‘The Evolution of the Blues, Jazz, and American Music ee erg ey egg pap oe ecg ae 70 re os con ae Tata setts J totes a A ‘desl Rock ‘Nie Wve Pn 7 Js — wd se eee oe see + echoodee ~S Gare] —— a err tye tae “Aeericon Popular Song toro wr tchopania mo teNew Orleans New Orleans is commonly referred to as the “Birthplace of Jazz”. The music we cal “jazz” first developed in this unique cultural city because of its geographical location, extensive African-American population, and ‘numerous establishments where musicians could perform. The musical traditions of the blacks combined with the changing social structure of the community culminated in what we call today New Orleans jazz. I. New Orleans during the 1800s ‘A. originally owned by the French (Louisiana Purchase 1802) B. largest city in the South; important port C. unique, multi-cultural city 1. Congo Square (18203-1880): A place where slaves were allowed co gather ‘on Sundays to sing, dance, and play various instruments including drums, pebble-filled gourds, African Sanza (thumb piano), jews-harps, and the banjo. 2. French Quarter 3. Mardi Gras 4, Downtown Creoles, Uptown blacks 5. Cajuns, zydeco 6. influences from the Caribbean 7. voodoo II. Musical Traditions A, European “classical” music (French opera houses) B. street cries, street musicians C. Brass Bands: Small marching units sponsored by black fraternal organizations that were the immediate predecessors to the earliest jazz bands, 1. funeral processions a. dirge: A. slow hymn (or spiritual) played on the way to the cemetery. b. second line: Vivacious version of a hyma, spiritual, or other popular tune played on che return from the cemetery where people join in dancing and celebrating. 2. street parades (cutting contests) 27IIL. Important Sociological Events 1892 Discriminatory laws that create segregation in the city 1897 Storyville opens (red-light districx) a. 1915. mass exodus to the North by southern blacks 1917 Storyville closed by U.S. Navy; many musicians move to Chicago IV. Early Jazz Bands ‘A. Instrumentation 1. Front Line: 1-2 corner(s), clarinet, trombone 2. Rhythm Section: piano, banjo, drum set, tuba (or string bass) B. Characteristics 1. polyphonic texture: collective improvisation 2. flat-four rhythm or two-beat 3. ragtime influenced syncopation, march rhythms (“roll-off”) 4, melodies contain a preponderance of blues inflections 5. voeals 6. form: ensemble chorus - improvised solos - out chorus C. Repertoire 1. ragtime tunes 2. popular songs 3. spicieuals 4,12-bar blues V. Important Early New Orleans Jazz Performers Buddy Bolden (1868-1931), cornet - earliest known jazz musician; claimed to have “invented” jazz. in 1896; first to be called “King”; committed to an asylum in. 1907; no recordings Bunk Johnson (1879-1949), cornet - played second cornet to Bolden; rediscovered during 1940s New Orleans jazz revival; The Entertainer (1947) Freddie Keppard (1889-1933), trumpet - one of the frst to play the trumpet rather than cornet; in 1915 refused first chance to make a jazz recording; later recozd- ings made in Chicago Joe “King” Oliver (1885-1938), cornet - helped to carry the New Orleans tradition ro Chicago; important influence on young Louis Armstrong Jelly Roll Morton (1885-1941), piano/composer - claimed to have “invented” jazz in 1902; first important jazz. composer; also helped to carry the New Orleans tradition to ChicagoEdward “Kid” Ory (1886-1973), trombone - first significant jazz trombonist; made the first recordings by a black jazz band in Los Angeles in 1922; Ory’ Creole Trombone and Society Blues; later recordings in Chicago with King Oliver and Louis Armstrong Sidney Bechet (1897-1959), clarinet/soprano sax - an excellent clarinet soloist, he switched to the soprano sax and consequently became the first major saxo- phone soloist in jazz; known for his very fast and wide vibrato; was one of the first American jazzmen to move to Europe (1919) VI. Other Important New Orleans Performers clarinet: Johnny Dodds, Jimmy Noone, George Lewis, Barney Bigard eombone: Fred Robinson, Honore Dutrey drums: Baby Dodds, Zutty Singleton Preservation Hall Jazz Band - contemporary ensemble playing in the tradition of New Orleans Jazz Dirty Dozen Brass Band - contemporary brass band fusing elements of modern jazz and popular styles with traditional brass band music Sidney Bechet. Photograph by Bob Parent. Courtesy of Don Parent.Clarinet. Courtesy af the Selmer ‘Company. VII. Dixieland Originally, transplanted white New Orleans musicians in New York City and Chicago playing in a style learned from their black counterparts in New Orleans. This music was the first recorded (so-called) jazz style which achieved enormous popularity in the North. A. Characteristics 1. stiff rhythmic style (ricky-tick) 2. little improvisation B. Notable Bands Original Dixicland Jass Band (ODJB) - led by cornet- ist Nick LaRocca, they made the first jazz recordings in 1917; Darktown Serutter’s Ball, Livery Stable Blues, Disie Jass Band One-Step New Orleans Rhythm Kings (NORK) - one of the ‘most popular and unique dixieland bands in Chicago during the 1920s C. Other Later Performers Al Hirt- rumper Pete Fountain - clarinet Dukes of Dixieland World's Greatest Jazz Band Bob Crosby and the Bobcats Jim Cullum (San Antonio)Swing and Big Bands ‘The period in jazz history known as the swing era extends roughly from the late 1920s to the end of WWII. During these years, many profound developments took place in jazz composition, improvisation, and instrumental techniques. Most of the ensembles studied in this unit are big bands of 10-15 players. Because of the large size of bands, music usually had co be written down in some fashion, and composers! atrangers became important components in the success of a band, The swing era was also characterized by the arrival of the jazz vocalist. Swing attained a degree of popularity unknown in any other jazz style I. The Big Band A. Standard Instrumentation saxophones, 4 trumpets, 4 trombones jon: piano, bass, drums, (guitar) B. General Characteristics 1. emphasis on ensemble playing 2. jazz swing feel: steady 4/4 beat, swing 8th-notes, walking bass, ride chythms 3. more structured, often written arrangements with improvised solos 4, expanded harmonic concepts 5. players usually show a high level of musicianship a. sight-reading ability b. agility, good command of instrument © good intonation and cone control 6. saxophonists also double on clarinet & lure 7. showmanship a. costumes «. theme songs b. choreography d. logos on music stands 8. dance oriented music C. Acranging Techniques Tutti The entire horn section plays a melodic line in harmony: homophony; black voicings Shout Chorus The climactic tutti section at end of a big band composition. Soli ‘One section of the horns (ie: saxophone) are featured playing a melodic line in harmony: homophony 3940 Unit Bight Cross-Section Voicing A harmonized melodic line is voiced utilizing instru- ‘ments from different sections of the ensemble to create unique instrumental colors Polyphony Each section of the horns plays an independent melody simultancously: counterpoint Unison ‘Two or more instruments playing exactly the same notes of a melody: monophony Riff ‘A repeated short melodie pattern that is repeated by the horns as a background for a soloist ot in a call & response manner between sections of the ensemble. RiffBased Melody A.usually simple “catchy” melody built from a riff. Pops Short, accented, usually syncopated notes played by the horn section as, 7 accompaniment figures. Mutes Any of several types of devices which, when inserted into the bell of a brass instrument (trumpet or trombone), alters the timbre. | TI. New York - The bands that led to the swing style While jazz in Chicago during che 1920s was based in New Orleans in- serumentation, the trend in New York City was towards larger bands. Many of the earliest big bands played in vaudevilleshows, large dance halls, and speakeasies. Brass Mutes. From lefe to right: bucket, Harmon, plunger, straight, straight (metal), and cup. Paul Whiteman (1890-1967), band-leader/violinist 1. organized a “symphonic jazz” ensemble in 1919: 8 woodwinds, 5 trumpets, 4 trombones, tuba, a small string section, 2 pianos, banjo, string bass, drums, and 2 vocal trios 2. was called the “King of Jazz” but very little of their repertoire was related to jazz 3. employed white jazz soloists such as cornetist Bix Beiderbecke, clarin Dorsey, and trombonist Tommy Dorsey 4, very popular; set che standard for many white commercial and “sweet” bands of the swing era ist Jimmy‘Trombone. Courtesy of Vincent Bach division of The Bass Trombone. Courtesy of Vincent Bach Selmer Company. ‘The Selmer Company. nof Fletcher Henderson (1898-1952), bandleader/pianist/arranger 1. organized an eleven piece group in 1922: 3 saxophones (2 altos, 1 tenor; doubling on clarines), 1 wumpet, 2 comets, 1 trombone, banjo, cuba, piano, and drums; band grew to almost full standard size by 1934 2. a transitional figure between early jazz and swing 3. noted for ensemble playing with the addition of “hot” soloists 4, developed the basic big band format and arranging techniques; the “prototype” of the big band style 5, Important Players, Composers, and Arrangers Don Redman (1900-1964), alto sax/composer/arranger - one of the first to utilize homophonic arranging techniques; block voicings, Benny Carter (1907- ), alto sax/composer/arranger/bandleader - frst ‘major jazz alto sax soloist; one of the architects of the big band style; still composing and recording into the 1990s Coleman Hawkins, tenor sax a star of the 1930s and model for most swing tenor players ‘Leon “Chu” Berry (1910-1941), tenor sax - his full-bodied and authoritative sound was very influential to modern jazz pioneer Charlie Parker Rex Stewart (1907-1967), cornet - one of the great corner players of the swing cra; later played with Ellington and Basie Louis Armstrong, comet - Armstrong made his first recorded solos with Henderson Edward Kennedy “Duke” Ellington (1899-1974), bandleader/pianist/composer/arranger 1. The Duke Ellington Orchestra was the most recorded and longest surviving band in American music history (neatly 50 years). 2. Ellington was a unique and influential pianist whose style was rooted in stride. 3, America’s greatest black composer: a. extremely creative and prolific, well over 1,000 original compositions b. incorporated numerous styles and idioms2 Cnit Bight harmonic and melodic sophistication, chromaticism 4. great orchestrator, unusual voicing techniques for “color”: 1. cross-section voicings 2. brass mutes (plunger mute with growl) unique and expanded formal structures £ various compositional approaches 1. jungle music (while at Harlem's Cotton Club) 2. compositions and arrangements devised for specific players; “concertos” 3. impressionistic “musical portraits” and tone poems 4, popular songs and dance tunes genes Pipes is: ae Dake Ellington. Photographed by Bol Parent. Courtesy of Don Parent44 Unie Eight Important Events and Compositions 1917 1919 1923 1924 1926 1927 urns down art scholarship for painting; begins professional music carcer asa free-lance pianist in Washington D.C; composes Soda Fountain Rag forms his first band moves to New York City; forms 6-piece group called the Washingtonians at the Kentucky Club; makes first recording: Rainy Nights increases his band to 10-pieces (influenced by Fletcher Henderson) hires agent Irving Mills 1927-1931 Duke Ellingron Orchestra (12-piece group) at the Cotton Club; Hot and 1930s 1930s 1939 1940 1941 1943 Bothered, Rockin’ In Rhythm, Creole Love Call, East St. Louis Toodle-Oo, Mood Indigo, The Mooche, Black and Tan Fantasy composes the first extended jazz. compositions: Creole Rhapsody (1931), Daybreak Express (1933), Reminiscing In Tempo (1935), Clarinet Lament (1936), Symphony Jn Black (1935 film short} ‘numerous popular hit songs: Sophisticated Lady Solitude, It Don't Mean a Thing If It Ain't Got That Swing, In a Sentimental Mood, Caravan (w/Juan Tizol), Prelude To a Kis begins collaboration with Billy Strayhorn records over 70 pieces including: KoKo, Blue Serge, Cotton Tail, Concerto ‘for Cootie, Jack the Bear, Sepia Panorama records Tike the ‘A” Train (by Strayhorn) which becomes Ellington's biggest hit and theme song performs the one-hour long Black, Brown, and Beige at Carnegie Hall in New York City with mixed reviews late ‘40s temporary decline in popularity 1955, legendary performance at che Newport Jazz Festival 1950s-1974 many international tours; composes (with Strayhorn) numerous suites and other extended works: Harlem (1950), A Drum Is a Woman (1956), Such Sweet Thunder (1957), Anatomy Of a Murder (1959 film score), Suite Thursday (1960), Far East Suite (1964), New Orleans Suite (1971), Afro- Eurasian Eclipse (1971), Sacred Concerts (1965, 68, '73), Important Ellingon Sidemen Johnny Hodges, (1906-1970), alto sax - “Rabbie’; one of the best known and most influential of Ellington's players; along with Benny Carter was the model for many swing alto saxophonists; his beautiful “sweet” sound made him a great interpreter of ballads; much use of smearing Harry Carney (1910-1974), baritone sax - most significant bari sax player of swing era; his big sound and vibrato helped to define the Ellington ensemble sound; he also mastered the technique of cireular breathing; played almost exclusively with Ellington from 1927 until is deathSwing and Big Bands 45 Ben Webster (1909-1974), tenor sax - along with Coleman Hawkins and Lester Young ‘was one of the most influential tenormen of the era; rich, dark, breathy tone quality; relaxed chychmic feel even at fast tempos Paul Gonsalves (1920-1974), tenor sax ~ most featured soloist in the Ellington Orches- tra from 1951 on; his 28-chorus solo on Diminuendo and Crescendo in Blue at the 1955 Newport Jazz Festival is one of the most famous of all performances in jazz history Jimmy Hamilton (1917-1994), clarinet/tenor sax - one of the great clarinetist in jazz, he was the most modern of Ellington's musicians; more virtuostic facility and a lighter tone quality than many easligr jazz clarinetists; was featured promi- nently with Ellington during the 1950s and 1960s Bubber Miley (1903-1932) and Cootie Williams (1910-1985), trumpet - masters at utilizing mutes, particularly the “growling” plunger mute, to achieve a vocal- like quality in their playing; Miley was the first important Ellingron soloist Clark Terry (1920- ), trumpet/flugelhorn - featured with Ellington from 1951-1959, he was the firse important soloist on che flugelhorn; he later became one of the pioneers in jazz education Cat Anderson (1916-1981), trumpet - known for his extremely high register “screech” playing; with Ellington during the 1950s and 1960s, Jimmy Blanton (1918-1942), bass - first important bass soloist in jazz, he liberated the bass to a solo instrument; many of Ellington's pieces written during his tenure from 1939-1942 featured the bass Billy Serayhorn (1915-1967), pianist/lyricist/composer - Swee’ Pea”, “Strays”; Ellington's alter-ego and writing partner from 1939-1967; wrote some of the most beautifully haunting ballads ever: Lush Life, Cheltea Bridge, Passion Flower, Single Petal Of A Rose, Day Dream, A Flower Is A Lovesome Thing, Blood Count Benny Goodman (1909-1986), bandleader/clarinet - the “King of Swing” 1. led the most popular jazz-oriented big band of the swing era a. well-rehearsed, polished, hard driving band b. provided exposure for many outstanding soloists, many of whom were discovered by and introduced to Goodman by talent scout/promoter John Hammond (1910-1987) 2. led many outstanding combos that highlighted great soloists and anticipated mod- ern jazz styles 3, great clarinetist in both jazz and “classical” music46 Unit Bight ‘Teddy Wilson and Benny Goodman. Photograph by Bob Parent. Courtesty Don Parent. Important Events 1925 joins Ben Pollack’s band in Chicago 1928 Goodman moves to New York City 1932 organizes his first dance band, discovered by John Hammond 1935 Lets Dance radio shows; performance at the Palomar Ballroom in Los Angeles which begins the swing social-dance craze; introduces his racially integrated trio (quartet) including Teddy Wilson, Gene Krupa, and (Lionel Hampton) 1938 famous Carnegie Hall Concert, the first formal jazz concert 1939 organizes his famous sextet with guitarist Charlie Christian 1955 The Benny Goodman Story-Academy-Award winning motion-picture starring actor Steve Allen and featuring many of Goodman's famous sidemenSome Notable Performers Associated with Goodman Lionel Hampton (1909- ), vibraphone - one of the most famous of Goodman's sidemen; first significant soloist on the vibraphone; led a successful big band into the 1990s Harry James (1916-1983), trumpet - famous for his incredible technique and fat tone; his style was the standard for many swing era trumpet players; very well-known personality who went on to lead a successful big band of his own ‘Teddy Wilson (1912-1986), piano - light, graceful stride style Charlie Christian (1916-1942), electric guitar -firse important jazz guitarist; horn-like lines and phrasing; played in bebop jam sessions Gene Krupa (1909-1983), drums - the most popular Goodman sideman, he was the model for most swing drummers; emancipated the drum set from its restricted role as timekeeper; also led a big band that featured trumpeter Roy Eldridge and vocalist Anita O'Day III. Territory Bands/The Southwest A. Characteristics 1. traveling groups ranging in style from jazz-oriented black dance bands to white “sweet” bands 2. black bands often rough, uninhibited; emphasis on the blues a. often relied on improvisation and head arrangements based on tiffs b. flagwavers B. Some Notable Bands ‘Andy Kirk and the Clouds of Joy (Dallas) featured pianist/composer Mary Lou Williams (1910-1981) Lloyd Hunter's Serenaders (Omaha) Boots and His Buddies (San Antonio) Oliver Cobb (St. Louis) C. Kansas City Jay McShann (1909- ), pianist/vocalise - “Hlootie"; one of the most important proponents of Kansas City jazz; “The Band ‘That Swings the Blues”, his big band during the late 1930s and early 1940s, included Charlie Parker; McShann's piano style is rooted in the blues and boogic- woogie Jay MeShann. Courtesy of fy MSkana48 Unse Bight Count Basie and His Orchestra (ca, 1960). Alto Saxophonist Marshall Royal as soloise (standing). Photograph by Bob Parent. Courtesy of Don Parent. ‘Walter Page's Blue Devils - the earliest of the Kansas City big bands; included alto saxophonist Buster Smith; eventually became the Bennie Moten band Bennie Moten (1894-1935) - in 1932 made the first notable recordings of Kansas City jazz: Toby, Moten Swing; became the Count Basie band when Moren died in 1935 William “Count” Basie (1904-1984) - The Count Basie Orchestra was the leading exponent of the Kansas City style and (along with Ellington) the most success ful big band in jazz history 1. Characteristics a. an emphasis on simplicity and a relaxed swing feel b. an emphasis on the blues . riffs, head arrangements,dl later bands played more formal arrangements; notable arrangers included: Neil Hefti Thad Jones Sammy Nestico Quincy Jones Esnie Wilkins Frank Foster . often performed with blues singers (shouters) Jimmy Rushing Leon Thomas Joe Williams Helen Humes Joe Turner Carman Bradford 2, Importance a. The single most influential swing band on modern mainstream jazz styles. b, many imporranc and influential band members c.onganized the first “modern” chythm section Basie, piano - began as a stride and boogie-woogie style player, later developed comping; light touch, use of silence, often exploiting the high regiscer of piano Freddie Green, guitar - crisp, relaxed strokes evenly on all four beats ‘Walter Page, bass - light and flexible bass lines; one of the first masters of the walking bass technique Jo Jones, drums - a light precision within a loose but assured manner; quicter bass drum; ride rhythms, especially on the hi-hat ‘Two Very Influential Basie Alumni Lester Young, (1909-1959), tenor sax - “Prez”; onc of the most original stylists of the swing cra, he created the foundation for che modern. saxophone sound; a “cool” players lyrical improvisations, Borizontal approach; direct influence on Charlie Parker and vocalist Billie Holiday, Don Byas, (1912-1972), tenor sax - replaced “Prez” in the Basie band; the ‘most advanced cenor saxophonist of swing era, considered a transitional figure berween swing and bebop; incredible technique and harmonic sophistication; one of the many American jazz musicians to make an exodus to Europe Other Notable Basie Sidemen ‘Marshall Royal, Franke Wess - alto sax Herschel Evans, Buddy Tate, Illinois Jacquet, Jimmy Forrest - cenor sax Buck Clayton, Harry “Sweets” Edison, “Hot Lips” Page - trumpet Dickie Wells, Vic Dickenson, Al Grey - trombone Sonny Payne, Rufus Jones, Butch Miles - drums Frank Foster - tenor sax & leader of “ghost band” during 1980s and early 1990s Grover Mitchell - trombone & current leader of “ghost band”IV. Other Important Instrumentalists of the Swing Era Coleman Hawkins (1904-1969), tenor sax - “Father of the Tenor Sax”; deep, dark, gutsy tone; heavy, wide vibrato; known for his vertical, harmonic approach to improvisation (arpeggiated approach); his aggressive playing and sound was the model for most swing tenor players Roy Eldridge (1911-1988), trumpet - “Little Jazz”; one of the more advanced improvisors of the swing era known for his long “sax- terful technique uti tone colors; is considered the stylistic link between Armstrong and Dizzy Gillespie Django Reinhardt (1910-1953), guitar - Belgian Gypsy based in France; incred- ible speed; flamboyant, ornate style; as influential to modern jazz guitat playing as Charlie Christian; his recordings were among the first jazz imports to America Stephane ae Ae ), violin - cal y PS J ea eects the EE clara Hania’ Phitigaph by Hob Pare Hot Club of France with Django (Ceaoy atten Reva etre ett Reinharde during the 1930s; is still considered by many to be the greatest jazz violinist ever Exroll Garner (1923-1977), piano - developed a unique style rooted in stride; right hand played single nore, horn-like melodies while his left hand often acted like a chythm guitar; composer of Misty: is considered an important transitional figure between swing and modern jazz. Nat “King” Cole (1917-1965), piano/vocals helped to develop the comping style; alight, melodic approach to improvisation; formed many tris (piano, guitar, bass) beginning in the 1940s; became an immensely popular singer during the 1950s ‘Slam Stewart (1914-1987), bass - known for humming along note-for-note with his arco solosMilt Hinton (1910- ), bass - “The Judge”; played with numerous swing and modern jazz. ‘groups; is one of the most recorded sidemen in jazz history V. Other Notable Swing Era Bands A, Jazz-Oriented Jimmie Lunceford (1902-1947) - one of the most hard driving, polished and enter- taining black dance bands; included crumpeter Snooky Young, trombonist ‘Trummy Young, and alto saxophonist Willie Smith; featured many exciting arrangements by Sy Oliver and Eddie Durham ‘Chick Webb (1909-1939), drums- one of the most powerful swing drummers, he helped establish the drums as a solo instrument; his big band worked the Savoy Ballroom in New York; featured vocalist Ella Fitzgerald in 1938-39 Earl “Fatha” Hines - included Dizzy Gillespie and Charlie Parker for a short time in 1943 Billy Eckstine (1914- ) vocalist, - he led a bebop influenced big band in 1944 wi Charlie Parker, Dizzy Gillespie, Art Blakey, Gene Ammons, and Sarah Vaughan Claude Thornhill (1909-1965), piano - his influential big band, though relatively short lived, was known for its delicately colorful ensemble sound; included two very influential young “modern” arrangers: Gil Evans and Gerry Mulligan B. Popular Commercial Big Bands Glenn Miller Artie Shaw Tommy Dorsey Jimmy Dorsey ‘Charlie Barnet Bunny Berigan Billy May Erskine Hawkins Ray Anthony Les Brown and His Band of Renown C. Sweet Bands (only marginally jazz influenced) Guy Lombardo Russ Morgan Lawrence Welk Lester Lanin Jan Garber Eddie Duchan VI. Jazz. Vocalists A. General Observations and Characteristics 1. jazz vocal improvisation began in the 1920s with Louis Armstrong and blossomed during the swing era 2. often an imitation of instrumental phrasing 3. scat singing52 Unit Bight B. Thice Female Giants Billie Holiday (1915-1959) - “Lady Day”; a great interpreter of standard songs who interjected the laid- back feeling of the blues; retained words to a song but improvised new melodies; appeared with Basie, Goodman, clarinetist Artie Shaw, Teddy Wilson, and Lester ‘Young; influenced many Ameri- can popular singers Ella Fitzgerald (1918-1996) - “The First Lady of Song"; acrobatic scat- singer; child-like voice; imitation of instrumentalists Sarah Vaughan (1924-1990) - “Sass”; deep, robust voice; four-octave range; changed the timbre of her voice for expressive purposes; advanced sense of harmony; also a scat-singer and pianist Billie Holiday. Photograph by Bob Parent. Courcesy of Don Parent. C. Other Jazz Vocalists Carman McRae Nancy Wilson Betty Carter Maxine Sullivan Anita O'Day ‘Mel Torme Dinah Washingron Eddie Jefferson Shirley Horn “Abbey Lincoln Ruth Brown June Christy Jon Hendricks (Hendricks, Lambert, & Ross): vocaleseBebop Bebop (o: simply bop) refers to the innovative playing which began in the early 1940s and reached its classic phase during the late 1940s and carly 1950s, Bebop was more complex than swing and required greater echnical proficiency to perform properly. The style developed from jam sessions by musicians reflecting Kansas City and New York backgrounds. Bebop is considered the beginning of “modern jazz” I. General Characteristics A. typical small ensemble: trio, quartet, quinter, or sextet B. individualistic; focus on improvisation rather than on complex arrangements C. increased harmonic complexities through chord alterations and chord substitutions (reharmonization of standard songs) D. complex angular melodies and solo lines; heads played in unison (monophonic) E. longer, irregular melodic phrasing E usually faster tempos than in swing; no longer dance music G. highly syncopated rhythms; unpredictability H. lighter rhythm section feel 1. piano comping 2. walking bass 3. melodic drumming; kicks, fills, and dropping bombs I. elements of Afro-Cuban music used at times J. improvisors inspired by 20ch Century “classical” composers such as Igor Stravinsky and Bela Bartok K. repertoire 1. standard songs 2. 12-bar blues 3. original cunes based on standard songs; lines Il. Typical Form of a Bebop Performance: || intro | Head | horn solos | piano solo | bass and/or drum solo and/or trading 4s | Head | tag |60 Unit Nine IIL. Important Performers Charlie Parker (1920-1955), alto sax/composer - “Bird”, *Yardbird"; more than anyone else, he became a symbol of bebop and its greatest innovator; he is considered the most important single figure in modern jazz and one of the greatest musicians of the twentieth century Characteristics and Innovations a. dry, “biting”, full tone; slower, narrower vibrato chan swing alto players b. dazzling technique and originality . double-time and even quadruple-time figures, especially on ballads d. developed a new harmonic language by using upper extensions of chords as, important melodic tones Charlie Parker. Photograph by Bob Parenc. Courtesy of | Don Parent, John Birks “Dizzy” Gillespie (1917-1993), trumper/composer - achieved the greatest popular recognition of any bebop musician, known for his “bent-up” trumpet, puffed checks, and entertaining stage presence Characteristics, Innovations, and Importance a. played in much the same manner as Parker; his recordings with Parker are jazz classics luenced primarily by swing trum- peter Roy Eldridge € most influential teumper player in modern jazz d. bright, piercing tone quality €. unprecedented technical virtuosity emphasizing the high register of the trumpet £ often used a cup mute ga sophisticated understanding of hat- monic theory h, strongly influenced by Afro-Cuban shythams i. composed many tunes that have become jazz standards ‘Dizzy Gillespie. Phocograph by Myles Rothscen, j. held a strong interest in jazz educationBebop o Bud Powell (1924-1966), piano - developed mainstream bop piano stylings and became the model for most modern jazz pianists: right hand - improvised bop melodies emphasiz- ing seale and arpeggio patterns, left hand ~ comps Max Roach (1925- ), drums - considered the greatest ofall bebop drummers; known for his extremely polyrhythmic and melodie solos Miles Davis (1926-1991), trumpet - began his long and important career playing alongside Charlie Parker ‘Max Roach Quintet (carly 1950s). Sonny Rollins on tenor saxophone, other musicians unknown, Photograph by Bob Parent. Courtesy of Don Parent«2 Unit Nine ‘Thelonious Monk (1917-1982), pianist/ composer - “High Priest of Bop”; created a unique and radical piano and compositional style; important composer of bebop tunes, many of which have become jazz standards; many consider him the most important jazz. com- poser after Ellingvon; his style and musical philosphies influenced many avant-garde musicians of the 1960s Characteristics IIL. Important Events 1938 1939 1941 early "40s 1942-1943 1942-1944 1945 mid ‘40s- early ‘50s 1946 1947 1949, 1951 1953 1955 a. his compositions, piano accompaniments, and solos based on motifs (motivie development) b, newharmonic ideas: tone clusters, whole-tone scale, and “skeleton” chords ¢. extremely angular melodies in his compositions and improvisations d. extremely syncopated and erratic chythms ¢. an effective use of silence and space Chatlie Parker acquires nickname “Bird”; travels to New York City from his hometown of Kansas City; works as a dishwasher just to hear pianist ‘Art Tatum perform Parker meets Dizzy Gillespie Parker's first recordings with Jay MeShann: Hootie Blues, Swingmatism after-hour jam sessions in Harlem at Minton’s Playhouse (with house pianist Thelonious Monk) and Clark Monroc’s Uptown House Bird and Diz with Earl Hines and Billy Eckstine big bands American Federation of Musicians national recording ban Bird & Diz record make the first bebop recordings: Dizay Atmosphere, Groovin’ High, All the Things You Are (Eebruaty); Shaw ‘Nuff (May); KoKo (November); coincides with a New Orleans/Dixieland jazz revival numerous bebop jazz. clubs on New York's 5nd St, (“The Street”): including: the Three Deuces, the Onyx, the Spotlite, the Downbeat Club, the Royal Roost, Kelly's Stables, the Famous Door, and Birdland Bird and Diz travel to Los Angeles; Bird commited to Camarillo State Hospital because of heroin addiction and alcohol abuse after the infamous Lover Man recording session Dizzy Gillespie begins collaboration with Cuban percussionist Chano Pozo; forms his big band combining elements of bebop with Afro- Cuban rhychms Parker's first of two successful European tours Bird & Diz television appearance on Stage Entrance: the only known film (with audio) of Chaclic Parker Massey Hall “Greatest Jazz. Concert Ever" (Toronto) with Bird, Diz, Bud Powell, Charles Mingus, and Max Roach Charlie Parker dies of pneumoniaBebop IV. Other Musicians Who Began to Achieve Prominence During the Bebop Period Sonny Stitt (1924-1982), alto/tenor sax - greatest match to Bird; high level of precision and consistency; softer tone and somewhat smoother lines than Parker; one of the first to bring the bebop style to the tenor sax; developed mainstream bebop melodic patterns that have been imitated by numerous performers Dexter Gordon (1923-1990), tenor sax - “Long, Tall Dex’: deep, dark cone with an edges laid- back rhythmic feel; influential to hard bop tenor players; motion picture roles in later life: ‘Round Midnight (1986) Fats Navarro (1924-1950), trumpet - warm tone; more lyrical improvisations than Gillespie; influential to both cool and hard bop players, especially Clifford Brown JJ. Johnson (1924-), trombone - frst significant bebop trombonist; incredible technique ‘emphasizing the high register, double and triple tonguing, and the use of alternate positions; later recordings in hard bop ‘Tadd Dameron (1917-1965), pianist/composer/arranger - important composer and master of small group arranging techniques; advanced harmonic conception Oscar Peterson (1925- ), piano - one of the smoothest and “fastest” of all modern jazz pianists; strongly influenced by Art Tatum, he often incorporated the “stride-style” with modern jazz piano techniques Kenay Clarke (1914-1985), drums “Klook’; the “godfather” of modern jazz drummings was the first to emphasize ride rhythms on the cymbals while maintaining the snare drum and toms for improvised rhythmic punctuations and the bass drum for dropping bombs Jackie McLean, Frank Morgan, Phil Woods - alto sax Lucky Thompson, Charlie Rouse, Sonny Rollins, John Coltrane - tenor sax Buddy DeFranco - clarinet Red Rodney, Howard McGhee, Clifford Brown - trumpet Al Haig, Duke Jordan, Ahmad Jamal - piano Curly Russell, Oscar Pettiford, Ray Brown - bass Roy Haynes, “Big” Sid Catlett - drums ‘Toots Thielemans - harmonica/guitar/whistling, Dexter Gordon. Photograph by JJ. Johnson. Photograph by Myles Rothstein. Myles Rothstein.Unit Nine ‘Charlie Parkes Quartet: fom left o right, Charles Mingus (bass), Roy Hay oni (piano) and Charlie Parker (alto ax) at the Open Door in Greenwich Village, y (1953). Phocograph by Bob Parent. Courtesy Don Patent.UT Post Bebop Styles During the early 1950s, the bebop sound of the 1940s evolved into two basic approaches: cao! and hard bop. Cool jazz (also referred to as “West Coast") began as a reaction to the explosive frenzy of bebop. Its proponents, many of them white Los Angeles studio musicians, strove for a more sophisticated, intel- lectual style. Cool musicians wished to be considered equals of “classical” musicians. To that end, they borrowed many procedures from “classical” music (chird stream). Hard bop, on the other hand, took less intellectual approach combining elements of the blues and gospel music with bebop. Artists from both seyles felt that their music was a logical continuation of bebop. This unit also looks at some of the unique artists who emerged during the 1950s who are difficult to categorize into one particular style, but who are important to the evolution of jazz—among them pianist Bill Evans and bassist/composer Charles Mingus. L. Cool ‘A. General Characteristics 1. calm, unhurried approach to improvisation 2. often short, concise improvisations 3. thinner textures, sofier dynamics, smoother melodic phrasing 4, horn players tend to play with a lighter, less harsh tone quality with little vibrato 5. less intense rhythm section accompaniments: drummers often use brushes; less kicks and bombs 6. often intricate arrangements; an emphasis on composition 7. new instrumental combinations 8. a renewed interest in collective improvisation and contrapuntal melodies 9. less obvious blues influence (0. Beat Generation (Jack Kerouac - poct) B. Sources For Instrumental and Arranging Styles Lester Young, Claude Thornhill Charlie Parker Gil Evans Miles Davis J.S. Bach, C. Important Performers and Ensembles Miles Davis - Birth of the Cool (1949); nonet recording featuring an unusual instrumentation; arrangements by Gil Evans and Gerry Mulligan; included many of the innovators of the cool style; marked the official start of the cool jazz movement68 Unit Ten Lennie Tristano (1919-1978), pianist/composer - East Coast innovator of the late ‘40s who developed an alternative to the “Bird and Diz” style of bebop; an even greater harmonic sophistication; a “guru” igure; importane recordings with saxophonists Lee Konitz and Warne Marsh Lee Konitz (1927- ), alto sax/composer - developed a truly original alto sax style detived from Parker and Tristano; dry, light tone quality using very little vibrato; a model for many cool saxophonists Gerry Mulligan (1927-1995), baritone sax/composer/arranger - one of the most important bari sax players in jazz; led a piano-less quartet during the carly 1950s with trumpeter Chet Baker; a creative and prolific composer that has been involved in numerous musical contexts; a seminal figure of the “West Coast” sound Chet Baker (1929-1988), trumpet/flugelhorn/vocalist - one of the greatest cool stylists; known for his lyrical, song-like improvisations; one of the first to play the more mellow sounding flugelhorn Gerry Malgan, Photograph by Bob Parent Courtesy of Chet Baker, Photograph by Bob Parent. Courtesy of Don jon Parent. Parent,Dave Brubeck Quartet, Dave Brubeck (piano), Paul Desmond (alto sax), Eugene Wright (bast), and Joe Morello (drums). Photograph by Bob Parent. Courtesy of Don Parent. Dave Brubeck (1920- ), piano/composer- led one of the most popular quartets in modern jazz that experimented with elements of classical music and odd meters, his 1961 album Time Out featuring the tunes Tike Five and Blue Rondo «la Turk has been one of the most popular modern jazz recordings Paul Desmond (1924-1977), alto sax - was featured with the Dave Brubeck Quartet; beautiful, dry tone quality; lyrical improvisations Modern Jazz Quartet (MJQ) - developed an clegant, chamber music approach; one of the first jazz. groups to play almost exclusively in concert halls; influenced by Baroque music (J.S. Bach); performed numerous third stream compositions; continued the cool tradition into the 1990s Milt Jackson (“Bags - vibraphone John Lewis - piano/composet Percy Heath - bass Connie Kay- drumsVibraphone. Courtesy of Ludwig/Musser Industies. ‘* Stan Getz (1927-1991), tenor sax - bop-like impro- visations but more graceful, less syncopated and varied; known for his airy, “pretty” sound; helped to popularize the bossa nova during the 1960s; one of the most well-known bop style musicians and cone of the great tenor players of all rime Woody Herman - big band, “Herds”; in the late 1940s featured the famous “Four Brothers” sax section with tenor saxophonists Stan Getz, Zoot Sims, Herbie Steward, and baritone saxophonist Serge Chaloff; Herman put together all-star bands well into the 1980s Stan Kenton - “progressive jaz2”; began as a dance band in Balboa, California in 1941 but by the 1950s had became primarily a concert big bands featured composi- tion and arrangements by Bill Holman, William Russo, Pete Rugolo, Gerry ‘Mulligan, and Shorty Rogers; brass oriented, identified with power and intensity; employed numerous cool musicians; third stream and Latin and ‘Afro-Cuban elements; hundreds of recordings made well in the 1970s D. Other Important Cool and West Coast Musicians ‘Art Pepper - alto sax Bob Brookmeyer - valve trb./composer/arranget Lennie Nichaus - alto sax/composcr_ Frank Rosolino - trombone Bud Shank - alto sax/fluce ‘Warne Marsh - tenor sax Jimmy Giuflze - clarinet/tenor sax Jim Hall - guitar Barney Kessel - guitar Vince Guaraldi - piano (“Peanuts” cartoons) Bill Holman - tenor sax/composer_ Dodo Marmaroso - piano Shorty Rogers - trumpet/flugelhorn George Shearing - piano Conte Condoli - trumpet Jack Sheldon - teumpet E, Bossa Nova/Samba 1. imported from Brazil by: Chico Hamilton - drums Shelly Manne - drums Antonio Carlos Jobim - composer/pianist Joao and Astrud Gilberto - vocalists 2. jazz harmony 3. standard song forms, often with modifications 4, straight 8th-notes 5. clave beatE Third Stream 1. represents a merger of jazz techniques with “classical” music practices 2. modern harmonic language of twentieth-century Western European “classical” music with the advanced improvisational practices of post-bebop 3. adoption of such “classical” forms as the concerto, sonata, canon, and theme with variations 4, compositions often scored for symphony orchestra or various chamber ensembles usually with a jazz combo 5, Some Notable Third Stream Composers and Works Gil Evans (1913-1988) - known for his colorful orchestrations; important collaborations with Miles Davis: Porgy and Bess (1958), Sketches of Spain (1959) Gunther Schuller (1925-) - coined the term “thied stream”; Transformation (1957), Concertino for Jazz. Quartet and Orchestra (1959) for the MJQ, Jazz: Abstractions (1962) Pete Rugolo - Mirage (1950) for Stan Kenton William Russo - 23°N/82°W (1951), Fgdon Heath (1954) for Stan Kenton George Russell - Concerto for Billy the Kid (1956) for Bill Evans, A Bird in Igor’ Yard (1951) for Buddy DeFranco, Time Line (1992) for the New England Conservatory of Music’s 125th anniversary Milton Babite - All Set (1957) John Lewis - numerous works for the MJQ Ran Blake - composer/pianist; current chairman of the New England Conscr- vatory Third Stream department Claude Bolling - his suites for various “classical” vireuosos with jazz piano trios were some of the most popular jazz. and “classical” recordings of the 1970s, especially his 1974 Suite for Flute and Jazz Piano for flutist Jean Pierre Rampal Il. Hard Bop A. General Characteristics 1. primarily black musicians, many from New York City, Dewoit, and Phila- delphia 2. raw, hard driving style; emotional emphasis 3. extensive use of the blues and elements of gospel music (fury) 4, somewhat slower tempos than in bebop 5. emphasis on time feel ot “groove"s _ shufile rhythm, Fupeltorn, Couey of Vincent Bach divton of 6. sometimes a straight 8th-note feel in pany. rhythm section (fimky) 7. Latin elements used at timesArc Blakey. Photograph by Bob Parent. Courtesy of Don Parent B. Sources For Instrumental and Arranging Styles Charlie Parker Dexter Gordon Coleman Hawkins Fats Navarro Miles Davis ‘Tadd Dameron C. Important Performers and Ensembles ‘The Jazz Messengers - most definitive hard bop band; many important alumni Art Blakey (1919-1990), drums - leader of the Jazz Messengers; considered the greatest hard bop drummer; famous for his trademark press roll Horace Silver (1928- ), piano/composer - one of the pioneers of the hard bop style, prolific composer and master of small group arranging techniques; developed “funky” style piano; co-founder of the Jazz MessengersSonny Rollins. Photograph by Bob Parent. Courtesy of Clifford Brown. Photograph by Bob Parent. Courtesy of Don Parent. Julian “Cannonball” Adderley (1928-1975), alto sax - one of the most influential alto saxophonists after Bird; soulful style; big, fat sound; “bouncy” articulations; landmark recordings with Miles Davis and John Coltrane in 1958 and 1959 Sonny Rollins (1930- ), tenor sax/composer - key player of the 1950s and beyond who developed a unique style based on motivic development; broke away from. many bebop cliches (staceato); a master of rhythmic devices in his improvisa~ tions; at times a rough, harsh sound; is considered one of the greatest jazz improvisors of all time; interest in Calypso music; many of his tunes have become jazz standards Clifford Brown (1930-1956), trumpet - “Brownic”; a direct disciple of bebop trum- peter Fats Navarro; undoubtedly one of the greatest trumpeters who ever lived; incredible technique and smoothness usilizing the full range of the trumpet; tuneful improvisations even at fast tempos; his improvisations tend to be very saxclike; mature interpreter of ballads; significant recordings with Max Roach, Sonny Rollins, and the Jazz Messengers Benny Golson (1929- ), tenor sax - composer of numerous hard bop tunes; co-leader of The Jazztet with trumpeter Art FarmerMiles Davis's “classic” quintet (1955-1959) - considered by many to be the greatest jazz small group in history; contained one of the most “swinging” chychm sections of all times performed primarily standard songs and jazz standards John Coltrane - tenor sax Paul Chambers - bass Red Garland - piano Philly “Joc” Jones - drums ‘Wayne Shorter (1933- ), tenor, soprano sax/composer - began his most impressive career with the Jazz Messengers; developed an original improvisational and compositional styles important recordings with Miles Davis during the 1960s; vwas one of the founders of the jazz/rock-Fusion style in the 1970s Joe Henderson (1937- ), tenor sax - one of the most original and advanced hard bop saxophonists of the past 35 years; uncanny rhythmic conception; dramatic use of shakes, trils, and syncopated staccato figures Freddie Hubbard (1938-), trumpet - the most influential hard bop crumpeter of the 1960s; incredible technique and crisp, clean tone; ip tril; also made recordings in the avant-garde and in jazz-rock/fusion Herbie Hancock (1942- ), pianist/composer - began his long, eclectic career in hard bop; originally influenced by Horace Silver and Bud Powell he has become one of the most influential pianists in post-modern jazz Joe Henderson. Photo by Myles Freddie Hubbard. Photo by Myles Rothstein. Rothstein,D. Other Hard Bop Style Musicians Alto Sax Gigi Gryce ‘Lou Donaldson Hank Crawford Sahib Shihab Sonny Criss Frank Strozier Phil Woods Bunky Green ‘Tenor Sax Clifford Jordan Johnny Griffin Harold Land George Coleman Jimmy Heath Hank Mobley Junior Cook Gene Ammons (“Jug”) Tina Brooks “Teddy Edwards David “Fathead” Newman Stanley Turrentine Billy Harper Eddie Harris Red Holloway ‘Yusef Lateef Branford Marsalis Baritone Sax Pepper Adams Nick Brignola Ronnie Cuber Vibraphone Bobby Hutcherson Trumpet Lee Morgan Kenny Dorham Donald Byrd Wilbur Harden Carmel Jones, Nat Adderley Blue Mitchell Woody Shaw ‘Wynton Marsalis ‘Trombone JJ. Johnson Curtis Fuller Grachan Moncour III Unbie Green Jimmy Cleveland Slide Hampton Drums Elvin Jones Jimmy Cobb ‘Att Taylor Billy Higgins Mickey Roker Al “Tootie” Heath Grady Tate Ed Thigpen Organ Jimmy Smith Jack McDufF Jimmy McGriff Shirley Scott Hank Marr Lonnie Smith TI. Bill Evans (1929-1980), - pianist/composer A. Importance Piano ‘Wynton Kelly Bobby Timmons ‘Tommy Flanagan Richie Powell Duke Pearson McCoy Tyner Hank Jones Cedar Walton Kenny Drew Barry Harris Les McCann George Cables Ramsey Lewis Ds Billy Taylor Bass Doug Watkins ‘Sam Jones Jymic Merrite Percy Heath Guitar “Wes Montgomery Kenny Burrell Joe Pass Big Bands Maynard Ferguson “Thad Jones Gerald Wilson Composer/Arranger Slide Hampton Oliver Nelson Quincy Jones 1. the single most influential pianist after Bud Powell; he influenced a whole generation of pianists including Herbie Hancock, Chick Corea, and Keith Jarrett 2. led various piano trios which broke away from established bop patterns; floating time conception; contrapuntal interplay; his most importance trio included the innovative bassist Scott LaFaro (1936-1961) and drummer Paul Motian (1931-)B. Major Influences 1. pianists Bud Powell and Lennie Tristano 2. French Impressionist composers Claude Debussy and Maurice Ravel C. Style Characteristics 1. beautiful cone conception 2. extreme dexterity and sensitivity 3. melodic development and rhythmic displacement 4, colorful harmonies IV. Charles Mingus (1922-1979), bassist/composer/bandleader A, developed a unique bass style; deep, dark, round tone B. a prolific composer who fused elements of traditional and modern jazz styles For ensembles of varying instrumentations 1. his major influences were composers Jelly Roll Morton and particularly Duke Ellington 2. his heterogenous music combined the characteristics and techniques of styles as diverse as: gospel music, che blues, rageime, New Orleans and Dixieland jazz, swing, bebop, hard bop, fiee jazz/avant garde, and “classical” music (third stream) A Few Notable Mingus Alumni Eric Dolphy - alto sax/flute/bass clarinet John Handy - alto sax Sadi Hafi - alto sax Charlie Mariano - alto sax Charles MePherson - alto sax Bobby Mover - alto sax Booker Ervin - tenor sax Jerome Richardson - baritone sax George Adams - tenor sax Rahsaan Roland Kirk - multiple woodwinds Some Charles Mingus Compositions Fables of Faubus Haitian Fight Song ‘Hobo Ho Jump Monk ‘Nostalgia In Times Square Duke Ellington’ Sound Of Love Pithcanthropus Erectus Reincarnation Of a Lovebird Wednesday Night Prayer Meeting The Shoes of the Fisherman’ Wafe Are Some Jive-Ass Slippers ‘Ted Curson - trumpet Jack Walrath - tsumpet Richard Williams - eumper Jimmy Knepper - trombone Willie Dennis - trombone Jaki Byard - piano Horace Parlan - piano Don Pullen - piano Dannie Richmond -drums Jelly Roll Goodbye Pork Pie Hat Hora Decubitus Pussy Cat Dues Minor Intrusion Peggy: Blue Skylight Portrait Of Duke Self Portrait In 3 Colors Epitaph Remember Rockefeller At AtticaFree Jazz/Avant Garde ‘The music of the 1960s was often a misror that reflected the social unrest in America created by the civil rights struggle and the Vietnam War. Artists ofall disciplines sought more frecdom and individuality Free jazz (or avant garde) is the name given to a radical approach to jazz improvisation first developed by Ornette Coleman and Cecil Taylor. These musicians questioned rules governing traditional jazz perfor- mance practices. The more radical ofthese artists experienced great difficulty in finding public acceptance of their art. Numerous musicians, including the Chicago Avant Garde, have continued with these aesthet- ics into the 1990s. I. General Characteristics AA. lack of preset chord changes; often atonal harmonies B. open or free forms; tunes often complete improvisations C. usually dense textures, high energy playing D. collective improvisation E. greater use of dissonance rather than consonance; tone clusters F. phrasing towards greater fragmentation: poinsillism G. often omission of piano in ensembles H. experimental instrumentations I. unorthodox sounds: squeaks, squawks, screams, noise, ete. J. drones K. many musical ideas drawn from twentieth-century composers such as John Cage and Karlheinz Stockhausen L interest in non-western musical concepts (M. abstract expression I. Omette Coleman (1930- ), alto sax/trumpet/violin/composer - the pioncer of free jazz. (free bop) A. Playing Style 1. legato, tuneful improvisations 2, strong blues influence 3. often purposefully out-of-cune; plastic alto sax (late 1950s early 1960s)B. Compositional style 1. tunes often utilize diatonie melodies without preset chord changes: harmolodies 2. open solo forms C. Important Recordings and Groups ‘The Ornette Coleman Quartet (ate 50s-carly 60s) with: Don Cherry - pocket trumpet, Charlie Haden - bass, and Eddie Blackwell - drums: ‘Something Else (1958) and The Shape of Jazz to Come (1959) - early “free jazz” recordings Free Jazz (1961) - innovative and influential recording featuring a double quarcet Skies of America (1965) - thitd stream work wich symphony orchestra Prime Time - jazz-rock fusion band of thé 1980s and ‘90s Song X (1986) - Grammy award winner with guitarist Pat Metheny ‘Don Cherry (pocker trumpet) and Omnete Coleman (plastic alto sax) circa 1959. Phorograph by Bob Parent, Courcesy of Don Parent.IL. Other Important Free Jazz Performers Cecil Taylor (1929- ), pianist/composer - developed a distinctively individual style that existed outside of traditional jazz styles; aggressive atonal playing devoid of melodic lines and traditional swing feel; many of his solo piano improvisations feature dense harmonic structures (tone clusters) and fragmented, pointillistic textures; unit structures Eric Dolphy (1928-1964), alto sax/flute/bass clarinet - created an unorthodox style utilizing smears, “animal-like cries", glissandos, and very fast runs interspersed with bop-like phrases; the first important jazz soloist on the bass clarinet; a true virtuoso on all three of his primary instruments; performed with John Coltrane in 1961 Albert Ayler (1936-1970), tenor sax - inspired by Coltrane, he created a revolutionary approach unlike any bop or swing styles; concepts more related to “classical” and folk music than to jazz; vocal quality; much use of the altissimo register Sun Ra (1914-1993), keyboards/composer/bandleader - led an Ellington inspired big band (‘Arkestra”) that emphasized unusual and varying instrumentations, collective improvi- sation and theatrics; “cosmic” music featured alto saxophonist Marshall Allen, tenor saxophonist John Gilmore, and trombonist Pat Pattick Steve Lacy - soprano sax Marion Brown - alto sax Archie Shepp - tenor sax Dewey Redman - tenor sax Pharoah Sanders - tenor sax Sam Rivers - tenor/soprano sax Yasef Lateef - woodwinds Albert Mangelsdosff - trombone Keith Jarrett - pianist/composet Carla Bley - pianist/composer Paul Bley- pianist/composet Richard Davis - bass Dave Holland - bass Jack DeJohnette - drums Sunny Murray - drums Andrew Cyrille - drums Barry Alrschul - drums III. The Chicago Avant Garde A. General Characteristics 1. stressed the continuity between compos 2. multi-stylistic 3. sometimes avoidance of steady tempo; zbandonment of jazz swing feeling 4. offen dense textures; sound mass 12 and improvisation5. unusual and varied instrumentation 6. multi-inscrumencalists 7. visual effects: costumes and choreography often reflecting African heritage 8, non-western musical traditions utilized 9. often abolition of traditional rules regarding soloist and accompaniment 10. acoustic, rarely are electronics used 11. AACM (Association for the Advancement of Creative Music) - founded by pianist! composer Richard Muhal Abrams in 1965 B. Some Important Groups and Performers The Art Ensemble of Chicago - mult-instrumentalists, especially percussion; free, collective improvisation; visual aspects vital o the performance Lester Bowie - crumpet Roscoe Mitchell - saxophones, woodwinds Joseph Jarman - saxophones, woodwinds Malachi Favors - bass Famoudou Don Moye - drums, percussion Anthony Braxton (1945-_), saxophones and clarinets/composer - inspired by Paul Desmond, John Coltrane, Jackie McLean, Eric Dolphy, marching band music, and composers Charles Ives and Karlheinz Stockhausen, Braxton has created a uniquely ordered frce improvisational style that often exploits a specific compo- sitional or saxophone technique; his music varies from solo alto saxophone performances, jazz combos where he plays a variety of woodwind instruments ranging from the contra-bass clarinet ro the sopranino saxophone, and third stream compositions; his titles are most often diagrams that are simply identifi- cations of compositions or performances The World Saxophone Quartet - the frst in a series of contemporary acappella jazz saxophone quartets integrating composition and collective improvisation Hemphill - alto Lake - alto David Murray - tenor Hamiet Bluiete - barivone Henry Threadgill - saxophones ‘Ati Brown - saxophones Leo Smith - trumpet Steve McCall - drums Kahil El'Zabar - African percussion Leroy Jenkins - violinMiles Davis and John Coltrane ‘Miles Davis, the great “innovator of style”, changed the direction of jazz several times during his career of neatly fifty years. He cither led the way himself or inspired others to see new path. Tenor and soprano saxophonist John Coltrane, a former Davis sideman, had a profound influence on jazz of the 1960s, "70s, 780s, and °90s, Many of the new concepts for improvisation and accompaniment that he introduced were absorbed, not only by saxophonists, bur all instrumentalists. Many consider “Trane” to be the single most important jazz instrumentalist after Charlie Parker, “Miles Davis Quintet from lef o right, Wynton Kelly (piano), Paul Chambers (bass), Miles Davis (trumpet) John Coltrane (‘enor sax), and Jimmy Cobb (drums) in background. Photograph by Bob Parent. Courtesy of Don Parent.1. Miles Davis (1926-1991) ‘A. Characteristics, Innovations, and Accomplishments 1, He created a truly original style of modern trumpet playing. a. 19405-1963 1. softer and darker tone than most of his contemporaries, 2. melodie, song-like, “coo!” approach to improvisation 3. effective use of silence in his improvisations 4, tended to play in the mid-to-low range of the trumpet b, 1964-1991 1.2 more intense, “hotter” style of playing with a slightly brighter tone quality 2, somewhat less lyricism in his playing 3. emphasized more of the high register of the trumpet . employed colorful alterations of pitch and timbre 4. noted for using a Harmon mute without its stem 2, involved with and at the forefront of almost every modern jazz. style: bebop free jazz (avant garde) cool jzz-rock hard bop pop-jazz third stream cechno-jazz ‘modal jazz jazz-rap/hip-hop 3, composed numerous tunes which have become jazz standards 4, led a series of combos which gave exposure to many outstanding jazz innovators 5. The Miles Davis-led recordings practically document the evolution of modern jazz. styles. B. Important Events, Bands, and Landmark Recordings 1943-1944 1944 1945 late 1940s with Eddie Randle’s Blue Devils in his hometown of East St. Louis New York City: attends Julliard School of Music and bebop jam sessions in Harlem and on 52nd St. first recordings with Herbie Fields; gigs with tenor saxophonists Coleman Hawkins and Eddie “Lockjaw” Davis; replaces Dizzy Gillespie in Charlie Parkers band at the Thrce Ducces numerous recordings with Bird and as a leader ‘The Birth of the Cool (1949) - first important recording as a leader (see page 67) The “classic quintet” (1955-1960) - hard bop (see page 74) ‘Steamin’ (1956), Round About Midnight (1956), Milestones (1958) Kind of Blue (1959) - important for introducing modality to jazz; many consider this the most important jazz album of all-time Cannonball Adderley - alto sax John Coltrane - tenor sax. Bill Evans - piano Paul Chambers - bass Jimmy Cobb - drumsMiles Davis and Jobu Coltrane 81 “The 1960-63 group - revitalized standard songs and jazz standards Hank Mobley - tenor sax ‘Wynton Kelly- piano Paul Chambers - bass Jimmy Cobb - drums Someday My Prince Will Come (1961), In Person Friday and Sacurday Nights at The Blackhawk (1961) ‘The 1964-1968 quintet: a mixture of hard bop, advanced modal concepts, and fiee jaz2s Shorter and Hancock were the primary composers who wrote tunes utilizing vertical modality, contained one of the most important and longest lasting thythm sections in modern jazz George Coleman - tenor sax (early 1964) ‘Wayne Shorter - renor sax (late 1964-68) Herbie Hancock- piano Ron Carter- bass ‘Tony Williams - drums Four & Mare (1964), My Funny Valentine (1964), ES.P. (1965), Miles Smiles (1966), Nefertiti (1967), Sorcerer (1967), Filles de Kilimanjaro (1968) 1969: the foundation of jazz-rock Ina Silent Way and Bitches Brew; the personnel on these albums became important innovators in jazz-rock/fusion of the 1970s: Shorter - tcnor/soprano sax, Bennic Maupin - bass clarinec Chick Corea, Herbie Hancock, and Joe Zawinul - electric pianos Dave Holland - acoustic bass, Harvey Brooks - clectric bass ‘Tony Williams, Lenny White, Don Alias, Jack DeJohnette -drums 1970-1975: groups had numerous sidemen, many of whom were rock musicians; an avant- garde style of jazz-rock; emphasis on free form collective improvisation; exe! use of electronics; some notable jazz sidemen during this period included: Dave Liebman, Steve Grossman, Gary Bartz - saxes Keith Jarrett - piano Al Foster- drums Live Evil (1970), Jack Johnson (1970), Miles Davis at Fillmore East (1970), On the Corner (1972), Big Fun (1972), Aghartha (1975), Pangea (1975) 1975-1982: Miles takes a hiatus from public life; no recordings or performances 1982-1991: jazz-rock, pop-jazz, techno jazz, jazz-rap/hip-hop; music videos; some notable sidemen during this period included: Bill Evans, Bob Berg, Kenny Garrett, Rick Margitza -saxophones Mike Stern, John Scofield, Joseph Foley McCreary - guitars Marcus Miller - electric bass/ producer ‘The Man with the Horn (1982), Decoy (1983), Tutu (1986), Amandla (1989), Aura (1989), Doo-Bop with rapper Easy Mo Bee (issued posthumously in 1992)‘Miles Davis. Photograph by Bob Parent. Courcesy of Jolin Coltrane. Photograph by Bob Parent. Courtesy of Don Parent Don Parent II. John Coltrane (1926-1967) A. Characteristics 1. incredible technique and endurance 2, an unusually vigorous and strident tone quality; darkened tone in later yeats 3. serious, uncompromising approach to improvisation 4, focus on energy and emotion playing, an cmphasis on speed and intensity 5. unusually long trance-like solos, especially during later years 6. extended saxophone techniques: multiphonics, false fingerings, crowing 7. a spiritual approach to music B. Major Influences 1. saxophonists: Charlie Parker, Johnny Hodges, Coleman Hawkins, Dexter Gordon, Omette Coleman 2. North Aftican Islamic music and Indian (Hindustani) C. Innovations 1. development of extensive harmonic substitutions during his bop period: Original ||Dm7 | G7 | Cmaj I Il Trane sub \|Dm7 Eb7 | AbmajB7 | EmajG7 |Cmaj |] 2. broke away from bop-like 8th-note patterns in improvisation; extensive double-time; dramatic use of glissandos, sealer playing and arpeggios: sheets of sound3. extended the upper range of the tenor saxophone by playing extensively in the altissimo register revitalization of standard songs development of modal improvisation . composed a body of original cunes which introduced new improvisational concepts popularization of the soprano saxophone . During the 1960s, the John Coltrane Quartet developed a new rhythm section concept for accompaniment: rhythm pad a. drones, pedal points, ostinatos b. less harmonic changes; modal harmony ¢. less reliance on simple ride rhythms; freer drumming d, sustaining piano chords, away from the usual comping eA D. Important Groups and Recordings lace 1940s-early 1950s: performed wich the shythm & blues bands of Earl Bostic and Eddie “Cleanhead” Vinson; played on 52nd St. New York City with Dizzy Gillespie, Charlie Parker, and Thelonious Monk 1955-1959: numerous hard bop style recordings as leader and sideman with Miles Davis and Thelonious Monk. Giant Steps (1960): Coltrane’ lat great bop statement; Trane sub 1960-1965: The John Coltrane Quartet McCoy Tyner - piano Jimmy Garrison - bass (Steve Davis or Reggie Workman - bass 1960-61) Elvin Jones - drums My Favorite Things (1960), Impressions (1961) w/ Eric Dolphy, Ballads (1962), Live at Birdland (1963), A Love Supreme (1964), Kulu Se Mama (1965), Sun Ship (1965) 1965-67: free jarz/avant-garde; expanded ensembles, varying instrumentations; emphasis on free form collective improvisation Pharaoh Sanders -tenor sax Alice Coltrane - piano Jimmy Garrison - bass Rashied Ali - drums Ascension (1965), OM (1965), Meditations (1966), Expression (1967), Stcllar Regions (rec. 1967, issued 1996; Coltrane’ last quartet recording), Interstellar Space (1967 duet with Rashied Ali, Coltrane’ last recording) E. A Few of the Many Saxophonists Directly Influenced by Coltrane Albert Ayler, Bob Berg, Jerry Bergonzi, Michael Brecker, Joe Farrell, Sonny Fortune, Jan Garbarek, Steve Grossman, Ernie Krivda, Dave Liebman, Charles Loyd, Joe Lovano, Rick Margitza, Branford Marsalis, Bob Mintzer, Courtney Pine, Archie Shepp, Wayne Shorter, Frank Tiberi, Andrew White