A jazz club is a venue where the primary entertainment is the performance of live jazz music, although some jazz clubs primarily focus on the study and/or promotion of jazz-music. Jazz clubs are usually a type of nightclub or bar, which is licensed to sell alcoholic beverages. Jazz clubs were in large rooms in the eras of Orchestral jazz and big band jazz , when bands were large and often augmented by a string section . Large rooms were also more common in the Swing era, because at that time, jazz was popular as a dance music , so the dancers needed space to move. With the transition to 1940s-era styles like Bebop and later styles such as soul jazz , small combos of musicians such as quartets and trios were mostly used, and the music became more of a music to listen to, rather than a form of dance music. As a result, smaller clubs with small stages became practical.
44-717: The Royal Roost was a jazz club located at 1580 Broadway in the Theater District of Manhattan in New York City . Ralph Watkins originally opened the Royal Roost as a chicken restaurant. After a difficult start, Watkins was persuaded by Sid Torin (D.J. Symphony Sid) to try presenting modern jazz at the club. Beginning in 1948 the club began to showcase the likes of Charlie Parker , Dizzy Gillespie , Fats Navarro , Dexter Gordon , Tadd Dameron , and Max Roach . The presence of so many prominent bebop musicians performing at
88-439: A cover charge if a live band is playing. Some jazz clubs host " jam sessions " after hours or on early evenings of the week. At jam sessions, both professional musicians and amateurs will typically share the stage. In the 19th century, before the birth of jazz, popular forms of live music for most well-to-do white Americans included classical concert music, such as concerti and symphonies , music played at performances, such as
132-421: A "synchronized build-up of brass 'points' in the three orchestras ... leading to a climax of chord exchanges from orchestra to orchestra". When heard live, this piece creates a genuine sensation of music moving in space . "The combination of the three orchestras leads to great climaxes: long percussion solos, concertante trumpet solos, powerful brass sections, alternating and interpenetrating." Call and response
176-542: A culture based around informal music performances, such as brass band performances at funerals, music sung in church and music played for families eating picnics in parks. African-American culture developed communal activities for informal sharing, such as Saturday night fish fries, Sunday camping along the shores of Lake Pontchartrain at Milneburg and Bucktown, making red beans and rice banquettes on Mondays, and holding nightly dances at neighborhood halls all over town. This long and deep commitment to music and dance, along with
220-439: A phrase that feels unfinished, and another part of the band "answers" (finishes) it. In the blues, the B section often has a question-and-answer pattern (dominant-to-tonic). An example of this is the 1960 Christmas song " Must Be Santa ": CALL: Who laughs this way, ho ho ho? RESPONSE: Santa laughs this way, ho ho ho! A similar question-and-answer exchange occurs in the 1942 film Casablanca between Sam ( Dooley Wilson ) and
264-530: A project that would eventually give rise to the seminal cool jazz album Birth of the Cool . By the early 1950s, the jazz component of the Roost was moved to Watkins's new club, Bop City. The Roost was the site of bootleg recordings of both Ella Fitzgerald and her then-husband, Ray Brown . 40°45′35″N 73°59′05″W / 40.7597°N 73.9848°W / 40.7597; -73.9848 Jazz club In
308-435: A rich contrapuntal tapestry.” The development of the classical orchestra in the late eighteenth and early nineteenth centuries exploited the dramatic potential of antiphonal exchanges between groups of instruments. An example can be found in the development section of the finale of Mozart ’s Symphony No. 41 : Even terser are the exchanges between wind and strings in the first movement of Beethoven's 5th Symphony . Here,
352-410: A steadier "funk" style groove, which was different from the swing rhythms typical of much hard bop. Soul Jazz proved to be a boon to Jazz clubs, because since organ trios were based around the powerful Hammond organ , a three-piece organ trio could fill a nightclub with the same full sound that in previous years would have required a five- or six-piece band. The 1980s saw something of a reaction against
396-518: A vivid setting of the narrative of the Conversion of Paul as told in Acts 9 verses 3-4: "And as he journeyed, he came near Damascus: and suddenly there shined round about him a light from heaven. And he fell to the earth, and heard a voice saying unto him, Saul, Saul, why persecutest thou me?" "The musical phrase on which most of the concerto is built is sounded immediately by a pair of basses": This idea
440-427: Is "then taken up by the alto and tenor, then by the sopranos, and finally by the pair of violins as transition to the explosive tutti": "The syncopated repetitions of the name Saul are strategically planted so that, when the whole ensemble takes them up, they can be augmented into hockets resounding back and forth between the choirs, adding to the impression of an enveloping space And achieving in sound something like
484-408: Is a compositional technique, often a succession of two distinct phrases that works like a conversation in music. One musician offers a phrase, and a second player answers with a direct commentary or response. The phrases can be vocal, instrumental, or both. Additionally, they can take form as commentary to a statement, an answer to a question or repetition of a phrase following or slightly overlapping
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#1732852562082528-526: Is almost entirely leader/chorus call and response. CALL: Waters' vocal: "Now when I was a young boy" RESPONSE: (Harmonica/rhythm section riff) CALL: Waters': "At the age of 5" RESPONSE: (Harmonica/rhythm section riff) Another example is from Chuck Berry's " School Day (Ring Ring Goes the Bell) ". CALL: Drop the coin right into the slot. RESPONSE: (Guitar riff) CALL: You gotta get something that's really hot. RESPONSE: (Guitar riff) A contemporary example
572-409: Is common in modern Western popular music . Cross-over rhythm and blues , rock 'n' roll and rock music exhibit call-and-response characteristics, as well. The Who 's song " My Generation " is an example: A single leader makes a musical statement, and then the chorus responds together. American bluesman Muddy Waters utilizes call and response in one of his signature songs, " Mannish Boy " which
616-461: Is from Carly Rae Jepsen 's " Call Me Maybe ". CALL: Hey, I just met you RESPONSE: (Violins) CALL: And this is crazy RESPONSE: (Violins) This technique is utilized in Jepsen's song several times. While mostly in the chorus, it can also be heard in the breakdown (approximately 2:25) between the vocals ("It's hard to look right") and distorted guitar. Part of the band poses a musical "question", or
660-525: Is the defining trademark of various musical styles in Afro-Peruvian musical culture such as marinera, festejo, landó, tondero, zamacueca, and contrapunto de zapateo In Colombia, the dance and musical form of cumbia originated with the enslaved African population of the coastal region of the country in the late 17th century. The style developed in Colombia from the intermingling of three cultures. From Africa,
704-568: Is the name given to both a musical form and a music genre , which originated in African-American communities of primarily the " Deep South " of the United States at the end of the 19th century from their spirituals , work songs , field hollers , shouts and chants and rhymed simple narrative ballads . The music of New Orleans had a profound effect on the creation of early jazz. Many early jazz performers played in venues throughout
748-451: The Jazz Age were keen on the sound of jazz music, and especially of jazz clubs. By the advent of the 20th century, campaigns to censor the "devil's music" started to appear, prohibiting when and where jazz clubs could be built. For example, a Cincinnati home for expectant mothers won an injunction to prevent construction of a neighboring theater where jazz will be played, convincing a court that
792-413: The opera and the ballet , and ballroom music. For these people, going out was a formal occasion, and the music was treated as something to listen to (if at the symphony or the opera house), or dance reservedly to (if at a ball). During the same century, African-American communities were marginalized from an economic perspective. But despite this lack of material wealth, they had thriving community and
836-514: The work song , in general, use the call-and-response format often. It can also be found in the music of the Afro-Caribbean populations of Jamaica , Trinidad & Tobago , Bahamas , Barbados , Belize , and many nations of the diaspora, especially Brazil. Call and response is extensively used in Cuban music , where it is known as coro-pregón . It derives from African musical elements, both in
880-501: The 1930s heyday of the Cotton Club . Soul Jazz was a development of hard bop which incorporated strong influences from blues , gospel and rhythm and blues to create music for small groups, often the organ trio of Hammond organ , drummer and tenor saxophonist. Unlike hard bop , soul Jazz generally emphasized repetitive grooves and melodic hooks, and improvisations were often less complex than in other Jazz styles. It often had
924-443: The 2000s, jazz clubs may be found in the basements of larger residential buildings , in storefront locations or in the upper floors of retail businesses. They can be rather small compared to other music venues, such as rock music clubs, reflecting the intimate atmosphere of jazz shows and long-term decline in popular interest in jazz. Despite being called " clubs ", these venues are usually not exclusive. Some clubs, however, have
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#1732852562082968-541: The Caribbean. African-based rhythmic patterns were retained in the United States in large part through "body rhythms" such as stomping, clapping, and patting juba . In the post-Civil War period (after 1865), African Americans were able to obtain surplus military bass drums, snare drums and fifes, and an original African-American drum and fife music emerged, featuring tresillo and related syncopated rhythmic figures. The abolition of slavery in 1865 led to new opportunities for
1012-592: The Central Avenue zone of Los Angeles are often cited as the key nurturing places of jazz. The African musical traditions primarily made use of a single-line melody and call-and-response pattern, and the rhythms have a counter-metric structure and reflect African speech patterns. Lavish festivals featuring African-based dances to drums were organized on Sundays at Place Congo , or Congo Square , in New Orleans until 1843. Another influence on black music came from
1056-520: The Middle Ages, for example "All in the Morning" and "Down in yon Forest", both traditional Derbyshire carols. In Western classical music , call and response is known as antiphony . The New Grove Dictionary defines antiphony as "music in which an ensemble is divided into distinct groups, used in opposition, often spatial, and using contrasts of volume, pitch, timbre, etc." Early examples can be found in
1100-475: The Royal Roost led to the club being nicknamed "the Metropolitan Bopera House," a pun referencing the club's close proximity to the nearby Metropolitan Opera House . In 1949, a record label, Roost Records , was founded by Arthur Faden, Bill Faden, Monty Kay and Ralph Watkins, which recorded many of the musicians who performed at the club. In September 1948, Miles Davis debuted his nonet at the club,
1144-624: The call and response practices found in modern culture originated in Sub-Saharan Africa. Enslaved Africans brought call and response music with them to the colonized American continents and it has been transmitted over the centuries in various forms of cultural expression—in religious observance, public gatherings, sporting events, children's rhymes, and most notably, in African-American music in its myriad forms and descendants. These include soul , gospel , blues , rhythm and blues , rock and roll , funk , pop, and hip hop . Hear for example
1188-579: The city, such as the brothels and bars of the red-light district around Basin Street , known as " Storyville ". In addition to dance bands, there were numerous marching bands who played at lavish funerals (later called jazz funerals ), which were arranged by the African-American and European American communities. The instruments used in marching bands and dance bands became the basic instruments of jazz. Despite its growing popularity, not all who lived in
1232-419: The clubs where it is performed in these countries provide meeting places for political dissidents , however, attendance of these clubs is minuscule compared to the popularity of jazz clubs during the Jazz Age . Known as the "birthplace of jazz," New Orleans is home to some of the oldest and most famous jazz clubs in the United States, including: Call and response (music) In music, call and response
1276-488: The development culminates in a "singularly dramatic passage" consisting of a "strange sequence of block harmonies": Twentieth century works that feature antiphonal exchanges include the second movement of Béla Bartók 's Music for Strings Percussion and Celesta (1936) and Michael Tippett ’s Concerto for Double String Orchestra (1938) . One spectacular example from the 1950s is Karlheinz Stockhausen 's Gruppen for Three Orchestras (1955–1957), which culminates in
1320-675: The drum percussion, foot movements and call-and-response. Its melodies and use of the gaita or caña de millo (cane flute) represents the Native Colombian influence, and the dress represents the Spanish influence. In 1644, lining out – where one person sang a solo (a precentor) and others followed – is outlined by the Westminster Assembly for psalm singing in English churches. It has influenced popular music singing styles. Presentinge line
1364-401: The education of freed African Americans. Although strict segregation limited employment opportunities for most blacks, many were able to find work in entertainment. Black musicians were able to provide entertainment in dances, minstrel shows , and in vaudeville , during which time many marching bands were formed. Black pianists played in bars, clubs and brothels, as ragtime developed. Blues
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1408-531: The effect of the surrounding light described by the Apostle." In the following century, J.S. Bach featured antiphonal exchanges in his St Matthew Passion and the motets . In his motet Komm, Jesu, komm , Bach uses eight voices deployed as two antiphonal choirs. According to John Eliot Gardiner , in this "intimate and touching" work, Bach “goes many steps beyond the manipulation of spatially separate blocks of sound” and “finds ways of weaving all eight lines into
1452-437: The fusion and free jazz that had dominated the 1970s. Trumpeter Wynton Marsalis emerged early in the decade, and strove to create music within what he believed was the tradition, rejecting both fusion and free jazz and creating extensions of the small and large forms initially pioneered by such artists as Louis Armstrong and Duke Ellington , as well as the hard bop of the 1950s. Whether Marsalis' critical and commercial success
1496-459: The initial speaker(s). It corresponds to the call and response pattern in human communication and is found as a basic element of musical form , such as the verse-chorus form , in many traditions. In Sub-Saharan African cultures, call and response is a pervasive pattern of democratic participation—in public gatherings in the discussion of civic affairs, in religious rituals , as well as in vocal and instrumental musical expression. Most of
1540-499: The mixing of musical traditions like spiritual music from the church, the blues carried into town by rural guitar slingers, the minstrel shows inspired by plantation life, the beat and cadence of military marching bands and the syncopation of the ragtime piano , led to the creation of a new way to listen to live music. In the jazz history books, places such as New Orleans, Chicago, Harlem, Kansas City, U Street in Washington D.C., and
1584-469: The music of Giovanni Gabrieli , one of the renowned practitioners of the Venetian polychoral style : Gabrieli also contributed many instrumental canzonas, composed for contrasting groups of players: Heinrich Schütz was one of the first composers to realise the expressive potential of the polychoral style in his "Little Sacred Concertos". The best known of these works is "Saul, Saul, was verfolgst du mich?",
1628-410: The music was dangerous to fetuses. By the end of the 1920s, at least 60 communities across the nation enacted laws prohibiting jazz in public dance halls. Prohibition in 1920 fostered the emergence of the underground, gangster-run jazz clubs. These venues served alcohol, hired black musicians, and allowed whites, blacks and audiences of all social classes to mingle socially for the first time. Although
1672-497: The recordings entitled "Negro Folklore from Texas State Prisons" collected by Bruce Jackson on an Electra Records recording. Call and response are widely present in parts of the Americas touched by the trans-Atlantic slave trade . The tradition of call and response fosters dialogue and its legacy continues today, as it is an important component of oral traditions. Both African-American women work songs , African American work songs, and
1716-568: The secular rumba and in African religious ceremonies ( Santería ). When enslaved African populations were brought to work in coastal agricultural areas of Peru during colonial times, they brought along their musical traditions. In Peru, those traditions mixed with Spanish popular music of the nineteenth century, as well as the indigenous music of Peru, eventually growing into what is commonly known as Afro-Peruvian music. Known as “huachihualo“, and characterized by competitive call-and-response verses, it
1760-506: The style of hymns of the church, which black slaves had learned and incorporated into their own music as spirituals . During the early 19th century an increasing number of black musicians learned to play European instruments. The " Black Codes " outlawed drumming by slaves, which meant that African drumming traditions were not preserved in North America, unlike in Cuba, Haiti, and elsewhere in
1804-541: The underground jazz clubs encouraged the intermingling of races in the Jazz Age, there were other jazz clubs, such as the Cotton Club in New York, that were white-only. By the 1940s, jazz music as a form of popular music was on the decline, and so was the popularity of jazz clubs. In the early 1940s, bebop-style performers began to shift jazz from danceable popular music towards a more challenging "musician's music." Since bebop
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1848-400: Was a cause or a symptom of the reaction against Fusion and Free Jazz and the resurgence of interest in the kind of jazz pioneered in the 1960s (particularly Modal Jazz and Post-Bop ) is debatable; nonetheless there were many other manifestations of a resurgence of traditionalism, even if fusion and free jazz were by no means abandoned and continued to develop and evolve. Well into the 1980s,
1892-466: Was characterized a slow, drawn-out heterophonic and often profusely ornamented melody, while a clerk or precentor (song leader) chanted the text line by line before it was sung by the congregation. Scottish Gaelic psalm-singing by prepresentinge line was the earliest form of congregational singing adopted by Africans in America. Call and response is also a common structure of songs and carols originating in
1936-452: Was meant to be listened to, not danced to, it could use faster tempos. Drumming shifted to a more elusive and explosive style and highly syncopated music. While bebop did not draw the huge crowds that had once flocked to Swing-era dance clubs, the bebop style was based around small combos such as the jazz quartet . With these smaller combos on stage, smaller clubs could afford to pay the ensembles even with much smaller clubs than were common in
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