Реферат: The JAZZ Story

Beiderbecke, a victim of too much, too soon; bassist Jimmy Blanton

(1918-1942), who in his two years with Ellington shaped a whole new role

for his instrument in Jazz, both as a solo and ensemble voice; and Billy

Strayhorn (1915-1967), composer-arranger and Ellington alter ego who

contributed much to the band from 1939 until his death.

STRIDE & BOOGIE WOOGIE

Aside from the band, for which he wrote with such splendid skill,

Ellington's instrument was the piano. When he came to New York as a

young man, his idols were James P. Johnson (1894-1955), a brilliant

instrumentalist and gifted composer, and Johnson's closest rival, Willie

(The Lion) Smith (1898-1973). Both were masters of the "stride" school of

Jazz piano, marked by an exceptionally strong, pumping line in the left

hand. James P.'s prize student was Fats Waller. New York pianists often

met in friendly but fierce contests--the beginnings of what would later be

known as jam sessions.

In Chicago, a very different piano style came into the picture in the late

`20s, dubbed boogie-woogie after the most famous composition by its first

significant exponent, Pinetop Smith (1904-1929). This rolling,

eight-to-the-bar bass style was popular at house parties in the Windy City

and became a national craze in 1939, after three of its best practitioners,

Albert Ammons, Pete Johnson and Meade Lux Lewis, had been presented

in concert at Carnegie Hall.

KANSAS CITY SOUNDS

Johnson was from Kansas City, where boogie-woogie was also popular.

The midwestern center was a haven for Jazz musicians through-out the

rule of Boss Pendergast, when the city was wide open and music could be

heard around the clock.

The earliest and one of the best of the K.C. bands was led by Bennie

Moten (1894-1935). By 1930 it had in its ranks pianist Count Basie