Stride

Stride is a musical style that emerged in the early 20th century and is characterized by a combination of ragtime and blues influences. This genre is typically played on the piano and features a unique combination of improvisation and complex rhythms. Stride pianists were known for their virtuosity and mastery of the instrument, and their music was often performed in jazz clubs and other venues. The origins of this style can be traced back to the work of early jazz pianists such as James P. Johnson and Willie "The Lion" Smith, who were among the first to incorporate blues and ragtime elements into their compositions. Stride piano first gained widespread popularity in the 1920s and 1930s, during the height of the jazz age. It was during this time that a number of pioneering musicians emerged, including Fats Waller, Art Tatum, and Earl Hines, who helped to define the genre and push it in new directions. One of the defining features of stride piano is its use of a left-hand rhythmic pattern known as "stride." This involves playing alternating bass notes and chordal accompaniment in a rapid-fire manner, creating a driving, syncopated beat. The right hand, meanwhile, typically plays a melody or improvisation on top of this foundation. This technique allows for a great deal of flexibility and spontaneity in the music, as the pianist can vary the tempo, rhythm, and melody as they see fit. Another characteristic of the stride style is its use of complex harmonies and chord progressions. Stride pianists often employed unusual chord variations and modulations, creating a sense of harmonic richness and depth. This aspect of the music helped to distinguish it from other piano styles of the time, such as boogie-woogie and barrelhouse, which were more focused on repetitive, blues-based riffs. During the 1930s, stride piano continued to evolve and mutate, as musicians experimented with new styles and techniques. Some players, such as the legendary Art Tatum, began to incorporate elements of bebop and swing into their music, while others moved in a more avant-garde direction, exploring dissonance and atonality. However, despite these innovations, stride piano remained a popular and influential genre throughout the decade, and it continued to inspire subsequent generations of pianists and jazz musicians.

Elaine de Kooning: Elaine de Kooning was an American painter, teacher and writer, who was an active participant in the New York School of Abstract Expressionism. She was known for her vigorous brushwork and use of bold colors, as well as her portrait paintings of prominent cultural figures of the 20th century. Franz Kline: Franz Kline was an American painter associated with the Abstract Expressionist movement. His large-scale, black-and-white canvases are characterized by bold brushwork and an emphasis on structure and gesture, and make reference to both figurative and abstract forms. Joan Mitchell: Joan Mitchell was an American painter associated with the Abstract Expressionist movement. She was known for her large-scale canvases that use bold colors, gestural brushwork, and personal expression to create an emotional impact on the viewer. de Staël: Nicolas de Staël was a French artist of Russian origin, who became known for his abstract paintings characterized by their bold color and gestural brushwork. He was associated with the School of Paris, and is considered one of the most important abstract painters of the 20th century. Perle Fine: Perle Fine was an American abstract painter associated with the Abstract Expressionist movement. She was known for her use of color and line to create dynamic, expressive compositions. Richard Pousette-Dart: Richard Pousette-Dart was an American painter and sculptor associated with the Abstract Expressionist movement. He was known for his use of abstract forms, gestural brushwork, and an emphasis on the spiritual through his work. Robert Motherwell: Robert Motherwell was an American painter, writer, and teacher associated with the Abstract Expressionist movement. He was known for his large-scale paintings that explored themes of simplicity, balance, and the infinite. Hedda Sterne: Hedda Sterne was a Romanian-born American artist associated with the Abstract Expressionist movement. She was known for her painterly style, which incorporated elements of abstraction and figuration to create a highly personal expressive language. Mark Tobey: Mark Tobey was an American painter associated with the Abstract Expressionist movement. He was known for his use of calligraphic forms and symbols, which he used to create abstract compositions that are influenced by Asian art and spiritual practices. Clyfford Still: Clyfford Still was an American painter associated with the Abstract Expressionist movement. His large-scale canvases are characterized by their use of bold, gestural brushwork, and a focus on elemental forms and color to create a sense of tension and power.

1. James P. Johnson - "Snowy Morning Blues" 2. Fats Waller - "Handful of Keys" 3. Willie "The Lion" Smith - "Echoes of Spring" 4. Luckey Roberts - "Pork and Beans" 5. Eubie Blake - "Memories of You" 6. Jelly Roll Morton - "The Pearls" 7. Earl Hines - "Rosetta" 8. Art Tatum - "Tea for Two" 9. Mary Lou Williams - "Roll 'Em" 10. Teddy Wilson - "Sweet Lorraine" 11. Dick Hyman - "Carolina Shout" 12. Ralph Sutton - "Gin Mill Blues" 13. Joe Sullivan - "Little Rock Getaway" 14. Cliff Jackson - "The Pearls" 15. Dick Wellstood - "Original Rags" 16. Claude Bolling - "Original Ragtime" 17. Jay McShann - "Confessin' the Blues" 18. Hank Duncan - "I Can't Give You Anything But Love" 19. Ralph Sutton - "The Entertainer" 20. Bob Seeley - "The Pearls" 21. Butch Thompson - "Kansas City Stomps" 22. Mike Lipskin - "Viper's Drag" 23. David Thomas Roberts - "After You've Gone" 24. Stephanie Trick - "Handful of Keys" 25. Terry Waldo - "Honeysuckle Rose"

In his book "Jazz: A History of America's Music," acclaimed jazz historian Geoffrey C. Ward underscores the significance of Stride by stating, "The Stride style of piano playing was, like the blues, another product of the collective ingenuity of African Americans." Ward highlights how Stride, with its dynamic combination of ragtime and improvisation, contributed to the evolution of jazz as a distinctive and groundbreaking musical form. Pianist and scholar Ethan Iverson, in his exploration of the jazz piano tradition, "Do the Math: The Blog," offers keen insights into the technical and creative aspects of Stride. Iverson muses, "Stride style is a demanding combination of stride left hand and swing right hand, plus an occasional eight-bar improvisation." His commentary reflects the complexity and skill required to execute the intricate interplay between hands that defines the Stride style. Further insight into the emotional resonance of Stride can be found in the words of Alyn Shipton, a prominent jazz critic and biographer. In his book "A New History of Jazz," Shipton aptly describes the emotional depth of Stride piano, asserting, "What marks the Stride pianists out from the merely competent player is their ability to invest their performances with real emotion." This sentiment underscores how Stride's rich textures and expressive phrasing go beyond technical prowess to convey a profound emotional connection with both the music and the audience. Overall, the reflections of these authors and scholars highlight Stride's multifaceted impact on the jazz landscape, emphasizing its historical significance, technical challenges, and emotional resonance that continue to captivate audiences and musicians alike.

The social context in which stride emerged was influenced by the Great Migration of African Americans from the rural South to the urban North during the early 20th century. Many of these migrants settled in cities like New York, Chicago, and Detroit, where jazz music was becoming increasingly popular. Stride piano playing was one of the many musical innovations that emerged during this time, as musicians experimented with different styles and techniques to create new sounds. Another important factor that helped to usher in the age of stride piano was the emergence of radio broadcasting. Jazz musicians were able to reach a much wider audience through radio broadcasts, and this helped to popularize the genre and bring it to a wider audience. Many notable stride pianists got their start playing in radio broadcasts, which helped to cement their reputation as talented musicians. There were also several important record labels that played a significant role in promoting stride piano music. These labels included Columbia Records, OKeh Records, and others. Many of the most famous stride pianists of the era, including James P. Johnson and Fats Waller, recorded for these labels, helping to spread their music to a wider audience. Journalists and music critics also played an important role in promoting the music. Many of these critics were based in New York City, where stride piano playing was particularly popular. They wrote about the music in newspapers and magazines, helping to generate interest in the genre and introduce new audiences to talented musicians. In terms of technological context, the emergence of new recording technology helped to transform the music industry during the early 20th century. Prior to this time, music was primarily distributed through sheet music, which limited its reach to those who could read music and play an instrument. However, with the emergence of recorded music, people could listen to the latest music from the comfort of their own homes. Stride piano playing was particularly well-suited to recorded music, as it would have been difficult to capture the intricacies of the playing style through written sheet music alone. Recording technology made it possible for musicians to capture the nuances of their playing in a way that was not possible before, helping to bring the music to a wider audience.