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103-603: Coleman Randolph Hawkins (November 21, 1904 – May 19, 1969), nicknamed "Hawk" and sometimes "Bean", was an American jazz tenor saxophonist. One of the first prominent jazz musicians on his instrument, as Joachim E. Berendt explained: "there were some tenor players before him, but the instrument was not an acknowledged jazz horn". Hawkins biographer John Chilton described the prevalent styles of tenor saxophone solos prior to Hawkins as "mooing" and "rubbery belches". Hawkins denied being first and noted his contemporaries Happy Caldwell , Stump Evans , and Prince Robinson , although he

206-518: A "form of art music which originated in the United States through the confrontation of the Negro with European music" and arguing that it differs from European music in that jazz has a "special relationship to time defined as 'swing ' ". Jazz involves "a spontaneity and vitality of musical production in which improvisation plays a role" and contains a "sonority and manner of phrasing which mirror

309-550: A $ 1,000 bonus, even though he hadn't recorded for years. His record's sales more than paid for the Brunswick Radio Corporation purchase. Rackmil was also promoted and named to the Decca board of directors. During August 1978 ARC was reactivated by Columbia as Maurice White 's vanity label. Acts such as Earth, Wind & Fire , Weather Report , Deniece Williams , Pockets , and The Emotions were signed to

412-535: A 50c platter tagged Columbia, with the issuing of the first of the platters cut by Benny Goodman Sept 3". Brunswick was gradually phased out, the final issue being Brunswick 8520, in April 1940. On December 27, "Columbia Records expects to shift quite a list of artists from its current $ .35 Vocalion label to the recently created $ .50 Columbia...reason for the shift is that the Columbia label is selling so much faster than

515-526: A coherent tradition". Duke Ellington , one of jazz's most famous figures, said, "It's all music." Although jazz is considered difficult to define, in part because it contains many subgenres, improvisation is one of its defining elements. The centrality of improvisation is attributed to the influence of earlier forms of music such as blues , a form of folk music which arose in part from the work songs and field hollers of African-American slaves on plantations. These work songs were commonly structured around

618-505: A controlling interest in the parent company, Columbia Phonograph Company (U.S.), for $ 2.5 million, in order to purchase the license for new Western Electric patents that Columbia US could not afford. The British firm controlled US operations from 1925 until 1931. Sterling, originally from New York, became chairman. The repercussions of the stock market Crash of 1929 led to huge losses in the recording industry and, in March 1931, J.P Morgan,

721-473: A drum made by stretching skin over a flour-barrel. Lavish festivals with African-based dances to drums were organized on Sundays at Place Congo, or Congo Square, in New Orleans until 1843. There are historical accounts of other music and dance gatherings elsewhere in the southern United States. Robert Palmer said of percussive slave music: Usually such music was associated with annual festivals, when

824-534: A highly individual style with an indifference toward the categories of "modern" and "traditional" jazz. That general period saw him recording with such diverse stylists as Sid Catlett , Tyree Glenn , Hilton Jefferson (a Fletcher Henderson colleague), Hank Jones , Billy Taylor , J. J. Johnson and Fats Navarro . He also toured with Jazz at the Philharmonic (JATP). Hawkins divided his time between New York and Europe, making numerous freelance recordings. In

927-560: A landmark recording of the swing era, captured as an afterthought at the session, Hawkins ignores almost all of the melody, with only the first four bars stated in a recognizable fashion. Hawkins' departure from the melodic themes of the tune, use of upper chord intervals, and implied passing chords in that recording have been described as "one of the early tremors of bebop". Loren Schoenberg, Director of National Jazz Museum in Harlem , states that “no matter how nonchalantly Hawkins tried to make

1030-410: A limited melodic range, sounding like a field holler, and the guitar accompaniment was slapped rather than strummed, like a small drum which responded in syncopated accents, functioning as another "voice". Handy and his band members were formally trained African-American musicians who had not grown up with the blues, yet he was able to adapt the blues to a larger band instrument format and arrange them in

1133-652: A long-desired opportunity to record with Duke Ellington for the 1962 album Duke Ellington Meets Coleman Hawkins , alongside Ellington band members Johnny Hodges , Lawrence Brown , Ray Nance , and Harry Carney as well as the Duke. Sessions for Impulse with his performing quartet yielded Today and Now , also in 1962 and judged one of his better latter-day efforts by The Penguin Guide to Jazz Recordings . Hawkins recorded in 1963 alongside Sonny Rollins for their collaborative album Sonny Meets Hawk! , for RCA Victor . It

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1236-460: A multi- strain ragtime march with four parts that feature recurring themes and a bass line with copious seventh chords . Its structure was the basis for many other rags, and the syncopations in the right hand, especially in the transition between the first and second strain, were novel at the time. The last four measures of Scott Joplin's "Maple Leaf Rag" (1899) are shown below. African-based rhythmic patterns such as tresillo and its variants,

1339-734: A number of solo recordings with either piano or a pick-up band of Henderson's musicians in 1933–34, just prior to his period in Europe. He was also featured on a Benny Goodman session on February 2, 1934 for Columbia , which also featured Mildred Bailey as guest vocalist. In late 1934, Hawkins accepted an invitation to play with Jack Hylton 's orchestra in London, and toured Europe as a soloist until 1939, performing and recording with Django Reinhardt and Benny Carter in Paris in 1937. During Hawkins' time touring Europe between 1934 and 1939, attention in

1442-409: A period better known for his playing with more traditional musicians. Hawkins' interest in more modern styles manifested in a reunion with Monk, with whom he had remained close even though they had not played together for over a decade. Monk led a June 1957 session featuring Hawkins and John Coltrane , that yielded Monk's Music , issued later that summer. Outtakes from this session comprised half of

1545-660: A popular music form. Handy wrote about his adopting of the blues: The primitive southern Negro, as he sang, was sure to bear down on the third and seventh tone of the scale, slurring between major and minor. Whether in the cotton field of the Delta or on the Levee up St. Louis way, it was always the same. Till then, however, I had never heard this slur used by a more sophisticated Negro, or by any white man. I tried to convey this effect ... by introducing flat thirds and sevenths (now called blue notes) into my song, although its prevailing key

1648-439: A repetitive call-and-response pattern, but early blues was also improvisational. Classical music performance is evaluated more by its fidelity to the musical score , with less attention given to interpretation, ornamentation, and accompaniment. The classical performer's goal is to play the composition as it was written. In contrast, jazz is often characterized by the product of interaction and collaboration, placing less value on

1751-492: A single musical tradition in New Orleans or elsewhere. In the 1930s, arranged dance-oriented swing big bands , Kansas City jazz (a hard-swinging, bluesy, improvisational style), and gypsy jazz (a style that emphasized musette waltzes) were the prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music" which was played at faster tempos and used more chord-based improvisation. Cool jazz developed near

1854-527: A site conveniently near the Madison avenue home of its new parent". Studios were established at 799 7th Avenue, New York City, along with corporate offices at 1473 Barnum Avenue, Bridgeport, CT. Also in February, John Hammond was hired by Wallerstein as Associate Director Popular Recording. Another executive from ARC, Art Satherley , was not expected to transition over as easily. "It is understood that CBS and

1957-416: A soloist is supported by a rhythm section of one or more chordal instruments (piano, guitar), double bass, and drums. The rhythm section plays chords and rhythms that outline the composition structure and complement the soloist. In avant-garde and free jazz , the separation of soloist and band is reduced, and there is license, or even a requirement, for the abandoning of chords, scales, and meters. Since

2060-500: Is a music genre that originated in the African-American communities of New Orleans , Louisiana , in the late 19th and early 20th centuries, with its roots in blues , ragtime , European harmony , African rhythmic rituals, spirituals , hymns , marches , vaudeville song, and dance music . Since the 1920s Jazz Age , it has been recognized as a major form of musical expression in traditional and popular music . Jazz

2163-529: Is a "white jazz" genre that expresses whiteness . White jazz musicians appeared in the Midwest and in other areas throughout the U.S. Papa Jack Laine , who ran the Reliance band in New Orleans in the 1910s, was called "the father of white jazz". The Original Dixieland Jazz Band , whose members were white, were the first jazz group to record, and Bix Beiderbecke was one of the most prominent jazz soloists of

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2266-693: Is a fundamental rhythmic figure heard in many different slave musics of the Caribbean, as well as the Afro-Caribbean folk dances performed in New Orleans Congo Square and Gottschalk's compositions (for example "Souvenirs From Havana" (1859)). Tresillo (shown below) is the most basic and most prevalent duple-pulse rhythmic cell in sub-Saharan African music traditions and the music of the African Diaspora . Tresillo

2369-469: Is characterized by swing and blue notes , complex chords , call and response vocals , polyrhythms and improvisation . As jazz spread around the world, it drew on national, regional, and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass band marches, French quadrilles , biguine , ragtime and blues with collective polyphonic improvisation . However, jazz did not begin as

2472-493: Is heard prominently in New Orleans second line music and in other forms of popular music from that city from the turn of the 20th century to present. "By and large the simpler African rhythmic patterns survived in jazz ... because they could be adapted more readily to European rhythmic conceptions," jazz historian Gunther Schuller observed. "Some survived, others were discarded as the Europeanization progressed." In

2575-857: Is not clear. Theories around the nickname's basis include a reference to Hawkins' head shape, his frugality (saying "I haven't a bean") or due to his immense knowledge of chords . Hawkins's first significant gig was with Mamie Smith 's Jazz Hounds in 1921, and he was with the band full-time from April 1922 to 1923, when he settled in New York City. In the Jazz Hounds, he coincided with Garvin Bushell , Everett Robbins , Bubber Miley and Herb Flemming . Hawkins joined Fletcher Henderson 's Orchestra, where he remained until 1934, sometimes doubling on clarinet and bass saxophone . Hawkins's playing changed significantly during Louis Armstrong 's tenure with

2678-400: Is that jazz can absorb and transform diverse musical styles. By avoiding the creation of norms, jazz allows avant-garde styles to emerge. For some African Americans, jazz has drawn attention to African-American contributions to culture and history. For others, jazz is a reminder of "an oppressive and racist society and restrictions on their artistic visions". Amiri Baraka argues that there

2781-476: Is well documented. It is believed to be related to jasm , a slang term dating back to 1860 meaning ' pep, energy ' . The earliest written record of the word is in a 1912 article in the Los Angeles Times in which a minor league baseball pitcher described a pitch which he called a 'jazz ball' "because it wobbles and you simply can't do anything with it". The use of the word in a musical context

2884-625: The Atlantic slave trade had brought nearly 400,000 Africans to North America. The slaves came largely from West Africa and the greater Congo River basin and brought strong musical traditions with them. The African traditions primarily use a single-line melody and call-and-response pattern, and the rhythms have a counter-metric structure and reflect African speech patterns. An 1885 account says that they were making strange music (Creole) on an equally strange variety of 'instruments'—washboards, washtubs, jugs, boxes beaten with sticks or bones and

2987-539: The Brunswick-Balke-Collender Company sold its Brunswick and Vocalion trademarks, patents, master recordings, inventory of unsold records, recording studio leases, radio/phonograph manufacturing plants and record pressing plants to Warner Bros. Pictures, Inc. (WB), which named its new division the "Brunswick Radio Corporation." The price was $ 10,000,000. According to a book co-authored by Jack Warner, Jr. , Warner Bros. Pictures "bought

3090-581: The piano , then the cello at age seven, before switching to the saxophone by age nine. By the age of fourteen, he was playing around eastern Kansas. He attended high school in Chicago, then in Topeka , Kansas , at Topeka High School . He later stated that he studied harmony and composition for two years at Washburn College in Topeka while still attending high school. The origin of Hawkins' nickname, "Bean",

3193-471: The swing era of the 1920s–40s, big bands relied more on arrangements which were written or learned by ear and memorized. Soloists improvised within these arrangements. In the bebop era of the 1940s, big bands gave way to small groups and minimal arrangements in which the melody was stated briefly at the beginning and most of the piece was improvised. Modal jazz abandoned chord progressions to allow musicians to improvise even more. In many forms of jazz,

Coleman Hawkins - Misplaced Pages Continue

3296-948: The 1920s. The Chicago Style was developed by white musicians such as Eddie Condon , Bud Freeman , Jimmy McPartland , and Dave Tough . Others from Chicago such as Benny Goodman and Gene Krupa became leading members of swing during the 1930s. Many bands included both Black and white musicians. These musicians helped change attitudes toward race in the U.S. Female jazz performers and composers have contributed to jazz throughout its history. Although Betty Carter , Ella Fitzgerald , Adelaide Hall , Billie Holiday , Peggy Lee , Abbey Lincoln , Anita O'Day , Dinah Washington , and Ethel Waters were recognized for their vocal talent, less familiar were bandleaders, composers, and instrumentalists such as pianist Lil Hardin Armstrong , trumpeter Valaida Snow , and songwriters Irene Higginbotham and Dorothy Fields . Women began playing instruments in jazz in

3399-563: The 1950s, Hawkins performed with musicians such as Red Allen and Roy Eldridge , with whom he appeared at the 1957 Newport Jazz Festival and recorded Coleman Hawkins Encounters Ben Webster with fellow tenor saxophonist Ben Webster along with Oscar Peterson , Herb Ellis , Ray Brown , and Alvin Stoller . His 1957 album The Hawk Flies High , with Idrees Sulieman , J. J. Johnson, Hank Jones, Barry Galbraith , Oscar Pettiford, and Jo Jones , shows his interest in modern jazz styles, during

3502-451: The 1950s, many women jazz instrumentalists were prominent, some sustaining long careers. Some of the most distinctive improvisers, composers, and bandleaders in jazz have been women. Trombonist Melba Liston is acknowledged as the first female horn player to work in major bands and to make a real impact on jazz, not only as a musician but also as a respected composer and arranger, particularly through her collaborations with Randy Weston from

3605-533: The American Federation of Musicians' 1942–1944 musicians' strike , which resulted in a ban on studio recording, the only recordings the major labels could find were the Rennard, and a July 1931 rendition by Rudy Vallee and His Connecticut Yankees , released by Victor. Both finished in the top 25 of 1943, with Renard's version selling over 250,000 copies, making Decca management so happy, they gave him

3708-509: The Black middle-class. Blues is the name given to both a musical form and a music genre, which originated in African-American communities of primarily the Deep South of the United States at the end of the 19th century from their spirituals , work songs , field hollers , shouts and chants and rhymed simple narrative ballads . The African use of pentatonic scales contributed to

3811-531: The Brunswick, Vocalion and Melotone trademarks and catalog of master recordings were loaned, to the "Brunswick Record Corporation," a newly-formed holding company controlled by ARC. While WB was to be paid a fee on sales of records pressed from Brunswick, Vocalion and Melotone masters recorded prior to December 3, 1931, ARC was permitted to release its own master recordings on the Brunswick, Vocalion and Melotone labels free of charge. The agreement effectively fixed

3914-464: The Caribbean. African-based rhythmic patterns were retained in the United States in large part through "body rhythms" such as stomping, clapping, and patting juba dancing . In the opinion of jazz historian Ernest Borneman , what preceded New Orleans jazz before 1890 was "Afro-Latin music", similar to what was played in the Caribbean at the time. A three-stroke pattern known in Cuban music as tresillo

4017-544: The Columbia Phonograph Co., Inc. The latter label was taken over by Herbert J. Yates, former head of the American Record Co. several years ago and made file insignia of the combine's classical catelog. The indications are that the Columbia label will be returned to the popular field, replacing Brunswick as the company's fee popular record. On May 22, 1939, Columbia Recording Corporation, Inc.,

4120-589: The Henderson Orchestra (1924–25). In the late 1920s, Hawkins participated in some of the earliest integrated recording sessions with the Mound City Blue Blowers . During his time with Henderson, he became a star soloist with increasing prominence on records. While with the band, he and Henry "Red" Allen recorded a series of small group sides for ARC (on their Perfect , Melotone , Romeo , and Oriole labels). Hawkins also recorded

4223-536: The Levys are not interested in retaining American Record's hillbilly department, and that Art Satherly, who has been running this section for many years, will take it out of the company with him". Fortunately, to the delight of many, this did not happen, and Art went on to many more successful years. Hammond hired Benny Goodman away from Victor to record for the Columbia label. Then came an announcement August 30, 1939, "Columbia drops its Brunswick label at 75c in favor of

Coleman Hawkins - Misplaced Pages Continue

4326-665: The Starlight Roof at the famed Waldorf-Astoria Hotel . He entertained audiences with a light elegant musical style which remained popular with audiences for nearly three decades from the 1930s until the late 1950s. Jazz originated in the late-19th to early-20th century. It developed out of many forms of music, including blues , ragtime , European harmony , African rhythmic rituals, spirituals , hymns , marches , vaudeville song, and dance music . It also incorporated interpretations of American and European classical music, entwined with African and slave folk songs and

4429-452: The U.S. shifted to other tenor saxophonists, including Lester Young , Ben Webster , and Chu Berry . Following his return to the United States, he quickly re-established himself as one of the leading figures on the instrument by adding innovations to his earlier style. On October 11, 1939, he recorded a two-chorus performance of the standard " Body and Soul ", which he had been performing at Bert Kelly's New York venue, Kelly's Stables . In

4532-709: The US. To avoid antitrust legislation, EMI had to sell off its US Columbia operation, which continued to release pressings of matrices made in the UK. In December, 1931, the U.S. Columbia Phonograph Company, Inc. was sold to the Grigsby-Grunow Company , the manufacturers of Majestic radios and refrigerators. When Grigsby-Grunow was declared bankrupt in November 1933, Columbia was placed in receivership, and in June 1934,

4635-473: The Vocalion." As sales of Brunswick records declined, a minimum threshold required by the 1931 Warner Bros. lease agreement was going unmet, which obliged Columbia to also discontinue Vocalion. The final Vocalion issued under Columbia's aegis, number 5621, was released July 5, 1940. It was priced at 35 cents, as was the next record in the series, OKeh 05622. Okeh Records was revived in June 1940, acquired in

4738-935: The Yew Plot at the Woodlawn Cemetery in The Bronx , New York City. The Song of the Hawk , a 1990 biography written by British jazz historian John Chilton , chronicles Hawkins's career. With Kenny Burrell With Benny Carter With Eddie "Lockjaw" Davis With Dizzy Gillespie With Tiny Grimes With Fletcher Henderson With Lambert, Hendricks & Bavan With Abbey Lincoln With Shelly Manne With Thelonious Monk With Bud Powell With Bob Prince With Django Reinhardt With Max Roach With Rex Stewart and Cootie Williams With Ben Webster With Randy Weston With Joe Williams Jazz Jazz

4841-552: The blues are undocumented, though they can be seen as the secular counterpart of the spirituals. However, as Gerhard Kubik points out, whereas the spirituals are homophonic , rural blues and early jazz "was largely based on concepts of heterophony ". During the early 19th century an increasing number of black musicians learned to play European instruments, particularly the violin, which they used to parody European dance music in their own cakewalk dances. In turn, European American minstrel show performers in blackface popularized

4944-556: The choice to record "Body And Soul" seem, it had long been his encore during his European years, and he had a lot riding on this session. Lester Young was at his zenith with the Basie band, and virtually all of the other major bands had a Hawkins-styled tenor in a featured position. The decades as a musical omnivore came to fruition as he signaled to pianist Gene Rodgers to make an introduction in Db. The sounds of Bach , Tatum , Armstrong , and

5047-477: The company was sold to Sacro Enterprises Inc. ("Sacro") for $ 70,000. Sacro was incorporated a few days before the sale in New York. Public documents do not contain any names. Many suspect that it was a shell corporation set up by ARC's parent, Consolidated Films Industries, Inc. to hold the Columbia stock. This assumption grew out of the ease which CFI later exhibited in selling Columbia in 1938. On April 9, 1930,

5150-473: The contribution of the composer, if there is one, and more on the performer. The jazz performer interprets a tune in individual ways, never playing the same composition twice. Depending on the performer's mood, experience, and interaction with band members or audience members, the performer may change melodies, harmonies, and time signatures. In early Dixieland , a.k.a. New Orleans jazz, performers took turns playing melodies and improvising countermelodies . In

5253-555: The development of blue notes in blues and jazz. As Kubik explains: Many of the rural blues of the Deep South are stylistically an extension and merger of basically two broad accompanied song-style traditions in the west central Sudanic belt: W. C. Handy became interested in folk blues of the Deep South while traveling through the Mississippi Delta. In this folk blues form, the singer would improvise freely within

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5356-491: The directors. Attorney Ralph F. CoUn, 165 Broadway, is third director. White owns four shares; the others three apiece. Capitol stock is $ 10;000, $ 10 par value. Rosenberg, Goldmlark & Colin, are filing attorneys. Above incorporation represents the formal change of name of CBS' phonograph subsidiary. The American Record Co. tag is discarded and instead of three corporations embracing the ARC'S various operations there will be one,

5459-509: The early 1920s, drawing particular recognition on piano. When male jazz musicians were drafted during World War II, many all-female bands replaced them. The International Sweethearts of Rhythm , which was founded in 1937, was a popular band that became the first all-female integrated band in the U.S. and the first to travel with the USO , touring Europe in 1945. Women were members of the big bands of Woody Herman and Gerald Wilson . Beginning in

5562-480: The education of freed African Americans. Although strict segregation limited employment opportunities for most blacks, many were able to find work in entertainment. Black musicians were able to provide entertainment in dances, minstrel shows , and in vaudeville , during which time many marching bands were formed. Black pianists played in bars, clubs, and brothels, as ragtime developed. Ragtime appeared as sheet music, popularized by African-American musicians such as

5665-593: The emergence of bebop, forms of jazz that are commercially oriented or influenced by popular music have been criticized. According to Bruce Johnson, there has always been a "tension between jazz as a commercial music and an art form". Regarding the Dixieland jazz revival of the 1940s, Black musicians rejected it as being shallow nostalgia entertainment for white audiences. On the other hand, traditional jazz enthusiasts have dismissed bebop, free jazz, and jazz fusion as forms of debasement and betrayal. An alternative view

5768-525: The end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines. The mid-1950s saw the emergence of hard bop , which introduced influences from rhythm and blues , gospel , and blues to small groups and particularly to saxophone and piano. Modal jazz developed in the late 1950s, using the mode , or musical scale, as the basis of musical structure and improvisation, as did free jazz , which explored playing without regular meter, beat and formal structures. Jazz-rock fusion appeared in

5871-556: The entertainer Ernest Hogan , whose hit songs appeared in 1895. Two years later, Vess Ossman recorded a medley of these songs as a banjo solo known as "Rag Time Medley". Also in 1897, the white composer William Krell published his " Mississippi Rag " as the first written piano instrumental ragtime piece, and Tom Turpin published his "Harlem Rag", the first rag published by an African-American. Classically trained pianist Scott Joplin produced his " Original Rags " in 1898 and, in 1899, had an international hit with " Maple Leaf Rag ",

5974-415: The first written music which was rhythmically based on an African motif (1803). From the perspective of African-American music, the "habanera rhythm" (also known as "congo"), "tango-congo", or tango . can be thought of as a combination of tresillo and the backbeat . The habanera was the first of many Cuban music genres which enjoyed periods of popularity in the United States and reinforced and inspired

6077-532: The habanera rhythm and cinquillo , are heard in the ragtime compositions of Joplin and Turpin. Joplin's " Solace " (1909) is generally considered to be in the habanera genre: both of the pianist's hands play in a syncopated fashion, completely abandoning any sense of a march rhythm. Ned Sublette postulates that the tresillo/habanera rhythm "found its way into ragtime and the cakewalk," whilst Roberts suggests that "the habanera influence may have been part of what freed black music from ragtime's European bass". In

6180-512: The individuality of the performing jazz musician". A broader definition that encompasses different eras of jazz has been proposed by Travis Jackson: "it is music that includes qualities such as swing, improvising, group interaction, developing an 'individual voice', and being open to different musical possibilities". Krin Gibbard argued that "jazz is a construct" which designates "a number of musics with enough in common to be understood as part of

6283-424: The influences of West African culture. Its composition and style have changed many times throughout the years with each performer's personal interpretation and improvisation, which is also one of the greatest appeals of the genre. By the 18th century, slaves in the New Orleans area gathered socially at a special market, in an area which later became known as Congo Square , famous for its African dances. By 1866,

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6386-460: The instruments of jazz: brass, drums, and reeds tuned in the European 12-tone scale. Small bands contained a combination of self-taught and formally educated musicians, many from the funeral procession tradition. These bands traveled in black communities in the deep south. Beginning in 1914, Louisiana Creole and African-American musicians played in vaudeville shows which carried jazz to cities in

6489-408: The labels for limited purposes from time to time, but it was the valuable catalogues it really wanted. Brunswick masters included Isham Jones, Al Jolson, early Duke Ellington, Louis Armstrong and Marion Harris, but it was obscure Jacques Rennard and His Orchestra that had recorded " As Time Goes By " in 1931. Decca re-released it in 1943, to capitalize on ' Casablanca's ' (1942) theme music. Because of

6592-578: The late 1950s into the 1990s. Jewish Americans played a significant role in jazz. As jazz spread, it developed to encompass many different cultures, and the work of Jewish composers in Tin Pan Alley helped shape the many different sounds that jazz came to incorporate. Jewish Americans were able to thrive in Jazz because of the probationary whiteness that they were allotted at the time. George Bornstein wrote that African Americans were sympathetic to

6695-455: The late 1960s and early 1970s, combining jazz improvisation with rock music 's rhythms, electric instruments, and highly amplified stage sound. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay. Other styles and genres abound in the 21st century, such as Latin and Afro-Cuban jazz . The origin of the word jazz has resulted in considerable research, and its history

6798-527: The later tenormen, Arnett Cobb , Illinois Jacquet , Flip Phillips , Ike Quebec , Al Sears , Paul Gonsalves , and Lucky Thompson . While Hawkins became known with swing music during the big band era, he had a role in the development of bebop in the 1940s. Fellow saxophonist Lester Young , known as the "President of the Tenor Saxophone", commented, in a 1959 interview with The Jazz Review : "As far as I'm concerned, I think Coleman Hawkins

6901-723: The major shareholder, steered the Columbia Graphophone Company (along with Odeon records and Parlophone , which it had owned since 1926) into a merger with the Gramophone Company ( ("His Master's Voice") to form Electric and Musical Industries Ltd ( EMI ). Since the Gramophone Company (HMV) was a wholly owned subsidiary of Victor, and Columbia in America was a subsidiary of UK Columbia, Victor now technically owned its largest rival in

7004-900: The many top players he employed, such as George Brunies , Sharkey Bonano , and future members of the Original Dixieland Jass Band . During the early 1900s, jazz was mostly performed in African-American and mulatto communities due to segregation laws. Storyville brought jazz to a wider audience through tourists who visited the port city of New Orleans. Many jazz musicians from African-American communities were hired to perform in bars and brothels. These included Buddy Bolden and Jelly Roll Morton in addition to those from other communities, such as Lorenzo Tio and Alcide Nunez . Louis Armstrong started his career in Storyville and found success in Chicago. Storyville

7107-577: The minimum retail price of a 10-inch Brunswick record at 75 cents, but allowed ARC free rein to set prices for Vocalion and Melotone (The price of Melotone nonetheless stayed at 25 cents.) In the event that fewer than 250,000 Brunswick records were pressed and sold in the U.S. and Canada during any one-year period, the agreement provided that control of the trademarks and catalog of Brunswick, Vocalion and Melotone masters recorded through December 2, 1931 would revert to WB. Brunswick would become ARC's premium label. On December 17, 1938, American Record Corporation

7210-697: The music internationally, combining syncopation with European harmonic accompaniment. In the mid-1800s the white New Orleans composer Louis Moreau Gottschalk adapted slave rhythms and melodies from Cuba and other Caribbean islands into piano salon music. New Orleans was the main nexus between the Afro-Caribbean and African American cultures. The Black Codes outlawed drumming by slaves, which meant that African drumming traditions were not preserved in North America, unlike in Cuba, Haiti, and elsewhere in

7313-583: The music of New Orleans with the music of Cuba, Wynton Marsalis observes that tresillo is the New Orleans "clavé", a Spanish word meaning "code" or "key", as in the key to a puzzle, or mystery. Although the pattern is only half a clave , Marsalis makes the point that the single-celled figure is the guide-pattern of New Orleans music. Jelly Roll Morton called the rhythmic figure the Spanish tinge and considered it an essential ingredient of jazz. The abolition of slavery in 1865 led to new opportunities for

7416-404: The northeastern United States, a "hot" style of playing ragtime had developed, notably James Reese Europe 's symphonic Clef Club orchestra in New York City, which played a benefit concert at Carnegie Hall in 1912. The Baltimore rag style of Eubie Blake influenced James P. Johnson 's development of stride piano playing, in which the right hand plays the melody, while the left hand provides

7519-618: The northern and western parts of the U.S. Jazz became international in 1914, when the Creole Band with cornettist Freddie Keppard performed the first ever jazz concert outside the United States, at the Pantages Playhouse Theatre in Winnipeg , Canada. In New Orleans, a white bandleader named Papa Jack Laine integrated blacks and whites in his marching band. He was known as "the father of white jazz" because of

7622-500: The period 1820–1850. Some of the earliest [Mississippi] Delta settlers came from the vicinity of New Orleans, where drumming was never actively discouraged for very long and homemade drums were used to accompany public dancing until the outbreak of the Civil War. Another influence came from the harmonic style of hymns of the church, which black slaves had learned and incorporated into their own music as spirituals . The origins of

7725-433: The period from December 1, 1939 through December 31, 1940, control of the loaned trademarks and catalog of master recordings made prior to December 3, 1931 reverted to Warner Bros. Pictures On May 2, 1941, Decca Records Executive Milton Rackmil bought Brunswick Radio Corporation from Warner Brothers for $ 350,000, which included Brunswick, Vocalion and Melotone masters from label inception to December 1931. Decca reactivated

7828-494: The plight of the Jewish American and vice versa. As disenfranchised minorities themselves, Jewish composers of popular music saw themselves as natural allies with African Americans. The Jazz Singer with Al Jolson is one example of how Jewish Americans were able to bring jazz, music that African Americans developed, into popular culture. Benny Goodman was a vital Jewish American to the progression of Jazz. Goodman

7931-459: The post-Civil War period (after 1865), African Americans were able to obtain surplus military bass drums, snare drums and fifes, and an original African-American drum and fife music emerged, featuring tresillo and related syncopated rhythmic figures. This was a drumming tradition that was distinct from its Caribbean counterparts, expressing a uniquely African-American sensibility. "The snare and bass drummers played syncopated cross-rhythms ," observed

8034-676: The pre-jazz era and contributed to the codification of jazz through the publication of some of the first jazz sheet music. The music of New Orleans , Louisiana had a profound effect on the creation of early jazz. In New Orleans, slaves could practice elements of their culture such as voodoo and playing drums. Many early jazz musicians played in the bars and brothels of the red-light district around Basin Street called Storyville . In addition to dance bands, there were marching bands which played at lavish funerals (later called jazz funerals ). The instruments used by marching bands and dance bands became

8137-410: The radio, record and phonograph divisions of Brunswick-Balke-Collender Company for the company's patents, its record factory, and its 16mm home talkie projector". Before they came to their senses, it was all moved across the country to WB's Sunset studio. WB soon realized it was a terrible mistake; it lost $ 8 million on the Brunswick deal. Melotone, a subsidiary label of the Brunswick Radio Corporation,

8240-416: The record business, but economic conditions had deteriorated to the point where no buyer would offer anything close to the $ 10,000,000 they'd paid for Brunswick just the year before. Unwilling to take a huge loss, an agreement was entered into with Consolidated Film Industries, the parent company of ARC, on December 3, 1931, whereby the record company's artist and staff employment contracts were transferred, and

8343-410: The rhythm and bassline. In Ohio and elsewhere in the mid-west the major influence was ragtime, until about 1919. Around 1912, when the four-string banjo and saxophone came in, musicians began to improvise the melody line, but the harmony and rhythm remained unchanged. A contemporary account states that blues could only be heard in jazz in the gut-bucket cabarets, which were generally looked down upon by

8446-423: The same 1934 bankruptcy sale whereby ARC obtained its Columbia trademarks. By July, it was releasing new Hillbilly platters by Gene Autry and Bob Wills, and re-issuing past Vocalion discs, using the same catalogue numbers with a leading zero added. Okeh was extremely successful until it was merged into the parent label in 1945. When a January 1941 audit found that not more than 150,000 Brunswick records had sold during

8549-666: The tracks on Thelonious Monk with John Coltrane , released on the Jazzland Records subsidiary of Riverside Records in 1961. In the 1960s, Hawkins appeared regularly at the Village Vanguard in Manhattan . In 1960, he participated in the recording of Max Roach's We Insist! suite, part of the political and social linkages developing between jazz and the civil rights movement . At the behest of Impulse Records producer Bob Thiele , Hawkins availed himself of

8652-500: The twice-daily ferry between both cities to perform, and the habanera quickly took root in the musically fertile Crescent City. John Storm Roberts states that the musical genre habanera "reached the U.S. twenty years before the first rag was published." For the more than quarter-century in which the cakewalk , ragtime , and proto-jazz were forming and developing, the habanera was a consistent part of African-American popular music. Habaneras were widely available as sheet music and were

8755-480: The untold musicians who had filled his head and ears culminated in one of the greatest spontaneous set of variations ever recorded". After a brief period in 1940 leading a big band , Hawkins led small groups at Kelly's Stables on Manhattan 's 52nd Street . During 1944, He recorded in small and large groups for the Keynote , Savoy , and Apollo labels. Hawkins always had a keen ear for new talent and styles, and he

8858-575: The use of tresillo-based rhythms in African-American music. New Orleans native Louis Moreau Gottschalk 's piano piece "Ojos Criollos (Danse Cubaine)" (1860) was influenced by the composer's studies in Cuba: the habanera rhythm is clearly heard in the left hand. In Gottschalk's symphonic work "A Night in the Tropics" (1859), the tresillo variant cinquillo appears extensively. The figure was later used by Scott Joplin and other ragtime composers. Comparing

8961-498: The writer Robert Palmer, speculating that "this tradition must have dated back to the latter half of the nineteenth century, and it could have not have developed in the first place if there hadn't been a reservoir of polyrhythmic sophistication in the culture it nurtured." African-American music began incorporating Afro-Cuban rhythmic motifs in the 19th century when the habanera (Cuban contradanza ) gained international popularity. Musicians from Havana and New Orleans would take

9064-500: The year's crop was harvested and several days were set aside for celebration. As late as 1861, a traveler in North Carolina saw dancers dressed in costumes that included horned headdresses and cow tails and heard music provided by a sheepskin-covered "gumbo box", apparently a frame drum; triangles and jawbones furnished the auxiliary percussion. There are quite a few [accounts] from the southeastern states and Louisiana dating from

9167-613: Was also purchased. 'American Record Corporation' was incorporated in Delaware on July 25, 1929, as a subsidiary of Consolidated Film Industries, Inc. ("CFI"). Louis G. Sylvester became the president of the new company, located at 1776 Broadway in Manhattan, New York City. In March 1925, Louis Sterling, managing director of the UK Columbia Graphophone Company , backed by J.P. Morgan & Co., acquired

9270-797: Was created in January 1929 by Louis G. Sylvester, president of Scranton Button Works ('Scranton'), founded 1885. Scranton owned a pressing plant that manufactured disks for many companies, including Columbia labels and Emerson Records , the latter which it also owned. It then purchased Cameo Record Corporation, which owned the Cameo , Lincoln and Romeo labels), and six labels owned by the Plaza Music Company ( Conqueror , Banner , Domino , Jewel , Oriole , and Regal ). for $ 1 each, including liabilities. Pathé-Perfect Phonograph and Radio Corporation, which owned Actuelle, Pathé , and Perfect ,

9373-497: Was documented as early as 1915 in the Chicago Daily Tribune . Its first documented use in a musical context in New Orleans was in a November 14, 1916, Times-Picayune article about "jas bands". In an interview with National Public Radio , musician Eubie Blake offered his recollections of the slang connotations of the term, saying: "When Broadway picked it up, they called it 'J-A-Z-Z'. It wasn't called that. It

9476-669: Was incorporated with the State of Delaware, and became the CBS phonograph subsidiary. The New York Department of State shows a later incorporation date of April 4, 1947. This corporation changed its name to Columbia Records, Inc. on October 11, 1954, and reverted to CRC on January 2, 1962. In February 1939, "American Record Co., now the child of the Columbia Broadcasting System, will shortly' move its recording division from its present location on upper-Broadway, New York, to

9579-841: Was inevitable that Hawkins would move towards solo performances. During his European tour, he began surrounding his songs with unaccompanied introductions and codas. In January 1945 he recorded Solo Sessions. Harry Lim , a Javanese jazz lover who came to America in 1939, first produced jam sessions in Chicago and New York and then founded Keynote Records , a premier small jazz label. In an article for Metronome magazine in May, 1944, Lim dubbed Hawkins “the Picasso of Jazz”. In 1945, he recorded extensively with small groups with Best and either Robinson or Pettiford on bass, Sir Charles Thompson on piano, Allan Reuss on guitar, Howard McGhee on trumpet, and Vic Dickenson on trombone, in sessions reflecting

9682-455: Was introduced late in 1930. "Brunswick is the first of the big-three disc companies to go into the market shortly with a double-faced disc to sell at 25 cents. Plate is called the Melotone," reported Variety. "Policy of Melotone will be the biggest song, to be delivered as cheaply as possible. No literature or advertising campaigns; cheap nut, quantity is the goal." WB wanted to withdraw from

9785-433: Was major ... , and I carried this device into my melody as well. The publication of his " Memphis Blues " sheet music in 1912 introduced the 12-bar blues to the world (although Gunther Schuller argues that it is not really a blues, but "more like a cakewalk"). This composition, as well as his later " St. Louis Blues " and others, included the habanera rhythm, and would become jazz standards . Handy's music career began in

9888-424: Was purchased for $ 700,000 by the Columbia Broadcasting System, Inc. ( CBS ). Edward Wallerstein was named president on January 3, 1939. On April 4, 1939 CBS filed an amendment in New York for Columbia Phonograph Company, Inc. Columbia Phonograph Company, Inc., has been chartered to conduct a business in the recording of voices, sounds, etc., in New York, with Frank K. White and Adrian Murphy (employees of CBS), among

9991-409: Was shortly after this busy period that Hawkins fell into the grip of depression and heavy drinking and his recording output began to wane. His last recording was in 1967; Hawkins died of liver disease on May 19, 1969, at Wickersham Hospital, in Manhattan. He was survived by his widow, Dolores, who died in 2010, and by three children: a son, Rene, and two daughters, Colette and Mimi. Hawkins is interred in

10094-412: Was shut down by the U.S. government in 1917. Cornetist Buddy Bolden played in New Orleans from 1895 to 1906. No recordings by him exist. His band is credited with creating the big four: the first syncopated bass drum pattern to deviate from the standard on-the-beat march. As the example below shows, the second half of the big four pattern is the habanera rhythm. American Record Corporation ARC

10197-651: Was spelled 'J-A-S-S'. That was dirty, and if you knew what it was, you wouldn't say it in front of ladies." The American Dialect Society named it the Word of the 20th Century . Jazz is difficult to define because it encompasses a wide range of music spanning a period of over 100 years, from ragtime to rock -infused fusion . Attempts have been made to define jazz from the perspective of other musical traditions, such as European music history or African music. But critic Joachim-Ernst Berendt argues that its terms of reference and its definition should be broader, defining jazz as

10300-464: Was the first to tailor his method of improvisation to the saxophone rather than imitate the techniques of the clarinet. Hawkins' virtuosic, arpeggiated approach to improvisation, with his characteristic rich, emotional, and vibrato-laden tonal style, was the main influence on a generation of tenor players that included Chu Berry , Charlie Barnet , Tex Beneke , Ben Webster , Vido Musso , Herschel Evans , Buddy Tate , and Don Byas , and through them

10403-536: Was the leader of a racially integrated band named King of Swing. His jazz concert in the Carnegie Hall in 1938 was the first ever to be played there. The concert was described by Bruce Eder as "the single most important jazz or popular music concert in history". Shep Fields also helped to popularize "Sweet" Jazz music through his appearances and Big band remote broadcasts from such landmark venues as Chicago's Palmer House , Broadway's Paramount Theater and

10506-460: Was the leader on what is generally considered to have been the first ever bebop recording session on February 16, 1944 including Dizzy Gillespie , Don Byas , Clyde Hart , Oscar Pettiford , and Max Roach . On October 19, 1944, he led another bebop recording session with Thelonious Monk on piano, Edward Robinson on bass, and Denzil Best on drums. Given his love of Bach and Pablo Casals and his own unquenchable thirst for self-expression, it

10609-489: Was the president, first, right? As far as myself, I think I'm the second one." Miles Davis once said: "When I heard Hawk, I learned to play ballads." Hawkins was born in Saint Joseph, Missouri , United States, in 1904. He was named Coleman after his mother Cordelia's maiden name. There is record of Hawkins' parents' first child, a girl, being born in 1901 and dying at the age of two. At age four, Hawkins began to study

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