WAYNE COMMUNITY COLLEGE MUS Introduction to Jazz Fall, Tuesday/Thursday 5:30 – 8:30 p.m. SJAFB Library Bldg. Instructor Information Instructor: Dr. Joseph Hodges Telephone Numbers: (252) (H) (252) Ext 2379 (O) Office Hours: 8-9:30 a.m. Address: FAX Number:(252)

PART 1. MUSICAL ORIENTATION Information form Use of

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Musical Elements – Melody – Rhythm – Harmony

Instruments Trumpet Trombone Piano Drums Saxophone Clarinet Flute Oboe Bassoon F-Horn Voice

2. Jazz Form and Improvisation PART 2. EARLY JAZZ ( ) 3. The Roots of Jazz Georgia Sea Island Singers, “The Buzzard Lope” Bessie Smith, “Reckless Blues” Wilbur Sweatman, “Down Home Rag” 4. New Orleans Original Dixieland Jazz Band, “Dixie Jass Band One-Step” Jelly Roll Morton, “Dead Man Blues” King Oliver, “Snake Rag” Red Onion Jazz Babies / Sidney Bechet, “Cake Walking Babies (from Home)”

PART 2. EARLY JAZZ ( ) 3. The Roots of Jazz Georgia Sea Island Singers, “The Buzzard Lope” Georgia Sea Island Singers, The Buzzard Lope” The Georgia Frankie Sullivan QuimbyFrankie Sullivan Quimby Sea Island Singers are a group of African Americans who travel the world to share the songs, stories, dances, games, and language of their Gullah heritage. Started sometime in the early 1900s and composed of many individuals over time, the current generation of singers includes Frankie Sullivan Quimby; her husband, Doug Quimby; and Tony Merrell. Together they have presented educational programs that testify about the history of enslaved Africans from coastal Georgia and celebrate the rich language, culture, and traditions that developed on and near the Sea Islands of the Georgia coast —in relative isolation from the rest of the South—for more than 200 years.Gullahenslaved AfricansSea IslandsGeorgia coast

PART 2. EARLY JAZZ ( ) 3. The Roots of Jazz Bessie Smith, “Reckless Blues”Reckless Blues”

PART 2. EARLY JAZZ ( ) 3. The Roots of Jazz Wilbur Sweatman, “Down Home Rag” Wilbur SweatmanDown Home Rag Wilbur C. Sweatman was born in Brunswick, MO, on February 7, His early training with his sister was on violin, but he later switched to clarinet. It has been suggested that Sweatman was largely self-taught, but that seems unlikely since he had a legitimate technique and would later direct orchestras, compose, and orchestrate music. Sweatman's early experience in the late 1890s was with circus bands. He soon afterward joined Mahara's Minstrels, where trumpeter Crickett Smith was also a member. In 1901, Sweatman led the Forepaugh and Sells Circus Band, being the youngest orchestra leader on the road found Sweatman in Minneapolis, where he organized an orchestra that featured some of the musicians from the circus band. About 1903 or 1904, Sweatman, while in Minneapolis, allegedly recorded at least one and maybe two cylinder records, "Maple Leaf Rag" and "Peaceful Henry," for the Metropolitan Music Store. Many experts have questioned this story, but jazz historian Len Kunstadt once reported having seen the shattered remains of a wax cylinder of "Peaceful Henry." Wilbur C. SweatmanSweatman Crickett SmithSweatman Len Kunstadt

PART 2. EARLY JAZZ ( ) 4. New Orleans Original Dixieland Jazz Band, “Dixie Jazz Band One-Step” Original Dixieland Jazz BandDixie Jazz Band One-Step” First called the Original Dixieland "Jass" Band in 1916/1917 and known as the ODJB. By the end of 1917, jass was replaced with the first introduction of jazz in recorded music and to the world. The Original Dixieland Jazz Band recorded all of the most popular and influential "Jazz" recordings from 1917 until April In August 1922 the New Orleans Rhythm Kings had hit recordings and in April 1923 King Oliver began his huge success. For over six years the ODJB recordings were heard around the world and hundreds, if not thousands, of future jazz musicians were influenced by their unique sound and original compositions.

PART 2. EARLY JAZZ ( ) 4. New Orleans Jelly Roll Morton, “Dead Man Blues” Jelly Roll MortonDead Man Blues Born on October 20, 1890 (some sources say 1885), in New Orleans, Louisiana, Jelly Roll Morton cut his teeth as a pianist in his hometown's bordellos. An early innovator in the jazz genre, he rose to fame as the leader of Jelly Roll Morton's Red Hot Peppers in the 1920s. A series of interviews for the Library of Congress rekindled interest in his music shortly before his death, on July 10, 1941, in Los Angeles, California. Morton learned to play piano at age 10, and within a few years he was playing in the red-light district bordellos, where he earned the nickname "Jelly Roll." Blending the styles of ragtime and minstrelsy with dance rhythms, he was at the forefront of a movement that would soon be known as "jazz."

PART 2. EARLY JAZZ ( ) 4. New Orleans King Oliver, “Snake Rag” King OliverSnake Rag Cornetist Joe Oliver blew the blues through brass, and helped bring bottom-up swing to New Orleans at the turn of the century. He played a key part in turning that city's band music into what we now call jazz. Like many early Louisiana musicians who came off the plantation, which Oliver almost certainly did, he had little formal musical education, nor did he show great musical promise in his youth. Yet the inchoate blasts of his cornet brought a new sound to the horn: a vocal quality, with his wa-was, growls, cries, and groans. Rock guitarists use electronics to achieve his effects - without ever knowing where they got the idea.

PART 2. EARLY JAZZ ( ) 4. New Orleans Red Onion Jazz Babies / Sidney Bechet, “Cake Walking Babies (from Home)”Cake Walking Babies (from Home)” The Red Onion Jazz Babies was an early supergroup of the Jazz Age. Among its members were Louis Armstrong, Sidney Bechet, Lil Hardin and others in the early 1920s. WikipediaWikipedia Active from: 1924 Active from Active until: 1925 Active until Albums: Louis Armstrong and King Oliver, Santa Claus Blues, The Way I Feel, Cake Walkin' Babies, Terrible Blues AlbumsLouis Armstrong and King OliverSanta Claus BluesThe Way I FeelCake Walkin' BabiesTerrible Blues