Note:This thesis is part of a research project submitted in partial fulfillment of the degree of Doctor of Musical Arts in the School of Music. The project also involved the preparation and performance of a recital of music related to the thesis topic.

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Title:Texas tenors; Arnett Cobb, Illinois Jacquet: Historical context and comparative analysis of their style and influence from 1941-1947
Author(s):Lautenbach, Andrew Arthur
Advisor(s):McNeill, Charles
Contributor(s):McNeill, Charles; Carrillo, Tito; Lund, Erik; Solis, Gabriel
Department / Program:School of Music
Discipline:Music
Degree Granting Institution:University of Illinois at Urbana-Champaign
Degree:A.Mus.D. (doctoral)
Subject(s):Illinois Jacquet
Arnett Cobb
Texas Tenor(s)
Tenor Saxophone
Southwestern Jazz
Texas Jazz
Abstract:Arnett Cobb and Illinois Jacquet represent the epitome of the ‘Texas Tenor’ saxophone style, known for its extremes of register, one-note riff repetitions, vocal blues-based call-and-response structures, and non-Western tone colors derived from West African vocal technique. The vocal quality of the saxophone made it the perfect instrument for expressing, and even exaggerating, the sounds that were previously only part of West African-derived vocal traditions in America. The Texas tenor style belongs to a musical landscape shaped not only by the contributions of the early Afro-American church, the Delta blues vocalists, and the territory bands of the Southwest, but also the early innovators of the tenor saxophone such as Coleman Hawkins, Lester Young, Herschel Evans, and Ben Webster. Cobb and Jacquet achieved national recognition during their time with the Lionel Hampton Orchestra with their highly influential solos on ‘Flying Home,’ forming the stylistic bedrock for later generations of jazz, R&B, blues, rock, soul, funk, and gospel tenor saxophonists. Jacquet joined Hampton in 1940 and began recording in 1941, then recorded his ‘Flying Home’ solo in 1942. He left Hampton the same year to form his own group and was replaced by Cobb, who recorded his own version of ‘Flying Home’ in 1944, remaining with the band until 1947. The years from 1941 to 1947 represent appropriate beginning and ending points to discuss the early maturity of their style, and the improvisational output heard on recorded material with Hampton serves as the basis for comparing their earliest work outside of the band.
Issue Date:2020
Publisher:School of Music, College of Fine + Applied Arts, University of Illinois at Urbana-Champaign
Genre:Dissertation / Thesis
Type:Text
Image
Language:English
URI:http://hdl.handle.net/2142/108395
Rights Information:Copyright 2020 Andrew Lautenbach
Date Available in IDEALS:2020-10-02


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