Jazz and Blues: Crossroads and Evolution
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Jazz and Blues: Crossroads and Evolution is meant to address the American musical traditions from a couple of different perspectives. It examines culture--how jazz and blues mirrored the changes and movements of the American people throughout the 20th century. And it takes the purely musical view—valuing the great performers and performances, tracing the development of style from one sub-genre to another, and laying the ground rules for judging and debating the quality of the art form.
The book is designed for use in various kinds of courses—History of Jazz and Blues, Jazz Appreciation, or Blues History. It can be both accessible to the non-music major and enlightening for the music major. In its entirety, the book is designed with the general education student of humanities in mind. The appendix on foundational elements of music provides a background for the musical concepts covered in the book, and the body of the book covers the music in depth and tie in important cultural movements.
Rhapsody.com playlists give the student easy access to the musical examples discussed in the textbook. Rhapsody has an enormous library of music, which provides the instructor the opportunity to develop supplemental playlists and provides the student a broad landscape of recordings to explore after they have listened to the assigned material.
Part I—Jazz and Blues Basics
Chapter 1—Musical Elements of the Blues
Blues Melody
12-Bar Blues
Blues Lyrics
Call and Response in the Blues
Instrumentation
Analyze a Blues Performance
Chapter 2—Musical Elements of Jazz
Five Characteristics of Jazz
Instrumentation
Texture
Form
Arrangement
Analyze a Jazz Performance
Musical Elements in Jazz and Blues
Chapter 3—Roots of Jazz and Blues
Music in Europe
Music in Africa
Slave Songs in the New World
Religious Musical Activity
Reconstruction
Minstrelsy
Ragtime
Part II—Early Blues (From the Beginning to the 1930s)
Chapter 4—Birth of the Blues and Classic “Vaudeville” Blues
Understanding Blues Aesthetic
First Appearances of the Blues
W. C. Handy
Classic “Vaudeville” Blues Singers—Mamie Smith, Ma Rainey, and Bessie Smith
Chapter 5- Country Blues
The Shift from Classic to Country Blues
Texas Blues—Blind Lemon Jefferson, Lead Belly (Huddie Ledbetter)
Mississippi Delta Blues—Charley Patton, Son House, Skip James, Robert Johnson
Part III—Early Jazz (From the Beginning to the 1930s)
Chapter 6—New Orleans and Early Jazz
New Orleans History
Racial Make-up of New Orleans
Musical History of New Orleans
Birthplaces of Jazz—Storyville and the Battlefield
Instrumentation and Arranging in Early Jazz
Cornet Kings—Buddy Bolden, Freddie Keppard, Joe “King” Oliver
Other Important New Orleans Musicians—Jelly Roll Morton, Sidney Bechet
To Chicago
Chapter 7—Migration and Proliferation: Jazz in Chicago
The Great Migration
The Roaring ‘20s!
Louis Armstrong
White Chicago Jazz
Boogie-Woogie Piano
Demise of the Chicago Jazz Scene
Chapter 8—Migration and Proliferation: Jazz in New York City
Tin Pan Alley
Forerunners to the New York Jazz Orchestra
Composition and Arranging
The Harlem Renaissance
Dance in Harlem
Paul Whiteman and Symphonic Jazz
Fletcher Henderson
Edward Kennedy “Duke” Ellington—Part 1
Stride Piano
What’s Next From New York?
Chapter 9—Migration and Proliferation: Jazz in Kansas City & the
Territories
An Unlikely Boom Town
The Pendergasts—Corruption Breeds Music Yet Again
Early Kansas City Musical Tradition
The Territory Bands
Walter Page’s Blue Devils
Bennie Moten
Mary Lou Williams with Andy Kirk’s Twelve Clouds of Joy
Blues Singers in Kansas City Jazz
Big Joe Turner and Pete Johnson
Transition to the Swing Era
Part IV—Pop Jazz: The Swing Era (1930s–Mid 1940s)
Chapter 10—The Big Bands
An Infrastructure for Swing as Popular Entertainment
Benny Goodman
Count Basie
Duke Ellington—Part 2
Glenn Miller
Other Important Swing Bands
Conclusion
Chapter 11—Soloists and Singers
Small Groups and Soloists of the Swing Era
The Rise of the Tenor Saxophone
Coleman Hawkins
Lester Young
Chu Berry
Ben Webster
Jazz in Europe: Django Reinhardt and Stephane Grappelli
Singers of the Swing Era
Ella Fitzgerald
Billie Holiday
Frank Sinatra
Sarah Vaughan
The Decline of the Swing Era
Part V—Modernism and Technology (Mid 1940s–1950s)
Chapter 12—Modern Jazz—the Language of Bebop
Evolution through Innovation
Origins of Bebop—Bop’s Engineers at Minton’s Playhouse
Bebop Vernacular: What Did Bebop Sound Like?
Engineers of Bebop—Charlie Parker, Dizzy Gillespie, Thelonious Monk, Kenny Clarke
Other Important Bebop Musicians
The Impact of Bebop
Chapter 13—Electric Blues of the 1940s and ‘50s
Radio and Electric Blues—Rice Miller and Robert Lockwood
Electric Blues Pioneers—Lightnin’ Hopkins
Blues in Chicago—Muddy Waters, John Lee Hooker, Howlin’ Wolf
Bridge to Rock and Roll
The Harmonica
Chapter 14—Building on Bebop: Cool Jazz
The Parker Problem
Trad Jazz
Miles Davis at the Forefront
Modern Jazz Quartet
West Coast Jazz
Gerry Mulligan
Los Angeles Progressive Big Bands
Stan Getz and Bossa Nova
Chapter 15—Building on Bebop: Hard Bop
Clifford Brown-Max Roach Quintet
Art Blakey and the Jazz Messengers
Miles Davis’s First Great Quintet
Horace Silver Quintet
Sonny Rollins
Soul Jazz
Wes Montgomery
Part VI—The Sixties (1959–1969)
Chapter 16—The Blues are Back
The Shifting Audience of the Blues
The 1960s Folk Revival
Cross-Integration of the Blues
Memphis and Beale Street—B.B. King
Chicago’s West Side Sound—Albert King, Buddy Guy
The Paul Butterfield Blues Band
The British Invasion and Psychedelic Rock
Jimi Hendrix
Psychedelia Infiltrates the Blues
Chapter 17—1959: A Watershed Year for Jazz
Miles Davis—Kind of Blue
John Coltrane—Giant Steps
Bill Evans—Portrait in Jazz
Cannonball Adderly—The Cannonball Adderley Quintet in San Francisco
Dave Brubeck—Time Out
Charles Mingus—Ah Um
Ornette Coleman—The Shape of Jazz to Come
Chapter 18—Jazz on the Forward Fringe
The Avant-Garde Jazz
Ornette Coleman
Cecil Taylor
Eric Dolphy
The Chicago Free Jazz Scene
Post Bop
John Coltrane’s Journey into the Avant-Garde
Miles Davis’s Second Great Quintet
Part VII—Post-Modern Shake-ups—(1970s–1990s)
Chapter 19—Rock, Funk, Psychedelic Music, and the Jazz Reaction
Fusion
Miles Again—Bitches Brew
Miles’s Sidemen
Tony Williams’s Lifetime
John McLaughlin: Mahavishnu Orchestra
Weather Rport—Wayne Shorter, Joe Zawinul, and Jaco Pastorius
Herbie Hancock and the Headhunters
Chick Corea—Return to Forever and the Elektric Band
Other Developments in the 1970s
Chapter 20—The 1980s Blues Revival and Contemporary Blues
1970s Downturn
Alligator Records—Johnny Winter
Taj Mahal and Eclectic Blues
1980s Revival—Diversification and Virtuosity—Albert Collins, Jimmie Vaughan, Stevie Ray Vaughan, Robert Cray
The New Downhome—North Mississippi Hill Country Blues—Otha Turner, Junior Kimbrough, North Mississippi Allstars, The Black Keys
Chapter 21—Conflicting Values: Jazz in the Late 20th Century
Commercialism and the Onset of Smooth Jazz
Something Borrowed, Something Blue: Neotraditionalism and the Young Lions
Wynton Marsalis
Kenny Garrett
The New Fusion: Eclecticism and Electric Jazz
Pat Metheny
Michael Brecker
Globalization and Glocalization
Latin Jazz
Part VIII—The Future of Jazz and Blues
Chapter 22—Blues Today
The Marriage Between Rock and Blues
Southern Rock and Blues
Keb Mo
Gary Clark Jr.
Chapter 23—Jazz Today
The International Perspective
The Ascent of Women in Jazz
The Institutionalization of Jazz
New Life?
Appendix A—Introduction to the Foundational Elements of Music
The Staff
Frequency
Pitch: Melody and Harmony
Melody —The Keyboard, Register/Octave, Accidentals
Harmony—Major and Minor Key, Scale, Chords, Chord Progression
Rhythm—Pulse, Tempo, Subdivision, Music Notation, Rests, Meter, Measure
Appendix B—How to Write a Concert Report
Appendix C—How to Complete a Playlist Project
Appendix D—Glossary
References
Index
Dr. Jeremy Brown is a jazz drummer, composer, and educator living in southern California. He is the chairman of the music department and has directed the Menifee Jazz Ensemble at Mt. San Jacinto College since 2007. He released a debut Jeremy Brown Quartet jazz recording in 2014. Jeremy has written articles for Modern Drummer magazine on contemporary jazz drumming and published an iBook on The Pearl Jam Drummers. Other recent projects include Kid Songs—a suite of big band compositions inspired by his sons—and musical settings of the poetry of Tennessee Williams in Experiment in a Glass. Today, Jeremy is active in music performance and education in southern California, working with many of the finest musicians and educators.
Before moving to California, Jeremy earned a Bachelor of Music Education degree from Baylor University; and a Master and Doctor of Musical Arts from the University of Texas at Austin. In the busy music scene of Austin Jeremy was in high demand as a drummer and percussionist, working nightly with Austin’s finest musicians in jazz, blues, rock, classical, and beyond including Tony Campise (Stan Kenton), guitarist Eric Johnson, Mitch Watkins, Seth Walker, Drew Smith, and Grammy award-winning saxophonist/arranger Mace Hibbard. He toured with Chicago – The Musical during his last year in Texas.
Jeremy was a member of Disney All-Star College Bands in Florida and in Paris. He was awarded a scholarship to attend the Henry Mancini Institute in Los Angeles. Jeremy has shared the stage with internationally known musicians and composers such as Kenny Garrett, Herbie Hancock, Quincy Jones, Christian McBride, Jerry Goldsmith, Eddie Daniels, and Mike Stern.
Jazz and Blues: Crossroads and Evolution is meant to address the American musical traditions from a couple of different perspectives. It examines culture--how jazz and blues mirrored the changes and movements of the American people throughout the 20th century. And it takes the purely musical view—valuing the great performers and performances, tracing the development of style from one sub-genre to another, and laying the ground rules for judging and debating the quality of the art form.
The book is designed for use in various kinds of courses—History of Jazz and Blues, Jazz Appreciation, or Blues History. It can be both accessible to the non-music major and enlightening for the music major. In its entirety, the book is designed with the general education student of humanities in mind. The appendix on foundational elements of music provides a background for the musical concepts covered in the book, and the body of the book covers the music in depth and tie in important cultural movements.
Rhapsody.com playlists give the student easy access to the musical examples discussed in the textbook. Rhapsody has an enormous library of music, which provides the instructor the opportunity to develop supplemental playlists and provides the student a broad landscape of recordings to explore after they have listened to the assigned material.
Part I—Jazz and Blues Basics
Chapter 1—Musical Elements of the Blues
Blues Melody
12-Bar Blues
Blues Lyrics
Call and Response in the Blues
Instrumentation
Analyze a Blues Performance
Chapter 2—Musical Elements of Jazz
Five Characteristics of Jazz
Instrumentation
Texture
Form
Arrangement
Analyze a Jazz Performance
Musical Elements in Jazz and Blues
Chapter 3—Roots of Jazz and Blues
Music in Europe
Music in Africa
Slave Songs in the New World
Religious Musical Activity
Reconstruction
Minstrelsy
Ragtime
Part II—Early Blues (From the Beginning to the 1930s)
Chapter 4—Birth of the Blues and Classic “Vaudeville” Blues
Understanding Blues Aesthetic
First Appearances of the Blues
W. C. Handy
Classic “Vaudeville” Blues Singers—Mamie Smith, Ma Rainey, and Bessie Smith
Chapter 5- Country Blues
The Shift from Classic to Country Blues
Texas Blues—Blind Lemon Jefferson, Lead Belly (Huddie Ledbetter)
Mississippi Delta Blues—Charley Patton, Son House, Skip James, Robert Johnson
Part III—Early Jazz (From the Beginning to the 1930s)
Chapter 6—New Orleans and Early Jazz
New Orleans History
Racial Make-up of New Orleans
Musical History of New Orleans
Birthplaces of Jazz—Storyville and the Battlefield
Instrumentation and Arranging in Early Jazz
Cornet Kings—Buddy Bolden, Freddie Keppard, Joe “King” Oliver
Other Important New Orleans Musicians—Jelly Roll Morton, Sidney Bechet
To Chicago
Chapter 7—Migration and Proliferation: Jazz in Chicago
The Great Migration
The Roaring ‘20s!
Louis Armstrong
White Chicago Jazz
Boogie-Woogie Piano
Demise of the Chicago Jazz Scene
Chapter 8—Migration and Proliferation: Jazz in New York City
Tin Pan Alley
Forerunners to the New York Jazz Orchestra
Composition and Arranging
The Harlem Renaissance
Dance in Harlem
Paul Whiteman and Symphonic Jazz
Fletcher Henderson
Edward Kennedy “Duke” Ellington—Part 1
Stride Piano
What’s Next From New York?
Chapter 9—Migration and Proliferation: Jazz in Kansas City & the
Territories
An Unlikely Boom Town
The Pendergasts—Corruption Breeds Music Yet Again
Early Kansas City Musical Tradition
The Territory Bands
Walter Page’s Blue Devils
Bennie Moten
Mary Lou Williams with Andy Kirk’s Twelve Clouds of Joy
Blues Singers in Kansas City Jazz
Big Joe Turner and Pete Johnson
Transition to the Swing Era
Part IV—Pop Jazz: The Swing Era (1930s–Mid 1940s)
Chapter 10—The Big Bands
An Infrastructure for Swing as Popular Entertainment
Benny Goodman
Count Basie
Duke Ellington—Part 2
Glenn Miller
Other Important Swing Bands
Conclusion
Chapter 11—Soloists and Singers
Small Groups and Soloists of the Swing Era
The Rise of the Tenor Saxophone
Coleman Hawkins
Lester Young
Chu Berry
Ben Webster
Jazz in Europe: Django Reinhardt and Stephane Grappelli
Singers of the Swing Era
Ella Fitzgerald
Billie Holiday
Frank Sinatra
Sarah Vaughan
The Decline of the Swing Era
Part V—Modernism and Technology (Mid 1940s–1950s)
Chapter 12—Modern Jazz—the Language of Bebop
Evolution through Innovation
Origins of Bebop—Bop’s Engineers at Minton’s Playhouse
Bebop Vernacular: What Did Bebop Sound Like?
Engineers of Bebop—Charlie Parker, Dizzy Gillespie, Thelonious Monk, Kenny Clarke
Other Important Bebop Musicians
The Impact of Bebop
Chapter 13—Electric Blues of the 1940s and ‘50s
Radio and Electric Blues—Rice Miller and Robert Lockwood
Electric Blues Pioneers—Lightnin’ Hopkins
Blues in Chicago—Muddy Waters, John Lee Hooker, Howlin’ Wolf
Bridge to Rock and Roll
The Harmonica
Chapter 14—Building on Bebop: Cool Jazz
The Parker Problem
Trad Jazz
Miles Davis at the Forefront
Modern Jazz Quartet
West Coast Jazz
Gerry Mulligan
Los Angeles Progressive Big Bands
Stan Getz and Bossa Nova
Chapter 15—Building on Bebop: Hard Bop
Clifford Brown-Max Roach Quintet
Art Blakey and the Jazz Messengers
Miles Davis’s First Great Quintet
Horace Silver Quintet
Sonny Rollins
Soul Jazz
Wes Montgomery
Part VI—The Sixties (1959–1969)
Chapter 16—The Blues are Back
The Shifting Audience of the Blues
The 1960s Folk Revival
Cross-Integration of the Blues
Memphis and Beale Street—B.B. King
Chicago’s West Side Sound—Albert King, Buddy Guy
The Paul Butterfield Blues Band
The British Invasion and Psychedelic Rock
Jimi Hendrix
Psychedelia Infiltrates the Blues
Chapter 17—1959: A Watershed Year for Jazz
Miles Davis—Kind of Blue
John Coltrane—Giant Steps
Bill Evans—Portrait in Jazz
Cannonball Adderly—The Cannonball Adderley Quintet in San Francisco
Dave Brubeck—Time Out
Charles Mingus—Ah Um
Ornette Coleman—The Shape of Jazz to Come
Chapter 18—Jazz on the Forward Fringe
The Avant-Garde Jazz
Ornette Coleman
Cecil Taylor
Eric Dolphy
The Chicago Free Jazz Scene
Post Bop
John Coltrane’s Journey into the Avant-Garde
Miles Davis’s Second Great Quintet
Part VII—Post-Modern Shake-ups—(1970s–1990s)
Chapter 19—Rock, Funk, Psychedelic Music, and the Jazz Reaction
Fusion
Miles Again—Bitches Brew
Miles’s Sidemen
Tony Williams’s Lifetime
John McLaughlin: Mahavishnu Orchestra
Weather Rport—Wayne Shorter, Joe Zawinul, and Jaco Pastorius
Herbie Hancock and the Headhunters
Chick Corea—Return to Forever and the Elektric Band
Other Developments in the 1970s
Chapter 20—The 1980s Blues Revival and Contemporary Blues
1970s Downturn
Alligator Records—Johnny Winter
Taj Mahal and Eclectic Blues
1980s Revival—Diversification and Virtuosity—Albert Collins, Jimmie Vaughan, Stevie Ray Vaughan, Robert Cray
The New Downhome—North Mississippi Hill Country Blues—Otha Turner, Junior Kimbrough, North Mississippi Allstars, The Black Keys
Chapter 21—Conflicting Values: Jazz in the Late 20th Century
Commercialism and the Onset of Smooth Jazz
Something Borrowed, Something Blue: Neotraditionalism and the Young Lions
Wynton Marsalis
Kenny Garrett
The New Fusion: Eclecticism and Electric Jazz
Pat Metheny
Michael Brecker
Globalization and Glocalization
Latin Jazz
Part VIII—The Future of Jazz and Blues
Chapter 22—Blues Today
The Marriage Between Rock and Blues
Southern Rock and Blues
Keb Mo
Gary Clark Jr.
Chapter 23—Jazz Today
The International Perspective
The Ascent of Women in Jazz
The Institutionalization of Jazz
New Life?
Appendix A—Introduction to the Foundational Elements of Music
The Staff
Frequency
Pitch: Melody and Harmony
Melody —The Keyboard, Register/Octave, Accidentals
Harmony—Major and Minor Key, Scale, Chords, Chord Progression
Rhythm—Pulse, Tempo, Subdivision, Music Notation, Rests, Meter, Measure
Appendix B—How to Write a Concert Report
Appendix C—How to Complete a Playlist Project
Appendix D—Glossary
References
Index
Dr. Jeremy Brown is a jazz drummer, composer, and educator living in southern California. He is the chairman of the music department and has directed the Menifee Jazz Ensemble at Mt. San Jacinto College since 2007. He released a debut Jeremy Brown Quartet jazz recording in 2014. Jeremy has written articles for Modern Drummer magazine on contemporary jazz drumming and published an iBook on The Pearl Jam Drummers. Other recent projects include Kid Songs—a suite of big band compositions inspired by his sons—and musical settings of the poetry of Tennessee Williams in Experiment in a Glass. Today, Jeremy is active in music performance and education in southern California, working with many of the finest musicians and educators.
Before moving to California, Jeremy earned a Bachelor of Music Education degree from Baylor University; and a Master and Doctor of Musical Arts from the University of Texas at Austin. In the busy music scene of Austin Jeremy was in high demand as a drummer and percussionist, working nightly with Austin’s finest musicians in jazz, blues, rock, classical, and beyond including Tony Campise (Stan Kenton), guitarist Eric Johnson, Mitch Watkins, Seth Walker, Drew Smith, and Grammy award-winning saxophonist/arranger Mace Hibbard. He toured with Chicago – The Musical during his last year in Texas.
Jeremy was a member of Disney All-Star College Bands in Florida and in Paris. He was awarded a scholarship to attend the Henry Mancini Institute in Los Angeles. Jeremy has shared the stage with internationally known musicians and composers such as Kenny Garrett, Herbie Hancock, Quincy Jones, Christian McBride, Jerry Goldsmith, Eddie Daniels, and Mike Stern.