Fake books, 64, 65, 89, 93–94, 775n.4, 780n.46
Fall-off, 67, 216, 521, 527
Farmer, Art, 42, 44–45, 47, 59, 78, 95, 105, 116, 118, 124, 131, 159, 160, 162, 169, 172, 178, 181, 202, 209–11, 218, 247, 267, 272, 274, 282–85, 310, 358, 360–61, 366, 372, 376, 395, 396, 398–99, 404, 407, 408, 411, 427, 440, 444–45, 466, 485; musical development of, 25
Farrell, Joe, 165
Feather, Leonard, 807n.54
Feeding ideas to players, 358, 404, 406, 422
Feeling players, 261–62
Fender bass, 339
Field research, 5
50 Hot Choruses for Cornet, 97
Figures, 50, 227. See Jazz vocabulary
Filler material, 246–47
Fills (melodic), 69–70, 171, 193, 212, 228, 333, 354, 363, 375, 521, 653–54, 709, 710
Fills (rhythmic), 325, 328, 330–31, 336, 354, 363, 622, 624–27, 651, 665, 678, 679, 689, 692, 712, 728–30, 810n.17, 811n.19, 813n.7
Fingerings, 53, 55, 66, 107, 112–13, 116–17, 140, 178, 191, 195, 204, 235–36. See also Alternate fingerings
Fitzgerald, Ella, 103, 126, 130, 136, 204, 459
“Flamenco Sketches,” 90
Flanagan, Tommy, 38, 42, 46, 64, 66, 75, 88, 90, 95–96, 105, 116, 123, 139, 143–44, 170, 192–93, 244, 261, 264–66, 270, 275–77, 290, 294, 299, 333, 362, 363, 369, 391, 396, 401, 426, 429, 480
Flare, 67–68. See also Rip-up
Flow, 117, 128, 198, 218, 228, 235, 244, 264, 326, 360, 367, 395, 399, 460, 497
Floyd, Samuel, A., Jr., 13, 804n.23
“Flyin’ Home,” 781n.9
“For Adults Only,” 782n.13
Form (harmonic), 63–64, 74; AABA form, 77, 79, 90–91, 134, 236, 380, 689–92, 779n.39, 815n.32, 822n.35; ABAB’, 77; ABAC form, 77, 709; ABCDE, 90; creative interplay between form and ideas, 222–27, 233–34; early efforts to solo within, 176–80, 792n.12; malleability of, 82–84; chord substitution and, 84–88; tempo fluctuation and, 352. See also Arrangements; Bridge; Blues (harmonic form); Chord progressions; Chord voicings; Chorus designs; Harmony; “Rhythm” bridge; “I Got Rhythm”
Form (melodic), 6, 63–64, 201–4, 235–37, 262–63, 266–67, 375; AABA form, 66–67; AA’B form, 66, 172, 594; ABA form, 236; ABAC form, 66–67; ABC form, 236. See also Blues (melodic form); Call and response patterns; Chorus designs, solos and
Formulas, 799n.4. See also Jazz vocabulary
Foster, Al, 374, 420
Foster, Frank, 38, 373, 463
Foster, Pops. 75, 111, 315, 771n.6, 783n.20, 806n.41. 808n.19
Fournier. Vernel, 342, 462
Fourths (theoretical construct), 163, 182, 190, 232, 234, 278–81, 334, 344, 361, 491, 792n.18
Fraser, AI, 4, 13
“Freddie Freeloader.” 238
Free jazz. 103, 122, 123, 126, 128, 131, 133, 135, 225–26, 275–81, 291, 292, 311, 313, 329, 337–41, 344, 346, 379, 407, 430, 431, 444, 464, 471–72, 474, 482, 782nn.12, 16
Free Jazz. 474
Freeman, Bud, 96, 780n.2, 788nn.7, 11, 821n.33
Freeman, Von, 109
French Opera House (New Orleans), 55
Friedman, Don, 143, 223, 234, 334, 376, 382–83, 384–85
Front line instruments, 291, 295
Fruscella, Tony, 135
Fuller, Curtis, 21, 26, 33, 38–39, 46–47, 54–55, 72–73, 84, 120–21, 140, 172, 175, 176, 184, 212, 214–15, 217, 231–32, 236, 248, 264, 270–71, 279, 295–96, 303, 358, 361–64, 367, 389, 403, 405, 406, 408, 433, 438, 458, 468, 479–80, 482, 493; musical development of, 25, 33
Funk, 368, 442
Fusion, as creative process, 88, 138–40, 143; in construction of melodic lines, 186, 188, 212, 335–36, 814n.20; in piano accompaniment, 269
Fusion, as jazz rock, 31, 34, 122, 276, 292, 338–39, 441–42, 444–45, 488, 500–501; as aspect of musical personality, 34–35, 116–18, 138–41, 278, 419, 462–63, 487–88; as other stylistic amalgams in jazz, 292, 339–43, 368, 487–91, 500–501, 814n.20
Garland, Red. 309, 334, 335, 342, 384, 537, 629, 642, 665, 669, 812n.34
Gamer, Erroll. 334–35, 342
Garrison, Jimmy, 131, 316, 338, 376
Gates, Henry Louis, Jr., 804n.23, 824n.14
Gender, and jazz, 55, 255, 258, 811n.23, 816n.9, 822n.36
Genealogies, musical, 36, 57, 124, 130–34, 136–38
Generic improvisers, 273–74
Gensel, John, 459
Getz, Stan, 47, 457–58, 772n.11
Ghosting (pitches), 67, 156, 213, 316
“Giant Steps,” 79, 80, 90, 98, 203, 223, 232–33, 238, 399
Gigs, 44, 47. See also Economic factors; Nightclubs; Performance venues
Gillespie, Dizzy, 4, 29, 31, 47–49, 87, 88, 96, 109, 115, 122, 124, 127, 130, 136, 140, 149, 158, 161, 168, 169, 201, 204, 212, 247, 249, 253, 259, 262, 269, 276, 281–82, 291, 295, 297, 302, 311, 342, 343, 370, 381, 382, 444, 445, 462, 490, 773n.14, 778n.21, 783n.20, 788n.11, 789nn.20, 22, 24, 808n.17, 816n.5, 819n.18
Gilmore, John, 303
Gioia, Ted, 803n.33
Giudice, Joe, 70, 86, 272–73
Glissando, 67–68, 108, 228, 322, 463
“God Bless the Child,” 203
Goetschius, Percy, 73
Golson, Benny, 91, 231, 256, 297, 307, 385, 669, 780n.44, 807n.59
Gomez, Eddie, 382
Goodman, Benny, 305
Gordon, Dexter, 136, 203, 295, 424–25
Gordon, Franklin, 384, 388
Gordon, Max, 453
Gospel music. See Church, influence of
Gotham Music Service, 98
Grace notes, 67, 69, 183, 213, 521, 527, 679, 710
Granz, Norman, 822n.41
Gray, Larry, 75, 197, 223–24, 316–18, 334, 354, 384, 391, 817n.2
Green, Freddie, 360, 409
Green, Urbie, 140
Greenblatt, Daniel, 794n.1, 796n.10, 818n.10
Griffin, Johnny, 351–52, 438, 443
Groove, 349–52, 350, 355, 373–74, 380, 382, 388–89, 402, 405, 408, 413, 428, 456, 465, 467, 709, 712, 812n.2. See also Beat; Rhythm
Group interplay, 11, 81, 93–94, 111, 170–71, 219, 294–95, 303, 319–20, 324, 326, 328, 331–33, 335, 337–38, 341–49, 368, 383–86, 413–15, 436–37, 672; circumstantial performance problems in, 411–13; cues in, 311–12, 365–67, 374–75, 384, 425–27, 815n.27; deficient musicianship and, 395–99, 403–6, 409–10, 816n.10; different jazz idioms and, 406–9; high points in, 362, 388–95, 413–14, 467–68, 470, 816n.2, 823n.12; emotional impact of, 391–95; errors in, 379–83; evaluation of, 49, 330–31, 387–91; hall acoustics and, 450, 470; inattentiveness and, 399–401; inexperience and, 401–3; interplay between soloist and rhythm section, 351–52, 358–62, 421, 813nn.7, 8, 814n.22; interplay within rhythm section, 350–58; interpreting ideas and, 362–68, 390–91, 402–3, 424, 813n.12, 816n.8; melodic–harmonic interplay, 646; melodic interplay, 653–54; melodic–rhythmic interplay, 361, 648, 664; musical personality and, 427–31; musical saves in, 382–83; order of soloists and, 311, 369; rhythm section responses to criticism, 409–11, 817n.11; shaping the larger performance, 368–74; surprises in, 374–79, 815n.27. See also Arrangements; Audiences; Bands; Groove; Imitating ideas; Metaphors; Musical conversation; Structural Markers
Group performance. See Group interplay
Groups. See Bands; Group interplay
Gryce, Gigi, 73
Guitar, 34, 72, 75, 115–16, 131, 139, 159, 170, 172, 190–91, 236, 347, 283–84, 390, 409, 463, 490, 811n.23, 814n.25
Guru, 500
Gushee, Lawrence, 13, 785n.10, 797nn.22, 25, 799n.4, 800nn.6, 12, 806n.39, 808n.17
Gutbucket techniques, 256–57, 398
Hackett, Bobby, 91, 98–99, 105
Haden, Charlie, 131
Haggart, Bob, 107, 182
Haig, AI, 133, 334
Hall, Jim, 798n.38, 801n.13, 806n.38
Ham bone, 22
Hampton, Lionel, 47, 781n.9
Hancock, Herbie, 12
4, 133, 143, 250, 275, 335, 340, 341, 379, 382, 391, 422, 633, 676, 781n.11
Hand drums, 219, 292, 299, 310, 324, 444, 818n.2
Handy, William (w. C.), 55, 257, 784n.36
Hanging out, 37–39, 73, 86, 109
Hanna, Roland, 365
Hard bop, 7, 122, 126–28, 275, 276, 279, 297, 326–27, 336–37, 346, 426, 431, 444
Hardin, Wilbur, 147
Hargreaves, David J., 798n.39, 803n.33
“Harlem Air Shaft,” 487
Harmonic alteration (chord substitution), 84, 85
Harmonic counterpoint, 367. See also Harmonic syncopation
Harmonic insertion (chord substitution). See Chord insertions
Harmonic rhythm, 63, 75, 81, 85, 90–91, 178, 224, 232–33, 315, 317
Harmonics, 131
Harmonic syncopation, 198, 789n.23, 797n.19
Harmonic synonyms, 184–85, 195, 595, 793n.20
Harmony, 146; arrangements and, 293–94, 296, 298–99, 304, 306; compositions and, 63, 68, 70, 71–94, 76, 77, 80, 228, 778nn.20, 22, 23; evaluating harmonic features of compositions, 89; evaluating harmonic features of solos, 250–53, 803n.8; group challenges and conflicts over, 380, 382–83, 398–99, 402, 404, 406, 410, 412; interpretation within groups, 317–24, 328–30, 332–35, 339–40, 356–57, 360–61, 366–67, 372–73, 376, 384, 390, 508–10, 533–39, 607–16, 622–24, 629–36, 641–48, 660–63, 675–76; learners’ development and, 53, 71–74, 75–84, 86–90, 92–94, 778nn.20–23; music theory and, 72–74, 159–69, 182–83, 207–8, 210, 778nn.22, 23; solos and, 90, 104–5, 110, 113, 128–29, 136, 143, 159–62, 165–68, 170–71, 173–80, 182–85, 187, 189, 195–99, 210–12, 222–28, 231–36, 248–49, 791n.9. See also Form (harmonic); Chord progressions; Chord voicings; Music theory
Harrell, Tom, 394
Harris, Barry, 10, 22, 37–39, 41, 46, 51, 54, 55, 57, 58, 65, 69, 78, 87, 108, 111, 121, 123, 127, 146, 161, 174, 180, 183, 200, 204, 219, 227, 244, 246–49, 251, 254, 270, 278, 281, 298, 308, 311, 344, 381, 388, 393, 395, 400, 406, 426, 442, 462, 467, 863, 470–71, 494, 502, 555, 770n.11, 773n.15, 812n.39; workshops with, 109–10, 112, 114, 117–18, 150, 154, 155, 163, 165–68, 175, 177, 182, 188, 194, 199, 215–16, 228, 248–49, 251, 264, 265, 267, 483, 490
Harris, Benny, 779n.38
Harris, Eddie, 48, 90, 160, 163, 344, 428
Hart, Billy, 364, 373, 420, 440
Hart, Clyde, 86
Hawkins, Coleman, 48, 97, 123, 125, 128, 129, 162, 270, 275, 292, 339, 444, 479, 771nn.3, 4, 789n.23, 802n.30, 812nn.36, 39
Hawkins, Erskine, 98
Hayes, Edgar, 808n.17
Hayes, Louis, 443
Haynes, Roy, 176, 284, 331, 353–54, 359, 366, 373, 375, 379–80, 385, 469
Head, 63, 93. See Melody, compositions and
Head arrangements, 64, 290, 301, 305, 678, 728, 809n.35
Heath, Jimmy, 269, 772n.2, 787n.37
Heath, Percy, 107, 259, 323, 420, 607, 772n.2
Hemphill, Julius, 355
Henderson, Fletcher, 291, 312–13
Henderson, Horace, 781n.9
Henderson, Joe, 91, 226, 293
Henderson, Leora, 109
Hentoff, Nat, 4
“Here’s That Rainy Day,” 398–99
Hersch, Fred, 32, 52, 79, 89, 90, 116, 117, 123, 132, 143, 151, 152, 156–57, 173, 175, 181, 204, 207, 217, 231, 233, 245, 265, 266, 294, 345, 361, 364–66, 387, 390, 410, 420, 427–29, 435
Hicks, John, 56, 65, 75, 78, 88, 90, 100, 118, 125, 160, 234, 274, 293–96, 301, 303, 306–10, 330, 354, 355, 368–69, 377, 397, 405, 406, 445, 486
Higgins, Patience, 6, 180
Hi-hat, 148, 298–99, 310, 324–28, 330–31, 336, 341, 350, 353, 355, 358, 364, 407, 617, 620, 622, 627, 651, 678, 689, 728
Hill, Calvin, 1, 37, 39–40, 65, 151, 276, 298, 299, 321, 345, 350–51, 353–55, 363, 365, 370, 378, 396, 418, 419, 427, 434, 438, 443, 490
Hill, Teddy, 343
Hillyer, Lonnie, 22, 28, 38–39, 40, 43, 47, 50, 57, 58, 65–67, 69, 71, 73, 126, 127, 136, 138, 139, 167, 172, 173, 177, 184, 192, 194, 200, 206, 256–57, 261, 264, 282, 290, 301, 308, 339–40, 358, 360, 361, 368, 371, 377–78, 380, 397, 399, 404, 422, 433, 434, 440, 465, 485, 503; musical development of, 28
Hindemith, Paul, 73
Hines, Earl, 116, 132, 140, 292, 444, 772n.9, 787n.39, 820n.26
Hinton, Milt, 281–82, 322
Hip-hop, 500
Hodges, Johnny 62, 68, 125
Holiday, Billie, 126, 170, 244, 261, 305, 309, 445, 474, 780n.47, 791n.2, 821n.32
Holland, Dave, 131
“Honeysuckle Rose,” 78, 89
“Honky Tonk Bud,” 500
Horizontal concept, 105, 128–29, 134, 197–98, 277, 317, 354, 547, 544, 785n.9. See also Linear concept
Horn players, 67–69, 72, 107–8, 110–11, 117, 171, 175, 209, 297, 299, 370, 461, 783n.22
Hot jazz, 109, 177, 315, 790n.25, 806n.41
“How Are Things in Glocca Morra?” 368
“How High the Moon,” 134, 779n.38
Hubbard, Freddie, 109, 136, 224, 225, 228, 283, 438
Hudgins, Johnny, 816n.5
Humor. See Musical jokes
Hutcherson, Bobby, 91, 160, 293, 294, 297, 302, 312, 361
Hyman, Joe, 160
Hymns, 23, 148. See also Church, influence of
Ibrahim, Abdullah, 218, 490, 824n.23
“I Can Dream, Can’t I?” 239
“I Can’t Get Started,” 78, 88, 269
Ideas, 102, 115, 230, 167–69, 181–83, 185–86, 222–27, 248, 262–63, 274–76, 362, 470, 475, 782nn.12, 13, 793n.21, 795n.15, 800n.7. See also Chains of ideas; Jazz vocabulary
“I Didn’t Know What Time it Was,” 427
Idioms Gazz), 108–9, 122–23, 128, 130–34, 144, 151, 164, 196, 263, 273–81, 284, 471–72, 491, 500–501, 807n.54; accommodating stylistic changes and, 276–81, 807n.54; accompaniment conventions and, 315, 324–27, 336–43, 357, 401, 406–8, 420, 429–30, 437, 443–44; arrangements and, 291–92, 311–13, 347; band instrumentation and, 345–47, 443–45; characteristic phrases and, 102; fusion of, 339–41, 812n.30, 814n.20; limitations of stylistic labels and, 278, 280, 341; record companies and, 482; repertory and, 343–45; theoretical models and, 159–65, 252. See also Bebop; Boogie-woogie; Cool jazz; Dixieland jazz; Free jazz; Fusion, as jazz rock; Hard bop; Modal jazz; New Orleans jazz; Ragtime; Stride piano; Swing (idiom); Third stream jazz; Western style jazz
“I Got Rhythm,” 65, 76–79, 87, 89, 206, 226, 232, 246, 293, 427, 472, 817n.2
“I Loves You, Porgy,” 78
“I Love You,” 238
“I’m in a Sentimental Mood,” 203
Imitating ideas (in performance), 51, 81, 99, 108, 111, 136–39, 219, 257, 278, 320, 349, 355–60, 362, 364, 367–72, 375, 384–85, 403, 813nn.7, 8; criticism of, 403, 426–27
Imitation (stage of development), 120–21, 136, 273–74
Improvisation, 6–7, 13, 16, 70–71, 102, 146, 156, 170–71, 205–7, 216–20, 262–63, 294–95, 313, 320–21, 338, 346, 411–13, 430–31, 459, 485–86, 555, 773n.18; the body and, 208–9; chords as basis for, 159–61; combined approaches in, 233–37, 800n.12, 801n.13; as composition, 221, 241, 492–94, 496–98, 824n.14; creativity and, 138–42, 216–20, 253–55, 263, 787nn.36, 37, 39, 798nn.38, 39; definitions of, 1–2, 4, 221–22, 253, 795n.4; as distinct from written composition, 496–97, 795n.4, 806n.39; early ability and, 31, 71, 772n.9; emotion and, 202–4, 797n.27; flexibility and, 188–89; group interplay and, 369–71, 388–92, 494–95, 823n.12; harmony and, 222–27, 262–63; inner dialogue and, 176, 192–95, 795n.5, 798n.31; intervals as models and, 163–64; invention and, 142–45, 240–41, 787n.41; maintaining skills, 494–95; misconceptions of, 1–2, 6, 16–17, 71, 492, 773n.18, 776n.9; mistakes and, 209–16, 379–83, 798n.35; musical personality and, 135–38; music theory and, 179–80, 252; mystique of, 1–2, 219, 798n.39; players’ world of consciousness and, 206–7, 216–20,, 348–49, 453, 795n.5, 798nn.31, 38, 39, 819n.13; practicing and, 170–75,
791nn.2, 4, 10; repertory and, 205–6; scales as basis for, 161–62; singing and, 171, 180–81, 792n.16; sources of, 487–88; stylistic changes and, 276–81, 807n.54; stylistic fusion and, 339–41, 812n.30; technical skill and, 259–61; varied expression and, 265–66; various musical models and, 146, 165–67, 171–75, 181–83, 204, 221–27, 237–40, 271, 791n.10, 792nn.17, 18,. 793n.19, 797n.29, 801nn.19, 25, 802nn.26, 28. See also Composition, improvisation as; Evaluation (group interplay); Evaluation (soloing ability); Music theory, aural ideas and; Soloists; Timing
Improvisation, precomposition and, 221–22, 227, 240–42, 263, 267–73, 283, 289, 292, 299, 323–24, 383–86, 391, 474–75, 492–98, 653–54, 664, 800n.8, 801n.25, 802nn.28, 30–32, 803n.33, 806n.1, 815nn.38, 39, 820n.22; inferring models in, 237–40, 801nn.19, 25, 802nn.26, 28; interplay between compositions and ideas, 222–27; licks and, 227–30, 799n.4, 800nn.5–7; strategies for individual pieces, 230–33; use of different improvisation approaches, 233–37, 800n.12, 801n.13
Inadvertent variants, 83, 141, 215, 230, 245
Inattentiveness, performance and, 399–401, 466
Independent labels (recordings), 477–78, 483, 820n.24, 822n.42
“In De Ruff,” 781n.9, 802n.28
“Indiana,” 78
Indian music, jazz and, 292, 324, 816n.3, 500
Inner dialogue, of improviser, 176, 192–95, 206–7, 211, 213–14, 217, 243, 263, 271, 348, 798n.31
Inner voices, of harmonic structures, 71, 86, 90, 323, 709
Innovation (stage of development), 120, 273, 275–76, 280, 367. See also Creativity
Insertion. See Chord insertions
Inside, 308–9
Inside playing, 76, 129, 157, 159–60, 198, 225, 250, 319, 340
Instrumental techniques, 27, 50–51, 55, 66–69, 106–8, 114–19, 125–26, 128–31, 133, 865, 140, 169, 256–57, 259–62, 272, 278–79, 283, 294, 298, 315–16, 329–30, 362, 436, 442–43, 787n.41, 806n.5; idiosyncratic, 69, 118, 124, 127–31, 284, 322, 326–28, 331–32, 784n.36, 785n.10, 786n.15, 812n.36; liabilities to creativity, 409–10. See also Alternate fingerings; Body, improvisation and; Fingerings; Musical personality
Instrumentation, 291–92, 298–300, 338–39, 443–45, 500–501; nightclubs and, 454–55; recording sessions and, 475, 811n.23, 820n.23, rhythm section and, 345–47, 812n.39. See also Arrangements
Instruments: effects on improvisation, 107, 130, 135, 139–41, 143–44, 169, 176, 190–91, 208–10, 213, 228, 249, 371, 450, 454–55, 497, 785n.10, 791n.9; evaluation and, 259–61, 803n.6; learners’ development and, 114–17; mastery of, 114–17, 259–62. See also Body, improvisation and
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