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192 Part II: Jazz Greats and Great Jazz: An Evolutionary Riff What is acid jazz, man? The term acid jazz, born in London and designed for moving and grooving, was coined by dance club deejays and refers to music that combines jazz, soul, funk, and even contemporary hip-hop. Some acid jazz blends in segments, or samples, from earlier recordings. An acid jazz artist may extract a funky bass part from a 1970s piece, tweak it electronically so you don’t recognize it, and build a new song on top with layers of instrumentation (sometimes synthesized). Much of acid jazz draws from funky jazz from the ’60s and ’70s. Acid jazz isn’t genuine jazz because it doesn’t emphasize improvisation; it doesn’t swing like jazz does; it doesn’t feature soloists with strong original voices: � Guitarist: Grant Green � Organist: Charles Earland � Saxophonists: Houston Person and Lou Donaldson � Trumpeters: Donald Byrd and Miles Davis � Vibraphonist: Roy Ayers If you’ve never sampled acid jazz, find one of several compilation CDs on different record labels: � BGP � Instinct � Irma � PGD/Hollywood � Ubiquity Look for the following acid jazz artists: � A Tribe Called Quest � Brand New Heavies � Chris Bowden � Count Basic � Digable Planets � EM&I � Galliano � Gang Starr and Tribe � Greyboy
Chapter 10: Looking Ahead: The Present and Future of Jazz � Incognito � Jamiroquai � Money Mark � Mother Earth � Night Trains � Slide Five � Snowboy � Soul Bossa Trio � Spiritual Vibes � The James Taylor Quartet (no, not that James Taylor) Is “smooth jazz” really jazz? In the ’90s, a mild brand of instrumental music became popular on FM radio stations. The stations promoted it as smooth jazz, but serious jazz fans don’t consider it jazz. Many smooth jazz artists are fine players, and some of the music is extremely appealing with melodic, funky, or romantic tones. But most smooth jazz lacks jazz’s essential qualities as discussed in Chapter 2. In short, smooth jazz often doesn’t have the rhythmic, syncopated drive known as swing, and it also doesn’t include much improvisation. Additionally, in their attempt to make simple, pleasant sounds, the players don’t allow themselves to find their own individual voices, as the best players do in jazz. With that said, however, nothing is wrong with liking smooth jazz. Music that furthers interest in jazz and explores other players under the “jazz” heading is good for the overall health of jazz. Jazz on the Edge and into the Future Going back to pianist Lennie Tristrano’s experiments with free-form improvisation during the late ’40s, some jazz musicians have put their energies into making experimental music based on some of jazz’s principles. This music may include swing and improvisation, but it may also include computers and electronic sound processing. Composers with roots in jazz are taking the music to new places. Some, for instance, create full-length operas. The difference between these operas and the ones written by Scott Joplin and his peers during the 1920s is that today’s jazz operas are actually being produced. The following sections cover many of jazz’s artists who continue to push the envelope of technology. 193
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Jazz FOR DUMmIES‰ by Dirk Sutro 2
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Jazz For Dummies ® , 2nd Edition P
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Publisher’s Acknowledgments We’
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Table of Contents Introduction.....
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Table of Contents Ragging the Rhyth
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Table of Contents Let’s Get Funky
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Table of Contents Guinness Jazz Fes
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Table of Contents Avant Garde Jazz
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Introduction As you begin your jour
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What You’re Not to Read I include
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Part VI: Appendixes Part VI covers
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Part I All That Jazz: A Tour of the
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In This Chapter Chapter 1 In the Be
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Chapter 1: In the Beginning: Enteri
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Meanwhile, Latin music had a signif
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Chapter 2 Altered Ears: Understandi
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Chapter 2: Altered Ears: Understand
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In This Chapter Chapter 3 The Schem
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Chapter 3: The Scheme of Things: El
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In This Chapter Chapter 4 Tools of
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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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Page 159 and 160: Figure 7-5: Miles Davis played both
Page 161 and 162: In This Chapter Chapter 8 A Radical
Page 163 and 164: Figure 8-1: Classical fugues influe
Page 165 and 166: Mingus’s 1972 album Let My Childr
Page 167 and 168: Chapter 8: A Radical Departure: The
Page 171 and 172: Figure 8-5: Cecil Taylor overlapped
Page 173 and 174: Hear Dolphy’s wild leaps of imagi
Page 175 and 176: Chicago In Chicago, a group of Afri
Page 179 and 180: Although some fans and critics dism
Page 183 and 184: Chapter 9 The Perfect Hybrid: Latin
Page 185 and 186: In the ’30s, bandleaders Don Azpi
Page 187 and 188: Chapter 9: The Perfect Hybrid: Lati
Page 189 and 190: O’Farrill created “Undercurrent
Page 191 and 192: musical elements through travels to
Page 193 and 194: Gato Barbieri Born in Argentina, sa
Page 195 and 196: Mongo Santamaria For his prolific o
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Page 201 and 202: In This Chapter Chapter 10 Looking
Page 203 and 204: Chapter 10: Looking Ahead: The Pres
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Page 207 and 208: Figure 10-1: Wynton Marsalis plays
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Page 213 and 214: Other musicians Other musicians who
Page 215 and 216: Part III The Beat Goes On: Jazz App
Page 217 and 218: Chapter 11 Mass Appeal: Taking Note
Page 219 and 220: Chapter 11: Mass Appeal: Taking Not
Page 231 and 232: In This Chapter � Jazzing up your
Page 233 and 234: on together in 1959. Charles Mingus
Page 235 and 236: Chapter 12: Good Times: Jazzing Up
Page 243 and 244: Sending Your Guests Home with Fun P
Page 245 and 246: Chapter 13 Lovin’ It Live: A Jazz
Page 247 and 248: Chapter 13: Lovin’ It Live: A Jaz
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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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