About the Artwork:I Be Serious ’Bout Dem Blues is, like the title says, a

blues. In fact, this is what is called a twelve-bar blues

(four beats per bar). It starts with a high energy trumpet

solo by Snooky Young who shortly after, trades

choruses with fellow trumpeter Bobby Bryant. Next

we hear the saxophones section play an extended riff,

the first time it is subdued and low, the second time

is higher and accompanied by a “shout” chorus in the

trumpets and trombones. The last section is a super

shout chorus, with the extended riff and many strong

rhythms and melodies played throughout the orchestra.

(continued on page 2)

Creative Process of the Artist or Culture:John Clayton is the primary composer and arranger

for the Clayton-Hamilton Jazz Orchestra. His

creative process involves composing (melody, harmony,

rhythm) and arranging (what and when instruments

play). He likes to find a quiet space before he creates

music, this helps him to get focused and allows his

musical intuition to flow. Then he writes, in words,

a brief description of how he wants

the music to sound, this may include

tempo, style, mood, or more

general ideas like slow chords in the

saxophones, loud trombone notes,

trumpet solo, rhythm section vamp,

etc. (continued page 2)

“When I write music forCHJO I write for the talent and personality ofthe people in the orchestra,not just the instrumentsthey play.” John Clayton

Title of Work:I Be Serious ’Bout Dem BluesClayton-Hamilton Jazz Orchestra

Creator:Composer/Arranger: John Clayton

Background Information:The Clayton-Hamilton Jazz Orchestra (CHJO) has

received critical and commercial praise for its rousing

live concert and award-winning recordings. The group

was founded by brothers John and Jeff Clayton and

drummer Jeff Hamilton in Los Angeles, California in

1985. Maintaining its connection to the past, while

looking ahead to the future, it is a living link to the rich

history of jazz -- especially its unique melding of African,

European and American influences. The leaders of

CHJO spent years developing their talents through dedicated

study and practice (in jazz we call this “shedding”).

Eventually, they had opportunities to perform with some

great and influential artists, such as Count Basie, Monty

Alexander, Stevie Wonder, Ella Fitzgerald, and Frank

Sinatra. John Clayton even spent time playing classical

music in Europe with the Amsterdam Philharmonic. In

the early years of CHJO, the band leaders struggled.

They all borrowed money to pay for their first recording

and did whatever they could to share their music with

more people. Over many years of dedication they developed

a reputation of great style and excellence. In the fall of

1998 John Clayton was appointed the Artistic Director

of Jazz at the Hollywood Bowl in Los Angeles and

the CHJO was named the jazz ensemble-in-residence

(1998-2001). There, CHJO was joined by a host of

internationally renowned artists.

California

MUSICMUSICMUSIC

TRANSFORMATIONTHE POWER OF NATURE

FREEDOM &OPPRESSION

ENDURING VALUES

THE HUMANFAMILY

ARTISTIC PERCEPTION (AP)

CREATIVE EXPRESSION (CE)

HISTORICAL & CULTURAL CONTEXT (H/C)

AESTHETIC VALUING (AV)

CONNECT, RELATE & APPLY (CRA)

rtsource ®

The Music Center’s Study Guide to the Performing Arts

A TRADITIONAL

CLASSICAL

CONTEMPORARY

EXPERIMENTAL

MULTI-MEDIA

Photo courtesy of John Clayton

moment. This requires intellect, talent and soul. Great

jazz musicians and composers can be identified by their

sound. No words are needed; the tone and phrasing of

their music tells us who they are. Some examples of

people with very distinct personalities in jazz are: Scott

Joplin, Louis Armstrong, Billie Holiday, Miles Davis,

Duke Ellington, John Coltrane, Tony Williams, Bill

Evans and Wynton Marsalis. Think of the things, such

as clothes, your hair style, your walk, or how you

decorate your room, that give clues about your own

personal style. Write down words or phrases that

describe your style. What does your style tell about your

personality?

Audio-Visual Materials:• Artsource® audio excerpt: I Be Serious ’Bout Dem Blues

composed and arranged by John Clayton, performed by

the Clayton-Hamilton Jazz Orchestra. From the CD

“Heart and Soul.” (Capri Records, 1991) Courtesy of

John Clayton and CHJO.

• Musical score courtesy of Ginger Kids Music, 2006.

• Photos courtesy of John Clayton.

Additional References:• Marsalis, Wynton with Geoffery Ward. Moving to

Higher Ground: How Jazz Can Change Your Life (Book).

Random House, 2009.

• Marsalis, Wynton with Paul Rogers. Squeak, Rumble,

Whomp! Whomp! Whomp!: A Sonic Adventure (Book).

Candlewick, 2012.

Sample Experiences:Level I•Learn how to play and improvise over a “backbeat.”

Learn to hear the difference between composition and

improvisation by dancing during solos and sitting

during other sections.

Level II• Learn how to count and improvise over a twelve-bar

blues form. Research other art forms that have been

influenced by jazz (poetry, visual art, dance).

Level III• Learn how to describe and imitate the rhythm section

of a jazz band. Create a spoken word presentation that is

organized like a jazz orchestra (5 trumpets, 4 trombones,

5 saxophones and a rhythm section).

*

• Indicates sample lessons

*

*

Continuation of Background on the Work:Finally, the rhythm section brings the energy down,

followed by a surprise statement played by the

orchestra. The full version of I Be Serious ’Bout Dem

Blues is filled with other solos (improvisations)

on saxophone and piano with accompaniment or

“backgrounds” played by the orchestra.

Continuation of the Creative Process:Personality, style and soul are very important in

establishing a sound on an instrument and the sound

of a musical group. The sound of CHJO is created

by the players and the composer/arranger. John

Clayton has a connection to the members of CHJO

that allows him to highlight their unique musical

and personal traits. This way of composing stretches

back to the famous jazz orchestras of Edward “Duke”

Ellington. John can usually write an entire song (7-

10 minutes) in a single day, which is very fast considering

he is writing for five trumpets, four trombones, five

saxophones, rhythm section (drums, bass, piano,

guitar) and sometimes a singer. The music comes to

life in rehearsal when he explains how all of the parts

fit together. Then, it’s up to the musicians to bring

their energy and talent to the piece.

Discussion Questions: After listening to the audio:

• How do you think a jazz orchestra would sound

live? Why is it different than hearing a recording?

• What process do you engage in when you are trying

to write (compose) an essay or sequence (arrange)

“moves” or “plays” in a game? What is the step by step

plan you follow to make sure you reach your goal?

• What characteristics identify your own personality?

• What are some of the things you are practicing

(shedding) to make yourself a better person?

• How does a composer learn to write for instruments

he/she does not play?

Multidisciplinary Options:For many musicians jazz represents freedom to be

yourself. This freedom can be expressed when a

musician improvises or makes up the music in the

2

3

THE HUMAN FAMILY and ENDURING VALUESSPEAKING THE LANGUAGE OF MUSIC

LEVEL I Sample Lesson

INTRODUCTION:

A musical instrument has a sound similar to how every person has a voice. A jazz musician works hardto create a sound that is all his/her own. This means that an instrument produces different soundsdepending on who is playing. When we hear a jazz orchestra perform, they are creating a big musical conversation, sometimes they read the music (composition) and sometimes they get to make it up on theirown (improvisation). Jazz music lets all of the musicians speak with their instruments and share their personality and style in harmony with everyone else.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Demonstrate a greater appreciation for how the sound of an instrument can be personalized. (Artistic Perception)

• Identify a “backbeat” in jazz. (Artistic Perception)

• Create a simple model of an improvisational duet. (Creative Expression)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer toAssessment at the end of this lesson. (Aesthetic Valuing)

MATERIALS:

• Artsource® Audio excerpt: I Be Serious ’Bout Dem Blues.

PROGRESSION:

• Give some background information on the music of The Clayton-Hamilton Jazz Orchestra, which isfound on pages 1-2.

• Explain to your students that the blues is a song form used in jazz music and that the musicians orsingers get to improvise. This means they will make up the music as they go.

• Listen to the audio recording of I Be Serious ’Bout Dem Blues. As you listen to the music, count along(one-two-three-four). Now snap your fingers on the counts of two and four. Explain to your studentsthat this type of accenting is called a “backbeat” and the type of rhythm used in jazz is called “swing.”

MUSICMUSIC

• Listen to the music again. Focus on the opening section with the two trumpet solos. The first trumpetplayer we hear is named Snooky and the other is Bobby. Notice how each player makes the trumpet sounda little bit different. Every time you hear the player change, have students call out the name of the one playing.

• Explain to your students that Snooky and Bobby are having a musical conversation.

• In groups of two, have a conversation with a classmate while snapping your fingers to the backbeat. Besure to stay together and keep the rhythm steady. You can repeat exactly what the other person says toyou, like an echo, or continue the conversation. If you repeat a phrase, be sure to say it back in a slightlydifferent way - using your own personal style.

• Select different pairs of students to perform for the class, hopefully giving everyone the opportunity.

• Use the extension ideas below to broaden the experience for your students.

EXTENSIONS:

• Create or learn a story that can be read in a rhythmic way. Organize the story so that some of it is readas a class and some of it is read by a single person (unison with solos). Perform it with a backbeat.

• Learn the names of the instruments in a jazz orchestra: trumpets, trombones, saxophones and a rhythmsection (bass, piano, drums, sometimes guitar).

• Watch the video of a jazz orchestra or big band performing. (Why Toes Tap by Wynton Marsalis)

VOCABULARY: backbeat, solo, improvisation, jazz, blues, rhythm, personality

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: In your own words, describe whatimprovisation is.

DISCUSS: Discuss the difference between improvisationand playing music as it is written.

ANALYZE: Discuss how a musical conversation is similar to a verbal conversation. What is common toboth? What is different?

CONNECT: Discuss different things you do when youuse the skill of improvisation.

4

5

TRANSFORMATIONPLAYING THE NUMBERS

LEVEL II Sample Lesson

INTRODUCTION:

The Clayton-Hamilton Jazz Orchestra plays many stylesof jazz music and is able to express many emotionsthrough sound. One of the most popular styles is calledthe blues which developed from African American culture in the southern United States (Louisiana,Mississippi, etc.) during the late 1800s. When the bluesbegan, they were sung, usually by someone who washeart-broken or sad. Today the blues are sung or playedon instruments by a single musician or an entire bandand the sound can be happy, sad, melancholy or evenhumorous. The blues form is related to the music ofAfrica because it utilizes regular repeating cycles ofrhythm and harmony.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Name the instrumental sections of a jazz orchestra. (Artistic Perception)

• Demonstrate a greater appreciation for the musical/mental skills used in jazz. (Aesthetic Valuing)

• Recognize the repeating cycles of a twelve-bar blues. (Artistic Perception)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer toAssessment at the end of this lesson. (Aesthetic Valuing)

MATERIALS:

• Artsource® audio excerpt: I Be Serious ’Bout Dem Blues.

PROGRESSION:

• Give some background information on the music of The Clayton-Hamilton Jazz Orchestra, found on pages 1-2.

John Clayton, Jeff Hamilton, and Jeff Clayton

Clayton-Hamilton Jazz Orchestra

Photo courtesy of John Clayton

MUSIC

• Explain to your students that the blues is a song form used in jazz music and that the musicians or

singers get to improvise, making up the music as they go.

• Listen to the recording of I Be Serious ’Bout Dem Blues.

• Tell your students that a jazz orchestra is divided into sections of instruments: trumpets, trombones,

saxophones and a rhythm section of bass, piano, drums and sometimes guitar.

• Draw some pictures of the instruments used in this music. Be as accurate as possible.

• Listen to the music again and have the students raise their hands every time they hear one of these

instrumental sections.

• Explain to the students that I Be Serious ’Bout Dem Blues is a twelve-bar blues; each section is divided

into twelve measures of 4/4 time (four beats per measure).

• Teach your students to count a measure: one-two-three-four. Now have them count continuous

measures in a row: one-two-three-four, one-two-three-four, etc.

• In jazz, each “cycle” is called a chorus. Have your students count a twelve-bar cycle: ONE-two-three-

four, TWO-two-three-four, THREE-two-three-four, FOUR-two-three-four, etc.

• With the class counting twelve-bar cycles, have a few people improvise the lyrics to a song. Many times

the blues are about personal events like falling in love, going to work/school, going to a party, etc.

A different person should begin at the “top” of each cycle. Use rhythm in the delivery of your story.

• Use the extension ideas below to broaden the experience for your students.

EXTENSIONS:

• Listen to I Be Serious ’Bout Dem Blues excerpt and follow the twelve-bar cycles. Notice that when the

music changes it usually happens at the beginning of a chorus.

• Extend the blues that was performed in class by allowing the soloist to take more than one chorus.

• Learn the origins of some of the instruments used in a jazz orchestra. (Europe, Africa, America)

• Listen to Take the A Train by Edward “Duke” Ellington (Amazon, iTunes, etc.).

• Use the assessment topics below to help your students gain awareness of what they have learned.

6

VOCABULARY: chorus, cycle, measure, blues, improvisation, top.

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe the sound of a jazz orchestra.

DISCUSS: Discuss how knowing the form of a song changes the listening experience.

ANALYZE: Analyze the differences and similarities of a jazz orchestra and a symphony orchestra.

CONNECT: What other activities or events are measured by cycles?

7

8

TRANSFORMATIONCHANGES IN THE RHYTHM

LEVEL III Sample Lesson

INTRODUCTION:

Over the last century the development of jazz has been

marked by many social, spiritual, and intellectual ideas. Louis

“Satchmo” Armstrong developed an incredible ability to stand

out as an individual through his improvisational style on the

trumpet and as a singer. John Coltrane thought of his music as

a spiritual extension to God. Edward “Duke” Ellington was the

most prolific composer of the Twentieth Century and

expanded the use of compositional development and

improvisation. Jazz music would not be the same

without the contributions of these musicians, as well as many

other men and women.

Change has always been a part of the legacy of jazz, allowing

musicians to contribute to its evolving language. Jazz

maintains its characteristics of swing rhythms and

improvisation while incorporating new and modern concepts.

One of the most incredible things about jazz and all of its

transformations is that it has always stayed connected to its

roots - the blues. The blues is a simple song form style that has

been at the heart of every great jazz artist’s career. The shape of the blues also serves as a metaphor for

change and contrast, it is built on a series of chords that change over a twelve-bar cycle while the rhythm

of swing stays constant, these elements create a relationship of tension and release much like the evolu-

tion of this classic American art form. It is this vibrant energy that inspires musicians to contribute to the

legacy and lineage of this music.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Name the instrumental sections of a jazz orchestra. (Artistic Perception)

• Describe how the instruments interact in jazz. (Artistic Perception)

John ClaytonClayton-Hamilton Jazz Orchestra

Photo courtesy of John Clayton

MUSIC

• Play a basic swing rhythm. (Artistic Perception)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to

Assessment at the end of this lesson. (Aesthetic Valuing)

MATERIALS:

• Artsource® audio excerpt of I Be Serious ’Bout Dem Blues.

PROGRESSION:

• Give some background information on the music of The Clayton-Hamilton Jazz Orchestra from

pages 1-2.

• Explain to your students that the blues is a song form used in jazz music and that the musicians or

singers get to improvise, making up the music as they go.

• Listen to the recording of I Be Serious ’Bout Dem Blues.

• Explain to your students that jazz is based on a type of rhythm called swing. This rhythm is one of the

defining elements of jazz.

• Teach your students this rhythmic pattern, which is the basic swing pattern played by the drummer on

a “ride” cymbal: One - - Two - ah Three - - Four - ah, One - - etc. This pattern is also called a “ride”

pattern. You can play it with one hand on a flat surface or clap your hands. Be sure to count out loud

when first learning this pattern.

• Now play the counts two and four with an accent (a little louder than the others). This type of accent

is called a backbeat and is part of the swing rhythm.

• Explain to your students that this pattern is part of a groove that is played by the rhythm section

(drums, bass, piano, guitar) of a jazz band or orchestra. This groove provides the foundation for the other

instruments to play over.

• Listen to the audio recording of I Be Serious ’Bout Dem Blues again and pay close attention to the rhythm

section. Can you hear the ride pattern? Notice how the bass plays on the beat moving from low notes to

higher notes and back down again. This is called “walking.” The piano plays short non-repeating

rhythms to add a little tension and syncopation. This is called accompaniment or “ ’comping.”

9

• In groups of three, have your students practice playing each element of the rhythm section: ride pattern,

walking the bass, and ’comping. Play the ride pattern the same as before. Walking the bass can be done

by singing low moving notes using “boom” as a syllable or playing on a low sounding surface (desk, book,

large water bottle). ’Comping should be done with a sound that is different than the ride pattern, sparse

and non-repetitive. Each person should get a chance to try each part.

• Next, teach your students to count the twelve-bar cycle that is used in I Be Serious ’Bout Dem Blues:ONE-two-three-four, TWO-two-three-four, THREE-two-three-four, FOUR-two-three-four, etc. (In

jazz, each cycle is called a chorus.)

• Listen to the song again, and count the choruses as they go by. If you get lost, listen for the beginnings

of phrases or sections for guidance. Listen to how the rhythm section propels the orchestra.

• Now choose a few groups to “groove,” improvising rhythm and vocal sounds, while the rest of the class

counts each measure of the chorus. Count soft enough to hear the rhythm section. Each group should

only groove for a single chorus.

• Keep choosing different groups to groove for the class. Have fun!

• Use the extension ideas below to broaden the experience for your students.

EXTENSIONS:

• Research the historical and social origins of the blues.

• Listen to other jazz recordings to further your understanding of how a rhythm section works. Make sure

the music has a swing rhythm. (Miles Davis: Porgy and Bess, Thelonious Monk: Criss-Cross)

• Add a soloist to your groove, sing a song, read/write a poem or dance.

• Look at and study the score located on the web at the Clayton-Hamilton Jazz Orchestra Artsource®Unit webpage.

• Visit http://jazzatlincolncenter.org/learn/teachers-students for more ideas and information.

10

VOCABULARY: chorus, cycle, measure, blues, improvisation, ride cymbal, ride pattern, walking the bass,

‘comp, groove, swing, syncopation, groove

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe the importance of change.

DISCUSS: Discuss how change has made jazz music survive and grow.

ANALYZE: Analyze your own ability to change things.

CONNECT: What things would you like to change in yourself and the world around you?

DISCOGRAPHY:

Clayton-Hamilton Jazz OrchestraLIVE AT MCG Mcg Jazz 2005

SHOUT ME OUT! Capitol 2000

EXPLOSION with Milt Jackson Quest 1999

ABSOLUTELY Lake Street 1995

HEART & SOUL Capri 1991

GROOVE SHOP Capri 1989

BOOGIE DOWN with Ernistine Anderson Concord 1991

Clayton BrothersBACK IN THE SWING OF THINGS Capitol 2005

EXPRESSIONS Warner Bros. 1997

THE MUSIC Capri 1991

IT’S ALL IN THE FAMILY Concord 1980

THE CLAYTON BROTHERS Concord 1980

11

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ARTSOURCE®: THE MUSIC CENTER’S STUDY GUIDE TO THE PERFORMING ARTS

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It represents early to contemporary art forms in the disciplines of

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and complements the programs and performances

of the Music Center’s resident companies and artist roster.

The arts are ancient, enduring and universal forms of communication.

Artists present their perceptions, reflections, and points of view which

influence, and are influenced by, the culture and period of time in which they exist.

I n t r o d u c t i o n

Project Director Melinda Williams

Project Coordinator Susan Cambigue-Tracey

Writers:Dance Susan Cambigue-Tracey

Diana Cummins, Carole Valleskey, Madeleine Dahm, Deborah Greenfield,Barbara Leonard, Melinda Williams

Music Rosemarie Cook-GloverEd Barguiarena, Susan Cambigue-Tracey, Barbara Leonard,

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