The Saxophone in Early Jazz

Songs

The more than 3000 arrangements in the John Robichaux’s dance music library gives us a sampling of the use of saxes in the contemporary dance orchestra of the early 20^th century. One of the earliest examples of the use of a sax in the dance orchestra is a manuscript part written as an addition to the standard instrumentation for the song "Sorella" for a C melody saxophone. There is no date on the part and it could have been written later than the published date of the printed parts that are marked with the date, 1906.

Interestingly, in 1907, we find a printed military band arrangement of ‘Mignon’ using 3 saxes (ATA). There is mention of saxes being used in the marching bands of Louisiana in 1885 - an article in the Donaldsonville ‘chief’ mentions the purchase of a few saxes for the town band.

In 1910 we find 3 arrangements (out of 66) that used saxophones, a manuscript part for "Chinatown’ for alto and tenor sax (finding manuscript parts might mean that publishers had not yet decided they should begin publishing parts for saxes in regular arrangements, two others: ‘In the Garden of My Heart’ (using C melody), and ‘Some of These Days’ (using alto, tenor and/or C melody), are present and the way saxes are used will be the main direction of the program on the use of the saxophone.

In 1911, we have three arrangements (out of 69) which use saxes: ‘Marietta’ (tenor), ‘Red Rose Rag’ (ATA), and, ‘somewhere A Voice is Callin’ (with a manuscript part for C melody sax).

From 1912 through 1915, we find only 8 arrangements using saxes out of 1,238 arrangements - hardly a trend. The sax was still not a standard instrument in the published arrangements during these years.

In 1916, we find 15 arrangements using various combinations of saxes: from single sax to two (AT), one brass band arrangement using sax and two arrangements for dance band with three saxes. Having three saxes published did not mean there were three separate parts as a sax section (like the 3 cornet parts of a brass band) but each could double another printed part, or be a combination of many parts doubling them at certain sections, or be sort of an obbligato part.

From about 1906 to 1917 the majority of arrangements for dance bands using saxes are limited to one sax. There are a few arrangements using two but their use was not as a sectional arrangement but as two individual instruments. The use and number of saxes can be primarily divided into three periods:

1906 - 1917 - one sax period

1917 - 1922 - two sax period

1922 - 1929 - three sax period.

1930 - to today - four to five sax period.

From 1917 through 1922, we find the percentage of arrangements using sax up from 9% to 30%. In the year 1920 we find a trend of using two saxes, the alto and tenor. Of the 1920 arrangements found there are 216 arrangements using saxes, a large jump in percentage in the use of saxes.

In 1917 we find 25 arrangements using sax. The majority are for two Saxes (AT). The percentage of saxes found is 9%, an increase from 1916 of almost 300%. In 1917 we find the first appearance of a part for baritone sax in a march entitled: ‘War March.’

In 1918 we find 29 arrangements that use sax. Of the 19 we find the following distribution:

sax parts - 19

tenor sax - 6

alto, tenor or C melody - 1

soprano sax - 1

C melody sax - 2

The songs with 2 sax parts are double with the first mention of the soprano sax in an arrangement called ‘Sweet Child.’

In 1919, we find another large increase, the number of arrangements using sax is up to 73 making it 22% of the yearly number. We see the continued use of alto and tenor sax (19) which again doubles the previous year. There appear various combinations of saxes in the remaining 24 arrangements.

In 1920, we see a continued increased percentage in the use of saxes with 30% of the arrangements found using sax. Out of a total of 238 we find 93 using sax. The combination of saxes (using alto and tenor) is again prevalent, numbering 73.

In 1921, we find the continued trend of the use of two saxes. We find 136 arrangements using saxes - 61% out of a total of 22. From 1920 the percentage never drops below 60% and reaches a high of 83%. Eventually there will be 100% in the 1930’s. Also found in 1921 are 15 alto and tenor combinations with doubling on c melody sax, putting the total of alto and tenor combos to 143 out of 168. We do not count the double of the tenor part by the C melody as two parts - only one part transposed for two different keys.

In 1922 with 281 arrangements listed, 141 of them use sax or 61%. Those arrangements using alto and tenor combination number 83 of those 141. We also see 19 use 2 altos and tenor or 3 saxes, but we see many doublings using C melody or tenor sax subbing for 2^nd alto and alto subbing for tenor. This shows another increase in percentage although the total number of stock present from 1922 is lower than the previous year. We find 4 parts in the arrangement ‘lady of the Evening,’ and ‘Yankee doodle Blues.’

There is only a small increase - from 61% to 65 % of stocks using saxes, which comes to 121 out of 186 in the year 1923. Significantly there is as beginning of the use of 3 sax parts (32) alto and tenor parts (24), although we have 33 alto and tenor parts. With C melody doubling putting the two piece sax parts to 57. This year appears to be the year that the saxes are beginning to be written as a harmonic section either in three or 4 parts.

4 saxes - 5

3 saxes - 32

A,T,C Melody - 33

The only 4 parts are: "I’m Goin South,’ ‘Indiana Moon, ’I’ve Got a Cross Eyed Papa,’ and, ‘When You Walked Out Someone Else Walked Right in.’

In 1924, we find a large number of stock using saxes - 111 out of 136 - 76%. Seventy are ATA, 24 are 4 parts, and 14 are 2 part (AT). The use of three sax parts remains the most consistent combo until 4 sax combos and gradually to 5 that is the present arrangement in ‘stage’ bands. We also find very little use of clarinets. Clarinets in various numbers, are still found but in very few arrangements.

In 1925, the number rises to 82% or 100 of 121, and we see less use of a clarinet. We also see an arrangement using 5 saxes (no baritone Saxophone included) called ‘ ‘Outside of You.’ The majority of sticks are for 3 saxes (AAT) - 85 arrangements.

In 1926 the percentage of stocks using saxes of at 83% or 133 out of 160. There is continuously less use of the clarinet. Three sax parts number 119 with only 14 not the same (11 written for 2 saxes).

In 1927, we find a drop in percentage of stocks using sax parts - 75% or 93 out of 123. The prevalence of 3 sax parts in seen (85 out of 93) - only 6 are for 2 saxes and one with 4 saxes. There is still use of clarinet and flute which will continue till 1935.(no flute) and no clarinet. The popularity of 3 saxes continue until 1930’s . One stock contains 3 altos - ‘Kiss and make Up.’

In 1928, a slight drop of percentage occurs - 74% from the previous year - 87 out of 117. One hundred and twenty-eight are in 3 parts, only 1 in 1 part and 11 with 2 saxes. The trend for 3 part sax parts is now somewhat standard.

In 1929, while the total number of stock goes down to 65 the percentage of these using saxes are at the highest level - 93% or 61 out of 65, the remaining (except for one) are 4 part sax arrangements.

Saxophones were introduced into American Brass Bands in the 1990’s and in the early 20^th century in dance bands (1906)

Saxes were introduced into American Brass Bands in the 1880’s and in the early 20^th century (1906) in dance bands. During this era there were few arrangements using saxes and manuscripts are found of sax parts added to published arrangements. We find alto, tenor and C melody saxes written for. The majority of sax parts are written for only one sax. The sax part usually doubles other parts, plays the melody in some sections and harmony in others. There are few individual parts that do not double or support the other instrumental parts. I believe the arrangements were first written for traditional instrumentation and then a sax part was added.

Evolving around 1917 until 1921/1922 we find the popular use of 2 saxes in dance arrangements, mostly an alto and tenor sax. While we see appearances of more than 1 sax in a dance arrangement prior to 1917, during this era we also find a prevalence of 2 sax parts. There is no sectional work for the saxes, they still double parts, both harmonic and melodic. There is evidence of individually written sax parts, showing that arrangers were thinking of the sax as an individual instrument, not just an added part for doubling but had not yet thought of using the sax as a section like the brass.

Around 1922, we find the early arrangements of saxes written as a section and they become an integral part of the ensemble. As a result we have the clarinet becoming less important as an ensemble sound but retaining a place in the ensemble. The clarinet’s position will not be a part time instrument with the arranger requiring the sax players to double on clarinet. We find sax sectional jazz breaks and we find the use (with sectional established sax parts) of 3 or more saxes - AA and Tat.

By 1924, we find the sax well-established as an integral part of published jazz arrangements and this era begins the modern era of arranging for an enlarged dance ensemble.

Without a Saxophone

1906 - 1917 - One Saxophone

1917 - 1922 - Two Saxophones

1923 - 1929 - Three or More Saxophones

Without a Saxophone

    Jelly Bean - 1920 -Joe Verges

Joe Verges was born in New Orleans in 1882, having an early interest in music, he entered vaudeville in 1912. His early success in song writing began in 1916 with "Don't Leave Me Daddy," that became a big local hit. He entered a partnership with local composer Sam Rosebaum and Nick Clesi. This group evolved into the Universal Music Publishing Company of New Orleans. Verges was also associated with other music publishers nationally. He was very progressive in his harmonies, using 'swing' chord progressions. Returning to new Orleans in 1940,. He remained in the city until his death in 1964, playing piano at local clubs in and around the French Quarter

1906 to 1917 - One Saxophone

Sorella - 1906 - Borel/Clerc

Labeled as a 'Spanish March,' "Sorella" was popular in Paris as was most Latin music. This period was referred to as 'The great Parisian craze.' While no date is given, the written out soprano saxophone part is mostly doubling cello. With many dance bands not having cello, this sax part is playing a part that might not have been played. In some phrases the sax part doubles the trombone or clarinet. Perhaps with the unavailability of cell players the sax gradually took over cello parts and was to become the backbone of the dance ensemble.

When You Hear Jackson Moan Upon His Saxophone - 1916 - E. Carroll

The arrangers are beginning to experiment on how best to write and use the saxophone. We see this in 'Jackson." The tenor sax is used to play some harmony parts, some pick-up notes and as a fill in and sometimes doubling trombone parts. In the trio it mostly doubles the cello part.

'Jackson' is labeled a medley fox trot and is from Oliver Morosco's play with music 'So Long Letty,' from the lack of syncopation and other jazz related elements. 'Jackson' is more of a show tune and typical of the 'straight' popular music of the era prior to the First World War. It is in three sections and includes an introduction and a D. S. The first section acts like a verse to the chorus of the second section. The third section contains one figure that uses one beat of syncopation, although with the tie it sounds more like the following figure is a anacrusis to the following melody, and seem mis-placed. It sounds like a lengthy introduction, as there is a repeat back to the D. S.

Jasmo - 1917 - J. Klohr

In this arrangement the alto saxophone is written exactly as a duplicate of the first cornet part. On the written cornet part we read: 'lst cornet in Bb (or Bb saxophone). In the part for saxophone we read: (solo) alto saxophone.

Jasmo is labeled 'one-step oddity.' We find in many jazz arrangements of this period the use of the glissando on the trombone - a sound that is apropos of jazz band sounds. It is played by the trombone in written or improvised 'jazz breaks'. The violin and flute often double the cornet/sax melody with the 2^nd cornet the long supporting instrument. The harmony is mostly covered by the chord accompaniment on the piano. A good technique is required to play this piece. It contains syncopation and a melody that contains grace notes and 16^th note passage work. While it was written for dancing it is also a good piece for concert. 

1917 to 1922 - Two Saxophones

War Cloud - 1918 -Nick LaRocca

War Cloud (Fidgety Feet) begins with an introduction that uses the cakewalk rhythm and proceeds to a 16 bar song form with a theme reminiscent of the '12^th Street Rag.' The name was given to the band's piece 'Fidgety Feet' to help sell the arrangement and it was a fad to give songs an interesting name. While the melody for the first section is in 16^th notes, it is contrasted in the trio with a long note theme that sounds more like the trio of a march. Composer credit is given to Nick LaRocca and Larry Shields. It is labeled a One-Step.

I'm a Jazz Vampire - 1920 - A. Swanstrom

This piece (marked a fox trot) and the arrangement is a very good example of a swinging jazz tune at the beginning of the jazz age - approx. 1920. There is a four bar introduction leading to section A that is 14 bars long. Section b uses introductory material with 2 cadences. Section c is 10 bars long with a quarter note motif. Section d uses material from the introduction and material from section B for 4 bars with a four bar extension. Section E makes use of material from section C for 6 bars. Section f again uses introductory material - two bars the same with a 4 bar extension. The sax parts have shown some independence and play some harmony support but doubling are still frequent.

Whistling Blues - 1921 - J. Diamond

 After a 4 bar introduction and a two bar vamp, the main structure ( in two sections) begins at A, is in two 8 bar phrases, direct repetition except for the ending cadence in bars 15 and 16. Section B is similar in structure but with an extension of 2 bars. There is some use of syncopation but we know there is no use of blue notes nor is it the traditional 12 bar blues form. Published by the Pace/Handy Music Company, it is noteworthy that the arranger is the prominent Negro composer, William Grant Still.

Shimmy Like My Sister Kate - 1922 - A. J. Piron

the authorship of this song is still disputed with Louis Armstrong claiming that it was his melody. Piron published the tune under his own name and it became the hit of the Jazz Age.  Armstrong never recorded the song, not wanting to make any money for Piron by sales under his name.

1923 to 1929 - Three Saxophones

Red Hot - 1924 - Frank Trumbauer

Red Hot is written by a quartet of composers with Frank Trambauer being the best known. It is labeled 'A shimmy blues fox trot.' After an introduction the first section begins with a figure reminiscent of a Charleston rhythm, the chorus, 32 bars long with 2 jazz breaks, presents a vocal that explains the title. On the score we read:

"Red Hot that band is 'Red Hot.' What it takes they've got. That's all. O your dogs start walkin'. There's no use talkin'. One thing you've got to give em' they play rhythm that just keeps you swayin' with em.' I'll bet you just can't help step, 'cause brother, what pep they've got. There's only one answer. Ev'vy dancer when they start to play will holler 'don't Stop" "cause they're ''Red Hot."

Nancy - 1924 - Black/Moret

Written for three saxophone parts with the flexibility of three altos or an alto and 2 tenors, it also included parts for 2 clarinets. It uses three saxophones in harmonic section work. There is a sax trio section at C using the melody harmonized showing the coming to date of saxophone used as a complete section. We can see the evolution of saxophone arranging in the developing concepts of dance band music. There still remains the problem of what to do with the clarinets. They will solve this problem by having the saxes doubling on clarinet. The tempo is a brisk two to a bar. From 1923 we see the prominence of the saxophone and the decreasing use of the clarinet, flute, and violin. While clarinets will be used in combination with saxes, the violin and flute would be dropped from the ever popular jazz/dance orchestra, except in the large orchestras of theaters or the 'symphonic orchestrations' of Whiteman and Lopez. This is the last hurrah of the ragtime/Atlantic city style of popular music and we see the emergence of the 'jazz song' that would now monopolize the pop music scene. In this arrangement we find arrangers continue to try and use the clarinet as a section but this practice is to become obsolete except in their use in searching for new combinations of sound for the 'swing' bands of a later date. We find arrangers using two clarinets, a practice that was doomed from the start.

Chattanooga Stomp - 1924 - Joe Oliver

This song (spelled with only one 'T; in the printed page) was published by Melrose, a publisher that was jazz oriented and was written by A. Picou and Joe 'King' Oliver.

A syncopated main theme is stated after a 4 bar introduction. It is written in the traditional 4 bar phrase format. It quotes a phrase from the Washington Post March of Sousa. The trio has a jazz break in the 15 and 116 bars.

New Orleans Blues - 1925 - Jelly Roll Morton

This is a 12 bar blues Tango, using what is called the rhythm of the Spanish Tinge. Two themes emerge. Beginning at section A and B - different but coming together in bar 5 with the same melody, then branching off again in bar 8 until the end - bar 12. The second theme is at 3. This part stops the tango rhythm and as Morton remarked 'stomp.' The piece ends with a straight forward 4/4 feeling to the end.

Charleston Hound - 1926 - Cl. Williams, Spencer Williams, "Fats" Waller & Ed. Rector

The dance called the Charleston 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 other songs and dances of the era, especially the 'Black Bottom.'

Charleston Hound was written by four of the biggest names of the popular composer's field: Clarence Williams, Spencer Williams, Thomas 'Fats' Waller and Eddie Rector. It is labeled a fast fox trot. It was written in 1926 and published by the Clarence Williams Publishing Company. The song is basically in song form or 8 bar phrase structure. 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 them at A. Section D is orchestrated for 3 clarinets. The last section is marked pp and there is a D. S. and ends with a 4 bar coda. There are jazz breaks and great tutti riffs throughout, making this a real swinging arrangement.

Old Folks Shuffle - 1926 Cl. Williams & "Fats" Waller

Co-composed by Clarence Williams and Thomas 'Fats Waller, both gentlemen noted for their talent on the piano. Waller became a national early jazz figure. There is a great use of jazz breaks in bars 7 & 8 of the 2^nd section. The ending 3^rd section is a 'hot' chorus presented for the trumpet and trombone after a D. S., followed by a tutti section written for 3 soprano saxes but usually played by clarinets. The piece ends in a stomp ensemble that presents the same break heard earlier.

Wild Man Blues - 1927 - Jelly Roll Morton

This piece begins with an introduction that contains jazz breaks of 8 bars length. The melody begins at section A and is in g minor in 4 bar phrases. Interesting is bar 33 which moves between major and minor. It is a great example of the progressive style of New Orleans early polyphonic jazz and its evolution to Chicago style jazz, with solo breaks occurring throughout. More advanced harmony and structure are used. There is a modulation at # to c minor that uses the theme stated a 1 but it contains jazz breaks instead of whole notes and the rhythms of the first 8 bars, but with some slight alterations in the next phrase. The phrases and material differ from 1 using thematic motifs more often. It will be interesting to compare section 1 and 3. 1 is 32 bars long.  3 is 30 bars long with a 4 bar transition to 4. 4 acts as an out chorus and is marked 'boot that thing.' This sounds like a New Orleans last chorus tutti fortissimo section of 32 bars. It is a good example of an early jazz sound and has as great New Orleans jazz feeling to it.

Mystery Man - 1928 - N. Chon

The first major 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 and a sax section in this arrangement of 'Mystery Man.'

Harlem Rhythm Dance - 1933 - Clarence Williams

Written in 16 bar song form the 2^nd repeat is extended 2 bars, followed by a 4 bar transition and modulates from Eb to Ab, then goes to F. The theme is presented again in the Ab section. Seems like a series of jazz riffs thus the name and use of rhythm in the title. Possesses lyrics in jazz slang and is marked 'swingy and fast,' and is just that. A real crowd pleaser.

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