Thinking in Jazz

by Berliner, Paul F.

  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