Intensity, as aesthetic quality, 139, 142, 201, 256, 259, 267, 279, 295, 331, 349, 372–73, 405, 423, 624, 692
Intensity (levels of musical transformation), 67, 493, 495, 777n.17; embellishment, 69–70; improvisation, 70–71; interpretation, 67–69; variation, 70
Interlude, 88, 282, 295–96, 301, 312
Internal verbalization. See Inner dialogue
Interpolation, 70, 189, 213, 793n.24
Interpretation: artists’ responses to other players, 281–82; band scores and, 64–65, 302–3; group interplay and, 285, 317, 335, 345, 349, 356–57, 362–68, 370–71, 813n.12; interviews with artists and, 7–8; models underlying solos and, 237–41, 793nn.21, 22, 801n.19; music transcriptions and, 11–12, 97–98, 158, 507–11; soloist’s own improvised ideas and, 186–88, 240–41, 269; tunes and, 67–69, 90, 204–5, 220–21, 345. See also Audiences, artists as
Interpretive extraction. See Extraction
Intertextuality, jazz and, 103, 136, 195–96, 204–6, 228, 254, 779n.36, 796n.12, 797n.29, 804n.23, 813n.12, 814n.18, 824n.14. See also Jazz literature, aural/oral; Musical quotations
Intervals, as basis for improvisation, 146, 162–65, 197, 180, 208, 211, 215–16, 235, 265, 279, 281–82
Intonation, 260–61, 323, 397, 445, 790n.25
Introductions, 70, 88, 102, 239, 290, 293–94, 297, 307–8, 313, 325, 473
Introductory figures, 70, 102, 194
Intuition, improvisation and, 2, 16, 154, 338, 376, 385–86, 390, 392, 421–22, 494, 496. See also Automaticity
“Intuition,” 338
“I’ll Remember April,” 308
“I Remember Clifford,” 91, 204, 780n.44
Israels, Chuck, 27, 68, 78, 86, 125, 141–42, 151, 153, 164, 183, 190–91, 196, 203, 209, 211, 215, 244, 246, 250, 255, 257, 258, 263, 264, 266, 289, 308, 320–23, 336–37, 348, 349–51, 353–55, 361, 381–82, 384, 393–94, 396, 398, 402, 403, 412, 414, 442, 465–66, 466, 470, 494
“I Thought about You,” 391, 507, 510–11, 527, 627, 633, 676, 709–12
“It’s Love or It Isn’t,” 295
“It Was Just One of Those Things,” 234
“I’ve Got You under My Skin,” 180
Jackson, Milt, 48–49, 359, 771n.6, 791n.6
Jackson, Preston, 815n.27
Jackson, Ronald Shannon, 22–23, 26, 33, 42, 52–53, 56–57, 106, 157, 294, 328, 330, 337, 343–44, 350, 354, 355, 358–59, 367–68, 389, 393, 400, 401, 412, 460, 811n.18; musical development of, 22–24, 26, 33
“Jack the Bear,” 131
Jacquet, Illinois, 781n.9
“Jada,” 105
“Jahbero,” 240
Jamal, Ahmad, 124, 293, 342, 390, 429
James, Warren, 272, 279
“Jammin’ the Waltz,” 91
Jam sessions, 23, 29, 53, 56, 58, 105, 108, 112, 122, 142, 159, 173, 270, 272, 301, 333, 347, 406, 411, 424, 457, 474, 772n.3, 773n.5, 784n.30; learners’ development and, 41–44
Jarreau, Al, 126, 128
Jarrett, Keith, 441
Jasen, David A., 820n.23
Jazz, 14; artists’ views of, 5–7, 769n.4; commitment to, 31–35, 503, 772n.11, 824n.23; critics and, 5–6, 769n.6; dance and, 152, 256, 406, 460, 788n.11; democratic values and, 338; economics of, 431–32, 818n.14; language and, 99–101, 103, 142–43, 157–58, 181, 184–85, 192, 198, 255, 257–58, 265, 492–93, 591–92, 709, 793n.21, 804n.23, 806n.37; misconceptions about, 1–2, 16–17, 71, 773n.18, 776n.9; mystique of, 219, 798n.39; new developments in, 488–91, 500–501; politics and, 464; popular music and, 65; as rebellion, 33; religious conversion experiences and, 31–33; resistance to, 773n.18; sacred music and, 68–69, 776n.14; scholarly literature on, 3–4, 13–14; sources of, 487–89; as way of life, 485–88, 492–95, 498–503. See also Improvisation; Metaphors; Storytelling, improvisation as
Jazz blues, 76–80, 85–86
Jazz community, 35–37, 40, 54–55, 59, 111–12, 115, 121–22, 144, 159, 167, 274, 277, 279–82, 424, 440, 471, 486, 488, 499, 503–4, 772n.1; evaluation and, 86, 262, 268, 281–83; international community, 36, 56, 432, 441, 454, 457, 490–91, 503
Jazz Cultural Theater, 57
Jazz education, 55–57, 773n.18. See also Learning methods
Jazz festivals, 432, 452, 454, 502
“Jazz Freedom Dance,” 90
Jazz literature: aural/oral literature, 11, 58, 102–5, 129–30, 138, 195–96, 205, 249, 254, 487, 493, 498, 786n.15, 796n.12; scholarly, 3–4, 13–14, 794n.2, 795n.4; trade magazines, 37, 99. See also Down Beat; Metronome; Musical quotations; Recordings, learning from; Research methodology
Jazmatazz, 500
Jazz Messengers, 65, 124, 297, 300, 301, 303, 314, 315, 375, 385, 438
Jazzmobile, 57
Jazz Showcase, 48, 64, 336, 375, 380, 384, 453, 472
Jazz standards. See Repertory; Standards
Jazz tradition, 50, 55, 93, 138, 488–91, 497–98, 503–4; audience and, 467; bands and, 446; compositions and, 204, 343; the group and, 291–92, 312–14, 329–30, 332, 340–41, 347, 420; the soloist and, 97, 99, 121–24, 196, 249, 258, 273–81, 770n.16, 796n.10. See also Idioms (jazz)
Jazz vocabulary, 95, 102–5, 126, 142, 145, 159, 171, 173, 180, 185–89, 206, 221, 238–40,, 249, 251, 254, 273, 318, 320–24, 327–28, 330–31, 333–37, 339, 356, 620, 627, 782n.12, 782nn.13, 14, 16, 17, 799n.4, 801n.19; application of, 199, 218–19, 227–30, 232, 234, 251–63, 269, 328–29, 364, 369, 400, 459, 796n.1O, 799n.4, 800nn.5–7; as generational emblem, 278; increasing mastery over instruments and, 110–17, 187, 784nn.30, 32; jazz idioms and, 278–79, 339; learning of, 101–2, 104–7, 115–16, 138, 781n.11, 782n.12, 783n.20; limitations of, 263, 400; musical functions and, 227–30, 213, 238–40, 493, 799n.4, 800n.6; outside influences on, 118; transformation of, 138–44, 240, 796n.10
Jefferson, Eddie, 40, 45, 95, 141
Johnson, J. J., 26, 39, 73, 115, 140, 231, 291
Johnson, George, Jr., 23, 32, 40, 45–46, 95, 99–101, 121, 141; musical development of, 23, 32
Johnson, James P., 124, 132, 796n.12, 808n.19
Johnson, Pete, 132
Johnson, Walter, 325–26
Johnson-Laird, Philip N., 13, 795n.4
Jones, Elvin, 124, 134, 135, 139, 153, 332, 337, 338, 342, 347, 376, 391, 423, 446, 620, 622, 625
Jones, Hank, 123, 369
Jones, Jo, 253, 326
Jones, Jonah, 111
Jones, LeRoi. See Baraka, Amiri
Jones, “Philly” Joe, 108, 124, 129, 138, 141, 330, 331, 342, 364, 384–85, 619, 665, 809n.29, 813n.8, 814n.25
Jones, Quincy, 231, 445, 781n.9
Jones, Sam, 364–65, 367, 428–29
Jones, Thad, 98, 262
Joplin, Scott, 132
Jordan, Clifford, 278, 375, 462–63
Jukeboxes, 23, 76
“Jumpin’ with Symphony Sid,” 70
Jump music, 24
“Just Friends,” 380
Kay, Connie, 330, 791n.6
Keil, Charles, 4
Kelly, Wynton, 315
Keppard, Freddie, 55, 105, 783n.20, 785n.2
Kernfeld, Barry Dean, 13, 806n.45, 823n.12
Kerschbaumer, Franz, 802n.26, 867
Kersey, Kenny, 133–34
Key transposition. See Transposition
Kicks, 325–327, 385, 388. See also Accentuation; Bombs; Punches
Kime, Warren, 70–71, 269
Kinetic representations of music, 28, 72, 92–93, 110, 113, 151–55, 159, 164, 179, 200, 206, 220, 788n.10, 793n.13. See also Body, improvisation and
King, B. B., 34, 127
“King Porter Stomp,” 268
Kirk, Rashaan Roland, 136, 196, 257, 278, 487, 814n.18
Kirkwood, Kenny, 781n.9
Knepper, Jimmy, 801n.13
Koch, Lawrence, 132–34, 334–35, 786n.22, 811n.24
Kokie, 38
“Ko Ko,” 66
Konitz, Lee, 46–47, 58, 63–64, 67, 69–70, 144, 152, 161, 173, 180, 193, 221, 226, 227, 246, 248, 264, 269–70, 281,
309, 338, 340, 359, 362, 363, 365, 379, 389, 411, 423–24, 433, 436, 458, 470, 474, 482, 495, 500, 773n.7, 777n.17, 782n.17, 789n.16
Koo, Nimo, 490
Krupa, Gene, 134, 325, 786n.29
Kubik, Gerhard, 803n.8
Kuhn, Steve, 125, 320
Ladnier, Tommy, 151
“Lady Bird,” 239
LaFaro, Scott, 131, 139, 319, 408
Land, Harold, 91, 160, 294, 297, 301, 302, 312, 361
Lang, Eddie, 772n.9
Langdon, Greg, 52, 75, 163, 164, 178, 220, 262, 360
Language: analogy with jazz, 21, 33, 117, 142–43, 154, 157–58, 184, 255, 492–94, 794n.1, 804n.23, 806n.37, 816n.1; conversation in jazz, 172, 192, 195, 338, 348, 354–55, 361, 800n.5, 816n.2, 824n.14; influence of on music, 68–69, 91, 107, 228, 257–58, 591–92, 709, 776n.14, 804n.14;jazz performance as, 246, 248, 262, 265–67, 398, 400–401, 435–36; jazz vocabulary, 95–96, 102–3; lyrics and music, 99–101; musical punctuation in group interplay as, 299, 326, 344, 352. See also Ideas; Musical quotations, sending messages through; Musical logic; Storytelling
La Roca, Pete, 337
“Last Time I Saw Paris, The.” 176
Lateef, Yusef, 140, 313, 385–86, 490–91
Latin American music, 94, 204, 224–25, 233, 254, 292, 297–98, 324, 344, 444, 490–91, 500
Lawrence, Baby, 139, 788n.11
Laying out, 299, 311, 338, 341, 366, 373, 375–76, 382, 385–86, 404, 422, 427, 435
Lead sheets, 64, 74–75, 82, 171, 356
Leaming methods, 16, 27, 144–45, 770n.16; apprenticeships, 38, 39–41, 143; bands, 49–50, 65, 81–82, 320, 329–30, 442–46, 818n.14; churches, 23–25; formal training, 117–18, 149–50, 174, 784n.36; other artists, 37, 136, 249, 290–91, 303;performances and demonstrations, 37, 44–46, 73, 81, 83, 89, 93–94, 99, 107–11, 189, 227, 282–83, 320, 333, 350, 783nn.23, 25, 791n.4; recordings, 58, 64–65, 95–97, 101–2, 104–7, 123, 158, 166, 170, 173, 177, 188, 199, 237–40, 289–90, 321, 330, 331, 350, 387–88, 780nn.2, 3, 781n.11, 782n.12, 783n.20, 801nn.19, 25, 802nn.26, 28; relatives, 22, 27, 47; schools, 25–27, 37, 771n.3. See also Colleges; Conservatories; Developmental breakthroughs/revelations; Method books; Mentors; Playalong records; Schools; Technology Gazz practices and); Universities
Lenox School of Jazz, 56
Lent, James, 820n.23
Levy, Howard, 32, 89, 93, 223, 224, 247, 257, 352, 390
Lewis, John, 56, 73, 247–50, 359, 798n.35, 801n.13, 802n.31, 803n.6
Lewis, Mel, 423–24
Licks, 102, 104, 116, 196, 227–30, 254, 270, 782n.13, 799n.4, 800nn.5–7. See also Jazz vocabulary
Liebman, David, 56
“Like Someone in Love,” 300–301, 521
Lincoln, Abbey, 92
Lincoln University, 56
Lindsay, John, 130, 315
Linear concept, 134, 161, 184–85, 265, 327. See also Horizontal concept
Listening, 55, 92–94, 291, 362–63, 470. See also Ear, jazz and; Recordings, learning from; Scores, live performances as
Liston, Melba, 24–26, 28, 37–38, 46, 49, 58, 73, 96, 97, 109, 123, 149, 159, 207–8, 282, 290, 392, 432, 445, 470, 480, 822n.36;musical development of, 24, 25, 26, 28
Literacy. See Musical literacy
Little, Booker, 11, 44, 53, 91, 117, 126–29, 136, 191, 196, 233–34, 238–39, 265–66, 271, 297, 300–301, 308, 382–83, 439, 521, 591–92, 807n.46, 817n.2
“Little Sunflower.” 233, 399
Locked hands block chord approach, 133
Lofts, 43, 457
Logic. See Musical logic
Lomax, Alan, 4
Lord, Albert, 4
Loud/soft technique, 329–30, 442
Louis, Joe, 255
Love, jazz and, 31, 40–41, 45, 91, 100, 109, 256, 389, 393–95, 432, 438, 441, 452, 469, 487. See also Sensuality, jazz and
“Lover.” 159
“Lover Come Back to Me.” 78
“Love Supreme, A.” 195, 794n.3; album, 30, 804n.14
Lowery, Robert, 793n.19
Lunceford, Jimmie, 32, 313
Lundy, Carmen, 24–25, 66, 71–72, 83, 92, 103, 104, 125–26, 149, 152–53, 158, 266, 391–92, 459–62, 471, 794n.3
Lyricism, 201, 231, 234, 247–48, 266–67, 279, 367, 458
Lyrics, 40, 64, 66, 90, 99–101, 103, 125, 135, 171–72, 176, 196, 203–4, 255, 283, 293, 304, 308, 358, 360, 402–3, 438, 460–61, 463, 470, 473, 479, 502, 791n.7, 821n.32. See also Musical quotations; Singing; Vocalese
Macero, Teo, 481
Mack, Raymond w., 4, 770n.9
Major labels (recordings), 477–78, 483, 820n.24
Mallets, 298, 324, 343, 451
Mambos, 94
Mangelsdorff, Albert, 347
“Manteca,” 297
Manuals, jazz and instrument pedagogy. See Method books
Marches, 63, 148, 153, 294, 325
Marching bands, 23, 132
Mariano, Charlie, 250, 270, 494
“Marmaduke,” 78
Marsalis, Branford, 75
Marsalis, Ellis, 32, 246
Marsalis, Wynton, 2, 32–34, 41, 58, 59, 63, 75, 95, 98, 99, 162, 164, 224, 246, 247, 254, 262, 266, 353, 361, 401, 404, 407, 411–12, 418, 435, 452, 788n.10; musical development of, 32–34
Marsh, Warne, 436
Martino, Pat, 33
Master classes. See Hanging out; Study sessions; Workshops
Maxwell, Jim, 216
McCrae, Carmen, 139
McIntyre, Ken, 147, 156, 174–75, 263
McKinney, John, 4
McLaughlin, John, 34, 116, 386, 490, 822n.41
McLean, Jackie, 38, 375, 377
McNeil, John, 47, 66, 108, 114, 116, 123, 127, 136, 182, 189, 206, 218, 233, 251, 254, 263, 268, 271, 272, 293, 302, 304, 360, 371, 380, 396, 398–99, 403, 405, 408–9, 418–20, 440
McPartland, Jimmy, 290, 781n.10
McPherson, Charles, 47, 167, 290
McShann, Jay, 280, 820n.26
“Meandering,” 70
“Mean to Me,” 295
Medleys, 295
Melodic pedal, 197
Melody, 146; arrangements and, 293, 298–99, 301–3, 313; audience and, 467–69; components of solos and, 112, 116, 184, 189, 224–30, 237–42; compositions and, 28, 63–71, 88, 91, 93, 104; complete jazz solos and, 95, 97–101; drum solos and, 134–35; evaluation of, 182, 247–50, 803n.6; group interplay and, 316–24, 355, 357, 359–60, 368–70, 374, 384, 390, 401; musical personality traits and, 128, 142–43, 162; playing off of, 171–73, 176–77, 225–26, 231, 791nn.6–7, 806n.38; transforming solo melody components, 187, 191–201, 371, 672, 674. See also Chorus designs; Composition, improvisation as; Form (melodic); Group interplay; Jazz vocabulary; Storytelling, improvisation as
Melrose Brothers Music Company, 97, 775n.4
“Memo: To Maurice,” 196
Memory, 72, 75–76, 93, 96, 110–14, 141–42, 163–64, 185, 194–96, 199–200, 214–15, 227, 230, 237, 245, 269, 283, 294, 301–4, 308–9, 312, 479, 502, 815n.32. See also Imitating ideas; Mnemonics; Trading phrases
Mentors, 26–27, 31, 38–39, 50, 89, 93, 96, 101–3, 109–10, 114–15, 142, 184, 199–200, 202, 215, 224, 227, 232, 246–47, 259, 331–32, 335–36, 446, 462, 782n.17, 805n.27; idolatry and, 40, 772n.2. See also Apprenticeships; Learning methods; Musical personality, models and
Merriam, Alan P., 4, 770n.9
Metaphors for aspects of improvisation: clothing styles, 174; cuisine, 174, 453; a cushion, 358, 363, 389; a dance, 110, 179, 191, 217, 318, 332, 367, 389; foundation building, 330–31, 368; educational institutions, 36, 49–50; a game of chess, 201, 224, 234; a journey, 92–93, 129, 163–64, 178–79, 348–49, 351, 358, 362, 374, 409, 444, 498; landing an airplane, 214, 378; a language, 33, 184, 192, 246, 248, 253, 262, 265, 299, 326, 348, 352, 354–55, 361, 365, 367, 369, 379, 389–90, 400–401, 403, 435–36, 492–94, 497–98, 806n.37, 824n.14; like love, 31, 389, 393–94, 414–15, 469, 816n.l; marriage, 349; preparing for acting, 231; painting, 127, 160–61, 387; s
inging, 171, 180–81, 792n.16; sports activity, 178, 262–63, 355, 389, 396, 403, 418, 434; toys, 184, 260; tape recorders, 427; types of conversations, 497–98, 816n.2
Metcalf, Louis, 339
Metheny, Pat, 445
Method books, 35, 73, 108, 129, 149–50, 159, 167, 169, 182, 246, 264, 280, 290, 321, 778n.22, 790n.34, 792n.17, 807n.2, 810n.7, 813n.3
Metronome, 151–52, 245, 350, 396
Metronome, 98, 350
Microtonal inflections. See Blue notes; Pitch inflections
“Miles Ahead,” 238
Miley, Bubber, 781n.9
Military, jazz and, 36, 47
Mime, use by improvisers, 108–9, 178, 257, 312, 350, 388, 816n.5
Mingus, Charles, 52–53, 68, 136, 150–51, 246, 257, 271, 301–2, 312, 316, 339–40, 361, 377, 408, 464, 503, 808n.15
“Minor Sweet,” 238–39
Minstrelsy, 460, 820n.23
Minton’s Playhouse, 43, 471
Mitchell, Blue, 261
Mitchell, Red, 362
Mnemonics, 28, 66, 72, 110, 163–64
“Moanin’.” 297, 307, 377, 385
Mobley, Hank, 375
Modal jazz, 90–91, 133, 204, 224–25, 228, 233, 270, 275, 276, 278–80, 311, 331, 334, 339, 344, 430, 436, 442, 588–89, 689, 799n.2
Modern Jazz Drumming, 813n.3
Modem Jazz Quartet, 342
“Mohawk.” 238
Moncur,Grachan, 159, 198
Monk, Thelonious, 10, 49, 66, 88, 91, 123, 125, 162, 308, 334, 335, 339, 426, 796n.7, 819n.18
Monroe’s Uptown House, 43
Monson, Ingrid T., 13, 810n.17, 812n.1, 814n.18, 824n.14
Montgomery, Wes, 142, 236, 490
Mood. See Emotion
“Mood Indigo,” 231
Moody, James, 25–26, 46–49, 104, 115, 174, 175, 223, 225, 277, 384, 400, 403, 407–8, 456, 462
Moore, Phil, 133
Morgan, Jeff, 117
Morgan, Lee, 126–29, 136, 204, 239–40, 247, 274, 297, 303, 310, 385, 521, 669
Morton, Jelly Roll, 4, 55, 132, 151, 296, 300, 305, 312, 346, 466, 489–90, 773n.16, 808n.19, 817n.1
Mosaic, 301
Moses, Bob, 390–91
Motion, 423
Motivic development, 134, 142, 193–97, 213–15, 227, 229, 231, 236, 239, 263–64, 266, 270, 318, 328, 355, 357, 363–64, 366, 369, 373–74, 383, 468, 646, 669, 794nn.2–3, 795n.5, 796n.7, 800n.12, 801n.13, 814nn.20, 22
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