Cobb, Jimmy, 141
Coda, 88
Cohn, AI, 782n.13
Coker, Jerry, 95
Coleman, George, 195, 363
Coleman, Omette, 57, 91, 226, 280, 291, 435, 471, 474, 501, 776n.8, 824n.20
Colleges, 48–49, 55, 56, 252
Collins, Rudy, 109
Coltrane, John, 32, 38, 39, 79, 90, 98, 103, 114, 127–29, 136, 140, 142, 143, 149, 152, 154, 161, 167, 195, 207, 212, 214, 223, 224, 236, 238, 255, 262, 269, 276, 277, 297, 300, 338, 343, 376, 446, 470, 478, 482, 487, 490, 493, 494, 521, 588–89, 669, 689–92, 769n.6, 777n.18, 788n.13, 789n.23, 794n.3, 796n.8, 804n.14, 806n.45, 823n.9, 824n.23; Ascension, 313, 444, 474, 809n.37; A Love Supreme, 30, 804n.14
Columbia Records, 477
“Come Rain or Come Shine,” 384
Commentary (of artists in performance). See Inner dialogue; Evaluation (soloing ability); Language, jazz and
Commercial music, 24, 29, 31–32, 34, 40, 63, 65, 103, 276, 324, 344, 431, 458–59, 488, 499, 500–501
Compact disc players, 96, 508
Competition, 44, 52–55, 96, 121, 257, 377–78, 411, 437, 463, 467, 814n.21, 816n.10, 821n.29
Comping, 315, 332–36, 335, 341, 345, 347, 355–57, 360, 366, 380, 388, 391, 399, 404, 418, 691–92, 710–12. See also Accompaniment; Piano performance; Rhythm section
Complete Conservatory Method/or Trumpet, The (Arban), 182
Composition, improvisation as, 70, 89–90, 221–22, 240–42, 267–73, 283, 289, 323–24, 348–49, 383–86, 391, 478, 481, 492–98, 795n.4, 808n.19, 815n.38, 816n.3, 817n.5, 821nn.32, 33, 824n.13. See also Arrangements; Improvisation, precomposition, and Compositions, 63–64, 193, 304, 509, 775n.2; association with great soloists, 204, 797n.29; experimentation and, 88–92, 779nn.38, 39; extramusical meanings of, 195, 203; evaluation and, 226, 231; harmonyin, 71–76, 778nn.20, 22, 23;mood and, 203–4; performance conventions and, 204, 812n.30; precomposed solos and, 98–99, 781n.9; soloing within, 222–27; transpositions of, 66–67, 82–85; variations in, 65–71, 88–90, 94, 135, 171–72, 221, 308, 478, 777nn.17, 18, 778n.19, 791n.4. See also Arrangements; Improvisation, precomposition and; Repertory
Compound chords, 160, 234. See also Chord voicings
Conception (concepts guiding improvisation), 146, 157, 176–77, 182, 230–37, 263, 265, 320, 335, 373. See also Harmony; Melody; Rhythm
Concert halls, 347, 433, 452
Conducting, 311–12
“Confirmation,” 231
Conflict resolution, 418–25, 437; changing band personnel and, 434–36, 438–41, 817n.7; economics and, 431–34; musical conversation and, 426–27, 435–36, 816n.10, 817n.2; musical personality and, 438–39; in performance, 425–31
Congas. See hand drums
“Congeniality,” 226
Conservatories, 55–57
Continuity of musical ideas, 193, 196–98, 202, 207, 228, 264, 318, 589, 591, 592; arrangements and, 295, 300–301; group interplay and, 342–43, 368–69, 370–71, 812n.36, 814nn.20, 22; musical saves and, 210–16, 798n.35
Contour, as basis for musical development, 182, 187, 194–95, 197, 200, 231, 235, 238, 371, 672, 674
Contour crossover, as conceptual process defined, 186; accidents and, 208–9
Contour overlap, as conceptual process, 186
Contraction, as transformational device, 186–87, 189, 793n.24
Contrasts. See Tension and release
Conversation. See Musical conversation
Cool jazz, 275, 277, 292
Copeland, Keith, 32, 44, 48–49, 65, 106, 124, 125, 129, 182, 254, 298, 307, 314, 326–27, 329–31, 332, 338, 347, 364–65, 390, 409, 410, 421, 423, 426, 442, 457; musical development of, 32
“Copenhagen,” 796n.12
Copyright. See Music ownership
Cornet, 25, 27, 140, 291, 294
Corea, Chick, 275, 781n.11, 783n.25
Cosel, Bill, 781n.9
Countermelody, 90, 315, 365, 779n.38, 783n.20
Counterpoint, 75, 86, 131, 143, 172, 291, 294–95, 321, 333, 358–59, 361, 371. See also Rhythm, rhythmic counterpoint
Creath, Charlie, 122
Creative Music Studio, 57
Creativity, constraints on, 417–18, 816n.10, 817n.1. See also Conflict resolution; Economics, jazz and; Music ownership; Recordings, arrangements and
Creativity, improvisation and, 138–42, 216–20, 230, 253–55, 263–64, 273–81, 283–85, 370, 390–91, 494, 787nn.36, 37, 39, 798n.38, 818n.2; psychological theories of, 798n.39. See also Cycle of creativity; Cycle of generation, application, and renewal; Cyclical interplay of new and old ideas; Evaluation (group interplay); Evaluation (soloing ability)
“Creeper, The,” 98
Creole Jazz Band, 291, 312–13, 384, 809n.35, 822n.37
Cries, 92, 126, 135. See also Vocalizations
Crips, 102, 217, 240. See also Jazz vocabulary
Criticism: critics and scholars and, 769nn.4, 6, 770n.9; artists and, 770n.16, 792n.17, 818n.14. See also Audiences; Evaluation (group interplay); Evaluation (soloing ability)
Crosby, Israel, 342
Cues (in performance), 81–82, 86, 311–12, 328, 348, 364–67, 374–75, 377, 379–80, 384–86, 425–27, 815n.27. See also Body language
Cultural influences on jazz, 22–23, 29–31, 33–36, 256, 368, 441–42, 456, 460, 487–91, 500, 771n.6, 773n.16, 816n.1, 818n.5. See also Extramusical influences
Curtis, Cleophus, 38
Cutting sessions, 44. See also Jam sessions
Cycle of creativity, 271–72
Cycle of generation, application, and renewal, 242, 324, 495
Cyclical interplay of new and old ideas (in bands), 440–41
Cymbals, 134–35, 149, 324–25, 337, 341, 343, 346, 348–49, 351, 355, 359, 373, 375, 475, 619, 620, 626, 627, 651, 689. See also Drum set performance; Hi-hat; Ride cymbal
Cyrille, Andrew, 135
Dailey, Albert, 344, 360
Dance, jazz and, 46, 65, 108, 118, 148–49, 152–53, 179, 245, 256, 311, 324–25, 329, 335, 338–39, 347, 406, 459–61, 469–70, 482, 487, 788n.11, 796n.18, 819n.11; as metaphor for expressivity, 217. See also Choreography; Metaphors for aspects of improvisation, as a dance
Davis, Art, 33, 48, 53, 131, 191, 234, 278, 303, 308, 313, 404, 410, 442–44, 463; musical development of, 33; bass method book by, 810n.7
Davis, Eddie “Lockjaw,” 103, 257–58
Davis, Miles, 50, 67, 71, 90, 103, 107, 108, 114, 115, 123, 126, 127, 138, 157, 164–65, 204, 209–10, 214, 231, 238–40, 248, 250, 252, 253, 255, 256, 261–63, 266–67, 270–71, 275–77, 282, 297, 302, 309, 340–42, 363, 364, 368, 378, 382, 384–85, 389, 399, 414, 418, 422, 441, 446, 462, 470, 474, 481, 500–501, 527, 585, 586, 593–95, 665, 669, 676, 678–79, 709–12, 728–31, 778n.21, 787n.41, 788n.11, 789nn.16, 18, 22, 812n.34, 813n.12, 815nn.34, 39, 816n.8, 824n.20
Davis, Richard, 108, 300–301, 353, 365, 378
Davis, Walter, 360
Davis, Will, 38
Dawson, Alan, 129, 172, 312
“D. B. Blues,” 97
Dead string playing, 316
DeJohnette, Jack, 332, 420
DeVeaux, Scott, 821nn.29, 33
Development, 197–98. See also Chorus designs; Form (melodic); Motivic development
Developmental breakthroughs/revelations: applying ideas to form, 176–79, 188–89, 202; arrangements and, 290–91, 293–94, 296, 302–4, 308–9; bass accompaniment and, 320–21; creativity and, 284–85, 485–86, 492–95, 499, 502–3; discovering jazz and, 31–32, 34; drum set accompaniment and, 327, 330–31, 337–38, 343, 359; emotion and, 256, 258–59, 261; group interplay and, 337–38, 350, 355–56, 367, 369–70, 376, 382–83, 388, 390–93, 413–14; harmony and, 71–72, 75–83, 86–88, 92–93, 159–60, 250–52; jazz tradition and, 6, 121–24, 136, 280–81; jazz vocabulary and, 6–7, 10, 96, 101, 104–5, 116, 141, 173–74;memory and, 112–13, 230, 308; model solos and, 97, 114; models underlying solos and, 237–38, 240–41; music literacy and, 64–65; musical logic and, 189–99; obse
rving players and, 106–9; originality and, 89, 120, 125–26, 128, 139, 142–44, 196, 276, 284–85, 419; piano accompaniment and, 333, 364; relating theory and practice, 104–5, 166–69, 248–49; repertory and, 43, 64, 66, 73; rhythm and, 30, 139, 149, 151, 153, 245–47; role of instruments in, 314; scales and, 161–63, 228; solo improvisation and, 30–31, 70–71, 176, 183–84, 200, 206–9, 215–18, 223, 226, 262–66, 268–69, 271–72; stylistic change and, 276–77; technical performance demands and, 114–17, 131; timbre and, 187. See also Bands; Dreams; Evaluation (group interplay); Musical saves; Musical surprises; Paying dues
Diction, 125, 135
Diminished structures, 74, 84–85, 110, 162–66, 169, 177, 183, 198, 225, 229, 247, 265
“Dippermouth Blues,” 781n.9, 802n.28
Direct coupling, as creative process, 185–86
Displacement (rhythmic), 156, 174, 186, 188–89, 206, 211–12, 239, 380, 402–3, 521, 527, 593, 594, 689, 690
Dissonance, 71, 84, 104, 132–33, 159, 178, 185, 198, 218–19, 250–51, 279, 334, 354, 367, 455, 588, 591, 592, 641, 678, 710, 728, 730, 731, 778n.22, 797n.19, 803n.8, 805n.26. See also Outside playing
Dixieland jazz, 263, 325
Dobbins, Bill, 84–85, 394, 779n.28
Dodds, Baby, 4, 297, 813n.8
Doit, 68, 216
Dolphy, Eric, 257, 279, 280, 297, 300–301, 494, 814n.18
Dominant (or Tension) function, 74, 81
Donaldson, Lou, 28, 43, 54, 58, 68, 70, 73, 75, 128, 170, 172, 180, 214, 234, 237, 250, 269, 280, 301, 306, 312, 349, 358, 404, 406, 408, 414, 457, 458, 463, 468, 471, 474; musical development of, 29
Donington, Robert, 824n.14
“Donna Lee,” 67, 78
Dorham, Kenny, 69, 129, 136, 195, 196, 238, 258, 261, 303, 367–68, 503, 521, 782n.17
Dorsey, Jimmy, 140, 787n.37
Dorsey, Tommy, 821n.33
Dossa, James, 778n.23
Double backing, as developmental technique, 196
Double stops, 108, 131, 316
Doubling, as chord voicing feature, 83, 133, 296, 345
Doubling, as Ragtime drumming practice, 325
Down Beat, 57, 98, 123, 274
Drama, performance as: visual aspects, 58, 135, 138, 459–62, 501; sound aspects, 228, 262, 264, 266–67, 338, 340, 370, 373, 376, 383
Dreams, jazz and, 15, 107, 113, 114, 140, 142, 493–94, 823n.9
Drone, 317, 354, 359. See also Pedal point technique
Drugs, use of, 40–41, 119, 438, 453, 822n.1
Drum machines, 292, 445
Drummers, 37, 40, 44, 106, 127, 128, 149, 219, 340, 342–43, 350; innovators as, 134–35, 329, 331–33, 338. See also Drum set performance
Drum rolls, 134. See also Press rolls
Drum set, described, 134, 324. See also Bass drum; Drum set performance; Snare drum; Tom-tom drums
Drum set performance, 157; accommodating different situations and, 420–21, 423–24, 435, 441–43; amplification and, 451; club hiring restrictions and, 454; different jazz idioms and, 336–39; groove and, 349–52; group instrumentation and, 345–47; group interplay and, 665–68, 675–77; group interplay high points and, 390–91, 393, 440; group stylistic fusions and, 340–41; historical changes in accompaniment and, 324–29; individual stylists and, 342; interplay problems/criticism and, 381–82, 396–97, 399–401, 403, 405–7, 409–12, 419–20, 426, 427; interplay with soloists and, 298, 303, 331, 358–59, 362–63, 364–68, 370–77, 381–82, 384–85, 651–53, 813n.8; learning accompaniment conventions in, 177, 326, 329–32, 336, 350–51, 617–629, 786n.30; learning of, 25–26, 37, 105–6, 108–9, 124, 182, 149–51; melodic school of, 135, 139, 331–32, 336, 786n.30, 813n.8; musical arrangements and, 292, 294, 297–99, 310; physicality and, 191, 455; polyrhythmic school of, 332, 336; repertory and, 344–45; rhythm section improvisation and, 353–57, 637–41, 650; solo performance conventions and, 134–35, 547, 791n.6, 818n.2; soloistic school of, 332, 420; stage behavior and, 460–61; studio recording and, 474, 475, 820n.23; techniques of, 125, 129, 142; world music influences and, 324, 491–91. See also Bands; Groove; Group interplay; Rhythm section
Drumsticks, 107, 125, 299, 307, 324, 343, 346, 376–77, 437, 451, 455
Drums Unlimited, 135
Dunbar, Ted, 463
Dunlop, Frankie, 257–58
Duvivier, George, 2, 48, 50, 82, 86, 92, 106–8, 115, 130–31, 168, 290, 291, 297, 308, 313, 314, 322, 390, 395, 405, 406, 409, 427–28, 436, 457, 474, 503, 818n.14
Dyett, Walter, 27
Dynamics, 48, 51, 97, 133, 135, 139, 229–30, 241, 246, 266, 293, 307, 311–12, 315, 318, 322, 328, 343, 345–46, 367–68, 371, 373–74, 377, 396–97, 405, 423–24, 435, 437, 444–45. See also Accentuation
Ear, jazz and, 28, 53, 55, 58–59, 65, 72, 75–76, 90, 92–94, 96, 98, 104, 111–12, 125, 140, 144–45, 159, 218, 248, 296, 301–4, 308–9, 362, 780n.46, 792n.17. See also Aural representations of music
Earphones, 94, 350
Eastern religions, jazz and, 118, 393, 460, 498
Eckstine, Billy, 343, 789n.20
Eclectic improvisers, 274
Economic factors, 32–33, 40–41, 45, 55, 57, 75, 119, 121, 420, 424, 431–34, 436–37, 439, 483, 499–500, 772n.11, 818n.14; audiences and, 458, 464–65, 483; general business jobs and, 488; record companies and, 474–75, 478, 481–82, 822n.35; recording studios and, 474–75, 479, 481–82, 820n.23, 821nn.29, 33, 822n.35. See also Night-clubs, management of
Edison, Harry “Sweets,” 161, 216
Editing, 89–90, 168, 227, 247–48, 306–8, 386, 795n.4; recordings and, 473–74, 480–81. See also Arrangements (of compositions), changes in
Education, 55–57, 773n.18. See also Colleges; Learning methods; Schools
Educators. See Mentors
Egg scramblers, 343
Eldridge, Roy, 78, 98, 260, 262, 292, 343
Electric instruments, 338–39, 397, 437, 450–51, 455
Electrical recording, 475, 786n.17, 810n.1
Ellerby, Julius, 66, 487
Ellington, Duke, 75, 98, 133, 161, 233, 240, 257, 296, 305–6, 309, 474, 487, 781n.9, 800n.5, 809n.20
Embellishing chords, 84
Embellishment: harmonic, 83–88, 534, 660, 678, 709, 728; melodic, 69–70, 88, 141, 143, 165, 187, 204, 212–13, 215–16, 220–21, 228–29, 231, 239, 241, 263, 300, 305, 493, 520–30, 594, 598, 608, 679, 729, 793n.17; rhythmic, 165, 299, 328, 336, 355, 381, 428, 554, 620, 692, 711
“Embraceable You;” 174
Emotion: associations among patterns and, 195; audience and 456, 461, 465; blues feeling, 68; church music and, 29–31, 391–92; discovery of jazz and 31–32; drum set performance and, 134, 153, 359; effects of transposition on, 82, 116; evaluation of, 255–58, 261–62, 269, 277, 279, 283–85, 389, 391–95, 405, 411–12, 414, 430, 433–34, 804n.23; extramusical images and, 71, 176, 233; group interplay and, 367–69, 373, 386, 392–93, 440, 445; imitating soloists and, 97, 107, 112, 787n.41, 783n.25; inspiration for solos, 181, 202, 207–8, 218, 220, 797n.27, 798n.31, 805n.27; jazz life and, 498; learners’ development and, 258–59, 805n.27; meaning of compositions and, 91–92, 171, 203–4, 231, 293, 301, 304, 308–9, 313, 339, 797n.27; musical segues and, 295; performance qualities and, 126–27; recording studio practices and, 481; structuring solos and, 237, 712; technical mastery and, 117; timbral change and, 187; vocalese and, 100
Endings: arrangements and, 289, 293, 296–97, 306, 325, 344, 432; solos and, 166, 177, 236–37, 239, 369, 385, 463, 779n.12; thematic sections and, 374
Energy 123, 202, 256, 270, 283, 331, 338, 353, 361, 391, 393, 421, 453, 465
Ervin, Booker, 299
Errors, musical. See Musical saves
E.S.P., 114, 123
Ethnomusicology, 4–5, 16
Eurhythmics, 149
Eurocentricism, jazz and, 55, 769n.6, 773n.18, 776n.9, 778n.22, 803n.8, 818n.5
Europe, James Reese, 55, 148, 305, 776n.8, 817n.1, 820n.23
Evaluation (group interplay), 32, 327, 387–88, 413–15; arrangements
and, 305–9; circumstantial performance problems and, 411–13; conflicting musical concepts and, 401–3, 471–72; deficient musicianship and, 395–96, 409–10, 816n.10; differences over tasteful conversation and, 403–9, 425; emotional quality and, 391–95; high points and, 388–94, 413–14, 467–68, 470; inattentiveness and, 399–401; rhythm section responses to criticism and, 409–11, 817n.11. See also Audiences; Criticism
Evaluation (soloing ability), 45, 48, 59, 71, 101, 111, 123–24, 207, 210, 212, 227, 235, 239, 243–44, 281–82; creativity and, 253–55; emotion and, 255–57, 261–62, 283–84, 792n.17; harmonic substance and, 250–53, 780n.46, 803n.8; humor and, 257–58, 804n.23; instrumental technique and, 117, 259–61; jazz community and, 281–83; melodic substance and, 247–50, 803n.6; originality/taste and, 253–55, 273–76, 792n.17; rhythmic substance and, 244–47, 265, 803n.3; rhythm section and, 396–98, 403–8, 816n.3; self-criticism, 282, 284–85; spontaneity and, 268–73, 806n.45; storytelling qualities and, 201–2, 262–67, 806nn.38, 39; stylistic changes and, 276–81, 471–72, 807n.54; varied expression and, 265–66. See also Audiences; Criticism
Evans, Bill, 86, 133, 139, 143, 164, 204, 257, 258, 274, 308, 319–21, 334, 361, 387, 459, 791n.9, 793n.23, 797n.19, 809n.29
Evans, David, 790n.25
Evans, Gil, 296, 391, 446
Exercises (musical), 66–67, 144–45, 154, 164–65, 199, 200, 224, 228–29, 251, 443, 488. See also Practice routines
Expansion, as tranformational device, 212, 591, 593, 793n.24
Experimentation, 37, 66, 89, 108, 143, 168–69, 186, 200, 202, 226, 341, 347, 378. See also Exercises; Improvisation; Practice routines
Exploitation of artists, 40, 41, 477–78, 821nn.29, 33
Expression. See Creativity, improvisation and; Emotion
Expression, 136
Extension (harmonic color), 74, 84–85, 160, 162, 164, 223, 234. See also Dissonance; Outside playing; Tension and release, harmony and
Extension (melodic), 70, 189, 194, 199, 212, 238, 591
Extraction, as inventive procedure, 186, 188, 194–95, 200, 239
Extramusical influences, jazz and, 34, 91–92, 105, 176, 195, 203–4, 228, 259, 278, 304, 370, 411–13, 417, 441–42, 452–53, 456, 460, 464–66, 470–71, 487, 491, 501, 773n.16, 780n.44, 788n.11, 797n.27, 810n.1, 811n.23, 816nn.1, 10, 817n.3. See also Audiences; Church, influence of; Performance venues; Recording studios; Schools; Soundscape
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