By Paul Combs
Dameronia is the 1st authoritative biography of Tadd Dameron, an incredible and broadly influential determine in jazz heritage as probably the most major composers and arrangers of jazz, swing, bebop, and large band. He prepared for names like count number Basie, Artie Shaw, Jimmie Lunceford, and Dizzy Gillespie and performed with Bull Moose Jackson and Benny Golson. This ebook units out to elucidate Dameron's position within the improvement of jazz within the post–World struggle II period. It additionally makes an attempt to make clear the tragedy of his retreat from the heart of jazz task within the Fifties. by way of tracing Dameron's profession, one unearths that until eventually 1958, whilst he used to be incarcerated for drug similar offenses, he was once on the leading edge of advancements in jazz, occasionally looking ahead to developments that may no longer boost totally for numerous years. Dameron was once additionally a huge effect on a number of high-profile musicians, together with Miles Davis, Benny Golson, and Frank Foster. Dameron was once a truly inner most guy, and whereas in a few points of his lifestyles he'll most likely stay an enigma, this ebook manages to offer an intimate portrait of his existence at a number of key phases: the peak of his profession in 1949 and the short yet effective interval among his free up from criminal and his death.
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Additional resources for Dameronia: The Life and Music of Tadd Dameron
He is also careful not to overuse E♭7 as a substitute for C7, saving it only for the second measure of the A section of the tune. Also worth noting is the ensemble variation on the A section at the beginning of the second chorus. The melodic line of this ensemble (fig. 1) is centered around the note G, the ninth of the tonic F chord, before it comes to rest on D, the sixth of F chord. This choice of notes, and the block-chord voicing, foreshadows his writing for smaller ensembles in the late 1940s.
Riff 4 Bridges solos + Coda at half tempo, Bridges leading the ensemble “Keep Rockin’” and “Dig It” are taken at a medium tempo, indicated by Dameron as a “bounce” in the scores that he wrote in this period. Like “400 Swing,” “Keep Rockin’” is a “Honeysuckle Rose” type of tune, and in arranging it Dameron again stresses development of the melodic content, giving it the same close attention he would give one of his own melodies. The introduction brings the listener’s attention to the note C above middle C, which is the first note of the melody, in a way that makes its arrival in the first full chorus sound inevi- 24 Dameronia table.
The caption reads: Promising arranger whose work has been causing much talk in colored jazz circles is Tad Dameron, 23-year-old Cleveland boy now under full-time contract to Harlan Leonard, the Kansas City band leader. 29 There seems to be no surviving evidence of any early work Dameron did for Kirk, Millinder, or Basie. However, there are at least two surviving arrangements for Basie from later in the 1940s, as well as indications that Dameron wrote for Millinder (also later in the 1940s) and work that suggests he may have written for Kirk.