J A Z Z History 1

J A Z Z HISTORY 1
CONTENT
The Afro-American Folklore 3

Ragtime and Harlem piano-style 9
New Orleans Jazz 11
Dixieland 14
The "black" Chicago-style 16
The "white" Chicago-Style 21
New York-style 23
Swing 27
Revival 53
40 Clips
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HISTORY OF JAZZ
Jazz as a musical art form of the 20th century is in its formation and development of a mixing
Western music is with the African-American folklore. Painted around 1900 in the United
States, the jazz in its early development was worn especially in the area of New Orleans from
originally Africa "imported" blacks, Creoles and of - primarily the evolution
from Ragtime concerning - of white musicians. The term "jazz" comes from the Kreolen
language (or from the French - "chasser" means chasing, rush, Floating, in excitement enable)
and first appears in 1915 in connection with Tom Brown's Dixieland Jass Band.
For the Jazz, and for various forms of Afro-American Folklore (like blues, spirituals, etc.) in
addition to the European music the following characteristics of the music of West Africa and
Sudan fundamental:
1. The percussion (drum) rhythm as the basis of the musical Affection is not bound to the
melody, d. H. The music is based on two different levels, the rhythm section and the Melodie
Group. The numerous later style forms of jazz (and Popular Music) are characterized by these
structural separation. The rhythmic structures in turn are influenced by: Polymetrie,
Polyrhythms, about rhythm, internal rhythms and "off beat" - Accentuation.
2. From the responsorial scheme, executed by cantor and beantwortendem choir (or
instruments) derives the "call and response scheme "from which is decisive for the entire jazz.
3. In this type of African melodies, there is hardly closed Forms, the formal structure usually
consists of
a) ostinato repetitions,
b) variation of a specified melody and Variantenheterophonie or out
c) free improvisation.
The ostinato repetitions lead to the so-called. Stomp later
Patterns and riffs in jazz. Generally, a staccato melody predominant.
4. Parallel guides certain intervals such as thirds, fourths, fifths

and octaves lead in this African music to a Polyphony that of the later European dominated
harmony Jazz modified.
5. The hot-intonation, a jerky stresses loud Preview (and

-Sing) of sounds using heavy vibrato, "dirty tones"
Glissandi and imitation of the human voice for. Example with
Mufflers, aesthetics impressed particularly the early forms of
Jazz.
Sample 1
THE AFRO-AMERIKANISCHE FOLKLORE
The to be discussed in the next and stylistically not always clear to be separated Expressions
of negroid folk music in the southern United States are so far in the development Jazz
important as connection with european Art, folk and popular music, the development of jazz
results.
1. Work Songs and Ballads Negro

Starting from the "calls" or "Holler", whose function it was, simple
to convey messages in a musical way, and "Cries", the
the vocal reaction of emotion represented, are in
early 18th century. which originated Worksongs. Similar to the function of the
Marschmusik they prevented by their emotionally stimulating
Impact fatigue at work, d. H. The work is rhythmically and musical support.
The musical features of this harmonious with few steps

accompanied or unaccompanied vocal form are:
The call-answer form (antiphonal structure)
Paraphrasing and improvisation,
a decidedly African clay formation with so-called. "dirty tones" and "blue
notes ".
The essence of the work songs is very diverse: there are protest songs,
socially critical songs, some songs will be from the singing spoken work done etc.
Sample 2
Ballads are complex songs, sometimes very long, divided into numerous verses and
often the repertoire of work songs taken from their original function but they
have lost. Some come more or less directly from the Scottish or Irish
Ballads from, who found the blacks in the New World.
From the ballad "Frankie and Johnny" z. B. There are over three hundred versions, one of
them
comes from Huddie Ledbetter "Leadbelly".
2. Spirituals
are religious songs of African-Americans and emerged from British
Hymns and chorales European under mixing with Africanisms,
as especially the responsorial scheme, the hot-intonation and partially
the blues tonality.
History: Emerged are the Spirituals in particular from a religious mass movement in 1800 that
"the great awakening" (the Great Awakening) was called. Itinerant spread in "camp
meetings "their teachings, whereby black preacher, but especially Black as psalmsinger for
their rousing rhythm and the great expressive power (= "off beat" and Hot-intonation)
worked. The British-born line by line-singing (the preacher reads the line before, the
community she sings after) it was the Responsorialschema contrary. This led to the
emergence of the spirituals in
Responsorialschema.
To 1871 already completed tours of "Fisk Jubilee Singers" by the
USA and Europe, whereby the Spiritual was popularized. The fact
carried out (of notes) recording of spirituals led by White for
Europeanisation of spirituals as "false notes" (impure intonation, "blue
notes ")" rectified "and" incorrect harmonies "(remnants of parallelism)
were omitted.
Spiritual Renaissance:
Intonation and harmonies were mostly European, the hot-Intonation was pushed back and the
Spiritual generally the white adapted public taste. The lecture spirituals performed frequently
by melodious choruses or often by a concert singer,
whereby the Spiritual found its way into the great concert halls.
Meaning of Spirituals for Jazz Development:
The introduction of the European functional harmony in the African American
Folklore causes repression of the African
Parallelism and enforcement of Western harmony in the Preforming the Jazz. On the other
hand, the white population was made elements of Afro-American music familiar and thus for
The Reception Jazz prepared.
Types of Spirituals:
a) Spiritual in Responsorialschema ( "call and response" -Spiritual)
the first form of spirituals, the "great awakening" emerged,
it acts in spoken or sung sermons as invocation
with testimonies of the community as a reply.
b) Jubilee and gospel songs (later name), were inspired by
British anthems and are usually cheerful and lively with some
strong rhythmic support. Most in the 16-bar form
Scheme. ( "When the Saints Go Marching In" was originally
Jubilee.)
c) The Spiritual in the narrower sense consists of long, worn
Melodies originated from the choral singing of the congregation in the church
and is supported by deep worship. This form is generally
the best known and preferred by concert singers.
Notable Artists:
Fisk Jubilee Singers,
Golden Gate Quartet:

Founded in the thirties, currently still occurs (with "Cleaner" voicing and with less
Africanisms than at the beginning.
Mahalia Jackson:
They are characterized by an extremely expressive voice, her vital rousing speech, a large
range, the frequent Use of "blue notes", Hotintonation and "off beat" -Phrasierung.
Sample 3
3. Blues
The Blues is the popular song form of the North American Black, a popular impromptu
singing, in which both text also tune invented spontaneously by certain rules. In Blues there is
therefore real improvisation. Its origin goes on African prices, and Mock
Anprangerungsgesänge and Humorous Songs back. True Blues Never suit most indictment;
his alleged sadness based on Blue tonality and on interpretations of whites.
Text: The content derived from daily life, from special Events and from history. The texts
contain much symbolism, No consistent running action but a series of particularly typical
situation descriptions, from which each Conclusions are drawn. (Responsorialschema,
Conclusion = response). The special characteristic of the Blues is his musical and poetic flow
shape Alfons M. period as "Blue voices expiry" designated.
Story: The blues originated in the 1850s in the southern United States
as an unaccompanied or accompanied solo singing. On a Invocation phrase (finding
statement, description of the situation) follows an answering phrase that is applied
respondierend. Originally had invocation and answering mostly the same melody and were
on the same stage harmonic singing (Akkordtonmelodik). The
Phrases were as long as was needed just for the text layout. Thereon
followed by a filled through an accompaniment break up the text for
the next phrase was invented.
The next stage in the development then was the repetition of

Invocation phrase that moved to another harmonic level
becomes. First, the tonal center of gravity change occurs only on the second
Step. Accordingly, there is an invocation phrase on the tonic, a
Repeating phrase in the 2nd stage and an answering phrase
back to the tonic.
The archaic Blues or "rural blues" developed in 1870 from the connection with the European
stages harmonies. The Repeating the invocation performed now on the subdominant, the
Answer has usually also the subdominant in the final cadence. However, the phrases are still
unequal in length, the later classic blues Scheme was not properly trained. Vinyl examples
from the Archaic period there is not. Good examples However, give the instructions,
developed later recordings of Blind Lemon Jefferson (unequal phrases, partly archaic
schemes Guitar accompaniment to the next phrase in various lengths,
powerful voice);
Huddie "Leadbelly" Ledbetter made occasional recordings archaic blues style, but sang "to
clean" and plays a harmoniously well advanced guitar.
Lightnin 'Hopkins sang recently in archaic blues style (not equal long phrases, no dominant
in the final cadence etc.).
The classic Blues or "urban blues" evolved from the Archaic, around 1890, especially in the
cities (New Orleans, Kansas City Chicago u. A.) And gained great popularity from 1914 (the
Blues broke to this time to ragtime in its popularity from).
Features:
It is the formation of the classic blues Schemes with the dominant in the final cadence.
Most common form: 12 bars length: I I I I / IV IV I I / V V7 I I //
less frequently: 8 bars length: I I IV IV / V I I I //
There are also schemes with 10, 16, 20 and 24 bars.
The development brought a more pronounced instrumental Support that could be extended up
to a combo, resulting the Responsorialschema could be carried out in three-fold:
a) textually (2 acclamations 1 answer phrase, usually Declaration

of or conclusion from the acclamation)
b) harmonic (containing by the dominant chord Cadence)
c) instrumental (within each 4-bar line is the song that for
the text usually only 2-3 bars required instrumental respondierend
"Commented" (Blue voices flow).
Artists:
Ma Rainey is considered the creator of the classic blues. She sang lyrically and
used often only for the first two rows of the 12-bar blues
Tones of the upper, for the last line sounds of the lower tetrachord.
Bessie Smith sang dramatic phrases that melodiously easy are and often only tones the lower
tetrachord with the addition of the using dominant.
Sample 4
Other important artists of the twenties are:

Ida Cox, Chippie Hill (both dramatically) and Leroy Carr (lyric).
Huddie "Leadbelly" Ledbetter learned during his years Prison stays know a lot of old
blues. Its in the thirties and forties recorded Blues are among the best examples
this ancient folk art. He sang with a strong, pure voice intoned, partly lyrical, sometimes
dramatically, and accompanied herself on the guitar in broken chords (partly also in the
"walking bass" technique).
In the thirties, the Blues also fit the white Public taste: he was really sad part. His Texts were
partially Lamentations about the race problem etc.
Performers this time:
Big Bill Broonzy was a blues singer with a powerful voice, which he carried refined nuances
in volume and timbre in a good Drama giving. Thereby his Blues act against classical Time
already somewhat artificial. But he was a great singer and good guitarist in the chord
technique.
Josh White was a lyrical blues singer with delicate finely nuanced Voice matched to the
white audience tastes.
Kansas City Blues

Provides a variety of urban (classic) Blues represents. A special feature is the so-called. Shout
style, d. H. A continuous Main tone (tonic) is in each text phrase from a Nebenton
angesungen. This sub sound is usually the blues third from the top
or the blues seventh, angesungen Angle.
Artists:
Jimmy Rushing: Solo singer of the orchestra Bennie Moten and Count Basie
and other leading ensembles from Kansas City.
Joe Turner: Deeper and sonorous voice as Rushing, otherwise similar.
Sample 5
In the area Swing-style New York imprint, the fewer elements

African-American Folkloreaufweiste, the Blues was often referred to as
harmonious basis for Swing pieces used, even when
Vocal numbers the instrumental response either arranged or
was omitted altogether. There was a solo singing about
Blue harmonies with harmonic accompaniment.
Billie Holiday was actually a swing singer; their occasional Blues interpretations have the
Folklore little in common. In addition to singing blues developed - probably primarily from
theinstrumental blues accompaniment - Instrumental styles on guitar and Piano:
4. Blues Guitar:
In the old Jazz Styles banjo and guitar were just as Rhythm instruments used chordal
accompaniment. Also occasional short solo passages were played in chords. Only
in respondierenden Blue entourage were "single string" passages, d. h. monophonic
melodies used. The blues singer and guitarist Lonnie Johnson developed from these
short passages respondierenden own "single string" -
Guitar playing style, he also not only the Blue game, but
Jazz anwandte. He was thus the first "single string" guitarist of Jazz history.
Sample 6
5. Barrelhouse or blues piano and boogie woogie
The origin of both game modes can be found in US Midwest around 1900 recordings from
this period are not recorded. Around 1920 took place the shift of the center to Chicago.
Here differentiated gradually the following two ways to play out:
a) Barrelhouse Blues od piano.:

An agile rhythmisierende melody design on the blues scheme
in his right hand with percussive attack. Tonverlängerungen
are not generated by the pedal, but by tremolos.
In his left hand, the accompaniment is at the "stride" technique from
ragtime taken: Stand on the strong clock parts 1 and 3 Oktavschläge bass, on the weak beat
members 2 and 4 Chord stops in the center position.
Important Artist:
Jimmy Blythe
b) Boogie Woogie
The game, the right hand is the same as in the Barrelhouse Piano.
With his left hand but are fiercely rolling ostinato
Bass figures played in a self-moving voice.
The most important artist of the time of origin in Chicago was
Jimmy Yancey.
The classic period of Boogie Woogie starts at the center of twenties in Chicago.
Characteristic of this expression are: the formation of the dynamic, violent, ostinato bass
figures in eighth notes, many a game with "Hammered" tones, the development of a complex
rhythm; but was also the danger of monotonization by too little Differentiation at the ready.
Artists:
Pinetop Smith chose for his play in 1928 for the first time the name
"Boogie Woogie" and thus gave the style its name.
Albert Ammons,
Meade Lux Lewis,
Pete Johnson.
Sample 7
6. Archaic Jazz
After her deportation to America led the blacks of Southern (the local landowners were
tolerant men) initially the playing styles of their African Orchestra continues. These
consisted of a basic rhythm produced by a more or less bass drum group as rhythm section,
above the melody instruments were heard in the upper and middle parts. Within the Drum
group repeated every instrument ostinato own rhythmic figure. Together these figures were
the Fundamental rhythm.
The melody group consisted of partially yet typical African, partly self-made instruments such
gitarrenund harp-like plucked instruments, marimba, flutes, from
various pipes prepared trumpets, pitchers, in the was hineingesungen (Jugs), everted vats as
percussion instruments (Tubs) u. A. The melody group disintegrated in middle voices, the one
east inate
melodic formula played, and 1, 2 or 3 upper voices their
Melodies freely designed (either in Variantenheterophonie or
Responsoria lschema).
Remains of this orchestra with homemade instruments have in
rural areas partly in the form of "Tub, Jug and Washboard
get bands ". The instruments of this band consists of mainly
Fiddle, harmonica, kazoo (pipe, which is closed with paper cone)
Tub, Jug, banjo, washboard (washboard), Slide Whistle (waterpipe
sliding piston) u. a.
Not least because of the influence of the Creoles gained
European, especially the French military and marches also
among blacks a strong popularity. It came gradually to
Taking on the instruments the European march music, particularly from
1865, when numerous after the end of the Civil War military bands in
New Orleans was dissolved and the blacks the instruments cheap could acquire. It rapidly
form colored brass bands, the frontespecially the French marching music, so best we could,
imitated. The European march tunes were "off beat" phrasing, hot
intones and the time being still partially under the laws of parallelism
Paraphrasing varies. Here the musicians served (by duration)
a Umschichtverfahrens: They replaced the melody by a
Sound a tone row formed of thirds, mostly through the melody
next higher or lower third. Through this technique, they came to the
European harmony feeling pretty close. Nevertheless was the
ruling polyphony predominantly linear = Variantenheterophonie.
This "Street and marching bands" were in New Orleans 2nd half
19th Century very popular and played in church and
worldly celebrations, parades, dances, boat trips and
Funerals. The play of these bands (especially after processing
consisting of the "Ragtime" originating influences) is called
archaic jazz. Music examples from the Archaic period are not
handed. Literary sources, can be the beginning of this
Play begin to 1850th
Sample 8
RAGTIME AND HARLEM PIANO-STYLE

Ragtime
To 1880, in the American South and Midwest a

folk music form, initially as a banjo and piano style, later
adopted by orchestras and bands, because of their rhythmic
Melody design called "Ragtime" received. The word literally means
"Torn clock" and refers to the main characteristics of this
Music, the characteristic Synkopationsform.
In a regular bass, the march of reproduced 4/4-beat is
played the piano for forming the already mentioned "stride" -
Technik led (strong beats 1 and 3 with Oktavschlägen in Bass,
weak beats 2 and 4 with chord strokes in the middle position).
"Primary Rag": means the decomposition of the melody in precise
Quavers.
"Secondary Rag": Of these quavers every 4th grade will be emphasized throughout
regardless at what part of the bar to fall. This results in a 3/8-overlay
on a 4/4-time.
This rhythmic design is also the likely einzigenegroide contribution to this style. All melodic,
tonal, harmonic and formal characteristics are purely European Origin. Ragtime was
originally a composed and recorded Music form in which it initially was no
improvisation. Formally composed the ragtime pieces from 3 to 4 usually 16-bar themes
are each played twice in a row. The reconciliation of one subject to another is often made by a
4-taktiges interlude. Similarly, the Rondo is often the first subject before each new topic
repeated. The most common structure of ragtime pieces is the following:
A A B B A C C D D
The forms have often the structure of European marches and

Marsch dances (Polka, Quadrille) to (z. B. 2 x 8 clocks from, or 4 x 4 cycles
aaab or aa'ba etc.). Ragtime was of black and white musicians played and composed.
Artists:
Scott Joplin was the most significant ragtime composer. through its
Participation in a piano competition of the World Exhibition in Chicago
In 1896 he made the Ragtime commonly known, triggering the
Ragtime-Mode.
Scott Joplin's most famous composition is the "Maple Leaf Rag" (1899). Joplin, who played
since 1885 Ragtime, had a classical education enjoyed. After around the turn of the century
from the active game had withdrawn, he lived on his compositions (u. a. also 2
Ragtime opera, "Treemonisha") and the music lessons.
Other representatives are:
Louis Chauvin,
Tom Turpin,
James Scott,
Scott Hayden.
Sample 9
Jelly Roll Morton was originally ragtime pianist and had in Later years Ragtime recordings
recorded on which he did already improvised. From ragtime game Morton has the classic
developing piano style of New Orleans-style.
Between 1890 and 1913 the Ragtime experienced (by orchestra interpreted) its greatest
flowering and in 1914 from the blues fashion replaced. Ragtime has a number of well-known
European composers
lasting effect, especially Debussy, Krenek, Stravinsky and
Hindemith.
With the exception of blues interpretations came the repertoire of Traditional Jazz (New
Orleans, Dixieland, Chicago-style) for the most part from ragtime.
Harlem piano-style
In the late tens and the early twenties of this century developed in New York from the piano
ragtime jazz piano style Black, characterized by pronounced "stride" technique in the left
hand and impromptu variations of ragtime pieces and Pieces of popular music with the
right hand.
Representatives of this style were mostly well-educated musicians:

James P. Johnson is regarded as Author of this style, he had at one Students Rimsky-
Korsakov studied and worked as a composer (1 symphonic poem, 1 "Harlem" Symphony,
numerous revues and Jazz Theme. He developed, inter alia, the Charleston-syncope..:
Thomas "Fats" Waller was Johnson's most important pupil and led the Harlem piano style
to its highest flowering. As a singer Waller was one of the great humorists of jazz,
improvising on the organ and was also a composer significantly (London Suite, many jazz
Standards such. B. "Honeysuckle Rose", "aint't Misbehavin 'u. A.).
Willie "the Lion" Smith, also of the impressionist composers

influenced, often plays longer impressionistic passages before the in "Stride" game passed.
Duke Ellington was originally Harlem pianist under the influence vonj Smith.
Count Basie was first a strongly influenced by Fats Waller pianist in

Harlem Stride style, before going to his own orchestra his
typical frugal pianostyle passed.
Art Tatum, the technically best pianist of Swing Time, described himself
even as Fats Waller-students.
NEW ORLEANS JAZZ
For the actual creation of the New Orleans-style, as the first

proper jazz style were still several factors decisively:
1) The depression of the Creoles to the level of blacks from 1889

and thus the mixing of the Southern black culture
With the largely European culture of Creoles (note the Many creoles in the 1st jazz
generation!).
2) The emergence of dance halls and the formation of their own
Pleasure district "Storyville", therefore
a) the musicians left the great "marching bands" and formed Small ensembles, in
which each of the important instruments of the Marschkapellen was represented
only once (horns and flutes fell completely away);
b) the unification of the various drums was one Drums as well as the entrance of the
piano is possible. It came For the formation of the classical jazz band with: co, tb,
cl, P, bj or g, tba or b and dm;
c) the type of the professional musician developed. First with him Began the time of
the great personalities of jazz;
3) The most important factor, however, was the emerging one Popularity of the blues.
Through the game in the Responsorialschema with Distribution of the roles on co (later tp) as
caller and cl (and possibly tb) As an answerer it comes by overlapping of call and
Answers to the typical polyphony form of New Orleans Jazz.
Symptomatic of this development is musical development Of the legendary musician

Buddy B o l d e n. Of the According to tradition, he was the first Jazz musician. Bolden first
directed one Ragtime band. His strongest creations were, according to However, blues
reproductions. He is strongly in the "shout" Style, have gradually entered into a melodic
improvisational game. Around 1890 Boldens band played according to the white Drummer
Jack "Papa" Laine, who played this music as early as 1898. Imitated, already classical New
Orleans jazz. The occupation Consisted of co, vtb, cl, g, b, dm. From 1895 to 1899, Bunk
Johnson joined
Second cornetist into the band. Since Buddy Bolden from 1907 no more, There are no
recordings of him. From 1890 onwards the New Orleans Jazz, the The highlight and
conclusion of African-American folk music. With This music is a new musical form, the jazz
that arose out of The folklore.
Characteristic of the style:

Over a 4 / 4- Rhythm, played by a rhythm group consisting of p, bj or g,
Tba or b and dm improvise the melody instruments co (tp), tb and
Cl in the following alternating chant as follows:
C o r n e t t or T o m p e t e play the lead-in phrases, A composed or varied melody, with hot
toneation (strong tone, Expressive, staccato game, use of dampers for "growl" - Effects).
The K l a r i n e t e plays responses and replays The rhetoric of the trumpet. Despite the nature
more Lyrical and fluent tones of the clarinet is also here hotintonation Strung, partly by
vibrato (influence of French music!), Partly By growl effects, mostly by powerful sound and
radiant heights, More rarely by staccato game. Most played is legato over the whole
Scope of the instrument and chord-breaking. Like the trumpet,
the P o s a u n e plays with the strongest possible hot- Clay, either staccato or rubbed by
glissandi. The Trombone voice is either also responding or responds A harmonious base in the
bass voice and focuses Especially on the harmonic transitions (eg Kid Ory!).
The harmony - filling and rhythmic mid - voices that the Horns in the archaic chapels, are
now replaced by Piano, banjo or guitar and tuba or bass. It was only since 1910 that the K l a
v i e r was included in the rhythm groups The jazz ensembles. Played in the Jelly-Roll Morton
Playing styles: the piano in double use: as a rhythm or Harmony and as a solo or melody
instrument.
B a n j o and G i t a r r e fulfilled a dual purpose: as Rhythmic instrument and as a harmony-
filling mid-voice. Both Instruments were played chordally in classical jazz The banjo
perkussiv beser.
T u b a and K o n t r a b a s s played on the strong clocks 1 and 2 3 a simple harmonious bass
voice (mostly on the Basic tones). The bass was rarely painted, but pizzicato
Is used. (Already in Africa, all stringed instruments were in principle Plucked.) To achieve an
additional percussive effect the "Slap bass" technology (additional punch with the fingers or
The hand on the fingerboard, the bass player with drum kicks or even
Violent start of the string). The basic concept is the basic form. Usually a
4/4 rhythm in which all four bars are emphasized. Innovative drummers also master the
technique of the Auszierens by internal and overrhythms.
The most important interpreters of New Orleans Jazz are:
Buddy Bolden (tp) (see above!);

Manuel Pérez, a creole, is considered by some contemporaries as the first
Jazztrompeter on the grounds that Bolden has not yet
Jazz, but still ragtime. Pérez played from 1895 and directed
1898 the famous "Imperial Band". In 1915-1918, Pérez was a guest in Chicago.
Bunk Johnson (tp), played from 1895 (16 years) to 1899 in Buddy Boldens
Band and touring with minstrel groups. In the wake of the New Orleans
Renaissance (Revival) he was rediscovered. It was with him in 1942 A band with old
musicians from New Orleans together with the Johnson Recordings in archaic jazz style and
New Orleans style. Because he Since 1914 no longer played jazz, he also has the later
deformations Of the New Orleans style. Therefore, It is assumed that Bunk Johnson and his
Contemporary in the band from 1942 recorded recordings authentic are. These New Orleans
jazz recordings are therefore for the jazz historian Extremely valuable and close a great gap in
the history of jazz, Especially the first recordings in New Orleans style until 1922
(Ory's Sunshine Orchestra).
Lorenzo Tio jr. was one of the most important clarinettists of his time;
"Big Eye" Lous Nelson, a student of Tio, has already played with Bolden, Pérez
And Johnson, later with King Oliver and Freddie Keppard.
Alphonse Picou (cl), became famous the Piccolopart of the Marschkapellen replicated
clarinet tensolo over "High Society", which in The succession of many clarinettists was
touched by note.
George Baquet belonged to the founders of the classic Clarinet style in New Orleans. He
began in 1900 with various Orchestras including Bunk Johnson, Buddy Bolden and Freddie
Keppard.
Kid Ory (tb), came to New Orleans in 1905 and played with Buddy Bolden.
Led his own band, Kid Ory's Brown Skinned, from 1911-1918 Babies ", which was one of the
leading ensembles in New Orleans The most important representative of the "tailgate" style
on the trombone. Its strength Was not the soliloquy, but the collective improvisation. In this
He did not respond, but concentrated mainly on The harmonious transitions which he
prepared with long glissandi. His powerful deep trombone could be the tuba or the double
bass replace.
Oscar "Papa" Célestin (tp) has in the period from 1925 to 1928 Record recordings as well
as others in the Revival 1947 and 1951.
Freddie Keppard (tp) played from 1903 in the "Olympiaband", which starting from 1907
The successor to Buddy Boldens band as the leading ensemble
Antitrate Accordingly, Keppard became the second "King of Jazz "to Bolden In 1923,
Keppard switched to the" Original Creole Band "of the Bassist Bill Johnson. Freddie Keppard
was after Buddy Bolden and beside King Oliver the most famous trumpeter in New Orleans.
Joe "King" Oliver (tp) began his career around 1900. 1911-1914 headed
He has his own "Magnolia Band". He succeeded Keppard as "King" When he went on tour in
1913. 1915-1917 played Oliver at Kid Ory,
In 1918 he went to Chicago, where he was in two chapels at the same time
was working. In 1920 he took over the lead of one of these bands as "King Oliver's Creole
Jazz Band ", in which he was named Louis Armstrong in 1922.
Cornetists. The band was considered a leading ensemble in Chicago. The records recorded
with this band from March 1923 belong Among the most valuable documents of early jazz
history. Most Recordings present the New Orleans Jazz at its peak,
Some also show the signs of the beginning Chicago- Style
Sample 10
Sidney Bechet (cl, ss), the great soprano saxophonist, played with him Various chapels,
among others, with Keppard and Oliver. 1919 he went after New York and made a tour with
Will Marion Cook To England (see the article by E. Ansermet); Bechet remained until 1921
in Paris. In New York his first recordings were recorded Clarence Williams Blue Five. From
1925 to 1931, Bechet resumed his life Europe.
Bechet was originally (also still with Clarence Williams) clarinetist in the Authentic New
Orleans style. His playing style - both on clarinet As well as especially on the Soprano
Saxophone - was characterized by A strong tone and a strong expressive vibrato and a
Strong "drive". It was often the case that Bechet in the Collective improvisation exceeded the
volume of the trumpeter. this leads to To the fact that Bechet not infrequently adopted the lead
vocals and the Trumpeter together with the trombonist the answering function
Respectively. Bechet had together with Johnny Dodds (see black Chicagostil!) Less influence
on the following clarinet generations, Who leaned more on Jimmy Noone, than on those in the
Twenties. The saxophonists - Especially Coleman Hawkins and Johnny Hodges - used that
Typical clarinet vibrato of Bechet and Dodds.
Listening Example 11
DIXIELAND
As the creator of this white jazz style, the percussionist Jack "Papa" Laine, who already
from 1892 the play of the black Chapels. Until 1898, however, his groups played their own
Statement still ragtime. From 1898 the band played according to Laine Even "without notes"
and thus was the first Dixie landkapelle. Out Laine's band went to most of the later greats of
the Dixieland style Respectively. Around 1910 literary in New Orleans already nine white
"Ragtime" bands. (The term "Dixieland" for this music Was not made in Chicago until 1915.)
Characteristics of Dixieland style:

The basis of this style in its early phase was the ragtime style. The The black musicians from
the blues inherited influences (Bluestonality, Responsorial Scheme) were performed by the
white musicians
Not taken over or misunderstood. Also to the "off beat" They had no right relationship. They
continued to use the Ragtime derived lookup syncopation. So it came to the Imitation of the
instrumental music of the blacks on the Basis and with the means, ideas and methods of the
Occidental music: the collective improvisation was adopted, But not in the responsorial
scheme, but in the form of a simultaneous one Interplay of the voices in an impressive pitch
variation. The absence of Bluestonia is caused by occasional unclean But the tonality is
"pure" in European terms. The Hotintonation is imitated by similar effects, often as
Humorous extravagances. The repertoire consisted almost exclusively of ragtime pieces.
History:
Tom Brown, a musician of the circle around Jack "Papa" Laine, founded in 1913 A
separate chapel, with which he in 1915 in Chicago under the designation "Tom Brown's Band
from Dixieland". That same year changed He's called "Brown's Dixieland Jass Band." Brown
has with it In 1915, both the term "Dixieland" and the term "jass" (jazz) Name for this music
and scored great in Chicago Achievements. In 1916 the previous clarinetist from Brown,
Alcide Nunéz, brought more Musicians from New Orleans to Chicago and founded with them
the Original Dixieland Jazz Band

This chapel had for the spread of jazz and especially the Dixieland Jazz especially among the
white population of the USA and Of Europe. On the one hand were running from 1917
onwards Record recordings made and best sold, on the other hand The band spread the jazz
through tours, in 1919 to England.
However, the misunderstanding is based on broad circles, the
Dixieland style for the authentic jazz style.
The by Nick La Rocca (tp) led the band until 1925.
New Orleans Rhythm Kings

This second important Dixieland chapel was built in Chicago in 1921
Musicians of the second Dixieland generation, who play the game of the
Black musicians had already understood much better. They phrased
Already "off beat" and also imitated the Responsorialschema correctly.
This makes their game less hurried and "bitchy" than the original
Dixieland Jazzband and the other musicians of the first Dixieland generation.
Paul Mares, the trumpeter of the band, had his model in King Oliver. His play was modeled
on the "lead" voices of the New Orleans bands.
George Brunies (tb) dominated the "tailgate" technology style and style Often played "off
beat" phrases.
Leon Rappólo, the clarinetist, was stylistically leaning on "Big Eye" Louis Nelson and
Johnny Dodds. He played with their vibrato and used - Such as Dodds - also often the deep
positions of the instrument. Its game is Expressive and sometimes melancholic.
Other important interpreters of the Dixieland style:

Alcide Nunés (cl) had - like his successor Larry Shields at the Original Dixieland Jazz Band -
a taste for sliding tones in the high But with more vibrato; From 1919 he recorded recordings.
Tom Brown was a technically good trombonist with a melodious play
Use of pronounced glissandis;
Sharkey Bonano was the most important Dixieland trumpeter in New Orleans;
Tony Parenti (cl).
The Dixieland style later went into the New York style, in Chicago in the White chicago style
over. After 1925 he was hardly practiced, Except in the commercial Dixieland and dance
chapels of Ted Lewis And Ben Pollack. Both bands played dance music with Dixieland.
In the second half of the thirties the renaissance of the Dixieland. (See "Revival"!)
The "BLACK" CHICAGO STYLE
For various reasons (1917 closure of Storyville, development

Of the industrial north as a new source of income for musicians, etc.)
Chicago became the new center of jazz from 1918 to about 1928.
Here, for the time being until the year 1924, the classic New Orleans
Jazz to its climax. Some authors speak in this "New Orleans Jazz in Chicago".
From about 1924, the New Orleans jazz came to life

Own style among the black musicians, who, as "black Chicago style "(M. Straka).
The stylistic marks are as follows:

The imposition of the collective improvisation leading to the framing of the
Pieces, the successive task of the responsibility scheme. Always Stronger performance of the
soloists. Characterization of the so-called "hot" -solos, which is increasingly strong
Individualization. Melody finding now on the basis of the
Piece, but predominantly as Melodievariation, more rare than harmonic variation. In this
Frame, every musician tries to make a good and individual one Solo. "The game one after the
other" becomes more important than "playing with each other".
During the Solospiel there is either a harmonious accompaniment By the other winds, or only
by the rhythm group. The Prominent dominant role of harmony and leaving the Responsorial
patterns also cause a change in instrumentation. Thus the trombone becomes frequent because
of its lower mobility Omitted or replaced by the saxophone. Also, you were not
(Tp, tb, cl), but was able to do so in Any combinations. The pieces were started with regard to
their framing Arrange: In addition to the "head arrrangement" (only agreement) we find
By the way also from 1924 written arrangements, in particular For larger ensembles.
These described characteristics characterize the Chicagostil as Transition style to swing style.
The increasingly individualization of the soliloquy in Chicago and the frequent change in the
occupation of the bands According to the Chicago style, our main focus was on the many, To
some extent already considerable soloists. Therefore, an overview of The development of
soliloquies on the individual instruments:
T r o m p e t e (C o r n e t t):
In the beginning,
Freddie Keppard and King were still playing Oliver. Freddie Keppard was a member of the
Black Chicagostil Orchesters Doc Cook and from 1926 with their own student groups took
part. In the beginning of 1924 the orchestra Doc Cook was one of the First ensembles in
the Chicagostil with arranged passages and the Dominance of the solos before the
ensembleparties.
King Oliver played with his "Creole Jazz Band" occasionally Mixed style between New
Orleans and Chicagostil. Significant shots In Chicago, he brought his "Dixie Syncopators"
from 1926;
Natty Dóminique was a student of Freddie Keppard;
Tommy Ladnier, representative of the "King Oliver School", was one
Excellent blues interpretation.
Louis Armstrong became the outstanding trumpeter in Chicago from 1925 onwards
And the most important musician of all historical jazz. Originally Also influenced by King
Oliver, he very soon developed a high Technical level and a wide range of trumpet playing
Harmonious and rhythmic refinement. Armstrong Phrased with strong radiant tone and in
unprecedented heights
With artistically designed melodic-rhythmic alternations around the "Beat" (among other
things frequent use of triplets). After the release of Oliver's "Creole Jazz Band" in early 1924,
Louis went Armstrong as a start-up orchestra to the first swing orchestra of the
Jazz story, the Fletcher Henderson orchestra, to New York. Here He has developed further
with regard to precision of play and harmony. In the fall of 1925 he returned to Chicago,
where he became a celebrity Erskine Tates Vendome Orchestra, later the orchestra Carroll
Dickerson. At the same time, he set up a student group called Louis Armstrong's Hot
Five together, the occasional (if Kid Ory was missing) around a tuba and A drummer was
added to the Hot Seven. This ensemble was one All-Star cast following the pattern of
Clarence Williams' Blue Five, in The Armstrong 1924 together with Sidney Bechet
Record recordings. Except for the pianist – Armstrongs Mrs.
Lil Hardin - the group had an All Star cast: Johnny
Dodds (cl), Kid Ory (tb) and Johnny St. Cyr (bj).
Starting from 1928 he led the group with more insignificant Mgeunsoikmemrne n (aduesn
pianists
Earl Hines), but in the spring of 1929, Swingorchester Luis Russel. (For further career see
Swingstil and Revival.!)
George Mitchell was a good armstrong- Student in Chicago;
Jabbo Smith was another Armstrong student.
P o s a u n e:
Kid Ory was also the most important trombonist in Chicago. Its special Strength was still the
game in the collective. He also played Effective solos with an artistic "off beat" -precision,
partly powerful Staccato inserts and partly pronounced glissandi. Ory was in the
Various leading ensembles in Chicago, in particular in Louis Armstrong's Hot Five and Jelly
Roll Morton's Red Hot Peppers.
Charlie Irvis,
Charlie Green, was mainly active in New York; its special
Strength was, among other things, the accompaniment of blessings (especially Bessie Smith)
And played as a big band trombonist in the Fletcher Hendersong orchestra.
Honoré Dutrey was still playing trumpets at the beginning.
With increasing time he tended to design a harmonious
Accompanying voice without responding character and thus became a The "fathers" of the
new trumpet style, in which the Responsorial Scheme Completely abandoned and in the
collective only a deep harmonic Accompanying voices.
K l a r i n e t:
This instrument experienced a special flowering in Chicago. On no one Other instrument

there was in the city such a large number of Outstanding representatives, the most important
of which are:
Johnny Dodds was the most important of all classical clarinetists Jazz. Dodds, born in New
Orleans in 1892, was succeeded by King Oliver Chicago in his "Creole Jazz Band", where he
remained until 1924. In This phase, Dodds played the typical clarinet style of the New
Orleans- Jazz with clearly responding character. From 1924 he was partly with own, partly
with different others (Including Louis Armstrong's Hot Five and Hot Seven) in Chicago style
And further improved his game Great perfection. The recordings with Armstrong show Dodds
in Best shape. He used the entire range of the instrument, Especially the deepest locations,
and played with strongly pronounced Vibrato down mainly vertical solos under frequent use
Of "blue notes". His melody formation also later still corresponds mostly
The clarinet voice in the responsorial scheme. Similar to Kid Ory Dodds is also the special
strength in the collective game. Since he did not, Such as Armstrong, the transition to the
swing style, and its expressive
Clarinet style was hardly suitable for the harmonic movement, Only a few recordings were
made in the Revival, 1938 and 1940. Two months after the last meeting in 1940 died Dodds.
His influence on the following clarinet generation was initially great. With However, most of
the clarinetists tended to increase Jimmy Noone's style: His technically perfect, smooth
Legatospielweise is more like the phrasing of the swing style. Dodds
Influenced the entire saxophone playing style together with Bechet Of swing style.
Listening example 14
Jimmy Noone, born in 1895 in New Orleans, herself Creole, played entirely In the sense of
the Creole school, so technically mature, harmoniously secure And not as expressive as the
blacks (see Alphonse Picou, etc.). In 1913-1917 he played in Freddie Keppard's band, 1918-
1920 at King Oliver In Chicago, 1920-1926 in the orchestra Doc Cook. From 1927 worked
Noone With their own band, which in their playful light concessions at The white audience
taste (sweet alto saxophone as 2. Melodiestimme), with great success at the Apex Club.
(Maurice Ravel, who made him Heard of Noone.)
Jimmy Noone also played with vibrato and occasional, With attack blown, stakes. Around the
middle of the twenties But he changed to a smooth style with soft tone and only Very delicate
vibrato. He also played his technical perfection Completely out and phrased legato in fast
vertical runs. A
Characteristic peculiarity was the somewhat impure (too deep) blowing of the High notes as
well as occasional, somewhat sentimental Clay abrasions (see George Baquet). These two
techniques were From his white pupils in Chicago to the excess. Also the Melodic by Jimmy
Noone is often smooth, normal something sweet. "blue Notes "he hardly used. Noone
succeeded with his playing style better than Dodds, the clarinet as Virtuoso solo instrument.
Omer Simeon phrased on old recordings like Dodds with subtle Vibrato, frequent use of
"blue notes" and in the vertical manner. In In the later twenties, however, Simeon switched to
playing From Noone, who had become fashionable.
Buster Bailey, initially also Johnny Dodds' student, already changed Very early (about 1924)
to the smooth legatophrasierung and became soon to the Technically excellent big band
clarinetists (Fletcher Henderson Orchestra) with lively (legato) phrasing in long runs
(And circular breathing).
Other clarinetists are:
Darnell Howard,
Albert Nicholas,
Barney Bigard (ts, cl), later developed into a swing style Technically experienced clarinetists.
S a x o p h o n:
The blacks were somewhat skeptical of the saxophone, As the white musicians in Chicago,
who used it much stronger.
K l a v i e r:
The playing styles on this instrument for the area of classical jazz Was developed by Jelly-
Roll Morton from the Ragtime (see above!). Thus, the piano could be used both as a rhythm
instrument (left hand) Also as a melody instrument (right hand) at the same time.
Jelly-Roll Morton was one of the great personalities of the classic Jazz. The Creole, was
named as Fernand Joseph La Menthe 1885 in Louisiana Born and was since 1902 he was
ragtimepianist in the Amusement Locations of Storyville. From 1904 he started numerous
Tours through the USA and Canada. In 1923 Morton moved To Chicago, where his first
records were recorded. These are partly Pianosoli, partly Comboaufnahmen in the authentic
New- Orleans style. In 1926, he founded his famous "Red Hot Peppers", one
Studying their recordings to be the best of the entire Chicago era
To count. Morton played with his groups until 1930
Swingepoche he became entertaining pianist, until he became in the course of the
Renaissance movements of Alan Lomax was discovered. Lomax took
With Morton 1938 a long interview with music samples, the A plurality of long-play plates.
Morton died in July 1941. Morton's piano style is characterized by a clear separation of the
Both hands in rhythmic terms. Morton played with the left hand A strong accompaniment,
partly in the "stride" style, often with massive Chords On the right he played a strong "off
beat" temperamental Melodious phrases with pronounced solodynamics. His solos with the
"Red Hot Peppers "are mostly unaccompanied, as the rhythmic group
Rhythmic refinements. Morton was one Harmonically well-groomed pianist, next to one of
the first well-known Arranger (3 cl-set) and composer of numerous pieces. His piano style
Was until around 1928 the clearly dominant in the New Orleans and Chicagostil.
Lil Hardin-Armstrong, Armstrongs (second) wife and pianist of his Hot Five and Hot Seven
played a typical Morton piano style; She had in Of the time from 1918 to 1919 directly at
Morton piano lessons.
Jimmy Blythe was a sought-after accompanist pianist with powerful accompaniment phrases,
Partly in the Morton part in the "stride" or "Barrelhouse" style.
Earl Hines came to Chicago in 1922 and revolutionized the Piano playing style of the jazz
from ca. 1928. He founded the so-called "HORN STYLE "or" TRUMPET PIANO STYLE "
Right-hand "single-note" -phrases, which are one of those Winds. With the left hand is no
stereotype Accompanying more, but only runs or rhythmic accents Played. Hines leads his
technique to the trumpet playing style of Louis Armstrong back; His distinctive "single note"
-phrases he played Amplification often in octaves. Hines was in terms of rhythm and rhythm
Dynamics Armstrong quite equals. As Earl Hines did not appear until the end of the Chicago
era He does not have any significant pupils in the field of black chicago. However, the style of
the piano is based on the style of the piano Swing pianists and pianists of modern jazz.
B a n j o and G i t a r e n:
Were originally used only as rhythm instruments. It was Therefore, in Chicago, almost
exclusively the chord play Practice.
Johnny St. Cyr was the most important Banjo and guitarist of the
Classical jazz, and had been active in New Orleans since 1909;
Bud Scott, a veteran from New Orleans, who still has Buddy Bolden here
Played, along with the chordal way of playing, also on the Bass guitar string in "walking-
bass" figures;
Lonnie Johnson, the creator of the "single-string" technique on the guitar, Also made a series
of recordings as a guest of various Chicago Ensembles
T u b a and C o n t r a b a s s:
Both instruments were still used in principle in Chicago As in New Orleans, so were on the
strong clocks 1 and 3 Sounds from the basic chords (mostly basic notes and changing basses)
Staccato or in the "slap-bass" -technology.
Cyrus St. Clair was the outstanding tuba player of this time. He played Also solopassages,
which is why he is not in Clarence Williams' groups Rarely as a soloist or his acting in the
collective as responding Voice was used instead of a trombone.
Bill Johnson was the great veteran of beat bass in jazz. He played Already since 1890 in New
Orleans, since 1900 Schlagbaß, and is considered as Founder of the above-mentioned "slap-
bass" technique. His bass voices Are harmoniously simple, but never melodically primitive.
On later Recordings he played as one of the first bassists in the "walking-bass" Technology.
John Lindsay was a student of Bill Johnson;
Pops Foster played double bass in New Orleans
Then in the twenties to the Tuba and was from 1929 in New York in the Beginning swing
style again as a contrabassist. Recordings from Chicago do not exist; nevertheless
Pops Foster still belongs to the musicians of the classic Chicago era.
Drums:
The outstanding drummer of all classical jazz was the Younger brother of Johnny Dodds,
"Baby" Dodds .; He was able to go over one on the basestrum Struck 4/4-ground rhythm on
the "snare drum" numerous figures And thus create an internal or an overrhythmia. By
Constantly changing these figures, Dodds creates a loose Basic rhythm, resulting from the
stereotypical beat of most
Other drummers;
Zutty Singleton; For him, too, was the rhythmic expression of the
Basic rhythm '.
Vocalist:
Louis Armstrong is in Chicago as a jazz singer styling in Appearance when he first appeared
in the history of jazz "scat Vocals "began to sing, that is, he sang without words, only with
meaningless Syllables and improvised, as on a wind instrument.
The "WHITE" CHICAGO STYLE
(In the literature, only this style is often referred to as "chicagostil" And the existence of a
chicagostil of the black musicians thus not And the accomplishments of these musicians
[characteristics of the hot-Solos etc.] to the white musicians.)
Young musicians, mainly white students, began to live in Chicago Jazz, as he offered himself
to them. The basis for this were both The games of the many outstanding black chicago
chapels, as Also those of the white Dixieland chapels, especially the New Orleans Rhythm
Kings ", which were active in Chicago Mix of the converted chapel of the black chapels with
The Dixieland of NORKs.
Characteristics and development history:
Framing the numbers by simultaneous stand-up variation

Several wind instruments or even arranged passages are for the style
characteristic. Within this, stepping-up variations occur
Harmonic basis - melodic variations in the figurative
Engraving procedures. The intonatory expressions of the blacks
Are partly imitated by special effects. The "off beat" was
Already correctly recognized and applied. Piano and saxophone
More often than the black bands used as solo instruments.
The first white band of this style was the Wolverine Orchestra
Was founded in 1923. The performance is marked by
Collective variation in the sense of the Dixieland chapels, ie without
Responsorial scheme, or by the game in harmonious set
Arranged voices and it becomes a common, hastily acting
Anticipation "off-beat" is used. Of the black bands the
Preference for longer Hotsoli (see the orchestra Doc Cook and
King Oliver's Creole jazz band at this time). The W. Orchestra had only
A single potent musician, namely the Cornettist
Bix Beiderbecke, who came out stylistically from Nick La Rocca and whose
Style he harmonically and melodically refined.
Accordingly, Beiderbeck 's style is predominantly Occidental: He
Plays precise solos with lyrical tone, which is an artistic melody, however
Hardly rhythmic refinements. Beiderbecke also played the
Klaviersoli, who recognize the influence of Impressionist composers
leave.
The next stage in the development of the white Chicago style formed
A group of young musicians, initially called "Austin
High School Gang. "Their style consisted of striving
As individual as possible, according to the pattern of the black Chapels
The course first included: Jimmy McPartland (co), Frank Teschemacher (Cl) and Bud
Freeman (ts). Later came Floyd O'Brien (tb), Benny Goodman (cl), Joe Sullivan (p), Eddie
Condon (bj, g) and DaveTough (dm). The musicians mentioned were, besides Beiderbecke,
the first Essential and stylistic musicians of the White Chicago style.
Artists:
Bix Beiderbecke was the stylistic musician on the trumpet (resp. Cornet). Its cool Legatospiel
without substantial hot qualities was By most trumpeters of the Chicago and New York style,
Its harmonious sophistication and artistic melody from the But imitators do not get through.
Beiderbecke had already changed In 1926 he moved to New York, Style.
Listening sample 16
Jimmy McPartland (tp) leaned strongly on his model Beiderbecke on;

Muggsy Spaniard (tp) was not exceptionally,
But by King Oliver (sound) and Louis Armstrong (phrasing) affects;
Wingy Manone (tp) practiced an armstrong orientedphrasing;
Max Kaminsky (tp) had good "lead" qualities; Is typical
Repetition of the same notes on strong and weak clocks;
Floyd O'Brien (tb) was the only notable white trombonist in
Chicago, especially the trombone in the White Chicagostil
The tenor saxophone was replaced. O'Brien, originally from Kid Ory
Influenced, technically matured relatively simple phrases.
Frank Teschemacher was the stylistic musician on the clarinet. He
Even is influenced in the tone of Jimmy Noone, whose very
Deep intonation he took over and intensified, causing his play a
Strong dissonance effect. In the phrasing, however,
Also be influenced by Johnny Dodds, since Teschemacher
By no means with Jimmy Noone's own lightness and elegance,
But with powerful sound and staccato phrases.
Pee Wee Russell (cl) took over the games of Teschemacher and
Intensified its effects by "dirty tones" and "growl" effects.
(See also Revival!)
Benny Goodman (cl) was also in his early youthful years
Student of Frank Teschemacher. However, he did not exaggerate the effects and
Soon became a fluent, melodically interesting clarinet
In vertical phrasing. He then improved his way of playing
In New York, where he soon moved. (See also New York style and
Swing!)
Bud Freeman (ts) used a strong vibrato and occasionally also "Growl" effects (the influence
of Teschemacher), played elegant, often Chord-breaking melody lines in often larger and
altered Interval steps. Freeman soon emigrated to New York and influenced There other
saxophonists.
Joe Sullivan was a great white pianist in Chicago. He united Influences of the Harlem school
and elements of Jelly-Roll Morton's piano style With the "hornstyle" by Earl Hines.
Eddie Condon was the most famous banjo player and guitarist in Chicago.
His importance was less due to his play than to his good
Organization hall, with which he groups with outstanding musicians
Compiled and jam sessions.
Listening sample 17
Dave Tough (dr) had baby dodds as model, whose relaxed and Still dynamic drumming
patterns he copied. Later oriented He became more interested in Chick Webb (internal
rhythm) and became one of the Leading drummer of the swinging pole (see there!).
George Wettling (dr),
Gene Krupa (dr), (see swing style!).
NEW YORK STYLE
Parallel to the emergence of the black and white Chicago style A similar, but more rapid,
development in New York. It was here Approximately at the same time as in Chicago, namely
beginning to middle of the Twenties, his own jazz style of white musicians, the New York
style.
Starting position:
In New York, the original Dixieland Jazz Band has been playing since 1917
Mainly based on the ragtime-style dixieland music with only
Low negative elements. These already predominantly "European"
Dixieland music was extremely popular here. Black bands were in New
York only relatively few listen: except the Clarence Williams groups,
Which played Chicago jazz without much collective improvisation, especially that
Orchestra Fletcher Henderson, which already from 1924 already Swingstil with
Played extensively arranged parts. Right "black" Oldtime
Jazz with many negroiden elements was thus hardly in New York
Played. Harlem was dominated by pop music
Influenced Harlem piano style.
New York was at that time the center of the dance and entertainment music, the
(Broadway) and radio stations. For this reason was
The town home of countless technically perfect musicians, The entertainment industry and, as
a student, their livelihood Earned New York also had a good number of good Arrangers.
Because of the offer of technically perfect, in the Western Sensibly trained musicians and
arrangers as well as the Of these musicians here belonged to Jazzmusik a style with following
Characteristics:
There is almost a complete withdrawal of all negroid elements

In favor of a technically perfected, virtuoso, almost entirely in the sense
Of the occidental beauty camp. The New-York style was the last and greatest possible
variation of the classic New Orleans style.
The collective improvisation or variation is hardly any more. The Arrangement of numbers is
arranged. Therefore, there is already very early Orchestra with wind instruments. Besides,
musicians played with technical Skills, as they have not yet existed in jazz, in small groups
Recordings of high musical quality. The repertoire consists
Still from 16-bar rocket pieces, often already from the songs
The then pop music of composers like George Gershwin, Irving
Berlin, among other things, blues interpretations are virtually unimaginable. In
The phrasing becomes the melodious one, which is elegant in the sense of the country
Design more attention than the hot-intonation. Thereby
Many numbers are rhythmically interpreted somewhat flat.
Listening sample 18
Artists:
Trumpet :
Bix Beiderbecke (see white Chicago style!) Has been playing since summer 1926
In New York, perfected his style and played here with the
Orchestras Jean Goldkette, Paul Whiteman and Frankie Trumbauer as well as
With own groups. In the years 1927 and 1928 Beiderbecke experienced
Here his musical climax and died in 1931 at the age of 28 Years.
Red Nichols, leader of one of the most important groups of the New York style,
His "Five Pennies", was strongly influenced by Bix in his cornet play
Both sides affected. He was one of the most famous and famous in his time
Most popular trumpeter of jazz - probably because he was a white man, pleasing for that
White audience and acting in New York (here were the Record companies and studios).
P o s a u n e:
Jimmy Harrison. So far the trombones of the
Responding function in collective improvisation. Harrison, however
Developed in the orchestra Fletcher Henderson after the model of Louis Armstrong a new
solo stil, the trombone to one of the trumpet And the woodwind instruments equivalent solo
instrument. This is the basis for the entire trombone gameplay up to the
Miff Mole was the first trombonist in New York style. From influences of the
White Dixieland trombonists and later developed by Jimmy Harrison
Miff Mole has its own playing style, which is characterized by a melodious and with great
Intervals in the higher positions
.
Jack Teagarden was one of the most important trombonists of the whole Jazz history. Based
on the play of Jimmy Harrison He developed his own trombone style,
Through his strong lip flexibility, he succeeded in producing fluid phrases in
Partly fast phrasing also in high positions, which so far in the Jazz were not used.
Tommy Dorsey was in the New York style (also on the trumpet, his
First instrument);
Billy Rank was the soloist Paul Whiteman and Frankie Soloposaunist Trumbauer.
C l a r i n e t t:
Benny Goodman, who was still strongly influenced by Frank Teschemacher was confessed
(phrasing with attack, very deep Intonation), successively abolished this influence in New
York. He was tendingMore and more to liquid legatio - although he always in New York
Still growl effects, some unclean blown tones, and a vibrato Game installed. He only applied
these techniques entirely in swing style - The style in which he was to have the greatest
significance. (Look there!)
Jimmy Dorsey directed his playing directly from Jimmy Noone – so Not about
Teschemacher. Accordingly, he phrased without Growl effects and "dirty tones" soft and
stronger legato.
S a x o p h o n e:
On the various saxophones developed the musicians of the New York style
Already a mature technique, which was neither by the musicians in Chicago, but also from
those of early swing has been.
Frankie Trumbauer was the most important saxophonist of the New York-
Style On the C-Melody-Saxophon Trumbauer presented his for the Then unusual style: He
played with smooth tone (so almost No vibrato, like all others) in cool lyric and melodious
Legatophrases (an untypical complete legato) using large
Intervalsprings in the high positions. His solos were horizontal (no
Chord breaks, but new melodic lines) and retarding designed. Since Trumbauer played with
Beiderbecke for several years And with him was also close friends, is a reciprocal
Influences conceivable (smooth tone, lyric melodious legatophrases).
Frankie Trumbauer was a model of Lester Young (smooth vibratoloser
Sound, lyrical phrases with large intervals, retarding Way of playing).
Jimmy Dorsey was the leading alto saxophonist of the New York style;
Bud Freeman (ts),
Adrian Rollini, a multi-instrumentalist, as many musicians in New York,
Had his main instrument in the hard-to-play-because Immobile - bass saxophone. He was one
of the vibraphone Pioneers of this instrument. He played it - unlike the Other early
representatives (Lionel Hampton and - at the Xylophon – Red Norvo), however, not in "single
note" -phrases, but already chordally.
Violin:
This instrument has already appeared in some ensembles in New Orleans

Is used. However, there was the first in the New York style Notable soloists:
Joe Venuti used the technical possibilities of his instrument

Already full - from flageolett to double-fingered passages,
Pizzicato, musical techniques from the country & Western music etc.
His group, the "Blue Four", is one of the most unusual and
Most charming ensembles of jazz history
Quintet of the Hot Club de France (with Django Reinhardt) in the Swingzeit.
K l a v i r:
No significant representative.
Gitare:
Eddie Lang, the partner Joe Venutis in his Blue Four, was one of them
First guitarist, this solo instrument in the "single-string" style Used.
B a s s: No significant representative.
Drums:
Ben Pollack played a drums oriented to Baby Dodds Mid-rhythms over a tight 4/4 rhythm.
Vic Berton, the preferred drummer of the Red Nichols groups,
Also included the tradition of the occidental drumming. He Used with preference tinkets, on
which he "melodious" solos and "Breaks" hit.
The New York style would not be completely treated, you would not
One of the most popular and controversial personalities of the
Jazz story, Paul Whiteman. Whiteman founded in 1920
New York an orchestra, the largest orchestra in the history of jazz.
He played with a full soft orchestral sound, which was largely associated with the
Harmonious sound of the West
Arrangements with as many semi-classical characteristics as possible. The
Orchestral style, was described as "SYNPHONIC JAZZ"
And Paul Whiteman "crowned" himself to the "King of Jazz". From today's
However, only a few pieces of his
Repertoire jazz. He played alongside quite good jazz numbers - he had in
His orchestra a number of outstanding soloists, at the top Bix
Beiderbecke - a series of suites, Potpourris from Broadwayhows,
Concertically arranged songs etc. The highlight of his career was that
Concert on the 12th of 1924 at the Aeolian Hall in New York,
Only to classical music. Before a big and
Illustrious audience, including Sergei Wassilyevich Rachmaninoff, Fritz
Kreisler, the conductor Leopold Stokowski, the violinist Jascha Heifetz, among others,
, Whiteman played mainly compositions by Ferde
Grofé and George Gershwin. The highlight of this concert was the
World Premiere of the "Rhapsody in Blue" by the composer George
Gershwin (p) himself. The concert was - especially also under the
Called "Konzertpublikum" - a gigantic success. The jazz,
At least the "symphonic jazz" of a Paul Whiteman, was with it
Become "salonfähig". This was also the beginning in Europe, "jazz"
(Or what you could keep for that since Whiteman, namely clean
Arranged "coffee house music" with occasional syncopations).
In the end, the widespread error of the
Older generations back, rhythmically forced dance music for jazz too hold.
SWING
Around the middle of the twenties it comes in N e w Y o r k and away
Independently in the second half of the twenties in K a n s a C i t
Y to the expression of this new style, which is different from all previous ones
Jazzstiles has lasted the longest, namely from around 1928 to 1945. The
Style has emerged phenomenologically in both centers. Only
In later succession the two streams merged into a single one
Whole that has also been further developed in itself. In the Swingstil United
The hitherto separate black and white jazz styles.
A) SWINGSTIL NEW YORKER PRESSURE:

development history:
The pianist Fletcher Henderson played from 1921 with a 10-man-
Orchestra, whereby he partly tried the arrangements of the orchestra
Paul Whiteman copy. This was not the case for the black musicians
especially. When Henderson, in 1923, engaged Don Redman as an arranger, Began slowly
from the orchestra, now 11 members Swing ensemble. At least from autumn 1924 the
orchestra As a pure swing orchestra. (Compare: Ad This time, there were only the first
beginnings of the Chicago style) Of the swing style New Yorker was primarily the arranger
Don Redman; From him comes the original technique of the Swing arranging.
C h a r k t e r i s t i k:
Arranging technique:
All instruments of the orchestra were given in sentences
combined. These four sentences are:
The trumpet set, the trombone set, the saxophone Clarinet set and the rhythm group.
Each of these sentences had in To play completely closed and homophonic in the
movement. This led to the suppression of individual characters in the movement
Sound formations and partly to take over the European sound ideal,
Enriched with temporary hot properties. Also the
Rhythm group became a "set", that is, in the final phase of the
Development mark all 3-4 instruments of the rhythm group
Simultaneously and evenly all 4 clocks. This gave the typical
Regular 4/4 beat of swing style. Over this beat the
Individual wind instruments each as a unit (like an instrument)
And opposed to each other, the saxophone set generally
Became the main bearer of sound and voice design. Within Of a set, the instruments were
arranged in harmonically layered Parallels to the basic melody (remnants of African
parallelism), Mostly in the four-voice narrow BLOCKSATZ.
Rhythm:
The special essence of swing is the tension ratio between
Fundamental and melodic rhythm.
Harmonics:
The basic is the cadenaic harmonica of the European
Music, somewhat modified by Africanism such as parallelism and the
Bluestarist. The harmony is extended in the swing style to the extent
As opposed to the cadenial stage harmonic, as it was in the
Th century, not only the sexte (Sixte ajoutee), but also
big or small seventh with the Dreiklang (triangle?) With sounds too
Without, for example, interpreting the great seventh as the guiding tone,
Chord. This produces a dissonance effect which the Sound picture.
Solistics:
The musician was free only during his solo, Otherwise bound to the arrangement. It was
particularly among the Black musicians in the Solospiel individual playing styles of the Hot-
Intonation and instrumental effects. The solos were now final No longer in the responsorial
scheme, but in an imitative variation. By figuring (intervallacing), diminishing
(Interval calculation), mating (interval filling), etc.; it
Is a spontaneous melodievariation. Succesive is the case
Also to the harmonic variation, that is, on the basis of the
Harmonies invented new melodies, which no longer have a direct relationship to the
Have a base melody. The melody is formed either by
Use of motif cores, which are further spun (= Horizontal variation) or predominantly by
chord breaks (Arpeggiatures) (= vertical variation).
Main Big Bands of Swing Style New Yorker:
1. F l e t c h e r H e n d s s o n and his Orchestra:

(1897-1952)
The pioneer orchestra of Swingstil and also later one of the
Most important swing orchestra - a merit particularly of the arrangers
Don Redman and Benny Carter, as well as an abundance of first class soloists.
Don Redman had musical theory and composition at various
Studied before he became a multi-instrumentalist in 1923 (cl, ss, as, bs
Etc.), but especially as an arranger to the orchestra. He changed that
The orchestra's playing styles are basic. Already the recordings from autumn
In 1924, his style of arranging was clearly shown
Of the winds to sentences and the use of each sentence as a unit.
At the beginning, Redman worked with a sheet metal set (3 tp + 1-2 tb), one
Saxophone set, which - as long as Coleman Hawkins played tenor - with 2 as
And 1 ts, otherwise with 2 as and 2 ts occupied and by the way also
Still functioned as a clarinet set, and the rhythm group in which the
Bass initially played only the strong bars 1 and 3. In year
In 1927, the sheet metal set became a trumpet and a trumpet set
divided. As a soloist, Don Redman has appeared very little.
The most important interpreters of the orchestra were:
T r o m p e t e (C o r n e t t):
Joe Smith played expressive and melodious, but sometimes
Somewhat sentimental-sweetish melodic lines. He also showed himself as
Good companion of women, especially by Bessie Smith.
Louis Armstrong (see black Chicago style!) Came after dissolution of the Creole jazz band
King Olivers in the fall of 1924 to New York and became Solotrometer of the orchestra, at the
time when it became a Swing orchestra. With Armstrong the orchestra had now
A soloist of superior class, distinguished by his artistic and
The still existing The likelihood of the sentence play in the background. Armstrong stayed
Until autumn 1925 (return to Chicago and founding the Hot Five). During his time in New
York, Armstrong occasionally played in Clarence Williams' Blue Five and accompanied,
among others, the female Bessie Smith.
Tommy Ladnier belonged to the orchestra from autumn 1926 to spring 1928
at;
Rex Stewart joined the orchestra in spring 1926. On the
Trumpet playing of Louis Armstrong, he developed
A technically mature style, characterized by Henderson
Fast phrasing with attack, and vital solos. Later, as a soloist
The orchestra Duke Ellington (see there!), He changed his playing style.
Stewart remained until 1932 in the Henderson Orchestra.
Bobby Stark was Fletcher Henderson 's preferred trumpet - solilist
1928 to 1933;
Henry "Red" Allen, previously already famous for his game in the
Orchestra Luis Russell, was from the autumn of 1933 to the end of 1934
Start-up orchestra of the orchestra. Allen was the first trumpeter
Armstrong, who developed his style by a small step: Most
Change fast, sharp-playing passages with long drawn, something
Polished individual tones rhapsodically and emphatically.
Roy Eldridge was the orchestra's last major trumpet soloist
Beginning 1936 to spring 1937. Its play in this time built on the
Plays by Louis Armstrong, Rex Stewart and especially Henry "Red"
To all. In later years, Eldridge has its own trumpet style, Which became the basis for the
trumpet playing style of Bebop.
Emmet Berry, the successor of Eldridge until the dissolution of the
Orchesters in 1938, was already a student of Roy Eldridge.
P o s a u n e:
Charlie Green played the trombone of the orchestra in 1924

Until the beginning of 1928 in the sense of the New Orleans and chicagostils;
Jimmy Harrison was the outstanding trombone player from the beginning of 1927
The orchestra and the entire jazz of the time; He died in July 1931;
Benny Morton played melodious in the sense of Jimmy Harrison
Trombones also in high positions;
J. C. Higginbotham, as well as Allen also star of the orchestra Luis Russell,
Belonged to the orchestra from the summer of 1931 to the end of 1932. He was
One of the most popular trombonists of swing style with characteristic Glissandotechnology.
K l a r i n e t t e and S a x o p h o n:
Buster Bailey was from the end of 1924 to the end of 1928 the clarinettensolist
The orchestra;
Coleman Hawkins was the first truly significant saxophonist of the
Jazz history. As early as the summer of 1923 we find him in the Fletcher orchestra
Henderson, to whom he belonged until the summer of 1934 (on this he emigrated
to Europe). Hawkins should have his characteristic sonorous tone
Especially with regard to its strong vibratos Clarinet plays by Sidney Bechet and Johnny
Dodds, But soon began the initial staccato discipline into one
Legatophrasia. Hawkins was also one of the first
Musician, his solos in the form of harmonious variation (not
Melodievariation). He created an artistic mix of the
Horizontal and vertical variations, and soon became a
Master of solo construction and the enhancement of solos to beautiful
Highlights, in which he usually the full extent of the instrument
Respectively. His saxophone playing style has been the direction for the
Overall swing style at least until the forties. (About the others
Careers of Hawkins see below!)
Ben Webster was the direct successor of Hawkins in the orchestra
Fletcher Henderson and played a distinctly Hawkins
Oriented style. However, he did not reach the height of his career until
Member of the orchestra Duke Ellington (see there!).
Chu Berry was the saxophone star of the orchestra in the years 1936 to
1938. Berry was the most significant tenor saxophonist in the Coleman-Hawkins-
Style to his (Berrys) death in 1941. In the years when Hawkins was in
Europe was (1934-39), Chu Berry was considered the leading soloist in the USA
On his instrument. He preferred the vertical style in fast
Runs, but worked out beautiful highlights. Berry phrased legato
And was, in quick numbers, Hawkins musically quite equal.
R h y t h m u s g r u p p e:
John Kirby was a solid companion, initially on the tuba, later on Bass; Only later did he find
that of Walter Page and Pops Foster created a "walking-bass" game.
2. D u k e E l l n ng t o n and his orchestra
Ellington (1899-1974), who was one of the leading until his death
Orchestral director of jazz, founded in 1924 for the time an old-
Combo "The Washingtonians". From 1926 he directed a larger big band,
And when she was engaged in the New York "Cotton Club" in 1927Was the great rise of the
orchestra Duke Ellington.
Duke Ellington was one of the few orchestral directors of Swing, who did not
Was influenced by Don Redman's arranging technique. The difference
Of Redman, Ellington did not divide the winds into groups, but reached
By using all the winds together in a differentiated setting
(So-called "mixed set") a much larger sound color. He leaves this
Great sound body either from the first trumpet or from the Lead the clarinet (!); The deepest
voice is the baritone saxophone educated. In between, correspondingly stratified, are the rest
Trumpets, saxophonists and trombonists. Ellington reached with this Strong sound body a
dense sound with often Impressionist stamp and, among others, the composer Maurice
Ravel and Claude Debussy to his strongest influences. Accordingly he used quite individual,
for the then Time (in jazz) highly modern harmonious set techniques, whereby the
Sometimes strong dissonances in the movement through the soft timbre Instruments.
With his orchestra, Ellington created two different modes, the

So-called "JUNGLE STYLE" and the "MOOD STYLE". The "jungle style" consisted of one
Stressed wild, rough game with strong dissonances and powerful "growl" effects
Thanks to the alternating sound of the trumpeters and trombonists. The "moodstyle"
However, was soft, sometimes even almost sweet. There were slow worn pieces in
Impressionistic compositional technique (frequent sound painting).
According to his two orchestral styles one can clearly distinguish between the
"Jungle-style" -colors and "mood" -solists, with the (rare)
Leaving a musician whose successor to the role of his predecessor Had to adapt.
"J U N G L E - S T Y L E" - Soloists:
Trumpet:
Bubber Miley, already 1924 member of Duke Ellingtons "Washingtonians", played with
produced by various attenuators
"Growl" effects, whereby he often tried the human voice. In addition, Miley used many "blue
notes" and one Light vibrato. From spring 1929 joined
Cootie Williams in his place. Through Ellington into this scheme
Cootie Williams was unfortunately only very little to hear without damper,
Which is why, in principle, the trumpet game is based on Armstrong
Could be too little. His damping game is broad
Schematized, the phrasing is quite simple and effective. Cootie
Williams joined the orchestra Benny Goodman in 1941, his successor
has been
Ray Nance, of Ellington's "jungle-style" trumpeter (and violin soloist)
1974 remained.
P o s a u n e:
Joe "Tricky Sam" Nanton was Ellington's great "jungle-style" -posaunist

From the autumn of 1926 to 1947. Nanton's successors were from 1947 onwards
Tyree Glenn and from 1948 until the sixties
Quentin Jackson (see mainstream jazz!).
"M O O D - S T Y L E" - Soloists:
Trumpet:
Arthur Whetsel was Ellington's first "mood" trumpeter from 1928 to 1935;
Rex Stewart, is still a lively, stirring soloist at Henderson
From 1935 to 1944 Whetsel's successor. He was playing softer now
Developed its own technique, by only partially squeezing the
(So-called "half-valve" technology). Rex
Stewart's successor from 1944,
Taft Jordan, took over this style of playing with "half-valve" technology
Jordan's successor from 1951,
Clark Terry, continues to apply to the present (see also Mainstream Jazz!).
P o s a u n e:
Juan Tizol, a valve trombonist, was Ellington's first "mood" soloist

Autumn, 1929;
Lawrence Brown was the significant "mood" -posaunist from 1932 to
1949. Brown likes to use clay abrasions, which his play often
Sweetish sound. On fast numbers it comes with him
Similar effect to J. C. Higginbotham: The trombonist approaches the
Sound by Glissando, but must be driven by the tempo of the
Already abandoned, before he has fully reached him.
Other trumpeters, which do not fit into the scheme "jungle" - "mood" style, were:
Harold "Shorty" Baker, who belonged to the orchestra from 1943 and
Cat Anderson, since 1944 in the orchestra and one of the great
High trumpeter of jazz, also as a soloist.
K l a r i n e t t s t e n s and s a x o p h o n i s t e n s:
Duke Ellington, the first composer of jazz, of works Larger forms (suites with partial
impressionistic Sound painting, programming - "Harlem Suite") for his Sounds obviously a
soft saxophone playing with partly Sentimental sound deadening and strong vibrato.
Barney Bigard developed into a technical one at Duke Ellington

Perfect big band clarinetists. Bigard also played in the set tenor saxophone;
Jimmy Hamilton, Bigard's successor from 1942, played a technical
Perfect, Benny Goodman-oriented, smooth and agile
Legatostil on the clarinet;
Johnny H o d g e s, the orchestra with minor interruptions
From 1928 to his death in 1970, developed
On the basis of Sidney Bechet 's playing habits (he also had directly at
Bechet lessons received) by a violent vibrato and powerful
And distinctive melodious phrasing characterized saxophone style. In
Earlier - around 1931 - Hodges played lively solos on Altund
Sopransaxophone. In later years, more and more grew
Sentimental sentimental phrases, especially in the case of slower ones
Pieces, which had a clear trend towards sweetness -
Probably to meet Ellington's request.
Harry Carney was the pioneer of jazz on the baritone saxophone. He, too
Joined the orchestra in 1928 and remained with him until the very end. Carney
The orchestra succeeded Otto Hardwick, who, in addition to the
Alto Saxophone also played in the set baritone and bass saxophone. The strong
Vibrato Hardwicks as well as the playing styles of Johnny Hodges and Coleman
Hawkins should have been his main influences. Carney succeeded
Soon, the whole mixed composition of the orchestra a profound depth
Basis. As a soloist, Carney played striking phrases in vertical
Variations with vibrato. Besides, he was also a clarinet tensilist (auf
"Mood" numbers, played in the deep position) and alto saxophonist.
Ben Webster (ts) helped to make the orchestra his second major
Climax (1939-41). Webster was at that time already a well-known
Star, previously in the orchestras Bennie Moten, Benny Carter, Fletcher
Henderson and Cab Calloway. Its differentiated sound is sufficient
From the most tender, nearly breathed, pianissimo to the end of the night
Strong "growl" effects reinforced fortissimo, with strong vibrato.
Al Sears was Ben Webster's successor from 1943 onwards.
R h y t h m u s g r u p p e:
Duke Ellington himself was not an outstanding soloist on the piano. Originally
Pianist in the Harlem school, he had his role in Willie "the Lion "Smith, as he used a vital
stride accompaniment, But most of the time he only played short solopassages, filled with fast
Runs, which often had a modern harmony, such as alterations, Tensions, whole-tone
conductors and the like.
Wellman Braud, from New Orleans, was Ellington's first
Great bass player from the fall of 1927 to the end of 1934. From Bill Johnson and Pops
Foster, he already played striking "walking bass" accompaniments
From 1927 onwards.
Jimmy Blanton was discovered by Ellington at the age of 18 and
1939 engaged. Already in 1941 he had the orchestra because of lung TBC
Left and died on 30.1.1942. In this short time of his
Blanton, however, revolutionized the entire bass style of the band
Jazz. The previous "slap-bass" technique and the original "walking
Bass "style has been further developed by Jimmy Blanton
Created in an independent harmonious variation Form of a melodic line moving in a
counterpoint.
Oscar Pettiford, a student of Jimmy Blanton, gave the orchestra to the
Years from 1945 to 1947 a solid, modern bass accompaniment.
Duke Ellington was the first highlight of his career The orchestra in the years 1927 to 1931.
At that time was his Compositional style is new and exciting and the soloists still
Unused In the years 1939 to 1941 followed the second high point, at which the
Now a new addition to the musicians:
Jimmy Blanton as bassist, Ben Webster as a tenor solist, with his vitality
From the Ellington scheme, and Billy Strayhorn
As an arranger. Even though Strayhorn's arrangements are a great one Have similarity with
those of Ellington, he brought a new one Touch into the repertoire. The orchestra could prove
to be one of the few The year 1945 (beginning of the Bebop-era) and still existed until
1949. About the reestablishment 1951 and the time after see mainstream Jazz!
3. B e n n y G o o d m a n and his ensembles
Goodman (1909-1986) still played quite a long time in the New York style and
Came relatively late to the swing style: in 1933 he learned his later
Brother - in - law, John Hammond, music critic and concert agent,
His career should be of great importance. Hammond
Made an orchestra for record recordings with Goodman
And insisted on the use of Jack teagarden (tb) and genes
Krupa (dr), while Goodman definitely had arrangements by Arthur Schutt,
Which were still held in the New York style. Since December
1933 also recordings were made for the American "Columbia" record company with a nonet.
At express John Hammond 's wish was also made by black musicians like Coleman Hawkins,
Teddy Wilson and Billie Holiday Unwritten spell broken against mixed-orchestra.
In 1934 Goodman conducted a permanent orchestra, already in the Designed by Fletcher
Henderson with a classic swing setting of 3 tp, 2 Tb, cl, 2 as, 2 ts and rhythm group. After
initial large Financial difficulties, the orchestra's rise began Radios and by a great success in
Los Angeles after one Already seemingly unsuccessful tour. Again, on the pressure of John
Hammond employed Fletcher Henderson as an arranger. The Goodman orchestra was now
playing arrangements in the way they did that Henderson orchestra had already played 8-10
years earlier, and won So sensational success. Beside Henderson arranged Jimmy
Mundy and the former Henderson saxophonist Edgar Sampson; you too Arranged in the style
of Fletcher Henderson. Goodman had A very strong trumpet set with absolutely clean sharp,
Sometimes already almost intonation. This was explained in the Arrangements inferior than in
the Goodman orchestra Frequently - not, as usual, the saxophone set, but - the
Trumpet set became the main bearer of melodic happenings. As a result, the Goodman pieces
often received precision Also a biting sharpness. The highlight of the orchestral career of
Benny Goodman was his Famous Carnegie Hall Concert on 16th January 1938, the first jazz
concert In this "Hochburg" of "classical" music.
Goodman also devoted himself very early to the combo swing. From 1935 onwards
He played with Teddy Wilson and Gene Krupa in the trio, 1936
Lionel Hampton (vib) was added to the quartet. As 1939 John Hammond discovered the
guitarist Charlie Christian, was born in Also played in the Sextet (or Septett). From today's
perspective These combo recordings were more artistic and musically more interesting
Than the much more popular big-band recordings. The Combo Records Benny Goodmans are
among the most valuable and Most important recordings of the swing era.
Main performers of the various Goodman ensembles:
Harry James (tp) was one of the best technicians on his instrument
In the swing era. In his phrasing, he often recalls his role model
Henry "Red" Allen, whose rhapsodic game he also used.
Harry James, together with Bunny Berigan, was the most important white
Trumpeter of the swing style.
Ziggy Elman (tp);
Cootie Williams (tp) came to the end of 1940 / early 1941 to the Benny Goodman-
Orchestra. His "jungle style" contrasts well with the perfect and
Typical "white" movements of the orchestra. Also in the Goodman-
Sextet (or Septett) Williams was active as a soloist.
In thirties, Benny Goodman developed into one in the Western sense technically perfect
clarinetist (he also has Classical clarinet concerts) with vibratolous and liquid
Legatophrasierung in predominantly vertical variation technique. He was the Leading
clarinetist of the Swingstil and one of the most important of the Entire jazz history. He
reached his solo highpoint 1945-47.
Bud Freeman (ts) played for several months in the orchestra in 1938;
Georgie Auld worked for Goodman in 1940 and 1941 Tenorsaxophonist in the Coleman-
Hawkins style;
Lionel Hampton, the first musician to play the vibraphone from 1930 on jazz Soloist,
belonged to the Goodman-Combos from 1936 on.Hampton played with a hard attack "single-
note" -phrases. He is a Vital improviser with an inexhaustible imagination, the most refined
Rhythms (many triols) and partly very modern harmony. Hampton used both the vertical and
the horizontal Variation technique. Hampton was also a driving and driving force
Striking drummer and a vital pianist in percussive Two-finger technique (analogous to its
vibraphone style).
Red Norvo was the Vibraphonist of the Goodman Sextet from 1945 until 1947 and the first
xylophonist of jazz. Accordingly, he used On the vibraphone, for example, no vibrato and no
pedal. Sound extensions He produced - as on the xylophone - several times by striking the
Plate. As a soloist he played melodic lines in fast runs, which strongly The variations of
Teddy Wilson (p).
Jess Stacy
Was Goodman's favorite big band pianist in the 1935 success years 1939. Stacy appears
influenced by Earl Hines, playeth vigorous, powerful Phrases and amplified these - as well as
Hines - often by playing in Octaves.
Teddy Wilson was the pianist in the Goodman-Combos from 1935 to 1939
And in 1945. Wilson was directly influenced by Earl Hines
Swingpianist and one of the most important of swing style ever.
At first, Wilson, like Hines, was playing hard
Distinctive "single-note" -phrases. Very soon he developed -
Possibly also under the influence of Art Tatum (see p
Down!) - his own characteristic style: he plays fast, strong
Moving leggings with his right hand and occasionally gaits
In decimals with the left hand - often in the form of chromatic
Passages. Specifically these gears, which are also rhythmically in contrast to
His melody phrases, give Teddy Wilson's play one
Own charm. Particularly noteworthy is Teddy Wilson
Harmonics, which gives him the swing style usual harmonious possibilities
Fully exploited. This applies in particular to the harmonic
Transitions to, the Wilson mostly in the form of chromatic passages Playing.
Johnny Guarnieri was Goodman's pianist in the years 1939 to 1941. He
United the playing styles of Teddy Wilson, Fats Waller and Count Basie
To their own humorous swinging accompaniment and solospiel technique.
Mel Powell (p) belonged to the Goodman ensembles 1941-42 and 1945-47
at. His game is heavily replicated by Teddy Wilson.
C h a r l ie C h r i s t i a n (g), discovered by John Hammond in 1939 and

Goodman, practiced a fundamentally new one Guitar technique: He played on an electrically
amplified guitar "singlestring" Solos, which corresponded entirely to the phrases of a
saxophonist. It was called "REED STYLE". Charlie was also Christian his contemporaries in
jazz development years ahead. Christian regularly used Tensions and Altered chords as well
as passage and / or accord chords. His solos He designed in long, logically constructed and
enhanced Melody phrases mainly in vertical improvisation technique Particularly
characteristic is his complex melody rhythm: Christian preferred to play the caesura and
others Unexpected places suggestive breaks. Avoid at all The rhythmic regularity of the swing
style. He switches between Antici- pating and retarding style, the latter predominant. In his
solophrases, too, short rounds alternate with fast runs Suddenly with longer lasting single
notes (mostly after largeInterval jumping into the high positions).Charlie Christian used both
in rhythmic as well Harmonious and melodic aspects Innovations of the later Bebop style. He
was one of the great pioneers of the Modern jazz, which he himself unfortunately could not
witness, since he Already died in March 1942 at Lungen-TBC.
Slam Stewart was the bassist of the Benny Goodman sextet around 1945. In His
accompaniment technique he combined the "walking-bass" style The modern bass style by
Jimmy Blanton. The most striking Slam Stewart, however, is his solo technique: he cuts
melodiously on the bass Horizontal phrases and buzzes to octaves or unison.
Gene Krupa was the celebrated percussionist of the Goodman ensemble From 1933 until
shortly after the famous Carnegie Hall Concert in the year 1938. After that his popularity
gained quickly in this concert And founded their own orchestra.
These were the three most important orchestras of the swing style New Yorker bPernä
gguanbg. There
But still a great actor of important orchestras in New York
York, of which the most important are mentioned:
Luis Russell and his Orchestra, later Louis Armstrong and his Orchestra
One of the early swing orchestras (starting from 1929) with very swinging
Rhythm group (Pops Foster was the bassist) and the soloists: Henry
"Red" Allen (tp) and J. C. Higginbotham (tb). The orchestra was
1935 by Louis Armstrong and until 1942 as "Louis
Armstrong and his Orchestra. "The mainist then was Louis Armstrong (tp, vo) himself.
Chick Webb and his Orchestra

With the soloists Taft Jordan, Bobby Stark and Sandy Williams (tp), Wayman Carver (fl)
on the flute as a solo instrument of jazz, Chick Webb (dr) and Ella Fitzgerald (vo).
Bunny Berigan and his Orchestra,

The orchestra of the second great white swingtrometer (next to Harry James), another
Dominant soloist
Georgie Auld (ts).
Tommy Dorsey and his Orchestra,

Was next to Goodman one of the most popular swing orchestras with many
Musicians from the Chicago and New York style. The mainists were:
Pee Wee Erwin (tp), Max Kaminsky (tp), Yank Lawson (tp) (see Revival!),
Tommy Dorsey (tb), Bud Freeman (ts) and Frank Sinatra (vo).
Artie Shaw and his Orchestra,

Also one of the most popular swing orchestras. The mainists were:
Artie Shaw (cl) and Georgie Auld (ts).
Glenn Miller and his Orchestra,

A very popular orchestra on the threshold between dance music and Jazz.
Lionel Hampton and his Orchestra,

Founded in December 1941; With it occurs over a stamping
Rhythm a loud game in powerful tutti passages, often riffs
Respectively. The mainists were Lionel Hampton (vib), Milt Buckner (p)
And short time Illinois Jacquet (ts), who became a classic-made solo
On "Flying Home".
B) KANSAS CITY SWING:

In Kansas City, the swing style is independent of New York
Other sources: The Swingstil was created in New York as
A further development of the already predominantly elements of the
The music of New York. Therefore they were missing
The Swingstil New Yorker - by the Duke Ellington orchestra
( "Jungle style") - strongly negroid elements (Bluestonalität, Responsorialschema,
Negroide aesthetics, blues interpretations, etc.).
The Swingstil in Kansas Citye, on the other hand, was the musical practice of the Territorial
bands - directly through the further development of the New Orleans and Black Chicago style.
Therefore, the Kansas City Swing through strong use of elements and Techniques of African-
American folklore. We find a lot here More pronounced hot-intonation using more varied
"Black" techniques; On the other hand, the technical mastery of the Instruments are not as
perfect as in New York. The orchestras out Kansas City and the surrounding area play -
especially in the early phase Preference Blues in the Responsorial Scheme. They developed
from the "Stomp" technique of the old jazz reef technique. This consists of the Constant
repetition of a short melody phrase, which is usually simple And is memorably and tonally
designed in such a way that it can be used without any essentials Change at each harmonic
step change Can The ostinate repeating is in itself melodically monotonous, produced
But by the constant change of the harmonic basis Ecstatic charm. Riffs are used both as main
voices and as Accompanying voices. Usually different riffs of the individual
Orchestersets in the Responsorial Scheme.
The general characteristics of the swing style as described above Were also applicable to the
Kansas City Swing.
Main orchestras of the Kansas City Swing:
B e n n e m o t e n and his Orchestra

(1894-1935)
This formation took in the development and development of Kansas City
Swing a key position. Founded in 1920, was - like
Records from 1923 prove - at the beginning New Orleans jazz
And mostly blues. Recordings from the year 1925 show
Then - parallel to the development in Chicago - already a stronger one
The soloists, and from the end of 1926 to the beginning of 1927
Orchestra has already started swinging. The occupation consisted at this time
From 2 tp, 1 tb, 4 sax and rhythm group. The recordings still show
A distinct "two-beat" rhythm, which corresponded to soliloquies
Nor the techniques developed in New Orleans. Coming from 1929-30
New musicians and soloists to the orchestra (1929: Count Basie, 1930: "Hot
Lips "Page [tp] and Jimmy Rushing [v], 1931: Walter Page [b] and 1932:
Ben Webster [ts]).
Around 1931 the rhythm group of the Bennie-Moten-Orchester played
Already as it should be customary for the Kansas City Swing: the
Guitar strikes a tight 4/4-rhythm, supported by drums,
And also the bass now marks all 4 beat parts evenly in the so-called "
"WALKING BASS" -Technik: The bassist plays chord breaks in up and down
Outgoing lines, on the strong clock parts 1 and 3 a sound comes out The basic chord, on the
weak clocks generally pass-through tones. As a pioneer of these gigs, the Kansas City bassist
Walter Page, the Allegedly since 1927 these play practices used. Anyway, have
Already Pops Foster and Wellman Braud about the same time Played.
Most important soloists of the Bennie-Moten-Orchestra:
"Hot Lips" Page (tp),

Ben Webster (ts),
Jack Washington was next to Harry Carney one of the pioneers on the bs;
Count Basie came to the orchestra in 1929, replaced the orchestra director at the
Piano and played at that time still typical Harlem-Stride-style with the left
Hand and animated vertical phrases with the right. His later
Famous "sparing" piano style, he has only in his own Orchestra (see there!).
Eddie Durham (tb, g), trombonist of the orchestra (no solos on the
Trombone but on the guitar!), Was one of the leading arrangers
The swing time. He later arranged mainly for the Count Basie-
Orchestra.
The orchestra existed until 1934. Moten died in 1935, Count Basie
A part of the musicians in its then founded band took over.
C o u n t B a s i e and his Orchestra

(1909 - 1984)
This ensemble (originally founded in 1935) was founded as a nonet
Initiative of John Hammond, who conveyed the band to Chicago in 1936
(See the story of Goodman Orchestras) to a big band.
(In the course of this change Basie lost one of his best soloists,
Buster Smith (ts), the great plans of Basie and Hammond
And therefore stayed in Kansas City.) In Chicago
The first recordings were recorded in October 1936
For contractual reasons, however, only with a combo and under
Other name.
At the end of 1936 Basie and his orchestra went to New York. Although that
Orchestra - according to New York performances - by no means pleasing
(Too little precision, too few "nice" arrangements, too long solos)
Advanced thanks to the unrestricted support of the
Music critics and trade journals soon became one of the leading orchestras
in the city.
Characteristics:
Basie also retained the style in Kansas City in New York
Swing at. He mainly played blues and used them
Extensive reef passages, whereby he usually 2-3 different riffs, from the
Different sets played, each other in "call-and-response" form Against However, the Basie-
Orchester is especially characterized Especially by the play of his rhythm group, at that time
the absolute Best and leading of swing style:
Freddy Green (g), with his consistently played "swinging"
Quarter notes the basis for the game in the rhythm group.
Walter Page, as already mentioned, one of the pioneers of the "walking-bass" Playing styles,
also highlighted in four lines Clock parts evenly.
J o J o n e s, one of the leading drummers of the Swing era
But not - such as Gene Krupa in the Goodman Orchestra - the 4/4 at the
Basstrommel durch (thereby he would be the beautiful "walking-bass"
Characters of Walter Page), but uses the base strum
almost not at all. He starts as the first on the Hi-Hat in the episode
For the jazz basic "Cymbal Ride Beat", which later
In the bebop of Kenny Clarke to the typical Beckenschlag
has been. Jo Jones was one of the pioneers of drumming Modern jazz.
Count B a s i e concentrated on his piano accompaniment,
Sporadic chords. This thrifty, usually "off beat"
And "blue notes" For Count Basie's entire future production period.
In the rhythm grouping, two instruments (g And b) the beat, the drum fixes the beat only
implicitly (Cymbal Ride Beat), on the piano are rhythmically disoriented
Accents. This interaction gave such a good effect that in The pieces of the orchestra are
frequently composed of rhythmic groups Of the above-described manner.
The orchestra Count Basie had great musical personalities with strong Individual playing as a
soloist; The quality of the band is predominantly of Of the soloists.
Most important soloists:

On the trumpet as well as on the tenor saxophone Basie was striving to have two musicians
With different gameplays:
Buck Clayton (tp) played with soft tone and with characteristic
Strong vibrato at the end of the tone very melodious solos, at Basie mostly
With damper;
Harry Edison (tp) was Clayton's "opponent" in the orchestra, - emphasized loudly
And used many "blue notes";
Dickie W e l l s (tb), (previously in the orchestras Benny Carter and
Fletcher Henderson, 1932-33), changed to Count Basie of the
Staccato to the legatophrasation with a preference for surprising
Oversized intervals (influence of his orchestral colleague Lester Young - retarded playing
style);
Benny Morton (tb),
Vic Dickenson (tb).
Basie preferred as a solo instrument the tenor saxophone, which is always with Great
soloists:
Herschel Evans (ts) used a strong vibrato; He already died 1939;
L e s t e r Y o u n g (Ts, cl), (1909-1959), is one of the largest and most important
Most important personalities of jazz history. He began in 1930
The play on the tenor saxophone (previously dm, as and bs), taking him
At that time mainly influenced Frankie Trumbauer (cms)
(Low vibrato sound, legatophrasia, large intervals in
The high locations). From these influences he developed his own
Characteristic playing habits with low, smooth, vibrato-poor
Tone, strongly retarding playing style and long, very melodious
Melody lines in legatoid movement, often interrupted by sudden
Oversized intervals in the high positions. With this way of playing
Young put himself in contrast to what was then customary Saxophone playing the swing
(Hawkins school), which is why he first Did not receive the due recognition.
Young designed his solos in horizontal variations on the Principal harmonies, which he often
already to Tensions and altered chords Advanced. He also played with very irregular solos
dynamics and Used to play the caesura every 4 or 8 bars Other breaks. Lester Young was thus
(as theGuitarist Charlie Christian) is one of the great pioneers and pioneers of the
Modern jazz. His tone and his phrasing influenced the following Bebop, Cool Jazz,
Westcoach Jazz and Partial Also mainstream jazz and hard bop.
Buddy Tate (ts), the successor of Herschel Evans in the band
Melodic, often solophrases based on Lester Young. When Young 1940 The orchestra left,
Tate, so to speak, functioned in its place, And he was now a musician of the Coleman-
Hawkins school
Solistically:
From the beginning of 1941 to 1943, Don B y a s (ts) was the opposite pole. He was One of
the most important representatives of his instrument in the Coleman- Hawkins playing.
Lucky Thompson (ts), a pupil of Don Byas in soft, ornate
Vertical play, followed in 1944;
Illinois Jacquet was a bass saxophone star in the years 1945-46.
Jacquet combined the influences of the Coleman-Hawkins with his play
The Lester Young School. He creates the highlights of his solos
Usually by shrill, effect-enhanced game, either with "growl" effects
Or through excursions to the highest positions or throug
Incessant "riding" on a clay. These effective techniques have To become a very popular star
of many "Jazz at the Philharmonic "concerts.
Paul Gonsalves (ts), at Basie, 1946-49, was again a saxophonist of the
Coleman Hawkins School and became in later years the starsolist of the
Duke-Ellington-Orchesters (see Mainstream Jazz!);
Jack Washington (ts) played baritone saxophone in the set, became a soloist But rarely used.
Eddie Durham was Count Basie's preferred arranger, who had many of the
Greatest success numbers of the orchestra. Next to it Durham Trombone Phrases and Guitar
Soloist: He played – well Before Charlie Christian - on an electrically amplified guitar
harmonious Modern soli in vertical style.
The musicians of the rhythm group have already been discussed above.
Jimmy Rushing was a major singer in the "shout" style.
Count Basie (as well as Duke Ellington and Benny Goodman) could
His orchestra beyond the year 1945 to 1949 despite the dominance of the
"Bebop", but then it had to dissolve. About the
Later on, see Mainstream Jazz (JG 2)!
Other major orchestras from the area of the Kansas City Swing:
Andy Kirk and his Twelve Clouds of Joy:
Haupsolists: Dick Wilson (ts); Mary Lou Williams (p, arr) was probably the
Most important musician of the ensemble, wrote most of the arrangements
And was the piano soloist in a somewhat smoothed Earl Hines manner.
Jay McShann and his Orchestra:

Copied the music of the Bennie-Moten and Count Basie orchestra,
Many blues interpretations with riffs. Mainists: Charlie Parker
(Originally influenced by Buster Smith and Lester Young
Alto Saxophonist with smooth vibratolo tone and predominantly vertical
Legatophrasation, partly already with modern harmonics and
Rhythmik, one of the pioneers of Bebop). Jay McShann himself
Count Basie's pounding puzzles.
Walter Page's Original Blue Devils

Were one of the leading groups in the early days of Kansas City Swing
With "Hot Lips", Bustersmith, Lester Young, Count
Basie, Walter Page, Jimmy Rushing).
In addition to the most important formations of the New York style swing style And the
Kansas City Swing will be followed by those orchestras Which do not fit into this scheme:
J i m m i e L u n c e f o r d and his Orchestra

(1902-1947)
This orchestra belonged - together with those of Ellington, Henderson, Goodman and Basie -
among the most important of the Swingepoche. Lunceford founded his first volume in
Memphis in 1926 and stayed here until 1930. In the years 1930-33 he played in Buffalo (near
the Niagara Falls) On the Canadian border) and came only 1934 with already completely
Mature, own playing methods to New York. The main reason for the
Remarkable quality of the orchestra were less the soloists than the
Excellent arrangements by Sy Oliver and occasionally by Eddie Durham.
Characteristics of Lunceford orchestral style:

The band scored in the set play by strong staccato phrasing andStrong rhythmic accents (the
whole band incl. Rhythm group),Which are often syncopated, partly also only strongly "off
beat" be set,With predominantly slow to mid-tempo ( "Lunceford-Tempo ") is played,
amazing rhythmic sophistication (Arranging Technique by Sy Oliver!). Furthermore, we hear
extensive, Full orchestral passages with partly mixed set (especially Tb and ts, bs), and
thereby a fully differentiated orchestral sound. Characteristic is the strong use of the deep
layers in the Arrangement (the orchestra played since 1935 with three trombones instead of
the Usual two). The baritone saxophone was often combined with the
Trombones. We also find two-part linear equations
Melody guidance in the arrangement.
Most important soloists:

Paul Webster was one of the first high trumpeters of jazz;
Sy Oliver (tp), arranger of the orchestra;
Trummy Young (tb), later Louis Armstrong;
Willie Smith (as) and
Joe Thomas (ts).
E a r l H i n e s and his Orchestra:

(1905-1983)
The orchestra is directly from the Chicagostil
And also played for the most part in Chicago. In the forties
A number of later bebop musicians played with Hines. The
The mainists were:
Walter Fuller (tp),
Trummy Young (tb),
Budd Johnson (ts), first from Coleman Hawkins, later also from Lester
Young influenced tenor saxophonist, was also an arranger
Later promoter of the emergence of Bebop - but without it himself To participate.
W o o d y H e r m a n and his Orchestra

(1913-1987)
Woody Herman founded around 1936 an orchestra, which soon under the Title: "The band
that plays the blues". This was Insofar as it is a purely white orchestra , Which specialized in
the reproduction of blues. The Band played arranged "call and response" -phrases, the soloists
Tried to sound as "black" as possible. Around 1944 it came to the Formation of the so-called
"First Herd", with a number of new musicians engaged And the orchestral style was changed.
The great successes that this "First herd "towards the end of the Swing era - the band was
1945 probably the Leading swing orchestras - go to a very large extent to the works
Of the arranger Ralph Burns. This wrote arrangements in A very modern swing style with
partial use of Techniques of modern Western music. He also became too
One of the first composers and arrangers in the so-called "Progressive Jazz"
(See JG 2!). A particular peculiarity of his Arrangiertechnik was the
Use of a "band in the band" (usually cl, vib, p, g), which is the great
Orchestra contrasting concerto grosso-like. The orchestra also had a good rhythm group, the
For example more modern than that of the Basie orchestra, as well as over
Good soloists:
Sonny Berman, a technically perfect high trumpeter who plays his solos
Partly already with modern conception. He died in 1947 Age of 23 years.
Bill H a r r i s (tb), whose play is not directly related to influences
Of other musicians, hardly used in his play
Chord breaks, but designed the soli almost exclusively
Horizontally by developing and advancing new motifs (with
Characteristic vibrato at the end of a phrase).
Woody Herman was a technically good clarinetist with one at Benny
Goodman borrowed phrasing. At the alto saxophone, he copied the
Something sentimental by Johnny Hodges.
Flip phillips (ts),
Red Norvo (vib),
Ralph Burns (p, arr)
Billy Bauer, the later Cool-guitarist (among others with Lennie Tristano, see JG
2!) Was mainly in the orchestra Woody Herman only as
Rhythm guitar player active;
Chuc Wayne (g),
Chubby Jackson (b),
Dave Tough (dr) was with his subtle stroke and
The ideal addition to the rhythm group;
Don Lamond (dr) replaced Tough in early 1946.
On the further development of the orchestra see "Progressive Jazz",
"White bebop" and mainstream jazz (JG 2)!
Listening sample 26
Other important swing orchestras:
C a b C a l o w y y and his Orchestra:

The singer Cab Calloway had an orchestra from 1930 to 1948, the
Especially in the years 1936 to 1941 excellent soloists heard:
Dizzy Gillespie, a trumpeter oriented to Roy Eldridge
Radiant heights and already very modern rhythm (triplets and
Etc.) and modern harmonics (see bebop style!);
Jonah Jones, a trumpeter of the Armstrong school;
Chu B e r r y (ts) and
Cozy Cole (dr).
B e n n y C a r t e r and his Orchestra:

The stylistic saxophonist Benny C a r t e r, who also has a
Excellent arranger, had in the swing era a number of
Orchestras, usually studios, with constantly changing
These arrangements are characterized by a light,
Loose, melodious tuning, worn by the saxophone set.
SOLISTS OF THE SWING
In the second phase of the Swing era (about 1938 to 1945) it came next
The Big Bands to form numerous combos, in which the musicians
Opportunity for a longer solo play, whereby the
Characteristic solo.
In the following the individual Swing solisten become an overview
And the playing styles of important musicians,
The Big Bands were not dealt with in detail, characterized
Trumpet:
Tommy Ladnier (Influence of King Oliver),

Joe Smith (Influence of King Oliver and Tommy Ladnier),
Arthur Whetsel (Influence of Joe Smith),
Bubber Miley (Influence of King Oliver and Tommy Ladnier),
Bunny Berigan, the largest white swingtrometer next to Harry James,
Was influenced by Bix Beiderbecke and Louis Armstrong;
Bobby Hackett was also influenced by Beiderbecke (see also Revival!);
Louis A r m s t r o n g took part in the Swingstil from 1929, partly with
Their own orchestras, some as guests of other orchestras
The orchestra Luis Russell, which he directed from 1935 onwards. Following
Swingtrometers were directly influenced by him:
Sidney de Paris,
Jonah Jones,
Bobby Stark,
Rex Stewart,
Taft Jordan,
Cootie Williams,
Buck Clayton,
Henry "Red" Allen had developed Armstrong's styles by one step further.
When he changes, the passages are played with a sharp tone
In fast runs with long drawn, emphatically stressed,
Polished single tones.
From Louis Armstrong indirectly (via Henry "Red" Allen) were influenced:
"Hot Lips" Page,
Harry James,
Ziggy Elman,
Charlie Shavers, next to Harry James, was one of the best technicians
Among the swingtrometers;
Harry Edison,
Bill Coleman,
Roy E l d r i d g e developed from the influences of Louis' styles Armstrong, Henry "Red"
Allen and Rex Stewart his own Trumpet style, the last step and the conclusion of the Trumpet
playing styles of swing style. He played very dramatically And expressive, as well as
harmonisch modern: Beside the "flatted fifth" continues Eldridge also has other chord
settings. Being in rapid, Vividly moving, tied runs phrased solospiel prepared the
Trumpet playing of Bebop (see Dizzy Gillespie!).
From Roy Eldridge were influenced:

Emmet Berry,
Sonny Berman and
Dizzy Gillespie.
P o s a u n e:
Charlie Green,
Joe "Tricky Sam" Nanton,
Jimmy H a r r i s o n (see above!) Developed the trumpet playing style Of the swing to an
equivalent to the other instruments Improvisation practice. His disciples were:
J a c k T e a g a r d e n,
Tommy Dorsey,
Sandy Williams,
Benny Morton,
Vic Dickenson,
J.C. Higginbotham,
Lawrence Brown,
Trummy Young,
Dickie W e l l s,
Bill H a r r i s.
F l u t e:
Wayman Carver was the first major flutist of jazz, whose

Is similar to Lester Young's.
C l a r i n e t t:
This instrument had by far not the Meaning it had in the area of the old jazz. This meaning
wentIn the swing style largely to the saxophones. The main influence for the
Swingklarinettisten was the playing style of Jimmy Noone
Buster Bailey,
Barney Bigard,
Jimmy Dorsey conducted a separate orchestra in swing style, with which he
In addition to good jazz numbers also played a lot of dance music. Dorsey was the
Principal, both on clarinet and alto saxophone.
Benny Goodman (see above!) Set with his technically perfect,
Smooth, virtuoso clarinet style, new standards in swing style and style
Influenced the following clariaticists:
Artie Shaw,
Woody Herman and
Jimmy Hamilton.
Edmond H a ll was the most important besides Benny Goodman
Swingclarinettist. He played with strong "growl" effects and designed
His solos in staccato phrasing with occasional sound degeneration,
With enormous drive, great drama and good solodynamics
Predominantly vertical variation. Edmond Hall, the 1901 in New
Orleans was born, remembers in his game still strongly to the
Clarinet tradition of this city (Johnny Dodds, Sidney Bechet).
Hank D'Amico,
Lester Young: Young was playing the tenor saxophone Also on the clarinet basically
different from what was generally customary: It developed with a rather quiet but expressive
tone Legatophrases corresponding to those on the tenor saxophone.
A l t s a x o p h o n:
This instrument has strongly opposed earlier than solo instrument

Meanwhile, however, the tenor saxophone became more important
Far exceeded. Sidney Bechet and Coleman were influential Hawkins.
Jimmy Dorsey leads his technically mature style of play still from the
(New York Style) (influenced by Frankie Trumbauer) and was in the
Referring to his superior technique role model for Charlie Parker;
Johnny H o d g e s (influence of Bechet) was the great alto saxophonist
The early swing time;
Charlie Holmes, a student of Hodges from his early period
Soloist of the Luis Russell orchestra;
Tab Smith played soprano and alto saxophone with a strong vibrato,
Which is very reminiscent of Sidney Bechet;
Benny C a r t e r was the most important alongside Johnny Hodges
Alto Saxophonist of Swing Style. From influences of the Coleman Hawkins-
He developed his own style, characterized by Light tone with subtle vibrato and very fluid,
lively movement Legatoplay. Carter improvised mainly in horizontal Variationsweise and was
also one of the pioneers of modern jazz: On the one hand he used chordal alterations; on the
other hand, his Legatophrasizing, during the course of runs in fast 1/8 notes often with
Greater unexpected intervals For the following alto saxophonists
Mainstream jazz in the mainstream (see JG 2!).
Willie Smith combined the influences of the Johnny Hodges plaything (sound)
By Benny Carter (phrasing);
Pete Brown,
Edgar Sampson, Russell Procope and Rudy Williams
Alto saxophone players, the Benny Carter's loose light legatophrasis
Have used;
Buster Smith (as, cl), one of the most important musicians from Kansas City,
Has been playing here since the early thirties (unfortunately by
Recordings not documented). At the latest since the beginning of the
In the 1940s he practiced an unusual saxophone style
Completely smooth tone and vividly moving vertical legatophrases, in
To which Tensions have already been applied. Smith is hardly on
Records has been recorded and has charted Charlie Parker
influenced:
Charlie Parker built on Buster Smith's (and Lester Youngs) style of play And developed
from it its unique alto saxophone style, Related to the bebop style (JG 2).
T e n o r s a x o p h o n:
The tenor saxophone was played in a swing style next to the trumpet and the
Piano to the preferred solo instrument.
Coleman Hawkins (See Fletcher Henderson Orchestra!)

The great stylistic tenor saxophonist of the Swinga era. Almost all
The following representative of this instrument in the swing are strong of him Has been
influenced. In the course of his decade-long career Coleman Hawkins regarding sound and
phrasing three phases gone through:
1st Phase: Hawkins phrases a strong staccato in a singing variation
A strong tone and strong vibrato.
Stage 2: From about 1929 onwards, he changed his playing style as he always did
More on legatophrasing. His tone became fuller, sonorous And softer, the vibrato flowing.
During this phase, 1934, Hawkins left the Henderson Orchestra and also America and played
Until 1939 in Europe, where he was animated by the European Jazzleben.
Under his influence, good tenor saxophonists developed in Europe,
Their best and most important representative of the
Frenchman Alix Combelle.
3rd phase: In 1939, Hawkins returned to the States where he wasAre now largely forgotten
and Chu Berry as a new "King" had entered his place. But with his classic Ballad Recording
"Body and Soul" captured Hawkins immediately the summit. The period from 1939 to 1945
can be a highlight of the career Of Hawkins. Hawkins phrased even more legato, But he now
played with much more lively, quick phrasing, Whereby the sonority and the vibrato fell into
the background. Hawkins Played with fast numbers instead of a vibrato with a
Rough "growl" sound, while it continues to be at slow numbers
Classical vibrato. In this phase, he played artfully
Built solos in harmonious variation, shifted skillfully between
Vertical and horizontal variations and often built it
Harmonically modern solos (chords and tensions) great
on. Hawkins had a lot to do with the revolutionary
Bebop ideas; He was one of the first "established"
Swing musicians who were already active in the Bebop in 1944. (Please refer
Bebop and Mainstream Jazz, JG 2!)
Listening sample 28
Gene Sedric was one of the first tenor saxophone players besides Hawkins .;
Herschel Evans,
Chu B e r r y,
Alix Combelle was the American saxophonist
Equal, European tenor saxophonist at swing time;
Ben w e b s t e r,
Dick Wilson,
Ike Quebec,
Don B y a s,
Lucky Thompson (see also Bebop!).
These were tenorsaxophonists of the Coleman Hawkins school. The stylistic contrast
came from
Lester Young (See above!), Whose play is however in the
Swing has not yet been generally accepted.
However, there were some saxophonists who originally acted in the Hawkins style
Under the influence of Lester Young Played mixed forms:
Buddy Tate,
Budd Johnson,
Flip Phillips,
Illinois Jacquet,
Charlie Ventura.
B a r i t o n s a x o p h o n:
Harry C a r n e y (see Duke Ellington!) Was the most important and

Largely the sole soloist in swing style.
Jack Washington (see Count Basie!).
V i r a p h o n e:
This instrument was first used as a solo instrument in swing style

And had at the same time two great representatives with stylistically each other
Different playing styles:
Lionel H a m p t o n,
Red N o r v o.
V i o l i n e:
The violin was used relatively little as a solo instrument. Representatives were:
Eddie South, the Conservatoire, among others, in Paris and Budapest, Visited, had of all
swinggeiger the in the western sense Most sophisticated technology. He played with a strong
clean line Rhythmically strongly accentuated melody lines.
Stéphane Grappelly, a Frenchman, was struck by South during his Stay in Paris. He was the
violinist of the famous Quintetts of the Hot Club de France (with Django Reinhardt).
Grappelly played With a delicate line, frequently phrased with strong sound deadening and
Was a good improviser with ingenious melodic phrasing.
Ray Nance (tp, violin) also played in the Duke Ellington Orchestra Occasionally violin solos
- partly double-grip;
Stuff Smith was the most original violinist in swing time. He played on one Electrically
amplified violin, whereby he endeavors to work on this "European" instrument to achieve a
pronounced hot toneation. Thanks to his original way of playing, he gained great popularity.
K l a v i e r:
The piano was heavily revaluated in the swing style and was next to Trumpet and tenor
saxophone to the most widely used solo instrument. Accordingly, the number of good swing
pianists is large.
Thomas "Fats" W a l l e r was the leading swingpianist in the Harlem- Style. He founded a
swing combo as early as 1934, "Fats Waller and his Rhythm, "which is a distinctly swinging
and driving rhythm group Owned and with the Waller vital, mostly very humorous (singing)
Recordings.
Duke Ellington, as a pianist, was not as important as a composer and Arranger;

Art T a t u m, originally a student of Fats Waller, was technically
By far the best swingpianist. Tatum played with the right hand mostly
Runs at virtually unlikely pace, which he sometimes left with
"Stride" accompaniment. Art Tatum's soli are, however, mostly only
Simple melodic variations, with the basic melody clearly audible
remains. Tatum appeared primarily as a soloist or played in the trio.
Count B a s i e, also originally a Harlemian, justified his

Typical style, which for its part again imitators and pupils found:
Johnny Guarnieri combined the frugal Basie style with that of
Fats Waller and Teddy Wilson to a humorous, refined swinging Playing.
Clyde Hart used (like Basie) a thrifty, rhythmic and
Harmonically refined phrasing, in which probably influences
The play by Teddy Wilson. Clyde Hart used in the Modern chords and was one of the first
bebop- Pianists (He died in 1945.)
Sir Charles Thompson,
Earl H i n e s has his style during the swing style both
With regard to its rhythm and dynamics.
His playing, which was a dominant in swing style, has a large number of pupils found:
Jess Stacy,
Mary Lou Williams,
Billy Kyle. His phrasing is often harmoniously modern and recalls
By Clyde Hart.
T e d d y W i l s o n was, with regard to its harmonics and its
Melody of one of the most important swingpians. To his
Students include:
Mel Powell,
Eddie Heywood;
Nat "King" C o l e was probably the most famous pupil of Teddy Wilson.
Cole played more vital than Wilson with very melodic phrasing
All the great solodynamics. To do this
With the left hand, he often used the designs created by Teddy Wilson
In decimals. The singlenote phrases often interrupt Cole
Characteristic chord sequences, which in the fifties in the game Oscar Petersons.
Milt Buckner, the pianist of the Lionel Hampton orchestra,

In the 1940s, a fundamentally new pianist style, the
BLOCKAKKORDPLAYING: He played in chord blocks, which were played by
Parallel use of both hands in the middle position (ie No more separation in: left hand =
accompaniment, right hand = melody lines). The solos are created by switching the chords
Within the chord blocks (thus no "single note" lines). The
Harmonics is modern, since often extended chords played in a narrow position
(Four-part block set).
Jimmy Jones was Buckner's best student in swing style.
In modern jazz, the blockplayer Milt Buckners,

Alternating with "single note" -phases, among others used by George
Shearing, Dave Brubeck, Lennie Tristano, Red Garland and Oscar Peterson.
Guitar:
Here we must distinguish between the time before and after Charlie Christian.
Before Charlie Christian, the guitar was mostly a rhythm instrument.
Also in the (rarely occurring) Solospiel was predominantly in chords
Played, primarily by the guitarists:
Freddy Green in the rhythm section of the Count Basie Orchestra,
Al Casey, the rhythm guitarist of Fats Wallers' "Rhythm", is shown here
Not only as an excellent rhythm guitarist, but as well Also a very good soloist in chord play.
Carmen (Nicholas) Mastren, among others guitarist of the Tommy Dorsey-Orchesters.
Single string guitarists before Christian:
Teddy Bunn,
Django Reinhardt (1910 - 1953), a Frenchman gypsy
Origin, was the most important guitarist before Christian. He played
1934 technically perfect as before him no jazz guitarist - although he the ring and
The little finger of the handle hand after an accident hardly any more
Can be used. Reinhardt's model was Eddie Lang and the group Joe
Venuti's Blue Four. His combo, the "Quintet of the Hot Club de France",
Had an equally unusual cast as the Venuti-Lang group,
Namely only stringed instruments: 1 violin, 3 guitars and 1 bass.
In 1935 he already used strong Tensions as melodic lines - one
Playing styles, which have been practiced since Bebop's birth
(Including Charlie Christian, Lester Young, Buster Smith, and Charlie
Parker). He often runs the chord from top to bottom (cf.
Parker!). Octave chords were also frequently used by Reinhardt,
To increase the soli in the intensity. He was a master in the
Invention and the spinning of thematic material. His solos
Usually show a logical structure with clearly elaborated
high points; In his melody, there are also influences of the
Gypsy music. Reinhardt was one of the greatest improvisers of the Swing time.
Eddie Durham;
C h a r i e C h r i s t i a n (see Benny Goodman!)

Stylistic turn. The guitar became through him to one the other
Instruments (tp, cl, sax, p) equivalent solo instrument.
Playing by Charlie Christian:

Oscar Moore, the guitarist of the Nat "King" Cole Trios, played striking Phrases with strong
rhythmic forcings;
Tiny Grimes played with relatively soft tone supple melodiousSoli, in which he sometimes
also used clay abrasions;
Irving Ashby came to his model Charlie Christian in both Rhythmic, and harmonic;
Al Casey completely changed his playing style under the influence of Christian
And became an electro guitarist with massive, melodic "Single note" -phases;
Django Reinhardt was also let down by Christian, whom he used to be In turn. He also
attacked the electric Amplified guitar, which did not allow him any more Sound intensity as
refined as it is on the acoustic Guitar was possible. Reinhardt phrased on the electro guitar
relatively Soft and remained with its predominantly horizontal, Melodious phrasing.
Chuc Wayne played dramatic solos in the Woody Herman orchestra.
Fast Legatoplaying. It is a further development of Charlie Christian-style, usually with

consistent eighth movement Phrases.
Remo Palmieri was the first guitarist to play this legatie set in motion;
Les Paul quickly developed into a super technician
Effect-enhanced playing;
Bill de Arango was a technically good one at the end of the swing period
Guitarist. But his real importance was in Bebop
Member of a Gillespie combo.
Billy Bauer was rarely to be heard as a soloist in swing style. In cool jazz
He became the typical representative of the Legatocracy, the
Also many other guitarists of this style, above all Jimmy Rainy and Valley of Farlow.
B a ss:
The early swingbassists used until the beginning or middle of the Thirties from the area of the
old jazz Bass playing on 1 and 3.
John Kirby.
"Walking bass" style:

This technique was changed by three bassists independently of each other
1927 introduced into the jazz, namely by
Pops Foster and Wellman Braud in New York and
Walter Page in Kansas City in the Basie Band;
Slam Stewart was one of the best representatives of the "walking-bass" technique,
Which he later developed under the influence of Jimmy Blanton;
Milt Hinton,
J i m m y B l a n t o n (see Duke Ellington!) Spent on the bass A similar pioneering
performance as Louis Armstrong for the trumpet or Jimmy Harrison for the trombone. Was
the bass so far in the first place Rhythm, the harmonically simple, melodic
Unimportant accompaniment lines, the bass through him became Equal solo instrument with
also in the melodic and accompaniment lines Harmonically interesting phrasing.
Jimmy Blanton's most important disciple was
Oscar P e t t i f o r d Within the swing style. In addition, Pettiford belongs to the
Most important bass player in jazz history. His particular strength was
The soloplaying;
Chubby Jackson.
Drums:
Drummers who play the quarter-beating accompaniment rhythm by internal rhythmic figures
Or objections were enriched:
Gene Krupa,
Lionel Hampton,
Cozy Cole,
Chick Webb (Influence of baby Dodds and its inner rhythms),
Dave Tough,
J o Y o n e s (see Count Basie!) Prepared the modern
As he played his characters and was the first to use the "cymbal
Ride beat "on the hi-hat.
The drummers of the Swing, mentioned so far, have already partly contributed
Quite good throws in their game. These insults, however, loosened the beat
Only, they did not disorient him. At the end of the thirties
Two drummers, to put eccentric objections:
Kenny Clarke may have been the first to do this, as he was loud
From 1937 onwards. Kenny Clarke is however in the Swing time never really got known,
which is why his game at that time Has not yet received the due attention (see Bebop!).
Sid (ney) C a t l e t t however was one of the leading and one of the
Most famous drummer of Swing. He too used eccentric Objections which, by their notoriety,
attracted much more attention Imitators. He developed a special skill that
To accompany their soloists individually and to accompany their playing
(Pay attention to the frequent change of accompanying figures, technology and
Stringed instruments from Catlett during a number with different
Soloists). The special strength of Catlett was to match the solo
Commenting and supporting objections.
Pupils of Sid Catlett in the swing time with similar playing styles and
Eccentric objections were:
J. C. Heard,
Specs Powell and
Shelly Manne.
V o k a l i s t:
Billie H o l i d a y was the most outstanding singer of swing style. She had a rough voice,
with which she (by fine nuances in Volume and timbre, sound deadening etc.) very expressive
solos In retarded phrasing.
Listening sample 38
Mildred Bailey, a subtly phrasing singer in the New York Swing;

Ella Fitzgerald did not have the technical skills at the swing
Perfection as they reached them in the mainstream;
Jimmy Rushing (see Count Basie!),
Louis A r m s t r o n g was the most important male jazz singer of the
Traditional jazz. He sang relatively many songs during the swing time,
To whom he gave his very original speech with an extremely rough voice and
A casual, humorous type of prelude in mostly retarded phrasing
Each time clearly giving his individual musical touch;
Jack Teagarden, trombonist and singer in the Louis Armstrong groups
Etc. *** "
Cab Calloway, singer and conductor of his own big bands;
Frank Sinatra, began his career in the Tommy Dorsey orchestra;
Nat King Cole, pianist and singer in his own trio ( "Stardust");
Thomas "Fats" Waller, pianist and singer with their own ensembles;
Sahra Vaughan, sang with Earl Hines (1943), Billy Eckstine (1944/45) and John Kirby
(1945/46);
Billy Eckstine, singer, valve trombonist and leader of Big Bands, in
Including Dizzy Gillespie and the young Miles Davis in the mid-40s To be involved.
REVIVAL
Other names for this style are: New Orleans Renaissance,

Dixieland (Renaissance). Both terms are not exact in content,
As the revival style alongside the New Orleans and Dixieland Renaissance
Predominantly a Renaissance of the Chicago style, mixed with influences From the swing.
Development history:
In the second half of the thirties, (at the time of the swing of swing), continued For the first
time, an interest in the history of jazz. musicians and musicians Audiences became aware that
the young new music "Jazz" meanwhile Already had a story: could one Dixieland- and also
Still New York style still considered a successive modernization of the New Orleans jazz, the
swing style was now something Clearly different. Significant part of the awakening of this
History consciousness and interest had jazz critics, jazz researchers And patrons. The French
jazz critic Huges Panassié has been involved His book "Le Jazz Hot" published in 1934
Research. There have been associations Founded with the task of biographical material on the
jazz greats The past. There were many veterans Interviewed and partly (again) encouraged,
recordings in the "authentic" New Orleans jazz (eg Bunk Johnson with the clarinetist
George Lewis, "Big Eye" Louis Nelson, Alphonse Picou, Kid Ory, Oscar Celestin, Jelly-
Roll Morton et al.). In addition, basic scientific research was also launched for the first time.
In 1938, Winthrop Sargeant's work "Jazz, Hot and Hybrid" appeared And to this day
essentially not overtaken Musicological work on jazz. In 1939 this appeared Much-respected
and popular book "Jazzmen" by Frederic Ramsey And Ch. E. Smith, which contains
biographies of previous jazz sizes.
Huges Panassié went to the United States in 1938 to search Lost jazz greats, discovered
Sidney Bechet (since 1933 As Schneider had worked), Tommy Ladnier, Mezz Mezzrow and
James P. Johnson et al., And took them into three Recordings, which are essential to the Of
the revival.
Another sponsor of the revival was John Hammond. Benny Goodman
Had in his famous Carnegie Hall Concert (January 1938, see
There!) At the beginning a much-watched "sound jazz history" brought.
From the end of 1938, John Hammond organized his "Spiritual to Swing"
Concerts in which he has long forgotten single-time jazz greats
Opportunity to re-emerge.
The efforts of jazz critics, researchers and patrons fell first
Especially in the case of young white musician generations
Floor:
Lu Watters, a trumpeter, had been in California since 1935,
However little noticed, played Dixieland. In 1939 he played with his
"Yerba Buena Jazz Band" with the greatest success at the world exhibition in
San Francisco, the beginning for the great popularization of the revival
Acting. The band copied "Olivers Creole Jazz Band" and others
Groups, thus the playfulness of his band as well as the many
Successor groups of the young white jazz generation soon cliché has been.
In addition, a series of jazz veterans, mainly from the Style black and white Chicago jazz, one
Swing-influenced Oldtime jazz without any special imitation of historical Role models. This
form of revival was quite fruitful Brought good and infectious music, just old-time jazz, but
with the Advanced technique ( "walking bass", swing drums) and Harmonics of Swing: It was
a joyous, easy-to-understand music that Has enjoyed tremendous popularity, probably
because they too (People without special interest in jazz). After The second world war, the
revival also spread widely in Europe.
Ensembles and musicians of the Revival:
Bob Crosby and his Bob Cats

The last recordings in classical jazz were singled up yet
1932/33. After that, the Oldtime jazz was practically dead
The orchestra Ben Pollack played in the thirties Dixieland influenced dance music. In 1936
Bob Crosby took over the band And now played dixieland-influenced swing. From 1937
brought a combo His orchestra, the "Bob Cats", revival jazz, in which the trumpeter
Yank Lawson and Billy Butterfield an Armstrong-influenced
Trumpet style and Irving Fazola good clarinet tenacity with light vibrato
As well as Eddie Miller a relatively modern one based on Bud Freeman
And interesting tenor saxophone play.
Lawson-Haggart jazz band

In 1942, when Bob Crosby was drafted into the navy, he fell Orchestra. Yank Lawson took
over a part of the musicians and performed the Tradition of this band. Beside Lawson and the
bassist Bob Haggart was the most notable musician of this group, Lou
McGarity (tb), the effective melodic solos in the sense of Jack Teagardens,
His model. The Lawson-Haggart Jazz band existed
(Apart from short interruptions) until the eighties.
Muggsy Spanier's Ragtime Band / Dixieland Band

Muggsy Spanier founded his "Ragtime Band" in 1939
Played with her Dixieland and / or Chicago Jazz modern coinage. Its hot-
The play is related to the sound on King Oliver and related
To the phrasing on Louis Armstrong.
In 1940, Spaniards recorded in the quartet with S i d n e y B E c h e t ( "Bechet-Spanier-Big-
Four"), which are among the most beautiful ones
In the Revival have ever been made: two equal melodists,
Subtly accompanied by Carmen Mastren (g) and Wellman Braud (b).
Remarkable are also footage of Spaniers with his "Dixieland Band", 1945, with Pee Wee
Russel, Lou McGarity (tb) and Ernie Caceres on the baritone saxophone.
Rudi Blesh's "This is Jazz" - All Stars

Rudi Blesh, a jazz historian, who in 1946 the much-respected book "Shining Trumpets",
produced in 1947 in the He is also the founder of this radio and concert series "This is Jazz"
Noteworthy shots. He pledged a series for this series Well-known old-time figures, but chose
only people who are still "Real" classical jazz. Among other things he presented for Muggsy
Spaniards (tp) an all-star group together with George Brunies (tb),
Albert Nicholas (cl), James P. Johnson (p), Pops Foster (b), and Baby Dodds (dm).
Eddie Condon and his diverse groups

Eddie Condon, has always been less for his guitar response, but Due to its very good
organization, Began in January 1938, with his own groups at the Revival
And soon became one of the most important bandleaders
This style. His combos played with a plethora of concerts,
Were permanent guests in the largest jazz clubs and made many
Excellent recordings. In his All Stars they played Most important white, occasionally also
black revival musicians. The Most important are briefly summarized here:
Bobby Hackett (co),
Max Kaminsky (tp),
Billy Butterfield (tp),
"Wild Bill" D a v i s o n, one of the most important Revivaltrometers
At all, had been Condon's favorite trumpeter of his All Stars since 1946;
J a c k T e a g a r d e n was Condon's preferred trombonist in the
Late thirties and early forties.
The actual longtime trombonist of the Eddie Condon All Stars
But they were the two musicians influenced by Jack Teagarden
Lou McGarity
Cutty Cutshall.
Pee Wee Russell was for many years almost exclusively condos
Clarinetist Its unclean, quirky and therefore harmoniously often
Somewhat daring sounding phrasing with rough "growl" sound was in the
Revival is extremely popular.
In later years, Edmond Hall entered Russell 's place and was
Outstanding clarinetist of the revival. With its rugged, expressive
Game with beautiful dramatic climaxes he was the vital
Cornet game of "Wild Bill" Davison very similar.
Peanuts Hucko was a good, fluently phrasing clarinetist;
Jess Stacy (p),
Joe Bushkin, a pianist from the influence of Earl Hines;
Gene Schroeder (p);
Eddie Condon probably played on most of his All Star sessions Guitar, however, does not
even remember ever playing a solo (According to Condon's book);
George Wettling (dr).
S i d n e y B e c h e t and its groups:

(1897 - 1959)
Sidney Bechet (ss, cl), (see Chicago style!) Advanced in the revival to the In addition to
Armstrong's greatest musician of classical jazz later years. He Continued to play with very
strong tone, violent vibrato and strong Drive. There were rarely trumpeters, who, besides
Bechet, had a real "lead" Could play voice, as Bechet surpassed them in volume clearly. In
front Bechet, however, was an excellent melodician and changed Artful between horizontal
and vertical phrasing.
In June 1939 Bechet, among others, took the title "Summertime" (by G. Gershwin) On, which
became a hit and Bechet with a blow too big
Popularity. As a result, the record company "Blue Note"
For Bechet accompanying ensembles with the following musicians:
"Wild Bill" D a v i s o n (tp),
Sidney De Paris (tp),
Jimmy Archey (tb),
Art Hodes (p), etc.
L o u i s A r m s t r o n g and All Stars

(1898 - 1971)
Louis Armstrong (tp) remained relatively long swing musicians. He Joined the revival only
after 1946 and sat down with its all Stars from 1947 immediately to the top. His soliloquies,
which are within the framework The accompanying swing orchestra something stencil - like
and Was improved within the framework of the All-Star Occupations under the competition
of some congenial partners and Experienced a second climax in his career in the Revival.
The first all-star group in spring 1947 included
Bobby Hackett as the second trumpeter,
J a c k T e a g a r d e n as trombonists and melodious, congenial
Counterpart to Armstrong;
Peanuts Hucko (cl),
Sid (ney) Catlett (dr), who is already present here with that of Jo Jones (see
C.Basie!) Developed pelvic beat, and with his eccentric
The Solospiel of the All Stars animated and inspired.
In the autumn of 1947 the cast changed to the same extent, as Bobby Hackett And Peanuts
Hucko through
Barney Bigard (cl).
In the years 1948 to 1951, Earl Hines was the pianist of All Stars and Bestowed by his
artistically outstanding solos. In April 1951, Armstrong made the last recordings with this all-
Star group, then released it and played back to the end of 1953
Various orchestras, recording many commercial Sang.
From spring 1954, he reunited his All Stars with:

Trummy Young (tb),
Barney Bigard (cl) and from autumn of the year with
Edmond Hall, stylistically, with his vital, robust and Expressive match best suited to
Armstong and Young and the Best clarinetist the All Stars had ever had. In 1958 left
Hall the All Stars and was again
Peanuts Hucko replaced.
Billy Kyle was with his thrifty and concise phrasing of the Ideal pianist for the All Stars from
1954. Armstrong worked until his death in 1971.
Wilbur De Paris and his New Orleans Jazz
For Sidney De Paris (tp), it is characteristic that he used the Armstrong-

Tradition, sometimes leaving something and rhythmically differentiated solos
Technical refinement, such as "half-valve" effects, beating tones, etc. to play;
Wilbur de Paris played on the trombone in his by his
Limited technique somewhat limited frame good tasteful soli;
Omer Simeon (cl).
With the great popularity of the

"Rock" and "Beat" music has the popularity of Revival Jazz strong
Since the "marginal layers" of the jazz party are now strong
The new pop music. The revival is to the present
In addition to the modern jazz styles nevertheless a considerable value
Which is in the acceptance of the following ensembles or musicians
Is expressed:
Bob Wilber (ss) and his ensembles (USA),
Chris Barberband (tb) (England),

Mr. Acker Bilk (cl) and his ensembles (England),
Dutch Swing College Band (Holland),
Oskar Klein (tp) (Switzerland),
Fatty George (cl) (Austria)
A.

J A Z Z History 1

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J A Z Z HISTORY 1

The Afro-American Folklore 3

Google translate !!!

4. Parallel guides certain intervals such as thirds, fourths, fifths

5. The hot-intonation, a jerky stresses loud Preview (and

THE AFRO-AMERIKANISCHE FOLKLORE

1. Work Songs and Ballads Negro

The musical features of this harmonious with few steps

Fisk Jubilee Singers,

Golden Gate Quartet:

The next stage in the development then was the repetition of

a) textually (2 acclamations 1 answer phrase, usually Declaration

Other important artists of the twenties are:

Kansas City Blues

In the area Swing-style New York imprint, the fewer elements

5. Barrelhouse or blues piano and boogie woogie

a) Barrelhouse Blues od piano.:

RAGTIME AND HARLEM PIANO-STYLE

To 1880, in the American South and Midwest a

The forms have often the structure of European marches and

Representatives of this style were mostly well-educated musicians:

Willie "the Lion" Smith, also of the impressionist composers

Count Basie was first a strongly influenced by Fats Waller pianist in

NEW ORLEANS JAZZ

For the actual creation of the New Orleans-style, as the first

1) The depression of the Creoles to the level of blacks from 1889

Symptomatic of this development is musical development Of the legendary musician

Characteristic of the style:

The most important interpreters of New Orleans Jazz are:

Buddy Bolden (tp) (see above!);

Characteristics of Dixieland style:

the Original Dixieland Jazz Band

New Orleans Rhythm Kings

Other important interpreters of the Dixieland style:

The "BLACK" CHICAGO STYLE

For various reasons (1917 closure of Storyville, development

From about 1924, the New Orleans jazz came to life

The stylistic marks are as follows:

This instrument experienced a special flowering in Chicago. On no one Other instrument

Characteristics and development history:

Framing the numbers by simultaneous stand-up variation

Jimmy McPartland (tp) leaned strongly on his model Beiderbecke on;

NEW YORK STYLE

There is almost a complete withdrawal of all negroid elements

This instrument has already appeared in some ensembles in New Orleans

Joe Venuti used the technical possibilities of his instrument

A) SWINGSTIL NEW YORKER PRESSURE:

Main Big Bands of Swing Style New Yorker:

1. F l e t c h e r H e n d s s o n and his Orchestra:

The most important interpreters of the orchestra were:

Charlie Green played the trombone of the orchestra in 1924

2. D u k e E l l n ng t o n and his orchestra

With his orchestra, Ellington created two different modes, the

"J U N G L E - S T Y L E" - Soloists:

Joe "Tricky Sam" Nanton was Ellington's great "jungle-style" -posaunist

"M O O D - S T Y L E" - Soloists:

Juan Tizol, a valve trombonist, was Ellington's first "mood" soloist

Barney Bigard developed into a technical one at Duke Ellington

3. B e n n y G o o d m a n and his ensembles

Main performers of the various Goodman ensembles:

C h a r l ie C h r i s t i a n (g), discovered by John Hammond in 1939 and

Chick Webb and his Orchestra

Bunny Berigan and his Orchestra,