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People go to NYC for its commercial, sociological, and musical spheres of influence in jazz. The Harlem Renaissance saw the rise of venues, though also issues of race and organized crime financing nightclubs. Important bandleaders like Fletcher Henderson, Duke Ellington, and Count Basie emerged in NYC, developing big bands with new instrumentation and arrangements that helped define eras like swing. Ellington in particular was a prolific and influential composer across many genres who clarified big band jazz and challenged assumptions about the music.
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0% found this document useful (0 votes)
83 views5 pages

Notes

People go to NYC for its commercial, sociological, and musical spheres of influence in jazz. The Harlem Renaissance saw the rise of venues, though also issues of race and organized crime financing nightclubs. Important bandleaders like Fletcher Henderson, Duke Ellington, and Count Basie emerged in NYC, developing big bands with new instrumentation and arrangements that helped define eras like swing. Ellington in particular was a prolific and influential composer across many genres who clarified big band jazz and challenged assumptions about the music.
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Why do people go to NYC:

Spheres of influence:
- Commercial (Tin Pan alley, Carnegie hall, label)
- Sociological: European immigrants coming (their take on jazz)
- Musical sphere of influence (rise of ballroom dancing)

Harlem Renaissance:
- Venues
- Race issues
- Mobsters financing nightclubs
- Gentrification

Fletcher Henderson:
- Augmented the size of the band by adding saxophones
- Because there’s no prohibiton venues get bigger and bands get bigger
HIS BAND:
- Don Redman (chief arranger) Alto sax
- Louis Armstrong trumpet
- Coleman Hawkins on Tenor sax

DUKE ELLINGTON:
- Gets to NYC in 1923
- Born in 1899 in DC and moved to NYC in 1923
- Art scholarship for Pratt
- Studied stride piano at 14 and wrote his first song
- Creates his band, The Washingtonians
- One of the first writers to combine brass and reeds
- Most important in jazz composer in the US, significant in all decades of his life
- He wrote pop, blues, ballets, operas, theater, film, TV, suites, concertos, symphonies,
Public dedications, big band music
- Clarified nature of big band jazz
- Solidified influence of stride jazz
- Showed adventures jazz writing can be used in pop
- Violated the assumptions about jazz being uncultured music
- December 4th 1927 first show at the Cotton Club

Ellington’s cotton club experience:


- Jungle music
- Worked with dancers and directors
- Live shows (radio), became a celebrity
- Racial pride in music
- sensual melodies
ELLINGTONIANS:
- Harry Carny – BARITONE SAX
- Cootie Williams – TRUMPET
- Bubber Miles – TRUMPET
- Johnny Hodges – ALTO SAX
- Joe “Tricky Sam” – TROMBONE
- Barney Bigard – CLARINET
- Wellman Braud – BASS
SWING ERA:
- Hot = dancing, improve
- Sweet = lush harmonies, slower tempos
- Benny Goodman had been playing sweet and the last show he plays hot swing and
becomes a national praise (time difference)
- Swing = pop music
- The great depression, art provides relief
- Dance: Lindy Hop, Charleston, Jitter Bug, Fox trot
- Amplified guitars instead of banjo
- Record sales went down but they go back up with the jukebox
- Music is a skill craft accessible to blacks
- SAVOY
- String bass replaces tuba
- When Ellington would write for someone in his bands (combination of musicians’ unique
voices and emotions that Duke heard in his head)
- 1956 Ellington goes to Newport jazz festival and it becomes the best selling album
(Diminuendo) crowd starts to dance.
- Chief arranger for Duke Ellington (Billy Strayhorn) ‘Take the A train’, ‘Satin doll’, ‘Chelsea
Bridge’.

KANSAS CITY:
- Territory bands (band specific to a region)
- Territory band that Count Basie is the part of (Blue Devils)
- Benny moten is replaced by Basie
- Basie adds Lester Young and goes on tour
- Most of the arranging was stored on their heads
Basie:
- Adds Freddie Green (Create all American rhythm section):
- Freddie Green (guitar)
- Papa jo jones on drums
- Walter page on bass
- (John Hammond is his prodcer)
BASIE BAND:
- Walter Paige on bass
- Papa jo jones on drums
- Harry Edison, Snooky Young and Clarke Terry, Thad and Quincy Jones on trumpet
- Vic Dickinson, Grover Mitchell, Bill Hughes on trombone
- Marshall Royal (Alto) and Frank Foster (alto), Lester young, Gene Ammons, Eddie
Lockjaw Davis
- Freddie Green on guitar
- More improve than Ellington’s band, Basie bands lacked creativity on tadios so
they’d go to jam sessions @ Minton’s Playhouse
- LESTER YOUNG (LINEAR) COLEMAN HAWKINS (ANGULAR)

ELLINGTON BAND:
- Jimmy Blanton, Oscar Pettiford on bass
- Sony Greer on drums
- Ellington, Strayhorn, Mary Lou on piano
- Bubber Miley, Cootie Williams, Rex Stewart, Cat Anderson, Clarke Terry on trumpet
- Barney Bigard (clarinet), Johnny Hodhes (alto), Ben Webster, Paul Gonsalves, Harry
Carney (bari)
- Ivie Anderson, Al hipler, Ella fitzgerald
- Tricky “Sam” Nanton, Juan Tizol
- Billy Strayhorn

Johnny Hodges: Bending of notes

Paul Whiteman:
- Commercial music
- Called himself the king of jazz
- Hired
Bix Biderback who:
- used extensions
- Influenced by Debussy and Ravel
- “The wolverines” his band
Canadian version of Paul Whiteman: Guy Lombardo (Royal Canadians)
- Maru lou Williams (Taught monk, tadd dameron, miles davis, Charlie parker, composer
and pianist)
WHITE BANDS:
- Glenn miller (In the mood), clarinet playing lead, tenor
- Radio connects us to the world
- Harry James
- Glenn Miller
- Artie Shaw
- Tommy Dorsey
- Benny Goodman
- Helen Forrest was the singer in white big bands
- Harry James (discovered Frank Sinatra)

Artie Shaw:
- The music business drove him crazy because he didn’t feel like the art and the business
went together
- “Nightmare”
- FIRST PERSON TO INTEGRATE A BAND with Billie Holiday (originally Helen Forrest)

Tommy Dorsey:
- Hired Frank Sinatra and Buddy Rich
- Good with money
- Jimmy and Tommy hosted the stage show and one of the first guests was Elvis

Benny Goodman:
- Great artistry and vision as entrepreneur
- Fully integrates his band
- ‘King of swing’
QUARTET: Lionel Hampton (percussion), Teddy Wilson (Piano), Gene Krupa (Drums).
- First PLAYING JAZZ IN CARNEGIE HALL: January 16th, 1938

Style characteristics of Coleman Hawkins:


- Wide fast vibrato
- Hard Sound
- Metal mouthpieces
- Vertical Playing
Style characteristics of Lester Young:
- Linear Style
- Softer – rubber mouthpiece
- Small/ no vibrato

BILLIE HOLIDAY:
- 13 she becomes a prostitute
- abused by men her you nger life
- becomes an alcoholic, heroin user
- John Hammond (Producer – Brunswick records), civil rights activist
- 1936, signs Billie: put out records w/ Teddy Wilson
- Signs with Basie band: gets fired bc too demanding segregation
- Gets deal w/ Columbia Records
- Abel Meerepol – Strange fruit poem
- Recorded pop songs – not getting paid royalties.
- Delivery of lyric
ELLA FITZGERALD:
- Norman grand
- Starts VERVE records
- 1956 – 1964 records 8 albums of composer based records:
1. Cole porter songbook
2. Rogers/Hart songbook
3. Duke Ellington songbook
4. Berlin songbook
5. George/Ira Gerswhin
6. Harold allen
7. Jerome Kern
8. Johnny Mercer
9. Jobim songbook

BASIE BAND SINGERS:


- Jimmy Rushing
- Big Joe Turner
- Joe Williams
- Billie Holiday
- Diane Schur
- Carmen Bradford

Prominent Arrangers:
- Sammy nestico
- Neal Hefti
- Frank Foster
- Thad Jones
- Quincy Jones
- Billy May

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