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Johnny Hodges: an Analysis and Study of His Improvisational Style Through Selected Transcriptions
HILL, AARON D., D.M.A. Johnny Hodges: An Analysis and Study of His Improvisational Style Through Selected Transcriptions. (2021) Directed by Dr. Steven Stusek. 82 pp This document investigates the improvisational style of Johnny Hodges based on improvised solos selected from a broad swath of his recording career. Hodges is widely considered one of the foundational voices of the alto saxophone, and yet there are no comprehensive studies of his style. This study includes the analysis of four solos recorded between 1928 and 1962 which have been divided into the categories of blues, swing, and ballads, and his harmonic, rhythmic, and affective tendencies will be discussed. Hodges’ harmonic approach regularly balanced diatonicism with the accentuation of locally significant non-diatonic tones, and his improvisations frequently relied on ornamentation of the melody. He demonstrated considerable rhythmic fluidity in terms of swing, polyrhythmic, and double time feel. The most individually identifiable quality of his style was his frequent and often exaggerated use of affectations, such as scoops, sighs, and glissandi. The resulting body of research highlights the identifiable characteristics of Hodges’ style, and it provides both musical and historical contributions to the scholarship. JOHNNY HODGES: AN ANALYSIS AND STUDY OF HIS IMPROVISATIONAL STYLE THROUGH SELECTED TRANSCRIPTIONS by Aaron D. Hill A Dissertation Submitted to The Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2021 Approved by __________________________________ Committee Chair 2 APPROVAL PAGE This dissertation written by AARON D. HILL has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro. -
GIVING a JAZZ RECORD AS a GIFT by Eric Myers National Times, December 7, 1980 ______
GIVING A JAZZ RECORD AS A GIFT by Eric Myers National Times, December 7, 1980 ______________________________________________________________ The National Times opera critic JOHN CARMODY, Sydney Morning Herald jazz critic ERIC MYERS and rock writer SHANE NICHOLS prepared this guide to records most likely to be gratefully received. They cover a range of tastes and should be available. ______________________________________________________________ f you are buying a jazz record as a gift, you should determine the style preferred. There are so many different, although related, idioms I congregating under the banner of "jazz" that it is rarely possible, these days, to buy a "jazz" album that suits all tastes. Duke Ellington At Fargo 1940 Live (Book Of The Month Records 305622). If the recipient likes big band jazz, you could do no better than the three-record set Duke Ellington At Fargo 1940 Live (Book Of The Month Records 305622). This was a performance at the Crystal Ballroom, Fargo, North Dakota, on 1 November 7, 1940. Many critics believe, with some justice, that this particular line-up of musicians was the greatest that Ellington ever assembled. This was a special performance - the first night Ray Nance played in the trumpet section, having just replaced Cootie Williams, who had left to join Benny Goodman. Rex Stewart is also in the section. The saxophones include Barney Bigard (clarinet), Johnny Hodges (alto) and Ben Webster (tenor) among others; Tricky Sam Nanton and Lawrence Brown are among the trombones; and the great Jimmy Blanton is on bass. It is a distinguished line-up, and the band roars through the Ellington repertoire with all the qualities that made it the greatest big band in jazz. -
John Cornelius Hodges “Johnny” “Rabbit”
1 The ALTOSAX and SOPRANOSAX of JOHN CORNELIUS HODGES “JOHNNY” “RABBIT” Solographers: Jan Evensmo & Ulf Renberg Last update: Aug. 1, 2014, June 5, 2021 2 Born: Cambridge, Massachusetts, July 25, 1906 Died: NYC. May 11, 1970 Introduction: When I joined the Oslo Jazz Circle back in 1950s, there were in fact only three altosaxophonists who really mattered: Benny Carter, Johnny Hodges and Charlie Parker (in alphabetical order). JH’s playing with Duke Ellington, as well as numerous swing recording sessions made an unforgettable impression on me and my friends. It is time to go through his works and organize a solography! Early history: Played drums and piano, then sax at the age of 14; through his sister, he got to know Sidney Bechet, who gave him lessons. He followed Bechet in Willie ‘The Lion’ Smith’s quartet at the Rhythm Club (ca. 1924), then played with Bechet at the Club Basha (1925). Continued to live in Boston during the mid -1920s, travelling to New York for week-end ‘gigs’. Played with Bobby Sawyer (ca. 1925) and Lloyd Scott (ca. 1926), then from late 1926 worked regularly with Chick webb at Paddock Club, Savoy Ballroom, etc. Briefly with Luckey Roberts’ orchestra, then joined Duke Ellington in May 1928. With Duke until March 1951 when formed own small band (ref. John Chilton). Message: No jazz topic has been studied by more people and more systematically than Duke Ellington. So much has been written, culminating with Luciano Massagli & Giovanni M. Volonte: “The New Desor – An updated edition of Duke Ellington’s Story on Records 1924 – 1974”. -
The Development of Duke Ellington's Compositional Style: a Comparative Analysis of Three Selected Works
University of Kentucky UKnowledge University of Kentucky Master's Theses Graduate School 2001 THE DEVELOPMENT OF DUKE ELLINGTON'S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS Eric S. Strother University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Strother, Eric S., "THE DEVELOPMENT OF DUKE ELLINGTON'S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS" (2001). University of Kentucky Master's Theses. 381. https://uknowledge.uky.edu/gradschool_theses/381 This Thesis is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Master's Theses by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF THESIS THE DEVELOPMENT OF DUKE ELLINGTON’S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS Edward Kennedy “Duke” Ellington’s compositions are significant to the study of jazz and American music in general. This study examines his compositional style through a comparative analysis of three works from each of his main stylistic periods. The analyses focus on form, instrumentation, texture and harmony, melody, tonality, and rhythm. Each piece is examined on its own and their significant features are compared. Eric S. Strother May 1, 2001 THE DEVELOPMENT OF DUKE ELLINGTON’S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS By Eric Scott Strother Richard Domek Director of Thesis Kate Covington Director of Graduate Studies May 1, 2001 RULES FOR THE USE OF THESES Unpublished theses submitted for the Master’s degree and deposited in the University of Kentucky Library are as a rule open for inspection, but are to be used only with due regard to the rights of the authors. -
Duke Ellington 4 Meet the Ellingtonians 9 Additional Resources 15
ellington 101 a beginner’s guide Vital Statistics • One of the greatest composers of the 20th century • Composed nearly 2,000 works, including three-minute instrumental pieces, popular songs, large-scale suites, sacred music, film scores, and a nearly finished opera • Developed an extraordinary group of musicians, many of whom stayed with him for over 50 years • Played more than 20,000 performances over the course of his career • Influenced generations of pianists with his distinctive style and beautiful sound • Embraced the range of American music like no one else • Extended the scope and sound of jazz • Spread the language of jazz around the world ellington 101 a beginner’s guide Table of Contents A Brief Biography of Duke Ellington 4 Meet the Ellingtonians 9 Additional Resources 15 Duke’s artistic development and sustained achievement were among the most spectacular in the history of music. His was a distinctly democratic vision of music in which musicians developed their unique styles by selflessly contributing to the whole band’s sound . Few other artists of the last 100 years have been more successful at capturing humanity’s triumphs and tribulations in their work than this composer, bandleader, and pianist. He codified the sound of America in the 20th century. Wynton Marsalis Artistic Director, Jazz at Lincoln Center Ellington, 1934 I wrote “Black and Tan Fantasy” in a taxi coming down through Central Park on my way to a recording studio. I wrote “Mood Indigo” in 15 minutes. I wrote “Solitude” in 20 minutes in Chicago, standing up against a glass enclosure, waiting for another band to finish recording. -
Jumpin' Punkins by Mercer Ellington Arranged by Duke Ellington Unit 1
Jumpin’ Punkins By Mercer Ellington Arranged by Duke Ellington Unit 1: Composer Mercer Ellington was born in Washington D.C., on March 11, 1919. He was the son of world famous composer, pianist, and bandleader, Duke Ellington. He tried for his entire life to escape from under the shadow of his famous father. A talented trumpet player, Mercer studied music with his father and wrote his first composition, “Pigeons and Peppers”, at the age of eighteen. Mercer, a classically trained musician, studied music in New York at Columbia University and the Institute of Musical Arts at Juilliard. He had several professions in life including salesman, disk jockey, record company executive, trumpet player, and aide to his father. Mercer performed in Sy Oliver’s Band after WWII, led his own band for a number of years, and then served as music director for Della Reese in 1960. He took over as leader of the Ellington Orchestra after his father’s death in 1974. He even won a Grammy with the Ellington Orchestra in 1988 for “Digital Duke.” This recording actually pulled together many of the former greats of the Ellington Orchestra including Clark Terry, Norris Turney and special guest artists including Branford Marsalis and Sir Roland Hanna. Mercer also wrote a biography of his father entitled “Duke Ellington in Person,” offering a personal account of Duke Ellington from a son’s perspective. Unit 2: Composition Mercer wrote Jumpin’ Punkins (1941) after being asked by his father, Duke, to join the band as a writer. It is believed that even though Mercer composed several compositions during this two-year period, Duke actually arranged this chart for the Ellington Orchestra himself. -
Frank Driggs Collection of Duke Ellington Photographic Reference Prints [Copy Prints]
Frank Driggs Collection of Duke Ellington Photographic Reference Prints [copy prints] NMAH.AC.0389 NMAH Staff 2018 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 2 Scope and Contents note................................................................................................ 2 Biographical/Historical note.............................................................................................. 2 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 3 Series 1: Band Members......................................................................................... 3 Series 2: Ellington at Piano...................................................................................... 5 Series 3: Candid Shots............................................................................................ 6 Series : Ellington -
Benjamin Francis Webster “Ben” “Frog” “Brute”
1 The TENORSAX of BENJAMIN FRANCIS WEBSTER “BEN” “FROG” “BRUTE” PART 1 (1931 – 1943) Solographer: Jan Evensmo Last update: April 13, 2018 2 Born: Kansas City, Missouri, March 27, 1909 Died: Amsterdam, Holland, Sept. 20, 1973 Introduction: Ben Webster was one of the all-time tenor saxophone greats with a long career of more than forty years. He was a favourite from the very first record with Duke Ellington from the early forties, and his music was always fascinating. I wrote his first solography in 1978 in Jazz Solography Series. Later his music appeared in the various ‘History of Jazz Tenor Saxophone’ volumes, including 1959. Later works will appear in due time on Jazz Archeology. He visited Norway several times, and I never forget when my friend Tor Haug served him fish for dinner! Early history: First studied violin, then piano. Attended Wilberforce College. Played piano in a silent-movie house in Amarillo, Texas. First professional work with Bretho Nelson's Band (out of Enid, Oklahoma), then, still on piano with Dutch Campbell's Band. Received early tuition on saxophone from Budd Johnson. Joined "family" band led by W.H. Young (Lester's father) in Campbell Kirkie, New Mexico, toured with the band for three months and began specialising on sax. With Gene Coy's Band on alto and tenor (early 1930), then on tenor with Jap Allen's Band (summer 1930). With Blanche Calloway from April 1931. Then joined Bennie Moten from Winter 1931-32 until early 1933 (including visit to New York). Then joined Willie Bryant's orchestra. -
Emmett Berry
1 The TRUMPET of EMMETT BERRY Solographer: Jan Evensmo Last updated: July 18, 2019 2 Born: Macon, Georgia, July 23, 1915 Died: June 22, 1993 Introduction: Emmett Berry was an excellent swing trumpeter but possibly suffered by being overshadowed by the charismatic Roy Eldridge with a related style. It was quite obvious that he should be a candidate for a solography on internet! Early history: Raised in Cleveland, Ohio; began ‘gigging’ with local bands, then joined J. Frank Terry’s Chicago Nightingales in Toledo, Ohio (1932), left Terry in Albany, New York, in 1933and ‘gigged’ mainly in that area during the following three years. Joined Fletcher Henderson in late 1936, and remained until Fletcher disbanded in June 1939. With Horace Henderson until October 1940, briefly with Earl Hines, then with Teddy Wilson’s sextet from May 1941 until July 1942, then joined Raymond Scott at C.B.S. With Lionel Hampton from spring of 1943, week with Teddy Wilson in August 1943, briefly with Don Redman and Benny Carter, then again rejomed Teddy Wilson c. November 1943. With John Kirby Sextet from summer 1944 until January 1945, Eddie Heywood, February until October 1945, then joined Count Basie. Left Basie in 1950. (ref. John Chilton). Message: I met Emmett Berry’s daughter Christina at the National Jazz Museum of Harlem a few years ago, seeking information about her father. I promised her a solography, it has taken some time, but here it is. Hopefully you are happy with this tribute to your father, Christina! 3 EMMETT BERRY SOLOGRAPHY FLETCHER HENDERSON & HIS ORCHESTRA NYC. -
The Cambridge Companion to Duke Ellington Edited by Edward Green Frontmatter More Information
Cambridge University Press 978-0-521-88119-7 - The Cambridge Companion to Duke Ellington Edited by Edward Green Frontmatter More information The Cambridge Companion to Duke Ellington Duke Ellington is widely held to be the greatest jazz composer and one of the most significant cultural icons of the twentieth century. This comprehensive and accessible Companion is the first collection of essays to survey, in-depth, Ellington’s career, music, and place in popular culture. An international cast of authors includes renowned scholars, critics, composers, and jazz musicians. Organized in three parts, the Companion first sets Ellington’s life and work in context, providing new information about his formative years, method of composing, interactions with other musicians, and activities abroad; its second part gives a complete artistic biography of Ellington; and the final section is a series of specific musical studies, including chapters on Ellington and songwriting, the jazz piano, descriptive music, and the blues. Featuring a chronology of the composer’s life and major recordings, this book is essential reading for anyone with an interest in Ellington’s enduring artistic legacy. edward green is a professor at Manhattan School of Music, where since 1984 he has taught jazz, music history, composition, and ethnomusicology. He is also on the faculty of the Aesthetic Realism Foundation, and studied with the renowned philosopher Eli Siegel, the founder of Aesthetic Realism. Dr. Green serves on the editorial boards of The International Review of the Aesthetics and Sociology of Music, Haydn (the journal of the Haydn Society of North America), and Проблемы Музыкальной Науки (Music Scholarship), which is published by a consortium of major Russian conservatories, and is editor of China and the West: The Birth of a New Music (2009). -
Duke Ellington 1
MUNI 20140324 - DUKE ELLINGTON 1 C D 1 1. It’s Gonna Be a Cold, Cold Winter (Porter Grainger-Jackie Trent) 3:00 Alberta Prime-voc; Duke Ellington-p. New York, November 1924. first issue Blue Disc T-1007/matrix number T2001-1. CD Masters of Jazz MJCD 8. 2. Choo Choo (Duke Ellington-Bob Schafer-Dave Ringle) 3:17 The Washingtonians: James “Bubber” Miley-tp; Charlie Irvis-tb; Otto Hardwick-Cms; Duke Ellington-p; George Francis-bjo; Sonny Greer-dr. NY, November 1924. Blue Disc T-1002/T2005-2. CD Masters of Jazz MJCD 8. 3. East St.Louis Toodle-Oo (Duke Ellington-Bubber Miley) 2:54 Duke Ellington and his Kentucky Club Orchestra: Louis Metcalf, Bubber Miley-tp; Tricky Sam Nanton-tb; Otto Hardwick-Cms, as, ss, bs; possibly Edgar Sampson-as; Prince Robinson-ts, cl; Duke Ellington-p; Fred Guy-bjo; Mack Shaw-tu; Sonny Greer-dr. NY, November 29, 1926. Vocalion 1064/E4110. CD Masters of Jazz MJCD 8. 4. Creole Love Call (Duke Ellington-Rudy Jackson-Bubber Miley) 3:14 Duke Ellington and his Orchestra: Louis Metcalf, Bubber Miley-tp; Tricky Sam Nanton-tb; Otto Hardwick-as, ss, cl; Harry Carney-bs, as, cl; Rudy Jackson-cl, ts; Duke Ellington-p; Fred Guy-bjo; Wellman Braud-b; Sonny Greer-dr; Adelaide Hall-voc.. NY, October 26, 1927. Victor 21137/39.370-1. CD Masters of Jazz MJCD 9. 5. Black and Tan Fantasy (D.Ellington-B.Miley) 3:22 Duke Ellington and his Orchestra: Louis Metcalf, Cladys "Jabbo" Smith-tp; Tricky Sam Nanton- tb; Otto Hardwick-as; Harry Carney-as, bs; Rudy Jackson-cl, ts; Duke Ellington-p; Fred Guy-bjo; Wellman Braud-b; Sonny Greer-dr. -
Otto Hardwick
THE RECORDINGS OF OTTO HARDWICK An Annotated Tentative Discography HARDWICK, Otto ‚Toby‘, born: Washington, D.C., 31st May 1904; died: Washington, D.C., 5th August 1970. Started on string bass at the age of 14, worked with Carroll´s Columbia Orcjestra (c. 1920), then switched to ‚C‘ melody sax. Began gigging with Duke Ellington in and around Washington, also worked for Elmer Snowden at Murray´s Casino, Washington (c. 1922). Went to New York with Duke Ellington in 1923 and shared man oft hat leader´s early experiences – including week with Wilbur Sweatman (March 1923) and residencies with Elmer Snowden – occasionally doubled violin and string bass in the mid-1920s, but specialised on alto sax. Worked regularly with Duke Ellington until the spring of 1928. Went to Paris, worked in band led by bassist John Ricks, led own band and played briefly with Noble Sissle and Nekka Shaw´s Orchestra before returning to New York. Brief stint with Chick Webb (1929), then led own band at the ‚Hot Feet‘ Club, New York (1930), subsequently led at Small´s then worked with Elmer Snowden before rejoining Duke Ellington in spring 1932. Except for brief absencies he remained with Duke until May 1946. Susequently retired from music, worked in hotel management, also ran own farm in Maryland. (John Chilton, Who´s Who in Jazz) This personnelo-discography is based on RUST, JAZZ AND RAGTIME RECORDS 1897 - 1942. Personnels are taken from this source, but modified in the light of earlier or subsequent research or on the strength of my own listening, discussed with our listening group or other interested collectors.