Âm nhạc - Chapter 5: Jazz tenth edition

JazzTenth EditionChapter 5PowerPointbySharon Ann Toman, 2004New OrleansBecause of the geographical origin of this type of jazz and it bred more notable jazz musicians in New OrleansBUTthe more in-depth the research, the more difficult it is to claim one city as the origin2Chapter 5 - Early New Orleans and Chicago Style JazzNew OrleansA city that keeps alive many of its early customs and traditionsA city that is tolerant of all races and was a natural setting for the music of West Africa and Europe to meet and merge3Chapter 5 - Early New Orleans and Chicago Style JazzNew OrleansWhen considering New Orleans the birthplace of jazz one must keep in mind that: 1. slaves were brought 1st to Virginia(1619)2. 1st instrumental jazz was recorded in NYC (1917)4Chapter 5 - Early New Orleans and Chicago Style JazzNew OrleansThe historical background of New Orleans, an exciting city that keeps alive many of its early customs and traditionsProvided a receptive environment for jazz to develop and grow5Chapter 5 - Early New Orleans and Chicago Style JazzThe Oral TraditionAll “Early New Orleans” bands did not sound the sameStyle of playing varied with the jobwhether it was music for a parade, funeral or dancing6Chapter 5 - Early New Orleans and Chicago Style JazzThe Oral TraditionMusic played in some African American clubs was too “rough”While music played for white dances had a more “sweeter” styleMelody was fixed but everything else was improvised during performance7Chapter 5 - Early New Orleans and Chicago Style JazzStoryvilleSection of New Orleans where early jazz developed and flourished until closed in 1917Named after Sidney Story who supported an ordinance that confined this red-light district to a 38 block areaThis district made important contributions to the beginnings of jazz8Chapter 5 - Early New Orleans and Chicago Style JazzInstrumental ObligationsFrontline players (cornet, clarinet, & trombone) – had obligations to fulfill in playingFrontline players played their parts polyphonically9Chapter 5 - Early New Orleans and Chicago Style JazzInstrumental ObligationsCornet (trumpet) played melody because of it being the loudest instrument in the orchestraClarinet had a dual role:a) play harmonyb) because more agile than coronet, it was used to create momentum10Chapter 5 - Early New Orleans and Chicago Style JazzInstrumental ObligationsTrombone: plays the most important note of a chord (bass note) to mark the change in harmoniesBanjo, tuba and drums: played the rhythm parts in a flat 4 with no accentsNo piano is usedin the early Dixieland groups11Chapter 5 - Early New Orleans and Chicago Style JazzInstrumental ObligationsDixieland format/structure of the music consisted of: 1. ensemble chorus2. solo choruses3. return to the ensemble chorus12Chapter 5 - Early New Orleans and Chicago Style JazzInstrumental ObligationsRhythmic complexityCollective improvisationCreative interaction and instrumental independence13Chapter 5 - Early New Orleans and Chicago Style JazzJoe “King” Oliver (1885-1938)The last trumpeter to be called a “king”Band leaderKing Oliver’s Creole Jazz BandMost important figure of the “Early New Orleans” styleMentor and teacher of Louis ArmstrongWas able to get a wide array of sounds on his trumpet14Chapter 5 - Early New Orleans and Chicago Style JazzSidney Bechet (1897-1959)Child prodigy - began playing professionally in 19031st jazz musician to achieve fame with his soprano sax, also played the clarinetMoved to Chicago as did other well-known musicians and bandsTraveled to Europe – performingRivaled Armstrong as one of the important solo improvisers from New OrleansHis sax playing produced a rich and heavy vibrato15Chapter 5 - Early New Orleans and Chicago Style JazzOut of New OrleansJazz moved to Chicago in 1916 and then to New York in 1917“Original Dixieland Jazz Band” in New York consisted of a group of white musicians This band copied the “black bands”16Chapter 5 - Early New Orleans and Chicago Style JazzLouis Armstrong (1901-1971)Greatest of all Jazz musiciansAmazing technical abilities as a performerTook up the trumpet in reform schoolJoined the school band/chorusStarted to play for social affairs outside the home17Chapter 5 - Early New Orleans and Chicago Style JazzLouis Armstrong (1901-1971)Studied with Joe “king” Oliver and was Oliver’s protégéConsidered the greatest trumpet player who ever livedHad great musical tone, stamina, range, creativeness and techniqueConsidered one of the best jazz singers18Chapter 5 - Early New Orleans and Chicago Style JazzLouis Armstrong (1901-1971)Amazed his audiences with his playing styleGenius at improvisationConcerned with pleasing his audiencesBecame great as a showman and even a comedian19Chapter 5 - Early New Orleans and Chicago Style JazzChicago Style (the 1920s)Chicago was a very prosperous cityMany opportunities for employmentRecordings were done in NYC and the outskirts of ChicagoIt was the age of.Straw hats, arm bands, Model T and Model A FordsRaccoon coats, new dances like the Charleston, and Speakeasies (nightclubs in the 1920s)Gangsters ruled Chicago during this period20Chapter 5 - Early New Orleans and Chicago Style JazzThe New Orleans and Chicago StylesBoth styles used cornet, trombone, clarinet and drumsNow both styles use piano and the string bass replaced the tubaNew Orleans style was “marching” music and not many recordings exist21Chapter 5 - Early New Orleans and Chicago Style JazzChicago Style1. saxophone was added2. guitar replace the banjo3. elaborate introduction and ending were common4. ease and relaxation in playing style gave way to tension and drive5. individual solos more important than the collective improvisation6. time signature - rhythm changed from 4/4 to 2/4 (accenting beats 2 and 4, rather than 1 and 3)22Chapter 5 - Early New Orleans and Chicago Style JazzChicago StyleThe 1920’s brought many professionally trained instrumentalist into jazzUntil the 1920’s jazz was mainly an African American art formChicago style used large numbers of white player with formal musical training into the jazz worldOne of the most popular groups in Chicago was:“New Orleans Rhythm Kings”23Chapter 5 - Early New Orleans and Chicago Style JazzEarl Hines (1903-1983)Influenced by Louis ArmstrongDeveloped what was called the “trumpet style” of playing the piano (melodic style)24Chapter 5 - Early New Orleans and Chicago Style JazzBix Beiderbecke (1903-1931)Excellent white trumpeterHis music has great vitality and creativenessAnd yet his music is “fun” listening25Chapter 5 - Early New Orleans and Chicago Style JazzLater DevelopmentsEarly New Orleans style of jazz is still played and heard todayChicago Style Dixieland is still popular today because of its rhythmThe Chicago Style was perpetuated by large orchestra such as the Dorsey Brothers and Bob Crosby26Chapter 5 - Early New Orleans and Chicago Style JazzLater DevelopmentsLarger orchestrasComplete section plays written parts on lines originally invented for one instrument (influence of the jazz style)Some historians feel that the jazz age ended around 1927.although jazz did continueLarger bands began to absorb the better jazz players27Chapter 5 - Early New Orleans and Chicago Style JazzLater DevelopmentsBy the end of the 1920s, jazz had again moved..This time the move was from Chicago toNew York28Chapter 5 - Early New Orleans and Chicago Style JazzConclusionThe move of jazz from New Orleans to the North placed emphasis from a predominately “ensemble style” of playing toOne that centered on the “soloist” which was due to the influence of Louis Armstrong29Chapter 5 - Early New Orleans and Chicago Style Jazz