Historical Dictionary of Jazz. John S. Davis

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      CHOPS

      A term referring to either the actual embouchure used on a brass or woodwind instrument or the facial muscles used to create that embouchure. It may also be used to refer to a musician’s technical proficiency, as in “He has great chops.”

      CHORD PROGRESSION

      The harmonic movement from one chord to another or, more generally speaking, a series of chords within a song. Some chord progressions in jazz have become standard, as in the blues or in a turnaround. See also CHANGES.

      CHORD SYMBOL

      The specific notation used to denote the root and quality of a chord in a song. See also CHANGES; CHORD PROGRESSION.

      CHORUS

      In jazz, this refers to performing the harmonic progression to a song once through, either with the melody being performed or with an improvised solo. It is often repeated to allow for more statements of the melody or more improvised solos.

      CHRISTENSEN, JON (1943–2020)

      A Norwegian jazz percussionist who, early in his career, was the main drummer of choice for American jazz musicians visiting Norway. In the late 1960s, he played alongside Jan Garbarek on several recordings by the composer George Russell. He went on to perform at festivals with Dexter Gordon, Phil Woods, Sonny Stitt, and Sonny Rollins, among others. In the 1970s, Jon Christensen would record a number of albums on the ECM label, and he was central to developing the style that characterized ECM throughout the 1970s, 1980s, and 1990s, drumming in Keith Jarrett’s European Quartet and many other groups. See also EUROPE.

      CHRISTIAN, CHARLIE (1916–1942)

      An American guitarist in the early bebop style, Christian grew up poor in Oklahoma City. By 1937 he was experimenting with amplifying his acoustic guitar, and in 1939 he was discovered by talent scout John Hammond, who convinced Christian to travel to Los Angeles and audition for Benny Goodman. That evening at the Victor Hugo Restaurant in Beverly Hills, Goodman, initially unimpressed with Christian, called for the tune “Rose Room.” When it was Christian’s turn to solo, he played 25 choruses that electrified the audience and convinced Goodman to put him in the group. From 1939 to 1941 he played with Goodman and became an important fixture at the famous jam sessions held at Minton’s Playhouse, which included Thelonious Monk, Dizzy Gillespie, Charlie Parker, and Kenny Clarke. One of the most influential guitarists in the history of jazz and popular music, Christian’s style and lines were incorporated and imitated by guitarists and bop musicians for years afterward. Christian contracted tuberculosis in 1941 and died in 1942.

      CHRISTLIEB, PETER (1945–)

      Born into a music family, Christlieb started playing saxophone professionally just out of high school. He occasionally substituted for his teacher, Bob Cooper, at the Lighthouse Café in Hermosa Beach, California. Pianist Jimmy Rowles heard Christlieb and became a big influence on Christlieb’s concept of playing. Just out of high school, Christlieb joined the Si Zentner band. Christlieb briefly played with Woody Herman in 1966 before joining Louie Bellson in 1967, with whom he would continue to perform for the next 20 years. He was also a member of Doc Severinsen’s Tonight Show band through 1992, in addition to playing with the bands of Count Basie, Benny Goodman, Mel Lewis, and Bob Florence, among others. He played as a member of other television show bands including the Glen Campbell Show, The Bill Cosby Show, and Sonny & Cher. He co-led a group with saxophonist Warne Marsh, and in 1978 their album Apogee (Warner Bros.) was a critical success. Christlieb has been nominated for three Grammy Awards in the category of Best Jazz Soloist.

      CIRCLE

      A free jazz group founded in 1970 by Chick Corea, Anthony Braxton, Dave Holland, and Barry Altschul.

      CIRCLE

      A record label and company founded in 1946 with the goal of recording the cultural transition from African music to jazz. Several different ensembles and artists were recorded, and in addition several records by Jelly Roll Morton were reissued.

      CIRCLE

      A record label and company founded in Germany in 1976 that issued mainly free jazz and bop records.

      CIRCULAR BREATHING

      A method used by wind players to continuously play without interrupting the tone to breathe. It is accomplished by breathing through the nose while using the cheeks to continue to push air through the instrument.

      CLAMBAKE SEVEN

      An octet formed by Tommy Dorsey in 1935 that served as a smaller ensemble within his big band. The group would perform interludes during the big band’s performances and also at jam sessions in addition to making several recordings. Founded to contrast with the relatively rigid style of big band music of the time, it was an excellent solo vehicle for many of its members until it was disbanded in 1952.

      CLARINET

      A single-reed woodwind instrument, popular in early jazz and played by Benny Goodman, Woody Herman, and Artie Shaw, among others. See also BASS CLARINET; BATISTE, ALVIN (1932–2007); DANIELS, EDDIE (1941–); DAVERN, KENNY (1935–2006); DODDS, WARREN “BABY” (1898–1959); HUCKO, MICHAEL ANDREW “PEANUTS” (1918–2003); NOONE, JIMMIE (1895–1944); PROCOPE, RUSSELL (1908–1981); RUSSELL, CHARLES ELLSWORTH “PEE WEE” (1906–1969); SWEATMAN, WILBUR (1882–1961).

      CLARKE, KENNY (1914–1985)

      American drummer who was instrumental in the bebop movement. Clarke got his start playing with Roy Eldridge in Philadelphia, then moved to New York by way of St. Louis. While in New York he played in the house band at Minton’s Playhouse and, along with Thelonious Monk, Charlie Parker, Dizzy Gillespie, Charlie Christian, and Bud Powell, helped lay the foundation for the bebop style. Central to his playing were moving the timekeeping role on the drum set from the bass drum to the ride cymbal, which freed up the snare and bass drum to be used in his trademark “dropping bombs,” or adding offbeat accents. After a brief stint in the military, Clarke became a founding member of the Milt Jackson Quartet (the forerunner to the Modern Jazz Quartet) in 1951 and also made many recordings with Miles Davis, including the seminal recording Birth of the Cool. After his association with the Modern Jazz Quartet ended in 1955, he moved to Paris and performed with Bud Powell’s trio, among many other groups. He continued to live and work in Europe until his death in 1985.

      CLARKE, STANLEY (1951–)

      Settling on the bass guitar only after learning the accordion, violin, cello, СКАЧАТЬ