Jazz History 3

8/3/2019 Jazz History 3

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3. Early Jazz: Ragtime to Swing-New Orleans



Play Excerpt from Ken Burns Jazz 01Episode 2 21:17-23:29



Colligans Top 10 Early Jazz Musicians

1. Scott Joplin(ca. 1867 April 1, 1917)

2. Jelly Roll Morton (October 20, 1885 July 10, 1941)

3. James Reese Europe(22 February 1881 9 May 1919)

4. King Oliver(May 11, 1885 April 10, 1938)

5. Freddie Keppard(February 27, 1890 July 15, 1933) 6. Louis Armstrong(August 4, 1901 July 6, 1971)

7. Fletcher Henderson(December 18, 1897 December 29, 1952)

8. Sidney Bechet(May 14, 1897 May 14, 1959)

9. ODJB(Original Dixieland Jass Band)(1917)

10. Bix Biederbecke(March 10, 1903 August 6, 1931)



New Orleans Jazz

Dixieland music, sometimes referred to as Hot

jazz, Early Jazz or New Orleans jazz, is a style of jazz music which developed in New Orleans at

the start of the 20th century, and was spread toChicago and New York City by New Orleans bandsin the 1910s. Well-known jazz standard songsfrom the Dixieland era, such as "Basin Street

Blues" and "When the Saints Go Marching In",are known even to non-jazz fans.



Play Louis Armstrong Basin Street Blues

http://www.youtube.com/watch?v=QMBO7n_

N-ks&feature=related Play When The Saints Go Marching In

http://www.youtube.com/watch?v=EGEnX0k9

eiU&feature=related



Dixieland, an early style of Jazz that was

developed inN

ew Orleans, is the earliest style of Jazz music. The style combined earlier brass bandmarches, French Quadrilles, ragtime and blueswith collective, polyphonic improvisation. Whileinstrumentation and size of bands can be veryflexible, the "standard" band consists of a "frontline" of trumpet (or cornet), trombone, andclarinet, with a "rhythm section" of at least twoof the following instruments: guitar or banjo,string bass or tuba, piano, and drums.



The term Dixieland became widely used after

the advent of the first million-selling hitrecords of the Original Dixieland Jazz Band in

1917. The music has been played continuously

since the early part of the 20th century. Louis

Armstrong's All-Stars was the band most

popularly identified with Dixieland, although

Armstrong's own influence runs through all of

jazz.



The definitive Dixieland sound is created when

one instrument (usually the trumpet) playsthe melody or a recognizable paraphrase or

variation on it, and the other instruments of

the "front line" improvise around that melody.

This creates a more polyphonic sound than

the extremely regimented big band sound or

the unison melody of bebop.



The swing era of the 1930s led to the end of

many Dixieland Jazz musicians' careers. Only a

few musicians were able to maintain

popularity. Most retired.



With the advent of bebop in the 1940s, the

earlier group-improvisation style fell out of

favor with the majority of younger black

players, while some older players of both

races continued on in the older style. Thoughyounger musicians developed new forms,

many beboppers revered Armstrong, and

quoted fragments of his recorded music in

their own improvisations.



There was a revival of Dixieland in the late 1940s and1950s, which brought many semi-retired musicians a

measure of fame late in their lives as well as bringingretired musicians back onto the jazz circuit after yearsof not playing (e.g. Kid Ory). Many Dixieland groups of the revival era consciously imitated the recordings andbands of decades earlier. Other musicians continued to

create innovative performances and new tunes. Forexample, in the 1950s a style called "ProgressiveDixieland" sought to blend traditional Dixieland melodywith bebop-style rhythm. Steve Lacy played with

several such bands early in his career. This style issometimes called "Dixie-bop".



Play Ken Burns excerpt

K en Burns Jazz 01 Episode 2 31:27-34:21



Scott Joplin(ca. 1867 April 1, 1917)



Scott Joplin (ca. 1867 April 1, 1917) was an

American composer and pianist. Joplinachieved fame for his ragtime compositions,

and was later dubbed "The King of Ragtime".

During his brief career, Joplin wrote 44 original

ragtime pieces, one ragtime ballet, and two

operas. One of his first pieces, the Maple Leaf

Rag, became ragtime's first and most

influential hit, and has been recognized as thearchetypal rag.



Maple Leaf Rag-Scott Joplin

http://www.youtube.com/watch?v=pMAtL7n_

-rc



Ragtime (alternatively spelled rag-time) is an originalmusical genre which enjoyed its peak popularity between1897 and 1918. Its main characteristic trait is its

syncopated, or "ragged," rhythmIt began as dance music inthe red-light districts of American cities such as St. Louisand New Orleans years before being published as popularsheet music for piano. It was a modification of the marchmade popular by John Philip Sousa, with additionalpolyrhythms coming from African music. The ragtime

composer Scott Joplin became famous through thepublication in 1899 of the "Maple Leaf Rag" and a string of ragtime hits that followed, although he was later forgottenby all but a small, dedicated community of ragtimeaficionados until the major ragtime revival in the early

1970s. For at least 12 years after its publication, the "MapleLeaf Rag" heavily influenced subsequent ragtimecomposers with its melody lines, harmonic progressions ormetric patterns.



Ragtime structure

According to the New Grove Di ctionary of Ameri can Musi c (see our recour cespage ), virtually all " classi c" rags followed the for mal structures established by earlier 2/4 and 4/4meter dances. The mar ch, two-step, polka and schottischedances were constructed with three or more separate 16

bar themes arranges in repeats and reprise patterns. As youlisten to a Ragti me work, you can clearly see this pattern.Therefore, the most common patterns are AABB ACC , AABBCC DD or AABBCCA. Usually the first two strains werein the toni c and the additional ones were in thesubdominant . Other characteristi cs include a sub structureof four bar strains repeated, four bar introductions tocertain sections, an interlude between trio themes and ausual major key orientation.



That syncopation is generally recognized as a trait of A fro- Ameri can musi c.

Ragti me's roots are in minstrel-show plantation songs , cakewalks, banjo

playing, and black folk music ; it also drew on, and recast in fresh ways, the

chromatic harmonies of 19th century European music . C reated by itinerant professional perfor mers in saloons and honky-tonks, ragti me was ulti mately

disseminated by piano rolls and printed musi c. The exact date ragti me

emerged is debatable as there are distinct elements of ragti me in the musi c of

Louis Moreau Gottschalk, especially in his work La Bamboula published in

1847. A fter 1885, mar ch-patrols were appearing in minstrel shows that

carried syncopated, raggy rhythms and minstrels around the country weresyncopating songs. What many point to as the watershed event in the spread

of ragti me was the 1893 C olumbian Exposition in C hi cago. Attended by over 20

million people, the Exposition exposed a large population to ragti me style

musi c from the likes of Scott Joplin , Ben Harney, Shep Ed monds (1876-1957,

often referred to as the "father of ragti me") and Jesse Pi ckett. Pi ckett's The

Dream , is credited as the only rag specifi cally associated with the expositionand the earliest known classi c rag. It was never published, however was

recorded in 1896 by Eubie Blake who learned it directly from Pi ckett.



The first print reference in sheet music to "ragtime" was

in the coon song, All C oons Look Alike To Me in 1896.



John Phillip Sousa



Do you hear any similarity

The Stars And Stripes Forever



The true "march music era" existed from 1850 to 1940s as

it slowly became shadowed by the coming of jazz. The origins of European and American march music can be

traced to the military music of the Ottoman empire. Themartial purpose of the music was to regulate thefunctioning of armies in the field by communicating orders,and keeping time during marching and maneuvers. Theextensive use of percussion, such as cymbals, was also usedfor psychological effect as their use, especially in WesternEurope, was unknown and had the capacity to frightenopponents. Indeed, the subsequent use of cymbals andother such percussive instruments in European 'classical'

music was a direct importation from the Ottomans.



The Entertainer

http://www.youtube.com/watch?v=_WxfjWn

uEno&feature=related



Also-Choro..

C horo (Portuguese pronunciation: "cry" or"lament"), traditionally called chorinho ("littlecry" or "little lament"), is a Brazilian popularmusic instrumental style. Its origins are in 19thcentury Rio de Janeiro. In spite of the name, thestyle often has a fast and happy rhythm,characterized by virtuosity, improvisation, subtilemodulations and full of syncopation and

counterpoint. Choro is considered the first urbanpopular music typical of Brazil.



In the 19th century, choro resulted from the

style of playing several musical genres (polka,

schottische, waltz, mazurka and habanera) bycarioca musicians, who were already strongly

influenced by African rhythms.

Just like ragtime in the United States, tango inArgentina and habanera in Cuba, choro

springs up as a result of influences of musical

styles and rhythms coming from Europe and

Africa.



Tico Tico No Fuba

Tico Tico Version Piano

Orquestra Colbaz

Carmen Miranda



Publication of his Maple Leaf Rag in 1899 brought himfame and had a profound influence on subsequentwriters of ragtime. It also brought the composer asteady income for life. During his lifetime, Joplin didnot reach this level of success again and frequently hadfinancial problems, which contributed to the loss of hisfirst opera, A Guest of Honor . He continued to write

ragtime compositions, and moved to New York in 1907.He attempted to go beyond the limitations of themusical form which made him famous, without muchmonetary success. His second opera, Treemonisha, wasnot received well at its partially staged performance in1915. He died from complications of tertiary syphilis in1917.



Jelly Roll Morton (October 20, 1885 July 10,

1941)



Ferdinand Joseph LaMothe (October 20, 1885 July10, 1941)[1], known professionally as Jelly Roll Morton,was an American ragtime and early jazz pianist,bandleader and composer.

Widely recognized as a pivotal figure in early jazz,Morton is perhaps most notable as jazz's first arranger,proving that a genre rooted in improvisation couldretain its essential spirit and characteristics whennotated.[2] His composition "Jelly Roll Blues" was thefirst published jazz composition, in 1915. Morton isalso notable for naming and popularizing the "Spanishtinge" of exotic rhythms, and for penning suchstandards as "Wolverine Blues", "Black Bottom Stomp",and "I Thought I Heard Buddy Bolden Say", the latter atribute to turn-of-the-centuryNew Orleanspersonalities.



Play Ken Burns Excerpt

K en Burns 01 48:12-55:02



Wolverine Blues

http://www.youtube.com/watch?v=s5XOjIhTMK4

Reputed for his arrogance and self-promotion as oftenas recognized in his day for his musical talents, Mortonclaimed to have invented jazz outright in 1902 muchto the derision of later musicians and critics. However,

jazz historian Gunther Schuller writes about Morton's"hyperbolic assertions" that there is "no proof to thecontrary" and that Morton's "considerableaccomplishments in themselves provide reasonablesubstantiation".



Excerpt from 1900

Excerpt from film 1900



James Reese Europe(22 February 1881 9

May 1919)



James Reese Europe (22 February 1881 9

May 1919) was an American ragtime and early

jazz bandleader, arranger, and composer. He

was the leading figure on the African

American music scene of New York City in the

1910s.

Play Ken Burns excerpts:

K en Burns Jazz 01 1:02:37 -1:10:23

K en Burns 02 22:40-30:40



Castle House Rag

http://www.youtube.com/watch?v=ZRQ5CU3l8tQ&feature=results_video&playnext=1&list=PLE08847AAAEED445B

We have developed a kind of symphony music that, no matterwhat else you think, is different and distinctive, and that lends itself to the playing of the peculiar compositions of our raceMy successhad comefrom a realization of the advantages of sticking to themusic of my own people.

-James Reese Europe

"We colored people have our own music that is part of us. Its the

product of our souls; its been created by the sufferings andmiseries of our race.

-James Reese Europe



James Reese Europe

Born in Mobile Alabama, moved to New York in 1904from Washington D.C.

Organized the Clef Club Orchestra in 1910, whichplayed in Carnegie Hall

Was known to be unwilling to bend to musicalconvention

Society Orchestra became famous for working withdancers Vernon and Irene Castle

Saw combat in WWI as a lieutenant Killed by one of his band members with a knife in 1919



King Oliver(May 11, 1885 April 10, 1938)



Play Ken Burns Excerpts

(Buddy Bolden) K en Burns Jazz 01 37:25-46:58

K en Burns 02 16:35-19:26



Joe "King" Oliver (May 11, 1885 April 10, 1938)

was a jazz cornet player and bandleader. He was

particularly noted for his playing style, pioneering

the use of mutes. Also a notable composer, he

wrote many tunes still played regularly, including

"Dipper Mouth Blues", "Sweet Like This", "CanalStreet Blues", and "Doctor Jazz". He was the

mentor and teacher of Louis Armstrong. His

influence was such that Armstrong claimed, "if it

had not been for Joe Oliver, jazz would not bewhat it is today".[



Dippermouth Blues

http://www.youtube.com/watch?v=J-HJI464CVs

Track

Dippermouth Blues

Group

King Oliver's Creole Jazz Band

CD

Off The Record: The Complete 1923 Jazz Band Recordings (Archeophone OTR-MM6-C2)

Musicians:

Joe 'King' Oliver (cornet), Louis Armstrong (cornet), Honor Dutrey (trombone),Johnny Dodds (clarinet), Lil Hardin (piano), Baby Dodds (drums),

William M. Johnson (banjo)

.

Composed by Joseph Oliver & Louis Armstrong .



King Oliver.

Born in Aben, Louisiana, grew up in New Orleans

Was popular in N.O. with dance bands as a cornetist

Moved to Chicago in 1922

Brought Louis Armstrong into his band, making jazz history

King Oliver and the Dixie Syncopators were popular in the

mid 20s, but Oliver had gum problems which hurt his

playing

Career problems in the 30s, ended up as a janitor and diedin poverty in 1938.



. Freddie Keppard(February 27, 1890 July

15, 1933)



Freddie Keppard (sometimes rendered as

Freddy Keppard) (February 27, 1890 July 15,

1933) was an early jazz cornetist.

Keppard was born in the Creole of Color

community of downtown New Orleans,

Louisiana. Freddie played violin, mandolin,and accordion before switching to cornet.

Soon after Bolden Bolden was off the music

scene Keppard was proclaimed "King Keppard"as the city's top horn player.



Here Comes The Hot Tamale Man

http://www.youtube.com/watch?v=ZJDAWEq

qbDE&feature=related



Freddie Keppard

While playing a successful engagement in New

York City in 1915 Keppard was offered a

chance to record for the Victor Talking

Machine Company. In retrospect this would

probably have been the first jazz recording. An

often repeated story says that Keppard didn't

want to record because then everyone elsecould "steal his stuff."



Louis Armstrong(August 4, 1901 July 6, 1971)



Ken Burns excerpt

K en Burns 01 1:22:46-1:23:43



Louis Armstrong (August 4, 1901 July 6, 1971),nicknamed Satchmo or Pops, was an American jazz

trumpeter and singer fromN

ew Orleans, Louisiana. Coming to prominence in the 1920s as an "inventive"

cornet and trumpet player, Armstrong was afoundational influence in jazz, shifting the music'sfocus from collective improvisation to solo

performance. With his instantly recognizable deep anddistinctive gravelly voice, resembling the sound of atrumpet, Armstrong was also an influential singer,demonstrating great dexterity as an improviser,bending the lyrics and melody of a song for expressive

purposes. He was also greatly skilled at scat singing,vocalizing using sounds and syllables instead of actuallyrics.



Renowned for his charismatic stage presence and voicealmost as much as for his trumpet-playing, Armstrong'sinfluence extends well beyond jazz music, and by the

end of his career in the 1960s, he was widely regardedas a profound influence on popular music in general.Armstrong was one of the first truly popular African-American entertainers to "cross over," whose skin-colorwas secondary to his music in an America that was

severely racially divided. It allowed him sociallyacceptable access to the upper echelons of Americansociety that were highly restricted for a black man.While he rarely publicly politicized his race, often tothe dismay of fellow African-Americans, he was

privately a strong supporter of the Civil Rightsmovement in America.



Louis Armstrong and the Hot Fives

West End Blues

http://www.youtube.com/watch?v=NmmFKu4

FEbc

Louis Armstrong, t,v / Fred Robinson, tb /

Jimmy Strong, cl, ts / Earl Hines, p, v / Mancy

Cara, bj / Zutty Singleton, d. Chicago, June 28,

1928.



Heebie Jeebies

http://www.youtube.com/watch?v=IvqxedEuo

j8&feature=related



Louis Armstrong and the Hot 7

Potato Head Blues

http://www.youtube.com/watch?v=UJkviuOEy

Ss

Louis Armstrong, c / John Thomas, tb / Johnny

Dodds, cl / Lil Armstrong, p / Johnny St. Cyr, bj,

g / Pete Briggs, bb / Baby Dodds, d. Chicago,

May 10, 1927.



Hello Dolly

http://www.youtube.com/watch?v=Tp4Pbwq

Ndwo



The Roaring Twenties

The Jazz Age



1920s

Regarded as era of economic prosperity

Rise of technology-automobile, movies, radio

Rise in jazz dancing and partying, to offset thedespair of WWI

Heavy consumerism, three Big Business

Presidents

Punctuated by the Crash of 1929



Fletcher Henderson(December 18, 1897

December 29, 1952)



Fletcher Henderson led the most commerciallysuccessful of the African-American Jazz bands of

the 1920s. The smooth sound of his orchestragave birth to the Swing style of the next decade.Henderson was from a middle class family andheld a degree in chemistry from AtlantaUniversity. He moved to New York in 1920intending to do post-graduate work there whileworking as a chemist, but he found that jobswere closed to him because of his race. Heinstead found work demonstrating sheet music

for W.C. Handy's music publishing company.



In 1922, Fletcher led a band at the Club Alabam, whichlater moved to the Roseland Ballroom (Broadway at

50th St.) where they stayed for the next ten years.Coleman Hawkins played saxophone in the band and isgenerally considered to be the first great saxophonist inJazz. In 1924 he hired the up-and-coming trumpetplayer Louis Armstrong importing him from Chicago,where he had been playing with King Oliver's CreoleJazz Band. The Orchestra continued to tour and recorduntil 1939 when it disbanded, and he joined BennyGoodman Orchestra as the pianist and arranger. Thiswas the first time that a "White" band hired a "Black"musician to appear on stage with an orchestra.



Goodman even used the same arrangements

as the Fletcher Henderson Orchestra had

used. The band went on to become one of

the most popular of the Swing bands. In 1943

Henderson left Goodman's band until 1947,

when he rejoined Goodman them as anarranger. He toured as an accompanist for

Ethel Waters in 1948 and 1949. In 1950 he

suffered a stroke and was never able to play

again.



Copenhagen

http://www.youtube.com/watch?v=hZwpzK57

z0Y&feature=related

Features Louis Armstrong



Sidney Bechet(May 14, 1897 May 14, 1959)



Sidney Bechet (May 14, 1897 May 14, 1959)was an American jazz saxophonist, clarinetist, andcomposer.

He was one of the first important soloists in jazz(beating cornetist and trumpeter Louis Armstrongto the recording studio by several months[1] andlater playing duets with Armstrong), and was

perhaps the first notable jazz saxophonist.Forceful delivery, well-constructedimprovisations, and a distinctive, wide vibratocharacterized Bechet's playing.

Bechet's erratic temperament hampered hiscareer, however, and not until the late 1940s didhe earn wide acclaim.



Summertime

http://www.youtube.com/watch?v=IG4nPM9

uxwg



Ken Burns Excerpt

K en Burns Jazz 01 58:11-1:01:31



ODJB(Original Dixieland Jass Band)(1917)



Ken Burns excerpt

K en Burns 01 55:04-57:51

K en Burns Jazz 01 57:42-58:00

K en Burns Jazz 1:13: 23-1:20:29



Livery Stable Blues

http://www.youtube.com/watch?v=5WojNaU4-kI

Original Dixieland Jass Band (ODJB) was foundedin New Orleans in 1916. Their first jazz recordingisdated 1917. In late 1917 it changed the name'sspelling to "Jazz."L'ODJB first members were: Larry Shields(clarinet), Eddie Edwards (trombone), Henry

Ragas (piano), Tony Sbarbaro (drums) e NickLaRocca (cornet).



The Original Dixieland Jass Band (ODJB) were a NewOrleans, Dixieland jazz band that made the first jazzrecordings in early 1917. Their "Livery Stable Blues"

became the first jazz single ever issued.[1][2][3][4][5][6][7]

Thegroup composed and made the first recordings of many jazzstandards, the most famous being Tiger Rag. In late 1917the spelling of the band's name was changed to OriginalDixieland Jazz Band.

The band consisted of five musicians who previously hadplayed in the Papa Jack Laine bands, a diverse and raciallyintegrated group of musicians who played for parades,dances, and advertising in New Orleans.

ODJB billed itself as the C reators of Jazz, because it was thefirst band to record jazz commercially and to have hit

recordings in the new genre. Band leader and trumpeter,Nick LaRocca, argued that ODJB deserved recognition asthe first band to record jazz commercially and the first bandto establish jazz as a musical idiom or genre.

Bix Biederbecke(March 10 1903 August



Bix Biederbecke(March 10, 1903 August

6, 1931)



Leon Bismark "Bix" Beiderbecke (March 10, 1903 August 6, 1931) was an American jazz cornetist, jazzpianist, and composer.

With Louis Armstrong, Beiderbecke was one of themost influential jazz soloists of the 1920s. His turns on"Singin' the Blues" (1927) and "I'm Coming, Virginia"(1927), in particular, demonstrated an unusual purity of tone and a gift for improvisation. With these two

recordings, especially, he helped to invent the jazzballad style and hinted at what, in the 1950s, wouldbecome cool jazz. "In a Mist" (1927), one of a handfulof his piano compositions but the only one herecorded, mixed classical influences with jazz

syncopation. Beiderbecke also has been credited for hisinfluence, directly, on Bing Crosby and, indirectly, viasaxophonist Frank Trumbauer, on Lester Young.[1]



Ken Burns

K en Burns Jazz 02 1:21:54-1:22:22



Singing The Blues

http://www.youtube.com/watch?v=0Ue9igC7flI

The Frankie "Tram" Trumbauer Orchestra feat. Bix Beiderbecke -Singin' the Blues. The first minute of the song is a sax solo byTrumbauer. The second minute is Bix's cornet solo. The third

minute features a short clarinet solo by Jimmy Dorsey, who wasthe clarinetist in Trumbauer's Orchestra at that time. Theguitarist on this track is Eddie Lang. This song is considered a jazzclassic because Bix and, to a lesser degree, Tram were able tomake a slow-tempo jazz ballad swing. This ability to make slow-tempo swinging jazz would later be emulated by jazz musicians

ranging from Lester Young to John Coltrane to Miles Davis.



Bix Beiderbecke..

From Davenport, Iowa

Played by ear and used non standard

fingerings

Touring and alcohol affected his health

Left the Paul Whiteman band in 1930 and died

the following year at age 28



In A Mist

http://www.youtube.com/watch?v=J2_Ai8dgB

ko

Beiderbecke on Piano

Documents

Jazz History 3