The Plunger Mute and Tyree Glenn
This article has been published (in part) in the International Trombone Association journal, volume 32, number 2, April 2004. It is available here in its entirety.
INTRODUCTION:
This paper will explore the probable origins of the plunger mute as well as it’s early development. The art of plunger playing became a tradition in the Duke Ellington orchestra. This tradition was established by two of its key members during the the mid 1920’s: James “Bubber” Miley (trumpet) and Joe “Tricky Sam” Nanton (trombone). In partnership with the orchestrational genius of Ellington, the “jungle style” was developed. This new style featured the tonal colorings of the plunger mute and the growling technique. All subsequent musicians who replaced James Miley and Joe Nanton in the Ellington Orchestra (see appendix 1) had to master these techniques while exemplifying another tradition of jazz - originality. Tyree Glenn was the first trombonist to successfully take on this challenge. The analysis of his solo on H’ya Sue reveals his accomplishment of maintaining the plunger playing tradition in his own style.
As history often teaches, the development of something new is usually a
culmination of what others have done previously. Bubber Miley brought together the plunger playing technique of two of the most significant trumpeters of early jazz: Joe “King” Oliver and Johnny Dunn.
Chapter
INTRODUCTION
EARLY DEVELOPMENT OF THE PLUNGER MUTE
- The Uncelebrated Greats
- Joe “King” Oliver
- Johnny Dunn
EARLY DUKE ELLINGTON
- James “Bubber” Miley
- Joe “Tricky Sam” Nanton
- The Jungle Style
- Black and Tan Fantasy
- Replacing a Member of the Duke Ellington Orchestra
TYREE GLENN
- Joining the Ellington Orchestra
- Hy’a Sue
- Comparison to Joe Nanton
CONCLUSION
Appendix
- LINEAGE OF KEY PLAYERS
- BLACK AND TAN FANTASY
- JOE NANTON’S SOLO ON BLACK AND TAN FANTASY
- CAREER HIGHLIGHTS OF TYREE GLENN
- HY’ASUE
- TYREE GLENN’S SOLO ON HY’ASUE
SOURCESCONSULTED