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World War II to the Civil Rights Movement

Overview

While no one knows the exact origins of jazz music, many say it began as the result of the first known recorded jazz music was by the Original Dixieland Jass Band, a White band from New Orleans. However, by studying the musical characteristics of the song "Livery Stable Blues (1917),” it’s clear they borrowed (or stole) musical techniques practiced by African Americans in New Orleans. Swing music was the first jazz style that proved commercially successful, taking jazz out of the brothels of New Orleans into ballrooms.

Be ready to:

Draw musical comparisons with regard to prominent musical characteristics and performance practices between this lessons' noted jazz styles.
Relate this lesson’s noted jazz styles to contemporaneous cultural, social, and political circumstances.
Identify innovators as well as noted performers that further advanced each jazz style.
Explain how certain jazz musicians did not merely see their music as an accompaniment for dancing, but instead as reflective and intellectual music accorded as art music.
Explain why improvisation is central to jazz performance.

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Listening Guides

References

Bebop (Bop) 6: Listening Guide: Dizzy Gillespie “Shaw Nuff”

Table 21.1 “Shaw Nuff” Listening Guide
“Shaw Nuff”♫ Dizzy Gillespie All-Star Quintet featuring Charlie Parker on saxophone and Gillespie on trumpet
Introduction	Piano, bass, and drums (RS-rhythm section) play a rhythmic riff, at a fast tempo, for four measures that last for six seconds; At [00:07-00:20] for sixteen measures, trumpet and saxophone enter, accompanied by the rhythm section, playing in harmony rhythmical passages	[00:00-00:20] 00:20
A (first A of the AABA or first eight bars of the thirty-two-bar form)	Trumpet and saxophone, accompanied by the RS, play the main theme (“head” or “head arrangement”) in unison; Features: Trumpet and saxophone perform rapid notes in an “angular” manner; the bassist performs in the “walking-bass” manner much the same way as what is heard in big band swing; the pianist is comping (playing altered harmonic chords in a “structured progression” sporadically) to “compliment” the trumpet and saxophone’s melody (theme) as well as the drummer’s rhythmic tendencies such as accents and “swing rhythm”; Form clarification: A A B A (AABA) eight bars / eight bars / eight bars / eight bars (total=thirty-two bars)	[00:20-00:27] 00:07
A (second A of the AABA or second eight bars of the thirty-two-bar form)	Same features as what is heard in the first A section	[00:27-00:34] 00:07
B (of the AABA form or third eight bars of the thirty-two-bar form)	Features: Most of the same features as in the A sections above, but the pianist plays a different harmonic progression (or succession of chords) in order to harmonically compliment the change in the melody (or theme) played in unison by the trumpet and saxophone	[00:34-00:41] 00:07
A (third A of the AABA or fourth 8 bars of the 32-bar form)	Features: Same features as what is heard in the first A section End of the first complete AABA or thirty-two-bar form	[00:41-00:48] 00:07
A	Saxophone (Parker) performs a “virtuosic solo” with the same accompaniment as what is heard in the first A section	[00:48-00:55] 00:07
A	Saxophone solo and accompaniment continue	[00:55-01:02] 00:07
B	Saxophone solo continues with the same accompaniment as what is heard in the B section	[01:02-01:09] 00:07
A	Saxophone solo continues with the same accompaniment as what is heard in the first A section End of the second complete AABA or thirty-two-bar form	[01:09-01:16] 00:07
A	Trumpet (Gillespie) performs a “virtuosic solo” with the same accompaniment as what is heard in the first A section	[01:16-01:23] 00:07
A	Trumpet solo and accompaniment continue	[01:23-01:30] 00:07
B	Trumpet solo continues with the same accompaniment as what is heard in the B section	[01:30-01:37] 00:07
A	Trumpet solo continues with the same accompaniment as what is heard in the first A section End of the third complete AABA or thirty-two-bar form	[01:37-01:44] 00:07
A	Piano solo performs a “virtuosic solo” with the same accompaniment, though the right hand performs melodically while the left hand plays a harmonic chord progression, as what is heard in the first A section	[01:44-01:51] 00:07
A	Piano solo and accompaniment continue	[01:51-01:58] 00:07
B	Piano solo continues with the same accompaniment as what is heard in the B section	[01:58-02:05] 00:07
A	Piano solo continues with the same accompaniment as what is heard in the first A section End of the fourth complete AABA or thirty-two-bar form	[02:05-02:12] 00:07
A	An exact repeat of the first A section	[02:12-02:19] 00:07
A	An exact repeat of the second A section	[02:19-02:26] 00:07
B	An exact repeat of the first B section	[02:26-02:34] 00:07
A	An exact repeat of the third A section	[02:34-02:41] 00:07
Intro	Piano, bass, and drums (RS-rhythm section) play a rhythmic riff, at a fast tempo, for four measures that last for six seconds; At [02:46-02:59] for sixteen measures trumpet and saxophone enter, accompanied by the RS, playing in harmony rhythmical passages	[02:39-02:59] 00:20

Heebie Jeebies

Say, I've got the Heebies
I mean the Jeebies
Talking about
The dance, the Heebie Jeebies
Do, because they're boys
Because it pleases me to be joy

Boogie Woogie Bugle Boy

He was a famous trumpet man from out Chicago way
He had a boogie style that no one else could play
He was the top man at his craft
But then his number came up and he was gone with the draft
He's in the army now, a blowin' reveille
He's the boogie woogie bugle boy of Company B