Lecture 7
NO Diaspora - how was NO transplanted to Chicago - Shap and Hentoff - some musicians went elsewhere (LA, New York) introducing the hot style to these other cites - but chicago was primary.
Culture of jazz from Chi made it to 60's and 70's. An American Subculture - first in Chi. Burns - highlights prohibition of alcohol, recording (Gumbo) Music of the American "drug" subculture b/c NO jazz orignally had an elicit quality to it - assoc w/ Storyville even if not developed there - music of festival, social appearances, so J in the north LOOSES personna of being a public music. So it evolves from being at weddings, celebrations, funereals, to be the music of a subculture
Prohibition vs. temperance - technology after prohibition repeal Idea - society generally won't say no - so temperance is an attempt to fix the problem globally. Brutality of men dom. violence - throught brought on by alcohol. So, churches, temperance leagues, got together to ban, eliminate alchol - to make workers more productive and help society. By 1919 - making and consumption of alcohol made illegal. Only boosted organized crime, provided chemicals to have an american subculture of illicit drugs that lasts until today (albeit diff. drugs)
Suddenly speakeasies sprang up everywhere - b/c couldn't get licenses like with saloons - so no control, bad booze. J was music in the background - Alberta Hunter sang in clubs, people kept hats on b/c could be raided any moment. 20's also had illicit sex subculture
Recorded J - stake nailed into heart of assembly j playing. Collier not best historian - but good essay writer. Individualization of J CHAPTER - good setup. Louie A and solos - vs. ensemble J. Great written setup of Chap. - what do we think of when we consider J? It's the solos - improvisation into solos - not there one moment - there the next. "Open a vein" to write - it's same with J. Creativity in the moment.
Miles Davis talking to Coltrane - why solos? What are they about? Coltrane rep. "don't know how to stop" - "just take horn from your mouth" BUT - you have to take it where it leads you - the american protestant soul takes you somewhere - and you have to go with it. is music of fallen women, hustlers, etc. BUT J for MUSICIANs is the purest form of artistic effort (CONTRAST).
[thought - J is the realization of african-american americana. Americans have a protestant ethic - things have to be a way, they have to be just so, work to make it so. Yet americans also have abilty and need to wander, be open, not restricted. This is soulful need - almost spiritual need lives in us. To be "guided by voices" and taken to somewhere. Question of how race played into migratin an foothold of J - for african amer. going to north, in additional to being a physical migration, the transcendentalism of having a "free" music served an even deeper need. For people who had so many restrictions placed on their physical and social lives - J was a way to get in touch with that wandering spirit, to be freed at least temporarily from pressures of daily, perhaps oppressed, life. Art comes out when a person or group lives in a culture that they aren't in step with - that doesn't take them in a part of itself, that doesn't respect them. ]
J soloist - an American ideal. Triumph of individ through virtuosity. Dr. Jekyl and Mr Hyde. Perdition vs. this is what America is about. NO had public J, j was an expreession of what being from NO was about. Outside NO - polarized into good and bad, music of vice. Until 60's, when rock pushed J out as music of vice. J overcame early vice image - will hip hop?
J is music of individuals, american ideal of "search for itself". Austin high gang, white embrace of J.
Collier tries to make case for J outside recording studio. J solo is not from records, but evolves from its performance - how does this evolve from the act of performing? Can't use Louie A. - he was willing to 2nd to Kng Oliver - when he breaks free, it's for Lil Hardin - so he isn't on his own a true driven soloist. So - Collier focuses on Sidney Bechet, and his impact - if arranger and band leaders saw such potential in Bechet, 30's - 60's B. was like only great soprano sax. Collier argues that B was a tempramental and dilletantish genius. He didn't know how to read music - but learned by listening to others. In 20's - genius of B. was purely musical not b/c he was great formally trained. BUT - Collier doesn't fully make the case for live j evolution.
So - take away from Collier that by the 20's, the approach of the j soloist - when non-NO musician want to involve the NO sound, they use the J. solo. Early hip-hop - Q Jones uses in 80's?!?! In pop music, in 20's the hot sounds was using 12-16 bars then space for a NO guyto blow a solo, then more 12-16 bars. Whiteman - folding the "hot" sound in to general pop music.
Does this fully explaiin j solo? No - we still are left trying to find out where.
Gioia says focus on soloist is a function of recording technology vs. ragtime or blues. By time of Hot 5's and 7's - having the jazz solo is obviously important.
Shap and Hent - clue - steamboat jazz meant jams for up to 30 minutes. How did this get to the 3 minute song in the recording studio?
Culture of jazz from Chi made it to 60's and 70's. An American Subculture - first in Chi. Burns - highlights prohibition of alcohol, recording (Gumbo) Music of the American "drug" subculture b/c NO jazz orignally had an elicit quality to it - assoc w/ Storyville even if not developed there - music of festival, social appearances, so J in the north LOOSES personna of being a public music. So it evolves from being at weddings, celebrations, funereals, to be the music of a subculture
Prohibition vs. temperance - technology after prohibition repeal Idea - society generally won't say no - so temperance is an attempt to fix the problem globally. Brutality of men dom. violence - throught brought on by alcohol. So, churches, temperance leagues, got together to ban, eliminate alchol - to make workers more productive and help society. By 1919 - making and consumption of alcohol made illegal. Only boosted organized crime, provided chemicals to have an american subculture of illicit drugs that lasts until today (albeit diff. drugs)
Suddenly speakeasies sprang up everywhere - b/c couldn't get licenses like with saloons - so no control, bad booze. J was music in the background - Alberta Hunter sang in clubs, people kept hats on b/c could be raided any moment. 20's also had illicit sex subculture
Recorded J - stake nailed into heart of assembly j playing. Collier not best historian - but good essay writer. Individualization of J CHAPTER - good setup. Louie A and solos - vs. ensemble J. Great written setup of Chap. - what do we think of when we consider J? It's the solos - improvisation into solos - not there one moment - there the next. "Open a vein" to write - it's same with J. Creativity in the moment.
Miles Davis talking to Coltrane - why solos? What are they about? Coltrane rep. "don't know how to stop" - "just take horn from your mouth" BUT - you have to take it where it leads you - the american protestant soul takes you somewhere - and you have to go with it. is music of fallen women, hustlers, etc. BUT J for MUSICIANs is the purest form of artistic effort (CONTRAST).
[thought - J is the realization of african-american americana. Americans have a protestant ethic - things have to be a way, they have to be just so, work to make it so. Yet americans also have abilty and need to wander, be open, not restricted. This is soulful need - almost spiritual need lives in us. To be "guided by voices" and taken to somewhere. Question of how race played into migratin an foothold of J - for african amer. going to north, in additional to being a physical migration, the transcendentalism of having a "free" music served an even deeper need. For people who had so many restrictions placed on their physical and social lives - J was a way to get in touch with that wandering spirit, to be freed at least temporarily from pressures of daily, perhaps oppressed, life. Art comes out when a person or group lives in a culture that they aren't in step with - that doesn't take them in a part of itself, that doesn't respect them. ]
J soloist - an American ideal. Triumph of individ through virtuosity. Dr. Jekyl and Mr Hyde. Perdition vs. this is what America is about. NO had public J, j was an expreession of what being from NO was about. Outside NO - polarized into good and bad, music of vice. Until 60's, when rock pushed J out as music of vice. J overcame early vice image - will hip hop?
J is music of individuals, american ideal of "search for itself". Austin high gang, white embrace of J.
Collier tries to make case for J outside recording studio. J solo is not from records, but evolves from its performance - how does this evolve from the act of performing? Can't use Louie A. - he was willing to 2nd to Kng Oliver - when he breaks free, it's for Lil Hardin - so he isn't on his own a true driven soloist. So - Collier focuses on Sidney Bechet, and his impact - if arranger and band leaders saw such potential in Bechet, 30's - 60's B. was like only great soprano sax. Collier argues that B was a tempramental and dilletantish genius. He didn't know how to read music - but learned by listening to others. In 20's - genius of B. was purely musical not b/c he was great formally trained. BUT - Collier doesn't fully make the case for live j evolution.
So - take away from Collier that by the 20's, the approach of the j soloist - when non-NO musician want to involve the NO sound, they use the J. solo. Early hip-hop - Q Jones uses in 80's?!?! In pop music, in 20's the hot sounds was using 12-16 bars then space for a NO guyto blow a solo, then more 12-16 bars. Whiteman - folding the "hot" sound in to general pop music.
Does this fully explaiin j solo? No - we still are left trying to find out where.
Gioia says focus on soloist is a function of recording technology vs. ragtime or blues. By time of Hot 5's and 7's - having the jazz solo is obviously important.
Shap and Hent - clue - steamboat jazz meant jams for up to 30 minutes. How did this get to the 3 minute song in the recording studio?
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