Post 313: REGIONAL CHORD BOOKS

In my country, England, I learned to speak English by copying my parents and other native speakers. I acquired the local accent.

But when I travelled 100 miles, what did I find? English was spoken in not quite the same way. There was a different regional accent. When I travelled 200 miles, the difference was very marked. When I travelled 300 hundred miles, I would occasionally have difficulty understanding what the locals were saying.

I expect the same thing happens in virtually every country and every language.

But here's a curious parallel in traditional jazz music.

A wise old jazzman told me many years ago that, when you move from region to region, you find the local jazzbands play some tunes in different keys from those to which bands in your own region are accustomed.

For example, all the bands in your area play a certain tune in Bb. But move 100 miles and you find that all the bands in that area go for C.

All the bands in your area play a tune in F. But in another region you find all the bands play it in Eb.

(Yes, the difference is nearly always one tone.)

In the years that followed, I was able to confirm the truth of this from my own observations. If you guest or deputise in a band 100 miles or more from your home, be prepared to play some tunes in keys that will feel unfamiliar.

How has this come about? My theory is that within each region the musicians deputise in each other's bands and build up over decades a kind of communal regional chord book.

An interesting phenomenon, isn't it?

Post 312: MUZAK? UGH!

I was having a meal in a smart restaurant here in Nottingham with eight other people. The food and drinks were excellent (as well as pretty expensive). This was a classy place.

But in the background - constantly - there came the sound over loudspeakers of 'music'. The recording did not seem to be music played on musical instruments by real musicians. I guess it was computer-generated. It sounded like this:

Doum doum doum doum doum doum doum etc. - with some kind of two-bar riff as if plucked on a single string and repeated ad nauseam.

When the 'track' ended, it was replaced by another, almost identical. And so on all the evening.

I found it so irritating that I thought about asking the management to switch it off. I wondered whether everybody else was as annoyed by it as I was.

I looked around the restaurant. Neither my party nor people at other tables appeared the slightest bit troubled by it. And I have to admit it was being played quietly. It did not prevent people from holding animated and audible conversations.

So I could not bring myself to be so curmudgeonly as to complain and I did not even mention the matter to anybody before we left the restaurant.

I then asked people who had been with me: Did you notice whether there was any background music being played over loudspeakers in the restaurant?

The most common answer was 'I can't remember'!

To those who answered, 'Yes', I then asked whether they could describe what kind of music is was. NOBODY could.

Interesting?

Post 311: EXPAND YOUR REPERTOIRE - JUST LIKE TUBA SKINNY

Can you name ANY band that plays five or more of the following twenty-five tunes? Big Chief Battleaxe, Billy Goat Stomp, Cannon Ball Blues, Carpet Alley Breakdown, Chocolate Avenue, Dear Almanzoer, Dreaming The Hours Away, Fourth Street Mess Around, Gladiolus Rag, Good Time Flat Blues, In Harlem's Araby, Jazz Battle, Jubilee Stomp, Kansas City Stomps, Michigander Blues, Minor Drag, New Orleans Bump, Oriental Strut, Perdido Street Blues, Pyramid Strut, Russian Rag, Skid-Dat-De-Dat, Variety Stomp and Wild Man Blues.

I certainly can't - apart from Tuba Skinny.

These are just a few of the tunes - mostly tricky and complicated in structure - that this wonderful band has magnificently mastered in its short existence. Yes, Tuba Skinny plays all twenty-five.

Listen to any programme given by your average traditional jazz band and the chances are that more than 90% of the tunes will be the usual standards structured in 32 bars (measures) or - in the case of blues - 12 bars. Of course a tune may have a short introduction and possibly a coda, but essentially the 32-bar or 12-bar melodies dominate our music.

But - as in so many other respects - the great young band Tuba Skinny is making us re-think this aspect of our playing.

How many bands do you know who play 10-bar tunes? Tuba Skinny do. Think of Frisco Bound.

How many bands do you know who play 11-bar tunes? Absolutely none, I guess. Apart from Tuba Skinny, with Jackson Stomp.

And what about 24-bar tunes? Can you even name one such tune (not counting 12-bar blues with two themes)?

Well, Tuba Skinny play a 24-bar tune: I'm Blue and Lonesome (Nobody Cares for Me). It is in no sense a double 12-bar. It begins with The Sweet Sue Chord Progression and then in bars 17 - 20 incorporates The Magnolia Chord Progression.

They introduced us to Ice Man (8 bars and only two chords!), a fun number with a simple theme.

Then there's Crow Jane - another tune well established in their repertoire. How many bars long is it? It uses both 8-bar and 10-bar lengths.

We have to admire Tuba Skinny for their fearless tackling of these unusually shaped tunes and the enormous range of their material.

They enjoy mastering difficult old classics, such as Fred Rose's Deep Henderson. This tune presents a challenge to any musicians. It is usually played by jazz bands in the key of F, modulating to the key of Db in Theme C (the Trio). Fred Rose's original piano music showed no key change.
Here's how it is structured:

8 BARS : Introduction, with various instruments taking a bar each in Bars 5, 6, 7 and 8.

32 BARS : THEME A. Rapid, tricky work for the reed player and a thrilling free-style middle eight.

32 BARS : THEME B. Interplay between two melodies. With a famous leaping middle eight that has to be played just right.

4 BARS : MODULATION, normally ending on Ab7, neatly leading into the key change to the unusual key of Db.

32 BARS : THEME C (THE TRIO). A super rhythmic riff in the new key. The middle eight is thrilling, with the cornet tearing through eight arpeggios on tricky chords including B7 (that's an awkward C#7 to the Bb instrument player!).

That gives you a total of  108 bars to be mastered and memorised, not counting any repeats or solo choruses that the band chooses to insert. Tuba Skinny play it magnificently. You can see and hear them do so on YouTube:

http://www.youtube.com/watch?v=qqVx9vwt2WM

Post 310: HOW TO IMPROVISE - HELP IS AVAILABLE

Mr. John P. Birchall is a great enthusiast and educator in the field of traditional jazz. I have never met John but I became aware of him through the internet. I have exchanged emails and materials with John and he has always helped me with great kindness and generosity.

I want to tell you that John has - on his website - a mass of thoughtful, well-structured information that is intended to help anyone who is trying to play the music and perhaps finding it difficult to get to grips with the structures of harmonic progressions and with improvising.

For access to this wonderful resource (for which many thanks, John):

CLICK HERE.

Post 309: THE NOWHERE CHORD AND THE CLAPHAM JUNCTION CHORD

Listening to Wabash Blues, I was reminded that what 'makes' this tune is the 13th bar (measure), where we suddenly land on a note and chord that sound alien but are in fact just right.

Don't know what I mean? Well, hear what happens at 30 - 32 seconds into this video (click on to view) and again (more conspicuously) from 1 minute 42 seconds to 1 minute 44 seconds.

Checking it out, I found it's the chord on the flattened 6th of the key in which the tune is played. So, if you are playing in C, the flattened 6th would be the chord of Ab. If you're playing in F, it would be the chord of Db:

And so on.

The flattened 6th is a chord that rarely appears in our music but, whenever it pops up, it creates a special effect.

I discussed this with my friend Ralph Hunt and he told me that among banjo players such as himself it is known as the 'Nowhere Chord'. That sounded really interesting. Did it mean the chord that led nowhere? Did it mean the chord that seemed to come from nowhere? Unfortunately the explanation was much more mundane: it came from the tune 'Out of Nowhere', in which the chord plays a prominent part.

The led us to wonder what other tunes we could think of in which the listeners are hit at some point with the chord on the flattened 6th. In five minutes we came up with these:

Bye Bye Blues (on the word 'blues': you can hear it, can't you?)

Come Back Sweet Papa (very emphatically in the Verse)
I Never Knew What a Girl Could Do (both in the verse and in the main theme)

Love Songs of the Nile
Oriental Strut (in the main theme)

Oh, You Beautiful Doll

Marie (30th bar)

Mama's Gone, Goodbye (Mama's gone, Mama's gone goodbye)

My Melancholy Baby (in the second half of each of the first two bars):

San (it makes the Chorus truly distinctive)
Sorry (bars 3 & 4, for example)
Golden Leaf Strut (bars 25 and 26)

Henry Kiel reminds me that four more are:
Alabama Jubilee (in both Verse and Chorus)
Angry
Black and Blue (Middle Eight)
Dancing With Tears in My Eyes

But no doubt you will tell me there are more......

And while we're on the subject of these strange named chords, did you know there is one called 'The Clapham Junction Chord'? I learned about it from The Oxford Companion to Music. It is the chord of the 7th diminished. For example, in the key of C, it would contain B, D, F, and Ab.

Why Clapham Junction? Because that is a railway station in South London from which routes branch off in many directions. In the same way, when you play this chord, you can modulate into any one of several different chords to follow it.

Post 308: 'THOUGHTS' (COMPOSED BY ROBIN RAPUZZI)

A lovely new tune to appear on YouTube is Thoughts, played by Tuba Skinny and composed by their percussionist Robin Rapuzzi. It is a tune of which he has every right to feel proud.

You can hear Tuba Skinny playing it by clicking here (with thanks to the excellent video-maker RaoulDuke504 for capturing the performance and alerting the world to it).

Thoughts is played wistfully, at a gentle tempo. In this video (click on) you can see them taking trouble to get the tempo just right before playing it.

When you first hear it, you can easily fall into the trap of thinking it has a standard 32-bar structure (A - A - B - A) because it begins like that and also it runs to 96 bars (measures) in total - which normally would suggest it's played through three times (3 x 32).

But listen carefully and you find it is much more complex. The initial tune seems to comprise 40 bars, not 32 (A - A - B - A - A).

The 'A' theme is of a pretty rocking and 'descending the ladder' type. Its first four bars sound to me like this:

and the 'B' theme seems to have a deliberate echo of 'Mood Indigo'. It begins:

But after these forty bars, something different happens. There is a 16-bar 'Interlude' (let's call it Theme 'C') which seems to me to be using the related minor key. It begins something like this:

By the end of that, we have completed 56 bars.

So, 40 bars to go? Presumably the Main Theme (A - A - B -  A - A ) to be played again?

Well, yes, but not quite. What we get is A - A - (a strange) B - B - A.

In these final 40 bars, the first sixteen (led by the clarinet) are indeed the same as the opening sixteen (Theme A twice). But then we have the first four bars only of the 'B' (Mood Indigo) theme followed by 4 leaping new bars of melody. Then the full 'B' (eight bars) again, but with a slightly different ending from the first time it was played.

88 bars completed. 8 to go. These 8 turn out to be a final run through of Theme 'A'.

So in total, the 8-bar theme 'A' has been played seven times. It lingers is your head and you will be humming it for the rest of the day.

Robin wrote this piece during the band's Summer 2015 tour. It was - as he puts it - at first planned as a tune for 'Squeaky Violin'! But, he says: 'Sure sounds a lot better when the band plays it'!

I had the great pleasure of meeting Robin at the French Quarter Festival in April 2015.We had a very enjoyable chat as he prepared his washboard (and his fingers) to go on stage.

I hope we shall hear more of Robin's compositions in the future.

Post 307: THE GOLDEN AGE - 'IF YOU LOVE ME, REALLY LOVE ME' AND MARGUERITE MONNOT

I decided to work out the beautiful song If You Love Me, Really Love Me, composed for Edith Piaf by the great Marguerite Monnot. I opted for the Key of C, and used repeat signs.

So what are its secrets? To find out, I've had a go at playing it. You may care to listen. Please excuse my limited ability: I'm not a pianist. To hear my attempt, click on this link:
https://www.youtube.com/watch?v=oTxzulTbUTU
First, note how the melody soars up six times through arpeggios (of E7th and D minor7th: the latter adds poignancy, of course). What goes up must come down; and the corresponding triple-dip descents are amazing too. Note in particular how effective the E7th and F minor harmonies are at the point indicated below. (If you want proof of this, just try them on your keyboard.)

Marguerite Monnot could have used a conventional C7th where she has the E7th; but the E7th is so much more impassioned in this context.

The Middle Eight switches into the relative minor key, conveying the excitement, concern and commitment of passionate love. We progress from A minor eventually to D minor, to G7th and so naturally back to the triumphant home key of C. But note how - during this journey - astonishing harmonic techniques are used. See especially the F sharp diminished chord and the F7th (one beat each) followed by the E7th. Marguerite Monnot could so easily have left the first two beats on A minor, as a lesser composer would have done. But the F sharp diminished chord and the F7th are so effective. Again, try the phrase on your keyboard!

Most popular songs of the time were based on a 32-bar structure involving four groups of 8 bars:

A1

A2 - virtually repeating A1

B [known as the Middle Eight]

A3 - virtually repeating A1

Even in this respect, Margerite Monnot springs a surprise. Although she gives the illusion of following this structure, in fact A2 and A3 of her song both contain NINE bars - not eight.

The trick is so well worked that you scarcely notice it, but the effect is remarkable: the extra bar gives her room to end those two phrases (and the final phrase of the song in particular) on extra-high emotion.

There are some fine performances of this song on YouTube, if you should wish to hear it in its full glory.

Born in 1903 at Decize – a town on the River Loire - Marguerite Monnot was home-educated by her musician parents. She was a musical child prodigy and developed into a gold-standard musician – a fine performing pianist, well grounded in theory. She studied in Paris and was taught by several classical luminaries. One of these was Nadia Boulanger (who probably trained her in harmony; Nadia was one of the most influential music teachers of the Twentieth Century). Another was the composer and teacher Vincent D’Indy; and there was Alfred Cortot, the great pianist who specialised in the works of Schumann and Chopin.

Her lifetime shyness did not help Marguerite as a performer but it did not hinder her work as a composer, when in the 1920s she started attempting (with success) to write popular songs.

At the age of 33, Marguerite was introduced to France’s best-loved singer, the great Edith Piaf, and they worked together for many years. They became friends and collaborated on many songs that became part of Piaf’s stage act. It was Piaf, of course, who made Hymne à l’Amour and Milord famous.

Marguerite also wrote film music. And in 1955 she had a huge success when she wrote the score for the musical Irma La Douce, which I remember seeing with great pleasure in Peter Brook’s production at the Lyric Theatre, London, in 1958.

Although Marguerite wrote hundreds of songs, English readers are likely to know her best for Milord and The Poor People of Paris (La goualante du pauvre Jean) and If You Love Me, Really Love Me (Hymne à l’Amour).

Sadly, in 1961 Marguerite Monnot died in Paris at the age of 58, following a ruptured appendix.

Marguerite Monnot’s career reminds me that the period between 1940 and 1980 was a Golden Age for popular music and its centre was France. Songs had words that were important and worth listening to, with a narrative and drama; and those words were clearly articulated by the great singers such as Edith Piaf, Jacques Brel, Charles Aznavour, Yves Montand, Juliette Greco and Georges Brassens. The singer was accompanied by a real, accomplished pianist or band or orchestra, playing from an arrangement that would include adventurous harmonies, changes in rhythm and key; and even accelerandos, rallentandos and pauses. (You find all these features in Marguerite Monnot's work.) There was no need for electronic amplification.

How different from the synthetic, mechanical dreary disco music of today!

Marguerite Monnot

Post 306: 'MESSIN' AROUND' BY CHARLES L. 'DOC' COOKE

'Messin' Around' is a super number, with an interesting structure. It was composed in 1926 by Charles L. 'Doc' Cooke, with Johnny St. Cyr adding the words.

You can hear what is probably the first recording of it - made by Doc Cooke's own band - Cookie's Gingersnaps: CLICK HERE.

After a vamping Introduction, it starts properly at 20 seconds with THE CHORUS rather than the Verse. This has a 32-bar (16 + 16) structure. This is followed by the VERSE (16 bars) which leads neatly via the dominant seventh chord back into the Chorus.

It is a bright, catchy tune. I think the Gingersnaps played it in the key of C, though - because of the pitch of instruments at the time and also because of early recording techniques - it sounds to the modern ear more like B.

For an energetic and exciting version played by a Twenty-First Century band, try Tuba Skinny. They follow the original quite closely:

CLICK HERE.

I had a go at working it out. It was a struggle and the result is probably inaccurate and a bit messy. I also put it into D, which is fine for my cornet.

Post 305: 'MICHIGANDER BLUES'

Jabbo Smith

Michigander Blues was apparently written in about 1929 by Jabbo Smith and the word 'Michigander' simply means 'a person from Michigan'.

Having enjoyed very much listening (on YouTube) to the great young New Orleans band Tuba Skinny playing this tune, I wanted to play it myself. It's good to have a few minor key tunes in your repertoire. To hear Tuba Skinny perform Michigander Blues: CLICK HERE.

I spent a couple of hours writing it out. Like Tuba Skinny, I put it in D minor. Here's what I came up with. It doesn't sound too bad to me as a basis to work on. I tried it with some friends, playing pub lunch jazz at The Dog and Gun, in Syston, Leicester, and it sounded reasonably good. The first four bars are the Introduction; the next 16 bars are the Verse; and the rest (final 32 bars) are the CHORUS, which has an a-a-b-a structure.

Post 304: 'MY SWEET LOVIN' MAN'

Lil Hardin

While roaming around YouTube videos of jazz bands in New Orleans, I chanced upon one put up by Thomas Balzac. It showed Sarah Peterson singing My Sweet Lovin' Man with the famous Smoking Time Jazz Club Band at The Spotted Cat Music Club in Frenchmen Street:

http://www.youtube.com/watch?v=vCTXmjXIleA

I remembered that I have the tune on one of my King Oliver CDs. It turned out that it was written by Lil Hardin in 1923.

I also noticed that - after its 12-bar Verse - it has a Chorus based on The Hot Nuts Chord Progression - popular in the 1920s. This is basically a 16-bar progression, with breaks possible on Bars 9 to 12 inclusive. The final two bars of the sixteen are in many songs repeated as a tag. That is what happens in My Sweet Lovin' Man, making 18 bars in all.

I like it; so I decided to add this tune to my mini-filofax collection. I wrote it out, and it sounds quite good on my keyboard.

Post 303: THE SORRY STATE OF U.K. JAZZ CLUBS

We read in the December edition of Jazz Guide about yet another traditional jazz club in England that is closing down for good at the end of 2015, after having hosted jazz bands pretty well every Thursday night for many years.

This seems to be the trend in England. Audiences are dwindling. Each club has its own little nucleus of elderly folk who try to attend regularly. But as these people die or become incapable of turning out, the club withers.

Here's a recent photo taken at one of England's more successful clubs. Its sessions are held at lunchtimes on Sundays.

Fewer than fifty people attended and they were elderly. It's hard to imagine that even such a club as this will still be in operation a few years from now.

I'm sorry to paint this gloomy picture and - as regular readers know - I am thrilled that there is still some great traditional jazz being played by young people throughout the world, if you care to look for it.

But in England, ask 'the man in the street' where you can go to hear a live traditional jazz band, and he would be unable to tell you. In fact, he might not even understand your question.

The music gets so little exposure in the most influential of the media.

When Christmas shopping, I visited the store that has the largest collection of CDs in Nottingham. It has a section labelled 'JAZZ'. But I couldn't find a single CD that could indisputably be described as 'traditional jazz'.

The last two generations have grown up on the disco music of recent decades and are unaware of much else. Making matters worse, music education in schools is very limited. It seems to me that it's only the privileged few who even learn to play an instrument.

Fortunately, we have twenty or so brilliant musicians in the United Kingdom who are under the age of forty and playing fine traditional jazz. But that's not many in a population of about 65,000,000. In general the future for traditional jazz in England is not looking good.

Post 302: OUR MUSIC GOES GLOBAL

A correspondent from Connecticut set me thinking. She said it is a wonderful thing that - thanks to YouTube - performances by the bands on Royal Street, New Orleans, can be enjoyed within hours by viewers all over the world. She said it's as if we are all attending a 'Global Concert'.

That's exactly how it is. I constantly receive e-mails from fans saying 'Have you seen this latest YouTube  video? It's terrific.' In my turn, I pass on such tips to other friends. So these performances become what journalists call 'Breaking News', spreading rapidly throughout the world.

The quality of much of the video work is first-class. A recent e-mailer told me that watching some of the videos is 'almost like being right there in the street'. We are all grateful, I'm sure, to the video-makers - those with the codenames digitalalexa, RaoulDuke504, jazzbo43, Dmitriy Prityikin, Wild Bill, guitarded71 and many more.

The musicianship is some of the best to be witnessed anywhere. So we must also be grateful to the musicians, who do not mind their performances being enjoyed free of charge throughout many different countries.

In its turn, however, YouTube is helping to spread the fame of these great bands. Correspondents often tell me they would never have heard of such bands as Tuba Skinny and The Smoking Time Jazz Club and The Shotgun Jazz Band, had it not been for YouTube. And many say they decided to take a vacation in New Orleans as a result of watching these videos.

Yes, how things have changed since the days when the best that fans could do was to save up for the latest 78 rpm record of Jelly Roll Morton or Louis Armstrong. We are indeed fortunate to enjoy the immediate aural and visual gratification that comes from living in the great technological age of Traditional Jazz Concert 'Breaking News'.
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FOOTNOTE
The book Enjoying Traditional Jazz, by Pops Coffee, is available from Amazon.

Post 301: ACKER BILK AND 'STRANGER ON THE SHORE'

The famous British clarinet player Acker Bilk died in November 2014. I particularly enjoyed his early traditional jazz work with the Ken Colyer Band. But the Great British Public always associates him with his 'hit' - Stranger on the Shore - which is indeed a beautiful melody and which he sometimes played with a lush background of orchestral strings.

I received the following email from an American correspondent. It gives us an unusual angle on the subject.
---------------------

I don't know where Acker Bilk stands in the pantheon of great clarinet players, but I did notice his passing yesterday. I knew his name mostly from an album cover that my step-Dad used to leave around the house, though at the time I never listened to it. In any case, I read his obit in the BBC online blog and saw that, in addition to being a trad clarinet player, he had also written a pop instrumental hit called "Stranger on the Shore".

My curiosity piqued, I went to Youtube to listen to it. It took me a couple of listens to see why it had attracted the general public's attention (who can explain these things really?), but after a couple of listens, I felt I had done my duty, and moved on.

This evening, I was in the kitchen working on the computer while a housemate was in the livingroom watching TV. Wafting out of the next room I hear the sounds of....believe it or not, "Stranger on the Shore" played on clarinet. At first I thought I was imagining it, but I was not.

It turns out that "Stranger" plays in the background of an Arnold Schwarzenegger/ Jim Belushi movie called "Red Heat" in the scene where the two of them are sitting in a "greasy-spoon" diner ordering coffee. What a strange coincidence!

David Rumpler

Boston, MA
===========
I have since received this email from Barrie in the North of England.
-------------------

Ivan

I read your piece about the tune being on the soundtrack of a film. I remember it was used in the film 'There's Something About Mary'. I checked on line and there it is in the soundtrack listings.

Barrie

Post 300: ARRANGING JAZZ BAND MUSIC - THE THREE METHODS

Before a band plays a tune, it needs to have some idea of how to tackle it. In which key will it play? Who is going to state the melody in the first chorus? Who is likely to take solos, and when? Are we going to do anything unusual, such as playing a verse after a chorus?

A correspondent in the USA has asked me to say something about how musicians answer these questions.

There are three ways in which the questions can be answered. Most bands use METHOD ONE (On The Fly) for most tunes and METHOD TWO (Head Arrangements) for a few tunes. Very few bands use METHOD THREE (Orchestration).

METHOD ONE: ON THE FLY

There is no preparation. Someone picks a tune and a key; someone beats it in; and away they go. Musicians who often play together know well what everyone is expected to do. During the playing, the Leader may signal to individuals to take a chorus or half-chorus or middle eight, and may indicate whether some particular sort of backing to solos (e.g. stop chords or offbeats) is to be provided. The Leader can even signal a change in key: fingers representing the number of flats [down] and sharps [up] are a popular way of doing this. The Leader may signal a return to the first theme (usually by pointing upwards or by tapping his hand on the top of his head). The Leader will usually signal the out-chorus. If there is to be a tag, this is likely to arise spontaneously, with one player leading it and the others instantly joining in. This method is used and works very well for 90% of all tunes performed by traditional jazz bands. It often has great results. It is particularly suited to 32-bar standard tunes.

METHOD TWO: HEAD ARRANGEMENT

Before the performance, the band is likely to have rehearsed the tune or at least to have agreed who will do what and when. All the members of the band have to remember in their heads what has been agreed: hence the expression 'head arrangement'. Head arrangements are more likely to be used with complex tunes, rather than with straightforward 32-bar standards. A specimen head arrangement is as follows. I'm using the tune She's Crying For Me (Santa Pecora, 1925) and I'm showing you the head arrangement currently being followed by one of my local bands.

She's Crying for Me
1. Theme A : 16 Bars in F minor. Ensemble. Once.
2. Theme B : 16 bars in Ab. Ensemble. Twice - second time at Bar 15 merging into BRIDGE.
3. Bridge : Start on Bar 15 of Theme B; add 4 bars transition to F.
4. Theme C : 12 bars in F. Ensemble.
5. Theme C: Trumpet 12-bar solo with offbeats from rhythm section.
6. Theme C : Piano 12-bar solo, ending with transition to Ab.
7. Clarinet solo Ab on Theme B (16 bars).
8. Trombone solo on first 8 bars of Theme B.
9. Ensemble final 8 bars of Theme B.
10. 2- bar tag (trombone). All in on final note.

Most bands have in their repertoire a few tunes at least  that involve a head arrangement, though I know of one adequate and entertaining band that does not bother with any and sticks entirely with METHOD ONE.

METHOD THREE: ORCHESTRATED

Parts are printed or written out for the instruments and these will either have been learned by heart or will be on music stands in front of the players. This is particularly necessary with big bands where the effects can be terrific when, for example, the parts of the reed players are scored in close harmony.

I have seen this method used only occasionally by conventional traditional jazz bands: mostly it is used by beginners who have purchased some 'dixieland arrangements'. These published arrangements are good and will usually include provision for improvised solos: the orchestrator prints the chord sequence and leaves you to create your own solo. In traditional jazz, METHOD THREE has a place but it should be used sparingly. It can take some of the 'soul' and spontaneity out of the music.

Jazzers in the Seventeenth Century using METHOD THREE

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FOOTNOTE
The book Playing Traditional Jazz, by Pops Coffee, is available from Amazon.