Survey Of Jazz FINAL (CH. 8&9) Study Guide

- By 17 on the road with Stan Kenton (1944) - Four Brothers band of Woody Herman - Influence of Lester Young (especially tone) - Bop able, but known for west coast sound - Responsible for bossa nova craze of 1960's - Lyricism exemplifies cool style, more famous is "The Girl from Ipanema" - instantly recognizable, grammy award, #5 on the top chart.

Arranger from Claude T Orchestra, grows bored with Impressionistic sound like Puttin' and Talkin' 1947 by CT orchestra. - Canadian arranger

First great Baritone saxophonist, arranger from Claude T Orchestra, Thornhill, birth of the Cool w/ Davis, arranging for Stan Kenton, jam sessions led to his piano less quartet, Line for Lyons tribute to west coast disk jockey Jimmy Lyons.

1959 Black Hawk night club San Francisco, 1959's Time Out is a landmark album in all odd meters, most famous quartet with Paul Desmond (alto), Eugene Wright(bass) Joe Morello (drums), Take Five (most famous piece) - Most popular and commercially successful West Coast musician was this pianist.

- Bebop roots - Simpler, more powerful style - New York post cool, forms Jazz Messengers along with pianist Horace Silver, 1954 (As mentor) - Discovered and nurtured young talents - Alumni is a who's who list of the generation of jazz greats - 40 year career *More or less defined the sound of hard bop* - Drummer/Bandleader

- Composition: > One of the most prolific > Recorded almost exclusively his own works - Led the move to Hard bop, Funky jazz - "Training ground" quality of his groups - Quintet instrumentation lasting influence tenor, trumpet, piano, bass, drums

- Bassist, arranger, composer - Duke Ellington-ish composer traits > Standard blues and song forms > Longer works > Civil rights activism in his music > Utilized unique individualism of his players - Strong gospel and blues, emotional influence

*The most controversial musician of the free jazz movement* - Free jazz "New Thing" - Grew up in Texas and played tenor sax in blues bands before switching to alto and moving to LA around 1950. - Self-taught on the instrument, no education, routinely criticized throughout his life and even beaten one one occasion for his unconventional playing. 1958-'61 - Something Else!!! - Tomorrow is the Question! - The Shape of Jazz to Come - Change of the Century - This is Our Music - Free Jazz: A Collective Improvisation (most daring & controversial work was recorded within months after the Five Spot gig ended. - Harmolodics - contradiction of the words harmony, motion, and melodic, to describe his improvisational concept.

*Became the definitive tenor saxophonist of the hard bop style* Influenced originally by Coleman Hawkins. - Grew up in NYC - First recordings, 1949, with J.J. Johnson, Bud Powell, Max Roach, Kenny Dorham - In '50's with Miles Davis, MJQ, Monk, Gillespie - 1955 with Brown/Roach quintet, one of the top hard bop groups in history *Blue 7, 1956* - From the album, Saxophone Collossus - Good example of his ability to conceive a solo over an extended period of time - gradually developing ideas over multiple choruses - Affinity for "out" notes (#4/b5) - Traditional quartet (sax, piano, bass, drums) - Twice quit playing to devote himself to practicing > 1959 hiatus resulted in *The Bridge, 1962* - Follows the first hiatus to work on his playing - Practiced on top of the Williamsburg Bridge in NYC (couldn't practice in his apartment) - Shows hard bop, free jazz influences - Pianoless quintet (uses guitar instead) > 1969 travels to India - In 1970's interest in R&B, pop, funk rhythms - Continually growing as an artist, exploring new sounds and ideas - Rigorous performance schedule

- Famous by playing with MD from 1963-1968. - Funky 1962 hit song "Watermelon Man" from his debut album "Takin' Off" that first got him noticed. - Abandoned the avant-garde and rebuilt his band into a tight-funk united he called "Head Hunters". - By mid 1970s was playing sold-out concerts across the country with his former boss Miles Davis as his warm-up band.

*Free jazz influence and leader of mainstream jazz* (1926-67) - Alto sax at first (Johnny Hodges influence) - Changed to tenor, separate himself from Parker - R&B, jazz groups in NY and Philly (mid 40's to mid 50's) - Penetrating tone - Heroic addiction, fired from Gillespie's big band - 1955 - hired by Miles Davis, but fired the next year (missed gigs, etc.) - Cleaned up in spring of 1957 - Playing with Monk at the Five Spot, Monk allowed for much musical experimentation - Recording under his own name - Rehired by Miles Davis, the first "great" quintet/sextet - Integral part of several of Davis' most important recordings in 1950's, including Kind of Blue - Did a lot of modal and avant garde jazz.

*Free jazz influence and leader of mainstream jazz* *1959-91* - Second Great Quintet, 1965 first recordings > Davis, Wayne Shorter (tenor), Ron Carter (bass), Herbie Hancock (piano), Tony Williams (drums) - All were younger (he was 36 when they began, they ranged from 17 to 29 years old) - Incredible ability to think together in live performances *Awards* - Grammy awards: > Best jazz instrumental (7) > Best R&B instrumental > Lifetime Achievement Award - Hollywood Walk of Fame - Hollywood Rockwalk - Rock and Roll Hall of Fame - Downbeat readers poll best trumpet (3) - Arguably most important jazz musician in the last half of the 20th century. - Central figure of 3 distinct and important styles: cool, modal, and jazz/rock fusion, and his involvement helped shape the course of bebop and hard bop. - The famous three landmark albums - His second quintet remains one of the most influential to today's jazz musicians, injecting mainstream jazz with the avant-garde perhaps more successfully than anyone else in history. - Epitomized the risk taking that a jazz artist must take to contribute to the evolution of the art form.

Started Return to Forever, played keyboard, first recordings latin/jazz fusion, later more progressive rock form. - Her band was guilty of much of the excessiveness of art rock that irritated jazz fans and ultimately turned many away from fusion.

Influenced by Davis early, played saxophone for Weather report (they defined jazz/rock fusion).

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*AACM* - Chicago cooperative - Chicago again takes a leading role in cutting edge jazz - Association for the Advancement of Creative Musicians > Sponsored concerts, radio programs, composition > Energy, collective improvisation, Africa - Art Ensemble of Chicago > African costumes, masks - Sun Ra and the Myth Science Arkestra > Swing, hard bop, free jazz, world music, electronic > Visual show - dancers, costumes, cosmic themes

Fusion of rock and jazz - Founded in 1967 - Uses jazz harmonies and jazz-influenced horn sections. - Electronics

Audience diminishes, divides. - After 10 years of embracing swing the general public turned away. - General public hated bop, because the melodies were not singable, the tempos were not danceable, and the musicians themselves seemed to care little if any about the audience. - Rhythm and Blues began to gain popularity.

Diverse styles develop at a faster pace, audience diminishes/divides, jazz culture retreats within itself, pop culture moves on.

Jump bands form jitterbug dances and smaller bands because of economics, Kansas City shouters (vocalists)...Big Joe Turner shake rattle and roll Feb. 1954, Jimmy Rushing with Count Basie Band, Laying the groundwork for Rock and Roll, Hampton's Jump band sax solo foreshadowing sax solos in rock era. ROCKET 88(1951) Jackie Brenton, sax, Ike Turner's Kings of Rhythm band recorded at Sam Phillip's studio in Memphis, "the first rock and roll recording" - lots of jazz elements.

Claude T. Orchestra, impressionistic sound(Color, No vibrato, Choir-like treatment of sections) - He was a pianist/bandleader - Band was together from 1946 until his death and utilized French horns to achieve what was called "orchestral jazz". - It included musicians that were widely associated with the cool jazz movement of the 1950s, including arrangers Gerry Mulligan and Gil Evans and alto saxophonist Lee Konitz. - Also the inspiration for the Miles Davis Nonet (the Birth of the Cool band) in 1948.

BOPLICITY (1949)..Gil Evan's apartment behind a Chinese laundry. Miles Davis, Gerry Mulligan, John Lewis, goal was to capture essence of the Thornhill sound, (trumpet, alto, bari, horn, trombone, tuba, piano, bass, drums)

- Restraint in tempo, dynamic, range, tone - More European (classical, written) - Emphasis on the arrangement, composition - Lyricism (easier melodies than bop) - Little blues influence - Introspective, introverted, detached *Birth of the Cool* - Recorded late 40's, not released until mid 50's - Miles Davis credited with its genesis - Charlie Parker turned down participation committed to the desire to be a *solo* voice - Cool styler later named *West Coast style* - 1948, experimental music - Claude Thornhill Orchestra sound

- African American jazz musicians reacting to whites having taken over the music (cool) - More public this time, coinciding with genesis of the Civil Rights Movement of the mid 50's - Black bandleaders criticized when hiring white sidemen - Influenced by the sound of R & B (urban sounds) - Combination of bebop and R & B > Gospel and blues influences strong > Simpler melody and harmony than bop > Bebop instrumentation > Tenor sax replacing the alto sax >Featured powerful, explosive driving sound > Virtuoso improvisation - New York, mid 1950's - Marks a return to certain ideals of bop > Defiance > Select, elite audience > Small combo favored > Solos and experimentation - Drum set playing becoming much more authoritative, a leading role - Art Blakey, Max Roach leading examples - More driving than cool - Less relaxed than cool - More relaxed than bop - Less complex than bop

Highly influenced by soul music, R&B. - A substyle of hard bop that drew heavily from R&B and soul music influences and artists like Ray Charles. - Also often employs heavy use of gospel harmonies, call and response, down-home blues, and funk grooves, as well as electronic instruments such as the electric piano, bass guitar, electric guitar, and Hammond organ.

Stylistic development of the 1950s was the merging of jazz and classical music. - Phrase coined by composer *Gunther Schuller* in 1957.

A style in which the harmonic focus is on modes, or scales, rather than chord progressions.

- Led on the rock side by: > Sly and the Family Stone > Chicago > Blood Sweat and Tears > Jimi Hendrix (1967 Monterey Pop Festival) *Incorporating jazz style into rock music*

- Atonal - No form - Dissonance - High energy and thick textures - Collective improvisation - Unusual ensemble instrumentation - Unorthodox playing Not about creating a new set of rules but instead was about breaking them. *Rebellion* - Louis Armstrong rebelled against existing performance practices, and musicians accepted and adopted his ways. - Duke Ellington rebelled against standard harmonies and instrumental usage, and his ideas in turn became standard practices. - Bebop musicians rebelled against the homogenization and economic restrictions placed on them by swing, and their fresh new ideas helped bring that era to an end. - Hard bop musicians rebelled against the blandness and popularity of cool jazz, and in the process created an exciting new style that broadened the jazz fan base. *Change has always been good for jazz, even from its earliest years.

Denoting artistic endeavors that are experimental, new and unusual, or cutting edge.

Electronic instruments such as electric guitar, bass guitar, electric pianos, and synthesizers were used heavily, as were electronic effects such as wah-wah pedals and echo and reverb devices. - Guitar players and keyboard players now occupied the primary lead roles as opposed to early fusion bands that had horn players. - Additional percussionists

*Hard Bop* - More driving than cool - Less relaxed than cool *Cool* - More relaxed than bop - Less complex than bop

Brainchild of Norman Granz, producer, Philharmonic Hall in LA July 2, 1944, ongoing series of concerts, tours, recordings, featured all the top jazz musicians of the day, market both the touring and recording, concert stage as a recording medium, equal pay for black and white artists, integrated lineups for integrated audience

AAB form in minor key - Bossa Nova is a Brazilian jazz style developed by Antonio Carlos Jobim and Joao Gilberto in the 1950s.

Hardbop more driving and less relaxed than cool, more relaxed and less complex than bop. "The Black Reaction" The Civil Rights Movement was the political struggle for racial equality that was led by Dr. Martin Luther King, Jr. and others. The movement started with the successful effort to desegregate the city buses in Montgomery, Alabama, in 1956, and eventually led to the Civil Rights Act of 1964 and 1968. "white musicians getting rich playing our music" *Became an answer for many black musicians to the cool style*

R&B bands that placed more emphasis on honking saxophone solos and a heavy backbeat from the rhythm section. - Smaller decedents of the swing big band. - Usually had three to four horns, a rhythm section that included electric guitar, and a vocalist.

Tholepins Monk lost his cabaret card in 1951 when narcotics belonging to pianist Bud Powell were found in his car. (Monk took the rap to protect his friend and protege) keeping him out of the clubs in NY until 1957. In June of 1957 he made a triumphant return at the *Five Spot*, a Greenwich Village nightspot, with a new quartet that included the young, experimental tenor saxophonist John Coltrane. Their six-month engagement, along with a new critically acclaimed album release Brilliant Corners, finally put Monk in a position to attain the fame and respect that had eluded him for so long.

- John Coltrane switched to alto-sax after listening to Johnny Hodges on Duke Ellington records. - Then switched to tenor sax despite being aware he would have to do it away from the shadow of Charlie Parker. - Hired by Miles Davis to play in his quintet. - Fired in 1956 by Davis, heroine addiction - Rejuvenated in 1957 "spiritual awakening" - Flourished in Monk's group - Experienced with *multi phonics* - After Five Spot gig ended in 1957, recorded five LPs with Prestige and created his first great album "Blue Train". - Back in control of career and Miles Davis asked him to rejoin his quintet in early 1958, he accepted. - Sheets of sound - Giant Steps landmark album - John Coltrane Quartet - Became one of the most influential musicians of the last 40 years and continues to inspire musicians of all instruments, as well as poets, authors, and painters. - Became one of the greatest hard bop players, then a few years later grabbed control of the free jazz movement.

*Bitches Brew, 1969 fusion of rock and jazz* (first one) Miles Davis - Rock-like grooves, layers of keyboards and Davis' haunting trumpet soaring overhead, the music is startlingly different than anything any jazz musician had ever recorded. - Expanded to as many as 12 people in three days, recorded long jams from sketches of paper that Davis had brought in. - Recorded just days after this Woodstock Festival was being held 100 miles to the north in Bethel, NY. - MD most controversial album he made. - Targeted younger audience - Sold 400,000 copies the first year and rejuvenated his career. - The album that "tore down the wall" between rock and jazz, and inspired an entire generation of rock and jazz musicians to concoct ways to creatively mix elements of the two styles together. > Electronic band > 27 minute first cut > Electronic trumpet effects *Birth of the Cool (1948-50)* - Miles Davis First Quintet - Attracted critical and popular attention with the release of this album, Miles Davis was becoming a star. *Kind of Blue (1959)* - Put together in two separate sessions from sketches that Miles brought in on scraps of paper. There was no rehearsing ahead of time so that there would be a great amount of spontaneity. Eventually became the largest selling acoustic jazz album in history. Only modal LP Miles Davis recorded, and the quintet that made it did not record together again. - New organization of harmony Davis changed Jazz history forever

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*Explosion of styles after Bop* Bop < Cool < Hard bop < West coast < Free Fusion < Modal < Avant Garde < Soul

Bebop changed jazz from popular dance music to intellectual art music. By bringing an entirely new vocabulary to jazz, it washed away the musical cliches of swing. It opened up jazz to new artistic interpretations that would to almost limitless stylistic approaches in the future. From this point on, jazz began its slide from the center of mainstream popular culture to the perimeter. - Bebop's legacy is one of evolution as well as revolution: although it quickly brought profound changes to jazz, it also set the stage for nearly every jazz style that has emerged since.

- Taking art of playing outside notes to the extreme - Willingness to operate outside the rules of traditional jazz harmonic structure - Coleman, Cecil Taylor, Eric Dolphy and others take this kind of playing seriously and make a place for it in the mainstream - Free jazz usually characterized by a spirit to willingly operate beyond the rules, whether it is one or several.

- Term appears in Ira Gitler's liner notes to Coltrane's 1958 solo album Soultrane - Russian Lullaby is prime example of this style > John Coltrane, tenor sax > Red Garland, piano > Paul Chambers, bass > Art Taylor, drums - Compare to more conservative style with Davis "While he was with Miles, *Coltrane* was tagged with the phrase "sheets of sound." Jazz critic Ira Gitler had first used it. These "sheets of sound" were multinote hailstorms of dense textures that sound like a simultaneous series of waterfalls. "His continuous flow of ideas without stopping really hit me," Gitler said. "It was almost superhuman. The amount of energy he was using could have powered a spaceship."

- With Mccoy Tyner (piano), Elvin Jones (drs) and Jimmy Garrison (bs) - Spiritual introspection - Now a top shelf jazz giant - Less need to "prove" himself > Less complex harmonically > More room for experimenting with improvisations

- Typical of this time: > Influences from India, Africa, free, avant-garde > *EXTENDED* solos: - Live at the Village Vanguard - an 8o chorus blues solo - Other live performances, hour long solos > Complex melodic improvisation, pared down harmonies > Singing ballad style

John Lewis - piano Kenny Clark/Connie Kay-drums Percy Heath - bass Milt Jackson - vibes

Dizzy Gillespie Billy Eckstine Claude Thornhill Woody Herman Stan Kenton

Ella Fitzgerald Sara Vaughan Eddie Jefferson Lamber, Hendricks & Ross

The technique of composing lyrics to fit existing recorded jazz improvised solos or instrumental arrangements (such as big band charts).

A formal structure first used during the Baroque Era (1600-1750) that makes extensive use of counterpoint based on an opening theme or subject.

A feature of multi-track tape recorders that allow musicians to record additional parts independently of each other while listening to already recorded tracks with headphones. Each additional track is called an overdub.

Elk's Hall Club Alabam Lincoln Theatre Jack's Basket Room

Howard Rumsey Shorty Rogers Frank Rosolino Shelly Manne Jimmy Guiffre

Gerry Mulligan Chef Baker Dave Brubeck Stan Getz Paul Desmond

Two or more melodic lines occurring simultaneously, sometimes referred to as polyphony.

refers to unusual groupings such as three, five, seven, or nine beats to the measure.

The way in which the meter is designated. Time signature is expressed as a fraction, with the top number being the number of beats per measure, and the bottom number being the note value of each beat, i.e., 4/4, 6/8, 3/4, etc.

Literally means "new" flair in Portuguese; containing Brazilian, jazz, and classical influences, bossa nova became popular in the early 1960s.

On July 2, 1944 this music impresario sponsored the first *Jazz at the Philharmonic* concert at Philharmonic Hall in Los Angeles.

A syncopated type of folk-song from the West Indies that is typically played by steel drum bands.

An improvisational technique where the soloist repeats a short phrase or riff with constant variation and modification.

Bill Evans Scott LaFaro Paul Motian

Miles Davis Philly Joe Jones Paul Chambers Red Garland John Coltrane

Ornette Coleman calls his improvisational concept harmolodics, a contradiction from the words harmony, motion, and melodic.

"Sun Ra" - First band: Myth Science Arkestra

A short musical phrase, either melodic or rhythmic, that is related.

August 15-18, 1969 attracted a crowd estimated at 450,000.

Has been held continuously since 1967 in Montreux, Switzerland.

A technique in which a player produces more than one note at a time on a wind instrument, often creating unusual intervals that sound dissonant.

A repeated phrase that is often used to connect two sections of a composition, to support extended solos, or to end songs.