That music comes from before the storytelling model as well as later rejections of it. Jazz loves hybrids, though some blends get more sunlight than others. So, what are web crawlers missing out on? How do we describe this music, teasingly similar yet ultimately unlike ragtime or most of the jazz discussed in history books and played in swanky clubs?
How would we find other examples of this sound? Unsurprisingly, musicians, historians and open-eared listeners prove far more illuminating than search engines. The syncopation that ragtime had introduced was what America was used to listening to, and even though it wanted to say it was through with ragtime, such a night and day change in listening would be impossible. Besides musical vocabulary and written notation, song forms themselves began to change. Early jazz maintained multi-strain structures until the swing era of the thirties, but Berresford notes how bands such as the ODJB would use a simpler configuration of fewer strains than formal ragtime.
Other than occasional short breaks, the emphasis is on ensemble interplay, balance and in some cases competition. The best bands simply know how to play as bands, regardless of era. Decades of smooth, swinging cymbals can also make the syncopated, staccato beats of snares, rims, woodblocks and cowbells sound strange. Rag-a-jazz drummers were often influenced by marching band techniques as well as the ragtime drumming inspired by those techniques. All influences apparently not being equal, many jazz writers imply that marches are an inferior inspiration next to Afro-Cuban rhythms, hip-hop or other sources.
Drummer Hal Smith, on the other hand, talks about Tony Sbarbaro and other rag-a-jazz drummers as merely having their own distinct, often challenging approach a part from but just as valid as that of Zutty Singleton or Jo Jones or for that matter, Elvin Jones or Terri Lyne Carrington. For other listeners, this style may be vaguely familiar from some of the hippest names in jazz drumming.
Jazz educator Mark Gridley explains :. The earliest jazz drummers often devised lines of activity bearing rhythmic and melodic contours that were distinctly different from the contours of lines being contributed by their fellow musicians.
The practice of playing an independent line of activity was suppressed in swing [during the thirties]…It enjoyed a resurgence, however, in bop [during the forties]…This independent line of activity…provides a layer of boiling sounds that increases the excitement of the combo performance.
The use of this activity continued through the fifties and sixties [and] has been an accepted practice for all modern drummers of the seventies and eighties…The rhythms used by the modern drummers were not those of ragtime, but the spirit in which they played is analogous to the conception shown by the earliest drummers.
Jazz scholar Dr. Lewis Porter debunks the myth of early jazz drummers as mere timekeepers while also drawing attention to their intricate fills and contrapuntal playing. Whatever these drummers gained from ragtime or military music, it worked for them, their colleagues and anyone who wanted to listen.
Rag-a-jazz, as well as most prewar styles of jazz, was above all intended for dancing. Rag-a-jazz musicians and later on New Orleans via Chicago and big band swing players had to serve a very practical purpose.
Besides the need to get dancers out on the floor, Tyle also points to the material conditions that not only shaped the music but also made it so varied. In some ways this practical basis allows for far more variety than the wide-open plains of art music. Vince Giordano mentions the ODJB and vaudeville artists of the early twenties as just a few examples of a bass part playing two-to-the-bar, just like in ragtime, while horns phrase in eight like the right hand of a ragtime pianist.
Giordano raises phrasing in eight as a key part of rag-a-jazz, stressing the eight feel with his own sidemen when they perform this repertoire. Yet taken on its own terms and without comparison to other rhythmic concepts, it is just another approach to the tradition. Jazz has become a very big tent but its own backyard still has much to offer. In chronological and cultural terms, Giordano sums up this shift well:. Email SteelGuitarForum gmail. Wang Wang Blues. Posted 17 Jun am.
Posted 17 Jun pm. Posted 18 Jun am. Posted 18 Jun pm. Posted 22 Jun pm. Cloverdale Blvd. Next oldest topic :: Next newest topic. Hi everyone, I haven't posted to the Forum in a long while, I kinda gave up steelin' for a few years to concentrate on all my guitar duties — but this quarantine has given me the non-pedal bug big time, especially all things Jerry.
Really nice Joel! What is that 3rd knob for on the Rickenbacker? Also, what year is that P bass? Red Hot Band. Doin' The Frog. Take It Easy. Jubilee Stomp. Black Beauty 1st Take. Black Beauty 2nd Take. Yellow Dog Blues. Tishomingo Blues. Awful Sad. The Mooche. Doin' The Voom Voom. Tiger Rag Pt. Rent Party Blues. Harlem Flat Blues. Jungle Jamboree. Ain't Misbehavin'. Doin' The New Low-Down.
Jolly Wog. Jazz Convulsions. Goin' Nuts. Oklahoma Stomp Take A.
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