Thinking in Jazz

by Berliner, Paul F.

  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