The World of Jazz Trumpet: A Comprehensive History and Practical Philosophy

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But many jazz musicians did demand and expect respect and did carry themselves with African-based coolness. Free For All As the post-bop mainstream consensus in jazz began to wane in the mid-to-late s, the avant garde was finding itself in full flower, although in a significantly smaller garden of commerce. By the s, Miles Davis was in seclusion, Lee Morgan had been killed, Dizzy Gillespie was a relatively static icon artistically-speaking, and Wynton Marsalis had not yet emerged as the icon of the future. Of the many outstanding jazz trumpet players of the time let us consider Freddie Hubbard and Lester Bowie as fine examples to discuss the state of jazz trumpet masculinity in the post civil rights era.

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Although the black musician was never in control of economic aspects, their position among workers, thinkers, and admirers of the music is of considerably more prestigious than in the society at large. Within the world of jazz at least, black musicians were not only respected, but assumed to be authentic—the real thing where jazz was concerned. One is tempted to add authoritative, but black authority was constantly undermined by the interpretative, explanative mediation of white critics and jazz advocates.

Black musicians were therefore, at least within the world of jazz accorded respect and valued as individuals by sympathetic whites. While respect and pride concerning jazz within the black community has been a matter of historic complication, a large segment of young people saw the stylish, well-traveled, and independent black jazz musicians as worthy of admiration and emulation. Meanwhile jazz music did not stand apart from the concerns of black America and the worldwide struggles for self-determination.

Monson has noted the irony of jazz musicians adopting an essentially romantic notion of the autonomy of their music, in their quest for dignity—autonomy that implies true art is above political concerns—and the recognition of the very political nature that such a subversive stance represented.

The Legendary Count Basie Orchestra directed by Scotty Barnhart

Figure 4 Blue Note album cover art. LPs of this period often featured attractive women or abstract designs. The ability to "run changes" had long been the established measuring stick by which musicians were judged.

For instance, chord-based soloing was the foundation of the "cutting contest," the principal means by which instrumentalists tested their virtuosity. For one night at least, the "winner" of a contest is viewed as "the king," and receives all the honor and glory befitting jazz royalty: the admiration of the crowd including, perhaps, the amorous favors of one of its members , and, more important, the chance for a better gig the next night. Carby is examining musical environments that are beyond the cutting contest. The musicians in established working relationships have often moved beyond a point of phallic comparison and are engaged in more fruitful interaction.

The Genius of Jazz

Coleman represented the antithesis of this trope. The shortcoming of this analysis though, is that African Americans would have likely developed more complicated notions of masculinity than can be accommodated by the streamlined writing style of Ake. There is possibly more credibility in the notion that whites sympathetic to the music at least would been more influenced by the masculinity displays of the jazz musician due to their limited contact with blacks, while black people, especially herded together in segregated America were constantly exposed to a wider range of performances of masculinity.

Monson appears to appreciate this performative aspect of masculinity. Although primarily a straight-ahead and very hard bebop player, Hubbard recorded on Free Jazz with Ornette Coleman and on Ascension with John Coltrane. In the s Hubbard recorded a number of slickly produced LPs whose commercial successes helped usher in the smooth jazz genre, but he never fully abandoned straight-ahead jazz. Hubbard came from the vibrant Indianapolis jazz environment that produced J.

Hubbard outgrew Indianapolis—the black jazz player lifestyle, including the entitlement to keep company with white women, ran counter to the parochial values in Indiana. Figure 5 Freddie Hubbard left and Lee Morgan. Can you imagine having a sister blowing the trumpet around the house? He used to say to not give everything. Miles used to tell me that too. In all his recordings, Hubbard played with fire, notable virtuosity, and with a great deal of forcefulness. It is clear from his own statements that he has a competitive and virile approach to trumpet playing.

I was playing slicker than hip lines but he would blare me out. He had a bigger sound somehow. My shit was stronger than theirs. I let them know that I was Freddie Hubbard not Miles. They tried to see how fast they could play.

  • Scotty Barnhart.
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Perhaps the career paths of outsiders Bowie and fellow trumpeter Don Cherry are so different from those of insiders Hubbard and Morgan because they came to New York at much later stages in their respective developments—Bowie from Chicago and Cherry from Los Angeles. Bowie was born in Frederick, Maryland but raised in St.

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The classic lineup lasted until the mids and featured Bowie and Mitchell, along with bassist Malachi Favors Maghostut, saxophonist Joseph Jarman, and percussionist Famoudou Don Moye. The Art Ensemble was known for costumed performances including facepaint, and their employment of diverse instruments, including conch shells, banjos, extremely large bass- contrabass and small sopranino saxophones, and many small percussion instruments. Bowie remained with the Art Ensemble until his death in from cancer, but also organized or participated in several other noteworthy ensembles.

The Leaders was a completely different concept from the Art Ensemble even though Bowie still wore his trademark white lab coat—see Figure 6 with the players occupying more conventional roles on their instruments. Ailing and frustrated, Oliver settled in Savannah, Georgia, where, having pawned his trumpet and finest clothing, he maintained a small fruit stand and worked as a pool-hall janitor.

King Oliver died in from a heart attack, or, as Louis Armstrong later suggested, a broken heart. Skip to content. Share: Print. Like this: Like Loading He appears on three critically acclaimed recordings with pianist Marcus Roberts and over fifteen others with artists as diverse as Tony Bennett, Diana Krall, Ray Charles, and Tito Puente. Acknowledged as an authority on the history of Jazz trumpet, he gives lecture-demonstrations on the history of jazz trumpet at schools and universities all over the United States as well as in South America, Japan, China, Europe, and South Africa.

Jazz Festival history. October 22, pm - pm.

The World Of Jazz Trumpet: A Comprehensive History & Practical Philosophy

Buy Tickets. About the show. Lizz Wright Lizz Wright has been the recipient of nonstop critical acclaim and ever-increasing audiences ever since her Verve debut.