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This book tells the story of the first Thirty Years of Jazz during which the basic jazz of Buddy Bolden developed into Classic Jazz and passed into history. It covers the first twenty years before recordings appeared and uncovers the Saga of the first Jazz Bands. - their struggle to adapt to the demands of their audiences and the impetus they gave to the Roaring Twenties when the Original Dixieland Jazz Band made the first jazz recordings in 1927 - and the age of hot Classic Jazz, of King Oliver and the transition to Swing.
Jazz Music flourished between 1920 and 1930 - the Roaring Twenties, becoming the most acceptable form of popular music, so much so that the decade was named the Jazz Age. But what does the word jazz mean and where did it come from? In his latest work Jazz and the Jazz Age jazz historian Daniel Hardie traces the beginnings of jazz from roots in New Orleans to its appearance in Chicago in 1915 to its domination of popular music in the 1920’s and the wild extravagance of prohibition era Chicago and beyond.
The emergence of jazz out of New Orleans is part of the American story, but the creation of this music was more than a regional phenomenon: it also crossed geographical, cultural, and technological lines. Court Carney takes a new look at the spread and acceptance of jazz in America, going beyond the familiar accounts of music historians and documentarians to show how jazz paralleled and propelled the broader changes taking place in America's economy, society, politics, and culture. Cuttin' Up takes readers back to the 1920s and early 1930s to describe how jazz musicians navigated the rocky racial terrain of the music business-and how new media like the phonograph, radio, and film accelerated its diffusion and contributed to variations in its styles. The first history of jazz to emphasize the connections between these disseminating technologies and specific locales, it describes the distinctive styles that developed in four cities and tells how the opportunities of each influenced both musicians' choices and the marketing of their music. Carney begins his journey in New Orleans, where pioneers like Jelly Roll Morton and Buddy Bolden set the tone for the new music, then takes readers up the river to Chicago, where Joe Oliver's Creole Jazz Band, featuring a young Louis Armstrong, first put jazz on record. The genre received a major boost in New York through radio's live broadcasts from venues like the Cotton Club, then came to a national audience when Los Angeles put it in the movies, starting with the appearance of Duke Ellington's orchestra in Check and Double Check. As Carney shows, the journey of jazz had its racial component as well, ranging from New Orleans' melting pot to Chicago's segregated music culture, from Harlem clubs catering to white clienteles to Hollywood's reinforcement of stereotypes. And by pinpointing specific cultural turns in the process of bringing jazz to a national audience, he shows how jazz opens a window on the creation of a modernist spirit in America. A 1930 tune called "Cuttin' Up" captured the freewheeling spirit of this new music-an expression that also reflects the impact jazz and its diffusion had on the nation as it crossed geographic and social boundaries and integrated an array of styles into an exciting new hybrid. Deftly blending music history, urban history, and race studies, Cuttin' Up recaptures the essence of jazz in its earliest days.
Author : Fumi Tomita Publisher : State University of New York Press Page : 195 pages File Size : 50,8 Mb Release : 2024-02-01 Category : Music ISBN : 9781438496399
Early Jazz is an overview of the beginnings of jazz from its nineteenth-century roots through 1929, when elements of the Swing Era began to emerge. It is the first book on early jazz history in over fifty years and fills a compelling need for an update that reflects recent research. With a broad definition of jazz that encompasses the artistic and the commercial, the book's inclusive tone allows for a wide spectrum of musicians, including not only pioneering African American and white musicians but also those who are commonly skipped or skimmed over in jazz history textbooks—lesser-known sidemen, prominent instrumentalists, entertainers or novelty performers, women, vocalists, and American jazz musicians who introduced jazz on their travels around the world. Nineteen songs are analyzed in depth, but no musical knowledge is required to understand or to read Early Jazz. The book is written as an introduction for fans, students, musicians, historians, scholars, and anyone who is interested in this fascinating era of jazz history.
It's been called America's classical music. The infinite art. The heart and soul of all popular music. But whatever the label, jazz has played an immense cultural role worldwide, opening up vast vistas of musical creativity, generating unforgettable performances, and giving us such iconic artists as Miles Davis, Louis Armstrong, and Duke Ellington. Jazz: The First Century marks the passage of the music's first hundred years by bringing together text and art in a rich, illustrated chronicle that opens up the vibrant world of jazz to everyone. Jazz: The First Century is edited by John Edward Hasse, Curator of American Music at the Smithsonian Institution, leading a writing team of today's finest and most widely respected jazz authorities. Their compelling essays are complemented by an engrossing and sophisticated design packed with more than 300 images, including vintage photographs, sheet music covers, rare album jackets, posters, and more. From the beginning, jazz offered a new kind of musical expression perfectly suited to the innovation and rapid pace of life in the twentieth century. Jazz: The First Century vividly illuminates the circumstances of the music's birth, examines the contributions of its most consequential musicians, and brings to life its many pleasures, from the emotionalism of early blues and the infectious syncopation of ragtime to the exhilaration of 1930s big-band swing and the awesome musical flights of bebop-from the understated sophistication of cool jazz and the boundless expressiveness of free improvisation to the electrifying power of fusion and the potent grooves of jazz-rap and hip-hop. In addition, seventy concise sidebars focus on important songs, key landmarks and personalities, and conventions of jazz performance and composition. They also examine the confluence of jazz with radio and television and with such art forms as film, painting, literature, poetry, classical music, and dance. Here also are hundreds of recommended recordings-selections based on opinions gathered in an international survey of historians, educators, critics, musicians, and broadcasters. For newcomers and aficionados alike, Jazz: The First Century offers a wealth of enlightening information. It's an essential and comprehensive overview of the music Tony Bennett calls "Amrica's greatest contribution to the world...a celebration of life itself."
Reveals how the new technologies of mass culture--the phonograph, radio, and film--played a key role in accelerating the diffusion of jazz as a modernist art form across the nation's racial divide. Focuses on four cities--New Orleans, New York, Chicago, and Los Angeles--to show how each city produced a distinctive style of jazz.
Jazz has been around for over a hundred years but how much do we know about its history, and how much of what think we know is true? Beginning in the so called Jazz Age of the 1920s jazz history was recounted and interpreted by admiring authors and record collectors both in the United States and elsewhere. However, since the early 1990s some historians have come to doubt the validity of the conventional narrative of the story of jazz and some of its most hallowed traditions. In Jazz Historiography: The Story of Jazz History Writing Daniel Hardie uncovers the course of jazz history writing from early Jazz Age American and French publications to Academic texts in the 2000s, and seeks answers to questions about the accuracy of those accounts and the influence they have had on our understanding of jazz history - even the impact they might have had on the course of jazz history itself. How much for example did the work of jazz historians influence the course of the New Orleans Revival? Was the appearance of bebop in the 1940s a revolutionary response to oppression experienced by Afro American musicians in a commercialized popular music industry, or was it an attempt to mirror the development of classical music of the time? How has the development of University jazz studies influenced the writing of jazz history?
This intriguing study examines the truth behind the myths and misconceptions that defined the Roaring Twenties, as portrayed through the popular literary works of the time. This one-stop reference to the "Jazz Age"—the period that began after the First World War and ended with the stock market crash of 1929—digs into the cultural, historical, and literary contexts of the era. Author Linda De Roche examines the writing of the time to look beyond the common conceptions of the Roaring Twenties and instead reflect on the era's complexities and contradictions, including how gender and race influenced social mores. The book profiles key American literature of the time, including F. Scott Fitzgerald's The Great Gatsby, Ernest Hemingway's The Sun Also Rises, Sinclair Lewis's Babbit, Anita Loos's Gentlemen Prefer Blondes, and Nella Larsen's Passing. Filled with essays that offer historical explorations of each work as well as suggested learning activities, chapters also feature study questions, primary source documents, and chronologies. Support materials include activities, lesson plans, discussion questions, topics for further research, and suggested readings.
A visual history of America’s jazz nightclubs of the 1940s and 1950s, featuring exclusive interviews and over 200 souvenir photos. In the two decades before the Civil Rights movement, jazz nightclubs were among the first places that opened their doors to both Black and white performers and club goers in Jim Crow America. In this extraordinary collection, Grammy Award-winning record executive and music historian Jeff Gold looks back at this explosive moment in the history of Jazz and American culture, and the spaces at the center of artistic and social change. Sittin’ In is a visual history of jazz clubs during these crucial decades when some of the greatest names in in the genre—Billie Holiday, Charlie Parker, Ella Fitzgerald, Dizzy Gillespie, Miles Davis, Louis Armstrong, Oscar Peterson, and many others—were headlining acts across the country. In many of the clubs, Black and white musicians played together and more significantly, people of all races gathered together to enjoy an evening’s entertainment. House photographers roamed the floor and for a dollar, took picture of patrons that were developed on site and could be taken home in a keepsake folder with the club’s name and logo. Sittin’ In tells the story of the most popular club in these cities through striking images, first-hand anecdotes, true tales about the musicians who performed their unforgettable shows, notes on important music recorded live there, and more. All of this is supplemented by colorful club memorabilia, including posters, handbills, menus, branded matchbooks, and more. Inside you’ll also find exclusive, in-depth interviews conducted specifically for this book with the legendary Quincy Jones; jazz great tenor saxophonist Sonny Rollins; Pulitzer Prize-winning fashion critic Robin Givhan; jazz musician and creative director of the Kennedy Center, Jason Moran; and jazz critic Dan Morgenstern. Gold surveys America’s jazz scene and its intersection with racism during segregation, focusing on three crucial regions: the East Coast (New York, Atlantic City, Boston, Washington, D.C.); the Midwest (Chicago, Cleveland, Detroit, St. Louis, Kansas City); and the West Coast (Los Angeles, San Francisco). This collection of ephemeral snapshots tells the story of an era that helped transform American life, beginning the move from traditional Dixieland jazz to bebop, from conservatism to the push for personal freedom.
Historical Dictionary of Jazz by John S. Davis Pdf
Jazz is a music born in the United States and formed by a combination of influences. In its infancy, jazz was a melting pot of military brass bands, work songs and field hollers of the United States slaves during the 19th century, European harmonies and forms, and the rhythms of Africa and the Caribbean. Later, the blues and the influence of Spanish and French Creoles with European classical training nudged jazz further along in its development. As it moved through the swing era of the 1930s, bebop of the 1940s, and cool jazz of the 1950s, jazz continued to serve as a reflection of societal changes. During the turbulent 1960s, freedom and unrest were expressed through Free Jazz and the Avant Garde. Popular and world music have been incorporated and continue to expand the impact and reach of jazz. Today, jazz is truly an international art form. This second edition of Historical Dictionary of Jazz contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 1,500 cross-referenced entries on musicians, styles of jazz, instruments, recording labels, bands and band leaders, and more. This book is an excellent resource for students, researchers, and anyone wanting to know more about Jazz.
Author : Mark Davis Publisher : Hal Leonard Corporation Page : 203 pages File Size : 44,8 Mb Release : 2015-09-01 Category : Music ISBN : 9781495051296
(Piano Instruction). The Hal Leonard Jazz Piano Method is a comprehensive and easy-to-use guide designed for anyone interested in playing jazz piano from the complete novice just learning the basics to the more advanced player who wishes to enhance their keyboard vocabulary. There are lots of fun progressions and licks for you to play and absorb. The accompanying audio includes demonstrations of all the examples in the book! Topics include essential theory, chords and voicings, improvisation ideas, structure and forms, scales and modes, rhythm basics, interpreting a lead sheet, playing solos, and much more!
There are over a million jazz recordings, but only a few hundred tunes have been recorded repeatedly. Why did a minority of songs become jazz standards? Why do some songs--and not others--get rerecorded by many musicians? Shaping Jazz answers this question and more, exploring the underappreciated yet crucial roles played by initial production and markets--in particular, organizations and geography--in the development of early twentieth-century jazz. Damon Phillips considers why places like New York played more important roles as engines of diffusion than as the sources of standards. He demonstrates why and when certain geographical references in tune and group titles were considered more desirable. He also explains why a place like Berlin, which produced jazz abundantly from the 1920s to early 1930s, is now on jazz's historical sidelines. Phillips shows the key influences of firms in the recording industry, including how record companies and their executives affected what music was recorded, and why major companies would rerelease recordings under artistic pseudonyms. He indicates how a recording's appeal was related to the narrative around its creation, and how the identities of its firm and musicians influenced the tune's long-run popularity. Applying fascinating ideas about market emergence to a music's commercialization, Shaping Jazz offers a unique look at the origins of a groundbreaking art form.
Jazz is the most colorful and varied art form in the world and it was born in one of the most colorful and varied cities, New Orleans. From the seed first planted by slave dances held in Congo Square and nurtured by early ensembles led by Buddy Belden and Joe "King" Oliver, jazz began its long winding odyssey across America and around the world, giving flower to a thousand different forms--swing, bebop, cool jazz, jazz-rock fusion--and a thousand great musicians. Now, in The History of Jazz, Ted Gioia tells the story of this music as it has never been told before, in a book that brilliantly portrays the legendary jazz players, the breakthrough styles, and the world in which it evolved. Here are the giants of jazz and the great moments of jazz history--Jelly Roll Morton ("the world's greatest hot tune writer"), Louis Armstrong (whose O-keh recordings of the mid-1920s still stand as the most significant body of work that jazz has produced), Duke Ellington at the Cotton Club, cool jazz greats such as Gerry Mulligan, Stan Getz, and Lester Young, Charlie Parker's surgical precision of attack, Miles Davis's 1955 performance at the Newport Jazz Festival, Ornette Coleman's experiments with atonality, Pat Metheny's visionary extension of jazz-rock fusion, the contemporary sounds of Wynton Marsalis, and the post-modernists of the Knitting Factory. Gioia provides the reader with lively portraits of these and many other great musicians, intertwined with vibrant commentary on the music they created. Gioia also evokes the many worlds of jazz, taking the reader to the swamp lands of the Mississippi Delta, the bawdy houses of New Orleans, the rent parties of Harlem, the speakeasies of Chicago during the Jazz Age, the after hours spots of corrupt Kansas city, the Cotton Club, the Savoy, and the other locales where the history of jazz was made. And as he traces the spread of this protean form, Gioia provides much insight into the social context in which the music was born. He shows for instance how the development of technology helped promote the growth of jazz--how ragtime blossomed hand-in-hand with the spread of parlor and player pianos, and how jazz rode the growing popularity of the record industry in the 1920s. We also discover how bebop grew out of the racial unrest of the 1940s and '50s, when black players, no longer content with being "entertainers," wanted to be recognized as practitioners of a serious musical form. Jazz is a chameleon art, delighting us with the ease and rapidity with which it changes colors. Now, in Ted Gioia's The History of Jazz, we have at last a book that captures all these colors on one glorious palate. Knowledgeable, vibrant, and comprehensive, it is among the small group of books that can truly be called classics of jazz literature.
