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 Preface xix
Jazz Styles Timeline xxii

1 INTRODUCING JAZZ 3
1st Chorus: What Is Jazz? 3
What is jazz? 4
2nd Chorus: What Are the Elements of Jazz? 5
What are the roles of composition a nd a rranging in jazz? 8
What a re the different types of jazz instrumentation? 8
What are the various types of jazz ensembles? 20
CODA: Chapter Summar y 24
Talkin' Jazz: Key Terms 25
Think About This: For Further Discussion and Study 25
Look II Up: Key Resources 25

Overview PRE-JAZZ: 1865- 1910

2 PRECURSORS OF JAZZ: 1870s-1890s 31
1st Chorus: The Blues 31
What are the blues? 31
JAZZ LIVES: JAMES P. JOHNSON 34
QUESTIONS AND CONTROVERSIES: GENDER IN THE BLUES 34
LISTENIN G FOCUS: .. BACKWATER BLUES .. !1927) BY BESSIE SM ITH (VOCAL)
WITH JAMES P. JOHNSON IPIANOI 35
2nd Chorus : Ragtime 35
What is ragtime? 35
JAZZ LIVES: SCOTT JOPLIN 36
LISTENIN G FOCUS: "MAPLE LEAF RAG:· SCOTT JOPLIN (COMPOSED 1897,
PUBLISHED 1899: REC. 1916 ON PIANO ROLL) 36

3rd Chorus: Early J azz 37

How did ragtime influence the bir th of jazz? 37
JAZZ LIVES: W. C. HANDY 38
Contents

LISTENING FOCUS: "MEMPHIS BLUES" BY LIEUT. JIM EUROPE'S

369TH US INFANTRY ("HELLFIGHTERS") BAND (1919),
COMPOSED BY W. C. HANDY (1912) 39
CODA: Chapter Summary 40
Talkin' Jazz: Key Terms 40
Key People 40
Think About This: For Further Discussion and Study 41
Look It Up: Key Resources 41

3 NEW ORLEANS JAZZ: 1880s-1920 43

1st Chorus: New Orleans: The Birthplace of Jazz 43
How did the mixture of different ethnic groups in New Orleans
influence the development of jazz? 43
JAZZ LIVES: BUDDY BOLDEN, FREDDIE KEPPARD, AND JACK "PAPA" LAINE 44
Who were some of the key early New Orleans jazz musicians? 45
2nd Chorus: The First Jazz Record 45
QUESTIONS AND CONTROVERSIES: LISTENING TO EARLY JAZZ RECORDINGS 46
LISTENING FOCUS: "LIVERY STABLE BLUES" [1917) BY THE ORIGINAL
DIXIELAND JAZZ BAND 47
3rd Chorus: Ferdinand "Jelly Roll" Morton 47
Why was Jelly Roll Morton a key figure in the development of jazz? 47
4th Chorus: Joseph "King" Oliver and Sidney Bechet 48
What was the influence of "King" Oliver on early jazz music and its
performers? 48
LISTENING GUIDE: "BLACK BOTTOM STOMP" [1926), FERDINAND
"JELLY ROLL" MORTON AND HIS RED HOT PEPPERS 49
IN PERFORMANCE: JAZZ COMPOSITION AND ARRANGING 53
JAZZ LIVES: KING OLIVER 54
Why is Sidney Bechet considered the first virtuosic soloist in jazz? 54
LISTENING FOCUS: "DIPPERMOUTH BLUES" (1923) BY KING OLIVER'S CREOLE
JAZZ BAND 55
JAZZ LIVES: SIDNEY BECH ET 55
5th Chorus: Lou is Armstrong 56
Why is Louis Armstrong among the most influential musicians
in the history of jazz? 56
LISTENING FOCUS: "CAKE WALKING BABIES (FROM HOME)" (1924)
BY CLARENCE WILLIAMS AND THE BLUE FIVE 57
LISTENING GUIDE: "HOTTER THAN THAT" (1927) BY LOUIS ARMSTRONG
AND HIS HOT FIVE 60
QUESTIONS AND CONTROVERSIES: LOUIS ARMSTRONG TAKES A STAND 64
CODA: Chapter Summary 65
Talkin' Jazz: Key Terms 66
Key People 66
Think About This: For Further Discussion and Study 66
Look It Up: Key Resources 67
 Contents

o~eli~iew JAZZ GOES TO TOWN: 1910 1930

4 CHICAGO JAZZ: LATE 1917-1930 13

Why did a thriving jazz scene develop in Chicago
in the late 191 Os and early 1920s? 73
1st Chorus: Bix Beiderbecke and Paul Whiteman 74
How did Bix Beiderbecke's style differ from those
of Louis Armstrong and other early jazz trumpeters? 74
What was Paul Whiteman's role in popularizing jazz? 75
LISTENING GUIDE: "SINGIN' THE BLUES" (1927) BY FRANKIE TRUMBAUER
AND HIS ORCHESTRA 76
IN PERFORMANCE: JAZZ GUITAR 80
2nd Chorus: Earl "Fatha" Hines and Louis Armstrong 81
How did Earl Hines revolutionize jazz piano? 81
JAZZ LIVES: EARL "FATHA" HINES 82
LISTENING FOCUS : "WEATHER BIRD" [1928) BY EARL "FATHA" HINES [PIANO)
AND LOUIS ARMSTRONG [TRUMPET) 82
IN PERFORMANCE: SPONTANEOUS INTERACTION IN JAZZ 83
3rd Chorus: Lovie Austin and Lil Hardin Armstrong 83
What role did women play in the early decades of jazz? 83
QUESTIONS AND CONTROVERSIES: WOMEN IN JAZZ 84
LISTENING FOCUS : "TRAVELING BLUES" [1924) BY LOVIE AUST IN
AND HER BLUES SERENADERS 85
CODA: Chapter Summary 86
Ta l kin' Jazz: Key Terms 87
Key People 87
Think About This: For Further Discussion and Study 87
Look It Up: Key Resources 87

5 NEW YORK JAZZ: 1920s-1930s 89

1st Chorus: Fletcher Henderson 89
How did New York City become a major jazz center? 89
How did popular songwriters influence the jazz repertoire? 89
What role did Fletcher Henderson play in developing
the New York jazz scene? 91
JAZZ LIVES: FLETCHER HENDERSON 92
LISTENING GUIDE: "NEW KING PORTER STOMP" (1932)
BY FLETCHER HENDERSON'S ORCHESTRA 93
2nd Chorus: New York Bands: Benny Carter, Chick Webb,
Cab Calloway, and Jimmie Lunceford 95
How did the successful New York ballrooms and nightclubs
influence the development of jazz? 96
JAZZ LIVES: BENNY CARTER 96
Contents

LISTENING FOCUS: "SYMPHONY IN RIFFS" [1933) BY THE BENNY CARTER

ORCHESTRA 97
LISTENING FOCUS: "GO HARLEM" [1936) BY THE CHICK WEBB ORCHESTRA 99
3rd Chorus: Instrumental Masters: Roy Eldridge
and Coleman Hawkins 100
What role did star soloists play in these bands? 100
LISTENING FOCUS: "ROCKIN' CHAIR" [1941) BY ROY ELDRIDGE
WITH GENE KRUPA AND HIS ORCHESTRA 101
LISTENING FOCUS: "BODY AND SOUL" [1939) BY COLEMAN HAWKINS
AND HIS ORCHESTRA 103
IN PERFORMANCE: "BODY AND SOUL" 103
4th Chorus: Harlem Stride Piano 104
What are the distinguishing characteristics of stride piano? 104
IN PERFORMANCE: JAZZ HARMONY 104
JAZZ LIVES: ART TATUM 105
LISTENING FOCUS: "LIZA" [1934, TAKE D) BY ART TATUM [PIANO) 106
5th Chorus: Spanish-Caribbean Influence on Jazz: Alberto Socarras 107
How has Spanish-Caribbean music influenced jazz? 107
IN PERFORMANCE: CLAVE AND AFRO-CUBAN POLYRHYTHMS 109
LISTENING FOCUS: "MASABI" [1935) BY ALBERTO SO CARRAS Y SU ORQUESTA
CUBANACAN 110
CODA: Chapter Summary 110
Talkin' Jazz: Key Terms 112
Key People 112
Think About This: For Further Discussion and Study 112
Look It Up: Key Resources 113

6 KANSAS CITY JAZZ: 1920s-1940 115

1st Chorus: Kansas City and Territory Bands 115
Why was Kansas City a center for the early development
of swing music? 115
IN PERFORMANCE: THE HARD LIFE OF A TERRITORY BAND MUSICIAN 116
LISTENING FOCUS: "THE COUNT" [1940) BY ANDY KIRK AND HIS
TWELVE CLOUDS OF JOY 118
2nd Chorus: Boogie-Woogie: "Big" Joe Turner and Pete Johnson 119
What is boogie-woogie? 119
IN PERFORMANCE: CAFE SOCIETY, NEW YORK CITY 121
JAZZ LIVES: JOHN HAMMOND 121
LISTENING FOCUS: "ROLL 'EM PETE" [1938) BY BIG JOE TURNER [VOCAL)
AND PETE JOHNSON [PIANO) 122
3rd Chorus: William "Count" Basie 122
What were the key elements of Basie's early style? 123
How did Basie's band change in the years after World War II? 124
LISTENING GUIDE: "SENT FOR YOU YESTERDAY [AND HERE YOU
COME TODAY)" [1938) BY THE COUNT BASIE ORCHESTRA
FEATURING JIMMY RUSHING 125
 Contents

4th Chorus: Lester Young 127

JAZZ LIVES: LESTER YOUNG 128
LISTENING GUIDE: "LESTER LEAPS IN" (1939) BY COUNT BASIE 'S
KANSAS CITY SEVEN 129
CODA: Chapter Summary 132
Talkin' Jazz: Key Terms 132
Key People 132
Think About This: For Further Discussion and Study 133
Look It Up: Key Resources 133

7 THE SWING ERA 141

What is swing music? 141
1st Chorus: Benny Goodman 142
Why is Benny Goodman generally credited as launching
the swing era? 142
QUESTIONS AND CONTROVERSIES: RACE IN THE SWING ERA 143
IN PERFORMANCE: SIDE MUSICIANS 145
LISTENING GUIDE: "SWINGTIME IN THE ROCKIES" (1938)
BY THE BENNY GOODMAN ORCHESTRA 146
IN PERFORMANCE : UNDERSTANDING FORM 149
2nd Chorus: Big-Band Innovators: Artie Shaw, Glenn Miller,
and Tommy Dorsey 150
Who were some other popular bandleaders during the swing era? 150
LISTENING FOCUS : "BEGIN THE BEGUINE" (1938) BY ARTIE SHAW
AND HIS ORCHESTRA 151
LISTENING FOCUS: "ON THE SUNNY SIDE OF THE STREET" (1944)
BY TOMMY DORSEY AND HIS ORCHESTRA 153
3rd Chorus: Women in Jazz: "All-Girl" Swing Big Bands 153
What were the unique challenges faced by the "all-girl"
bands during the swing era? 153
QUESTIONS AND CONTROVERSIES: WOMEN IN JAZZ 154
4th Chorus: Latin Styles During the 1930s 156
How did Latin bands continue to influence mainstream jazz
in the 1930s? 156
LISTENING FOCUS: "BLUE LOU" (1944) BY THE INTERNATIONAL
SWEETHEARTS OF RHYTHM 157
LISTENING FOCUS: " EL MANISERO" (1930) BY DON AZPIAZU
AND HIS HAVANA CASINO ORCHESTRA 158
CODA: Chapter Summary 159
Talkin' Jazz: Key Terms 160
Key People 160
Think About This: For Further Discussion and Study 161
Look It Up: Key Resources 161
Contents

8 DUKE ELLINGTON 163

Why is Duke Ellington considered one of America's
most important composers and bandleaders? 163
1st Chorus: Early Ellington 163
What were the stylistic hallmarks of the early Ellington Band? 164
JAZZ LIVES: BUBBER MILEY 164
LISTEN ING FOCUS: "BLACK AND TAN FANTASY" 11927 VICTOR VERS ION!
BY DUKE ELLINGTON AND THE WAS HI NGTONIANS 165
QUESTIONS AND CONTROVERSIES: WHO WROTE DUKE ELLINGTON 'S HITS? 166
2nd Chorus : Later Ellington 166
What impact did the hiring of Billy Strayhorn have
on the Ellington Band? 166
JAZZ LIVES: BILLY STRAYHORN 167
How did Ellington's styl e change in his later years? 168
LISTEN ING GUIDE: "KO-KO" [19401 BY DUKE ELLINGTON
AND HIS FAMOUS ORC HESTRA 169
QUESTIONS AND CONTROVERSIES: CLASSICAL VS . JAZZ COMPOSITION 171
LISTEN ING FOCUS: A TONE PARALLEL TO HARLEM {THE HARLEM SUITE)
[19511 BY DUKE ELLINGTON AND HIS ORCHESTRA 173
CODA: Chapter Summary 173
Ta lkin' Jazz: Key Terms 174
Key People 174
Think About This: For Fu r ther Discuss ion and St udy 175
Look It Up: Key Resources 175

9 SWING-ERA VOCALISTS 111

1st Chorus: Swing Vocalists: Billie Holiday and Ella Fitzgerald 177
Who were key jazz vocalists during the swing era? 177
QUESTIONS AND CONTROVERSIES: WHAT DISTINGUISHES A JAZZ SINGER
FROM A POPULAR SINGER? 178
LISTEN ING FOCUS: "STRANGE FRUIT" [19391 BY BILLIE HOLIDAY
WIT H ORCHESTRA 180
QUESTIONS AND CONTROVERSIES: BILLIE HOLIDAY AND "STRANGE FRU IT" 180
LISTEN ING FOCUS: "OH , LADY BE GOOD " [1947VERSIONJ BY ELLA FITZGERALD,
ACCOMPANIED BY BOB HAGGART AND HIS ORCHESTRA 182
2nd Chorus : From Jazz to Pop: Nat King Cole and Frank Sinatra 183
How did some vocalists cross over from jazz to become
popul ar music stars? 183
LISTEN ING FOCUS: "STRAIGHTEN UP AND FLY RIGHT" [19431
BY THE KING COLE TR IO 185
JAZZ LIVES: FRANK SINATRA 186
IN PERFORMANCE: SWING MUSICIANS IN THE HOLLYWOOD
RECORD ING STUD IOS 187
LISTEN ING FOCUS: "COME DANCE WITH ME" [19591
BY FRANK SINATRA WITH BILLY MAY AND HIS ORCHESTRA 188
 Contents

3rd Chorus : Louis Jordan and Dinah Washington 188

CODA: Chapter Summary 190
Talkin' Jazz: Key Terms 190
Key People 190
Think About This : For Further Discussi on and Study 191
Look It Up: Key Resources 191

10 BEBOP AND BEYOND: 1940s 193

What is bebop? 193
1st Chorus: Bird and Diz 194
Why are Charlie Parker and Dizzy Gillespie considered
the prime movers behind the bebop movement? 194
IN PERFORMANCE: BEBOP CHANGES THE ROLE OF THE RHYTHM SECTION 194
JAZZ LIVES: CHARLIE PARKER 195
QUESTIONS AND CONTROVERSIES: RACE AND ECONOMICS
IN THE BIRTH OF BEBOP 196
JAZZ LIVES: DIZZY GILLESPIE 197
IN PERFORMANCE: JAM SESSIONS' ROLE IN THE DEVELOPMENT
OF BEBOP 198
LISTEN ING GUIDE: "SALT PEANUTS " 119531 BY CHARLIE PARKER
AND DIZZY GILLESPIE 199
IN PERFORMANCE: "JAZZ AND STRINGS" 202
LISTEN ING FOCUS: "JUST FR IENDS" [19491 BY CHARL IE PARKER
WITH STRINGS 203
LISTEN ING FOCUS: "MANTECA" 11947] BY THE DIZZY GILLESPIE ORCHESTRA
FEATURING CHANO POZO 204
2nd Chorus: Thelonious Monk and Bud Powell 205
How did Thelonious Monk and Bud Powell create a new role
for pianists in bebop music? 205
JAZZ LIVES: THELONIOUS MONK 205
LISTENING FOCUS: "MONK'S MOOD" 119571 BY THELONIOUS MONK QUARTET
WITH JOHN COLTRANE 207
LISTEN ING FOCUS: "UN POCO LOC0" 119511 BY BUD POWELL 208
QUESTIONS AND CONTROVERSIES: MONK AND POWELL: STRUGGLES
WITH MENTAL ILLNESS 209
3rd Chorus : Big-Band Bebop 209
What role did big bands play in the bebop era? 209
LISTEN ING FOCUS: "FOUR BROTHERS" 119471 BY WOODY HERMAN'S
SECOND HERD; JIMMY GIUFFRE [ARRANGER! 210
LISTENING FOCUS: "SID'S DELIGHT" 11949] BY TADD DAMERON
AND HIS ORCHESTRA/BIG TEN 211
CODA: Chapter Summary 211
Talkin' Jazz: Key Terms 212
Key People 212
Think About Th is: For Further Discussion and Study 213
Look It Up: Key Resources 213
Contents

BUILDING THE MAINSTREAM: 1950-1975

11 JAZZ IN THE 1950s 221

How did the jazz world change in the 1950s? 221
1st Chorus: Cool Jazz/West Coast Jazz, Progressive Jazz 221
What is cool jazz? 221
LISTEN ING GU IDE: "BOPLIC ITY " 119491 BY THE MILES DAVIS NON ET 223
IN PERFORMANCE: LENNIE TRISTANO 'S INFLUENCE ON COOL JAZZ 226
How did cool jazz develop on the West Coast? 227
JAZZ LIVES: CHET BAKER 227
LISTEN ING FOCUS: "LINE FOR LYONS" 119521 BY GERRY MULLIGAN QUARTET
WIT H CHET BAKER 228
What is progressive jazz? 229
LISTEN ING FOCUS: "BLUE RONDO A LA TURK" 119591
BY THE DAVE BRUBECK QUARTET 230
QUESTIONS AND CONTROVERSIES: PROGRESSIVE JAZZ AND THIRD STREAM 230
2nd Chorus: Hard Bop 231
What is hard bop? 231
IN PERFORMANCE: ART BLAKEY'S SCHOOL OF JAZZ 232
LISTEN ING FOCUS: "MOAN IN"' [19581 BY ART BLAKEY
AND THE JAZZ MESSENGERS 233
JAZZ LIVES: BENNY GOLSON & LEE MORGAN 233
LISTEN ING GUIDE: "JOY SPRING" [19551 BY THE CLIFFORD BROWN-MAX
ROACH QU INTET 235
3rd Chorus: The Mambo Craze 239
How did the mambo craze continue the Latin influence on jazz? 239
JAZZ LIVES: TITO PUENTE 240
4th Chorus : The Early Avant-Garde 240
What is avant-garde jazz? 240
LISTEN ING FOCUS: "MAMBO INN" 119551 BY THE TITO PUENTE ORCHESTRA 241
QUESTIONS AND CONTROVERSIES: THE RESISTANCE TO FREE JAZZ 242
LISTEN ING FOCUS: "CONGEN IAL ITY" 119591 BY THE ORNETTE COLEMAN
QUARTET 244
CODA: Chapter Summary 245
Talkin' Jazz: Key Terms 245
Key People 246
Think About This: For Further Discussion and Study 246
Look It Up: Key Resources 246

12 THE 1960s 249

1st Chorus: Soul Jazz 249
What is soul jazz? 249
IN PERFORMANCE: THE HAMMOND 83 ORGAN AND LESLIE SPEAKERS 250
LISTEN ING FOCUS: "SOUL SHOUTIN"' [19631 BY SHIRLEY SCOTT 251
 Contents

LISTENING FOCUS: "COMPARED TO WHAT" [19691 BY LES MCCANN

AND EDDIE HARR IS 252
2nd Chorus: Small Combo Latin Jazz; The Brazilian Influence on Jazz 253
What were the key developments in Latin jazz in the early 1960s? 253
JAZZ LIVES: CAL TJADER 254
LISTENING FOCUS: "SOUL SAUCE [GUACHI GUAROI" !ROUGH MIXI 119641
BY CAL TJADER 255
LISTENING FOCUS: "DESAFINADO" [19621 BY STAN GETZ AND CHARLIE BYRD 257
3rd Chorus : The Association for the Advancement
of Creative Musicians 258
How did the avant-garde jazz movement continue to develop
in the 1960s? 258
LISTENING FOCUS: "BARNYARD SCUFFEL SHUFFEL" 119731 BY THE ART
ENSEMBLE OF CHICAGO 260
QUESTIONS AND CONTROVERSIES: MUSIC OR NOISE? 261
CODA: Chapter Summary 261
Talkin' Jazz: Key Terms 262
Key People 262
Th ink About Th is: For Further Discussion and Study 262
Look It Up: Key Resources 263

13 FIVE VIEWS OF THE MAINSTREAM 265

1st Chorus: Miles Davis 266
How did Miles Davis continue to innovate and change
throughout his career? 266
IN PERFORMANCE: MILES DAVIS, BANDLEADER 267
LISTEN ING FOCUS: "SO WHAT" 119591 BY THE MILES DAVIS SEXTET 269
LISTEN ING FOCUS: "E.S.P. " [19651 BY THE MILES DAVIS QUINTET 271
2nd Chorus: John Coltrane 271
How did John Coltrane set a new standard for jazz saxophone? 271
LISTENING FOCUS: "NUTTY" 119571 BY THE THELONIOUS MONK QUARTET
WITH JOHN COLTRANE 273
LISTENING GUIDE: "RESOLUTION " [19651 BY THE JOHN COLTRANE QUARTET 274
JAZZ LIVES: AL ICE COLTRANE 277
3rd Chorus: Charles Mingus 277
How did Charles Mingus revitalize jazz composition
and arranging for larger ensembles? 277
QUESTIONS AND CONTROVERSIES: MINGUS THE MAN 278
LISTENING GUIDE: "FABLES OF FAUBUS " 119591 BY CHARLES MINGUS 280
4th Chorus: Bill Evans and Herbie Hancock 283
What new innovations did pianists-composers Bill Evans
and Herbie Hancock bring to jazz? 283
LISTEN ING GUIDE: "WALTZ FOR DEBBY" [TAKE 1, 19611 BY THE BILL EVANS TR IO 285
QUESTIONS AND CONTROVERSIES: IS FUSION MUSIC JAZZ? 289
LISTENING GU IDE: "ACTUAL PROOF " [1974, EXCERPT 0:00-6:061
BY HERBIE HANCOCK 290
Contents

CODA: Chapter Summary 293

Talkin' Jazz: Key Terms 294
Key People 294
Think About This: For Further Discussion and Study 295
Look It Up: Key Resources 295

INTO THE PRESENT: 1975 TODAY

14 MANY MOVEMENTS 301

1st Chorus: Jazz Fusion 301
What is jazz fusion music, and why is it controversial
among jazz fans? 301
QUESTIONS AND CONTROVERSIES: THE FUSION FISSION 302
LISTENING FOCUS: "BIRDS OF FIRE" (1973) BY JOHN MCLAUGHLIN
AND THE MAHAVISHNU ORCHESTRA 303
IN PERFORMANCE: NEW AUDIENCES AND NEW VENUES 304
LISTENING GUIDE: "BIRDLAND" [1977) BY WEATHER REPORT 305
2nd Chorus: The Avant-Garde Continues 311
How did the avant-garde movement of the 1960s continue
to develop over the following decades? 311
LISTENING FOCUS: "STREAMS OF CHORUS AND SEED" [1976)
BY CEC IL TAYLOR UNIT 313
3rd Chorus: Neo-Traditionalists and the Continuing Mainstream 314
Who were the neo-traditionalists, and what impact did they have
on jazz in the 1980s-1990s? 314
QUESTIONS AND CONTROVERSIES: MUSIC DISTRIBUTION 315
How did mainstream jazz continue to flourish and grow
in this period? 316
JAZZ LIVES: WYNTON MARSALIS 317
LISTENING GUIDE: "DELFEAYO'S DILEMMA" (1985) BY WYNTON MARSALIS 318
4th Chorus: The Downtown Scene 324
What is the downtown scene, and what role has it played
in jazz music? 324
CODA: Chapter Summary 327
Talkin' Jazz: Key Terms 328
Key People 328
Think About This: For Further Discussion and Study 328
Look It Up: Key Resources 328

15 JAZZ TODAY 331

Defining Contemporary Jazz 331
What distinguishes today's jazz from that of earlier periods? 331
LISTENING FOCUS: "FREEDOM DANCE" (2012) BY LIONEL LOUEKE 333
IN PERFORMANCE: A NEW TRAINING GROUND 334
 Contents

1st Chorus: The Contemporary Rhythm Section 335

How has the role of the rhythm section changed
in contemporary jazz? 335
LISTENING FOCUS: "RUBYLOU'S LULLABY" [2008] BY BRIAN BLADE
& THE FELLOWSHIP BAND 336
LISTENING FOCUS: "LITTLE FLY" [2012] BY ESPERANZA SPALDING 337
LISTENING FOCUS: "FEEDBACK, PT. 2" [2010] BY JASON MORAN 339
LISTENING FOCUS: "AFRO BLUE" [2012] BY THE ROBERT GLASPER
EXPERIMENT 341
QUESTIONS AND CONTROVERSIES: WHAT SHOULD WE CALL IT? 343
2nd Chorus: Horn Players 343
How have the changes in the jazz scene impacted horn players? 343
LISTENING FOCUS: "BEBA" [2010] BY STEVE COLEMAN AND FIVE ELEMENTS 344
LISTENING FOCUS: "SILENCIO" [2011] BY MIGUEL ZENON 346
LISTENING FOCUS: "THE FOLKS WHO LIVE ON THE HILL" [2013]
BY JOSHUA REDMAN 347
LISTENING FOCUS: "CHILD'S PLAY" [2005] BY TERENCE BLANCHARD 350
3rd Chorus: Vocalists 350
How have vocalists extended their technique to suit their work
in contemporary jazz? 350
LISTENING FOCUS: "BLACKBIRD" [2010] BY CASSANDRA WILSON 352
4th Chorus: Strings 353
How does the popularity of strings in jazz today reflect
a new interest in more varied instrumentation? 353
LISTENING FOCUS: "FULL TIME" [2010] BY REGINA CARTER 354
5th Chorus: Small Groups and Big Bands 355
How have small groups and bands-from musicians' collectives
to big bands-shaped the new jazz landscape? 355
Conclusion 356
CODA: Chapter Summary 356
Talkin' Jazz: Key Terms 358
Key People 358
Think About This: For Further Discussion and Study 358

Glossary 359
Index 365
To the Reader
Welcome to Listening to Jazz. I wrote this book to help you learn about the history
of jazz by discussing many of its important players, bandleaders, and composers
from the early days of jazz until today. Most importantly, however, through careful,
guided listening, you will learn how to listen to jazz by gaining an understanding
of the basic elements that go into the creation of this exciting music.
Many students today have not had the opportunity to hear jazz. If you have
heard some, perhaps it seemed a little hard to understand or difficult to relate
to it is generally quite different from the popular music you are probably used to
hearing. In fact, I have heard from many people I meet who say a book like this is
something they would love to read as they have always been interested in jazz but
have a hard time understanding it.
On some level jazz can be complicated music, and much of it is quite sophis-
ticated; but it is also direct, highly personal, and very expressive. If you can find a
way inside the music and I hope this book helps you do that it will open up a
whole new exciting musical world that will add to your music listening experience
for the rest of your life. It takes an open mind and some effort on your part, but
it's worth it!
While Listening to Jazz presents a historical overview of jazz from its begin-
nings until today, I also concentrate on giving you ways inside the music: simple
things to listen for that help you appreciate the skills, commitment, and passion
that went into making these beautiful recordings. I believe people can gain a better
understanding and appreciation of jazz through learning the basic nontechnical
inner workings of music as well as more about musicians' lives. I have tried to
present some of these perspectives in this book in a variety of ways.
First, and perhaps most importantly, all of our Listening Guides and Listening
Focuses examine the musical elements surrounding the style of a piece, its melody
and harmony, how the tune approaches rhythm, and the types of accompaniment
used. The Listening Guides give a full analysis of a key work, including a timed
guide that you can use while you study the piece; the Focuses are designed to high-
light just one key element, so you can focus your attention on it. The key record-
ings highlighted in the book's Listening Guides are available to purchase separately
as a downloadable MP3 file. Your textbook may have been packaged with an in-
formation card about this downloadable file; if not, visit the website at www.oup
.com/us/bierman to find a link for more information about it. There is also a
Spotify playlist available for these and other recordings discussed throughout the
book, and most recordings can be found on various streaming online sources. By
the end of the course, through an improved understanding of these elements, you
Preface

will be able to listen more actively and knowledgeably, both of which will enhance
your listening experience as well as your appreciation of jazz.
Through a number of other features I give you insight, much of it from my
professional experience, into what these musicians went through, in terms of
both the skills needed and various aspects of a jazz musician's lifestyle, to be able
to create and perform this thrilling music.
• The Jazz Lives sections introduce us to the musicians by providing biog-
raphies, the variety of musical experiences they have had during their
careers, and what types of influences they have had on musicians as well as
on jazz in general.
• The Questions and Controversies sections examine important issues in
jazz. For example, issues surrounding race and gender are crucial to an
understanding and appreciation of jazz and its place in history and culture,
and controversies surrounding various subgenres of jazz such as jazz fusion
and the avant-garde are an important part of jazz history and its place in the
larger scheme of the music scene.
• In Performance brings an insider's perspective to issues such as jazz com-
position and arranging, spontaneous interaction in jazz, what makes jazz
harmony different, important music venues, what being a musician on the
road is like, what are the roles of side musicians, the roles of rhythm section
players, and the roles of certain key band members.
• Compare offers contrasting versions of songs we present, other important
related artists, and recordings showing different musical approaches from
the musicians and bands featured in the Listening Guides and Focuses.
• Overviews placed throughout the book offer students and instructors a
starting place for discussions and further study regarding the socio-historical
contextualization of jazz. For example, how "The Great Migration" of African
Americans from the rural south to the industrial north and west transformed
jazz and blues and helped these styles to spread throughout the country,
what the effects of the Great Depression and World War II had on the music
business and jazz in particular, how the political climate of the 1950s
influenced the broadening of styles within the jazz field, and how the shifting
of liberal and conservative values reflected in the various presidential
administrations affected jazz musicians and their music. These Overviews
also provide timelines of Major Musical Styles, Musicians and Their
Musical Works, as well as Major Social Developments.
• Each chapter concludes with several features:
• Chapter Opening Questions are posed to highlight the key issues we
will explore in each chapter.
• Coda: Chapter Summary features key questions regarding the chapter's
most important material along with concise answers to these important
questions.
• Talkin' Jazz offers key terms and their definitions.
• Key People lists the musicians most important to the chapter.
• Think About This includes questions for further discussion and
study.
• Look It Up notes key resources that can be used for further study.
 Prefi ce

• Read All About It links to readings from Robert Walser's Keeping Time:
Readings in Jazz History, augmenting the text through key writings about
jazz by musicians, journalists, and scholars that further elaborate and build
upon issues discussed throughout the book.
Finally, I wanted to share with you some personal information about how I came
to study and teach jazz. I am a trumpet player, composer, arranger, and music pro-
fessor. Like most musicians, I'm not a star and never was. I played as a side musi-
cian with many big names, however, and spent most of my adult professional life
toiling in the trenches that most working musicians occupy, working in many
types of bands and playing many types of music. While I was building my career
in New York City I performed in nightclubs and concerts both in New York City
and on the road nationally and internationally with small jazz groups and big
bands, blues bands, and some of the greatest Latin bands in the world. I also played
R&B, funk, and nearly every other kind of dance music for parties and during the
day played in the studios and performed at such diverse events as parades, out-
door concerts, and even funerals. I have been a bandleader for years in many kinds
of situations, and I also produce both jazz and classical recordings. My musical
experience is broad and represents a fairly typical musician's career. I also bring to
the book my work as a scholar and professor, and I have been contributing articles
to various publications such as peer review journals and collections of essays while
teaching in higher education for 14 years.
Through my own experiences, I can tell you musicians are hard-working people
and frequently work under extremely difficult circumstances. One typical day
when I was working with Johnny Pacheco, one of Latin music's greatest stars, we
played an afternoon outdoor concert two hours out of town (during which my
girlfriend and mother had to avoid the drunken knife fights), got back to New York
City, played in a nightclub in Queens from 10:00 p.m. to midnight, went to an-
other club in Manhattan where we played from 1:00 to 3:00 a.m., and then took
the subway to uptown Manhattan where we played from 5:00 to 8:00 a.m. at an
illegal after-hours club. After that I was on my way home on the rush-hour train
with everyone else going to work, bleary-eyed, exhausted, and with swollen lips
from playing so much.
When I was touring with the Johnny Copeland Blues Band (that at times in-
cluded rock-blues guitarist Stevie Ray Vaughn and avant-garde jazz saxophonist
Archie Shepp), we traveled around the entire country in a crowded van pulling a
trailer with our equipment. We would drive all day, get to the next town in time to
unload and set up the equipment, change our clothes, play three sets of music in a
bar that smelled of smoke and stale beer, and hope we could find a place to eat
before going to bed around 3:00 in the morning, only to get up early and drive to
the next town to do it all over again.
I also toured with a territory big band on the mid- and southwest ballroom
circuit. We played seven nights a week for months on end, traveling in a bus, arriv-
ing in time to set up and change, and hoping to find a place to eat. We would leave
early the next morning, and some members would not bother to sleep at night,
choosing to drink instead and then sleep all day on the bus. Some would overdo it
and find themselves seriously hungover or sick the next day, only to begin the
entire process again. While you may have a romantic idea of what life on the road
as a working musician is, the reality is often that the hours are long, the pay can
be poor, and the work is grueling; yet this is how we learn our craft, and many
cherish this lifestyle as well as the music.
 Preface

Along with this, jazz musicians have practiced their craft intensely, care deeply
about what they do, and have often sacrificed simpler and more secure lives to
pursue a career as musicians. They use their creative abilities to produce music to
express themselves and to entertain and enlighten us through their emotional,
personal, and dynamic music. This music comes in many forms and styles, which
you will see throughout the book, as jazz has gone through many changes and
continues to do so. That is part of its dynamism in fact. Jazz is alive and growing,
and musicians continue to expand the notions of what jazz is and can be. I sincerely
hope that you enjoy Listening to Jazz!

Acknowledgments
I would like to thank and acknowledge several people for their help along the way
in my musical life. I would first like to thank trumpet player extraordinaire John
Coppola, my earliest musical mentor. My life as a professional musician began
when I walked through his front door and up the steps. John assumed I was there
to become a professional musician before I even knew that was possible and taught
me everything I needed to know to begin a career in music. Philip Rupprecht has
served as a mentor in the academic world, and without him I never would have
entered it. Once I ventured into academia, Joseph Straus served as a model of

CHAPTER
Country/Folk 1870s-present

2 Ragtime c. 1880s-1915
Classic Blues 1920s-1940s Urban Blues
1945- resent

3 New Orleans Jazz c. 1880s-1920

4 Chicago Jazz 1917-1930

5 NewYorkJazz 1920-1930

6 Kansas City Jazz 1920s-1940s

7-9 Swing Era 1935-1945

10 Bebop c. 1944-1952

11

12
13
14
15
 Preface

professionalism for me. Joe also introduced me to my editor at Oxford University

Press, Richard Carlin, without a moment's hesitation when I spoke of my desire
to write this book. Henry Martin, Lewis Porter, John Howland, Jeffrey Taylor,
and John Graziano also helped to shepherd me into the world of professional
scholarship.
At Oxford University Press, Richard Carlin, Executive Editor, has been invalu-
able at every stage and with every aspect of the development of this book. I can't
imagine anyone better to have helped me through the writing of Listening to
Jazz he is a true Renaissance man. I would also like to thank Richard's editorial
assistant Emily Schmid for all of her help; the marketing team of Clare Cashen
and Jeffrey Yerger; my production editor Jane Lee; and the designer Bonni
Leon-Berman.
Without peer reviewers we would all be lost, so for their time, expertise, and
crucial input, I would like to thank David Adler, Queens College, Aaron Copland
School of Music; Lynn Baker, University of Denver; James Balentine, University of
Texas-San Antonio; Philippe Charles Baugh, Tarrant County College; T. Dennis
Brown, University of Massachusetts; Jay C. Bulen, Truman State University;
Charles Hines, University of North Florida; Tammy Kernodle, Miami University;
Anthony Marasco, University of Scranton; Brian McCarthy, Johnson State College;
Michael Morreale, the College of Staten Island-City University of New York; Bruce
Raeburn, Tulane University; Teri Roiger, State University of New York-New Paltz;

Cool Jazz c. 1949-1955

Mambo 1950-1960
Hard Bop c. 1955- 1960
Avant-Garde Jazz c. 1959-present

SoulJazz1960- 1965
Jazz- Bos sa Nova, Samba 1962- present

Mainstream 1960-present

Fusion 1967- present

Smooth Jazz 1975- present
Neo-Traditiona l 1980- present
"Downtown" 1985- present

Jazz Today 1995-2015

Preface

Jeffrey Taylor, Brooklyn College and the Graduate Center, City University of
New York; Craig Thomas, University of Delaware; Gordon Vernick, Georgia State
University; and Robert Walters, Seton Hall University. Special thanks also to John
Wriggle, City University of New York, who served in this capacity as well as many
others throughout the process.
Along the way I picked up the phone and called some friends when I needed
help, and trumpeters Michael Morreale and Barry Bryson, pianists Adam E.
Morrison and Lucy Galiher, drummer Terry Silverlight, bassist Kermit Driscoll,
saxophonist Lou Caputo, and pianist-composer Whitney Ashe were there when
needed. The insights of Peter Manuel, percussionist-bandleader Bobby Sanabria,
and guitar and tres player, Benjamin Lapidus were crucial to my discussion of
Latin jazz. Saxophonist-composer-arranger Bill Kirchner has also always been
there for me in numerous ways.
Finally, I would like to thank my three sons, Emanuel, Leo, and Eli, who, more
than anyone else, help me to believe in myself.
Another random document with
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day for several days, and if there is reason to suspect worms, a
vermifuge is not out of order. Exercise him in the open every day, but
do not overdo this at first. In severe cases an enema may be given
once daily, for three days following the attack, in place of giving the
castor oil.
The more alarming cases of fits are seizures which attack highly-
strung young dogs of an extremely nervous temperament. These fits
usually attack the animal when he is out at exercise and they cause
such violent contortions that many an ignorant person might suppose
the dog to be mad. A dog suffering in this way, may be going along
nicely when suddenly he will utter a distressing cry, stagger a few
times and fall down in convulsions. While in this condition he will
snap wildly at anyone or anything near him. Unless secured his next
proceeding is to get up and run; he seems to be wholly deaf to the
voice of his master and does not even recognize him. Sometimes,
after recovering from the attack, he will be unable to distinguish his
master for several hours. The owner of a dog subject to such fits
should take prompt measures to secure him while he is in one of
these paroxysms, or he will run amuck when he arises and there will
be difficulty in catching him. It is such dogs which frequently cause
the reports of mad dogs being in a neighborhood and many a poor
innocent victim is dispatched, an innocent sacrifice, immolated on
the altar of ignorance. Naturally, the owner of the dog is not likely to
have medicines near at hand when his dog is thus attacked, and in
such a contingency, the best thing to do is to dash cold water on his
head and in his face, continuing this for several minutes. Get the dog
home as soon as possible, then administer a dose of castor oil, or
the preparation recommended for constipation, namely, equal parts
olive oil, castor oil and cascara sagrada. After this, begin a course of
bromide; the dosage being from two to fifteen grains according to the
size of the animal, to be given twice daily. The food should be
nourishing, but not too stimulating, and in small quantities at a time;
it is well to feed three times daily, each meal to be about one-half an
ordinary one. Remove all causes of nervous excitement and build up
the dog by common-sense treatment.
Rabies is not common, but nevertheless it is a real affliction of the
canine race, consequently if your dog has been bitten by a
supposedly rabid dog it is well to keep him isolated to watch results.
Rabies may appear at any time from eight days to three months after
being bitten by a mad dog, hence great care is essential. The
disease can only be communicated through a bite or where the
saliva of a rabid dog comes in contact with an abrasion of the skin.
The owner of a single dog who never allows his animal to run at
large except when he is present is not likely to ever encounter
rabies, but it is well to know the symptoms in case such a
contingency does occur. Not all dogs bitten by a dog known to suffer
from rabies is likely to contract the disease, hence one must not
become hysterical at once and destroy the animal so exposed.
Rather isolate him and watch developments. The disease, as is well
known, is communicable to all animals, even to the human species,
but with the latter the percentage is very small indeed.
The first symptoms are a rise in temperature from two to three
degrees above normal. The dog will constantly lick himself at some
particular spot which is probably the place where he was bitten and
inoculated. The disposition of the victim undergoes an entire change.
The cheerful one becomes morose and sullen, the quiet one is
restless, and the ordinarily good-tempered dog quarrelsome and
inclined to hide in dark corners, although when called will generally
come to his master and probably be very affectionate. Frothing of the
mouth, as generally supposed, is not a symptom of the rabid dog.
The mouth may be more moist than normal at first, but it soon
becomes dry and of a very dark red color. The rabid dog is very
much inclined to attack others; the timid pet without provocation will
attack others much larger than himself and after biting his victim will
emit a peculiar howl, which when once heard will never be mistaken.
The rabid dog’s voice undergoes an entire alteration which is one of
the decided characteristics of the disease. It begins with a peculiar
sharp bark and ends with a dismal howl. If the animal obtains his
liberty he will wander for miles on a kind of dog trot, with head and
tail lowered, going out of his way to attack dogs and other animals,
but usually remaining away from human beings, unless they interfere
with him. In a day or two he will return to his home. He will refuse
any kind of food, but he will gnaw at sticks, stones, timber or
anything that may be near him. He will drink water until his throat
becomes so swollen that it is impossible for him to swallow, but even
then he will attempt to drink by putting his nose in a pail or basin of
water. He becomes weaker rapidly and if not killed, will die in four or
five days.
In Dumb Rabies the lower jaw is dropped and the dog is unable to
close his mouth. It is not often that a rabid dog will attack his master,
but he will fly at a stranger without provocation. There is no cure for
either form of rabies and as soon as one is convinced that the dog is
suffering with the disease he should be put out of his misery by a
painless death.
As I have said, rabies is very uncommon and many kennel men have
gone through life without ever having seen a case, though it is the
height of folly to dismiss the subject on this account and proclaim
there is no such disease. It is very real and should be guarded
against. There are many cases of pseudo rabies that one hears
about through the daily newspapers which are merely the creations
of some fanatic or ignorant persons who would not recognize the
true from the false if they saw them.
Skin Troubles such as the various forms of mange and eczema are
likely to occur occasionally though the owner of one or two dogs
need not worry about this if he grooms his dogs and cares for them
as indicated in the chapters of this book. A very good ointment to
have on hand in case of skin trouble is the following:
Flowers of sulphur 4 ounces
Oil of tar 2 ounces
Carbolic acid 2 drams
Add this to twelve ounces of linseed oil and stir well in order to
thoroughly mix the ingredients. Apply to affected parts or abrasions
of the skin. It is scarcely necessary to say that when this ointment is
applied to the dog’s coat he must be forbidden to house unless one
wishes to have his rugs, carpets and furniture ruined.
Poisoning is one of the banes of a dog owner’s existence, for one is
likely to encounter the poison fiend anywhere at any time. However,
there are also many cases of accidental poisoning. Whether
accidental or otherwise, the majority of cases occur through arsenic,
strychnine or powdered glass.
From the symptoms displayed one can usually determine the kind of
poison used. Strychnine causes pain, twitching, possibly vomiting
and purging. In fatal cases, convulsions with prolonged spasms of
the muscles, with more or less frequent relaxation. This continues
until death ends the struggle.
Arsenic causes gastritis and enteritis, hence a burning thirst,
vomiting and purging, the dog usually dying from exhaustion or
collapse.
Ground glass poisoning will produce bloody discharges, great pain
and distress and frequently vomiting of blood. There is no relief for
the victim of such an experience and the most humane thing to do is
to put the dog to death promptly by administering chloroform.
In the treatment of arsenical and strychnine poisoning, the primary
object should be to get the poison out of the system as soon as
possible. To this end emetics should be administered promptly,
unless the animal is already vomiting freely. As an emetic, fifteen to
twenty grains of sulphate of zinc in a teaspoonful of wine of ipecac is
very good, but if this is not at hand, anything should be resorted to
that will produce the desired results, such as mustard or baking soda
in lukewarm water. In strychnine poisoning every effort should be
made to neutralize the effect of the poison on the spinal cord.
Bromide of potassium and chloral hydrate are the best. Either may
be given to medium-sized dogs by mouth or rectum in twenty-grain
doses. This may be repeated at short intervals until one dram has
been given. In all cases of poisoning except phosphorus, which is
very rare, oil may be given, also calcined magnesia or lime water, as
they are harmless and protect the stomach mechanically. Other
simple things, such as white of eggs, flour, etc., may be used with
good effect. For arsenical poisoning the best antidote is hydrated
oxide of iron. This can be prepared quickly by adding baking soda to
tincture of iron so long as there is any effervescence. When the
neutral point has been reached, it may be given freely in teaspoonful
doses, every ten minutes.
 DOGCRAFT
By A. F. Hochwalt
Third Edition—Revised and Enlarged
Here is a book every sportsman will want to have in his
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 Practical Dog-Keeping
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Written so as to be Understood

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SPORTSMAN’S DIGEST
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 The Working Dog
and His Education
By A. F. Hochwalt
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 The Modern Pointer
By A. F. Hochwalt
The object of this book is to briefly consider the
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 TWENTIETH CENTURY
BIRD DOG
Training and Kennel Management
By Er. M. Shelley
Every owner and every person interested in bird dogs
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 Transcriber’s Notes:
Illustrations have been moved to paragraph breaks near where they are
mentioned.
Punctuation has been made consistent.
Variations in spelling and hyphenation were retained as they appear in the
original publication, except that obvious typographical errors have been
corrected.
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