... this page is part of the Web Site of George North ...
Blues People
LeRoi Jones
, history professor, Blues People
is a groundbreaking history of Aferican-America History ... establishing American
Black history, showing that Negro culture is totally different than American or Europian.
Establishes 1617 as the beginning of American Negro history ... shows how the Blues developed out of the Black American experience. Tries to establish that Aferica
is still in the Negro, even though it has been suppressed for over 300 years.
Nat Turnner
, from Virgenia, most prominent person to rise up against white slave owners, learned
to read and wright, believer in the accult, black magic ... considered the American
Prostant culture evil. Spread talk of a slave rebillion, did lead a revolt in which
many whites were viscously killed. In 1831, this sent a wave terror through out the
South. This event could be considered the beginning of Black Power. Turnner become
a black folk hero, a symbol of revenge against the white oppressors. This is an
examble of the Stagerrle, Stak-o-lee myths. The beginning of revenge ... puting the fear
of a slave insurection in white slave owners. Stak-o-lee was the myth that proceeded
Turnner.
Blues is an expression of the oppressed peoples. Whites could have never have invented
the Blues, though anyone could learn the Blues.
Jones
(Ameria Beraca), poet, playwirte, very articulate, claimed the Blues for Black Americans,
the most potent art form that is uniquely American. In 1961 he is creating Black
American History, showing that the Negro culture is NOT primitive, the Blues is
high are, its not Aferican, it is Black American. Blues is a fundementally sound historical
work. A a critical time in History, 1961-63, Jones starts Black history.
Blues People ... a history a the Negro in the United States ... as reflected in his
music ... there would not be the Blues without the Americanization of the Aferican
Negro. Their music, dance and religion were about the only aspects of their original
culture that the white masters could not deprive them of, and were the only products
of the Aferican culture that were saved. It is of some greate importance that the
only popular music in this country today is of African derivation.
Blues playing closely imitates the human voice, is the opposite of European music
tradition of regular pitch, time, timbre. The Negro's religious music was his original
creation and the first completely native American music. So the Blues did begin
in slavery, but it was shapped by the Emancipation and the problems that came afterward.
This led within ten years to what was really the first time Negroes became actually
isolated from the mainstream of American society. So the the post-slave black society in America was a completely unique thing to the ex-slaves -- and to the whole of
America. This sudden change was as tramatic as anything in the ex-slave's two hundred
year history in America. At this time the Negro stood further away from mainstream
America than at any pervious time. It is in this context that what we recongnize as
the Blues appears. With their roots in slavery, being saved by the Civil War and
Emancipation, being free and re-enslaved in a few short years would give anyone the
blues.
Their music was extremely personal, it told of the adventure of heroes such as Stagger
Lee, and also about the exploits of the singer. The Blues began with the performers
themselves, and not with formal notions of how it was to be performed. A man could not pick cotton and play an instrument at the same time, so the blues developed as
without instrumental accompaniment. It wasn't till much after the Civil War that
the banjo, guitar, harmonica began to be used in Blues music. Brass instruments
did not follow along until even later.
When Negroes began to master these European instruments, they also began to think
musically and not just vocally. This would lead to jazz, which should be considered
as a very original music that developed out of blues and moved off into its own path
of development. Just as blues developed out of the unique Aferican-American culture,
so would jazz.
From almost the beginning of Negro history in America, there was developing a black
middle class. This was specially strong in New Orleans, with its large free black
(Creole) population. It was only natural these black people would seek to emulate
the majority white society. This would lead to a split in Negro society which would affect
all areas of his life. Jazz can be looked at as an instrmental version of the blues.
A story as complex as the development of the blues and jazz cannot be put into simple terms. But it was the black middle class that first became perficient in the use
of Europian musical instruments. At the turn of the century, in New Orleans the
Creoles (middle class) resisted the crude music of the blues formed marching and
brass bands. There were also black (lower class) brass bands that played non-marching instrumental,
blues-oriented music. They were call dirty bands or "jass".
It was at this same time that forced segration laws were passed. These laws would
hit the black Creoles hardest, but in the long run helped redirect their social and
musical energies. So Jazz, just like blues would develop out of circumstance that
were unique to African-Americans. Jazz (an instremental version of blues) and blues both
developed along the path of least resistance. There was always a border beyond which
the Negro could not go, and it was this boundary, this no man's land, that provided
the logic and beauty of his music.
Another influence on the Negro pre-jazz music was Ragtime. The irony or paradox of
Ragtime is its development from white minstrel music which was the white man's parody
of the black music, often performed by whites in black face. In a sence it was negros imitating whites imitating blacks. This example just strengthens the argument of
how unique an art blues and jazz is, and how they both developed from the uniquely
American culture of its Negroes. Negro music and Negro life in America were always
the result of a reaction to, and an adaptation of whatever American Negroes were given
or could secure for themselves. Negro music of any given period will be an exact
reflection of what the Negro himself is. It is a portrait of the Negro in American.
In a way, Jazz is the resolving of the freedman-citizen conflict.
Mystery Train, Greil Marcus ---
What is thysis, why is R&R so important, what does it say about America ... Robert
Johnson, Sly, Elvis?
Thesis
: The true artists of Rock 'n' Roll, Elvis, Little Richard, Bob Dylan, ... have a
claim to fame that will outlive most of their contempories, even Presidents ...
Popular Culture, is the premeer representation of America, Rock 'n' Roll is the best
representation of life today, Elvis is the supreme example of it.
Mystery Train is a journey into roots music, that illustrates the roots of America,
a serious look at Rock 'n' Roll ... Rock 'n' Roll as high art. A story about Randy
Newman, The Band, Sly and the Family Stone, people and groops that invented their
own versions of Rock ... and the problems caused by an expectation in America of constantly
having to reporve themselves.
Greil Marcus, formost rock critic, Mystery Train is a seminal (Highly influential
in an original way; constituting or providing a basis for further development),
American history, culture is an interlectual battle between pragmatism
(Philosophy. A movement consisting of varying but associated theories, originally
developed by Charles S. Peirce and William James
and distinguished by the doctrine that the meaning of an idea or a proposition lies
in its observable practical consequences) and free thinking.
Pragmatism
, a belief in the rational, Ben Franklin, Farmers Almanic, superstructure, materilism,
impersonism, motivated by money. Free thinking, artist, poets, Jothan Edwards
(American theologian and philosopher whose original sermons and writings stimulated
the Great Awakening, a period of renewed American interest in religion) Whitman, Walt
, (American poet whose great work Leaves of Grass (first published 1855), written
in unconventional meter and rhyme, celebrates the self, death as a process of life,
universal brotherhood, and the greatness of democracy and the United States), sub-culture. Poets often define America, come from a different tradition, too much pragmatism
leads to George Orwell 1984, loss freedom, lost on individuality, need of speritial
renewal, an Aferican-American tradition
Rock 'n' Roll in US starting in 1950, is a comming out, a reawakening, out of the
pragmatism. It was the rebellion of Baby-Boomers against the conformity that their
parents represented. The ethic that Monday to Friday was work, Sunday was worship,
only Saturday was a day to feel good ... Rock 'n' Roll said that every day was Saturday.
The wealth accululating after world war II and the expanding middle class made this
kind of rebellion possible. An irony of the Rock 'n' Roll erra is an a real way,
it was the desire for American Culture that end Communist domination in Eastern Europe,
and it was that same culture that American pragamatism was trying to suppress. As
it always happens in America, the success of R&R is coopted by the corport culture
of big business.
Robert Johnson
... the notion in America, that with an equal start, anyone could succeed. The Blues
is about connection all those people who don't succeed ... coming from the oppression
of Black Americans ... As an artist, Johnson had his finger on the pulse of America ... a world without redemption, to succeed he had to become a demone himself, he
doesn't buy into the dream of success, he is the voice of utter dispair, no where
to go, no promised land ... it was through his dispair, that his music was able to
come out. Blues made the terror of the world easier to endure, but blues also made those terrors
more real. He dispaired over the hypocrisy of a battle of good and evil ... if only
Christmas day would come ... his music was on outlet for this dispair, his constant travel, drink, womanizing ... he lived out a romantic view of America. A ture
American folk hero.
Sly and the Family Stone ... and Stagerlee
Nat Turner, from Virgenia, most prominent person to rise up against white slave owners, learned
to read and wright, believer in the accult, black magic ... considered the American
Prostant culture evil. Spread talk of a slave rebillion, did lead a revolt in which
many whites were viscously killed. In 1831, this sent a wave terror through out the
South. This event could be considered the beginning of Black Power. Turnner become
a black folk hero, a symbol of revenge against the white oppressors. This is an
examble of the Stagerrle, Stak-o-lee myths. The beginning of revenge ... puting the fear of
a slave insurection in white slave owners. Stak-o-lee was the myth that proceeded
Turnner.
In Rock music, staggerlee is the continuation of the eveloution of Aferican-American
music it the blues and jazz tradition, reflecting Black culture in America. In R
& R, Sly is staggerlee, having everything his own way, the essence of his music was
freedom.
Elvis ...
Elvis is the unterment symbol of American popular culture. America, Rock 'n' Roll
is the best representation of life today, Elvis is the supreme example of it. Elvis
is the opposite of Robert Johnson, p121 ... a liberator of women, made it posible
for women to look at men as sex symbols, led an unconcious revolution, everyday is Saturday,
in '50s and '60s, he was considered a great danger, through his music he showed that
Rhythm & Blues was an attitude, was not a concious rip off of black music ... broak
the ground for all that followed him. Got involved in movies earily because of the
uncertainity of how long his and Rock 'n' Roll popularity would last ... raised RnR
and R&B to high art in '60s, no one could see that in the '50s. Today Elvis is a
commodity ... even a Religion ... he can mean anything to anybody ... Elvis had a great
talent and great ambition.
Elvis' great success was the result of his great ambition combiled with a national
marketing effort. The combination of his raw talent, ambition, and marketing made
Elvis into a notional icon. The supreme example of American Popular culture ...
a culture that is in demand world wide. In Elvis' case, push and shove were in the same direction,
propelling him to the top, where no one could challange ... even in his death, Elvis
is still the King.
How does a socity create larger than life hero's ... George Washington to Elvis?
Popular Culture...
consumed by lots of people, big, not sure how to deal with it. In making of a new
nation, the United States need heroes to provide identity for its citizen ... what
it ment to be American, not European. Who was the American
? George Washington was a natural choice, "Father of our Country." A land owner,
slave holder, map maker (important), military leader, guerrilla fighter ... great
military figure ... image grew slowly. Parsons Weans was a writer who make a fortune
writing about Washington, the literature that people needed, created the mythical figure
of Washington.
Daniel Boone
, another mythical figure created by real estate companies to prove that moving west
was safe, he killed 200 indians by himself ... what is the reason for such a figure
... Davy Crocket
, politician in the mold of Andrew Jackson ... president form Tennessee ... anti-elitists
... Crocket was elected to congress as a populists ... in his canpaign he hired
a journalist to writht tall tails about his life, bigger than life ... it was paid
political ads ... killed at Alamo, he had come to Texas for free land and got caught
up in the war with Mexiaco ... Texas, the only state that was originally a nation.
Horatio Alger,
tales of an American Dream, poor boy does heoric deed, is discouered, and becomes
fabulously weathy ... writing during the 'Guilded Age' ... need a way to justify
... if you were poor, than it must be your fault. American Dream
... An American ideal of a happy and successful life to which all may aspire: "In
the deepening gloom of the Depression, the American Dream represented a reaffirmation
of traditional American hopes ... through hard work you will be somebody ... missing
for lifestyles of today ...
By the 1950's, America was ripe for an evolution to a revolution. The baby-bommers,
a generation of American were being raised with leasure time and cash to spend.
They were ready for the interlectual battle between pragmatism
(Philosophy. A movement consisting of varying but associated theories, originally
developed by Charles S. Peirce and William James
and distinguished by the doctrine that the meaning of an idea or a proposition lies
in its observable practical consequences) and free thinking. We were going to create
a consumer socity, and the people were ready for it.
It was the rebellion of Baby-Boomers against the conformity that their parents represented.
The ethic that Monday to Friday was work, Sunday was worship, only Saturday was
a day to feel good ... Rock 'n' Roll said that every day was Saturday. The wealth accululating after world war II and the expanding middle class made this kind of
rebellion possible. An irony of the Rock 'n' Roll era is an a real way, it was the
desire for American Culture that end Communist domination in Eastern Europe, and
it was that same culture that American pragamatism was trying to suppress. As it always happens
in America, the success of R&R is coopted by the corport culture of big business.
Pop Culture is a trail guide to America
... demonstrated by music, from blues, to Jazz, to Rhythm and Blues ... a heritage
for Black Americans
IDs
Elvis
Aron Presley, b. Tupelo, Miss., Jan. 8, 1935, d. Aug. 16, 1977, did not invent rock
'n roll, he did more than anyone to popularize it, and he was rock's most powerful
performer. From the mid-1950s, the "King's" vocal mannerisms, sideburns, and attitude--a combination of sex and sneer--made him an international hero of the young. Presley's
success began with his recording of the blues song "That's All Right, Mama," written
by the black singer Arthur Crudup. Presley's rendition combined his potent, shouted vocal style with a fast, hard, country-and-western-music instrumental backing.
It won considerable attention and eventually a recording contract with RCA Victor.
With national promotion, Presley's subsequent recordings became instant hits: "Heartbreak
Hotel" in 1956, followed by "Hound Dog," "Don't Be Cruel," "Love Me Tender," and "All
Shook Up." His concerts and television appearances drew huge audiences, and his 33
movies, which were minor films at best, increased his fame. Even after his death,
Presley's cult continues, and Memphis, Tenn., where he is buried, has become a place of
pilgrimage. The U.S. Postal Service released a stamp on Jan. 8, 1993, the 58th anniversary
of his birth. The printing of 500 million was the largest commemorative issue in the postal service's history.
Bo Diddley
... blackman, electric guitar ... blues gospel, songs all named after him, a real
character. Born in Mississippi, grew up in Chicago, signed by Chess Records, did
not make much money from his music ... sold rights to his songs for almost nothing,
Highway 61 north ...
Louis Armstrong
, New Orleans, Jazz Trumpet, played with King Oliver Creo jazz Band, made famous
the Jazz soloist ... individual expressiveness, breaking out of the combo to an individual,
also famout for his vocals, popularized Skat ... making your voice sound like the instrament ... popularized Jazz, proved that a Jazz artice could be an echonomic
success.
Duke Ellington
... self taught, gospel, dance, ragtime, a great natural Blues musician, changes
the rules with his creative piano bring Jazz to new hights through his composing,
bring Europian music into American own Jazz.
Edward Kennedy "Duke" Ellington, b. Washington, D.C., Apr. 29, 1899, d. May 24,
1974, was a pianist and orchestra leader and the most prolific composer in JAZZ history.
As the leader of his own band, Ellington became a popular New York City jazzman
in the early 1920s. From 1927 to 1931, he and his orchestra were the stars of Harlem's
famous Cotton Club; Ellington's broadcasts from the club made him a national celebrity.
His first European tour (1933), brought him international fame as well. His orchestra featured many of the greatest jazz artists of the time and Ellington's compositions
were tailored to their special talents. They created a unique sound and a precision
and clarity that won them a reputation as the finest orchestra in jazz. Ellington
wrote over 1,000 short pieces--"Mood Indigo," 1930, was his first important hit, and
there were countless others; concertos for orchestra and jazz soloist, including
"Clarinet Lament" and "Concerto for Cootie" (both 1935); long concert pieces in
the jazz idiom, such as "Black, Brown and Beige," (1943); three large religious works; and
several movie scores.
Miles Davis
, for Illinois, grew up in St. Louis, migrated Jazz to the next level, playing music
that was unique each performance. The introduction of long playing records allowed
Davis to bring his style of playing to many people, the Birth of Cool, hard bop,
be bop, he was always elevating his music, breaking new ground. Miles Dewey Davis, Jr.,
b. Alton, Ill., May 25, 1926, d. September 28, 1991, was a jazz trumpeter, composer,
and bandleader. Davis was one of the most innovative musicians of the 1960s and
'70s, helping to establish several important jazz styles. Born to a well-to-do black family,
Davis studied at the Juilliard School. He joined Charlie PARKER's BEBOP band in
1945. In 1949-50 his small jazz group made some of the first "cool" jazz records,
reflecting a departure from the hard-driving, aggressive bop of Parker. In 1954, Davis's
recording "Walkin'" initiated the hard-bop style that dominated jazz for several
years. In the 1960s he recorded music that blended rock and jazz elements. His
best-selling album, Bitches Brew (1970), signaled his success in extending the boundaries
of jazz and established a style that was heavily explored by other musicians throughout
the 1970s. In 1981, after a five-year hiatus in his musical activity, Davis returned
to performing and recording. Davis's work in the 1980s included the soundtrack to
the film Siesta (1987), and Amandla (1989). Davis played with and influenced many
talented young performers--most notably John COLTRANE--who later became jazz masters
on their own.
Woodie Guthrie
, born in Oklahoma, a song writer, newspaper, bad singing voice, was on his own as
a teenager, traveled widely, lived by his witts, a man of great contraditions, in
California, played on the streets, womenizer, became involved in social movements,
IWW, migrant workers, communist party. Left wing, right wing, checken wing, all the same
to me. Became a commercial success in New York. Genuinely for the people. A true
American. Woodrow Wilson "Woody" Guthrie, b. Okemah, Okla., July 14, 1912, d. Oct.
4, 1967, was a folksinger and songwriter who represents for later generations the quintessential
folk poet. Guthrie was an itinerant laborer and wandering musician in his youth,
and his works--more than 1,000 songs--reflect his life-long involvement with such
issues as unemployment and social injustice. His relaxed, ironic, counter-culture style
provided a model for later singers, especially Bob Dylan, Phil Ochs, and Tom Paxton.
Guthrie's songs fall into several broad categories: Dust Bowl Ballads, 12 records
made in the 1930s for the Library of Congress Folk Song Archive; political and union
songs; songs he wrote in support of various New Deal projects and for the American
war effort; and a large group of children's songs. "This Land is Your Land" is perhaps his most famous work. His son, the composer and singer Arlo Guthrie, b. New York,
July 10, 1947, continues in his father's profession, although his songs--including
the 1967 hit "Alice's Restaurant"--are less overtly political. He played himself
in the successful film Alice's Restaurant (1969).
Leadbelly
, from La., real Blues man ... traveled in Louisiana and Texas, spent many years in
prosion where he developed much of his music. Was discovered by the Lomax's who
recorded some of his music. Toured country with Woody Guthery, his music expressed
the emotions of everyday life in America. The black singer and guitarist Leadbelly, b. Huddie
Ledbetter in Mooringsport, La., Jan. 21, 1888, d. Dec. 6, 1949, spent most of his
life as an itinerant laborer and street singer in the small towns of the deep South.
Accompanying himself on his 12-string guitar, Leadbelly sang the work songs, blues,
hollers, and dance tunes of the black country people of his time. The folk-song
archivist John A. Lomax heard him in a Louisiana penitentiary, recorded his songs,
and helped obtain his release. Leadbelly came to New York in 1934 and, from that year until
his death, sang throughout the country and abroad, both in concert and on recordings.
His posthumous influence on the folk music revival of the 1950s and '60s was enormous.
Josh White
, folk singer, song writer, with Lead Belly, great singing voice, did not sound like
a blues singer, became a big echonomic success, very popular in New York. The Weavers,
formed in 1948, were the first folk musicians to achieve commercial success, paving the way for the great popular boom in folk music in the late 1950s and 1960s. Folksinger
and banjoist Pete SEEGER and bass-voiced singer Lee Hays, b. Little Rock, Ark., 1914,
d. Aug. 26, 1981, had sung in the early 1940s with The Almanac Singers (their members numbered, at one time or another, Woody GUTHRIE, Burl IVES, Josh White, and
Cisco Houston),
The Lomax's, Alan and John
, well educatied, funded by the Library of Congress to document folk songs in the
south. Worked to perserve much of the black music and song in the '30s and '40s.
Worked with Lead Belly and Josh WHite ... captured slave culture. The field of
American folk song study is founded in the work of John Avery Lomax, b. Goodman, Miss., Sept.
23, 1875, d. Jan. 26, 1948, and his son, Alan Lomax, b. Austin, Tex., Jan. 31,
1915. John was an English professor and banker who studied folklore as an avocation.
In the early 1900s, equipped with an Ediphone cylinder recording machine, he traveled
the backroads of the Southwest, collecting songs that had never appeared in print
before the publication of his book, Cowboy Songs and Other Frontier Ballads (1910).
In 1933, with his 18-year-old son, Alan, and with a recorder built into the back of his
car, Lomax traveled the South and West again. The results of that trip were published
as American Ballads and Folk Songs (1934). The Lomax working materials were given
to the newly formed Archive of American Folksong of the Library of Congress, and Lomax
was made honorary curator--a post later filled by Alan, who continued to collect
and record both in America and in Europe.
Pete Seeger
, from wealthy family, fold singer, left home at 19, traveled widely, populist, environmentalest,
saved middle of Hutson, involved in communists party in '40s, black listed by committee
on unAmerican activities, did not want to be a pop culture star ... "If I had a Hammer, This land is you Land", popularity revived in '60s. 1948 Joe McCarthy
... kill the new deal, black list anyone involved with sociolists party, fold music
was communists. American folksinger, composer, song collector, and five-string banjo virtuoso Peter Seeger, b. New York City, May 3, 1919, has been a leading force
in the movement to revive the FOLK MUSIC tradition in America. His father, Charles
Seeger, b. Mexico City, Dec. 14, 1886, d. Feb. 8, 1979, was a musicologist. Pete's
stepmother Ruth Crawford Seeger, b. East Liverpool, Ohio, July 3, 1901, d. Nov. 18,
1953, composed her own music, tightly organized atonal pieces, as well as transcribing
and arranging hundreds of folksongs from the Archive of American Folksong. Half
brother Michael, b. New York City, Aug. 15, 1933, is a folk-song collector and founder
of the New Lost City Ramblers. Half sister Margaret (Peggy Seeger), b. New York
City, June 17, 1935, sang as a soloist and with her husband, the Scottish folk specialist Ewan MacColl (1915-89). Pete Seeger left Harvard University during his sophomore
year, first to hobo around the United States, then to work in the field with John
and Alan Lomax (see LOMAX family), the song collectors. In 1940, Seeger and Woody
GUTHRIE organized the Almanac Singers; in 1948, Seeger helped to found The Weavers, a commercially
successful folk group and the inspiration for such later groups as the Kingston Trio
and Peter, Paul, and Mary. Seeger recorded more than 50 albums and, after the blacklisting 1950s, appeared regularly in concerts and on television. The many famous
songs he composed include "If I Had a Hammer" (written with Lee Hayes), "Kisses Sweeter
than Wine," and "Where Have All the Flowers Gone."
Irma Thomas
... New Orleans original, roots in gospel, R&B pioneer, not well recogonized until
recently.
Bessie Smith
... great vocolests, blues singer for Tennessee, influenced by minstrel shows traveled
widely, 159 recordings, primative sytle, Janice Joplan influence, died in contraversal
car accident ... Known as the "Empress of the Blues," Bessie Smith, b. Chatanooga, Tenn., Apr. 15, 1894, d. Sept. 26, 1937, was the most successful female blues singer
of the 1920s. She began her career as a singer in honky-tonks and tent shows, but
in 1923 went to New York for her first recording session. She was an immediate sensation, and during the succeeding decade she recorded and toured extensively. She was
hearty, forthright, and totally uninhibited in her performance as well as in her
life. Because of her impeccable rhythmic sense and her ability to improvise around
the structural confines of the blues, Gunther Schuller, in his book Early Jazz, calls her the
first important jazz singer. The circumstances of her death, in an automobile accident
in Mississippi, were the subject of a play by Edward Albee (The Death of Bessie Smith, 1960).
Ellis MARSALIS
, professor of music at UNO, father of Winton, Bradford, and other, chair of Jazz
studies, There is no Jazz industry ... Jazz is bigger than life, but not well understood.
The name Marsalis became known to jazz enthusiasts in 1980-81, when trumpeter Wynton Marsalis, b. New Orleans, La., Oct. 18, 1961, joined Art Blakey and the Jazz Messengers,
and his dazzling technique and genius at improvisation were first heard. The son
of jazz pianist and teacher Ellis Marsalis, Wynton studied classical music at New
York's Juilliard School. In 1982, he formed his own band with older brother Branford,
b. New Orleans, Aug. 26, 1960, a brilliant tenor saxophonist. Wynton has been the
only artist to win Grammy awards for both classical and jazz recordings, in 1984,
and has since won many other awards for his work in jazz. His recent recordings include
1991's three-volume Soul Gestures in Southern Blue. Branford is not only a fine jazz
and classical artist, he is also an accomplished rock musician--he has played with
rock star Sting, among others--and a movie actor (Throw Momma from the Train, 1987, School
Daze, 1988). In 1992 he joined the Tonight Show as music director for new host Jay
Leno. Delfeayo Marsalis, b. New Orleans, July 20, 1965, is gaining renown as a producer of jazz recordings, including Branford's 1992 blues recording.
Fats Domino
, Rock 'n' roll progenitor Antoine "Fats" Domino, b. New Orleans, La., May 10, 1929,
grew up playing a pounding rhythm-and-blues-style piano and singing in his hometown.
Domino's first million-selling record, "The Fat Man," was released in 1949, and he
was eventually to record 23 gold singles, most of them during rock 'n' roll's formative
years, 1955-60. "Blueberry Hill" (1956) is his most famous recording
Ella Fitzgerald
, Jazz singer, Virgenia, American success story, influenced by Harlam Renassance,
Jazz singer, couldn't sing the bluse, instremental singer, Scat, 1st Lady of Song,
a singer Musician. The singer Ella Fitzgerald, b. Newport News, Va., Apr. 25,
1918, is second only to Billie Holiday in her popularity and in the influence she has had over
several generations of pop-music singers. Her career began (1934-39) with Chick
Webb's band, which she led for a year after his death. After recording (1938) "A-tisket, A-tasket," she had countless hits, sang with Duke Ellington, Count Basie, and other
major bands, and appeared as a soloist with more than 40 symphony orchestras. A
great scat singer and ballad interpreter, she consistently lifted often trivial material
to the level of high jazz art.
Ornette Coleman
, Sax, poor backgroun, self taught, "Free Jazz" Style, improvising, invent your own
music, brought the blues back to Jazz, Ornette Coleman, b. Fort Worth, Tex., Mar.
9, 1930, is a saxophonist and composer whose ideas have aroused bitter controversy
while at the same time obtaining new avenues for avant-garde jazz musicians. Largely
self-taught, Coleman began playing alto sax in his early teens. His recording Free
Jazz (1960), a 37-minute improvisation for jazz octet on Coleman-composed themes,
set the tone for his later work, much of which continues in the improvisational mode. Other
works, however, are completely scored compositions: a 21-movement suite for orchestra
(Skies of America, 1972), for example.
John Coltrain
, piano ... uperclass black family, only chile, speritial music, BeBop, Wanted to
solve world probles through his music, in SF Church of John Coltrain ... John William
Coltrane, b. Hamlet, N. C., Sept. 23, 1926, d. July 17, 1967, is considered one
of the major innovators of contemporary jazz. A saxophonist (tenor and soprano) and
composer, Coltrane began his career in big bands, played with Miles Davis in the
late 1950s, and formed his own quartet in 1960. He became one of the leaders of
a jazz movement, called the New Wave, that sought greater freedom from harmonic and thematic restrictions
in improvisation. Coltrane created incredibly sustained periods of improvisation
within the confines of a single chord or scale pattern--a style related strongly to Indian musical practice. His influence on modern jazz is considered second only
to that of Charlie Parker.
Thelonious Monk
, piano, New York, power in one note, fame didn't come until '60s. Played with John
Coletrain, styles were very different, but blended well together, studied at Juliard,
Beets "Beet Nikes (Sputnick) ... underground Jazz, Pianist and composer Thelonious
Sphere Monk, b. Oct. 10, 1918, d. Feb. 17, 1982, was one of the founders of the jazz
style that became known as BEBOP. Although he played in bands with Dizzy Gillespie,
another bebop originator, and with Coleman Hawkins, most of Monk's work was as a
soloist or as the leader of small groups. As a composer he contributed numerous pieces that
are still standards in the jazz repertoire. Among them are "Round Midnight" and "Straight
No Chaser." Because of his harmonic manipulations, which stretched the boundaries of tonality, he is considered one of the principal influences on avant-garde jazz.
Elvin Jones
, less well known, drummer ... most distintive style, played with Coltrain, made the
drums into an instrument ... nobody better.
Son House
, from Mississippi, mentor of Robert Johnson, Bottle Neck Blues Guitar, played in
Jackson ... Blues or Black Church, -- Alan Lomax ... reduicovered in 1960's ...
was first a preacher, than a Blues man.
Chuck Berry
, from St. Louis, a poet, family man, more popular in Europe, great performer, recorded
for Chess Records, played many different types of music, blues, R&R, R&B, C&W ...
seminal Rock & Roll musician ... lived a wild life as a teen and young adult, exployted by press ... used to make Rock & Roll star an outlaw, every parrent's worst nightmare
... many soungs about autos, was an auto thief in youth, autobiagraphy is a good
book about how it was being a black man in America. Basicly uneducated. "Roll over
Beethoven" here comes Rock & Roll ... a revolution ... played at Bill Clenton's inaugural.
Charles Edward Anderson Berry, b. Wentzville, Mo., Oct. 18, 1926, is a black
American singer-songwriter-guitarist who has been one of the most important influences in the development of ROCK MUSIC. From 1955, the year of his first hit, "Maybellene,"
Berry's music has characteristically combined blues tunes with wry, country-influenced
narratives describing teenage frustration, young love, and fast cars. Such Berry songs as "Roll Over, Beethoven"(1956), "Rock and Roll Music" (1957), "Sweet LIttle
Sixteen" (1958), and "Johnny B. Goode" (1958) have become classics of the rock genre.
Robert Johnson
... Hwy 61 ... the Blues Man, jump a train, play some blues, rebelling against slave
culture, wanted complete freedom, died at age 27 ... posioned, played the bottle
neck guitar, nasel singing, direct link to Aferican music.
Billy Holiday
... from New York, lived a hard life, didn't like being called a blues singer ...
influenced by Harlam Resoniance, nickname Lady, through her sining, she make music
her own, became a herion addict in later life, The jazz singer Billie Holiday,
b. Eleanora Fagan in Baltimore, Md., Apr. 7, 1915, d. July 17, 1959, is ranked by many as
the finest vocalist and stylist that jazz produced in the 1930s. The illegitimate
child of a jazz guitarist, Holiday's early years were scarred by poverty. After
moving with her mother to New York City, she began singing in small Harlem nightclubs and recorded
a few songs with Benny GOODMAN and Duke ELLINGTON. But wide public recognition came
only with a series of recordings (1935-39) she made with the pianist Teddy WILSON
and his band. Her subsequent recordings were almost always accompanied by groups
that included the top instrumentalists of the day; among the finest are those she
made with the saxophonist Lester YOUNG. Holiday's later career was marred by personal
tragedy and by a drug addiction she tried vainly to conquer. She made her final appearance
(June 1959) at a benefit concert in New York, where a few days later she was arrested
on her deathbed on narcotics charges. Her most memorable recordings include several acid-toned songs, among them "Strange Fruit" (1939), about a lynching in the South
and "God Bless the Child" (1941), one of her own compositions, about poverty.
Crockett, Davy
Limestone, Tenn., Aug. 17, 1786, was one of America's most colorful frontiersmen
and folk heros. Coming from a poor pioneer family, he received no real education
as a child but picked up the skills of a hunter, scout, and woodsman. He served
(1813-14) under Andrew Jackson in the wars against the Creek Indians. After returning to
Tennessee to farm, he was appointed (1817) a local magistrate, an office that required
him to learn to read and write more proficiently. Elected a "colonel" in the militia,
he also served two terms (1821-25) in the Tennessee legislature, and he defended the
squatter rights of his west Tennessee constituents. As a U.S. congressman (1827-31,
1833-35), Crockett won a reputation as an amusing, shrewd, and outspoken backwoodsman,
and it was in Washington that the legend of the man as a coonskin-hatted bear hunter,
Indian fighter, and tall-tale teller was promoted by his Whig allies to compete with
President Jackson's image as a democrat. Crockett's opposition to Jackson's Indian-removal policies estranged him from the Democratic party, and this disagreement cost
him his fourth bid for election in 1834. His bitterness over the defeat inspired
him to leave (1836) Tennessee for Texas, where he died on Mar. 6, 1836, defending
the ALAMO during the TEXAS REVOLUTION.
Alger, Horatio
Although he was an ordained Unitarian minister, Horatio Alger, b. Jan. 13, 1834,
d. July 19, 1899, is best known as the author of such juvenile novels as Ragged
Dick (1867), Luck and Pluck; or, John Oakley's Inheritance (1869), and Tattered
Tom (1871). The Alger formula is always the same: a brave but poor youth performs a daring
rescue that wins the gratitude and patronage of a wealthy benefactor. Mabel Parker,
written in 1878 but published only in 1986, is one of Alger's few novels for adults,
but it shares with his works for children a clumsy plot and a multitude of stereotypes.
Despite the essential mediocrity of his writings, however, more than 20 million
of his books were sold during his lifetime.
Mike Fink
, c.1770-1823, an American frontier hero, was a keelboatman on the Ohio and Mississippi
rivers whose physical prowess became legendary in oral and written folklore. A formidable
brawler dubbed "king of the keelboatmen," he was also known for his skill in telling tall tales.
Billy the Kid
was one of several aliases of William H. Bonney, b. New York City, Nov. 23, 1859,
a New Mexico outlaw whose short, bloody career became a legend. By the age of 18
he had been charged with 12 murders. While working as a cowhand in the Pecos Valley,
he turned to cattle rustling. After the gang he led killed a sheriff and a deputy, he
was captured and sentenced to death. He escaped from jail, killing two guards, but
was trapped and shot to death on July 13, 1881. A ballet based on his life, with
music by Aaron COPLAND, was first performed in Chicago in 1938.
Stax Records
the R&B record house, in Memphis, provieded a place for the polished studio sound
to be recorded for many aferican-American groups and artices. MoTown Records
Nat Turner
, b. Southampton County, Va., Oct. 2, 1800, d. Nov. 11, 1831, led the deadliest black
slave revolt in United States history and died for it. Turner, born a slave, became
a skilled carpenter as well as an exhorter, or preacher. He believed that he was
the chosen instrument of a vengeful God; through violence he hoped to achieve retribution
and freedom for his race. Interpreting a solar eclipse as the signal for action,
Turner launched his insurrection on Aug. 21, 1831. His following grew to about 70,
and at least 57 whites were killed before the revolt was quashed about 4 days later. Turner,
captured on October 30, was tried and executed, as 16 of his followers already had
been. The insurrection caused hysteria among southern whites, prompting the vengeful killing of many innocent slaves and leading to the enactment of stricter slave codes.
It effectively ended any southern sympathy for abolitionism.
Whitman, Walt
... The greatest of 19th-century American poets, Walt Whitman, b. West Hill, Long
Island, May 31, 1819, d. Mar. 26, 1892, abandoned his given name Walter when he published
(1855) his first book of poetry, LEAVES OF GRASS, which must be counted among the
seminal works of American literature. From then on he became "Walt Whitman, an American,
one of the roughs, a kosmos," a poet who sought a personal relationship with his
readers. The third of eight children, Walt Whitman was born near Huntington, Long
Island, on a small farm that the family left in 1824 when they moved to Brooklyn, where
his father was an unsuccessful builder, and where Walt attended public schools. At
the age of 11 he began to learn printing, a trade with which he remained associated
for many years as printer, journalist, and newspaper editor. Although his formal education
was limited, he was teaching school in Long Island by the time he was 17 years of
age. In 1838-39 he edited a weekly newspaper, The Long Islander, which is still in
existence. For the next 10 years Walt drifted from one job to another, often losing newspaper
posts because of his political views. He occasionally taught school, wrote short
stories and poems for magazines, and edited such newspapers as the New York Aurora
and Evening Tatler and the Brooklyn Daily Eagle. As a contributor (1848) to the New
Orleans Crescent, he made a trip to the South, his first exposure to the vastness
of the "States" that he later extolled in his poetry. About 1850 he returned to his
family in Brooklyn and, until the death of his failing father in 1855, assisted him in the
building business. Paid for, and in part typeset, by Whitman himself, Leaves of
Grass (1855), including the famous "Song of Myself," launched his career as a poet.
The book did not win universal acclaim, however, because his irregular poetry as well as his
candid anatomical references antagonized many early readers. Until the beginning
of the Civil War, while revising and expanding Leaves of Grass, Whitman supported
himself by free-lance journalism. Late in 1862, Whitman went to the battlefront in Virginia
to find his brother George, who had been wounded, and then returned to Washington,
where he worked in various government departments. He served as a volunteer nurse
to soldiers, Northern and Southern, who were sick and dying in the unhygienic military hospitals
in Washington. He supplied his "comrades" with food and other necessities and wrote
letters home for them. In Drum-Taps (1865) Whitman printed poems based on his wartime experiences; Sequel to Drum-Taps (1865-66) contained what later became two of
his most famous works, "When Lilacs Last in the Dooryard Bloom'd" and "O Captain!
My Captain!" commemorating the death of Lincoln. A prose volume, Democratic Vistas
(1871), followed a few years later. Whitman remained in Washington until 1873, when he suffered
a paralytic stroke that left him permanently crippled. Moving to Camden, New Jersey,
to be near his mother and his brother George, he remained there until his death.
Although he never again held a job, he regained some of his former strength and supported
himself by printing and selling his own books and writing for newspapers and magazines.
Leaves of Grass, which was constantly expanded, slowly became known in the United States and abroad; and Whitman, now acknowledged as a major literary figure, welcomed
writers and artists from all over the world to his modest house on Mickle Street,
which is today preserved as a shrine. Personally as well as poetically revered, he
collected his autobiographical reminiscences in Specimen Days and Collect (1882), which
incorporated the earlier Memoranda during the War (1875). Although frequently in
great pain after 1885, Whitman continued to write poems and prose pieces. He completed
the last revision of Leaves of Grass shortly before his death; he is buried in a tomb,
which he designed himself, in Harleigh Cemetery, Camden. Having set himself a difficult
task--to create a poetry that would reflect the American melting pot of races and nationalities, the democratic aspirations of the people, and the physical vastness
of the United States--to accomplish his goals Whitman replaced traditional English
form and meter with a rhythmic unit based on the meaning and natural flow of the
lines. The subject matter, like the rhythm, was intended to be as free as the people and
included topics usually avoided by the era's poets--commonplace experiences, labor,
sexuality. He remains the nation's great celebrator and affirmer of democracy, freedom,
the self, and the joys of living.
Dylan, Bob
, born Robert Allen Zimmerman in Duluth, Minn., May 24, 1941, is a singer, songwriter,
and guitarist. Dylan was perhaps the most influential voice of the protest era of
the early 1960s and is today one of the leading musicians in the field of folk rock.
The son of a small-town storekeeper, Dylan taught himself to play the piano, guitar,
and harmonica. Influenced by Woody Guthrie and the blues genre, he began his career
as a folksinger in 1960. His appearances in New York City's Greenwich Village coffeehouses soon earned him a recording contract. His song "Blowin' in the Wind" became
the anthem of the civil rights movement, and the folk protest songs he wrote from
1961 to 1964 seemed to express the hopes and angers of his generation. In 1965,
Dylan turned to rock music, and concert tours with his new rock band made him an international
celebrity. Dylan's 5-record set, Biograph (1985)--which contains over 50 of his
songs written from 1961 to 1981--chronicles the changes in Dylan's musical attitudes:
fiery and impassioned in the early years; more personal, withdrawn, and apolitical as
the years wear on. Dylan has published a prose and poetry assemblage, Tarantula
(1971), has acted in and directed films, and continues to tour and record.
Black Panther party
was a militant organization of blacks founded in Oakland, Calif., in 1966 by Huey
P. Newton and Bobby G. Seale
. Panther leaders called upon blacks to arm themselves for a struggle against their
oppressors and collected small arsenals. At the same time, the party provided free
breakfasts, financed by donations from local merchants and wealthy sympathizers,
for children in some ghetto areas. It also opened schools and medical clinics. Several
armed clashes with the police occurred. Huey Newton was found guilty of killing
an Oakland policeman in 1967, but the conviction was reversed on appeal. He was
charged with murder in a street brawl in 1974 and fled to Cuba. Seale and other Panther leaders
were accused of torturing and murdering a former Panther whom they suspected of being
a police informer, but the jury failed to reach a verdict. Another leader, Eldridge CLEAVER, fled to Cuba and Algeria to avoid imprisonment for parole violation; he
later returned, abandoned radicalism, and became a proselytizer for Christianity.
The Panthers lost a leader in 1969 when Chicago police made an early-morning raid
on a Panther residence and killed Fred Hampton in his bed. The movement declined after quarrels
among its leaders increased and as black radicalism waned in the 1970s. Two former
Black Panthers were implicated in the Brink's robbery incident in New York in 1981.
Populist
... The Populist party was formed in the 1890s at the culmination of a period of
agrarian discontent in the United States. The party traced its roots to the farmers'
alliances, loose confederations of organizations that had formed in the South and
West beginning in the late 1870s and expanded rapidly after about 1885. The alliances advocated
tax reform, regulation of railroads, and FREE SILVER (the unlimited minting of silver
coins). In 1890 many candidates who supported alliance objectives were elected in state and local contests. Encouraged by these results, alliance leaders formed
a national political party, officially the People's party, but usually called the
Populist party. At a convention in Omaha, Nebr., in 1892, the Populists nominated
James B. WEAVER of Iowa as their presidential candidate. Hoping to unite Southern and Western
farmers with industrial workers of the Northeast, the party adopted a platform calling
for government ownership of the railroads and the telephone and telegraph systems;
free silver; a graduated income tax; a "subtreasury" plan to allow farmers to withhold
crops from the market when prices dipped; the direct election of U.S. senators;
immigration restriction; an 8-hour day for industrial workers; and other reforms.
In the election of 1892, Weaver received more than a million popular votes and 22
electoral votes, but the Democratic candidate, Grover Cleveland, won the election.
Several Populist candidates won election to Congress that year and in 1894. In
1896 the Populist party was overshadowed by the Democrats, who took up the issue of free silver
and other Populist goals and nominated William Jennings BRYAN of Nebraska. The Populists
supported Bryan but substituted their own candidate, Thomas Edward WATSON of Georgia for the Democratic vice-presidential nominee. The Republican candidate, William
McKinley, won the election. As farm prices rose, agrarian protest was defused. The
Populist party, unable to broaden its base by winning the votes of industrial workers,
split in 1900 over the issue of fusion with the Democrats. Although Watson ran as the
Populist candidate in 1904 and 1908, the party's significance all but disappeared
after 1908. The term populism, however, continued to be used in U.S. politics to
refer to the grass-roots movements claiming to represent the "common people" against big
business and industry. Huey Long of Louisiana was a notable populist, in this sense.
Populism in recent years has been invoked in presidential campaigns by Fred Harris
of Oklahoma, George McGovern of South Dakota, and George Wallace of Alabama.
Jazz
...
Jazz is the only indigenous American musical form to have exerted an influence on
musical development throughout the Western world. Created by obscure black musicians
in the late 19th century, jazz was at first a synthesis of Western harmonic language
and forms with the rhythms and melodic inflections of Africa. The African musical idiom
present in black vocal music--SPIRITUALS, the work song, the field holler, and blues--was
the structure through which popular tunes of the time were transmuted into jazz. The music was characterized by improvisation, the spontaneous creation of variations
on a melodic line; by syncopation, where rhythmic stress is placed on the normally
weak beats of the musical measure; and by a type of intonation that would be considered out of tune in Western classical music. (See BLUES for a discussion of this type
of intonation.)
In its beginnings jazz was more an approach to performance than a body of musical
compositions. The black marching bands of New Orleans, which often accompanied funeral
processions, played traditional slow hymns on the way to the cemetery; for the procession back to town, they broke into jazzed-up versions of the same hymns, RAGTIME tunes,
or syncopated renditions of popular marches. The instruments in the marching band--a
cornet or a trumpet to carry the melody, with a clarinet and trombone to fill in,
and a rhythm section of drums or a string bass--formed the nucleus of the first jazz
bands, which usually added only a piano, guitar, or banjo.
DIXIELAND
The earliest recordings identified as jazz were made in 1917 in New York by the Original
Dixieland Jazz Band under the leadership of Nick La Rocca. The members were white
musicians from New Orleans, playing in a style that they learned from blacks in that city. Although the early jazz artists occasionally cut records, it was only when
jazz bands traveled to Chicago and New York City that the music became available
nationwide through recordings released by the major record companies. The first
important recordings by black musicians were made in 1923, by King OLIVER's Creole Jazz Band,
a group that included some of the foremost New Orleans musicians then performing
in Chicago: Louis ARMSTRONG, Johnny and "Baby" Dodds, and Honore Dutrey.
Many white groups in Chicago and elsewhere adopted the style, among them the New Orleans
Rhythm Kings and the Wolverines, led by Bix BEIDERBECKE. The characteristics of
this early style, known as Dixieland, included a relatively complex interweaving
of melodic lines among the cornet (or trumpet), clarinet, and trombone and a steady chomp-chomp
beat from the rhythm instruments (piano, bass, drums). The texture was predominantly
polyphonic. Most bands used no written notation, preferring "head" arrangements agreed upon verbally; improvisation was an indispensable factor.
During the 1920s jazz gained in popularity. The two most important recording centers
were Chicago and New York, although all sections of the country were caught up in
the dances that were closely associated with the music. The period itself became
known as the Jazz Age.
In Chicago the most influential artists were members of small bands like the Wolverines.
In New York, on the other hand, the trend was toward larger groups with two or more
trumpets, one or two trombones, three or four reeds, plus a rhythm section. The larger groups played in revues and vaudeville shows and in large dance halls and theaters.
NEW YORK JAZZ
As the decade progressed, the performance styles in all groups featured more written
arrangements and placed increasing emphasis on solo performance. Representative
of the many players who led the outburst of jazz virtuosity that marked the 1920s
were Sidney BECHET, Ferdinand "Jelly Roll" MORTON, Coleman HAWKINS, Armstrong, and James P.
Johnson. Among the leaders in establishing the sound of the new big bands were
Fletcher HENDERSON (with Don Redman, his arranger) and Edward Kennedy "Duke" ELLINGTON.
It was Henderson who developed the performance style that became known as SWING, featuring
call-and-response patterns between brass and reeds, extensive use of the riff--the
repetition of a motif--for ensemble work and as accompaniment for soloists, elaborate written arrangements, and the frequent insertion of improvised solos. Ellington
extended the role of bandleader beyond mere arranging and into the area of composition,
principally because of his need to provide music for the Cotton Club revues in Harlem. Many of his compositions were popular hits in their own time and have become standards
for jazz players.
Another important facet of the jazz scene in New York was to production of vocal blues
recordings marketed principally to blacks. Because of the unique form of the blues,
many of the best jazz performers were used as back-up artists for the insertion of
instrumental "comments" between the sung phrases. The most definitive singer of the
period was Bessie SMITH, whose 1920s recordings are considered landmarks of vocal
blues.
SWING
The dominant idiom of the 1930s and much of the 1940s was swing. Utilized almost
exclusively for dancing, the music of the big bands borrowed heavily from the techniques
introduced by Henderson. Among the most popular bands were those led by Benny GOODMAN, Glenn MILLER, Woody HERMAN, Tommy and Jimmy DORSEY, and Artie Shaw. As a counterpart
of the highly arranged orchestrations of these New York-based bands, a Kansas City
swing style developed under the influence of Count BASIE and Bennie Moten that emphasized a blues vocabulary and form as well as tempos of breakneck speed and an overwhelming
use of riffs. Among the outstanding soloists associated with Kansas City was Lester
YOUNG of the Basie band.
THE JAZZ REVOLUTION: BEBOP
In the early 1940s a rejection of the restrictive arrangements required by big-band
style spread among jazz musicians. Under the leadership of Charlie PARKER, Dizzy
GILLESPIE, Thelonious MONK, and others, a style known as bop, or BEBOP, emerged on
the New York scene.
It represented a return to the small group concept of Dixieland, with one instrument
of a kind rather than the sections used by swing groups. Emphasizing solos rather
than ensembles, bop players developed an astounding degree of virtuosity. Bop was
extremely complex rhythmically; it used extensions of the usual harmonic structures and
featured speed and irregular phrasing. It demanded great listening skill, and its
erratic rhythms made it unsuitable for dancing. Because of its sophistication, bop
resulted in the first breakaway of jazz from the popular music mainstream. The style was
adopted by many performers during the 1940s and 1950s but was rejected by others
who preferred the more conservative techniques of swing.
Cool
One of the most important new jazz styles of the 1950s was known as "cool." Inaugurated
by a group of highly trained academic performers under the leadership of Miles DAVIS,
cool was a return to the carefully organized and scored principles of swing but without the latter's emphasis on call-and-response and riffing. The ensembles played
frequently as an entire unit and included a number of new instruments in jazz: French
horn, flute, baritone sax, flugelhorn, and others. The players rejected the emotional emphasis of bop as well as its exploitation of range and virtuosity. They preferred
to play in the middle register, utilizing a smooth attack, little vibrato, and largely
on-beat phrasing.
Third Stream
Closely allied to cool jazz was the attempt to combine modern classical forms with
jazz techniques. The style, known as "third stream," used improvisational segments
interwoven with compositions scored for symphony orchestras and chamber groups, including string quartets. Musical forms identified with classical tradition were utilized--fugue,
rondo, symphonic development. Polyphony became an important texture, best exemplified
by the jazz fugues played by the MODERN JAZZ QUARTET.
JAZZ EXTREMES: THE 1960s
The jazz of the 1960s was in many ways a mirroring of the social ferment of that decade.
Much of the performance was characterized by a search for freedom from melodic,
harmonic, and rhythmic restraints. One of the leaders was Ornette Coleman, whose
1960 album, Free Jazz, set the tone of the decade. It featured eight musicians improvising
individually and collectively without predetermined thematic material of any kind.
The ultimate result was a breakdown in the traditional framework for improvisation,
which had relied for decades on melodic variations based normally on a stated tune
or harmonic progression. Cecil TAYLOR and others moved even farther away from traditional
jazz practice and used atonality and other dissonances.
The leading figure of the decade was John COLTRANE. In many of his performances he
abandoned tonality completely and improvised at length within a single scale structure
or over a single chord or mode. His many followers cultivated an almost totally
emotional style, extending the expressive range of their instruments to screaming, moaning,
and piercing outbursts of passionate sound. As a result, the audience for jazz decreased
dramatically and many critics expressed the fear that the art was doomed.
THE 1970S JAZZ REVIVAL
The decade of the 1970s, however, brought renewed interest in jazz, with a revival
of many of the older, more traditional concepts and the addition of several new ones.
The popularity of big bands, using many of the devices of swing, spread to high
school and college campuses. Thad Jones, Mel Lewis, Woody Herman, and Count Basie provided
the leadership for this renaissance of big-band style.
Many leading musicians, on the other hand, turned toward a fusion of ROCK MUSIC and
jazz, trading on the overwhelming popularity of the 1960s rock innovations. Among
the leaders in the fusion movement were Miles DAVIS, Herbie Hancock, Chick COREA,
Wayne Shorter, and George Benson. Their music placed great emphasis on the use of electronic
instruments, enlarged percussion sections, repeated melodic and rhythmic figures,
and relatively long segments performed without any significant harmonic change.
Other leading players like McCoy Tyner experimented extensively with modal themes
and drone effects, reflecting the black identification with Eastern religions and
spiritualism. Large-scale dissonant compositions for jazz groups gained in popularity
under the influence of men like Anthony Braxton and Sun Ra. At the same time, more traditional
performers like the New Orleans Preservation Hall Jazz Band found enthusiastic audiences.
The 1980s were years of eclectic additions to jazz language. African music began to
penetrate and color the jazz picture, just as in Africa the new "Afro-Pop" combined
jazz influences with African sounds and rhythms. Latin-American music--Brazilian
music, especially--added another new strain to jazz.
More jazz musicians were classically trained, and many of them, like the MARSALIS
brothers, were technical perfectionists. Yet, in contrast to a music that was becoming
more difficult and complex, interest was reviving in improvisation, the heart of
jazz before the electronic age.