big band blues

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Big Band Blues Big Band Blues Count Basie, Duke Count Basie, Duke Ellington, and Glenn Ellington, and Glenn Miller Miller

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Big Band Blues. Count Basie, Duke Ellington, and Glenn Miller. William “Count” Basie (1904–84). Basie’s band was the most closely associated with the blues tradition. Basie was born in New Jersey. His early experience was as a piano player and bandleader in Kansas City, Missouri. Kansas City. - PowerPoint PPT Presentation

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Page 1: Big Band Blues

Big Band BluesBig Band Blues

Count Basie, Duke Ellington, Count Basie, Duke Ellington, and Glenn Millerand Glenn Miller

Page 2: Big Band Blues

William “Count” Basie (1904–William “Count” Basie (1904–84)84)

Basie’s band was the most closely Basie’s band was the most closely associated with the blues tradition.associated with the blues tradition.

Basie was born in New Jersey.Basie was born in New Jersey. His early experience was as a piano His early experience was as a piano

player and bandleader in Kansas player and bandleader in Kansas City, Missouri.City, Missouri.

Page 3: Big Band Blues

Kansas CityKansas City In the 1920s, Kansas City was still a frontier townIn the 1920s, Kansas City was still a frontier town Had a famously crooked mayor (“Boss” Had a famously crooked mayor (“Boss”

Pendergast)Pendergast)– His administration encouraged a lively, and illegal, His administration encouraged a lively, and illegal,

nightclub scene. nightclub scene. Many of the greatest jazz musicians honed their Many of the greatest jazz musicians honed their

improvisational skills in Kansas City at improvisational skills in Kansas City at competitive all-night jam sessions. competitive all-night jam sessions. – Provided a chance for budding virtuosos to test their Provided a chance for budding virtuosos to test their

musical skills and endurance against one anothermusical skills and endurance against one another During the 1920s and early 1930s, black dance During the 1920s and early 1930s, black dance

bands in Kansas City had developed their own bands in Kansas City had developed their own distinctive approach to playing hot dance music. distinctive approach to playing hot dance music.

Page 4: Big Band Blues

Territory BandsTerritory Bands The Bennie Moten Orchestra and Andy Kirk’s The Bennie Moten Orchestra and Andy Kirk’s

Blue Devils toured the southwestern United Blue Devils toured the southwestern United States, developing a hard-swinging, powerful States, developing a hard-swinging, powerful style with lots of room for improvised solos. style with lots of room for improvised solos.

– Linked to the country blues tradition Linked to the country blues tradition – Relied heavily on riffsRelied heavily on riffs– Few of the jazz musicians in Kansas City had the Few of the jazz musicians in Kansas City had the

formal music education of East Coast musicians, and formal music education of East Coast musicians, and they often played with a looser, less precise feeling.they often played with a looser, less precise feeling.

– Kansas City musicians relied heavily on “head charts,” Kansas City musicians relied heavily on “head charts,” arrangements that evolved during jam sessions and arrangements that evolved during jam sessions and were written down only later. were written down only later.

– In rhythmic terms, the Kansas City bands tended to In rhythmic terms, the Kansas City bands tended to swing more intensely and with greater abandon than swing more intensely and with greater abandon than the East Coast dance bands.the East Coast dance bands.

Page 5: Big Band Blues

Boogie-WoogieBoogie-Woogie

One important influence on the rhythmic One important influence on the rhythmic conception of the Kansas City bands was conception of the Kansas City bands was the boogie-woogie blues piano tradition.the boogie-woogie blues piano tradition.

– Sprang up during the early twentieth century Sprang up during the early twentieth century in the “southwest territory” states of Texas, in the “southwest territory” states of Texas, Arkansas, Missouri, and Oklahoma and Arkansas, Missouri, and Oklahoma and became a popular fad during the big-band erabecame a popular fad during the big-band era

– Developed in the environment of the Developed in the environment of the barrelhouses barrelhouses

– Solo pianists developed a powerful style that Solo pianists developed a powerful style that could be heard over the crowd noise.could be heard over the crowd noise.

Page 6: Big Band Blues

John HammondJohn Hammond

In 1936, John Hammond, who had In 1936, John Hammond, who had recently helped start Benny recently helped start Benny Goodman’s career, heard Count Goodman’s career, heard Count Basie’s band on a late-night short-Basie’s band on a late-night short-wave radio show in Chicago.wave radio show in Chicago.

Hammond was able to get Basie a Hammond was able to get Basie a recording contract with Decca, a new recording contract with Decca, a new record company interested in record company interested in capitalizing on the swing craze. capitalizing on the swing craze.

Page 7: Big Band Blues

Listening: “One O’Clock Listening: “One O’Clock Jump”Jump”

Written by count Basie and Harry JamesWritten by count Basie and Harry James Performed by Count Basie and His OrchestraPerformed by Count Basie and His Orchestra Recorded in 1937 by DeccaRecorded in 1937 by Decca

– The Count Basie Orchestra’s theme song The Count Basie Orchestra’s theme song Excellent example of the Kansas City bands’ Excellent example of the Kansas City bands’

relaxed but energetic rhythmic approachrelaxed but energetic rhythmic approach– Emphasis on jazz improvisationEmphasis on jazz improvisation– Reliance on informal and flexible head Reliance on informal and flexible head

arrangementsarrangements

Page 8: Big Band Blues

Listening: “One O’Clock Listening: “One O’Clock Jump”Jump”

Structure of the tune Structure of the tune – Ten choruses of twelve-bar bluesTen choruses of twelve-bar blues– The basic arranging technique involves The basic arranging technique involves

heavy use of riffs and call-and-response heavy use of riffs and call-and-response patterns— divided between the brass patterns— divided between the brass and reeds.and reeds.

– A succession of improvised jazz solosA succession of improvised jazz solos– The closest thing to a melody does not The closest thing to a melody does not

appear until the next-to-last chorus. appear until the next-to-last chorus.

Page 9: Big Band Blues

Listening: “One O’Clock Listening: “One O’Clock Jump”Jump”

The recording begins with an eight-bar piano The recording begins with an eight-bar piano boogie-woogie introduction and two improvised boogie-woogie introduction and two improvised twelve-bar blues choruses by Basie.twelve-bar blues choruses by Basie.

Then there is a key change, the band enters, and Then there is a key change, the band enters, and we hear a series of solos, on saxophone, we hear a series of solos, on saxophone, trombone, saxophone again, and trumpet, each trombone, saxophone again, and trumpet, each supported by background riffs. supported by background riffs.

After these solos, Basie plays another chorus in After these solos, Basie plays another chorus in his famous and elegant “two-fingered” style, and his famous and elegant “two-fingered” style, and then the entire band comes in. then the entire band comes in.

The final three choruses of riffs are what identify The final three choruses of riffs are what identify “One O’Clock Jump” for swing fans and musicians “One O’Clock Jump” for swing fans and musicians alike. alike.

Page 10: Big Band Blues

Edward Kennedy (Duke) Edward Kennedy (Duke) Ellington (1899–1974)Ellington (1899–1974)

Widely regarded as one of the most Widely regarded as one of the most important American musicians of the important American musicians of the twentieth centurytwentieth century

Born in Washington, D.C., the son of a Born in Washington, D.C., the son of a navy blueprint makernavy blueprint maker

Came from a middle-class background Came from a middle-class background and received formal musical training at a and received formal musical training at a young age young age

As a kid, he hung around the bars and As a kid, he hung around the bars and pool halls where ragtime pianists played.pool halls where ragtime pianists played.

Page 11: Big Band Blues

Edward Kennedy (Duke) Edward Kennedy (Duke) Ellington (1899–1974)Ellington (1899–1974)

His first band, the Washingtonians, His first band, the Washingtonians, played syncopated dance music in played syncopated dance music in New York in the early 1920s.New York in the early 1920s.

Three years later, Ellington’s band Three years later, Ellington’s band was heard by a song publisher and was heard by a song publisher and promoter named Irving Mills, who promoter named Irving Mills, who arranged a recording contract for arranged a recording contract for them. them.

Page 12: Big Band Blues

Cotton Club in HarlemCotton Club in Harlem From 1927 to 1931, the Ellington band appeared From 1927 to 1931, the Ellington band appeared

at The Cotton Club in Harlem.at The Cotton Club in Harlem. The band often had to accompany “exotic” The band often had to accompany “exotic”

revues, and Ellington developed a style that he revues, and Ellington developed a style that he called “jungle music,” characterized bycalled “jungle music,” characterized by– dense textures,dense textures,– unusual harmonies, andunusual harmonies, and– muted, growling sounds in the brass. muted, growling sounds in the brass.

Although this style reinforced the stereotypes of Although this style reinforced the stereotypes of black culture that many of the white patrons of black culture that many of the white patrons of the Cotton Club came to see and hear, it also the Cotton Club came to see and hear, it also provided Ellington with the basis for a unique provided Ellington with the basis for a unique approach to arranging for the big band.approach to arranging for the big band.

Page 13: Big Band Blues

Individualistic Approach to Individualistic Approach to WritingWriting

Ellington experimented with the same basic Ellington experimented with the same basic musical resources as other big band musical resources as other big band arrangers:arrangers:– Devised unusual musical formsDevised unusual musical forms– Combined instruments in unusual waysCombined instruments in unusual ways– Created complex, distinctive tone colorsCreated complex, distinctive tone colors– Wrote for extreme registers of instrumentsWrote for extreme registers of instruments– Wrote dissonant chord voicingsWrote dissonant chord voicings

Ellington’s experiments were aided by the Ellington’s experiments were aided by the remarkable stability of his band.remarkable stability of his band.– He grew to know the individual players’ strengths He grew to know the individual players’ strengths

and weaknesses.and weaknesses.– He wrote parts specifically for particular musicians.He wrote parts specifically for particular musicians.

Page 14: Big Band Blues

Less Commercial SuccessLess Commercial Success

Even though Ellington was well Even though Ellington was well respected as a composer and had respected as a composer and had some big hits, he had less commercial some big hits, he had less commercial success than other band leaders.success than other band leaders.

Ellington’s idiosyncratic approach Ellington’s idiosyncratic approach meant that his band enjoyed less meant that his band enjoyed less commercial success than more commercial success than more mainstream-sounding dance mainstream-sounding dance orchestras.orchestras.

Page 15: Big Band Blues

Listening: “Ko-Ko”Listening: “Ko-Ko”

Music and arrangement by Ellington Music and arrangement by Ellington (1937)(1937)

Form: twelve-bar blues with eight-Form: twelve-bar blues with eight-measure introductory sectionmeasure introductory section

Overall mood of this recording is not Overall mood of this recording is not the typical happy, upbeat feel of the typical happy, upbeat feel of most swing music. most swing music.

Ensemble sound is dark and thickly Ensemble sound is dark and thickly textured.textured.

Page 16: Big Band Blues

Glenn Miller (1904–44)Glenn Miller (1904–44) Trombonist/bandleaderTrombonist/bandleader From 1939 until 1942, the Miller Orchestra From 1939 until 1942, the Miller Orchestra

was the most popular dance band in the was the most popular dance band in the world, breaking records for record sales world, breaking records for record sales and concert attendance.and concert attendance.

Most of his songs are still popular with Most of his songs are still popular with swing dancers.swing dancers.

Miller developed a peppy, clean-sounding Miller developed a peppy, clean-sounding style that appealed to small-town style that appealed to small-town Midwestern people as well as to the big-Midwestern people as well as to the big-city, East and West Coast constituency. city, East and West Coast constituency.

Page 17: Big Band Blues

Glenn Miller (1904–44)Glenn Miller (1904–44)

Joined the Army Air Corps in 1942Joined the Army Air Corps in 1942 Led a band in the military Led a band in the military Was killed during World War II when Was killed during World War II when

his plane went down over the English his plane went down over the English Channel in 1944Channel in 1944

Page 18: Big Band Blues

Listening: “In the Mood”Listening: “In the Mood”

Performed by Glenn Miller and His Orchestra Performed by Glenn Miller and His Orchestra (1939)(1939)

Number One on the charts for twelve weeksNumber One on the charts for twelve weeks Best-known recording of the swing eraBest-known recording of the swing era Tune based on a short riff featured in the Tune based on a short riff featured in the

saxophonessaxophones Twelve-bar blues with an eight-bar bridge Twelve-bar blues with an eight-bar bridge Famous improvised trumpet solo, later Famous improvised trumpet solo, later

transcribed and permanently written in the musictranscribed and permanently written in the music ““Trick” ending, with the band getting quieter and Trick” ending, with the band getting quieter and

quieter and then exploding into a big finishquieter and then exploding into a big finish

Page 19: Big Band Blues

Listening: “In the Mood”Listening: “In the Mood”

Introduction (eight)Introduction (eight) A (twelve-bar blues)A (twelve-bar blues) A (twelve)A (twelve) B (eight-bar phrase)B (eight-bar phrase) B repeatB repeat B (eight) two saxes alternate solosB (eight) two saxes alternate solos B (eight) repeat B (eight) repeat

Page 20: Big Band Blues

Listening: “In the Mood”Listening: “In the Mood”

Connecting phrase (four) Connecting phrase (four) B (eight) trumpet soloB (eight) trumpet solo B (eight) repeatB (eight) repeat Connecting phrase (two) whole bandConnecting phrase (two) whole band A (twelve plus two) main riff returns A (twelve plus two) main riff returns A (twelve plus two) same music but A (twelve plus two) same music but

quieterquieter A (twelve) even softerA (twelve) even softer A (twelve plus six) same music but loudA (twelve plus six) same music but loud

Page 21: Big Band Blues

Mills BrothersMills Brothers

African American vocal harmony group African American vocal harmony group The most successful and longest-lived The most successful and longest-lived

of the swing-era vocal groupsof the swing-era vocal groups Perfected a secular version of the Perfected a secular version of the

African American jubilee quartet African American jubilee quartet tradition tradition

Their smooth, jazz-influenced style Their smooth, jazz-influenced style appealed to a broad audience. appealed to a broad audience.

Page 22: Big Band Blues

Mills BrothersMills Brothers

One of the first black musical groups One of the first black musical groups to broadcast on network radio and to broadcast on network radio and score commercial success in score commercial success in mainstream pop marketmainstream pop market

Page 23: Big Band Blues

Listening: “Paper Doll”Listening: “Paper Doll”

Performed by the Mills Brothers (1942)Performed by the Mills Brothers (1942) Their biggest hit recordTheir biggest hit record Sold over 6 million copiesSold over 6 million copies Stayed on the pop charts for thirty-six Stayed on the pop charts for thirty-six

weeks, twelve at Number Oneweeks, twelve at Number One A sophisticated vocal arrangement of a A sophisticated vocal arrangement of a

Tin Pan Alley love song originally Tin Pan Alley love song originally written in 1915written in 1915

Page 24: Big Band Blues

Listening: “Paper Doll”Listening: “Paper Doll”

Slow section—refrainSlow section—refrain– Guitar introductionGuitar introduction– A (sixteen) A (sixteen) I’m gonna buy…I’m gonna buy…– B (sixteen) B (sixteen) When I come home…When I come home…

Fast section (double-time feel)Fast section (double-time feel)– I guess I had a million dolls, I guess I had a million dolls, verse I verse I

(sixteen)(sixteen)– I’ll tell you boysI’ll tell you boys, verse II (sixteen), verse II (sixteen)– A (sixteen) A (sixteen) I’m gonna buyI’m gonna buy, refrain, refrain– B (sixteen) B (sixteen) When I come homeWhen I come home, refrain, refrain

Page 25: Big Band Blues

ASCAP, the AFM, and the ASCAP, the AFM, and the Decline of the Big BandsDecline of the Big Bands

Decline of the big bandsDecline of the big bands– The swing era lasted almost exactly a The swing era lasted almost exactly a

decade, ending almost as suddenly as it decade, ending almost as suddenly as it had begun. had begun.

– By the close of 1946, many of the top By the close of 1946, many of the top dance bands in the country had either dance bands in the country had either broken up or formed smaller, more broken up or formed smaller, more economical units.economical units. Related to changes in the music business as Related to changes in the music business as

well as shifts in popular musical tastewell as shifts in popular musical taste

Page 26: Big Band Blues

ASCAP, the AFM, and the ASCAP, the AFM, and the Decline of the Big BandsDecline of the Big Bands

The big radio networks were feuding with ASCAP over The big radio networks were feuding with ASCAP over royalties.royalties.

In 1940, the radio networks formed a rival licensing In 1940, the radio networks formed a rival licensing agency, Broadcast Music Incorporated (BMI).agency, Broadcast Music Incorporated (BMI).

BMI allowed songwriters outside of Tin Pan Alley to BMI allowed songwriters outside of Tin Pan Alley to collect royalties from the use of their songs in the collect royalties from the use of their songs in the broadcast media.broadcast media.– This boosted country and western and rhythm & This boosted country and western and rhythm &

blues musicians.blues musicians. In 1941, ASCAP called a strike, withdrawing the rights In 1941, ASCAP called a strike, withdrawing the rights

to broadcast any material composed by their members.to broadcast any material composed by their members. In 1942, the American Federation of Musicians called a In 1942, the American Federation of Musicians called a

strike against the recording companies.strike against the recording companies. In the end, the strike put many dance band musicians In the end, the strike put many dance band musicians

out of work.out of work.