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    Blues and Jazz

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    sarahkane83
    This document provides an overview of the development of blues and jazz music from the early 1900s. It discusses how slaves in the Deep South developed new musical traditions in isolation. Spirituals originated among slaves and were a precursor to the blues. The blues form evolved out of sharecropping culture after the Civil War, featuring individual expression rather than group songs. Jazz originated in New Orleans in the early 20th century and flourished in Chicago in the 1920s as Louis Armstrong and other musicians recorded new works. The document also profiles several important jazz musicians and performances from the swing era of the 1930s-1940s that demonstrated evolving jazz styles.

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    Blues and Jazz

    Uploaded by

    sarahkane83
    90 views5 pages
    This document provides an overview of the development of blues and jazz music from the early 1900s. It discusses how slaves in the Deep South developed new musical traditions in isolation. Spirituals originated among slaves and were a precursor to the blues. The blues form evolved out of sharecropping culture after the Civil War, featuring individual expression rather than group songs. Jazz originated in New Orleans in the early 20th century and flourished in Chicago in the 1920s as Louis Armstrong and other musicians recorded new works. The document also profiles several important jazz musicians and performances from the swing era of the 1930s-1940s that demonstrated evolving jazz styles.

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    This document provides an overview of the development of blues and jazz music from the early 1900s. It discusses how slaves in the Deep South developed new musical traditions in isolation. Spirituals originated among slaves and were a precursor to the blues. The blues form evolved out of sharecropping culture after the Civil War, featuring individual expression rather than group songs. Jazz originated in New Orleans in the early 20th century and flourished in Chicago in the 1920s as Louis Armstrong and other musicians recorded new works. The document also profiles several important jazz musicians and performances from the swing era of the 1930s-1940s that demonstrated evolving jazz styles.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    90 views5 pages

    Blues and Jazz

    Uploaded by

    sarahkane83
    This document provides an overview of the development of blues and jazz music from the early 1900s. It discusses how slaves in the Deep South developed new musical traditions in isolation. Spirituals originated among slaves and were a precursor to the blues. The blues form evolved out of sharecropping culture after the Civil War, featuring individual expression rather than group songs. Jazz originated in New Orleans in the early 20th century and flourished in Chicago in the 1920s as Louis Armstrong and other musicians recorded new works. The document also profiles several important jazz musicians and performances from the swing era of the 1930s-1940s that demonstrated evolving jazz styles.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 5

    Blues and Jazz Week 1 11/9/17

    *READING: p. 1-18, 47-67*

    Slaves of deep south existed in a cultural cocoon which allowed them to develop new traditions.

    North American black slaves had more liberty and mixed with white families more. Not unusual
    for masters on deathbed to free slaves. More interaction between white and black in North
    means less tension and more cultural crossover.

    1503 First black slaves in Latin America


    1554 First Africans in London (from Congo) Black was associated with evil and was projected
    onto Africans
    1619 First slaves in America (Virginia)
    1650 Slavery dominant in the colonies (New England)
    1652+ Laws surrounding slavery introduced
    1700 Slavery fully in place in America

    Baptist Fundamentalist would not associate with Blues culture. Gambling, drinking in Juke
    Joints etc. “Good music can bring the spirit into the church and blues music invites the devil into
    your heart”.

    “Withoutsanctuary” website

    Week 2 18/9/17

    *READING - Tirro, p. 67-84*

    Spirituals are primarily born out of slavery.

    Sorrow songs/spirituals are a possible antecedent to Blues. ​“Dear and Gone”

    Blues are practical, direct songs about everyday problems, often sexual. Spirituals contain
    elements of secular world but are primarily figurative and idealistic. Both contain double
    meaning however.

    Both talk about freedom of movement. Focus on this due to slavery restrictions.

    19th century saw expansion railroad across North America. Features heavily in spirituals and
    jazz. ​“I’m goin’ home on the Mornin’ train” ​- Not overtly sacred lyrics but still spiritual.
    Post-emancipation: Slave owner became plantation owner and slave became sharecropper.
    Titles changed but system remained essentially the same. Blues born of this.

    Holler and shout dyes out as tenant farming is a solitary activity.

    Sharecroppers had more free time and new music was born out of this.

    Spirituals were social songs. Blues was an individual’s music.

    Blues structure and form evolves and moves away from spirituals forms over time, especially
    with the completion of the railroads.

    The shout - african religious singing. Possible influence for blues. Call and response form is
    similar.

    Blues Form: Drums were banned on plantations as whites new it could be used to relay
    messages. Slaves were used to provide entertainment for social gatherings so they were taught
    instruments including fiddle. Wasn’t used for their own entertainment until blues.

    Blues is free time music so you have time/ability to use instruments with voice.
    Call and response between voice and guitar. A hallmark to blues. Used melodically as a
    response as opposed to harmonic.

    Musicall strophic. 3 line/12 bar stanza. Line 1: a,b Line 2: c,d Line 3: e,f
    12 bar blues is a harmonic structure. Line 1: I Line 2: IV then I Line 3: V, sometimes ii or IV7,
    then I

    Sliding off notes. Blues third-a note that is alternatively major and minor. Flattened 7th. Big
    variety in rhythm. Lyrics form standardised by 1910 but still largely improvised.

    Accompaniment: largely harmonic support or harmonic answer.


    Rhythm; Voice usually in 2 and accompaniment in 3.
    Almost always in 4/4 time
    “Titon, Jeff, ed. Worlds of Music CD1, Track 24”
    “Mississippi Blues, william Brown, Arkansas, 1942”

    Tone quality: open throat, relaxed. Mississippi Delta, raspy and vibrato, nasal.

    Usually extended instrumental intro before vocals.

    Slides, complexes around certain notes. Blues notes - 3rd, 5th and 7th. Tonic and third most
    important.

    Oral tradition, not notation.


    Church came out against blues music for lyrical themes and vagabond artists writing them.

    *read blackboard upload for this lecture on Robert Johnson*

    WEEK THREE

    Conceptual importace of Chicago for freedom and jazz

    Jelly Roll Morton’s Red Hot Peppers: Black Bottom Stomp - Chicago. 1926 ​- Reuses
    sidemen from this track again and again. A fine composer. Brings together all the elements of
    early jazz and one of the big piano players of the time. Omer Simeon is a top class clarinet
    player of the time. Stop time phrases. Continuous quaver obbligato. Stomps (big characteristic
    of New Orleans Jazz). See Therese’s notes (Early Jazz 2) for structure breakdown. Cornet solo
    doesn’t live up to contemporary Louis Armstrong.

    1925 was a big year for jazz. Lots of recordings. Armstrong recorded with two groups post-King
    Oliver between ‘23 and ‘32. Hot 5 and Hot 7. His move to Chicago was critical for this as New
    Orleans didn’t have the recording technology.

    Louis Armstrong - Cornet Chop Suey​ (structure in Tirro) Chicago 1926


    Range of almost two octaves in just the improv. Chromatic inflection on the tonic in A melody.
    More complex in B melody. Subverting structure before he even gets to solo. Lil Hardin’s piano
    solo doesn’t have the same range or strength of Jelly Roll.

    Louis Armstrong - Struttin’ with Some Barbecue ​Chicago 1927 Hot 5


    Armstrong’s own composition.
    Intro (12), A(8), B(8), A(8), C(8)
    Solo chorus ½ Dodds, then ½ trombone, Armstrong, full chorus, ensemble out.
    Broad ranging (2 octaves) but unassuming.
    Chromaticism, syncopation, breaks. Range of subdivision (2s and 3s) often featuring
    chromaticism.
    I-vi-ii-V7-I. Standard harmony.

    S.O.L Blues - Louis Armstrong Solo


    Based around high Bb and a series of inventive descents. Rhythmically and chromatically
    complex with a wide range. Ensemble enters with clt counterpoint. Dixieland interaction.
    WEEK 10 - 13/11/2017

    Art Tatum - Tiger Rag - 1933 NYC


    4b intro. 32 bar ABA structure. CDD’ (24bar). 32 bar chorus.
    Blind pianist

    Willow Weep for Me - Art Tatum - New York, 1949


    Reservations about releasing it. Unusual for this time.
    4mm vamp intro
    2x aaba,32mm chorus, with minor b

    Too Marvellous for Words - Art Tatum - Hollywood, 1956


    Experimenting with Beebop influences
    32mm aaba but unusual bridge
    States first part of sequence but answers either ½ tone up or down
    More laid back

    Gene Krupa - Sing, Sing, Sing, (Louis Prima)


    V influential drummer - solo on sing sing sing is important

    Rockin’ Chair - Roy Eldridge and Gene Krupa - 1941


    Playing with brushes to back trumpet
    32 bar aaba

    3 greats of the Swing era - Basie, Ellington and Goodman.


    *read first chapter on Bebop from Tirro

    Mature arrangements:
    Doggin’ Around - New York - 1938
    Benny Moten band but with Basie in lead after his death.
    Clearly more polished under Basie. Very precise 4/4 in rhythm
    Piano, tpt, tb, alto sax, tenor sax, guitar, bass, drums
    AABA format
    8mm intro with Basie
    Various soloists
    Light effervescent tone

    Tickle Toe - New York - 1940

    Barney Bigard - Clarinet Lament (Duke Ellington)

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