Unit 12: Early American Jazz

Early New Orleans Jazz

New Orleans Jazz

Church Music Group

At the end of the nineteenth century in America, folk music could be found in every state and territory. Yet it was in New Orleans that a new blend of folk music, work chants, spirituals (that is, church music), marches, and even European classical music, blended together in the form known as jazz. A defining mark of this early New Orleans jazz was an ensemble of musicians improvising their notes in changing chords around a specific melodic line. This "improvising together" within the constraints of an agreed upon melody requires a highly developed musical sense and also a familiarity with the musical thinking of one's companions. It is a community effort with a high degree of individualism.

Jazz trumpet

The "front line" of the ensemble included a cornet (or trumpet), a clarinet, and a trombone. The trumpet with its incisive brassy blare usually announced the melody, or some variation of it. The shrill clarinet wove a contrasting musical theme that complemented the trumpet. The trombone contributed long, gliding, full bodied sounds of the bass giving strength and body to the music.

Jazz Music Speaks to All People

The percussion section was behind the front line, and set the rhythm. Early jazz was also identified by its polyrhythmic structure, a clear contribution from the complex drumming of West Africa brought over to America by black slaves. Various instruments will frequently shade the beat slightly, either playing a note a little early, or hesitating and playing it a little late. This, along with other rhythmic techniques, causes the phenomenon known as "swing". Much of the appeal of jazz comes from these complex rhythmic devices. People from all cultures sway back and forth, or tap their feet, or clap their hands in time with jazz. It has a universal effect; it speaks to everyone.

If the band was marching while playing the music, then there were several drummers, some with small snare drums and others with large bass drums. If, on the other hand, the band was performing on a stage to provide music for social dancing, or to liven up a picnic or other social occasion, then one person had an assortment of drums in front of him, on which he played selectively. Percussion instruments also included the cymbal, bells, hollow wooden blocks, chimes, and so forth. The musical surprise evoked by the sudden intrusion of a "nonmusical" sound adds considerably to the humor of the music. Drums did more than merely establish the beat, the timing for the beginning and end of a bar of music. They also contributed to the "texture" of the sound of the ensemble. The famous drummer "Baby" Dodds explained and illustrated his techniques for drumming in a solo interview for the Library of Congress. One can almost hear the melody from his drumming alone.

Jazz Drummer	Baby Dodds

Another percussion instrument was the banjo, a common folk music instrument. The chords strummed on this instrument provided a general background for the other instruments as well as serving the rhythm section. Guitars were also found with, or instead of, a banjo. When the band was seated during a performance, it was frequently joined by a piano and sometimes a bass violin (fiddle), which was slapped or plucked as often as it was bowed.

Jazz Banjo	Jazz Guitar
Jazz

Jazz bands played dance music as well as marches and ragtime music.

Jazz Band

Ragtime Music

(Ragtime is apparently a contraction of “ragged time” where the timing of the music would change.) They also played “cakewalks”, a type of strutting dance, and blues, derived from a blend of field chantey and spiritual—a form of hymn singing prevalent in African-American Christian

African American Church

An African American Blues Singer

churches. The tradition of the vocal ballad, usually accompanied by a guitar, also contributed to the blues form. The music of the blues has a peculiar, poignant sadness, which is mainly the effect of a flattened seventh note in the scale. Furthermore, the lyrics of many blues pieces are sardonic, filled with wry, self-deprecating humor.

Chamber Music

One other major source of this distinctively American type of music is European classical music: operas, chamber music, and formal dances such as the quadrille. It should be noted that in the late Nineteenth century, New Orleans had three opera companies. Many early jazz musicians were trained in classical music. Still, many others were self-taught or apprenticed themselves to accomplished players. Thus, many early jazz musicians could not read written scores. In addition to this informal learning, there was a considerable amount of formal musical instruction in the schools and orphanages in the South.

Music was an important ingredient in the lives of Americans, black or white, at the end of the nineteenth century. From formal concerts and balls, where formal dances occurred, to weddings, funerals, and holiday fairs, music was an important part of everyone's life. At that time, in African American communities (mostly in southern states), music was a means of expressing joy, of taking small pleasures, within a broader context of repression and confinement. The attitude can best be described as admitting life was difficult at times, but it is brief, and much joy can still be had. The traditional New Orleans funeral exemplifies this thinking: a slow, mournful dirge to the interment, and then a joyful, sprightly march back to the place where food and drink was set out for the mourners.

A Sleighride	Jazz at a Funeral

Jazz for Fun

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