Creating the Jazz SoloPub Date : 2018-10-09DOI: 10.14325/mississippi/9781496819772.003.0011
Vic Hobson
{"title":"“Dippermouth Blues”","authors":"Vic Hobson","doi":"10.14325/mississippi/9781496819772.003.0011","DOIUrl":"https://doi.org/10.14325/mississippi/9781496819772.003.0011","url":null,"abstract":"This chapter discusses Joe Oliver’s influence on Armstrong and his advice to play more melody rather than playing “snakes.” It also discusses the breaks that Oliver and Armstrong made in Chicago and how this became a sensation. The break that opens “Dippermouth Blues” is a tonic-diminished break derived from barbershop harmony. This chapter also discusses how the melody and solo relate to blues scales and how blues scales relate to barbershop practice in relation to the analysis of Winthrop Sargeant’s tetrachords.","PeriodicalId":412217,"journal":{"name":"Creating the Jazz Solo","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126361444","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Creating the Jazz SoloPub Date : 2018-10-09DOI: 10.14325/mississippi/9781496819772.003.0012
Vic Hobson
{"title":"Fletcher Henderson","authors":"Vic Hobson","doi":"10.14325/mississippi/9781496819772.003.0012","DOIUrl":"https://doi.org/10.14325/mississippi/9781496819772.003.0012","url":null,"abstract":"This chapter looks at Armstrong’s time in New York with Fletcher Henderson. Henderson’s more privileged background, his classical education, and his employment with Black Swan Records, all affected his approach to music and expose some of the tensions inherent in the Harlem Renaissance. Using the example of the stock arrangement of “Copenhagen” this chapter explores Armstrong’s development as a soloist in the context of Henderson’s orchestra. It explores how his solos were preformed prior to performance and only played with minor alterations in one performance or recording to the next. This chapter also discusses the differences between Eastern and Western style.","PeriodicalId":412217,"journal":{"name":"Creating the Jazz Solo","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121697312","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Creating the Jazz SoloPub Date : 2018-10-09DOI: 10.14325/mississippi/9781496819772.003.0013
Vic Hobson
{"title":"“The Pride of Race”","authors":"Vic Hobson","doi":"10.14325/mississippi/9781496819772.003.0013","DOIUrl":"https://doi.org/10.14325/mississippi/9781496819772.003.0013","url":null,"abstract":"This chapter charts Armstrong’s return to Chicago working with Erskine Tate’s orchestra playing to accompany silent films. His development as a singer during this period particularly in relation to “HeebieJeebies,” and his involvement with W. C. Handy and his blues compositions. There is discussion of the similarities of the quartet and music educational background of both Handy and Armstrong and the use of chord substitutions in blues tunes.","PeriodicalId":412217,"journal":{"name":"Creating the Jazz Solo","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133005727","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Creating the Jazz SoloPub Date : 2018-10-09DOI: 10.14325/mississippi/9781496819772.003.0001
Vic Hobson
{"title":"“Singing Was More into My Blood, Than the Trumpet”","authors":"Vic Hobson","doi":"10.14325/mississippi/9781496819772.003.0001","DOIUrl":"https://doi.org/10.14325/mississippi/9781496819772.003.0001","url":null,"abstract":"This chapter explores the reception history of Louis Armstrong’s singing and playing by musicians, writers, and critics. The present-day view of Armstrong whose singing and playing can be appreciated in equal measure, assumes that the two practices are not related and that Armstrong’s singing did not relate to the development of the jazz solo. This was not how Armstrong explained it. He explained in an interview that he knowingly interpreted the lines he sang in a quartet as lines he played on his instrument, using the example of “Sweet Adeline” (1903) This explains why Armstrong thought singing to be the nexus of his musicianship.","PeriodicalId":412217,"journal":{"name":"Creating the Jazz Solo","volume":"206 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122604772","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Creating the Jazz SoloPub Date : 2018-10-09DOI: 10.14325/mississippi/9781496819772.003.0016
Vic Hobson
{"title":"“I Figure Singing and Playing Is the Same”","authors":"Vic Hobson","doi":"10.14325/mississippi/9781496819772.003.0016","DOIUrl":"https://doi.org/10.14325/mississippi/9781496819772.003.0016","url":null,"abstract":"This chapter returns to the issue of the cycle of fifths progression, “My Brazilian Beauty” and tunes such as “Muskrat Ramble,” “Big Butter and Egg Man,” “Potato Head Blues,” and “Basin Street Blues” and the relationship between Armstrong’s vocal practices and his cornet playing showing the direct translation of note choices from voice to cornet.The question that this book raises is what are the implications of this research for jazz performance pedagogy? How can we develop a research informed way to learn to play jazz?","PeriodicalId":412217,"journal":{"name":"Creating the Jazz Solo","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114790957","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Creating the Jazz SoloPub Date : 2018-10-09DOI: 10.14325/mississippi/9781496819772.003.0008
Vic Hobson
{"title":"“I Was Singing Selling Coal”","authors":"Vic Hobson","doi":"10.14325/mississippi/9781496819772.003.0008","DOIUrl":"https://doi.org/10.14325/mississippi/9781496819772.003.0008","url":null,"abstract":"This chapter explores the contradictions raise by Armstrong’s unpublished last autobiography and what this tells us about Armstrong’s development as a musician.In this revised account, Armstrong claimed to have been playing the cornet from the age of 7 years old having borrowed the money from the Karnofsky Family. This account cannot be substantiated in historical terms or in Armstrong’s other recollections of his development as a musician. This chapter also discusses when Armstrong first owned a cornet and when he began playing at Henry Matranga’s bar and with New Orleans bands including the Tuxedo band and “Kid” Ory. Ory along with clarinettist Johnny Dodds and his brother “Baby” Dodds, all started out singing in informal quartets. This chapter also discusses King Oliver leaving for Chicago and Armstrong taking his place in Ory’s band.","PeriodicalId":412217,"journal":{"name":"Creating the Jazz Solo","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126777362","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Creating the Jazz SoloPub Date : 2018-10-09DOI: 10.14325/mississippi/9781496819772.003.0010
Vic Hobson
{"title":"“Going to the Conservatory”","authors":"Vic Hobson","doi":"10.14325/mississippi/9781496819772.003.0010","DOIUrl":"https://doi.org/10.14325/mississippi/9781496819772.003.0010","url":null,"abstract":"This chapter looks at Armstrong’s development as a musician in his time with Fate Marable and his orchestra on the Streckfus riverboats. Joe Howard, Norman Mason, and Davy Jones, all good readers and veterans of the minstrel shows, helped Armstrong with his studies. This chapter explores the changing dance tempos as jazz and the Fox-Trot replaced ragtime and the One-Step. The chapter also looks at how barbershop principles were influencing white musicians and being written into sheet music arrangements in relation to “Avalon” (1920).","PeriodicalId":412217,"journal":{"name":"Creating the Jazz Solo","volume":"56 2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126010718","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Creating the Jazz SoloPub Date : 2018-10-09DOI: 10.14325/mississippi/9781496819772.003.0007
Vic Hobson
{"title":"“Me and Music Got Married in the Home”","authors":"Vic Hobson","doi":"10.14325/mississippi/9781496819772.003.0007","DOIUrl":"https://doi.org/10.14325/mississippi/9781496819772.003.0007","url":null,"abstract":"This chapter explores Armstrong’s introduction to playing brass instruments in the Colored Waifs’ Home. As he described in his autobiography, he knowingly applied barbershop lines (baritone and tenor voices) to the Alto Horn he was asked to play. He also continued to sing in a barbershop quartet while in the Waifs’ Home with “Kid Shots” Madison, “Kid” Rena, and Red “Happy” Bolton. With the Waifs’ orchestra, Armstrong played “Maryland My Maryland” which he recorded in later life with “Kid” Ory. The relation between the sheet music and the recording is discussed.","PeriodicalId":412217,"journal":{"name":"Creating the Jazz Solo","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115024753","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Creating the Jazz SoloPub Date : 2018-10-09DOI: 10.14325/mississippi/9781496819772.003.0015
Vic Hobson
{"title":"The Hot Five and Seven","authors":"Vic Hobson","doi":"10.14325/mississippi/9781496819772.003.0015","DOIUrl":"https://doi.org/10.14325/mississippi/9781496819772.003.0015","url":null,"abstract":"This chapter explores some of Armstrong’s twelve-bar blues recordings in the 1920s, and how Armstrong’s use of barbershop practice and swipes gave rise to II-V substitutions (“Gut Bucket Blues”), altered harmony (“Gully Low Blues” and “Savoy Blues”), and chord substitutions (“Have You Ever Been Down?”). The chapter shows how a number of melodic features in Armstrong’s playing that have defied explanation through conventional theoretical models can be explained in the light of barbershop practice.","PeriodicalId":412217,"journal":{"name":"Creating the Jazz Solo","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130439987","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Creating the Jazz SoloPub Date : 2018-10-09DOI: 10.14325/mississippi/9781496819772.003.0004
Vic Hobson
{"title":"Church Is Where “I Acquired My Singing Tactics”","authors":"Vic Hobson","doi":"10.14325/mississippi/9781496819772.003.0004","DOIUrl":"https://doi.org/10.14325/mississippi/9781496819772.003.0004","url":null,"abstract":"This chapter explores the influence of singing in Mount Zion Baptist Church on Armstrong’s development as a musician.Although we do not know exactly what Armstrong sang at his church there are transcriptions of the singing in New Hope Baptist Church just across the Mississippi River in Gretna. The transcriptions reveal a similar blues influenced tonality to the street songs and barbershop cadences sung elsewhere in New Orleans. This chapter explores the pentatonic tendency of melody in African American song; whereas the supporting lines tend to contain chromatic intervals and give rise to chromatic harmony.","PeriodicalId":412217,"journal":{"name":"Creating the Jazz Solo","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117209178","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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