Spring 2011 Test 2 Review

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Jazz History Final Exam Review Terminology Horizontal Riff Counterpoint Vertical Dropping Bombs 3rd Stream Arrangement Comping Microtonal Shout Chorus Contrafact Head Chart Reharmonization The Swing Era Recognize the types of Swing bands o Know an example band of each (i.e. Count Basie = Territory Band) Be able to diagram a typical big band Know the roles of a Swing rhythm section o Which section defined these traditions? Benny Goodman o The Palomar Club o Impact on Race Relations Arite Shaw and commercialism Glenn Miller’s way around the recording strike of 1942 Territory bands Kansas City scene Recognize types of Ellington compositions Recognize the following artists: o Count Basie o Lester Young o John Hammond o Charlie Christian o Billy Strayhorn o Django Reinhardt o Billy Holiday o Chick Webb o Ella Fitzgerald o Coleman Hawkins Bebop What caused Big Band to collapse? (know at least 4 things) Categorize characteristics of Bebop vs. characteristics of Big Band Minton’s impact on Bop Drug abuse and beboppers Charlie Parker o Main innovations o His partner in bebop was? Dizzy Gillespie o Main role in bebop o Influence on Latin Jazz Bud Powell Dexter Gordon Jazz History Final Exam Review 50s Jazz Recognize the different characteristics of Hard Bop vs Cool Jazz Cool Jazz o West Coast jazz o Significance of Birth of the Cool o Cool jazz pianist, famous for use of Odd meter o Group celebrated for their use of counterpoint Hard Bop o Who were the Jazz Messengers? . What role did the band serve for jazz? o Recognize Clifford Brown o Define Sonny Rollins’ new improvisational style o Know the innovations of Wes Montgomery Giants of 50s Composition o Recognize Thelonious Monk o Charles Mingus’s composition style Miles Davis For all things Miles, refer to the essay question at the end of this guide The Jazz Avant-Garde What 5 things is it free from? The first 3 major experimenters Ornette Coleman o The importance of “formless improvisation” and “freedom for all parts” o Free Jazz Cecil Taylor The three paradoxes of Free Jazz Free Jazz collectives The Loft Scene John Coltrane o Significance of Giant Steps o The Classic Quartet’s landmark recording o John Coltrane’s impact on the Avant-Garde Fusion What is Jazz Fusion (aka Jazz-Rock)? o Know the 4 key bands and the main band leader or leaders Essay Trace the career of Miles Davis from Bebop to Fusion by explaining his role, innovations and major contributions in each style he participated in. There are at least 7 genres you should discuss. .

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120762bk DorseyBros 14/2/05 8:43 PM Page 8 The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings. Available in the Naxos Jazz Legends and Nostalgia series … 8.120625* 8.120628 8.120632* 8.120681* 8.120697* 8.120746* * Not available in the USA NAXOS RADIO Over 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 120762bk DorseyBros 14/2/05 8:43 PM Page 2 THE DORSEY BROTHERS Personnel Tracks 1, 3 & 4: Bunny Berigan, trumpet; Tracks 8-11: Manny Klein & unknown, trumpet; ‘Stop, Look and Listen’ Original 1932-1935 Recordings Tommy Dorsey, trombone; Jimmy Dorsey, Tommy Dorsey, Glenn Miller, trombones; clarinet, alto sax; Larry Binyon, tenor sax; Jimmy Dorsey, clarinet, alto sax; unknown, alto Whether you call them The Fabulous or The over to the newly formed American Decca label. Fulton McGrath, piano; Dick McDonough, sax; Larry Binyon (?), tenor sax; Fulton Battling Dorsey Brothers, Tommy (1905-1956) In the two knock-down drag-out years that guitar; Artie Bernstein, bass; Stan King, drums McGrath (?), piano; Dick McDonough, guitar; and Jimmy Dorsey (1904-1957) were major followed, the Dorseys produced some Track 2: Bunny Berigan, trumpet; Tommy Artie Bernstein (?), bass; Stan King or Ray influences on the development of jazz in the outstanding and exciting jazz, all the while Dorsey, trombone; Jimmy Dorsey, clarinet; McKinley, drums 1920s and ’30s.
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For Additional Information Contact the Archives Center at 202.633.3270 Or
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. HANK JONES NEA Jazz Master (1989) Interviewee: Hank Jones (July 31, 1918 – May 16, 2010) Interviewer: Bill Brower Date: November 26-27, 2004 Repository: Archives Center, National Museum of American History Description: Transcript, pp. 134 Hank Jones: I was over there for about two and a half weeks doing a promotional tour. I had done a couple of CDs; one was with my brother Elvin and Richard Davis, the bass player. They made – – I think they made two releases from that date. And I did another date with Jack DeJohnette and John Patitucci. But, these two albums were the objects of the promotion. I mean, they promote very, very heavily everyday. I must have had 40 interviews and about 30 record signings at the record shops, plus all of the recording. We did seven concerts and people inevitably want the records, CDs of the concert for us to sign. I have a trio over there, with Jimmy Cobb and John Fink. It was called, “The Great Jazz Trio.” It was not my name, but the Japanese have special names for everything, you know? That's only one in a series of tree others which he called the great jazz trio. The first one was Ron Carter, Tony Williams and myself. But, there had been a succession of different changes in personnel. It changed about six times. The current one was Jimmy Cobb and Dave Fink--Oh, the cookies have arrived and not a minute too soon.
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6. Count Basie's Cleveland Connections
6. Count Basie's Cleveland Connections illiam Basie, pianist and bandleader, was not a In his autobiography, Good Morning Blues, Basie Clevelander, but he certainly perfonned recalled he married the girl from Cleveland in 1943 in Wfrequently in Cleveland and hired a number of Seattle. Their honeymoon was a series ofone-night band Clevelanders to play in his swinging band. Basie' s appearances. strongest tie to Cleveland is frequently forgotten. He The Basie band was working in New York when Katy married a girl from Cleveland and their only child was was about to have a baby. She returned to Cleveland and born here. stayed with her parents. Katy and Bill Basie's only child, Diane Basie, was born in Cleveland. He rushed to Catherine Morgan Basie Cleveland to be with his wife and Catherine Morgan left Cleveland daughter. at the age of 16 in 1931 to become a Later, when they rejoined Basie in dancer. She joined a very popular New York, he said he had vivid vaudeville act, the Whitman Sisters. memories of seeing Katy getting off She was one of three girls in the the plane from Cleveland carrying dance company who called their baby. He said, "It was a special themselves "The Snake Hips thrill bringing my family home from Queens." When they appeared at the the airport that day, Old Base, his Lafayette Theatre in New York City, wife and daughter." there was a jazz band from Kansas They moved into an apartment City on the same bill. The young building near New York' s Central dancer from Cleveland noticed the Park.
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Down-Beat-1952-07-30
AMM ers Will Probe Problems At Convention I (Ed. Note: Following in the annual pre-eonvention mcvMige lu the By Hal Webmen (alionul Ansoeiation of Munir Merchant» by the asnociation*« president New York—the music —thi« year Ray S. Erlandwm. president, San Antonio Munir Company, ¡an Antonio, Texan.) merchants uf America begin to converge on thia city to par As the year 1952 opened, I predicted that consumers and ticipate in the annual National government would give us a hard time; that we should be on (Trademark Registered V. 3. Patent Office) he offensive and place our best promotional foot forward; VOL. 19—No. 15 CHICAGO, JULY 30, 1952 convention, it >» quite apparent that the industry at (urge is begging for (Copyright, 1952, Down Boot, Inc.I md that the year would look more like 1951 than ’52. So far, a stimulant which will make the [this estimate has not been too in general public more seriously ron- Accurate. «rioun of the industry. J At this halfway mark, the con- The Association has taken a launier seem.« to have taken the number of steps designed to spread prize with his pocketbook strike Music Biz Healthier Abroad, But Europe the music industry’s gospel, most in a period when employment is encouraging of which is a music Hgli, uiapvoauiv iiivviiiv ai ivc education plan designed to func Ughest, and every conceivable rea tion from a local level. This is dis ion why business should be good. Isn't Musicians' Paradise: Paul Weston cussed in the pre-convention mes While the business was sage of NAMM president Ray S.
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Guide to the Joseph Bruhl Territory Band Collection
Guide to the Joseph Bruhl Territory Band Collection NMAH.AC.0869 Kimberley Braun 2005 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 Biographical/Historical note.............................................................................................. 2 Arrangement..................................................................................................................... 3 Scope and Contents note................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Personal Papers, 1922-1980, undated..................................................... 4 Series 2: Scrapbooks, 1925-1938, undated............................................................. 5 Joseph Bruhl Territory Band Collection NMAH.AC.0869 Collection Overview Repository: Archives Center, National Museum of American History Title: Joseph Bruhl Territory Band Collection Identifier:
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Kansas City: the Crossroads of Jazz
Kansas City: The Crossroads of Jazz Kansas City, Wilbur Harrison, 1959 • What makes Kansas City Jazz different from all the other styles of Jazz and Swing? • Riff Based melodies and background figures • Blues coming back to the forefront of the music • Featuring Virtuoso soloists • Driving rhythm always with a sense of motion • Use of head-arrangements: memorized structures embellished on the fly by the musicians; a sort of ensemble based improvisation. • What are the factors that allowed Kansas City Jazz to come to be? • Political/Economic factors such as a lax attitude towards prohibition • Geographical factors such as Kansas City’s central location • Musical factors such as a strong musicians union and well developed music education programs. Tickle Toe, 1940 The Early Bands Bennie Moten’s Kansas City Orchestra 1925 Bennie Moten’s Kansas City Orchestra Vine Street Blues, 1924 • Probably the most influential bandleader in Kansas City Jazz, Pianist Bennie Moten led the most successful of the Kansas City bands. Nearly everyone who would become an important member of the Kansas City bands came though his organization at one point or another. • Early on the scene, with recording dates as early as 1923, Moten was the most established and financially successful of the early Kansas City bands, which enabled him to successfully poach talent from the other KC and territory bands, such as Walter Page’s Oklahoma Blue devils. • This included luminaries such as Count Basie (just known as Bill Basie then), Eddie Durham, Hot Lips Page, Jimmy Rushing, and eventually Walter Page himself. • Hired Bill Basie to play piano because he was too busy with the business side of running his band to always be at the keys.
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Lester Young and the Birth of Cool (1998) Joel Dinerstein
Lester Young and the Birth of Cool (1998) joel dinerstein ....... American studies scholar Joel Dinerstein designed and teaches a course at the University of Texas at Austin on the history of being cool in America. In this essay from The Cool Mask (forthcoming) he shows how the African American concept of cool synthesizes African and Anglo-European ideas, describing African American cool as both an expressive style and a kind of public composure. For African Americans, cool resolves the conﬂict between com- peting needs to mask and to express the self, a paradox exacerbated by historical exigencies of life in the United States. For Dinerstein, the jazz musician Lester Young modeled a strategy of self-presentation that became the dominant emotional style of African Ameri- can jazz musicians and several generations of African American men. Miles Davis’s 1957 collection The Birth of the Cool tends to serve as a lightning rod for discussions of ‘‘cool’’ in jazz and African American culture.∞ A spate of jazz recordings, however, testify to the importance of being ‘‘cool’’—of main- taining emotional self-control—during World War II as a strategy for dealing with dashed hopes of social equality. The messages of Erskine Hawkins’s hit, ‘‘Keep Cool, Fool’’ (1941) and Count Basie’s ‘‘Stay Cool’’ (1946) and the cerebral quality of Charlie Parker’s ‘‘Cool Blues’’ (1946) testify to a new valuation of public composure and disparagement of the outward emotional display long associated with stereotypes of blacks, from Uncle Tom to the happy-go-lucky ‘‘southern
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"The Texas Shuffle": Lone Star Underpinnings of the Kansas City
Bailey: The Texas Shuffle Produced by The Berkeley Electronic Press, 2006 1 'k8 Texas Shume ': Lone Star Underpinnings of the Kansas Civ Jcm Sound Journal of Texas Music History, Vol. 6 [2006], Iss. 1, Art. 3 7he story of Amerlcan juz is often .d~minakdby discussions of New Weans and of juz music's migro- 1 Won up the Mississippi RRlver into the urban centers of New York, Chicago, 1 Philadelphia, Detroit, and St. Louis. I mis narrative, whlle accurate in mony respecis, belies the true I nature of the music and, as with b any broad hisforIca1 generaliizu- tion, contulns an ultimate presump tlve flaw The emergence of jan cannot be aftributed solely fo any single clfy or reglon of he country. Instead, jan music Grew out of he collective experiences of Amerl- k b- .r~& cans from VU~~Wof backgrounds , living ihroughout the ndon.1 The routinely owrlookd conmibutions of T- &m to the dcvclopment of jazz unhmthe ndfor a broader un- of how chis music drew from a wide range of regidinfluenm. As dyas the I920s, mwhg pups of jm musidans, or %tory bands,* whicb indudad a n& of Tarnns, were hdping spread dmughout &t Souktand Miwest in such wwns as Kana City, Daltas. Fort Wod, Mo,Hnumn, Galveston. Sm Antonio, Tulsa, Oklahoma City, and beyond. The w11cctive iducnaof dmc musihbought many things to /bear on the dmeIopment of American jazz, including a cemh smsc of frcwlom md impraviaation dm later would be rcseewd in the erne- of bebop ad in the impromp jam dm,or eonmrs," rhac mn until dawn and helped spdighr youagu arrists and Md, new musical hmuiom.' The Tmas and sourhwesrern jas~ http://ecommons.txstate.edu/jtmh/vol6/iss1/3 2 Bailey: The Texas Shuffle scenes, while not heralded on the same scale as those in New in competitive jam sessions, or cutting contests, which allowed Orleans, Chicago, and New York City, have not gone artists to hone their skills, display their talents, and establish completely unnoticed by scholars.
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Dance Band on the Northern Plains: Bob Calame and His Music in North Dakota, 1949-1957
Dance Band on the Northern Plains: Bob Calame and His Music in North Dakota, 1949-1957 by Harl A. Dalstrom and Kay CalameDalstrom In the mid· 20th century, dancing was a popular diversion in North Dakota and in all of the Plains states. Many small towns held dances on a weekly basis through the summer: others had dances on special occasions such as fairs, baseball tournaments, high school proms. weddings or annual celebrations. Music for these dances was supplied by a variety of bands, some of which were fairly local in nature and which traveled a distance of less than 200 miles to fulfill their engagements. Occasionally a .. name" band of national reputation might be brought in from Chicago or the East, but a large percentage of the dances were played by what were known as "road" or "territory" bands.' Territory bands differed from local bands in several re One such territory band was known as' 'Bob Calame and spects. Local bands were usually comprised of musicians who His Music" and had its headquarters in Omaha, Nebraska. made their livings in some other occupation and supple· The band was in existence (rom October, 1948, to Septem mented their income by playing one or two "jobs ' a week . ber, 1957. Calame (1914-1 967), a native of Grand Island, These bands generally traveled by car and were limited in the ebraska, was a ax man who also composed and arranged. distance from home which they could travel, especially on a He learned his trade in the 1930's, playing with groups in the week night when the musicians had to be at their regular Midwest and also the East.
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North Omaha History Timeline by Adam Fletcher Sasse
North Omaha History Timeline A Supplement to the North Omaha History Volumes 1, 2 & 3 including People, Organizations, Places, Businesses and Events from the pre-1800s to Present. © 2017 Adam Fletcher Sasse North Omaha History northomahahistory.com CommonAction Publishing Olympia, Washington North Omaha History Timeline: A Supplement to the North Omaha History Volumes 1, 2 & 3 including People, Organizations, Places, Businesses and Events from the pre-1800s to present. © 2017 Adam Fletcher Sasse CommonAction Publishing PO Box 6185 Olympia, WA 98507-6185 USA commonaction.org (360) 489-9680 To request permission to reproduce information from this publication, please visit adamfletcher.net All rights reserved; no part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise without prior written permission of the author, or a license permitting restricted copying issued in the United States by the author. The material presented in this publication is provided for information purposes only. This book is sold with the understanding that no one involved in this publication is attempting herein to provide professional advice. First Printing Printed in the United States Interior design by Adam Fletcher Sasse. This is for all my friends, allies, supporters and advocates who are building, nurturing, growing and sustaining the movement for historical preservation and development in North Omaha today. North Omaha History Timeline Introduction and Acknowledgments This work is intended as a supplement to the North Omaha History: Volumes 1, 2 and 3 that I completed in December 2016. These three books contain almost 900-pages of content covering more than 200 years history of the part of Omaha north of Dodge Street and east of 72nd Street.
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Easy Money Full Score
Jazz Lines Publications easy money Presents Arranged by benny carter prepared by dylan canterbury, rob duboff, and jeffrey sultanof full score JLP-7343 Music by Benny Carter Copyright © 1961 (Renewed) Bee Cee Music Company All Rights Reserved Used by Permission Logos, Graphics, and Layout Copyright © 2018 The Jazz Lines Foundation Inc. This Arrangement Has Been Published with the Authorization of the Estate of Benny Carter. Published by the Jazz Lines Foundation Inc., a not-for-profit jazz research organization dedicated to preserving and promoting America’s musical heritage. The Jazz Lines Foundation Inc. PO Box 1236 Saratoga Springs NY 12866 USA count basie series easy money (1961) Background: Next to Duke Ellington, there is no more famous band in the history of jazz than that of William “Count” Basie. Although his economical piano playing was ahead of his time compared to several of his more stride-oriented contemporaries, Basie was always best known as the face of an organization that played a continuous role in shaping the trajectory of jazz for over 50 years. Born on August 21, 1904 in Red Bank, New Jersey, even as a youth Basie was attracted to not just music in general, but the idea of being a bandleader specifically. Settling on the piano as his main instrument as a teen, Basie’s musical apprenticeship was fairly typical for the time. Most of his education stemmed from hanging around the Harlem stride piano scene of the 1920s. A series of tours with vaudeville troupes came next; when one of the troupes broke up in Kansas City in 1927, Basie found himself stranded.
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"Back by Popular Demand!": Dancing in Small-Town South Dakota
Copyright © 2002 by the South Dakota State Historical Society. All Rights Reserved. "Back by Popular Demand!": Dancing in Small-Town South Dakota Harl A. Dalstrom Kay Caíame Dalstrom "1000 beautiRil girls to dance with—looking for 1000 nice boys to swing with," proclaimed an advertLsement for the 1947 Annistice Day dance in Martin, South Dakota.' While the numbers may have been exaggerated, they indicate the popularity dancing enjoyed among South Dakotans and otlier Americans in die mid-twentietli cenuiry. Radios broadcast the tunes of big-name bands, juke Ixjxes and home phono- graphs played the records of popular groups, and ballrooms large and small attracted crowds to tlieir dances. As a group, die people of the Upper Midwest and Northern Great Plains were probably unexcelled in tlieir enthusiasm for dancing. Indeed, from die time European set- ders arrived, the activity was central to die sociai lives of many Soutli Dakotans, particLiiarly in die era before television. In Soudi Dakota along and west of the Missouri River, as in die western sections of North I>ak(3ta and Nebraska, distance and sparse population limited enter- tainment optioas, thereby magnifying tlie importance of dancing to those living in small towns and hamlets.- While dancing in itself was a recreational outlet, die work of sponsoring dances, many of which raised ilinds for local or national causes, helped to solidiiy community An earlier vereion of this article was presented M the Northern Great Plains History Conference in Bismarck. Nonh Dakt)t¡i. on 27 September 1997. \. MartinMessen^'r, 6 Nov. 1947. 2. Sea: for example.
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