This document discusses the migration of New Orleans jazz musicians like Louis Armstrong, Jelly Roll Morton, and King Oliver to Chicago in the early 1920s. It highlights some of their seminal recordings that helped spread New Orleans jazz styles like collective improvisation and use of the blues form to new audiences. These musicians and their bands are credited with popularizing New Orleans jazz and influencing the development of big band jazz in the following decades.
Presentation given in a general music methods course at the University of Miami on April 27, 2010. Topic is teaching jazz and blues in secondary general music courses.
Presentation given in a general music methods course at the University of Miami on April 27, 2010. Topic is teaching jazz and blues in secondary general music courses.
Professor Silver's Lindy and Jazz 101: The Hop's History and Harlem's Heroes
Jazz Dance and Music History Lecture at You Should Be Dancing...! Studios on January 10, 2016.
Chapter 24Music in AmericaMusical TheaterPop Music .docxcravennichole326
Chapter 24
Music in America:
Musical Theater
Pop Music Forms
OperettaSpoken dialogueLight musical numbersMany dance numbersAmusing, far-fetched plotsPopular on Broadway in 1800s, early 1900s
*
Popular OperettasGilbert & Sullivan- The Mikado, HMS Pinafore, The Pirates of PenzanceVictor Herbert- The Serenade, Babes in Toyland, Sweethearts
Musical ComediesPopular theater picked up jazz accentsDemand for up-to-date, American stories and lyricsClosely tied to popular songs of the 1920s and 1930sThose written in Tin Pan Alley: N.Y. based collection of publishing/song writing offices.
*
Gershwin’s “Who Cares?” from Of Thee I Sing can be found on the Listen Companion DVD.
George Gershwin (1898 to 1937)Born in New YorkQuit school at 16 to become a song writerBegan writing his own hit songs with brother IraWrote concert works fusing jazz and ClassicalRhapsody in Blue, An American in Paris, Catfish Row (from Porgy and Bess)Musicals- Strike Up the Band, Girl Crazy, Funny Face, Nice Work If You Can Get It
*
*
The Musical after 1940Plots worked out with more careMusical numbers tied in logicallyRichard Rodgers and Oscar HammersteinOklahoma! (1943); The King and I (1951)
*
Leonard Bernstein
(1918–1990)One of America’s most brilliant and versatile musiciansWrote classical symphonies, musicals, and film musicAcclaimed conductor, pianist, and authorWon Grammys, Emmys, and a Tony
*
Bernstein, West Side StoryUpdate of Romeo and JulietThe classical reaching out to the popular stylesStephen Sondheim, Jerome RobbinsCombines classical forms and techniques with 1950s jazz styles
*
Bernstein’s Thematic TransformationThree-note motive first appears as a cha-chaThen as a slow, questioning motive in the Meeting SceneNext as the motive for “Maria”Finally turns into the intro to “Cool”
*
Bernstein’s Thematic Transformation
*
West Side Story, “Cool”Big production number of Act IHighly charged, syncopated introRiff sings first two stanzas1950s street dialectDance sequence begins with fugueMusic gets more angry as Jets lose their coolStanza 2 of Riff’s song returns
*
Later MusicalsInfluence of rock revolutionHair, Grease, RentConnection to filmShowboat, Rent, West Side Story, Disney’s musicals for filmContinual reinventionInfluence of hip-hop: Hamilton
*
Key TermsOperettaMusical comedyMusicals
Chapter 24
Music in America:
Jazz and Beyond
Secular Popular MusicStephen Collins FosterSongs popularized by Christie’s Minstrels“Camptown Races”, “Oh Susanna”Minstrel show: 19thc. variety show in the U.S. performed in blackface John Philip SousaMarine Corps bandmaster, known for marches: “The Stars and Stripes Forever”
*
African American MusicBoth parodied and acknowledged by minstrel showsNo one wrote down slaves’ musicCall-and-response procedures:
-Descended from African traditionsSpirituals: religious folk songsEx. Wade in the Water
*
RagtimeA precursor of jazzA style of piano playing developed by ...
Jazz musicians who live short lives often leave the deepest impressions. There is something about their immutable youth, echoed through the sound of distant recordings, that encapsulates the spirit of jazz. One thinks of Bix and Bubber, Murray and Teschemacher, and Lang and Christian. Of these, guitarist Eddie Lang left the largest recorded testament, spanning jazz, blues and popular music generally.
Whether his guitar was imparting a rich chordal support for
other instrumentalists, driving jazz and dance bands with rhythmic propulsion, or providing a sensitive backing for a variety of singers, Lang’s influence was pervasive. Django Reinhardt once said that Eddie Lang helped him to find his own way in music. Like his contemporary Bix Beiderbecke, Lang’s defining role as a musician was acknowledged early on in his career, and has been venerated ever since.
As is often the case with musicians who are prolific, there are
gaps in our knowledge. This article attempts to address some of these, with particular attention being paid to Lang’s early career. In the second part of the article the Mound City Blue Blowers’ visit to London in 1925 is discussed in detail, and possible recordings that Lang made during the band’s engagement at the Piccadilly Hotel are outlined and assessed. More generally, Lang’s importance as a guitarist is set in context against the background of the guitar’s role in early jazz and dance music.
Professor Silver's Lindy and Jazz 101: The Hop's History and Harlem's Heroes
Jazz Dance and Music History Lecture at You Should Be Dancing...! Studios on January 10, 2016.
Chapter 24Music in AmericaMusical TheaterPop Music .docxcravennichole326
Chapter 24
Music in America:
Musical Theater
Pop Music Forms
OperettaSpoken dialogueLight musical numbersMany dance numbersAmusing, far-fetched plotsPopular on Broadway in 1800s, early 1900s
*
Popular OperettasGilbert & Sullivan- The Mikado, HMS Pinafore, The Pirates of PenzanceVictor Herbert- The Serenade, Babes in Toyland, Sweethearts
Musical ComediesPopular theater picked up jazz accentsDemand for up-to-date, American stories and lyricsClosely tied to popular songs of the 1920s and 1930sThose written in Tin Pan Alley: N.Y. based collection of publishing/song writing offices.
*
Gershwin’s “Who Cares?” from Of Thee I Sing can be found on the Listen Companion DVD.
George Gershwin (1898 to 1937)Born in New YorkQuit school at 16 to become a song writerBegan writing his own hit songs with brother IraWrote concert works fusing jazz and ClassicalRhapsody in Blue, An American in Paris, Catfish Row (from Porgy and Bess)Musicals- Strike Up the Band, Girl Crazy, Funny Face, Nice Work If You Can Get It
*
*
The Musical after 1940Plots worked out with more careMusical numbers tied in logicallyRichard Rodgers and Oscar HammersteinOklahoma! (1943); The King and I (1951)
*
Leonard Bernstein
(1918–1990)One of America’s most brilliant and versatile musiciansWrote classical symphonies, musicals, and film musicAcclaimed conductor, pianist, and authorWon Grammys, Emmys, and a Tony
*
Bernstein, West Side StoryUpdate of Romeo and JulietThe classical reaching out to the popular stylesStephen Sondheim, Jerome RobbinsCombines classical forms and techniques with 1950s jazz styles
*
Bernstein’s Thematic TransformationThree-note motive first appears as a cha-chaThen as a slow, questioning motive in the Meeting SceneNext as the motive for “Maria”Finally turns into the intro to “Cool”
*
Bernstein’s Thematic Transformation
*
West Side Story, “Cool”Big production number of Act IHighly charged, syncopated introRiff sings first two stanzas1950s street dialectDance sequence begins with fugueMusic gets more angry as Jets lose their coolStanza 2 of Riff’s song returns
*
Later MusicalsInfluence of rock revolutionHair, Grease, RentConnection to filmShowboat, Rent, West Side Story, Disney’s musicals for filmContinual reinventionInfluence of hip-hop: Hamilton
*
Key TermsOperettaMusical comedyMusicals
Chapter 24
Music in America:
Jazz and Beyond
Secular Popular MusicStephen Collins FosterSongs popularized by Christie’s Minstrels“Camptown Races”, “Oh Susanna”Minstrel show: 19thc. variety show in the U.S. performed in blackface John Philip SousaMarine Corps bandmaster, known for marches: “The Stars and Stripes Forever”
*
African American MusicBoth parodied and acknowledged by minstrel showsNo one wrote down slaves’ musicCall-and-response procedures:
-Descended from African traditionsSpirituals: religious folk songsEx. Wade in the Water
*
RagtimeA precursor of jazzA style of piano playing developed by ...
Jazz musicians who live short lives often leave the deepest impressions. There is something about their immutable youth, echoed through the sound of distant recordings, that encapsulates the spirit of jazz. One thinks of Bix and Bubber, Murray and Teschemacher, and Lang and Christian. Of these, guitarist Eddie Lang left the largest recorded testament, spanning jazz, blues and popular music generally.
Whether his guitar was imparting a rich chordal support for
other instrumentalists, driving jazz and dance bands with rhythmic propulsion, or providing a sensitive backing for a variety of singers, Lang’s influence was pervasive. Django Reinhardt once said that Eddie Lang helped him to find his own way in music. Like his contemporary Bix Beiderbecke, Lang’s defining role as a musician was acknowledged early on in his career, and has been venerated ever since.
As is often the case with musicians who are prolific, there are
gaps in our knowledge. This article attempts to address some of these, with particular attention being paid to Lang’s early career. In the second part of the article the Mound City Blue Blowers’ visit to London in 1925 is discussed in detail, and possible recordings that Lang made during the band’s engagement at the Piccadilly Hotel are outlined and assessed. More generally, Lang’s importance as a guitarist is set in context against the background of the guitar’s role in early jazz and dance music.
1. New Orleans Jazz Migrates North
To Chicago
Louis Armstrong (1901-71) Jelly Roll Morton (1890-1941)
trumpet piano
2. Joe “King” Oliver (1885-1938) and his Creole Jazz
Band
Dippermouth Blues, rec. 1923
New Orleans Jazz (12-bar blues form)
Intro – 4 bars
Chorus 1 – main melody and collective improvisation
Chorus 2 – collective improvisation
Chorus 3 – CLARINET solo (Johnny Dodds)
with band in stop time (1st and 3rd beats played
only)
Chorus 4 – CLARINET solo cont’d
Chorus 5 – collective improvisation
Chorus 6 – CORNET I solo (King Oliver)
Chorus 7 - CORNET I solo cont’d
Chorus 8 - CORNET I solo cont’d w/ break before final chorus
Chorus 9 – collective improvisation
Left to right: Baby Dodds, drums; Honore Dutrey, trombone;
Joe “King”Oliver, first cornet; Louis Armstrong, second cornet;
Bill Johnson, bass/banjo; Johnny Dodds, clarinet; Lil Harden, piano
3. Louis Armstrong’s Hot Five
“Heebie Jeebies” (rec. 1926; written by Boyd Atkins)
see Tick p. 412 on scat
Louis Armstrong, trumpet
Johnny St. Cyr, guitar/banjo
Johnny Dodds, clarinet
Kid Ory, trombone
Lil Harden-Armstrong, piano
4. Louis Armstrong (1901-1971) and his Hot Five (with Earl Hines, piano)
West End Blues, rec. 1928
New Orleans Jazz (12-bar blues form in each Chorus)
INTRO – high register
Chorus 1
Chorus 2
Chorus 3 – Armstrong, scat
Chorus 4 – Hines, ragtime virtuosity
Chorus 5