Not since the 1920’s has jazz been the popular music of America, but its always been there.  Not only is it America’s first original art form, it has also proven to be the most durable.  It may not be played on the pop stations of the day, but it’s always there, just beneath the surface.  You hear it in fine dining establishments, wine bars, small college bars, art galleries, and upscale stores like Nordstrom’s where they actually still employ full time pianists.  The jazz is always there, somewhere in the background.   You just have to listen a little closer.

Flash forward to the present.  Thanks to many dedicated proponents like Wynton Marsalis and Harry Connick, Jr., Jazz education in schools and universities is more wide-spread than ever, jazz festivals and jazz cruises are more abundant than ever.   In fact, the number of annual jazz festivals in the world numbers well into the hundreds, as can be referenced on Wikipedia HERE. 

New jazz superstars continue to rise up in the ranks, like 17 year old Canadian Nikki Yanofsky, the incredible young female pianist Hiromi Uehara, and the amazing bassist and vocalist Esparanza Spalding. 

So, in closing:  What is JAZZ?  It’s America’s classical music.  It’s good time music.  It’s the musical voice of freedom.  It can be swinging, it can be funky, it can have a latin flavor, it can be anything you want it to be as long as the key ingredients are there—meaning as long as its deeply rooted in the soul, and centered around musical freedom and improvisation.  What is improvisation?  It is art of being able to spontaneously shape and adapt a musical idea to fit the musical and rhythmic landscape of the moment. 

To Louis Armstrong:   thank you “Pops”, we are all your children.

And now, for reasons of personal bias, I must end with my personal favorite jazz musician, who had the honor of playing and/or recording with just about every famous name in jazz history, and the man many consider to be the greatest pianist of all time, the late, the great, Oscar Peterson.

When we left off, the war had come and with it came the end of the big band era, but jazz survived.  As big band music faded away and jazz in general became eclipsed by the popularity of other music styles like rock-a-billy, the big band musicians broke into smaller groups and retreated into the night clubs. 

Going back to less arranged smaller ensembles, jazz music became pure again.  You see, what jazz players do is take a melody and make it their own.  Jazz is the only music form that offers that kind of freedom of expression.  That’s exactly why I play jazz.  I’ve played in top forty bands where the songs had to be played exactly the same night after night, because that’s what the audience wanted—to hear the popular songs of the day exactly as they heard them on the radio.  There’s no room for creativity there.  In my youth I dreamed of being in a blues band, but when that chance came and I spent a summer in Corpus playing with a truly great blues band on the beach, I quickly got tired of the same beat, feel, and endlessly repeating 12 bar chord progressions.  To be perfectly honest,  I don’t get real excited about lots of rehearsals either, I live for the thrill of the live performance.   Don’t misunderstand here, personal practice is very important and essential, and a well-rehearsed band is always a plus, but the goal of the jazz soloist is to be spontaneous.  Another reason jazz appeals to the player is there are no rules that say you must play a song in a particular style or tempo, you can change it up every night.  I may play “Our Love is Here to Stay” as a ballad one night, a bossa nova the next, and a swing tune the next time around.  The audience will always recognize the tune, and the jazz audience is always eager to hear what new and exciting creative twist you may take.  From a musician’s view, I love jazz because it is the most challenging—we are literally composing on the spot, and when it begins to flow and the instrument becomes an extension of your feelings and soul, it is pure magic.  It is a rush better than any drug provide.

With their freedom now unleashed, the jazz musicians of the late 1940’s took the music in many directions.  Latin influenced music had already found its way into big band music, and during the forties Mambo bands became very popular.  Quite naturally the jazz musicians were drawn to the rhythmic syncopation latin influences offered.  Consequently, Latin Jazz developed into three major catagories—Afro-Cuban, Puerto Rican, and Brazilian.  For a detailed lesson in Latin Jazz please refer to my earlier blog from September, 2010 by clicking HERE. 

Another thing that was popular with jazz musicians was re-inventing the old big band songs by speeding them up, adding altered chord changes, and writing new and complicated melodies over the chord progressions of old standards.  Be-Bop pioneers John Birks “Dizzy” Gillespie and Charlie “Yardbird” Parker (Bird) were experts at this.  “Whispering” became “Groovin’ High”, “Back Home in Indiana” became “Donna Lee,” “How High the Moon” became “Ornithology,” “I Got Rhythm” became “Thriving on a Riff,” and so on.  One of my favorite bebop heads is “Hot House,” a melody written to the chords of Cole Porter’s 1929 standard, “What is this thing called Love.”  Listen to how “What is this thing called Love” originally sounded, then listen to Bird and Dizzy play jazz pianist and composer Tad Dameron’s take on the same chords.

Amazing!  Pure genious.  We are SO lucky to be able to witness these blasts of pure creativity through YouTube.   Twenty years ago I would sit for hours by a record player setting the needle back over and over just trying to figure out one of Bird’s licks!

Be-Bop, sometimes called East Coast Jazz, was just one of the many sub-genres of jazz that developed, in fact, each geographical area seemed to have there own sound.  There was Chicago jazz, Kansas City jazz, and West Coast Jazz or “Cool Jazz.”  Trumpeter and vocalist Chet Baker is a great example of the “Cool Jazz” sound.

Most jazz players of the 1940’s and 1950’s followed this formula of re-hashing big band standards.  But in 1959 that all changed.  In a single year, two monumental albums would be recorded that would profoundly affect the jazz music world forever.  Those albums are Dave Brubeck’s “Time Out,” which featured the hit single “Take Five,” and Miles Davis’ “Kind of Blue.”  Both these albums, featuring all original material that abandoned traditional tunes and forms, turned the jazz world on its ear.  In the case of “Kind of Blue,” Miles Davis did not even tell the musicians what they were going to record until they showed up at the studio that day.   He wanted it to be pure and spontaneous—pure jazz.  To this day they are the most popular selling jazz records of all time.   Read an in depth look at these albums in my November 2009 blog commemorating the 50^th anniversary of these two milestone recordings by clicking HERE  

There are SO many huge names in jazz, and we could easily spend a week discussing each of them.  Vocalists like Billie Holiday, Ella Fitzgerald, Sarah Vaughn, Lena Horne, Peggy Lee, Joe Williams, Frank Sinatra, and jazz producers like John Hammond and Norman Granz who devoted their life to the promotion of jazz.  And the list of instrumentalists goes on and on.   With so many jazz musicians leaving their own individual mark on the music, there are now too many sub-genres to count:  smooth jazz, acid jazz, free-form jazz, jazz fusion, jazz funk, and on and on it goes. 

What makes it all jazz?  The common thread goes back to Louis Armstrong and the template he established.   A rhythmic idea and/or melody is introduced, then the players are allowed to freely express themselves in turn within the framework of the song.

Tune in next week for the conclusion of “The History and Mystery of Jazz.”

Simply put, musical improvisation, at least in the context of jazz music, means to spontaneously create a new melodic line over a given chord progression.  In jazz lingo this is called ‘taking a ride’ or ‘blowin’ over the changes.’  The “changes” refers to the chord progression.  Sometimes a soloist may stick very close to the original melody, embellishing it with a personal flair, or sometimes a soloist may play something totally different.  In the latter, even though the melody is not played, a good musician listens to the chords going by and keeps the melody going in his mind, this serves as a guide to the structure of the song and where the soloist is at in the progression.   Where do musicians get these improvised musical ideas that seem to come out of nowhere?  It is acquired from lots of experience and lots of practice.  Jazz is a language, and like learning any language it begins with listening and imitating.  Once a sizeable vocabulary is developed, then one can begin to form their own sentences and over time generate conversations that are crafted on the go just as you would tell a story about a personal experience to a friend.

Now, getting back to our storyline, the early days of jazz was a magical time in America.  We had telephones, phonographs, affordable cars for the masses,  and a new music floating up the river out of New Orleans and spreading across the country like a wildfire.  Louis Armstrong records were sold in every supermarket, and as we moved out of the 1920’s and into the 1930’s into the “golden era of big bands,” a new medium called radio broadcasted the music into every home in America.

Big band music grew out of jazz.  You see, it didn’t take long to realize that if an arrangement were fashioned, enabling a band to play a song the same way with consistency (with the exception of the individual solos), people would identify both the song and the band by its arrangement.  This helped bands gain popularity and helped sell records.  As writers began to craft arrangements, the size of the ensembles grew and grew.  And with arrangements to read, many more musicians could get in on the act, leaving the soloing to the few that had the ability to do so.  Big band music became a nationwide craze.  On Saturday nights most of America either went dancing or hovered around their radios listening to live remote broadcasts.

In the heyday of the big band era, there were literally thousands of big bands across the land, each striving to have their own sound.  You see, the music business worked very differently in those days.  A band didn’t walk into the studio and announce what they were going to record, it was the other way around.  The record label told the band what to record.  Basically it went something like this:  a new song would be written and submitted to the major publishers, if the song showed promise the major record labels would swoop in and give a lead sheet of the song to one of the big bands in their employ.  The band would be given a deadline to have the song arranged in their style and recorded.  Often these deadlines would be very short because other record companies and bands would be competing to get the same song out first.  If the song turned out to be a hit, the hit record was most often the first to hit the market, so there was a lot of pressure on the bands from the record companies to record what they wanted, when they wanted it.  Then, if the song became popular, back at the publishing house the tune would be handed over to their army of arrangers who would pen a stock arrangement and publish it.  Bands across the country would buy the stock arrangements and adapt them to their style and sound.  The stock arrangements usually would be fashioned very closely, if not an exact transcription of the hit record of the song.

Big bands generally fell into two catagories:  there were sweet bands and swing bands.  The sweet bands, like Guy Lombardo, Jan Garber, Rudy Vallee, and Russ Morgan could be found in the swank hotels playing for the well-to-do white folks.  Swing bands were found in the dance halls and stayed more true to jazz in style and music.  Today when we think of swing bands, often the first to come to mind are Duke Ellington and Count Basie—pillars of both jazz and big band swing music.  But not all swing bands were black.   In fact, the first major swing band leader to gain nationwide popularity was Benny Goodman, one of the greatest musicians and improvisors of all time.   Check out this great two minute clip from 1937, featuring Harry James on trumpet and Gene Krupa on drums.

Duke Ellington’s sophisticated arrangements were also fashioned to highlight his musician’s improvisational abilities.

Meanwhile, out in the wild western town of Kansas City, bandleaders like Jay McShann and Count Basie were carving out the “Kansas City Sound.”  Playing mostly “head charts” in which the entire arrangement is improvised, they sped up the old twelve bar blues progression and turned it into what they called a “jump.”  One famous night in the late thirties during a live radio remote the announcer hollered at Count and asked what song they were playing, playing a head chart known only to the band as “Blue Ball,” Count Basie looked up and saw the clock was striking one and said “it’s the “One O’Clock Jump!”  It would become the standard closer at Basie concerts for the next half century.

Then the war came and brought an end to the good times and the big band era . . . but jazz survived.  Tune in next week as we venture into the land of Dizzy and Bird.

First I’d like to ask you, the reader, a two part question, study the question then close your eyes and think about your answers.    Here it is:   How would you describe jazz (or what does the word jazz mean to you), and when you hear the word jazz, what mental images come to mind?

Well?  What did you come up with?  You say you like jazz, but can you tell me what it is?

Interestingly, almost everyone thinks they like jazz, but no-one in either class could define it very well, and most likely you can’t either.  People do conjure up mental images though when they hear the word.  Here are some of the answers I got:

A smoke filled night-club.

A saxophone playing.

A trio of piano, bass and drums.

People dancing in Zoot suits.

Lots of horns.

African rhythms.

Dance music.

As you can see, different people have totally different conceptions, some having visions of African drums and people dancing, while others picture a smoke filled club with a small stage and a piano trio.  Strangely enough, not one of the students mentioned New Orleans.

According to that old wordsmith, Mr. Webster, the definition of jazz is:

“American music developed especially from ragtime and blues and characterized by propulsive syncopated rhythms, polyphonic ensemble playing, varying degrees of improvisation, and often deliberate distortions of pitch and timbre.”

That’s a mouthful.  But to me, the first two words say it all, it’s American music!  Better yet, its America’s music!  Jazz was born in the good old U.S.A., it’s an American invention.

Jazz is loved the world over, in fact (and somewhat unfortunately) Jazz is a lot more popular everywhere else than it is in the United States.  Why is that?  Because it’s American!

Prior to jazz, all the music played in the United States, and in fact ALL other art forms, were brought here from somewhere else.  Jazz is the first art form to DEVELOP here in the United States.  And with jazz, we, as a nation, developed our own musical voice.

Jazz player and enthusiast, author Keith Shadwick once famously wrote that jazz is “America’s greatest gift to world culture,” and a whole lot of people agree, including me.

Jazz was born in late eighteen hundreds in the deep south in and around New Orleans.   As you probably remember from your history, New Orleans was called the melting pot, because it was a place where many types of people from different cultures of the world came together.  The blending of the music they brought with them—like rhythm based African music, the blues and work songs of the fields, European classical, the brass band sounds of John Phillip Sousa, and ragtime melded together to form a totally new music based largely on improvisation.  Course they didn’t call it jazz, the word hadn’t been invented yet – so for lack of a better term, the locals simply called it “good time” music.

Early jazz bands, or “Dixieland jass bands” as they were first labeled, played in a polyphonic ensemble style.  That means that the lead horn, usually a cornet or trumpet, played their interpretation of a given melody, while others played counter melodies at the same time.  It wasn’t about harmonizing. Totally independent melody lines that complimented each other were played simultaneously, with all but the melody being improvised on the spot.   The music was fresh and spontaneous, and the same song often took on a whole new sound with each rendition.

Then, as we crossed into the 20^th century, a young man came along who would revolutionize the way we hear and play jazz, and transform it into the most durable music of our times.  His name was Louis Armstrong.  Enjoy the following clip (I showed the class minutes 2:34-8:59 of the total 10:59 clip), then tune in next week for Part 2 of our lesson in jazz.

For the fifth year in a row, Kelsey Taylor lit up the room at Veritas Wine and Bistro on New Year’s Eve!  After a four course gourmet adventure, patrons enjoyed champagne and Tai’s own version of truffle popcorn while Steve, Kelsey, and I delivered three powerhouse sets of jazz and blues.  Ending with a rousing version of New York, New York (which we’d never even done together before and certainly had not rehearsed), we counted out 2011 together and held our glasses high while singing that old familiar song, Auld Lang Syne.  It was pure heaven.

Kelsey Taylor will be back at Veritas Wine & Bistro for New Year’s Eve.  Joined by myself and Steve Carr, its gonna be a swingin’ affair, so you’ll want to make your reservations today!  Call Veritas at 979-268-3251

We got hip to Michael Buble pretty quickly when he hit the scene a few years ago, and we love his stuff and have all his albums.  So quite naturally we couldn’t wait to get our hands on the heavily advertised Christmas album that he put out this year.  Exclusively released at Target, we practically ran to get one as soon as they hit the shelves about a month before Christmas.  We’ve listened to it once.

The album starts in a swinging fashion, but loses steam over the next dozen or so tracks as it goes from one slow song to another, with the occasional pop beat thrown in.  We bought the special edition version with three bonus tracks at the end, and I’m glad we did because a couple of those swing hard, and without them the album would have completely fizzled out.  Buble himself doesn’t seem real excited either, at times sounding more like Perry Como.   Oh well, we love Dianna Krall and Harry Connick, Jr., too, and they have each put out one or two albums that literally put us to sleep, but we still love them.  We still love you too, Michael, guess we were just looking for something with a little more kick to it.   Here’s one of my favorites from Michael Buble—now this is what I’m talkin’ ‘bout! (you’ll have to click “watch on YouTube”, just do it)

Stepping through the doors of the Hilton’s Oakwood Ballroom was like stepping back in time.  The three tiered ballroom with its brass rails and long curved bar hearken back to a more elegant time.  On each round table sat a red candle and a sprig of mistletoe, a large, magnificently decorated Christmas tree stood in the corner.  Dressed in their Sunday best the patrons poured through the doors while the band, all in tuxedos, took their positions onstage.  Oh, how I love the magic of a ballroom dance!

We were not filled to capacity, but had a good crowd and everyone seemed to have a great time.  The band, made up of some of the finest dance band musicians I know, played very well as went from ballad to swing, rumba to cha cha, samba to mambo, two-beat to polka, and of course, plenty of waltzes.  The band members consisted of John McSpadden on lead horn, Scott Plugge on saxes, clarinet, and flute, McIan Amos on trombone, the great Ken Frazier on guitar, Ken Harris on bass, Chris Hollar on drums, and myself hamming it up on piano and trumpet.  A good time was had  by all, and I can’t wait to do it again!

Our fall semester ended with a bang at our Jazz Night School Fall Semester Student Recital this past Monday at the Frame Gallery in downtown Bryan.  The recital featured performances by the students of our fall night classes as well as most of my private jazz students.  Below are the notes from our program.  See pics from the recital at this public link HERE

The purpose of Jazz Music Night School is to offer musicians an opportunity to explore, play, and gain a better understanding of America’s most original and significant contribution to world culture—the art of traditional jazz music.

In our studies we discuss the evolution and history of jazz, as well as learn the basics of how to play the blues and improvise in the context of jazz standards.  To put it another way, instead of reading notes on a page, we give the students the knowledge and tools they need to help them hear, feel, and play the music that’s inside of them.

Our mission statement is:

To encourage and help musicians find their own musical voice and release their creativity through the art of jazz improvisation.

The Program

Bassist Alexander Zietsman performs

“Speak Low” by Ogden Nash/Kurt Weill 

Pianist & Vocalist Maryshe Zietsman performs

“Blue Bossa” by Kenny Dorham

“In the Wee Small Hours” by David Mann/Bob Hilliard

“Peel Me a Grape” by Dave Frishberg

Pianist & Composer Donny Dye

Performs his original compositions

“Scherzo in D Minor”

“Autumn Yearning”

Pianist Stephanie Palazzolo performs

”Samba de Uma Nota Só” by Antonio Carlos Jobim

Duet with Alan Palazzolo

“Lullaby of Birdland” by George Shearing

Pianist Karlyn Fedora & bassist Tim Lightfoot perform

“Manhã de Carnaval” by Luiz Bonfá

“Satin Doll” by Duke Ellington/Billy Strayhorn

Violinist Nicole Cherry performs

“In a Sentimental Mood” by Duke Ellington

Kevin Duff & Ken Appelt join in to perform

“Walkin’” by Miles Davis

Jazz 101 Ensemble

“Duke’s Place” by Duke Ellington

“Little Sunflower” by Freddie Hubbard

“Never No Lament” by Duke Ellington

“All Blues” by Miles Davis

Ensemble: Delvin Twitty (sax), Ethan Whitlow (tpt), Vilja Jarvi (viola), Samantha Villalobos (pno), John Buchanan (gtr), and guest bassist Steve Carr

Class Instructor:  Greg Tivis

Associate Instructor & Class Coodinator:  Randy Watkins

Administrator:  Greta Watkins