Famous Early Jazz Composers

Composers

Many early jazz musicians were also composers, writing pieces for their band. Often these pieces became ‘hit’ songs, selling large amounts of sheet music, and phonograph records. Such names as "King" Oliver, Louis Armstrong, W. C. Handy and Jelly Roll Morton. This program presents a number of these early jazz musicians and their music.

Joe "King" Oliver - Snag It - 1926

Once jazz reached Chicago and moved onto the national scene, it became the most popular dance music around. The most influential of these early groups was "King" Oliver's Jazz Band, with Louis Armstrong on trumpet. Though only on the scene for a brief time, Oliver's place in jazz history is secure, thanks to the influence of his ensemble.

"Snag It" is a true blues and was a big hit in its time. In it we hear minor blues and the traditional jazz riff that leads to a blues chorus. The tempo is taken fast on the recording of the piece, mostly because of the restrictions of the era's recording techniques but really should be taken at a slower pace.

Louis Armstrong -New Orleans Stomp -  - 1924

Written about 2 years after Armstrong joined Oliver in Chicago, the trio contains a stomp chorus. A stomp, say some of the 'old timers' is stomping your feet to each of the 4 beats of a measure.

Armstrong always claimed that he was the composer of "Sister Kate" and said he sold it to A. J. Piron. Armstrong wrote a number of songs, many of which were never published. 

Jelly Roll Morton - Original New Orleans Blues - 1925

Jelly Roll wrote many famous early jazz tunes which continue to be played by the traditional jazz groups of our day. One of his most famous tunes is "The Original New Orleans Blues." It is a 12 bar blues, using what is call the rhythm of the 'Spanish Tinge.' Two themes emerge during the composition. The first theme begins at section A & B - different but coming together in bar 5 with the same melody, then branching off again in bar 8 until the end in bar 12. The second theme is at #3. This part stops the tango rhythm and as Morton marked as 'stomp.' The piece ends with a straight forward 4/4 feeling to the end.

Nick LaRocca - War Cloud - 1918

War Cloud, using the theme of "Fidgety Feet" begins with an introduction using the Cakewalk rhythm and proceeds to a 16 bar song form with a theme reminiscent of the "12^th Street Rag." There is a quasi stop time that begins the second strain. Most probably the title was given to the jazz classic "Fidgety Feet" as it was a fad to give new songs an interesting title to help sell it. While the melody in the first strain is mostly in 16^th note values, it is contrasted in the trio with a long note theme that sounds more like the trio of a march. It is labeled a one-step.

Wingy Manone - San Sue Strut - 1925

"Wingy" Manone gained national fame as the musical leader of the Bing Crosby radio band. The San Sue Strut  (the name probably coming from a club in New Orleans by that name) is a typical example of a jazz arrangement of the 20's using the jazz/blues style. The arrangement includes jazz breaks, syncopation and opening during the arrangement for jazz solos.

W. C. Handy - Jogo Blues - 1913

Many of the early jazz songs used old jazz riffs and melodies

that had been played for years by older jazz musicians. For

example: "Tar Baby Stomp" became "In the Mood." Rusty

Nail Blues" became "Tin Roof Blues," and "Praline" became

"Tiger Rag." An old blues riff was used by Handy in "Jogo

Blues" and later in "St. Louis Blues." 

Irving Berlin - Alexander's Ragtime Band - 1911

Written by the famous Irving Berlin, it became one of the most popular and influential pieces of the early 20^th century. It paved the way for the beginnings of the famous "Tin Pan Alley." Berlin was a popular songwriter and whatever was popular and selling at the time was the style of his next composition. He wrote numerous ragtime type songs but only a few are played today. Alexander was the nickname used when person of authority referred to a Negro orchestra leader. Thus the name of the song was typical of the Negro jazz band. It is played from the original arrangement published in 1911. Listen for quotes from "Swanee River" and "Dixie."

Spencer Williams - Charleston Hound - 1926

The Charleston dance first appeared in the Black musical comedy "Lisa" in 1922. James P. Johnson's composition the "Charleston" became enormously popular in 1923 and became associated with the jazz age. The tempo was fast, 50-60 per minute, with its characteristic rhythm was used in many other songs and dances, especially the "Black Bottom."

"Charleston Hound" was written by four of the biggest names of the jazz age: Spencer Williams (composer of "Basin Street Blues"), Clarence Williams (composer of "Baby won't You Please Come Home"), "Fats" Waller (composer of "Ain't Misbehavin"), and Eddie Rector (Leader of a popular jazz band of the 20's). Labeled a fast 'fox trot' it was written in 1926 and published by the Clarence Williams Publishing Company of New York. The song is basically in song form. After a two bar introduction there is what can be called a verse of 16 bars. The main theme is then presented at B with some scat lyrics. The sections that follow are variations on the first theme. Section D is orchestrated for 3 clarinets. The last section is marked pp and there is a D. S. ending with a 4 bar coda. There are jazz breaks and great tutti riffs. The Charleston rhythm is heard throughout the composition.

A.  J. Piron - I Wish I Could Shimmy Like My

Sister Kate - 1922

A. J. Piron, the New Orleans Creole orchestra leader, and

Clarence Williams were partners in a music-publishing firm in

New Orleans. "Sister Kate" is surrounded (like many early

jazz songs) with controversy as to the correct composer.

Louis Armstrong said that he was the true composer, and sold

it to Piron. It became one of the most popular jazz songs of

the jazz age.

Scott Joplin - The Entertainer Rag - 1902

Perhaps the man most responsible and best known for the ragtime era was composer Scott Joplin. His compositions "The Maple Leaf Rag,' was the first piece of sheet music to sell a million copies. His rag, "The Entertainer" was made popular in our time by its use in the motion picture "The Sting," with a score adapted from the music of Joplin by Marvin Hamlich. Written in 1902, it is a melodic and rhythmic composition that has withstood the passing of time. While ragtime began as a piano style, it was soon arranged for ensembles such as ours and became the popular music of America as played by the numerous musical ensembles of the day.

Bessie Smith - Jail House Blues - 1924

Co-written by Bessie Smith and her pianist Clarence Williams, is presented in a slightly altered 12 bar blues pattern. It is not a slow blues but is marked moderato tempo and is in reality a set of variations on a blues progression, with numerous examples of syncopation and flatted 3rds and 7ths. It was made famous by Bessie Smith, one of the legendary blues singers. There is a 'special' chorus before the D. s. using jazz breaks played by the clarinet, trumpet, saxophone and trombone.

"Fat's" Waller - Old Folks Shuffle - 1926

Co-composed by Fats Waller, the great early jazz pianist and Clarence Williams, we find a great use of jazz breaks . Written in three sections it is a swinging jazz tune and ends with what is marked a 'stomp,' with great use of jazz breaks.

Arthur Pryor - Southern Hospitality - 1899

Marked a ragtime/cakewalk, we find the name of "Sousa's Band" following Pryor's name on the composers credit. The introduction has an interesting use of the cakewalk rhythm in unison. It is marked "Marcia Moderato," again linking the cakewalk music to the march and brass bands. It is a good example of the cakewalk and ragtime style coming together, containing use of syncopation.

Anton Lada/"Yellow" Nunez - Golden Rod Blues - 1919

Co-composed by "Yellow" Nunez, Anton Lada, 'Golden Rod Blues' reflexes the emerging jazz style of the period just after World War I. The song is in 4 bar phrases and is called 'blues' and is labeled a fox trot. There is the use of the jazz element of syncopation. In the middle of the second section there is an interesting descending rhythmic/melodic figure in a sequential pattern. . The Louisiana Five, mostly a recording group organized only for a short time, created the jazz sound of the era. This song is an example that the many 'legit' bands of the era could create a jazz sound by playing written jazz.

Richard Jones/George Brunis - Jazzin' Baby Blues (Tin Roof Blues) - 1923

While composer credit is given to George Brunis, the great jazz trombonist, the theme is said to be an early jazz riff used by legendary New Orleans cornetist Buddy Petit. Originally the tune was called "Rusty Nail Blues" around New Orleans and only when recorded by the NORK did it take the name of "Tin Roof Blues." The tune was used numerous times by different names: The arrangement we will play is credited to Richard Jones who called it "Jazzin' Baby Blues," published in 1923. It was re-recorded, with different words by Kay Star in the 1950's and called "Make Love To Me."

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