| Chapter |
Notes
|
| 01 |
transition
|
| 02 |
Louis Armstrong -- Stardust; WM on Jazz music/improvisation/conversation;
|
| 03 |
Ellington/Strayhorn -- Take the 'A' Train; NAR: Jazz overview; WM: on Jazz celebration of life ; GG: on individualism in Jazz; AM: on the Jazz musician
|
| 04 |
Goodman -- Body & Soul; brief introduction to musicians (Morton, Ellington, Goodman, Holiday, Parker, Davis, Armstrong);
|
| 05 |
transition
|
| 06 |
Jim and John; "Gumbo" title; NAR: Jazz born in New Orleans; early history of Jazz in New Orleans;
|
| 07 |
Louisiana; WM: conception of improv; GE: on liberation of Jazz
|
| 08 |
Atsiagbekor; Congo Square
|
| 09 |
Haiti: Meringue - Chere Mamam; slaves from the Caribbean and Caribbean music;
|
| 10 |
Sign of the Judgement; Slaves from the south; Baptist Church music; spirituals;
|
| 11 |
Walt in A Flat, Op. 64; No. 3; Creoles of Color; classical background of Creoles
|
| 12 |
Palmyra Schottische; Brass bands; parades/marches/funerals/Carnival/Mardi Gras;
|
| 13 |
Hungarian Rhapsody No. 15; Opera companies and symphonies (white/Creole);
|
| 14 |
La donna e mobile; WM on integrated people/music/religion;
|
| 15 |
Cakewalk; minstrelsy; GG on minstrelsy and popularity, first early common entertainment
|
| 16 |
Whistling Rufus; WM on resilience of black people and relationship with whites; Daddy Rice and Jim Crow; Civil War
|
| 17 |
Mrs. McLeod's Reel; Union occupation of New Orleans; WM: abolition of slavery made Jazz possible; reconstruction/enforcing civil rights; 1877 end of Reconstruction; share cropping; KKK; lynchings; segregation; Jim Crow laws
|
| 18 |
transition
|
| 19 |
Sun Flower Slow Song; The Roux; Ragtime in New Orleans; Scott Joplin; ragtime subversive;
|
| 20 |
Fred McDowell's Blues; Blues in New Orleans; GE: foundation of the Blues; description of the Blues; GE: feeling of the Blues; WM: Roux akin to Blues: essential for Gumbo;
|
| 21 |
Soon One Mornin'; like Baptist music in structure; one was praying to God, one was praying to the man; AM: having vs. playing the Blues
|
| 22 |
Rolled and Tumbled; what the Blues is about; listener feels better, not worse; perform tells a story; BM: Blues about freedom/liberation; OD: about the Blues
|
| 23 |
Dunn's Cornet Blues; WM: Blues on horns / left-over military instruments from Civil War / horns: militaristic then translated to the Blues/human voice; Blues' impact on Jazz for next century
|
| 24 |
St. Louis Blues; diffrence between whites and black (racist); Jim Crow conquered New Orleans; segregation; Plessy (Creole) vs. Ferguson (separate but equal); impact for 60 years; Grandfather laws (1% could vote); Creoles were equated to Blacks; BM: on Creole situation and moving into Black community / technical fluency into Blues of Black bands;
|
| 25 |
Smokehouse Blues; OD: about the Blues and experimentation with filling in space (birth of improvisation) / individual stands out from group / within the bounds of the song; birth of Jazz; GG: fusion of popular music into art;
|
| 26 |
transition
|
| 27 |
Buddy Bolden's Blues; Buddy Bolden; first Jazz musician--started it all; WM: Buddy Bolden / big four / brass vs. Jazz /
|
| 28 |
Atlanta Blues; Buddy Bolden's career and the music he performed; Funky Butt Dancehall; Hot music;
|
| 29 |
Careless Love; after midnight, Blues
|
| 30 |
Buddy Bolden's Blues; 1906 -- King Bolden; WM: Jazz is real; apogee of Bolden's career; alcoholism and inconsistency; frightened and insecure; 1906 -- played in his last parade and was committed for the rest of his life into an insane assylum; SC: Jazz as the voice of African Americans;
|
| 31 |
The Pearls; Jelly Roll Morton; WM: on Jelly Roll Morton; he was Creole; raised by grandmother
|
| 32 |
Mamanita; worked in whorehouses; would get tips; egoist; claimed to have invented Jazz; was the first to write compositions on paper; incorporated various kinds of music (Caribbean, ragtime, Blues, Minstrel songs); all-around entertainer;
|
| 33 |
The Jelly Roll Blues; was thrown out of the house by his grandmother; travelled; performed Vaudville;
|
| 34 |
Make me a Pallet on the Floor; raggy music, gutbucket music, Jass--jasmine perfume of prostitutes; becomes Jazz; WM on etymology of Jazz; GE: on etymology of Jazz; white brass/Jazz bands; Kid Ory; Joe Oliver; Sidney Bechet
|
| 35 |
St. Louis Blues; Sidney Bechet (was Creole); taught himself the clarinet at the age of 10
|
| 36 |
Wild Cat Blues; at 16, Sidney Bechet quit school to devote himself to Jazz; WM: on Sidney Bechet's playing styles; movement of Jazz out of New Orleans
|
| 37 |
Stars and Stripes Forever; record player introduced;
|
| 38 |
transition: The Soul of the Negro
|
| 39 |
Calliopie Rag; ragtime music in New York (moral outrage); most popular music; middle class had pianos; New York the center of the music world; Tin Pan Alley; dances and dance craze; GE on Africanizing of music and dance;
|
| 40 |
Castle Walk; couples dancing by the Castles; James Reese Europe and Castles
|
| 41 |
Castle House Rag; supported his family after his father died with music; preeminent society orchestrator in New York; Europe - the musical proficiency of African american music
|
| 42 |
Memphis Blues - foxtrot by the Castles; they supported Europe's goals
|
| 43 |
Founders of "Jazz"; WM: Freddie Keppert
|
| 44 |
Stomp Time Blues; Freddie Keppert; Doc Cheatham: Keppert's mute blowing out; Victor offered to record him, but he was frightened that other musicans would copy his music; passed up opportunity to be the first recorded Jazz musician
|
| 45 |
Original Dixieland Jazz Band -- Livery Stable Blues; first recorded Jazz music (Feb. 26, 1917); ODJB and LaRocca; first Jazz most Americans had heard; sold 250,000 copies at 75¢--more than any album at the time
|
| 46 |
Original Dixieland Jazz Band -- Dixie Jass Band One Step; start of Jazz craze; GE: break away from the old--had its own music; European immigrants found Jazz as a breakaway from Europe
|
| 47 |
Margie; ODJB (LaRocca) claimes to be the inventor of Jazz; ODBJ breaks up; 1925--LaRocca suffers a nervous breakdown and quits music; LaRocca insisted that Jazz was a white creation (his quote); WM: on racism;
|
| 48 |
transition -- Coda
|
| 49 |
Louis Armstrong -- Stardust; Armstrong arrested (1913); intro to Louis Armstrong
|
| Chapter |
Notes
|
| 01 |
I Cover The Waterfront intro
|
| 02 |
I Cover The Waterfront; intro to Armstrong by Marsalis;
|
| 03 |
Pianoflage; Summary; 20th Century changes
|
| 04 |
Mahogany Hall Stomp; Chicago and New York in Jazz; Washington D.C. & Ellington; Louis Armstrong intro
|
| 05 |
The Gift title
|
| 06 |
Basin Street Blues; trumpet in Jazz; Armstrong and his power
|
| 07 |
Texas Moaner Blues; Armstrong and the Karnovskys(sp?);
|
| 08 |
Home Sweet Home; Armstrongs first song; Armstrong's gift;
|
| 09 |
Atlanta Blues; Armstrong's life as a young musician in NO; gets into trouble on New Years Eve
|
| 10 |
Maryland, My Maryland; Armstrong in the Colored Waif's Home;
|
| 11 |
Krooked Blues; Armstrong and early career; Dipper Mouth; Satchmo
|
| 12 |
Dipper Mouth Blues; influences of Armstrong; King Oliver;
|
| 13 |
Dipper Mouth Blues; Armstrong and Oliver; Oliver leaves for Chicago, and Armstrong takes over; Armstrong wanted to stay in NO
|
| 14 |
Potato Head Blues; Armstrong plays on the river boats; Bix Beiderbecke and Jack Teagarden first heard Armstrong on the river boats;
|
| 15 |
Hellfighters title; WWI
|
| 16 |
My Choc'late Soldier Sammy Boy; Harlem Hellfighters; James Reese Europe; infused elements of Jazz into ragtime music
|
| 17 |
La Marseillaise; Hellfighters arrive in France; officers sent band on tours of camps and villages;
|
| 18 |
Memphis Blues; French and British band leaders conviced that they were using trick instruments; Europe becomes first African-American officer to face combat during the war
|
| 19 |
La Marseillaise; lead the allied forces to the Rhein; most highly-decorated regiment; French-given name: Hellfighters
|
| 20 |
That Moaning Trombone; given a ticker-take parade upon home coming; made 24 records and toured country; Europe planned to merge Jazz into Ragtime
|
| 21 |
Memphis Blues; Europe killed by one of his drummers; "incalculable loss" New York Times; given an official funeral by NYC (first granted to a black citizen);
|
| 22 |
Palmetto Quickstep Medley; KKK; 10 returning soldiers killed in uniform (1919)
|
| 23 |
Salty Dog (Blues); the "new Negro"; NAACP launches national crusade to end lynching; African Americans begin building their own musicians and culture
|
| 24 |
The Charleston; Jazz Defined
|
| 25 |
Blessed title;
|
| 26 |
Black Beauty; Ellington intro
|
| 27 |
Gladyse; early youth; influenced by ragtime piano players; got his nickname the "Duke"; dressed elegantly
|
| 28 |
Soda Fountain Rag; Ellington's first composed piece
|
| 29 |
Swing Session medley: Soda Fountain Rag; entrances announced by friends; worked the country-club circuit playing rag; society man
|
| 30 |
I'm Coming; Ellington hears Sidney Bechet; first encounter with NO music; frustrated with the music of DC
|
| 31 |
Chicago title; Louis Armstrong in Chicago
|
| 32 |
Jazzin' Babies Blues; Armstrong moves to Chicago; part of the great migration
|
| 33 |
Just Gone; arrives in Chicago and seeks out King Oliver; Armstrong in Oliver's band for two years
|
| 34 |
Snake Rag; Oliver and Armstrong;
|
| 35 |
Chimes Blues; trio string assigned to Armstrong;
|
| 36 |
Keep Off the Grass; Jazz criticism; early recordings did not necessarily represent Jazz, but spread it; Jazz as a disease
|
| 37 |
New York (title); The One I Love Belongs to Someone Else;
|
| 38 |
New York: description of NY (narrator); Harlem Renaissance
|
| 39 |
NY Jazz; critic of African American middle class view of Jazz; stride
|
| 40 |
Piano Jazz, J.P. Johnson, Stride
|
| 41 |
Willie "The Lion" Smith
|
| 42 |
Rent parties
|
| 43 |
Ellington moves to Harlem
|
| 44 |
Ellington and the Washingtonians; sweet music
|
| 45 |
Bubber Miley and Ellington's move to hot music; clubs; success
|
| 46 |
Ellington & Cook on composition
|
| 47 |
Austin High Gang (Chicago)
|
| 48 |
Farewell Blues; Austin High Gang intro; form a band; influenced by the NO Rhythm Kings--a white band; went into black clubs
|
| 49 |
Froggie Moore; heard King Oliver and Louis Armstrong play; seeing musicians for their talent, not race; roots of integration
|
| 50 |
I've Found a New Baby; AHG found their own style of Jazz: Chicago style; more aggressive-sounding style of Dixieland Jazz;
|
| 51 |
Scissor Grinder Joe; Paul Whiteman introduction; moved from the symphony to Jazz; wants to convert Jazz to something more symphonic; attempted to "make a lady out of Jazz"; orchestrated Jazz
|
| 52 |
Whispering; first big Whiteman hit; sold 2.5 million copies; inspiration for the sweet bands of the Swing period; no improvisation
|
| 53 |
Rhapsody in Blue; Gerschwin; premiere at Aeolian Hall; Whiteman hugely successful "King of Jazz"
|
| 54 |
Lonely Melody; Whiteman's treatment of Jazz controversial, but never forgot the source of Jazz; gave behind-the-scenes work to black musicians and wanted to hire black musicians
|
| 55 |
Teapot Dome Blues; Fletcher Henderson opens at Roseland; Henderson's background
|
| 56 |
"To Make Angels Weep" -- transition
|
| 57 |
Muggles; Louis Armstrong's style and sound;
|
| 58 |
Tears; Armstrong and Harden;
|
| 59 |
Go 'Long Mule; armstrong employed by Henderson; at the beginning Armstrong only played solos
|
| 60 |
Shanghai Shuffle; music started to be written specifically for Armstrong; Coleman Hawkins' quote on Armstrong's solo;
|
| 61 |
Tiger Rag;
|
| 62 |
Red Hot Band
|
| Chapter |
Notes
|
| 01 |
(credits)
|
| 02 |
St. Louis Blues; influence of Jazz on both whites and blacks; "Our Language"
|
| 03 |
The Ramble; Jazz and Blues fused into an industry; black and white recording labels; the roaring 20s; travelling bands; records and radio spreading Jazz
|
| 04 |
Weary Blues; improvisation becoming more important; introduction to DVD
|
| 05 |
Our Language (title);
|
| 06 |
Cornet Chop Suey; looking for the great music in the white academy; Armstrong = American Bach;
|
| 07 |
Gully Low Blues; Armstrong hugely successful in Fletcher Henderson; not satisfied with Henderson's band (drunkeness of other musicians, wanted to sing)
|
| 08 |
Hotter Than That; billed as the World's Greatest Trumpet Player as per Harden's insistence; did not want to alienate other musicians; could not avoid stardom; Doc Cheatham comments on subbing for Armstrong
|
| 09 |
Heebie Jeebies; scatting; story behind Heebie Jeebies; nation-wide hit;
|
| 10 |
(transition)
|
| 11 |
Back Water Blues; "Sing like the Devil"; Bessie Smith;
|
| 12 |
Down Hearted Blues; background on Bessie Smith; cast in one of the first films to feature black performers
|
| 13 |
St. Louis Blues; temper and attitude; Doc Cheatham comments;
|
| 14 |
T'ain't Nobody's Bizness If I Do; encounter with the KKK
|
| 15 |
Stop and Listen Blues; blues extremely popular and sold by many peddlers; rise of race records for African Americans; selling more than 5 million records a year; Black Swan Records founded as first all-black record company
|
| 16 |
Boot to Boot; description of the society of the 1920s "Jazz Age"; F. Scott Fitzgerald quote
|
| 17 |
Bix (title)
|
| 18 |
Clarinet Marmalade; white players emulating black players; Beiderbecke first successful white musician to contribute to Jazz; Beiderbecke's background; trouble reading music
|
| 19 |
Tiger Rag; influenced by ODJB; listened Jazz bands on river boats; most influenced by Louis Armstrong; became obsessed with Jazz; played with older musicians; sent to a strict boarding school
|
| 20 |
Tears; moved him closer to Chicago, where he could listen to Armstrong;
|
| 21 |
Since My Best Girl Turned Me Down; expelled from school; ordered home to Iowa to work in family's coal business, but he returned to Chicago shortly thereafter
|
| 22 |
Riverboat Shuffle; joined the Wolverines; Beiderbecke was the star;
|
| 23 |
Clementine (from New Orleans); joined first great white Jazz band; met Frankie Trumbauer;
|
| 24 |
Singin' The Blues (Till My Daddy Comes Home); Trumbauer and Beiderbecke's biggest hit;
|
| 25 |
In a Mist; Beiderbecke leadout
|
| 26 |
The Most Dog (title)
|
| 27 |
Summertime; Sidney Bechet; deported from England; legend among Jazz musicians; switched to Soprano saxophone
|
| 28 |
Cake Walking Babies from Home; Hawkins cut by Bechet, followed by Bechet still playing after he walked out; fired by Ellington for being three days late--said he cab driver got lost;
|
| 29 |
Jungle Drums; joined an all-black cast of a new musical in France; European fascination with Africa and Jazz; Josephine Baker; toured with the revue all over Europe
|
| 30 |
Dear Old Southland; the "wrong" chord story--Bechet challenges piano player to a duel in the daytime; shoots another musician and two women accidentally; expelled from France; (non-Bechet) imigrants and acceptance of Jazz in America
|
| 31 |
Dem Trisker Rebbin's Chosid; introduction to Benny Goodman; difficult youth in poverty; learned to play clarinet at Hebrew school
|
| 32 |
Waitin' for Katie; father bought him lessons; was a gifted performer; exposed to Jazz growing up in Chicago; making $15 a night at the age of 14, 3 times as much as his father;
|
| 33 |
My Kind of Love; received an offer to go to California to join a Ben Polluck's dance band; only 16; making enough to support his entire family; bought a newsstand for his father;
|
| 34 |
Goodbye; father hit by car and died on his way home from work; never saw his son perform because he was waiting until he could afford a decent suit
|
| 35 |
The Mother of Us All (title)
|
| 36 |
Organ Grinder Blues; Ethel Waters background; born as a result of a rape; grew up in red-light district
|
| 37 |
My Handy Man; shimmy dancer and singer; light, clear voice as opposed to other blues singers of her time (Bessie Smith)
|
| 38 |
I Got Rhythm; went on all-white Vaudeville circuit; adored by whites; began to cover popular songs; Sophie Tucker paid Waters for lessons; first black woman to headline at the Palace in NY
|
| 39 |
Am I Blue?; appeared in film; Lena Horn "Ethel Waters was the mother of us all."
|
| 40 |
Grandpa's Spell; Jelly Roll Morton "originator" of Jazz; able to arrange and transcribe Jazz; Dead Man Blues intro
|
| 41 |
Dead Man Blues; description of Dead Man Blues
|
| 42 |
Kansas City Stomps; put together a recording band: Red Hot Peppers; top-selling Jazz albums for that year; diamon installed in one of his front teeth; public shifting focus to improvisers, and newer sounds from Ellington and Henderson
|
| 43 |
Race Man (title)
|
| 44 |
Doin' the Frog; Langton Huges on whites coming to Harlem and displacing blacks; Cotton Club; lavish floor shows; white-only audience; Ellington critique
|
| 45 |
Jazz Convulsions; Ellington tries out at Cotton Club and gets the job; turning point in his career; music called "Jungle" music
|
| 46 |
East St. Louis Toodle-o; description of "Jungle" music;
|
| 47 |
Doin' The Voom Voom; very prolific: new music every six months; self-taught composer; develops his own harmonic language; thought of instruments as individuals; Harry Carney;
|
| 48 |
Cotton Club Stomp; Ellington was the first black band leader to broadcast live on CBS nationwide; Black and Tan
|
| 49 |
Black and Tan Fantasy; portraied as a composer, as opposed to a sterotypical character
|
| 50 |
Black and Tan Fantasy; named after Black and Tans, or integrated dance clubs;
|
| 51 |
Harlem Flat Blues; life and culture of Harlem influenced his music and the titles of his work; "natural feelings of a people"
|
| 52 |
Rose Room; Artie Shaw on making music; Shaw's background;
|
| 53 |
Sugar; influenced by Vaudeville performers; worked for a grocery store to earn money for a saxophone; formed Peter Pan Novelty Orchestra; quit school; freed to play
|
| 54 |
Cream Puff; took up clarinet and joined a full-time dance band; heard Beiderbecke and Trumbauer and was influenced by their style; changed name to Artie Shaw to cast off Jewishness; went to Harlem to learn from Willie "The Lion" Smith, who nicknamed him "Snow White"
|
| 55 |
Wake Up Bix (title)
|
| 56 |
Mississippi Mud; freedom of Jazz; "I don't feel the same way twice"; "That's one of the things I like about Jazz, kid: I don't know what's gonna happen next. Do you?"
|
| 57 |
Changes; Beiderbecke and Trumbauer picked up by Paul Whiteman; letters home trying to ellicite respect
|
| 58 |
There Ain't No Sweet Man That's Worth the Salt of My Tears; played the Chicago theater; Armstrong saw Beiderbecke play on stage: "those pretty notes went right through me"; Beiderbecke got to play with Armstrong; never got to play publically or record with Armstrong because of segregation; American tragedy of societal impact on Jazz
|
| 59 |
Waiting at the End of the Road; trouble with alcoholism; started to affect his playing; notation in music: "Wake up Bix."; went home to recuperate and discovered his parents never listened to the records he sent home
|
| 60 |
I'm Coming Virginia; breadown of Beiderbecke; never rejoined the Whiteman band; died alone in an apartment in Queens at the age of 28; Mahogany Hall Stomp;
|
| 61 |
Mahogany Hall Stomp; recording of improvisation; improvisation vs. written music
|
| 62 |
Mahogany Hall Stomp; Armstrong made sixty-five recordings in three years; Hot Fives and Hot Sevens; fundamentals of Jazz established by Armstrong;
|
| 63 |
Weather Bird; Earl Hines; trumpet-style piano; West End Blues introduction; trumpet calls; West End Blues call
|
| 64 |
West End Blues
|
| 65 |
(transition)
|
| 66 |
East St. Louis Toodle-o (credits)
|
| Chapter |
Notes
|
| 01 |
(intro)
|
| 02 |
Creole Love Song; stock market crash and Great Depression; end of the Jazz age
|
| 03 |
Poor Man's Blues; 15 million out of work; 1/4 of entire state in Mississippi auctioned off in one day (1932); Dust Bowl; music business came close to collapse; burned records to stay warm in Chicago; Victor stopped making record players for a time and made radios instead
|
| 04 |
Stardust; rise of the radio; Armstrong turned into a famed vocalist; Ellington still successful; Swing becoming popular in Harlem; Jazz brought about hope; Jazz brings integration; (intro to DVD)
|
| 05 |
True Welcome (title)
|
| 06 |
Echos of Harlem (Cootie's Concerto); Harlem during the Great Depression;
|
| 07 |
Rock and Rye; The Savoy; Home of Happy Feet; Norma Miller on The Savoy
|
| 08 |
What a Shuffle; Norma Miller on The Savoy (cont.);
|
| 09 |
Mr. Armstrong (title)
|
| 10 |
Chinatown, My Chinatown; description of Chinatown by Matt Glaser; popular among blacks, unknown among whites; Armstrongs exodus from Chicago to New York; mob associations
|
| 11 |
Ain't Misbehavin'; begins to play for white audiences on Broadway; Hot Chocolates; starts to sing
|
| 12 |
Dinah; Armstrongs unique singing characteristics; redefines American singing
|
| 13 |
Lazy River; Armstrong covers popular songs (Tin Pan Alley); description of Lazy River by Matt Glaser; Giddens on Armstrong's style
|
| 14 |
Black and Blue; Armstrong being copied by musicians; came up with "chops" and "cats";
|
| 15 |
Stardust; Charles Black on Louis Armstrong and race; Black was part of legal team in Brown vs. Board of Education
|
| 16 |
Lord Keep Me with a Mind; Frankie Manning on church
|
| 17 |
Stompin' at the Savoy; Frankie Manning on the Savoy and music; Chick Webb
|
| 18 |
Elegance (title)
|
| 19 |
Ring Dem Bells; Ossie Davis on Ellington;
|
| 20 |
Rockin' in Rhythm; Ellington during the Depression; Ellinton in Hollywood: Check and Double Check
|
| 21 |
Old Man Blues; film starred Amos and Andy (white commedians in black face);
|
| 22 |
Sophisticated Lady; Albert Murray on Ellington's style; Marsalis on Ellington's style; orchestration of blues for a large ensemble;
|
| 23 |
That Lindy Hop; Ellington's releationship with his mother;
|
| 24 |
I Ain't Got Nobody; Ossie Davis on openness of Jazz
|
| 25 |
Handful of Keys; background on Fats Waller; honorary mayor of Harlem; James P. Johnson was his mentor; sold same songs to multiple publishers (a la Beethoven);
|
| 26 |
The Joint Is Jumpin'; video of The Joint is Jumpin'
|
| 27 |
An American Invention (transition)
|
| 28 |
Hotter Than 'ell; anatomy of a big band; Swing, Fletcher Henderson
|
| 29 |
Savoy and integration
|
| 30 |
Wild Man Blues; Armstrong arrested for marijuana; manager fiasco; on the run
|
| 31 |
Armstrong, back to New Orleans; welcomed back
|
| 32 |
Jazz drain from New Orleans caused be the Great Depression
|
| 33 |
Sidney Bechet working as a tailor after being banned from France; quote from John Hammond
|
| 34 |
John Hammond intro; Jazz critic; "social dissodant"; role in promotion of Jazz
|
| 35 |
had name removed from the social register; began recording black musicians; bought an east-side theatre to house musicans; reorded by a British label; headhunter and promoter; role in "finding" Jazz; list of his "discoveries" (Hawkins, Holiday, Charlie Christian, et al.
|
| 36 |
Clouds; Depression; election of FDR; repeal of prohibition;
|
| 37 |
Throwin' Stones at the Sun; resurgence of clubs--needed to attract customers from liquor stores; Benny Goodman lead-in
|
| 38 |
Benny Goodman; successful studio musician;
|
| 39 |
Get Happy; dissatisfaction with music; hung out in Harlem clubs for inspiration (Webb & Henderson); recruitment of new band with Krupa et al.; played at Billy Rose's club; three-hour radio show (1934) with NBC: "Let's Dance"; auditions piped through the whole office and BG one by one vote; needed more and new pieces
|
| 40 |
King Porter Stomp; Fletcher Henderson provided music, "his book," to Benny Goodman; Ossie Davis "True Welcome"; Henderson arranged popular tunes for BG;
|
| 41 |
Your Feets Too Big; Art Tatum; Fats Waller: "I just play the piano, but God is in the house."
|
| 42 |
Art Tatum intro; studied at the Toledo Conservatory for Music; blindness; played piano roll made for two people;
|
| 43 |
Three Little Words; Jimmy Rowls; perfect pitch and sharp mind for melodies (only had to hear once or twice to playback); challenged by James P Johnson, Willie "The Lion" Smith, and Fats Waller--Tatum played their tunes, only better; played Three Little Words "more like three-thousand words";
|
| 44 |
Too Marvelous for Words; influence of Tatum; Roy Eldridge quote on Tatum; Tatum's playing style; played from club to club, slept, and started over again; loved Pabst Blue Ribbon beer
|
| 45 |
Shanghai Shuffle; Harlem; Savoy and dance; integration at the Savoy;
|
| 46 |
Tremendous Pride (transition)
|
| 47 |
It Don't Mean a Thing (If It Ain't Got That Swing); Duke Ellington; people would not dance as they were so impressed with his music
|
| 48 |
Black Beauty; Milt Hinton on inspiration of Ellington;
|
| 49 |
Mood Indigo; Ellington's successful 1933 tour of Europe; London Era critique;
|
| 50 |
Drop Me Off In Harlem; Ellington's 12-week tour of the South; "African Stravinsky"; segregation; from then on, orchestra travelled in its own Pullman cars;
|
| 51 |
Solitude; in 1934, Daisy Ellington (mother) diagnosed with cancer; her death in 1935; filled the funeral with 3000 flowers; Ellington's breakdown; stopped writing;
|
| 52 |
Reminiscing in Tempo; begins work again on new piece (Reminiscing in Tempo--a tribute to his mother); three movements, through composed (even solos); baffled critics (Hammond thought it was a disaster); Ellington refused to respond to critics and was undaunted;
|
| 53 |
Tiger Rag; relativity (Einstein) and Louis Armstrong; Armstrong in Europe (1933); was a sensation everywhere: 10,000 fans at Copenhagen train station and played eight sold-out evenings;
|
| 54 |
Tiger Rag video; Armstrong's performance compared to Heisenberg's work; Armstrong as successful as Ellington
|
| 55 |
St. James Infirmary; Johnny Collins' abuse of Armstrong; London (1933), his lip split; January, 1935, Armstrong sailed home; fires Collins and gets countersued; Lil' Harden requires "maintenance"; could not find work in Chicago; hard times
|
| 56 |
A Great Medicine (transition)
|
| 57 |
Down South Camp Meetin'; Benny Goodman (1935); Let's Dance cancelled; scrambles to find work and goes on tour to end in Los Angeles; Goodman not pleased as West was not ready for his music; musicians drove themselves as there was no money for a bus; in Denver, they were thrown out (wanted dance stuff, not Jazz tunes); in Grand Junction, CO, whisky bottles were thrown at them; August 21, 1935, the arrive in LA; Palomar Ballroom
|
| 58 |
Restless; (Palomar Ballroom) audience restless with dance music he had been told to play; start playing Jazz
|
| 59 |
King Porter Stomp; (Palomar Ballroom) realizes that this is what the audience wanted to hear; Benny Goodman becomes famous overnight; Swing era about to begin
|
| 60 |
Dinah; (Louis Armstrong); credits
|
| Chapter |
Notes
|
| 01 |
intro
|
| 02 |
Stepping Into Swing Society;
|
| 03 |
Ridin' High; "swingoists"; Jazz as America's popular music: Swing; rescued the recording industry;
|
| 04 |
Bugle Call Rag; escaping to Swing during the Great Depression; Swing as theme music in Hollywood; dances (Lindy-hop/Jitterbug, et al.); careers of musicians followed popularly; rise in popularity of dance halls across the US; Swing sweeps the country like Rock and Roll will do in the Sixties;
|
| 05 |
Swing (title)
|
| 06 |
Blue Skies; FDR and WPA; Benny Goodman post-Palomar as the King of Swing; March 3rd, 1937 engagement at Paramount Theatre in NY;
|
| 07 |
Sing Sing Sing; high school students allowed in to see Goodman; Goodman as a rolemodel;
|
| 08 |
Sing Sing Sing (video);
|
| 09 |
Sing Sing Sing (video);
|
| 10 |
Single Petal of a Rose; WM: the big lie: white vs. black bands; musicians learn from those they like, not the color of their skins; Benny Goodman did not think he was the "King"
|
| 11 |
Dreaming: Ellington interview
|
| 12 |
(continued); Negro feelings to rhythm and tune; intro to Sympony in Black
|
| 13 |
Sympony in Black;
|
| 14 |
Jeep's Blues; Ellington on music (Jazz) vs. Swing (business)
|
| 15 |
Creole Rhapsody; musical independence of Ellington
|
| 16 |
Jeep's Blues; Ellington's view of segregation and protest via music; pride of his people in his music; "I took the energy it took to pout and wrote some blues"
|
| 17 |
Blue Again; Armstrong in trouble; hired new manager (Joe Glazer) without written contract with half of what Armstrong earned went to him; Armstrong in A Rhapsody in Black and Blue
|
| 18 |
I'll Be Happy When You're Dead, You Little Rascal You
|
| 19 |
Shine (from A Rhapsody in Black and Blue); sings the minstrel number in a positive light; breaking out of stereotypes
|
| 20 |
Public Melody Number 1; Armstrong's influence on Jazz music; "orchestrated Louis"
|
| 21 |
Avalon; Swing reflects the positive natures of America; Paramount Theatre a prominent place for music in New York;
|
| 22 |
Well, Git It!; music at Paramount and rise of other white bands (e.g. Tommy Dorsey); tunes playing popular music with attractive singers; Woody Herman, Bob Crosby and the Bobcats; International Sweethearts of Rhythms; Jimmie Lunceford; et al.
|
| 23 |
Nagasaki; Jimmie Lunceford and his showmanship; Tommy Dorsey (into)
|
| 24 |
Song of India; Tommy Dorsey;
|
| 25 |
I've Got a Gal in Kalamazoo; Glen Miller "Lawrence Welk of Jazz"; never mad a mistake (e.g. not progressive);
|
| 26 |
Stompin' at the Savoy; Dave Brubeck;
|
| 27 |
The Business Part (transition)
|
| 28 |
Summertime; Artie Shaw; Goodman's vs. Shaw's styles; combined chamber music with Jazz; cursed with serious-mindedness;
|
| 29 |
Begin the Beguine; Shaw on his popularity; "popular music has little to do with music values at all"; in 1939, Shaw disbanded in frustration as the business part "plain stinks"
|
| 30 |
(transition)
|
| 31 |
Truckin'; Ellington on tour in the Midwest; Swing bands on the road; role of union: six nights and 400 miles vs. seven nights and 500 miles;
|
| 32 |
(You Got Me In Between) The Devil and the Deep Blue Sea; discussion of life on the road continues
|
| 33 |
Tough Truckin'; road diary of Paul Barnes; life on the road continues; black musicians paid less and had to deal with segregation; welcome in black neighborhoods; network of black cooks
|
| 34 |
Queen Isabella;
|
| 35 |
Like Taking a Drug (transition)
|
| 36 |
Smiles; discussion of Swing bands as Jazz (commercialization);
|
| 37 |
Cherokee; teenagers and Swing; trumpet sales doubled; clarinet sales tripled; "uniforms" (sport jackets and slacks; bobby socks and saddle shoes); language "Hepster's Dictionary"; fan clubs; the new celebrities
|
| 38 |
Grand Terrace Shuffle; negative views of Swing "orchestrated sex" & "a phallic symbol set to sound"; rebelling against adults
|
| 39 |
Men Working Together (transition)
|
| 40 |
Humoresque; Jimmy Rowles on Teddy Wilson
|
| 41 |
Body and Soul; recorded by Goodman's studio trio (Teddy Wilson--professor of English at Tuskegee Institute on piano);
|
| 42 |
Who; Teddy Wilson's technique
|
| 43 |
I've Got a Heartful of Music;
|
| 44 |
Time on My Hands; Goodman first played with Wilson at a jam session; Goodman was hesitant to play with Wilson in concert; concerned with the risk; Helen Oakley convinced him to do so;
|
| 45 |
Sweet Leilani (Takin' Leilani Uptown); trio's (including Wilson) first performance; Goodman saw no reason to include more black musicians; hires Lionel Hampton
|
| 46 |
I've Got a Heartful of Music; with Lionel Hampton on vibes; few follow Goodman's lead; short quote by Lionel Hampton
|
| 47 |
On The Alamo;
|
| 48 |
Saddest Tale (Lost My Man Blues); Symphony in Black (1935) with Billie Holiday (hired by Ellington); Holiday intro
|
| 49 |
Sobbin' Hearted Blues; Holiday molested and abused as a child; worked as a prostitute; moved to New York and worked a rent parties; John Hammond discovered her
|
| 50 |
A Fine Romance; Holiday's vocal styles (like a instrument as opposed to a vocalist); Hammond arranged recording sessions with Holiday and Teddy Wilson (sometimes with Goodman as well);
|
| 51 |
Pennies from Heaven; carefree attitude; bisexuality;
|
| 52 |
Do You Remember (transition)
|
| 53 |
Stompin' at the Savoy; Savoy as Harlem's Hot Spot; Chick Webb
|
| 54 |
Harlem Congo; Battle of the Bands at the Savoy between Goodman and Webb; 4000 people in the ballroom with 5000 who could not get in;
|
| 55 |
Don't Be That Way; Goodman; both had same arrangements
|
| 56 |
Don't Be That Way; Webb
|
| 57 |
Don't Be That Way; Goodman
|
| 58 |
Don't Be That Way; Webb; Goodman band routed by Webb; Krupa bowed down to Webb
|
| 59 |
Coda (transition)
|
| 60 |
Clouds; Swing not popular among all musicians; Hammond states that Swing is too commercial; pressure of Jazz to be commercial; Hammond grows tired of listening to Goodman and goes out to car to listen to the radio; hears a Kansas City station featuring Count Basie; "discovers" Count Basie
|
| 61 |
Jumpin' At The Woodside; Kansas City Swing;
|
| 62 |
(credits)
|
| Chapter |
Notes
|
| 01 |
Intro
|
| 02 |
More Than You Know, Great Depression, "Roosevelt Recession", war in Europe brewing,Jerry Jerome on performing during the recession (saving pennies for the weekend)
|
| 03 |
Lady Be Good, Overall synopsis of DVD; Artie Shaw, rise of the Saxophone, Big Band Swing = 70% of profits of recording industry, mention of Benny Goodman and his struggles, Chick Webb on his gamble with Ella Fitzgerald, Billy Holiday with Lester Young, Louis Armstrong, Swing and Big Business, Commerce vs. Individualism, Impatience of Musicians having to play the same thing over and over again
|
| 04 |
Jumpin' at the Woodside, Kansas City Jazz ("Stomp"), Count Basie, Marsalis on Inviting Music of Jazz
|
| 05 |
Swing: The Velocity of Celebration (transition)
|
| 06 |
Midnight Symphony, Lester Young, Attraction of the Saxophone
|
| 07 |
I Know That You Know, brief history of the Saxophone, Coleman Hawkins, Giddins: Tenor Saxophone and Coleman Hawkins, hired to Henderson's band at age of 18, established the tenor Saxophone as a solo instrument, "Ain't nobody play like me, and I don't play like nobody else", genesis of his nickname "Bean", Marsalis: "Bean" test
|
| 08 |
Bouncing With Bean, Hawkins and music's dominance in his life, first wife left him taking all of his furniture which was not replaced as he didn't plan on being home much
|
| 09 |
Back to the Land, introduction and history of Lester Young, canned pork and beans and orange soda
|
| 10 |
Shoe Shine Boy, influence of Frankie Trumbauer: "little way of telling a story", opposite style of Hawkins
|
| 11 |
Lester Young
|
| 12 |
Lester Leaps In
|
| 13 |
Lady Be Good, porkpie hat, vocabulary: lady this, get bruised, can lady burn, greys, I feel a draft, Bob Crosby, Blue Devils getting "bruised"; Young goes to Kansas City
|
| 14 |
Kansas City (transition)
|
| 15 |
Moten's Swing, Kansas City, grows to prominence in the 1930s during the Depression, Tom Pendergast
|
| 16 |
Rebecca, Pendergast and vice, clubs in Kansas City
|
| 17 |
627 Stomp, Kansas City Jazz characteristics, head arrangements,
|
| 18 |
Rockin' and Swingin', diversity of Kansas City musicians, commonality is the blues
|
| 19 |
(transition)
|
| 20 |
Out the Window, Count (title), Count Basie
|
| 21 |
John's Idea, Count Basie history, moved to New York to learn Harlem Stride (James P. Johnson, Willie "the Lion" Smith), took organ lessons from Fats Waller at a Harlem Theater, accompanied silent movies, played vaudeville, moved to Kansas City
|
| 22 |
Easy Does It, Basie puts together a band with Lester Young (Barons of Rhythm), Basie known for the notes he did not play
|
| 23 |
One O'Clock Jump, utilization of space and time in Jazz, greatest rhythm section in Jazz history (Joe Jones transferring beat from bass drum to hi-hat and ride cymbals, Walter Page on bass, Freddie Green on guitar who was with Basie for 46 years, Basie at piano), "a band can really swing when it swings easy", "even a single note can swing", original name of "One O'Clock Jump" was "Blue Balls", no music just head tunes, freer music, John Hammond discovers Basie, Downbeat on women musicians
|
| 24 |
Little Joe from Chicago, Mary Lou Williams, child prodigy, played piano at age of six, recognized as one of the best pianists in Kansas City, combination of Stride and Boogie Woogie
|
| 25 |
Baby Dear, Williams writing for Armstrong, Goodman, Hines, Ellington, served as a mentor for younger players
|
| 26 |
Memories of You (transition)
|
| 27 |
Love Walked In, Armstrong meets Lucille Wilson at the Cotton Club, third wife runs off with drummer, "if I could only meet him to thank him", Armstrong and Wilson marry
|
| 28 |
Memories of You, Armstrong is a big star, Lucille buys Armstrong his first Christmas tree, Marsalis: Swing and coordination
|
| 29 |
Evenin', Hammond persuades Basie to go to New York and expand band from nine to twelve, first performance at Roseland was a disaster, fires some of the band and enforces discipline, hires new members and improves band, played gigs big and small across the US
|
| 30 |
Riding on a Blue Note
|
| 31 |
Musical Kinship (transition)
|
| 32 |
A Sailboat in the Moonlight, Basie hires Billie Holiday, one of the guys, had an affair with Freddie Green (only man she ever loved), closest to Lester Young, Holliday (Lady Day) and Young (Pres)
|
| 33 |
Without Your Love, Hammond brings Holiday and Young together to record,
|
| 34 |
A Whore In Church, Benny Goodman @ Carnegie
|
| 35 |
Don't Be That Way, Gene Krupa and his hits to wake up the band
|
| 36 |
Sing, Sing, Sing, finale with Basie
|
| 37 |
Jumpin' at the Woodside, Basie @ Savoy -- Battle of the Bands (Basie & Webb, w/Goodman in observance)
|
| 38 |
Harlem Congo, Chick Webb (aggressive)
|
| 39 |
Swinging at the Daisy Chain, Count Basie (poise, scientific, laid back)
|
| 40 |
Harlem Congo, Chick Webb, judge declared Webb the winner, house was divided, Basie: "I'm just thankful we won't have to run up against those babies again", Basie at the Famous Door, A/C bought by Hammond so Basie could play there all summer long, Marsalis on Basie Band's style
|
| 41 |
Swingin' the Blues
|
| 42 |
The Ray (transition)
|
| 43 |
Goodbye, after Carnegie hall Lionel Hampton, Teddy Wilson and Gene Krupa leave Goodman's band, Goodman as a perfectionist, Goodman and the "Ray"
|
| 44 |
Grand Slam, Hammond's interference with Goodman, Hammond as a recruiter/headhunter, Hammond introduces Benny Goodman to Charlie Christian
|
| 45 |
Rose Room, Goodman furious at Hammond for putting Christian on stage so he calls for "Rose Room", Christian hired on the spot
|
| 46 |
Love & Kisses, intro to Ella Fitzgerald, enters an amateur show at the Apollo in 1934
|
| 47 |
I'll Chase the Blues Away, wore second-hand clothes and men's boots for the contest, brought down the house and one first prize, was not pretty enough, continued to look for work, Webb introduced to Fitzgerald, "I'm not putting that on stage"
|
| 48 |
Sing Me a Swing Song (And Let Me Dance), Webb's band become extremely popular, Fitzgerald one no. 1 vocalist in both Downbeat and Metronome, at 19 she was billed as the first lady of swing
|
| 49 |
A-Tisket, A-Tasket, Webb's band with Fitzgerald had four tunes on the charts in 1938, Webb's health start to fail, "If anything happens to me, take care of Ella", Webb dies in 1939 at 30
|
| 50 |
Betcha a Nickel, Webb's band changes it's name to Ella Fitzgerald and Her Famous Orchestra
|
| 51 |
Strange Fruit (transition)
|
| 52 |
Easy Living, Holiday as being doubly segregated (a black woman), Holiday leaves Basie's band for Shaw's band, ordered to use service eleveator in New York, not allow to perform on radio, not allowed to stay on bandstand between numbers, outburst on stage after being racially insulted, leaves Shaw's band too, Strange Fruit intro
|
| 53 |
Strange Fruit, protest song, aftermath
|
| 54 |
Reason for Living (transition)
|
| 55 |
Doggin' Around, Newport Jazz Festival (1938), First Outdoor Jazz Concert, 24000 people
|
| 56 |
Echos of Harlem (Cootie's Concerto), Ellington In Europe, very successful in Europe as opposed to the US, treated better socially, concerts old out, Paris critic: "Ellington's music reveals the secret of the cosmos", men not allowed to leave train in Germany, Entarte Musik "nigger-Jew music", prelude to war, played in an underground theatre in Paris
|
| 57 |
Coda (transition), Coleman Hawkins -- "Body and Soul", recording process, song dissection
|
| 58 |
Body & Soul,
|
| 59 |
(transition)
|
| 60 |
Every Tub, credits
|
| Chapter |
Notes
|
| 01 |
intro
|
| 02 |
Bird Gets the Worm; Charlie Parker intro; Parker heads to NY at 19; washed dishes at a club to hear Art Tatum; inspiration came one night at Dan Wall's Chili House; discovered harmonic improvisation; genius of Parker;
|
| 03 |
Well, Git It!; 1940s and end of Great Depression; Swing still popular; WWII; draft; Jazz as a symbol of democracy; Ellington still prospering; Armstrong touring with a big band; development of Bebop;
|
| 04 |
(transition)
|
| 05 |
Kerouac; Minton's Playhouse and development of Bebop; musicians dissatisfied with Swing; free food for musicians willing to jam; house band included Thelonious Monk and Kenny Clarke; Coleman Hawkins, Chu Berry, Charlie Christian, Don Byas, Milt Hinton, MaryLou Williams played there; Ben Webster and Lester Young battled there;
|
| 06 |
I've Found a New Baby; Roy Eldridge and his sound; Eldridge unexpectedly cut by Dizzy Gillespie at Minton's;
|
| 07 |
Sometimes I'm Happy; Gillespie's early life; studied piano at a technical school; Marsalis on Gillespie's style;
|
| 08 |
Blue 'N' Boggie; Gillespie experimenting with Jazz; unpredictable on stage, which earned him his nickname: Dizzy; teacher
|
| 09 |
Blue Interlude; Gillespie went to NY in 1937; hired into Cab Calloway's band; was more than Calloway had bargained for; was a jokester in Calloway's, who disliked his improvisation, which he called "Chinese music"
|
| 10 |
Dizzy Atmosphere; played his style of music at Minton's; few able to keep up with him
|
| 11 |
Scrapple from the Apple; Parker's reputation began to circulate; Gillespie impressed by his style; Parker developed the missing piece: phrasing; locked everything together; the music had to go his way
|
| 12 |
Now's the Time; Parker intro; mother bought him a saxophone at 13; Buster Smith and his double-time style was an influence on young Parker; blues-based music due to KC background; left school at 15; moved from alcohol to marijuana to benzedrine; married at 16; father at 17; influenced by Chu Berry and Lester Young
|
| 13 |
Meandering; in 1936 on Thanksgiving was seriously injured in a car accident; spent two months recuperating; became hooked on morphine; by 17 he was hooked on heroin; moved to NY
|
| 14 |
Cherokee; Parker fascinated with Cherokee; discovered harmonic improvisation; "I came alive";
|
| 15 |
Swingmatism; returned to KC and played with Jay McShann; band sometimes had problems following him
|
| 16 |
I've Found a New Baby; called "Indian" by older players because of his unwillingness to fit in musically; received his nickname "Bird"
|
| 17 |
(transition)
|
| 18 |
Jump for Joy; 1941: Ellington in Hollywood; "Jump for Joy" all-black musical; opened to rave reviews; ran for only eleven weeks and did not make it to Broadway; country focused on WWII, not civil rights
|
| 19 |
In The Mood; Jazz (Swing) goes to war; Downbeat: "Soldiers of Music"; Jazz represented America; obstacles of war (curfees, taxes, blackouts, rationing, transporation monoplized by military , musicians being drafted, etc.); Swing tunes became the anthems of war-time America
|
| 20 |
Drum Boogie; thirty-nine band leaders in the Army, 17 in the Navy, 3 in the Merchant Marine, 2 in the Coast Guard enlisted; Glen Miller joined Air Force and died over English Channel; Goodman deferred because of back injury, but joined USO; Artie Shaw formed a Navy band; Artie Shaw on playing during WWII
|
| 21 |
Begin the Beguine; Artie Shaw on the U.S.S. Saratoga
|
| 22 |
(transition)
|
| 23 |
I Let a Song Go out of My Heart; Ellington has carte blanc to record what he wants; hugely successful and popular works; was too old for service, so volunteered to seel war bonds; "Your Saturday Date with the Duke"
|
| 24 |
The Kissing Bug; success driven in part by Billy Strayhorn;
|
| 25 |
Take the "A" Train; story behind Take the "A" Train; was a huge hit and became Ellington's theme; life-long musical partner; polar opposites; musical marriage; Ellington on their music relationship; Strayhorn would sit in on piano or conduct
|
| 26 |
Day Dream; worked together for almost three decades; Nazis overrun much of Europe; Battle of Britain;
|
| 27 |
Makin' Whoopee; Jazz: "art of the subhuman" by Goebbels; Jazz as a symbol of resistance; Swing Kids in Germany;
|
| 28 |
Makin' Whoopee; changed lyrics of Jazz and tried to use it as propaganda; Terezin Concentration Camp staged camp propaganda film; musicians in film were sent to Auschwitz;
|
| 29 |
Bird of Paradise; description of Parker and his polar nature;
|
| 30 |
Lady Be Good; McShann on Parker's potential; Parker deferred from the Army because of his drug addiction; joined Earl Hines' big band, which included Sarah Vaughn, Billy Eckstine, and Dizzy Gillespie; Gillespie convinced Hines to hire Parker; story of the pin Parker gave out to wake him up;
|
| 31 |
Sweet Georgia Brown; Parker and Gillespie played together every night; wanted to play things the older musicians could not play; AFM recording ban caused nearly all recordings to cease for two years; Bebop remained a secret
|
| 32 |
(transition)
|
| 33 |
Uncle Sam Says; race relations during WWII; military segregated, even blood banks; African Americans barred from restaurants where even German POWs could eat; another mass migration from the South; fighting bigotry abroad while forced to tolerate it at home
|
| 34 |
"That's My Home", Armstrong during WWII, Lucille and his home,
|
| 35 |
transition "The Street"
|
| 36 |
"Summer Time", Harlem, Savoy closed because of "VD", race riots,
|
| 37 |
"Taxi War Dance", 52nd Street, "The Street", location of clubs, mixing of races (sometimes violently), Queen of the Street: Billie Holiday
|
| 38 |
"The New Black and Tan Fantasy", Billie Holiday, toughness, drugs, Jimmy Rowles, "Solitude"
|
| 39 |
"Solitude",
|
| 40 |
transition "We Need to be Free", Ellington interview
|
| 41 |
"Harlem Airshaft", travelling and composing
|
| 42 |
"Prelude to a Kiss", miraculous jigsaw, Ellington's space
|
| 43 |
"Jack the Bear", composing specifically for his musicians, "eighteen maniacs", individuality of his musicians, "not a Concerto for Trumpet, but a Concerto for Cootie"
|
| 44 |
"(The) Minor Goes Muggin'", internal disputes, lack of discipline in his band
|
| 45 |
"Chocolate Shake", played his musicians against each other and then write a piece with both of them in it, fought against each other to be the best and would make for a great performance
|
| 46 |
"Cotton Tail", Ben Webster, "The Brute"
|
| 47 |
"Cotton Tail", with Ben Webster's solo (written for him by Ellington)
|
| 48 |
"Black, Brown and Beige", breaking the three minute limit, 1/23/43, forty-four minute work at Carnegie Hall going to Russian victims of WWII, extended composition in three movements, "America's latter-day Bach"
|
| 49 |
"Solitude", WWII, Bertrand Tavernier, Jazz banned by Germans
|
| 50 |
"Shine", in occupied Paris titles were changed and still performed, Django Reinhardt
|
| 51 |
"Je T'Attendrai", life of Reinhardt, Jazz fusion with Gypsy music, guitar and violin
|
| 52 |
"These Things Can't Happen", Normandy
|
| 53 |
"Somebody Stole My Gal", Dave Brubeck, Jazz as the music of freedom, life of Brubeck
|
| 54 |
"Let Me See", Brubeck plays with the Red Cross girls, Colonel asks him to form a band: "Wolfpack Band", integrated
|
| 55 |
"American Patrol", returned to segregation
|
| 56 |
"Indiana (Back Home Again in Indiana)", went to go eat but black guys were not served, Brubeck's recollection on meeting his first black man
|
| 57 |
"Bird Gets The Worm", Charlie Parker makes first recordings under his own names with Gillespie, Daves, Roach, "Billie's Bounce", "Thrivant From a Rift", "Now's the Time"
|
| 58 |
"Ko Ko", based on chord changes from "Cherokee", rebellion against Swing
|
| 59 |
(transition)
|
| 60 |
"Main Stem" (credits)
|
| Chapter |
Notes
|
| 01 |
(intro)
|
| 02 |
"Salt Peanuts"
|
| 03 |
"Dexterity", intro to Bop, intro to Charlie Parker
|
| 04 |
Risk (transition)
|
| 05 |
"All of Me", Frank Sinatra, decline of Swing, Basie & Ellington still on the road, Goodman retires
|
| 06 |
"Groovin' High", Jam session inspiring new music, "Whispering" compared to "Groovin' High"
|
| 07 |
"Dizzy Atmosphere", Bebop grown out of Jam sessions, Minton's Playhouse, Devil's Interval: flatted fifths
|
| 08 |
"Celebrity", Parker and Bebop
|
| 09 |
"Dewey Square (Prezology)", Parker's style, dissheveled offstage--organized onstage, Heroin addiction
|
| 10 |
"Boperation", California tour with Gillespie, Parker walks into the desert to find a fix
|
| 11 |
"Moose the Mooche", audience does not get Bop, tune named after his heroin addiction, sells plane ticket for heroin, Parker stranded in LA, gives 1/2 of his earnings for recordings to Moose for drugs, turns to alcoholism
|
| 12 |
"Lover Man", turns up drunk for recording session, had to be proped up by producer, "should be stomped into the ground", passes out and sets bed on fire, committed to Camarillio, played saxophone in hospital band
|
| 13 |
"Oh Bop Sha-Bam", Gillespie puts together big band to get people interested in Bop, becomes public face of Bebop
|
| 14 |
"Manteca", personified Bebop, trombonist was a woman, infused Cuban congos into the band, linked Jazz back to Carribean, Bop fails to attract a wide audience, "Dancers didn’t care whether we played a flatted fifth or a rupture one hundred and twenty-ninth. They’d just stand around the bandstand and gawk"
|
| 15 |
"Salt Peanuts", Bop not music for dancing
|
| 16 |
Trying to Play Clean (transition)
|
| 17 |
"Scapple from the Apple", Parker released from hospital and returned to New York, Miles Davis in his band, young musicians want to emulate Parker
|
| 18 |
"Yardbird Suite", Parked hated the word Bebop, "trying to play clean and finding the pretty notes"
|
| 19 |
"I'm So Lonesome I Could Cry", Parker's varied musical tastes, interested in country music, liked the stories
|
| 20 |
"The Baseball Quadrille"
|
| 21 |
"Chi Chi", played music for a cow, because he was told that animals liked music
|
| 22 |
"Confirmation" (McLean), McLean on subbing for Bird
|
| 23 |
"Confirmation" (Parker)
|
| 24 |
"Rockin' Chair", Armstrong with Teagarden, Amstrong and His All-Stars,
|
| 25 |
"When The Saints Go Marching In", Armstrong as King Zulu, mistakenly percieved as an Uncle Tom,
|
| 26 |
"Rockin' Chair", not allowed to play with Teagarden in New Orleans, never forgives the city, "Jazz was born there, and I remember when it wasn't no crime for cats of any color to get together and blow ... I don't care if I never see the city again. Honestly, they treat me better all over the world than they do in my home town."
|
| 27 |
This Is My Home (transition)
|
| 28 |
"Klaunstance", Jazz festival in Paris, Sidney Bechet, Charlie Parker, Parker widely popular in France, a musician's musician, Parker with Strings
|
| 29 |
"Just Friends", Parker With Strings sold better than any of his albums to date
|
| 30 |
"Just Friends" (cont.)
|
| 31 |
"White Christmas", opening of Birdland, moves in with Chan Richardson, family life, jobs: musician, junkie, family man
|
| 32 |
"Don't Blame Me", disciplined on the bandstand, out of control off of the bandstand, "This is my home" as he was injecting himself with heroin, drug merry-go-round, popularity of heroin
|
| 33 |
"Bebop", people wanted to be like Parker and took drugs like Parker, McLean on the addiction
|
| 34 |
"They Hymn (Superman)", musicians on drugs, dope sucking life out of Jazz
|
| 35 |
"Caldonia", Louis Jordan, birth of R&B
|
| 36 |
Sustained Intensity (transition)
|
| 37 |
"Boplicity", Gil Evans, Miles Davis (intro), 1949 -- "Birth of the Cool" (prelude)
|
| 38 |
"Venus de Milo", Davis compared to Lester Young, formed the nonet and recorded "Birth of the Cool", soft and intense
|
| 39 |
"Moon Dreams", Davis in Paris, met Piccaso et al., treated like a human being, turns to drugs upon return, pawned his horn, father has him arrested in order to help him, returns to drugs and becomes unreliable; 1952: Gillespie and Parker accept awards from Downbeat on TV
|
| 40 |
"Hot House"
|
| 41 |
"Get Happy", Bud Powell
|
| 42 |
"Lady Be Good", Ella Fitzgerald and Bop
|
| 43 |
"Animal Dance", Modern Jazz Quartet (ex-players from Gillespie's Bebop Big Band)
|
| 44 |
The Apostle of Hipness (transition)
|
| 45 |
"Charlie's Wig", Beatniks and misunderstanding of Bop
|
| 46 |
"Ornithology", Bebop's demand vs. Beatniks insistence on Jazz as something anyone can do
|
| 47 |
"Whiffenpoof Song", Armstrongs critique of Bebop
|
| 48 |
Monk (transition)
|
| 49 |
"Blue Monk", Thelonious Monk
|
| 50 |
"Bolivar Blues", Monk's early life, Minton's Playhouse
|
| 51 |
"Five Spot Blues", critics of Monk, rarely played other people's music
|
| 52 |
"Ephistrophy", arrested for drug posession, banished from clubs, wrote music for the next six years until he was recorded, Monk recognized as a giant of Jazz
|
| 53 |
"Autumn in New York", Billie Holiday
|
| 54 |
Cool (transition)
|
| 55 |
"Walkin' Shoes", Mulligan quartet, Cool/West-Coast Jazz
|
| 56 |
"Blue Rondo al la Turk", Dave Brubeck, rhythm of 9/8, Paul Desmond "a dry martini", genesis of "Take Five"
|
| 57 |
"Take Five", Time Out released, sold over one-million copies--something no other Jazz album had done, Willie "The Lion" Smith: "He plays like where the blues was born", on tour with Ellington, on the cover of Time
|
| 58 |
"Blues after Dark", Norman Granz, equal treatment for all musicians, Martin Luther King Jr., Granz would cancel tours if his group was discriminated against
|
| 59 |
The Future Unlived (transition)
|
| 60 |
"Out of Nowhere", Parker returns to alcoholism, finds out daughter died of pneumonia, telegrams
|
| 61 |
"Embraceable You", fought with Chan, tried to commit suicide, "Why don't you save me Dizz", 3/9/55 visit to Konigswarter
|
| 62 |
"I'm Getting Sentimental Over You", 3/12/55, Dorsey Brother's Variety Show, Charlie Parker died, coroner estimated age between 55 and 60, 34 years old, public reaction to his death
|
| 63 |
"Now's The Time"
|
| 64 |
Coda (transition)
|
| 65 |
"Generique", Davis inspired by Sugar Ray Robinson, Davis decides to kick his addiction, confines himself to his father's farm, quits cold turkey
|
| 66 |
credits
|
| 67 |
"Groovin' High"
|
| Chapter |
Notes
|
| 01 |
Intro
|
| 02 |
"Giant Steps"; "willing to die for the motherfucker"
|
| 03 |
"Chronology"; American Golden Age, summary of events in the late 1950s/early 1960s; summary of Jazz musicians
|
| 04 |
"The Adventure" (title)
|
| 05 |
"I Got a Woman"; Ray Charles; Soul: blend of Jazz, Blues, Gospel
|
| 06 |
"I Got a Woman"; Elvis Presley; Rock and Roll
|
| 07 |
"The Titan" (transition)
|
| 08 |
"St. Thomas"; Sonny Rollins; Rollins' style; personal history; influenced by Coleman Hawkins; addition to Heroin; worked with Max Roach; Saxophone Colossus; withdrew from public performance (1959); always reassessing himself
|
| 09 |
"It Could Happen To You"
|
| 10 |
"John S."; one-pitch solo; rhythmic sense, returns and abandons Jazz many more times; "We have to make ourselves as perfect as we can."; Duke Ellington interview
|
| 11 |
"Caravan"; lead into Newport Jazz Festival; disentigration of band; lack of gigs; operating at a loss; invitation to Newport Jazz Festival (1958); "Newport Jazz Festival Suite"
|
| 12 |
"Diminuendo and Crescendo in Blue"; Gonsalves and his 27 solos
|
| 13 |
"Eavesdropping" (transition)
|
| 14 |
"Surrey with the Fringe on Top"; cultural montage; Davis and Prestige; Davis' work with: Sonny Rollins Horace Silver; Milt Jackson, Red Garland, Paul Chambers, Philly Joe Jones, Cannonball Adderley, John Coltrane
|
| 15 |
"The Man I Love"; Davis' style; Davis and Ballads; made four records for Prestige in two days, with no retakes, in order to fulfill final part of contract so he could record for Columbia; Clifford Brown intro
|
| 16 |
"Lady, Be Good"; Clifford Brown; not into drugs; consummate professional; only vice was chess; illustrated that you could be clean and still be a good Jazz musician (paraphrase of Rollins' quote)
|
| 17 |
"I Get a Kick Out of You"; Heroin's grasp of Jazz ended because of death of Parker and success of Brown; joins Max Roach;
|
| 18 |
"Easy Livin'", June 25, 1956; driving from Philly to Chicago with Richie Powell and Powell's wife; car skids off road and all three are killed instantly; reaction by Dizzy Gillespie's band
|
| 19 |
"Lover Man"; Sarah Vaughan; introduction; considdered herself a musican, not a singer; range from baritone to soprano
|
| 20 |
"They Can't Take That Away From Me"; Sassy;
|
| 21 |
Ooftah (transition); Armstrong
|
| 22 |
"Ko Ko Mo (I Love You So)"; criticism by Blacks during the 1950s and 1960s
|
| 23 |
"Aunt Hagar's Blues"; September 9, 1957; Central High School, Little Rock Arkansas and prevention of Black students from attending class; refuses to go on State Department goodwill tour; failing health--heart attack
|
| 24 |
"St. Louis Blues";
|
| 25 |
"The Messengers" (transition)
|
| 26 |
"Introduction to Split Kick"
|
| 27 |
"Bu's Delight", Art Blakey and the Jazz Messengers; Blakey's history;
|
| 28 |
"Doodlin'"; Blakey and Horace Silver establish The Jazz Messengers; developed Hard Bop; kept the group together for forty-five years; Jazz University; generations of musicians played with Blakey's Messengers: Jackie McLean, Hank Mobley, Donald Byrd, Bobby Timmons, Benny Golson, Woody Shaw, Lee Morgan, Freddie Hubbard, Keith Jarret, Joanne Brackeen, Wayne Shorter, Wynton Marsalis
|
| 29 |
"Blues March"; Art Taylor drums taken by gangsters and Art Blakey convinces them to give the drums back; "Jazz washes away the dust of everyday life."
|
| 30 |
"Dickie's Dream"; December 6, 1957; CBS - Sound of Jazz
|
| 31 |
"Fine and Mellow"; Holiday and Young
|
| 32 |
"It's The Talk of the Town"; Lester Young epilogue
|
| 33 |
"God Bless the Child"; Billie Holiday epilogue
|
| 34 |
"Inside/Outside" (transition)
|
| 35 |
"New Rhumba"; Miles Davis & Gil Evans: Miles Ahead; Porgy and Bess; Sketches of Spain; Davis is orchestrated;
|
| 36 |
"Concierto de Araniuez (Adagio)";
|
| 37 |
"Teo"; Davis' success; rudeness; Davis vs. Armstrong--Davis was accepted
|
| 38 |
"Mood"; deep insecurity; still a black man in a white world; beaten outside of Birdland; temperment changed; was very posessive in his personal life
|
| 39 |
"All Blues"; Kind of Blue; modal Jazz; forced musicans out of licks and required them to invent melodies; would not give his musicians music until the session started, so they could not prepare and would have to invent on the fly; Adderley, Coltrane, Evans, Davis, Cobb, Chambers; relationship with Evans; best-selling Jazz album of all time
|
| 40 |
"Existence Music" (transition)
|
| 41 |
"Blue Train"; Jazz is Existence; John Coltrane introduction; spirituality of Jazz; Coltrane takes Jazz to another level
|
| 42 |
"Mating Call"; Coltrane's history; worked with Dizzy Gillespie; fired by Davis because of heroin addition; spirtual awakening and cleaned up; studied Eastern/African music; collaboration with Sonny Rollins: would have do call/response via phone
|
| 43 |
"Chasin' The Trane"; "Live" at the Village Vangaurd;
|
| 44 |
"My Favorite Things"; (1961); playing more frequently on soprano Saxophone; remake of "My Favorite Things" very successful, receiving significant airtime;
|
| 45 |
"The Aventure" (transition)
|
| 46 |
"Eventually"; Ornette Coleman; Free Jazz; moving outside of chords, harmony, meter, etc.
|
| 47 |
"Faithful"; Ornette Coleman assembles quartet: Don Cherry (trumpet), Billy Higgins (drums); Charlie Haden (bass); rhythm section responding to the improviser; Five Spot;
|
| 48 |
"Focus On Sanity"; mixed reviews; Leonard Bertnstein: "Genius"; Lionel Hampton asked to sit in; Roy Eldrige couldn't understand him drunk or sober; Miles Davis: "all screwed-up inside"; Coltrane played with him between sets;
|
| 49 |
"Free Jazz"; criticism of Free Jazz
|
| 50 |
(transition)
|
| 51 |
"So What" (credits)
|
| Chapter |
Notes
|
| 01 |
Dexter Gordon (Copenhagen, 1971); improvisation;
|
| 02 |
"Tanya"; Dexter Gordon intro; Jazz musicians struggling; exodus to Europe; fracturing of Jazz into many styles;
|
| 03 |
"Perdido"; conflict and consensus in Jazz
|
| 04 |
"Masterpiece by Midnight" (title); The Beatles & Louis Armstrong; "Hello Dolly" intro
|
| 05 |
"Hello Dolly"; number one song in America; displaces The Beatles; Jazz never as popular again; Rock and Roll reclaimes the top spot
|
| 06 |
"Triptych - Part 1 (Prayer)"; race relations in the 1960s; effect on Jazz;
|
| 07 |
"Freedom Now!" (transition)
|
| 08 |
"Triptych - Part 1 (Prayer)"; Abbey Lincoln on screaming in "Tryptych" from the Freedom Now Suite;
|
| 09 |
"Triptych - Part 1 (Prayer)"; attempt to get Jazz under Black control
|
| 10 |
"Switch Blade"; Charles Mingus intro, Musical Millitance; "If Charlie Parker Was A Gunslinger, There'd Be A Whole Lot Of Dead Copycats";
|
| 11 |
"Take The 'A' Train"; second only to Ellington in the complexity of his compositions
|
| 12 |
"Original Fables of Faubus"; releasing full version on Candid records after Columbia refused to let him do so
|
| 13 |
"Hambone"; Shepp and musical militancy;
|
| 14 |
"Dreaming of the Master"; black cooperatives; Art Ensemble of Chicago;"Great Black Music" as opposed to "Jazz";
|
| 15 |
"We Bop"; Art Ensemble of Chicago (cont.); unable to win back black audience; played to three people; largest audience were white, French college stuents;
|
| 16 |
(transition)
|
| 17 |
"Rick Kick Shaw"; "Imaginary Concerts" (transition); Cecil Taylor;
|
| 18 |
Cecil Taylor (cont.); audience should prepare for his concerts; B. Marsalis: "total self-indulgent bullshit"; have to learn to listen to Cecil Taylor; few listening
|
| 19 |
Like classical music, Jazz expanding in form, expression and freedom; does not draw much of an audience;
|
| 20 |
"Desafinado"; Bossa Nova--"New Wave"; Joao Gilberto; Charlie Byrd;
|
| 21 |
"Desafinado"; Stan Getz; samba + progressive Jazz; reached a broad, integrated audience;
|
| 22 |
Not To Be Understood (title)
|
| 23 |
"Things Ain't What They Used To Be"; Ellington describes Jazz; Ellington's later years;
|
| 24 |
Ellington continued; stayed on the road all through the 1960s; still played lesser gigs;
|
| 25 |
"Tourist Point of View"; continues to experiment; wrote "Sacred Music"; collaborated with Mingus, Roach and Coltrane; all thre judges recommended him for Pulitzer Price, but board declined, and as a result, two out of the three resigned in protest
|
| 26 |
"Blood Count", May 31, 1978--Billy Strayhorn died of cancer; "No, I'm not going to be all right. Nothing is all right now."; receives tribute at White House; given Presidential Medal of Freedom by Nixon; kissed Nixon four times, one for each cheek
|
| 27 |
(transition)
|
| 28 |
"Impressions"; John Coltrane; Avante Garde; Coltrane thought it was religious music; "Shooting Comets" (title); Jazz could speak to people's souls; "The main thing a musician would like to do is to give the listener a picture of the wonderful things he senses in the universe.";
|
| 29 |
Coltrane as a "preacher"; his style and earnestness; 1964--A Love Supreme
|
| 30 |
"Acknowledgment" (from A Love Supreme); Joshua Redman on A Love Supreme; Branford Marsalis on A Love Supreme; list of albums; plans for next decade: "Try to become a saint."
|
| 31 |
"Naima"; July 16, 1967 died of cancer at age of 40
|
| 32 |
"Tenis Without a Net" (title); Miles Davis' new quintet
|
| 33 |
"Agitation; Gingerbread Boy; Footprints; Round Midnight"; Wayne Shorter (saxophone), Ron Carter (bass), Tony Williams (drums), Herbie Hancock (piano);
|
| 34 |
Hancock on the quintet's style;
|
| 35 |
Davis, while critical of the Avant-Garde at first, begins to move towards it; Redman on the quintet's spontaneous communication;
|
| 36 |
stretch and contract tempo, sections, etc.; not inhibited with structure; Davis was listening to other music: Funk
|
| 37 |
"I'm Gonna Take You Higher"; Wein includes funk/fusion bands at Newport in 1969 due to competition with Rock & Roll; Davis remains for all four days to take it all in; "I started realizing that most rock musicians didn't know anything about music, but they were popular, and I wasn't ready to be a memory yet.";
|
| 38 |
"Spanish Key"; Davis discards Jazz standards; replaces traditional instruments with electronic ones; Fusion; first music of Jazz not horn or vocals- based; Bitches Brew; sold more than 400,000 copies in the first year; records fifteen albums during the next four years;
|
| 39 |
"Janine's Theme"; Davis accused of abondoning his art; in so doing, he greated a new genre and a vast new audience for his art
|
| 40 |
"Good Evening Everybody" (transition)
|
| 41 |
"Stardust"; Louis Armstrong coda;
|
| 42 |
"Lazy River"; Armstrong's style; homelife
|
| 43 |
"That's My Home"; neighborhood; failing health in the 1960s; ordered to stop playing the trumpet, but he couldn't do it;
|
| 44 |
"When The Saints Go Marching In"; 70th birthday party and Newport; theme song: "Sleepy Time Down South"
|
| 45 |
"When It's Sleepy Time Down South"; performance at Newport; health continues to fail; final gig at the Waldorf-Astoria; July 6, 1971, Armstrong died at his home;
|
| 46 |
"Dear Old Southland"; Armstrong's funeral;
|
| 47 |
"Dinah"
|
| 48 |
"Latin American Sushine"; Ellington continues to compose; "Music is my mistress, and she plays second fidle to no one."; even more prolific after Strayhorn's death; diagnosed with lung cancer, but told no one; Ellington interview at the piano;
|
| 49 |
"Sentimental Lady"; begins cancelling gigs, but continues to write; eyesight starts to fail, but just writes larger; composed on "Get Well" cards; Ellington died on May 24, 1974; buried in the Bronx, not far from Armstrong, and next to his mother;
|
| 50 |
"In A Sentimental Mood"; Jazz at a crossroads; clubs closing or turning to different music; mid 1970s, jazz constituted on 3% of sales; Davis says Jazz is dead; "Music for the museum."; interaction of Jazz;
|
| 51 |
"Single Petal of a Rose"; addiction of Jazz;
|
| 52 |
"Homecoming" (title); "Let's Get Down"; 1976, Dextor Gordon returns to the US; Blakey
|
| 53 |
Modern Jazz
|
| 54 |
Art Blakey and the Jazz Messengers
|
| 55 |
"
|
| 56 |
"
|
| 57 |
"
|
| 58 |
"Death Letter"; tributaries of Jazz; modern Jazz musicians; Cassandra Wilson
|
| 59 |
James Carter
|
| 60 |
Gonzalo Rubalcaba
|
| 61 |
Dianne Reeves
|
| 62 |
Ron Carter with MC Solaar
|
| 63 |
Regina Carter
|
| 64 |
LaGuardia High School Jazz Band
|
| 65 |
"Wild Man Blues"; Nicholas Payton; Jazz still alive
|
| 66 |
New Orleans Jazz tradition continues
|
| 67 |
Coleman Hawkins clip
|
| 68 |
Dave Brubeck clip
|
| 69 |
Ellington clip
|
| 70 |
Count Basie clip
|
| 71 |
Monk clip
|
| 72 |
Davis clip
|
| 73 |
Gillespie clip
|
| 74 |
Armstrong clip
|
| 75 |
Goodman clip ?
|
| 76 |
Coltrane clip
|
| 77 |
Goodman clip
|
| 78 |
Fitzgerald Clip
|
| 79 |
Sound of Jazz clip; cameos of major Jazz musicians; Ellington: "We do love you madly"
|
| 80 |
(credits)
|
