| what are the three classifications of jazz? | art form, popular music, folk music |
| who were the early innovators of Jazz? | Manuel Perez, Buddy Bolten, Joe "King" Oliver, and Freddie Keppard |
| Who earned a reputation as one of the best cornetists of the time, and whose presence in Chicago served as both an anchor and a magnet for other New Orleans musicians, and during the 1920's he led some of the most celebrated bands in jazz history? | Joe "King" Oliver |
| what consists of a brass band? | 'front line' of cornet, trumpet, trombone, clarinet, drum set |
| who traveled widely, and started recording with New Orleans Rhythm Kings for Gennett Records? | Jelly Roll Morton |
| which band was the most important black band in the 1920s, that had Louis Armstrong, and was the training ground for MANY important black jazz artists? | Fletcher Henderson Band |
| what two events are bounded by the swing era? | The great depression, and WWII |
| how did swing and dance come together? | swing is characterized by a 4-beat foundation, perfect for dancing. Swing dance came out of Harlem's Savoy Ballroom, and dance as entertainment required dance/swing bands to play |
| who is Count Basie? | An American jazz pianist, organist, bandleader, and composer who became the pianist with the Bennie Moten band based in Kansas City, inspired by Moten's ambition to raise his band to match the level of those led by Duke Ellington or Fletcher Henderson, and in 1936 moved to Chicago were his band had a recording session which the producer John Hammond and released his first recordings. |
| what are ballads? | story songs |
| Haitian Revolution | the first and only successful revolution led by slaves on August 22, 1791.With over 100,000 slaves in revolt. In three short weeks, the slaves burned nearly every plantation and executed many if not most of the French they encountered. |
| How did Haitian independence have an impact others? | The creoles led a majority of the independence movements in the rest of Latin America, and many mestizos and other lower classes were inspired by the ideas of equality and freedom as well. |
| which instrument improvised the countermelody? | clarinet |
| what is collective improve? | each instrument had their own musical space, and occasionally had stop-time/breaks and short 4 measures with a solo |
| what is Ellington known for? | A HUGE compositional output; was known for his inventive use of the orchestra, or big band, as well as for his eloquence and charisma. He was awarded a posthumous Pulitzer Prize Special Award for music in 1999 |
| which old instruments disappeared? | - banjo was replaced by guitar
- tuba/sousa was replaced by bass
-organ was replaced by piano
- Strings and French horn are no longer used |
| jazz composer Monk represented which approach? | composer and pianist that worked with blues and standard song forms |
| Whar are the four types of folk traditions genres? | ballads, work songs, field hollers, spirituals |
| what are work songs? | music sang by workers which uses tempo of the work itself and call & response technique; to pace manual labor |
| what are field hollers? | unaccompanied, rhythmically loose |
| what are spirituals? | Religious folk songs that blended biblical themes with the realities of slavery; a call and response |
| What were Minstrel shows intended for, and what were they like? | Intended for white audiences, were black performers found greater opportunities, but white people began performing in blackface and taking the benefit |
| How did minstrelsy impact Black musicians? | White men would paint their faces black and imitate their perception of blacks. Type of entertainment to oppress black people in America before and after slavery |
| What is ragtime? | a type of music characterized by syncopation in the melody |
| Who founded New Orleans? | Founded by the French in 1718 |
| What is Code Noir? | a set of laws governing the conduct of the slaves; allowed enslaved people one day off |
| what was the social hierarchy in new orleans? | creoles had more privileges and opportunities that other people of color and tried to stay separate from blacks |
| Who was an "uptown" cornetist and the first important jazz musician? | Buddy Bolden |
| Who had the Imperial Orchestra- featuring "Big Eye" Louis Nelson Delisle on clarinet, and realized people wanted to hear improve and hired Joe Oliver? | Manuel Perez |
| who is widely regarded as Bolden's successor, and brought jazz around the country, but declined an opportunity to record, out of fear that recording would enable the competition to copy his style? | Freddie Keppard |
| What is the New Orleans Jazz style? | Early jazz style characterized by multiple improvisations in an ensemble of cornet (or trumpet), clarinet (or saxophone), trombone, piano, double bass (or tuba), banjo (or guitar), and drums; repertory included blues, ragtime, and popular songs. |
| what are the two groupings of New Orleans jazz style? | Brass band and string ensemble |
| what consists of a string ensemble? | violin, banjo, mandolin-provided guitar and bass; added piano later |
| which instrument played melody? | violin |
| which instrument "ragged" the melody? | cornet |
| Original Dixieland Jazz Band | White group from New Orleans led by the cornetist Nick LaRocca. Their recording of "Livery Stable Blues" and "Dixieland Jass Band One-Step" was released in March 1917, and within a few weeks, it had sparked a national fad for jazz music. |
| why was ODJB early recording so important? | Records made by ODJB were extremely influential in spreading jazz throughout the nation and the world, and despite the impact of segregation, the records' appeal transcended the color lines. This standardized the jazz band lineup and demonstrated dramatically how recordings could be used to promote the music |
| what was owned by a piano manufacturing company, and had a studio made of wood planks with one megaphone that recorded acoustically? | gennett records |
| why was new york bands recruiting new orleans style players? | the infrastructure of theaters, clubs, labels, radio, television. As well as the demand in 1920s dance fads, and lots of small clubs looking for bands due to prohibition |
| who was recruiting new orleans style players? | Fletcher Henderson, Paul Whitman, and Duke Ellington |
| which new orleans style players were Henderson, Whitman, and Ellington recruiting? | Fletcher Henderson wanted Louis Armstrong, Paul Whitman wanted Bix Beiderbecke, and Duke Ellington wanted Barney Bigard |
| which band was the biggest of its time and a white band, very successful and referred to as the "king of jazz", and had a VERY large string, brass, winds and percussion | Whiteman Band |
| which band had the cotton club gig, and became well known because of the national radio broadcasts from the club, and had pragmatic compositions? | Early Ellington Band |
| how was the early ellington band influential? | clarified big band style and potential, brought stride piano style into big band setting, arranged pop/broadway/show tunes effectively in a jazz style, and changed public perceptions of jazz music and musicians |
| What is the Swing Era? | The name given to the period from 1929-1945 when music was primarily performed by bigger bands that consisted of reeds, brass, and rhythm. |
| Who is Benny Goodman? | An American clarinetist and bandleader known as the "King of Swing"; He achieved his first success in the 1930s, was the first prominent white bandleader to hire black players. |
| What is the goodman trio and quartet and why is it important? | created a style of 'chamber jazz' that emphasized highly developed ensemble playing and technically brilliant solos. The Trio took the ensemble sound of the small jazz band to a new level of precision and excitement that attracted a new audience to jazz. |
| Who is Mary Lou Williams? | An American jazz pianist, arranger, and composer who started at the Andy Kirk territory band and moved to New York and wrote hundreds of compositions and arrangements and recorded more than one hundred records. She wrote and arranged for Duke Ellington and Benny Goodman, and she was friend, mentor, and teacher to Thelonious Monk and Dizzy Gillespie. She finishes her career as a faculty member at Duke University |
| What is Count Basie known for? | The all American rhythm section, (because it changed how other bands played) and improvisation battles |
| who is Ellington? | An American jazz pianist, composer, and leader of his eponymous jazz orchestra from 1923 through the rest of his life and gained a national profile through his orchestra's appearances at the Cotton Club in Harlem. |
| What is Ellington famous for? | A master at writing miniatures for the three-minute 78 rpm recording format, Ellington wrote or collaborated on more than one thousand compositions; his extensive body of work is the largest recorded personal jazz legacy, and many of his pieces have become standards |
| Who was Ellington's compositional partner? | Ellington began a nearly thirty-year collaboration with composer-arranger-pianist Billy Strayhorn, whom he called his writing and arranging companion. With Strayhorn, he composed multiple extended compositions, or suites, as well as many short pieces. |
| what happened to Ellington at the Newport jazz festival in 1956? | led to a major revival and regular world tours. Ellington recorded for most American record companies of his era, performed in and scored several films, and composed a handful of stage musicals |
| how was the rhythm section evolutionized? | increased technical playing, involvement in arrangements, changed out old instruments for new ones |
| what are the foundations of the rhythm section? | piano, guitar, bass, and drums |
| What was the purpose of the foundations of the rhythm section? | supplied the beat and mark harmonies in ways that define the style |
| what was the main foundation of the piano? | took solos, limited to breaks and small intros |
| what was the main foundation of the bass? | kept time |
| which four jazz composers represent the four approaches to expanding the jazz canvas? | Monk, Mingus, Gil Evans, and George Russell |
| jazz composer Mingus represented which approach? | bassist that worked with and expanded conventional forms, adding effects from gospel, ragtime, bop, classical music |
| jazz composer Gil Evans represented which approach? | radically transformed work of other composers |
| jazz composer George Russell represented which approach? | introduced modalism and new approaches to harmony, changing the relation between composition and improvisation |
| monk used what type of playing style? | traditional forms with modern sounds and lots of dissonance and angular melodies |
| mingus used what type of playing style? | made use of old styles, not necessarily forms, and made explicitly political statements in music (was an uncompromising bandleader) |
| george russell was? | one of the first jazz theorists, wrote a book detailing what he was thinking and hearing in jazz and improvisation at the time, and helped develop the concept of Modal Jazz |
| What is modal jazz? | form of jazz that uses musical modes instead of chord progressions; a simple harmony over which the soloist can create complexity with use of different scales |
