Roots of jazz; Jazz pianists

The following tape recorded program is a presentation of the National Association of educational broadcasters. This is the 24th in a series of programs on the roots of jazz Me United States. On this program we discuss and listen to the music of jazz piano. Under nearly a program we heard the music of the early pianist from ragtime to boogie woogie

on this program we begin with two early pianists who set the styles which in the last 25 years have persisted. But first we must understand something of the peculiar function performed by the piano in jazz. Before the 1920s pianos were not used in jazz bands in New Orleans they weren't used because most of the work these bands did required marching groups. So the pianist became a soloist and a company asked for a blues singer. This meant the piano music develops styles peculiarly appropriate to the nature of the instrument. Boogie Woogie for instance has been called the most perfectly pianistic music ever played on a piano. When just left the Delta city and its tradition of marching bands moved to Chicago and its tradition of stale nightclubs and honky tonk dance malls. There was no reason why the piano should not be used to augment the rhythm section of the music bands that played in these clubs. Using the

piano as a rhythm instrument did not interfere particularly with the usual New Orleans arrangement of melody improvisation. But the piano is one of the most capable instruments of producing melody improvisations and sooner or later some pianist was bound to arrive on the scene to show us just how the intrinsic values of the keyboard could be added to the Jazz Orchestra. That pianist came to Chicago from Pittsburgh in 1925. And his name was high. Oh Hines establish the style for piano in a band.

Yes like Otis Ferguson was to write an article about the pianist in the band which centered around the sensational swing keyboard artist Jess Stacy. But Jess was influenced mostly by Hines. And so to just about every great Dixieland and swing pianist Teddy Wilson Mary Lou Williams Jess Stacy Mel Paul Budde Paulo Joe Sullivan they all began with Father Hines Barry Ulanov says it is hard to name a pianist of any importance in jazz no matter of what school. Who hasn't been influenced by Hines for years. Bill Hines has been leading a dance band which sometimes follows the trends but frequently leads. His name is not too well known today but this music from the 1920s has been has inspired some of the greatest jazz pianists. Pianist Earl Hines with Louis Armstrong's orchestra back in

1925. Piano music and jazz began as a solo art and during the 20s and the 30s it became a big and little band instrument. But the highest peak of pianistic jazz has always been reserved for the solo instrumentalist among the early jazz pianists. Ragtime music and boogie woogie covered the waterfront almost all pianists fell into one or a combination of these two categories. The man who led the jazz pianists out of these straits is known as the grandfather of the hot piano. His name is James P. Johnson. He probably recorded the first solo piano jazz piece ever recorded. That was in the year one thousand twenty one. He doesn't know how many what the titles are unlawful whom he recorded most of his records. It was a sideline with him at the time. His chief field of activity was writing music for colored

reviews Ziegfeld Productions. He wrote among other economic among other songs original Charleston Ivy. I Can't Give You Anything But Love and running wild he wrote the musical score for The Hollywood movie ya Macross starring the blues singer Bessie Smith during the 20s. He was everywhere doing everything but in 1930 he retired from jazz for eight years. He spent those eight years writing serious music several symphonic attempts. But James P. Johnson came back in the late 30s to play jazz piano once more. And this is his snowy morning blues. And would Smith call Johnson the key man in Harlem P.A.

and Rex Harris says James P. Johnson is a great blues pianist and it is to him that the myriad of admirers of Fats Waller have to give a certain amount of their credit for he it was who helped foster and mold the style of that great entertainer. If Johnson is the grandfather clock piano then Fats Waller is the father of it. While I was Johnson's people I know people who could have been a bit away from 1929 into 1943 when he died of drunk Humani at the age of 59. Fats Waller recorded his many faceted and always

effervescent personality on hundreds of recordings. This is one of his most popular handful of teen years. Thought swallow was informal energetic enjoyable and yet pitiable

and a never ending source of musical ideas. Almost everyone who ever attempted to get Fats Waller to work had to work his own imagination over time. Eddie Condon was once employed by the Southern music company for $75 to see that was obtained and rehearsed it and got it to the Studios in time to make some recordings. And he met fats and they agreed to talk about it. After three days and nights nothing had been done. On the morning of the appointment Eddie awoke. Well here's a story in his own words. When I awoke I was lying on the wall cushions at Connelly's and fully dressed. It was 10:30 in the morning on another question. Fats was curled up also dressed asleep. I staggered over to him. He opened his eyes and smiled. It's half past ten I croaked Where do what the studio had known. He sat up stretched and yawned. Well that's

fine that's wonderful that's perfect he said. Now we've got to see about that band. Look around for some nickel so I can make that telephone go. He went to the phone booth and made three calls. By the time we'd finished washing and straightening up our clothes three musicians had arrived. Charlie Gaines a trumpet player Charlie herb as a trombonist and Arbel Harris who played clarinet and although saxophone. What are you going to play. I asked though by now I figured it really didn't matter. Mr. Adams would throw me out after the first note. You mean what are we going to play Fatt said. Man you're with us. Where's your banjo. But I'm not supposed to play with you I said. I only came to make the date and help you get the band together. Fats looked hurt. You mean you don't want to play with us. He said. I would love to play with you I said. My banjo was at the Riverside towers. We'll stop and get it fat said Charlie get a taxi. We piled into a taxi

and headed down Seventh Avenue. Now here's what we're going to play Fatt said suddenly and he hummed a simple basic pattern or rhythm and melody of blues in a minor key. When we had it memorized he explained what each of us was to do. You got better Charlie he said. Well Charlie said yes they had it. Well Mr. Adams fat said this morning I think we'll start off with a little thing called the minor dragon. It's a slow number. And then we got all a little thing for the other side we called and he has a tainted Harlem for us. We set up our instruments and fats repeated his instructions he played the theme for us. And as soon as I heard the mind knew why we didn't need drums his left hand would take care of the bass. We listened to the playback. I had a difficult time believing what I heard because it sounded so wonderful. I looked at Mr. Adams and he was smiling. You see he

said to me what careful rehearsal do you perform your job excellently. I wonder Mr. Waller he said if we could have some piano solos now. Wonderful. That said perfect we'll have some piano solos without moving from the band she made a handful of keys and fumbling and Bullock Easter not to be the most popular of all his recorded piano solos. We must have some more of these dates Mr Adam said. This is an excellent example of the wisdom of planning and preparation. After that the Southern music company with careful planning and preparation brought out the record on a victor label. However with the titles reversed Harlem for us was called a minor dry again the minor drag was called Harlem fuss. I got my $75 you heard handful of keys. Here is us. Yeah.

And with Hines James P. Johnson and Fats Waller We have the major

influences on all contemporary jazz pianists. You would have Barry Ulanov there was an avalanche of these piano playing jazz man during the 30s. Art Tatum Teddy Wilson Mary Lou Williams Not Cole John Igor NEARY Joe Bush-Gore Mel Paolo not Jeffie gonna do it oh my morose or tiny Jones honorary president Bud Powell and Lenny Tristana and Paul Smith. The 40s added all the BOP and the 50s the cool pianists from the loneliest monk to Dave Brubeck to close our program will bring you a few samples of these contemporary pianists. First Oscar Peterson. And that's why.

Now Paulo. After the war studied piano and composition at Yale University on the Paul intimate following that he worked as a studio arranger composer and director of music for one of the National Radio Networks and now he plays the piano in the cool style. Brubeck.

The piano has come full cycle. It began as a solo voice or as an accomplice to blues singers. It remains the latter and after an excursion into band music has once again become a solo voice. This has been the 24th in a series of programs on the roots of jazz in the United States.

Our next program will trace the history of the vocal tradition in jazz the roots of jazz is written and produced by Norman Cleary of the studios of WUOM radio. Easy was the reader here is God the Son. This is Norman Cleary speaking. The preceding program was tape recorded. This is the end AEB Radio Network.