Mulligan, Gerry, 444–45, 782n.13
Multiphonics, 126, 278
Multiple percussion, 324, 346
Murray, Albert, 800n.5, 819n.16
Murray, Sunny, 135
Musical conflict. See Conflict resolution
Musical conversation, 117, 178, 188, 192–94, 199–200, 257–58, 335, 341, 348, 354–55, 358–63, 379, 389–91, 400, 434, 468–69, 497–98, 586, 589, 627, 665, 709–10, 730, 795n.5, 816n.2, 819n.11, 824n.14; conflict resolution and, 426–27, 435–36, 817n.2; tasteful, 406–9, 425. See also Accompaniment; Call and response patterns; Group interplay
Musical errors, 269; musical saves and, 379–83; recordings and, 474, 476
Musical families, 22, 24, 32, 40–41, 47, 73, 76, 319–20
Musical games, 78, 125, 149, 459
Musical jokes, 257–58, 368, 378, 391, 805n.26, 814n.18, 816n.5
Musical literacy, 27–28, 64–65, 111–12, 258, 283–84, 304, 340, 773n.18, 775n.5
Musical logic, 6, 145, 192–94, 197–99, 207–9, 214, 218, 220, 224, 228, 243, 258, 262–63, 294, 335, 375, 390, 401, 481, 797n.20, 798n.31, 815n.26
Musical personality, 2, 59, 121–22, 124–35, 204, 229, 272–76, 283, 357, 420–21, 430–31, 445–46; arrangements and, 436–37, 439, 462; bassists as accompanists and, 315–16, 322, 419; drummers as accompanists and, 325–27, 329, 331–32, 342–43; fusion/transformation and, 138–42, 787nn.36, 37, 39; idioms, 278–81; incompatibilities, 395–99, 401–3, 438–39; instruments and, 130–35; invention and, 103–4, 142–45, 291, 787n.41; models and, 124–30, 135–38, 343, 785n.10, 786n.15, 787nn.36–37, 39; pianist accompanists and, 334–36, 343–45; record companies and, 482–83, 822n.40; re–creation of styles, 136, 138, 343, 781n.11, 812n.36; repertory, 203, 226, 283, 434–36, 438, 440. See also Group interplay, interpreting ideas; Instrumental techniques, idosyncratic; Stage Presence
Musical quotations: entire solos, 98–99, 781n.9; fragments of arrangements, 102–3, 782n.15; fragments of songs and solos, 103–4, 129–30, 134, 168, 172–73, 184, 193, 195, 219, 222, 235, 237–38, 252, 258, 283, 331–32, 368–69, 459, 467–68, 786n.15, 796n.12, 805n.26, 814n.1; recreation of other artists’ styles, 136, 138; sending messages through quotations, 176, 257–58, 233, 312, 380, 391, 427, 469, 819n.11
Musical roles, instruments and, 294–96, 299, 314–15, 323–24, 328, 334, 346–47, 354, 375–76, 405, 422, 442. See also Bass performance; Drum set performance; Jazz vocabulary, musical functions and; Piano performance
Musical saves, 209–16, 273, 379–82, 382–83, 497, 798n.35, 815nn.34, 36, 816n.2
Musical surprises, 217–19, 272, 300, 329, 374–83, 494. See also Musical saves
Musical theater, 46, 49, 63, 86, 398, 488, 775n.3
Music directors, 290, 311, 417
Music Educators National Conference, 56
Musicianship, 22, 31, 45, 47, 54, 284, 291, 315. See also Evaluation (group interplay); Evaluation (soloing ability)
Music Minus One, 177, 350, 813n.3
Music ownership, 40, 101, 105, 121, 254, 437, 475, 477–78, 481, 783n.20, 785n.2, 817n.5, 819n.18, 820n.23, 821n.33.
Music publishers, 97–98, 477–78, 775n.4
Music representation, interplay among different forms of, 27–28, 175–76, 206–8, 784n.32. See also Aural representations of music; Dreams; Kinetic representations of music; Music theory; Notation; Tablature representations of music; Visual representations of music
Music theory and analysis, 28, 38, 51, 66, 72–79, 92, 104–5, 109–10, 113–14, 118, 128–29, 146, 152, 159–69, 171, 174–75, 177, 179–83, 185, 197, 207–8, 220–21, 225, 228, 247, 251, 263, 278, 486, 778n.23, 784n.30, 789n.21, 793n.19; aural ideas and, 167–69, 248–49, 252; the body and, 169, 234–36; evaluation and, 251–52; limits of applications, 180–83, 248–50, 252, 770n.16, 792n.17; role of piano in learning, 73, 778n.21. See also Harmony; Method books
Mutes, 69, 108, 257, 297, 306–7, 346, 776nn.8, 14, 824n.14
“My Favorite Things,” 294, 295, 308–9, 482
“My Funny Valentine,” 136
Mystical experiences, jazz and, 31–32, 390–93, 413, 446, 470, 491–92, 498, 819n.13. See also Automaticity; Spirituality
“Namely You,” 398–99
Nance, Ray, 161, 281
“Nancy (with the Laughing Face),” 78
“Nardis,” 203, 204, 231, 434
National Jazz Educators Association, 56
National Jazz Ensemble, 394
Natural ornamentation, 70
Navarro, Fats, 122, 127, 239–40, 249, 258, 261, 284, 343, 368
Neighbor chords, 84
Nelson, Lows deLisle, 68
Nelson, Oliver, 163, 280
Nettl, Bruno, 4, 769n.2
Networking, 37, 43, 47, 49–50, 57, 122, 243, 281, 284, 424, 432, 440, 773n.4. See also Jazz community; Learning methods
Newborn, Phineous, 133
New England Conservatory of Music, 57
New Grove Dictionary of Jazz, The, 13
New Music Society, 42–43
New Orleans Center for Creative Arts, 41
New Orleans jazz, 24, 122, 129, 130, 132, 151, 170, 278, 291, 294, 315, 325, 444, 469, 803n.8, 806n.41
New Orleans Rhythm Kings, 290
Nicholas, Big Nick, 43
Nichols, Red, 109, 111
“Night and Day,” 174
Nightclubs, 23, 32, 42–44, 58, 73, 138, 191, 329, 343, 397, 411, 431–33, 452–55, 471; listening clubs, 43, 453, 457, 471; management of, 453–55, 818n.14
“Night in Tunisia, A,” 78, 381
“Night Train,” 65
Nistico, Sal, 394
Nonthematic formulations, 198–99, 229, 233, 797n.20
Noone, Jimmie, 183
Norvo, Red, 814n.20
Notation, 28, 38, 49, 64, 92, 97–98, 112–14, 158, 176, 227, 269, 271, 302; keys to drum, saxophone and trumpet notation, 513, 514. See also Lead sheets; Scores, written music as; Transcriptions; Visual representations
Nursery rhymes, 258
“Ode to Charlie Parker,” 91
“Old Folks,” 238
“Old Man River,” 195
“Oleo,” 70, 78, 87, 777n.17
Olitunji, Michael, 92
Oliver, Joe, 69, 99, 183, 240, 291, 312–13, 384, 594, 776n.14, 781n.9, 784n.30, 785n.2, 788n.1, 802n.28, 808n.17, 809n.35, 815n.27, 817n.1, 819n.18, 822n.37
Olivier, A1, 183
125 Jazz Breaks for Cornet, 97
Oral discourse, 9, 37
“Orchestral” piano, 132, 333–34
Orchestration, 290–91, 296–98, 304, 308, 313, 327–28, 346, 359, 459, 500. See also Arrangements; Chord voicings
Original Dixieland Jazz Band, 820n.23
Originality. See Creativity
“Ornithology,” 796n.12, 802n.26
Ostinato, 90, 132–34, 194, 208, 297, 328–29, 339, 344, 354–55, 501, 796n.6
Ousley, Harold, 27, 32, 53, 54, 87, 96, 97, 102, 104, 107, 113, 117, 126–29, 141, 161, 173, 174, 178–80, 189, 190, 194–97, 202, 205–6, 210, 213, 221, 224, 227–29, 239, 241, 251–52, 255, 258–60, 264, 270, 276–77, 349, 369, 389, 396, 412, 450
Out chorus, 295, 325
Outlining, as developmental technique, 188
“Outlaw, The,” 90–91
Outside playing, 129, 157, 198, 210, 225–26, 250, 319, 340, 360, 437, 589, 646, 690. See also Dissonance: Tension and release, harmonic
Overdubbing, 94, 473, 476
Overseas, 391
Owens, Thomas, 4, 794n.28, 799n.4, 801n.25
Ownership, of music. See Music ownership.
Page, Walter, 130, 133, 315
Paradiddles, 129
“Parisian Thoroughfare,” 487
Parker, Charlie “Bird,” 31, 34, 45, 70, 78, 99, 103, 122–25, 127–30, 143, 144, 161, 173, 174, 176, 183, 184, 213, 223, 226–27, 238, 239, 244, 246, 252, 255, 256, 260, 275, 280, 283, 291, 297, 382, 391, 418, 469, 488, 555, 781n.9, 782n.17, 783n.20, 786n.15, 789nn.18, 23, 793n.20, 796n.12, 799n.4, 801n.25, 802n.26, 805n.
26, 816n.8, 819n.11, 821nn.32, 33, 822nn.1, 41, 823n.9
Passing chords, 84, 321
Pate, Don, 23, 29–30, 32–33, 57, 58, 76, 208, 219, 253, 273, 297, 319–20, 342, 352, 366, 374, 379–80, 387, 391, 392, 395, 418, 429, 432, 444, 475; musical development of, 29, 30, 32, 33
Pate, Johnny, 32, 76
Patrick, James, 821n.32
Paying dues, 51–55, 269, 279, 773n.14, 819n.18
Payne, Cecil, 142
Pedal point technique, 132–33, 197, 317, 340, 361, 365, 380, 644
Pentatonic scales, 133, 162, 165, 228, 232
Percussion, 292, 324. See also Drum set performance; Hand drums
Perfect pitch, 71, 113, 445
Performance events. See Audiences; Drama, performance as; Performance venues; Repertory programs
Performance schools. See Idioms (jazz)
Performance venues, 23, 44, 46, 58, 325, 347, 449–50, 452, 455, 818n.2; acoustics and, 450–52; nightclubs, 452–55. See also Audiences; Recording studios
“Peri’s Scope,” 203
Perlman, Alan M., 794n.1, 796n.10, 818n.10
Persip, Charli, 23, 31, 64, 96, 153, 314, 324, 331, 349, 350, 396, 399–400, 409, 410, 413, 469
Pettiford, Oscar, 31, 131
Philly lick, 331, 815n.39
Photographs, 108
Phrase length, as feature of musical conception, 66–67, 95–96, 102, 116, 128, 154, 161, 172, 175, 186, 195, 198, 209, 212–13, 224, 228, 236, 239, 246, 250, 266–67, 303, 318, 327
Phrasing: African music and, 148; compositions and, 67, 69, 172, 231; evaluation and, 157, 254, 272, 280; group interplay and, 293, 297, 303, 314, 317, 319, 337, 358–60; lyrics and, 172, 791n.7; musical personality and, 127–28, 132, 135, 139, 204, 236–37, 244, 342; soloing and, 172, 176, 198, 239, 241, 246, 308, 789n.16, 803n.3; solo recreation and, 97, 109, 111, 245; templates for invention and, 142–43, 150, 154. See also Lyrics
Physical therapy, 118, 455
Pianists, 123, 131–34, 140, 275, 277, 281, 332–35
Piano performance: accommodating different situations, 421–22, 444–45; amplification, 397; arrangements and, 90, 296, 299–300, 306–7, 309–10, 312, 384–86, 808n.15; in different jazz idioms, 338–39; group inter-play and, 111, 390–91; group instrumentation and, 345–47, 811n.23; group stylistic fusions and, 340–41; individual stylists and, 343; instruments at performance venues and, 452, 454–55; interplay problems/ criticism and, 379–80, 382–83, 396–98, 402–6, 410, 422–26, 428–29, 435; interplay with soloists and, 360–68, 371–73, 375–78, 653–63, 808n.15, 812n.39; learning accompaniment conventions and, 332–36, 372, 508, 533–39, 629–36, 811n.23; learning, 22–23, 27, 30–31, 37, 46, 51–52, 58, 72, 75–76, 81–84, 86, 89–90, 96, 108–10, 114, 116–18, 123, 125, 139–40, 142–44, 170, 172, 190–91, 207, 217, 274; physicality and, 108, 114, 116–17, 191, 454–55, 461; repertory and, 344–45; rhytbm section improvisation and, 332–33, 353–57, 637, 639–49, 814n.25; solo performance conventions and, 123, 131–34, 150, 209, 546–47; stage presence and, 461; world music influences and, 344, 490–91. See also Bands; Groove; Group interplay; Rhythm section
“Picasso,” 292, 479
Pike, Alfred, 4, 798n.39
Piston, Walter, 73
Pitch clusters, 131, 133, 280, 334, 450
Pitch inflections, 67, 69, 97, 107, 112, 117, 126, 182, 187, 195, 198, 203–4, 231, 249, 252, 258, 266–67, 322, 491. See also Blue notes
Pitch modification, 186. See also Pitch substitution
Pitch substitution, 69, 187, 208–9, 240, 323
Pivoting, as transformational device, 165
Pizzicato (bass technique), 130, 141, 315
Playalong records, 170, 177, 188, 427, 813n.3; criticism of, 434. See also Music Minus One
Player pianos, 75, 108, 820n.23
Polychords, 160
Polyphon, 132, 293–94, 296, 300, 334
Polymeter, 148–49, 153–54, 156, 236, 245, 317, 332, 378, 407, 803n.3
Polyrhythm 135, 139, 153, 245, 328–29, 334, 337, 341, 347, 353, 355–56, 366, 378, 402, 406, 410, 412, 420, 423, 501
Poly time, 353
Polytonality, 279, 367
Pomeroy, Herb, 394
Pope, Odean, 787n.36
“Pop Goes the Weasel,” 98, 130
Popular music. See Commercial music
Porter, Lewis, 13, 794n.28, 799n.4, 800n.12, 804n.14
Potter, Tommy, 821n.32
Powell, Bud, 10, 38, 121, 123, 124, 133, 142–44, 421, 455, 783n.25
Powell, Richie, 439
Power relations. See Conflict resolution
Pozo, Chano, 292, 789n.20
Practice routines, 58, 115–18, 482, 494; arrangements and, 290, 293–99, 301–13, 342–45, 432; bass accompaniment and, 319–24, 350; changing styles/approaches, 273, 277–80; drum accompaniment and, 329–31, 350; group interplay, 350–51, 355–56, 360, 362, 364, 383–86, 422–25, 433–34, 493–95, 791nn.2, 4, 10; hanging out, 39–41, 51–52; learning harmony, 72, 74–76, 86–89, 93; learning licks, 116, 234; learning solos, 95–98, 101, 107–10, 115–18; original invention and, 142–43, 230, 271–72, 493–94; piano accompaniment and, 333; playing technique and, 50, 129–31, 260–61; rendering tunes, 66, 70–71, 230–31; rhythm and, 149–51, 154–58; solo improvisation and, 170–75, 177–78, 181, 185, 192–200, 202, 205, 213, 215–16, 224, 227–231, 234–35, 263–64, 269, 493–94, 498–99. See also Exercises; Experimentation; Jam sessions
“Preacher, The,” 203
Precomposition. See Improvisation, precomposition and
Pres. See Lester Young
Pressing, Jeff, 13, 784n.32, 794n.27
Press rolls, 129, 134, 254, 328–29, 331, 359, 367, 375, 377, 622, 624, 711, 712
“Pretty Girl Is Like a Melody, A,” 469
Private lessons, 57, 109, 117. See also Hanging out
Professionalism, 27, 48, 53, 57, 304, 370, 420, 437, 460, 488, 814n.21
Progressions. See Chord progressions
“Prophet, The,” 297
Prostitution, jazz and, 773n.18, 811n.23
“Psalm,” 804n.14
Pulsing (bass player’s technique), 316
Punches, 314, 326–27, 332, 355. See also Accentuation; Bombs; Kicks
Quartal harmony, 91, 334
“Quiet Please,” 91
Quotations. See Musical quotations
Racial views, 31
Racism, 33, 487, 773n.18, 822n.36
Radio, 23–24, 37, 57–58, 75, 170, 256, 277, 344, 350, 431, 488, 500, 771n.2, 791n.2
Ragtime, 108, 132–33, 325, 340, 778n.22, 786n.17, 820n.23
Ramey, Gene, 819n.11
Range: acquiring vocabulary and, 115, 117, 145; arrangements and, 90, 290, 294, 298, 301; group interplay and, 319, 334, 345, 354, 366, 370–71, 373, 376, 380, 405, 409, 424, 673, 675, 812n.39; musical personality and, 125, 135–36, 139–40; solo improvisation and, 106, 115, 117, 190–91, 195, 198, 207–9, 228, 233, 235–36, 260, 266–67, 272, 583, 796n.8; tune transposition and, 82
Ray, Ricardo, 94
Record companies, 46, 52, 105, 441, 476–77, 482–84, 820nn.24, 26, 822nn.40–41; Blue Note records, 476, 477; Contemporary Records, 477; Decca Records, 477, 820n.26; Dial Records, 821n.33, 822n.41; economics and, 431, 474–75, 479, 481–82, 822n.35; Impulse! Records, 477; Muse Records, 482; music ownership and, 477–78, 821nn.29, 32, 33; repertory and, 478–79, 817n.9, 820n.26, 821n.33, 822nn.35, 41; Riverside Records, 477; Savoy Records, 821n.33; Victor Records, 477. See also Recording studios
Record liner notes, 57
Recording industry, 40, 216, 431, 474
Recordings, 23–24, 29–30, 36–37, 40, 58, 71, 83, 86, 88, 136, 138, 362, 508, 775n.21, 777n.16; arrangements and, 474–75, 809n.35, 817n.1, 822n.35; learning from, 32, 64–65, 71–72, 93–102, 104–7, 109, 111, 114, 116, 122–25, 144–45, 147, 158, 166, 170, 173, 177, 188, 196, 199, 228, 237–41, 243, 252, 276, 281, 285, 289–90, 300–301, 303–4, 321, 330, 331, 350, 369–70, 382–83, 387–88, 391, 423–25, 482, 775n.21,
780nn.2–3, 781n.11, 782nn.12, 17, 783n.20, 787n.36, 801nn.19, 25, 802nn.26, 28; limitations of, 105–6, 296, 316, 355, 434, 822n.37
Recording sessions. See Record companies
Recording studios: economics and, 474–75, 479, 481–82, 822n.35; performance in, 105, 214–15, 261, 269, 280, 327, 421, 429, 434, 474–77, 479–81, 820n.22; technology of, 94, 216, 292, 473–76, 820n.23. See also Record companies
Record players, 23, 24, 57–58, 96, 508, 771n.2
“Red Cross,” 239
Red Hot Peppers, 312
Redman, Don, 161, 291
Reed, Ted, 149–50
Reed section, 22, 296, 306
Rehearsal bands, 98
Rehearsals, 53–54, 64, 71. See also Arrangements; Practice routines
Reid, Rufus, 43, 48, 64, 65, 72, 81, 91, 113–14, 160, 226, 252, 284, 293, 294, 297, 302, 304, 311, 319, 320, 336, 343, 344, 350–52, 361, 370–71, 375, 388, 390, 396, 403, 420, 424–25, 428, 440, 485, 503, 810n.7, 813n.3
Relaxation, improvisation and, 118, 181, 219, 267, 272, 389, 411–13, 422, 426, 456, 461, 466
Release, 76. See also Bridge
Remler, Emily, 33, 101, 115, 139, 142, 153, 162, 175–76, 182, 190, 202, 203, 207, 248, 266, 272, 334, 382, 389–91, 402, 503
Repertory, 27–29, 31, 42–43, 47–48, 50, 53–54, 63–64, 66–67, 70, 158, 289–90, 304–5, 374, 442, 488, 775n.3; audience and, 295, 463, 470–71, 458–59, 463, 465, 468, 482; characteristic phrases and, 102; evaluation and, 254–55, 279–80, 398–99, 434, 436, 478–79; experimentation and, 88–92, 93–94, 779nn.38–39; improvisation and, 170–71, 176–77, 184, 195–96, 203–5, 223–27, 230–35, 258; jazz idioms and, 279, 339, 344, 398; learners’ development and, 64–65, 73–76, 78–80, 226, 290–91; personal performance history and, 227, 414, 458–59; personal selection and, 203, 226, 283, 434–36, 438, 440, 478–79; precomposed solos and, 97–99, 240–41, 268–69; record companies and, 477–79, 812n.30, 817n.9, 820n.26, 821nn.32–33, 822nn.35, 41; rhythm section and, 343–45; solo conventions and, 230–33, 254–55, 259, 279–80, 343–45, 354–55, 398–99. See also Arrangements
Repertory programs, 295, 309, 374, 458–59, 815n.27
Repetition, 66, 190, 196, 206, 212, 215, 227, 237, 263–65, 268, 271, 302, 318, 327, 329, 355, 366, 586, 622, 627, 629, 679, 689, 806nn.39, 45, 819n.11
Thinking in Jazz Page 102