Can You Hear the Conversation? Call & Response in Jazz

Call-and-response, also referred to as “antiphony” in the classical music genre, is a pattern that involves two distinct phrases that are in conversation with one another. The soloist plays a “call” that is then “answered” by the ensemble. The musical call-and-response originated from the protest call-and-response that was a staple of democratic participation in some African cultures. Think of political protests, gatherings and marches in which one person yells something like “when do we want it?” and the chorus responds “we want it now!”

At public gatherings, religious rituals, in the discussion of civil affairs and musical expression, some African cultures used the call-and-response as a form of democratic participation. The Igbo of Nigeria had a solo storyteller who called out the lines of the story and an audience that responded in regular intervals with a “sala” or response. The Igbo sala was “amanye,” which roughly translates to the American English expression of “amen.”

Enslaved Africans brought their culture and traditions to the Americas, thus this call-and-response practice continued on, especially in the form of work songs sung on plantations. Through these work songs, also called “field hollers,” enslaved people coordinated their labor, communicated with each other, bolstered downtrodden spirits and commented on the oppressiveness of their masters, all of which fostered cohesion and community.

This call-and-response then became an important component of many genres of music: blues, gospel, soul, jazz, bebop, reggae, hip-hop, go-go and rap. At contemporary African-American worship services, the call-and-response is common–for example, the pastor may call out to his congregants “Can I get an amen?” to cultivate enthusiasm and participation.

In its musical form, the call-and-response consists of a solo musician who offers a phrase, and a second player, or players, who respond with a commentary. The musical phrases can be vocal, instrumental or both. Call-and-response may also be improvised and brought on by an overflow of passion.

Here are a few famous jazz songs that feature call-and-response:

Cannonball Adderley Quintet – Work Song

From the outset this song is trademark call-and-response: the alto saxophonist is the soloist who calls and the trumpet, piano, double bass and drums respond. This 1960 tune was inspired by the trumpeter Nat Adderley’s childhood memory of seeing a group of convict laborers singing while they worked in a chain gang and paved the street in front of his family’s home in Florida.

Georgia Gibbs – I Want You to Be My Baby

This swinging 1944 tune is a great example of a vocal call and response. Right off the bat, the solo singer, Georgia Gibbs, calls out one word “I” that the male chorus then repeats. She slowly adds a word each time, always repeated by the chorus, to eventually call out “I want you to be–” and the chorus responds “what?” and she says “I want you to be my baby!”

Can you find examples of Call and Response in Night is Alive’s music?

written by Jacqueline Knirnschild

Photo by John Matychuk on Unsplash

Fun Father’s Day Tracks

Nowadays Father’s Day in the U.S. is celebrated annually on the third Sunday in June. But did you know that Father’s Day was first proposed in 1909 to complement Mother’s Day, which had been founded in 1908? Yup, that sounds about right, doesn’t it? Mothers were appreciated first and then fathers. Ladies first!

Sonora Smart Dodd, who was living on a farm in Spokane, Washington held her father in high esteem. When Dodd was sixteen her mother died in childbirth, leaving her and her father to care for five little brothers.

Dodd heard a church sermon about the newly recognized Mother’s Day and felt strongly that fatherhood deserved recognition as well. She approached the Spokane Ministerial Alliance and suggested her father’s own birthday, June 5, but the Alliance chose the third Sunday instead.

Now the question remains, what jazz music should you listen to on Father’s Day this year? Don’t worry–Night is Alive has got you covered with some recommendations:

Horace Silver – Song for My Father

This 1965 song is really the ultimate jazz standard for Father’s Day. This title composition was dedicated to Silver’s father, who is featured on the album cover artwork. On the iconic album cover, John Tavares Silver, sits with a cigar in his mouth and a smile on his face. The photo was taken on a trip to Brazil and, like the song, it captures a portrait of Silver’s father, who was born on one of the Cape Verde islands.

Cannonball Adderley – One for Daddy-O

If your daddy-o is a fan of jazz, he is sure to tap his toes along to this cool, laid-back blues classic. Released in 1958, “One for Daddy-O” features jazz legends Miles Davis and Art Blakey and provides the perfect ambience to lean back in a favorite recliner, drink a whiskey, or smoke a cigar.

David Arnay – Daddy’s Groove

Compared to the other tracks on this playlist, “Daddy’s Groove” is a bit newer: released in 1997. This instrumental tune creates a subtly groovy ambience that just might coax your dad into some sly dancing. The piano solos are especially noteworthy!

Bobby McFerrin – Discipline

The dispensing of discipline often falls to the father of the house. We may have disdained it when we were unruly teenagers, but as adults, we know that discipline is important. In this heartfelt 1990 song, Bobby McFerrin performs alongside his own father, the legendary baritone Robert McFerrin Sr.

Night is Alive’s albums are the perfect gift for any father or father-figure. Unsure which one to choose? Check out our best sellers.

written by Jacqueline Knirnschild

Photo by Steven Abraham on Unsplash

Golden Hour Bossa Nova Jazz

Golden hour is a term usually used in photography to describe the period of daytime shortly after sunrise or before sunset, when daylight is redder and softer than when the sun is high up in the sky. Cinematographers and photographers also sometimes call this time the magic hour because the brightness of the sky matches the streetlights, signs, car headlights and lit windows!

I don’t know about you, but for some reason the golden or magic hour just calls for some bossa nova jazz, especially right before sunset. There’s nothing like driving home after a long workday, watching the red sun soak the scenery in gold, and letting some smooth bossa nova wash over you.

Bossa nova is a relaxed style of Brazilian samba that originated in the late 1950s and early 1960s in Rio de Janeiro. Bossa nova is essentially a simplification and stylization on the guitar of the rhythm produced by a samba school band: it is calm, syncopated with chords and fingerstyles that mimic the beat of a samba groove. The complex chords in bossa nova were not derived from jazz, but the two styles evolved at the same time, and bossa nova was influenced by jazz in the harmonies used and instrumentation of songs. Nowadays, many bossa nova songs are considered jazz standards!

Now let’s listen to a few bossa nova standards to help you unwind and ease into the golden hour:

João Gilberto – Chega de Saudade

This little song made big waves in the Brazilian school of music. Released in April 1959, “Chega de Saudade” was the first composition to showcase Gilberto’s new guitar beat that gave rise to the bossa nova genre. The tune’s harmonies are also particularly sophisticated and the lyrics are elegant.

Stan Getz & João Gilberto – Desafinado

Music historians cite “Desafinado,” released in 1959, as the first official bossa nova. This song was originally composed in response to critics that claimed bossa nova was a genre for singers who can’t actually sing. In Portuguese, “desafinado” means “out of tune” which is meant to mock the criticism. English-language adaptations then emerged that reframe the title as a love song about lovers who have fallen “slightly out of tune.”

Antônio Carlos Jobim & Frank Sinatra – The Girl from Ipanema

“The Girl from Ipanema” is probably one of the most well-known bossa nova songs. With Jobim and Sinatra singing together, the song really represents the fusion of Brazilian bossa nova and American jazz. It became a worldwide hit in the mid-1960s and won a Grammy for Record of the Year in 1965.

Manhã de Carnaval – Elizeth Cardoso

“Manhã de Carnaval,” often also referred to as “Black Orpheus” appeared in the 1959 Portuguese-language film Orfeu Negro, which was a romantic tragedy based on the Greek legend of Orpheus and Eurydice but set in a contemporary favela in Rio de Janeiro during Carnaval. Versions of the song are sung or hummed by the two main characters, which makes it the main musical theme of the film. It was one of the first Bossa Nova compositions to gain popularity outside Brazil, especially in France and the U.S.

written by Jacqueline Knirnschild

Photo by Pearse O’Halloran on Unsplash

Chicago Blues Festival

The sun is shining, there is a lightness in the air and kids are celebrating the end of the school year with field day. You know what that means: it’s officially summer! Summer is the season to get outside, spend time with family and friends, and listen to great music. So, why not check out the Chicago Blues Festival? This wonderful festival will combine all the greatest things about summer to create an experience that you’ll cherish forever.

The Chicago Blues Festival will run from Thursday, June 4 to Sunday, June 7 at Ramova Theatre and Millennium Park. That means five days of music and discussion panels to tantalise the senses and nourish the soul! And did you know that entry to the festival is completely free? I know, it’s hard to believe, but it’s true–the Chicago Blues Festival is the largest free Blues festival in the entire world. Some of the highlights this year include Taj Mahal and the Phantom Blues Band, John Primer and Willie Clayton. To browse the full daily schedule, see this link.

If you can’t attend the festival but still want to enjoy some blues music, check out WDCB-FM’s live radio broadcasts that will celebrate the Chicago Blues Festival. These will be held monthly on Bluesday Tuesday and June 4 at noon.

Now to help you decide which musicians to see, Night is Alive will showcase a few of the performers, along with the time and location of their shows:

John Primer

Three-time-Grammy-nominee John Primer will perform on Thursday, June 4 from 7:15-8:30 in the Ramova Theatre. Originally from Mississippi, John Primer is a singer and guitar player known for his role in helping to create the sound and style of the Chicago Blues.

Freddie Dixon Blues Band

The Freddie Dixon Blues Band is a unique blues group that features a violinist and blends the genres of Blues and classical music to offer an unparalleled musical experience. They will be playing on Friday, June 5 from 6:30-7:45 in Rosa’s Lounge (North Promenade) of Millennium Park.

Gerry Hundt Trio

This is another fusion group that mixes Chicago Blues, Surf, Rock, Country and Jazz to produce an unforgettable performance that is tailored to each venue. This trio has performed across Europe and the U.S. If you enjoy Magic Sam, Muddy Waters, Otis Rush and/or Chris Stapleton, then this is the show for you! The Gerry Hundt Trio performs on Saturday, June 6 from 5-6:15 in Rosa’s Lounge (North Promenade).

Taj Mahal and the Phantom Blues Band

The legendary octogenarian Taj Mahal and his three-decade collaborators have made a name for themselves as two-time-Grammy-award-winners with their albums Senor Blues (1997) and Shoutin’ in Key (2000). Now they are taking the stage at the Jay Pritzker Pavilion on Sunday, June 7 from 7:45-9pm. I’m sure their rich sound and rhythmic synergy will provide an electrifying show you won’t want to miss!

written by Jacqueline Knirnschild

Photo by Anthony DELANOIX on Unsplash

The Centennial Spotlight: Miles Davis at 100

Did you know that if Miles Davis was still alive, he would be turning 100 this year? Imagine that–I wonder what else the trumpeter, bandleader and composer would’ve accomplished had he lived for another 30 years? Davis was the frontrunner of countless stylistic developments, such as bebop, cool jazz, hard bop, third stream, modal jazz, avant-garde jazz and jazz fusion. His legacy even extended into other genres like rock, funk, classical and hip-hop. It’s safe to say that without Davis, the American music landscape would be entirely different today. In honor of his birthday on May 26th, Night is Alive wants to shine a spotlight on the legendary Miles Davis by showcasing five of his most signature tracks!

So What

If “cool” had a sound, this would be it. Released in 1959 on the legendary Kind of Blue album, this track is the ultimate vibe. Instead of a million complicated notes, Miles uses “modal jazz,” which is just a fancy way of saying he gives the melody room to breathe. The famous bass line feels like a casual shrug, and Miles’s trumpet enters like he’s leaning against a streetlamp at midnight.

Summertime

You might know this melody from various pop or theater covers, but Miles turns this lullaby into something hauntingly beautiful. Working with arranger Gil Evans, he uses a Harmon mute—that little metal plug in the end of his trumpet—to create a whispering sound that became his trademark. This 1959 track is delicate, a little bit lonely, and incredibly lush. It feels like watching a sunset over a hazy city skyline; it’s proof that jazz can be just as cinematic as any big-budget movie score.

Milestones

Ready to pick up the pace? “Milestones” is where things get snappy. This 1958 track shows off Miles’s incredible ability to lead a band that moves like a single machine. It’s got a driving, upbeat energy that makes you want to tap your steering wheel. This was a turning point where Miles started moving away from the frantic “bebop” style and toward something more streamlined and modern. It’s sophisticated but punchy, capturing the buzzing energy of a 1950s New York City street corner.

Blue in Green

This is the track for a rainy night and a warm drink. It is widely considered one of the most beautiful pieces of music ever recorded. This 1959 song doesn’t have a traditional “hook,” instead, it circulates and flows like a water color painting. The mood is deeply introspective. Miles wasn’t just playing notes; he was sharing a feeling. It’s short, sweet, and carries an emotional weight that stays with you long after the final note fades into silence.

Spanish Key

Fast forward to 1970, and Miles decided to plug in his instruments and turn up the volume. “Spanish Key” is a funky, swirling psychedelic trip. It blends jazz with the heavy electric grooves of rock and funk. If the earlier tracks were a tailored suit, this is a leather jacket and sunglasses. It’s dense, rhythmic, and a little bit wild, proving that even as he got older, Miles was always the youngest, most forward-thinking person in the room.

Which Miles Davis song was your favorite and why? Feel free to share notes with friends to gain a deeper understanding of this legend!

written by Jacqueline Knirnschild

Photo from https://www.milesdavis.com/music/releases/, the official Miles Davis website.

Jazz for the Kentucky Derby

Did you know that the Kentucky Derby actually refers to a single race held on the first Saturday in May? This race is the first leg of the Triple Crown, which is a series of horse races for three-year-old Thoroughbreds. Preceded by the two-week-long Kentucky Derby Festival, the race is also known as “The Run for the Roses” since the winning horse is draped in a blanket of 400 roses. The race lasts approximately two minutes, which earned it the alternate name of “The Most Exciting Two Minutes in Sports.”

The real question is though: what kind of music do people listen to at the Kentucky Derby? Since the Derby has run since 1875, it is synonymous with tradition and thus features the iconic tune “My Old Kentucky Home.” The 1852 composition is usually performed by the University of Louisville Cardinal Singers while horses parade. Oh, the sun shines bright on my old Kentucky home / ‘Tis summer, the people are gay / The corn tops rise and the meadows all in bloom / While the birds make sweet music all the day.

In more recent years, the Derby playlist has come to feature a mix of traditional folk and country music, as well as pop and party tunes. Tyler Childers, Chris Stapleton, Carrie Underwood and Chappell Roan have become popular artists.

But what about jazz? What if you want to listen to jazz while you get ready for the Derby or watch the races at home? No worries, Night is Alive has got you covered with some folksy jazz tunes that’ll get you in the mood to cheer and yell “giddy-up!”

“Whenever You Come Around” – Janis Siegel, John Di Martino and others

This groovy rendition of Vince Gill’s 1994 country ballad will have you singing along while you pick out the most perfect wide-brimmed Southern Belle hat to wear. From Night is Alive’s album Cryin’ In My Whiskey, this song captures that feeling of first infatuation, of being smitten, having a crush. Who knows, maybe your crush will be at the Derby festivities today? Whenever you come around / I get weak in the knees and I lose my breath . . .

“The In Crowd” – Lonnie Plaxico, Lafayette Harris Jr.

Doesn’t getting all dolled up for the Kentucky Derby really make you feel like part of the “in crowd”? It’s so nice to feel like you belong somewhere, belong to a community, to an event. So while you’re rejoicing and cherishing these bonds with others, enjoy this upbeat tune from the hot new album Radiance. There’s no better way to feel like a part of the “in crowd” than dancing together as a group.

“Broadway” – WJ3 All-Stars

There is something about the pomp and circumstance of the Kentucky Derby that feels truly theatrical. The tradition, ceremony, extravagance and splendor evoke a Broadway production. Imagine that–a Kentucky Derby musical! Hey, it’s not a bad idea, is it? This year at the Derby, let’s embrace the drama of it all with this tune from Night is Alive’s album My Ship.

“Imagination” – John Di Martino, Harry Allen and others

More is more at the Kentucky Derby, so don’t hold back! Be as imaginative, creative and full of life as you want. Have that extra mint julep if you want, take that extra photo with your bestie, and eat that extra bourbon ball! Why not? And while you live life to the fullest, enjoy this song from Night is Alive’s album Call Me Irresponsible.

Visit Night is Alive’s albums page to explore this music and more.

written by Jacqueline Knirnschild

Photo by Katee Lue on Unsplash

The Mothers of Jazz

The Great Women of Jazz Vocals (for Mother’s Day)

Are you ready for Mother’s Day this Sunday? Have you gotten your mom a nice card and gift? This year I got my mom a candle, mug and face mask, which may be a bit generic but I think most mothers always enjoy a little bit of pampering. You can’t go wrong with a hot tea, cleansed face and sweet smell wafting in the background, right?

But did you know that Mother’s Day wasn’t originally meant to have been such a commercial holiday? Anna Jarvis, the founder of Mother’s Day, is said to regret the commercialism and expressed that her intention was a liturgical observance. In 1908, Jarvis founded the celebration at the Andrews Methodist Episcopal Church in Grafton, West Virginia to honor her own mother. Then in 1914, President Wooodrow Wilson established Mother’s Day as an official holiday on the second Sunday of May.

No matter how you celebrate, you’re going to need some music to play at the Mother’s Day festivities! And what better music to listen to than the mothers of jazz? Night is Alive curated a very special playlist for you that features the greatest women jazz vocalists of all time. These are the powerhouse women who didn’t just sing songs but defined the genre. Their voices carry the kind of wisdom, grit, and soul that every mother (and mother figure) understands instinctively. We hope you enjoy these five essential tracks from the queens of the craft this Mother’s Day.

Ella Fitzgerald – Lullaby of Birdland

You can’t have a jazz list without the “First Lady of Song.” While Ella has plenty of tear-jerkers, this 1954 song is pure, caffeinated joy. It’s the perfect track for that mid-morning momentum. Her scatting (improvised singing meant to imitate an instrument) was so effortless it feels like a conversation. “Lullaby of Birdland” reminds us why Ella is the gold standard of vocal technique. It’s light, it’s airy, and it’s guaranteed to get your foot tapping.

Billie Holiday – God Bless the Child

For the moms who appreciate a song with some meat on its bones, this 1941 ballad is essential. It’s a soulful anthem about independence and resilience. Billie’s voice had a unique, textured “lived-in” quality. And did you know that she actually co-wrote this track? Holiday is a bit moodier than Ella, but she carries a depth of emotion that feels like a warm, knowing hug.

Sarah Vaughan – Misty

If Ella is the “First Lady,” then Sarah Vaughan is “The Divine One.” Her range was practically operatic, but she used it with incredible restraint. “Misty,” first recorded in 1958, is her signature tune for a reason. It’s lush, romantic, and velvety–perfect for that moment in the afternoon when everyone is finally sitting down and the house is (hopefully) quiet for five minutes.

Nina Simone – Blues for Mama

Nina Simone wasn’t just a singer; she was a force of nature. “Blues for Mama”, co-written with Abbey Lincoln, brings a grittier, blues-heavy energy to the table. The 1967 song showcases storytelling at its finest. Nina’s deep, rich contralto demands your attention, which makes it a great pick for the mom who prefers a little “High Priestess of Soul” with her Sunday afternoon tea.

Dinah Washington – What a Diff’rence a Day Makes

Known as the “Queen of the Blues,” Dinah Washington has a punchy, clear-as-a-bell delivery. This 1959 track is the ultimate “feel-good” jazz standard. It’s about how quickly life can change for the better–a sentiment that resonates pretty deeply when you’re looking around at a family gathering. It’s sophisticated, timeless, and the perfect closing note for a day dedicated to the women who do it all.

Check out Night is Alive’s music on our albums page!

written by Jacqueline Knirnschild

Celebrate “5/4 Day” with the “Take Five” Rhythm of Dave Brubeck 

On May 4th, some people may invoke Star Wars and say “May the Fourth Be With You,” but here at Night is Alive, we see 5/4 as a nod to the time signature of “Take Five,” which is arguably the Dave Brubeck Quartet’s most well-known song.

Dave Brubeck was an American jazz pianist and composer, who was active from the 1940s until his death in 2012. He is often regarded as a leading proponent of cool jazz, which was inspired by bebop and big band and became popular after WWII. His style is characterized by unconventional time signatures (such as 5/4!); juxtaposing rhythms, meters and tonalities; and combining different genres.

He formed the Dave Brubeck Quartet in 1951, which had fluctuating members, but was most prolific and famous with the lineup between 1958 and 1967. This lineup included saxophonist Paul Desmond, bassist Eugene Wright and drummer Joe Morello. The U.S. Department of State even sponsored a tour of the quartet in 1958, which featured the notable album Time Out.

Time Out is known for its innovative use of unusual time signatures like 9/8, 6/4 and 5/4. It was recorded at Columbia’s 30th Street Studio in New York City and released in 1959. Time Out album creates a subtle fusion between cool jazz and West Coast influences, and peaked at number two on the Billboard album chart. It was the very first jazz album to sell one million copies, and the standout single, “Take Five” was also the first jazz single to ever sell one million copies!

Despite being associated with Dave Brubeck, “Take Five” was actually first composed by saxophonist Paul Desmond. The story behind the song’s composition is pretty simple: drummer Joe Morello challenged Desmond to compose a piece in 5/4, and so he did! Brubeck then arranged Desmond’s melodies around Morello’s rhythmic ideas, making it a group effort.

“Take Five” is written in quintuple time (5/4) and built around a distinctive blues-scale melody in E♭ minor with a recurring two-chord vamp. The title has a double meaning and refers to both the quintuple meter as well as the colloquial expression “take five,” meaning to take a short break.

So, this year on 5/4, why not take a short break to sit down and really listen to “Take Five”? In our modern age, we’re always rushing to the next item in our jam-packed schedules, but it’s important to slow down and notice the quirks of life, such as the unique sound of a jazz song in 5/4.

Check out Night is Alive’s music on our albums page!

written by Jacqueline Knirnschild

Photo from https://www.davebrubeck.com/

Jazz as Wellness

Stress Awareness Month

With taxes due, the weather constantly changing from hot to cold, and final exams and report deadlines for students, April can be a pretty stressful month. Taxes can be so complicated. The shifts in temperature and spring pollen can make you sick. And cramming for a test is overwhelming. So it makes sense then that April is Stress Awareness Month. Founded in 1992, this month is dedicated to increasing public awareness about the causes, effects, and management of stress. In honor of this month and cause, Night is Alive has curated a playlist of gentle, relaxing jazz that will help you unwind and unload some of your stress.

Lonnie Plaxico, Camille Thurman & others – Free

I don’t know about you but I tend to get stressed when I’m sick. Getting sick one day isn’t the end of the world, but I hate staying home from work. It makes me feel like I’m shirking my responsibilities and I feel thrown off my routine. Then if I don’t get better in a day or two, I feel even more off-kilter and stressed. What am I missing at work? Am I going to be able to catch up? Instead of letting myself recover, I stress myself out, which makes me sick for longer.

Instead of stressing though, what you really should do when you’re sick is relax and let yourself be free to rest and recover. If you’re not freely resting with no stress then you won’t get better. So if you’ve got spring fever this month then why don’t you curl up in a warm blanket on the couch with a hot cup of tea and listen to this song. Let Thurman’s voice guide you to a place of freedom and R&R.

John Di Martino, Joe Magnarelli, Wayne Escoffery & others – Hudson River Wind

The wind and spring storms may be raging outside your window but that doesn’t mean stress needs to be raging inside your heart. Take refuge in your warm cozy home and don’t let the winds and tides of the world throw you off balance. If you’re feeling stressed there’s nothing wrong with canceling plans with friends and staying home for a night. Don’t let the FOMO get to you! Just turn on this tune, from Night is Alive’s album Old New Borrowed and Blue and ease yourself into a warm bathtub.

WJ3 All-Stars – Cry Me A River

Sometimes life can just feel like too much. How are we supposed to get everything on our to-do lists done? In just one day, how are we supposed to sleep eight hours, eat healthy meals, exercise for at least thirty minutes, work, talk to friends and family, and make time for our hobbies? Sometimes it just doesn’t seem possible, does it? Sometimes it can be so stressful that all you can do is break down and cry. Well, that’s okay. Sometimes you need a good cry; a good cry can be a healthy, cathartic release of stress. So, this April, turn on this song, from Night is Alive’s album Lover and Love Songs and cry yourself a river.

Lorca Hart Trio – Here’s That Rainy Day

All the April rain might get you down and make you feel stressed. Maybe the rain and storms are making you have to cancel plans. Maybe you and your friend were supposed to go for a walk in the park today but it’s raining so you have to pivot. You might be angry–it’s your only day off!–but the best way to avoid stress is to let go of the things that you can’t control. You can’t control the rain, so why bother getting upset about it? Instead of fighting against it, why not try and enjoy the rest and relaxation that a rainy day has to offer? Maybe you and your friend can stay home and watch a movie instead? Or you can stay cozy in bed and binge-read that novel that’s been on your shelf!

Bill Cunliffe, Martin Wind & Tim Horner – Standing By The Window Waving Goodbye

There are many ways to alleviate stress: deep breathing, meditation, yoga. Or maybe journaling is your thing, or running, or talking things out with a good friend. No matter what your strategy is, it’s important that you have a stress alleviation toolbox at your disposal. That way, whenever you’re feeling stressed you know the steps you can take to slough it off. Before you know it, you’ll be standing by the window waving goodbye to your stress!

Check out this music and more on Night is Alive’s albums page!

written by Jacqueline Knirnschild

Photo by Jared Rice on Unsplash

What is the Chicago style of Jazz?

Did you know that there are lots of different styles of jazz music?

There’s jazz typical of New Orleans, Chicago, Kansas City, New York City, the West Coast and much more! Today we’re going to focus on the Chicago style. If you’ve ever sat in a jazz club and felt the music get a little faster, a little more “rebellious,” and a lot more focused on individual flair, you might have been listening to the Chicago style of jazz.

While jazz was born in the humid streets of New Orleans, it also flourished in the speakeasies of Chicago. During the 1920s, the Great Migration brought about six million Black people from the rural South to the North, Midwest and West, including legendary musicians like Louis Armstrong and King Oliver. Once they reached the Windy City, their sound collided with that of the local young, eager musicians (often high schoolers from the suburbs), and a brand-new flavor of jazz was born.

So, what exactly makes the Chicago style different from its New Orleans cousin? Let’s break it down into three easy-to-spot characteristics:

  1. From the Group to the Soloist

In early New Orleans jazz, the whole band usually played at once in a style called collective improvisation. It was a beautiful, chaotic, improvised conversation with everyone engaging at the same time.

Chicago style changed the rules. It put the spotlight on the individual. The band plays together at the start, but then the music clears out to shine the light on one musician. Usually the trumpeter or the saxophonist really shows off for a few rounds. If New Orleans jazz is a dinner party conversation, then Chicago jazz is a talent show.

  1. The Rise of the Saxophone

In the original New Orleans jazz, the clarinet was the king of the woodwinds. But in Chicago, the tenor saxophone stepped into the ring. Musicians like Bud Freeman helped make the sax a staple of the jazz sound. It added a huskier, more aggressive tone to the music that fit the fast-paced energy of a big, bustling city like Chicago.

  1. A “Hurry Up” Kind of Energy

Chicago jazz feels a bit more driven than the relaxed, swinging porch-music vibe of the South. Because it was influenced by the frantic pace of urban life and the rhythmic precision of ragtime, the tempo is often a bit faster than the New Orleans style. It has a direct, straight-ahead feel, like a strut down a busy sidewalk rather than a meandering stroll.

Why is it so hard to tell them apart?

If you’re feeling a bit confused, don’t worry, even the experts get still stumped! Because recording technology didn’t really take off until the mid-1920s, we don’t have many “pure” examples of what jazz sounded like before all the styles started mixing.

By the time the famous Austin High Gang (a group of young white musicians including Jimmy McPartland) started recording, they had already been listening to Black legends like Louis Armstrong for years. Everyone was influencing everyone else! This melting pot of sounds eventually moved to New York in the 1930s and evolved into what we now call  the Dixieland style of jazz.

Whether it’s the elaborate arrangements of Jelly Roll Morton or the informal, rowdy jams of the McPartland crew, Chicago jazz is all about the rush of the moment and the power of the solo. To finish off this post, Night is Alive will leave you with two signature Chicago style jazz tracks:

The McKenzie-Condon Chicagoans – Nobody’s Sweetheart

This 1927 track is practically a manifesto for the Chicago style. Recorded by members of the Austin High Gang, you can hear that signature fast-paced energy right from the start. Unlike the smoother New Orleans recordings of the same era, this song features explosive solo sections where the individual players get to flex their muscles. It’s gritty, slightly frantic, and perfectly captures the rebellious spirit of 1920s youth culture in the city.

Jimmy McPartland and His Orchestra – China Boy

Jimmy McPartland was one of the driving forces behind the Chicago style of jazz, and “China Boy” is a fantastic example of the transition from collective playing to solo-exalting jazz. Pay close attention to the way the instruments interact; while there is still that classic feeling of togetherness at the beginning and end, the middle of the song showcases the soloists. The 1922 tune highlights the technical skill and the brighter, more aggressive fire that defined the Chicago brass sound.

We hope that you learned something new from reading this post, and if you’re interested in learning more about jazz music history, check out NiA’s post about the birthplace of jazz and post about the role of women in jazz music history.

Visit Night is Alive’s albums page and explore all the different genres of jazz we have to offer!

written by Jacqueline Knirnschild

Photo by TJ Dragotta on Unsplash