Jazz Links
Featured Links:
Bill Evans Webpages - http://www.billevanswebpages.com
Buddy Rich Official Site - http://www.buddyrich.com
Classical.net - http://www.classical.net
Los Angeles Jazz Society - http://www.lajazz.org
Miles Davis Online - http://www.milesdavisonline.com
Music News Net - http://www.musicnewsnet.com
Rifftides by Doug Ramsey - http://www.artsjournal.com/rifftides
Wonderful World of Louis Armstrong - http://dippermouth.blogspot.com
Jazz Links:
A Passion for Jazz - http://www.apassion4jazz.net
Al's LFO Music & Arts Hotel - http://www.alevy.com
All About Jazz - http://www.allaboutjazz.com
All Your Jazz - http://www.allyourjazz.com
Beginning Sax - http://www.beginningsax.com
Ben Sidran - http://www.bensidran.com
Bill Crow Bass - http://www.billcrowbass.com
Billie Holiday Songs - http://www.billieholidaysongs.com
Brambus Records (Switzerland) - http://www.brambus.com
Brookfield Jazz Society - http://www.brookfieldjazz.org
Casa Valdez Studios - http://davidvaldez.blogspot.com
Chris Greene (Saxophone, Chicago) - http://www.chrisgreenejazz.com
Cool Singers - http://www.coolsingers.com
Early Jazz History - http://www.jass.com
Earshot Jazz (Supports Jazz in Seattle) - http://www.earshot.org
Elements of Jazz - http://www.elementsofjazz.com
falmusic - http://www.falmusic.co.uk
FREE jazz AND outlaw poetry - http://free-jazz.net/
Howard Levy (Harmonica) - http://www.levyland.com
Images of Jazz - http://www.imagesofjazz.com
Ivo Neame (Ivo Neame Trio) - http://www.ivoneame.com
I Was Doing All Right - http://www.iwasdoingallright.com
Jacky Lepage, Jazz Photographer - http://www.jackylepage.com
Jazz in Belgium - http://www.jazzinbelgium.com
Jazz Ink - http://www.jazzink.com
Jazz Ink BLOG - http://jazzink.blogspot.com
Jazz Link Enterprises - http://www.jazzlinkenterprises.com
Jazz Review - http://www.jazzreview.com
Jazz Studies Online - http://www.jazzstudiesonline.org
Jazz Tube (An Archive Of Jazz On Video) - http://www.jazztube.com
JazzBeat - http://www.jazzbeat.org
JazzChicago.net - http://www.jazzchicago.net
JazzConnect - http://www.jazzconnect.com
JazzJournal.co.uk - http://www.jazzjournal.co.uk
JazzMando.com (Mandolin) - http://www.jazzmando.com
JazzNote.co.uk - http://jazznote.co.uk
Jazzuality - Indonesian Jazz News - http://jazzuality.com
JazzPages - http://www.jazzpages.com
JazzPianoTracks - http://www.jazzpianotracks.com
JazzPortugal.ua.pt (Portugal) - http://www.jazzportugal.ua.pt
JazzTimes - http://jazztimes.com
JazzTrumpet.com - http://www.jazztrumpet.com
Jazzure - http://www.jazzure.com
JazzWax - http://www.jazzwax.com
Jeff Morrison Jazz (Saxophone) - http://www.jeffmorrisonjazz.com
John Petters Traditional Jazz Site - http://www.traditional-jazz.com
Juliet Kelly (Glam Jazz Singer) - http://www.julietkelly.com
Mark Berresford Rare Records - http://www.jazzhound.net
Mike Allemana (Chicago Guitarist) - http://www.mikeallemana.com
Miles Davis Quotes - http://www.milesdavisquotes.com
Morgan Bouldin (Smooth Jazz Artist) - http://www.morganbouldin.com
Noal Cohen's Jazz History - http://www.attictoys.com
NY Jazz Report - http://www.nyjazzreport.com
OffJazz Dance World - http://www.offjazz.com
Okanagan Jazz & Blues Society - http://www.okanaganjazzblues.org
Oriole Music - http://www.oriole-music.co.uk
Play Jazz Now - http://www.playjazznow.com
Riffs on Jazz - http://riffsonjazz.blogspot.com
SF Traditional Jazz Foundation - http://www.sftradjazz.org/
Scored Changes - http://www.scoredchanges.com
Sher Music Co. - http://www.shermusic.com
Sittin' In (with Helen Borgers) - http://www.sittininjazz.com
SkyJazz Internet Radio - http://www.skyjazz.com
Smooth Jazz and More (Radio) - http://www.smoothjazzandmore.com
Storyville Records - http://www.storyvillerecords.com
Taran's Free Jazz Hour - http://www.taransfreejazzhour.com
TCB (Montreux Jazz Label) - http://www.jazz.ch
The Bebop Shop - http://www.thebebopshop.com
The Jazz Breakfast - http://thejazzbreakfast.wordpress.com
The Jazz Discography - http://www.lordisco.com
The Jazz Intersection - http://www.thejazzintersection.org
The Jazz Session (with Jason Crane) - http://thejazzsession.com
The Smooth Jazz Ride - http://www.thesmoothjazzride.com
Tuxedo Junction - http://www.tuxjunction.net
Unofficial Billie Holiday - http://www.ladyday.net
Visual Jazz (See it.. Play it!) - http://www.visual-jazz.com
VJM's Jazz & Blues Mart - http://www.vjm.biz
WDCB Radio - Jazz & Blues from Chicago - http://wdcb.org
WENJAZ - http://wenjaz.blogspot.com
Women in Jazz Association, Inc. - http://www.womeninjazz.org
Other Great Non-Jazz Links:
Artist Quotations - http://www.artistquotations.com
BassMasta (Bass Tabs) - http://www.bassmasta.net
Days with My Father - http://www.dayswithmyfather.com
Go Disconfused - http://www.godisconfused.com
GuitarMasta (Guitar Tabs) - http://www.guitarmasta.net
Illustrations by Cliff Elbl - http://web.me.com/mykindofstudio
JamBase - http://wenjaz.blogspot.com
Kerouac Alley - http://wenjaz.blogspot.com
Pop Box Eclectic - http://wenjaz.blogspot.com
SoulTracks - http://www.soultracks.com
soulwalking: real soul music - http://soulwalking.co.uk
The Music Directory - http://www.the-music-directory.com
TheCelebrityCafe.com - http://thecelebritycafe.com
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Brief History of Modern Jazz
One of the big trends of today is a return to the bebop and post bop roots of modern jazz. This movement is often referred to as neoclassicism. Trumpeter Wynton Marsalis and his brother, saxophonist Branford Marsalis, have achieved much popular success playing music that is based on styles of the 1950's and 1960's. The best of this group of young musicians, including the Marsalises and their rhythm sections of Kenny Kirkland or Marcus Roberts on piano, Bob Hurst on bass, and Jeff "Tain" Watts on drums, manage to extend the art through new approaches to melodicism, harmony, rhythm, and form, rather than just recreate the music of past masters.
An exciting development since the mid 1980's has been a collective of musicians that refers to its music as M-Base. There seems to be some disagreement, even among its members, as to what this means exactly, but the music is characterized by angular melodic lines played over complex funky beats with unusual rhythmic twists. This movement is led by saxophonists Steve Coleman, Greg Osby, and Gary Thomas, trumpet player Graham Haynes, trombonist Robin Eubanks, bass player Anthony Cox, and drummer Marvin "Smitty" Smith.
Many other musicians are making strong music in the modern tradition. Among musicians already mentioned, there are Ornette Coleman, David Murray, Joe Henderson, Dewey Redman, Cecil Taylor, Charlie Haden, Dave Holland, Tony Williams, and Jack DeJohnette. Others include saxophonists Phil Woods, Frank Morgan, Bobby Watson, Tim Berne, John Zorn, Chico Freeman, Courtney Pine, Michael Brecker, Joe Lovano, Bob Berg, and Jerry Bergonzi; clarinetists Don Byron and Eddie Daniels; trumpet players Tom Harrell, Marcus Belgrave, and Arturo Sanduval; trombonists Steve Turre and Ray Anderson; pianists Geri Allen, Mulgrew Miller, Kenny Barron, Gonzalo Rubalcaba, Eduard Simon, Renee Rosnes, and Marilyn Crispell; guitarists John Scofield, Bill Frisell, and Kevin Eubanks; vibraphonist Gary Burton; bassists Niels-Henning Oersted Pedersen and Lonnie Plaxico; and vocalists Bobby McFerrin and Cassandra Wilson. This is by no means a complete list, and you are encouraged to listen to as many musicians as possible to increase your awareness and appreciation for different styles.
An exciting development since the mid 1980's has been a collective of musicians that refers to its music as M-Base. There seems to be some disagreement, even among its members, as to what this means exactly, but the music is characterized by angular melodic lines played over complex funky beats with unusual rhythmic twists. This movement is led by saxophonists Steve Coleman, Greg Osby, and Gary Thomas, trumpet player Graham Haynes, trombonist Robin Eubanks, bass player Anthony Cox, and drummer Marvin "Smitty" Smith.
Many other musicians are making strong music in the modern tradition. Among musicians already mentioned, there are Ornette Coleman, David Murray, Joe Henderson, Dewey Redman, Cecil Taylor, Charlie Haden, Dave Holland, Tony Williams, and Jack DeJohnette. Others include saxophonists Phil Woods, Frank Morgan, Bobby Watson, Tim Berne, John Zorn, Chico Freeman, Courtney Pine, Michael Brecker, Joe Lovano, Bob Berg, and Jerry Bergonzi; clarinetists Don Byron and Eddie Daniels; trumpet players Tom Harrell, Marcus Belgrave, and Arturo Sanduval; trombonists Steve Turre and Ray Anderson; pianists Geri Allen, Mulgrew Miller, Kenny Barron, Gonzalo Rubalcaba, Eduard Simon, Renee Rosnes, and Marilyn Crispell; guitarists John Scofield, Bill Frisell, and Kevin Eubanks; vibraphonist Gary Burton; bassists Niels-Henning Oersted Pedersen and Lonnie Plaxico; and vocalists Bobby McFerrin and Cassandra Wilson. This is by no means a complete list, and you are encouraged to listen to as many musicians as possible to increase your awareness and appreciation for different styles.
Brief History of Post Modern Jazz
While fusion seemed to dominate the jazz market in the 1970's and early 1980's, there were other developments as well. Some performers started borrowing from 20th century classical music as well as African and other forms of world music. These musicians include Don Cherry, Charlie Haden, saxophonists Anthony Braxton, David Murray, and Dewey Redman, clarinetist John Carter, pianists Carla Bley and Muhal Richard Abrams, the World Saxophone Quartet, featuring four saxophonists with no rhythm section, and the Art Ensemble Of Chicago, featuring trumpet player Lester Bowie and woodwind player Roscoe Mitchell. Their music tended to emphasize compositional elements more sophisticated than the head-solos-head form.
Some groups, such as Oregon, rejected the complexity and dissonance of modern jazz and played in a much simpler style, which has given rise to the current New Age music. On the other extreme are musicians like saxophonist John Zorn and guitarists Sonny Sharrock and Fred Frith, who engaged in a frenetic form of free improvisation sometimes called energy music. Somewhere in between was the long lived group formed by saxophonist George Adams, who was influenced by Coltrane and Pharoah Sanders, and pianist Don Pullen, who was influenced by Cecil Taylor. This group drew heavily from blues music and well as the avant garde. Other important musicians during the 1970's and 1980's include pianists Abdullah Ibrahim, Paul Bley, Anthony Davis and Keith Jarrett.
Not all developments in jazz occur in the United States. Many European musicians extended some of the free jazz ideas of Ornette Coleman and Cecil Taylor, and further dispensed with traditional forms. Others turned toward a more introspective music. Some of the more successful of the European improvisers include saxophonists Evan Parker, John Tchicai, John Surman, and Jan Garbarek, trumpet players Kenny Wheeler and Ian Carr, pianist John Taylor, guitarists Derek Bailey and Allan Holdsworth, bassist Eberhard Weber, drummer John Stevens, and arrangers Mike Westbrook, Franz Koglman, and Willem Breuker.
Some groups, such as Oregon, rejected the complexity and dissonance of modern jazz and played in a much simpler style, which has given rise to the current New Age music. On the other extreme are musicians like saxophonist John Zorn and guitarists Sonny Sharrock and Fred Frith, who engaged in a frenetic form of free improvisation sometimes called energy music. Somewhere in between was the long lived group formed by saxophonist George Adams, who was influenced by Coltrane and Pharoah Sanders, and pianist Don Pullen, who was influenced by Cecil Taylor. This group drew heavily from blues music and well as the avant garde. Other important musicians during the 1970's and 1980's include pianists Abdullah Ibrahim, Paul Bley, Anthony Davis and Keith Jarrett.
Not all developments in jazz occur in the United States. Many European musicians extended some of the free jazz ideas of Ornette Coleman and Cecil Taylor, and further dispensed with traditional forms. Others turned toward a more introspective music. Some of the more successful of the European improvisers include saxophonists Evan Parker, John Tchicai, John Surman, and Jan Garbarek, trumpet players Kenny Wheeler and Ian Carr, pianist John Taylor, guitarists Derek Bailey and Allan Holdsworth, bassist Eberhard Weber, drummer John Stevens, and arrangers Mike Westbrook, Franz Koglman, and Willem Breuker.
Brief History of Fusion Jazz
Miles Davis helped usher in the fusion of jazz and rock in the mid to late 1960's through albums such as Bitches Brew and Jack Johnson. His bands during this period featured Herbie Hancock, Chick Corea, and Joe Zawinul on electric piano, Ron Carter and Dave Holland on bass, John McLaughlin on guitar, and Tony Williams and Jack DeJohnette on drums. Tony Williams formed a rock oriented band called Lifetime with John McLaughlin, who also formed his own high energy group, the Mahavishnu Orchestra. Through the 1970's Miles continued to explore new directions in the use of electronics and the incorporation of funk and rock elements into his music, leading to albums such as Pangea and Agharta.
Other groups combined jazz and rock in a more popularly oriented manner, from the crossover Top 40 of Spyro Gyra and Chuck Mangione to the somewhat more esoteric guitarist Pat Metheny. Other popular fusion bands include Weather Report, featuring Wayne Shorter, Joe Zawinul, and bass players Jaco Pastorius and Miroslav Vitous; Return To Forever, featuring Chick Corea and bassist Stanley Clarke; The Crusaders, featuring saxophonist Wilton Felder and keyboardist Joe Sample; the Yellowjackets, featuring keyboardist Russell Ferrante; and the Jeff Lorber Fusion, which originally featured Kenny G on saxophone. In recent years, several fusion bands have achieved much commercial success, including those of Pat Metheny and Kenny G.
Other groups combined jazz and rock in a more popularly oriented manner, from the crossover Top 40 of Spyro Gyra and Chuck Mangione to the somewhat more esoteric guitarist Pat Metheny. Other popular fusion bands include Weather Report, featuring Wayne Shorter, Joe Zawinul, and bass players Jaco Pastorius and Miroslav Vitous; Return To Forever, featuring Chick Corea and bassist Stanley Clarke; The Crusaders, featuring saxophonist Wilton Felder and keyboardist Joe Sample; the Yellowjackets, featuring keyboardist Russell Ferrante; and the Jeff Lorber Fusion, which originally featured Kenny G on saxophone. In recent years, several fusion bands have achieved much commercial success, including those of Pat Metheny and Kenny G.
Brief History of Free Jazz and the Avant Garde
During these same decades of the 1950's and 1960's, some musicians took jazz in more exploratory directions. The terms free jazz and avant garde are often used to describe these approaches, in which traditional forms, harmony, melody, and rhythm were extended considerably or even abandoned. Saxophonist Ornette Coleman and trumpet player Don Cherry were pioneers of this music through albums such as The Shape Of Jazz To Come and Free Jazz. The former album, as well as several more recorded with a quartet that also include either Scott LaFaro or Charlie Haden on bass and either Billy Higgins or Ed Blackwell on drums, still retains the basic feel of traditional post bop small group jazz, with alternating soloists over a walking bass line and swinging drum beat. This style is sometimes known as freebop. The album Free Jazz was a more cacophonous affair that featured collective improvisation.
Another major figure in the avant garde movement was pianist Cecil Taylor. His playing is very percussive, and includes dissonant clusters of notes and fast technical passages that do not appear to be based on any particular harmonies or rhythmic pulse.
John Coltrane, as already mentioned, delved into the avant garde in the mid 1960's. Albums such as Ascension and Interstellar Space show Coltrane absorbing both Free Jazz and the works of Cecil Taylor. Later Coltrane groups featured his wife Alice on piano and Rashied Ali on drums, as well as Pharoah Sanders on tenor saxophone. He also recorded an album The Avant Garde with Don Cherry that is interesting for its parallels with The Shape Of Jazz To Come and other Ornette Coleman quartet recordings. Coltrane influenced many other musicians, including saxophonists Archie Shepp, Sam Rivers, and Albert Ayler.
Sun Ra is a somewhat enigmatic figure in the avant garde, claiming to be from the planet Saturn. He plays a variety of keyboard instruments with his big bands that range from 1920's style swing to the wilder free jazz of Coltrane and others.
Another major figure in the avant garde movement was pianist Cecil Taylor. His playing is very percussive, and includes dissonant clusters of notes and fast technical passages that do not appear to be based on any particular harmonies or rhythmic pulse.
John Coltrane, as already mentioned, delved into the avant garde in the mid 1960's. Albums such as Ascension and Interstellar Space show Coltrane absorbing both Free Jazz and the works of Cecil Taylor. Later Coltrane groups featured his wife Alice on piano and Rashied Ali on drums, as well as Pharoah Sanders on tenor saxophone. He also recorded an album The Avant Garde with Don Cherry that is interesting for its parallels with The Shape Of Jazz To Come and other Ornette Coleman quartet recordings. Coltrane influenced many other musicians, including saxophonists Archie Shepp, Sam Rivers, and Albert Ayler.
Sun Ra is a somewhat enigmatic figure in the avant garde, claiming to be from the planet Saturn. He plays a variety of keyboard instruments with his big bands that range from 1920's style swing to the wilder free jazz of Coltrane and others.
Brief History of Post Bop
The period from the mid 1950's until the mid 1960's represents the heyday of mainstream modern jazz. Many of those now considered among the greatest of all time achieved their fame in this era.
Miles Davis had four important groups during this time. The first featured John Coltrane ("Trane") on tenor saxophone, Red Garland on piano, Paul Chambers on bass, and "Philly" Joe Jones on drums. This group is sometimes considered the single greatest jazz group ever. Most of their albums are available today, including the series of Workin' ..., Steamin' ..., Relaxin' ..., and Cookin' with the Miles Davis Quintet. Miles perfected his muted ballad playing with this group, and the rhythm section was considered by many to be the hardest swinging in the business. The second important Davis group came with the addition of alto saxophonist Julian "Cannonball" Adderly and the replacement of Garland with Bill Evans or Wynton Kelly and the replacement of Jones with Jimmy Cobb. The album Kind Of Blue from this group is high on most lists of favorite jazz albums. The primary style of this group is called modal, as it relies on songs written around simple scales or modes that often last for many measures each, as opposed to the quickly changing complex harmonies of bebop derived styles. The third Davis group of the era was actually the Gil Evans orchestra. Miles recorded several classic albums with Gil, including Sketches Of Spain. The fourth important Miles group of this period included Wayne Shorter on saxophone, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums. The early recordings of this group, including Live At The Plugged Nickel, as well as the earlier My Funny Valentine, with George Coleman on saxophone instead of Wayne Shorter, mainly feature innovative versions of standards. Later recordings such as Miles Smiles and Nefertiti consist of originals, including many by Wayne Shorter, that largely transcend traditional harmonies. Herbie Hancock developed a new approach to harmonization that was based as much on sounds as on any conventional theoretical underpinning.
John Coltrane is another giant of this period. In addition to his playing with Miles, he recorded the album Giant Steps under his own name, which showed him to be one of the most technically gifted and harmonically advanced players around. After leaving Miles, he formed a quartet with pianist McCoy Tyner, drummer Elvin Jones, and a variety of bass players, finally settling on Jimmy Garrison. Coltrane's playing with this group showed him to be one of the most intensely emotional players around. Tyner is also a major voice on his instrument, featuring a very percussive attack. Elvin Jones is a master of rhythmic intensity. This group evolved constantly, from the relatively traditional post bop of My Favorite Things to the high energy modal of A Love Supreme to the wailing avant garde of Meditations and Ascension.
Charles Mingus was another influential leader during this period. His small groups tended to be less structured than others, giving more freedom to the individual players, although Mingus also directed larger ensembles in which most of the parts were written out. Mingus' compositions for smaller groups were often only rough sketches, and performances were sometimes literally composed or arranged on the bandstand, with Mingus calling out directions to the musicians. Alto saxophonist, bass clarinetist, and flautist Eric Dolphy was a mainstay of Mingus' groups. His playing was often described angular, meaning that the interval in his lines were often large leaps, as opposed to scalar lines, consist mostly of steps. The album Charles Mingus Presents Charles Mingus featuring Dolphy is a classic.
Thelonious Monk is widely regarded as one of the most important composers in jazz, as well as being a highly original pianist. His playing is more sparse than most of his contemporaries. Some of his albums include Brilliant Corners and Thelonious Monk With John Coltrane. Pianist Bill Evans was known as one of the most sensitive ballad players, and his trio albums, particularly Waltz For Debby, with Scott LaFaro on bass and Paul Motian on drums, are models of trio interplay. Wes Montgomery was one of the most influential of jazz guitarists. He often played in groups with an organist, and had a particularly soulful sound. He also popularized the technique of playing solos in octaves. His early albums include Full House. Later albums were more commercial and less well regarded. Tenor saxophonist Sonny Rollins rivaled Coltrane in popularity and recorded many albums under his own name, including Saxophone Colossus and The Bridge, which also featured Jim Hall on guitar. Sonny also recorded with Clifford Brown, Miles Davis, Bud Powell, Thelonious Monk, and other giants.
Other noteworthy musicians of the era include saxophonists Jackie McLean, Dexter Gordon, Joe Henderson, and Charlie Rouse; trumpet players Freddie Hubbard, Lee Morgan, Woody Shaw, and Booker Little; trombonists J. J. Johnson and Curtis Fuller; clarinetist Jimmy Guiffre, pianists Tommy Flanagan, Hank Jones, Bobby Timmons, Mal Waldron, Andrew Hill, Cedar Walton, Chick Corea, and Ahmad Jamal; organist Larry Young, guitarists Kenny Burrell and Joe Pass; guitarist and harmonica player Toots Thielemans; vibraphonist Bobby Hutcherson; bassists Ray Brown, Percy Heath, Sam Jones, Buster Williams, Reggie Workman, Doug Watkins, and Red Mitchell; drummers Billy Higgins and Ben Riley; and vocalists Jon Hendricks, Eddie Jefferson, Sarah Vaughan, Betty Carter, Carmen McRae, Abbey Lincoln, and Shirley Horn. Big bands such as those of Woody Herman and Stan Kenton also thrived.
Miles Davis had four important groups during this time. The first featured John Coltrane ("Trane") on tenor saxophone, Red Garland on piano, Paul Chambers on bass, and "Philly" Joe Jones on drums. This group is sometimes considered the single greatest jazz group ever. Most of their albums are available today, including the series of Workin' ..., Steamin' ..., Relaxin' ..., and Cookin' with the Miles Davis Quintet. Miles perfected his muted ballad playing with this group, and the rhythm section was considered by many to be the hardest swinging in the business. The second important Davis group came with the addition of alto saxophonist Julian "Cannonball" Adderly and the replacement of Garland with Bill Evans or Wynton Kelly and the replacement of Jones with Jimmy Cobb. The album Kind Of Blue from this group is high on most lists of favorite jazz albums. The primary style of this group is called modal, as it relies on songs written around simple scales or modes that often last for many measures each, as opposed to the quickly changing complex harmonies of bebop derived styles. The third Davis group of the era was actually the Gil Evans orchestra. Miles recorded several classic albums with Gil, including Sketches Of Spain. The fourth important Miles group of this period included Wayne Shorter on saxophone, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums. The early recordings of this group, including Live At The Plugged Nickel, as well as the earlier My Funny Valentine, with George Coleman on saxophone instead of Wayne Shorter, mainly feature innovative versions of standards. Later recordings such as Miles Smiles and Nefertiti consist of originals, including many by Wayne Shorter, that largely transcend traditional harmonies. Herbie Hancock developed a new approach to harmonization that was based as much on sounds as on any conventional theoretical underpinning.
John Coltrane is another giant of this period. In addition to his playing with Miles, he recorded the album Giant Steps under his own name, which showed him to be one of the most technically gifted and harmonically advanced players around. After leaving Miles, he formed a quartet with pianist McCoy Tyner, drummer Elvin Jones, and a variety of bass players, finally settling on Jimmy Garrison. Coltrane's playing with this group showed him to be one of the most intensely emotional players around. Tyner is also a major voice on his instrument, featuring a very percussive attack. Elvin Jones is a master of rhythmic intensity. This group evolved constantly, from the relatively traditional post bop of My Favorite Things to the high energy modal of A Love Supreme to the wailing avant garde of Meditations and Ascension.
Charles Mingus was another influential leader during this period. His small groups tended to be less structured than others, giving more freedom to the individual players, although Mingus also directed larger ensembles in which most of the parts were written out. Mingus' compositions for smaller groups were often only rough sketches, and performances were sometimes literally composed or arranged on the bandstand, with Mingus calling out directions to the musicians. Alto saxophonist, bass clarinetist, and flautist Eric Dolphy was a mainstay of Mingus' groups. His playing was often described angular, meaning that the interval in his lines were often large leaps, as opposed to scalar lines, consist mostly of steps. The album Charles Mingus Presents Charles Mingus featuring Dolphy is a classic.
Thelonious Monk is widely regarded as one of the most important composers in jazz, as well as being a highly original pianist. His playing is more sparse than most of his contemporaries. Some of his albums include Brilliant Corners and Thelonious Monk With John Coltrane. Pianist Bill Evans was known as one of the most sensitive ballad players, and his trio albums, particularly Waltz For Debby, with Scott LaFaro on bass and Paul Motian on drums, are models of trio interplay. Wes Montgomery was one of the most influential of jazz guitarists. He often played in groups with an organist, and had a particularly soulful sound. He also popularized the technique of playing solos in octaves. His early albums include Full House. Later albums were more commercial and less well regarded. Tenor saxophonist Sonny Rollins rivaled Coltrane in popularity and recorded many albums under his own name, including Saxophone Colossus and The Bridge, which also featured Jim Hall on guitar. Sonny also recorded with Clifford Brown, Miles Davis, Bud Powell, Thelonious Monk, and other giants.
Other noteworthy musicians of the era include saxophonists Jackie McLean, Dexter Gordon, Joe Henderson, and Charlie Rouse; trumpet players Freddie Hubbard, Lee Morgan, Woody Shaw, and Booker Little; trombonists J. J. Johnson and Curtis Fuller; clarinetist Jimmy Guiffre, pianists Tommy Flanagan, Hank Jones, Bobby Timmons, Mal Waldron, Andrew Hill, Cedar Walton, Chick Corea, and Ahmad Jamal; organist Larry Young, guitarists Kenny Burrell and Joe Pass; guitarist and harmonica player Toots Thielemans; vibraphonist Bobby Hutcherson; bassists Ray Brown, Percy Heath, Sam Jones, Buster Williams, Reggie Workman, Doug Watkins, and Red Mitchell; drummers Billy Higgins and Ben Riley; and vocalists Jon Hendricks, Eddie Jefferson, Sarah Vaughan, Betty Carter, Carmen McRae, Abbey Lincoln, and Shirley Horn. Big bands such as those of Woody Herman and Stan Kenton also thrived.
Brief History of Hard Bop
In what has been described as either an extension of bebop or a backlash against cool, a style of music known as hard bop developed in the 1950's. This style also downplayed the technically demanding melodies of bebop, but did so without compromising intensity. It did this by maintaining the rhythmic drive of bebop while including a healthier dose of the blues and gospel music. Art Blakey And The Jazz Messengers were, for decades, the most well-known exponent of this style. Many musicians came up through the so-called "University Of Blakey". Blakey's early groups included pianist Horace Silver, trumpet player Clifford Brown, and saxophonist Lou Donaldson. Clifford Brown also co-led a group with Max Roach that is considered one of the great working quintets in history. Several albums from these groups are available today and all are recommended. Miles Davis also recorded several albums in this style during the early 1950's. There were also a number of groups led by or including organists that came from this school, with even more of a blues and gospel influence. Organist Jimmy Smith and tenor saxophonist Stanley Turrentine were popular players in this genre.
Brief History of Cool Jazz
Although Miles Davis first appeared on bebop recordings of Charlie Parker, his first important session as a leader was called The Birth Of The Cool. An album containing all the recordings of this group is available. The cool jazz style has been described as a reaction against the fast tempos and the complex melodic, harmonic, and rhythmic ideas of bebop. These ideas were picked up by many west coast musicians, and this style is thus also called West Coast jazz. This music is generally more relaxed than bebop. Other musicians in the cool style include saxophonists Stan Getz and Gerry Mulligan, and trumpet player Chet Baker. Stan Getz is also credited with the popularization of Brazilian styles such as the bossa nova and samba. These and a few other Latin American styles are sometimes collectively known as Latin jazz.
Many groups in the cool style do not use a piano, and instead rely on counterpoint and harmonization among the horns, usually saxophone and trumpet, to outline chord progressions. Pianist-led groups that developed from this school include those of Dave Brubeck (with Paul Desmond on saxophone), Lennie Tristano (with Lee Konitz and Warne Marsh on saxophones), and the Modern Jazz Quartet or MJQ (featuring John Lewis on piano and Milt Jackson on vibraphone), which also infuses elements of classical music. The incorporation of classical music into jazz is often called the third stream.
Many groups in the cool style do not use a piano, and instead rely on counterpoint and harmonization among the horns, usually saxophone and trumpet, to outline chord progressions. Pianist-led groups that developed from this school include those of Dave Brubeck (with Paul Desmond on saxophone), Lennie Tristano (with Lee Konitz and Warne Marsh on saxophones), and the Modern Jazz Quartet or MJQ (featuring John Lewis on piano and Milt Jackson on vibraphone), which also infuses elements of classical music. The incorporation of classical music into jazz is often called the third stream.
Brief History of Bebop
The birth of bebop in the 1940's is often considered to mark the beginning of modern jazz. This style grew directly out of the small swing groups, but placed a much higher emphasis on technique and on more complex harmonies rather than on singable melodies. Much of the theory to be discussed later stems directly from innovations in this style. Alto saxophonist Charlie "Bird" Parker was the father of this movement, and trumpet player Dizzy Gillespie ("Diz") was his primary accomplice. Dizzy also led a big band, and helped introduce Afro-Cuban music, including rhythms such as the mambo, to American audiences, through his work with Cuban percussionists. But it was the quintet and other small group recordings featuring Diz and Bird that formed the foundation of bebop and most modern jazz.
While, as with previous styles, much use was made of the blues and popular songs of the day, including songs by George Gershwin and Cole Porter, the original compositions of the bebop players began to diverge from popular music for the first time, and in particular, bebop was not intended to be dance music. The compositions usually featured fast tempos and difficult eighth note runs. Many of the bebop standards are based on the chord progressions of other popular songs, such as "I Got Rhythm", "Cherokee", or "How High The Moon". The improvisations were based on scales implied by those chords, and the scales used included alterations such as the flatted fifth.
The development of bebop led to new approaches to accompanying as well as soloing. Drummers began to rely less on the bass drum and more on the ride cymbal and hi-hat. Bass players became responsible for keeping the pulse by playing almost exclusively a walking bass line consisting mostly of quarter notes while outlining the chord progression. Pianists were able to use a lighter touch, and in particular their left hands were no longer forced to define the beat or to play roots of chords. In addition, the modern jazz standard form became universal. Performers would play the melody to a piece (the head), often in unison, then take turns playing solos based on the chord progression of the piece, and finally play the head again. The technique of trading fours, in which soloists exchange four bar phrases with each other or with the drummer, also became commonplace. The standard quartet and quintet formats (piano, bass, drums; saxophone and/or trumpet) used in bebop have changed very little since the 1940's.
Many of the players from the previous generation helped pave the way for bebop. These musicians included Lester Young, Coleman Hawkins, Roy Eldridge, Charlie Christian, Jimmy Blanton, and Jo Jones. Young and Hawkins in particular are often considered two of the most important musicians in this effort. Other bebop notables include saxophonists Sonny Stitt and Lucky Thompson, trumpeters Fats Navarro, Kenny Dorham, and Miles Davis, pianists Bud Powell, Duke Jordan, Al Haig, and Thelonious Monk, vibraphonist Milt Jackson, bassists Oscar Pettiford, Tommy Potter, and Charles Mingus, and drummers Max Roach, Kenny Clarke, and Roy Haynes. Miles, Monk, and Mingus went on to further advances in the post-bebop eras, and their music will be discussed later.
While, as with previous styles, much use was made of the blues and popular songs of the day, including songs by George Gershwin and Cole Porter, the original compositions of the bebop players began to diverge from popular music for the first time, and in particular, bebop was not intended to be dance music. The compositions usually featured fast tempos and difficult eighth note runs. Many of the bebop standards are based on the chord progressions of other popular songs, such as "I Got Rhythm", "Cherokee", or "How High The Moon". The improvisations were based on scales implied by those chords, and the scales used included alterations such as the flatted fifth.
The development of bebop led to new approaches to accompanying as well as soloing. Drummers began to rely less on the bass drum and more on the ride cymbal and hi-hat. Bass players became responsible for keeping the pulse by playing almost exclusively a walking bass line consisting mostly of quarter notes while outlining the chord progression. Pianists were able to use a lighter touch, and in particular their left hands were no longer forced to define the beat or to play roots of chords. In addition, the modern jazz standard form became universal. Performers would play the melody to a piece (the head), often in unison, then take turns playing solos based on the chord progression of the piece, and finally play the head again. The technique of trading fours, in which soloists exchange four bar phrases with each other or with the drummer, also became commonplace. The standard quartet and quintet formats (piano, bass, drums; saxophone and/or trumpet) used in bebop have changed very little since the 1940's.
Many of the players from the previous generation helped pave the way for bebop. These musicians included Lester Young, Coleman Hawkins, Roy Eldridge, Charlie Christian, Jimmy Blanton, and Jo Jones. Young and Hawkins in particular are often considered two of the most important musicians in this effort. Other bebop notables include saxophonists Sonny Stitt and Lucky Thompson, trumpeters Fats Navarro, Kenny Dorham, and Miles Davis, pianists Bud Powell, Duke Jordan, Al Haig, and Thelonious Monk, vibraphonist Milt Jackson, bassists Oscar Pettiford, Tommy Potter, and Charles Mingus, and drummers Max Roach, Kenny Clarke, and Roy Haynes. Miles, Monk, and Mingus went on to further advances in the post-bebop eras, and their music will be discussed later.
Brief History of Big Band Jazz and Swing
Although the big bands are normally associated with a slightly later era, there were several large bands playing during the 1920's and early 1930's, including that of Fletcher Henderson. Bix Beiderbecke was a cornet soloist who played with several bands and was considered a legend in his time.
The mid 1930's brought on the swing era and the emergence of the big bands as the popular music of the day. Glenn Miller, Benny Goodman, Tommy Dorsey, Artie Shaw, Duke Ellington, and Count Basie led some of the more popular bands. There were also some important small group swing recordings during the 1930's and 1940's. These differed from earlier small groups in that these featured very little collective improvisation. This music emphasized the individual soloist. Goodman, Ellington, and Basie recorded often in these small group settings. Major saxophonists of the era include Johnny Hodges, Paul Gonsalves, Lester Young, Coleman Hawkins, and Ben Webster. Trumpet players include Roy Eldridge, Harry "Sweets" Edison, Cootie Williams, and Charlie Shavers. Pianists include Ellington, Basie, Teddy Wilson, Erroll Garner, and Oscar Peterson; guitarists include Charlie Christian, Herb Ellis, Barney Kessell, and Django Reinhardt; vibraphonists include Lionel Hampton; bassists include Jimmy Blanton, Walter Page, and Slam Stewart; drummers include Jo Jones and Sam Woodyard. Billie Holiday, Dinah Washington, and Ella Fitzgerald were important singers in this era. Most of these musicians recorded in small groups as well as with big bands. The styles of these musicians can best be summarized by saying they concentrated primarily on playing melodically, on the swing feel, and on the development of an individual sound. The blues was, as in many other styles, an important element of this music.
The mid 1930's brought on the swing era and the emergence of the big bands as the popular music of the day. Glenn Miller, Benny Goodman, Tommy Dorsey, Artie Shaw, Duke Ellington, and Count Basie led some of the more popular bands. There were also some important small group swing recordings during the 1930's and 1940's. These differed from earlier small groups in that these featured very little collective improvisation. This music emphasized the individual soloist. Goodman, Ellington, and Basie recorded often in these small group settings. Major saxophonists of the era include Johnny Hodges, Paul Gonsalves, Lester Young, Coleman Hawkins, and Ben Webster. Trumpet players include Roy Eldridge, Harry "Sweets" Edison, Cootie Williams, and Charlie Shavers. Pianists include Ellington, Basie, Teddy Wilson, Erroll Garner, and Oscar Peterson; guitarists include Charlie Christian, Herb Ellis, Barney Kessell, and Django Reinhardt; vibraphonists include Lionel Hampton; bassists include Jimmy Blanton, Walter Page, and Slam Stewart; drummers include Jo Jones and Sam Woodyard. Billie Holiday, Dinah Washington, and Ella Fitzgerald were important singers in this era. Most of these musicians recorded in small groups as well as with big bands. The styles of these musicians can best be summarized by saying they concentrated primarily on playing melodically, on the swing feel, and on the development of an individual sound. The blues was, as in many other styles, an important element of this music.
A Brief History of Early Jazz
The earliest easily available jazz recordings are from the 1920's and early 1930's. Trumpet player and vocalist Louis Armstrong ("Pops", "Satchmo") was by far the most important figure of this period. He played with groups called the Hot Five and the Hot Seven; any recordings you can find of these groups are recommended. The style of these groups, and many others of the period, is often referred to as New Orleans jazz or Dixieland. It is characterized by collective improvisation, in which all performers simultaneously play improvised melodic lines within the harmonic structure of the tune. Louis, as a singer, is credited with the invention of scat, in which the vocalist makes up nonsense syllables to sing improvised lines. Other notable performers of New Orleans or Dixieland jazz include clarinetist Johnny Dodds, soprano saxophone player Sidney Bechet, trumpeter King Oliver, and trombonist Kid Ory.
Other styles popular during this period were various forms of piano jazz, including ragtime, Harlem stride, and boogie-woogie. These styles are actually quite distinct, but all three are characterized by rhythmic, percussive left hand lines and fast, full right hand lines. Scott Joplin and Jelly Roll Morton were early ragtime pioneers. Fats Waller, Willie "The Lion" Smith and James P. Johnson popularized the stride left hand pattern (bass note, chord, bass note, chord); Albert Ammons and Meade Lux Lewis developed this into the faster moving left hand patterns of boogie-woogie. Earl "Fatha" Hines was a pianist who was especially known for his right hand, in which he did not often play full chords or arpeggios, playing instead "horn-like" melodic lines. This has become commonplace since then. Art Tatum is considered by many to be the greatest jazz pianist ever; he was certainly one of the most technically gifted, and his harmonic insights paved the way for many who came after him. He is sometimes considered a precursor of bebop.
Other styles popular during this period were various forms of piano jazz, including ragtime, Harlem stride, and boogie-woogie. These styles are actually quite distinct, but all three are characterized by rhythmic, percussive left hand lines and fast, full right hand lines. Scott Joplin and Jelly Roll Morton were early ragtime pioneers. Fats Waller, Willie "The Lion" Smith and James P. Johnson popularized the stride left hand pattern (bass note, chord, bass note, chord); Albert Ammons and Meade Lux Lewis developed this into the faster moving left hand patterns of boogie-woogie. Earl "Fatha" Hines was a pianist who was especially known for his right hand, in which he did not often play full chords or arpeggios, playing instead "horn-like" melodic lines. This has become commonplace since then. Art Tatum is considered by many to be the greatest jazz pianist ever; he was certainly one of the most technically gifted, and his harmonic insights paved the way for many who came after him. He is sometimes considered a precursor of bebop.
100 ESSENTIAL JAZZ ALBUMS
1. Fats Waller, “Handful of Keys” (Proper, 2004; tracks recorded 1922-43).
2. King Oliver, “King Oliver’s Creole Jazz Band: The Complete Set” (Challenge, 1997; tracks recorded 1923).
3. Louis Armstrong, “The Complete Hot Five and Hot Seven Recordings” (Sony, 2006; tracks recorded 1925-29).
4. Louis Armstrong, “The Complete RCA Victor Recordings” (RCA, 2001; tracks recorded 1932-33 and 1946-47).
5. Louis Armstrong, “Louis Armstrong Plays W. C. Handy” (Columbia, 1954).
6. Fletcher Henderson, “Tidal Wave” (Verve, 1994; tracks recorded 1931-1934).
7. Bessie Smith, “The Essential Bessie Smith” (Sony, 1997; tracks recorded 1923-33).
8. Bix Beiderbecke, “The Bix Beiderbecke Story” (Proper, 2003; tracks recorded 1924-30).
9. Django Reinhardt, “The Classic Early Recordings in Chronological Order” (JSP, 2000; tracks recorded 1934-39).
10. Jelly Roll Morton, “Jelly Roll Morton: 1926-1930” (JSP, 2000).
11. Sidney Bechet, “The Sidney Bechet Story” (Proper, 2001; tracks recorded 1923-50).
12. Duke Ellington, “The OKeh Ellington” (Sony, 1991—tracks recorded 1927-31).
13. Duke Ellington, “Golden Greats” (Disky, 2002; tracks recorded 1927-48).
14. Duke Ellington, “Never No Lament: The Blanton-Webster Band” (RCA, 2003; tracks recorded 1940-42).
15. Duke Ellington, “Ellington at Newport 1956” (Sony, 1999).
16. Duke Ellington, “Money Jungle” (Blue Note Records, 1962).
17. Coleman Hawkins, “The Essential Sides Remastered, 1929-39” (JSP, 2006).
18. Coleman Hawkins, “The Bebop Years” (Proper, 2001; tracks recorded 1939-49).
19. Billie Holiday, “Lady Day: The Master Takes and Singles” (Sony, 2007; tracks recorded 1933-44).
20. Teddy Wilson, “The Noble Art of Teddy Wilson” (ASV Living Era, 2002; tracks recorded 1933-46).
21. Lester Young, “The Lester Young/Count Basie Sessions 1936-40” (Mosaic, 2008; available direct through Mosaic).
22. Lester Young, “Kansas City Swing” (Definitive, 2004; tracks recorded 1938-44).
23. Count Basie, “The Complete Decca Recordings” (Verve, 1992; tracks recorded 1937-39).
24. Count Basie, “The Complete Atomic Basie” (Blue Note, 1994; tracks recorded 1958).
25. Benny Goodman, “At Carnegie Hall—1938—Complete” (Columbia, 1999).
26. John Kirby Sextet, “Night Whispers: 1938-46” (Jazz Legends, 2005).
27. Chick Webb, “Stomping at the Savoy” (Proper, 2006; tracks recorded 1931-39).
28. Benny Carter, “3, 4, 5: The Verve Small Group Sessions” (Polygram, 1991; tracks recorded 1954).
29. Charlie Christian, “The Genius of the Electric Guitar” (Definitive, 2005; tracks recorded 1939-41).
30. James P. Johnson, “The Original James P. Johnson: 1942-1945 Piano Solos” (Smithsonian Folkways, 1996).
31. Nat King Cole Trio, “The Best of the Nat King Cole Trio: The Vocal Classics, Vol. 1, 1942-1946” (Blue Note, 1995).
32. Charlie Parker, “The Complete Savoy and Dial Sessions” (Uptown Jazz, 2005; tracks recorded 1944-48).
33. Charlie Parker, “Bird: The Complete Charlie Parker on Verve” (Polygram, 1988; tracks recorded 1946-54).
34. Charlie Parker, “Best of the Complete Live Performances on Savoy” (Savoy, 2002; tracks recorded 1948-49).
35. Dizzy Gillespie and Charlie Parker, “Town Hall, New York City, June 22, 1945” (Uptown Jazz, 2005).
36. Dizzy Gillespie, “The Complete RCA Victor Recordings, 1947-49” (RCA, 1995).
37. Thelonious Monk, “Genius of Modern Music, Vol. 1” (Blue Note, 2001; tracks recorded 1947).
38. Thelonious Monk, “Live at the It Club, 1964” (Sony, 1998).
39. Thelonious Monk, “Thelonious Monk with John Coltrane: The Complete 1957 Riverside Recordings” (Riverside, 2006).
40. Lennie Tristano and Warne Marsh, “Intuition” (Blue Note, 1996; tracks recorded 1949 and 1956).
41. Miles Davis, “The Complete Birth of the Cool” (Blue Note, 1998; tracks recorded 1948-50).
42. Miles Davis, “Bags’ Groove” (Prestige, 1954).
43. Miles Davis, “Kind of Blue” (Sony, 1959).
44. Miles Davis, “Highlights from the Plugged Nickel” (Sony, 1995; tracks recorded 1965).
45. Miles Davis, “Bitches Brew” (Columbia, 1969).
46. Bud Powell, “The Amazing Bud Powell, Vol. 1” (Blue Note, 2001; tracks recorded 1949-1951), Vol. 2 (Blue Note, 2001; tracks recorded 1953).
47. Gerry Mulligan, “The Original Quartet with Chet Baker” (Blue Note, 1998; tracks recorded 1952-53).
48. Modern Jazz Quartet, “Django” (Prestige, 1953).
49. Art Tatum, “The Best of the Pablo Solo Masterpieces” (Pablo, 2003; tracks recorded 1953-56).
50. Clifford Brown and Max Roach, “Clifford Brown & Max Roach” (EmArcy, 1954).
51. Sarah Vaughan, “Sarah Vaughan with Clifford Brown” (EmArcy, 1954).
52. Charles Mingus, “Mingus at the Bohemia (Debut, 1955).
53. Charles Mingus, “Mingus Ah Um” (Columbia, 1959).
54. Charles Mingus Sextet, “Cornell 1964” (Blue Note, 2007).
55. Ella Fitzgerald, “Ella Fitzgerald Sings the Cole Porter Songbook” (Verve, 1956).
56. Sonny Rollins, “Saxophone Colossus” (Prestige, 1956).
57. Sonny Rollins, “Night at the Village Vanguard” (Blue Note, 1957).
58. Sonny Rollins and Coleman Hawkins, “Sonny Meets Hawk!” (RCA, 1963).
59. Tito Puente, “King of Kings: The Very Best of Tito Puente” (RCA, 2002; tracks recorded 1956-60).
60. Sun Ra, “Greatest Hits—Easy Listening for Intergalactic Travel” (Evidence, 2000; tracks recorded 1956-73).
61. Abbey Lincoln, “That’s Him” (Riverside, 1957).
62. Art Blakey and the Jazz Messengers, “Moanin’” (Blue Note, 1958).
63. Ahmad Jamal Trio, “Cross Country Tour: 1958-1961” (Verve, 1998).
64. The Dave Brubeck Quartet, “Time Out” (Sony, 1959).
65. Jimmy Witherspoon, “The ’Spoon Concerts” (Fantasy, 1989; tracks recorded 1959).
66. Ornette Coleman, “Beauty Is a Rare Thing: The Complete Atlantic Recordings” (Atlantic, 1993; tracks recorded 1959-61).
67. Ornette Coleman, “Dancing in Your Head” (Horizon, 1973).
68. Freddie Hubbard, “Open Sesame” (Blue Note, 1960).
69. Jimmy Smith, “Back at the Chicken Shack” (Blue Note, 2007; tracks recorded in 1960).
70. Dinah Washington, “First Issue: The Dinah Washington Story” (Polygram, 1993; tracks recorded 1943-61).
71. John Coltrane, “My Favorite Things” (Atlantic, 1960).
72. John Coltrane, “The Complete 1961 Village Vanguard Recordings” (GRP, 1997; tracks recorded 1961).
73. John Coltrane, “A Love Supreme” (Impulse!, 1964).
74. John Coltrane, “Ascension” (Impulse!, 1965).
75. Eric Dolphy, “Out There” (New Jazz, 1960).
76. Eric Dolphy, “Out to Lunch!” (Blue Note, 1964).
77. Bill Evans, “The Complete Village Vanguard Recordings, 1961” (Riverside, 2005).
78. Jackie McLean, “A Fickle Sonance” (Blue Note, 1961).
79. Stan Getz and João Gilberto, “Getz/Gilberto” (Verve, 1963).
80. Dexter Gordon, “Our Man in Paris” (Blue Note, 1963).
81. Andrew Hill, “Smokestack” (Blue Note, 1963).
82. Lee Morgan, “The Sidewinder” (Blue Note, 1963).
83. Albert Ayler, “Spiritual Unity” (ESP, 1964).
84. Archie Shepp, “Four for Trane” (Impulse!, 1964).
85. Horace Silver, “Song for My Father” (Blue Note, 1964).
86. Wes Montgomery, “Smokin’ at the Half Note” (Verve, 2005; tracks recorded 1965).
87. Cecil Taylor, “Conquistador!” (Blue Note, 1966).
88. Betty Carter, “Betty Carter’s Finest Hour” (Verve, 2003; tracks recorded 1958-92).
89. Frank Sinatra, “Sinatra at the Sands with Count Basie & the Orchestra” (Reprise, 1966).
90. Frank Sinatra, “The Capitol Years” (Capitol, 1990; tracks recorded 1953-62).
91. Nina Simone, “Sugar in My Bowl: The Very Best of Nina Simone, 1967-1972” (RCA, 1998).
92. Pharoah Sanders, “Karma” (Impulse!, 1969).
93. Chick Corea, “Return to Forever” (ECM, 1972).
94. Keith Jarrett, “The Köln Concert, 1975” (ECM, 1999).
95. World Saxophone Quartet, “World Saxophone Quartet Plays Duke Ellington” (Nonesuch, 1986).
96. Charlie Haden and Hank Jones, “Steal Away” (Polygram, 1995).
97. Joshua Redman Quartet, “Spirit of the Moment: Live at the Village Vanguard” (Warner Bros., 1995).
98. Cassandra Wilson, “Traveling Miles” (Blue Note, 1999).
99. Wynton Marsalis Septet, “Live at the Village Vanguard” (Sony, 1999).
100. The Bill Charlap Trio, “Live at the Village Vanguard” (Blue Note, 2007).
2. King Oliver, “King Oliver’s Creole Jazz Band: The Complete Set” (Challenge, 1997; tracks recorded 1923).
3. Louis Armstrong, “The Complete Hot Five and Hot Seven Recordings” (Sony, 2006; tracks recorded 1925-29).
4. Louis Armstrong, “The Complete RCA Victor Recordings” (RCA, 2001; tracks recorded 1932-33 and 1946-47).
5. Louis Armstrong, “Louis Armstrong Plays W. C. Handy” (Columbia, 1954).
6. Fletcher Henderson, “Tidal Wave” (Verve, 1994; tracks recorded 1931-1934).
7. Bessie Smith, “The Essential Bessie Smith” (Sony, 1997; tracks recorded 1923-33).
8. Bix Beiderbecke, “The Bix Beiderbecke Story” (Proper, 2003; tracks recorded 1924-30).
9. Django Reinhardt, “The Classic Early Recordings in Chronological Order” (JSP, 2000; tracks recorded 1934-39).
10. Jelly Roll Morton, “Jelly Roll Morton: 1926-1930” (JSP, 2000).
11. Sidney Bechet, “The Sidney Bechet Story” (Proper, 2001; tracks recorded 1923-50).
12. Duke Ellington, “The OKeh Ellington” (Sony, 1991—tracks recorded 1927-31).
13. Duke Ellington, “Golden Greats” (Disky, 2002; tracks recorded 1927-48).
14. Duke Ellington, “Never No Lament: The Blanton-Webster Band” (RCA, 2003; tracks recorded 1940-42).
15. Duke Ellington, “Ellington at Newport 1956” (Sony, 1999).
16. Duke Ellington, “Money Jungle” (Blue Note Records, 1962).
17. Coleman Hawkins, “The Essential Sides Remastered, 1929-39” (JSP, 2006).
18. Coleman Hawkins, “The Bebop Years” (Proper, 2001; tracks recorded 1939-49).
19. Billie Holiday, “Lady Day: The Master Takes and Singles” (Sony, 2007; tracks recorded 1933-44).
20. Teddy Wilson, “The Noble Art of Teddy Wilson” (ASV Living Era, 2002; tracks recorded 1933-46).
21. Lester Young, “The Lester Young/Count Basie Sessions 1936-40” (Mosaic, 2008; available direct through Mosaic).
22. Lester Young, “Kansas City Swing” (Definitive, 2004; tracks recorded 1938-44).
23. Count Basie, “The Complete Decca Recordings” (Verve, 1992; tracks recorded 1937-39).
24. Count Basie, “The Complete Atomic Basie” (Blue Note, 1994; tracks recorded 1958).
25. Benny Goodman, “At Carnegie Hall—1938—Complete” (Columbia, 1999).
26. John Kirby Sextet, “Night Whispers: 1938-46” (Jazz Legends, 2005).
27. Chick Webb, “Stomping at the Savoy” (Proper, 2006; tracks recorded 1931-39).
28. Benny Carter, “3, 4, 5: The Verve Small Group Sessions” (Polygram, 1991; tracks recorded 1954).
29. Charlie Christian, “The Genius of the Electric Guitar” (Definitive, 2005; tracks recorded 1939-41).
30. James P. Johnson, “The Original James P. Johnson: 1942-1945 Piano Solos” (Smithsonian Folkways, 1996).
31. Nat King Cole Trio, “The Best of the Nat King Cole Trio: The Vocal Classics, Vol. 1, 1942-1946” (Blue Note, 1995).
32. Charlie Parker, “The Complete Savoy and Dial Sessions” (Uptown Jazz, 2005; tracks recorded 1944-48).
33. Charlie Parker, “Bird: The Complete Charlie Parker on Verve” (Polygram, 1988; tracks recorded 1946-54).
34. Charlie Parker, “Best of the Complete Live Performances on Savoy” (Savoy, 2002; tracks recorded 1948-49).
35. Dizzy Gillespie and Charlie Parker, “Town Hall, New York City, June 22, 1945” (Uptown Jazz, 2005).
36. Dizzy Gillespie, “The Complete RCA Victor Recordings, 1947-49” (RCA, 1995).
37. Thelonious Monk, “Genius of Modern Music, Vol. 1” (Blue Note, 2001; tracks recorded 1947).
38. Thelonious Monk, “Live at the It Club, 1964” (Sony, 1998).
39. Thelonious Monk, “Thelonious Monk with John Coltrane: The Complete 1957 Riverside Recordings” (Riverside, 2006).
40. Lennie Tristano and Warne Marsh, “Intuition” (Blue Note, 1996; tracks recorded 1949 and 1956).
41. Miles Davis, “The Complete Birth of the Cool” (Blue Note, 1998; tracks recorded 1948-50).
42. Miles Davis, “Bags’ Groove” (Prestige, 1954).
43. Miles Davis, “Kind of Blue” (Sony, 1959).
44. Miles Davis, “Highlights from the Plugged Nickel” (Sony, 1995; tracks recorded 1965).
45. Miles Davis, “Bitches Brew” (Columbia, 1969).
46. Bud Powell, “The Amazing Bud Powell, Vol. 1” (Blue Note, 2001; tracks recorded 1949-1951), Vol. 2 (Blue Note, 2001; tracks recorded 1953).
47. Gerry Mulligan, “The Original Quartet with Chet Baker” (Blue Note, 1998; tracks recorded 1952-53).
48. Modern Jazz Quartet, “Django” (Prestige, 1953).
49. Art Tatum, “The Best of the Pablo Solo Masterpieces” (Pablo, 2003; tracks recorded 1953-56).
50. Clifford Brown and Max Roach, “Clifford Brown & Max Roach” (EmArcy, 1954).
51. Sarah Vaughan, “Sarah Vaughan with Clifford Brown” (EmArcy, 1954).
52. Charles Mingus, “Mingus at the Bohemia (Debut, 1955).
53. Charles Mingus, “Mingus Ah Um” (Columbia, 1959).
54. Charles Mingus Sextet, “Cornell 1964” (Blue Note, 2007).
55. Ella Fitzgerald, “Ella Fitzgerald Sings the Cole Porter Songbook” (Verve, 1956).
56. Sonny Rollins, “Saxophone Colossus” (Prestige, 1956).
57. Sonny Rollins, “Night at the Village Vanguard” (Blue Note, 1957).
58. Sonny Rollins and Coleman Hawkins, “Sonny Meets Hawk!” (RCA, 1963).
59. Tito Puente, “King of Kings: The Very Best of Tito Puente” (RCA, 2002; tracks recorded 1956-60).
60. Sun Ra, “Greatest Hits—Easy Listening for Intergalactic Travel” (Evidence, 2000; tracks recorded 1956-73).
61. Abbey Lincoln, “That’s Him” (Riverside, 1957).
62. Art Blakey and the Jazz Messengers, “Moanin’” (Blue Note, 1958).
63. Ahmad Jamal Trio, “Cross Country Tour: 1958-1961” (Verve, 1998).
64. The Dave Brubeck Quartet, “Time Out” (Sony, 1959).
65. Jimmy Witherspoon, “The ’Spoon Concerts” (Fantasy, 1989; tracks recorded 1959).
66. Ornette Coleman, “Beauty Is a Rare Thing: The Complete Atlantic Recordings” (Atlantic, 1993; tracks recorded 1959-61).
67. Ornette Coleman, “Dancing in Your Head” (Horizon, 1973).
68. Freddie Hubbard, “Open Sesame” (Blue Note, 1960).
69. Jimmy Smith, “Back at the Chicken Shack” (Blue Note, 2007; tracks recorded in 1960).
70. Dinah Washington, “First Issue: The Dinah Washington Story” (Polygram, 1993; tracks recorded 1943-61).
71. John Coltrane, “My Favorite Things” (Atlantic, 1960).
72. John Coltrane, “The Complete 1961 Village Vanguard Recordings” (GRP, 1997; tracks recorded 1961).
73. John Coltrane, “A Love Supreme” (Impulse!, 1964).
74. John Coltrane, “Ascension” (Impulse!, 1965).
75. Eric Dolphy, “Out There” (New Jazz, 1960).
76. Eric Dolphy, “Out to Lunch!” (Blue Note, 1964).
77. Bill Evans, “The Complete Village Vanguard Recordings, 1961” (Riverside, 2005).
78. Jackie McLean, “A Fickle Sonance” (Blue Note, 1961).
79. Stan Getz and João Gilberto, “Getz/Gilberto” (Verve, 1963).
80. Dexter Gordon, “Our Man in Paris” (Blue Note, 1963).
81. Andrew Hill, “Smokestack” (Blue Note, 1963).
82. Lee Morgan, “The Sidewinder” (Blue Note, 1963).
83. Albert Ayler, “Spiritual Unity” (ESP, 1964).
84. Archie Shepp, “Four for Trane” (Impulse!, 1964).
85. Horace Silver, “Song for My Father” (Blue Note, 1964).
86. Wes Montgomery, “Smokin’ at the Half Note” (Verve, 2005; tracks recorded 1965).
87. Cecil Taylor, “Conquistador!” (Blue Note, 1966).
88. Betty Carter, “Betty Carter’s Finest Hour” (Verve, 2003; tracks recorded 1958-92).
89. Frank Sinatra, “Sinatra at the Sands with Count Basie & the Orchestra” (Reprise, 1966).
90. Frank Sinatra, “The Capitol Years” (Capitol, 1990; tracks recorded 1953-62).
91. Nina Simone, “Sugar in My Bowl: The Very Best of Nina Simone, 1967-1972” (RCA, 1998).
92. Pharoah Sanders, “Karma” (Impulse!, 1969).
93. Chick Corea, “Return to Forever” (ECM, 1972).
94. Keith Jarrett, “The Köln Concert, 1975” (ECM, 1999).
95. World Saxophone Quartet, “World Saxophone Quartet Plays Duke Ellington” (Nonesuch, 1986).
96. Charlie Haden and Hank Jones, “Steal Away” (Polygram, 1995).
97. Joshua Redman Quartet, “Spirit of the Moment: Live at the Village Vanguard” (Warner Bros., 1995).
98. Cassandra Wilson, “Traveling Miles” (Blue Note, 1999).
99. Wynton Marsalis Septet, “Live at the Village Vanguard” (Sony, 1999).
100. The Bill Charlap Trio, “Live at the Village Vanguard” (Blue Note, 2007).
Guide to Jazz Age Slang
A
ab-so-lute-ly: affirmative
Abe's Cabe: five-dollar bill
ace: one-dollar bill
all wet: incorrect
And how!: I strongly agree!
ankle: to walk, i.e.. "Let's ankle!"
apple sauce: flattery, nonsense, i.e.. "Aw, applesauce!"
Attaboy!: well done!; also, Attagirl!
B
baby: sweetheart; also denotes something of high value or respect
baby grand: heavily built man
baby vamp: an attractive or popular female; student
balled up: confused, messed up
baloney: nonsense
Bank's closed.: no kissing or making out ie. "Sorry, mac, bank's closed."
barrell house: illegal distillery
bearcat: a hot-blooded or fiery girl
beat it: scram, get lost
beat one's gums: idle chatter
bee's knee's: terrific; a fad expression. Dozens of "animal anatomy" variations existed: elephant's eyebrows, gnat's whistle, eel's hips, etc.
beef: a complaint or to complain
beeswax: business; student
bell bottom: a sailor
belt: a drink of liquor
bent: drunk
berries: (1) perfect (2) money
big cheese: important person
big six: a strong man; from auto advertising, for the new and powerful six cylinder engines
bimbo: a tough guy
bird: general term for a man or woman, sometimes meaning "odd," i.e. "What a funny old bird."
blind: drunk
blotto (1930 at the latest): drunk, especially to an extreme
blow: (1) a crazy party (2) to leave
bohunk: a derogatory name for an Eastern European immigrant; out of use by 1930, except in certain anti-immigrant circles, like the KKK
bootleg: illeagal liquor
breezer (1925): a convertable car
brown: whiskey
brown plaid: Scotch whiskey
bubs: breasts
bug-eyed Betty (1927): an unattractive girl; student
bull: (1) a policeman or law-enforcement official, including FBI. (2) nonesense, bullshit (3) to chat idly, to exaggerate
bump off: to kill
bum's rush, the: ejection by force from an establishment
bunny (1925): a term of endearment applied to the lost, confused, etc; often coupled with "poor little"
bus: any old or worn out car
busthead: homemade liquor
bushwa: a euphemism for "bullshit"
Butt me.: I'll take a cigarette
C
cake-eater: a lady's man
caper: a criminal act or robbery
cat's meow: great, also "cat's pajamas" and "cat's whiskers"
cash: a kiss
Cash or check?: Do we kiss now or later?
cast a kitten/have kittens: to have a fit. Used in both humorous and serious situations. i.e. "Stop tickling me or I'll cast a kitten!"
celestial: derogatory slang for Chinese or East Asians
chassis (1930): the female body
cheaters: eye glasses
check: kiss me later
chewing gum: double-speak, or ambiguous talk
Chicago typewriter: Thompson submachine gun
choice bit of calico: attractive female; student
chopper: a Thompson Sub-Machine Gun, due to the damage its heavy .45 caliber rounds did to the human body
chunk of lead: an unnattractive female; student
ciggy: cigarette
clam: a dollar
coffin varnish: bootleg liquor, often poisonous
copacetic: excellent, all in order
crasher: a person who attends a party uninvited
crush: infatuation
cuddler: one who likes to make out
D
daddy: a young woman's boyfriend or lover, especially if he's rich
daddy-o: a term of address; strictly an African-American term
dame: a female; did not gain widespread use until the 1930's
dapper: a Flapper's dad
darb: a great person or thing, i.e. "That movie was darb."
dead soldier: an empty beer bottle
deb: a debutant
dewdropper: a young man who sleeps all day and doesn't have a job
dick: a private investigator; coined around 1900, the term finds major recognition in the 20s
dinge: a derogatory term for an African-American; out of use by 1930
dogs: feet
doll: an attractive woman
dolled up: dressed up
don't know from nothing: doesn't have any information
don't take any wooden nickels: don't do anything stupid
dope: drugs, esp. cocaine or opium.
doublecross: to cheat, stab in the back
dough: money
drugstore cowboy: a well-dressed man who loiters in public areas trying to pick up women
drum: speakeasy
dry up: shut up, get lost
ducky: very good
dumb Dora: an absolute idiot, a dumbbell, especially a woman; flapper
dump: roadhouse
E
earful: enough
edge: intoxication, a buzz. i.e. "I've got an edge."
egg: a person who lives the big life
Ethel: an effeminate male.
F
face stretcher: an old woman trying to look young
fag: a cigarette; also, starting around 1920, a homosexual.
fella: fellow. as common in its day as "man," "dude," or "guy" is today, i.e. "That John sure is a swell fella."
fire extinguisher: a chaperone
fish: (1) a college freshman (2) a first timer in prison
flat tire: a bore
flivver: a Model T; after 1928, could mean any broken down car
floorflusher: an insatiable dancer
flour lover: a girl with too much face powder
fly boy: a glamorous term for an aviator
For crying out loud!: same usage as today
four-flusher: a person who feigns wealth while mooching off others
fried: drunk
futz: a euphemism for "fuck;" i.e. "Don't futz around."
G
gams (1930): legs
gasper: cigarette
gatecrasher: see "crasher"
gay: happy or lively; no connection to homosexuality; see "fag"
Get Hot! Get Hot!: encouragement for a hot dancer doing his or her thing
get-up (1930): an outfit
get a wiggle on: get a move on, get going
get in a lather: get worked up, angry
giggle water: booze
gigolo: dancing partner
gimp: cripple; one who walks with a limp; gangster Dion O’Bannion was called Gimpy due to his noticeable limp
gin mill: a seller of hard liquor; a cheap speakeasy
glad rags: "going out on the town" clothes
go chase yourself: get lost, scram.
gold-digger (1925): a woman who pursues men for their money
goods, the: (1) the right material, or a person who has it (2) the facts, the truth, i.e. "Make sure the cops don't get the goods on you."
goof: (1) a stupid or bumbling person, (2) a boyfriend; flapper.
goofy: in love
grummy: depressed
grungy: envious
H
hair of the dog (1925): a shot of alcohol
half seas over: drunk; also "half under"
handcuff: engagement ring
hard-boiled: a tough person, i.e: "He sure is hard-boiled!"
harp: an Irishman
hayburner: (1) a gas guzzling car (2) a horse one loses money on
heavy sugar (1929): a lot of money
heebie-jeebies (1926): "the shakes," named after a hit song
heeler: a poor dancer
high hat: a snob
hip to the jive: cool, trendy
hit on all sixes: to perform 100 per cent; as "hitting on all six cylinders;" perhaps a more common variation in these days of four cylinder engines was "hit on all fours;" also see "big six".
hoary-eyed: drunk
hooch: booze
hood (late 20s): hoodlum
hooey: bullshit, nonsense; very popular from 1925 to 1930, used somewhat thereafter
hop: (1) opiate or marijuana (2) a teen party or dance
hope chest: pack of cigarettes
hopped up: under the influence of drugs
horse linament: bootleg liquor
Hot dawg!: Great!; also: "Hot socks!"
hot sketch: a card or cut-up
I
"I have to go see a man about a dog.": "I've got to leave now," often meaning to go buy whiskey
icy mitt: rejection
Indian hop: marijuana
insured: engaged
iron (1925): a motorcycle, among motorcycle enthusiasts
iron one’s shoelaces: to go to the restroom
ish kabibble (1925): a retort meaning "I should care," from the name of a musician in the Kay Kayser Orchestra
J
jack: money
Jake: great, i.e. "Everything's Jake."
Jalopy: a dumpy old car
Jane: any female
java: coffee
jeepers creepers: "Jesus Christ!"
jerk soda: to dispense soda from a tap; thus, "soda jerk"
jigaboo: a derogatory term for an African-American
jitney: a car employed as a private bus; fare was usually five cents, ergo the alternate nickname of "nickel"
joe: coffee
Joe Brooks: a perfectly dressed person; student
john: a toilet
joint: establishment
jorum of skee: a drink of hard liquor
juice joint: a speakeasy
junk: opium
K
kale: money
keen: appealing
kike: a derogatory term for a Jewish person
killjoy: a solemn person
knock up: to make pregnant
know one's onions: to know one's business or what one is talking about
L
lay off: cut the crap
left holding the bag: (1) to be cheated out of one's fair share (2) to be blamed for something
let George do it: a work evading phrase
level with me: be honest
limey: a British soldier or citizen; from World War I
line: a false story, as in "to feed one a line"
live wire: a lively person
lollapalooza (1930): a humdinger
lollygagger: (1) a young man who enjoys making out (2) an idle person
M
M: morphine
manacle: wedding ring
mazuma: money
Mick: a derogatory term for Irishmen
milquetoast (1924): a very timid person; from the comic book character Casper Milquetoast, a hen-pecked male
mind your potatoes: mind your own business
mooch: to leave
moonshine: homemade whiskey
mop: a handkerchief
Mrs. Grundy: a prude or kill-joy
mulligan: Irish cop
munitions: face powder
N
neck: to kiss passionately; what would today be called "French kissing"
necker: a girl who wraps her arms around her boyfriend's neck
nifty: great, excellent
noodle juice: tea
nookie: sex
"Not so good!": "I personally disapprove."
"Now you're on the trolley!": "Now you've got it!".
O
ofay: a commonly used Black expression for Whites
off one's nuts: crazy
"Oh yeah!": "I doubt it!"
old boy: a male term of address, used in conversation with other males as a way to denote acceptance in a social environment; also: "old man" or "old fruit"
Oliver Twist: a skilled dancer
on a toot: a drinking binge
on the lam: fleeing from police
on the level: legitimate, honest
on the up and up: on the level
orchid: an expensive item
ossified: drunk
owl: a person who's out late
P
palooka: (1) a below-average or average boxer (2) a social outsider; from the comic strip character Joe Palooka, who came from humble ethnic roots
panic: to produce a big reaction from one's audience
panther piss/sweat (1925): homemade whiskey
pen yen: opium
percolate: (1) to boil over (2) as of 1925, to run smoothly; "perk"
pet: like necking (see above), only moreso; making out
petting pantry: movie theater
petting party: one or more couples making out in a room or auto
phonus balonus: nonsense
piffle: baloney
piker: (1) a cheapskate (2) a coward
pill: (1) a teacher (2) an unlikable person (3) cigarette
pinch: to arrest
pinched: to be arrested
pinko: liberal
pipe down: stop talking
prom-trotter: a student who attends all school social functions
pos-i-lute-ly: affirmative, also "pos-i-tive-ly"
pull a Daniel Boone: to vomit
punch the bag: small talk
putting on the ritz: after the Ritz Hotel in Paris (and its namesake Caesar Ritz); doing something in high style; also, "ritzy"
Q
quiff: a slut or cheap prostitute
R
rag-a-muffin: a dirty or disheveled individual
rain pitchforks: a downpour
razz: to make fun of
Real McCoy: a genuine item
regular: normal, typical, average
Reuben: an unsophisticated country bumpkin; also, "rube"
Rhatz!: "How disappointing!" flapper
rotgut: bootleg liquor
rub: a student dance party
rubes: money or dollars
rummy: a drunken bum
S
sap: a fool, an idiot; very common term in the 20s
sawbuck: ten-dollar bill
says you: a reaction of disbelief
scratch: money
screaming meemies: the shakes
screw: get lost, get out, etc.; occasionally, in pre 1930 talkies (such as The Broadway Melody) screw is used to tell a character to leave: one film features the line "Go on, go on--screw!"
screwy: crazy; "You're screwy!"
sheba: one's girlfriend
sheik: one's boyfriend
shine box: a bar or club for black patrons
shiv: a knife
simolean: a dollar
sinker: a doughnut
sitting pretty: in a prime position
skee: Scotch whiskey
skirt: an attractive female
smarty: a cute flapper
smoke-eater: a smoker
smudger: a close dancer
snort: a drink of liquor
sockdollager: an action having a great impact
so's your old man: a reply of irritation
spade: yet another derogatory term for an African-American
speakeasy: a bar selling illeagal liquor
spill: to talk
splifficated: drunk
spoon: to neck, or at least talk of love
static: (1) empty talk (2) conflicting opinion
stilts: legs
strike-me-dead: bootleg liquor
struggle: modern dance
stuck on: in love; student.
sugar daddy: older boyfriend who showers girlfriend with gifts in exchange for sex
swanky: (1) good (2) elegant
swell: (1) good (2) a high class person
T
take someone for a ride: to take someone to a deserted location and murder them
tasty: appealing
tea: marijuana
teenager: not a common term until 1930; before then, the term was "young adults."
tell it to Sweeney: tell it to someone who'll believe it
three-letter man: homosexual
tight: attractive
Tin Pan Alley: the center of the music industry in New York City, located between 48th and 52nd Streets
tomato: a "ripe" female
torpedo: a hired thug or hitman
trip for biscuits: wild goose chase
U
unreal: special
upchuck: to vomit
upstage: snobby
V
vamp: (1) a seducer of men, an aggressive flirt (2) to seduce
voot: money
W
water-proof: a face that doesn't require make-up
wet blanket: see Killjoy
white lightning: bootleg liquor
wife: dorm roomate; student.
"What's eating you?": "What's wrong?"
whoopee: wild fun
Woof! Woof!: ridicule
X
Y
"You slay me!": "That's funny!"
Z
zozzled: drunk
ab-so-lute-ly: affirmative
Abe's Cabe: five-dollar bill
ace: one-dollar bill
all wet: incorrect
And how!: I strongly agree!
ankle: to walk, i.e.. "Let's ankle!"
apple sauce: flattery, nonsense, i.e.. "Aw, applesauce!"
Attaboy!: well done!; also, Attagirl!
B
baby: sweetheart; also denotes something of high value or respect
baby grand: heavily built man
baby vamp: an attractive or popular female; student
balled up: confused, messed up
baloney: nonsense
Bank's closed.: no kissing or making out ie. "Sorry, mac, bank's closed."
barrell house: illegal distillery
bearcat: a hot-blooded or fiery girl
beat it: scram, get lost
beat one's gums: idle chatter
bee's knee's: terrific; a fad expression. Dozens of "animal anatomy" variations existed: elephant's eyebrows, gnat's whistle, eel's hips, etc.
beef: a complaint or to complain
beeswax: business; student
bell bottom: a sailor
belt: a drink of liquor
bent: drunk
berries: (1) perfect (2) money
big cheese: important person
big six: a strong man; from auto advertising, for the new and powerful six cylinder engines
bimbo: a tough guy
bird: general term for a man or woman, sometimes meaning "odd," i.e. "What a funny old bird."
blind: drunk
blotto (1930 at the latest): drunk, especially to an extreme
blow: (1) a crazy party (2) to leave
bohunk: a derogatory name for an Eastern European immigrant; out of use by 1930, except in certain anti-immigrant circles, like the KKK
bootleg: illeagal liquor
breezer (1925): a convertable car
brown: whiskey
brown plaid: Scotch whiskey
bubs: breasts
bug-eyed Betty (1927): an unattractive girl; student
bull: (1) a policeman or law-enforcement official, including FBI. (2) nonesense, bullshit (3) to chat idly, to exaggerate
bump off: to kill
bum's rush, the: ejection by force from an establishment
bunny (1925): a term of endearment applied to the lost, confused, etc; often coupled with "poor little"
bus: any old or worn out car
busthead: homemade liquor
bushwa: a euphemism for "bullshit"
Butt me.: I'll take a cigarette
C
cake-eater: a lady's man
caper: a criminal act or robbery
cat's meow: great, also "cat's pajamas" and "cat's whiskers"
cash: a kiss
Cash or check?: Do we kiss now or later?
cast a kitten/have kittens: to have a fit. Used in both humorous and serious situations. i.e. "Stop tickling me or I'll cast a kitten!"
celestial: derogatory slang for Chinese or East Asians
chassis (1930): the female body
cheaters: eye glasses
check: kiss me later
chewing gum: double-speak, or ambiguous talk
Chicago typewriter: Thompson submachine gun
choice bit of calico: attractive female; student
chopper: a Thompson Sub-Machine Gun, due to the damage its heavy .45 caliber rounds did to the human body
chunk of lead: an unnattractive female; student
ciggy: cigarette
clam: a dollar
coffin varnish: bootleg liquor, often poisonous
copacetic: excellent, all in order
crasher: a person who attends a party uninvited
crush: infatuation
cuddler: one who likes to make out
D
daddy: a young woman's boyfriend or lover, especially if he's rich
daddy-o: a term of address; strictly an African-American term
dame: a female; did not gain widespread use until the 1930's
dapper: a Flapper's dad
darb: a great person or thing, i.e. "That movie was darb."
dead soldier: an empty beer bottle
deb: a debutant
dewdropper: a young man who sleeps all day and doesn't have a job
dick: a private investigator; coined around 1900, the term finds major recognition in the 20s
dinge: a derogatory term for an African-American; out of use by 1930
dogs: feet
doll: an attractive woman
dolled up: dressed up
don't know from nothing: doesn't have any information
don't take any wooden nickels: don't do anything stupid
dope: drugs, esp. cocaine or opium.
doublecross: to cheat, stab in the back
dough: money
drugstore cowboy: a well-dressed man who loiters in public areas trying to pick up women
drum: speakeasy
dry up: shut up, get lost
ducky: very good
dumb Dora: an absolute idiot, a dumbbell, especially a woman; flapper
dump: roadhouse
E
earful: enough
edge: intoxication, a buzz. i.e. "I've got an edge."
egg: a person who lives the big life
Ethel: an effeminate male.
F
face stretcher: an old woman trying to look young
fag: a cigarette; also, starting around 1920, a homosexual.
fella: fellow. as common in its day as "man," "dude," or "guy" is today, i.e. "That John sure is a swell fella."
fire extinguisher: a chaperone
fish: (1) a college freshman (2) a first timer in prison
flat tire: a bore
flivver: a Model T; after 1928, could mean any broken down car
floorflusher: an insatiable dancer
flour lover: a girl with too much face powder
fly boy: a glamorous term for an aviator
For crying out loud!: same usage as today
four-flusher: a person who feigns wealth while mooching off others
fried: drunk
futz: a euphemism for "fuck;" i.e. "Don't futz around."
G
gams (1930): legs
gasper: cigarette
gatecrasher: see "crasher"
gay: happy or lively; no connection to homosexuality; see "fag"
Get Hot! Get Hot!: encouragement for a hot dancer doing his or her thing
get-up (1930): an outfit
get a wiggle on: get a move on, get going
get in a lather: get worked up, angry
giggle water: booze
gigolo: dancing partner
gimp: cripple; one who walks with a limp; gangster Dion O’Bannion was called Gimpy due to his noticeable limp
gin mill: a seller of hard liquor; a cheap speakeasy
glad rags: "going out on the town" clothes
go chase yourself: get lost, scram.
gold-digger (1925): a woman who pursues men for their money
goods, the: (1) the right material, or a person who has it (2) the facts, the truth, i.e. "Make sure the cops don't get the goods on you."
goof: (1) a stupid or bumbling person, (2) a boyfriend; flapper.
goofy: in love
grummy: depressed
grungy: envious
H
hair of the dog (1925): a shot of alcohol
half seas over: drunk; also "half under"
handcuff: engagement ring
hard-boiled: a tough person, i.e: "He sure is hard-boiled!"
harp: an Irishman
hayburner: (1) a gas guzzling car (2) a horse one loses money on
heavy sugar (1929): a lot of money
heebie-jeebies (1926): "the shakes," named after a hit song
heeler: a poor dancer
high hat: a snob
hip to the jive: cool, trendy
hit on all sixes: to perform 100 per cent; as "hitting on all six cylinders;" perhaps a more common variation in these days of four cylinder engines was "hit on all fours;" also see "big six".
hoary-eyed: drunk
hooch: booze
hood (late 20s): hoodlum
hooey: bullshit, nonsense; very popular from 1925 to 1930, used somewhat thereafter
hop: (1) opiate or marijuana (2) a teen party or dance
hope chest: pack of cigarettes
hopped up: under the influence of drugs
horse linament: bootleg liquor
Hot dawg!: Great!; also: "Hot socks!"
hot sketch: a card or cut-up
I
"I have to go see a man about a dog.": "I've got to leave now," often meaning to go buy whiskey
icy mitt: rejection
Indian hop: marijuana
insured: engaged
iron (1925): a motorcycle, among motorcycle enthusiasts
iron one’s shoelaces: to go to the restroom
ish kabibble (1925): a retort meaning "I should care," from the name of a musician in the Kay Kayser Orchestra
J
jack: money
Jake: great, i.e. "Everything's Jake."
Jalopy: a dumpy old car
Jane: any female
java: coffee
jeepers creepers: "Jesus Christ!"
jerk soda: to dispense soda from a tap; thus, "soda jerk"
jigaboo: a derogatory term for an African-American
jitney: a car employed as a private bus; fare was usually five cents, ergo the alternate nickname of "nickel"
joe: coffee
Joe Brooks: a perfectly dressed person; student
john: a toilet
joint: establishment
jorum of skee: a drink of hard liquor
juice joint: a speakeasy
junk: opium
K
kale: money
keen: appealing
kike: a derogatory term for a Jewish person
killjoy: a solemn person
knock up: to make pregnant
know one's onions: to know one's business or what one is talking about
L
lay off: cut the crap
left holding the bag: (1) to be cheated out of one's fair share (2) to be blamed for something
let George do it: a work evading phrase
level with me: be honest
limey: a British soldier or citizen; from World War I
line: a false story, as in "to feed one a line"
live wire: a lively person
lollapalooza (1930): a humdinger
lollygagger: (1) a young man who enjoys making out (2) an idle person
M
M: morphine
manacle: wedding ring
mazuma: money
Mick: a derogatory term for Irishmen
milquetoast (1924): a very timid person; from the comic book character Casper Milquetoast, a hen-pecked male
mind your potatoes: mind your own business
mooch: to leave
moonshine: homemade whiskey
mop: a handkerchief
Mrs. Grundy: a prude or kill-joy
mulligan: Irish cop
munitions: face powder
N
neck: to kiss passionately; what would today be called "French kissing"
necker: a girl who wraps her arms around her boyfriend's neck
nifty: great, excellent
noodle juice: tea
nookie: sex
"Not so good!": "I personally disapprove."
"Now you're on the trolley!": "Now you've got it!".
O
ofay: a commonly used Black expression for Whites
off one's nuts: crazy
"Oh yeah!": "I doubt it!"
old boy: a male term of address, used in conversation with other males as a way to denote acceptance in a social environment; also: "old man" or "old fruit"
Oliver Twist: a skilled dancer
on a toot: a drinking binge
on the lam: fleeing from police
on the level: legitimate, honest
on the up and up: on the level
orchid: an expensive item
ossified: drunk
owl: a person who's out late
P
palooka: (1) a below-average or average boxer (2) a social outsider; from the comic strip character Joe Palooka, who came from humble ethnic roots
panic: to produce a big reaction from one's audience
panther piss/sweat (1925): homemade whiskey
pen yen: opium
percolate: (1) to boil over (2) as of 1925, to run smoothly; "perk"
pet: like necking (see above), only moreso; making out
petting pantry: movie theater
petting party: one or more couples making out in a room or auto
phonus balonus: nonsense
piffle: baloney
piker: (1) a cheapskate (2) a coward
pill: (1) a teacher (2) an unlikable person (3) cigarette
pinch: to arrest
pinched: to be arrested
pinko: liberal
pipe down: stop talking
prom-trotter: a student who attends all school social functions
pos-i-lute-ly: affirmative, also "pos-i-tive-ly"
pull a Daniel Boone: to vomit
punch the bag: small talk
putting on the ritz: after the Ritz Hotel in Paris (and its namesake Caesar Ritz); doing something in high style; also, "ritzy"
Q
quiff: a slut or cheap prostitute
R
rag-a-muffin: a dirty or disheveled individual
rain pitchforks: a downpour
razz: to make fun of
Real McCoy: a genuine item
regular: normal, typical, average
Reuben: an unsophisticated country bumpkin; also, "rube"
Rhatz!: "How disappointing!" flapper
rotgut: bootleg liquor
rub: a student dance party
rubes: money or dollars
rummy: a drunken bum
S
sap: a fool, an idiot; very common term in the 20s
sawbuck: ten-dollar bill
says you: a reaction of disbelief
scratch: money
screaming meemies: the shakes
screw: get lost, get out, etc.; occasionally, in pre 1930 talkies (such as The Broadway Melody) screw is used to tell a character to leave: one film features the line "Go on, go on--screw!"
screwy: crazy; "You're screwy!"
sheba: one's girlfriend
sheik: one's boyfriend
shine box: a bar or club for black patrons
shiv: a knife
simolean: a dollar
sinker: a doughnut
sitting pretty: in a prime position
skee: Scotch whiskey
skirt: an attractive female
smarty: a cute flapper
smoke-eater: a smoker
smudger: a close dancer
snort: a drink of liquor
sockdollager: an action having a great impact
so's your old man: a reply of irritation
spade: yet another derogatory term for an African-American
speakeasy: a bar selling illeagal liquor
spill: to talk
splifficated: drunk
spoon: to neck, or at least talk of love
static: (1) empty talk (2) conflicting opinion
stilts: legs
strike-me-dead: bootleg liquor
struggle: modern dance
stuck on: in love; student.
sugar daddy: older boyfriend who showers girlfriend with gifts in exchange for sex
swanky: (1) good (2) elegant
swell: (1) good (2) a high class person
T
take someone for a ride: to take someone to a deserted location and murder them
tasty: appealing
tea: marijuana
teenager: not a common term until 1930; before then, the term was "young adults."
tell it to Sweeney: tell it to someone who'll believe it
three-letter man: homosexual
tight: attractive
Tin Pan Alley: the center of the music industry in New York City, located between 48th and 52nd Streets
tomato: a "ripe" female
torpedo: a hired thug or hitman
trip for biscuits: wild goose chase
U
unreal: special
upchuck: to vomit
upstage: snobby
V
vamp: (1) a seducer of men, an aggressive flirt (2) to seduce
voot: money
W
water-proof: a face that doesn't require make-up
wet blanket: see Killjoy
white lightning: bootleg liquor
wife: dorm roomate; student.
"What's eating you?": "What's wrong?"
whoopee: wild fun
Woof! Woof!: ridicule
X
Y
"You slay me!": "That's funny!"
Z
zozzled: drunk
Glossy of Jazz and Popular Musical Terms
1x10": refers to a speaker cabinet that contains one ten-inch loudspeaker. Used for small venue PA cabinets and small stage monitor speakers (with a horn), and lightweight bass guitar or electric guitar combination amplifiers ("combos") and cabinets designed for rehearsal monitoring or practice.
B-3: refers to the B-3, a widely-used version of the Hammond organ, an electromechanical, tonewheel-based keyboard instrument.
bouncer (or "doorman" or "cooler"): a security staffer who works at music and concert venues such as bars and clubs; the job of a doorman is to check for age of majority ID; search for concealed weapons, drugs, or alcohol; remove intoxicated or aggressive patrons; and enforce the rules of the venue (e.g., a rule against stage-diving or moshing).
gig: a slang term which refers to a musical engagement at a bar or club, usually of a single night's duration
gliss: a continuous sliding from one pitch to another (a true glissando), or an incidental scale executed while moving from one melodic note to another (an effective glissando). See glissando for further information; and compare portamento in this list.
groupie: a somewhat pejorative term used to refer to fans of a rock group (typically refers to female fans).
harmony vocals (or "harmony parts"): backup singing which supports the main melody; the supporting parts are usually chord tones that form intervals of a third, fourth, fifth, sixth, or octave away from the main melody note.
harp: from blues harp, which in blues and related genres is a slang term for the harmonica.
homophony: A musical texture with one voice (or melody line) accompanied by chords; also used as an adjective (homophonic). Compare with polyphony, in which several voices or melody lines are performed at the same time.
horn: in a jazz, blues, or R&B context, the term "horn" refers generically to any brass instrument (e.g., saxophone, trumpet, etc). In a sound engineering context, "horn" refers to a flare-shaped housing into which a tweeter or loudspeaker is mounted as part of a speaker cabinet.
horn section: in a jazz, blues, or R&B context, this refers to a small group of brass players who accompany an ensemble by playing soft "pads" and punctuating the melodic line with "punches" (sudden interjections).
ignore changes: a jazz term used in 1950s and 1960s-era avant-garde and free jazz (e.g., Ornette Coleman) which instructs a soloist to improvise without following the chord changes being used by the rhythm section instruments.
intro: opening section of a song or tune.
J-bass: an abbreviation for the Fender Jazz bass, a widely-used brand of electric bass
jam (or "jam session"): in jazz, blues, rock, or related genres, an informal performance of improvised solos over well-known standard compositions (e.g., a blues progression or a jazz standard).
jazz standard (or simply "standard"): a well-known composition from the jazz repertoire which is widely played and recorded.
keyboardist : a musician who plays any instrument with a keyboard. In a jazz or popular music context, this may refer to instruments such as the piano, electric piano, synthesizer, Hammond organ, and so on.
keyboard amp: a combination amplifier designed for keyboard players that contains a two, three, or four-channel mixer, a pre-amplifier for each channel, equalization controls, a power amplifier, a speaker, and a horn, all in a single cabinet. Small keyboard amplifiers designed for small band rehearsals have 50 to 75 watts, a 12 inch speaker, and a horn. Large keyboard amplifiers designed for large clubs or halls have 200 to 300 watts of power, a 15 inch speaker, and a horn.
lay out: a jazz term which is the equivalent of the classical term tacet; it instructs the player to cease playing for a section or tune.
lead (pronounced "leed"): in guitar playing, a single-note melody or solo line. In Britain, the term also refers to a patch cable which is used to connect an electric guitar to an amp.
lead bass: a style of playing electric bass in which the player adopts a soloistic or melodic "voice", rather than, or in addition to playing the accompaniment role which is normally associated with the bass (e.g., Cliff Burton of Metallica).
leading note: the seventh note of a scale, which has a powerful "gravitational pull" towards the eighth note of the scale, which is the "home note" of the key. Because the seventh note of the scale has such a strong pull towards the eighth note, it is deemed to need to "resolve" to the eighth note.
Leslie: a brand name for a rotating speaker cabinet designed for use with the Hammond organ, but also used by some electric guitar players. The rotating horn and rotating baffle around the low-range speaker create an undulating effect.
line: a synonym for "melody" (as in the terms "melodic line"). (See also bassline).
line in: In an audio context, a "line in" is a jack found on mixers, guitar amplifiers, and recording devices. The "line in" jack allows a performer to add an input into a mixer, amplifier, or recording device.
line out: A "line out" jack provides an output signal from an amplifier or other device, which can then be patched into a mixing board, effect unit, PA system, etc.
marcato, marc.: marked; i.e., with accentuation, execute every note as if it were to be accented
measure: the period of a musical piece that encompasses a complete cycle of the time signature, e.g., in 4/4 time, a measure has four quarter-note beats
mezzo forte: half loudly; i.e., moderately loudly. See dynamics.
mezzo piano: half softly; i.e., moderately softly. See dynamics.
MIDI" an acronym for Musical Instrument Digital Interface, an industry-standard way for electronic devices to communicate information. MIDI connections can be used to connect synthesizers, electronic drum machines, sequencers, and so on.
Minimoog Model D: a Moog synthesizer which was produced from 1971-1984.
mixdown: the process near the end of the recording process in which all of the tracks of recorded music (e.g., 12, 24, or even 48 tracks of recorded vocals, guitars, keyboards, etc) are blended and placed onto the Left and Right channels of a standard stereo recording. A "remix" occurs when the same initial tracks are given a new "mixdown", thus blending the tracks in a different way, adding different effects, etc.
monitor: in a live music context, refers to speaker cabinets which are used to amplify the singing and playing of onstage performers so that the performers can hear themselves' in a recording context, refers to studio reference monitors, which are heavy-duty, low-coloration speakers designed for playing back mixes.
monitor mix: in live audio, the monitor mix is the blend of vocal and instrumental channels which is amplified and sent through onstage speakers which are directed towards the performers. The "monitor mix" often differs a great deal from the "Front of House" mix. In a typical bar band, the "monitor mix" will consist mainly of vocals, with the possible addition of other instruments that need additional onstage monitoring volume (e.g., harmonica, saxophone, synth).
Moog synthesizer: an early brand of analog synthesizer which was introduced in the late 1960s; newly-released Moog synthesizers are still produced in the 2000s.
natural: a symbol (♮) that cancels the effect of a sharp or a flat (see in this list)
neck: on a guitar (e.g., acoustic guitar, electric guitar, electric bass), violin-familiy instrument (e.g., violin, upright bass) or other stringed instrument, the neck is the long, thin piece of wood which extends from the soundbox or body of the instrument and upon which the strings are put under tension between the bridge (on a guitar family instrument) or the tailpiece (on a violin-family instrument) and the headstock (for guitars) or the tuning pegs (violin) or machine heads (upright bass). The neck on acoustic and electric guitars and most electric basses has metal frets which divide the neck into semitones. Violin family instruments and fretless electric basses do not have frets.
notch filter: a very precise type of equalizer (e.g., a parametric equalizer) which can be used to boost or cut very narrow frequency ranges. Notch filters are used to lessen feedback with microphones or lesson overly resonant notes on acoustic guitars.
note-for-note solo: a live or recorded performance by an instrumentalist which reproduces a previously recorded improvised solo. In some cases, the recreation of the previously-recorded solo may be faithful down to the smallest nuances, such as the use of "whammy bar" embellishments and "ghost notes".
octave: interval between one musical pitch and another with half or double its frequency. Octaves can be played one note after the other (e.g., a low C and then a high C), or they can be played together at the same time on instruments such as the guitar, piano, organ, etc.
octave pedal: an effects unit which electronically adds a note an octave (or two octaves) below or, less commonly, an octave above the note being played by the performer.
ohm: a unit of electrical impedance; speakers, microphones, headphones, and other gear is rated with its nominal impedance. (See also "Z", the abbreviation sometimes used for "impedance").
organ trio: in jazz or rock, a group of three musicians which includes a Hammond organ player and two other instruments, often a drummer and either an electric guitar player or a saxophone player.
ostinato: obstinate, persistent; i.e., a short musical pattern that is repeated throughout an entire composition or portion of a composition
P-bass: an abbreviation for the Fender Precision bass, a widely-used brand of electric bass
pad: in reference to the music played by a keyboardist, this refers to a "sythesizer pad", which is a sustained background synthesizer sound used to accompany a band or singer; in reference to sound engineering, this refers to an attenuation circuit which reduces the gain of an excessively "hot" signal, typically by 20 dB.
pedal: refers to a stompbox effect unit, a volume pedal, or a similar device.
pedale or ped: In piano scores, this instructs the player to use press damper pedal to sustain the note or chord being played. The player may be instructed to release the pedal with an asterisk marking (*). In organ scores, it tells a Hammond organist that a section is to be performed on the bass pedalboard with the feet.
pedal point: a sustained or repeated note in a song or tune, often in the bass register. The term is a reference to the bass pedal keyboards that are used to sustain a pedal point in organ music.
performance art: an experimental show which combines music, dance, visual effects, and drama (e.g., Laurie Anderson). Associated with some types of art rock and experimental rock.
pianissimo or pp (usually): very gently; i.e., perform very softly
piano or p (usually): gently; i.e., played or sung softly (see dynamics)
piano-vocal score: the same as a vocal score, a piano arrangement along with the vocal parts of an opera, cantata, or similar
pickup (or "pick-up"): in reference to an electric guitar or bass, this refers to the magnetic or piezoelectric device which transmits the vibrations of the string or the guitar body to an amplifier; in reference to a song or tune, a "pickup" or the "pickup notes" refers to one or several melodic notes which lead into a subsequent section (e.g., a band leader will tell the band to "start from the pickup into the bridge").
pickup group (or pickup band): a musical ensemble brought together for a single performance or a few performances.
pizzicato (or "pizz"): pinched, plucked; i.e., in music for bowed strings, plucked with the fingers as opposed to played with the bow
portamento: sliding in pitch from one note to another.
power chord: a chord consisting of a note, a fifth above, and the octave. It is widely used in rock, metal, hardcore punk, and other genres, usually with overdrive or distortion.
quarter tone: Half of a semitone; a pitch division not used in most Western music notation, except in some contemporary art music or experimental music. Quarter tones are used in Western popular music forms such as jazz and blues and in a variety of non-Western musical cultures.
rallentando or rall.: progressively slower.
register: part of the range of an instrument or voice. ("The lower register of the singer's voice was rich and dark").
registration: a setting or combination of stops or voices on an electromechanical organ (e.g., Hammond organ) or an electronic or "combo organ".
Reggae: a Jamaican style of popular music that features a strong, syncopated bassline, accompaniment with an undistorted electric guitar or Fender Rhodes on the offbeats, and chanted vocals.
remix: a second or subsequent "mixdown" of a set of recorded tracks. (see "mixdown").
reverb: refers to the echoing sound that occurs naturally to a voice or instrument in hall or room with reflective walls and, by extension, to analog or digital effect units which recreate this effect (reverb units).
Rhodes: refers to the Fender Rhodes brand of electric piano, and, by extension, to similar instruments produced by other manufacturers.
rig: in a live music context, this is a slang term used by musicians to refer to the audio processing and amplification gear used by a keyboardist, bassist, or electric guitarist. An electric bassist, for example, may refer to her speaker cabinet, bass amplifier "head" and rack-mounted effects units collectively as her "rig" (or "bass rig").
rit.: an abbreviation for ritardando;[1] also an abbreviation for ritenuto[2]
ritardando, ritard., rit.: slowing down; decelerating; opposite of accelerando
RMS: an acronym for "Root Means Square", a way of measuring the power-handling capacity of a loudspeaker or tweeter in watts. The RMS rating printed on the back of a speaker indicates the average power that the speaker can handle.
roadie: a slang term which refers to the employees of a musical group's touring road crew who load and unload musical equipment.
Roland: a Japanese musical instrument and audio equipment company that produces electronic keyboards, guitar amplifiers, effects units and other equipment.
rolled chord: a chord in which the notes of the chord are played one after the other, which each note being sustained.
sample (or "sampling"): to record a short portion from a live performance or from a recording of an instrument or group, so that this short "snippet" can be re-played or re-used in another performance or recording. In the 2000s, sampling is usually done by making a digital recording of the desired sample. Sampling is widely used in 2000s-era pop, hip-hop, and electronica.
scratch: in a recording context, this refers to a rough "scratch track", which is the recording of a rhythm section part or vocals which is done to provide a temporary reference point for the performers who will be recording their parts (the "scratch track" is erased later on; in the context of hip-hop music and turntablism, "scratching" refers to the manipulation of a vinyl record on a turntable with the hands and a DJ mixer to create rhythmic sounds.
segue: carry on to the next section of music without a pause
semitone: the smallest pitch difference between notes (in most Western music) (e.g., F–F#)
session musician (or "session player" or "session man"): in jazz and popular music, this refers to a highly skilled, experienced musician who can be hired for recording sessions.
shake: a jazz term describing a trill between one note and its minor third; or, with brass instruments, between a note and its next overblown harmonic.
sharp: a symbol (♯) that raises the pitch of the note by a semitone. The term may also be used as an adjective to describe a situation where a singer or musician is performing a note in which the intonation is an eighth or a quarter of a semitone too high in pitch.
shred: an adjective that is mainly used in connection to the electric guitar (or less commonly, to other stringed instruments such as banjo or electric bass}; it describes intense, virtuostic, rapid playing of the instrument (e.g., "shred guitar). It can also be used as a verb (e.g., "to shred").
sidefills: a slang term for onstage monitor speakers that are placed on the sides of the stage, to help performers to hear themselves.
sideman (or "sidemen"): refers to musicians in a band who accompany a lead singer, bandleader, or lead instrumentalist.
sibilance: the "hissing" sounds that occur when words with the letter "s" are sung; when vocals are sung into a microphone, the "s" sounds can be picked up excessively by the mic. Excessive silibance is prevented by using a pop screen or a compressor-triggered equalizer.
sign: another name for a symbol (called "segno" in Classical parlance) in written music scores. The score may instruct the band to jump from one section back to the part of the music marked with the sign.
sit in: in jazz and blues, to "sit in" is to be invited to perform onstage along with another group for one or several songs, often to perform improvised solos.
slapping (or "slap bass"): in reference to the electric bass, this term refers to a percussive, funky style of playing in which the low strings are slapped and the high strings are popped, used in funk, Latin, and pop. In reference to the upright bass, "slap bass" refers to a percussive style of playing in which the player strikes the strings against the fingerboard to create a percussive, rhythmic effect (used in traditional blues, rockabilly, and bluegrass).
snake: a slang term which refers to an audio multicore cable that terminates in a patchbay; it is used to route the signals of all of the onstage microphones and instrument amplifiers to the mixing board at the back of the performance venue.
solo break: a jazz term that instructs a lead player or rhythm section member to play an improvised solo cadenza for one or two measures (sometimes abbreviated as "break"), without any accompaniment. The solo part is often played in a rhythmically free manner, until the player performs a pickup or lead-in line, at which time the band recommences playing in the original tempo.
solo, plural soli: alone; i.e., executed by a single instrument or voice. The instruction soli requires more than one player or singer; in a jazz big band this refers to an entire section playing in harmony.
soprano: the highest of the standard four voice ranges (bass, tenor, alto, soprano)
standard tuning: for acoustic and electric guitar, the standard tuning is "E,A,D,G,B,E" (from lowest string to highest). For the electric bass, the standard tuning is "E,A,D,G". Altered tunings are used to obtain lower notes (e.g., drop D tuning, in which the low E string is lowered to a D), facilitate the playing of slide guitar, or to allow the playing of "open" chords that are not possible in standard tuning.
stompbox: a slang term which refers to a small, portable effect unit that has an integrated on-off footswitch (e.g., a distortion pedal).
stage piano: a high-quality, heavy-duty electric piano or digital piano designed for touring or installation in a commercial performance venue (e.g., a piano bar). Unlike synthesizer-style keyboards, a stage piano typically has weighted or semi-weighted keys, which give more of the feel of an acoustic piano. Some 2000s-era stage pianos include Hammond organ and clavichord voices, in addition to piano and electric piano sounds.
Stratocaster (or "Strat"): an electric guitar manufactured by Fender, which is widely used in rock and other popular music.
subwoofer (or "sub"): a speaker cabinet with a woofer that is designed for the reproduction of low-frequency sounds from about 20 Hz-200 Hz. Subs are used in PA systems and studio monitor systems. Subwoofers used for PA systems typically use large diameter woofers (18" or 21") mounted in large wooden cabinets. Studio monitor subs tend to use smaller cabinets and smaller-diameter woofers (10", 12", or 15"), because the goal with studio monitors is high fidelity, not massive sound pressure output.
sweetening: a recording production term that refers to the addition of additional instruments or voices--orchestral strings, vocal harmonies from a group of professional backup singers, Latin percussionists, etc--- to a basic "bed track" or "basic track" of bass, drums, and rhythm guitar or piano. Widely used in the 1970s in soft rock and disco.
sweet spot: in live sound or recordings in which a mic is placed in front of an instrument or a guitar amplifier, the "sweet spot" is a placement or position of a microphone which yields the most pleasing sound; in the context of listening to a mix in a studio through monitor speakers, the "sweet spot" is a distance away from the speakers that the engineer believes to produce the most natural sound.
syncopation: a disturbance or interruption of the regular flow of rhythm.
tabulature (or "tab"): for guitar, bass guitar, and other fretted stringed instruments, tab is a type of sheet music notation in which the strings of the instrument are depicted on paper using staff paper-like lines, and then the pitches to be played are indicated using a fret number on the appropriate string line.
tacet: silent; do not play.
take: in a recording session, a period of playing or singing which is recorded is called a "take".
tech: a technician or repairperson who tours with a band or group, and whose duties include setting up, maintaining, and repairing musical instruments and related accessories; different types include a "drum tech"; "bass tech", and a "guitar tech".
tempo: time; i.e., the overall speed of a piece of music
tenor: the second lowest of the standard four voice ranges (bass, tenor, alto, soprano)
tight sound: a recording of an instrument (e.g., drums) which uses very close miking done in a soundproof recording room to eliminate "bleeding" from other instruments or ambient background noise.
timbre: the quality of a musical tone that distinguishes different voices, instruments, amplifiers, and effects
time: in a jazz or rock score, after a rubato or rallentendo section, the term "time" indicates that performers should return to tempo (this is equivalent to the term "a tempo")
trainwreck (or "train wreck"): a slang term which refers to a major error that occurs during a performance, either due to an incorrect entrance by one or more performers, or due to the performers getting out of time or off pitch with each other ("At the end of the song, the band got lost and the backup singers began the "outro" lines a bar before the lead singer, which led to a confused "train wreck" of an ending").
transcription (or "note-for-note solo"): when a performer copies every note of a previously-recorded solo, this is called a "transcription" or a "note-for-note solo".
tremolo: shaking; i.e., a rapid repetition of the same note, or an alternation between two or more notes (often an octave on the piano). It can also be intended (inaccurately) to refer to vibrato, which is a slight undulation in pitch. It is notated by a strong diagonal bar across the note stem, or a detached bar for a set of notes (or stemless notes).
tube amplifier (or "valve amplifier"): a power amplifier which is based on vacuum tubes. Tube amps produce soft clipping with a natural compression, and they are widely used in electric guitar and electric bass amps, and in Leslie-type amplifiers that are used to amplify Hammond organs.
tuner: may refer to an electronic tuner, which is a digital or analog device which assists musicians to tune their instruments; or it may refer to a piano technician who tunes pianos or other keyboard instruments.
unison:several players in a group are to play exactly the same notes within their written part, as opposed to splitting simultaneous notes among themselves.
vamp till cue: a jazz, fusion, and musical theater term which instructs rhythm section members to repeat and vary a short ostinato passage, riff, or "groove" until the band leader or conductor instructs them to move onto the next section
'verb : an abbreviation for "reverb" which typically refers to the electronic reverb effect.
virtuoso: (noun or adjective) performing with exceptional ability, technique, or artistry
vocal score or piano-vocal score: a music score of a musical theater show or a vocal or choral composition where the vocal parts are written out in full but the accompaniment is reduced to two staves and adapted for playing on piano
voicing: the choice of, and order of notes in the playing of a chord, which creates a different sound. For example, a C Maj 7 chord played with the voicing "C, E, G, B" (letter names refer to individual pitches that make up the chord) is often considered to sound more "open" than a voicing where the chord is inverted so that some of the chord tones are very close in pitch (e.g., B, C, E, G). Another way that players may "voice" the same type of chord differently is by adding tones. For example, if a lead sheet shows the chord C Maj 7, some guitarists might play "E,A,D", a voicing which is "open" (insofar as it consists of large intervals) and which contains two "colour" tones, namely the sixth ("A") and the ninth ("D") of the chord.
VU meter: an abbreviation for "Volume Unit" meter; a sound level metering approach which measures the average sound levels. Commonly used in LED and needle indicators on mixing boards, sound processors, and other electronic gear.
whammy bar: an accessory on an electric guitar which can be used to bend down the pitch of an individual note or a chord (also referred to as a "tremolo bar")
woodshed: a slang term which refers to an intense period of practice and self-development that a musician has (or is believed to have) undergone. If a musician has dramatically improved his or her technique in a short period, a critic may state that the performer has "woodshedded" on technique.
XLR: a type of professional audio cable used to send balanced signals. Microphone cables have three pins in the connector. More rarely, five-pin XLR cables are used (e.g., for DMX). XLR cables are sometimes called "Cannon connectors", a reference to the first manufacturer of these cables.
Y-cable (or "Y-cord"): a cable with three ends, whereby one plug is joined to two plugs. This allows a single signal output to be plugged into two devices. For example, an electric guitarist could plug a single guitar into two guitar amps to create an unusual tone colour. Y-cables are also used to plug inserts into mixing boards (e.g., a compressor or reverb unit).
Z: an abbreviation for impedance, as seen in the terms "High-Z" (high impedance) and "Low-Z" (low impedance), which are used to describe speakers, microphones, cables, etc. Impedance, which is the electrical resistance of a device, is measured in Ohms.
zither: a stringed instrument with a soundbox which is used in traditional European folk music.
1x12": ...with one twelve-inch loudspeaker. Used for mid-sized venue PA cabinets and stage monitor speakers (with a horn), and lightweight bass and guitar combos and cabinets.
1x15": ...with one fifteen-inch loudspeaker. Used for PA cabinets and stage monitor speakers (with a horn), bass combos and cabinets, and in small venue subwoofer cabinets.
1x18": ...with one eighteen-inch loudspeaker, typically used in subwoofer cabinets for PA applications.
2x10": ...with two ten-inch loudspeakers. Used in electric guitar and bass combos and cabinets.
2x12": ...with two twelve-inch loudspeakers. Used in electric guitar and bass combos and cabinets, and, with a horn, as a PA cabinet.
2x15": ...with two fifteen-inch loudspeakers. Used in bass cabinets and, with a horn, as a PA cabinet.
2x18": ...with one eighteen-inch loudspeakers, typically used as a subwoofer for PA applications or in dance clubs.
4x10": ...with four ten-inch loudspeakers. Used in electric guitar and bass combos and cabinets.
4-track (or "four-track"): refers to a simple portable recording and mixing device widely used in the 1970s and 1980s which used compact cassettes.
5-string (or five-string): typically refers to an electric bass with five strings, which often means the addition of a low "B" string.'
6-string (or six-string): typically refers to an electric bass with six strings, which often means the addition of a low "B" string and a high "C" string. (Note: in rare cases, basses with even more strings are used).
7-string (or seven-string): typically refers to an electric guitar with seven strings, which often means the addition of a low "B" string. Seven-string guitars are associated with jazz, fusion, and metal styles.
8-track: a tape format popular in the 1970s.
8x10": ...with eight ten-inch loudspeakers. Used in electric guitar and bass cabinets. It is sometimes called a "stack", and, in the case of a bass cabinet, a "bass stack".
Art rock band Roxy Music performing in Toronto in 1974
acid rock: a style of rock music from the late 1960s and early 1970s which emphasized psychedelic imagery, unusual sound effects, and distorted guitar playing.
ad libitum (commonly ad lib; Latin): at liberty; i.e., the speed and manner of execution are left to the performer
alt (English) (also alt dom or altered dominant): a jazz term which instructs chord-playing musicians such as a jazz pianist or jazz guitarist to perform a dominant (V7) chord with altered upper extensions (e.g., sharp 11th, flat 13th, etc).
altissimo: very high
alto: high; often refers to a particular range of voice or instrument, higher than a tenor but lower than a soprano (e.g., alto sax)
amp: an abbreviation for "amplifier"; i.e., a musical instrument amplifier or a PA system power amplifier; also an abbreviation for ampere.
analog: sound equipment in which the signal containing the voice, electric guitar signal, etc. is electrical, rather than converted into digital "1's" and "0's" (binary system). Whether analog or digital recording and effects are "better" is a subject for debate. Proponents of analog effects and mixing boards often argue that analog gear has a "warmer" or more "natural" tone.
arpeggio: like a harp; i.e., the notes of the chords are to be played quickly one after another (usually ascending) instead of simultaneously. Arpeggios are frequently used as an accompaniment. See also broken chord in this list.
art rock: a avant-garde genre of rock that is related to progressive rock (Genesis; Rush; Gentle Giant); both genres tend to use unusual instruments, meters, and timbres, and both aim towards more complex, experimental compositions and novel sonic textures.
as is: a jazz term which instructs the performer to play the noted pitches as they are printed. Parts for jazz musicians in big bands often consist of lengthy sections of empty bars labelled with the changing time signatures and chord changes. Rhythm section members improvise an accompaniment (see comp), and lead instruments improvise solos. In sections where the jazz arranger wants the performers to read notated pitches rather than improvise, they indicate this with the notation "as is".
axe: a slang term which refers to an electric guitar, or, by extension, to any instrument (e.g., a bandleader may tell a saxophone player to "get your axe").
B: slang abbreviation for a B-3 organ (see below)
bark: a slang term used by keyboard players to refer to the growling, biting tone of a vintage Fender Rhodes electric piano.
bass: the lowest of the standard four voice ranges (bass, tenor, alto, soprano); the lowest melodic line in a musical composition, often thought of as defining and supporting the harmony; in an jazz or popular music context, the term usually refers to the double bass or the electric bass.
barre chord (or "bar chord"): a guitar chord in which the first (or another finger) holds down two or more adjacent strings (that is it "bars" several notes)
beat: (1) the pronounced rhythm of music; (2) one single stroke of a rhythmic accent
bend: jazz term referring either to establishing a pitch, sliding down half a step and returning to the original pitch or sliding up half a step from the original note. With the electric guitar, bending is widely used in blues, blues-rock, and rock and, to a somewhat different fashion, in jazz.
bin (or "bass bin"): a subwoofer cabinet that reproduces very low-frequency sounds, usually with some type of horn or transmission line system to enhance the bass response; typically used for the main, Front of House speaker system, but in rare cases, may also be used as part of a bass player's bass amplifier set-up. The term "bin" was more common in the 1980s; in the 1990s and 2000s, the term "subwoofer" or "sub" is much more widely used.
binary: a musical form in two sections: AB
bird's eye: a slang term for fermata, which instructs the performer to hold a note or chord as long as they wish
bleeding (or "bleed" or "bleed-through"): a slang term which refers to the ambient sounds that a microphone aimed at instrument A picks up from other instruments or singers in the same room. In some cases, "bleeding" is considered undesirable, if unwanted sounds from other instruments are picked up by a microphone. For example, if a guitar player plays an amazing solo during a recording, it may end up being unusable if mistakes by the drummer--20 feet away--are bleeding through into the mic in front of the guitar amp. To prevent "bleeding", studios use isolation booths and cloth-covered room dividers. In some cases, "bleed-through" is desirable, because it makes the recording sound fuller or more "live".
blow : a jazz term instructing a performer to improvise a solo over the chord progression of a jazz tune; may also be written "blowing section" or, in free jazz, "open blowing"
blues : in a jazz context, when "blues" or "solo on blues" appears at the start of a solo section, it is an abbreviation for "blues progression"; it instructs the performer to improvise solos over a 12-bar blues progression based on I, IV, and V7 chords.
blues : in a jazz context, when "blues" or "solo on blues" appears at the start of a solo section, it is an abbreviation for "blues progression"; it instructs the performer to improvise solos over a 12-bar blues progression based on I, IV, and V7 chords.
board: a shortened form of "mixing board", which refers to the audio mixing board used by live sound engineers and studio engineers to control the volume and tone of different instruments and voices, blend them in the desired proportions, add external effects (e.g., reverb), and route the final signal (or an intermediate signal) to desired locations (e.g., to a recording device; to Front of House speakers; to monitor speakers, etc). The term "board" may also be used as a shortened form of "fingerboard".
bouncer (or "doorman" or "cooler"): a security staffer who works at music and concert venues such as bars and clubs; the job of a doorman is to check for age of majority ID; search for concealed weapons, drugs, or alcohol; remove intoxicated or aggressive patrons; and enforce the rules of the venue (e.g., a rule against stage-diving or moshing).
bridge: Transitional passage connecting two sections of a composition, also transition. Also the part of a stringed instrument that holds the strings in place and transmits their vibrations to the resonant body of the instrument. Some bridges on electric guitars have a see-saw action called a whammy bar which allows notes or chords to be "bent" down in pitch.
broken chord: A chord in which the notes are not all played at once, but rather one after the other (i.e., an arpeggio).
cabinet (or "cab"): refers to a speaker cabinet, which is a wooden (or sometimes plastic) enclosure for a loudspeaker and, in some cases a horn or tweeter. Speaker cabinets are used to amplify instruments and vocals.
cadence: the point at which a melodic phrase "comes to rest" or resolves. A cadence often occurs on the "tonic" note (supported by the tonic chord--the "home chord" of the key). A cadence can also occur on other notes over the "tonic" chord, or over another chord such as the "dominant chord" (the chord built on the fifth scale degree).
call and response: a way of writing a song in which after a singer sings a line, other singers (e.g., backup singers or band members) respond with a line that completes the thought. Call and response singing was originally part of African-American work songs, and it subsequently became an important part of the blues.
capo: a clip-on metal or plastic device with a rubber-padded bar which holds down all six strings of the guitar in a fret position selected by the performer. It is attached with an elastic or spring-loaded mechanism. It allows a guitar player to have the open strings start at a higher pitch, thus facilitating the transposition of songs and the use of the "ringing", rich sound of open chords in unusual keys.
changes: a jazz term which is an abbreviation for "chord changes", which is the harmonic progression (or "chord progression") upon which a melody is based.
channel: in the context of a mixing board, a channel is one of the input sections into which a microphone or output from an instrument amplifier or instrument (e.g., an electronic keyboard) is plugged so that its volume and tone can be altered and so that it can be blended with other instruments and voices; in the context of an electric guitar amplifier or a bass amplifier, the term "channel" is used to refer to amplifiers which have two or more separate preamplifier, equalization, and effect settings ("channels") which a performer can switch between in a performance via a footswitch.
chops: a slang term which refers to a player's strong technique or endurance ("That alto sax player has great chops; she can play for hours.")
chord: a group of three or more notes that, when played simultaneously, can form a harmonic structure that can support a melody or a solo line. The simplest chords are triads, which are made of the first note of a scale and then alternate notes. For example, in the scale of C Major (C,D,E,F,G,A,B,C), the triad would be C,E,G. Seventh chords use four notes: they consist of a triad with an added interval. For example, in the scale of G Dominant (G,A,B,C,D,E,F,G), the four-note seventh chord would be G,B,D,F. There are also more complicated chords which add additional intervals (see ninth chord, "alt dom"). A chord can also be played one note at a time (see "arpeggio" and "broken chord").
chorus: the refrain of a song which is repeated a number of times, in alternation with verses and other sections (e.g., a guitar solo). In contrast to the verses of a song, the chorus tends to be simpler and more memorable, and it often uses more repetition of lyrics (e.g., "She loves me yeah, yeah, yeah..."). The term "chorus" may also be a synonym for "choir"--a group of singers; or it may refer to a chorus effect--the sound created when a voice or instrumental tone is doubled by other pitches which are not exactly the same, which creates a rich, shimmering sound.
chromatic scale: a sequence of all twelve notes in an octave, played in a row (either ascending or descending). Fragments of the chromatic scale are used in many styles of popular music, but more extensive use of chromatic scale tends to occur in jazz, fusion, and the more experimental genres of rock.
clam: a slang term which refers to a mis-played or out of tune note, often by a horn player.
clean: in reference to the sound of an electric guitar, Fender Rhodes electric piano, or other electric or electronic instrument, or to a recording of a singer or instrument or to an entire mix, "clean" means that the sound is undistorted and not muddy. For an electric instrument, the opposite of a "clean" tone is an overdriven, "clipped" (see "clipping"), or "dirty" sound.
clean channel: many electric guitar amplifiers have two "channels": a clean channel, which is undistorted, and an "overdrive" (or "dirty" channel), in which the signal is heavily preamplified and/or run through a distortion effect, thus producing a distorted signal. Amps with two channels come with a footswitch which allows the performer to switch between the two channels.
clipping: a synonym for distortion. With vocals, mic'd acoustic instruments, Front of House mixes, and monitor mixes, clipping is almost always deemed to be undesirable, and it is minimized by reducing gain levels, using compression devices, adding "pads" (attenuation circuits), etc. With electric guitars, electric basses, Hammond organs, electric piano, and other electric instruments, performers often purposefully add clipping to the signal by boosting the gain or using an overdrive pedal.
coda: a tail; i.e., a closing section appended to a piece of music (also called a "tag" or "outro").
coda: a tail; i.e., a closing section appended to a piece of music (also called a "tag" or "outro").
combo: an abbreviation for "combination", which is used in two senses in jazz and pop music. "Combo" can be the equivalent of "group" or "ensemble" (e.g.,"a jazz combo"). As well, "combo" refers to a "combination amplifier", so named because it includes an amplifier and a speaker in a single cabinet.
comp: a jazz term which instructs a jazz rhythm section performer (usually a chordal instrument such as jazz guitar, jazz piano, Hammond organ, etc) to play accompaniment chords. In a recording context, the term is an abbreviation for "composite", which refers to recording composite tracks.
comp tickets: an abbreviation for "complimentary tickets", which promoters give out to ensure that a concert will have a good-sized crowd; as well band members and touring staff may be given comp tickets that they can give to friends or family, as a "perk"
compressor: an electronic audio effect which automatically reduces the gain of a signal (vocals, instruments, etc) to a pre-set threshold, thus preventing unwanted peaks which could cause clipping. A compressor with extreme settings becomes a limiter, which protects speakers and horns from peaks.
Condenser microphone (or "condenser mic"): A microphone that uses the technique of "variable capacitance" to pick up sound. The diaphragm is on a charged metal plate, and as such, condenser microphones need power to operate. The power comes either from batteries or from a mic preamp or a mixing board. The power that is provided from a preamp or mixing board is called "phantom power".
cover (or "cover tune"): when a band plays a song that has been composed and recorded by another band, this is called a "cover tune"; also used as a verb (e.g., "to cover" a song by a certain band). The term may also refer to a cover charge, the door fee charged to customers for admission to a band's performance at a bar (the cover charge may go entirely to the band or it may be split with the bar, based on the agreement between the band and the establishment).
crossfader: on a DJ mixer, a crossfader is a control that slides on a left-to-right track. It allows a DJ to alternate between two channels, into which an audio input is plugged (e.g., a record player, CD player, iPod, etc). The left-most position of the slider control gives only Channel A. The right-most position gives only Channel B. The area of the sliding track between these two extremes is a blend of the two Channels. Crossfaders can be used to create smooth transitions between two songs on different sound inputs, or, when moved rapidly at the same time that a record is manipulated on a turntable, they can be used in create rhythmic scratching sounds and effects.
crossover: in a music industry context, a "crossover artist" or "crossover band" is a performer or group from one style that has managed to garner a following amongst fans of a different musical style. For example, some country performers have managed to get "crossover" hits in the pop charts. In an audio engineering context, a crossover is a frequency filter system that divides the frequencies in a signal into low and high or low, mid, and high components. In this way, the different frequencies can be routed to the appropriate speakers.
crunch: used to describe a specific type of highly distorted electric guitar tone used in heavy metal and thrash metal music, typically by the rhythm guitarist. When played with palm muting, it creates a characteristic heavy rhythmic sound.
cut time: Same as the meter 2/2: two half-note (minim) beats per measure. Notated and executed like common time (4/4), except with the beat lengths doubled. Indicated by three quarters of a circle with a vertical line through it, which resembles the cent symbol '¢'. This comes from a literal cut of the 'C' symbol of common time. Thus, a quarter note in cut time is only half a beat long, and a measure has only two beats. See also alla breve.
dead: an adjective that means non-reverberant, as in the case of a room in a recording studio that has very little natural reverb or ambience (e.g., a "dead room"). To "liven up" the sound of a track recorded in a "dead room", engineers will typically add electronic reverb effects. Alternately, the track could be re-recorded in a room with more reflective surfaces, to add natural reverb.
Decibel (or "dB"): The unit of measurement of audio level used in recording studios and by live sound engineers. Some cities and performance venues have decibel limits for live performances.
desk: British term for a "mixing board".
DI (or "DI Box"): an electronic device which alters the impedance of electric instrument signals (e.g., electric guitar, electric bass) so that they can be plugged into a mixing board or PA system. The DI box converts a high-impedance, unbalanced signal from an electric guitar into a low-impedance, balanced signal. Many DI boxes have a "ground lift" switch to remove AC hum from the electrical system.
DI (or "DI Box"): an electronic device which alters the impedance of electric instrument signals (e.g., electric guitar, electric bass) so that they can be plugged into a mixing board or PA system. The DI box converts a high-impedance, unbalanced signal from an electric guitar into a low-impedance, balanced signal. Many DI boxes have a "ground lift" switch to remove AC hum from the electrical system.
Digital Signal Processing (or "DSP"): the use of digital effects to alter the tone, sound, pitch, or other parameters of a signal. Many 2000s-era mixers, guitar amplifiers, and electronic keyboards have on-board DSP effects.
downtuned (or "detuned"): a guitar or bass that is tuned to a lower pitch than the standard tuning, which is (from low to high) EADGBE for guitar and EADG for bass.
downtuned (or "detuned"): a guitar or bass that is tuned to a lower pitch than the standard tuning, which is (from low to high) EADGBE for guitar and EADG for bass.
drive: an abbreviated form of "overdrive", which refers to the distortion that occurs when a tube amplifier is pushed to its limits.
drop: jazz term referring to a note that slides chromatically downwards to an indefinite pitch .
DSP: See "Digital Signal Processing".
dry: a signal that has no reverb effect, or more generally, a signal that has not been processed with any effects unit. Vocals are almost always recorded "dry", and then the reverb or other effects are added in post-production. Electric guitars and electric keyboards are often, but not always recorded with their effects (distortion, chorus, etc) already added.
dynamics: refers to the relative volumes in the execution of a piece of music
effects unit: an electronic device which alters or conditions the sound qualities in an electronic signal from a microphone, musical instrument, or recording. Effects units can be housed in rack-mounted chassis'; stompbox pedals; in computer software; or built into an amplifier (e.g., a guitar amp), mixer, or instrument (e.g., a Hammond organ).
encore (Fr): again; i.e., perform the relevant passage or an entire song or tune once more
engineer : in a live sound context, this refers to the audio engineer who controls the soundboard and/or leads the crew of audio technicians; in a recording context, this refers to the audio engineer who sets up and runs the technical aspects of a recording session.
fader: on a mixing board or DJ mixer, an audio level control that slides up and down in a track. (see also crossfader).
fall: jazz term describing a note of definite pitch sliding downwards to another note of definite pitch.
falsetto: male voice above usual bass or tenor range (see article)
feedback: the resonance loop created when a microphone or guitar pickup is placed close to a highly amplified speaker, often creating a howling or screeching sound. In most cases, musicians and sound engineers seek to avoid feedback with microphones and acoustic instruments; with electric guitar, especially in heavy metal and shred guitar playing it may be done on purpose.
fiddle: a slang term for a violin in bluegrass, country music, and folk music.
fill (English): a jazz or rock term which instructs performers to improvise a scalar passage or riff to "fill in" the brief time between lyrical phrases, the lines of melody, or between two sections
flat: a symbol (♭) that lowers the pitch of a note by a semitone. The term may also be used as an adjective to describe a situation where a singer or musician is performing a note in which the intonation is an eighth or a quarter of a semitone too low.
foldback: in Britain, this is the term for an onstage monitor speaker that helps performers to hear their singing and playing.
forte or f (usually): strong; i.e., to be played or sung loudly
forte or f (usually): strong; i.e., to be played or sung loudly
fortepiano or fp (usually): strong-gentle; i.e., 1. loud, then immediately soft (see dynamics), or 2. an early pianoforte
fortissimo or ff: very loud (see note at pianissimo, in this list)
fortississimo or fff: as loud as possible
Front of House (or "FOH"): refers to the speaker system which faces the audience (and the sound engineers who control it)
Front of House (or "FOH"): refers to the speaker system which faces the audience (and the sound engineers who control it)
FX: synonym for "effects" (e.g., a "multiFX" pedal" is a "multieffects pedal")
gig: a slang term which refers to a musical engagement at a bar or club, usually of a single night's duration
gliss: a continuous sliding from one pitch to another (a true glissando), or an incidental scale executed while moving from one melodic note to another (an effective glissando). See glissando for further information; and compare portamento in this list.
groupie: a somewhat pejorative term used to refer to fans of a rock group (typically refers to female fans).
harmony vocals (or "harmony parts"): backup singing which supports the main melody; the supporting parts are usually chord tones that form intervals of a third, fourth, fifth, sixth, or octave away from the main melody note.
harp: from blues harp, which in blues and related genres is a slang term for the harmonica.
homophony: A musical texture with one voice (or melody line) accompanied by chords; also used as an adjective (homophonic). Compare with polyphony, in which several voices or melody lines are performed at the same time.
horn: in a jazz, blues, or R&B context, the term "horn" refers generically to any brass instrument (e.g., saxophone, trumpet, etc). In a sound engineering context, "horn" refers to a flare-shaped housing into which a tweeter or loudspeaker is mounted as part of a speaker cabinet.
horn section: in a jazz, blues, or R&B context, this refers to a small group of brass players who accompany an ensemble by playing soft "pads" and punctuating the melodic line with "punches" (sudden interjections).
ignore changes: a jazz term used in 1950s and 1960s-era avant-garde and free jazz (e.g., Ornette Coleman) which instructs a soloist to improvise without following the chord changes being used by the rhythm section instruments.
intro: opening section of a song or tune.
J-bass: an abbreviation for the Fender Jazz bass, a widely-used brand of electric bass
jam (or "jam session"): in jazz, blues, rock, or related genres, an informal performance of improvised solos over well-known standard compositions (e.g., a blues progression or a jazz standard).
jazz standard (or simply "standard"): a well-known composition from the jazz repertoire which is widely played and recorded.
keyboardist : a musician who plays any instrument with a keyboard. In a jazz or popular music context, this may refer to instruments such as the piano, electric piano, synthesizer, Hammond organ, and so on.
keyboard amp: a combination amplifier designed for keyboard players that contains a two, three, or four-channel mixer, a pre-amplifier for each channel, equalization controls, a power amplifier, a speaker, and a horn, all in a single cabinet. Small keyboard amplifiers designed for small band rehearsals have 50 to 75 watts, a 12 inch speaker, and a horn. Large keyboard amplifiers designed for large clubs or halls have 200 to 300 watts of power, a 15 inch speaker, and a horn.
lay out: a jazz term which is the equivalent of the classical term tacet; it instructs the player to cease playing for a section or tune.
lead (pronounced "leed"): in guitar playing, a single-note melody or solo line. In Britain, the term also refers to a patch cable which is used to connect an electric guitar to an amp.
lead bass: a style of playing electric bass in which the player adopts a soloistic or melodic "voice", rather than, or in addition to playing the accompaniment role which is normally associated with the bass (e.g., Cliff Burton of Metallica).
leading note: the seventh note of a scale, which has a powerful "gravitational pull" towards the eighth note of the scale, which is the "home note" of the key. Because the seventh note of the scale has such a strong pull towards the eighth note, it is deemed to need to "resolve" to the eighth note.
Leslie: a brand name for a rotating speaker cabinet designed for use with the Hammond organ, but also used by some electric guitar players. The rotating horn and rotating baffle around the low-range speaker create an undulating effect.
line: a synonym for "melody" (as in the terms "melodic line"). (See also bassline).
line in: In an audio context, a "line in" is a jack found on mixers, guitar amplifiers, and recording devices. The "line in" jack allows a performer to add an input into a mixer, amplifier, or recording device.
line out: A "line out" jack provides an output signal from an amplifier or other device, which can then be patched into a mixing board, effect unit, PA system, etc.
marcato, marc.: marked; i.e., with accentuation, execute every note as if it were to be accented
measure: the period of a musical piece that encompasses a complete cycle of the time signature, e.g., in 4/4 time, a measure has four quarter-note beats
mezzo forte: half loudly; i.e., moderately loudly. See dynamics.
mezzo piano: half softly; i.e., moderately softly. See dynamics.
MIDI" an acronym for Musical Instrument Digital Interface, an industry-standard way for electronic devices to communicate information. MIDI connections can be used to connect synthesizers, electronic drum machines, sequencers, and so on.
Minimoog Model D: a Moog synthesizer which was produced from 1971-1984.
mixdown: the process near the end of the recording process in which all of the tracks of recorded music (e.g., 12, 24, or even 48 tracks of recorded vocals, guitars, keyboards, etc) are blended and placed onto the Left and Right channels of a standard stereo recording. A "remix" occurs when the same initial tracks are given a new "mixdown", thus blending the tracks in a different way, adding different effects, etc.
monitor: in a live music context, refers to speaker cabinets which are used to amplify the singing and playing of onstage performers so that the performers can hear themselves' in a recording context, refers to studio reference monitors, which are heavy-duty, low-coloration speakers designed for playing back mixes.
monitor mix: in live audio, the monitor mix is the blend of vocal and instrumental channels which is amplified and sent through onstage speakers which are directed towards the performers. The "monitor mix" often differs a great deal from the "Front of House" mix. In a typical bar band, the "monitor mix" will consist mainly of vocals, with the possible addition of other instruments that need additional onstage monitoring volume (e.g., harmonica, saxophone, synth).
Moog synthesizer: an early brand of analog synthesizer which was introduced in the late 1960s; newly-released Moog synthesizers are still produced in the 2000s.
natural: a symbol (♮) that cancels the effect of a sharp or a flat (see in this list)
neck: on a guitar (e.g., acoustic guitar, electric guitar, electric bass), violin-familiy instrument (e.g., violin, upright bass) or other stringed instrument, the neck is the long, thin piece of wood which extends from the soundbox or body of the instrument and upon which the strings are put under tension between the bridge (on a guitar family instrument) or the tailpiece (on a violin-family instrument) and the headstock (for guitars) or the tuning pegs (violin) or machine heads (upright bass). The neck on acoustic and electric guitars and most electric basses has metal frets which divide the neck into semitones. Violin family instruments and fretless electric basses do not have frets.
notch filter: a very precise type of equalizer (e.g., a parametric equalizer) which can be used to boost or cut very narrow frequency ranges. Notch filters are used to lessen feedback with microphones or lesson overly resonant notes on acoustic guitars.
note-for-note solo: a live or recorded performance by an instrumentalist which reproduces a previously recorded improvised solo. In some cases, the recreation of the previously-recorded solo may be faithful down to the smallest nuances, such as the use of "whammy bar" embellishments and "ghost notes".
octave: interval between one musical pitch and another with half or double its frequency. Octaves can be played one note after the other (e.g., a low C and then a high C), or they can be played together at the same time on instruments such as the guitar, piano, organ, etc.
octave pedal: an effects unit which electronically adds a note an octave (or two octaves) below or, less commonly, an octave above the note being played by the performer.
ohm: a unit of electrical impedance; speakers, microphones, headphones, and other gear is rated with its nominal impedance. (See also "Z", the abbreviation sometimes used for "impedance").
organ trio: in jazz or rock, a group of three musicians which includes a Hammond organ player and two other instruments, often a drummer and either an electric guitar player or a saxophone player.
ostinato: obstinate, persistent; i.e., a short musical pattern that is repeated throughout an entire composition or portion of a composition
P-bass: an abbreviation for the Fender Precision bass, a widely-used brand of electric bass
pad: in reference to the music played by a keyboardist, this refers to a "sythesizer pad", which is a sustained background synthesizer sound used to accompany a band or singer; in reference to sound engineering, this refers to an attenuation circuit which reduces the gain of an excessively "hot" signal, typically by 20 dB.
pedal: refers to a stompbox effect unit, a volume pedal, or a similar device.
pedale or ped: In piano scores, this instructs the player to use press damper pedal to sustain the note or chord being played. The player may be instructed to release the pedal with an asterisk marking (*). In organ scores, it tells a Hammond organist that a section is to be performed on the bass pedalboard with the feet.
pedal point: a sustained or repeated note in a song or tune, often in the bass register. The term is a reference to the bass pedal keyboards that are used to sustain a pedal point in organ music.
performance art: an experimental show which combines music, dance, visual effects, and drama (e.g., Laurie Anderson). Associated with some types of art rock and experimental rock.
pianissimo or pp (usually): very gently; i.e., perform very softly
piano or p (usually): gently; i.e., played or sung softly (see dynamics)
piano-vocal score: the same as a vocal score, a piano arrangement along with the vocal parts of an opera, cantata, or similar
pickup (or "pick-up"): in reference to an electric guitar or bass, this refers to the magnetic or piezoelectric device which transmits the vibrations of the string or the guitar body to an amplifier; in reference to a song or tune, a "pickup" or the "pickup notes" refers to one or several melodic notes which lead into a subsequent section (e.g., a band leader will tell the band to "start from the pickup into the bridge").
pickup group (or pickup band): a musical ensemble brought together for a single performance or a few performances.
pizzicato (or "pizz"): pinched, plucked; i.e., in music for bowed strings, plucked with the fingers as opposed to played with the bow
portamento: sliding in pitch from one note to another.
power chord: a chord consisting of a note, a fifth above, and the octave. It is widely used in rock, metal, hardcore punk, and other genres, usually with overdrive or distortion.
quarter tone: Half of a semitone; a pitch division not used in most Western music notation, except in some contemporary art music or experimental music. Quarter tones are used in Western popular music forms such as jazz and blues and in a variety of non-Western musical cultures.
rallentando or rall.: progressively slower.
register: part of the range of an instrument or voice. ("The lower register of the singer's voice was rich and dark").
registration: a setting or combination of stops or voices on an electromechanical organ (e.g., Hammond organ) or an electronic or "combo organ".
Reggae: a Jamaican style of popular music that features a strong, syncopated bassline, accompaniment with an undistorted electric guitar or Fender Rhodes on the offbeats, and chanted vocals.
remix: a second or subsequent "mixdown" of a set of recorded tracks. (see "mixdown").
reverb: refers to the echoing sound that occurs naturally to a voice or instrument in hall or room with reflective walls and, by extension, to analog or digital effect units which recreate this effect (reverb units).
Rhodes: refers to the Fender Rhodes brand of electric piano, and, by extension, to similar instruments produced by other manufacturers.
rig: in a live music context, this is a slang term used by musicians to refer to the audio processing and amplification gear used by a keyboardist, bassist, or electric guitarist. An electric bassist, for example, may refer to her speaker cabinet, bass amplifier "head" and rack-mounted effects units collectively as her "rig" (or "bass rig").
rit.: an abbreviation for ritardando;[1] also an abbreviation for ritenuto[2]
ritardando, ritard., rit.: slowing down; decelerating; opposite of accelerando
RMS: an acronym for "Root Means Square", a way of measuring the power-handling capacity of a loudspeaker or tweeter in watts. The RMS rating printed on the back of a speaker indicates the average power that the speaker can handle.
roadie: a slang term which refers to the employees of a musical group's touring road crew who load and unload musical equipment.
Roland: a Japanese musical instrument and audio equipment company that produces electronic keyboards, guitar amplifiers, effects units and other equipment.
rolled chord: a chord in which the notes of the chord are played one after the other, which each note being sustained.
sample (or "sampling"): to record a short portion from a live performance or from a recording of an instrument or group, so that this short "snippet" can be re-played or re-used in another performance or recording. In the 2000s, sampling is usually done by making a digital recording of the desired sample. Sampling is widely used in 2000s-era pop, hip-hop, and electronica.
scratch: in a recording context, this refers to a rough "scratch track", which is the recording of a rhythm section part or vocals which is done to provide a temporary reference point for the performers who will be recording their parts (the "scratch track" is erased later on; in the context of hip-hop music and turntablism, "scratching" refers to the manipulation of a vinyl record on a turntable with the hands and a DJ mixer to create rhythmic sounds.
segue: carry on to the next section of music without a pause
semitone: the smallest pitch difference between notes (in most Western music) (e.g., F–F#)
session musician (or "session player" or "session man"): in jazz and popular music, this refers to a highly skilled, experienced musician who can be hired for recording sessions.
shake: a jazz term describing a trill between one note and its minor third; or, with brass instruments, between a note and its next overblown harmonic.
sharp: a symbol (♯) that raises the pitch of the note by a semitone. The term may also be used as an adjective to describe a situation where a singer or musician is performing a note in which the intonation is an eighth or a quarter of a semitone too high in pitch.
shred: an adjective that is mainly used in connection to the electric guitar (or less commonly, to other stringed instruments such as banjo or electric bass}; it describes intense, virtuostic, rapid playing of the instrument (e.g., "shred guitar). It can also be used as a verb (e.g., "to shred").
sidefills: a slang term for onstage monitor speakers that are placed on the sides of the stage, to help performers to hear themselves.
sideman (or "sidemen"): refers to musicians in a band who accompany a lead singer, bandleader, or lead instrumentalist.
sibilance: the "hissing" sounds that occur when words with the letter "s" are sung; when vocals are sung into a microphone, the "s" sounds can be picked up excessively by the mic. Excessive silibance is prevented by using a pop screen or a compressor-triggered equalizer.
sign: another name for a symbol (called "segno" in Classical parlance) in written music scores. The score may instruct the band to jump from one section back to the part of the music marked with the sign.
sit in: in jazz and blues, to "sit in" is to be invited to perform onstage along with another group for one or several songs, often to perform improvised solos.
slapping (or "slap bass"): in reference to the electric bass, this term refers to a percussive, funky style of playing in which the low strings are slapped and the high strings are popped, used in funk, Latin, and pop. In reference to the upright bass, "slap bass" refers to a percussive style of playing in which the player strikes the strings against the fingerboard to create a percussive, rhythmic effect (used in traditional blues, rockabilly, and bluegrass).
snake: a slang term which refers to an audio multicore cable that terminates in a patchbay; it is used to route the signals of all of the onstage microphones and instrument amplifiers to the mixing board at the back of the performance venue.
solo break: a jazz term that instructs a lead player or rhythm section member to play an improvised solo cadenza for one or two measures (sometimes abbreviated as "break"), without any accompaniment. The solo part is often played in a rhythmically free manner, until the player performs a pickup or lead-in line, at which time the band recommences playing in the original tempo.
solo, plural soli: alone; i.e., executed by a single instrument or voice. The instruction soli requires more than one player or singer; in a jazz big band this refers to an entire section playing in harmony.
soprano: the highest of the standard four voice ranges (bass, tenor, alto, soprano)
standard tuning: for acoustic and electric guitar, the standard tuning is "E,A,D,G,B,E" (from lowest string to highest). For the electric bass, the standard tuning is "E,A,D,G". Altered tunings are used to obtain lower notes (e.g., drop D tuning, in which the low E string is lowered to a D), facilitate the playing of slide guitar, or to allow the playing of "open" chords that are not possible in standard tuning.
stompbox: a slang term which refers to a small, portable effect unit that has an integrated on-off footswitch (e.g., a distortion pedal).
stage piano: a high-quality, heavy-duty electric piano or digital piano designed for touring or installation in a commercial performance venue (e.g., a piano bar). Unlike synthesizer-style keyboards, a stage piano typically has weighted or semi-weighted keys, which give more of the feel of an acoustic piano. Some 2000s-era stage pianos include Hammond organ and clavichord voices, in addition to piano and electric piano sounds.
Stratocaster (or "Strat"): an electric guitar manufactured by Fender, which is widely used in rock and other popular music.
subwoofer (or "sub"): a speaker cabinet with a woofer that is designed for the reproduction of low-frequency sounds from about 20 Hz-200 Hz. Subs are used in PA systems and studio monitor systems. Subwoofers used for PA systems typically use large diameter woofers (18" or 21") mounted in large wooden cabinets. Studio monitor subs tend to use smaller cabinets and smaller-diameter woofers (10", 12", or 15"), because the goal with studio monitors is high fidelity, not massive sound pressure output.
sweetening: a recording production term that refers to the addition of additional instruments or voices--orchestral strings, vocal harmonies from a group of professional backup singers, Latin percussionists, etc--- to a basic "bed track" or "basic track" of bass, drums, and rhythm guitar or piano. Widely used in the 1970s in soft rock and disco.
sweet spot: in live sound or recordings in which a mic is placed in front of an instrument or a guitar amplifier, the "sweet spot" is a placement or position of a microphone which yields the most pleasing sound; in the context of listening to a mix in a studio through monitor speakers, the "sweet spot" is a distance away from the speakers that the engineer believes to produce the most natural sound.
syncopation: a disturbance or interruption of the regular flow of rhythm.
tabulature (or "tab"): for guitar, bass guitar, and other fretted stringed instruments, tab is a type of sheet music notation in which the strings of the instrument are depicted on paper using staff paper-like lines, and then the pitches to be played are indicated using a fret number on the appropriate string line.
tacet: silent; do not play.
take: in a recording session, a period of playing or singing which is recorded is called a "take".
tech: a technician or repairperson who tours with a band or group, and whose duties include setting up, maintaining, and repairing musical instruments and related accessories; different types include a "drum tech"; "bass tech", and a "guitar tech".
tempo: time; i.e., the overall speed of a piece of music
tenor: the second lowest of the standard four voice ranges (bass, tenor, alto, soprano)
tight sound: a recording of an instrument (e.g., drums) which uses very close miking done in a soundproof recording room to eliminate "bleeding" from other instruments or ambient background noise.
timbre: the quality of a musical tone that distinguishes different voices, instruments, amplifiers, and effects
time: in a jazz or rock score, after a rubato or rallentendo section, the term "time" indicates that performers should return to tempo (this is equivalent to the term "a tempo")
trainwreck (or "train wreck"): a slang term which refers to a major error that occurs during a performance, either due to an incorrect entrance by one or more performers, or due to the performers getting out of time or off pitch with each other ("At the end of the song, the band got lost and the backup singers began the "outro" lines a bar before the lead singer, which led to a confused "train wreck" of an ending").
transcription (or "note-for-note solo"): when a performer copies every note of a previously-recorded solo, this is called a "transcription" or a "note-for-note solo".
tremolo: shaking; i.e., a rapid repetition of the same note, or an alternation between two or more notes (often an octave on the piano). It can also be intended (inaccurately) to refer to vibrato, which is a slight undulation in pitch. It is notated by a strong diagonal bar across the note stem, or a detached bar for a set of notes (or stemless notes).
tube amplifier (or "valve amplifier"): a power amplifier which is based on vacuum tubes. Tube amps produce soft clipping with a natural compression, and they are widely used in electric guitar and electric bass amps, and in Leslie-type amplifiers that are used to amplify Hammond organs.
tuner: may refer to an electronic tuner, which is a digital or analog device which assists musicians to tune their instruments; or it may refer to a piano technician who tunes pianos or other keyboard instruments.
unison:several players in a group are to play exactly the same notes within their written part, as opposed to splitting simultaneous notes among themselves.
vamp till cue: a jazz, fusion, and musical theater term which instructs rhythm section members to repeat and vary a short ostinato passage, riff, or "groove" until the band leader or conductor instructs them to move onto the next section
'verb : an abbreviation for "reverb" which typically refers to the electronic reverb effect.
virtuoso: (noun or adjective) performing with exceptional ability, technique, or artistry
vocal score or piano-vocal score: a music score of a musical theater show or a vocal or choral composition where the vocal parts are written out in full but the accompaniment is reduced to two staves and adapted for playing on piano
voicing: the choice of, and order of notes in the playing of a chord, which creates a different sound. For example, a C Maj 7 chord played with the voicing "C, E, G, B" (letter names refer to individual pitches that make up the chord) is often considered to sound more "open" than a voicing where the chord is inverted so that some of the chord tones are very close in pitch (e.g., B, C, E, G). Another way that players may "voice" the same type of chord differently is by adding tones. For example, if a lead sheet shows the chord C Maj 7, some guitarists might play "E,A,D", a voicing which is "open" (insofar as it consists of large intervals) and which contains two "colour" tones, namely the sixth ("A") and the ninth ("D") of the chord.
VU meter: an abbreviation for "Volume Unit" meter; a sound level metering approach which measures the average sound levels. Commonly used in LED and needle indicators on mixing boards, sound processors, and other electronic gear.
whammy bar: an accessory on an electric guitar which can be used to bend down the pitch of an individual note or a chord (also referred to as a "tremolo bar")
woodshed: a slang term which refers to an intense period of practice and self-development that a musician has (or is believed to have) undergone. If a musician has dramatically improved his or her technique in a short period, a critic may state that the performer has "woodshedded" on technique.
XLR: a type of professional audio cable used to send balanced signals. Microphone cables have three pins in the connector. More rarely, five-pin XLR cables are used (e.g., for DMX). XLR cables are sometimes called "Cannon connectors", a reference to the first manufacturer of these cables.
Y-cable (or "Y-cord"): a cable with three ends, whereby one plug is joined to two plugs. This allows a single signal output to be plugged into two devices. For example, an electric guitarist could plug a single guitar into two guitar amps to create an unusual tone colour. Y-cables are also used to plug inserts into mixing boards (e.g., a compressor or reverb unit).
Z: an abbreviation for impedance, as seen in the terms "High-Z" (high impedance) and "Low-Z" (low impedance), which are used to describe speakers, microphones, cables, etc. Impedance, which is the electrical resistance of a device, is measured in Ohms.
zither: a stringed instrument with a soundbox which is used in traditional European folk music.
