3.

Early Jazz: Ragtime to SwingNew Orleans

 Play Excerpt from Ken Burns Jazz 01 Episode 2 21:17-23:29

Colligan s Top 10 Early Jazz Musicians

1. Scott Joplin(ca. 1867 April 1, 1917) 2. Jelly Roll Morton (October 20, 1885 July 10, 1941) 3. James Reese Europe(22 February 1881 9 May 1919) 4. King Oliver(May 11, 1885 April 10, 1938) 5. Freddie Keppard(February 27, 1890 July 15, 1933) 6. Louis Armstrong(August 4, 1901 July 6, 1971) 7. Fletcher Henderson(December 18, 1897 December 29, 1952) 8. Sidney Bechet(May 14, 1897 May 14, 1959) 9. ODJB(Original Dixieland Jass Band)(1917) 10. Bix Biederbecke(March 10, 1903 August 6, 1931)

New Orleans Jazz

Dixieland music, sometimes referred to as Hot jazz, Early Jazz or New Orleans jazz, is a style of jazz music which developed in New Orleans at the start of the 20th century, and was spread to Chicago and New York City by New Orleans bands in the 1910s. Well-known jazz standard songs from the Dixieland era, such as "Basin Street Blues" and "When the Saints Go Marching In", are known even to non-jazz fans.

 Play Louis Armstrong Basin Street Blues http://www.youtube.com/watch?v=QMBO7n_ N-ks&feature=related Play When The Saints Go Marching In http://www.youtube.com/watch?v=EGEnX0k9 eiU&feature=related

 Dixieland, an early style of Jazz that was developed in New Orleans, is the earliest style of Jazz music. The style combined earlier brass band marches, French Quadrilles, ragtime and blues with collective, polyphonic improvisation. While instrumentation and size of bands can be very flexible, the "standard" band consists of a "front line" of trumpet (or cornet), trombone, and clarinet, with a "rhythm section" of at least two of the following instruments: guitar or banjo, string bass or tuba, piano, and drums.

 The term Dixieland became widely used after the advent of the first million-selling hit records of the Original Dixieland Jazz Band in 1917. The music has been played continuously since the early part of the 20th century. Louis Armstrong's All-Stars was the band most popularly identified with Dixieland, although Armstrong's own influence runs through all of jazz.

 The definitive Dixieland sound is created when one instrument (usually the trumpet) plays the melody or a recognizable paraphrase or variation on it, and the other instruments of the "front line" improvise around that melody. This creates a more polyphonic sound than the extremely regimented big band sound or the unison melody of bebop.

 The swing era of the 1930s led to the end of many Dixieland Jazz musicians' careers. Only a few musicians were able to maintain popularity. Most retired.

 With the advent of bebop in the 1940s, the earlier group-improvisation style fell out of favor with the majority of younger black players, while some older players of both races continued on in the older style. Though younger musicians developed new forms, many beboppers revered Armstrong, and quoted fragments of his recorded music in their own improvisations.

 There was a revival of Dixieland in the late 1940s and 1950s, which brought many semi-retired musicians a measure of fame late in their lives as well as bringing retired musicians back onto the jazz circuit after years of not playing (e.g. Kid Ory). Many Dixieland groups of the revival era consciously imitated the recordings and bands of decades earlier. Other musicians continued to create innovative performances and new tunes. For example, in the 1950s a style called "Progressive Dixieland" sought to blend traditional Dixieland melody with bebop-style rhythm. Steve Lacy played with several such bands early in his career. This style is sometimes called "Dixie-bop".

Play Ken Burns excerpt

Ken Burns Jazz 01 Episode 2 31:27-34:21

Scott Joplin(ca. 1867 April 1, 1917)

 Scott Joplin (ca. 1867 April 1, 1917) was an American composer and pianist. Joplin achieved fame for his ragtime compositions, and was later dubbed "The King of Ragtime". During his brief career, Joplin wrote 44 original ragtime pieces, one ragtime ballet, and two operas. One of his first pieces, the Maple Leaf Rag, became ragtime's first and most influential hit, and has been recognized as the archetypal rag.

Maple Leaf Rag-Scott Joplin

http://www.youtube.com/watch?v=pMAtL7n_ -rc

 Ragtime (alternatively spelled rag-time) is an original musical genre which enjoyed its peak popularity between 1897 and 1918. Its main characteristic trait is its syncopated, or "ragged," rhythmIt began as dance music in the red-light districts of American cities such as St. Louis and New Orleans years before being published as popular sheet music for piano. It was a modification of the march made popular by John Philip Sousa, with additional polyrhythms coming from African music. The ragtime composer Scott Joplin became famous through the publication in 1899 of the "Maple Leaf Rag" and a string of ragtime hits that followed, although he was later forgotten by all but a small, dedicated community of ragtime aficionados until the major ragtime revival in the early 1970s. For at least 12 years after its publication, the "Maple Leaf Rag" heavily influenced subsequent ragtime composers with its melody lines, harmonic progressions or metric patterns.

Ragtime structure
According to the New Grove Dictionary of American Music (see our recourcespage), virtually all "classic" rags followed the formal structures established by earlier 2/4 and 4/4 meter dances. The march, two-step, polka and schottische dances were constructed with three or more separate 16 bar themes arranges in repeats and reprise patterns. As you listen to a Ragtime work, you can clearly see this pattern. Therefore, the most common patterns are AABBACC, AABBCCDD or AABBCCA. Usually the first two strains were in the tonic and the additional ones were in the subdominant. Other characteristics include a sub structure of four bar strains repeated, four bar introductions to certain sections, an interlude between trio themes and a usual major key orientation.

That syncopation is generally recognized as a trait of Afro-American music. Ragtime's roots are in minstrel-show plantation songs, cakewalks, banjo playing, and black folk music; it also drew on, and recast in fresh ways, the chromatic harmonies of 19th century European music. Created by itinerant professional performers in saloons and honky-tonks, ragtime was ultimately disseminated by piano rolls and printed music. The exact date ragtime emerged is debatable as there are distinct elements of ragtime in the music of Louis Moreau Gottschalk, especially in his work La Bamboula published in 1847. After 1885, march-patrols were appearing in minstrel shows that carried syncopated, raggy rhythms and minstrels around the country were syncopating songs. What many point to as the watershed event in the spread of ragtime was the 1893 Columbian Exposition in Chicago. Attended by over 20 million people, the Exposition exposed a large population to ragtime style music from the likes of Scott Joplin, Ben Harney, Shep Edmonds (1876-1957, often referred to as the "father of ragtime") and Jesse Pickett. Pickett's The Dream, is credited as the only rag specifically associated with the exposition and the earliest known classic rag. It was never published, however was recorded in 1896 by Eubie Blake who learned it directly from Pickett.

The first print reference in sheet music to "ragtime" was in the coon song, All Coons Look Alike To Me in 1896.

John Phillip Sousa

Do you hear any similarity

The Stars And Stripes Forever

 The true "march music era" existed from 1850 to 1940s as it slowly became shadowed by the coming of jazz. The origins of European and American march music can be traced to the military music of the Ottoman empire. The martial purpose of the music was to regulate the functioning of armies in the field by communicating orders, and keeping time during marching and maneuvers. The extensive use of percussion, such as cymbals, was also used for psychological effect as their use, especially in Western Europe, was unknown and had the capacity to frighten opponents. Indeed, the subsequent use of cymbals and other such percussive instruments in European 'classical' music was a direct importation from the Ottomans.

The Entertainer
http://www.youtube.com/watch?v=_WxfjWn uEno&feature=related

Also-Choro ..
Choro (Portuguese pronunciation: "cry" or "lament"), traditionally called chorinho ("little cry" or "little lament"), is a Brazilian popular music instrumental style. Its origins are in 19th century Rio de Janeiro. In spite of the name, the style often has a fast and happy rhythm, characterized by virtuosity, improvisation, subtile modulations and full of syncopation and counterpoint. Choro is considered the first urban popular music typical of Brazil.

 In the 19th century, choro resulted from the style of playing several musical genres (polka, schottische, waltz, mazurka and habanera) by carioca musicians, who were already strongly influenced by African rhythms. Just like ragtime in the United States, tango in Argentina and habanera in Cuba, choro springs up as a result of influences of musical styles and rhythms coming from Europe and Africa.

Tico Tico No Fuba

Tico Tico Version Piano Orquestra Colbaz Carmen Miranda

 Publication of his Maple Leaf Rag in 1899 brought him fame and had a profound influence on subsequent writers of ragtime. It also brought the composer a steady income for life. During his lifetime, Joplin did not reach this level of success again and frequently had financial problems, which contributed to the loss of his first opera, A Guest of Honor. He continued to write ragtime compositions, and moved to New York in 1907. He attempted to go beyond the limitations of the musical form which made him famous, without much monetary success. His second opera, Treemonisha, was not received well at its partially staged performance in 1915. He died from complications of tertiary syphilis in 1917.

Jelly Roll Morton (October 20, 1885 July 10, 1941)

 Ferdinand Joseph LaMothe (October 20, 1885 July 10, 1941)[1], known professionally as Jelly Roll Morton, was an American ragtime and early jazz pianist, bandleader and composer. Widely recognized as a pivotal figure in early jazz, Morton is perhaps most notable as jazz's first arranger, proving that a genre rooted in improvisation could retain its essential spirit and characteristics when notated.[2] His composition "Jelly Roll Blues" was the first published jazz composition, in 1915. Morton is also notable for naming and popularizing the "Spanish tinge" of exotic rhythms, and for penning such standards as "Wolverine Blues", "Black Bottom Stomp", and "I Thought I Heard Buddy Bolden Say", the latter a tribute to turn-of-the-century New Orleans personalities.

Play Ken Burns Excerpt

Ken Burns 01 48:12-55:02

Wolverine Blues
http://www.youtube.com/watch?v=s5XOjIhTMK4

Reputed for his arrogance and self-promotion as often as recognized in his day for his musical talents, Morton claimed to have invented jazz outright in 1902 much to the derision of later musicians and critics. However, jazz historian Gunther Schuller writes about Morton's "hyperbolic assertions" that there is "no proof to the contrary" and that Morton's "considerable accomplishments in themselves provide reasonable substantiation".

Excerpt from 1900

Excerpt from film 1900

James Reese Europe(22 February 1881 9 May 1919)

 James Reese Europe (22 February 1881 9 May 1919) was an American ragtime and early jazz bandleader, arranger, and composer. He was the leading figure on the African American music scene of New York City in the 1910s. Play Ken Burns excerpts: Ken Burns Jazz 01 1:02:37 -1:10:23 Ken Burns 02 22:40-30:40

Castle House Rag

http://www.youtube.com/watch?v=ZRQ5CU3l8tQ&feature=results_ video&playnext=1&list=PLE08847AAAEED445B We have developed a kind of symphony music that, no matter what else you think, is different and distinctive, and that lends itself to the playing of the peculiar compositions of our race My success had come from a realization of the advantages of sticking to the music of my own people. -James Reese Europe "We colored people have our own music that is part of us. It s the product of our souls; it s been created by the sufferings and miseries of our race. -James Reese Europe

James Reese Europe

Born in Mobile Alabama, moved to New York in 1904 from Washington D.C. Organized the Clef Club Orchestra in 1910, which played in Carnegie Hall Was known to be unwilling to bend to musical convention Society Orchestra became famous for working with dancers Vernon and Irene Castle Saw combat in WWI as a lieutenant Killed by one of his band members with a knife in 1919

King Oliver(May 11, 1885 April 10, 1938)

Play Ken Burns Excerpts

(Buddy Bolden) Ken Burns Jazz 01 37:25-46:58 Ken Burns 02 16:35-19:26

 Joe "King" Oliver (May 11, 1885 April 10, 1938) was a jazz cornet player and bandleader. He was particularly noted for his playing style, pioneering the use of mutes. Also a notable composer, he wrote many tunes still played regularly, including "Dipper Mouth Blues", "Sweet Like This", "Canal Street Blues", and "Doctor Jazz". He was the mentor and teacher of Louis Armstrong. His influence was such that Armstrong claimed, "if it had not been for Joe Oliver, jazz would not be what it is today".[

Dippermouth Blues http://www.youtube.com/watch?v=J-HJI464CVs

Track Dippermouth Blues Group King Oliver's Creole Jazz Band CD Off The Record: The Complete 1923 Jazz Band Recordings (Archeophone OTRMM6-C2) Musicians: Joe 'King' Oliver (cornet), Louis Armstrong (cornet), Honor Dutrey (trombone), Johnny Dodds (clarinet), Lil Hardin (piano), Baby Dodds (drums), William M. Johnson (banjo) . Composed by Joseph Oliver & Louis Armstrong .

King Oliver .
Born in Aben, Louisiana, grew up in New Orleans Was popular in N.O. with dance bands as a cornetist Moved to Chicago in 1922 Brought Louis Armstrong into his band, making jazz history King Oliver and the Dixie Syncopators were popular in the mid 20 s, but Oliver had gum problems which hurt his playing Career problems in the 30 s, ended up as a janitor and died in poverty in 1938.

. Freddie Keppard(February 27, 1890 July

15, 1933)

 Freddie Keppard (sometimes rendered as Freddy Keppard) (February 27, 1890 July 15, 1933) was an early jazz cornetist. Keppard was born in the Creole of Color community of downtown New Orleans, Louisiana. Freddie played violin, mandolin, and accordion before switching to cornet. Soon after Bolden Bolden was off the music scene Keppard was proclaimed "King Keppard" as the city's top horn player.

Here Comes The Hot Tamale Man

http://www.youtube.com/watch?v=ZJDAWEq qbDE&feature=related

Freddie Keppard
While playing a successful engagement in New York City in 1915 Keppard was offered a chance to record for the Victor Talking Machine Company. In retrospect this would probably have been the first jazz recording. An often repeated story says that Keppard didn't want to record because then everyone else could "steal his stuff."

Louis Armstrong(August 4, 1901 July 6, 1971)

Ken Burns excerpt

Ken Burns 01 1:22:46-1:23:43

 Louis Armstrong (August 4, 1901 July 6, 1971), nicknamed Satchmo or Pops, was an American jazz trumpeter and singer from New Orleans, Louisiana. Coming to prominence in the 1920s as an "inventive" cornet and trumpet player, Armstrong was a foundational influence in jazz, shifting the music's focus from collective improvisation to solo performance. With his instantly recognizable deep and distinctive gravelly voice, resembling the sound of a trumpet, Armstrong was also an influential singer, demonstrating great dexterity as an improviser, bending the lyrics and melody of a song for expressive purposes. He was also greatly skilled at scat singing, vocalizing using sounds and syllables instead of actual lyrics.

 Renowned for his charismatic stage presence and voice almost as much as for his trumpet-playing, Armstrong's influence extends well beyond jazz music, and by the end of his career in the 1960s, he was widely regarded as a profound influence on popular music in general. Armstrong was one of the first truly popular AfricanAmerican entertainers to "cross over," whose skin-color was secondary to his music in an America that was severely racially divided. It allowed him socially acceptable access to the upper echelons of American society that were highly restricted for a black man. While he rarely publicly politicized his race, often to the dismay of fellow African-Americans, he was privately a strong supporter of the Civil Rights movement in America.

Louis Armstrong and the Hot Fives West End Blues

http://www.youtube.com/watch?v=NmmFKu4 FEbc Louis Armstrong, t,v / Fred Robinson, tb / Jimmy Strong, cl, ts / Earl Hines, p, v / Mancy Cara, bj / Zutty Singleton, d. Chicago, June 28, 1928.

Heebie Jeebies
http://www.youtube.com/watch?v=IvqxedEuo j8&feature=related

Louis Armstrong and the Hot 7 Potato Head Blues

http://www.youtube.com/watch?v=UJkviuOEy Ss Louis Armstrong, c / John Thomas, tb / Johnny Dodds, cl / Lil Armstrong, p / Johnny St. Cyr, bj, g / Pete Briggs, bb / Baby Dodds, d. Chicago, May 10, 1927.

Hello Dolly
http://www.youtube.com/watch?v=Tp4Pbwq Ndwo

The Roaring Twenties

The Jazz Age

1920 s
Regarded as era of economic prosperity Rise of technology-automobile, movies, radio Rise in jazz dancing and partying, to offset the despair of WWI Heavy consumerism, three Big Business Presidents Punctuated by the Crash of 1929

Fletcher Henderson(December 18, 1897 December 29, 1952)

 Fletcher Henderson led the most commercially successful of the African-American Jazz bands of the 1920s. The smooth sound of his orchestra gave birth to the Swing style of the next decade. Henderson was from a middle class family and held a degree in chemistry from Atlanta University. He moved to New York in 1920 intending to do post-graduate work there while working as a chemist, but he found that jobs were closed to him because of his race. He instead found work demonstrating sheet music for W.C. Handy's music publishing company.

 In 1922, Fletcher led a band at the Club Alabam, which later moved to the Roseland Ballroom (Broadway at 50th St.) where they stayed for the next ten years. Coleman Hawkins played saxophone in the band and is generally considered to be the first great saxophonist in Jazz. In 1924 he hired the up-and-coming trumpet player Louis Armstrong importing him from Chicago, where he had been playing with King Oliver's Creole Jazz Band. The Orchestra continued to tour and record until 1939 when it disbanded, and he joined Benny Goodman Orchestra as the pianist and arranger. This was the first time that a "White" band hired a "Black" musician to appear on stage with an orchestra.

 Goodman even used the same arrangements as the Fletcher Henderson Orchestra had used. The band went on to become one of the most popular of the Swing bands. In 1943 Henderson left Goodman's band until 1947, when he rejoined Goodman them as an arranger. He toured as an accompanist for Ethel Waters in 1948 and 1949. In 1950 he suffered a stroke and was never able to play again.

Copenhagen
http://www.youtube.com/watch?v=hZwpzK57 z0Y&feature=related Features Louis Armstrong

Sidney Bechet(May 14, 1897 May 14, 1959)

 Sidney Bechet (May 14, 1897 May 14, 1959) was an American jazz saxophonist, clarinetist, and composer. He was one of the first important soloists in jazz (beating cornetist and trumpeter Louis Armstrong to the recording studio by several months[1] and later playing duets with Armstrong), and was perhaps the first notable jazz saxophonist. Forceful delivery, well-constructed improvisations, and a distinctive, wide vibrato characterized Bechet's playing. Bechet's erratic temperament hampered his career, however, and not until the late 1940s did he earn wide acclaim.

Summertime
http://www.youtube.com/watch?v=IG4nPM9 uxwg

Ken Burns Excerpt

Ken Burns Jazz 01 58:11-1:01:31

ODJB(Original Dixieland Jass Band)(1917)

Ken Burns excerpt

Ken Burns 01 55:04-57:51 Ken Burns Jazz 01 57:42-58:00 Ken Burns Jazz 1:13: 23-1:20:29

Livery Stable Blues

http://www.youtube.com/watch?v=5WojNaU4-kI Original Dixieland Jass Band (ODJB) was founded in New Orleans in 1916. Their first jazz recording is dated 1917. In late 1917 it changed the name's spelling to "Jazz." L'ODJB first members were: Larry Shields (clarinet), Eddie Edwards (trombone), Henry Ragas (piano), Tony Sbarbaro (drums) e Nick LaRocca (cornet).

 The Original Dixieland Jass Band (ODJB) were a New Orleans, Dixieland jazz band that made the first jazz recordings in early 1917. Their "Livery Stable Blues" became the first jazz single ever issued.[1][2][3][4][5][6][7] The group composed and made the first recordings of many jazz standards, the most famous being Tiger Rag. In late 1917 the spelling of the band's name was changed to Original Dixieland Jazz Band. The band consisted of five musicians who previously had played in the Papa Jack Laine bands, a diverse and racially integrated group of musicians who played for parades, dances, and advertising in New Orleans. ODJB billed itself as the Creators of Jazz, because it was the first band to record jazz commercially and to have hit recordings in the new genre. Band leader and trumpeter, Nick LaRocca, argued that ODJB deserved recognition as the first band to record jazz commercially and the first band to establish jazz as a musical idiom or genre.

Bix Biederbecke(March 10, 1903 August 6, 1931)

 Leon Bismark "Bix" Beiderbecke (March 10, 1903 August 6, 1931) was an American jazz cornetist, jazz pianist, and composer. With Louis Armstrong, Beiderbecke was one of the most influential jazz soloists of the 1920s. His turns on "Singin' the Blues" (1927) and "I'm Coming, Virginia" (1927), in particular, demonstrated an unusual purity of tone and a gift for improvisation. With these two recordings, especially, he helped to invent the jazz ballad style and hinted at what, in the 1950s, would become cool jazz. "In a Mist" (1927), one of a handful of his piano compositions but the only one he recorded, mixed classical influences with jazz syncopation. Beiderbecke also has been credited for his influence, directly, on Bing Crosby and, indirectly, via saxophonist Frank Trumbauer, on Lester Young.[1]

Ken Burns
Ken Burns Jazz 02 1:21:54-1:22:22

Singing The Blues

http://www.youtube.com/watch?v=0Ue9igC7flI

The Frankie "Tram" Trumbauer Orchestra feat. Bix Beiderbecke Singin' the Blues. The first minute of the song is a sax solo by Trumbauer. The second minute is Bix's cornet solo. The third minute features a short clarinet solo by Jimmy Dorsey, who was the clarinetist in Trumbauer's Orchestra at that time. The guitarist on this track is Eddie Lang. This song is considered a jazz classic because Bix and, to a lesser degree, Tram were able to make a slow-tempo jazz ballad swing. This ability to make slowtempo swinging jazz would later be emulated by jazz musicians ranging from Lester Young to John Coltrane to Miles Davis.

Bix Beiderbecke ..
From Davenport, Iowa Played by ear and used non standard fingerings Touring and alcohol affected his health Left the Paul Whiteman band in 1930 and died the following year at age 28

In A Mist
http://www.youtube.com/watch?v=J2_Ai8dgB ko Beiderbecke on Piano