JOURNEY THROUGH JAZZ Study Guide

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OVERVIEW Journey Through Jazz presents an overview of America’s truly indigenous musical art form— Jazz. Three well respected musicians playing bass, drums, and saxophone demonstrate and discuss the evolution of jazz from its origins in African culture to today’s jazz fusion, in a live, interactive presentation before a student audience. This live “jam” session starts with the musicians eliciting requests from the students in the form of emotions and feelings. The musicians demonstrate these emotions by playing them on their instruments to prove that jazz speaks directly to them on a strictly emotional level, bypassing any preconceived and prejudicial notions about jazz. The musicians directly engage their enthusiastic young audience as they demonstrate and relate the concepts and components of jazz to everyday life, discussing music as emotion, goal setting, problem solving, improvisation, seeking happiness and success. The musicians perform and discuss Ragtime, Blues, Dixieland, Swing, Bebop, Cool Jazz, Post Bebop, Avant Garde, Fusion, and International Influences. Contextual references to geography, history, mathematics, cultural and social events, help students gain a deeper insight and broader perspective on how and why jazz changed the world.

MUSICAL JOURNEY DVD Journey Through Jazz Item No. 5781

CALL AND RESPONSE One of the most basic components of jazz is Call and Response. In African society, messages were transmitted from village to village by a town drummer. The drummers would communicate by talking back and forth with different rhythmic patterns. Call and Response is also used vocally by having a person or group echo back what the caller chants or sings, often interjecting something new. Jazz musicians have used call-and-response technique with rhythms and pitches from the very beginning.

RAGTIME Ragtime was born in the South and was popular between 1895 and 1919. It got its name from its characteristic trait of syncopated or “ragged” rhythm. It was influenced by the march style popularized by John Philip Sousa and polyrhythms from African music. In Ragtime the piano played the dominant role, and the music was usually written out rather than improvised. Many piano rolls for mechanical pianos were manufactured during this period featuring the music of Scott Joplin, known as “the King of Ragtime,” whose most popular pieces were Maple Leaf Rag and The Entertainer. He grew up in a musical family in Texarkana, Texas, and in his short life composed 44 ragtime pieces, a ragtime ballet, and 2 operas. Another famous ragtime pianist and composer was Jelly Roll Morton, who began his career in New Orleans and later traveled to Chicago and New York to become an early jazz bandleader. Ragtime piano featured syncopated melodies in the treble with a stride bass, a rhythmic and harmonic technique of leaping between low bass notes and chords an octave higher. Ragtime’s syncopated rhythms and long multi-sectioned compositions are features that still exist in jazz today.

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BLUES Blues is a musical genre that began in the rural Deep South after the Civil War in the 1870s, and later spread to Chicago and the urban North, where it influenced early jazz. Its roots were African-American work songs, spirituals, field hollers, shouts, chants, and simple ballads. Early blues singers usually sang alone, accompanied by a guitar. The blues style is characterized by a call-and-response pattern, and a melody based on a major scale which includes “worried” bluesy notes (flatted 3rds, 5ths, and 7ths). A blues song usually has a 12-bar AAB form, and a simple, repeated harmonic progression of 1, IV, V, and V7 chords. Blues was born out of hardship and sorrow, with deeply personal lyrics about hard times, betrayal, loss, and loneliness. But not all blues songs are sad: some celebrated rowdy good times too, laced with resilience and ironic humor.

NOTABLE BLUES MUSICIANS Singer - Bessie Smith, Ma Rainey, Alberta Hunter Singer, Songwriter, Guitar – Memphis Minnie, Son House, Charley Patton, Big Bill Broonzy, Blind Lemon Jefferson Singer, Songwriter, Guitar, Piano - Sam “Lightnin’” Hopkins Singer, Songwriter, Guitar, Harmonica – Muddy Waters, Robert Johnson Singer, Songwriter, Guitar, Harmonica, Accordion, Piano, Mandolin, Violin – Lead Belly (sometimes spelled Leadbelly, but he preferred Lead Belly) Singer, Songwriter, Band Leader, Organ, Piano, Guitar, Cornet, Trumpet – W. C. Handy

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DIXIELAND Dixieland was born in New Orleans around 1900, and had its roots in the traditional marching band, ragtime, blues, and gospel music. Dixieland bands usually consisted of a cornet, clarinet, trombone, piano, drums and sometimes a tuba, banjo, or bass. In this style, collective improvisation—a type of musical conversation among the melody instruments—plays a major part. Like a 3-way “call and response,” the first voice (usually the cornet or trumpet) states the melodic theme, answered in turn by the clarinet and trombone, which embellishes and elaborates on the melody. In addition to collectively improvising on the melody, the clarinet harmonizes in thirds or sixth, and the trombone plays simple auxiliary bass parts called “tailgating,” sliding from note to note. The piano, banjo, tuba, and bass provide harmonic and rhythmic support, and the drums usually play straight 4 beats per measure without drastic accents, true to the marching band tradition of Dixieland. Solos are infrequent and take the form of modified melodic interpretations in 2 or 4-bar phrases. Dixieland is a rollicking, jubilant, feel-good music of celebration, whether in Mardi Gras parades or jazz funeral parades, which you can still witness in New Orleans today. Chicago Dixieland of the 1920s differs from its New Orleans counterpart. In the Chicago band a saxophone was often added, a guitar might be substituted for a banjo, a trumpet for a cornet, and a bass for a tuba. With more instruments, solos became more important than in the ensemble sound of the New Orleans collective improvisational style. Added instruments also contributed to a more complex and hard-driving sound than the “let the good times roll” New Orleans band. Like the hustle-bustle of busy city life, Chicago Dixieland tempos got faster than in the slower-paced South, rhythm sections began to accent beats 2 and 4 in each measure, and the dominant rhythmic figure was the driving dotted eighth and sixteenth note pattern.

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NOTABLE NEW ORLEANS DIXIELAND MUSICIANS Cornet - Buddy Bolden, Louis Armstrong Trombone - Kid Ory Soprano Saxophone - Sidney Bechet Clarinet - Johnny Dodds Drums - Baby Dodds Piano - Lil Hardin Armstrong, Fate Marable

CHICAGO DIXIELAND MUSICIANS Cornet - Bix Biederbecke, Louis Armstrong Trumpet - Jimmy McPartland, Louis Armstrong Trombone - Miff Mole Saxophone - Frankie Trumbauer Clarinet - Pee Wee Russell Guitar - Eddie Condon Piano - Joe Sullivan Drums - Dave Tough

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SWING The Swing Era in the 1930s and 40s was when jazz enjoyed its greatest popularity. Big Bands, popularized by recordings, radio, and nightclubs, inspired Americans to dance, and “swing” dancing became the rage. During this era of strict racial segregation, jazz led the way to integration. Benny Goodman integrated his performing ensembles and band as early as 1935. Typical swing bands consisted of 3 to 5 saxophones, 2 to 5 trumpets, 1 to 4 trombones, a rhythm section, and usually a vocalist. The drummer used a high hat for keeping time and a ride cymbal for additional time keeping and power. More emphasis was placed on ensemble playing, replacing the collective improvisation and contrapuntal interplay of Dixieland. Articulation became smoother and more relaxed, and the triplet eighth note feeling replaced the dotted eighth note rhythm of Dixieland, which gave the music its more lilting “swing.” The use of block harmonies and varied textures and timbres are a hallmark of this smooth, more controlled style, and white musicians placed an emphasis on reading music exactly as written rather than improvisation.

NOTABLE BANDS & MUSICIANS Bands - Fletcher Henderson, Count Basie, Duke Ellington, Jimmie Lunceford, Cab Calloway, Benny Goodman, Artie Shaw, Tommy and Jimmy Dorsey, Stan Kenton, Woody Herman, Glenn Miller Trumpet - Roy Eldridge, Clark Terry, Snooky Young, Conte Condoli, Bunny Berrigan, Harry James Saxophone - Coleman Hawkins, Lester Young, Chuck Berry, Charlie Barnett, Vido Musso, Georgie Auld, Johnny Hodges, Marshall Royal, Benny Carter, Jimmy Dorsey, Woody Herman, Harry Carney Trombone - Tommy Dorsey, Dickie Wells, Tyree Glenn, Trummy Young, Bill Harris Piano - Count Basie, Duke Ellington, Teddy Wilson, Erroll Garner, Mel Powell, Joe Bushkin Bass - Jimmy Blanton, Oscar Pettiford, Eddie Safranski, Arnold Fishkin

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Drums - Jo Jones, Sid Catlett, Chick Webb, Sonny Greer, Cozy Cole, Gene Krupa, Louie Bellson, Buddy Rich

BEBOP Bebop developed in the early to mid 40s and was a musical reaction to the status quo of the Big Band era. Musicians wanted more of a challenge and more space for individual expression. Bebop is usually performed in a small combo setting, most often a quintet. The use of vibraphone and the flute became more prevalent and the clarinet started to fade away. Music was characterized by faster tempos, rapid chord changes, more complex harmony and rhythms, frequent changes of key, instrumental virtuosity and improvisation. The solo is more important than the ensemble playing; pieces are longer and less rhythmically predictable. Vibrato is absent in much of Bebop playing. The rhythm section plays more counterpoint and more accents for dramatic effects.

NOTABLE MUSICIANS Trumpet- Dizzy Gillespie, Fat Navarro, Clifford Brown, Clark Terry, Miles Davis Tenor Sax - Dexter Gordon, Sonny Rollins, Zoot Sims, Johnny Griffin, Stan Getz Alto Sax - Charlie Parker, Sonny Stitt, James Moody, Phil Woods Trombone – JJ Johnson, Jimmy Cleveland, Frank Rosilino, Kai Winding Piano - Thelonius Monk, Bud Powell, Oscar Peterson Bass - Oscar Pettiford, Ray Brown, Perry Heath Guitar - Kenny Burrel, Tal Farlow Drums - Kenny Clarke, Max Roach, Roy Haynes

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COOL JAZZ As a reaction to the fast and furious music of Bebop, Cool Jazz was born. A subdued, light and subtle tone is the trademark of the “Cool” school. Intricate rhythms expand, and surprise phrases and silence are prevalent in this style. The solos in this style are not as heated and an emphasis on a smooth and more thoughtful playing prevails. The rhythm section plays more colors and less strict time keeping. NOTABLE MUSICIANS Trumpet - Chet Baker, Miles Davis, Shorty Rogers Tenor Saxophone - Wayne Marsh, Richie Kamuca, Jimmy Giuffre Baritone Saxophone - Gerry Mulligan Piano - Lennie Tristano, Dave Brubeck Alto Saxophone - Paul Desmond, Art Pepper, Bud Shank Trombone - Bob Brookmeyer Drums - Stan Levey, Shelley Manne Bass - Red Mitchell, Red Callender Guitar - Howard Roberts, Barney Kessel

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POST BOP When Bebop began to expand its horizons, the Post-Bop era began. New instruments began to appear; the soprano saxophone and the organ were widely used. The rhythm section gained a more prominent role, becoming an equal member of the ensemble. The drummer is much busier, the piano uses repeat melodic figures instead of just comping and the bass patterns its melodic phrase after the soloists. The solos become more diverse and less predictable; short explosive phrases are paired with longer, smooth ones. Blues-like thematic phrases and modal phrases are also used. NOTABLE BANDS & GROUPS Art Blakey, Cannonball Adderly, Miles Davis, Freddie Hubbard NOTABLE MUSICIANS Trumpet - Freddie Hubbard, Lee Morgan, Blue Mitchell, Kenny Dorham, Maynard Ferguson Trombone - JJ Johnson, Slide Hampton, Jimmy Knepper, Jimmy Cleveland Saxophone - Cannonball Adderly, Jackie McLean, Gigi Gryce, Phil Woods, Sonny Rollins, Frank Foster, Stanley Turrentine, Joe Henderson, Wayne Shorter, Hank Mobley, Pepper Adams, John Coltrane, Cecil Payne Guitar - Wes Montgomery, Kenny Burrell Drums - Philly Joe Jones, Elvin Jones, Art Blakey, Max Roach, Mikey Roker, Jimmy Cobb. Piano - Horace Silver, Ramsey Lewis, Tommy Flannigan, Joe Zawinul Organ - Jimmy Smith, Lonnie Liston Smith, Don Patterson, Jack McDuff, Larry Young

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AVANT GARDE/FREE JAZZ Avant Garde or Free Jazz developed in the 1950s and ‘60s. It broke free from established jazz norms and stretched the limits of melody, harmony, rhythm, and tonal production in intensely personal ways. It discarded tonality and relied on little or no preconceived structure and was driven by a new freedom of improvisation and emotional expression. The use of micro tonal playing, wide variation in tone production, rhythmic freedom, non-steady pulses, and the element of surprise is key to Free Jazz. Every device available to the artists is used freely without thought of what others will think. This music is closely related to abstract visual art, or to stream of consciousness in literature. NOTABLE MUSICIANS Ornette Coleman (saxophone), Dewey Redman (saxophone), Charlie Haden (bass), Don Cherry (trumpet), Sun Ra (piano, synthesizer, band leader, composer), John Coltrane (saxophone)

JAZZ ROCK OR FUSION With the addition of electronic keyboards, guitar, bass and drums to the jazz group, a hybrid sound was achieved. The sound is called Jazz Fusion. These bands are free to incorporate ideas and concepts from all popular music. The repeated bass line, electronically processed sounds of acoustic instruments, and extensive additional percussion appear in most fusion music. The soloist uses expressive Bebop phrases interspersed with rock and roll clichés. This is a high energy, usually loud music, although some ethnic folk music tempers this presentation.

NOTABLE BANDS Don Ellis, Weather Report, Mahavishnu Orchestra, The Crusaders, Herbie Hancock, Miles Davis, Maynard Ferguson

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NOTABLE MUSICIANS Trumpet - Maynard Ferguson, Randy Brecker, Don Ellis, Miles Davis Reeds - Wayne Shorter (saxophone), Mike Brecker (saxophone), Tom Scott (saxophone), Dave Leibman (saxophone and flute), Joe Farrell (saxophone and flute), Bennie Maupin (saxophone, flute, bass clarinet) Guitar - Al Di Meola, John McLaughlin, Pat Metheny Keyboard - Joe Zawinul, Chick Corea, Herbie Hancock Drums -Tony Williams, Jack DeJohnette, Billy Cobham, Billy Hart, Airto Moreira Bass - Stanley Clarke, Miroslav Vitous, Jaco Pastorius.

INTERNATIONAL INFLUENCES The primary influence in jazz is that of the African culture and music. The secondary influences come from non-African people exploring their respective heritages and applying regional influences on their music. From the Caribbean Islands come the styles of Calypso, Reggae, and Soca. From South America comes the Bossa Nova, the Samba and the Salsa song forms. From the Middle East comes multiple time signatures and extensive use of the harmonic minor scale. From India comes the use of micro tonality and the Indian song form, the Raga. From Europe comes the influence of Classical music.

MUSICAL JOURNEY DVD Journey Through Jazz Item No. 5781

CALL AND RESPONSE 1. Have each person discuss ethnic and geographical heritage and bring music expressing that heritage. 2. Discuss how jazz reflects ethnic diversity much like the formation of USA.

RAGTIME ACTIVITIES 1. Discuss what a piano roll is. 2. Listen to and discuss recordings of Scott Joplin, Fats Waller, and Jelly Roll Morton, and Father Earl Hines. VERY IMPORTANT PERFORMERS Scott Joplin Fats Waller Jelly Roll Morton Ma Rainey Buddy Bolden BLUES ACTIVITIES 1. Have students sing a minor third (C to Eb) then sing a blues scale (C, Eb, F, Gb, A, Bb, C). 2. Have students write a basic blues melody on a simple 1, 4, 5 harmonic progression. 3. Have the student put words to the blues.

DIXIELAND ACTIVITIES 1. Have a New Orleans parade with costumes and a marching band. 2. Discuss the importance of music for celebrations and funeral processions.

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SWING ACTIVITIES 1. Listen to the difference between Big Band Swing era music and small group music from the same era. 2. Demonstrate Big Band sound by continually adding additional people to small ensemble, vocal or strictly rhythmical.

BEBOP ACTIVITIES 1. Discuss how in every era there are those who forge a new art form out of reaction to the status quo. 2. Have students say “daddle, deddle, diddle, doodle” and repeat this. This is basic Bebop rhythmic feeling.

COOL JAZZ ACTIVITIES 1. Discuss the differences between Bebop and Cool Jazz. 2. Have students respond to questions in a hot or Bebop manner and then in a Cool or Cool Jazz demeanor.

POST BOP ACTIVITIES Discuss how the Swing Era sound starts to diminish in Post-Bop and how these musicians began to bring in external influences on their music.

AVANT GARDE/FREE JAZZ ACTIVITIES 1. Listen to Avant Garde music and decide what about this music you like and dislike. Be very specific. 2. This is a type of music that brings out many preconceived prejudicial feelings.

MUSICAL JOURNEY DVD Journey Through Jazz Item No. 5781

OTHER SUGGESTED ACTIVITIES The most important part of jazz is the ability to listen completely. EXERCISE #1 Have a student read a complex sentence quickly, without much warning. Discuss: 1. Exactly what each student heard. 2. How and why there were variations in perception of the spoken word. EXERCISE #2 Make up a word that has no meaning. Have the students express several different feelings using the same word. EXERCISE #3 Have the student experiment with how softly someone can speak and still be understood. Discuss: 1. Nonverbal communication. 2. How a preconceived idea of what was spoken can change message actual communicated. CREATIVITY EXERCISES EXERCISE #1 Discuss with the class the infinite choices for the solution to any problem. Have the students think of infinite variations in everyday life. Discuss: 1. The ways to greet someone. 2. How to get to school (mode, route, mindset, etc.). 3. Who to communicate with and about what? 4. Things to do with ordinary objects: pencil, paper, hat, napkin… 5. Solutions to social problems. Encourage ideas without anyone making any negative comments at all about choices.

MUSICAL JOURNEY DVD Journey Through Jazz Item No. 5781

EXERCISE #2 Have students draw a picture using only twelve straight lines. Put all the pictures on the wall and have the students try to identify who did which picture. EXTERCISE #3 Have students make up their own game using four elements; a string, a ball, a Frisbee and a piece of chalk. Encourage individual variations and play the game.

RHYTHMIC EXERCISES EXERCISE #1 Teach the class to clap and count evenly in groups of four; now emphasize (accent) beat 1 of the group of four. ONE, two, three, four. ONE, two, three, four. Continue accenting each of the different beats. ONE, two, three, four; one TWO, three, four; one, two, THREE, four; one, two, three, FOUR. Now have the students emphasize two and four of each group. This is basic time pulse for jazz. Once you have established this concept, introduce different tempos to the exercise. EXERCISE #2 Have four students try to clap four beat groups with each student only clapping on one beat. Strive for an even pulse from the group, then introduce the accents on beat 2 and 4. EXERCISE #3 Have students repeat exactly the rhythm you clap to them and then divide the group into two parts and do Call and Response rhythmic clapping with them.

MUSICAL JOURNEY DVD Journey Through Jazz Item No. 5781

JAZZ TIMELINE

1900 RAGTIME Scott Joplin 1917 EARLY DIXIELAND Original Dixieland Band 1923 BLUES REVIVAL Ma Rainey 1927 DIXIELAND Louis Armstrong 1930 EARLY SWING Duke Ellington 1935 SWING ERA Benny Goodman and Count Basie Mid 40’s BEBOP Dizzy Gillespie BLACK RHYTHM & BLUES Louis Jordan DIXIE REVIVA Kid Ory 1949-1953 MODERN JAZZ Cool School and Modern Jazz Quartet (MJQ) GOSPEL REVIVAL Ray Charles EARLY WHITE ROCK & ROLL Turk Murphy 1954 HARD BOP & SOUL Jazz Messengers WHITE ROCK & ROLL Bill Haley 1958-1963 MODAL Miles Davis and Bill Evans THIRD STREAM Charles Mingus FREE JAZZ Eric Dolphy and Ornette Coleman BOSSA NOVA Antonio Carlos Jobim. and Luis Bonfa 1963 JOHN COLTRANE’S SPIRITUAL PERIOD 1967 FUSION Miles Davis – Bitches’ Brew

MUSICAL JOURNEY DVD Journey Through Jazz Item No. 5781

ADDITIONAL LISTENING The most important follow-up activity to this video is listening to the music of the artists listed in each section of this study guide. Their music can be widely found online, and you can watch many performances on YouTube. Here are some additional artists to listen to:

Bass - Paul Chambers, Charles Mingus Flute - Eric Dolphy, Hubert Laws Guitar - Pat Martino, John Scofield Piano - Bill Evans, Keith Jarrett Saxophone - Roland Kirk, Eric Dolphy Soprano Saxophone - Jan Garabeck, Steve Grossman Tenor Saxophone - George Coleman, Steve Grossman, Joe Lavano Trombone - Steve Turre Trumpet - Kenny Wheeler Jazz Vocalists - Billie Holiday, Dinah Washington, Ella Fitzgerald, Sarah Vaughn, Abbey Lincoln, Betty Carter, Jon Hendricks, George Benson, Bobby McFerrin, Mel Torme, Frank Sinatra, Tony Bennett

JAZZ EDUCATIONAL RESOURCES FOR Gr. 6-12

History of Jazz 7243 Let’s Get the Rhythm of the Band 8967 Jazz for Young People: Teacher's Resource Guides Artie’s Jazz Pack 7230 Vol. 1 22020 Vol. 2 22030 80 Years of Jazz in About 80 Behind the Scenes Rhythm DVD Minutes 6276 5317 Now’s the Time: Teaching Jazz to From Ragtime to Rock DVD 25010 All Ages 21579 We Haz Jazz 9359

MUSICAL JOURNEY DVD Journey Through Jazz Item No. 5781