Charles wright express yourself bass tab

Experiencing Jazz

Experiencing Jazz, Second Edition, is an integrated textbook with online resources for jazz appreciation and history courses. Through readings, illustrations, timelines, listening guides, and a streaming audio library, it immerses the reader in a journey through the history of jazz, while placing the music within a larger cultural and historical context. Designed to introduce the novice to jazz, Experiencing Jazz describes the elements of music, and the characteristics and roles of different instruments. Prominent artists and styles from the roots of jazz to present day are relayed in a story-telling prose. This new edition features expanded coverage of women in jazz, the rise of jazz as a world music, the influence of Afro-Cuban and Latin jazz, and streaming audio.

Features: • Important musical trends are placed within a broad cultural, social, political, and economic

context • Music fundamentals are treated as integral to the understanding of jazz, and concepts are

explained easily with graphic representations and audio examples • Comprehensive treatment chronicles the roots of jazz in African music to present day • Commonly overlooked styles, such as orchestral jazz, Cubop, and third-stream jazz are

included • Expanded and up-to-date coverage of women in jazz.

The media-rich companion website presents a comprehensive streaming audio library of key jazz recordings by leading artists integrated with interactive listening guides. Illustrated musical concepts with web-based tutorials and audio interviews of prominent musicians acquaint new listeners to the sounds, styles, and figures of jazz.

Richard J. Lawn recently retired as Dean of the College of Performing Arts at the University of the Arts in Philadelphia. You can see and hear him as saxophonist, composer, and bandleader for Power of Ten, playing in local clubs and on recordings.

Experiencing Jazz Second Edition

Richard J. Lawn Professor Emeritus, College of Performing Arts at the University of the Arts

Second edition published 2013 by Routledge 711 Third Avenue, New York, NY 10017

Simultaneously published in the UK by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN

Routledge is an imprint of the Taylor & Francis Group, an informa business

© 2013 Taylor & Francis

The right of Richard J. Lawn to be identified as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.

Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.

First edition published 2007 by The McGraw-Hill Companies

Library of Congress Cataloging in Publication Data Lawn, Richard, author.

Experiencing jazz/Richard J. Lawn.—Second edition. pages cm Includes bibliographical references, discography, and videography. 1. Jazz—History and criticism. 2. Jazz—Analysis, appreciation. I. Title. ML3506.L39 2013 781.65—dc23 2012024753

ISBN: 978-0-415-65935-2 (pbk and online access card) ISBN: 978-0-415-69960-0 (pbk) ISBN: 978-0-415-83735-4 (online access card) ISBN: 978-0-203-37981-3 (ebk and online access card) ISBN: 978-0-203-37985-1 (ebk)

Typeset in Bembo, Helvetica Neue and Kabel by Florence Production Ltd, Stoodleigh, Devon, UK

Please visit the companion website at www.routledge.com/cw/Lawn

www.routledge.com/cw/Lawn
I am deeply indebted to my wife, Susan Lawn, for “putting her life on hold,” not once but twice, while helping immeasurably to make this book become a reality. In addition, thanks to the many students who served as its inspiration.

Contents

List of Photos xiv List of Examples xix List of Figures xxii Preface xxiii Acknowledgments xxviii

PART I UNDERSTANDING JAZZ 1

1 The Nature of Jazz 3

Experiencing Music . . . Experiencing Jazz 4 That Four-Letter Word 4 Defining Jazz 6 Chapter Summary 8 Study Questions 9

2 The Elements of Jazz 13

Rhythm 14 Meter and Tempo 15 Rhythmic Devices Important to Jazz 16 Swing as an Aspect of Jazz Rhythm 18

Melody 18 Harmony 20 Texture 21 Form 22 Improvisation 23

Something Borrowed—The European Tradition 23 Something New, Something Blue—The Jazz Tradition 24 Blues 24 Improvisation in Jazz 26

Chapter Summary 29 Key Terms 30 Study Questions 31

3 Listening to Jazz 33

Performance Practice 33 The Instruments of Jazz 34 The Drum Set and Swing 34 Orchestration and Instrumentation 36 Instrumental Techniques and Special Effects 37

Understanding the Whole Performance 39 Describing the Performance 41

Video Blues 42 Chapter Summary 43 Key Terms 43 Study Questions 44

4 The Roots of Jazz 45

Jazz in Perspective 45 The Significance of African Music to Jazz 46 African Musical Aesthetic 46 Elements of African Music 47 African Music as a Means of Communication 49

The Afro-Latin and Caribbean Tinge 49 Background 50 Early Fusions 52

Early American Vocal Music 54 The Innovators: Getting the Blues 56

Robert Johnson (1911–1938) 57 Bessie Smith (1894–1937) 59 W.C. Handy—“Father of the Blues” (1873–1958) 61

Ragtime 62 Brass and Military Bands 67 Milestones: Chronicle of Historic Events 68 Chapter Summary 70 Key Terms 70 Study Questions 71

PART II CLASSIC JAZZ 1917–1945 73

5 Jazz Takes Root 75

Jazz in Perspective 75 The Reception of Early Jazz 78 New Orleans—The Birthplace of Jazz 80

Dixieland Jazz Band Instrumentation 81 The Innovators: Early Jazz 83

Original Dixieland Jazz Band 83 Kid Ory (1890–1973) 86 Joe “King” Oliver (1885–1938) 86 Lilian Hardin 86

viii CONTENTS

Jelly Roll Morton (1890–1941) 89 Louis Armstrong (1901–1971) 91 Sidney Bechet (1897–1959) 94

Milestones: Chronicle of Historic Events 95 Chapter Summary 97 Key Terms 97 Study Questions 98

6 The Jazz Age: From Chicago to New York 99

Jazz in Perspective 99 South Side of Chicago 100 On the Other Side of Town 102 The Chicago Sound 103 The Innovators: A Few of the Many 104

New Orleans Rhythm Kings (NORK) 104 Bix Beiderbecke (1903–1931) 105 Frankie “Tram” Trumbauer (1901–1956) 106 Paul Whiteman (1890–1967) and Symphonic Jazz 108

Boogie-Woogie, Eight to the Bar 110 The Decline of the Chicago Era 111 Chicago Jazz in Retrospect 113 New York and the Harlem Renaissance 114

James P. Johnson (1891–1955) 115 Marketing Jazz 118 Milestones: Chronicle of Historic Events 120 Chapter Summary 121 Key Terms 122 Study Questions 122

7 The Swing Era: Jazz at Its Peak 125

Jazz in Perspective: The Depths of the Depression 126 The Country Recovers 127 The Anatomy of the Swing Era Jazz Band 127

Instrumentation 128 Repertoire and Arrangement 131

The Innovators: Swing on the East Coast 132 Fletcher Henderson (1897–1952) 133 Coleman Hawkins—“The Father of Jazz Tenor Saxophone” (1904–1969) 135 Duke Ellington (1899–1974): Music Was His Mistress 137 Benny Goodman—The “King of Swing” (1909–1986) 147

Popular White Swing Bands 151 Artie Shaw (Arthur Arshawsky) (1910–2005) 151

The Vocalists’ Rise to Fame 153 Ongoing Latin Influences 155 Chapter Summary 155 Key Terms 156 Study Questions 157

CONTENTS ix

8 Swinging Across the Country: The Bands, Singers, and Pianists 159

Jazz in Perspective 160 The Innovators: A Unique Kaycee Style 161

Benny Moten 161 William “Count” Basie (1904–1984) 162 Lester Young (1909–1959) 164

Territory Bands 167 Mary Lou Williams (1910–1981) 168

The Innovators: A Few of the Swing Era Singers and Pianists 170 Billie Holiday (1915–1959): “Lady Day” 170 Ella Fitzgerald (1918–1996): The “First Lady of Song” 172 Art Tatum (1909–1956) 174

Traditional Jazz Revival 177 Swing Era Success 177 Milestones: Chronicle of Historic Events 181 Chapter Summary 184 Key Terms 185 Study Questions 185

PART III MODERN JAZZ 187

9 The Bebop Revolution 189

Jazz in Perspective 189 The Lifestyle and Musical Characteristics 192 The Birth of Bebop: The First Recordings 194

Characteristics of the Style 196 Bebop Performance Practice and Instrumental Roles Redefined 197

The Innovators: Bop Stylists 199 John Birks “Dizzy” Gillespie (1917–1993) 199 Charlie Parker (1920–1955) 201 Bud Powell (1924–1966) 203 Dexter Gordon (1923–1990) 205 J.J. Johnson (1924–2001) 206

The Innovators: Bebop Rhythm-Section Players 207 Thelonious Sphere Monk (1917–1982) 207 Oscar Pettiford (1922–1960) 209 Kenny Clarke (1914–1985) 209 Max Roach (1924–2007) 210 Sarah Vaughan: “The Divine One” (1924–1990) 211

Modern Jazz Embraces the Afro-Cuban Spirit 213 Dizzy Gillespie and the Birth of Cubop 213

The Decline of Bebop 217 Milestones: Chronicle of Historic Events 217 Chapter Summary 219 Key Terms 220

x CONTENTS

Appendix 220 Study Questions 223

10 The 1950s and Early 1960s: Cool, Intellectual, and Abstract Jazz 225

Jazz in Perspective 225 Characteristics of Cool Jazz 228 The Innovators: The Cool Sound on the East and West Coasts 231

Miles Davis and Gil Evans: The Birth of the Cool 231 Modern Jazz Quartet 233 Gerry Mulligan (1927–1996) and Chet Baker (1929–1988) 233 Dave Brubeck (1920–2012) 235 Bill Evans (1929–1980) 238

The Brazilian Bossa Nova 241 Stan Getz (1927–1991) 243

Third-Stream Jazz 245 Lennie Tristano (1919–1978) 247

Who Was Popular 248 Milestones: Chronicle of Historic Events 249 Chapter Summary 250 Key Terms 251 Study Questions 252

PART IV POSTMODERN JAZZ 253

11 Tradition Meets the Avant-Garde: Moderns and Early Postmoderns Coexist 255

Jazz in Perspective 256 The Innovators: The Characteristics and Artists of Mainstream Hard Bop 256

Art Blakey (1919–1990) Carries the Message 258 Other Hard-Bop Messengers 260

More About Funky, Soul Jazz and the 1950s and 1960s 264 Organ Trios and the Guitar 265

Wes Montgomery (1923–1968) 265 Jimmy Smith (1925–2005) 266

Everlasting Big Bands 268 Defining Postmodernism 270

Ornette Coleman (1930–) and His Disciples 271 The Innovators: Postmodern Jazz Comes of Age 276

Charles Mingus (1922–1979)—The Underdog 276 The End of Modern Jazz Heralded by the Beginning of the Postmoderns 278 Milestones: Chronicle of Historic Events 280 Chapter Summary 282 Key Terms 283 Study Questions 283

CONTENTS xi

12 Miles and Miles of Miles: Miles Davis and His Sidemen Redefine Postmodern Jazz 285

Jazz in Perspective 286 The Music 287 The Early Miles 287 The First Great Quintet 289 Modal Jazz 290

Miles and Gil 294 The Second Great Quintet 296 The Electronic Jazz–Rock Fusion Period 300 Davis Sidemen Become Major Forces 305

John Coltrane (1926–1967) 306 Wayne Shorter (1933–) 312 Herbie Hancock (1940–) 313

Milestones: Chronicle of Historic Events 314 Chapter Summary 317 Key Terms 318 Study Questions 318

13 The Electric 1970s and 1980s 321

Jazz in Perspective 321 The Music 322 Jazz and Rock: The Two-Way Connection 323 The Innovators: Living Electric in the Shadow of Miles Davis 325

Weather Report 325 Herbie Hancock and the Head Hunters 329 John McLaughlin (1942–) and the Mahavishnu Orchestra 331 Chick Corea (1941–) 333

Soul and Pop Instrumental Jazz 336 David Sanborn (1945–) 336 The Brecker Brothers 336 Grover Washington, Jr. (1943–1999) 337 Chuck Mangione (1940–) 337

The Signs of the Times: New Technologies and Changing Business Models 338 Milestones: Chronicle of Historic Events 339 Chapter Summary 340 Key Terms 341 Study Questions 342

14 The Unplugged, Eclectic 1970s and 1980s 343

Long Live Acoustic Jazz 343 The ECM Sound 344 The Innovators: The Rebirth of Acoustic Jazz 345

Keith Jarrett (1945–) 345 Return of Expatriates Unleashes a Rebirth of Acoustic Jazz 349

xii CONTENTS

Wynton Marsalis (1961–) and the Young Lions 350 The Freedom Fighters Take Risks 352

Cecil Taylor (1929–) 354 Old Bottles, New Wines—Long Live Big Bands 356 The Changing Jazz Landscape as the Millennium Comes to a Close 357 Milestones: Chronicle of Historic Events 358 Chapter Summary 360 Key Terms 361 Study Questions 361

15 Jazz for a New Century 363

Jazz in Perspective 364 Trends in Contemporary Jazz 365 Established Artists Offer Seasoned Jazz 367

John Scofield (1951–) and Joe Lovano (1952) 367 Michael Brecker (1949–2007) and Pat Metheny (1954–) 367

Popular Music Influences 371 Tim Hagans (1954–) 372

Vocal Renaissance 374 Esperanza Spalding (1984–) 375

Contemporary Women Emerging as Innovators 377 Maria Schneider (1960–) 378

Jazz as a Global Music 382 Afro-Cuban and Latin Jazz 382 Danilo Pérez (1965–) 382

Jazz as an International Language 384 Rudresh Mahanthappa and Vijay Iyer 387

The New Innovators: 21st-Century Emerging Artists 389 Jason Moran (1975–) 390

Closing Thoughts 391 Milestones: Chronicle of Historic Events 392 Chapter Summary 396 Key Terms 397 Study Questions 397

Appendix I: Glossary of Terms 399 Appendix II: Suggested Jazz DVDs and Videos 411

Biographical 409 Historical Documentaries 410 Performance/Instructional 410 Important Feature Films 411

Appendix III: Chapter Notes and Additional Sources 415

Index 429

CONTENTS xiii

Photos

August Wilson Theatre (formerly Virginia Theatre)/Neil Simon Theatre 52nd Street, Manhattan, New York City. May 2007 xxiv

American bandleader James Reese Europe (1881–1919) poses (center, with baton) with members of his Clef Club Band, New York, 1914 3

Original Dixieland Jass Band promotional photo 5

Jazz singer Joe Williams 7

The World Saxophone Quartet performing in 1992 9

“Mother of the Blues” Ma Rainey on sheet-music cover 13

Old-style mechanical metronome 15

Gertrude “Ma” Rainey (1886–1939) and her Georgia Jazz Band, Chicago, 1923 25

American jazz musician Louis Armstrong (1901–1971) smiles as he poses on stage with a band for the WMSB radio station in New Orleans, Louisiana, 1920s 26

Jazz musicians performing in a nightclub 33

The typical jazz drum set 35

April 16, 1912: The front-page New York Times newspaper headline announces the sinking of The Titanic ocean liner 45

Map tracing Christopher Columbus’s voyages, which resemble slave-trade routes 51

Slaves returning from the cotton fields in South Carolina, c.1860 54

Fisk Jubilee Singers 55

Bessie Smith, “Empress of the Blues” 59

Promotional photo, c.1930, of W.C. Handy, “Father of the Blues” 61

1899 sheet-music cover of Scott Joplin’s “Maple Leaf Rag” 65

Portrait of American ragtime composer and pianist Scott Joplin (1868–1917), c.1910 66

Player piano roll of Scott Joplin’s “Maple Leaf Rag,” patented September 13, 1904 67

An American suffragette wears a sign proclaiming “Women! Use your vote,” c.1920 75

Portrait of the Buddy Bolden Band, New Orleans, Louisiana, c.1900 81

The Original Dixieland Jass Band 84

Pianist, composer, arranger, singer, and bandleader Lilian Hardin Armstrong 86

King Oliver’s Creole Jazz Band in the early 1920s 87

Composer and pianist Jelly Roll Morton at the piano 89

Louis Armstrong and his Hot Five 92

Sidney Bechet plays clarinet for a Blue Note Records session, June 8, 1939 94

Henry Ford and his son Edsel in front of their new model in New York in 1927–1933 99

Marathon dance competitions were part of the growing phenomenon of youth culture in the 1920s, Chicago 101

Bix Beiderbecke and the Wolverines in the Gennett Recording Studios, in 1924, in New York 103

Cornetist Bix Beiderbecke (1903–1931) poses for a portrait, c.1925 105

Frankie Trumbauer and unidentified guitarist 107

Paul Whiteman and his orchestra 109

A crowd of depositors outside the American Union Bank in New York, having failed to withdraw their savings before the bank collapsed 112

Exterior of the Renaissance Casino ballroom in Harlem, New York, late 1920s 114

James P. Johnson poses for a studio portrait in 1921 115

Corner of Lennox Avenue and 147th Street in Harlem showing the exterior of the M&S Douglas Theatre and a sign for the Cotton Club a few doors down, 1927 125

Jazz pianist Teddy Wilson playing with a quartet during the set break of Benny Goodman’s band, because racially mixed bands were not the rule in New York City at the “Madhattan Room” in the Hotel Pennsylvania 131

Bandleader, pianist, composer/arranger Fletcher Henderson 133

Coleman Hawkins, “the father of jazz tenor saxophone” 135

Duke Ellington and his band performing at the legendary Cotton Club 139

Dancers performing onstage at the Cotton Club 141

Composer Duke Ellington, singer Ivie Anderson, and drummer Sonny Greer pose for a portrait with the orchestra in 1943, in Los Angeles, California 143

Bandleader and clarinetist Benny Goodman (center) performs for a large crowd at Manhattan Beach, New York, August 11, 1938 148

The Benny Goodman Sextet 149

Guitarist Charlie Christian on stage with the Benny Goodman Orchestra, in New York, c.1940 150

Big-Band Leader Artie Shaw performs in 1945, Los Angeles, California 151

December 8, 1941: The front page of the New York World Telegram announces Japanese air attack at Pearl Harbor, commencing the U.S. entry into World War II 159

The Count Basie Orchestra performs on stage in Chicago in 1940 162

Count Basie with his “All American Rhythm Section” 163

PHOTOS xv

Tenor saxophonist Lester Young performs while holding his instrument in his classic sideways style 165

Pianist, composer, arranger Mary Lou Williams 168

Billie Holiday singing at a Decca recording session, c.1946 170

Ella Fitzgerald, the “First Lady of Song,” 1940 172

Art Tatum Trio 175

Special edition of Jazzmen, produced by the Armed Services and designed to fit in soldiers’ knapsacks 177

The ruins of a cinema stand stark against the rubble after the atomic bomb dropped on Hiroshima August 8, 1945, brought World War II to a close 189

The Onyx jazz club in New York, advertising singer Maxine Sullivan 193

The club named after Charlie Parker, located at 1678 Broadway, New York 195

Dizzy Gillespie, with characteristic puffed cheeks and upturned trumpet 200

Jay McShann Orchestra in New York, 1942 201

Charlie Parker, with Miles Davis, trumpet; Tommy Potter, bass 202