Table Of ContentW. W. Norton & Company, Inc. www.NortonEbooks.com
JAZZ
Scott Deveaux and Gary Giddins
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JAZZ
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“You got to be in the sun to feel the sun.
It’s that way with music, too.”
—Sidney Bechet
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JAZZ
Scott DeVeaux
University of Virginia
Gary Giddins
The Graduate Center, City University of New York
B
W. W. NORTON & COMPANY
NEW YORK ■ LONDON
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W. W. Norton & Company has been independent since its founding in 1923, when William Warder
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wholly by its employees.
Copyright © 2009 by Scott DeVeaux and Gary Giddins
W. W. Norton & Company, Inc.
All rights reserved
Printed in the United States of America
First Edition
Editor: Maribeth Payne
Developmental editor: Susan Gaustad
Managing editor: Marian Johnson
Electronic media editor: Steve Hoge
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Senior production manager: Jane Searle
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Music typesetter: David Budmen
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Library of Congress Cataloging-in-Publication Data
DeVeaux, Scott Knowles.
Jazz / Scott DeVeaux ; Gary Giddins. — 1st ed.
p. cm.
Includes bibliographical references and index.
ISBN 978-0-393-97880-3 (pbk.)
1. Jazz—History and criticism. I. Giddins, Gary. II. Title.
ML3508.D47 2009
781.65—dc22 2008046717
ISBN 978-0-393-
11460-7
W. W. Norton & Company, Inc., 500 Fifth Avenue, New York, N.Y. 10110
www.wwnorton.com
W. W. Norton & Company Ltd., Castle House, 75/76 Wells Street, London W1T 3QT
1 2 3 4 5 6 7 8 9 0
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To the women in my family: my grown-up daughters Amelia
and Flora Thomson-DeVeaux; my newborn twins, Lena and
Celia; and most of all, my wife, Nancy Hurrelbrinck.
—Scott DeVeaux
To Deborah Halper and Lea Giddins.
—Gary Giddins
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CONTENTS
Introduction xiii
PART I
Musical Orientation 2
..............................................
CHAPTER 1 Musical Elements and Instruments 7
..............
Empathy, Individuality, and Timbre 7 ■ Th e Ensemble 9 ■ Rhythm,
Meter, and Swing 17 ■ Melody, Scales, and Modes 21 ■ Licks, Motives,
and Riff s 24 ■ Harmony 25 ■ Texture 27
■ Ghana fi eld recording, Akuapim performance 19
CHAPTER 2 Jazz Form and Improvisation 31
.....................
Form 31 ■ Blues Form 32 ■ Th irty-Two-Bar Pop Song Form: A A B A
37 ■ Improvisation 41 ■ In performance 44
■ Bessie Smith, “Reckless Blues” 32
■ Louis Armstrong, “West End Blues” 33
■ Pete Johnson and Big Joe Turner, “It’s All Right, Baby” 34
■ Charlie Parker, “Now’s the Time” 36
■ Billie Holiday, “A Sailboat in the Moonlight” 38
■ Miles Davis, “So What” 40
PART II
EARLY JAZZ (1900–1930) 48
.................................
CHAPTER 3 The Roots of Jazz 53
....................................
Jazz and Ethnicity 54 ■ Folk Traditions 55 ■ Blues 58 ■ Bessie
Smith 62 ■ Eyewitness to History (W. C. Handy) 63 ■ Popular
vi
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CONTENTS ■ vii
Music 65 ■ Minstrelsy 65 ■ Dance Music 66
■ Th e Castles and James Reese Europe 67 ■ Art Music 68 ■ Brass
Bands 69 ■ Ragtime 72 ■ Ragtime Pieces and Scott Joplin 73
■ Th e Path to Jazz: Wilbur Sweatman 74 ■ Additional Listening 77
■ Georgia Sea Island Singers, “Th e Buzzard Lope” 56
■ Mississippi Fred McDowell, “Soon One Morning” 59
■ Bessie Smith, “Reckless Blues” 63
■ John Philip Sousa, “Th e Stars and Stripes Forever” 70
■ Wilbur Sweatman, “Down Home Rag” 75
CHAPTER 4 New Orleans 79
..........................................
Early New Orleans 80 ■ A Meeting of Musical Styles 82 ■ Manuel
Perez 83 ■ Buddy Bolden and the Birth of Jazz 83 ■ New Orleans
Style 86 ■ Storyville 87 ■ Th e Great Migration 88 ■ Freddie
Keppard 89 ■ Original Dixieland Jazz Band 90 ■ Jelly Roll
Morton 93 ■ King Oliver 99 ■ Gennett Records 100 ■ Sidney
Bechet 104 ■ Additional Listening 109
■ Original Dixieland Jazz Band, “Dixie Jass Band One-Step” 91
■ Jelly Roll Morton, “Dead Man Blues” 94
■ Jelly Roll Morton, “Doctor Jazz” 97
■ King Oliver, “Snake Rag” 102
■ Red Onion Jazz Babies / Sidney Bechet, “Cake Walking Babies (from
Home)” 106
CHAPTER 5 New York in the 1920s 111
..........................
Arabian Nights 111 ■ 1920s Transformations 112 ■ Dance
Bands 114 ■ Art Hickman 114 ■ Paul Whiteman: A Short-Lived
Monarchy 114 ■ Fletcher Henderson 120 ■ Don Redman 121
■ Th e Alley and the Stage 124 ■ Th e Harlem Renaissance 127
■ Stride 128 ■ James P. Johnson 129 ■ Th e Player Piano 130 ■ Duke
Ellington Begins 132 ■ Additional Listening 137
■ Paul Whiteman, “Changes” 117
■ Fletcher Henderson, “Copenhagen” 122
■ James P. Johnson, “You’ve Got to Be Modernistic” 130
■ Duke Ellington, “Black and Tan Fantasy” 135
CHAPTER 6 Louis Armstrong and the
First Great Soloists 139
................................................
Louis Armstrong 139 ■ Enter Earl Hines 147 ■ Th e Armstrong Impact:
A Generation of Soloists 150 ■ Bix Beiderbecke 150 ■ Coleman
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viii ■ CONTENTS
Hawkins 154 ■ Satchmo’s World 157 ■ Additional Listening 160
■ Armstrong Chronology 161
■ Louis Armstrong, “Hotter Th an Th at” 145
■ Louis Armstrong / Earl Hines, “Weather Bird” 148
■ Bix Beiderbecke / Frank Trumbauer, “Singin’ the Blues” 152
■ Mound City Blue Blowers (Coleman Hawkins), “One Hour” 155
Part II Summary: Precursors to Jazz, New Orleans Style, Big Bands Before
1930, Louis Armstrong 162
PART III
THE SWING ERA 164
..............................................
CHAPTER 7 Swing Bands 169
........................................
Th e Depression 169 ■ World War II 170 ■ Swing and Race 171
■ Swing and Economics 171 ■ Voices (Roy Eldridge) 171
■ Swing and Dance 172 ■ Arranging / Fletcher Henderson 174
■ Breakthrough 177 ■ Benny Goodman 177 ■ John Hammond
and Other Jazz Enthusiasts 181 ■ Major Swing Bands 183 ■ Artie
Shaw 183 ■ Jimmie Lunceford 186 ■ Glenn Miller 190 ■ Cab
Calloway 191 ■ Additional Listening 193
■ Fletcher Henderson, “Blue Lou” 175
■ Benny Goodman, “Dinah” 180
■ Artie Shaw, “Star Dust” 184
■ Jimmie Lunceford, “’Tain’t What You Do (It’s the Way Th at You
Do It)” 188
CHAPTER 8 Count Basie and Duke Ellington 195
..............
Th e Southwest 195 ■ From the Margins to the Center: Boogie-
Woogie 196 ■ Pete Johnson and Big Joe Turner 196 ■ Territory
Bands 200 ■ Andy Kirk and Mary Lou Williams 200 ■ Women
in Jazz 203 ■ Count Basie 204 ■ Head Arrangements and Jam
Sessions 205 ■ Kansas City 206 ■ Duke Ellington 211 ■ Johnny
Hodges and the Trombones 215 ■ Billy Strayhorn 220 ■ Ellington
Chronology 224 ■ Additional Listening 225
■ Pete Johnson / Big Joe Turner, “It’s All Right, Baby” 198
■ Andy Kirk / Mary Lou Williams, “Walkin’ and Swingin’” 201
■ Count Basie, “One O’Clock Jump” 206
■ Duke Ellington, “Mood Indigo” 214
■ Duke Ellington, “Conga Brava” 217
■ Duke Ellington, “Blood Count” 221
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