JAZZ STYLES: HEARING AND PLAYING THE CHANGES John C. Coggiola, Ph. D.

Setnor School of Music Syracuse University Why is it important to know about and understand the different jazz styles? Because that knowledge: -allows you to understand the historical evolution of the music from style to style -allows you to perform the music in an authentic manner -allows you to develop specific techniques on your instrument that are appropriate for performing a jazz style (usable technique or technique that gives you freedom) -allows you to develop authentic vocabulary for use in your improvisations -allows you to perform with a sense of understanding that promotes a higher-level of performance with others Jazz styles can be explained through the examination of: Melody, Improvisation, Harmony, Rhythm, Forms used in compositions, Instrumentation or ensemble size, Roles of the instruments, The musics use in society. Where do we begin? At the turn of the 20th century in New Orleans we had several types of music present in everyday life (European, African, & American influences): Folk music Blues Spirituals Ragtime Popular music of the day (marches, quadrilles, classical music) Early Jazz (Pre 1930s) New Orleans Style & Chicago Style Melody: Loosely stated, usually by the lead instrument (trumpet). Improvisation: Collective improvisation (New Orleans Style), Single soloists with collective improvisation (Chicago Style). Harmony: Simple, triads and seventh chords. Rhythm: Emphasis on syncopation, the development of swing feel moving away from the stiffness of ragtime. Forms used in compositions: Blues (8, 10, and 12 bar), pop tune forms. Simple composition techniques (non-written) that allow for greater improvisation.

Instrumentation or ensemble size: Small group with trumpet, clarinet, trombone, tuba, banjo, drums, occasionally saxophone. Roles of the instruments: Trumpet lead, Clarinet ornamentation of the melody, Trombone simple figures that outlined the chords and creating lower harmonies, Tuba bass notes, Banjochords, Drums simple time keeping, usually march-like with syncopation. The musics use in society: Daily activities, celebrations, gatherings, funerals, dancing, listening entertainment. Swing Period (1930s to late 1940s) Melody: Strictly stated, usually by an instrument section(s), composed counter melodies and background lines for melody and solo statements. Improvisation: Strong movement away from collective improvisation, focus now on solo improvisation in a shorter period of time. Standardized solos on popular tunes. Harmony: more complex, triads, seventh, and ninth chords. Rhythm: Emphasis on swing feel moving to consistent use of swing eighth-note patterns. Forms used in compositions: Blues (12 bar), pop tune forms. Complex composition techniques that allowed for less improvisation. Greater use of written arrangements. Instrumentation or ensemble size: Larger group with 3-5 trumpets, saxophones (2 altos, 2 tenors, baritone) becomes the main reed instruments with continued use of the clarinet, 3-5 trombones, piano and/or guitar replacing the banjo, string bass replacing the tuba, drum set evolution (high-hat and ride cymbals, feathered bass drum) Roles of the instruments: Depends solely on the composition. Great use of mutes with brass instruments, varied woodwind instruments in saxophone section. Ensembles color and texture was key element. The musics use in society: Dancing, listening entertainment. Development of the bandleader as main public figure. Swing music had great popular appeal. Be-Bop (1940s mid 1950s) - What do you hear? Melody: Very complex, usually written based on chord changes of another popular swing period tune, virtuosic in nature designed to exclude! Sometimes only at end or no melody at all! Improvisation: Solo improvisation for a longer period (several choruses). No more standardized solos, individually ruled the day. Very little collective improvisation instead trading 4s, 8s, chorus approach used to create excitement. Very little packaging for improvisations. Hard for the inexperienced listener to connect solo lines with the chord changes due to the complexity. Harmony: very complex, seventh chords with altered upper extensions b/# 9ths, #11ths, b/nat.13ths. Rhythm: Emphasis on complex rhythms, hard accents at change of melodic direction, swing eighth-note patterns move more towards an even feel with accents being the focal points. Forms used in compositions: Blues (12 bar), pop tune forms. Simpler composition techniques that allowed for greater improvisation opportunities. Greater use of non-written arrangements in performance. Instrumentation or ensemble size: Small group with trumpet, saxophone(s) trombone, piano and/or guitar, string bass, drum set.

Roles of the instruments: Depends solely on the composition. Great use of mutes with brass instruments, saxophone main woodwind instrument. Ensembles featured thinner textures. The musics use in society: Dancing, listening entertainment. Development of the soloists as main public figures. Lost some popular appeal due to Be Bops complexities, lack of visual appeal. Cool Jazz/West Coast (1950s) - What do you hear? Melody: Very complex, usually written based on chord changes of another popular tune, more melodic in nature. Improvisation: Solo improvisation for shorter periods ( based on a chorus). Subdued playing with the use of counterpoint during improvisation, trading 4s, 8s, approach still used but to create contrasting colors and interest. A great deal of packaging for improvisations. Given the focus on melodic development it was easier for the inexperienced listener to connect solo lines with the chord changes. Harmony: very complex, seventh chords with altered upper extensions b/# 9ths, #11ths, b/nat.13ths. Use of counterpoint in melody and improvisation development. Rhythm: Emphasis on complex rhythms, softer accents with a focus on melodic direction, swing eighth-note patterns have an even feel with accents being the focal points. Forms used in compositions: Blues (12 bar), pop tune forms. Advanced composition techniques that allowed for greater melodic development. Greater use of written arrangements in performance. Instrumentation or ensemble size: mid-size group (4-10 players) with trumpet(s), saxophone(s)/woodwind(s) trombone(s), French horn(s), piano and/or guitar, string bass, drum set. Roles of the instruments: Depends solely on the composition. Great use of mutes with brass instruments, saxophones doubled with woodwind instruments. Ensembles featured lightweight, dry, or pastel tone colors, softer textures, slow vibrato or no vibrato at all. The musics use in society: Dancing, listening entertainment. Development of the soloists/bandleader as main public figures. Hard Bop (1950s) - What do you hear? Melody: Very complex, usually hard-driving, fiery, melodies, written based on original chord changes of newly composed tunes, more melodic in nature (funky, earthy, roots in black gospel music). Improvisation: Solo improvisation for longer periods (based on a chorus). Virtuoso performances during improvisation, trading 4s, 8s, approach still used but to create intensity and interest. Little packaging for improvisations. Like Bebop, it was harder for the inexperienced listener to connect solo lines with the chord changes due to the complexity. Harmony: very complex, seventh chords with altered upper extensions b/# 9ths, #11ths, b/nat.13ths. Rhythm: Emphasis on complex rhythms, harder accents with a focus on swing eighth-note patterns that have an even feel with accents being the focal points.

The Evolution of the Soprano Saxophone in Jazz Early Sidney Bichet Swing Johnny Hodges Don Redman Woody Herman Budd Johnson Hard Bop John Coltrane Jerome Richardson Steve Lacy Free Jazz Pharaoh Sanders Sam Rivers John Surman Anthony Braxton Post-Bop & Wayne Shorter 1970s Dave Liebman Steve Grossman Joe Farrell Tom Scott Roland Kirk (Manzello)

The Evolution of the Alto Saxophone in Jazz Swing Johnny Hodges Benny Carter Woody Herman Bebop Charlie Parker Sonny Stiff Cool Style Lee Konitz Art Pepper Paul Desmond Bud Shank Lennie Niehaus Herb Geller Charlie Mariano Hard Bop Lou Donaldson Leo Wright Cannonball Adderley Jackie McLean Gigi Gryce Sonny Criss Charles McPherson Oliver Nelson Frank Strozier Phil Woods Jerome Richardson James Spaulding Free Jazz Ornette Coleman Eric Dolphy Marion Brown John Handy John Tchicai Anthony Braxton 1970s Eric Kloss Bary Bartz

The Evolution of the Tenor Saxophone in Jazz

Swing Chuck Berry Arnett Cobb Herschell Evans Lucky Thompson Coleman Hawkins Ben Webster Paul Gonsalves Lester Young Ike Quebec Illinois Jacquet Flip Phillips Budd Johnson Bebop Gene Ammons Dexter Gordon Wardell Gray James Moody Frank Foster Jeddik Harris Cool Style Allen Eager Stan Getz Zoot Sims Al Cohn Richie Kanuca Bill Perkins Jimmy Giuffre Warner Marsh Hard Bop Sonny Rollins John Coltrane Sonny Stitt Hank Mobley Johhny Griffin Yusef Lateef Charlie Rouse Stanley Tutrrentine Booker Ervin Roland Kirk Free Jazz Archie Shepp Pharaoh Sanders Gato Barbieri John Gilmore Dewey Redman Albert Ayler Post-Bop & 1970s Joe Henderson George Coleman Sam Rivers Wayne Shorter Joe Farrell Billy Harper Charles Lloyd

The Evolution of the Baritone Saxophone in Jazz

Swing Harry Carney Bebop Serge Chaloff Cecil Payne Cool Style Gerry Mulligan Hard Bop Sahib Shihab Pepper Adams Nick Brignola

The Evolution of the Flute in Jazz

Bebop Jerome Richardson Frank Wess Bud Shank James Moody Leo Wright Paul Horn Free Jazz Eric Dolphy Charles Lloyd Sam Rivers Post-Bop & 1970s Joe Farrell Hubert Laws Roland Kirk Jeremy Steig Charles Lloyd Chris Hinze Jan Garbarek

The Evolution of the Trumpet in Jazz

Early Jazz Buddy Bolden (C) (New Orleans) Freddie Keppard (C) Bunk Johnson (C) King Oliver (C) Tommy Ladnier (T) Louis Armstrong (T) Hot Lips Page (T) Jonah Jones (T) Dixieland Nick LaRocca Mugsy Spanier Red Nichols Bix Beiderbecke Jimmy McPartland Bunny Berigan Bobby Hackett Swing Bubber Miley Rex Stewert Cootie Williams Ray Nance Clark Terry Sidney de Paris Henry Red Allen Roy Eldridge Buck Clayton Harry Edison Cat Anderson Bebop Dizzy Gillespie Howard McGhee Fats Navarro Kenny Dorham Miles Davis Chet Baker (Cool Style) Art Farmer Shorty Rogers Hard Bop Clifford Brown Donald Byrd Thad Jones Lee Morgan Bill Hardman Nat Adderley Benny Bailey Carmell Jones Blue Mitchell Booker Little Ted Curson Freddie Hubbard Woody Shaw Free Jazz Don Cherry Dewey Johnson Marvin Peterson Don Ellis Michael Mantler 1970s Randy Brecker Lew Soloff Bobby Shew Tom Harrell

The Evolution of the Trombone in Jazz

Early Jazz Kid Ory Honore Dutrey Swing Jimmy Harrison Miff Mole Tommy Dorsey Jack Teagarden Tricky Sam Nanton Juan Tizol Lawrence Brown Bennie Morton Dickie Wells Vic Dickenson JC Higginbotham Trummy Young Bebop JJ Johnson Bill Harris Earl Swope Kai Winding Hard Bop | Post-Bop Curtis Fuller Jimmy Cleveland Bob Brookmeyer Julian Priester Garnett Brown Frank Rosolino Carl Fontana Frank Rehak Urbie Green Bill Watrous Slide Hampton Jimmy Knepper Willie Dennis Free Jazz Grachan Moncur III Roswell Rudd Albert Mangelsdorff 1970s Jiggs Whigham Bill Reichenbach

The Evolution of the Vibraphone in Jazz

Swing Lionel Hampton Red Norvo Bebop Milt Jackson Terry Gibbs Teddy Charles Cool Style Cal Tjader Hard Bop Victor Feldman Post-Bop & 1970s Bobby Hutcherson Gary Burton Roy Ayers Mike Mainieri Karl Berger

The Evolution of the Guitar in Jazz

Early Jazz Johnny St. Cyr Lonnie Johnson Eddie Lang Eddie Condon Swing Django Reinhardt Charlie Christian Tiny Grimes Bebop Bill de Arrango Barney Kessel Chuck Wayne Cool Style Billy Bauer Jimmy Rainey Johnny Smith Tal Farlow Jim Hall Herb Ellis Howard Roberts Hard Bop Grant Green George Benson Kenny Burrell Wes Montgomery Joe Pass Post-Bop Gabor Szabo Attila Zoller Pat Martino Jazz-Rock Larry Coryell John McLaughlin Joe Beck Free Jazz Derek Bailey Terje Hypdal

The Evolution of the String Bass in Jazz Swing Jimmy Blanton Oscar Pettiford Walter Page Slam Stewert Bebop Oscar Pettiford Charles Mingus Ray Brown Milt Hinton George Duvivier Percy Heath Leroy Vinnegar Red Mitchell Hard Bop Paul Chambers Sam Jones Jymie Merritt Reginald Workman Art Davis Post-Bop Ron Carter Chuck Israels Steve Swallow Buster Williams Jimmy Garrison Scott LaFaro Richard Davis Gary Peacock Cecil McBee Eddie Gomez Free Jazz Charlie Haden Dave Holland Barre Philips Arild Andersen Palle Daniellson 1970s Miroslav Vitous Niels Hennig Orsted Pedersen George Mraz Gene Perla Stanley Clarke

The Evolution of the Piano in Jazz

Early (1900-1930) Jelly Roll Morton James P Johnson Duke Ellington Fats Waller Willie The Lion Smith Jimmy Yancey Pine Top Smith Albert Ammons Meade-Lux Lewis Earl Hines Teddy Wilson Count Basie Art Tatum (Erroll Garner) (Oscar Peterson) Thelonious Monk Bud Powell Al Maig John Lewis George Wallington George Shearing Elmo Hope (Dave Brubeck) Horace Silver Bobby Timmons Les McCann (Martial Solal) Ahmad Jamal Hank Jones Tommy Flanagan Barry Harris Red Garland Wynton Kelly Cedar Walton Lennie Tristano Herbie Nichols Richard Twardzik Bill Evans Paul Bley Clare Fischer Steve Kuhn McCoy Tyner Herbie Hancock Chick Corea Joe Zawinul Keith Jarrett

Boogie-Woogie (1930-1940)

Transitional (1930-1945)

Bop (1930-1945)

Hard Bop | Funky (1950-1965)

Hard Bop (1950-1965)

West Coast | Impressionistic (1950-1965)

Major (1965-1975)

The Evolution of the Drums in Jazz

Early Jazz Baby Dodds Zutty Singleton George Wettling Chick Webb Sid Catlett Cozy Cole Joe Jones Gene Krupa Dave Tough Kenny Clarke Max Roach Buddy Rich Denzil Best Shelly Manne Mel Lewis Joe Morello Chico Hamilton Philly Joe Jones Art Taylor Dannie Richmond Louis Hayes Billy Higgins Roy Haynes Albert Heath Elvin Jones Alan Dawson Art Blakey Ed Blackwell Paul Motian Charles Moffett Barry Artschul Jon Chritenson Andrew Cyrille Sonny Murray Milford Graves Beaver Harris Tony Williams Jack de Johnette Joe Chambers Billy Hart Eric Gravatt Billy Cobhan Al Mouzon Lenny White Steve Gadd

Swing

Bebop

Cool Style

Hard Bop

Free Jazz

Post-Bop