Monday April 30 Gatsby and script project

 Due tomorrow: vocabulary 13 (last grade for this marking period)
 In class today: paragraph based upon chapter 9
Handouts on Gatsby script assignment, script formatting and jazz age language. copies of all below.
Chapter Nine-- Nick's "El Greco" dream
Homework: please make sure you have read the directions on how to write a script and reviewed the assignment. Review the time line to find your scenes. However, you may add material from other parts of the text.
 Groups:
(1)  Gatsby and Daisy before the war  (departure)  Malikk and Hannah
(2) Nick's first encounter with Daisy and Tom after the war: Ashley, Quinton, Mariah, Erin, Taquan
(3) Tom, Myrtle and friends at the apartment: Amanda, Raphael, Aaron, Meghan and Matt
(4) At the Plaza; Ty, Arieanna, Elijah, Julie, Kamicah
(5) Nick's first encounter with Daisy and Tom after the war: Dorothy, NahTivah, Brianna, Zach, Landon
(6) Tom, Myrtle and friends at the apartment: Joe, Rosie, Leon, Keith, Linai, Sharon

Passage:

"Even when the East excited me most, even when I was most keenly aware of its superiority to the bored, sprawling, swollen towns beyond the Ohio, with their interminable inquisitions which spared only the children and the very old—even then it had always for me a quality of distortion. West Egg, especially, still figures in my more fantastic dreams. I see it as a night scene by El Greco: a hundred houses, at once conventional and grotesque, crouching under a sullen, overhanging sky and a lustreless moon. In the foreground four solemn men in dress suits are walking along the sidewalk with a stretcher on which lies a drunken woman in a white evening dress. Her hand, which dangles over the side, sparkles cold with jewels. Gravely the men turn in at a house—the wrong house. But no one knows the woman’s name, and no one cares" (185).

For those who have looked at the blog: Monday's in class writing.
The following is Nick's last line in the novel. In a minimum of 100 words, reflect upon how these words embody the theme of The Great Gatsby. 
 "So we beat on, boats against the current, bourne back ceaselessly into the past."   (20 minutes)

Writing Project: Scenes from a novel  

            Your job is to prepare a script based upon one of the following scenes in the novel, which portray a point of dramatic climax, or give insight into the characters’ actions. You may adapt lines spoken by the characters in the scene, but you must also create lines that could be spoken by the character. That means you must understand that individual, his background and his motivations.  (note: I am using the pronoun his as gender neutral.) This should be a minimum of five full pages. That might seem intimidating, but remember you are working with dialogue. Your group is to follow the rules for how to format a stage play. This is attached, and there is a copy on the blog. Diction is also very important, and for that reason, you have a term’s list from the 1920’s. (also attached and on the blog) You must use at least 15 words from the list. Music? Dancing?

Time frame: due Friday May 4: your group’s completed and correctly-formatted script.

                                                      sketch of your scene

                          Monday May 7- scripts returned for a group read through and final editing. Practice day. Sort out props / etc.

                          Tuesday May 8- performances (again, if someone is not there, the group must adapt) The lines need not be memorized, but should be very familiar and so come trippingly on the tongue.

                          Wednesday May 9- group grading / class participation grade; so it’s in the 25% category. The expectation the each member demonstrates that he / she understands the scene / novel and contributes to the dialogue / blocking / props / motivational cues, etc.

Dramatic scenes to be expanded into scripts.

            Nick’s first encounter with Daisy and Tom at their house

            Gatsby and Daisy together before the war

            Gatsby and Daisy at the mansion when he’s showing her around

            At the Plaza

            Tom, Myrtle and friends at the apartment

Checklist:

1.      With your group exchanged information to communicate with each other;

if someone is not there the day of the performance, your group must improvise. Also, you might divide up the script writing outside of class.

2.      Read your assigned scene from the book as a group

3.      Discuss the characters. You may insert a character or adapt as needed.

4.      Decide who is playing which role (s)

5.      Decide who is sketching out the scene

6.      As a group, write the scene. (transcriber? typist? someone to do the introductory pages?   Make sure to interpolate at least 15 words or phrases from the jazz age vocabulary list. Remember how plots are constructed. There should be a build up to the climax and a denouement.

7.      Give me your script to make copies. I will get it back the next day.

8.      Read through the script as a group, making necessary changes, as well as checking for errors.

9.      Decide on props and costuming. (Have someone write up the list with the corresponding character / action)  Everyone must have at least one item that is representative of your character.

             

ScriptFrenzy - Your ticket to creative adventure

ScriptFrenzy - Your ticket to creative adventure

How to Format a Stage Play

You know what a play is, and you've probably seen published versions before, but for the purposes of writing it looks a little different. Some of the formatting of your play is done as you write.. Generally a page of a play means a minute to a minute-and-a-half of production. Scanning the page quickly for the density of dialogue and directions makes estimating this easy. The standardized placement of the character names makes it easy for the actors, and the spare layout makes it simple to keep notes on the page as they go along.

Plays are made up of two things: dialogue and stage directions, and they both have different formats on the page.

STAGE DIRECTIONS

There are three different kinds of stage directions:

1.) Scene Directions

·Left 3.5"

·Right 1"

These start the play or act, and yes, they are pushed halfway over to the right side of the page. This is where you give the basics of where and when this particular scene is set, and what is happening as the lights come up and perhaps what has happened between the scenes as it applies to what is on the stage at that time.

EXAMPLE:

2.) Staging Directions

·Left 2.0"

·Right 1.0"

These describe what happens on stage during the scene. Entrances, exits, major movements of characters, new characters, fights, light changes and being chased by a bear are all examples of action that would require stage direction.

EXAMPLE:

Note that the stage directions are single spaced when within a single character's dialogue, but a blank line is left when between character passages.

3.) Character Stage Directions

·Left 3.0"

·Right 1.0"

These are always brief and fit right under the character tag, relating to that character. These types of directions give a clue to the style of the line. Often they are line directions such as "waving him off" or "sing-song" or "whispering to ROBERT". These should be used sparingly, as they are regarded as directorial. They are needed only when a reader wouldn't understand what was going on without them.

EXAMPLE:

A few things to remember:

·Every time you mention a character in the stage directions their name should be in ALL CAPS. This makes it easier for the actors, director, and team to scan the page and find what the actors are doing.

·Stage directions are always enclosed in parenthesis.

·Stage directions show only what is taking place on stage (what the audience can hear or see), they do not tell the interior life or previous life of people or objects.

DIALOGUE

Character Tags:
Character tags are indented at about 4". You can center them, but most writers find it easier to set a single tab for the Character Tag.

Use all capital letters to identify the character speaking. You can use their full name or a shorter version (such as a first name or last name), as long as it's unique within your draft.

EXAMPLE:

If the character's line goes over a page break, use (cont'd) at the bottom of the page after the last of their dialogue and then put a new character tag at the top of the new page with (cont'd) after it on the same line. You don’t need to put these in until you're done with your draft and know where the page breaks are.

As for the content of the dialogue itself, it's pure prose. Write in a style that's easily spoken. Because it's conversational, you'll be breaking plenty of grammar and punctuation rules. You might even want to turn off your word processor's grammar checker.

LINE SPACING:
For the most part, stage plays are single spaced. Additional blank lines are left between character's dialogue and stage directions.

The Global Settings:
Margins

·Top: 1.0"

·Bottom 1.0 - 1.5"

·Left 1.5 (scripts are 3 hole punched so leave more room on the left)
Right 1.0"

You can add these elements once you're done with your script:

Headers
Upper right corner – start on the first page of dialogue – use a roman numeral for the act and then the page number. Start numbering over with each act. Each act is number consecutively through the end of the act: i.e. I-1, I-2, etc. If your play has only one act, then don't worry about it. (that’s you; you won’t have to worry about it.)

Footers
Place the name of the play in the lower left of the footer. You can put your name there too (put in your group number) – just keep it all on one line. ACTS & SCENES

Acts and scene breaks – Plays are often broken into acts, which are large chunks of the play often containing multiple scenes. A full length play can have 1 to 5 acts. Act breaks are dictated by plot.

Some other notes:

You do not need to use all caps for character names when used in dialogue by the other characters, only in the stage directions and character tags.

If a character is interrupted, it's common to use a dash to represent where they were cut off. If a character trails off in their dialogue, an ellipsis follows the last intelligible bit of their dialogue.

If a character is only heard and not seen, either V.O. for Voice Over or O.S. for Off Stage is used in parenthesis after the character tag on the same line.

If a character is singing, as in a musical, just put the lyrics of the song as dialogue in italics. You can keep the line breaks (as in poetry) for the lyrics.

To denote a break in the action, most writers use either "Pause" or "A beat" or "Silence". They're used sparingly, as the actors and directors will likely figure out where these go on their own, but it can be a clue to the reader that something changed in that moment. They can appear as either Staging Directions or Character Stage Directions.

For times when characters may be speaking simultaneously, you can either stack the dialogue on top of each other or create two columns to show that they are speaking over each other. If they are saying the same thing at the same time, it's appropriate to have them share the Character Tag line.

PUTTING THE SCRIPT TOGETHER

Once you've completed your draft you'll need some other pages to go with it.

The index of pages for a play go like this:

1. Cover Page (just the title, your name and at the bottom right, your name & contact info unless otherwise requested when you submit).

2. Characters - a list of all the parts in the script, whether they have lines or not if they are integral to the action.

Start with the word CHARACTERS centered, about 2" down from the top (if you have a very long list, start at 1" from the top).

Under that list, the characters in ALL CAPS, followed by a colon or dash and then a brief description. Some are very brief, giving only the relationship between the characters and perhaps their age. It would go something like this:

CHARACTERS

DANIEL WORKMAN: late forties, missing his right leg below the knee.

NATASCHA WORKMAN: Daniel's daughter. 14, also missing her right leg below the knee.

MRS. BERRY: Daniel's housekeeper. Late fifties. Has a large tattoo of a rainbow across her forehead.

MR. BERRY: The butcher, married to MRS. BERRY. Early sixties. Bald.

Formatting varies on this page. If the cast is large, you can suggest casting suggestions for multiple roles if you have ideas. Some people put more information on this page with full descriptions of their appearance, relationships to the other characters and disposition, but it's certainly not necessary. Most people will only refer to this list for a breakdown of the roles, not as a glossary of characters.

3. Setting Page

This page starts with the SETTING centered and below that a brief paragraph. This is an overarching description of the setting of the play that includes a bit about the style as well as the physical space depicted.

TIME will follow that, again centered with a brief paragraph that explains the period when the play is set and how much time elapses.

Here's an example:

SETTING

A compact and narrow rowhouse in St. Louis, Missouri. Beautifully maintained antiques are mixed with modern art and a few toddler's toys scattered around.

TIME

Summer. The present. Two days before and after Independence Day.

4. Some writers also include a SYNOPSIS OF SCENES or SCENE BREAKDOWN page. This simply lists the scenes, where they are set and the time as it relates to the passage of time in the script. This is only for reference or convenience, not really necessary.

SYNOPSIS OF SCENES

You will have only your group’s scene. Do not worry about it.

Jazz Age slang

18 Karat --- All the way, full out.
The Duke is a classy guy, his heart is “18 karat.”

Air-check --- A recording of a radio or television performance.
Did you hear the “air-check” of Billie Holiday with Gerry Mulligan?

The Apple --- New York city. This is now common usage.
We got a gig up in “The Apple” at Minton's with Diz and Bird.

Axe --- An instrument.
Hey, Jack, bring your “axe” over tomorrow and we'll jam.

Baby --- A term of endearment.
Hey, “baby,” I got some bread, lets paint the town.

Bad --- Good.
Thar dude Wynton Marsalis does some “bad” ass playin'.

Bag --- A person's particular interest.
I'd like to play with your combo, dude, but your sound just ain't my “bag.”.

Balloon lungs --- A brass man with plenty of wind.
That cat must have “balloon lungs,” Stix said he held that note for three and half minutes!”

Barn Burner --- Originally in Sinatra slang this was a stylish, classy woman, but today, it can even be applied to a good football game.
Hey, Quincy, did you see Stella over at the diner? Man, she is one amazing “barn burner.”

Barrelhouse --- Barrelhouse was the colloquial term for a cabaret in New Orleans where liquor was served. Barrelhouse music is the type of music played in one of these cabarets.
Hey, Man, I dig this “barrelhouse” music. It flows free.

Beat --- Exhausted or tired.
Man, we been blowin' all night. I'm really “beat.”

Birdbrain --- A Charlie Parker imitator.
It's 1957 already. We need something new. I'm gettin' tired of all of the “Birdbrains” around these days..

Blow --- A jazzman's term for playing any instrument.
That European guy, Django Reinhardt, can really “blow.”

Blow your top --- A phrase which expresses enthusiasm or exasperation.
Hey man, I know it's tough, but don't “blow your top.”

The Bomb --- Very cool.
The Crusader's new CD, “Louisiana Hot Sauce” is “the bomb.”

Boogie Man --- In the jazz slanguage of 1935, this was a critic.
Roscoe just waxed a great disc and the “boogie man” gave it a bad review.

Boogie Woogie --- An early piano blues form that was popularized in Chicago. The term has sexual overtones.
Hey, Lester, dig that “boogie woogie” that Yancy is layin' down.

Bose Bouncing --- To play notes so low as to bounce a Bose speaker from its foundation.
I'm sorry, my bass player was just “Bose bouncing.

Bread --- A jazzman's word for money.
Alright, Jack, if ya want me to play, ya gotta come up with some “bread.”

Break it down --- Get hot!! Go to town.

Bring Down or Bringdown --- As a verb - to depress. As a noun - one who depresses.
Hey, man, don't “bring me down” with all of this crazy talk.
Hey, let's get out of here, that guy is a real “bringdown.”

Bug --- To annoy or bewilder.
Man, don't “bug” me with that jive about cleanin' up my act.

Burnin --- Used to describe a particularly emotional or technically excellent solo.
Hey, man, did you hear that solo by Lee? It was “burnin.”

Cans --- Headphones.
That last take was really kickin', put on the “cans” and lets record the final take.

Cats --- Folks who play jazz music.
I used to partake in late-night jam sessions with the “cats” over at Sid's.

Changes --- Chord progression.
Hey, Pops, dig those “changes” that the Hawk is playin'.

Character --- An interesting, out of the ordinary person.
Sonny is certainly a “character.”

Chick --- A young and pretty girl.
Hey, Buster, leave it alone. That “chick” is outta your league.

Chill 'ya --- When an unusual “hot” passion gives you goose pimples.
Gee, Jody, doesn't it “chill 'ya” the way Benny plays the clarinet?

Chops --- The ability to play an instrument, a highly refined technique. Also refers to a brass players facial muscles.
“He played the hell out of that Gershwin; he's sure got chops.” and “My chops are still achin' from last nights gig.”

Clams --- Mistakes while playing music.
Charlie is really layin' down some “clams” tonight.

Clinker --- A bad note or one that is fluffed.
Hey, Charlie, that was some “clinker” that you just hit.

Combo --- Combination of musicians that varies in size from 3 to 10.
Here me talkin' to ya Lester. Did you see that supreme “combo” that the Hawk put together?

Cool --- A restrained approach to music. A superlative which has gained wide acceptance outside of jazz.
That cat Miles Davis plays some “cool” jazz. That cat Miles, is “cool.”

Corny, Cornball --- A jazz man's term for trite, sweet or stale.
Man, Guy Lombardo is one “corny” cat. Man, Guy Lombardo plays some “cornball” music.

Crazy --- Another jazz superlative.
Count Basie's band sure lays down a “crazy” beat.

Crib --- Same as pad.
Hey, baby, come on up to my crib awhile and relax.

Crumb --- Someone for whom it is impossible to show respect.
Sleazy Eddie is a real “crumb.”

Cut --- To leave or depart. Also to completely outdo another person or group in a battle of the bands.
Hey, man, did you see the way that two-bit band “cut” when Basie “cut” them last night.

Dad, Daddy-o --- A hipster's way of addressing another guy.
Hey, “daddy-o”, what's cookin'.

Dark --- Angry or upset (used in the Midwest).
Joe was in a real “dark” mood after Jaco showed up 30 minutes late for the gig.

Dig --- To know or understand completely.
Hey, dad, I been listenin' to what you been doin' and I “dig” that crazy music.

DeeJay, Disk Jockey --- An announcer of records on radio.
Man, he is one crazy “deejay”. He spins some cool disks.

Down by law --- is to have paid dues; that is, to have earned respect for your talent or ability to “get down.”
Charlie Parker spent years on the road working a lot of dives to fine-tune his craft. He earned every bit of success and recognition he later received. He was “down by law.”

Drag --- As a verb - to depress or bring down a person's spirits or, as a noun - a person or thing which depresses.
Let's get outta here, that guy is a real “drag.”

The End --- Superlative that is used interchangeably with “too much” or “crazy.”
The way Benny blows the clarinet is “the end.”

Finger Zinger --- Someone who plays very fast.
Ignasio the new guitarist is a finger zinger on the guitar. Damn, that boy is incredible!

Flip --- A verb meaning to go crazy or a noun meaning an eccentric.
That dude is really cooking, I think he's going to “flip.”

Flip your lid --- Same as “Blow your top.”
That cat looks crazy. I think he's gonna “flip his lid.”

Fly --- Smooth or slick.
Hey, Eddie, did you see the hat-check girl Bernice? Man, she is “fly.”.

Fracture --- To inspire or move someone.
You are the funniest guy I know. When you start to tell a joke, it “fractures” me.

Freak Lip --- A pair of kissers that wear like leather; one who can hit high C's all night and play a concert the next day.
Ol' Satchmo, ...now he had a pair of “freak lips!”

Funky --- Earthy or down-to-earth.
That George Clinton is one “funky” cat.

Gas --- As a noun - something that moves you. As a verb - to stir up feelings.
The way that guy beats the skins is a real “gas.”

Gate --- Early term for a Jazz musician.
Armstrong is the original Swing Jazz player that's why they call used to call him “Gate.”

Get Down --- To play or dance superlatively with abandon.
Jaco can really “get down” on the 4-string.

Gig --- A paying job.
I'm playing a gig in the city tonight.

Gone --- Yet another Jazz superlative.
Lester is a real “gone” cat.

Goof --- Fail to carry out a responsibility or wander in attention.
Hey, Leroy, stop “goofin'” when I'm talkin' to ya.

Got your glasses on --- you are ritzy or snooty, you fail to recognize your friends, you are up-stage.

Groovy --- Used in the fifties to denote music that swings or is funky. For a short while in the sixties, groovy was synonymous with cool. The word has been used little since the seventies.
Hey, Jack, dig that “groovy” beat.

Gutbucket ---Gutbucket refers to something to store liquor in and to the type of music associated with heavy drinking. An early term for lowdown or earthy music.
That cat Satchmo started out playing some real “gutbucket” in the houses down in New Orleans.

Hand me that skin (later modified to Hand me some skin) --- A big expression for “shake, pal.”
Hey, whaddya say Rufus, “hand me some skin.”

Head or Head Arrangement --- An arrangement of a song that is not written, but remembered by the band members (the tune and progression to improvise on).
Man, Basie's band uses a lot of “heads”, not those written arrangements. That's why his band really cooks.

Heat --- Solo space.
Yo, man, I want some “heat” on 'Giant Steps'!

Hep --- A term once used to describe someone who knows or understands. Replaced by “hip” about the same time that cool replaced hot. Some sources believe that “Hep” was the surname of a Chicago gangster of the 1890's.
Dipper Mouth Armstrong is a “hep” cat.

Hide hitter - drummer.
The hide hitter didn't show, so we had to make it a duo.

Hip --- A term used to describe someone who knows or understands. Originally “hep” until the 40's or 50's.
Yardbird Parker is really “hip”.

Hipster --- A follower of the various genres of bop jazz in the 50's. These were the precursors of hippies in the 60's.
Those “hipsters” that hang out at Shelly's Manne-Hole are really diggin' the West Coast sound.

Horn --- Any instrument (not necessarily a brass or reed instrument).
That dude can sure blow his “horn.”.

Hot --- A term once used to describe “real” jazz. Replaced as a superlative by “cool” in the late 40's or early 50's.
Satchel Mouth Armstrong played some really “hot” jazz in the 20's.

A Hot Plate --- A hot recording.
Boys, I think we got ourselves a “hot plate.”

I'm Booted --- I'm hip or I understand.
It's cool, man, I know just what you mean, “I'm booted.”

In the Mix --- Put it together, make it happen.
Put that cat “in the mix,” we need a drummer for our upcoming tour.

In the Pocket --- Refers to the rhythm section being really together as in...
Those guys are really in the pocket, tonight.

Jack --- Jazz man's term for another person. Often used in a negative manner.
Please don't dominate the rap, “Jack.” Hit the road, “Jack.”

Jake --- Okay.
Even though nobody seems to like him, that guy is “jake” with me.

Jam --- To improvise.
The band is “jammin'” inside right now.

Jam Session --- A group of jazz players improvising.
You might want go downstairs, Duke's boys are having a “jam session.”

Jazz --- The music which is discussed here. May have come from the French jaser - to chatter. May have come from Jasbo Brown - a dancer.
The 1920's was declared the Age of “Jazz.”

Jazz Box --- a jazz guitar.
The Ibanez PM model was developed in conjunction with Pat Metheny to meet his demand for a true “jazz box”

Jitterbug --- A jumpy, jittery energetic dance or one who danced this dance during the swing period.
Artie Shaw is a hot clarinet player. He sure has all of the “jitterbugs” jumpin'.

Jive --- A versatile word which can be used as a noun, verb or adjective. Noun - an odd form of speech. Verb - to fool someone. Adjective - phoney or fake.
Old Satchmo can lay down some crazy “jive.” Don't “jive”me man, I wasn't born yesterday. That cat is one “jive” dude.

JAMF - Jive A— Mother F----R. Someone who is not thought highly of.

Joe Below --- A musician who plays under-scale.
How can you expect to make a buck when “Joe Below” almost plays for free?

Jump --- To swing.
Let's check out that bar over there. It sounds like the joint is “jumpin'.”

Junk --- Heroin.
“Junk” and booze have laid a heavy toll on Jazz.

Kill --- To fracture or delight.
You “kill” me, man, the way you're always clowning around.

Lame --- Something that doesn't quite cut it.
Some of the cats that claim to be playin' Jazz these days are layin' down some “lame” music.

Licks, hot licks --- An early term for phrase or solo.
Louie can really lay down some “hot licks.”

Licorice Stick --- Clarinet
Gee, Jody, doesn't it “chill 'ya” the way Benny plays that “licorice stick”?

Lid --- Hat.
Hey man, nice lid.
”Lid” has also entered the world of hip-hop slang via a company called Ultimate Lids that makes hats.

Moldy Fig --- During the Bop era, fans and players of the new music used this term to discribe fans and players of the earlier New Orleans Jazz.
What do you expect, Eddie is a “moldy fig” and he'll never dig the new sounds.

Muggles --- One nickname for marijuana used by early Jazzmen (Armstrong has a song by this title).
Hey, Louis, I need to calm down. You got any “muggles?”

My Chops is beat --- When a brass man's lips give out.
Too many high C's tonight, man, “my chops is beat!!”

Noodlin' — To just play notes that have no particular meaning to a tune or solo.
Quit “noodlin” cat, let's start working the tune.

Out of this world --- A superlative which is no longer in common use.
I'm tellin' ya, man, the way Benny Goodman blows is “out of this world.”

Out to Lunch --- Same as lame.
That guy is “out to lunch,” I can't stand the way he plays.

Pad --- House, home, apartment or bed.
Hey, Lester, c'mon up to my “pad” you look like you need to cool down.

Popsicle Stick --- A sax player's reed.
I'm playing a great popsicle stick.

Rock --- To swing or jump (as in Jump bands - the fore-runners of Rock and Roll bands).
Louis Jordan's band really “rocks.”

Rock and Roll --- Of course the new music of the 50's, but originally slang for sex.
Hey, baby, you're drivin' me crazy, let's “rock and roll.”

Rusty Gate --- Someone who can't play.
That cat swings like a rusty gate.

Sackbut --- The Sackbut was a 16th century instrument, similar to the trombone.
The History of the Sackbut

Scat --- Improvise lyrics as nonsense syllables. Said to have originated on the “Hot Five” song “Heebie Jeebies” when Louis Armstrong dropped his lyrics.
I can really dig Dizzy's new way of singing “scat.”

Scene --- A place or atmosphere.
In the late twenties, Armstrong was the man on the New York “scene.”

Schmaltz it --- Play it “long-haired.”

Schmaltz or Schmalz --- It's the Yiddish word for chicken fat, and has been a slang term in the U.S. since the '20s for anything sickeningly sweet or “greasy”, especially music or poetry.
That Lombardo guy is popular, but he sure plays a lot of “schmaltz.”

Scratch --- (see Bread)
I need to get my axe fixed, but I got no “scratch.”

Screwin' the Pooch --- Really bad mistakes while playing music.
Roscoe must've had a bad day, cause he's really “screwin' the pooch.”

Send --- to move or to stimulate.
Roscoe, you really “send” me.

Sharp --- Fashionable.
Hey, Rufus, that's one “sharp” looking suit of clothes you're sportin' there.

Sides --- Records.
We sat around and dug “sides.” Or, as George Crater (or was it Ira Gitler?) once put it, “I sat around with another musician and Doug Sides.” ~ Bob Blumenthal

Skins player --- The drummer. (Skins comes from the days when cowhide or other dried animal skin was used to make drum heads.)
Man, we were all ready to have a little improv jam session but our “skins player” skipped out on us. There's one cat that I'm gonna skin!

Smokin' --- Playing your ass off.
I can already tell from outside that Jimmy is “smokin'” tonight.

Snap your cap --- Same as “Blow your top.”
Hey, Buddy, calm down. Don't “snap your cap.”

Solid --- A swing-era superlative which is little used today.
Little Jazz can blow up a storm, he's really “solid.”

Split --- To leave.
Sorry I can't stick around Slick, I gotta “split.”

Square --- A somewhat outmoded term meaning unknowing which can be a noun or a verb.
That cat is a real “square”

Sugar band --- A sweet band; lots of vibrato and glissando.

Supermurgitroid --- really cool.
That club was supermurgitroid!

Swing --- to get a rocking or swaying beat.
Ellington's band “swings” like no other. It's elegant.

Sraw Boss --- From Dan Nicora: The term was explained to me by Richard Davis, bass player with Thad & Mel, and many NY groups. It refers to the lead alto player in a big band, being the dude who leads all the other saxophones, knows all of the answers and takes care of the crew.

Tag --- Used to end the tune, repeating the last phrase three times.

Take five --- A way of telling someone to take a five minute break or to take a five minute break.
Hey, Cleanhead, this is a cool tune and we're blowin' too hot. We oughta “take five.”

Too much --- Just one more jazz superlative. Originally something so good, that it is hard to take.
Art Blakey is a fantastic drummer. His playing is “too much.”

Torch --- Used occasionally as a description of a song that expresses unrequited love.
Nobody could sing “torch” songs like Peggy Lee.

Train Wreck --- Event during the playing of a tune when the musicians “disagree” on where they are in the form (i.e. someone gets lost), so the chord changes and the melody may get confused for several bars, but depending on the abilities of the musicians (it happens to the best of them), there are usually no fatalities and the journey continues.

Tubs --- Set of drums.
Jo is really hot tonight. Listen to him pound those “tubs.”.

Two beat --- Four-four time with a steady two beat ground beat on the bass drum. New Orleans Jazz.
I can't dig this “two beat” jazz. My boys got to have four even beats to the measure.

Wail --- To play a tune extremely well.
Count Basie did a tune called “Prince of Wails” — a clever play on words. Damn, Basie's band can really “wail.”

Walking bass or walking rhythm --- an energetic four-beat rhythm pattern.
I really dig the way Earl plays the 88's. He plays the tune with his left hand and a “walking bass” with his right.

Wax a disc --- Cut a record.
I just “waxed a disc” up at Rudy Van Gelder's studio with Jimmy Smith.

Wig, Wig out --- To flip out. Also to think precisely.
I don't know what happened, man, we were just sittin' there and Louie just “wigged out.”

Wild --- Astonishing or amazing.
It's really “wild” the way Lee plays the trumpet.

Witch Doctor --- A member of the clergy.
Have you heard, Margie's brother is a “witch doctor.”

Woodshed (or Shed) --- To practice.
Duke was up all night shedin' that untouchable lick.

Zoot --- Used in the thirties and forties to describe exaggerated clothes, especially a zoot suit.
Look at that cat's “zoot” suit. It's crazy, man.