Tim Fox's List: jazz appreciation

Albert Murray has crafted an aesthetic out of the blues. 

The novelist, writer and critic was on campus last  week talking about the basic elements of his own writing and the  relationship between the blues and all great art.

In his early years, Armstrong was best known for his virtuosity with the cornet and trumpet. The greatest trumpet playing of his early years can be heard on his Hot Five and Hot Seven records, as well as the Red Onion Jazz Babies. The improvisations he made on these records of New Orleans jazz standards and popular songs of the day are unsurpassed by later jazz performers. The older generation of New Orleans jazz musicians often referred to their improvisations as "variating the melody." Armstrong's improvisations were daring and sophisticated for the time, while often subtle and melodic.

He often essentially re-composed pop-tunes he played, making them more interesting. Armstrong's playing is filled with joyous, inspired original melodies, creative leaps, and subtle relaxed or driving rhythms. The genius of these creative passages is matched by Armstrong's playing technique, honed by constant practice, which extended the range, tone and capabilities of the trumpet. In these records, Armstrong almost single-handedly created the role of the jazz soloist, taking what was essentially a collective folk music and turning it into an art form with tremendous possibilities for individual expression.

Duke Ellington's work has come to be recognized as a cornerstone of American culture and heritage. He is widely regarded as the most important composer in jazz; he was also a galvanizing bandleader who inspired many of his musicians to produce their best work, whilst himself being a significant exponent of jazz piano. His works have been revisited by artists and musicians around the world both as a source of inspiration and a bedrock of their own performing careers. Ellington's compositions are now the staple of the repertoire of music conservatories, and even high school band programs that have embraced his music continue to give it life and voice.

His son, Mercer Ellington kept his big band alive after his passing. When Mercer died, Paul Ellington kept the Duke Ellington Orchestra going. It plays in concert halls around the world to this day.

Late in 1954 a quartet under the leadership of Horace Silver was playing at Minton's Playhouse. As a result of earlier successes on the Blue Note label, Horace's star was in the ascendancy and Alfred Lion was anxious to record more of his brilliant hard driving piano. 

Jazz musicians continue to use the "Giant Steps" chord progression, which consists of a peculiar set of chord progressions which often move in thirds, as a practice piece and as a gateway into modern jazz improvisation. The ability to play over the "Giant Steps"/Coltrane cycle remains to this day one of the benchmark standards by which a jazz musician's improvising skill is measured.

The album is also considered to be Coltrane's farewell to bebop. He ventured into the territory of modal jazz shortly afterwards.