Jam Sessions and the transition to Bebop MUH 271

Jam Sessions Jazz was always a commercial/entertainment music At least until the 40s, jazz musicians did not think of themselves as “artists” early competitions: Competition between bands in New Orleans “Battle of the Bands” Competition between solo pianists Expectations of musicianship “jazz education” informal; oral tradition

Nat Hentoff on jazz musicians Jazz is not so casual a vocation as it has often been described. The standards of most of the professionals are demandingly high. To achieve their most basic satisfaction, jazzmen try to impress other musicians. Whether the audience or the critics have caught a clinker, the musician knows that his colleagues have, and usually he’s ashamed. The jazz man can be irresponsible in his personal life, but he generally retains considerable pride in keeping his music up to the level he’s set for it. The man who coasts too long may retain the admiration of the critics long after he’s lost the respect of other musicians. “He’s not blowing nothing” is one of the most damning judgments a musician can deliver on one of his contemporaries.

Jam sessions Could follow one another immediately “after hours” opportunities for jazz musicians to play together Recreation Education Competition Noteriety Kansas City A Kansas City “specialty” Divided into “classes” Horn players predominant focus; rhythm section often an accompaniment role Could follow one another immediately Could trade back and forth Could more easily appropriate and adapt musical ideas Jam sessions

Jam Sessions in New York Attending multiple sessions in an evening Union “walking delegates” - employed to fine musicians who were playing in public venues without a contract “sitting in”

Monroe’s Uptown House Located in Harlem near the Apollo, the Cotton Club, and the Savoy “a place where musicians of somewhat lesser talent or reputation could gain experience by sitting in with a small house band” Stayed open past 4:00 AM curfew Included noted big band players as regulars Charlie Parker participated regularly before being invited to Minton’s

Minton’s playhouse Birthplace of bebop Opened in 1938 by Henry Minton First black delegate to Musician’s Union Local 802 Minton’s somewhat protected from Union walking delegates due to connections Monday “Celebrity Night” jam sessions Regulars included both established jazz musicians and younger musicians who would establish bebop House band included Kenny Clarke and Thelonious Monk

Musical developments and Innovations Desire to cultivate and refine one’s ability Challenge self and others Faster tempos Alterations to harmonies, substitution of chords or sections of songs Calling standard songs in unfamiliar keys “eliminate the dead wood”

Audiences Stories differ on whether audiences were forbidden, tolerated, or encouraged Jam sessions considered the most pure form of jazz Public jam sessions “jam session” recordings The Bebop style grew out of the jam session format Small combos Emphasis on the solo Music for listening Instrumental acts exempt from the wartime cabaret tax (20-30%)