What do you think of when you hear the word jazz? Fond memories? A favorite song or artist? Crooners? Christmas music? Or perhaps a dislike? Or maybe even..."I'm not familiar with it" or "I don't really listen to it."
Like it or not, jazz is an integral part of our history as American musicians. People make assumptions about the genre as a whole, but the truth is, much like classical--it's a big genre! I'd like to think there's something for EVERYone!
You'll hear musicians refer to jazz "standards," or jazz songs that are well-known among jazz musicians, became popular in their day, and have been done and redone by many famous artists. One such standard is April in Paris (fitting, right?).
April in Paris was first written in 1932 for a Broadway musical by Vernon Duke, a well-known composer who worked with some big-name lyricists such as Johnny Mercer and Ira Gershwin.
Follow me to the playlist, and let's consider the variety just in the different famous recordings of this tune spanning from 1933 to 2017.
The 1930s was a very interesting time for jazz. The style was in its infancy, coming off of the Roaring '20s, also known as the Jazz Age. The early '30s were highly influenced by the previous decade of Art Deco, flapper dresses, bootleggers and post-World War I decadence and prosperity. The music was primarily constructed and performed to dance to. But the drastic economic changes affected everything, and the arts were no exception. Freddy Martin and his orchestra made this song famous at the very height of the Great Depression in 1933. It was one of the last great early jazz style albums before swing would redefine jazz for the next decade.
Listen for:
- quick, embellished piano rolls
- stride piano accompaniment (low, high, low, high left hand part)
- subtle vibrato and expertly blended horn section harmonies
- high trombone solo with tight vibrato
- easy swing rhythm
- narrow vibrato vocals with subtle scooping before and within phrases
- consistent dynamics (no big contrasts)
- muted trumpet solo with tight vibrato
- short recording
The jazz scene in the early to mid 1940s was defined by swing, big bands and more experimental improvisation and dissonance. No longer was music written to be danced to. Musicians were taking more freedoms with arrangements and solos. The jazz greats of the era, such as Thelonious Monk, a pianist, became known for their unique sound. Monk's trademark solos feature a percussive approach with unorthodox rhythmic phrasing and moments of silence. He made popular a fashion style that we still associate with jazz today: suit, sunglasses and a hat--always a hat.
Listen for:
- the crackle of the old record at the beginning
- the clean (no pedal) piano intro that seems freely formed, out of rhythm
- what sounds like 'wrong' notes in some of his chords
- lots of extra notes (can you pick out the melody?)
- prominent cymbals establishing a more defined swing rhythm
- longer arrangement of the song
- dreamy, freeform runs at the very end (hear a little Vince Guaraldi aka the Charlie Brown pianist in there?)
In the 1950s jazz innovators had moved on to more progressive styles such as bebop and crossover with R&B, gospel and rock and roll began to change the scene and the sound. But as you can hear, swing wasn't dead and big bands, known in jazz circles as 'orchestras', were still popular with the general public. [Note: the recording linked is from 1965. I've chosen this recording so you can see and hear Basie's version of the song.]. Count Basie, a pianist had been around since the beginning of the swing ear in 1935 and was a well-established name by this time. He preserved the traditional swing sound while incorporating some of the modern styles into his arrangements. Big bands had an appeal that was undeniable in the early days of television. Notice the polished stage set-up, matching suits, 'modern' microphones and showy movements of the instrumentalists. Take note of the trumpet soloist's grand entrance down the stairs before his big solo. They were there to put on a show!
Listen for:
- much quicker tempo and more energetic feel
- big band indeed...so many horns!
- effortless blending of harmonies
- big dynamic contrasts
- little to no vibrato used
- less (and wider) scoops at the beginnings of phrases
- more prominent drums and bass heard in the mix (thanks to better recording technology)
- the busy and high-pitched trumpet solo that gets your attention
- busier, more elaborate drums
- less piano-focused
- big ending...and then a bigger ending
- recognize a familiar tune referenced at the very end?
Not too far into the future we have another swing version from one of the most famous jazz singers to ever live, Ella Fitzgerald. Fitzgerald sings with what is known in jazz as a rhythm section, which consists of piano, guitar, upright bass and drums.
Listen for:
- still an upbeat tempo but with a more relaxed feel
- effortless clear melody sung by Fitzgerald
- instrumental-like flourishes and ornaments added to the melody
- free play (added or substituted notes) of the melody
- scat improvisation (nonsense words used to emulate instrument solos)
- distinct vibrato
- active piano chord-based accompaniment
- another fake ending
- Fitzgerald mimics Basie's version by inserting Jingle Bells at the end
I debated on whether or not to include this version, this being the third recording from the 1950s. However, Sinatra's unique interpretation of jazz standards and the different instrumentation of his orchestra is notable. Also, I think the crooner sound is a comfortable style of jazz for most people and certainly his name is well-known by young and old. This recording represents how swing/big band jazz developed and became a style that is still recognized and replicated today (think Michael Buble, Harry Connick, Jr., Norah Jones and others).
Listen for:
- big sweeping intro and outro
- and what's that we hear...strings?! Yes, the modern jazz orchestra includes orchestral string instruments
- a much slower tempo and a balled feel
- iconic wide, slow, frequent scoops
- subtle vibrato
- lagging rhythm of Sinatra's phrases
- frequent ritardandos (slow-downs)
- fairly simple, straightforward arrangement
- no instrumental solos
And fast-forward to modern times. This is a great example of a modern jazz combo you might find at a local club. Notice the combination of jazz orchestra instruments and the rhythm section instruments we heard in Ella Fitzgerald's version. Carling's attire and their sound is clearly inspired by the 1930s with a little modern flair.
Listen for:
- moderate, easy swing tempo with a laidback feel
- violin solo adds a bit of 'fiddle' vibe to the sound
- Carling's '30s-inspired narrow vibrato vocals
- delayed phrase beginnings reminiscent of Fitzgerald's rhythmic vocal style
- muted trombone solo combining a '30s sound with some of the busy solo work of the later decades
- piano player's use of dissonance in her solo (notes that clash or sound 'wrong')
Look for:
- piano player's digital music: no notes, just chord symbols
Your Turn
Thanks for listening with me. Now it's your turn to share. Comment below about which recording you enjoyed the most, what about it drew you in, and anything that surprised you. I look forward to hearing your opinions.
Personally, I love the original 1930s version (Freddy Martin). I've always been captivated by the 30's sound, fashion, and architecture (ever stay at an exquisite high-rise art deco hotel??). Which version is your favorite? Do you enjoy listening to jazz?