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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

Pianist Earl “Bud” Powell 203

Tenor saxophonist Dexter Gordon in Los Angeles, 1947 205

Thelonious Monk at Minton’s Playhouse 207

Drummer Max Roach 210

Vocalist Sarah Vaughan 211

Latin jazz singer and bandleader Machito (Frank Raul Grillo) holding maracas, while leading his band 214

Saxophonist James Moody, Cuban conga player Chano Pozo, and trumpeter Dizzy Gillespie performing in 1948 215

Race riots and picketers in Birmingham, Alabama 225

Miles Davis recording in 1959 231

The Dave Brubeck Quartet, with Brubeck at the piano, Paul Desmond on saxophone, Eugene Wright on bass, and Joe Morello on drums, in 1959 236

Pianist Bill Evans 238

Stan Getz in a live performance 244

Pianist Lennie Tristano 247

American civil rights leader Dr. Martin Luther King Jr. (1929–1968) speaks at a rally held at the Robert Taylor Houses in Chicago, Illinois, 1960s 255

Art Blakey and the Jazz Messengers play at the Birdhouse, a Chicago jazz club, 1961 258

Clifford Brown at a recording session 262

Tenor saxophonist Sonny Rollins performs at the Berkshire Music Barn Jazz Festival in Lenox, MA, 1956 262

Guitarist Wes Montgomery, c.1960 266

Jimmy Smith sitting at the Hammond B3 organ 266

Contemporary bandleader Stan Kenton rehearses his jazz band in London, in preparation for a performance at the Royal Albert Hall 268

xvi PHOTOS

Saxophonist Ornette Coleman with trumpeter Don Cherry at the 5 Spot, New York City 272

Jazz bassist and composer Charles Mingus 276

Apollo 11, the first manned lunar-landing mission, was launched on July 16, 1969, and Neil Armstrong and Buzz Aldrin became the first and second men to walk on the moon 285

Miles Davis’s nonet in a recording studio for the sessions released as Birth of the Cool 288

John Coltrane, Cannonball Adderley, Miles Davis, and Bill Evans perform in the studio, New York, May 26, 1958 292

Trumpeter Miles Davis and producer/arranger Gil Evans record the album Quiet Nights in 1962 295

Miles Davis with Herbie Hancock, Ron Carter, and Wayne Shorter at the 1967 Newport Jazz Festival 297

Miles Davis performing in Copenhagen, 1973, wearing hip clothes of the day 304

John Coltrane performing on soprano saxophone with his quartet in West Germany, 1959 307

Demonstrators march up Avenue of Americas on their way to Central Park in New York as part of a rally against the Vietnam War, April 5, 1969 321

The rock band Blood, Sweat and Tears performs on stage at the Longhorn Jazz Festival, Dallas, Texas 324

Weather Report performs on stage at the Playboy Jazz Festival at the Hollywood Bowl, Los Angeles, June 1981 328

Herbie Hancock using a portable synthesizer keyboard 330

Guitarist John McLaughlin and violinist Jean-Luc Ponty from the Mahavishnu Orchestra perform in Amsterdam, the Netherlands, in 1974 332

Return To Forever performs in May 1977 335

Popular Philadelphia soulful saxophonist Grover Washington, Jr. 337

Chuck Mangione playing his signature flugelhorn 338

A demonstration outside the Whitehouse in support of the impeachment of President Nixon (1913–1994) following the watergate revelations 343

Jazz pianist Keith Jarrett, c.1975 346

Dexter Gordon and quartet performing in the UK 349

Trumpeter/composer Wynton Marsalis in 1982 351

Pianist Cecil Taylor performs at Ronnie Scott’s in London 354

Jazz pianist and composer Toshiko Akiyoshi conducts her orchestra, c.1977 357

U.S. President Bill Clinton plays a saxophone along with musician Everett Harp at the Arkansas inaugural ball 20 January 1993 363

Michael Brecker performing with the Brecker Brothers at the New Orleans Jazz & Heritage Festival 369

Contemporary guitarist Pat Metheny 369

Popular smooth-jazz artist Chris Botti 371

PHOTOS xvii

Trumpeter/composer Tim Hagans at the 2008 IAJE Conference in Toronto, Canada 372

Diana Krall performing in 2004 at the Mountain Winery, in Saratoga, California 374

Esperanza Spalding performs at the 4th Annual Roots Picnic at the Festival Pier, in Philadelphia, Pennsylvania, June 4, 2011 375

Maria Schneider conducts the Maria Schneider Orchestra on stage during the Festival Internacional de Jazz de Barcelona at Palau De La Musica, in Barcelona, Spain, 2011 379

Pianist Danilo Pérez 383

Jason Moran performs at Thelonious Monk Town Hall 50th Anniversary Celebration, 2009 390

xviii PHOTOS

Examples

2.1 Graphic representation of “Happy Birthday” 14 2.2 Illustration of a simple syncopation in measure 1 that results from handclaps on

off beats that create a tension between major beats represented by the foot tapping a steady pulse. By the second beat of the second measure, the handclaps are lined up precisely with the foot tapping on beats 2, 3, and 4, hence no syncopation and no tension 17

2.3 Using similar graphics, the following example illustrates a simple polyrhythm. In this case, the foot taps indicate a 3/4 meter and fundamental rhythm. The hand-clapping introduces a new rhythm in opposition to the foot tapping. If the foot tapping suddenly stops, the continuing handclaps give the illusion of 2/4 meter. The combined result when both are executed simultaneously is a polyrhythm 17

2.4 Two-octave C scale. Raised half-steps in between each scale note (black keys) are labeled above as sharps 19

2.5 Chord symbols in a typical progression that jazz musicians must learn to interpret 20

2.6 Visualization of monophonic texture. The light, horizontal, wavy line represents the melodic shape of a solo singer. There are no other layers present in this single-dimensional texture 21

2.7 Visualization of homophonic texture. The wavy, horizontal line represents the melodic shape of a solo singer. The vertical bars represent chords, with darker shades indicating major chords, and lighter shades representing minor chords 21

2.8 Visualization of polyphony. The light, horizontal, wavy lines represent the melodic shape of a solo singer and a second melodic voice complementing the primary vocal melody below it. The vertical bars represent chords, with darker shades indicating major chords, and lighter shades representing minor chords. Black dots represent a rising and falling bass line in counterpoint with the melody line. The entire texture, with multiple layers of activity, is described as polyphonic 21

2.9 Lowered third, fifth and seventh (E flat, G flat, B flat) are called “blue notes” and are indicated in the following keyboard example 24

2.10 Typical jazz chord progression illustrated by symbols 27 3.1 Swing ride cymbal pattern 36 3.2 Visual notations of special effects associated with jazz 38

4.1 The first line shows your foot tapping down and up, indicating 2 beats per measure. The second line adds handclaps that help to divide each beat in half, showing 1&2& 1&2&, corresponding to line 1. The third line adds handclaps to divide each measure of line 1 into triplets, or three pulses for every 2 foot taps. The last line shows handclaps dividing each beat in line 1 into groups of three, faster triplets than those line 3 47

4.2 African fundamental or ground pattern. Although many readers would likely not understand music notation, laymen can execute the following graphic representation of the pattern. The feet establish the pulse or basic beat, while the handclaps outline the specific ground rhythm pattern 48

4.3 The habanera rhythm is represented below in 4/4 meter for convenience, although it is usually found in 2/4 meter. Try to coordinate your hands and feet in a steady tempo. The handclap emphasizes the habanera rhythm, while the feet establish a basic tempo 52

4.4 Notice the close resemblance between this Charleston rhythm and the habanera at the middle of the measure 52

4.5 The clavé rhythm: The following illustrations are graphic representations of the 3–2 and 2–3 clavé patterns. The vertical line serves to delineate measures. You should try executing these rhythms with your hands and feet 53

4.6 Classic 12-bar blues. Each block represents 1 measure 57 4.7 Final rhythm from Stephen Foster’s “Camptown Races” 64 7.1 A graphic representation of 1 measure in 4/4 meter showing alternation

between a full quarter note of full value on beats 1 and 3, followed by even eighth-note divisions of beats 2 and 4. This rhythm pattern does not swing 129

7.2 A graphic representation of 1 measure in 4/4 meter showing the uneven division of beats 2 and 4, causing a feeling of anticipation of the following beats (3 and 1). This was the typical pattern played by the drummer on the cymbals, expressed below by the syllables. This rhythm helps to create the basis of the “swing” feel. Horn soloists and pianists would likely also swing in this uneven fashion 130

7.3 Contrast between arpeggiated and linear styles 136 9.1 Graphic representation of the jazz conga drum variation. Tap your left foot

in a steady tempo following the graphic while clapping the conga drum pattern 213

10.1 Eighth-note triplets 238 10.2 Quarter-note triplets 239 10.3 Samba rhythmic ostinato patterns; the foot image represents downward taps 242 10.4 Hand clapping syncopated bossa nova rhythm—syncopated tensions occur

when hand claps fall between the foot taps. There are numerous variations to the ostinato bossa nova rhythm patterns 243

11.1 Modern and postmodern jazz coexist 279 12.1 Piano with whole and chromatic half-steps indicated over two octaves,

C to C 290 12.2 By using different visual shades to represent sound, it is possible to differentiate

between modal and functional harmony as shown in the following illustrations. (A) Visual conceptualization of a modal texture. There is a sameness about this visual texture, much like there is in a modal section of music, where all notes, whether used vertically as a chord or horizontally to form melodic lines, stem from the same essential set of pitches (color, in this example).

xx EXAMPLES

(B) Visual conceptualization of functional harmony: Each horizontal bar represents a changing chord in a progression. Some chords are related, whereas others serve a quite different role. The black represents the strong chords that supply more variety than the above example 291

15.1 Piano keyboard based on Western music system with half-steps. Imagine 12 more keys (notes) added between C and C on this traditional Western keyboard 388

EXAMPLES xxi

Figures

1.1 Jazz styles timeline 10 7.1 Typical big-band seating arrangement 128 7.2 Memorable Swing Era hits and associated bands 153 7.3 Important artists to emerge from Woody Herman and Stan Kenton bands 154 7.4 Popular vocalists and associated bands 154 8.1 Cost of living index, c.1940 167 8.2 Well-known territory bands and their locales 167 9.1 Comparison of swing and bebop styles 198

10.1 Comparison of bebop and cool styles 230 11.1 Jazz Messengers Sidemen 259 11.2 Horace Silver Sidemen 259 11.3 A study in contrasts: A comparison in the characteristics of free jazz and

more traditionally grounded, modern mainstream jazz styles 275 12.1 Miles Davis’s innovations 305 12.2 John Coltrane’s innovations 311 14.1 Distinguishing characteristics of Keith Jarrett’s music 347 15.1 Late 20th- and early 21st-century trends and artists in jazz 366 15.2 21st-century women in jazz 380 15.3 21st-century emerging innovators 389

Preface

I do not agree that the layman’s opinion is less of a valid judgment of music than that of a professional musician. In fact, I would often rely more on the judgment of a sensitive layman than that of a professional … —Jazz Pianist Bill Evans, from The Universal Mind of Bill Evans

Jazz is about America. It is American as apple pie and baseball, but surprisingly few people fully understand it or appreciate its wonder and appeal. Jazz represents the spirit and cultural fabric of America and has served as the basis of most popular music styles. Perhaps this is why our lives are invaded daily with jazz music – on television, in commercials selling everything from cars to banks and clothing, in films, in elevators and doctors’ offices, in restaurants and shopping malls and countless other pubic places. It is music that evokes basic human emotions and can be soothing, chilling, sensual, raucous, uplifting, thought provoking, transformational, spiritual, meditative, annoying, or even jarring. Sometimes it strikes controversy among listeners. Anyone is capable of enjoying these fundamental feelings, but the experience is enhanced beyond expectation when one knows more about how the music is produced, its roots, developments and place in American history.

Pictured on the front cover is Swing Street, 52nd Street in New York City in 1948. It was the place to hear jazz in the mid-20th Century. Miles Davis, Charlie Parker, Billie Holiday Dizzy Gillespie, and performers from the earlier “Swing Era” could be heard in clubs like the Onyx and Three Deuces that lined the street between 5th and 7th Avenue as shown in the cover photo. Jazz in the 1930s and ’40s was America’s popular music. It was embedded in American culture and was the soundtrack for American life. The jazz musician helped to tell our country’s story at nightclubs, dance halls, and on records and radio. Their music was accessible, daring and represented freedom to the outside world.

This same street shown in the 2007 photo overleaf by comparison looks quite different though still the home for aspects of the entertainment business. Jazz was associated with entertainment in its early years and considered forbidden fruit by some. Over time Jazz has gained a respect and stature shared by art music, studied and analyzed much like Western classical music. Jazz is now found in most university curricula, cultivated in high school and middle schools jazz bands, and no longer associated with underbelly of society. Jazz has become and international language recognized as an American tradition. We invite you to explore and experience this unique national treasure, listen to landmark recordings and hear the stories of the artists who changed American culture.

Experiencing Jazz, Second Edition, places the music in an historical, cultural, and social context of American society. By placing Jazz within the context of social history, students better understand

its relevance. It also helps them to relate the music to their own interest areas, and to understand why, to some extent, the music may have developed as it did. In this way, Experiencing Jazz, Second Edition, goes beyond many textbooks.

COVERAGE

Experiencing Jazz provides clear explanations of each jazz style and how it contrasts or is similar to other styles. Each style is presented in association with its primary innovators. The material is presented in a logical chronological sequence, but art is never that clean and easy to categorize or sort out. The reader will find the occasional paradox within a single chapter created by the juxtaposition of one style against a polar opposite. This approach was chosen rather than compartmentalizing styles and artists and confining their discussions to nice, cleanly sectionalized chapters. The multiplicity of styles is precisely what was encountered at the time, particularly from about 1950 on, leaving audiences, critics and the musicians to make sense of it all. To frame the socio-cultural backdrop and keep its importance at the fore, each chapter begins with a section described as “Jazz in Perspective” and closes with a “Chronicle of Historic Events,” serving as a reminder of the larger American fabric in which the music discussed throughout the chapter is an important thread.

xxiv PREFACE

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

Experiencing Jazz—the textbook and website with streamed music—provide the reader with an understanding of how jazz works, how and why it evolved, who its primary innovators were, how to listen to it, and how in some cases jazz has been informed by certain aspects of American society including the evolution of new technologies that parallel the growth of jazz. The book and website familiarize the student with the basic building blocks of music as they relate to a discussion of jazz. Without an elementary understanding of music construction and jazz performance practices, it is difficult to fully appreciate a jazz performance. It is for this reason that such topics are discussed in Chapters 2 and 3 rather than at the end of the book as appendices. Experiencing Jazz is designed to create educated listeners, not just to present facts, dates, figures, lists of tunes and performers.

Each style chapter includes a retrospective glimpse at the reception of jazz in America by providing the reader with some insight into how the music was perceived by critics, historians and fans.

CHAPTER ORGANIZATION

Fifteen chapters in all, the text is designed exclusively for the non-musician, carefully defining basic musical concepts as they relate to an understanding of a jazz performance. Such concepts are reinforced throughout the book.

• All key terms are shown in bold with immediate definitions. A comprehensive glossary of terms is included as an appendix.

• Explanations of fundamental musical concepts are often accompanied by graphic illustrations, making such concepts easier to understand by the non-musician.

• Each historic chapter begins with a section “Jazz in Perspective” that provides a context and historic backdrop for the music being discussed.

• Each historic chapter ends with a “Chronicle of Historic Events,” once again reminding the reader of how jazz styles are woven into the fabric of American culture at the time.

• Specific references are made to the website where activities are provided to support the chapter.

• Each jazz style is carefully examined through discussion and comparison to performance characteristics of earlier jazz styles. Helpful quick reference comparative and descriptive tables are also provided to summarize salient characteristics.

• Chapters focus on the primary innovators including the bands and soloists and what made their work innovative.

• Listening guides are provided in each chapter to serve as road maps through each featured audio track. These guides focus on important points using laymen terms or terms that have been well defined and used throughout the text.

• Discussions of how jazz was received and marketed are also included. • Chapter summaries and helpful study guides including a list of key performers, bands, terms

and places along with review questions are found at the end of each chapter. Supplementary listening lists are also included at the close of each chapter.

NEW TO THIS EDITION

Since jazz is in a constant state of change it stands to reason that this second edition of Experiencing Jazz has been significantly revised:

PREFACE xxv

• A final chapter addresses jazz at the close of the 20th century and the first decade of this new millennium.

• New sections about the internationalization of jazz as a global language and women in jazz have been added to the final chapter along with discussions and new recordings showing contemporary trends.

• Since a book about jazz should emphasize the music, a comprehensive collection of audio tracks—to accompany any text—is provided.

• Improved discussions of fundamental musical concepts as they relate to jazz performance are provided to cater to the needs of a non-musician in grasping basic musical concepts as they relate to a better understanding of jazz.

• Discussions of Afro-Cuban and Latin jazz trends are now integrated chronologically throughout the book.

• The narrative has been streamlined, reducing the page count. • New links to historic recordings only recently made available by the Library of Congress. • A new, greatly enhanced website providing streamed audio tracks, video, and additional

supplementary materials including more listening guides for landmark recordings not provided in the companion audio collection.

MUSIC TRACKS

Experiencing Jazz offers a web streamed, comprehensive audio collection featuring landmark recordings by leading performers that illustrate the various styles discussed throughout the text. A complete list of tracks is included inside the covers. This collection is quite comprehensive, providing expanded coverage of women in jazz, Afro-Cuban and Latin jazz styles, and often overlooked styles or artists such as African music, rural blues, ragtime, organ trios, early symphonic jazz, vocalists and third-stream jazz. Some texts appear to be biased against certain styles, but Experiencing Jazz does not take sides and presents what listeners need to know in order to formulate their own aesthetic.

Listening guides that track each recording as it is streamed from the companion website clarify the listening experience. The website also includes additional listening guides for supplementary tunes easily found in most library collections or online suppliers. These guides are designed specifically for the non-musician and draw on skills acquired through readings about the elements of jazz and jazz performance practice presented in the first three chapters. Nothing has been assumed of the reader in terms of prerequisite knowledge. It is not enough to merely read about jazz, it must be keenly listened to and Experiencing Jazz provides all the necessary guidance to engage with the recordings and live performances.

A collection of audio recordings, combined with numerous video and audio tutorials found on the website reinforce the principles and performance practices associated with jazz. Emphasis is placed on artists who made and are making significant contributions to jazz rather than confusing the reader with lengthy lists of performers who, while their contributions to the evolution of jazz should be noted, are not considered in retrospect as major trendsetters or innovators. Special attention has been paid through the text design to emphasize one or two artists in each chapter who exemplify a particular style or trend. The decision to feature one artist over another was difficult but based logically on the artists innovative impact, longevity, and their overall impact and contributions to further developing the music. A case could certainly be made to highlight others.

xxvi PREFACE

LISTENING GUIDES

These are provided to most of the historically significant recordings streamed and from the companion website. The website also includes additional listening guides for supplementary study of tunes easily found in most library collections or online suppliers. These guides are designed specifically for the non-musician and draw on skills acquired through readings about the elements of jazz and jazz performance practice presented in the first three chapters. Nothing has been assumed of the reader in terms of prerequisite knowledge. It is not enough to merely read about jazz it must be keenly listened to and Experiencing Jazz provides all the necessary guidance to fully appreciate the recordings and live performance.

Not every significant recording or artist can be represented in any collection, no matter how extensive. The selection of recordings to include confronted the author with difficult choices as it does most teachers. In some cases recording companies were unwilling to license some landmark recordings, however, excellent alternatives were found and listening guides for others not included are found on the website.

ONLINE RESOURCES FOR STUDENTS AND TEACHERS

www.routledge.com/cw/lawn

Since this book embraces and recognizes the needs of non-musicians, web-based materials were developed to enhance student’s understanding and appreciation of jazz by providing a more informed listening experience through audio, video and interactive tutorials. The companion website carefully parallels Chapters 1–3 in the text, providing audio and visual examples that bring to life the basic elements of music, jazz performance practices, improvisation styles, the instruments associated with jazz, and the concepts that help to define it. Chapters 4–15 provide suggestions for supplemental material found on the website such as interviews with innovative artists, YouTube links, and so on. A wealth of support material is included here that closely follows readings in the text. The website should therefore be considered as a closely integrated companion to the book. While it would be useful to have ready access to the website as each chapter is studied, it is not imperative or mandatory. All web-based activities are highlighted with icons throughout the text to direct students and teachers to additional information that can be found on the site.