Jazz History 1

(1)

1. Introduction to Jazz: Past,

Presen

(2)

Questions



 How many have listened to jazz before?How many have listened to jazz before? 

 How many have purchased 10 or more jazz recordings?How many have purchased 10 or more jazz recordings? 

 How many here havHow many here have been to e been to 5 or more jazz 5 or more jazz concerts in their lives?concerts in their lives? 

 How many people here are not sure whether they like jazz music?How many people here are not sure whether they like jazz music? 

 How many people here have played a musical instrument?How many people here have played a musical instrument? 

 How many people here like many other styles of music other thanHow many people here like many other styles of music other than

jazz? jazz?



(3)

P

ast



 Louis ArmstrongLouis Armstrong 

 http://www.youtube.com/watch?v=NTpNC1Qihttp://www.youtube.com/watch?v=NTpNC1Qi

J5w&feature=related J5w&feature=related

(4)

P

rres

esen

ent(

t(so

sort

rt of)

of)



 Michael BreckerMichael Brecker



 http://www.youtube.com/watch?v=d3uIvSfjk4http://www.youtube.com/watch?v=d3uIvSfjk4

0 0

(5)

F

uture



 Esperanza SpaldingEsperanza Spalding



 http://www.youtube.com/watch?v=nhttp://www.youtube.com/watch?v=nFFfDq0qbfDq0qb

t2U t2U

(6)

A

. Overview



 Class OutlineClass Outline 

 WebsiteWebsite 

 Syllabus/GradingSyllabus/Grading PPoliciesolicies 

(7)

Syllabus



 JJaazzz z HHiissttoorry y II 33ccrreeddiittss 

 Instructors: George ColliganInstructors: George Colligan [email protected]@pdx.edu 

 TA: MarcTA: Marc Hutchinson [email protected] [email protected] 

 Hoffman Hall 109Hoffman Hall 109 

(8)

Course

FF

ormat:



 Lectures, Audio/VideoLectures, Audio/Video PPresentations,resentations, P

Perferformancormances.Res.Requirequireded MatMaterialserials:: 

 A computer or internet access-A computer or internet access-

 a notebook or some other way to take notes-a notebook or some other way to take notes-

 Course Course Objectives:TObjectives:Too learn about Jazz frlearn about Jazz from its prom its pree

-20th century origins into ragtime, the blues, -20th century origins into ragtime, the blues,

dixieland, swing, and the beginnings of bebop.To dixieland, swing, and the beginnings of bebop.To learn listening and appreciation skills.

(9)

Course Co

Course Conten

ntentt



 Lectures and performaLectures and performances will be the nces will be the bulk of bulk of

the class. There will be

the class. There will be PPowerowerPPointoint

presentations and many classes will feature presentations and many classes will feature the "Top 10" musicians of an era. There is a the "Top 10" musicians of an era. There is a website which will contain each classes

website which will contain each classes powerpoint

powerpoint presentpresentation ation as weas well as ll as listelisteningning examples and other relevant content.

(10)

Course

Course requir

requirements

ements



 GraGrades will be based on des will be based on the Midterm(30 %),the Midterm(30 %),

the

the FFinal(30%) , and 6 Surprise Tests(30%)inal(30%) , and 6 Surprise Tests(30%)

given in class. You will also be required to given in class. You will also be required to att

attend 5 end 5 live performances and bring in live performances and bring in proof proof of attendance(10%).

(11)



 DDisability Resource Centerisability Resource Center 

 AA service for alservice for all students attending Portland State Universityl students attending Portland State University 

 The Disability Resource Center page has moved!The Disability Resource Center page has moved! PPlease findlease find

us at

us at http://www.drc.pdx.eduhttp://www.drc.pdx.edu..

 

Disability Resource Center Disability Resource Center

P

Portland State Universityortland State University

116 Smith Memorial Student Union 116 Smith Memorial Student Union 1825 SW Broadway 1825 SW Broadway P Portland, OR 97201ortland, OR 97201 P Phone: (503) 725-4150hone: (503) 725-4150 F Fax: (503) 725-4103ax: (503) 725-4103 TTY or Relay: (503) 725-6504 TTY or Relay: (503) 725-6504 Email: Email: ddrrcc ddxx eedduu

(12)

Outside performances.



 Here is a partial listing of jazz venues inHere is a partial listing of jazz venues in PPortlandortland



 JIMMY MAK'SJIMMY MAK'S

221 NW 10th Ave. (between Davis and Everett) 221 NW 10th Ave. (between Davis and Everett)



 WWilfs Restaurantilfs Restaurant

800 NW 6th Avenue at Union Station 800 NW 6th Avenue at Union Station



 CamilCamillialia LoungLoungee 

 510 NW 11th Ave510 NW 11th Ave



 Ivories Jazz LoungeIvories Jazz Lounge 

 1435 NW1435 NW FFlanderslanders



 The Blue MonkThe Blue Monk 

 3341 Southeast Belmont Street3341 Southeast Belmont Street



 TToucheouche RestRestaurantaurant 

(13)



 Clydes (Sunday night Jam Session)Clydes (Sunday night Jam Session) 

 5474 NE Sandy Blvd5474 NE Sandy Blvd 

 Brasserie MonmatreBrasserie Monmatre 

 626 SW626 SW PPark Aveark Ave 

 Tommy OsTommy Os PPacific Rim Bistroacific Rim Bistro 

 4101 So4101 Southeautheast 192nst 192nd Ad Avenuvenuee VVancoancouveruver, W, WAA P

Portland Jazzortland Jazz FFestival is inestival is in FFebruaryebruary 

 2 concerts in LH 75 2 concerts in LH 75 this termthis term 

(14)

Class Outline



 1. January 10: Introduction To Jazz1. January 10: Introduction To Jazz 

 2. Jan 12: Origins Of Jazz2. Jan 12: Origins Of Jazz 

 3.Jan:17th:Ragtime/Early Jazz3.Jan:17th:Ragtime/Early Jazz 

 4.Jan 19th: Tin Pan4.Jan 19th: Tin Pan AAlleylley 

 5.Jan 24th:5.Jan 24th: DDuke Ellington/Stride Pianouke Ellington/Stride Piano 

 6. Jan 26th: Swing/Big Bands6. Jan 26th: Swing/Big Bands 

 7.Jan 31st: Bebop7.Jan 31st: Bebop 

 8.Feb 2:8.Feb 2:WWest Coast/Cool Jazzest Coast/Cool Jazz 

 9.Feb 7:The Great Jazz S9.Feb 7:The Great Jazz Singers/Ringers/Review for Midtermeview for Midterm 

(15)

Outline page 2



 11.Feb 14th: Hard Bop11.Feb 14th: Hard Bop 

 12.Feb 16th:12.Feb 16th:AAvant Garde/Cvant Garde/Charles Mingharles Mingusus 

 13. Feb 21:GUEST INTERVIE13. Feb 21:GUEST INTERVIEWW AANNDD PERFORMPERFORMAANCENCE WWITHITH

PROFESSOR

PROFESSOR DADARRELL GRRRELL GRAANTNT



 14. Feb 23: GUEST LECTURER PROFESSOR CH14. Feb 23: GUEST LECTURER PROFESSOR CHAARLEY GREYRLEY GREY 

 15. Feb 28th: Miles and Trane15. Feb 28th: Miles and Trane 

 16. March 1st: 16. March 1st: Bill Evans/PianistsBill Evans/Pianists 

 17.March 6th: 17.March 6th: Fusion/MainstreaFusion/Mainstreamm 

 18.March 8th: 18.March 8th: Latin/BraLatin/Brazilian/Flamencozilian/Flamenco 

 19. March 13th: 80's/90's19. March 13th: 80's/90's 

 20. March 15th: Present20. March 15th: Present DDay/Review For Finalay/Review For Final 

(16)

Website

  http://psujazzhistory.blogspot.com/http://psujazzhistory.blogspot.com/   http://jazztruth.blogspot.com/http://jazztruth.blogspot.com/

(17)

A little about your professor



 Born in Summit New Jersey in 1969Born in Summit New Jersey in 1969 

 Started trumpet in 4Started trumpet in 4thth gradegrade 

 Given jazz recordings by neighbor, teacherGiven jazz recordings by neighbor, teacher 

 Signed out records from the librarySigned out records from the library 

 StudiStudied ed trumpetrumpet ant and musid music edc ed atat PPeabodyeabody

Conservatory Conservatory



 SwitcSwitched to jazz hed to jazz piano (self taught)piano (self taught) 

(18)

Colligan bio 2



 FFreelanced in Baltimore, Washington DC untilreelanced in Baltimore, Washington DC until

1995 1995



 Moved to New York City in 1995Moved to New York City in 1995 

 TToured, peroured, performed, and formed, and recorded with recorded with :: 

 Cassandra Wilson, Ravi Coltrane, JackCassandra Wilson, Ravi Coltrane, Jack

DeJohnette, Benny Golson, Lee Konitz, DeJohnette, Benny Golson, Lee Konitz, Christian McBride, Nicholas

Christian McBride, Nicholas PPayton, Stefonayton, Stefon

Harris, Buster

(19)

Colligan Bio 3



 Recorded CDs as a leader from 1995 to todayRecorded CDs as a leader from 1995 to today 

 Taught at Juilliard School of music for 2 yearsTaught at Juilliard School of music for 2 years 

 Taught at University of Manitoba for 2 yearsTaught at University of Manitoba for 2 years 

 StStararteted jd jazazztztruruthth blblogog in in 20201010 

(20)

W

hat is Jazz?



 1.1. DDefinition/Salient Characteristics:efinition/Salient Characteristics: 

 Jazz is a musical style that originated at the beginningJazz is a musical style that originated at the beginning

of the 20th century in

of the 20th century in AAfricanfrican AAmerican communitiesmerican communities

in the Southern United States. It was born out of a in the Southern United States. It was born out of a mix of

mix of AAfrican and European music traditions. Fromfrican and European music traditions. From

its early developmen

its early development t until the present, jazz hasuntil the present, jazz has incorporated music from 19th and 20th century incorporated music from 19th and 20th century

A

Americmerican an poppopular ular musicmusic.. ItsIts WWestest AAfrican pedigree isfrican pedigree is

evident in its use of blue notes, improvisation, evident in its use of blue notes, improvisation, polyrhythms, syncopation, call-response, and the polyrhythms, syncopation, call-response, and the swung note.

(21)

Salient Characteristics



 Blue NotesBlue Notes   ImprovisationImprovisation   PPolyrhythmsolyrhythms   SyncopationSyncopation 

 Call And ResponseCall And Response 

(22)



 The salient characteristics we have justThe salient characteristics we have just

discussed are obviously debatable. There is discussed are obviously debatable. There is much jazz without

much jazz without call and response, overtcall and response, overt swing, and even blue notes might not be swing, and even blue notes might not be obvious. This makes the idea of

obvious. This makes the idea of whether orwhether or not something is jazz

not something is jazz harder to pinpoint.harder to pinpoint. Hopefully, the more you listen, the more you Hopefully, the more you listen, the more you will be able to make an educated

will be able to make an educated

determination. Ultimately, labels arent determination. Ultimately, labels arent

important in terms of whether or not you get important in terms of whether or not you get anything from music.

(23)

The

The W

Word 

ord Jazz

Jazz



 TheThe word "jazz" (in early years also spelledword "jazz" (in early years also spelled

"jass") began as a West Coast slang term and

was first used to refer to music in Chicago at

about 1915

about 1915. Some say it appeared in reference. Some say it appeared in reference to baseball, and some say its slang for

to baseball, and some say its slang for

energy. Others say it is a euphemism for energy. Others say it is a euphemism for sexual acts. Some say the word has African sexual acts. Some say the word has African origins, others dispute such a notion.

(24)

Subgenres



 FFrom its beginninrom its beginnings gs in the early 20th century jazz hasin the early 20th century jazz has

spawned a variety of subgenres: New Orleans

spawned a variety of subgenres: New Orleans DixielandDixieland

dating from the early 1910s, big band-style swing from the

1930s and 1940s, bebop from the mid-1940s, free jazz and

a variety of Latin jazz fusions, such as Afro-Cuban, from the

1950s and 1960s, jazz fusion from the 1970s, acid jazz from

the 1980s (which combines funk and hip-hop elements),

and nu jazz in the 1990s. As the music has spread around

the world it has drawn on local, national, and regional

musical cultures, its aesthetics being

musical cultures, its aesthetics being adapadapted to its ted to its variedvaried

environments and giving rise to many distinctive styles.

(25)

P

(26)

Is This Jazz?(Yes)



 a. Oscara. Oscar PPeterson Caravaneterson Caravan 

 http://www.youtube.com/watch?v=1ZdKsJfZywshttp://www.youtube.com/watch?v=1ZdKsJfZyws 

 b.b.TTomom Harrell Harrell Sail AwaSail Awayy 

 http://www.youtube.com/watch?v=27V8ylNNKSo&feathttp://www.youtube.com/watch?v=27V8ylNNKSo&feat

ure=related ure=related



 C. WynC. Wyntonton Marsalis Marsalis Autumn LeavesAutumn Leaves 

 http://www.youtube.com/watch?v=4Xi-emWNehttp://www.youtube.com/watch?v=4Xi-emWNePPww

.. ..

(27)

Is THIS jazz?(

PP

rrob

oba

ab

bllyy n

not

ot))

  a.a. http://www.youtube.com/watch?v=_4IRMYuE http://www.youtube.com/watch?v=_4IRMYuE 1hI 1hI   b.b. http://www.youtube.com/watch?v=qGy

http://www.youtube.com/watch?v=qGyPPuey-

uey-1Jw 1Jw



 c.c.

h

(28)

Is This Jazz?(maybemaybe not)

  a. http://www.youtube.com/watch?v=5NDuj-a. http://www.youtube.com/watch?v=5NDuj-MyVyA MyVyA   b.b. http://ww

http://wwww..youtube.comyoutube.com/watch?v=svT/watch?v=svTuSRiuSRiFPFP

oc&feature=related oc&feature=related   c.c. http://www.youtube.com/watch?v=I9nG2KyE http://www.youtube.com/watch?v=I9nG2KyE p2A p2A

(29)

Nicholas

PP

ayton and BAM



 PProdigious trumpeter from New Orleansrodigious trumpeter from New Orleans 

 PPlays all instrumentslays all instruments 

 Recent rRecent recording and blogpostsecording and blogposts have stirred conhave stirred controversytroversy 

(30)

Nicholas

PP

ayton-

PP

araphenalia

  http://www.youtube.com/watch?v=1OSOhttp://www.youtube.com/watch?v=1OSOPPpypy q6aA&feature=list_related&playnext=1&list=A q6aA&feature=list_related&playnext=1&list=A VGxdCwVVULXfbf5ifR3D-qiv7RK-8YCby VGxdCwVVULXfbf5ifR3D-qiv7RK-8YCby

(31)

F

rom

PP

aytons blog



 Jazz died in 1959. Jazz died in 1959. 

 There maybe cool individuals who say they play There maybe cool individuals who say they play

Jazz, but aint s--t cool about Jazz as a whole. Jazz, but aint s--t cool about Jazz as a whole.



 Jazz died when Jazz died when cool stopcool stopped being ped being hip.hip. 

 Jazz was a limited idea to begin with. Jazz was a limited idea to begin with. 

 Jazz is a label that was forced upon the musicians. Jazz is a label that was forced upon the musicians. 

(32)

More from

PP

aytons blog



 Jazz separated itself from American popular Jazz separated itself from American popular music.music. 

 Big mistake.Big mistake. 

 The music never recovered.The music never recovered. 

 Ornette tried to save Jazz from itself by taking the musicOrnette tried to save Jazz from itself by taking the music

back to its New Orleanian roots, but his e

back to its New Orleanian roots, but his efforts were toofforts were too esoteric.

esoteric.



 Jazz died in 1959, that Jazz died in 1959, thats why Ornette tried to Free Jazzs why Ornette tried to Free Jazz in in

1960. 1960.



 Jazz is only cool if you dont actually play it for a living. Jazz is only cool if you dont actually play it for a living. 

 Jazz musicians have accepted the idea that it Jazz musicians have accepted the idea that its OK to bes OK to be

poor. poor.

(33)

Ex

Excerpt fr

cerpt from 

om The Death Of Jazz

The Death Of Jazz



 http://www.youtube.com/watch?v=3L1tzzln3http://www.youtube.com/watch?v=3L1tzzln3

nw nw

(34)

More from Nick



 Jazz died in 1959. Jazz died in 1959. 

 The number one Jazz record is Miles Davis Kind Of The number one Jazz record is Miles Davis Kind Of

Blue. Blue.



 Dave BrubeckDave Brubecks Time s Time Out was released Out was released in 1959.in 1959. 

 1959 was the coolest year in Jazz.1959 was the coolest year in Jazz. 

 Jazz is haunted by its own hungry ghosts. Jazz is haunted by its own hungry ghosts. 

 Let it die.Let it die. 

 YYou can be martyrs for an idea ou can be martyrs for an idea that died over a halthat died over a half af a

century if y

century if yall want.all want.



 Jazz has proven itself to be limited, and t Jazz has proven itself to be limited, and therefore, not herefore, not

cool. cool.

(35)

Excerpt from

Excerpt from PPaytons B---hesaytons B---hes

http://www.youtube.com/watch?v=XpDehfTSuo8 http://www.youtube.com/watch?v=XpDehfTSuo8

(36)

Excerpts from jazztruth:



 Again, I think Payton is on the money here; Again, I think Payton is on the money here; it's just theit's just the

labeling that's at issue, not the music. I suppose some labeling that's at issue, not the music. I suppose some white f

white folks, maybe some black olks, maybe some black folks, have troublefolks, have trouble

calling their music Black American Music. I don't have a calling their music Black American Music. I don't have a problem with that. I do think that it might actually

problem with that. I do think that it might actually mak

make things more confusing, since te things more confusing, since the vast majority of he vast majority of people in the world don't have a clear idea of what jazz people in the world don't have a clear idea of what jazz

is anyway

is anyway, and if we were , and if we were to all of a sudden replaceto all of a sudden replace "jazz" with "Black American Music", then someone "jazz" with "Black American Music", then someone watching an all white jazz band in the middle

watching an all white jazz band in the middle of Ohio,of Ohio, or even the middle of Denmark, might be scratching or even the middle of Denmark, might be scratching their heads.

(37)



 ObviouslyObviously, there's always , there's always someone who gets sensitivsomeone who gets sensitivee

when RACE ente

when RACE enters the conversation. I rs the conversation. I also wonder also wonder

whether Payton is suggesting the acronym BAM(as in whether Payton is suggesting the acronym BAM(as in ,, "I play BAM music"?) as an alternative. I th

"I play BAM music"?) as an alternative. I think that's asink that's as good as calling music

good as calling music "jazz" or "bebop" "jazz" or "bebop" or whateveror whatever.. W

Words can't really ords can't really describe music describe music accurately anywayaccurately anyway.. Again, I have no problem as a musician, and especially Again, I have no problem as a musician, and especially

as a teacher of history(I am not a jazz h

as a teacher of history(I am not a jazz historian, by theistorian, by the way), recognizing that the

way), recognizing that the African-AmerAfrican-American ican experienceexperience was crucial to the development of jazz. As long a

was crucial to the development of jazz. As long as I, as I, a white person(see my website for photos), am still

white person(see my website for photos), am still allowed to play

allowed to play, I don't care , I don't care what it's called. (I think what it's called. (I think though, just to have

though, just to have perspective, if perspective, if TToby Keith started oby Keith started calling his music "White American Music", t

calling his music "White American Music", then wehen we might have a little problem...)

(38)

More from Nick



 Dont get me wrong, there are some brilliant, geniusDont get me wrong, there are some brilliant, genius

White cats that have played this music,

White cats that have played this music, but itbut itss ultimately a Black art form. What

ultimately a Black art form. Whats wrong withs wrong with

renaming the music in a way that puts that argument renaming the music in a way that puts that argument to bed once and for all? Do you

to bed once and for all? Do you think Ithink Im the only m the only person that ever wanted to do this? Hell no. Miles, person that ever wanted to do this? Hell no. Miles,

Max, Mingus, J-Mac,

Max, Mingus, J-Mac, DrDr. Donaldson . Donaldson Byrd and so many Byrd and so many others have wanted to do this for a while. They gave others have wanted to do this for a while. They gave upup because they got tired of the backlash from Blacks and because they got tired of the backlash from Blacks and Whites alik

Whites alike that it e that it caused. Wcaused. Well you ell you know what? Asknow what? As Roy Haynes says, The time for hesitation is over. Roy Haynes says, The time for hesitation is over.

(39)

Is Jazz Dead?(or

Is Jazz Dead?(or Has It MoHas It Moved Tved To A New Addro A New Address)ess) by Stuart Nicholson

by Stuart Nicholson



 (American musicians now) are (American musicians now) are considered cleverconsidered clever. The . The questionquestion

is, do they really concern us? Do we need

is, do they really concern us? Do we need somebody to tell thesomebody to tell the same story over and over again? Are these

same story over and over again? Are these musicians meremusicians mere custodians in a historical museum of music?

custodians in a historical museum of music?



 The The USA has slithered USA has slithered into musical provincialityinto musical provinciality. It produces. It produces

great instrumentalists but no

great instrumentalists but no new approaches.new approaches. 



 One obvious result of this openness is that some One obvious result of this openness is that some EuropeanEuropean

academies believe that their jazz students should also pur academies believe that their jazz students should also pursuesue parallel studies in Classical music as an aid to skills

(40)

Jazz misconceptions



 PPlaylay PPaulaul FF. Tomkins Jazz. Tomkins Jazz 

 http://www.youtube.com/watch?v=QY_KVVhttp://www.youtube.com/watch?v=QY_KVVFFgg

m

mPPMM 

 PPlay lay Spinal TSpinal Tap ap DiscussDiscusses es JazzJazz 

 http://www.youtube.com/watch?v=wscZhvj_lhttp://www.youtube.com/watch?v=wscZhvj_l

H4 H4



 Youtube: Ken Burns Jazz IntroYoutube: Ken Burns Jazz Intro

(8:07)http://www.youtube.com/watch?v=ITbu (8:07)http://www.youtube.com/watch?v=ITbu FIG4Xvc

(41)

Basic music terminology



 Rhythm/harmony/melodyRhythm/harmony/melody 

 notes-eighth notes, quarter notes, notes-eighth notes, quarter notes, sixteenthsixteenth

notes notes



 Time signature-4/4, ¾,5/4 ,2/4Time signature-4/4, ¾,5/4 ,2/4 

 Key signature-C major, A minorKey signature-C major, A minor 

 FForm-AABA,blues, rhythmorm-AABA,blues, rhythm

changes,AABBAABBCCDD changes,AABBAABBCCDD



(42)

Jazz

Jazz termin

terminology

ology

  BluesBlues   GrooveGroove   ChangesChanges   TuneTune   CatsCats   AxAxee   BreadBread

(43)

More Jazz Terminology



 ChopsChops 

 DigDig 

 PPaying Duesaying Dues   DragDrag   GigGig   HipHip   HornHorn 

(44)

More Jazz Slang



 Junk, junkies, strung outJunk, junkies, strung out   LicksLicks   PPadad   ScatScat   SolidSolid   SwingSwing   BadBad   ShedShed   Record/SidesRecord/Sides

(45)

T

(46)

Acoustic Bass

(47)

Electric Bass

(48)

Guitar

(49)

P

(50)

Saxophones

(51)

Brass-Trumpet

(52)

Brass-Trombone

(53)

Jazz Vocals

(54)

Less Common Jazz Instruments



 Clarinet/Bass ClarinetClarinet/Bass Clarinet   ViolinViolin   BanjoBanjo   Congas/bongosCongas/bongos 

 FFlute/Altolute/Alto FFlutelute   HarmonicaHarmonica   CelloCello   HarpHarp

(55)

Hammond B-3

(56)

P

erformance



 TheThe PPark Avenue Trioark Avenue Trio 

 George Colligan-George Colligan-PPianoiano 

 JJoon n LLaakkeeyy BBaassss 