Artsource - Clayton Hamilton Jazz Orchestra

Artsource

MUSIC ®

The Music Center’s Study Guide to the Performing Arts

TRANSFORMATION

ENDURING VALUES

ARTISTIC PROCESSES

TRADITIONAL CLASSICAL

1. CREATING (Cr)

CONTEMPORARY

2. PERFORMING, PRESENTING, PRODUCING (Pr)

EXPERIMENTAL

3. RESPONDING (Re)

MULTI-MEDIA

4. CONNECTING (Cn)

FREEDOM & OPPRESSION

THE POWER OF NATURE

THE HUMAN FAMILY

Title of Work:

About the Artwork:

I Be Serious ’Bout Dem Blues Clayton-Hamilton Jazz Orchestra

I Be Serious ’Bout Dem Blues is, like the title says, a blues. In fact, this is what is called a twelve-bar blues

Creator:

(four beats per bar). It starts with a high energy trumpet

Composer/Arranger: John Clayton

solo by Snooky Young who shortly after, trades

Background Information:

choruses with fellow trumpeter Bobby Bryant. Next

The Clayton-Hamilton Jazz Orchestra (CHJO) has received critical and commercial praise for its rousing live concert and award-winning recordings. The group was founded by brothers John and Jeff Clayton and drummer Jeff Hamilton in Los Angeles, California in 1985. Maintaining its connection to the past, while looking ahead to the future, it is a living link to the rich

we hear the saxophones section play an extended riff, the first time it is subdued and low, the second time is higher and accompanied by a “shout” chorus in the trumpets and trombones. The last section is a super shout chorus, with the extended riff and many strong rhythms and melodies played throughout the orchestra. (continued on page 2)

history of jazz -- especially its unique melding of African,

Creative Process of the Artist or Culture:

European and American influences. The leaders of

John Clayton is the primary composer and arranger

CHJO spent years developing their talents through dedicated

for the Clayton-Hamilton Jazz Orchestra. His

study and practice (in jazz we call this “shedding”).

creative process involves composing (melody, harmony,

Eventually, they had opportunities to perform with some

rhythm) and arranging (what and when instruments

great and influential artists, such as Count Basie, Monty

play). He likes to find a quiet space before he creates

Alexander, Stevie Wonder, Ella Fitzgerald, and Frank

music, this helps him to get focused and allows his

Sinatra. John Clayton even spent time playing classical

musical intuition to flow. Then he writes, in words,

music in Europe with the Amsterdam Philharmonic. In

a brief description of how he wants

the early years of CHJO, the band leaders struggled.

the music to sound, this may include

They all borrowed money to pay for their first recording

tempo, style, mood, or more

and did whatever they could to share their music with

general ideas like slow chords in the

more people. Over many years of dedication they developed

saxophones, loud trombone notes,

a reputation of great style and excellence. In the fall of

trumpet solo, rhythm section vamp,

1998 John Clayton was appointed the Artistic Director of Jazz at the Hollywood Bowl in Los Angeles and the CHJO was named the jazz ensemble-in-residence (1998-2001). There, CHJO was joined by a host of internationally renowned artists.

etc. (continued page 2) Photo courtesy of John Clayton

“When I write music for CHJO I write for the talent and personality of the people in the orchestra, not just the instruments they play.” John Clayton California

Continuation of Background on the Work:

moment. This requires intellect, talent and soul. Great

Finally, the rhythm section brings the energy down,

jazz musicians and composers can be identified by their

followed by a surprise statement played by the

sound. No words are needed; the tone and phrasing of

orchestra. The full version of I Be Serious ’Bout Dem

their music tells us who they are. Some examples of

Blues is filled with other solos (improvisations)

people with very distinct personalities in jazz are: Scott

on saxophone and piano with accompaniment or

Joplin, Louis Armstrong, Billie Holiday, Miles Davis,

“backgrounds” played by the orchestra.

Duke Ellington, John Coltrane, Tony Williams, Bill Evans and Wynton Marsalis. Think of the things, such

Continuation of the Creative Process:

as clothes, your hair style, your walk, or how you

Personality, style and soul are very important in

decorate your room, that give clues about your own

establishing a sound on an instrument and the sound

personal style.

of a musical group. The sound of CHJO is created

Write down words or phrases that

describe your style. What does your style tell about your

by the players and the composer/arranger. John

personality?

Clayton has a connection to the members of CHJO that allows him to highlight their unique musical

Audio-Visual Materials:

and personal traits. This way of composing stretches

• Artsource® audio excerpt: I Be Serious ’Bout Dem Blues

back to the famous jazz orchestras of Edward “Duke”

composed and arranged by John Clayton, performed by

Ellington. John can usually write an entire song (7-

the Clayton-Hamilton Jazz Orchestra.

10 minutes) in a single day, which is very fast considering

“Heart and Soul.” (Capri Records, 1991) Courtesy of

he is writing for five trumpets, four trombones, five

John Clayton and CHJO.

saxophones, rhythm section (drums, bass, piano,

• Musical score courtesy of Ginger Kids Music, 2006.

guitar) and sometimes a singer. The music comes to

• Photos courtesy of John Clayton.

life in rehearsal when he explains how all of the parts

Additional References:

fit together. Then, it’s up to the musicians to bring

• Marsalis, Wynton with Geoffery Ward. Moving to

their energy and talent to the piece.

Higher Ground: How Jazz Can Change Your Life (Book).

Discussion Questions:

Random House, 2009.

After listening to the audio:

• Marsalis, Wynton with Paul Rogers. Squeak, Rumble,

• How do you think a jazz orchestra would sound

Whomp! Whomp! Whomp!: A Sonic Adventure (Book).

live? Why is it different than hearing a recording?

Candlewick, 2012.

• What process do you engage in when you are trying

Sample Experiences: Level I

to write (compose) an essay or sequence (arrange) “moves” or “plays” in a game? What is the step by step

* •Learn how to play and improvise over a “backbeat.”

Learn to hear the difference between composition and improvisation by dancing during solos and sitting during other sections.

plan you follow to make sure you reach your goal?

• What characteristics identify your own personality?

• What are some of the things you are practicing (shedding) to make yourself a better person?

• How does a composer learn to write for instruments

From the CD

Level II * • Learn how to count and improvise over a twelve-bar

he/she does not play?

blues form. Research other art forms that have been influenced by jazz (poetry, visual art, dance).

Multidisciplinary Options:

Level III

For many musicians jazz represents freedom to be

* • Learn how to describe and imitate the rhythm section

yourself. This freedom can be expressed when a

of a jazz band. Create a spoken word presentation that is organized like a jazz orchestra (5 trumpets, 4 trombones, 5 saxophones and a rhythm section).

musician improvises or makes up the music in the •

Indicates sample lessons

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MUSIC MUSIC

SPEAKING THE LANGUAGE OF MUSIC THE HUMAN FAMILY and ENDURING VALUES

LEVEL I Sample Lesson INTRODUCTION: A musical instrument has a sound similar to how every person has a voice. A jazz musician works hard to create a sound that is all his/her own. This means that an instrument produces different sounds depending on who is playing. When we hear a jazz orchestra perform, they are creating a big musical conversation, sometimes they read the music (composition) and sometimes they get to make it up on their own (improvisation). Jazz music lets all of the musicians speak with their instruments and share their personality and style in harmony with everyone else.

OBJECTIVES: (Student Outcomes) Students will be able to: • Demonstrate a greater appreciation for how the sound of an instrument can be personalized.

(Responding & Performing) • Identify a “backbeat” in jazz. (Responding) • Create a simple model of an improvisational duet. (Creating & Performing) • Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting) MATERIALS: • Artsource® Audio excerpt: I Be Serious ’Bout Dem Blues.

PROGRESSION: • Give some background information on the music of The Clayton-Hamilton Jazz Orchestra, which is found on pages 1-2.

• Explain to your students that the blues is a song form used in jazz music and that the musicians or singers get to improvise. This means they will make up the music as they go.

• Listen to the audio recording of I Be Serious ’Bout Dem Blues. As you listen to the music, count along (one-two-three-four). Now snap your fingers on the counts of two and four. Explain to your students that this type of accenting is called a “backbeat” and the type of rhythm used in jazz is called “swing.”

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• Listen to the music again. Focus on the opening section with the two trumpet solos. The first trumpet player we hear is named Snooky and the other is Bobby. Notice how each player makes the trumpet sound a little bit different. Every time you hear the player change, have students call out the name of the one playing.

• Explain to your students that Snooky and Bobby are having a musical conversation.

• In groups of two, have a conversation with a classmate while snapping your fingers to the backbeat. Be sure to stay together and keep the rhythm steady. You can repeat exactly what the other person says to you, like an echo, or continue the conversation. If you repeat a phrase, be sure to say it back in a slightly different way - using your own personal style.

• Select different pairs of students to perform for the class, hopefully giving everyone the opportunity.

• Use the extension ideas below to broaden the experience for your students.

EXTENSIONS: • Create or learn a story that can be read in a rhythmic way. Organize the story so that some of it is read as a class and some of it is read by a single person (unison with solos). Perform it with a backbeat.

• Learn the names of the instruments in a jazz orchestra: trumpets, trombones, saxophones and a rhythm section (bass, piano, drums, sometimes guitar).

• Watch the video of a jazz orchestra or big band performing. (Why Toes Tap by Wynton Marsalis) VOCABULARY: backbeat, solo, improvisation, jazz, blues, rhythm, personality ASSESSMENT: (Responding & Connecting) DESCRIBE: In your own words, describe what improvisation is.

DISCUSS: Discuss the difference between improvisation and playing music as it is written.

ANALYZE: Discuss how a musical conversation is similar to a verbal conversation. What is common to both? What is different?

Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking 4

MUSIC

PLAYING THE NUMBERS TRANSFORMATION

LEVEL II Sample Lesson INTRODUCTION: The Clayton-Hamilton Jazz Orchestra plays many styles of jazz music and is able to express many emotions through sound. One of the most popular styles is called the blues which developed from African American culture in the southern United States (Louisiana, Mississippi, etc.) during the late 1800s. When the blues began, they were sung, usually by someone who was heart-broken or sad. Today the blues are sung or played on instruments by a single musician or an entire band and the sound can be happy, sad, melancholy or even humorous. The blues form is related to the music of Africa because it utilizes regular repeating cycles of rhythm and harmony.

John Clayton, Jeff Hamilton, and Jeff Clayton Clayton-Hamilton Jazz Orchestra

OBJECTIVES: (Student Outcomes)

Photo courtesy of John Clayton

Students will be able to: • Name the instrumental sections of a jazz orchestra. (Responding) • Demonstrate a greater appreciation for the musical/mental skills used in jazz. (Responding) • Recognize the repeating cycles of a twelve-bar blues. (Responding) • Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting) MATERIALS: • Artsource® audio excerpt: I Be Serious ’Bout Dem Blues.

PROGRESSION: • Give some background information on the music of The Clayton-Hamilton Jazz Orchestra, found on pages 1-2.

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• Explain to your students that the blues is a song form used in jazz music and that the musicians or singers get to improvise, making up the music as they go.

• Listen to the recording of I Be Serious ’Bout Dem Blues.

• Tell your students that a jazz orchestra is divided into sections of instruments: trumpets, trombones, saxophones and a rhythm section of bass, piano, drums and sometimes guitar.

• Draw some pictures of the instruments used in this music. Be as accurate as possible.

• Listen to the music again and have the students raise their hands every time they hear one of these instrumental sections.

• Explain to the students that I Be Serious ’Bout Dem Blues is a twelve-bar blues; each section is divided into twelve measures of 4/4 time (four beats per measure).

• Teach your students to count a measure: one-two-three-four. Now have them count continuous measures in a row: one-two-three-four, one-two-three-four, etc.

• In jazz, each “cycle” is called a chorus. Have your students count a twelve-bar cycle: ONE-two-threefour, TWO-two-three-four, THREE-two-three-four, FOUR-two-three-four, etc.

• With the class counting twelve-bar cycles, have a few people improvise the lyrics to a song. Many times the blues are about personal events like falling in love, going to work/school, going to a party, etc.

A different person should begin at the “top” of each cycle. Use rhythm in the delivery of your story.

• Use the extension ideas below to broaden the experience for your students.

EXTENSIONS: • Listen to I Be Serious ’Bout Dem Blues excerpt and follow the twelve-bar cycles. Notice that when the music changes it usually happens at the beginning of a chorus.

• Extend the blues that was performed in class by allowing the soloist to take more than one chorus.

• Learn the origins of some of the instruments used in a jazz orchestra. (Europe, Africa, America) • Listen to Take the A Train by Edward “Duke” Ellington (Amazon, iTunes, etc.).

• Use the assessment topics below to help your students gain awareness of what they have learned.

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VOCABULARY: chorus, cycle, measure, blues, improvisation, top.

ASSESSMENT: (Responding & Connecting) DESCRIBE: Describe the sound of a jazz orchestra.

DISCUSS: Discuss how knowing the form of a song changes the listening experience.

ANALYZE: Analyze the differences and similarities of a jazz orchestra and a symphony orchestra.

CONNECT: What other activities or events are measured by cycles?

Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking

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MUSIC

CHANGES IN THE RHYTHM TRANSFORMATION

LEVEL III Sample Lesson INTRODUCTION: Over the last century the development of jazz has been marked by many social, spiritual, and intellectual ideas. Louis “Satchmo” Armstrong developed an incredible ability to stand out as an individual through his improvisational style on the trumpet and as a singer. John Coltrane thought of his music as a spiritual extension to God. Edward “Duke” Ellington was the most prolific composer of the Twentieth Century and expanded the use of compositional development and improvisation. Jazz music would not be the same without the contributions of these musicians, as well as many other men and women.

Change has always been a part of the legacy of jazz, allowing musicians to contribute to its evolving language. Jazz John Clayton maintains its characteristics of swing rhythms and Clayton-Hamilton Jazz Orchestra improvisation while incorporating new and modern concepts.

Photo courtesy of John Clayton One of the most incredible things about jazz and all of its transformations is that it has always stayed connected to its roots - the blues. The blues is a simple song form style that has been at the heart of every great jazz artist’s career. The shape of the blues also serves as a metaphor for change and contrast, it is built on a series of chords that change over a twelve-bar cycle while the rhythm of swing stays constant, these elements create a relationship of tension and release much like the evolution of this classic American art form. It is this vibrant energy that inspires musicians to contribute to the legacy and lineage of this music.

OBJECTIVES: (Student Outcomes) Students will be able to: • Name the instrumental sections of a jazz orchestra. (Responding) • Describe how the instruments interact in jazz. (Responding) 8

• Play a basic swing rhythm. (Responding & Performing) • Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting) MATERIALS: • Artsource® audio excerpt of I Be Serious ’Bout Dem Blues.

PROGRESSION: • Give some background information on the music of The Clayton-Hamilton Jazz Orchestra from pages 1-2.

• Explain to your students that the blues is a song form used in jazz music and that the musicians or singers get to improvise, making up the music as they go.

• Listen to the recording of I Be Serious ’Bout Dem Blues.

• Explain to your students that jazz is based on a type of rhythm called swing. This rhythm is one of the defining elements of jazz.

• Teach your students this rhythmic pattern, which is the basic swing pattern played by the drummer on a “ride” cymbal: One - - Two - ah Three - - Four - ah, One - - etc. This pattern is also called a “ride” pattern. You can play it with one hand on a flat surface or clap your hands. Be sure to count out loud when first learning this pattern.

• Now play the counts two and four with an accent (a little louder than the others). This type of accent is called a backbeat and is part of the swing rhythm.

• Explain to your students that this pattern is part of a groove that is played by the rhythm section (drums, bass, piano, guitar) of a jazz band or orchestra. This groove provides the foundation for the other instruments to play over.

• Listen to the audio recording of I Be Serious ’Bout Dem Blues again and pay close attention to the rhythm section. Can you hear the ride pattern? Notice how the bass plays on the beat moving from low notes to higher notes and back down again. This is called “walking.” The piano plays short non-repeating rhythms to add a little tension and syncopation. This is called accompaniment or “ ’comping.”

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• In groups of three, have your students practice playing each element of the rhythm section: ride pattern, walking the bass, and ’comping. Play the ride pattern the same as before. Walking the bass can be done by singing low moving notes using “boom” as a syllable or playing on a low sounding surface (desk, book, large water bottle). ’Comping should be done with a sound that is different than the ride pattern, sparse and non-repetitive. Each person should get a chance to try each part.

• Next, teach your students to count the twelve-bar cycle that is used in I Be Serious ’Bout Dem Blues: ONE-two-three-four, TWO-two-three-four, THREE-two-three-four, FOUR-two-three-four, etc. (In jazz, each cycle is called a chorus.)

• Listen to the song again, and count the choruses as they go by. If you get lost, listen for the beginnings of phrases or sections for guidance. Listen to how the rhythm section propels the orchestra.

• Now choose a few groups to “groove,” improvising rhythm and vocal sounds, while the rest of the class counts each measure of the chorus. Count soft enough to hear the rhythm section. Each group should only groove for a single chorus.

• Keep choosing different groups to groove for the class. Have fun!

• Use the extension ideas below to broaden the experience for your students.

EXTENSIONS: • Research the historical and social origins of the blues.

• Listen to other jazz recordings to further your understanding of how a rhythm section works. Make sure the music has a swing rhythm. (Miles Davis: Porgy and Bess, Thelonious Monk: Criss-Cross) • Add a soloist to your groove, sing a song, read/write a poem or dance.

• Look at and study the score located on the web at the Clayton-Hamilton Jazz Orchestra Artsource® Unit webpage.

• Visit http://jazzatlincolncenter.org/learn/teachers-students for more ideas and information.

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VOCABULARY: chorus, cycle, measure, blues, improvisation, ride cymbal, ride pattern, walking the bass, ‘comp, groove, swing, syncopation, groove ASSESSMENT: (Responding & Connecting) DESCRIBE: Describe the importance of change.

DISCUSS: Discuss how change has made jazz music survive and grow.

ANALYZE: Analyze your own ability to change things.

CONNECT: What things would you like to change in yourself and the world around you?

Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking

DISCOGRAPHY:

Clayton-Hamilton Jazz Orchestra LIVE AT MCG SHOUT ME OUT! EXPLOSION with Milt Jackson ABSOLUTELY HEART & SOUL GROOVE SHOP BOOGIE DOWN with Ernistine Anderson

Mcg Jazz Capitol Quest Lake Street Capri Capri Concord

2005 2000 1999 1995 1991 1989 1991

Capitol Warner Bros.

Capri Concord Concord

2005 1997 1991 1980 1980

Clayton Brothers BACK IN THE SWING OF THINGS EXPRESSIONS THE MUSIC IT’S ALL IN THE FAMILY THE CLAYTON BROTHERS

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