A History of Jazz in America by Barry Ulanov

By Barry Ulanov

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C Jam Blues" is worth careful listening, to hear how ingeniously this seemingly empty pair of notes becomes a fresh, swinging blues. " If fully to the Ellington recording of "C Jam Blues," you you listen care- will hear a example of the walking bass i 234/1234/1234, over and over again, with brilliant chord or key changes to make room for the progression from tonic chord to subdominant to dominant, from C to F to G seventh over a series of scale-like phrases. Another very definitive effective bass for the blues is the rolling octave bass, of dotted eighths and sixteenths, syncopating up and which down consists octaves.

In 1914 Handy published his "St. Louis Blues" with its provocative Tangana rhythm, which is a kind of habanera or tango beat consisting of a dotted quarter, an eighth-note, and two quarter-notes. All of these the adroit balance of feeling and detachment in words and music, the formulation of a distinctive melodic line based on its own tonal concept, pliability as instrumental and vocal music show why the blues has been the most enduring and persuasive of jazz music that sixteen-bar reflects all of that.

Blues was the base of the early great recordings of Louis Arm- white America, York night The in showboats, in New clubs, the strong, whose trumpeting genius formed, in turn, the base for most of the hot jazz that came afterward. His early records are magnificent examples of the blues and the vitality of its composers and lyricists and performers. Unlettered, morally but not musically undisciplined, the wild musicians of Louis's, Kid Ory's, and King Oliver's bands created great jazz, great music "Gully out of the Blues," "Potato Head Blues" Low Blues," "Wild Man happy chaos of the New A HISTORY OF JAZZ 32 IN AMERICA Orleans Negro quarter before and during and after World War I.

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