Abstract
This essay analyzes the use of humor in Steve Swallow’s jazz compositions. While best known as an innovative bassist, Swallow has written over 100 works, many performed and recorded by jazz giants like Bill Evans, Chick Corea, and Pat Metheny, yet his compositions remain understudied. Based on three theories of humor (incongruity, relief, and superiority), this study defines musical humor as a perceptual effect triggered by musical devices that violate listeners’ expectations through juxtaposition of contrasting elements, tension release mechanisms, or subversion of genre conventions. Employing a mixed-methodological framework, the research integrates computational analysis of 100 lead sheets with close reading of select works. Quantitative results reveal incongruity as the primary humor mechanism, present in 22% of the sample and 41% of swing compositions, and identify wordplay as the most frequent device (in 33% of the sample), co-occurring strongly with cluster-like melody and emphasis on nonchord tones. Qualitative analysis reveal that his primary use of incongruity, along with the two supporting humor mechanisms, is unified by his use of wordplay and ambiguities influenced by Creeley’s poetry. The study argues that Swallow’s humor constitutes a compositional ethic. Ultimately, Swallow’s approach provides a method for engaging with standard forms in jazz composition.