The History of JazzPub Date : 2021-05-03DOI: 10.1093/OSO/9780190087210.003.0002
T. Gioia
{"title":"New Orleans Jazz","authors":"T. Gioia","doi":"10.1093/OSO/9780190087210.003.0002","DOIUrl":"https://doi.org/10.1093/OSO/9780190087210.003.0002","url":null,"abstract":"This chapter explores the emergence of jazz in New Orleans around the year 1900, and its first generation of performers. It examines the social and economic conditions in New Orleans, and the city’s rich musical traditions. The life and music of cornetist Buddy Bolden, often considered the first jazz musician, are examined in some depth, as are the contributions of other early jazz stars, including Freddie Keppard, Jelly Roll Morton, and King Oliver. The chapter concludes with an account of the early career of Louis Armstrong, which is continued in the next chapter.","PeriodicalId":418355,"journal":{"name":"The History of Jazz","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124033761","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}
The History of JazzPub Date : 2021-05-03DOI: 10.1093/OSO/9780190087210.003.0003
T. Gioia
{"title":"The Jazz Age","authors":"T. Gioia","doi":"10.1093/OSO/9780190087210.003.0003","DOIUrl":"https://doi.org/10.1093/OSO/9780190087210.003.0003","url":null,"abstract":"This chapter traces the rise of Louis Armstrong to stardom during the 1920s, and the emergence of jazz as the defining music of the decade—a period now often called the “Jazz Age.” Armstrong’s historic recordings, the “Hot Fives” and “Hot Sevens,” are assessed, as well as his work with influential pianist Earl Hines. These developments are placed in the context of the growing importance of Chicago in the jazz world of this era, and the stylistic changes brought about by this geographical shift. The chapter also looks at the leading exponents of Chicago jazz, especially cornetist Bix Beiderbecke and saxophonist Frankie Trumbauer, as well as the work of Paul Whiteman, Pee Wee Russell, Sidney Bechet, and Jack Teagarden.","PeriodicalId":418355,"journal":{"name":"The History of Jazz","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129624326","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}
The History of JazzPub Date : 1900-01-01DOI: 10.1093/oso/9780190087210.003.0011
T. Gioia
{"title":"Jazz Resurgent","authors":"T. Gioia","doi":"10.1093/oso/9780190087210.003.0011","DOIUrl":"https://doi.org/10.1093/oso/9780190087210.003.0011","url":null,"abstract":"At the dawn of the twenty-first century, many pundits announced the “death of jazz,” yet recent years have shown the exact opposite trend. Jazz has returned to popular culture, whether one looks to rising stars such as Kamasi Washington and Shabaka Hutchings, or to popular artists (Lady Gaga, Kendrick Lamar) who draw heavily on jazz influences. At the same time, jazz started showing up in hit movies such as La La Land, Green Book, and Whiplash, where it was mythologized as a touchstone of musical excellence and artistry. All these trends served to reinvigorate a jazz tradition that many had written off as moribund, creating a powerful convergence of historic styles and new commercial styles. This chapter also explores the jazz vocal scene of recent decades, and its contribution to this broadening of the genre’s appeal. Other artists discussed include Robert Glasper, Esperanza Spalding, and Bobby McFerrin. The chapter concludes with an assessment of jazz’s relationship with the emerging technologies of the digital age.","PeriodicalId":418355,"journal":{"name":"The History of Jazz","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124177030","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}
The History of JazzPub Date : 1900-01-01DOI: 10.1093/oso/9780190087210.003.0006
T. Gioia
{"title":"Modern Jazz","authors":"T. Gioia","doi":"10.1093/oso/9780190087210.003.0006","DOIUrl":"https://doi.org/10.1093/oso/9780190087210.003.0006","url":null,"abstract":"The rise of modern jazz—or “bebop” as it was called—dramatically changed the landscape of the music in the 1940s, transforming the genre into a truly progressive and experimental idiom. But this came at a cost, marking a shift from jazz’s predominance as a popular music, and turning it into an art music addressing a much smaller audience. This chapter looks at the innovations of the leading bebop musicians, especially Charlie Parker, Dizzy Gillespie, and Thelonious Monk. Other artists addressed include Bud Powell, Lennie Tristano, Sarah Vaughan, and Dave Brubeck. The chapter concludes with an assessment of big band jazz during the post–World War II era, including the work of Woody Herman and Stan Kenton.","PeriodicalId":418355,"journal":{"name":"The History of Jazz","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121588436","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}
The History of JazzPub Date : 1900-01-01DOI: 10.1093/oso/9780190087210.003.0004
T. Gioia
{"title":"Harlem","authors":"T. Gioia","doi":"10.1093/oso/9780190087210.003.0004","DOIUrl":"https://doi.org/10.1093/oso/9780190087210.003.0004","url":null,"abstract":"This chapter explores the emergence of Harlem as a center of jazz activity in the 1930s. It looks at the distinctive stride piano style that was popular in Harlem, and the work of pianists Fats Waller, James P. Johnson, Art Tatum, and others. The divide between the so-called Harlem Renaissance and the popular jazz culture of the day is discussed, as well as important local practices such as the “rent party.” The rise of Duke Ellington and his role as bandleader at Harlem’s Cotton Club is examined in this context.","PeriodicalId":418355,"journal":{"name":"The History of Jazz","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121761439","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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