jazz_songs2 - 1926 Stampede by Fletcher Henderson One of...

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1926: Stampede by Fletcher Henderson One of the top bands in NY at this time Arranger – Benny Goodman used some of his arrangements Not arranged by Fletcher Henderson Arranged by Don Redman o Known for big band arranging o More straight forward arranging (b/c this was more of a dance band) o Different section: melody section, solo – with some background Fletcher Henderson playing piano Coleman Hawkins – saxophone solo o Uses uncommon techniques, Had a specific sound o Solo becomes a test piece that other musicians would study Impressionistic harmony; exotic scales Section written for clarinet trio 1927: Creole Love Call by Duke Ellington Jungle style: expressing a certain feeling/idea/mood with piece Adelaide Hall emulating trumpet sound with voice First recorded example of Wordless Vocal (Adelaide Hall) Bubber Miley on trumpet, emulating New Orleans style 1927: East St. Louis Toodle-Oo by Duke Ellington and his Kentucky Club Orch. Jungle Style ; dark and brooding; growls as trumpet w/ plunger Bass is bowed as opposed to plucked to get a dark color; Bubber Miley on trumpet (solo written specifically for him) Wrote for personalities in the band and for player’s strengths Breaks in play 1927: Singing' the Blues by Frankie Trumbauer and his Orchestra Rec. 2/4/27. Frankie Trumbauer (C melody sax); Bix Beiderbecke (c); Bill Rank (tb); Jimmy Dorsey (cl, as); Paul Mertz (p); Eddie Lang (g); Chauncey Morehouse (d). Soloists: Trumbauer, Beiderbecke; Dorsey (cl). Tempo, Meter/Feel ; Form. 4-part period form ABCD. Also called a "Song form." 0:00 Intro. Intro begins as a harmonized 4-bar phrase punctuated by a choked cymbal. 0:06 period A. Trumbauer begins improvising on the harmonies of the tune without stating the melody. Note the almost complete absence of drums except for choked cymbals, which gives the music a transparent quality. Trumbauer makes use of a few blue notes at strategic points in the solo. 0:20 period B. 0:30 2-bar break. Played by Trumbauer. 0:34 period C. 0:48 period D. 0:58 2-bar break. Trumbauer finishes his idea a little early. 1:02 period A. Bix begins his solo with pickups at the very end of the Trumbauer solo during the 2-bar break.
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1:17 period B 1:27 Bix plays his 2-bar break. 1:31 period C. The most expressive and dramatic moment in Bix's solo is this upward "rip" played at the start of this period. 1:45 period D. 1:59 period A. Collective improvisation by the full ensemble. The melody is played for a few moments at the beginning of this chorus by Trumbauer. Bix plays fills in the manner of a clarinet player instead of taking the lead. This is unusual for ensemble playing during this period but may be due to the fact that the band was lead by Trumbauer, not Bix. 2:14 period B Jimmy Dorsey, the clarinetist, takes over for an abbreviated solo. He has a dark, mellow sound. This solo is very cool and reflective in style -- probably an influence from Bix.
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