Acoustical recording, 475, 810n.1, 820n.23
Acoustics, of performance venue, 450–52, 470
Adderley, Cannonball, 211, 434, 669
Adderley, Nat, 114; musical development of, 30
Aebersold, Jamey, 57
Aesthetics, 22, 86, 138, 147, 150, 176, 197, 200, 205, 207, 218, 243–44, 249, 263–64, 329, 339, 341–42, 394, 430, 434, 446, 481, 489, 493, 770n.16, 792n.17, 819n.16. See also Body, improvisation and; Emotion; Evaluation (soloing ability)
African American music, 24, 29, 34, 55, 68–69, 129, 148–49, 198, 261, 324, 439, 464, 771n.6, 776nn.13–14, 784n.36, 788n.7, 803n.8. See also Church, influence of
African diaspora, 489
African music, 68–69, 92, 147–48, 153, 324, 349, 419–20, 490, 770n.1, 776n.1, 11, 13, 789n.19
Afro-jazz, 490
“Agitation,” 422
Akiyoshi, Toshiko, 490
“Alabama,” 487
Ali, Rachied, 478
Allen, Henry “Red,” 170, 190, 781n.9, 798n.39
“All God’s Children,” 47
“All the Things You Are,” 161, 379
Allusions, musical, 228–29, 800n.5. See also Musical quotations
“Alone Together,” 69
Alorwoyie, Gideon, 491
Alperson, Philip, 795n.4
Alternate chords, 105. See also Chord substitutions
Alternate fingerings, 107, 109, 117, 141, 302, 783n.22, 784n.36, 787n.37
Alternate slide positions, 140
American Federation of Musicians, 46, 477, 773n.18, 821n.29
Ammons, Gene, 44, 107, 117, 126, 256
Amplification, 131, 260, 316, 347, 350, 380, 397, 444, 450–51, 508. See also recording studios, technology of
Anderson, Cat, 135
“Anthropology,” 67, 78
Apollo Theatre, 23, 31, 118
Apprenticeships, 38–41, 51, 121, 143, 274, 290; unilateral, 58
“April in Paris,” 98
“Aquarian Moods,” 234–35
Arco (bass bowing technique), 130, 131, 141, 315, 353
Armstrong, Lil, 27, 779n.26, 808n.19
Armstrong, Louis, 28, 44, 109, 123, 124, 136, 147, 152, 181, 183, 201, 216, 240, 246, 262, 268, 292, 384, 466, 479, 488, 781n.9, 782n.17, 785n.2, 788n.1, 796n.8, 802n.28, 808n.17, 819n.17
Arrangers, 290–91, 477, 500
Arrangements (of compositions), 26, 45, 49–50, 64, 86, 88–90, 98–99, 102, 177, 282, 289–92, 295–96, 312–13, 391, 432, 442–43, 487, 781n.10, 809n.35; audiences and, 295, 299, 311, 359, 458–59, 463, 470, 472–73; breaks in, 300–301, 808n.17; changes in, 305, 307–10, 374–75, 435, 438–39, 809n.29, 817n.7; collaboration on, 304–7, 437, 441, 808n.19, 809n.20, 817n.1; conducting of, 311–12; differences in, 292–95, 442–45; form and, 293–96, 310, 312; inspiration and, 307, 309–10; instrumentation in, 291–92, 810n.1; musical personality and, 436–37, 439, 462; order of soloists and, 311, 369; parts within, 296–300, 320–21;precomposed solos and, 98, 781n.9; recordings and, 474–75, 477–79, 809n.35, 811n.23, 820n.23, 822n.35; rehearsals and, 301, 817n.1; repertory and, 304; transmission of, 301–4, 808n.19. See also Group interplay; Head arrangements
Articulation, 51, 67, 97, 107, 110, 125–28, 130, 132, 136, 140, 141, 147, 150, 156–57, 182, 188, 204, 213, 244–46, 249, 284, 293, 297, 303, 316, 322, 342, 351, 356, 397, 785n.6. See also Ghosting
Ascension, 313, 444, 474, 809n.37
Assimilation (stage of development), 120, 274–75
Association for the Advancement of Creative Musicians, 57
Atonality, 133, 225–26, 340
Audiences, 241, 257, 295, 299, 311, 325, 359, 363, 394, 431, 433, 437, 449, 451–58, 462–65; artists as, 45–46, 48–49, 58, 81–82, 213, 218, 233, 243, 252, 263–64, 268–70, 281–82, 284, 387–88, 456–57, 461–63, 471–73, 819nn.17, 18; arrangements and repertory and, 458–59, 463, 470–73, 482, 811n.23; difficult, 457–58, 464–67, 818n.7; in Europe, 457, 458, 464; knowledgeable, 138, 379, 456–57, 467–68, 818nn.5, 10, 819nn.13, 16; norms of behavior, 456–57, 464, 818n.5; performance practices and, 459–62, 468–71, 472–73, 819nn.11, 13, 16; preparations for, 458–59
Augmented structures, 74, 79, 91, 165, 168, 183, 247, 265, 306
Aurality. See Ear, jazz and
Aural musical thinking, 175; music theory and, 167–69, 248–49
Aural representations of music, 27–28, 64, 66, 93, 171, 180–81, 265, 792n.16, 806n.37. See also Dreams, jazz and
Austin High School Gang, 290
Automaticity, 164–65, 173, 190, 205–6, 218–19, 392, 400, 798nn.38, 39
“Autumn Leaves,” 255, 414
Avant garde, 346–47. See also Free jazz
Ayler, Albert, 337, 782n.16
Background lines, 103, 299–300, 302, 313, 383, 419
Bailey, Benny, 8, 9, 23, 42, 73, 89, 95, 98, 103, 104, 142, 143, 146, 159, 162–65, 169, 175, 182, 190, 208, 218, 226, 227, 232, 234–35, 239, 250, 253, 302, 307, 309, 375, 376, 444, 452–53, 457, 459
Bailey, Buster, 785n.2, 819n.18
Bailey, Donald, 337, 353
Baker, Chet, 114, 300
Baker, David, 26–27, 43, 72, 76–78, 97, 98, 115, 149–50, 159, 161–62, 280
Ballads, 65, 67, 69–70, 89–90, 94, 172, 203–4, 228, 231, 247, 254–55, 283, 294–95, 298, 343–44, 365, 373, 377–78, 382, 398, 408, 441, 445, 465, 627
Balliett, Whitney, 4
Band leaders, 52–53, 309, 311, 342–43, 416–19, 428, 463, 475, 477
Bands, 121, 416–17; changing personnel in, 301, 310, 434–36, 438–41, 446, 454, 471, 817n.7, 819n.17; influence of, 46–51, 442–46, 488, 818n.14; interplay adjustments in, 420–31; learning in, 26–27, 50, 65, 81–82, 290–91, 320, 329–30, 442–46, 818n.1; life cycle of, 440–41; performance conventions in, 99, 315, 339–43, 399, 421, 781n.9, 812n.39; recording companies and, 476–77; repertory and, 65, 304, 420, 428; social relationships and, 438–39. See also Arrangements; Conflict resolution; Economic factors
Banjo, 293, 501, 811n.23
Baraka, Amiri, 4, 123, 776n.14; Black Music, 123
“Barbados,” 239
Barbarin, Paul, 810n.1, 811n.23
Barbieri, Gato, 490
Barron, Bill, 73
Barron, Kenny, 22–23, 39, 43, 65, 73, 75, 76, 81–84, 96, 116, 139, 180, 81, 201–2, 210, 212–13, 217, 225, 226, 236, 250, 313, 344–45, 348, 353, 355–56, 361, 364, 366–67, 369, 373, 376–77, 385–86, 397, 402, 406, 408, 440, 443, 444, 449–50; musical development of, 22 Bartz, Gary, 31, 43, 47, 51, 71, 82, 96, 115, 159, 171, 198, 225, 243, 247, 274, 302, 332, 339, 344, 372, 395, 396, 412–13, 416, 452; musical development of, 31
Bascomb, Dub, 98, 161
Basie, Count, 43, 132, 133, 290, 305, 313, 334, 360, 369, 444, 779n.39, 814n.25
Bass drum, 106, 298–99, 316, 324–30, 337–38, 355, 359, 373, 407, 475, 811n.19, 813n.7
Bass lines, 72, 75, 78, 81, 86, 111, 198. See also Walking bass lines
Bass players, as innovators, 130–31, 315–16, 322
Bass performance: accommodating different situations and, 421–22, 442–444, 474; amplification and, 260, 397; and different jazz idioms, 336–39; groove and, 349–52; group instrumentation and, 345–46; group inter-play high points and, 390, 393; group stylistic fusions and, 341, 501; historical changes in accompaniment and, 130, 315–19, 322, 325, 783n.20, 786n.17, 810n.1; individual stylists and, 342; interplay problems/criticism and, 380–82, 395–96, 398, 400, 407–11, 419, 424–30, 434–35; interplay with soloists, 358, 361–62, 365–67, 370–71, 373, 375–78; learning accompaniment conventions, 111, 319–24, 388, 607–16; learning of, 72, 81, 106–7, 108, 113–15, 139; musical arrangements and, 299, 303, 296–300, 313, 501; physicality and, 107, 131, 260, 351–52, 396; repertory, 344; rhythm section improvisation and, 353–57, 637–38, 641–50, 660–64; solo performance conventions and, 130–31, 209, 299; studio recording and, 474, 475, 786n.17, 810n.1, 820n.23; world music influences and, 354, 490. See also Bands; Groove; Group interplay; Rhythm section
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Bauduc, Raymond, 107
Baum, Roberta, 71, 126, 136, 170, 202, 204, 218, 261, 402, 432–33, 437, 471, 490
Beat, 30, 74, 149–52, 176, 349, 788n.10. See Groove; Rhythm, beat interpretation
Bebop, 7, 67, 103, 104, 105, 109, 122–24, 128, 131, 133, 156–57, 159, 161–62, 164, 223, 231, 276–81, 291–92, 295, 297, 326, 330, 336–37, 339–41, 344, 368, 401, 406–8, 419, 429, 431, 437, 458, 471–72, 482–83, 500, 617, 792n.12, 807n.54
Bebop Society, 42
Bechet, Sidney, 201, 773n.18, 797n.27
Becker, Howard, 4, 245
Beeson, Ann, 13
“Bee Vamp,” 271, 807n.46
Beiderbecke, Bix, 28, 75, 772n.9, 781n.9, 784n.36, 796n.12
Bellson, Louis, 809n.20
Berg, Bob, 374
Berger, Karl, 57
Berk, Lawrence, 56
Berklee College of Music, 162, 167, 490
Berklee School of Music, 56
Big bands, 290–92, 296, 327–28, 311, 341, 346, 443, 808n.11. See also Swing (idiom); Basie, Count; Eckstine, Billy; Ellington, Duke; Goodman, Benny; Mingus, Charles; Webb, Chick
“Big Noise from Winnetka, The,” 106–7
“Billie’s Bounce,” 802n.26
Bird. See Parker, Charlie “Bird”
“Bird Gets the Worm,” 70, 78
Birdland, 43, 312, 338
“Bird’s Food,” 91
“Birmingham Breakdown,” 98
Birth and Rebirth, 346
Birth of the Cool, 470, 474
Bishop, Walter, Jr., 36, 43, 49, 64–65, 73, 78, 82, 116–17, 120, 139, 142, 169, 184, 204, 219, 230, 233, 273, 275, 283, 315, 339, 344, 346, 353, 359, 363, 373, 376, 382, 391, 405–7, 418, 442, 449, 482, 488, 494, 499, 790n.32; musical development of, 33
“Black and Tan Fantasy,” 781n.9; album, 257
Black Music (Baraka), 123
Blake, Eubie, 144, 160, 503
Blakey, Art, 65, 124, 254–55, 300, 303, 310, 314, 315, 331, 342, 367, 372, 375, 377, 389, 418
Blanchard, Terence, 367
Blanton, Jimmy, 130–31
Blesh, Rudi, 783n.20
Block chords, 133–34, 309, 312, 333, 373, 629, 728
Bloom, Benjamin, 775n.20
Blue laws, 454
Blue notes, 68–69, 83, 85, 106, 132, 134, 162, 232, 253–54, 257, 265, 455, 710, 790n.25, 803n.8, 805n.27. See also Pitch inflections
Blues (harmonic form), 72, 75–81, 85, 132, 159, 172, 184, 196–97, 200, 223, 226, 231–32, 236, 240, 252, 254, 265, 293, 296, 320, 323, 384, 593, 728, 790n.25. See also Jazz blues
Blues (melodic form), 66–70, 116, 162, 172, 195–97, 204, 236, 280, 478
“Blues by Five,” 266–67, 507, 537, 585, 593–95, 619, 646, 665, 728–31
“Blue Seven,” 786n.30, 798n.35
Blues feeling, 68, 203, 257, 259, 445
Blues figures (licks), 29, 34, 102, 113, 129, 228, 232, 468, 665, 669, 679, 728–30, 782n.17
Blues lyrics, 172, 196, 204, 821n.32
“Blues March,” 377
Blues scales, 114, 162, 164, 232, 790n.25
Blues tunes, 24, 35, 65, 69–70, 75, 172, 259, 368, 375, 410, 440, 458, 491, 500
Blythe, Arthur, 354, 368
Body, improvisation and: absorbing/reinforcing patterns through body movement, 55, 108–10, 114, 164, 178, 364, 400, 783n.25, 792n.13; audiences and physical aspects of performance, 311, 460–61; ease of movement and invention, 69, 86, 107, 235–36, 794n.28; emotion and the body, 256; musical personality and, 143–44; performance high points and the body, 217, 219, 272; performance low points and the body, 248, 263; physical aspects inspiring ideas, 133, 189–92, 195, 204, 206, 208–9, 382, 429, 487, 497, 794n.27, 798n.35; physical representation of the beat, 151–52; potential constraints on improvisers, 10–11, 114–19, 158, 260–61, 272, 279, 309–10, 330, 376, 433, 437, 443, 449–50, 454, 494, 503;recordings circumventing players’ limitations, 473; theoretical constructs and the body, 169, 785n.10, 791n.9; translating ideas across instruments, 140, 371. See also Automaticity; Instrumental techniques; Kinetic representations of music
“Body and Soul,” 78, 97, 292, 295, 479, 802n.30
Body language, 152, 460–61, 464, 501, 788n.11. See also Cues,
Bolden, Buddy, 149, 788n.7
Bolling, Claude, 292
Bombs, 326–27, 426, 442. See also Accentuation; Kicks; Punches
Boogie-woogie, 22, 24, 46, 78, 123, 132
Bossa Nova, 307, 344
Bowden, Len, 55, 73n.17
Bowen, José A., 824n.14
Bown, Patti, 23, 42, 71, 82, 231, 343, 360, 361, 371, 410, 411, 422, 488, 491, 794n.3; musical development of, 23
Brackeen, Joanne, 340, 360
Bradley’s, 428–29
Brass section, 206, 296, 303, 328
Braxton, Anthony, 346
Breaking the rules, 73, 89, 322, 338
Breaks (structural device), 70, 97, 239, 268, 300–301, 305, 310, 314, 381, 384, 586, 651, 678, 806n.41, 808n.17
Break tune, 286, 354
Bridge, 76–78, 87, 89, 115, 134, 180, 194, 199, 214, 232–33, 237–40, 246, 294–96, 299, 307, 309, 343, 373, 375, 377, 380, 386, 631, 691, 692, 711, 777n.17, 801n.12, 815nn.32, 38. See also “Rhythm” bridge
Bridgewater, Cecil, 230
Brown, Clifford, 99, 103, 125–28, 136, 181–83, 196, 199, 204, 213, 239, 245, 246, 256, 261, 438–39, 591, 771n.3, 793n.19, 807n.59
Brown, T. Dennis, 324–25, 810nn.8, 11
Brown, Oscar, Jr., 92
Brown, Paul, 344
Brown, Ray, 107, 131, 290, 322, 382, 485
Brubeck, Dave, 91, 389, 816n.1
Brushes, 298, 307, 309, 324–25, 343, 346, 373, 375, 387, 391, 437, 444, 451
Bubber, Miley, 257
Buckner, Milt, 133
Burrell, Kenny, 38, 42
“But Beautiful,” 294–96
Byard, Jaki, 91, 136, 257, 312, 334, 346, 378, 817n.7
“Bye Bye, Blackbird,” 138, 507, 586, 678–79
“Bye-ya,” 78
Byrd, Donald, 339
Byrnside, Ronald, 824n.14
Cadential extension. See Extension (melodic)
Cadenzas, 70, 229, 239, 377, 473
Call, 233
Call and response patterns, 51, 104, 111, 128, 194, 195, 198, 199, 228, 238, 296, 315, 355, 358, 366, 450, 521, 527, 585, 586, 593–94, 648, 650, 651, 657, 664, 669, 679, 689, 691, 712, 729, 730, 776n.13, 796n.8. See also Imitating ideas; Trading phrases
Call Keith, 482
“Can’t We Talk It Over?” 295
Carey, Mutt, 180–81, 776n.14, 783n.20, 785n.2
Carney, Harry, 162
Carnival bands, 72, 818n.2
“Carolina Moon,” 91
Carter, Benny, 91, 125, 128, 291
Carter, Betty, 50, 65, 136, 209, 254, 293–96, 298–99, 306, 308–9, 311, 345, 358–59, 438, 445, 446, 460, 462, 470, 483, 818n.14
Carter, Ron, 139, 252, 322, 341, 361, 444, 607–8, 676
Carvin, Michael, 355, 359, 374
Catlett, Big Sid, 124, 134, 299, 330, 786n.30
Chains of ideas, 186, 195, 198, 219, 222, 228–29, 238, 241, 249, 269, 271, 273, 323–24
Chambers, Paul, 39, 322, 323, 342, 367, 384, 607, 646, 665
Changes. See Chord Progressions
Changes (stylistic), acceptance of, 276–81, 291–92, 498–501, 807n.54. See also Rhythm section, different idioms
Channel, 76, 214. See also Bridge
Chapin, Jim, 149
Charles Mingus Workshop, 312
Cheatham, Adolphus (“Doc”), 2, 27, 55, 68, 72, 87, 94, 104–5, 108, 111, 122–23, 151, 152, 159–60, 161, 167, 169, 182–83, 195, 205–6, 252, 255–57, 268, 278, 358, 379, 458, 502, 771n.6; musical development of, 27
Cheatham, Jimmy, 164, 169
“Cherokee,” 78, 90, 223, 226, 232, 270, 458, 801n.25
Cherry, Don, 283
“Chi Chi,” 99–100
“Chinatown,” 268
Chop doctors, 118
Chops, 259–60, 272, 433. See also Body, improvisation and; Instrumental techniques; Virtuosity
Chord changes. See Chord progressions
Chord insertions, 84–86, 212, 330, 537, 712, 730, 811n.18
Chord progressions, 63, 70, 71–74, 76, 78, 80, 81, 85, 92, 173, 197–98, 223–26, 279, 293–94, 304, 306, 320, 334, 338, 521, 527, 643–44, 728
Chords, as basis for improvisation, 70, 94, 104–5, 109–10, 113, 128–29, 136, 143, 159–61, 175, 197, 212, 215–16, 248, 250, 254, 265, 277, 279–80, 315, 319, 376, 793n.19. See also Inside playing; Vertical concept
Chord substitutions, 84–88, 105, 161, 186, 187, 212, 217, 223, 226, 232, 236, 254, 281, 306, 308, 318, 323, 335, 356, 365, 367, 376, 384, 404, 428, 491, 617, 631, 641, 644, 646, 678, 679, 689–92, 709, 712, 728, 730, 731, 779nn.28, 31, 788n.13, 789n.23; harmonic alteration, 84, 85; harmonic insertions, 84–85; substitutions with different roots, 84, 85. See also Turnarounds; Turnbacks
Chord voicings, 74–75, 82–85, 89, 116, 118, 139, 143, 217, 226, 258, 269, 283, 291, 296, 299, 306, 308, 333–35, 346, 354, 360–61, 371, 373, 380, 382, 404, 418, 537, 633, 653, 672, 728–31. See also Harmony
Choreography (of instrument performance), 108–10, 117, 151–52, 783n.25. See also Body, improvisation and; Dance, jazz and
Chorus, as structural concept, 63
Chorus designs: bass accompaniment and, 607–10; complete group and, 372–73, 667–68; drum accompaniment and, 624–29; piano accompaniment and, 629–36; solos and, 96–97, 101, 175, 202, 236–37, 240, 266, 268, 270, 375, 581–82, 585–97, 605–6, 797nn.22, 25, 800n.12, 801nn.13, 17, 806n.38
Christian, Charlie, 490
Christian, Jodie, 375
Chromatic structures, 197–98, 211–12, 215, 225, 228, 258, 267, 280, 318, 321–22, 357, 361
Church, influence of, 23–25, 29–30, 68–69, 71–72, 149, 153, 203, 259, 391–92, 456, 468, 771n.6, 772n.7, 776n.14, 788n.7, 804n.14, 816n.1
Circle of fifths, 75, 81, 232
Circus bands, 72, 324
Civil rights movement, 56, 460, 487
Clarinet, 140, 278, 291, 294
Clarke, Kenny, 139, 326, 773n.14, 789n.20
Classical music. See Western classical music
Clayton, Buck, 161
Clones, 273–74
Closure, in developing musical ideas, 196–98, 595
Clottey, Victor, 770n.1
Club Bohemia, 458
Clubs. See Nightclubs
Thinking in Jazz Page 98