Thinking in Jazz

by Berliner, Paul F.

  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