Upgrade to remove ads
Only $2.99/month

History of Jazz midterm

Terms in this set (104)

Melody
The tune; the lead vocal or instrumental line; lead singers or lead instrumentalists play melodies, or melodic lines.
Harmony
--accompaniment to the melody or a counter line to the melody
Ex: backup singer in pop music or walking bass line
--Harmony is the movement of CHORDS
Rhythm
--The pace of pulse of the notes
--most people feel rhythm through drumming patterns
Chords
--A chord is three or more notes sung or played simultaneously, or in rapid order
Ex: piano, guitar and vibes are capable of playing chords
--Multiple singers or instrumentalists can play chords as a group
Ex: saxophone section of a jazz band, or the backup singers in a doo-wop vocal group.
Tempo
--AKA pulse
--speed of the music
Beats
--rhythmic patterns are divided into beats
-- 95% of music is divided into 4 beat patterns except for example waltz which is 3 beat patterns
Measure (Bar)
--A measure or bar consists of a group of beats
--contains both strong and weak beats
--based on 4 beat measures, the strong beats are 1+3, weak beats fall one 2+4
Syncopation
--involves stressing weak beats creating rhythmic tension
--complex syncopation involves stressing beats in between the four primary beats
polyrhythm
--simultaneous use of contrasting rhythms
swing feel
--second most distinctive characteristic in jazz
Ex: walking bass line, the ride cymbal
Timbre/texture
--character or quality of a sound
--what differentiates one instrument (same or not) or voice from another
--musicians will often alter timbre of their instrument to create variation, alter the mood
Ex: Ray Charles/Betty Carter baby its cold outside
Form
--Basic structure of a piece of music
--The common forms we will observe are referred to as basic song form, (AABA, ABAC, etc.) and the 12-bar blues form.
Blues Form
--AAB (typically 12 bars)
--A1: statement of the problem, 4 bars
--A2: repeat of the above, maybe additional words, 4 bars
--B: response to the A statement (solution, conclusion) 4 bars
AABA Form
--Typically four 8-bar sections
A: 8 bars ("I got rhythm...")
A: 8 bars, essentially identical to the first A musically, might vary lyrically ("I got daisies...")
B: known as the "bridge" 8 bars (musically different than the A sections) ("Old man trouble...")
A: 8 bars, essentially identical to the first A musically, might vary lyrically ("I got starlight...")
Call and Response
--where one musician or group of musicians plays a statement (call) which is answered (response) by another musician or group of musicians
Ex: So What - Miles Davis The bass provides the call, the piano the response. In the second A section, the horns join in for the response
Roots of jazz
--Blues
--minstrelsy/popular song
--ragtime
--brass band tradition
Development of the blues
--Field hollers: sung by solitary workers in the fields
--Work songs: sung by a group of workers, usually with a tool of labor such as a pick, ax,
hammer, shovel
--Religious Songs: provided a positive look at life after slavery; hope for the heavenly rewards. The form of the blues came from religious hymns sung by the slaves
EX: Georgia Sea Island Singers - The Buzzard Lope
spiritual dance based on the practice of leaving a body in the field to be consumed by buzzards.
call and response song, Bessie Jones provides the call and is answered by seven men.
Blues
--considered mother language of American music
--form: AAB
Country Blues
--Lyric themes: local events, people, love, death, freedom
--song structure: AAB
--vocal style: raw, scoops, smears, bent notes
--accompaniment: folk style, self accompaniment on guitar or banjo
--performers: Itinerant male folk-singers traveling the rural south
Urban blues
--Lyrics themes: universal themes, urban life, relationships
--Song structure: AAB (3 4-bar phrases, 12 bar blues/ reckless blues by Bessie Smith)
--Vocal style: refined, full sound, vibrato, some effects
--accompaniment: ensemble, lead vocal with band
--performers: predominantly female, vaudeville circuits, urban area
Bessie Smith
--"Empress of the Blues"
--world renowned performer
--major figure in 1920s
--powerful vocal style
--vaudeville star who performed the blues in large theaters without amplification
Blues influence on jazz
--one of the roots
--basis for improv
--gave jazz its soul
--introduced blue notes
--Jazz musicians must know how to play the blues; blues musicians do not necessarily play jazz
--The blues has maintained an identity separate from jazz
The Minstrel Show
--white performers who artificially blackened their skin and carried out parodies of African American music
--1840-1880 minstrelsy became the predominant genre of popular culture in the United States
--the first expression of a distinctively American popular culture
Jim Crow
--created by actor Thomas Dartmouth Rice
--Spoke and sang in a dialect that was based partly on preexisting white rural characters
Virginia Minstrels
--created by Dan Emmett
--a lengthy performance that featured a standardized group of performers:
Mr. Interlocuter—lead performer who sang and provided patter between acts
Mr. Bones and Mr. Tambo—sat at either end of the line of performers.
Popular song
-- BALLAD- a narration of local history or the celebration of sensationalized exploits of "bad men" - heroes of resistance.
Ex: John Henry- did not let drill beat him
--Influenced jazz and blues as a system of story telling.
Stephen Collins Foster
--most influential popular song writer during the nineteenth century
--made song forms later used in 20th c popular music common to American audiences
--composed around 200 songs in the mid 1800
Brass Bands
--Military bands made up of brass instruments spread rapidly during and after the Civil War
--A town without a brass band was barely a town
John Philip Sousa
--America's "March King"
--most popular band leader in late 19th early 20th c.
-- Leader of the Marine Corps Band then a successful private band which traveled the country
--Composer of many famous marches, his most famous, Stars and Stripes Forever
Ragtime music
--basic patterns were transferred from the banjo
--energized popular music in America by adding rhythmic vitality (syncopation) to the music
--initially was a piano music but gradually came to identify any syncopated music
--utilized classical piano technique
--eventually performed in group settings, ragtime orchestras
--influenced by Latin American rhythms such as the Cuban habanera
Scott Joplin
--most important and influential ragtime composer
--first great ragtime composition, Maple Leaf Rag, composed in 1899, sold over one million copies
Turkey Trot and Tango
--"Freak dances"
--At beginning of 20th c dance fads loosely based on black styles included turkey trot, bunny hug, grizzly bear, and the most popular, the fox trot
Vernon and Irene Castle
--World War 1 era
--Husband-and-wife dance team who changed the course of social dancing in America
--Made syncopated dance acceptable to the mainstream
--Established an image of mastery, charisma, and romance
--Legitimized African American dances in the eyes of white audiences in turn, legitimized jazz to white audiences
James Reese Europe
--first African American to be offered a recording contract
--African American musician and bandleader
--Associating with the Castles helped to cross racial boundaries
Wilbur Sweatman
--"Down home rag"
--Seen as a transitional recording from ragtime to jazz
--Wilbur Sweatman clarinet with the
Emerson Trio, (piano and trombone)
--Uses secondary ragtime syncopation and swooping blue notes
Ragtime and Jazz
--ragtime provided early jazz groups their first repertoire of non-blues tunes on which the musicians could improvise
--early jazz rhythm section players (piano, bass, drums, banjo) emulated the left-hand march patterns (the first jazz bands were marching bands)
--early jazz musicians borrowed the idea of multiple simultaneous melodies, or counterpoint in arranging ragtime pieces for their bands
New Orleans
--port city
--jazz started out as a local musical practice in New Orleans until 1917 when the rest of the country heard about it
--transformed brass band and dance music into an improvised, playful-voiced, cyclic, polyphonic music over a steady dance beat.
--was a site characterized by the mingling of newly urbanized blacks with Europeanized Creoles
Congo Square
--field behind the French Quarter
--late 17th to 19th century slaves and free blacks were permitted to dance and play music on Sundays here
--That it lasted this long is important because it gave the tradition an enduring role in New Orleans culture
Race in New Orleans
--before civil war some blacks could own land and slaves
--before civil war caste system:
free whites including Creoles of Color, free blacks, slaves
Creoles of Color
--had privileges and opportunities that blacks did not; civic power, property ownership, French language skills, Catholic religious practice, decent education, and skilled trades.
--lost this status with in 1894 with Jim Crow Laws
--Creoles and blacks formed a tight-knit society in New Orleans with their own social clubs, businesses, organizations etc.
--Formal classical music training was available
--after civil war anyone of african descent were considered black
--after civil war creoles dropped to the bottom of the caste system
Storyville
--plagued with prostitution, Sidney Story proposed a licensed prostitution district
--It was a rough area where white values of taste were absent. This made it easier for musicians to develop expressive techniques, slow tempos (for sexy, slow dances), and timbre variation.
Brass Bands
--funeral parades: solemn procession to funeral site then up tempo, happy marches back in to town
Ex: Just a closer walk with thee (procession) When the saints go marching in (back to town)
Early Jazz
--more of each performance was improvised
--rhythmic feeling was looser and more relaxed, thus anticipating jazz swing feeling
--origin of the term jazz (jass) is debated, sexual slang, jasmine perfume
--improvised format created a more complex musical product than was typical in ragtime, blues or brass band music
Buddy Bolden
-- known as "King" Bolden in New Orleans
--he was the first individual "personality" of jazz as well as first recognized important improviser of jazz in New Orleans
--NO recordings exist
--had mental disorder and never performed again
Original Dixieland Jazz Band
--all white
--from new orleans went to play in NY and were a sensation
--they were so popular that they brought the word "jazz" into common parlance.
--made first jazz recording in 1917
--leader, Nick LaRocca asserted he invented Jazz
--"Dixie Jass Band One-Step"
--One Step, some question as to improvised parts are really improv
--after first black New Orleans jazz recording, ODJB faded into memory
Jelly Roll Morton
--first SIGNIFICANT jazz composer
--introduced arranging pieces
--combined written and improvised jazz
--often wrote out 3 part counterpoint lines for his band
--first to utilize string bass in place of the tuba creating that walking bass line
--bridged gap between ragtime and jazz by loosening ragtime's feel and playing eighth notes in a "more" swing like fashion
--RECORDING: "Dean man blues" "Doctor Jazz"
Joe "King" Oliver
--tutored Louis Armstrong
--went to chicago where he reformed his Creole band and invited Louis Armstrong to join
--band became a model for chicago jazz, audiences in awe of almost psychic means in which he communicated with Louis Armstrong on stage
--RECORDING: Snake rag
Sidney Bechet
--one of the finest Storyville clarinetists
--the first virtuoso soloist in jazz
--traveled Europe where they heaped great praise upon him
--RECORDING: "Cake Walking Babies
Preservation Hall
--Began in 1962 with the intention of
preserving the heritage of early jazz
--It is an extremely popular tourist attraction, garnering lines of listeners every night
Paul Whiteman
--moved to NYC and started making recordings for Victor Records making Paul Whiteman Orchestra famous nationally
--"The King of Jazz", a moniker he never ascribed to
--concept of Symphonic Jazz
--crossed racial lines behind-the-scenes, hiring black arrangers like Fletcher Henderson
--RECORDING: Changes
Fletcher Henderson
--established the modern instrumentation of a swing band and set the early standards for arranging music
--formed his own band, a basic six piece unit
--RECORDING: copenhagen
--the most prolific black recording artist of the day
--his style was characterized by most memorable riffs, left lots of room for solos, was driving
--RECORDING: Blue lou
James P Johnson
--RECORDING: you've got to be modernistic
--foremost practitioner of the Harlem stride piano style; he became known as the "father of Harlem stride"
--Modernisms: the introduction and first two strains use advanced harmonies; the piece switches in the middle from formal ragtime to the theme and variations of jazz.
-This structure reflects the transition from ragtime to stride and from composition to variations
Duke Ellington
--The Ellington Orchestra
--learned to play the piano by running rolls through a player piano's mechanism
--his piano playing stemmed from the Harlem stride style
--he wouldn't write the instrument name at the top of the page, he'd write the player's name
--contributed:
§He demonstrated the potential of big-band jazz way beyond anything Whiteman was doing.
§ He solidified the influence of stride piano as a pianist and arranger.
§ He proved that innovative jazz writing could be applied to popular song.
§ He violated the assumptions about jazz as a low and unlettered music by refusing to accept racial limitations.
--RECORDING: black and tan fantasy
--became music director at the cotton club
Swing
--during 1930s, jazz was called swing
--big bands made of instrumentals sections of reeds, brass and rhythm played in large ballrooms for multitudes of dancers
--commercial appeal
--bluesy phrasing and balance between improvisation and composition
--represents the most popular period of jazz in America
--sweet bands: very little improv however used jazz instrumentation and light jazz style
--hot bands: preferred to feature improv, a loud, driving rhythm section and exciting shout choruses
Swing and Economics
--depression increased public interest in jazz b/c people stayed home to listen on the radio
--depression almost destroyed record industry
--jazz was part of popular entertainment network; some saw homogenization as a loss, demeaned through commercialism
--on other hand, commercialism made this jazz possible in that it attracted many musicians all over; as competition increased, the musical standards increased in demands on technical reading ability
World War II
--during war, swing was very popular
--swing symbolized strengths of american democracy, it was participatory, informal, and built community
swing and dance
--characterized by a four-beat foundation, perfect for dancing
--the savoy: ballroom in harlem, could hear two bands a night, mixed ethnic and social environment, social dancing was communal and intense
--new dance style called the lindy hop, lower to the ground, more flexibility in hops and knees, allowed for improv during breakaway
Arranging
--composer: creator of new music
--arranger: one who takes existing music and organizes it for an ensemble to play, choosing which instruments will play what parts and when
--composer/arranger: one who composes and arranges his/her own music
--riff: many compositions of the swing era were built on "riffs" a short, catchy, repeated melodic phrase
Swing Ensemble
--at height of swing era, basic ensemble consisted of: saxophone section of 3-5 players, trombone of 2-5 players, trumpet section 3-5 players, rhythm section consisting of piano, string bass guitar and drums
--each section in the band has a featured soloist and a "lead" player who dictates tone quality, phrasing, and other musical elements to the other members of the section and between the section of the band
swing ensemble rhythm section
--tuba made way for string bass
--guitar took over from the banjo, added more subtle and secure sound to the music
--drummers began simplifying their set ups, started using instead hi-hat cymbals
--rhythm sections in general began playing with a more economical, driving, swinging feel
Benny Goodman
--Clarinet/bandleader
--could play classical, jazz
--feels clarinet saved him from a life of crime
--met john hammond a music promoter who got him his first big break appearing on NBC radio's Lucky Strike/Let's Dance program
--negotiated recording contract with Columbia records and did a cross country tour
--last night of tour his band pulled out their "hat" piece
--became overnight sensation and was hailed "King of Swing"
--first nonclassical to perform at carnegie hall
--became first bandleader to perform in public with an ensemble comprised of black and white musicians
--came up with small groups, which emphasized soloists, were interracial, music referred to as chamber jazz
--RECORDING: Dinah
Goodman's Legacy to jazz
--popularized swing more than any other bandleader
--led the best known band of the era
--first bandleader to perform with an integrated band
--took jazz out of bars and into fine concert halls
Artie Shaw
--Clarinet/Bandleader
--sought guidance from harlem stride master Willie "The Lion" Smith
--began a band and saw and unexpected success
--interested in bands of french impressionists
--RECORDING: star dust
--signed Billie Holiday, first white bandleader to hire a full-time black female singer to tour segregated south
Jimmie Lunceford
--RECORDING: 'Taint what you do (it's the way that you do it)
--saw music as a means of social and economic uplift
--taught music eventually assembling a band from his students and associates
--Lunceford also placed an emphasis on showmanship and humor, utilizing skits
Kansas City Sound
--KC was run by gangster politician Tom Pendergast who was a great supporter of clubs and nightlife
--functioned through depressions as though prohibition never existed and as if economy were still strong
--many groups were territory bands: groups not bound by union affiliation and therefore could not travel and perform throughout a region without conflict
Characteristics of Kansas City Swing
--blues based music
--improv primary focus
--most compositions were riff tunes
--each musician memorized his part "head arrangements"
-performances were not highly polished
--lots of musicians couldn't read so arrangements were simple
boogie woogie
--piano style characterized by a moving 8th note left hand line based on the blues
--revival led by john hammond
--first popularized in texas, louisiana, KC
--precursor to rock n roll
--RECORDING: its all right, baby
Andy Kirk
--student of Paul Whiteman
--bandleader/sax
--essentially a territory band, settled in KC becoming so popular they rivaled Bennie Moten's band
--Mary Lou Williams star soloist of the group
--RECORDING: walkin and swingin (more sophisticated arrangement than most territory or KC bands typically played)
--Band could function as a "hot" jazz band or a sweet society band
Mary Lou Williams
--helped pave the way for women instrumentalists in jazz
--outstanding arranger and pianist
Bennie Moten
--bandleader/piano
--hottest band in the southwest
--group became the first important group in the establishment of the KC style
--main competition was from the blue devils
--group became the core of the Count Basie Orchestra
William "Count" Basie
--Piano/bandleader
--stranded in KC with a vaudeville act, he was hooked and decided to stay
--Basie's band was heard on a KC radio broadcast by john hammond who went to meet and hear Basie, talked him up to Downbeat Magazine
--got signed but screwed cuz he didn't get any of the royalties
--rhythm section, All American Rhythm Section, was a hard driving unit, a favorite for dancers
--economical style was a departure from typical, busy, comping style
--RECORDING: One O'Clock Jump
1)one of his most popular recordings, his theme song
2)typifies Kansas City swing
--Hammond paired Goodman's band against Count Basie's band in many battle of the bands contests; Basie trounced Goodman every time
Edward Kennedy "Duke" Ellington
--piano/bandleader/composer/arranger
--become one of the most popular swing bands of the big band era
--composed more than two thousand songs
--compositional style has been broken down into seven categories or "books":
1)impressionistic book, or tone poems; pieces that describe places, moods, people, culture, etc.
2)romanic ballads (duke virtually invented the instrumental jazz ballad)
3)exotic book
4)concert book (he is acknowledged for having taken jazz into the format of "extended works")
5)concertos
6)sacred concerts
7)popular song book
--RECORDING: Mood Indigo
--RECORDING: Congo Brava
--Ellington's concertos are unique in jazz; performed by a soloist with large ensemble accompaniment
--among the most important figures in the history of jazz
--introducing new cross section voicing techniques
Ben Webster
--Tenor saxophone
--tone was described as "gruff" but he played very smoothly on ballads
--more melodic than vertical in his soloing style
Lester Young
--Tenor sax
--one of the leading soloists of the swing era
--tried to emulate the warm smooth tone quality of tenor sax
--playing was more blues inflected and laid back than his contemporaries
--extremely influential
--ability to swing very hard while also give the illusion that his lines somehow floated rhythmically over the rhythm section
--nicknamed "Prez" by Billie Holiday
--called everyone lady
Lester Young's Style
--sharp in contrast to hawkins in tone quality, improvisionary style, phrasing, feel, and melodicism
--more liberal with dissonance, would repeat, slightly altering the pitch in doing so
--some melodic phrases used notes of the chord and some did not
David "Little Jazz" Eldridge
--Trumpet
--influenced by Hawkins
--leading trumpet soloist of the swing era
--next great trumpeter next to Armstrong
--mastery of trumpet meant he could play saxophone like lines with ease
--model for Dizzy Gullespies stratosphere
--story telling quality
Django Reinhardt
--Guitar
--first significant non-american jazz musician
--burned his left hand which fused two of his fingers but managed to play anyway
--co founded quintette du hot club de france, gaining celebrity status
--traveled to US toured with Duke Ellington as a featured soloist playing electric guitar for the first time in his career
Benny Carter
--Sax, trumpet, composer, arranger
--signature devices was to write black chord soli passages fro the sax section
-- fellow musicians held him in the highest regard calling him "King" Carter
--occasionally sang, played also sax, trumpet, clarinet, tenor sax, soprano sax, and piano
--helped establish the alto sax as a major jazz instrument
--RECORDING: I'm coming Virginia
Singers
--model themselves on the rhythmic freedom of instrumentalists while instrumentalists model themselves on the flexibility and expressiveness of the voice
--concentrate on melody
--occupy a middle ground between jazz and commercial music
--singers were added to big bands because lyrics made melodies more memorable and more likely to become a hit
Billie Holiday
--RECORDING: A sailboat in the moonlight
--began working at cafe society, an interracial club that catered to intellectuals
--sang a song called strange fruit which talked about the lynching of blacks which gave her a heightened credibility
Ella Fitzgerald
--vocalist
--first and last truly great scat singer
--general aesthetic lighter than Billie Holiday
--gained notoriety with Chick Webb's group after his passing
--went on to work solo
--one of the premier interpreters of popular song
--RECORDING: Jazz at the philharmonic-blue skies
Piano
--vast development over the early years of jazz with the raise of ragtime, harlem stride, boogie-woogie
--Earl Hines developed the piano as a soloistic instrument
Thomas "Fats" Waller
--student of James P Johnson
--also played organ for silent movies
--entertainer in same mold as Louis Armstrong
--second most popular black entertainer of the 1930s
--important composer of popular songs
--mentored Count Basie who would play the petals for him
--RECORDING: Christopher Columbus
Art Tatum
--piano
--legally blind, self taught genius pianist
--learned to play from piano rolls which were sometimes made by two or more players
--RECORDING: over the rainbow
The Guitar
--problem it was difficult to hear in an ensemble.
--methods of amplification started to develop
--Django showed potential of jazz guitar
--gibson company started making guitars in 1930s
--Charlie Christian showed that the electric guitar was more than a loud acoustic guitar.
Charlie Christian
--electric guitar
--played with benny goodman
--first important electric guitarist
--died early of tuberculosis
--RECORDING: swing to bop
--balance of melodicism and vertical playing
--lines would directly influence beboppers
The bass
--last instrument of the rhythm section to reach maturity
--traditional role of keeping the beat and outlining the basic harmonies provided little incentive to bassists to expand instruments possibilities
--till 1930s bass wasn't a featured solo instrument
Jimmy Blanton
--bass
--first to record bass solos that departed from standard walking bass line
--ellington often wrote melodic lines and counter lines for blanton, putting his virtuosity to full use
The Drums
--drummer were loud and very often the center of attention
--drummers learned to become showmen in terms of their performance persona and instruments
Chick Webb
--drums
--first great swing drummer and the first to lead his own orchestra, one that rules harlem's savoy ballroom in the early 1930s
--influenced most of the major swing era drummers
--became nationally known when he discovered ella fitzgerald and recorded her hit, "A Tisket, a Tasket"
Gene Krupa
--drums
--one of the Austin High Gang
--first drummer to become a matinee idol
--known for his tom tom solo on "Sing, Sing, Sing" with benny goodman
--brought the drums to the forefront, expressing virtuosity and showmanship
Jo Jones
--drums
--"Papa Joe" made his mark with the basie band
--started off as a tap dancer
--great innovation was to transfer the time from the bass drum and snare to the high hat cymbal, creating a lighter sound
Buddy Rich
--drums
--regarded as the foremost virtuoso on the instrument
--started playing professionally as a child and played with several important bands during the 1930s
--later formed his own successful bands, leading them throughout his life
New York
--central to jazz because of its commercial appeal, sociological, and musical
developing technologies
--three periods of technological advances:recordings, radio, and movies during the 1920s; television during the 1940s; and digitalization during the 1980s
--people stayed at home to listen to the radio and started buying recordings to listen to at home because everything sounded much clearer
--Movies started using sound with the film The Jazz Singer. Radio and recordings spread jazz faster than any music in history. Musical styles wore out much more quickly now, so jazz developed very quickly.
Prohibition
--explosion of speakeasies and job opportunities for jazz musicians
--increased crime rate
--buying or consuming alcohol was not illegal but selling it was
Don Redmond's influence
--pitted sax against brass section to create call and response
--created black chord voicings within each section
--introduced soli
--introduced shout chorus
Harlem Renaissance
--explosion of African American art, philosophy, literature
--The Apollo theater was one of many performance venues which arose in Harlem
Louis Armstrong
--MOST IMPORTANT FIGURE IN THE HISTORY OF JAZZ
--transformed jazz into an art and where anyone could find a voice
--introduced concept of scat
--hot five: recording band with ONE live performance
--RECORDING: hotter than that with hot five
--RECORDING: west end blues
--RECORDING:Weather bird
Earl "Fatha" Hines
--developed a percussive approach to piano playing
--tremendous technique but used it sparingly
Austin High Gang
--two categories of jazz musician in chicago: black musicians from new orleans like armstrong and oliver or white musicians who studied new orleans style
--Benny Goodman - clarinet
Glenn Miller - trombone
Tommy Dorsey - trombone
Jimmy Dorsey - alto sax and clarinet
Eddie Condon - guitar
Gene Krupa - drums
Jimmy McPartland - trumpet
Bud Freeman - tenor sax
Dave Tough - drums
Bix Beiderbecke
--cornet player
--learned to play piano on his own
--preferred to improvise his own versions of classical music and popular songs
--french impressionistic style implanted in his mind
--heard ODJB and taught himself to play the cornet
--incorporating clever, syncopated placement of notes and the use of longer, held tones, a striking new sound in jazz
--RECORDING: Singin' The Blues
Coleman Hawkins
--father of the tenor sax
--playing style was more vertical than horizontal
--admired for his ability to navigate complex chord progressions
--seen as a pivotal figure into the bebop era
--RECORDING: if I could be with you one hour tonight
--RECORDING: body and soul; most famous recording
Billy Strayhorn
--composer and arranger
--co-composer and arranger to ellington
--loved classical music but era steered him to a career in popular music
--RECORDING: blood count
THIS SET IS OFTEN IN FOLDERS WITH...