Chapter 2 Jazz Heritage

Jazz is a hybrid musical tradition, blending musical and interpretive elements. The expressive content of the performance may convey more meaning than the musical substance. Jazz evolved from various and sometimes obscure oral and literate traditions. © 2009 McGraw-Hill All Rights Reserved

African Influences Distinct Western-African cultures shared broad musical similarities: Music preserved culture Central to daily life and work Maintained social unity Involved the entire community Used for social and religious occasions © 2009 McGraw-Hill All Rights Reserved

Rhythms Emphasis on rhythm rather than a specific rhythmic style is relevant to the study of jazz history. © 2009 McGraw-Hill All Rights Reserved

African Religious Tradition A daily way of life Oriented toward ritual Always involved dance © 2009 McGraw-Hill All Rights Reserved

Call and Response Can be traced to African tribal traditions Present day form can be heard in worship Heard continually in jazz In “trading fours” When band members respond to a soloist © 2009 McGraw-Hill All Rights Reserved

Early African American musical traditions were heard in Congo Square in New Orleans. The blending of Creole and African musical styles contributed to the development of early jazz. © 2009 McGraw-Hill All Rights Reserved

African American Styles Field Hollers Refer to 6 A-D Work Songs Coordinated workers Eased the monotony of labor Rhythm and meter prominent as it would later become in jazz © 2009 McGraw-Hill All Rights Reserved

Huddie “Leadbelly” Ledbetter 1885 - 1949 “Juliana Johnson” What to listen for: Accents or grunts at phrase ends Repetition of verses Increase in tempo in the middile © 2009 McGraw-Hill All Rights Reserved

African American Styles -continued- Minstrels Created by whites in black face as a caricature of the life of slaves Eventually copied by African Americans in black face Main form of stage entertainment at the beginning of 20th century © 2009 McGraw-Hill All Rights Reserved

Religious Music Spirituals - “Hymns with a beat” Could be spontaneously improvised Could be adaptations of European hymns Could be adapted from African ritual music © 2009 McGraw-Hill All Rights Reserved

Well known spirituals: “Swing Low, Sweet Chariot” “Nobody Knows the Trouble I’ve Seen” “Michael, Row the Boat Ashore” These emphasize the European tradition of melody and harmony © 2009 McGraw-Hill All Rights Reserved

Gospel Music Can best be experienced in person Depends on audience response Success of the performer is measured by audience participation Soloists embellish the melody by adding notes and personal interpretation © 2009 McGraw-Hill All Rights Reserved

Gospel songs are often considered religious forms of the blues They often recount passages from Scripture, while spirituals tend to be more hymn-like © 2009 McGraw-Hill All Rights Reserved

Mahalia Jackson 1912 - 1972 Influenced by the early blues singer, Bessie Smith, Ms. Jackson was the first nationally Known Gospel singer © 2009 McGraw-Hill All Rights Reserved

Marching Bands Began to influence African American musicians after the Civil war First adapted for funerals in New Orleans and elsewhere tunes were slow and somber on the way to the cemetery music was lively and responsorial after the funeral Bands may have had as few as 5 or 6 players © 2009 McGraw-Hill All Rights Reserved

Trumpeter Buddy Bolden led one of the earliest bands to combine various influences Brass band sound Ragtime Blues Quadrille © 2009 McGraw-Hill All Rights Reserved

Early bands such as Bolden’s were adaptable for various functions including: Advertising campaigns Weddings and funerals Serenades Their music was danceable and contributed to the development of early jazz © 2009 McGraw-Hill All Rights Reserved