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268 Part IV: I Like the Way You Play: The Jazz Musician University of Wisconsin-Whitewater Undergraduates create custom bachelor’s degree programs built around individual interests with emphasis in history-theory and performance — performance is regarded as an essential element of any music degree. Jazz has a solid reputation here; Guest artists in recent years have included Maynard Ferguson, Al Foster, and Dave Holland. Check out the Web site at www.uww.edu/factsheets/run/factsheet.php?id=8.
Chapter 16 So You Wanna Be in a Band: Fitting into a Jazz Ensemble In This Chapter � Fitting into an established band � Recruiting a group of your own � Drumming up some publicity to land gigs � Getting into the performance zone � Hitting the road, Jack You went out and bought an instrument and have taken lessons for months now. You’re reading music, and you’re good enough to play your way through a half dozen standards. You’re ready to start making music with other musicians. After all, jazz is group music as much as solo music. As any musician can tell you, working in a band presents some of life’s major challenges (and rewards). From what I know, a band is pretty much like a family, with complementary and conflicting personalities, strengths and weaknesses, and regular fights ranging from debates to shout fests. Getting into a band is like getting into a relationship. If you don’t go in with blinders on, your chances of success are much greater. Being in a band is the most productive lesson a musician can have. It requires a whole new level of musicianship, but it also forces players to rise to the occasion with new levels of maturity and thoughtful communication. As life experiences go, this is one of the most uniquely rewarding, and it’s never too late to begin. In this chapter, you can explore what it’s like to take those first steps toward band-dom. You may not think you’re ready, but music teachers agree there’s nothing like practicing with a band to speed your growth as a player.
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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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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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Page 245 and 246: Chapter 13 Lovin’ It Live: A Jazz
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Page 273 and 274: Chapter 15 Feeding the Jazz Jones:
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Page 289 and 290: Chapter 16: So You Wanna Be in a Ba
Page 309 and 310: In This Chapter Chapter 17 Digital
Page 311 and 312: Chapter 17: Digital Jazz: Making Mu
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Page 321 and 322: In This Chapter Chapter 18 Ten Grea
Page 323 and 324: Cool venues to check out include
Page 325 and 326: Los Angeles Considering its wealth
Page 327 and 328: As in many other cities, local radi
Page 329 and 330: Chapter 18: Ten Great Cities for Ja
Page 331 and 332: San Diego Chapter 18: Ten Great Cit
Page 333 and 334: San Francisco Bay Area Big time jaz
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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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