Introduction and Background 1 Origins Precursors: including plantation music, ragtime, blues, brass bands Classic Jazz: New Orleans, Chicago in the 1920s, ODJB, Keppard, Oliver, Armstrong, Bix Beiderbecke Piano Jazz: ragtime to stride, swing, boogie woogie The Move to Larger Bands: Whiteman, Goldkette, Henderson, Ellington, Russell, Goodman, Shaw, Basie, Dorseys Interlude 1: International Jazz up to World War II 2 From Swing to Bop Small Groups in Transition: John Kirby, Benny Carter, Coleman Hawkins, 52nd St Birth of Bebop: Dizzy Gillespie, Charlie Parker, Kenny Clarke, Thelonious Monk, Oscar Pettiford How Bebop Developed: soloists, rhythm sections Larger Bands from Gillespie to Kenton and Herman Interlude 2: Dissemination: Summary of Recording and Broadcasting from 78s to Digital Technology 3 Consolidation of Bop Early Miles Davis, from Birth of the Cool to Kind of Blue Rollins, early Coltrane Hard Bop and Soul Jazz: Silver, Blakey, Morgan, Byrd, Henderson Cool Jazz and the West Coast Movement: Evans, Mulligan, Baker, MJQ, Konitz, Tristano, Lighthouse Large Bands: From Thornhill through to the Basie New Testament Band Interlude 3: Jazz Singing to 1950 4 New Jazz Free Jazz: Ornette Coleman, The New Thing (Ayler, Shepp) Cecil Taylor Coltrane and Mingus Politicisation: BAG, AACM, Braxton, Tapscott Interlude 4: New Orleans, Revival and Mainstream Jazz, Including JATP 5 Jazz as World Music Out of Africa: Jazz Epistles, Ibrahim, Masekela, McGregor, Pukwana, Pops Mahomen, Moses Molelekwa Latin Jazz: Afro-Cuban Jazz Brazilian Jazz Europe: Scandinavia, France, Germany, UK, Holland Interlude 5: Jazz Singing from 1950 6 Postmodern Jazz Jazz Fusions Big Band Renaissance: Akiyoshi, Russell, Ecans, Carla Bley, David Murray Jazz Repertory, Education and Neo-Classicism Urban Movements: From M-Base to hip-hop, rap and funk Columbia Records CD Tie-In A New History of Jazz includes boxed inserts with detailed discussions of each of the following performances which feature on the two-CD set Jazz the Definitive Performances, Columbia Records (Sony Music), Columbia J2K 65807 A sticker on each CD will refer to Alyn Shipton's book: Indiana: Original Dixieland Jazz Band* St Louis Blues: Bessie Smith* Dippermouth Blues: King Oliver* Stampede: Fletcher Henderson* Wild Cat Blues: Sidney Bechet/Clarence Williams* Singin the Blues: Frank Trumbauer and Bix Beiderbecke* West End Blues: Louis Armstrong* Tiger Rag: Art Tatum* God Bless the Child: Billie Holiday* Lester Leaps In: Count Basie* Flying Home: Benny Goodman* I Can't Get Started: Dizzie Gillespie* It Don't Mean a Thing: Duke Ellington* 9:30 Special: Coleman Hawkins/Basie* Let Me Off Uptown: Roy Eldridge/Gene Krupa* Tain't What'Cha Do: Jimmie Lunceford* Four Brothers: Woody Herman* Nica's Dream: Art Blakey/Horace Silver + Jazz Messengers* So What: Miles Davis/Coltrane/Cannonball Adderley/Bill Evans* Goodbye Pork Pie Hat: Mingus* Take Five: Dave Brubeck* It's All Right With Me: Erroll Garner* Straight No Chaser: Thelonious Monk* Searching: Duke Ellington* Sanctuary: Miles Davis* Meeting of the Spirits: John McLaughlin/Mahavishnu* Watermelon Man: Herbie Hancock* Birdland: Weather Report* Artist in America: Ornette Coleman* Round Midnight: Dexter Gordon* Steppin Out With My Baby: Tony Bennett* A Thousand Autumns: Branford Marsalis* Freedom is in the Trying: Wynton Marsalis

Jazz: A People's Music

A new history of jazz

The phenomenon of intermedial conceptual loans is central to our understanding of the time-based arts. This thesis focuses on the usage of the term storytelling with regard to jazz improvisation. The aim of the investigation is to clarify how this concept is used by Swedish jazz practitioners. The framework of the study includes theories of narrativity and of metaphor as well as educational and sociological perspectives. The study aims at an exploration of a multivariety of perspectives. Accordingly, the analysis of the empirical study – which consists of qualitative interviews with fifteen jazz musicians – as well as of relevant previous writings is carried out by means of a broad inclusionist hermeneutic approach. Throughout the multitude of issues thus explored, qualities of openness, wholeness, and listening stand out as crucial to jazz improvisation and to musicians' understanding of it as 'storytelling'. The quality of temporality permeates any improvisational activity; the results of the study are structured in accordance with this perspective. The study points to several implications of the usage of the concept storytelling regarding jazz improvisation. From a theoretical point of view, the results exemplify the bidirectional function and relevance of rich intermedial metaphoricity on a conceptual level. Artistic implications of the usage of 'storytelling' in jazz contexts include the dynamics between structural and communicative aspects of the music, as well as the dynamics of different kinds of authenticity: on one hand, authenticity regarding the tradition in which the improviser is situated; on the other, authenticity regarding the improviser's own individuality. With regard to educational issues, the multivariety of required artistic skills in the improviser arguably calls for a rich learning ecology framework including collective, experiential, and exploratory approaches to improvisation. From a sociological point of view, the storytelling metaphor is shown to function as a kind of exclusionist counterdiscourse employed by an older generation of musicians against a younger one, by an autodidactic musical culture against an educationalist one, or by advocates of authenticity against technical proficiency. In conclusion, the concept storytelling as a rich intermedial metaphor is shown to be significant to the practice and reflection of performing artists through its ability to mediate holistic views of what is considered to be of crucial importance in artistic practice, analysis, and education. (Less)

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Storytelling in jazz improvisation: Implications of a rich intermedial metaphor

For years musicians and critics have made statements about the nature of swing in jazz in general and the playing of Louis Armstrong in particular, based on the evidence of their ears. In order to quantify
 these issues, precise timing analyses of two mid-tempo solos by Louis Armstrong were analyzed, focusing in particular on stop-time sections. Two key elements of swing were analyzed; placement of the downbeats,
 and the swing or triplet ratio. For these solos, Armstrong played fairly close to on the beat, with a swing ratio of about 1.6 to 1.

https://www.jstor.org/stable/10.1525/mp.2002.19.3.463

A Study of Timing in Two Louis Armstrong Solos

Hip Hop Activism in Education: The Historical Efforts of Hip Hop Congress to Advance Critical Hip Hop Pedagogy through the Urban Teachers Network

[1] In the wake of Paul Berliner's and Ingrid Monson's landmark interview-based research of the mid-1990s, the notion that "good jazz improvisation is sociable and interactive just like a conversation" (Monson 1996, 84) has become near-conventional wisdom in the field of jazz studies.(1) Numerous other scholars have since demonstrated conclusively that spontaneous ensemble interaction is a prominent element of jazz, and in so doing have greatly enrichened our knowledge and understanding of this signal Afrodiasporic art form as both a musical and a social practice.(2) Some have even gone so far as to characterize jazz as "a music that demands interaction" (Doffman 2011, 213); it has been said that dialogical interplay between participants is "fundamental and always present" within the idiom (Szwed 2000, 65), that it is "continual" (Gratier 2008, 80) and "constant throughout a performance" (Iyer 2004, 394), and that "if [it] doesn't happen, it's not good jazz" (Monson 1996, 84). Yet the concept of interaction in jazz nevertheless remains somewhat undertheorized. More still needs to be said about what, exactly, it is, and about the various roles it plays in everyday performance practice.[2] For the purposes of this discussion, I define musical interaction as involving one or more members of an ensemble improvising spontaneously in response to what other participants are playing.(3) Improvisation, in itself, need not necessarily be interactive. But interaction, as defined here, occurs extemporaneously, rather than being predetermined in the manner of a scripted conversation or, say, the contrapuntal interplay in a fugal Baroque composition.(4) Musicians' statements and performance practices suggest that interaction, so conceived, can take a variety of different forms, some of which are ubiquitous in most any live performed music, including jazz, while others--including modes of interaction that are considered highly characteristic of jazz--are far from omnipresent in this particular idiom and can even at times be undesirable. If we can better understand when and why jazz musicians sometimes claim to prefer noninteractive performance conditions, we will be able to recognize more clearly the nature and limits of improvisatory interaction itself, as well as to differentiate more precisely between some of its various manifestations. We will also be positioned to briefly step back and consider why interaction emerged as a major focus of jazz scholarship at a particular point in time, and this trend's consequences for how jazz is viewed within the academy today.[3] Jazz musicians do not always regard ensemble interaction as essential. For one thing, the idiom has a long tradition of unaccompanied solo playing. Pianist Billy Taylor (1921-2010) once observed that:Many keyboard players enjoy improvising alone because solo playing gives them the freedom to organize all the elements of their music completely on their own terms. When playing solo, they do not have to react or respond to musical phrases, harmonic tensions, or rhythmic patterns provided by other musicians, as they do in jazz groups. Sometimes this leads to self-indulgent music which is boring and formless, but on other occasions the player is able to create music which is meaningful to many listeners on many different levels (1982, 23).(5)Needless to say, jazz is a diverse art form, and Taylor plainly depicts solo playing as an exception to the norm. Moreover, when playing unaccompanied, many jazz pianists tend to mimic the idiom's typical interactive group format by enacting several ensemble roles concurrently. Taylor himself might treat a rubato unaccompanied ballad as an opportunity for unfettered pianistic self-expression, but when playing up-tempo alone he was more likely to support his right hand's horn-like melodic lines with left-hand stride patterns, walking tenths, or chordal bebop comping, all strategies embodying the dynamics of a multi-person rhythm section. …

/pdf/rethinking-interaction-in-jazz-improvisation-563bz1kkgz.pdf

Jazz: A People's Music

Citations

A new history of jazz

Storytelling in jazz improvisation: Implications of a rich intermedial metaphor

A Study of Timing in Two Louis Armstrong Solos

Hip Hop Activism in Education: The Historical Efforts of Hip Hop Congress to Advance Critical Hip Hop Pedagogy through the Urban Teachers Network

Rethinking Interaction in Jazz Improvisation

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