Jazz history timeline- music investigation blog

Timeline created by darcyjohnson
In Music
  • Scott Joplin

    Maple leaf rag The most famous and most influential of the Ragtime composers, to whose music America two-stepped, turkey-trotted, and cakewalked into the 20th century. Joplin composed "The Maple Leaf Rag" in 1899 and "The Entertainer" in 1902. Joplin regarded his compositions as classic American piano pieces, to be viewed in the same vein as Chopin’s piano music.
  • Ben Harney

    the cakewalk in the sky Ben Harney was the first musician ever recorded as a 'ragtime musician', though his orignial song 'circa' has no recordings, a song he wrote just after this has been added to give a feel for the style of music he composed.
  • Eubie Blake

    jazzin around Getting his start playing ragtime piano in vaudeville acts, Blake co-composed “Shuffle Along,” a 1921 musical revue that was the first Broadway hit composed by African Americans. Before this, he helped to experiment musically creating the bridge between ragtime and jazz
  • Jelly 'Roll' Morton

    finger roll A prolific performer and outspoken personality, Morton made many recordings and his music is regarded as a bridge between ragtime and early jazz.
  • Joseph Lamb

    bohemian rag Encouraged by his hero, Scott Joplin, Lamb had many of his rags published between 1908 and 1920. He was a member of the “Big Three” ragtime composers, which also included Joplin and James Scott.
  • James Scott

    frog legs rag A member of the “Big Three,” Scott published "Climax Rag," "Frog Legs Rag," and "Grace and Beauty" from Missouri, ragtime’s hub.
  • Nick LaRocca and The Original Dixieland Jazz Band

    Tiger Rag Cornetist and trumpeter LaRocca was the leader of the Original Dixieland Jass Band (later changed to the Original Dixieland Jazz Band), which made the first jazz recordings in 1917. The group consisted of drums, piano, trombone, cornet, and clarinet, and their first cut was called “Livery Stable Blues.”
  • MUSICAL DEVELOPEMENTS

    It wasn’t just in tone that the two differed. Young’s specialty was embellishing and creating melodies, while Hawkins became an expert at outlining chord changes by playing arpeggios. The convergence of these two approaches were integral in the development of bebop in later years.
  • James P Johnson

    caroline shout James P. Johnson’s 1921 recording of “Carolina Shout” bridged the gap between ragtime and more advanced jazz styles. In addition, big bands began to pop up throughout the city. Duke Ellington moved to New York in 1923, and four years later became the leader of the house band at the Cotton Club.
  • Joe King Oliver

    Buddy's Habits Best known as a bandleader, King Oliver was also Louis Armstrong’s teacher, and was responsible for launching Armstrong’s career by featuring him in his band. Oliver played with many of the great musicians of early jazz, including Jelly Roll Morton. He famously turned down a regular gig at New York’s Cotton Club in 1927 that was snatched up instead by Duke Ellington, and which subsequently helped Ellington
  • Sidney Bechet

    wild cat bluesSaxophonist Sidney Bechet’s virtuosity was documented as well, with his 1923 recording of “Wild Cat Blues” and “Kansas City Blues.”
  • Bulddy Bolden

    buddy Bolden's Blues Trumpeter Buddy Bolden is credited with bringing a loose, raw approach to instrumental jazz with his loud tone and emphasis on improvisation. He infused ragtime with the blues and black church music, and organized ensembles consisting of brass instruments and clarinets, changing the way jazz composers tended to orchestrate their music.
  • Jelly Roll Morton, again

    king porter stomp
    A prolific performer who began by playing in New Orleans brothels, Jelly Roll Morton combined ragtime with various other musical styles, including blues, minstrel show tunes, Hispanic music, and white popular songs. His virtuosity at the piano, and his mixture of composition and improvisation had a lasting effect on jazz performance.
  • Sidney Becket.

    summertime Bechet began playing the clarinet, but developed skill on a multitude of instruments. He is best known for his virtuosic playing on the soprano sax, on which he played lyrical melodies with a voice-like wide vibrato. He is considered the first great jazz saxophonist, and he was the major influence on later stars, especially Johnny Hodges. this song shows how a classic standard has been turned into an original piece.
  • Bix Beiderbecke

    In 1927, cornetist Bix Beiderbecke recorded “In a Mist” with C-melody saxophone player Frankie Trumbauer. Their refined and introspective approach contrasted with the gregarious New Orleans
  • Louis Armstrong

    potato head bluesbasin street blues With his unique lyrical approach to the trumpet, Armstrong changed the face of jazz, shifting the focus from collective improvisation to personal expression through soloing. He was also a singer with a distinctive voice, and had a knack for scat singing.
    See my blog for a profile of Louis Armstrong
  • Nina Simone

    My baby just cares for me Her musical style arose from a fusion of gospel and pop songs with classical music, in particular with influences from her first inspiration, Johann Sebastian Bach, and accompanied with her expressive jazz-like singing in her characteristic low tenor. music was inferior to class
  • Duke Elington

    take the 'a' train Fondly called "The Duke", his full name is Edward Kennedy Ellington, one of the leading jazz figures of the 20th century. He was a composer, bandleader and jazz pianist.
  • Charlie Christian

    STOMPIN' AT THE SAVOY http://www.youtube.com/watch?v=x52x5hjpD5k
    Christian was an important early performer on the electric guitar, and is cited as a key figure in the development of bebop and cool jazz. He gained national exposure as a member of the Benny Goodman Sextet and Orchestra from August 1939 to June 1941.
  • Charlie Parker

    all the things that you are Parker was a highly influential jazz soloist and a leading figure in the development of bebop[4], a form of jazz characterized by fast tempos, virtuosic technique, and improvisation. Parker introduced revolutionary harmonic ideas, including rapidly passing chords, new variants of altered chords, and chord substitutions. His tone ranged from clean and penetrating to sweet and somber.
  • theolonious monk

    Round MidnightPianist Thelonious Monk spent much of his career unappreciated, often dismissed for his unconventional personality and playing style. He grew up in Manhattan, and combined the stride piano style with the burgeoning bebop approach, creating a distinctly quirky and percussive approach. Critics and audiences were slow to warm up to Monk’s music, but today he is regarded as one of the most important musicians in jazz.
  • Dizee Gilespie

    bebopA night in tunesia The late 1930s and early 1940s proved to be the most important in Gillespie’s career. In 1939 he joined Cab Calloway’s group, which included the Cuban-born trumpeter Mario Bauzá, who taught Gillespie the basics of Afro-Cuban music and its relationship to jazz.
  • John Coltrane

    a moments notice John Coltrane began to immerse himself in the study of music theory at the Granoff School of Music in Philadelphia, Pennsylvania. However, his heroin addiction prevented him from being taken seriously as a performer. Despite this he was later known to be one of the pioneers of Bebop music
  • Moldy Fig

    In 1945, the term ‘moldy fig’ was coined to refer to swing musicians who were reluctant to accept that bebop was the new path of jazz development.
  • Dexter Gordon

    duelsIn 1947, tenor saxophonist Dexter Gordon achieved fame for recordings of “duels” with saxophonist Wardell Gray.
  • Charlie Parker quintet

    How High The Moonn 1945, a young Miles Davis moved to New York and became intrigued with Parker and the emerging bebop style. He studied at Juilliard, but had trouble earning respect among jazz musicians because of his unrefined sound. Soon he would work his way into Parker's quintet.
  • Billy holiday

    Ill be seeing you
    Billie Holiday died penniless after a short and tumultuous life. As singers go, she was not particularly virtuosic. In fact, her range was quite limited, and because of her use of heavy drugs, it was often weak and thin. However, when Holiday sang, she injected herself into her music, singing with such emotional clarity that today she is remembered as a jazz icon.
  • miles davis

    <a href='' >Miles Davis</a>
  • Massey Hall performance

    Massy Hall Performance Charles Mingus, Charlie Parker, Dizzy Gillespie, Max Roach, and Bud Powell recorded a 1953 concert at Massey Hall in Toronto. The album, The Quintet: Jazz at Massey Hall, became one of the most famous in jazz because it brought together the best musicians of bebop.
  • Charles Mingus

    moaning Mingus's compositions retained the hot and soulful feel of hard bop and drew heavily from black gospel music while sometimes drawing on elements of Third stream, free jazz, and classical music. Yet Mingus avoided categorization, forging his own brand of music that fused tradition with unique and unexplored realms of jazz.
    Mingus focused on collective improvisation, similar to the old New Orleans jazz parades.
  • Clifford Brown

    Embrace youIn 1954, 24-year-old Clifford Brown brought virtuosity and soul to his recordings with Art Blakey and Max Roach. His aversion to drugs and alcohol presented an alternative to the drug-addled bebop lifestyle.
  • Horris silver

    Pianist Horace Silver introduced bluesy, boisterous boogie-woogie piano figures into his bebop playing on his 1953 album Horace Silver Trio. The result came to be known as hard bop, and was a precursor to funk.
  • Charlie parker dies :(

    On March 12th, 1955, Charlie Parker died of drug-related illnesses. Bebop, mainly through hard bop and cool jazz, managed to stay alive.
  • David Brubeck

    Take 5His long-time musical partner, alto saxophonist Paul Desmond, wrote the Dave Brubeck Quartet's best remembered piece, "Take Five",[1] which is in 5/4 time and has endured as a jazz classic on one of the top-selling jazz albums,
  • MILES DAVIS RECORDS KIND OF BLUE

  • Lester Young

  • Mingus Ah Um

    Charles Mingus records this seminal jazz record
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    Folk blues

    Country blues (also folk blues, rural blues, backwoods blues, or downhome blues) is a general term that refers to all the acoustic, mainly guitar-driven forms of the blues. It often incorporated elements of rural gospel, ragtime, hillbilly, and dixieland jazz. After blues' birth in the southern United States, it quickly spread throughout the country (and elsewhere), giving birth to a host of regional styles.
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    Ragtime Jazz

    Structured in a way similar to the march, ragtime’s use of syncopation is largely what distinguished it. Its rhythms made it lively and springy, and therefore ideal for dancing. Its name is believed to be a contraction of the term “ragged time,” which refers to its rhythmically broken up melodies. Ragtime developed in African American communities throughout the southern parts of the Midwest, particularly Missouri. Bands would combine the structure of marches with black songs and dances.
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    Classic Jazz

    At the beginning of the 1900's, Jazz styles took the form of small-band music and its origin credited to New Orleans. This musical style is sometimes mistakenly referred to as "Dixieland" but is less solo-oriented. Though traditional New Orleans Jazz was performed by blacks, whites, and African-American creoles, "Dixieland" is a term for white performers revival of this style.
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    Focus Area

    My focus area for this subject is
    'The way that Jazz has progressed from 1920's to 1960, the other genres it has influenced, the reasons behind this progression and the way that improvisational styles of different Jazz artists have helped this progression."
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    great depression

    By 1930, the Great Depression had befallen the nation. 25 percent of the workforce was jobless, and up to 60 percent of African American men had no work. Cities became crowded with people searching for work after farms began to wither and rot. Black musicians were not allowed to do studio or radio work.
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    'Hot' Jazz

    Louis Armstrong recorded his first Hot Five records - the first time he recorded under his own name. The records made by Louis Armstrong's Hot Five and Hot Seven are considered to be absolute Jazz classics and speak of Armstrong's creative powers. The band never played live, but continued recording until 1928. </p><p class="pad">The music was characterized by collective improvised solos, around melodic structure, that ideally built up to an emotional and "hot" climax.
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    Kansas city style

    During the Depression and Prohibition eras, the Kansas City Jazz scene thrived as a mecca for the modern sounds of late 1920s and 30s. Characterized by soulful and blusey stylings of Big Band and small ensemble Swing, arrangements often showcased highly energetic solos played to "speakeasy"
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    World War 2

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    bebop

    Bebop (or Bop) was developed in the early 1940's and had established itself as vogue by 1945. It's main innovators were alto saxophonist Charlie Parker and trumpeter Dizzy Gillespie.</p><p class="pad">Until then, Jazz improvisation was derived from the melodic line. Bop soloists engaged in chordal improvisation, often avoiding the melody altogether after the first chorus. Usually under seven pieces, the soloist was free to explore improvised possibilities as long as they fit into the structure
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    Cool Jazz

    Cool Jazz evolved directly from Bop in the late 1940's and 1950's. A smoothed out mixture of Bop and Swing, tones were again harmonic and dynamics were now softened. The ensemble arrangement had regained importance. </p><p class="pad">Nicknamed "West Coast Jazz" because of the many innovations coming from Los Angeles, Cool became nation wide by the end of the 1950's, with significant contributions from East Coast musicians and composers.
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    Mainstream Jazz

    After the end of the Big Band era, as these large ensembles broke into smaller groups, Swing music continued to be played. Some of Swing's finest players could be heard at their best in jam sessions of the 1950s where chordal improvisation now would take significance over melodic embellishment.</p><p class="pad">Re-emerging as a loose style in the late '70s and '80s, Mainstream Jazz picked up influences from Cool, Classic and Hardbop.
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    Hard Bop

    Hard Bop (1955-70) is an extension of Bebop that was somewhat interrupted by the Cool sounds of West Coast Jazz. The melodies tend to be more "soulful" than Bebop, borrowing at times from Rhythm & Blues and even Gospel themes. The rhythm section is sophisticated and more diverse than the Bop of the 1940's. Pianist Horace Silver is known for his Hard Bop innovations.</p><p class="pad">By the mid 1960's, Hard Bop had split into Post Bop, Modal Jazz and Soul Jazz. Hard Bop emerged as a major
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    Vocalese

    Vocalese, coined by Jazz critic Leonard Feather, is the art of composing a lyric and singing it in the same manner as the recorded instrumental solos. Vocalese reached its highest point from 1957-62. Performers may solo or sing in ensemble, supported by small group or orchestra. Bop in nature, Vocalese rarely ventured into other Jazz styles and never brought commercial success to it's performers until recent years.