Introduction to Jazz Styles

Jazz music has similar historical origins to the blues in that it emerged in the late 19th century and then flourished in the 20th century. New Orleans and Dixieland jazz styles first developed in the 1910s and ’20s, featuring solo and group improvisation. This was then followed by the Swing era in the 1930s, which emphasized big bands and danceable arrangements. Then, in the 1940s, many younger musicians broke away from the swing styles to create Bebop or Bop, a less danceable small-group style with more advanced harmonies and rhythms. This was in turn followed in the 1950s by the more mellow Cool Jazz, and the extended improvisation of the Post Bop styles. Then, in the 1960s and ’70s, the Fusion movement began, combining jazz elements with modern styles such as rock and R&B. All of the Contemporary Jazz styles of the late 20th and early 21st centuries are descended from this period. Today, all of these jazz styles (modern and traditional) co-exist, and are performed and recorded around the world.

Throughout the 20th century, many piano players emerged who were hugely influential in creating the various jazz styles. Jelly Roll Morton was at the forefront of the early New Orleans movement, and immodestly called himself the “inventor of jazz.” Art Tatum and Teddy Wilson were giants of the Swing era, followed by Bud Powell and Thelonious Monk, trailblazers in the Bebop period. The Post Bop harmonic style of Bill Evans was a major influence on both fusion and mainstream jazz pianists from the 1970s onwards, including Chick Corea, Herbie Hancock, Joe Zawinul, and Keith Jarrett.

Our first example is the tune “Satin Doll” by Duke Ellington, Johnny Mercer, and Billy Strayhorn, a true jazz standard. The A section is made up of an 8-bar phrase that repeats itself for a total of 16 bars. The B section is half as long, at 8 bars followed by a return to the A section for the final 8 bars of the tune. Both sections are similar in that they begin with a minor II chord going to a V in the first 2 bars, and then repeat the same progression, transposed up one step: Dm–G7, then Em–A7 in the A section, and Gm7–C then Am7–D7 (with an F chord in between) in the B section. Play this in a lazy swing style, with a slight feeling of being “behind the beat” in the right hand.

Next, we’re going to look at a piano comping example from the bebop era, a tune in the style of pianists such as Bud Powell and Erroll Garner. This piece is actually made up of two 12-bar blues choruses, but with lots of extra chord changes. Bebop musicians would typically “jazz up” the blues by using colorful chords (those with more extensions such as 9ths, 11ths, and 13ths), and by substituting chords that share a few of the same pitches, but add bite by borrowing notes from different keys (other than the key of the song). For example, considering that this tune is in the key of F major, the blues would utilize the I, IV, and V chords. But in measure 2, instead of going to a V7 chord, the Em7♭5 and A7♭9 chords are used, which are borrowed from the key of D minor. In the first chorus, the left hand is playing the roots of the chord, often within root-7th or root-3rd intervals, and the right hand is playing triads or four-part chords on top. Then, in the second chorus, the right hand moves up an octave to allow the left hand to play some three-note voicings around the middle C area. The rhythmic syncopations throughout are typical of bebop and mainstream jazz styles, generally.

Listen to track 60 to hear “Bird of Prey.” This tune is recorded with a rhythm section on the left channel, and the piano part on the right channel; so you can play along with the band by turning down the right channel!

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Now we’re going to look at a more modern jazz-blues waltz which uses a piano voicing style pioneered by Bill Evans. This tune again has a blues form; this time with 24 bars (double the normal 12), which is normal for a “waltz” in 3/4 time. Notice the very “open” and transparent voicing style, with fourth intervals being used in both hands in the first chorus, and the left hand voicings supporting the right hand fills and solo in the second chorus. This is all very typical of the more “modern” jazz styles which originated in the 1950s and ’60s.

Listen to track 61 (slow tempo) and track 62 (full speed) to hear “Hand Prints.” This tune is recorded with an electric piano sound to help with the style, so if you have an electric piano, punch in one of these sounds to enhance your playing. It is also recorded with a rhythm section on the left channel, and the piano part on the right channel; so, to jam along with the band, just turn down the right channel!

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Our last jazz example in this chapter is an excerpt from the Vince Guaraldi tune “Linus and Lucy,” beloved by Peanuts fans everywhere! Although this song comes under the general heading of “jazz,” it also includes some other style elements. For example, the driving left-hand part in the intro, A, and C sections is reminiscent of some blues and boogie-woogie styles, while the right-hand fills in the B section have a country flavor. I suggest you practice the left hand part separately first, and make sure it is steady and secure before adding the right hand. Have fun!