An (Impressionist) Portrait in Jazz

A tripartite case study of the traditions, influence and legacy of impressionism on jazz music

Impressionism has always had a profound influence on jazz music. From the overt
quotations of Ravel’s ‘Pavane’ in the Mildred Bailey/Artie Shaw 1939 recording ‘The Lamp is
Low’ to the subtle Satie-esque textures of Bill Evans’ ‘Peace Piece’, impressionism leaps from
and lurks within the jazz tradition. This case study however, does not aim to simply observe
the similar characteristics to be found in the two musical styles. Instead, the aim will be to
analyse how the two styles employ these similar musical artifices to engineer a wholly
different emotional outcome. This will be achieved by examining three varied media from
the jazz style through the lens of expected impressionistic characteristics. To this end, the
case studies will include an analysis of jazz composition, specifically those by Billy Strayhorn
and Bix Beiderbecke, a transcription of an improvised jazz solo, and a meta-analysis of the
composed and recorded output of Bill Evans. By testing the evidence in this way, the
evidence for and consequences of the different emotional outcomes rendered by the
analogous musical characteristics will be easier to define and explore.

The compositions of Billy Strayhorn are often tinged with a sense of the French ‘classical’
tradition. Described by a friend, Aaron Bridgers said of Strayhorn “We both loved the French
classical composers. I had always had a love for all things French and I discovered that Billy
(Strayhorn) did too.” (Hajdu, pp. 66, 1996). It is no surprise then, that Duke Ellington, who
according to English composer and critic Constant Lambert could be recognised as “a black
composer comparable to Ravel and Stravinsky” (Hajdu, pp. 54, 1996), would give Strayhorn
the inspiration and opportunity to create his inspired, impressionistic arrangements and
compositions. One particularly apt example of Strayhorn’s impressionistic character can be
found in his composition ‘Chelsea Bridge’. Described as being “an impressionistic miniature
composed… with a painting by James McNeill Whistler in mind” (Hajdu, pp. 85, 1996) and as
“classical in its integration of melody and harmony as an organic whole… There is more
Debussy than Ellington in Chelsea Bridge”
(Hajdu, pp. 85-86, 1996). This already gives a
clear indication that ‘Chelsea Bridge’ is likely
impressionistic in its composition. The series of
paintings which Strayhorn were inspired by are
highly impressionistic in style. Whistler’s
capturing of the interplay of light on water in
his ‘Nocturne: Blue and Gold – Old Battersea
Bridge’ (Fig.1) immediately conjure the
expected features in impressionist art and
music. Further to this, the series of paintings
are named for musical forms. (ADD
SOMETHING ABOUT WHISTLER + Frederick
Leyton (Whistler’s Patron who loved Chopin) +
CHOPIN (LIVED MOST OF LIFE IN PARIS) TO
RAVEL + DEBUSSY). Below the surface of these
observations, the closer musical details of
‘Chelsea Bridge’ can be seen to reveal an
undeniably impressionistic character.

Fig. 1 - Nocturne: Blue and Gold – Old

Battersea Bridge
Fig. 2 – Opening bars to ‘Chelsea Bridge’ Fig.3 – Closing bars of Ravel’s String Quartet,
Movement 1.

The opening chords of ‘Chelsea Bridge’ (Fig. 2) are parallel dominant 9th chords shifting by a
tone. This is a common technique employed in impressionist music as can be seen in the
closing 5 bars of Ravel’s String Quartet (Fig. 3). In both compositions, dominant 9th chords
moving in parallel are to be expected as they are common features both in impressionist
and jazz music. However, the emotional outcome engineered through the use of these
chords is highly different. Ravel’s treatment of these chords, with the 9th at the top of the
voicing and the root and 5th in the cello create a sturdy texture which defines and
reinforces the true intent of the harmonic device. This in turn creates a release in tension
which is to be expected in the closing moments of a movement. In ‘Chelsea Bridge’
however, this is not the case. Strayhorn’s treatment of parallel dominant harmony starkly
contrasts that of Ravel. Strayhorn’s arrangement of ‘Chelsea Bridge’ for Duke Ellington’s
band makes far more ambiguous use of the dominant 9th sound than Ravel. It could be
argued that the ambiguity stems from the melody note on beats 1-3 in the first two bars are
both sharpened fourths of the chord. This would certainly explain the more ethereal sound
world created in the opening of ‘Chelsea Bridge’. On the other hand, this is not the only way
in which Strayhorn chooses to subvert the normally pure sound found in parallel chordal
movement. The arrangement composed by Strayhorn presents the opening chords as what
could be more accurately be described as B-flat minor 6th, with the melody note acting as a
major 7th (Fig. 4). Despite this suggestion of a B flat melodic minor tonality, the reality is

Fig. 4 – Transcription of Billy Strayhorn’s

arrangement of Chelsea Bridge for the Ellington
Band

that Strayhorn simply removed the tonic note (E-flat) from the chord to create a less
anchored, more tonally ambiguous sound. There are many possible reasons as to why
Strayhorn has arranged these chords in this fashion. One of the most obvious reasons is
simply that the music is not composed to be performed in such a formal fashion as would be
expected in Ravel’s quartet. Designed for performance by a large jazz ensemble, the
likelihood of improvised solo material being performed has to be taken into account by
Strayhorn. To this end it can be reasoned that firstly, the deliberate harmonic ambiguity of
his arrangement stems from the opportunity it allows the soloist to emancipate themselves
from less colourful, diatonic harmony in their improvisations. Secondly, the fragility in
construction of these chords certainly helps to encourage the listener’s perception of the
impressionist ideal of light on water, that it seems Strayhorn was inspired by in Whistler’s
paintings, that was so important in the conception of this composition.