Passed by the House of Representatives: September 23, 1987
Passed by the United States Senate: December 4, 1987
SOURCES
Figures
3.1 Oral tradition, the jazz community.
3.2 Composer, George Gershwin, copyright 1930 New World Music Corp. Version based on oral tradition, the jazz community.
3.3 Transcribed from rec., Parker 1951. “She Rote” harmony based on Richard Whiting’s “Beyond the Blue Horizon” copyright 1930 Famous Music Corp.
3.4 Composed by Bronislau Kaper; copyright 1947 Leo Feist, renewed 1975 Metro-Goldwyn Mayer. Version based on composite of progression in Aebersold 1984, 1, and in performance provided on accompanying record.
3.5 a. Composed by Jimmy Van Heusen; copyright 1949 (renewed 1971) by Burke and Van Heusen, now Bourne Co. and Dorsey Bros. Music. Version taken from Aebersold 1980,4; b. Composed by Ray Noble; copyright 1938 by the Peter Maurice Music Co., Ltd., London; U.S.A. copyright renewed and assigned by Shapiro, Bernstein & Co., Inc. Version taken from The Real Book, 83; c. Composed by Dave Brubeck; copyright 1955, 1956 Derry Music Co. Version based in part on Sher 1991,158; d. Composed by John Coltrane, copyright 1974 Jowcol Music. Version taken from Strunk 1988, 494.
3.6 Baker 1968, 1.
3.7 a. Oral tradition, jazz community; b. Sher 1988,146; c. The Real Book, vol. 2,174.
3.8 Version described to me in personal conversations with Harold Ousley, Winter 1983, and Barry Harris, Summer 1991.
4.1 Harris workshop, Jazz Cultural Theatre, New York City, Winter 1982.
5.1 Based on sketch provided by John McNeil, Sept. 1993.
6.2 Harris workshop, Jazz Cultural Theatre, New York City, Winter 1983.
13.1 Rec., Davis 1956b.
Music Texts
3.1 Lead sheet sample taken from Aebersold 1980, 4. Jimmy Van Heusen, composer; copyright 1949 (renewed 1971) by Burke and Van Heusen, now Bourne Co. and Dorsey Bros. Music.
3.2 a. Melody and harmony transcribed from rec., Jordon 1988; b. Melody and harmony transcribed from rec., Davis 1956c; c. Copyright 1939 (renewed 1969) Lewis Music Publishing Co. and 20th Century Fox Music; melody taken from Sher 1988, 146; harmony, common basic progression, oral tradition, jazz community; d. Copyright: 1946 (renewed) by Consolidated Music Publishers, a Division of Music Sales Corp. (ASCAP) and Criterion Music Corp.; melody and chords taken from The Real Book, 24.
3.3 al–a2. Rec., Davis 1964; b1–b5. Composer: Bob Haggart; copyright 1939; arrangement cited in example, copyright 1984 Warner Bros., Inc., Limerick Music Corp., and Marke Music Publishing Co., Inc.; lead sheet sample, Sher 1988, 337; performance transcribed from rec., Brown 1955a; c. Lead sheet source and copyright information same as 3.1 above. Coltrane and Dorham on rec., Coltrane 1958; Morgan on rec., Blakey 1960; and Little on rec., Dolphy 1961a, vol. 2; d. Lead sheet source and copyright information same as 3.2c above; performance transcribed from rec., Davis 1964.
3.5 “I Got Rhythm” by George Gershwin, copyright 1930, New World Music Corp.; “Honeysuckle Rose” by Thomas Waller, copyright 1927, Andy Razaf, Pub., Des and Chappell and Co.; “Perdido” by Juan Tizol, copyright 1942 Tempo Music, Inc.; “Take the A Train” by Billy Strayhorn, copyright 1941 (renewed 1969) Tempo Music, Inc. Progressions presented in example based in part on oral tradition, jazz community, and on versions of “Honeysuckle Rose” and “Perdido” in Sher 1991, 134 and 287.
3.6 a. Rec., Davis 1964; b. rec., Davis 1956c; c. rec., Coltrane 1961.
3.7 a. Rec., Davis 1964; b. rec., Davis 1956b.
3.8 a–b. Rec., Davis 1956c.
3.9 a. Rec., Davis 1964; b. rec., Davis 1956c.
3.10 a. Rec., Davis 1956b; b. rec., Davis 1956c.
3.11 Rec., Davis 1956b.
3.12 a–b. Rec., Davis 1956c.
4.1 Kirkwood, unpublished manuscript containing transcriptions by Robert Witmer, revised by Kirkwood. Oliver’s original “Dippermouth Blues” solo can be heard on rec., Oliver 1923a. Numerous re-creations of Oliver’s solo appear on different recorded versions of the related composition “Sugarfoot Stomp.” The three illustrated here are Armstrong’s on rec., Henderson 1925; Stewart’s on rec., Henderson 1931; James’s on rec., Goodman 1937b. Additionally, Oliver’s re-creation of his own solo as “Dippermouth Blues” can be heard on rec., Oliver 1923b.
4.2 a. Rec., Davis 1956c; b. Baker 1982, 50, line 7 from top; c. Aebersold and Slone 1978,93, line 14; d. Slone 1977,48, line 1 (spelling of “Ladybird” corrected to “Lady Bird”).
4.3 al–a2. Louis Armstrong and Joe Smith, respectively, accompanying Bessie Smith on rec., Smith 1925, 1926; b. rec., Davis 1946 (original recording session under singer Earl Coleman’s name); c. rec., Sun Ra 1956; d1. rec., Dolphy 1961a, vol. 1; d2. rec., Adderley 1958; d3. Owens 1974, vol. 2, 358, 13-7; e1. Owens 1974, vol. 2,360,7-1; e2. Parker in Aebersold and Slone 1978,39, lines 9–10; Dorham on rec., Blakey 1955.
5.1 Rec., Gillespie 1956.
5.2 a1. Tirro 1977, 368, line 8 from top; a2. Sickler 1979, 19, bar 25; bl–b2. Porter 1985b, 94, A9; 72, example 31.
5.3 a. Rec., Blakey 1955; b. rec., Blakey 1958a; c1. rec., Dorham 1953; c2. rec., Blakey 1955; d. Aebersold and Slone 1978, 81, lines 12–13; e1. rec., Little 1961b; e2. rec., Dolphy 1961a, vol. 2; f. rec., Little 1960.
5.4 a. Evans n.d.; b. Tatum n.d.; c. Dobbins 1988.
5.5 a. Rec., Evans 1967. b. rec., Brown 1954b.
5.6 a. Oral tradition, jazz community; b. rec., Davis 1964; c, f, h, i; rec., Little 1960; d–e. rec., Coltrane 1957; g, j, k: rec., Strozier 1960.
6.1 a. Rec., Armstrong 1928b; b. rec., Lateef 1957.
6.2 Aebersold and Slone 1978,38, lines 4–6.
6.3 a1. Rec., Davis 1964; a2. rec., Davis 1956c; b. Aebersold and Slone 1978, 41, line 9; c. rec., Coltrane 1957; d1. rec., Davis 1964; d2. rec., Coltrane 1961.
6.4 Rec., Rollins 1956b.
6.5 Sickler 1968, 21, top line.
6.6 a. Blakey 1955; b. Owens 1974, vol. 2, 137, last two lines; e. Sickler 1979, 21, bars 10–12.
6.7 a–c. Barry Harris workshop at the Jazz Cultural Theatre, New York City, winter 1984.
6.8 a–b. Aebersold and Slone 1978, 25, line 9; 71, line 7.
6.9 Barry Harris, private lesson, Spring 1992.
7.1 Ree., Coltrane 1957.
7.2 a–d. Composition by Willard Robison, copyright 1938 Remick Music Corp.; transcribed performances from rec., Roach 1959.
7.3 a1. Smith 1983,210; a2. figure: Aebersold and Slone 1978,37, lines 9 and 13; harmony: rec., Parker 1951; b. VS, M: rec., Little 1961b; CB: rec., Little and Byrd 1960; LSL: ree., Dolphy 1961a, vol. 2; OS: rec., Little 1960.
7.4 a–e. Owens 1974, vol. 2: 141, B3–7; 140, B2–7; 176, A3a2–3; 242, A3–8; 428, 1b2–7.
7.5 a. Arban, 95, grupetto exercise #9; b. rec., Brown 1953.
7.6 Top line of example based in part on recurring vocabulary chain in transcriptions by Aebersold and Slone (1978,35, line 9; 37, lines 9 and 13); other figures sampled from various solos in Aebersold and Slone 1978 and in Owens 1974, vol. 2. Harmony taken from rec., Parker 1951.
7.7 a–b. Rec., Little 1960.
7.8 a. Rec., Little 1960; b. Owens 1974, vol. 2: 135, A3–8; 136, B4–8; e. rec., Little 1960.
7.9 a. Owens 1974, vol. 2: 137, C4–10; 135, A5–10; b. rec., Little 1960.
7.10 All Owens, 1974, vol. 2. a: 174, B2b–3; 173, A2b–3; b1:173, A2a2–6; 174, B2a2–6; b2: 173, A2b–8; 174, B2b–8; b3: 136, B5–7; 137, C5–7; b4: 174, B2b–5; 173, A2b–5.
7.11 a–b. Rec., Little 1960.
7.12 a–c. Rec., Parker 1948.
7.13 a–b. Rec., Little 1960.
7.14 a–g. Aebersold and Slone 1978: a: 39, line 14; b: 38, line 4; e: 38, line 7; d: 39, line 13; e: 39, line 9; f: 40, line 8; g: 39, line 11.
7.15 Rec., Davis 1957.
8.1 Rec., Armstrong 1926.
8.2 Rec., Little 1960.
8.3 Tirro 1977, 366.
8.4 a. Owens 1974, vol. 2, 182, 3a1–8; b. rec., Blakey 1960; c. rec., Br
own 1955b.
8.5 a. Porter 1985b, 97; b. rec., Davis 1956c.
8.6 a. Rec., Davis 1956c; b. Blakey 1958a.
8.7 Owens 1974, vol. 2, 178, C3a3–1.
8.8 a. Porter 1985b, 90; b. rec., Rollins 1956b; c. Baker 1982,49, line 4; 50, lines 6–7.
8.9 a. Rec., Armstrong 1927; b. rec., Rollins 1956b; c. rec., Montgomery 1960.
8.10 Rec., Armstrong 1928b.
8.11 Rec., Little 1960.
8.12 a. Porter 1985b, 97, line 7; b. rec., Davis 1956c.
8.13 a. Rec., Kirk 1964; b. rec., Strozier 1960; c. rec., Roach 1958a.
8.14 a. Rec., Davis 1946 (original recording session under singer Earl Coleman’s name); b. rec., Davis 1949 (original recording session under Tadd Dameron’s name); c. rec., Parker 1950; d. rec., Davis 1953a; e. rec., Brown 1955b; f. rec., Davis 1956a; g. rec., Sun Ra 1956; h. rec., Chambers 1957; i. rec., Davis 1958a (original recording session under Red Garland’s name); j. rec., Fitzgerald 1958; k. rec., Davis 1958b; 1. rec., The Manhattan Transfer 1985 (copyright: “Ray’s Rockhouse,” Progressive Music Pub. Co., Inc., 1958, 1963); m. rec., Scofield 1991; n—o. rec., Green.
8.15 Rec., Hampton 1959.
8.16 a. Aebersold and Slone 1978, 39, lines 15–16; b. rec., Little 1960.
8.17 a. Coolman 1985, 41, lines 5–6; b. rec., Mitchell 1960.
8.18 a. Rec., Roach 1958b; b. rec., Coltrane 1957.
8.19 Rec., Coltrane 1957.
8.20–8.21 Rec., Coltrane 1961.
8.22 a–b. Sickler 1979, 32, bar 1; 24, bar 85.
8.23 a. Rec., Davis 1957; b. rec., Mobley 1958.
8.24 a–c. Rec., Davis 1956c.
8.25 a. Tune composed by Ray Henderson, copyright 1926 (renewed) Warner Bros.; lead sheet model taken from fake book, Volume 1 of Over One Thousand Songs, 40; Davis performance on rec., Davis 1956b; b. rec., Coltrane 1961; c. rec., Strozier 1960; d. Tune composed by Miles Davis, lead sheet melody and solo transcribed from rec., Davis 1956c.
9.1 a–b. Aebersold and Slone 1978, 39, line 9; 36–37, lines 8–9.
9.2 a–b. Rec., Roach 1958a.
9.3 a–d. Rec., Brown 1953.
9.4 a–b, g, h: Rec., Little 1961b; c. rec., Dolphy 1961a, vol. 2; d–e, i: rec., Dolphy 1960; f. rec., Little 1960.
9.5 a. Washburn and Harbison 1980, 14, lines 2, 4, 8; 15, line 2; b. rec., Davis 1959.
9.6–9.8. Rec., Little 1960.
9.9 Rec., Navarro 1948, vol. 2.
12.1 a1. Owens 1974, vol. 2, 214; a2. rec., Davis 1954 (chorus 3 of Davis solo); a3. rec., Davis 1956c; a4. rec., Coltrane 1961; b. rec., Davis 1964.
12.2 a. CR: Owens 1974, vol. 2, 145; PH: rec., Davis 1954; PC: rec., Davis 1956c; b. PC: rec., Davis 1956c; RW: rec., Coltrane 1961.
12.3 a, c. Rec., Davis 1956c; b. rec., Coltrane 1961; d. rec., Davis 1954.
12.4 al–a2. Rec., Davis 1956c; b. rec., Davis 1954 (take 1: chorus 4 of Monk solo; take 1: chorus 9 of Davis solo; take 1: chorus 6 of Jackson solo; take 2: chorus 3 of Jackson solo).
12.5 a. Common bebop pattern, jazz community; b1–b2. rec., Brown 1954b; c1–c3. rec., Davis 1956b, d1–d3. rec., Coltrane 1961; e1–e5. rec., Davis 1964.
12.6 a–c. Rec., Davis 1956c.
12.7 a1, c1. Rec., Brown 1954b; a2, c2. rec., Davis 1956c; b1–b2, c3. rec., Coltrane 1961.
12.8 a1-a2. Rec., Davis 1956c; a3. rec., Coltrane 1961; a4, b1. rec., Brown 1954b; b2. rec., Davis 1956b; c1–c2. rec., Coltrane 1961; c3. rec., Davis 1964.
12.9 a1. Rec., Brown 1954b; a2. rec., Coltrane 1961; b. rec., Davis 1964.
12.10 a1. Rec., Davis 1956b; a2. rec., Coltrane 1961; b. rec., Davis 1964.
13.1 a–c. Rec., Coltrane 1961.
13.2 a–b; Rec., Davis 1964.
13.3 a. Rec., Davis 1956b; b–c. rec., Davis 1956c.
13.4 a. Rec., Coltrane 1961; b. rec., Davis 1956c (choruses 4–5 of Coltrane solo).
13.5 a. Rec., Coltrane 1961; b. rec., Davis 1956b; c–d. rec., Davis 1964.
13.6 a, b1, d1. Rec., Davis 1956b; b2, c. rec., Davis 1956c; d2. rec., Davis 1964.
13.7 a–c. Rec., Davis 1956c.
13.8 a. Rec., Coltrane 1961; b–c. rec., Davis 1964.
13.9 a. Rec., Coltrane 1961; b–c. rec., Davis 1964.
13.10 a1, b2. Rec., Davis 1964; a2, c1. rec., Davis 1956b; b1, c2–c3. rec., Davis 1956c.
13.11 a1–a2. Rec., Davis 1956c; b. rec., Davis 1964; c1. rec., Dolphy 1961a, vol. 2; c2. rec., Little 1961b; dl–d2. rec., Davis 1964.
13.12 a1. Rec., Davis 1956c; a2. rec., Davis 1964; b. rec., Dolphy 1960; c1–c2, rec., Davis 1956b.
13.13 a. Rec., Davis 1956b; b–c. rec., Davis 1956c; d. rec., Coltrane 1961; e–f. rec., Davis 1964.
13.14 a1, b. Rec., Davis 1964; a2. Monson 1991, 121.
13.15 a–c. Rec., Davis 1956c.
13.16 a. Rec., Davis 1951; b. rec., Adderley 1958.
13.17 a. Rec., Rollins 1956a; b. rec., Blakey 1958a; c. rec., Davis 1956c; d. rec., Davis 1958b; e. rec., Davis 1951; f. rec., Davis 1964.
13.18 a. Rec., Adderley 1958; b. rec., Parker 1950; c. rec., Brown 1955b.
13.19 a1–a2. Rec., Davis 1956c; b. rec., Davis 1964; c1–c2. rec., Coltrane 1961.
13.20 a. Rec., Davis 1956b; b. rec., Coltrane 1961; c. rec., Davis 1956c.
13.21 Rec., Davis 1964.
13.22 Rec., Little 1961b.
13.23 See 8.25a above for lead sheet melody source, composer and copyright information. Performance transcribed from rec., Davis 1956b.
13.24 Melody composed by Sigmund Romberg, copyright 1928 Harms, Inc. Lead sheet version taken from The Real Book, vol. 2, 333. Performance transcribed from rec., Coltrane 1961.
13.25 See 3.2c above for lead sheet melody source, composer and copyright information. Performance transcribed from rec., Davis 1964.
13.26 Performance of original Davis composition and solo transcribed from rec., Davis 1956c.
NOTES
Introduction
1. Webster’s New World Dictionary, 3d college ed. New York: Simon and Schuster, 1988.
2. Original and revised music dictionary definitions in Apel 1969; Randel 1986. Randel provides a revision of the definition appearing in Apel, replacing that cited in the text with ethnomusicologist Bruno Nettl’s more neutral definition, “the creation of music in the course of performance.” Nettl’s entry also adds mention of the complexity of the subject in light of the varied practices of Western art music and of various music cultures around the world.
3. Cheatham’s, Duvivier’s, and Washington’s statements, and quoted passages that follow, are from my interviews, described further later in this chapter.
4. Music critics are sometimes inclined to treat their own personal tastes as the measure of the value of jazz, without understanding artists’ goals and values, or “the attitude ... philosophy ... the complete human context” of the “people” who produce the music. My hope is that allowing artists to articulate the subtleties of their art can help redress these problems in the literature cited here as identified by Amiri Baraka (1970, 13, 14, 16).
5. The recording, a fusion of jazz and music from Zimbabwe and other parts of the world, is The Sun Rises Late Here, Flying Fish Records, 1979.
6. John Coltrane (Kofsky 1973, 242) expresses exasperation at the initial response of critics to his groups’ creations. “I couldn’t believe it. ... It just seemed so preposterous ... absolutely ridiculous, because they made it appear that we didn’t even know the first thing about music—the first thing.” Against the backdrop of familiar slights, musicians are often skeptical of what praise they do receive, in particular when the flattery is at the expense of the larger community from which the artists themselves draw inspiration. “What is he saying?” a renowned pianist once asked me rhetorically—and with some irritation—after reading a description of himself in the liner notes to an album in my collection as an “unusually thoughtful pianist.” “Is he saying that my colleagues aren’t thoughtful?”
In another instance, according to Martin Williams’s editorial note
to Schuller 1962 (239), Rollins was put off by the article Schuller wrote analyzing (and praising) Rollins’s improvising and said that he “never intended to read his notices again.” The article praises Rollins’s “Blue Seven” solo as exceptional in relation to improvisations deemed “less inspired” because certain aspects of their diversity and their independence from surrounding material (that is, the solos of other band members and the composed sections of the composition) do not conform to a particular Western art music model of “thematic and structural unity.” Schuller asserts that “the average improvisation is mostly a stringing together of unrelated ideas,” and that improvisers may “create pure improvisations which are meaningful realizations of a well-sustained over-all feeling [but] the majority of players are perhaps not temperamentally or intellectually suited to do more than that.” Ibid., 240–41. See also note 4 above.
7. The Soul of Mbira, Nonesuch Records H–72054, 1973; Shona Mbira Music, Nonesuch Records H–72077, 1977.
8. For an elaboration of the collective aspects of art production, see Becker 1982.
9. The findings of this work do not support the conclusion of a former study asserting that the “jazz musician remains relatively illiterate in respect to the verbal expression of his own art.” Merriam and Mack 1960, 216.
10. The key to performers’ initials, arranged alphabetically by family name, is in appendix B at the back of the book.
11. See Passing It On, videorecording, for an introduction to Harris’s work as a pianist and teacher. Citations to videorecordings and films refer readers to items listed in the videography at the back of the book. All future references to jazz video-recordings, television programs, and films in notes are cited using the abbreviation video, the artist’s name, and date.
12. As far as I know, three music dissertations, Owens 1974, Kernfeld 1981, and Monson 1991, and an article, Stewart 1986, contain transcribed samples of group interplay, including rhythm section parts. For reference to transcriptions of accompaniments by individual rhythm section players, see chapter 12, note 7.
13. Views of numerous artists on the issues addressed by this work are presented in Jazz Is Our Religion (video compilation, 1986) and Evans, video 1991. Complementary data can also be glimpsed in interview excerpts presented in most of the works selected for the videography.
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