part 3 the growth of vernacular traditions chapter 12: the jazz age america’s musical landscape...
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Part 3The Growth of Vernacular
TraditionsChapter 12: The Jazz Age
America’s Musical Landscape 5th edition
PowerPoint by Myra Lewinter MalamutGeorgian Court University
© 2006 The McGraw-Hill Companies, Inc. All rights reserved
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
2© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
The Jazz Age As Americans danced into the beginning of the
twentieth century, saloons and dance halls rang with the sounds of
Ragtime
The two-step
Various Latin dances
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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The Jazz Age The new dances replaced sedate ballroom dances played by string
orchestras of an earlier time, and consisted of Fast tempos Syncopated rhythms Dance band timbres
Dance rhythms became more complex
Solo instrumental lines became more independent
Instrumental timbres varied
This new music, called jazz (by 1917) was just as exciting for listening as it was to dance to
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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The “Jazz Age:” The 1920s The roots of jazz lie far earlier than the 1920s
But in the 1920s the new music came to wide public attention
There were performances and recordings of numerous tremendously talented musicians who would dominate the field for decades to come
The term “Jazz Age” came from the popular writer F. Scott Fitzgerald
This term described the decade of dance marathons, speakeasies, a stock market boom, Babe Ruth….
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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The Jazz Age: Roots The roots of jazz include
White European marches, hymns, popular dances
Creole and Caribbean influences
Stirring, hot rhythms, dramatic percussive effects, distinctive vocal and instrumental performance techniques derived from black Africa
Ragtime
Jazz styles vary widely in mood, instrumentation, tempo, artistic intent
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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The Jazz Age: Characteristics Jazz generally
Is regular in meter Involves blue notes =
Flexible tones, slightly above or below the normal pitch The musician “bends” (lowers or slightly raises) the pitches
Producing fluid, emotionally expressive melodic lines Is improvised to a greater or lesser extent
Jazz rarely entered the popular mainstream Yet it reached an enthusiastic segment of the popular music
audience Jazz belongs to America’s art music tradition as well
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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Blues The basis of jazz, mainly an instrumental music,
is the blues
The origins, although stubbornly obscure, derive from African American traditions and date from sometime in the nineteenth century
After the Civil War, slaves and newly emancipated blacks sang the blues
Freedom led to lives often more, rather than less difficult
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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Blues: Origin Away from plantations and in need of
money, African Americans became migrants, went to prison, or held laborious jobs digging ditches or laying railroad lines
In new distress, sometimes they expanded field hollers into simple emotionally laden solo songs
They were singing the blues
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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Country or Rural Blues This new kind of solo song, introduced by blacks, was
Folklike in sound Highly distinctive in character and form
Most early, rural or country blues addressed every aspect of life, especially Work Love—unrequited, betrayed, gone wrong
Blues singers Expressed troubles in an unaffected, straightforward manner
Without sentimentality Often with wry or whimsical humor
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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Blues: Form Early blues form:
One line of text sung three times to a familiar or improvised melody
Later The custom was to sing the first line twice and add a
conclusion or response in the form Statement, repeat, response Each stanza had three lines
Each line had four measures or bars Thus, the form is called twelve-bar blues
A A B
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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Twelve-Bar Blues The only purely American contribution to
musical form
Hard times here, worse times down the road.Hard times here, worse times down the road.Wish my man was here to share the load.
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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Blues: Melodic Characteristics Blue notes
Glissandos Expressive slide between pitches
Vocal and instrumental Derived from black African singing
The African custom of treating the third, seventh, sometimes fifth, and less often sixth scale degrees as neutral or ambiguous tones
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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Blues: Harmony
Provided a strong, simple, and distinctive harmonic framework for the blues musicians to improvise around
Line 1: stays tonicLine 2; IV goes to ILine 3: V goes to IV goes to I
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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Blues: Improvisation The asymmetrical, strictly tonal, textually simple
form beautifully served the improvising musician in several ways
Vocal and instrumental timbres were limited only by the performer’s imagination and availability of instruments
Possibilities abounded for subtle rhythmic adjustments over the solidly steady beat
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Text, form, melody, and harmony supported the improvisation: A line of text took about 2 ½ bars to complete, with time for
Improvisation on accompanying instruments Scatting or scat singing = Half-spoken, half sung nonsense
syllables
Repetition of the first line gave time to plan the response
Melodies could be embellished and colored by Scoops, slides, blue notes, other effects
The basic harmonic patterns allowed variety, the simple chords supporting without getting in the way of creative ideas
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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The Evolution of Rural Blues Evolved from intensely personal introspection to a form of shared
entertainment
Sung around campfires in the poorest living quarters to ease spirits after a day’s work
An instrument accompanied the voice, answering the singer and filling out a line with its own melodic interest
This call and response effect is an African tradition essential to blues
Chords and structured regularity of blues reflect white customs, but were subject to the performer’s interpretation
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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Listening Example 40Hellhound on My TrailComposed and performed byRobert Johnson (1911-1938)Listening Guide page 199
Meter: QuadrupleTempo: SlowForm: Twelve-bar bluesThe bluesy mood fits the impassioned nature of the text; the varying
length of the lines indicates the informality and improvisatory nature of country blues. Hear blue notes and melodic embellishment.
I got to keep movin’. Blues fallin’ down like hail.I got to keep movin’. Blues fallin’ down like hail.And I can’t keep no money with a hellhound on my trail.
If today was Christmas Eve, and tomorrow Christmas Day,If today was Christmas Eve, and tomorrow Christmas Day,I would need my little sweet rider (lover) just to pass the time away.
You sprinkled hot-foot powder (a voodoo spell?) all around my door.You sprinkled hot-foot powder all around my door….
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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Classic Blues Classic Blues = Blues conceived primarily as entertainment
Performed in theaters, clubs, and on commercially distributed recordings
Classic blues performers often had a band backing them up
Piano assumed increasing importance
More professional, more stylized, more universal than the earlier primitive or rural blues
Classic blues found a wide audience among white as well as black Americans
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Blues Singers Rural blues singers were men, including
Huddie Ledbetter Blind Lemon Jefferson
Early classic blues singers were mostly women
The great blues lyrics were written from a woman’s viewpoint Most lyrics concern love—especially “love gone wrong”
1920s: Theatrical performance had become acceptable for women (white or black)
The field offered new social and economic opportunities
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Blues Singers: Gertrude “Ma” Rainey (1886-1939) Considered the mother or the queen of the blues
Born Gertrude Pridgett, known as Ma Rainey Madame Rainey
Ma Rainey was one of the most imitated and influential classic blues singers and composers
She established a link between early rural blues and sophisticated blues performances recorded for commercial distribution
Taught Bessie Smith
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Blues Singers: Bessie Smith (1894-1939) The most famous of the classic blues singers
“Empress of the blues”
Her performances:
Imbued with intense personal feeling
Embellishing melodies, bending tones to communicate the deepest emotions
Of the great classic blues recordings, Bessie Smith’s earned the most money for her recording company, Columbia Records
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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Listening Example 41Lost Your Head BluesPerformed and probably Composed by Bessie Smith, voicewith trumpet and piano Listening guide page 201
Form: Twelve-bar bluesMeter: QuadrupleTempo: Moderately slow Harmony: Based on the I, IV, and V chordsHear expressive slides and blue notes in voice and trumpet
I was with you, baby, when you didn’t have a dime.I was with you, baby, when you didn’t have a dime.Now since you got plenty money, you have throwed your good gal down.
Once ain’t for always, two ain’t for twice.Once ain’t for always, two ain’t for twice.When you get a good gal, you’d better treat her nice.
When you were lonesome, I tried to treat you kind.When you were lonesome, I tried to treat you kind.But since you’ve got money, it done changed your mind….
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Urban Blues Professional publishing and recording industries
recognized the commercial potential of the blues
1912: Blues were published as sheet music
White composers started to write blues
The word “blues” appeared in titles of pieces Including some that weren’t blues at all
1920s: Blues race records mass produced Race records = The unfortunate industry
term for recordings intended for an African American audience
Phonograph
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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Urban Blues: For a Mainstream Audience Blues composers adapted the twelve-bar form to appeal to a
mainstream (white) audience Intended for performance by professional musicians, so-called
urban blues could be more complex in form than earlier rural blues sophisticated in harmony than earlier rural blues
Form The three-line form was retained, but…
One or more verses were in four- or eight-line form
Became popular, with close connections established between instrumental jazz and urban blues
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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Urban Blues and Jazz The great blues singers made some of their finest
recordings with the outstanding jazz musicians of their day
Instrumental jazz and urban blues shared Folk or popular heritage Regular beat Subtle rhythmic variations Versatile blue notes Fluent improvisation
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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Urban Blues:W. C. Handy (1873-1958) William Christopher Handy
African American bandleader and composer
Called himself “father of the blues” Led blues into the world of commercial popular music
Played cornet in a minstrel troupe when young
Later formed his own dance band When the band moved to New York, Handy began writing
and publishing urban blues
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Listening Example 42St. Louis BluesBy W. C. HandyPerformed byBessie Smith, vocalsFred Longshaw, reed organLouis Armstrong, trumpetListening guide page 204
Form: Modified twelve-bar bluesMeter: QuadrupleTempo: Slow
I hate to see the ev’nin sun go down.I hate to see the ev’nin sun go down,Makes me think I’m on my last go-’round.
Feelin’ tomorrow like I feel today,Feelin’ tomorrow like I feel today,I’ll pack my grip and make my getaway.
St. Louis woman wears her diamond rings,Pulls a man around by her apron string.‘T’wan’t for powder and this store-bought hair,The man I love wouldn’t go nowhere—nowhere.
I got the St. Louis blues, just as blue as I can be.He’s got a heart like a rock cast in the sea,Or else he wouldn’t have gone so far from me.
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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New Orleans Jazz Musical instruments from Civil War military bands became
readily and cheaply available
Black musicians began playing them in their own manner Improvising freely on favorite tunes
New Orleans:
Small brass bands played for parades, concerts, funerals For funerals: a famous tradition that survives today
After solemn procession music to and from the cemetery—waiting for an interval—the band breaks into joyous music compelling mourners’ healthy return to everyday life
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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New Orleans Jazz: The Bands The bands’ instrumental techniques became more individual
Tempos became faster Mood became more high-powered and intense
Some of the musicians knew how to read music Most did not, and improvised freely on familiar tunes
Small bands called combos of black musicians provided indoor entertainment The hot new dance music combined with the steady beat and
stirring tempo of European march and dance tunes, with… complex syncopations of black African and Caribbean effects
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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New Orleans Jazz:The City of New Orleans New Orleans offered a rich cultural climate with music…
Popular French, Spanish, Creole, and black tunes Serious and comic opera Marching, dance, and concert bands
The city generously nourished the new vernacular sound With the notorious Storyville red-light district, gambling saloons,
bordellos, dance halls offered job opportunities for jazz musicians
New Orleans produced a large number of astonishingly talented jazz musicians
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New Orleans Jazz: Combos Consisted of three to eight players
Clarinet, cornet, trumpet, trombone, rhythm section Rhythm section included banjo, tuba, drums Later combos playing indoors added piano, and sometimes
replaced tuba with string bass
Musicians improvised around a popular tune The rhythm section marked a beat, a straight four-to-the-bar These early performances were collective improvisations with
soloists taking turns improvising complex variations on a melody
Other musicians provided rhythmic and harmonic support
ONE two three four
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New Orleans Jazz: Louis Armstrong (1900-1971) A cornetist, Armstrong
Played in King Oliver’s band as a boy
Formed his own band in the early 1920s Called the Hot Five; later, the Hot Seven
Made important jazz recordings including his wife’s composition “Hotter Than That” (Listening example 43)
Armstrong switched to trumpet
Developed amazing virtuosic techniques
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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Louis Armstrong As an instrumentalist
Expressive, technically brilliant solo improvisations The wide emotional range of his playing greatly expanded
musicians’ and listeners’ concept of what jazz was all about
Armstrong also sang Scatted creatively, humorously, expressively
Finding sadness, humor, or elation in a song, he let it issue forth as a purely natural, purely human statement
Personalized his performances as no one had before, taking the music and making it his own
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Listening Example 43Hotter Than ThatBy Lillian Hardin Armstrong (1898-1971)Performed by Lillian Hardin and the Hot FiveListening Guide page 207
Meter: QuadrupleTempo: FastInstruments: Cornet, trombone, clarinet, piano, banjo, guitar
Notice how the cornet, trombone, and clarinet take turns improvising while the other instruments providerhythmic accompaniment. Armstrong’s cornet solosdominate. In his scat singingArmstrong “plays” his voice like another instrument,revealing a seeminglylimitless range of creativeand expressive techniques.
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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Chicago Jazz 1920s:
Authorities shut down New Orleans’s lucrative Storyville district
Many outstanding jazz artists moved to Chicago Chicago: The new performing and recording center for jazz Chicago had a large population, thriving speakeasies,
fledgling recording opportunities Along with jobs in railroads, stockyards, mills
Jazz musicians from all over the country were attracted to Chicago
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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Chicago Jazz: Dixieland Young white musicians in Chicago became enamored of the
sounds of the New Orleans combos
In sincere flattery attempted to imitate them
Dixieland: The term for this white imitation of New Orleans jazz
But the term Dixieland came to be applied to all early jazz
Musicians distinguished between New Orleans Dixieland and Chicago Dixieland
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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Dixieland Chicago combos added a saxophone to the New
Orleans instrumentation
They replaced the banjo with a guitar
Big city tension and drive characterized Chicago jazz
Chicago jazz began and ended with more complex improvisations than New Orleans musicians used
Emphasized the role of soloists to a greater degree This new style contained a marked backbeat
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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Before the end of the roaring twenties… The heart of jazz shifted again, to New York City,
where there were Numerous combos Many jazz pianists
Kansas City jazz was another important regional jazz style that was already evolving Reached its peak in the next decade
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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Jazz Piano Jazz pianists, whose instrument sounded its own
harmonies Could practice independently of others Enjoyed greater opportunity than other jazz
instrumentalists for individuality Developed distinctive styles influential in the transfer from
ragtime to jazz
Jelly Roll Mortin; Duke Ellington; Art Tatum (1910-1956); Earl Hines (1903-1983)
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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Jazz Piano: Jelly Roll Mortin Mortin combined ragtime and boogie-
woogie techniques Produced his own inimitable jazz piano style
Rhythms looser and melodies less embellished than ragtimeBoogie-Woogie = Piano blues = A popular piano style with form and harmony of blues, but a faster tempo and dance beat. Unlike writtenragtime pieces, boogie-woogie or piano blues was freely improvised, with a syncopated melody in the right hand and a rhythmic left-hand ostinato. This eight-to-the-bar accompanying pattern (subdividing the four beats of a measure into eight pulses, in the pattern LONG-short-LONG-short-LONG-short-LONG-short) resulted in complex cross rhythms, with brisk tempo and driving intensity-- made boogie popular to dance and listen to.
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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Listening Example 44Shout for Joy
By Albert Ammons (1907-1949)Listening guide page 209
Meter: Duple
Form: Twelve-bar blues
Accompaniment: The jumping “eight-to-the-bar” left-hand ostinato nearly compels a rhythmic response from the listener—as well as a probable happy smile
This lively example of boogie-woogie starts with a four-bar introduction reminiscent of the familiar “Westminster Chimes”
Hear eight three-line verses
Over the pounding beat, thepianist’s right hand plays joyous melodic improvisations
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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Jazz Pianists: Jelly Roll Mortin
Spoken of as the first jazz composer The most innovative “hot tune” writer until Duke Ellington
Earl Hines (1903-1983) Played with a swinging, flexible style usually associated with
band instruments, not piano
Art Tatum (1910-1956) One of the most admired pianists in jazz history Combined his gifts for complex, ingenious harmonic changes
and powerful technique with elements of the piano style called stride
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Stride Piano Retained the regular left-hand metrical pattern of
ragtime Alternating low bass notes on one and three with
midrange chords on two and four under an improvised melody in the right hand
James P. Johnson (1894-1955)--The “father of stride piano” Furthered the transition from ragtime to jazz Played more dissonant, loosely structured, more strictly
improvisational, more highly syncopated than other jazz piano music of the 1920s
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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Listening Example 45Carolina ShoutBy James P. JohnsonListening guide page 210
Meter: DupleForm: After a four-measure introduction, the piece goes
through five strains followed by a cascading four-bar coda, or ending section
Johnson composed other kindsof music as well, including “The Charleston,” which flappers joyously danced through the roaring twenties, but he is best remembered for his great stride compositions such as this one
A shout was a form of religious dance popular on plantationsthrough the nineteenth century in which slaves expressed according to African customtheir new Christian fervor
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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Fats Waller (1904-1943) Studied jazz piano with James P. Johnson
Developed his own legendary jazz piano style More driving, intense, virtuosic than Johnson’s
One of the great jazz entertainers; a stride piano player
Composer of hundreds of tunes But rarely wrote out his pieces in full
Wrote a simple melody line and fragmentary additional notations None of Waller’s published compositions or piano rolls is
considered representative of the performances Waller would have realized from the same pieces
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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Sweet Jazz Throughout the 1920s a tame but attractive music
called sweet jazz reached a wide audience
The Paul Whiteman Orchestra, the most popular dance band of the era, brought this new music style to audiences
Whiteman was classically trained
He admired jazz, yet was unable to improvise His band played his jazzy arrangements of popular and even
classical melodies
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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Sweet Jazz and Paul Whiteman Whiteman: For a time, called the “king of jazz”
But his music bore only a marginal relationship to real jazz Most of the notes were written on sheet music The musicians didn’t improvise Jazzy timbres, syncopated rhythms suggested a jazz flavor
Sweet jazz introduced the art of the arranger An arranger writes arrangements
Arrangement = In jazz, a written musical score that Includes most or all of the notes to be played.
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Coming in the 1930s… Sweet jazz soothed troubled audiences during the Great
Depression
Real jazz—hot, and mostly black—went underground during that era
But during the 1930s
Jazz found a popular audience
Big band music came into its own
Part 3: The Growth of Vernacular Traditions Chapter 12: The Jazz Age
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Image Credit Slide 32: Phonograph. © Photodisc