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xvi Jazz For Dummies, 2nd Edition
Introduction As you begin your journey in jazz, you become a member of an enlightened group. It’s not quite a cult, but it’s a devoted group that inspires a loyalty and dedication that many people don’t understand. Jazz is more than 100 years old and has undergone many changes. It has never been music for the masses and has probably, with time, become more obscure — more complex and less accessible. Jazz is a deep and amazing art form that’s yet to find its rightful place alongside classical music or modern art. Many people are wary of jazz, yet most people fall in love on their first date with it. They only need the right kind of introduction. When big-band jazz and ballroom swing dancing faded in the years after World War II, jazz began to change. It began to move out of clubs and into concert halls. As the ranks of jazz clubs thinned, college jazz programs became the training grounds of new players, moving the music away from everyday experience and everyday people. Today, school children seldom hear jazz or learn about it, let alone play it. And radio has all but abandoned the music it popularized during the ’30s and ’40s. Yet jazz survives among hardcore fans who have the patience to find it in music stores, online, and at live venues. Because the music is so emotionally powerful, anyone can connect with it, without knowing much about it. Trumpeter and bandleader Louis Armstrong can make you laugh; saxophonist Charlie Parker can shoot an electrical jolt up your spine; and vocalist Billie Holiday can make you cry — even if you don’t know what key the music’s in, whether the artists are improvising, or even what makes jazz, well, jazz. About This Book The purpose of this book is to give your brain just enough information so you can find the jazz you like, and then let it connect with your heart. Jazz can be extremely complicated, but I do my best to explain the complications and give you insight into jazz’s more important concepts. You uncover just enough history and theory to get a feel for jazz and begin to appreciate and understand its major movements and musicians. This book is written for those of you who aren’t experts but who want to feel the jazz groove and enjoy a lifelong love affair with this original American music. This book is also detailed enough, though, that those jazz fanatics can find new and useful information.
Page 1: Jazz FOR DUMmIES‰ by Dirk Sutro 2
Page 4 and 5: Jazz For Dummies ® , 2nd Edition P
Page 6 and 7: Publisher’s Acknowledgments We’
Page 9 and 10: Table of Contents Introduction.....
Page 11 and 12: Table of Contents Ragging the Rhyth
Page 13 and 14: Table of Contents Let’s Get Funky
Page 15 and 16: Table of Contents Guinness Jazz Fes
Page 17: Table of Contents Avant Garde Jazz
Page 21 and 22: What You’re Not to Read I include
Page 23 and 24: Part VI: Appendixes Part VI covers
Page 25 and 26: Part I All That Jazz: A Tour of the
Page 27 and 28: In This Chapter Chapter 1 In the Be
Page 29 and 30: Chapter 1: In the Beginning: Enteri
Page 31 and 32: Meanwhile, Latin music had a signif
Page 33 and 34: Chapter 2 Altered Ears: Understandi
Page 35 and 36: Chapter 2: Altered Ears: Understand
Page 49 and 50: In This Chapter Chapter 3 The Schem
Page 51 and 52: Chapter 3: The Scheme of Things: El
Page 65 and 66: In This Chapter Chapter 4 Tools of
Page 67 and 68: Figure 4-1: A soprano sax looks lik
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Chapter 4: Tools of the Trade: The
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Figure 4-6: The bass clarinet is mo
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Strumming Along: Strings Chapter 4:
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seconds, filling the space behind a
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� Cymbals: In early jazz, one cym
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Figure 4-8: A musician plays a vibr
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Part II Jazz Greats and Great Jazz:
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Chapter 5 The Birth of an American
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Chapter 5: The Birth of an American
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Figure 5-3: Jelly Roll Morton is fa
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Chapter 6 The Golden Era of Big Ban
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Chapter 6: The Golden Era of Big Ba
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In This Chapter � Witnessing the
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Chapter 7: Bebop to Cool: The 1940s
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Surveying Influential Bebop Musicia
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Figure 7-1: Charlie Parker was nick
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Figure 7-4: Ella Fitzgerald was the
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Figure 7-5: Miles Davis played both
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In This Chapter Chapter 8 A Radical
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Figure 8-1: Classical fugues influe
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Mingus’s 1972 album Let My Childr
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Chapter 8: A Radical Departure: The
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Figure 8-5: Cecil Taylor overlapped
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Hear Dolphy’s wild leaps of imagi
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Chicago In Chicago, a group of Afri
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Although some fans and critics dism
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Chapter 9 The Perfect Hybrid: Latin
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In the ’30s, bandleaders Don Azpi
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Chapter 9: The Perfect Hybrid: Lati
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O’Farrill created “Undercurrent
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musical elements through travels to
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Gato Barbieri Born in Argentina, sa
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Mongo Santamaria For his prolific o
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population in 2005, for instance),
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Hilton Ruiz Ruiz (born 1952) grew u
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In This Chapter Chapter 10 Looking
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Chapter 10: Looking Ahead: The Pres
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Figure 10-1: Wynton Marsalis plays
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Other musicians Other musicians who
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Part III The Beat Goes On: Jazz App
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Chapter 11 Mass Appeal: Taking Note
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Chapter 11: Mass Appeal: Taking Not
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In This Chapter � Jazzing up your
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on together in 1959. Charles Mingus
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Chapter 12: Good Times: Jazzing Up
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Sending Your Guests Home with Fun P
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Chapter 13 Lovin’ It Live: A Jazz
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Chapter 13: Lovin’ It Live: A Jaz
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In This Chapter Chapter 14 Travelin
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Chapter 14: Traveling Jazz: Your Ti
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Part IV I Like the Way You Play: Th
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Chapter 15 Feeding the Jazz Jones:
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Chapter 15: Feeding the Jazz Jones:
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Chapter 16 So You Wanna Be in a Ban
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Chapter 16: So You Wanna Be in a Ba
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In This Chapter Chapter 17 Digital
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Chapter 17: Digital Jazz: Making Mu
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Part V The Part of Tens
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In This Chapter Chapter 18 Ten Grea
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Cool venues to check out include
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Los Angeles Considering its wealth
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As in many other cities, local radi
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Chapter 18: Ten Great Cities for Ja
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San Diego Chapter 18: Ten Great Cit
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San Francisco Bay Area Big time jaz
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Chapter 19 Ten Tips for Building an
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Chapter 19: Ten Tips for Building a
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Part VI Appendixes
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Appendix A More Than 100 Recommende
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Bebop and Hard Bop Appendix A: More
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Avant Garde Jazz and Free Jazz Begi
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Appendix B Trustworthy Jazz Labels
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� Benny Goodman, clarinetist �
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� Count Basie, bandleader and pia
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Appendix C Resources for Further Ja
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Appendix C: Resources for Further J
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The Story of Jazz (Oxford Universit
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• Numerics • 12-bar format, 32-
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lesser-known, 221-222 Lunceford, Ji
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Howard Rumsey’s Lighthouse All-St
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Fitzgerald, Ella (vocalist) as bebo
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Jazz Messengers, 134, 171 jazz musi
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multi-track recording, 292, 293 mus
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Herman, Woody, 218 improvisation, 4
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stretching words, 38 stride piano,
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BUSINESS, CAREERS & PERSONAL FINANC
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