Red Back Book Of Rags
published by the Stark Music Company of St. Louis around 1912. John S. Stark had chosen rags for this collection which he had already successfully published as piano rags, especially from his composer star Scott Joplin and James Scott. The orchestrations follow strictly the piano compositions. The fifteen "classical" rags of the collection include Maple Leaf Rag.
was a noted American jazz pianist and band leader born in Kansas City, Missouri.
He led the Kansas City Orchestra, the most important of the itinerant, blues-based orchestras active in the Midwest in the 1920s, and helped to develop the riffing style that would come to define many of the 1930s Big Bands. Their final session on December 13, 1932, showed the early stages of what became known as the "Basie sound"; four years before Basie would record under his own name. This session included the tune "_________ Swing" although ___________ himself was not on it.
in 1920's and early 30's, dance bands that serviced a _______________. defined by day's drive from an urban center. regional bands. brought swing to smaller areas. They typically played "the Top 40 cover bands of their day, typically relying on stock arrangements of other ensembles' hits." He said, "many historians give much credit to territory bands for popularizing modern ballroom dancing that began during
Walter Page's Blue Devils
was an American jazz multi-instrumentalist and bandleader, best known for his groundbreaking work as a double-bass player with _______________'s Blue Devils and the Count Basie Orchestra. Credited for popularizing the "walking bass" style.
The Blue Devils
The premier territory band of the southwest. Several prominent jazz musicians were members, including Lester Young, William "Count" Basie and Buster Smith. __________________ disbanded in 1933, after which Basie recruited most of the group's members to join his group, which had begun in 1931, but then changed the name to the Count Basie Orchestra.
was an American jazz guitarist and trombonist of the swing music medium born in San Marcos, Texas.
Cab Calloway, Glenn Miller and Count Basie, among others. He is the co-composer of the tune "Topsy", recorded by the Count Basie Orchestra and later by many others. He also was the arranger for Glenn Miller's "In the Mood". He is also credited for creating the world's first electric guitar solo with a guitar in 1938.
was an American swing jazz guitarist. He was especially noted for his sophisticated rhythm guitar in big band settings, particularly for the Count Basie orchestra, where he was part of the "All-American Rhythm Section" with Basie on piano, Jo Jones on drums, and Walter Page on bass.
is perhaps the most recognizable instrumental in the repertoire of American jazz tenor saxophonist Sonny Rollins, who is usually credited as its composer. by way of the Folk process, evolved into a nursery song in the Virgin Islands, which Rollins' mother sang to him when he was a child. As such, it has a distinct Caribbean vibe to it.
______________ became popular when it was released on Rollins's 1956 album Saxophone Colossus,
THE rhythm section
consisted of Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums. They played in the Miles Davis quintet in the 1950's.
The blocks of ___________between Fifth Avenue and Seventh Avenue were renowned in the mid-20th century for the abundance of jazz clubs and lively street life. The street was convenient to musicians playing on Broadway and the 'legitimate' nightclubs and was also the site of a CBS studio. Musicians who played for others in the early evening played for themselves on__________.
In its heyday from 1930 through the early 1950s, ____________clubs hosted such jazz legends as Miles Davis, Harry Gibson, Dizzy Gillespie, Billie Holiday, Nat Jaffe, Marian McPartland, Thelonious Monk, Charlie Parker, Louis Prima, Art Tatum, Fats Waller, and many more. Although musicians from all schools performed there, after Minton's Playhouse in uptown Harlem, _________ was the second most important place for the dissemination of bebop;. In fact, a tune called "___________ Theme" by Thelonious Monk became a bebop anthem and jazz standard.
The first music genre to be commonly known as __________ music was a style of piano playing related to ragtime, but emphasizing rhythm more than melody or harmony; the style evolved in response to an environment where the pianos were often poorly cared for, tending to be out of tune and having some nonfunctioning keys.
the drummer that was part of the first "rhythm section". He worked as a drummer and tap-dancer at carnival shows until joining Walter Page's band, the Blue Devils in Oklahoma City in the late 1920s. He recorded with trumpeter Lloyd Hunter's Serenaders in 1931, and later joined pianist Count Basie's band in 1934. _________, Basie, guitarist Freddie Green and bassist Walter Page were sometimes billed as an 'all-American Rhythm section'.
A record producer for Columbia records and talent scout that found numerous amounts of artists including Benny Goodman, Charlie Christian, Billy Holiday, Teddy Wilson, Count Basie. Strived for racial integration of music and was famous for the 1935 Benny Goodman trio featuring black pianist Teddy Wilson at the Chicago Hot Jazz Society.
"Lady Day"/ Billy Holiday
was an American jazz singer and songwriter. Nicknamed "Lady Day" by her friend and musical partner Lester Young, _____________ had a seminal influence on jazz and pop singing. Her vocal style, strongly inspired by jazz instrumentalists, pioneered a new way of manipulating phrasing and tempo.
nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and clarinetist.
Coming to prominence while a member of Count Basie's orchestra starting in 1933, when settling down in Kansas City. _____________ was one of the most influential players on his instrument, playing with a cool tone and using sophisticated harmonies. He invented or popularized much of the hipster ethos which came to be associated with the music.
born in Columbus, Ohio, was an American jazz trumpeter and member of the Count Basie Orchestra. After this, In the early 1950s, he settled on the West Coast and became a highly sought-after studio musician, making important contributions to recordings by such artists as Billie Holiday, Frank Sinatra, and Ella Fitzgerald.
also known as the "First Lady of Song" "Queen of Jazz" and "Lady_____________," was an American jazz and song vocalist. With a vocal range spanning three octaves she was noted for her purity of tone, impeccable diction, phrasing and intonation, and a "horn-like" improvisational ability, particularly in her scat singing.
She sang in the big band era and the bebop era.
was a pioneering virtuoso Belgian jazz guitarist and composer. Often regarded as the first important European jazz musician who made major contributions to the development of the idiom, he is also revered by guitarists worldwide as among the foremost exponents of the instrument. Reinhardt invented an entirely new style of jazz guitar technique (sometimes called 'hot' jazz guitar) that has since become a living musical tradition within French gypsy culture. Lost the use of two of his fingers on his left hand in a fire yet learned his craft and became famous for his ability to play with only two fingers.
Hot Club Of France
he club was founded by jazz enthusiasts and amateurs for the sole purpose of helping to spread the music to the rest of the world. The members joined together to promote the music in whatever form they could, leading to such developments as the first of many concerts in 1933, the creation of______________________ , the club's official magazine, the founding of the Swing music label in 1937, conferences, rare-disc listening sessions, radio talks, and the birth of regional _____________, among others. It was rather strict about what they deemed legitimate; being swing and African American blues. When Charles Dulayney began to get interested in bebop, he isolated himself from the club in 1947.
a style of piano-based blues that became popular in the late 1930s and early 1940s, but originated much earlier, and was extended from piano, to three pianos at once, guitar, big band, and country and western music, and even gospel. While the blues traditionally depicts a variety of emotions, boogie-woogie is mainly associated with dancing.
Meade Lux Lewis
was a American pianist and composer, noted for his work in the boogie-woogie style. His best known work, "Honky Tonk Train Blues", which was his recording debut in 1927. He came to public attention with John Hammond's 1938 "From Spirituals To Swing" and his performance there led to a boogie-woogie craze in the 40's.
In the mid-1930s, ______________________ led one of the most popular musical groups in America. His January 16, 1938 concert at Carnegie Hall in New York City is described by critic Bruce Eder as "the single most important jazz or popular music concert in history: jazz's 'coming out' party to the world of 'respectable' music."
The Palomar Hall
The ballroom hosted popular bands including those led by Tommy Dorsey, Glenn Miller, Artie Shaw, Glen Gray, Jimmy Dorsey and Kay Kyser, among others. Nightly radio broadcasts on local station KFLJ attracted large crowds to the "Dining, Dancing and Entertainment Center of the West." An aircheck from a Charlie Barnet broadcast is included in the LP "Radio Rhythm" (IAJRC 14). The famed structure was the backdrop for several major Hollywood films that included The Big Broadcast of 1937, made during Benny Goodman's return engagement, and Dancing Coed, which starred Lana Turner and Artie Shaw's band.
was an American jazz vibraphonist, pianist, percussionist, bandleader and actor. Like Red Norvo, he was one of the first jazz vibraphone players. Hampton ranks among the great names in jazz history, having worked with a who's who of jazz musicians, from Benny Goodman and Buddy Rich to Charlie Parker and Quincy Jones.
was originally a vaudeville orchestra instrument, the 1930s saw it come to play in the jazz scene and has been known mainly for this since. Lionel Hampton can be credited for its popularity in jazz and became the vibe player in the Benny Goodman quintet in
an American jazz pianist. Described by critic Scott Yannow as "the definitive swing pianist", ________'s sophisticated and elegant style was featured on the records of many of the biggest names in jazz including Louis Armstrong, Lena Horne, Benny Goodman, Billie Holiday, and Ella Fitzgerald. With Goodman, he was perhaps the first black musician to play in a racially integrated group.
was an important early performer on the electric guitar, and is cited as a key figure in the development of bebop and cool jazz. He gained national exposure as a member of the Benny Goodman Sextet and Orchestra from August 1939 to June 1941. His single-string technique combined with amplification helped bring the guitar out of the rhythm section and into the forefront as a solo instrument. Discovered by John Hammond. Died at 25 years old.
a jazz drummer and bandleader. He was a major innovator of the bebop style of drumming. As the house drummer at Minton's Playhouse in the early 1940s, he participated in the after hours jams that led to the birth of Be-Bop, which in turn led to modern jazz. While in New York, he played with the major innovators of the emerging bop style, Charlie Parker, Dizzy Gillespie, Thelonious Monk, Curly Russell and others, as well as musicians of the prior generation, including Sidney Bechet.
one of the clubs that played host to the birth of bebop. Musicians such as Thelonious Monk, Charlie Parker, Dizzie Gillespie, Kenny Clarke, Charlie Christian. Famous for the "cutting" sessions/ duels and jam sessions.
The Recording Ban
On August 1, 1942, the American Federation of Musicians, at the instigation of union president James Petrillo, started a strike against the major American __________companies because of disagreements over royalty payments. Beginning at midnight, July 31, no union musician could _____ for any ____ company.
This is important to note because as a result of this ____, the earliest days of bebop were not cut onto disc, and it marks this point in music that vocalists now make more money than instrumentalists because at the time singers weren't considered musicians.
a trumpet virtuoso and improviser, building on the virtuoso style of Roy Eldridg ] but adding layers of harmonic complexity previously unknown in jazz. His beret and horn-rimmed spectacles, his scat singing, his bent horn, pouched cheeks and his light-hearted personality were essential in popularizing bebop.
In the 1940s, ___________ together with Charlie Parker, became a major figure in the development of bebop and modern jazz. He taught and influenced many other musicians, including trumpeters Miles Davis, Fats Navarro, Clifford Brown, Arturo Sandoval, Lee Morgan, Jon Faddis and Chuck Mangione.
Night in Tunisia
Dizzie Gillespie composition from 1942 while working with the Earl Hines band and has since become a jazz standard. Notable for avoiding walking bass and use of half-step up/ down chord progression using sub V chord.
a style of jazz characterized by fast tempo, instrumental virtuosity and improvisation based on the combination of harmonic structure and melody. It was developed in the early and mid-1940s. It first surfaced in musicians' argot some time during the first two years of American involvement in the Second World War. This style of jazz ultimately became synonymous with modern jazz, as either category reached a certain final maturity in the 1960s.
forefront of blues and hard bop jazz musicians mainly from Kansas City. He assembled his own big band, with musicians that included some of the most influential artists of their time, including Charlie Parker, Bernard Anderson, Ben Webster and Walter Brown. His kind of music became known as "the Kansas City sound"
A jazz saxophonist. Considered by some to be the greatest improviser in all of jazz and to be the best saxophonist, too. Nick named the "Bird" because he "flew over the changes". Played mainly from 1942 until his death in 1955 at the age of 34. Opened up the possibilities of jazz soloing and an inspiration to countless saxophonists because of his dazzling virtuosity and technique. Had a lot of issues with drugs, mainly heroin, which he struggled with for twenty of his thirty-four years alive.
I Got Rhythm
a song written by George and Ira Gershwin in 1930. It has since become a jazz standard and its chord progression aka "______ changes" has since become one of the most used progressions in Jazz, second only to the blues.
Bird & Diz
An album by saxophonist Charlie Parker and trumpet player Dizzie Gillespie recording primarily on June 6, 1950 in NYC. It serves as the final collaborative studio recording by Parker and Gillespie, and it is also notable for featuring an early appearance of pianist Thelonious Monk.
Ko-ko is a bebop tune by Charlie Parker recorded in 1945 with Dizzie Gillespie on trumpet. The head is based off of
an American jazz musician, trumpeter, bandleader, and composer. Widely considered one of the most influential musicians of the 20th century. His career spanned the bebop era, cool jazz, hard bop, modal jazz and jazz fusion. "Kind of Blue" album is considered
Earl "Bud" Powell
A bebop pianist that translated the lightning fast bebop lines of Charlie Parker onto the piano. Live 1921-1966. Brother of Richie Powell, although seen as a better pianist. Played at Minton's in the early 40's and was protege of Thelonious Monk himself. Lot of mental problems, many breakdowns.
an American jazz percussionist, drummer, and composer. pioneer of bebop, Roach went on to work in many other styles of music, and is generally considered alongside the most important drummers in history. worked with many famous jazz musicians, including Coleman Hawkins, Dizzy Gillespie, Charlie Parker, Miles Davis, Duke Ellington, Thelonious Monk, Charles Mingus.
Hall in Toronto that held the legendary Parker-Gillespie concert in May 1953. Record released around the same time, had Charlie Parker as Charlie Chan in order to avoid contract infraction. Used Plastic alto sax, Salt Peanuts, "worthy constituent". THE quintet of Parker, Gillespie, Roach, Mingus and Powell.
Bass player and composer that started out as a swing musician , played bebop with all of the major innovators of that style, and went on to lead some of the most adventuresome music ensembles of the twentieth century. His music brought together many different influences including swing, bebop, funky jazz, blues and gospel.
*evolved from bebop as a reaction to cool jazz
*an attempt to go back to the Black American roots of jazz
*louder, more intense, more aggressive
aka "The preacher", a hard bop musician that played with Art Blakey. known for his distinctive humorous and funky playing style and for his pioneering compositional contributions to hard bop. He was influenced by a wide range of musical styles, notably gospel music, African music, and Latin American music and sometimes ventured into the soul jazz genre.
n American jazz saxophonist and composer. Working in the bebop and hard bop idioms early in his career, helped pioneer the use of modes in jazz and later was at the forefront of free jazz. He organized at least fifty recording sessions as a leader during his recording career, and appeared as a sideman on many other albums, notably with trumpeter Miles Davis and pianist Thelonious Monk. Famous for "sheet of sound" and album "A Love Supreme" and tune "Giant Steps"
is the pseudonym taken by Charlie Parker when recording for other labels. Also when he was playing certain saxophones in the United States like at the Massey Hall performance he was forced to go by Charlie Chan because of his use of a Grafton, white plastic sax.
a 1942 tune by Dizzie Gillespie and Kenny Clarke. Performed at Massey Hall and is said to be based off of a rhythm "salt PEA-nuts, salt PEA-nuts". The rhythmic idea goes back further, though to Count Basie's "Basie Boogie" in '41.
Drumming sounding more like a melody than a rhythm. A solo could be the exact melody line just on a drum set and