It is very hard to say what started the important place of the trombone in the jazz band, both in the bands of early jazz, and in the current jazz form most common today. There is no way to pinpoint who was the first jazz trombone player, because there was no definite moment when someone picked up a trombone and played what we'd consider jazz today. Even the history of jazz is a little muddied in its origins. Some say it was definitely born in New Orleans, others are positive it was born in a variety of places, not one specific city. Through examining the history of jazz, the history of the trombone, and important musicians that gave the trombone a voice in jazz, I plan to show how the trombone grew in jazz to be considered the staple jazz instrument it is today.
The history of the trombone.
The trombone began not as the instrument we know today, but as the sackbut, a name probably of Spanish origin, from the word sacabuche which means "draw pipe." The word trombone can also be reduced to its Italian meaning, big trumpet. (Nuckles, 1999)
It is a cylindrical bored instrument with a long slide, which when lengthened and shortened changes the length of the column of air in the instrument, and thus changes the pitch of the note that is played. The trombone has not changed much from its first known appearance in 1501. The tone, however, has. "Leave no doubt that the trombone of the sixteenth and seventeenth centuries possessed a tone quality far removed from that of the present day. Some writers, in fact, go so far as to suggest that the early trombone must be regarded as a different instrument ... but in the case of the trombone such changes as have taken place in its construction have been due hardly at all to improved technology and almost entirely to changes in the role it has been required to play in the music of succeeding periods." (Gregory, 1973, p.29)
One important example of the changes that have effected the tone of the instrument is the changes in the size of bore of the trombone, and also in the size of the bell. The early trombone had a small bore, and a small bell, giving it a light and airy sound. "Most of these early instruments have a bore of about 1 cm. (.39 inches) as compared with .48 to .525 inches or more in a modern tenor ... There is a much greater proportional of cylindrical tubing in these old instruments, the expansion beginning only in the last branch and ending in a funnel-shaped bell with practically no flare and a terminal diameter of only 3 1/2 to 4 inches as compared with 7 1/2 to 8 inches in the modern instrument." (Gregory, 1973, p.30) The effect of a larger bell is a more rounder sound, and the smaller the bell and bore, the brighter and more piercing the sound.
One last factor of the history of the trombone relates to its history and importance in jazz. The mouthpiece of early trombones was a smaller, conical shaped one, resembling a french horn mouthpiece. "The general effect of such a mouthpiece would be to produce a mellower tone." (Gregory, 1973, p.32) Modern trombones have many sized and shaped mouthpieces, but all are shaped like a cup attached top a shaft of varying length, which allows for a brighter, sharper sound.
Thus, early on the trombone was not designed to stick out and play loud, brassy tones. This, however, was to change. As the trombone gained importance in classical music, its orchestral role became to provide a bigger, brassy sound. With the advent of the marching band, and the jazz band, the trombone needed to adapt to be able to project its sound. The modern trombone shows these changes in design which have been spurred by its common use in the orchestra, band, and jazz band. If the trombone was not such an important part of each of these groups, not only would there not have been obvious changes in its structure, we wouldn't have seen the variation in types of tenor trombones that are produced even today.
The history of jazz.
Many people argue that jazz began around 1895 in New Orleans. Home to jazz legends such as Joe "King" Oliver, Kid Ory, and Jelly Roll Morton New Orleans was obviously a hot spot for the developing musical form we would eventually call jazz. Other forms of music combined to form jazz, such as ragtime, blues, and the marching band's music. Vaudeville, an opportunity for musicians to travel and perform, also helped lead into the early beginnings of jazz. What made jazz different was its improvisational aspect. Jazz was different than traditional Western music because it was not written down until Jelly Roll Morton started the written jazz tradition. (Avorgbedor, 1999)
"In a Jazz piece, the song is often just a starting point or frame of reference for the musicians to improvise around. The song might have been a popular ditty or blues that they didn't compose, but by the time they were finished with it they had composed a new piece that often bore little resemblance to the original song. Many of these virtuoso musicians were not good sight readers and some could not read music at all, never the less their playing thrilled audiences and the spontaneous music they created captured a joy and sense of adventure that was an exciting and radical departure from the music of that time." (The Red Hot jazz Archive, 1999)
Although it wasn't until later, under Louis Armstrong's influence, that short improvisational breaks were extended to make the more recent long solo breaks, (Avorgbedor, 1999), solo and small group improvisation was also a part of the music itself which led to jazz musicians making names for themselves.
The precursors to jazz were the brass band, the dance orchestra, and the "syncopated orchestra." Based off of the big brassy sound, each one featured instruments common to the marching band. As WWI became a part of American's lives, the prominence of marching bands, and the syncopated orchestras which incorporated the same instruments gained popularity. Pretty soon, these types of bands merged their music to form jazz. (Southern, 1997) Jazz now included much "collective improvisation," entire (mostly brass) ensemble playing, the bending of notes, and a march-like, straight beat. (Avorgbedor, 1999)
What began in the south (New Orleans) migrated to the north. "During the last half of the second decade, two phenomena occurred that greatly affected the development of jazz. As we have seen, there was a wholesale migration of blacks out of the South beginning about 1915 ... The second phenomenon was the exodus of tenderloin musicians from New Orleans because of the closing down of Storyville in 1917 by order of the United States Navy. The displaced music makers went "up the river," to Memphis and other river towns, and continued north to Chicago." (Southern, 1997, p.367)
The jazz style changed again, to Chicago, or Dixieland style. When the musicians moved, their influences, and thus their music changed. More instruments were added, solos became longer, (Louis Armstrong) the music was faster and more "arranged," and there was more of an um-pah feel to the rhythms of the music. (Avorgbedor, 1999)
Later, jazz would morph again, with the popularity of Count Basie, Tommy Dorsey, Glenn Miller, and Duke Ellington, among many, a more "big band" sound developed, with the instrumentation of a section of four to five saxophones, trumpets, and trombones each, and a more extensive rhythm section, and a bigger, brassier sound. The showy stage presence helped to make them very popular in the 1940s and 50s.
Jazz is a continually changing musical form, like any other type of music. This is only a small glimpse of the history of jazz, because to detail it all would take more than a book. Suffice to say, jazz has roots in marching band, ragtime, and blues music.
The trombone in jazz.
The trombone played a very important part in jazz from the very beginning of its history. Because jazz had its roots in marching band, the early jazz band usually consisted of a trumpet, clarinet, trombone, drums, tuba, washboard, and banjo. (Avorgbedor 1999) Because it was a common instrument in vaudeville travelling acts and the marching band, it was carried over into the jazz band. Because many ragtime, blues, vaudeville, and marching band players also played in syncopated orchestras and what were soon called "jass, jasz, or jazz" bands, the trombone became an important part of the beginning jazz band structure.
"In the classic New Orleans band, for example, the "front line" consisted of three instruments that were given melodic roles; the coronet typically played the lead, the clarinet played a countermelody, and the trombone played the lower voice of the trio." (Southern, 1997, p.368) Mostly the trombone played the roots of the chord progressions, but because of the sounds their slides could make, (shakes, glissandos, rips, and bending of notes,) they often got a bit of attention in pieces they might not have received if they were only playing a bassline. (Avorgbedor, 1999)
The trombone has evolved in recent years to better suit the sound required by a jazz band. Instrument manufacturing companies now make tenor trombones specifically for jazz and separate ones for classical playing. Having a separate instrument specifically for playing jazz is quite unlike any other instruments in the jazz band, such as the saxophone. Although these instruments have different mouthpieces for jazz, (as does the trombone) and sometimes come without lacquer, or are gold toned, (for a louder, brassier jazz sound) the jazz trombone model has very specific differences in instrument design. It has a smaller bore, which as mentioned earlier, allows for a brighter, brassier sound that emphasizes the higher partials of the instrument. Because so much upper register playing is required in jazz, and such a broad range is incorporated in jazz music and solos, this is very beneficial to the jazz trombone player. Often times specific jazz trombones have smaller bells, and are gold toned, and are straight horns, which means they have no F attachment. Each of these changes helps to provide a bright, brassy sound and helps the trombone with the projection needed in order to project the "jazz sound."
There are also many famous jazz trombone players who made a name for themselves and changed and influenced jazz history. One such person is Edward (Kid) Ory. Born in La Place, Louisiana, he not only led one of the first jazz bands in 1911, but he played with Buddy Bolden, the "Father of New Orleans Jazz" and played in Louis Armstrong's "Hot Five." "Kid Ory was one of the first bonafide jazz trombonists. He was active at a time when the role of the trombone was essentially that of accompaniment, playing the roots and fifths of chords ... The essential difference between Ory and his contemporaries was a kind of daring, manifest in unexpected turns and humorous utterances." (Baker, 1973, p.102)
There are many other trombone players throughout the history of jazz that have influenced jazz and shown the important link between the trombone and jazz. Tommy Dorsey was a jazz trombone player born in 1905 in Pennsylvania who not only had his own jazz band, but was a trombone player. Along with Glenn Miller, a jazz trombonist, arranger, and eventual bandleader, they, along with many others, popularized a big band sound and each led their own jazz bands. J.J. (James Louis) Johnson was another jazz trombonist born in 1924 in Indianapolis, Indiana who made a name for himself and the trombone, playing with artists such as Count Basie and Miles Davis. "J.J. Johnson is perhaps the most important jazz trombonist of his time. Virtually every modern trombonist is indebted to him. He is considered by most critics, musicians, and jazz buffs to be the colossus of modern trombone. He has explored practically every aspect of trombone playing and his playing continues to evolve." J.J. Johnson helped make the trombone more than just an instrument for jazz band bassline accompaniment, "Putting the instrument technically on par with the trumpet and saxophone." (Baker, 1973, p. 75)
The trombone has played a very important role in jazz. Not only as one of the first instruments to define the early "jass band," but as an instrument that at first helped in playing the lower voice of chord changes, eventually making a name for itself in melodic aspects as well. There are too many jazz trombonists who have changed jazz history with their playing to mention. "Mercer Ellington has stated that 'the trombones were always Pop's favorite section in the band.'" (Deitrich, 1995 p.195) Suffice to say, the trombone's history has been deeply intertwined with the history of jazz itself, and has played a very important role in the development of the art of jazz.
Bibliography
Avorgbedor, Dr. Daniel. Class notes and Early Jazz Handout. 6/2/99.
Backstrom, Karl. Trombone History http://www.geocities.com/Vienna/2184/trombone.htm
Baker, David. Jazz Styles and Analysis: Trombone Chicago:Maher Printing Company. 1973.
Deitrich, Kurt Duke's 'Bones: Ellington's Great Trombonists Germany:Advance Music. 1995.
Gregory, Robin. The Trombone: The Instrument and its Music New York:Praeger Publishers. 1973.
Kansas City Jazz Age. http://www.kcjazzage.com/history
Nuckels, Brian. The Trombonist's Corner http://www.geocities.com/Vienna/1452/
Southern, Eileen. The Music of Black Americans New York:W.W. Norton and Co. 1997.
The Red Hot Jazz Archive. http://www.redhotjazz.com
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