Dr. Dickerts PPT presentation on jazz for MUST 307.

1. 50 MINUTE PRESENTATION
MUST 307
SWING, BOP, AND COOL JAZZ
Dr. Dickert

2. Dixieland (Early Jazz)
Chicago (Early Jazz)
Swing
Bebop
Cool
Third Stream
Hard Bop/Funky
Modal
Approx. time period Avante-Garde (Free Jazz)
1920s = 1945 Fusion
Contemporary
A National Craze
3. THE SWING ERA
King Porter Stomp, Benny Goodman Orchestra 1935

3. WHAT CAUSED THE POPULARITY OF SWING
BANDS?
 World War I (1914 – 1918) [1 of 2]
 Increased need for dance music
 Musician migration northward (the closing of
Storyville) [2 of 2]
 New Orleans to Chicago
 Chicago to NY (Harlem)

4. SWING BAND - GEOGRAPHY
What is seen onstage?
Rhythm Section
Trumpets
Bones
Saxes
Audience

5. THE SWING ERA – RISE TO POPULARITY
 3 Basic Ingredients  Benny Goodman’s
band (playing F.
Henderson’s charts)
 Radio show: “Let’s
Dance” (1935)
 Goodman US tour
ending in Los Angeles
CA

6. THE SWING ERA – IMPORTANT NAMES

7. 1. (“KING OF SWING”)
 #1 - Benny Goodman
 1909 - 1986
 1st successful
integrated band (black
rhy section)
 Had a combo within his
big band (hearing now)
 A perfectionist
 (and miser)
 Breakfast Feud
 15 Jan 1941
 Benny Goodman sextet

8. 2. EDWARD KENNEDY “DUKE” ELLINGTON
 Cotton Club (1928-1932)
 2,000+ compositions in
his life time
 Ko-Ko
 Good example of what
he sounded like at the Ellington @Cotton Club, 1929
Cotton Club (in Harlem) He had to write a new floor show
every
6 months (for 5 years)

9. DUKE ELLINGTON - CONT’D
 Duke Ellington
 1899 - 1974
 East St. Louis Toddle-
Oo
 Another example of his
“jungle” sound

10. DUKE ELLINGTON - CONT’D
 Why was Duke Ellington so unique among swing
bandleaders?
 He wrote specifically for his musicians
10/54

11. A FEATURE OF BIG BANDS
 Soloists  Considered “rock stars”
 Typically sax “stars” of that generation
 Ben Webster
 Coleman Hawkins
 Lester Young
 Vocalists
 Frank Sinatra
 Sarah Vaughan
 Ella Fitzgerald

12. LESTER YOUNG: SOLOIST IN COUNT BASIE’S BAND
 aka “Prez”
 1909 - 1959
 Hip language (ex next
page)
 Unusual way to hold sax
Lester Leaps In, Count Basie Orchestra, 1939

13. THE LANGUAGE OF “PREZ”
Early “hipster” – well before Dizzy
“Lady” (“Lady Parks”)
A policeman: “Bob Crosby”
A Rehearsal: “Molley Trolley”
His fingers (on the sax keys): His “people”
Girlfriends: “waybacks”
B section to tunes: “George Washington”
Pot: “ettuce”
Attractive young girl: “Pound cake”
“Cool”
“Dig”
“cat”
Often spoke in 3rd person: “Way out”
“Prez don’t like bombs – just chicky-boom.” “hip”
“Pres feels a draft in here.”

14. 3. WILLIAM “COUNT” BASIE
 All-American Rhythm  Why are they so
Section important?
 Count Basie (pno)  They revolutionized &
 Freddie Green (gtr) modernized the rhythm
 Walter Page (bs) section.
 Jo Jones (dr)  How?
 Rhy. Section roles
 This became a crucial
role in the development
of bebop.

15. COUNT BASIE
 Basie’s band
arguably was the
best swing band
of the swing era!
 Riff-oriented charts
 Many competing
soloists
 One O’Clock Jump
 1943
 From the Columbia film Reveille
with Beverly

16. COUNT BASIE
 Corner Pocket
 1962 in Zurich concert
 Tpt solo: Thad Jones
 Tpt solo: Al Aarons
 T Sax solo: Frank Wess
 Drummer: Sonny Payne

17. SWING ERA - SUMMARY
 18+ pc. Bands  Reasons for Swing’s
 Vocalists Demise
 Soloists  WWII
 Musicians not satisfied
 Dance music with role
 Pop music repertoire  Wanted respect as artists
In A Mellow Tone, Duke Ellington Orchestra, 1940

18. Dixieland (Early Jazz)
Chicago (Early Jazz)
Swing
Bebop
Cool
Third Stream
Approx. time period Hard Bop/Funky
1945-1950 Modal
Avante-Garde (Free Jazz)
Fusion
Contemporary
The Beginning of Modern Jazz
4. BEBOP

19. BEBOP
 Developed as a reaction.
I Got Rhythm, Don Byas & Slam Stewart, 1945

20. THE DECLINE OF SWING BANDS
 World War II  Less need for dance
 The draft music
 Resources/supplies  Difficult to travel in US
 Oil, petroleum products
 Metals, metal products
 Gas
 food
But on a more personal level….
20/54

21. THE DECLINE OF SWING BANDS
 Dissatisfaction with music scene
 Social scene
 1st awareness of black civil rights

22. BEBOP – BORN IN HARLEM
 (1 of 3)
 Minton’s Playhouse***
:
 Monk
 Kenny Clarke (drummer)
 Unknown
 Teddy Hill (Minton’s mgr)

23. BEBOP VS. SWING - ORIGINS
 Swing born in dance halls
 Bop born in clubs

24. BEBOP VS. SWING - REPERTOIRE
 Swing: charts and arrangers
 Bop Repertoire: no charts
 Blues changes
 Contrafacts (ex. = “Rhythm Changes” tunes)
 New compositions

25. BEBOP VS. SWING - APPEAL
 Swing: a national craze
 Bop: not widely
accepted

26. RECAP: WHAT MAKES BOP “BOP?”
 Instrumentation  Necessity of contrafacts
 Small group (4-5  No charts – remember?
players)
 Consistency of form:
 Absence of charts  AABA
 12-bar blues
 Harmonic complexity
 Range of tempi

27. BEBOP COMPLEXITY/VIRTUOSITY
 Technical junkies  Expanded harmony
 Harmonic complexity
 9, 11, 13 chords common
 Altered dom chords
common
 Chord substitutions

28. BEBOP’S GOALS
 Concert stage
 Appreciated as artists
 Exclusivity (“the club”)
 Exclude
“average” players who
weren’t hip
 Everybody “woodshed”

29. BEBOP - GROUP SIZE
 as compared to swing
bands
Count Basie Orchestra
Max Roach Quintet

30. BEBOP – EXTREME TEMPI
Anthropology ‘Round Midnight
Charlie Parker Thelonious Monk
Live at Birdland, 31 Mar 1951
Tempo = 54
Tempo = 306
Contrafact of Gershwin’s I Got Rhythm

31. BEBOP – WHAT’S ONSTAGE (RECAP)
 Small groups
 quartets & quintets
 Extreme tempi
 Sax is favored
 Rhythm guitar is rare
 Music stands are rare
 Virtuosic chops
required
L-R: Tommy Potter, Bird, Miles, unknown pianist
(Max Roach at the piano?)
Donna Lee the Three Deuces, NYC, Aug 1947
Bird (1951)

32. THE 3 “ARCHITECTS” OF BEBOP
32/54

33. 1. THELONIOUS (SPHERE) MONK
 1917 - 1982
 House pianist in
Minton’s
 Eclectic
 Not well accepted at first
 Cover of Time mag
(1957)
 NC native
 Rocky Mount, NC

34. MONK
 Thelonious Monk
 Round Midnight
Monk: piano
Charlie Rouse:
ts
Larry Gales: b
Ben Riley: d
1966
Norway

35. 2. JOHN BIRKS “DIZZY” GILLESPIE
 1917 - 1993
 Trumpet
 Cheraw SC

36. DIZZY
 Dizzy Gillespie
 A Night in Tunisia

37. 3. CHARLIE PARKER
 aka – “Bird”
 1920 - 1955
 Alto sax
 The most influential of
the 3
 Story about his first jam
session

38. BEBOP – EXAMPLES
 Charlie Parker
 Anthropology
 mm = 306

39. “CONTRAFACT”
 New melody over chord
changes to a pre-
existing tune
 Focus on virtuosity &
improvisation
 Contrafacts
 The Flintstones theme
(from H-B cartoon)
 A contrafact of I Got
Rhythm
 Herb Ellis, guitar
 Ray Brown, bass
 Ross Tompkins, piano

40. Dixieland (Early Jazz)
Chicago (Early Jazz)
Swing
Bebop
Cool
Third Stream
Hard Bop/Funky
Modal
Approx. time period
Avante-Garde (Free Jazz)
1949 - 1955
Fusion
Contemporary
A reaction to Bop
5. COOL JAZZ
Line For Lyons, Gerry Mulligan – Chet Baker Quartet, 1953
40/54

41. COOL JAZZ – WHAT IS IT?
 De-emphasis of virtuosity in favor of lyricism.

42. COOL JAZZ
 Flute becomes a “cool”
instrument as does:
 Oboe
 Cello
 French Horn
 Middle range is
common
 The emergence of
conservatory-trained
musicians
Blue Rondo a la Turk
Time Out (1959)
Dave Brubeck Quartet

43. IMPORTANT NAMES – COOL JAZZ

44. 1. MILES DAVIS & GIL EVANS
 The Birth of the Cool (1949)

45. THE SOUND OF MILES DAVIS & GIL EVANS
 The Duke
 1959

46. 2. BILL EVANS - PIANO
 1929 – 1980
 Arguably the most
influential jazz
pianist in jazz
history
 Heavily influenced
by Impressionism
Witchcraft, Bill Evans Trio, 1959

47. 3. DAVE BRUBECK (MORE COOL JAZZ)
 1920 -
 (That’s alto sax man
Paul Desmond behind
Brubeck)
Brubeck, 2008
Take Five, Dave Brubeck, 1959

48. QUICK OBSERVATIONS – COOL JAZZ
 The evolution of  Cool jazz had a
one style does “cleaner” look.
not erase the
existence of other
styles.
 Drug use was not
a focal point.

49. Dixieland (Early Jazz)
Chicago (Early Jazz)
Swing
Bebop
Cool
Approx. time period Third Stream
Late 1950s – early 1960s, Hard Bop/Funky
Modal
Avante-Garde (Free Jazz)
Fusion
Contemporary
Radical, rebellious
9. AVANTE GARDE (FREE JAZZ)
49/54

50. AVANTE GARDE (AKA “FREE JAZZ”)
 No standard instrumentation
 However, piano often was omitted. Why?
 Historically, the piano was the harmonic “gatekeeper”. Any
potential for accidental structured harmony was to be avoided.
 Most pianists were not comfortable with such restrictions
 Parallels traditional music history’s 20th century
music.
 Composers began to reject the use of:
 Rules
 scales
 harmony
 form

51. ORNETTE COLEMAN (AVANTE GARDE)
 1930 –
 Dancing in Your Head
Dancing In Your Head ,1986, Tokyo,
Japan
Ornette Coleman & the Prime Time
players
Ornette Coleman, 2005 (L) Ornette Coleman, 1971 (R)

52. SUN RA (AVANTE GARDE/FREE JAZZ)
 Born – Herman Poole
Bount
 Legal name – Le Sony’r Ra
 His “arkestra”
 All-stars
Holy Crap!!

53. JOHN COLTANE (AVANTE GARDE)
 aka “Trane”
 1926 - 1967
 Alabama
 Free jazz, influenced by
Ornette Coleman

54. Final Thought:
* Art music is a composer’s art
* Jazz is a performer’s art
THE END