Halloween in Jazz

Songs

Composers since early times have composed classical music using the supernatural as descriptive material, the most famous being "Orpheus in the Underworld" (Monteverdi-1607) and more recently "Night on Bald Mountain" )Mussorgsky-186066). Popular music composers also relied on material of this genre. In this concert we feature jazz compositions of the supernatural. Happy Halloween , from the Lake Arrowhead Early Jazz Band members.

Comus Waltz - 1880 - Auguste Dennis

We begin our program with a waltz - the Comus Waltz. In late Roman legend, Comus was the god of mirth and revelry. I might add to this program, while organized as to titles having to do with the supernatural, in reality shows the evolution of written jazz.

One of the earliest pieces of music in the John Robichaux dance music collection, housed at the Tulane University Jazz Archives, the Comus Waltz is a great example of the genre, with beautiful but simple melodic lines and stable harmonic structure.

Black Smoke - 1902 - Charles Johnson

The color black has always been associated with scary, supernatural subjects - black widow spiders, black death, black cats, black market and black smoke. In our next number we find the use of 'blue' notes (flatted 3^rd of the scale). Written by Charles Johnson in 1902, 'Black Smoke' uses rhythmic syncopation and was composed using the cakewalk style.

Moon Winks - 1904 - G. Stevens

Ghost Dance - 1911 - Cora Salisbury

Continuing our program, we will be hearing songs written about ghosts, devils, spooks, skeletons, black cats and vampires. We will also hear haunting, spooky and mysterious music. So 'be prepared to be scared.' You will have fright tonight and boast of ghosts.

This piece is marked 'dance descriptive' and is typical of the dance music of the early 20^th century. This piece is more difficult technically than other dance music and has a classical style to it.

Spooky Spooks - 1912 - H. Dalton

Using the minor scale to depict the intent of the title 'Spooky Spooks.' The piece is placed in 6/8, with melodic material found in both the violin and woodwind parts and later in the lower brass. The tempo is marked 'moderato misterioso.' The last section is in bb major with a D.S. leading back to the G minor of bar nine, which in turn, leads to a coda of 8 measures.

There's A Ghost In The Closet, I'm Afraid - 1912 - Brockman/Weslyn

Next - More ghosts. Described as a barn-dance and Schottische, this piece is a cute little melodic song with words characteristic of the songs of the era. The words state, "The house is haunted, there's a ghost in the closet." The song does contain some syncopation and uses a rather simple melodic line.

The Ghost of the Violin - 1912 - B. Kalmar

We still have some songs to play for you about ghosts. This next song, marked as a characteristic two-step and march, contains some difficult passages using glissandos in the violin part with the use of the cakewalk rhythm and a lot of chromatic passages. It is an early publication of Irving Berlin and, like the previously played Ghost Dance, is more classical in nature.

At The Devil's Ball - 1913 - Irving Berlin

Written by Irving Berlin in 1913, it is labeled a two-step and march. The song contains the cakewalk rhythmical and uses some syncopation. Berlin always said he wrote 'to sell.' Whether it was ragtime, cakewalks, coon songs or any ethnic song, he had no prejudice but wrote what was currently selling. "At The Devil's Ball" is a good example of the cakewalk, two-step, ragtime march, etc., all combined into the evolving form and style of the rag.

The Ghost Breakers - 1914 - Glogan / Falke

No, this is not the theme music from the movie 'ghostbusters' but is marked a 'march and two-step' and is in 6/8 meter. This piece is a good example of the march style being used as a dance piece using the two-step style in the guise of a march.

Teasin' The Cat - 1916 - Charles Johnson

Most people don't take superstition seriously. They do not believe in not walking under a ladder or rubbing a rabbit's foot and even go as far as teasing a black cat. This next piece is dedicated to them. It is said to be the last ragtime piece published before the era we call the 'Jazz Age.'

Skeleton Jangle - 1918 - Nick LaRocca

Halloween is associated with ghosts, goblins and yes, skeletons. We present the next song so we don't neglect the scary skeleton. It was first recorded by the 'Original Dixieland Jazz Band,' the first jazz band to make a jazz recording.

Ghost of Mister Jazz - 1920 - Rose / Frost

There are many examples of ghosts in our literature and music in America. As we are musicians and some of us are called 'jazz' musicians, we now play a piece called "The Ghost of Mister Jazz.'

I'm Looking All Around For A Vampire - 1920 - Creamer

Throughout history, one of the more scary creatures to appear, sometimes in human form, is the vampire. Maybe if we look around we can find one among us. Our next song is called 'I'm Looking All Around for A Vampire.' The song is written in a jazz style. Published by the Pace/Handy Publishing company, and arranged by William Grant Still, it contains syncopation and what we have come to regard as jazz harmony. Could they be using the word vampire for the term used in music called a 'vamp?'

I'm A Jazz Vampire - 1920 - Swanston / Morgan

We have found our vampire and 'he is us,' as we play our next song entitled 'I'm A Jazz Vampire.

Spooky-Ooky Blues - 1920 - C. Vanderslott

Marked 'a song or fox trot' the piece is a vocal showcase. It is not a traditional blues pattern and has to have been written with a smile on the composer's face. The opening words state: "I heard a jazz band playing a spooky tune. "Sit back and enjoy 'Spooky-Ooky Blues.'

Black Cat Luck - 1922 - Spencer Williams

Written by Spencer Williams (Basin Street Blues), 'Black Cat Luck' begins with a four bar intro followed by a two bar vamp - the traditional structure for jazz tunes then. Like the songs of the era, there is syncopation used and we find the use of the saxophone in jazz arrangements an instrument that would dominate in future jazz arranging.

Haunting Blues - 1922 - Hirsch / Busse

Do you feel haunted and scared or has the last song made you feel lucky and safe? Don't let your guard down because we next hear another blues melody, the 'Haunting Blues.' It was written by the trumpeter Henry Busse and arranged by the great Frede Grofe. It is not 12 bar blues but just a regular popular structure. The song hints at blues style as so many jazz songs do0 during this early period of jazz arranging.

Ghost of the Blues - 1924 - Brymn / S. Bechet

The use of the word blues' in the title of a song was almost a guarantee that a song would sell. There are too many songs written during the jazz era that are called blues that are not true blues to even begin to mention. Our next song is associated with ghosts and the blues and was co-composed by New Orleanian Sidney Bechet and Tim Brymn.

Dead Man Blues - 1926 - Jelly Roll Morgan

Considered jelly Roll Morton's masterpiece, the song begins with Chopin's 'Funeral March' in the first 8 bars. Within this piece we hear musical and rhythmic echoes, polyphony, fragmented melodic lines, stop-time - all musical styles which fade and reoccur at key moments, giving order to the liveliness of the whole. There is presented a series of blues variations (true blues), given to the clarinet and trumpet. The piece ends with the 'funeral March' quote.

Mystery Man - 1928 - Chon / Stokes

The first change from what had become the standard Dixieland ensemble came with the addition of another trombone and the use of the sax as the backbone of the jazz ensemble. We see one of the earliest examples of the use of two trombones in this arrangement. We end our Halloween program with the 'Mystery Man.

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