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That Jazz - Monkey Max Music and File Download

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110<br />

Part II: <strong>Jazz</strong> Greats <strong>and</strong> Great <strong>Jazz</strong>: An Evolutionary Riff<br />

Figure 6-4:<br />

Lester<br />

Young was<br />

innovative<br />

for varying<br />

the length of<br />

the phrases<br />

in his music.<br />

©William P. Gottlieb, www.jazzphotos.com<br />

The rhythm players: Drummers <strong>and</strong> bassists<br />

Drummers <strong>and</strong> bassists who kept the rhythm included the following people:<br />

� Jimmy Blanton (1918–1942): was a member of Ellington’s big b<strong>and</strong> <strong>and</strong><br />

who reinvented the role of the bass by combining arco (bowed) <strong>and</strong><br />

pizzicato (plucked) techniques to fill a range of musical roles. He carried<br />

melodies <strong>and</strong> improvised phenomenally, <strong>and</strong> his duos with Ellington on<br />

piano (such as “Pitter, Patter, Panther”) are considered revelations of the<br />

modern era.<br />

� Jo Jones (1911–1985): Jones made his name in Walter Page’s Blue<br />

Devils, but while in Count Basie’s b<strong>and</strong>, he elevated drumming to new<br />

levels of sophistication. His subtle work on cymbals <strong>and</strong> use of complex<br />

polyrhythms showed how a drummer could weave his sounds throughout<br />

the music’s textures, instead of merely driving the beat.<br />

� Gene Krupa (1909–1973): Krupa was the catalyst in Benny Goodman’s<br />

big b<strong>and</strong>. He became well known for his wild hair <strong>and</strong> bass drum bombs.<br />

Krupa <strong>and</strong> Jo Jones transformed drumming from the basic function performed<br />

in New Orleans <strong>and</strong> Chicago to the complex modern interplay<br />

with a big b<strong>and</strong>’s overlapping rhythms <strong>and</strong> harmonies found in New York.

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