Jazz History: An Overview or 40 Tracks in 80 Minutes!

presented by Antonio J. Garca, Associate Professor Director of Jazz Studies, Virginia Commonwealth University
Week van de Jazz en Lichte muziek Friday, November 27, 2009; 6-7:20 p.m. Stedelijk Conservatorium; Oostende, Belgium

Jazz: A Multicultural, Interdisciplinary Music Few art forms inherently demonstrate multiculturalism more thoroughly than jazz. Without the African tradition brought over to the United States, jazz would not existnor would the blues. Without the Cuban and Brazilian traditions, the samba, bossa nova, songo, bombo, cascara, partido alto, and clave rhythms and more would not be a part of jazz. Without the European tradition, jazz would lack its formal structures, harmonic progressions, even most of its instrumentation. And from Lil Hardin Armstrong, Bessie Smith, Mary Lou Williams, and the International Sweethearts of Rhythm on through Ella Fitzgerald, Toshiko Akiyoshi, Marian McPartland, and DIVA: No Mans Band, women have contributed invaluably to the evolution of jazz. While one may not instantly associate jazz with East Indian music or that of other countries, Indian ragas and the musicians of so many countries have indeed influenced the sound of jazz. By listening to the music of jazz musicians not from the U.S., one can detect how the multiplicity of cultures is evident in todays jazz. Jazz history is cultural history: the lives of the people shaped their music. While this is true in all music, jazz makes it instantly clear. What better way is there to bring African-American history to life than to trace the origins of blues and jazz? How better to explore the traditions of Latino cultures than through their music, evident in jazz? The history of race relations in America is voiced clearly through the music, lyrics, and background of the almost century-old music of jazz, both vocal and instrumental. While citing the contributions to jazz by people of color, one cannot slight the legacy offered by the composers of Tin Pan Alley: Broadway and film scores not only left their mark on bebop and ensuing jazz repertoire but also themselves often tell in lyrics the culture of what seemedat least on the surfacea simpler, perhaps more naive America at the time. We will not be focusing on the European jazz musicians during this brief session, primarily because jazz developed in Europe later than it did in the U.S. However, European jazz musicians are among the most accomplished and expressive in the world. The great blues artist B.B. King told the National Press Club: You dont have to be black to play the blues but it helps! The superb jazz saxophonist/clarinetist Paquito DRivera, showing an audience at an international conference how Latino music is in fact many, diverse musics, stated flatly: You dont have to be Austrian to play Mozart, but you have to have a love and respect for the music. Anyone of any racial or cultural background can benefit from learning the traditions of jazz and finding the cultural ties that form its roots. Today we will sample many, many recordings. Theres something to be gained from each listening! 2009 Antonio J. Garca All Rights Reserved.

2 An Oversimplified Timeline African influences European influences \/ | pre-1600s slaves in U.S. (perhaps Cuba, Brazil) | \/ \/ 1800s slaves in U.S., Cuba, Brazil concert bands and orchestras, military bands Civil War /\ /\ spirituals worksongs military marches dance forms \ / \ / Reconstruction blues ragtime \ / Spanish-American War \ / \ / 1900s World War I Traditional Jazz/Dixieland | \/ 1920s Swing Harlem Renaissance, Great Depression (All these 1940s World War II 1950s Korean War Bebop (reaction to Swing), Latin/Afro-Cuban Cool (reaction to Bebop), Hard Bop (reaction to Cool) styles still are performed today.) 1970s Watergate, End of Vietnam War post-1970s Fusion/Funk (reaction to/blending rock/pop) /\ | variations on the above, plus added World Music influences on Jazz pre-1800s

1960s Avant-Garde/Free (reaction to all!) Civil Rights, Vietnam War, Space Age

Got it? (Thats an oversimplification of a good year of study right there!)

Artists to Listen For There is no substitute for listening! There are endless, wonderful artists to choose from. I encourage hearing the jazz masters of the 40s and 50s; but satisfy your curiosity about the contemporary artists, too. Models may include the following artists, chosen primarily for their application of swing, blues, ballad, bossa, Latin, and bop styles. I have left out many of my favorite artists merely from the need to target a starting place and be practical in list lengthso lets not have anyone get offended! Those artists whose technical level is at times less challenging are shown in italics. I will start the list with some composers, known for establishing in part the styles of their day.
JAZZ COMPOSERS Duke Ellington, Thelonious Monk, Dizzy Gillespie, Charlie Parker, Miles Davis, Gil Evans, Herbie Hancock, Sammy Nestico STANDARD-TUNE COMPOSERS W. C. Handy, George Gershwin, Cole Porter, Kurt Weill, Hoagy Carmichael, Scott Joplin, Richard Rodgers & Oscar Hammerstein, Sammy Cahn & Jimmy Van Heusen, Alan Jay Lerner & Frederick Lowe, Harold Arlen

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ARRANGERS (not already listed as composers) Billy May, Duke Ellington, Johnny Richards, Dave Wolpe, Sammy Nestico, Lennie Niehaus, Frank Foster VOCALISTS Louis Armstrong, Bessie Smith, Ma Raney, Billie Holiday, Ella Fitzgerald, Sarah Vaughan, Betty Carter, Joe Williams, Big Joe Turner, Nancy Wilson, Betty Carter, Cleo Laine, Mel Torm, Diane Schuur, Shirley Horn, Mark Murphy, Sheila Jordan, Jon Hendricks, Bobby McFerrin; (and, for sheer interpretative abilities: Frank Sinatra, Nat King Cole, Lena Horne, and Tony Bennett) VOCAL GROUPS The Hi-Los, The Swingle Singers; Singers Unlimited; The Manhattan Transfer; The Ritz; The Nylons; Beachfront Property; Lambert, Hendricks, & Ross; Rare Silk; The Phil Mattson Singers, The New York Voices; Take Six; 2 + 2, The Real Group VOCAL ARRANGERS Gene Puerling, Clare Fischer, Phil Mattson, Kirby Shaw, Steve Zegree STRING GROUPS Uptown String Quartet, Turtle Island String Quartet, Hot Club of France, David Grisman Quintet, String Trio of New York, Really Eclectic String Quartet (RESQ), Leroy Jenkins (and Sting), Black Swan, Straight Ahead, Boccerini Ensemble, Soldier String Quartet...plus string bands of the 30s and 40s BAND LEADERS the historical styles of Benny Goodman, Harry James, Glenn Miller, Tommy and Jimmy Dorsey, Cab Calloway, Billy Eckstine, Sauter-Finegan; the more modern sounds of Count Basie, Duke Ellington, Woody Herman, Buddy Rich, Stan Kenton, Maynard Ferguson, Rob McConnell, Thad Jones/Mel Lewis, Toshiko Akiyoshi-Lew Tabackin, Bob Florence, Bob Mintzer LATIN JAZZ Ray Barretto, Mario Bauza, Dizzy Gillespie, Jerry Gonzalez, Giovanni Hidalgo, Machito, Eddie Palmieri, Tito Rodriguez, Tito Puente, Gonzalo Rubalcaba, Hilton Ruiz, Pancho Sanchez, Arturo Sandoval, Celia Cruz, Astrud Gilberto, Joao Gilberto, H.M.A. Salsa/Jazz Orchestra, The Mambo Kings soundtrack bands INSTRUMENTALISTS Trumpet: Louis Armstrong, King Joe Oliver, Bix Beiderbecke, Bubber Miley (from Duke Ellingtons orchestra), Roy Eldridge, Sweets Edison, Miles Davis, Clifford Brown, Chet Baker, Lee Morgan, Fats Navarro, Dizzy Gillespie, Red Rodney, Clark Terry, Thad Jones, Freddie Hubbard, Maynard Ferguson, Woody Shaw, Wynton Marsalis, Randy Brecker, Jon Faddis, Arturo Sandoval Trombone: Kid Ory, Jack Teagarden, Tricky Sam Nanton (from Duke), J. J. Johnson, Kai Winding, Urbie Green, Phil Wilson, Curtis Fuller, Carl Fontana, Frank Rosolino, Albert Mangelsdorff, Slide Hampton, Bill Watrous, Ray Anderson, Steve Turre, Robin Eubanks, Conrad Herwig Valve trombone/Euphonium: Juan Tizol, Bob Brookmeyer, Rob McConnell, Ashley Alexander, Rich Matteson Tuba: Bill Barber, Howard Johnson, Rich Matteson Saxophone: sopranos Sidney Bechet, John Coltrane, Wayne Shorter, David Liebman, Branford Marsalis, Jane Ira Bloom; altos Johnny Hodges (from Duke), Sonny Stitt, Benny Carter, Paul Desmond, Marshall Royal, Charlie Parker, Art Pepper, Cannonball Adderley, Ornette Coleman, Eric Dolphy, Lee Konitz, Phil Woods, Jackie McLean; tenors Lester Young, Ben Webster, Coleman Hawkins, Stan Getz, Zoot Sims, Dexter Gordon, Sonny Rollins, Frank Foster, Jimmy Heath, John Coltrane, Wayne Shorter, Branford Marsalis, Michael Brecker, Joe Henderson; baritone Harry Carney, Gerry Mulligan, Pepper Adams, Serge Chaloff, Nick Brignola Flute: Raashan Roland Kirk, James Moody, Hubert Laws, Frank Wess

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Clarinet: Johnny Dodds, Benny Goodman, Artie Shaw, Buddy DeFranco, Eddie Daniels, Don Byron Strings: Eddie South, Stuff Smith, Stephane Grappelli, Joe Venuti, Svend Asmussen, Miriam Rabson, Darol Anger, Harry Lookofsky, Claude Williams, Johnny Frigo, Sugar Cane Harris, Mark OConnor, Jerry Goodman, L. Shankar, Julie Lyonn-Lieberman, Betty McDonald, Scarlet Rivera, David Baker, Michael Urbaniak, Papa John Creach, Maxine Roach, Jean-Luc Ponty, Mark Summer, John Blake, David Balakrishnan, Matt Glaser, Joe Kennedy Jr., Regina Carter Piano: Count Basie, Erroll Garner, Nat King Cole, Hank Jones, Tommy Flanagan, Bill Evans, Earl Hines, Fats Waller, Art Tatum, Bud Powell, Thelonious Monk, Duke Ellington, Dave Brubeck, Oscar Peterson, Marian McPartland, Barry Harris, Chick Corea, Toshiko Akiyoshi, Herbie Hancock, Monty Alexander, Cecil Taylor, McCoy Tyner, Billy Taylor Organ: Jack McDuff, Charles Earland, Groove Holmes, Jimmy Smith, Larry Young Guitar: Wes Montgomery, Django Reinhart, Joe Pass, Jim Hall, George Benson, Gene Bertoncini, Kenny Burrell, Freddie Green, Barney Kessel, Herb Ellis, Larry Coryell, Stanley Jordan, Emily Remler, Pat Metheny Bass: Ray Brown, Milt Hinton, Jimmy Blanton, Oscar Pettiford, Paul Chambers, Scott LaFaro, Charles Mingus, Charlie Haden, Niels-Henning rsted-Pedersen, Stanley Clarke, Ron Carter, Jaco Pastorius, Dave Holland, Rufus Reid Drums/Percussion: Kenny Clarke, Philly Joe Jones, Paul Motian, Ed Thigpen, Harold Jones, Art Blakey, Max Roach, Jo Jones, Louie Bellson, Buddy Rich, Billy Cobham, Billy Higgins, Mel Lewis, Elvin Jones, Jack DeJohnette, Tito Puente, Mario Bauza, Tony Williams, Ed Soph, Peter Erskine, Steve Gadd Vibraphone: Red Norvo, Lionel Hampton, Milt Jackson, Bobby Hutcherson, Gary Burton

Resources There are many web sites that offer seemingly infinite information about jazz and its history. A Google search on the web will yield many results. YouTube: Countless jazz history videos! Jamey Aebersold Jazz is a company dedicated to making jazz education resources readily available. Its free, 90+ page catalog is extremely organized in presenting listings some 100 play-along CDs/booklets (which provide recorded rhythm-section backgrounds), instructional books set by category; audio and video recordings; and more. In addition, Jamey sends with any order a copy of his complimentary Jazz Theory Handbookan outstanding 45-page booklet that includes reference lists of chord/scale relationships, exercises, recommended recordings, and more. For the serious listener, his business runs the Double-Time Jazz record company as well. All are available by calling 800/456-1388, visiting <www.jazzbooks.com>, or writing P.O. Box 1244, New Albany, IN 47151-1244. The web site at <www.descarga.com> is to Latin music what Jamey Aebersold's <www.jazzbooks.com>and Double-Time catalogs together are to jazz music: a one-stop shop for CDs, videos, texts, and other resources. Descarga means "jam session"; and the site is neatly jammed with Latin folk and pop music as well as jazz. Youll learn more about the music just from the home page than you probably ever learned about it in school. The online glossary is great. And check out The Descarga Journal Archives link from the home page as a tremendous resource of literature on the subject! The search engines on this site are terrific. Particularly impressive is the Category Search, which easily allows you to focus on genres and regions of the music. You can also call DESCARGA at (718) 693-2966; write 328 Flatbush Avenue, Suite 180, Brooklyn, NY 11238; or e-mail <info@descarga.com>.

Jazz History CD Selections (prepared by Prof. Antonio Garca, Virginia Commonwealth University)
2009 Antonio J. Garca All Rights Reserved.

The collective recordings are JCCD (Jazz Classics CD, packaged with Mark Gridleys Jazz Styles & Analysis), PHCD (the free Prentice Hall Jazz Collection packaged with the Gridley book), and SJCD (a Supplemental Jazz CD I created for my own students, on reserve in our Music Library).

Artist AfricanAmerican Street Vendor Miles Davis George Gershwin (arr. Gil Evans) musicians of Mali, West Africa Basie swing n/a African n/a jazz Davis (trpt) 1958 (c.1960)

Composer(s) African-American Street Vendor

Style call to sell wares

Soloist(s) African-American Street Vendor

Date c.1910

musicians of Mali, West Africa Count Basie Orchestra African African Alhaji Ibrahim n/a Adulai, lundaa (et al) n/a Alhaji Ibrahim n/a Adulai, lundaa (et al)

Title Street Cries of Charleston (excerpt) Fishermen, Strawberry, and Devil Crab (exc) Hunters Dance (exc) n/a African Tribal Music & [FYI: 1952] Dances (Legacy Intl CD 328) 1942 (Okeh Records, now (c.1940) owned by Columbia)

Source The Riverside History of Classic Jazz (Riverside 3RBCD-005-2) Porgy and Bess (Columbia CK 65141)

Notes vocal inflection clearly related to blues style instrumental rendition of vocal inflection rhythmic ostinatos, vocal call-and-response layered riffs, vocal timbres, gospel influenced cross-rhythms uptempo groove

One OClock Jump (exc)

Zambarima-Waa (exc)

African

3-2 clave feel near the beginning n/a n/a bluesy vocals one performer; note walking-bass feel 1960 1957 (c.1955)

African African

n/a [FYI: Alhaji Ibrahim Adulai, lundaa (et al)] n/a [FYI: Mhuri Ye Kwa Rwizi Ens, mbira] John Kunaka, mbira

gospel Blues

# 1/ JCCD #1 2/ JCCD #2 3/ JCCD #3 4/ JCCD #5 5/ SJCD #1 6/ SJCD #2 7/ SJCD #3 8/ SJCD #4 9/ SJCD #6 10/ SJCD #7 11/ SJCD #9 Calvin White & Margaret Simpson (vocals) Williams (vocals) Master Drummers of Dagbon, Vol. 2 (Rounder CD 5046) Master Drummers of Dagbon, Vol. 2 (Rounder CD 5046) Master Drummers of Dagbon, Vol. 2 (Rounder CD 5046) The Soul of Mbira (Nonesuch Explorer 79704-2) The Soul of Mbira (Nonesuch Explorer 79704-2) Shakin' the Rafters (Columbia 47335) Every Day: The Best of the Verve Years (Verve 314 519 813-2), originally on The Count Basie Band and The Dizzy Gillespie Band at Newport

musicians of Ghana, West Africa musicians of Ghana, West Africa musicians of Ghana, West Africa musicians of Zimbabwe, Southern Africa musicians of Zimbabwe, Southern Africa Abyssinian Baptist Gospel Choir Joe Williams with Count Basie Orchestra

musicians of Ghana, West Africa Suberima Kpeeru musicians of (exc) Ghana, West Africa Nantoo Nimdi musicians of (exc) Ghana, West Africa Nayamaropa musicians of (exc) Zimbabwe, Southern Africa Nhimutimu (exc) musicians of Zimbabwe, Southern Africa Said I Wasn't Alex Bradford Gonna' Tell Nobody (exc) All Right, OK, Sid Wyche & You Win Mayme Watts

120-voice choir from Newark, with Bradford as director; backbeat feel Williams & Basie had a long-time partnership.

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Joplin ragtime (prejazz) Morton (piano) 1938 (c.1940) Smithsonian Collection of Classic Jazz Joplin (piano) 1916 (c.1915)

Artist

Title

Composer(s)

Style

Soloist(s)

Date

Source

Notes
as written, even eighths

12/ SJCD #11 Joplin

Scott Joplin

Maple Leaf Rag (exc)

Jelly Roll Morton Maple Leaf Rag (exc) Lil Armstrong Johnny Dodds, 1927 (clar), Armstrong (c.1925) (trpt, vocal), Kid Ory (tbn), Lil Armstrong (pno), Lonnie Johnson (gtr) 1939 (c.1940) 1940 Smithsonian Collection of Classic Jazz The Blanton-Webster Band (RCA Bluebird 5659-2-RB) 1939 (c.1940) Smithsonian Collection of Classic Jazz

Smithsonian Collection of Classic Jazz (Smithsonian RJ0010 A5 19477) Smithsonian Collection of Classic Jazz

13/ SJCD #12 14/ SJCD #13

Louis Armstrong & his Hot Five

Hotter Than That (exc)

early jazz (not dixieland) dixieland (early jazz)

15/ JCCD #33-38 swing

Count Basie Orchestra

Taxi War Dance (exc) fourth chorus)

Count Basie and Lester Young

swing

improv sections, swing eighths (late recording of earlier style) soloists exposed, Armstrong's vocal, trumpet, and rhythmic styles far advanced, swinging quarter notes; blues guitarist Johnson sits in Youngs lyrical, horizontal lines and smooth sound a three-minute masterpiece depicting a scene edging towards bebop harmonic vocabulary

16/ JCCD #20-25 Sour, Heyman, & Green swing

Duke Ellington Orchestra

Harlem Air Shaft Ellington (exc, first chorus)

17/ SJCD #15 bebop

Coleman Hawkins

Body & Soul

Young (tenor) [FYI: Basie (pno), Dicky Wells (tbn), Buddy Tate (tenor)] Tricky Sam Nanton (tbn), Cootie Williams (trpt), Barney Bigard (clar) Hawkins (tenor)

18/ JCCD #39-45 Jimmy Giuffre bebop

Dizzy Gillespie & His All-Star Quintet

Shaw Nuff (exc, Gillespie/Parker second chorus)

1945

Smithsonian Collection of Classic Jazz

I Got Rhythm changes

19/ PHJC #5

Woody Herman Thundering Herd

Four Brothers

1947 (c.1945)

The Thundering Herds (Columbia CK 44108)

This band most clearly bridged swing to bop; and though the band is swinging, the nature of the head and solos is all bop. bebop 1948 (c.1950) Smithsonian Collection of Classic Jazz (first issue Blue Note 560) melody of walking sixths

20/ PHJC #4

Thelonious Monk Misterioso Quartet

Monk

Parker (alto), Gillespie (trpt), Curley Russell (pno), Al Haig (bs), Sid Catlett (dr) Zoot Sims (tenor), Serge Chaloff (bari), Herbie Steward (tenor), Stan Getz (tenor), Herman (clarinet) Milt Jackson (vibes), Monk (pno)

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Lennie Tristano cool 1950 The Bebop Era (Columbia CK 40972)

Artist

Title

Composer(s)

Style

Soloist(s)

Date

Source

Notes
on changes to Indiana; short solos; drums on brushes; guitar on melody

21/ JCCD #46-54

Metronome AllStars, 1949-50

No Figs (exc, theme)

22/ SJCD #16

Modern Jazz Quartet

Django

John Lewis

cool

1960 (though earlier style) 1959 (c.1960) Kind of Blue (Columbia CK64935)

Smithsonian Collection of Classic Jazz (first issue Atlantic 2-603)

shifts of form, mood, bass lines, motifs, tempos; classical influence

23/ JCCD #55-60

Miles Davis Sextet

Flamenco Sketches (exc, Miles solo)

Davis

cool

modal; brushes on drums

24/ PHJC #6

Dave Brubeck Quartet

Blue Rondo a la Turk

Brubeck

cool

Lee Konitz (alto), Stan Getz (tenor), [Kai Winding (tbn), Buddy DeFranco (clar), Serge Chaloff (bari)], Tristano (pno) Milt Jackson (vibes), John Lewis (pno) [FYI: Percy Heath (bs), Connie Kaye (dr)] Davis (trpt), John Coltrane (tenor), Cannonball Adderley (alto), Bill Evans (pno) Paul Desmond (alto), Brubeck (pno) [FYI: Eugene Wright (bs), Joe Morello (dr)] 1959 (c.1960) Time Out (Columbia CK65122) n/a n/a

shifting meter, styles; classical influence

Magnificent Seventh's Milton Batiste New Orleans streetbeat n/a

Bourbon St. Parade (exc)

Paul Barbarin

New Orleans traditional

Trad jazz similar to Dixieland n/a 2-3 clave influence on snare drum (can also be 32) makes streetbeat Moanin (Blue Note 7243 4 95324 2 7; originally Blue Note 4003) Study in Brown (EmArcy 814 646-2) gospel call & response head, shuffle solos

25/ SJCD #18 26/ SJCD #19 Bobby Timmons hard bop

Olympia Brass Band

No, It Ain't My Fault (exc)

Best of Louisiana Music Sampler (Mardi Gras MG 5015) Best of Louisiana Music Sampler (Mardi Gras MG 5015)

27/ SJCD #20

Art Blakey & The Jazz Messengers

Moanin (exc)

28/ SJCD #21

Clifford Brown & Max Roach

Cherokee (exc)

Ray Noble

hard bop

Lee Morgan (trpt) 1958 [FYI: Benny Golson (c.1960) (tenor), Timmons (pno), Jymie Merritt (bs), Blakey (dr) Clifford Brown (trpt) 1955 [FYI: Harold Land (tenor), Richie Powell (pno), George Morrow (bs), Max Roach (dr)]

facility and tone of Clifford, light but driving time of Max

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Rollins hard bop 1956 (c.1955) Smithsonian Collection of Classic Jazz (first issue Prestige LP 7079) solo of superb time, exploring chords and extensions

Artist

Title

Composer(s)

Style

Soloist(s)

Date

Source

Notes

29/ SJCD #22

Sonny Rollins Quartet

Blue 7 (exc)

30/ JCCD #61-67

Bill Evans

Solar (exc, eleventh chorus)

Chuck Wayne (not bebop Miles Davis)

Rollins (tenor) ([FYI: Doug Watkins (bs), Tommy Flanagan (pno), Max Roach (dr)] Evans (pno), Scott Lafaro (bs) [FYI: Paul Motian (dr)] 1961 (c.1960)

31/ JCCD #68-76

John Coltrane

The Promise (exc, ninth chorus)

Coltrane

bebop

McCoy Tyner (pno), Coltrane (soprano) [FYI: Jimmy Garrison (bs), Elvin Jones (dr)] 1959 (c.1960)

1963 (c.1960)

Sunday at the Village Vanguard (Fantasy OJCCD-140-2; originally Riverside 376) Live at Birdland (GRP GRD-198; first issue Impulse A-50)

influences of Tristano, Miles, hard bop, yet not defined by one category; bass interplay, melodic quoting, and broken feel polyrhythmic rhythm section, pedal points, Coltranes pacing, Tyners style

32/ SJCD #23 Mingus avant-garde 1959 (c.1960)

Ornette Coleman

Lonely Woman

Coleman

free

33/ PHJC #8

Charles Mingus

Fables of Faubus

Coleman (alto) [FYI: Donald Cherry (tpt), Charlie Haden (bs), Billy Higgins (dr)] Booker Ervin (tenor), Horace Parlan (pno) [FYI: Shafi Hadi and John Handy, (altos), Jimmy Knepper (tbn), Mingus (bs), Dannie Richmond (dr)] Mor (vocals) Gillespie (trpt), Bud Powell (pno) 1953 (c.1955) 1963 (c.1965)

The Shape of Jazz to sax/tpt/bs rubato trio over Come(Atlantic 781339-2 drums on A sections, all CD) in time on bridge, and all 4/4 AABA Mingus Ah Um through-composed, (Columbia CK 40648) unusual form, unusual time-keeping during solos; satire re: Arkansas Governor Orville Faubus

Beny Mor Gil Fuller & Chano Pozo cha-cha

Como Fue

Ernesto Duarte Brito

bolero

The Mambo Kings (Elektra E2 61240)

legendary Cuban vocalist w/Les Double Six of France, a legendary jazz vocal group including Ward Swingle

34/ SJCD #24 35/ SJCD #25

Dizzy Gillespie and the Double Six of Paris

Tin Tin Deo

36/ SJCD #27

Tito Puente

Para Los Rumberos

Puente

3-2 mambo (rumba clave)

Puente (timbales)

1956 (c.1955)

Dizzy's Diamonds (Verve 314 513 875-2), originally on Dizzy Gillespie and the Double Six of Paris (Philips CD 830224-2) The Mambo Kings

3-2 rumba clave clearly heard in brass kicks; saxes in piano style

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Gillespie 6/8 AfroCuban Gillespie (trpt) 1954 (c.1955) Gillespie Compact Jazz (Mercury 832 574-2), originally on Afro (Norgran MGN-1003)

Artist

Title

Composer(s)

Style

Soloist(s)

Date

Source

Notes
note bell pattern not matching 6/8 guiro-style pattern; note relevance to swing style note original bossa pattern: partido alto in guitar

37/ SJCD #28

Dizzy Gillespie

A Night in Tunisia

38/ SJCD #29 swing 1963 (c.1965)

Joo Gilberto, Stan Getz, & Astrud Gilberto

The Girl from Ipanema (exc)

Antonio Carlos Jobim & Vinicius de Moraes

bossa nova

39/ SJCD #31 music by Kirkland & Harris, lyrics by Hendricks bebop Jon Hendricks (vocals) [FYI: Dave Lambert, Annie Ross] 1959 (c.1960)

Ella Fitzgerald & Count Basie

Them There Eyes Tracey, Tauber, & (exc) Pinkard

Joo Gilberto (gtr), Stan Getz (tenor), & Astrud Gilberto (vocals) Fitzgerald (vocals)

1963 (c.1965)

Bossa Nova Brasil (Verve 314 515 762-2), originally on Getz & Gilberto On the Sunny Side of the Street (Verve 821 5762) Everybodys Boppin (Columbia CK 45020)

40/ SJCD #32

Lambert, Hendricks, and Ross

Cloudburst

Ella always on top of the beat and making the changes, imitating instruments vocalese: lyrics set to existing tunes and existing instrumental solos

Antonio J. Garca is an Associate Professor of Music, Director of Jazz Studies, and Coordinator of Music Business at Virginia Commonwealth University. An alumnus of the Eastman School and of Loyola of the South, he has received commissions for jazz, symphonic, chamber, and solo worksinstrumental and vocalincluding grants from Meet The Composer, The Commission Project, The Thelonious Monk Institute, The Wolf Trap Foundation For The Arts, and regional arts councils. His music has aired internationally and has been performed by such artists as Sheila Jordan, Arturo Sandoval, Bobby Shew, Denis DiBlasio, James Moody, and Nick Brignola. Composition/arrangement honors include IAJE (jazz band), ASCAP (orchestral), and Billboard Magazine (pop songwriting), with works have published by Kjos Music, Kendor Music, Doug Beach Music, Walrus, UNC Jazz Press, Three-Two Music Publications, and his own garciamusic.com. A Bach/Selmer trombone clinician, Mr. Garca has freelanced as trombonist, bass trombonist, or pianist with over 70 nationally renowned artists, including Ella Fitzgerald, George Shearing, Mel Torm, Doc Severinsen, Louie Bellson, and Phil Collinsand has performed at the Montreux, Nice, North Sea, Pori (Finland), New Orleans, and Chicago Jazz Festivals. He has produced recordings or broadcasts of such artists as Wynton Marsalis, Jim Pugh, Dave Taylor, Susannah McCorkle, and Sir Roland Hanna. An avid scat-singer, he has performed vocally with jazz bands and choirs. He is also a member of the National Academy of Recording Arts & Sciences (NARAS). A New Orleans native, he also performed there with such local artists as Pete Fountain, Ronnie Kole, Irma Thomas, and Al Hirt. Mr. Garca is Associate Jazz Editor of the International Trombone Association Journal. Within the International Association for Jazz Education he serves as Past Editor of the Jazz Education Journal, Past President of IAJE-IL, and past International Co-Chair for Curriculum and for Vocal/Instrumental Integration. His new book, Cutting the Changes: Jazz Improvisation via Key Centers (Kjos Music) offers musicians of all ages the opportunity to improvise over standard tunes using just their major scales. He is Co-Editor and Contributing Author of Teaching Jazz: A Course of Study (published by MENC). He served on the Illinois Coalition for Music Education coordinating committee, worked to develop standards for multi-cultural music education, and received a curricular grant from the Council for Basic Education. He has also served as Director of IMEAs All-State Jazz Choir and Combo and of similar ensembles outside of Illinois. He is the recipient of the Illinois Music Educators Associations 2001 Distinguished Service Award. The Chicago Tribune has highlighted Garcas splendid solos...virtuosity and musicianship...ingenious scoring...shrewd arrangements and cited him as a nationally noted jazz artist/educator...one of the most prominent young music educators in the country. Down Beat has recognized his knowing solo work on trombone and first-class writing of special interest. Phil Collins has said simply, He can be in my band whenever he wants. A member of the board of The Midwest Clinic (an international band and orchestra conference), Mr. Garca has adjudicated festivals and presented clinics in Canada, Europe, Australia, and South Africa, including creativity workshops for Motorola, Inc.s international management executives. He has served as adjudicator for the International Trombone Associations Frank Rosolino Jazz Trombone Scholarship competition and Kai Winding Jazz Trombone Ensemble competition and has been asked to serve on Arts Midwests Midwest Jazz Masters panel and the Virginia Commission for the Arts panel. He has been repeatedly published in Down Beat; Music, Inc.; The International Musician; The Instrumentalist; and the journals of MENC, IAJE, ITA, American Orff-Schulwerk Association, Percussive Arts Society, Arts Midwest, Illinois Music Educators Association, and Illinois Association of School Boards. Previous to VCU, he served as Associate Professor and Coordinator of Combos at Northwestern University, where he taught jazz and integrated arts, was Jazz Coordinator for the National High School Music Institute, and for four years directed the Vocal Jazz Ensemble. Formerly the Coordinator of Jazz Studies at Northern Illinois University, he was selected by students and faculty there as the recipient of a 1992 Excellence in Undergraduate Teaching award and nominated as its candidate for 1992 CASE U.S. Professor of the Year (one of 434 nationwide). Visit his web site at <www.garciamusic.com>.

VCU
V i r g i

Department of Music
n i a C o m m o n w e a l Fax (001) 804-827-0230

Antonio J. Garca, Associate Professor Director of Jazz Studies

t h U n i v e r s i t y

Phone (001) 804-827-0699

922 Park Avenue, PO Box 842004, Richmond, VA 23284-2004 USA

<ajgarcia@vcu.edu>

<www.vcujazz.org>, <www.garciamusic.com>