Dameronia: The Life and Music of Tadd Dameron by Paul Combs

By Paul Combs

Dameronia is the 1st authoritative biography of Tadd Dameron, a tremendous and largely influential determine in jazz heritage as probably the most major composers and arrangers of jazz, swing, bebop, and massive 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 explain Dameron's position within the improvement of jazz within the post–World warfare II period. It additionally makes an attempt to make clear the tragedy of his retreat from the heart of jazz job within the Fifties. by way of tracing Dameron's occupation, one reveals that until eventually 1958, whilst he was once incarcerated for drug comparable offenses, he used to be on the vanguard of advancements in jazz, occasionally waiting for developments that might now not advance absolutely for numerous years. Dameron was once additionally a huge impression on a number of high-profile musicians, together with Miles Davis, Benny Golson, and Frank Foster. Dameron used to be a really deepest guy, and whereas in a few facets of his existence he'll most likely stay an enigma, this booklet manages to provide an intimate portrait of his existence at a few key phases: the peak of his occupation in 1949 and the short yet efficient interval among his unencumber from criminal and his death.

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Extra resources for Dameronia: The Life and Music of Tadd Dameron

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It is an exciting piece of music taken at a Lindy-­hop tempo, around 250 to 260 beats per minute, and to say it is an arrangement of a thirty-­two-­bar tune is to miss the point of its overall compositional structure. As in Dameron’s other works in this set (and in much of the best writing of the swing era), there is continual variation and development in “Society,” only here it could be said to be more extensive. ” The first eight measures (the A theme) are as written in the deposit, but the second eight are a variation, and after the bridge, the last eight measures are yet another variation, the last two measures tagged with a four-­bar interlude that modulates up a step to D minor/F major.

G mi7 C7 G mi7 C 7 G mi7 C7 G mi7 C7 œ œ Fig. ­4. ” Cmi7 F7 |Cmi7 F7 |Cmi7 F7 |Cmi7 F7 | B♭ |B♭mi6 |B♭mi6 |B♭mi6 | Dameron then uses this sonority in reharmonizing the background for the soloists in the next two choruses, replacing the Gmin7 chord in the A sections with a B♭mi6,26 which includes the note D♭ . This gives Dameron the opportunity to exploit the chromatic descent from D♭ to C. As we have seen, he likes this movement of the flatted sixth degree of the scale to the fifth or dominant.

5b. 5c. Ê C 7 (implied) b œ œ œ œ œ œ œ œ Œ + œ œ œ œ œ œ œ œ œ œ œJ œ . œ œ œ œ œ œ œ œ Ó œ œ œ œ Fig. ­5. ” are on the strong beats, adding to the rhythmic tension, which is resolved in the third measure (+), where the figure resolves into the longer eighth-­note line. ” Regardless of whether Tadd Dameron or Myra Taylor wrote the song itself, Dameron’s arrangement for “Dig It” is a solid as the others written for the Rockets. The song is kind of advertisement for the Rockets, with Myra Taylor singing the praises of the band.

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