Download Creating Jazz Counterpoint: New Orleans, Barbershop Harmony, by Vic Hobson PDF

By Vic Hobson

The booklet Jazzmen (1939) claimed New Orleans because the birthplace of jazz and brought the legend of blood brother Bolden because the “First guy of Jazz.” a lot of the data that the ebook depended on got here from a hugely arguable resource: Bunk Johnson. He claimed to have performed with Bolden and that jointly that they had pioneered jazz.

Johnson made many recordings conversing approximately and taking part in the tune of the Bolden period. those recordings were handled with skepticism due to doubts approximately Johnson’s credibility. utilizing oral histories, the Jazzmen interview notes, and unpublished archive fabric, this booklet confirms that Bunk Johnson did play with Bolden. This affirmation, in flip, has profound implications for Johnson’s recorded legacy in describing the track of the early years of recent Orleans jazz.

New Orleans jazz was once assorted from ragtime in a couple of methods. It used to be a song that used to be jointly improvised, and it carried a brand new tonality―the tonality of the blues. How early jazz musicians improvised jointly and the way the blues turned part of jazz has previously been a secret. a part of the explanation New Orleans jazz constructed because it did is that each one the well known jazz pioneers, together with blood brother Bolden, Bunk Johnson, Louis Armstrong, Sidney Bechet, Johnny Dodds, and child Ory, sang in barbershop (or barroom) quartets. This ebook describes in either old and musical phrases how the practices of quartet making a song have been switched over to the tools of a jazz band, and the way this, in flip, produced jointly improvised, blues-inflected jazz, that special sound of latest Orleans.

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Additional info for Creating Jazz Counterpoint: New Orleans, Barbershop Harmony, and the Blues

Sample text

Whichever is the case, he began playing some years after Bunk Johnson had already begun to develop a reputation 44 Just Bunk? as a cornet player, which was why Oliver listened to him play and may even have taken lessons from him. ”71 Even if we accept that Johnson was born December 1884 and Oliver December 1885, Johnson would have been just a year older than Joe Oliver, but in terms of musical development he was several years ahead. The question of when Bunk Johnson was born has particular significance because of his claim to have played with Buddy Bolden.

After Kenchen died, he said, the band was taken over by the cornet player George McCullen [sic]. ”67 He went on to say that then he and the drummer Walter Brundy (b. 1883)68 would visit Joe Oliver at “Second and Magazine where Joe was working, and I used to teach Joe there. I used to help Joe. ”69 Joe Oliver and Stella were married “four or five years” after they first met. This would suggest they met around 1906. ”70 She said, “I was young and he was young. Joe’s only two years older than me,” and that he was not a musician before she met him.

Renewed EDWIN H. MORRIS & COMPANY, A Division of MPL Music Publishing, Inc. All Rights Reserved. Reprinted with Permission of Hal Leonard Corporation. The chord of A-diminished-seventh contains two notes that are not in the key of E b-major (G b and A-natural) and these notes, therefore, have accidentals. One of these, the G b, is the minor third of the key. This is the hallmark of blues tonality. In composed blues, it is common for melodies (and the harmony) to contain both major and minor thirds.

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