after stock market crash in 1929, and hired hendersons band members to teach his band how to play them 1935- dance craze, jitterbug began at one of Goodmans shows Tommy Dorsey Another very popular white band leader Trombonist o Pure, silky tone and polished high register Mary Lou Williams Pianist-came out of boogie woogie and Basie style, but developed into a modernist by the 40s Difficult to classify Had a study group in the 40s that many prominent musicians took part in o May have influenced thelonious monk Roy Eldridge Important influence on the bebop generation that would follow, particulary Dizzy Gillepsie Fiery, aggressive style Capable of playing long lines, like a saxophone Django Reinhardt

 Belgian Gypsy guitarist, based in France o Only visited America once Combined gypsy flavor with jazz Extreme technical command, despite having two of his fingers on left hand paralyzed Edward Kennedy Duke Ellington Composer/pianist/bandleader One of Americas greatest composers Remarkable skills as an arranger o writing across the sections; unusual colors o Wrote music to feature specific members of his band o Made members of his band sound better than they could on their own Even though he was a great pianist, many contend that the orchestra was his band Four types of compositions o Jungle music Initially written for shows at the cotton club Features growling brass, plunger mutes, low drum sounds (tom-toms), low saxophones(baritone saxophone) o Standards Danceablepopular Often in AABA form Recorded and performed by many other jazz artists Became the bread and butter that financed Ellingtons other projects Sometimes written in collaboration with Billy Strayhorn- with Ellington for 28 years(right hand man) o Mood music Slow tempos, dark rich colors Friday night date music o Extended Form Lengthy works about a particular subject Black Brown and Beige- 1943 Longest work Often in multiple parts; groups of pieces Focused on extremes High trumpet Cat Anderson Ellington Effect Unusual instrument combinations Unusual instrument registers Plungers in brass Abrupt changes in mood Writing with specific individuals in mind Bill strayhorn studied Ellingtons work in depth and could eventually mimic his writing

Train Theme ran through a lot of Ellingtons music because of technology and industry of the future. Ellington and his band traveled the country in trains. Also theme of Underground Railroad ran through blues music. Never fired anyone from his band just hired someone better and you eventually got the hint that he wanted you gone.

We should start a list of the vocabulary words with definitions also! Syncopation: accenting notes that occur just before or just after a beat. Ostinato: the extensive repetition of brief patterns.

Heres all the chapter summaries below:

Chapter 2 Summary (What is Jazz?) 1. Some people use the term jazz very loosely, applying it to anything they ever heard called jazz or anything that reminds them of anything they think it is. 2. Jazz involves improvisation and swing feeling. 3. Though most jazz groups use arrangements that are preset in some regard, a substantial portion of each performance is usually spontaneous. 4. Swing feeling is achieved by spirited performances of many different kinds of music, which employ steady tempo. 5. Jazz swing feeling is like swing feeling in the general sense, but it also has an abundance of syncopated rhythms, swing eighth notes, and a continuous rise and fall of tension. 6. Some jazz is popular music because people use it as party music, film music, and dance music. 7. Jazz is not particularly popular by comparison with most other kinds of music, as evidenced by its three-percent market share. 8. For most people, jazz is a cultivated taste and not easily accessible. This makes it art music rather than popular music. Chapter 3 Summary (Appreciating Jazz Improvisation) 1. Unwritten rules are followed that enable jazz improvisers to piece together respectable performances without rehearsal. 2. Musicians know many of the same tunes, and they follow common practices when performing tunes having 12-bar blues and 32-bar A-A-B-A construction. 3. Jazz musicians play the melody before and after they play improvisations that are guided by a cycle of repetitions of its accompaniment. 4. It sometimes sounds like the musicians are playing twice as fast (double-time) when they double the density of their activity of half as fast (half-time) when they halve the density of their activity, even though accompaniment chords change at the same rate throughout the performance of a given piece. 5. Jazz musicians are thoroughly trained in methods of playing their instruments, and in reading and writing music, and they know so many tunes and chord progressions that they can instantaneously respond to what each other plays when improvising.

6. Walking bass style involves playing notes that serve to keep time for the band as well as outlining the chord progression being followed by the improvisers. 7. The jazz drummers uses snare drum, bass drum, ride cymbal, and high-hat cymbals to keep time for the band as well as contribute kicks and prods that communicates with the improvising soloist. 8. Comping is the accompaniment style in which the pianist feeds chords to the improvising soloist in a flexible and syncopated way. 9. The improvising soloist keeps many considerations in mind while performingchord progressions, logical and original construction of the solo, communication with accompanists, etc. Chapter 11 Summary (hard bop) 1. Hard bop evolved directly from bop during the 1950s, mainly from East Coast and Midwest musicians. 2. When hard bop differs from bop, it is simpler, has more variety in accompaniment patterns, fewer pop tune chord progressions, darker, weightier tone qualities, and more emphasis on hard, unrelenting swinging. 3. Funky jazz is a subcategory of hard bop, and it is characterized by bluesy inflections of pitch and gospelish harmonies. Several pieces performed by the bands of Horace Silver and Cannonball Adderley were popular because of their funky qualities and simple, catchy melodies. 4. Drummers in hard bop were louder and more intrusive than their predecessors. Art Blakey and Philly Joe Jones further emancipated the drummer from the role of mere timekeeper. Chapter 9 Summary (Bop: The early 1940s to the early 1950s) 1. Bop differed from swing by using smaller bands, richer chords, more chord changes, faster playing with more surprises, and drier, more biting tone qualities. 2. The originators of bop included alto saxophonist Charlie Parker, trumpeter Dizzy Gillespie, and pianist Thelonious Monk. 3. Parker wrote numerous tunes based on popular song and 12-bar blues chord progressions that became standard repertory for generations of jazz musicians. 4. Gillespie devised a very unorthodox trumpet style and led a string of combos and big bands. 5. Monk played piano in a very spare manner filled with unusual rhythms and harmonies and wrote tunes rendered difficult by their odd accents and chord progressions. 6. The ideas of Tatum, Parker, and Gillespie surfaced in the piano style of Bud Powell, who was widely imitated and who significantly altered jazz piano style by reducing the activity of the left hand. 7. Tenor saxophonist Dexter Gordon extended the deep, dark-toned, swing era style and mixed it with bop approaches and his own unique lyricism. 8. Tenor saxophonist Stan Getz blended Lester Young, bop, and classical music to create an original style and became the most popular player on his instrument. 9. Pianist John Lewis and Tadd Dameron were important bop composers, and Lewis continued writing for the Modern Jazz Quartet long after the bop era. 10. Modern Jazz Quartet vibraphonist Milt Jackson devised a warm, swinging style by way of a slow tremolo rate, intelligently constructed bop lines, relaxed delivery, and funky melodic figures. 11. Bop drummers differed from swing drummers by increasing the frequency and spontaneity of kicks and prods, feathering the bass drum instead of pounding it, playing timekeeping rhythms on a suspended cymbal, and snapping the high-hat shut sharply on the second and fourth beats. 12. Bop styles and their offshoots were less popular than swing styles because they used fewer popular tunes, and had fewer singers, less predictability, and more complicated solos and accompaniments. Chapter 10 (Cool Jazz)

1. Cool jazz is a term applied to modern styles that sound subdued because they use light, dry tone qualities, little or no vibrato, low levels of volume, and avoid high notes. Some of this music is more relaxed and melodic than bop. 2. Cool jazz of the 1950s drew upon the styles of Lester Young and Count Basie of the 1930s, Lennie Tristano and Lee Konitz of the 1940s, and the arranging practices of the Claude Thronhill band that provided the model for the Miles Davis Nonet of 1949-1950. 3. Much cool jazz is indistinguishable from bop, and a few cool players were already discussed in the bop chapter: Stan Getz, George Shearing, and the Modern Jazz Quartet. 4. Pianist-composer Stan Kenton led a string of innovative big bands, some of which were influenced by Claude Thronhills style. 5. Kentons repertory of the 1950s contained ambitious concert works resembling twentieth-century classical music scored for brass, saxes, and rhythm section. 6. West Coast style refers to cool jazz played by a predominantly white community of jazz musicians based in the Los Angeles area during the 1950s, many of whom had played with the big bands of Stan Kenton and Woody Herman. Chapter 4 (Origins of jazz) 1. Jazz originated in New Orleans around the beginning of the twentieth century. 2. New Orleans was the ideal site for the birth of jazz because it was an intensely musical city with a history of rich ethnic diversity, especially French and African. 3. Jazz emerged when brass bands were at a zenith of popularity and ragtime was in such high demand that brass bands and string bands were improvising rag-like syncopations into their pieces to please dancers. 4. African American forms of music such as the blues and ragtime blended with European dance music and church music. 5. Jazz has features that reflect African musical tastes that were retained in African American musicimprovisation, syncopation, rough timbres, extensive repetition of brief patterns, polyrhythms, and overlapping call-and-reponse format. 6. Jazz reflects European musics instruments, chord progressions, and improvisation. 7. Blending of European and African practices resulted in blue notes and various decorations of a note by altering its pitch. Chapter 5 (Early jazz: combo jazz prior to the middle 1930s) 1. The first forms of jazz resulted from blending improvisational approaches to ragtime, blues, spirituals, marches, and popular tunes. 2. The first jazz bands used the instruments of brass bands: trumpet, clarinet, trombone, tuba, drums, and (occasionally) saxophone. 3. The earliest jazz was not recorded. We can only infer how it sounded on the basis of recordings made by New Orleans players after they had moved to Chicago. 4. The first jazz group to record was the Original Dixieland Jazz Band in 1917. 5. Chicago was the jazz center of the world during the 1920s, composed of a. All-star black groups such as Olivers Creole Jazz Band which had moved from New Orleans, b. White bands from New Orleans such as the New Orleans Rhythm Kings, and c. Chicago-born imitators of the New Orleans Rhythm Kings such as the Austin High Gang. 6. One of the most historically significant New Orleans natives to first record in Chicago was pianistcomposer-bandleader jelly Roll Morton.

7. Morton was the first great jazz composer. Several of his tunes became standards Wolverine Blues, King Porter Stomp, and Milenburg Joys. 8. Morton devised a piano style that featured horn-like lines and long-short, strong-weak eighth-note patterns that swung more than ragimt.e 9. Morton blended New Orleans improvisational approaches with elaborately arranged, written passages. 10. The single player who stands above all others in jazz history is New Orleans-born trumpeter Louis Armstrong. 11. Armstrong possessed a larger tone, wider range, and better command of the trumpet than most early players. 12. Armstrongs improvisations were especially well constructed. 13. Armstong was one of the first combo players to effectively demonstrate solo improvisation instead of retaining the New Orleans tradition of collective improvisation. 14. Armstrong is possibly the most influential of all trumpeters, having been imitated by saxophonists, trombonists, and pianists as well as by trumpeters. 15. Next to Armstrong, Bix Beiderbecke was the most influential brass player of the 1920s, and he was harmonically more advanced than Armstrong. 16. In addition to a cool, thoughtful style, Beiderbecke was a composer in the tradition of French Impressionists Maurice Ravel and CLuade Debussy. 17. Soprano saxophonist-clarinetist Sidney Bechet helped move jazz horn conception from collective improvisation techniques to a dramatic solo style. 18. Bechet influenced Johnny Hodges and John Coltrane, especially in the expressive timing of ornamentations, which precede important notes. 19. Earl hines helped take jazz piano conception from a traditionally pianistic orientation to a horn-like conception. 20. Hines influenced numerous other piano greats, including Teddy Wilson, Art Tatum, and Nat Cole. 21. The stride piano tradtion of James P. Johnson was continued by Fats Waller, who, in turn, became the principal influence on Count Basie. 22. Vocal blues originated before jazz, then influenced jazz by offering novel sounds and new repertory. 23. Blues singers often hired jazz musicians for their bands. 24. Bessie Smith was the most famous blues singer from the 1920s. Chapter 6 (Swing: The early 1930s to the late 1940s) 1. Swing differs from early jazz in a. More use of written arrangements b. Less emphasis on ragtime-like compositions c. Less collective improvisation and more solo improvisation d. Less use of tuba and more use of string bass e. More swing feeling, achieved by increased use of swing eighth-note patterns f. Increased use of high-hat cymbals g. Replacement of banjo with guitar h. Big band rather than small-group instrumentation i. Saxophone becoming the predominant instrument 2. Important big bands were led by Fletcher Henderson, Duke Ellington, Count Basie, Benny Goodman, and Jimmie Lunceford. 3. The most influential saxophonists were Coleman Hawkins, Lester Young, Benny Carter, and Johnny Hodges. 4. The most influential pianists were Art Tatum and Teddy Wilson.

5. Tatum possessed phenomenal speed and was known for spontaneously changing keys and chords in pop tune accompaniments. 6. Wilson was known for his grace and his streamlining of jazz piano style. 7. Nat Cole influenced modern jazz piano style by reducing left-hand activity and making right-hand lines more horn-like. 8. Pianist milt Buckner perfected the technique of harmonizing melody lines in a block-chord lockedhands fashion. 9. Roy Eldridge paved the way for modern jazz trumpeter Dizzy Gillespie by improvising fiery, saxophone-like lines on trumpet. 10. Django Reinhardt and Charlie Christian were the most prominent guitarists of the swing era. 11. Billie Holiday and Ella Fitzgerald were the most prominent singers to be associated with jazz in the swing era. Chapter 8 (The Count Basie Bands) 1. Count Basie was a Fats Waller-derived stride pianist with a light, precise touch, and impeccable sense of tempo. 2. Count Basies accompaniment style constituted one of the first examples of comping. 3. Count Basie was on of the few pianists to make silence lamost as important as the notes he played. 4. The 1937-1940 Basie rhythm section set the pace for modern methods of timekeeping and accompanying. 5. Basies band played in the Kansas City style, using riffs, simple figures which were played repeatedly atop pop tune and 12-bar blues accompaniments. 6. Tenor saxophonist Lester Young offered a light-toned alternative to the deep, heavy sound of Coleman Hawkins. 7. Young was very melodic and fresh in his improvisations. He became the major model for hundreds of modern jazz saxophonists, as well as an entire subcategory of modern jazz called cool jazz. 8. Basie always stressed simplicity and swing instead of complex arrangements, and he retained the same unhurried feeling throughout his bandleading career. Chapter 7 (Duke Ellington) 1. Duke Ellington is among the most significant of all figures in jazz history. 2. As a pianist, Ellington derived his approach from the stride style of James P. Johnson, though he also devised an original style with which he set the pace and mood for his pieces and ornamented the solos of his musicians. 3. Ellington was outstanding as a bandleader, maintaining a large ensemble from the early 1920s until his death in 1974, with many musicians remaining for more than 20years at a stretch. 4. Ellington composed more than two thousand pieces, frequently in collaboration with his musicians. 5. A few of Ellingtons pieces became popular songs, such as Satin Doll, Mood Indigo, and Im Beginning to See the Light. 6. Some of Ellingtons pieces represent pioneering efforts in jazz for exceeding the brief time limit that was standard. Among his extended works is Black, Brown, and Beign, a tone parallel to the history of the American Negro. 7. As an arranger, Ellington was distinctive for a. Using a diversity of themes within a single piece b. Voicing across sections c. Using wordless vocals

d. Writing parts particularly for the unique capabilities of each musician e. Mixing improvised parts with written parts 8. From 1939 to 1941, Ellington showcased bassist Jimmy Blanton, who revolutionzed traditional concepts of the bassists role by playing melody lines by himself and with the horn sections of the band. 9. Ellingtons most famous saxophonists were Johnny Hodges and Ben Webster. 10. Ellington featured brass players who were masters of the growl style: trumpeter Cootie Williams and trombonists Joe Tricky Sam Nanton. 11. During the 1950s, Ellington featured saxophonist Paul Gonsalves and trumpeter Clark Terry.

Heres a descriptive list of the artists that are mentioned on the syllabus, divided by era:
Hard Bop
Characteristics 1950s continuation of bebop Highly singable; blues & gospel influence; simple repetitive figures Some Latin American influence Cannonball Adderly Alto sax Deep tone quality that almost sounded like tenor Warm tone, used vibrato/bending Bluesy Wailing Double-timing Horace Silver Piano; Seor Blues Bandleader & composer Almost never double-times; very succinct and clear Logical/predictable improve; forceful & percussive Used silence & starting and stopping Art Blakey Drums; Cranky Spanky Loud & intrusive Cued transitions based on volume Clifford Brown Trumpet; Kiss and Run Slow, wide, deliberate, obvious vibrato Kept in middle register mostly Smooth lines Sonny Rollins Tenor sax; Kiss & Run Developed simple melodic ideas

Hard, rough, dry, brittle tone Slow deliberate vibrato Staccato phrasing; abrupt & aggressive

Bebop
Characteristics No rock/soul gospel influence Faster tempos, stop-start, surprising breaks Not danceable, incredible solos Jumpy, twisty solos; jagged lines Charlie Parker Alto sax; Just Friends, Shaw Nuff Dense solos; often double- or quadruple- timed Energetic & enthusiastic Dry, biting tone Slow, narrow vibrato Dizzy Gillespie Trumpet; Shaw Nuff High register Strings often incorporated Goes in & out of keys harmonics Thelonious Monk Piano; Misterioso Quirky note choices Jagged lines Springy style Sounds like hes struggling to choose the next note; lags very slightly behind beat Bud Powell Piano Used left hand sparingly; for two-three note chords that de-emphasized harmony

Cool Jazz
Characteristics Softer, simpler, more melodic than bop Countermelodies & arrangements Restrained solos, middle registers, fewer blues inflections Little comping, brushes on drums Unusual instruments bari sax, vibraphones, mutes in trumpet Lee Konitz Alto sax; My Lady Dry, airy tone; soft texture, light weight Rarely use staccato or syncopations; usually legato Stan Getz Tenor sax; No Figs Girl from Impanema Rhythmic, melodic, classical influence; even 8th style

 Bossa nova Dave Brubeck Piano & composer; Blue Rondo a la Turk Odd meters Classical influence; rhythmic International influences Lennie Tristano Pianist & composer; No Figs Smooth lines, not jumpy Little repetition or motivic development Not very melodic; stream of consciousness In the pocket Long stings of uninterrupted 8th notes Gerry Mulligan Bari sax; Birth of the Cool band Also led some bands of his own Soft, dry, light tone Relatively uncomplicated, predictable Great delieration, not wild exuberance Rarely double timed Chet Baker Singer & Trumpet Easy swing, mellow mood, soft quality Lyrical, fragile, melodic sound Miles Davis Birth of the Cool 9 pc band Trumpet Stayed in middle register Soft dry sound, little vibrato

Early Jazz
Pre-early jazz John Philip Sousa bandleader of marching band Scott Joplin Maple Leaf Rag; 3/8 cross-rhythm Original Dixie Jazz Band Dixie Jazz Band One-Step Novel instrumentation cowbells No swing feeling, no improve High energy, syncopation Louis Armstrong Singer, Trumpet; West End Blues, Hotter Than That Brought soloing to forefront of jazz Scat singing Big on vibrato Less complex lines Huge range Bix Biederbecke Trumpet; Singing the Blues

 Softer, lighter weight, less brassy than Armstrong Less aggressive, less dramatic Stayed in middle register King Oliver Trumpet Pioneered use of mutes Mentored Louis Armstrong Fats Waller Pianist; Handful of Keys Stride pianist Forceful, heavy swing James P. Johnson Stride pianist Forceful, heavy swing Variation & surprise in left hand

Swing Era
Lester Young Tenor sax; Taxi War Dance, Lester Leaps In Coined the word cool Smooth, light, melodic lines Sounded easy Coleman Hawkins Tenor sax First important tenor saxist in jazz; made tenor sax a staple in jazz music Heavy tone, fast vibrato, complicated Sounded like playing was hard work Roy Elridge Trumpet Fiery aggressive style High register Long phrase lenghts Benny Goodman Clarinet Led most well-known jazz-oriented big band Art Tatum Pianist Stride-style left hand w/ horn-like lines Flowery, long fast runs Count Basie Piano, bandleader Originally stride-style Light, precise In the pocket timing Very rarely played piano in big band arrangements Duke Ellington Pianist

Trumpeting known for growling & plunger mutes (Bubber Miley, Cootie Williams) Bass revolutionized bass in jazz big pizz sound, hard swing (Jimmy Blanton) Ellington Effect Unusual instrument combos (writing across sections) Unusual instrument registers (highs/lows) Plungers in brass Abrupt changes in mood Writing for specific people Painted pictures with music; liked trains

Heres the midterm review that we had last time (correct me if Im wrong on some) Thelonious Monk is not part of the Birth of the Cool session. Compared to Bebop, Hard Bop focused more on: The composition/arrangement Write down two ways that Louis Armstrong was influential to jazzs development. Swing feeling Scat singing Extended the range upward for trumpet Brought improv to forefront of jazz The swing era included which decade 1930-40 You see a jazz band with the following instrumentation: trumpet, clarinet, trombone, banjo, bass. Which style are they most likely to be playing? Early Jazz Dave Brubeck Odd meter Influence from world music Influence from high school music Which soloist was known more for motivic development? Sonny Rollins After leaving New Orleans, where did most of the better early jazz musicians move to? Chicago What was the name of Art Blakeys most famous band? Jazz Messengers The number of notes a soloist plays within a given time-span is: Melodic Density

Horace Silver Ostenado Repetition What city did the Basie band start in? Kansas City Who was Billy Strayhorn Duke Ellingtons right-hand man What instrument did Chet Baker play? Trumpet and singer Write down two jazz trombonists of any era that weve read about or discussed in class. JJ Johnson Curtis Fuller Kid Ory Cool jazz tenor saxophonist who collaborated with Brazilian musicians, and is featured on Girl From Ipanema Stan Getz Bebop drumming is known for: Fast Tempos Which of these did NOT influence Early Jazz? Broadway show tunes Who was the first jazz composer/arranger? Jelly Roll Morton What was unique about the Chet Baker/Gerry Mulligan quartet? No Piano Who was Lennie Tristano? Cool jazz pianist Monk was the house pianist at: Mintons Playhouse Which style started in the 40s? Bebop Name the sax soloist AND big band, list one reason for each.

 Lester Young o Cool sound Describe bebops melodic contour: Jagged Which style of jazz used counterpoint more often? Cool Jazz What is a chord progression? The harmonic movement Who was Fats Waller? Stride pianist Which is not true about dizzy Gillespie? Understated stage presence