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[[File:West Point Band Jazz Knights.jpg|thumb|350px|The West Point Band's Jazz Knights perform in West Point's Eisenhower Hall (2011)]] |
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[[File:Jazz Band in Queens Park - geograph.org.uk - 729107.jpg|thumb|250px|The Magna Jazz Band performs at The [[Queen's Park, London|Queens Park]] (1988)]] |
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A '''jazz band''' ('''jazz ensemble''' or '''jazz combo''') is a [[musical ensemble]] that plays [[jazz]] [[music]]. Jazz bands usually consist of a [[rhythm section]] and a [[horn section]], in the early days often [[trumpet]], [[trombone]], and [[clarinet]] with rhythm section of [[piano]], [[banjo]], [[double bass|bass]] or [[tuba]], and [[drum kit|drums]]. |
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A '''jazz band''' ('''jazz ensemble''' or '''jazz combo''') is a [[musical ensemble]] that plays [[jazz]] music. Jazz bands vary in the quantity of its members and the style of jazz that they play but it's common to find a jazz band made up of a [[rhythm section]] and a [[horn section]]. |
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== Rhythm section == |
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[[Rhythm section]] consists of the [[percussion instrument|percussion]], [[double bass]] or [[bass guitar]], and usually at least one instrument capable of playing [[chord (music)|chords]], such as a [[piano]], [[guitar]], [[Hammond organ]] or [[vibraphone]]; most will usually have more than one of these. The standard rhythm section is piano, bass, and drums,<ref name="jazzinamerica1">{{cite web|url=http://www.jazzinamerica.org/LessonPlan/8/3/204 |title=Roles of the Instruments |publisher=Jazzinamerica.org |date= |accessdate=2014-05-21}}</ref> augmented by [[guitar]] at times in small combos and regularly in large ones. Some large swing era orchestras also employed an additional piano, [[accordion]], and [[banjo]]. |
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The size of a jazz band is closely related to the style of jazz they play as well as the type of venues in which they play. Smaller jazz bands, also known as ''combos'', are common in night clubs and other small venues and will be made up of three to four musicians; whereas [[big band]]s are found in dance halls and other larger venues.<ref name=definejazz>{{cite web|last1=Criswell|first1=Chad|title=What Is a Jazz Band?|url=https://suite.io/chad-criswell/88s26b|accessdate=July 25, 2014}}</ref> |
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Jazz bands can vary in size from a big band, to a smaller trio or quartet. The term [[jazz trio]] can refer to a three piece band with a pianist, double bass player and a drummer. Some bands use vocalists, while others are purely instrumental groups. Jazz bands usually have a [[bandleader]]. In a big band setting, there are usually more than one player for a type of instrument. |
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Jazz bands and their composition have changed many times throughout the years just as the music itself changes with each performers personal interpretation and improvisation which is one of the greatest appeals of going to see a jazz band.<ref name="definejazz"/> |
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==Ensemble types== |
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[[File:CountBasieEthelWatersStageDoorCanteen.jpg|thumb|[[Count Basie]] and band, with vocalist [[Ethel Waters]], from the film ''[[Stage Door Canteen]]'' (1943)]] |
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=== Combos === |
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Small jazz bands of three to four musicians are often referred to as ''combos'' and can be found in small night club venues. In modern jazz, an acoustic bass player is almost always present in a small band, complimented by any other combination of instruments. |
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Its common for musicians in a combo to perform their music from memory. The improvisational nature of these performances make every show unique.<ref name="definejazz"/> |
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====Three parts==== |
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In [[jazz]], there are several types of trios. One type of [[jazz trio]] is formed with a piano player, a [[Double Bass|bass]] player and a drummer. Another type of jazz trio that became popular in the 1950s and 1960s is the [[organ trio]], which is composed of a [[Hammond organ]] player, a drummer, and a third instrumentalist (either a saxophone player or an electric [[jazz guitar]]ist). In organ trios, the Hammond organ player performs the bass line on the organ bass pedals while simultaneously playing chords or lead lines on the keyboard manuals. Other types of trios include the "drummer-less" trio, which consists of a piano player, a double bassist, and a horn (saxophone or trumpet) or guitar player; and the jazz trio with a horn player (saxophone or trumpet), double bass player, and a drummer. In the latter type of trio, the lack of a chordal instrument means that the horn player and the bassist have to imply the changing harmonies with their improvised lines. |
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====Four parts==== |
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Jazz quartets typically add a ''horn'' (the generic jazz name for saxophones, [[trombone]]s, trumpets, or any other wind or brass instrument commonly associated with jazz) to one of the jazz trios described above. Slightly larger jazz ensembles, such as quintets (five instruments) or sextets (six instruments) typically add other soloing instruments to the basic quartet formation, such as different types of saxophones (e.g., alto saxophone, tenor saxophone, etc.) or an additional chordal instrument. |
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===Larger ensembles=== |
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[[File:Jazz ensemble - seating diagram.svg|thumb|350px|Seating diagram for a typical 17 piece [[big band]] jazz ensemble]] |
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The lineup of larger jazz ensembles can vary considerably, depending on the style of jazz being performed. In a 1920s-style [[Dixieland jazz]] band, a larger ensemble would be formed by adding a banjo player, woodwind instruments, as with the clarinet, or additional horns (saxophones, trumpets, trombones) to one of the smaller groups. In a 1940s-style Swing big band, a larger ensemble is formed by adding "sections" of like instruments, such as a saxophone section and a trumpet section, which perform arranged "horn lines" to accompany the ensemble. In a 1970s-style [[jazz fusion]] ensemble, a larger ensemble is often formed by adding additional percussionists or sometimes a saxophone player would "double" or "triple" meaning that they would also be proficient at the clarinet, flute or both. Also by the addition of soloing instruments. |
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==Instrumentation== |
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[[File:PikiWiki Israel 28590 Jazz band.JPG|thumb|left|200px|''Jazz Band'', by Israeli artist [[David Gerstein]]]] |
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[[Rhythm section]] consists of the [[percussion instrument|percussion]], [[double bass]] or [[bass guitar]], and usually at least one instrument capable of playing [[chord (music)|chords]], such as a [[piano]], [[guitar]], [[Hammond organ]] or [[vibraphone]]; most will usually have more than one of these. The standard rhythm section is piano, bass, and drums,<ref name="jazzinamerica1">{{cite web|url=http://www.jazzinamerica.org/LessonPlan/8/3/204 |title=Roles of the Instruments |publisher=Jazzinamerica.org |accessdate=May 21, 2014}}</ref> augmented by guitar at times in small combos and regularly in large ones. Some large swing era orchestras also employed an additional piano, [[accordion]], and [[banjo]]. |
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== Horn section == |
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The [[horn section]] consists of [[woodwind section]] and [[brass section]], which play the [[melody]]<ref name="jazzinamerica1"/> and main [[accompaniment]]. The standard small combo usually limits itself to one trumpet and one saxophone at times augmented by a second saxophone or a trombone. Typical horns found in a big jazz band include 4-5 [[trumpet]]s, 5-6 [[woodwind instrument]]s (usually [[saxophone]]s), and 3-4 [[trombone]]s. |
The [[horn section]] consists of [[woodwind section]] and [[brass section]], which play the [[melody]]<ref name="jazzinamerica1"/> and main [[accompaniment]]. The standard small combo usually limits itself to one trumpet and one saxophone at times augmented by a second saxophone or a trombone. Typical horns found in a big jazz band include 4-5 [[trumpet]]s, 5-6 [[woodwind instrument]]s (usually [[saxophone]]s), and 3-4 [[trombone]]s. |
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=== |
===Rhythm section=== |
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{{main|Rhythm section#Jazz}} |
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The trombone section consists of three [[tenor trombone]]s and one [[bass trombone]]. A trumpet player may sometimes double on a [[flugelhorn]]. |
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[[File:Satchmofest_12_Leroy_Jones_Rhythm_Section.JPG|thumb|A rhythm section, with bass and drums]] |
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====Banjo==== |
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{{main|Banjo}} |
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The banjo has been used in jazz since the earliest jazz bands.<ref name="banjo">{{cite book|last1=Boyd|first1=Jean A.|title=The Jazz of the Southwest: An Oral History of Western Swing|date=1998|publisher=University of Texas Press|location=Austin|isbn=0-292-70860-2|page=147|edition=First|url=http://books.google.ca/books?id=8cf6AQAAQBAJ&pg=PA147&dq=banjo+jazz&hl=en&sa=X&ei=wevNU8XJDKroiwKO7YGICg&ved=0CCUQ6AEwAg#v=onepage&q=banjo%20jazz&f=false|accessdate=July 21, 2014}}</ref> The earliest use of the banjo in a jazz band was by [[Frank Duson]] in 1917, however [[Laurence Marrero]] claims it became popular in 1915.<ref name="banjo2">{{cite book | url=http://books.google.ca/books?id=jkdncIIFJtYC&lpg=PP1&dq=Exploring%20Early%20Jazz%3A%20The%20Origins%20and%20Evolution%20of%20the%20New%20Orleans%20Style&pg=PP1#v=onepage&q=Exploring%20Early%20Jazz:%20The%20Origins%20and%20Evolution%20of%20the%20New%20Orleans%20Style | title=Exploring Early Jazz: The Origins and Evolution of the New Orleans Style | isbn=0-595-21876-8|publisher=Writers Club Press | work=Exploring Early Jazz: The Origins and Evolution of the New Orleans Style | year=2002 | accessdate=July 21, 2014 | last1=Hardie|first1=Daniel | pages=264}}</ref> |
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There are three common types of banjo, the [[Banjo#Plectrum banjo|plectrum banjo]], [[Banjo#Tenor banjo|tenor banjo]], and [[Banjo#Cello banjo|cello banjo]]. Over time, the four stringed tenor banjo became the most common banjo used in jazz.<ref name="banjo"/> The drum-like sound box on the banjo made it louder than the acoustic guitars that were common with early jazz bands, and banjos were popular for recording.<ref name="banjo2"/> |
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=== Saxophone section === |
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In the saxophone section, all of the saxophones will play a similar melodic line, but the [[baritone saxophone|baritone sax]] doubles by occasionally joining in with the [[bass trombone]] and [[bass (guitar)|bass]] to play the bass line. A big band saxophone section typically consists of two [[alto saxophone]]s, two [[tenor saxophone]]s, and one [[baritone saxophone]].<ref>{{cite web|last1=Rzepiela|first1=Jeff|title=A Guide to Playing in a Big Band Saxophone Section|url=http://www.bestsaxophonewebsiteever.com/playing-big-band-saxophone-section/|website=www.bestsaxophonewebsiteever.com}}</ref> The [[tenor saxophone]] plays the counter melody, though have the lead in some cases. Saxophone players are often expected to double on [[clarinet]], [[flute]], or [[soprano saxophone]]. In earlier periods of jazz, a [[bass saxophone]] was used as a bass line instrument, though this is far less common today. |
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====Bass==== |
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== Notable jazz bands == |
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{{main|Jazz bass}} |
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A very short listing of notable jazz bands includes [[King Oliver|King Oliver and his Creole Jazz Band]], [[Jelly Roll Morton]] and his [[Red Hot Peppers]], [[Louis Armstrong and His Hot Five]], the [[Fletcher Henderson Orchestra]], the [[Duke Ellington Orchestra]], the [[Count Basie Orchestra]], the [[Benny Goodman Orchestra]], the [[Dizzy Gillespie]]-[[Charlie Parker]] Quintet, the [[Gerry Mulligan#The Pianoless Quartet with Chet Baker|Gerry Mulligan Quartet]], the [[Modern Jazz Quartet]], the [[Miles Davis Quintet]], the [[Jazz Messengers]], the [[Clifford Brown]]-[[Max Roach]] Quintet, the [[Sun Ra Arkestra]], the [[John Coltrane Quartet]], the [[Bill Evans Trio]], [[Weather Report]], the [[Mahavishnu Orchestra]], [[The Headhunters|Herbie Hancock's Headhunters]], the [[Art Ensemble of Chicago]], [[Oregon (band)|Oregon]], [[Return to Forever]], the [[Pat Metheny Group]], and the [[World Saxophone Quartet]]. |
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{{Listen |
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| filename = Jazz Bass.ogg |
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| title = Jazz Bass |
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| type = music |
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}} |
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Jazz bass is the use of the [[double bass]] or [[bass guitar]], to improvise accompaniment and solos in a jazz band. Players began using the double bass in jazz in the 1890s, to supply the low-pitched [[walking bass]]lines. From the 1920s and 1930s [[Swing music|Swing]] and [[big band]] era, through [[Bebop]] and [[Hard Bop]], to the 1960s-era "[[free jazz]]" movement, the resonant, woody sound of the double bass anchored everything from small jazz combos to large jazz groups. |
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Beginning in the early 1950s, jazz some bass players began to use the electric bass guitar in place of the double bass.<ref name="centeralblues">{{cite web |url=http://centraldelawareblues.com/historybassguitar.html |title=The history of the electric bass part one: the early days |author=Roger Newell |date=October 24, 2011 |accessdate=July 25, 2014}}</ref> Most jazz bassists specialize in either the double bass or the electric bass. |
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== References == |
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<references /> |
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== |
====Drums==== |
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{{main|Jazz drumming}} |
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*[[Big band]] |
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{{Listen |
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*[[Jazz fusion]] |
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| filename = Jazz Drums.ogg |
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*[[Jazz guitar]] |
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| title = Jazz drumming |
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*[[Jazz trio]], or piano trio |
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| type = music |
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}} |
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Jazz drumming is the art of playing percussion, usually the [[drum set]], in jazz styles ranging from 1910s-style Dixieland jazz to 1970s-era [[jazz-rock fusion]] and 1980s-era [[latin jazz]]. Stylistically, this aspect of performance was shaped by its starting place, New Orleans,<ref name="the history of jazz">Gioia, T. (1997). ''The History of Jazz''. Oxford University Press: New York, NY. ISBN 978-0-19-512653-2</ref> as well as numerous other regions of the world, including other parts of the [[United States]], the [[Caribbean]], and [[Africa]].<ref>{{cite book|last1=Brown|first1=Theodore Dennis|title=A History and Analysis of Jazz Drumming to 1942|date=1976|publisher=University of Michigan|url=http://books.google.co.uk/books/about/A_History_and_Analysis_of_Jazz_Drumming.html?id=W1vsAAAAMAAJ}}</ref> |
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Jazz required a method of playing percussion different from traditional [[Europe]]an styles, one that was easily adaptable to the different rhythms of the new genre, fostering the creation of jazz drumming's hybrid technique.<ref name="evolution">Brown, T, D. (1969). The Evolution of Early Jazz Drumming. ''Percussionist'', ''7''(2), 39–44.</ref> |
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====Guitar==== |
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{{main|Jazz guitar}} |
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{{Listen |
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| filename = Jazz-Guitar.ogg |
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| title = Jazz guitar |
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| type = music |
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}} |
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Jazz guitar refers to a variety of guitar playing styles used in the various jazz genres. Although the earliest guitars used in jazz were [[acoustic guitar|acoustic]] and acoustic guitars are still sometimes used in jazz, most jazz guitarists since the 1940s have performed on an electrically amplified guitar or [[electric guitar]]. |
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Traditionally, jazz electric guitarists use an [[archtop guitar|archtop]] with a relatively broad hollow sound-box, violin-style [[f-holes]], a "[[bridge (instrument)|floating bridge]]", and a [[Pick up (music technology)|magnetic pickup]]. [[Solid body]] guitars, mass-produced since the early 1950s, are also used. |
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====Piano==== |
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{{main|Jazz piano}} |
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{{Listen |
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| filename = Jazz Piano.ogg |
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| title = Jazz piano |
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| type = music |
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}} |
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Jazz piano has played a leading role in developing the sound of jazz. The pianos role is multifaceted due largely to the instrument's combined melodic and harmonic capabilities. For this reason it is an important tool of jazz musicians and composers for teaching and learning jazz theory and set arrangement, regardless of their main instrument. |
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Jazz pianists also make extensive use of chord "extensions", such as adding the sixth, ninth, or thirteenth scale degree to the chord. When jazz pianists [[improvisation|improvise]], they use the scales, modes, and arpeggios associated with the chords in a tune's chord progression. |
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===Woodwind section=== |
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{{main|Woodwind section}} |
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====Clarinet==== |
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{{main|Clarinet#Jazz}} |
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{{Listen |
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| filename = Jazz Clarinet.ogg |
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| title = Jazz clarinet |
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| type = music |
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}} |
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The clarinet is a woodwind instrument with a [[single-reed]] mouthpiece. A clarinet player is known as an clarinetist. Originally, the clarinet was a central instrument in jazz, beginning with the New Orleans players in the 1910s. It remained a signature instrument of jazz through much of the [[big band]] era into the 1940s.<ref name="Cambridge companion">{{cite book|last1=Lawson|first1=Colin James|title=The Cambridge Companion to the Clarinet|date=1995|publisher=Cambridge University Press|location=Cambridge and New York|isbn=0521476682|url=http://books.google.co.uk/books/about/The_Cambridge_Companion_to_the_Clarinet.html?id=P4Jvai9yPqgC&redir_esc=y}}</ref> [[Larry Shields]] was the clarinetist for [[Original Dixieland Jazz Band]], the first jazz band to record commercially in 1917. The American players [[Ted Lewis (musician)|Ted Lewis]] and [[Jimmie Noone]] were pioneers of the instrument in jazz bands. The B{{music|flat}} soprano clarinet was the most common instrument, but a few early jazz musicians such as [[Alcide Nunez]] preferred the C soprano clarinet, and many New Orleans jazz brass bands have used an E{{music|flat}} soprano clarinet.<ref name="Cambridge companion" /> |
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Swing clarinetists such as [[Benny Goodman]], [[Artie Shaw]], and [[Woody Herman]] led successful big bands and smaller groups from the 1930s onward.<ref>{{cite book|last1=Schuller|first1=Gunther|title=The Swing Era: The Development of Jazz, 1930-1945|date=1989|publisher=Oxford University Press|location=Oxford|isbn=0195071409|url=http://books.google.co.uk/books/about/The_Swing_Era.html?id=Zc4Lh9KC2MIC}}</ref> Band leader [[Duke Ellington]], active from the 1920s to the 1970s, used the clarinet as lead instrument in his works, with several players of the instrument ([[Barney Bigard]], [[Jimmy Hamilton]] and [[Russell Procope]]) spending a significant portion of their careers in his orchestra. [[Harry Carney]], primarily Ellington's baritone saxophonist, occasionally doubled on bass clarinet. Meanwhile, [[Pee Wee Russell]] had a long and successful career in small jazz bands. |
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With the decline of the big bands' popularity in the late 1940s, the clarinet faded from its prominent position in jazz and the saxophone rose in importance in many jazz bands, probably because it uses a less complicated fingering system<ref>{{cite news |url=http://www.nytimes.com/1981/07/05/arts/john-carter-s-case-for-the-clarinet.html |title=John Carter's Case For The Clarinet |first=Robert |last=Palmer |date=July 5, 1981 |newspaper=[[New York Times]] |accessdate=April 2010 }}</ref> and thus could better accomodate the requirement for an increased speed of execution in modern jazz than the clarinet. But the clarinet did not entirely disappear. In the late 50ies traditional jazz experienced a revival, with the notable example of clarinetist [[Acker Bilk]]'s Bristol Paramount Jazz Band. Some of the works of Bilk's jazz band reached the pop charts.<ref>{{cite book|last=Kaufman|first=Will|author2=Heidi Slettedahl Macpherson|title=Britain and the Americas|publisher=ABC-CLIO|year=2005|isbn=1-85109-431-8}}</ref> |
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====Saxophone section==== |
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{{Listen |
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| filename = Jazz-Sax.ogg |
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| title = Jazz saxophone |
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| type = music |
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}} |
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In the saxophone section, all of the saxophones will play a similar melodic line, but the [[baritone saxophone|baritone sax]] doubles by occasionally joining in with the [[bass trombone]] and [[bass (guitar)|bass]] to play the bass line. A big band saxophone section typically consists of two [[alto saxophone]]s, two [[tenor saxophone]]s, and one baritone saxophone.<ref name="bestsax">{{cite web|last1=Rzepiela|first1=Jeff|title=A Guide to Playing in a Big Band Saxophone Section|url=http://www.bestsaxophonewebsiteever.com/playing-big-band-saxophone-section/|accessdate=July 25, 2014}}</ref> The tenor saxophone plays the counter melody, though have the lead in some cases. Saxophone players are often expected to double on [[clarinet]], [[flute]], or [[soprano saxophone]]. In earlier periods of jazz, a [[bass saxophone]] was used as a bass line instrument, though this is far less common today. |
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===Brass section=== |
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{{main|Brass section}} |
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[[File:US Navy 061221-N-0773H-038 Musician 1st Class Robert A. Holmes assigned to the U.S. Navy Band Commodores jazz ensemble solos on baritone saxophone during an evening concert at the Midwest Band and Orchestra Conference.jpg|thumb|A brass section, with various brass instruments]] |
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====Trombone==== |
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{{main|Trombone}} |
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{{Listen |
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| filename = Jazz Trombone.ogg |
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| title = Jazz trombone |
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| type = music |
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}} |
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The trombone section consists of three [[tenor trombone]]s and one [[bass trombone]]. |
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====Trumpet==== |
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{{main|Trumpet}} |
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A trumpet player may sometimes double on a [[flugelhorn]]. |
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====Tuba==== |
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{{main|Tuba}} |
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The tuba is the largest and lowest-pitched brass instrument. This instrument made its first appearance in the 19th century, being played at orchestras. When involved with jazz, most tubas are played outdoors. Tuba players are generally called "Jazz tubists." |
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===String section=== |
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{{main|String section}} |
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====Violin==== |
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{{main|Jazz violin}} |
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{{Listen |
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| filename = 00 Jazz Violin Solo.ogg |
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| title = Jazz violin |
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| type = music |
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}} |
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[[Jazz violin]] is the use of the violin or [[electric violin]] to improvise solo lines. Although the violin has been used in jazz recordings since the first decades of the 20th century, it is more commonly associated with folk music than jazz.<ref>{{cite web | url=http://www.fiddlingaround.co.uk/jazz/ | title=Jazz violin | publisher=Fiddling Around the World | accessdate=July 23, 2014 | author=Haigh, Chris}}</ref> Jazz musician [[Milt Hinton]] claimed that the decline in violin players coincided with the introduction of [[movie|sound movies]], as many violin players were used as accompaniment for [[silent films]].<ref name="ladouble">{{cite web | url=http://articles.latimes.com/1988-08-27/entertainment/ca-835_1_double-bass | title=They'll String Along With the Double Bass | publisher=Los Angeles Times | date=August 27, 1988 | accessdate=July 23, 2014 | author=Stewart, Zan}}</ref> |
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In jazz-rock fusion styles, jazz violinists may use an electric violin plugged into an [[instrument amplifier]] along with effects such as a [[wah pedal]] or a distortion [[Distortion (music)|fuzzbox]]. |
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====Cello==== |
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{{main|Violoncello}} |
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The cello is an bowed string instrument. This instrument is the second largest bowed string instrument apart from the double bass. When being used in jazz, the cello is more commonly tuned to fourths. A cello player is known as an cellist. |
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===Vocalists=== |
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{{main|Vocal jazz}} |
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The precise definition of what makes a jazz vocalist can be unclear, because jazz has shared a great deal with [[blues]] and [[pop music]] since the 1920s.<ref>{{cite book|last1=Will|first1=Friedwald|title=Jazz Singing: America's Great Voices from Bessie Smith to Bebop and Beyond|date=1990|publisher=Perseus Books Group|work=Da Capo|isbn=0306807122|pages=x-xi|edition=illustrated, reprint|url=http://books.google.ca/books?id=jV8PJnlxQS8C&lpg=PR12&dq=part%20of%20the%20problem%20lies%20in%20jazz%27s%20close%20relationship&pg=PR12#v=onepage&q=part%20of%20the%20problem%20lies%20in%20jazz's%20close%20relationship&f=false|accessdate=23 July 2014}}</ref> In their book ''Essential Jazz'', Henry Martin and Keith Waters identify five main characteristics that identify jazz singing, three of which are: "Loose [[Musical phrasing|phrasing]] [...], use of [[blue notes]] [...], [and] free melodic embellishment."<ref name="essentials">{{cite book | url=http://books.google.ca/books?id=TmW7t2gBpa4C&pg=PT175&dq=scat+singing+important+vocal+jazz&hl=en&sa=X&ei=hXPQU6C5EuWwjALGpIEo&ved=0CCsQ6AEwAQ#v=onepage&q=scat%20singing%20important%20vocal%20jazz&f=false | title=Essential Jazz: The First 100 Years | publisher=Cengage Learning | date=2014 | accessdate=July 23, 2014 | author1=Martin, Henry |author2=Waters, Keith | page=149 |edition=3rd |isbn=978-1-133-96440-7}}</ref> Often the human voice can act in place of a brass section in playing melodies, both written and improvised.<ref name=jazzinamerica1 /> |
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[[Scat singing]] is vocal [[Musical improvisation|improvisation]] with wordless vocables, [[pseudoword|nonsense syllables]] or without words at all. Though scat singing is improvised, the melodic lines are often variations on [[Musical scale|scale]] and [[arpeggio]] fragments, [[lick (music)|stock patterns]] and [[riff]]s, as is the case with instrumental improvisers. The deliberate choice of scat syllables also is a key element in vocal jazz improvisation. Syllable choice influences the pitch [[articulation (music)|articulation]], coloration, and [[Sonorant|resonance]] of the performance.<ref>{{Harvnb|Berliner|1994|p=125}}</ref> |
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==Repertoire== |
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[[Jazz standards]] are an important part of the musical repertoire of jazz musicians, in that they are widely known, performed, and recorded, and widely known by listeners.{{according to whom|date=July 2014}} |
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Another important aspect of jazz is [[Jazz improvisation|improvisation]] ("[[Jam session|jams]]"). Bands playing in this fashion fall under the category of [[jam band]]s.<ref name="allaboutjazz">{{cite web |url=http://www.allaboutjazz.com/improvising-art-from-jam-bands-to-jazz-by-jacob-hobson.php?pg=2 |title=Improvising Art: From Jam Bands to Jazz |last1=Hobson |first1=Jacob |date=September 9, 2013 |website=[[All About Jazz]]|accessdate=July 21, 2014}}</ref> A common way to incorporate improvisation is to feature solo performances from band members made up on the spot, allowing them to showcase their skill.<ref>{{cite web|title=What is Jazz? |url=http://www.smithsonianjazz.org/index.php?option=com_content&view=article&id=560&Itemid=89|website=http://www.smithsonianjazz.org/|accessdate=July 22, 2014}}</ref> |
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==History== |
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{{main|Jazz#History}} |
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[[File:1890RobinsonsBandCropped.jpg|thumb|"Robinson's Band Plays Anything" – an illustration from a 1890 edition of a New Orleans newspaper ''The Mascot''. Jazz historian Al Rose has called it "the earliest known illustration of a jazz band".<ref>{{cite book|author=Charles Suhor|title=Jazz in New Orleans: The Postwar Years Through 1970|url=http://books.google.com/books?id=y0TvKkkgkVgC&pg=PA17|date=April 11, 2001|publisher=Scarecrow Press|isbn=978-1-4616-6002-6|page=17|accessdate=July 21, 2014}}</ref>]] |
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Starting shortly after 1915, the first [[Music of New Orleans|bands from New Orleans]] began to using the word "jass" or "[[Jazz (word)|jazz]]" in their band name, or to describe their music. Bandleader [[Tom Brown (trombonist)|Tom Brown]] claims the first usage, which was disputed by [[Nick LaRocca]] of the [[Original Dixieland Jass Band]].<ref name="jazzinstitute">{{cite web | url=http://www.jazzinstitut.de/history/Jazzhistory-1.htm | title=An overview of the history of jazz | publisher=Jazz Institut | work=An overview of the history of jazz | date=2006 | accessdate=July 21, 2014 | author=Knauer, Wolfram}}</ref> |
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{{Listen |
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| filename = That Funny Jas Band from Dixieland (1916).ogg |
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| title = That Funny Jas Band from Dixieland (1916) |
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| type = music |
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| description = Oldest known recording of Jazz, on an Edison Blue Amberol wax cylinder in 1916 |
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}} |
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It is reported that the first known recording of "Jas", ''That Funny Jas Band from Dixieland (1916)'' was by [[Collins and Harlan]] for [[Edison Company]] on [[Blue Amberol]] in December of 1916.<ref name=Hoffman>{{Cite book |
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| publisher = Routledge |
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| isbn = 9781136592294 |
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| last = Hoffmann |
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| first = Frank |
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| author2 = B. Lee Cooper |
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| author3 = Tim Gracyk |
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| title = Popular American Recording Pioneers: 1895-1925 |
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| date = November 12, 2012 |
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}}</ref>{{rp|80}} |
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The first Jazz record, ''The Original Dixieland One-Step'' was issue 18255 by [[Victor Talking Machine Company]] in 1917.<ref name=Hancoff2005>{{Cite book |
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| publisher = Mel Bay Publications |
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| isbn = 9781610658294 |
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| last = Hancoff |
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| first = Steve |
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| title = New Orleans Jazz for Fingerstyle Guitar |
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| date = October 26, 2005 |
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}}</ref>{{rp|7}} This is the first record with ''Jass'' on the label, attributed to the ''Original Dixieland 'Jass' Band''. After litigation and claims of copyright infringement, the title was changed to ''Dixie 'Jass' Band One-Step''. |
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==Notable jazz bands== |
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===Quintets=== |
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The [[Miles Davis Quintet]] (1965-1968), featuring [[Wayne Shorter]], [[Herbie Hancock]], [[Ron Carter]], and [[Tony Williams (drummer)|Tony Williams]], was one of the most influential small jazz ensembles of the 20th century.<ref name="milesdavis">{{cite web|url=http://www.theguardian.com/music/musicblog/2010/oct/13/miles-davis-second-great-quintet|title=50 great moments in jazz: How Miles Davis's second quintet changed jazz|date=Oct 13, 2010|last1=Fordham|first1=John}}</ref> [[Lee Konitz]] was once quoted for saying of the band that "They played so well individually and collectively". Michael Cuscuna complimented the band, saying "They all had their own unique perspective on how to compose and play, and when those unique components came together, they created an absolutely whole new sound. It is extraordinarily creative." |
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An alternative to the Miles Davis Quintet of 1965-1968, was the Miles Davis Quintet (1955-1957), featuring [[John Coltrane]], [[Red Garland]], [[Philly Joe Jones]], and [[Paul Chambers]]. Pianist [[Pete Jolly]] once said of this group, "You've got to love that rhythm section" and [[Chuck Berghofer]], who had once played with the band,<ref>{{cite web|title=Chuck Berghofers 75th Birthday Bash!|url=http://www.performingartslive.com/Events/Chuck-Berghofers-75th-Birthday-Bash-522201223189|website=performingartslive.com|accessdate=27 July 2014}}</ref> even ventured to say "They changed music history". |
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Another great influential band was the [[Art Ensemble of Chicago]] in the '70s and '80s. The Art Ensemble was the vanguard for many contemporary pioneers today with their progressive style. Vandermark said of the group "For their first 15 years this group attacked nearly improvising aesthetic with complete originality" while Wadada Leo Smith is quoted for having said "I heard them live and watched them in action. They took theatrics to another level, spontaneous theater that had a theme and character to it.". Oluyemi Thomas is also quoted "The Art Ensemble has moved the music into an area that allows for space and silence. Their unique approach to collaboration is unparalleled in creative music. They have a poetic sense and social consciousness. They have positively influenced my music and all of creative music." |
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===Sextets=== |
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Surprisingly, the least common thread amongst the sextet category was the addition of the trombone. Art Blakey & The Jazz Messengers featured Curtis Fuller on staples Free for All and Buhaina's Delight. But apart from Blakey, the other notables augmented their front line with the alto saxophone. John Kirby pioneered a unique lineup of trumpet, clarinet, piano, drums, and alto saxophone. "I loved that band," exclaimed Clark Terry. "They swung well and weren't too heavy." McDonough was in agreement, "Though not to everyone's taste, they shouldn't be overlooked." Nat Hentoff once wrote of Blakey's version of the Messengers with Fuller, Wayne Shorter, Freddie Hubbard, Cedar Walton, and Reggie Workman, "Spurred by Blakey's firebolts, the other musicians rose to a collective - as well as individual - intensity." But neither Kirby's individuality nor Blakey's cooperative aggregate topped the following three. |
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1. Miles Davis Sextet with John Coltrane and Cannonball Adderley |
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Holman simply and eloquently stated the logical conclusion, "Kind of Blue is the greatest recording, so they must be the greatest band." With only two studio recordings and one other poorly recorded "live," these six men simply turned music on its head by introducing the jazz world to modal music. And no one has done it better since. Kind of Blue is considered a masterpiece. Rolling Stone voted it one of the ten best albums of all time (in any genre). And to this day, Kind of Blue remains the best selling jazz album of all time even with figures so distorted and confusing, the exact total is unknown. Vandermark concluded, "I don't really think there's much that I can say here that hasn't already been said better by the music they played." Enough said. |
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2. Charles Mingus Sextet with Eric Dolphy |
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Charles Mingus toured Europe in the spring of '64 with a sextet that included Johnny Coles on trumpet, Clifford Jordan on tenor, Jaki Byard on piano, Dannie Richmond on drums, and Eric Dolphy on alto and bass clarinet. Coles departed the tour early because of illness, but this tour was of particular note because Dolphy left the band at the tour's conclusion, remained in Europe, and died not long after. The band's '64 tour is one of the most documented in jazz history with numerous live recordings and countless unauthorized bootlegs. Vandermark acknowledged, "I think I own every live recording this band ever did. This combination of rhythm section flexibility and front line intensity has never been excelled." |
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3. Benny Goodman Sextet with Charlie Christian |
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The "King of Swing," while celebrated for his big band achievements also made an impression with his small combos. "They were the perfect combination," remembered Jones. "They moved me the most and are among the supreme in the history of jazz by virtue of Charlie Christian and, of course, Goodman at his peak. They generated an extraordinary body of enduring original material, played it beautifully, and made a place for the guitar as a front line voice. Beyond that, they produced great work within the context of popular music without dumbing down." When considering just how many guitarists sounded like Christian, Jones' insights have significant merit. |
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=== Big Bands === |
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The biggest surprise came from Hentoff and Frank Wess, who gave strong support for the all female '40s band International Sweethearts of Rhythm. "They swung like crazy, and had great musicians," recalled Wess. Women were also represented by the Maria Schneider Jazz Orchestra and the 15-piece DIVA featuring Ingrid Jensen and Claire Daly. Otherwise, opinions varied and suggestions were assorted. "Jimmie Lunceford, Earl Hines, Les Hite, Chick Webb - they were all good," marked Gerald Wilson. Supporting Woody Herman & The Second Herd, Frank Capp recounted, "Everything they did was just great. They had Stan Getz, Serge Chaloff, Shorty Rogers, everybody!" Stan Kenton had plenty of devotees as well. Ironically, genteel Jones was a big fan, "The band around World War II had a great sound." Gibbs admired Benny Goodman's band, "I patterned my band after Benny Goodman." Dizzy Gillespie's trail-blazing big band won many accolades. Bassist Al McKibbon recalled, "I was in that band. With that Latin rhythm, it was great." Alexander Von Schlippenbach's Globe Unity Orchestra received plenty of mention among modern improvisers as well. "The combination of this many great improvisers is pretty damn hard to ignore. I particularly like the group's early years, when they were still utilizing loose structures and compositions from members of the band," described Vandermark. But by most accounts, none were as influential as the three below. |
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1. Duke Ellington |
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"It was the ideal confluence of solo and structure," paraphrased McDonough. For many other voters, it was simple. Ellington had the world's best band. Dave Brubeck remembered, "I had all of those records as soon as they'd come out. I loved Ellington all of his career, but when I was a kid, buying those records, I couldn't believe how great they were." Wess agreed, "He was always original and could always fire you up." KJAZZ's James Janisse brought up an interesting point, "His '40s band was the best for the cats that came through his band and had careers in their own right. But, the writing and tenacity of this man during the racial strife and persecution was extraordinary. He continued to write songs that were so good that the white band leaders would pay him to keep his band afloat." "From my standpoint, nearly every decade of this band's existence was phenominal," reminded Vandermark. |
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From hits like "Take the 'A' Train" and "I Let a Song Go Out of My Heart" to ground breaking pieces liberating the bass from simple time keeping ("Ko-Ko") to breathtaking solo features ("Cotton Tail," "Concerto for Cootie") to the zenith of creativity, the opus "Black, Brown and Beige," which opened up a whole new world of jazz composition, Duke Ellington justly deserves the honor of the greatest jazz orchestra. Setting the standard and continually raising it, changing with the times as well as transcending them, he truly was beyond category. |
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2. Count Basie |
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"Even though Duke Ellington was influential, more bands copied Basie's band. Woody Herman's band was an indirect take off of that band," illustrated Gibbs. While Count Basie was never known for his compositions, his big band ('36-'41) featured Harry "Sweets" Edison, Buck Clayton, Jo Jones, and Lester Young. McDonough noted, "There were totally unique, driven by a cult of original personalities that could neither be preserved nor replaced." Dave Brubeck remembered seeing Basie in the '30s when he was "striding like crazy." "I loved the stuff he did with Billie Holiday and Jimmy Rushing." Jones furthered the credit, "They were the best of that era." Then there was Basie's Atomic Band. "They influenced my life," explained Pat La Barbera. Seated behind the drums of his Basie-influenced Jaggernaut, Capp clarified, "People ask me why I still play his music. It's like asking why people still play Mozart. It's simply the best." "Nobody out swung Basie," agreed Cuscuna. "I hate to say it, but I like the Atomic Band better than the first band." Basie sax member Wess summarized his experience, "We were the most consistant band and the best band from the '50s on." |
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Terry, who had the unique opportunity of playing with both Ellington and Basie diplomatically pointed out, "Duke was more knowlart ensembleedgeable in theory and counterpoint. Basie swung more consistently. I've got to give them a tie." |
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3. Sun Ra Arkestra |
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A mythical figure, Sun Ra's (AKA Herman Sonny Blount) legacy and influence has been discounted because of his outlandish claims of being from the planet Saturn. A true visionary and musical pioneer, Sun Ra has been lessened by his quirky personality and interplanetary philosophy, which most "scholarly" critics and cynical documentarians found to be insane, a "galatic gobbledegook." But his combination of collective, creative improvisation and African-American tradition, his uncanny ability to juxtapose swing, Ellingtonia, and free jazz is unparalleled and undisputed. "He made the most timeless and expansive music ever," credited radio host/bandleader Carlos Niño. "He connected with and pushed every generation that he made music in." Vandermark concurred, "Sun Ra was pretty much the only composer to take Ellington and Strayhorn's large ensemble innovations and bring them into the end of the 20th century, his own way." Controversial - maybe. Erratic - perhaps. Revolutionary - definitely. |
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==Gallery== |
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<center><gallery caption="" widths="200px" heights="170px" perrow="5"> |
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File:Louisiana Five Jazz Band famous publicity photo.jpg|The [[Louisiana Five Jazz Band]] in a publicity photo (1919)<br> |
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File:Maison Jazz Band.jpg|Jazz band performing at Maison, in [[New Orleans]] (2010)<br> |
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File:Montreal-Jazz-Band.jpg|The Montreal Jazz Band (2013)<br> |
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File:(African American) Jazz Band and Leader Back with (African American) 15th New York. Lieutenant Jame . . . - NARA - 533506.tif|Jazz band leader Lieutenant James Reese with the 369th Infantry (1919)<br> |
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File:Woody Allen with the Eddy Davis New Orleans Jazz Band Philharmonie Gasteig München.jpg|[[Woody Allen]] performing with the Eddy Davis New Orleans Jazz Band (2011)<br> |
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File:Jazz Puzzles Old Mint Band 6 Mute.JPG|The New Orleans Fiesta Jazz Band, performing at the Old Mint Museum in New Orleans (2013)<br> |
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File:PresHallBandJaquesA.jpg|The [[Preservation Hall Jazz Band]] performs at the funeral of clarinetist [[Jacques Gauthé]] at [[Preservation Hall]] (2007) <br> |
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File:Marching jazz band - Flickr - Terry Wha.jpg|A [[Marching band|marching]] jazz band in Lacashire, UK (2007)<br> |
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</gallery></center> |
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==See also== |
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{{Portal|Jazz|Music}} |
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*[[Juvenile jazz band]] |
*[[Juvenile jazz band]] |
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*[[ |
*[[List of big bands]] |
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*[[List of jazz musicians]] |
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==References== |
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{{reflist|30em}} |
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===Works cited=== |
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* {{cite book |
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|last = Berliner |
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|first = Paul |
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|author-link = Paul Berliner (ethnomusicologist) |
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|year = 1994 |
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|title = Thinking in Jazz: The Infinite Art of Improvisation |
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|place = Chicago |
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|publisher = [[University of Chicago Press]] |
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|isbn = 978-0-226-04381-4}} |
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==External links== |
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{{Subject bar |commons=y |n=y |wikt=y |b=y |v=y}} |
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{{Wikidata}} |
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{{jazzfooter}} |
{{jazzfooter}} |
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{{Americanrootsmusic}} |
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[[Category:Jazz ensembles| ]] |
[[Category:Jazz ensembles| ]] |
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[[Category:Types of musical groups]] |
[[Category:Types of musical groups]] |
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[[Category:American styles of music]] |
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[[Category:African-American history]] |
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{{Jazz-stub}} |
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[[Category:African-American music]] |