History of Jazz exam 2

Dexter Gordon

LA born bebop musician tenor sax 15 years living in paris and copenhagen only jazz musician to be nominated for an academy award improv influenced by charlie parker bring between swing of hawkins and coltrane full bodied sound like hawkins

Parker's new quintet

NY royal roost club on broadway featured on the weekly radio

cool

jazz for the intellectual Formal compositions Reflective improvisations Gradual exposure in motion picture and television soundtracks greatly increased audiences.

drone tone/ pedal

low tone, played over and over as a bass, may add walking bass up and down the mode instread of just playing the drone tone on and on

head

main melody

what modes were the modern major and minor scales?

major= ionian minor= aolian

dissonance

pitches that sound wrong

jump bands

played rhythm and blues with strong elements of swing Jump bands were one of the primary roots of rock and roll. The music was very danceable and accessible to popular audiences. Primarily black bands; appealed to young white middle class teens Suggestive lyrics led to social and cultural backlash in the 1950s.

JULIAN "CANNONBALL" ADDERLEY

• Cannonball Adderley is considered by many to be the best alto saxophonist after Charlie Parker. • Adderley's stylistic traits represent the essence of hard bop: -Big, full tone on the alto sax; sometimes mistaken as a tenor sax -Funky, blues-laced solos; this set him apart from Charlie Parker. -Virtuosic technique; bursts of notes followed by sparse, bluesy lines -Aggressive, outgoing improvisatory character highly technical hhigher sense of rhythm and blues hawkins deep tone sound, looked up to parker thought he was playing tenor sax because he played so low he and his brother both played with ray charles, formed a quartet, recorded with miles davis and his career took off

Manteca - Dizzy Gillespie Orchestra

•Pozo and Gillespie cowrote several Afro-Cuban-bebop compositions including Manteca, late 1947. •Manteca (Spanish for "lard") is a classic example of the mambo concept: Manteca is constructed in layers of sound with groups of instruments building on top of each other Opening bass and conga tumbao Brass and saxophone "shout" sections Rhythmically moves between mambo (straight 8ths) and bebop (swing) -pozo's conga drumming = rhythmic spark -dizzy's trumpet= firey mood

One By One - Art Blakey and The Jazz Messengers

Featured Musicians: Art Blakey - drums Freddie Hubbard - trumpet Curtis Fuller - trombone Wayne Shorter - tenor sax, composer Cedar Walton - piano Reggie Workman - bass • One By One was recorded live at Birdland in New York City in 1963. Composed by tenor saxophonist Wayne Shorter Based on traditional 32-bar A-A-B-A form "B" melody features unusual phrasing and rhythmic accents. • Blakey punctuated the tune with aggressive fills. Pushed each soloist by energizing them with "kicks and "bombs" live recording all star group of musicians classic hard bop

Somebody Loves Me - Bud Powell

Featured Musicians: Bud Powell - piano Curley Russell - bass Max Roach - drums -Somebody Loves Me, 1947, is a good example of his piano style. -Opening and closing melody: creative locked-hands technique -Solo section: focus on right-hand, horn-like improvisations -Bassist Curley Russell assumes the former left-hand activities of the stride pianist with walking (striding) bass lines.

Lover Man - Charlie Parker

Featured Musicians: Charlie Parker - alto sax Howard McGhee - trumpet Jimmy Bunn - piano •In July 1946, he recorded Lover Man for Dial Records. Failed to obtain heroin before the recording session Was very ill and had to be physically supported to play Despite his illness, one of his greatest performances Lover Man is pure soul, Parker calling out for help. •After the session, Parker accidentally set his hotel room on fire. Committed to Camarillo State Mental Hospital Released six months later Returned to New York, early 1947

Daahoud - Clifford Brown and Max Roach quintet

Featured Musicians: Clifford Brown - trumpet Max Roach - drums Harold Land - tenor sax Richie Powell - piano George Morrow - bass -this group was the bridge from classic late 1940s bebop to hard bebop and beyond •Daahoud (pronounced duh-howd), recorded in 1954, has become an important part of the standard jazz repertoire. -Supposedly titled by Brown because that is how he "double-tongued" on the trumpet (a technique used to play a rapid series of notes) -"By far some of the warmest and most sincere bebop performed and committed to tape." —Sam Samuelson, All-Music Guide

Blues Bikini - Dexter Gordon Quartet

Featured Musicians: Dexter Gordon - tenor sax Jimmy Bunn - piano Red Callender - bass Chuck Thompson - drums •The form and structure of Blues Bikini, 1947, is unique: A-A-B-A. The A sections are all 12-bar minor blues. The B section is an 8-bar contrasting phrase. The form is 44 bars long: unusual length — a challenge for improvising. most A-A-B-A are each 8 bars and 32 bars total political statement against bomb testing on the island of bikini

Trinkle Tinkle - Thelonious Monk

Featured Musicians: Thelonious Monk - piano John Coltrane - tenor sax Wilbur Ware - bass Shadow Wilson - drums •Thelonious Monk could not understand why some of his compositions were hard for other musicians to play. -His philosophy: if he could play the tune, anybody should be able to play it. •One musician who could play anything Monk wrote was John Coltrane. •Coltrane and Monk played together for a few months in 1957. -Only a handful of studio recordings were made. •Trinkle Tinkle, originally composed in 1954, was recorded by Monk and Coltrane in 1957. -Standard A-A-B-A form: nonstandard 30-1/2 bars in length -The "A" melody is comprised of a rapid-fire flurry of notes followed by a bluesy phrase. -"A" melody is 7-1/2 measures long. The "B" melody is a series of virtuosic machine gun-like riffs. usually 2,4, or 8 -"B" melody is 8 bars long. •During the improvised solos, Monk and Coltrane stretched the form to the standard 32-bar A-A-B-A structure. •Coltrane's sax solo showcased his virtuosic improvising skills.

Summertime - Miles Davis

Gil Evans - arranger Gunther Schuller - French horn Cannonball Adderley - alto sax Paul Chambers - bass "Philly" Joe Jones - drums • Gil Evans' arrangement of Summertime contained: -Complex substitute chords (altered from Gershwin's score) -Beautiful cross-section voicings • Davis' solo was a study in the plaintive cry of the blues. Employed the Harmon mute for a more haunting sound -song from porgy an bess -uses blues harmonies eventhough NOT 12 bar blues -melancholy solo to invoke bluesy singing feel -harmon mute for a more distant sound -added french horns, tuba, and woodwinds *third stream, clasical opera+jazz

Lennie Tristano

blind, classically trained pianist COMPARISON OF BEBOP AND COOL JAZZ LENNIE TRISTANO (1919-1978) Lennie Tristano was a blind classically-trained pianist. He studied music theory at The American Conservatory of Music in Chicago. He moved to New York in 1946. Tristano's advanced understanding of harmony and theory caused notice in the New York jazz scene. Young musicians began taking lessons in harmony from him. -sophisticated jazz compositions -immprov based on bebop ideals • By 1948, Tristano had created a new "scene" in New York, contrasting with the bebop movement. Students began rehearsing and playing new music. New compositions were based on Tristano's advanced harmonic knowledge as well as Duke Ellington's curiosity for exploring new musical paths

coltrane and davis

coltrane played alto sax and clarinet at first, played in the navy band during WWII played in R&B bands where he switched to tenor, he didn't think it was inspiring music and moved into jazz philly jo jones recommended him to davis davis liked the idea of 2 horn soloists of different styles (miles restrained vs coltrane aggressive)

jazz split into what three groups?

jump bands bebop cool

What John Coltrane-inspired saxophonist composed most of the repertoire recorded by the Miles Davis Quartet between 1964-1967?

wayne shorter

Charlie Parker

•Charlie Parker was born in Kansas City and raised on the local jazz scene. -His primary mentor was Buster Smith, Kansas City alto saxophonist. -He often mentioned Jimmy Dorsey as an influence. -He idolized Lester Young. •He joined Kansas City pianist Jay McShann's band in 1938. -He was injured in an auto accident and developed a morphine addiction which led to heroin. -He relocated to New York in 1939 with McShann's band. •In 1939, he was a dishwasher at Jimmy's Chicken Shack in Harlem. Heard pianist Art Tatum who regularly played there Transferred Tatum's piano licks/riffs to the alto sax •From 1939-1942, he occasionally played with various New York-based "taxi" dance bands. "Taxi Dancehalls" charged admission for each dance in place of a general admission into the the facility "Taxi" dance bands were expected to play between 150 to 200 two-minute songs in an evening to promote a large turnover of dancers In That environment, Parker learned a large body of popular songs along with their respective chord structures-> gave him an advantage at the night clubs after-hours jams •From 1940-1942, he had steady work with Jay McShann. Attended jam sessions at Monroe's Uptown House and Minton's Playhouse •From 1942-1943, he worked with Earl Hines Band along with Dizzy Gillespie. -> practiced horn exercises in unison at breakneck tempos •From 1943-1945, both worked with Billy Eckstine's Band. -Few recordings exist because of the Musicians Union recording ban -December 1945, Charlie Parker and Dizzy Gillespie traveled to Los Angeles. Six-week engagement at Billy Berg's Club Not well-received by audiences not yet exposed to bebop •Parker decided to stay in Los Angeles; Gillespie returned to New York. Parker found it easier to score heroin in Los Angeles. He began drinking heavily in addition to his drug habit -worked various club jobs at night Panhandled during the day for drug money -Sometimes pawned his alto sax for money

Charlie Parker's Legacy and style

-Charlie Parker wrenched jazz around 180 degrees, just as Louis Armstrong had twenty years earlier. •He changed the sound of the alto saxophone and defined the mainstream of the instrument. •Along with Dizzy Gillespie, he defined the bebop style. - formed an quintet(recorded as Charlie parker's reboppers and as Gillespie's all start quintet) •His solo lines were free of the cliché patterns heard in most other soloists. •Parker's phrasing transcended bar lines and chord changes, unusual phrasing (start in the middle of a bar or end in the middle of a chord change) -He managed to add expressive inflections to even the most rapid phrases. •He remains the model of improvisational greatness into the twenty-first century -saxaphone influenced by lester young, tommy dorsey, and buster smith -blusey approach of buster smith -light bouyant sound of lester young -angular rapid fire of coleman hawkins -creative use of space in improv solos , laid back swing feel, smooth effortless performances(young) -narrow vibrato -dry-biting sound

dorian mode

C scale notes starting on the second note (D)

modes

modes were established in greece, then rome, then a basis as european religious music bach 7 consectutive scale tones, pythagorean different starting and ending points and mood suggested are different than today's minor and major scales different scales produce different modes (happy, sad, etc.) dorian, fridgen= melancholy (minor chords) lidian and myxolidian= lighter mood (major chords) single chord and drone tone/pedal point D dorian= D minor chord and D drone underneath

Legacy of Charlie Parker

most of his important recordings in 5 years made huge impacts like Louis Armstrong he and dizzy defined bebop changed the sound of the sax and established the alto increased improv virtuoso melodic lines free of cliche swing era, transcended bar lines and chord changes very soulful and complex music even though the temp is really fast

Afro-Cuban styles

while gillespie was playing with the calloway band he was introduced to afro-cuban music by mario bauza who played trumpet in the band cahno pozo was a cuban percussionist and taught dizzy how to play, and dizzy brought him to night clubs where pozo became part of bebop

Jimmy Smith

• Jimmy Smith was the first great organist in jazz. Fats Waller and Count Basie had played the organ on occasion. The instrument was viewed as a novelty until Smith came along. first played boogie woogie piano, inspired by wild bill davis • Smith effectively made the organ into a whole group (minus drums). Played bass lines with foot pedal keys Played chords on the lower keyboard with his left hand Played melodies and improvised on the upper keyboard with his right hand • Smith's style of playing was a perfect match for hard bop and soul jazz, toe tapping, groove based music -Aggressive, powerful approach to the music Combined strong elements of R&B with bop vocabulary -The organ's connection to soul music (and gospel as well) connected with a younger audience. • Smith often played and recorded with guitarists. The electric guitar also connected with fans of soul music and rock. His collaborations with guitarists fueled the revival of the electric guitar in jazz in the 1960s more contemporary feel amazing improv

Charlie Parker with strings

he liked symphonies checked out scores of classical music signed with clef records and made recodings with string instruments, he was really excited people complained that he sold out and popularized his music popular fans thought he wasn't as good as sinatra he went on a downward spiral to his death after he died he grew to legendary status many years later people thought charlie parker with strings was his best music, his best improv and the best sax solo of the 20th century

evolution of bebop (bebop vs swing)

same period as jump bands were popular gridley says it wasn't against swing, while others say it was against suppressed improv and things from swing bebop and swing are nearly opposite played bebop for themselves, didn't want people to have the urge to dance or sing along, wanted creative improv outlet not available in big bands

Hey Ba Ba Re Bop

• Hey Ba Ba Re Bop, 1946, is considered a forerunner to early rock and roll. • Ten-piece jump band (smaller version of the swing band) • Derived from the swing band tradition • 12-bar A-A-B blues form • Riff-based tune (Kansas City jazz tradition) • Vocal call and response between Lionel Hampton and his band Use of scat lyrics • High, screeching, outgoing solos, especially by Cat Anderson • Hard-driving drums patterns, excellent for dancing The model for early rock and roll drumming Lionel Hampton Featured Musicians: Lionel Hampton - vocal Cat Anderson - trumpet Herbie Fields - clarinet

Blue Rondo A La Turk - Dave Brubeck Quartet

(Same personnel as Take Five) • At the time Dave Brubeck recorded the album Time Out in 1959: Cool jazz was being used in television and movie soundtracks Detective television show, Peter Gunn, produced a soundtrack album that reached No. 1 on the Billboard Pop Chart in 1959. Music composed by jazz pianist Henry Mancini Score recorded by important West Coast jazz musicians • A new cult underground had emerged. Populated by "beatniks" who embraced poetry, cool jazz, and marijuana Popular television show, Dobie Gillis, featured a beatnik whose prize possession was his Miles Davis record collection. • In addition to the popularity of Take Five, another track from the Time Out album also received much critical acclaim as well as pop radio airplay. Blue Rondo a La Turk, composed by Brubeck, was based on 9 beats per measure: 2223 pattern instead of a more common 333 • The piece was structured like a classical rondo: A-B-A-C-A-D-A-E: Recurring "A" melody played by the alto sax. Contrasting "B," "C," "D" melodies played by the piano "E" section provided a rhythmical transition into the solo section. The solo section was played in a standard 4-beat 12-bar blues format. Following Brubeck's solo, the blues rhythmically transitioned back to the 9-beat 2223 and a reprise of the rondo. ends with standard 333 time out album, only instrumental jazz to reach #1 on the pop charts improv played over standard 4 beats piano = aggressive, grandiose locked hands sax solo= lyrical flow shorter version recorded

cool jazz vs bebop

-cool jazz is softer, mood is subdued, tone quality is less rough and brassy -more controlled and planned out -many wanted to be treated like classical musicians -popular support, use in film soundtracks -lead instruments in harmony or counterpoint -preplanned riffs -written arrangements (like swing era) -brought back big bands -soloists were more reflective -selective in what notes to play, use of space as dramatic statement, more varied approach to improv -add orchestral instruments -used duke ellington as an example -bebop was loose and more improv -head solos head= form = only order -no counterpoint -focus on solo improv, playing loud and fast gridley says you can't tell them apart, many cool jazz improv has bebop feel

Bud Powell

-the most imitate bebop pianist -He influenced nearly every succeeding jazz pianist who followed. •Powell de-emphasized the activity in the left hand. -He took the "stride" out of jazz piano playing. - left walking bass to bass player, no chomp chomp chords -could play a lot faster without constant left hand •Powell put the focus on right-hand improvised melodies. Horn-like improvisations influenced by Charlie Parker •Powell used the left hand sporadically. -Occasionally play a chord underneath the activity of the right hand •Powell also perfected the "locked-hands" technique. Both hands played simultaneously in parallel motion. The right-hand little finger played the melody. The remaining right and left hand fingers played the harmony notes.

Un Poco Loco - Bud Powell

Featured Musicians: Bud Powell - piano Curley Russell - bass Max Roach - drums •Bud Powell spent a large part of his life in and out of mental and medical hospitals. He suffered from schizophrenia all his life. A police beating in 1945 exasperated his condition. He was also an alcoholic; a small amount made him aggressive. •He titled one of his most famous compositions in acknowledgement of his condition: Un Poco Loco (a little crazy) •Un Poco Loco, recorded in 1951, is a very unusual piece. Built on Latin American beat creatively played by Max Roach -Cowbell pattern derived from West African polyrhythm: slow pattern of three against a faster four-beat groove -A-A-B-A formula: 62-1/2 total bars (almost twice as long as the standard 32-bar form) "A" melodies are 15-1/2 bars in length. "B" melody is 16 bars in length. •The solo section does not follow the song's structure. Powell's solo is played over a repeated 2-chord pattern. -Musicians refer to this as a montuna (common in afro-cuban music). This forecasts modal jazz of the late 1950s (entire songs based on one or two chords). -only one scale for improv-> lead to the modal jazz movement seven years later

The Work Song - Cannonball Adderley

Featured Musicians: Cannonball Adderley - alto sax Nat Adderley - cornet, arranger Bobby Timmons - piano Sam Jones - bass Louis Hayes - drums, strong rhythm and blues style backbeat, very danceable • The Work Song, 1960, is an old folk song rearranged by Cannonball's brother, cornetist Nat Adderley (preferred cornet to the trumpet). • Riff tune; rhythm and blues-influenced performance • Virtuosic bop-rooted improvisation by Cannonball -Outgoing, full, rounded alto sax sound • Gospel piano accompaniment figures played by Bobby Timmons (inspired by Horace Silver). more bebop influence than silver • Strong drum backbeats on 2 and 4; very danceable, "toe-tapping" groove folk in unison rim shots sounded like tools of labor rapid virtuosic lines finished with blues lines soul music becoming popular and hard bop fused with it and became important in the civil rights marked transistion from hard bop to soul jazz

Mercy, Mercy, Mercy - Cannonball Adderley

Featured Musicians: Cannonball Adderley - alto sax, spoken intro Nat Adderley - cornet Joe Zawinul - electric piano, composer Victor Gaskin - bass Roy McCurdy - drums • Cannonball Adderley's popularity reached a peak in early 1967 when his recording of Mercy, Mercy, Mercy reached #11 on the Billboard Pop Chart. • The song, recorded live in October 1966, was written by Joe Zawinul. classically trained pianist from austria loved rhythm and blues, only solo on the song -soulful -Zawinul played an electric Wurlitzer piano on the recording. -He was the only soloist; Adderley played the melody but did not improvise on the recording. -Zawinul, who grew up in Austria, nevertheless absorbed Afro-American blues and gospel music. -His electric piano solo was laced with soulful lines, projecting a thorough understanding of Afro- American gospel sensibility. • Mercy, Mercy, Mercy is an example of soul jazz. -Soul jazz grew out of hard bop. -Soul jazz led to jazz fusion, the marriage of rock and jazz. -Drummers began to straighten out their grooves from swing to rock. -Drummer Roy McCurdy employed a soul beat not far removed from Motown in Detroit or Stax/ Volt in Memphis. • Adderley provided a sermon-like introduction to the song, adding even more gospel authenticity to the performance. elaborate intro, preacher like, called soul jazz

Koko - Charlie Parker Reboppers

Featured Musicians: Charlie Parker - alto sax Dizzy Gillespie - trumpet and piano Curley Russell - bass Max Roach - drums *not the same as the duke ellington composition •Koko, 1945, was composed by Charlie Parker. Short melody played with Max Roach drum accompaniment, Parker's take on the popular song cherokee -very short melodic fragmenrs having nothing to do with cherokee, improv solos were based on the harmony of cherokee -First and last part composed, played in unison (trumpet and sax) (gillespie and parker) (piano player didn't show up so dizzy moved to piano to accompany parker's solo) -Middle section improvised, trading ideas (trumpet and sax) Solo over the form and structure of the popular song Cherokee •Virtuosic improvisation by Parker shows influence of Lester Young. Light, buoyant saxophone sound Little use of vibrato Use of space in his solo Laid-back swinging quality Smooth, effortless performance -Despite the rapid tempo, blues-laced melodic lines throughout •Occasional angular lines and intense note density suggest some Coleman Hawkins influence as well. •Complex, syncopated drum solo by Max Roach (1924-2007) revolutionized drum set playing, four-way independence between his two hands and two feet (4 part polyrhythms snare, bass, hi-hat, crach, tom toms)

Ornithology - Charlie Parker

Featured Musicians: Charlie Parker - alto sax Miles Davis - trumpet Tadd Dameron - piano Curley Russell - bass Max Roach - drums •Parker formed a new quintet in 1947, featuring young Miles Davis on trumpet. •One of Parker's most famous melodies, Ornithology ("the study of birds" and parker's nickname), was composed over the form and structure of the popular song How High the Moon (A1-A2 form). -almost all of his compositions were basically new melody lines written over the form and harmony of popular songs •Live 1948 performance demonstrates the loose, jam session approach of bebop. Radio transcription of Royal Roost Club performance •Miles Davis was not sure of the transition from A1 to A2. Opening chorus: obvious wrong notes played Ending chorus: stopped to let Parker play by himself •Parker's solo is quite angular, although effortlessly performed. •Parker improvised pop tune "quotes" into his solo (e.g., Jingle Bells). -Davis' solo was not as outgoing as Parker's. More reflective in nature Davis was a more reserved player than Dizzy Gillespie. •Before the final chorus of Ornithology, Parker and Davis "trade 4's." Outgrowth of the after-hours club "cutting contests" ->call and response cutting contest between them

Just Friends - Charlie Parker

Featured Musicians: Charlie Parker - alto sax Stan Freeman - piano Ray Brown - bass Buddy Rich - drums •Charlie Parker enjoyed going to the symphony. He was interested in twentieth century classical music. He studied the music of Igor Stravinsky and got his scores from the library. • Record producer Norman Granz arranged for Parker to record several songs with a small chamber ensemble and jazz rhythm section in late 1949. -Parker was enthusiastic about recording with classical musicians. •Just Friends is considered by musicians and critics as one of his greatest recordings. -His solo flows effortlessly between melodic paraphrasing and complex bebop lines. -He transcends the constraints of the written arrangement with an effusive sense of artistic freedom in his playing. •The jazz rhythm section provides a steady, danceable beat. Restrained, serviceable piano solo by Russ Freeman Very few fills and accents by drummer Buddy Rich (unusual for him) •While the sound of violins and harp are somewhat saccharine, Parker often cited these recordings as his favorites

Take Five - Dave Brubeck Quartet

Featured Musicians: Dave Brubeck - piano Paul Desmond - alto saxophone, composer, light airy sound, young inspired and lee konnitz, lyricism back into jazz Eugene Wright - bass Joe Morello - drums, odd time phrassing, rhythmic variation • In 1951, Dave Brubeck formed a quartet featuring alto saxophonist Paul Desmond (1924-1977). The group became popular performing on college campuses. College students were attracted to bebop and cool jazz. Underground identity: "hip" language and fashion Brubeck's professorial image fit in well with academia. • Brubeck was finally embraced by the jazz press in the mid-1950s. Led to a major label contract with Columbia Records (miles davis also on this label) • He hired New York drummer Joe Morello (1928-2011) in 1956. Allowed the group to experiment with rhythmic concepts 5 beat meter desmond= improv solo lyrical and subdued drummer modified 4 beat patterns by creatively adding an extra beat, revolutionary, influenced new young musicians, rhythmic phrases, repeated high hat and beat 2 and 4 45 rmp single top 40 pop hit (#25) time out album

The Way You Look Tonight - Dave Brubeck Octet

Featured Musicians: Dave Brubeck - piano, arranger Paul Desmond - alto sax William O. "Bill" Smith - tenor sax, clarinet Cal Tjader - drums • After World War II, the jazz scene in New York received all of the attention by the jazz press and record companies. • On the West Coast Dave Brubeck and his Octet were creating a new jazz scene in San Francisco. Very few jazz critics or record companies paid attention Brubeck and his Octet made a few recordings for a small Berkeley jazz label, Fantasy Records, in 1946. Sold very few copies Allowed the band to book a few local performances • Listening to the Octet recordings reveals strong similarities to the 1949 New York Tristano/Konitz/Davis recordings. Even more fascinating since the Brubeck recordings predate the New York recordings by three years • The Way You Look Tonight, 1946, features many of the same innovative musical concepts heard in the 1949 Miles Davis Nonet recordings. Written counterpoint, complex harmonies (altered 9ths, 13ths, flatted 5ths) and bebop-inspired improvisations 2 years ahead of the east coast out of the thriving NY scene spotlight, needed miles davis to launch cool jazz bop inspired improv

Shaw 'Nuff - Dizzy Gillespie All-Star Quintet

Featured Musicians: Dizzy Gillespie - trumpet Charlie Parker - alto sax Al Haig - piano Curley Russell - bass Big Sid Catlett - drums •The polished arrangement of Shaw 'Nuff, 1945, suggests a certain amount of rehearsal, rather than a typical bebop jam session. •Shaw 'Nuff is a new melody line composed by Dizzy Gillespie over the form and structure of I Got Rhythm (rhythm tune).nothing like a basie rhythm tune • The opening tom tom / piano introduction provides the springboard for startling unison playing between Charlie Parker and Gillespie. •The melody line of Shaw 'Nuff sounds like an improvisation: However, both Gillespie and Parker were playing the line in unison. That part of the music was obviously preplanned. •Gillespie and Parker show their technical virtuosity with rapid-fire, complex, dense improvisations. •Big Sid Catlett's drumming patterns were quite syncopated. Not very conducive for dancing Lots of "punches" and "bombs" rather than consistent backbeats

Sister Sadie - Horace Silver

Featured Musicians: Horace Silver - piano, composer Blue Mitchell - trumpet Junior Cook - tenor sax Gene Taylor - bass Louis Hayes - drums •Sister Sadie, 1959, is a jump band style riff tune. -The music is characterized by an infusion of R&B flavorings. -Strong drum backbeat on beats 2 and 4 (characteristic of R&B) -Background riffs played behind soloists Climatic point: a shout chorus built around repeated blues riffs •Silver's piano playing displayed further influence of gospel music (as did the title of the piece). obvious rhythm and blues, and bud powell •Blue Mitchell's trumpet solo was rooted in classic bebop. brassy aggressive style •Junior Cook's tenor sax solo was built almost entirely on the blues scale. jazz and rhythm and blues bluesy piece, funky melody, jump band style back ground riffs, shout chorous (count basie like) quintet using big band styles swung hard groove drummer use of dynamics subtle musical elements lost in the reaction to swing

Mustard Greens - Jimmy Smith

Featured Musicians: Jimmy Smith - organ Kenny Burrell - guitar Ron Carter - bass Grady Tate - drums • Mustard Greens, 1965, (12-bar blues) speaks for itself as a classic example of Jimmy Smith's hard bop style hard core R&B strong groove

Sketch for Jazz Quartet and String Quartet - The Modern Jazz Quartet and The Beaux Arts Quartet

Featured Musicians: John Lewis - piano/composer Milt Jackson - vibraphone Percy Heath - bass Connie Kay - drums Beaux Arts String Quartet • The MJQ (Modern Jazz Quartet) projected the image a classical string quartet: Wore tuxedos in performances Performed in the finest music halls Provided audiences with printed programs and program notes Performed well-rehearsed music with the ensemble tightness of the finest string quartets • Sketch for Jazz Quartet and String Quartet, 1960, was composed by John Lewis. Representative example of Third Stream music The string quartet was not required to play in the jazz idiom. The MJQ was not required to play in the style of the string quartet. Lewis wanted to ensure that jazz and classical were being performed simultaneously without compromise to either style. • Drummer Connie Kay utilizes "concert" percussion instruments such as a triangle and suspended cymbal (played with mallets) in addition to his standard drum kit. • The prevailing mood of this music was "cool": soft, subtle, and understated.

The Sidewinder - Lee Morgan (1938-1972)

Featured Musicians: Lee Morgan - trumpet, composer Joe Henderson - tenor sax Barry Harris - piano Bob Cranshaw - bass Billy Higgins - drums • Another hard bop recording that received pop radio airplay and made the Billboard Top 100 Chart was The Sidewinder by trumpeter Lee Morgan (1938-1972) in 1964. The song was originally recorded in December 1963, a year before making the chart. (#81) • Morgan received his first important national recognition playing in Art Blakey's Jazz Messengers in the early 1960s. clifford brown school, fat, full, bodies,bebop style with some R&B • The Sidewinder fell into the category of soul jazz, although it was unlike most soul music of the mid-1960s: The melody was somewhat angular, although lyrical and memorable by any means. The beat was labeled boogaloo; moving away from swing toward rock, but not quite either groove. Boogaloo, or bugalu (R&B + cuban), originated in New York City in local Puerto Rican bands. A fusion of R&B, jazz, mambo, and son montuno Jazz drummer Billy Higgins modified the original boogaloo beat to fit Morgan's tune. In doing so, Higgins' drumming became the popular model of boogaloo. hard bop crossover with soul drumming Higgins' boogaloo beat was adopted by other hard bop drummers and became one of several roots of funk drumming as well. • The Sidewinder was based on an extended blues form. Each phrase was 8 bars long instead of 4 = 24 bar blues instead of 12. • Lee Morgan came out of the Clifford Brown approach to trumpet playing: Not surprising since Morgan took a few lessons from Brown in the early 1950s Morgan possessed virtuosic technique. Played effortlessly in the trumpet's high range He played with a full, round tone, and his solos projected a powerful energy. • Tenor saxophonist Joe Henderson (1937-2001) contributed a soulful bop-rooted solo. angular melody, not abstract

Subconscious Lee - Lennie Tristano and Lee Konitz

Featured Musicians: Lennie Tristano - piano Lee Konitz - alto sax (compoased for him, Tristano's student) Billy Bauer - guitar Arnold Fishkin - bass Shelley Manne - drums • Subconscious Lee, 1949, was composed by one of Tristano's students, alto saxophonist Lee Konitz (1927- ). Music is based on What Is This Thing Called Love by Cole Porter. 32-bar form; four similar but different 8-bar melodies (A-B-C-D) • Features several solos by Tristano's students They all sound similar: light sound, smooth lines, reflective character Konitz made a "conscious" effort not to sound like Charlie Parker. -> marked the shift toward cool jazz -advanced harmonies -counterpoint melodies -abstract melodic lines -obvious arranged melodies -bebop inspired solos by all his students

E.S.P. - Miles Davis Quintet

Featured Musicians: Miles Davis - trumpet Wayne Shorter - tenor sax, composer Herbie Hancock - piano Ron Carter - bass Tony Williams - drums • E.S.P., 1965, is one of Miles Davis' enduring album tracks: Composed by Wayne Shorter 32-bar form A1-A2 form (two 16-bar halves) The harmony chromatic shifts between E, F, Eb, and D chords. Performed at a fast tempo; reminiscent of classic bebop • Miles had surrounded himself with younger musicians, and he was obviously inspired by their energy. He effortlessly negotiated the chromatic harmonies. He used the higher register of the trumpet more than ever before. • Shorter's tenor sax solo was virtuosic: Transcended the fast tempo, projecting soulful emotion Aggressive, hard-edged tone influenced by John Coltrane • Hancock's altered chord voicings effectively supported Davis and Shorter. Explored the inner workings of the chromatic harmonies during his solo, more textural approach • Ron Carter's walking bass lines set the groove and never wavered. • Tony Williams was the heartbeat of the band. He was revolutionizing jazz drumming with a linear rythmic patterns instead of layers approach to playing, passes patterns around between limbs instead of layering. used snare and bass as one instrument-> impacted rock drummers shifting harmonies, fast temp like bebop, upper register

Boplicity - Miles Davis Nonet

Featured Musicians: Miles Davis - trumpet, composer Gil Evans - arranger, former big band Gerry Mulligan - baritone sax Lee Konitz - alto sax John Lewis - piano Kenny Clarke - drums • In the late 1940s, Miles Davis became fascinated with the alternative bebop scene led by Lennie Tristano and Lee Konitz. • After leaving Charlie Parker's quintet in 1948, Miles organized his own band based upon the style of the Tristano/Konitz collaborations. • Some of the musicians who were playing with Tristano and Konitz became members of Miles' band as well, including Lee Konitz himself. • Boplicity, 1949, was arranged by Gil Evans: Use of complex chords (altered 9ths, 13ths, flatted 5ths, etc.) Cross-section voicings (from Ellington), not outgoing or as loud as ellington Use of composed counterpoint (simultaneous multiple melodies) Added tonal textures: French horn and tuba • Obvious understated, reflective, "cool" quality in the music • Boplicity was one of 12 songs recorded by Miles for Capitol Records. The songs were issued on six 78 rpm single records. • In the mid-1950s, Capitol issued all 12 songs on an album. The album was titled Birth of the Cool; Boplicity is now referred to as one of the "birth of the cool recordings." *cool jazz *not as brassy -suppoorting harmonies instead of being played in unison -miles improv= relaxed smooth flowing lines

So What - Miles Davis Sextet

Featured Musicians: Miles Davis - trumpet, composer John Coltrane - tenor sax Cannonball Adderley - alto sax Bill Evans - piano, principal organizer of harmonies Paul Chambers - bass Jimmy Cobb - drums • Miles Davis first explored modal jazz on his composition Milestones from the 1958 album of the same name. Kind Of Blue, recorded a year later, is cited by critics as his greatest album. Several tunes on the album explore modal jazz. • The album's most famous track, So What, is an A-A-B-A form based upon two modes: "A" sections - D Dorian "B" section - Eb Dorian • Miles displayed complete freedom of melodic movement and thematic development without the constraints of standard jazz harmonies and key changes. • John Coltrane's tenor sax solo flowed along naturally, experiencing the same freedom of musical expression. • Cannonball Adderley cleverly moved to G Mixolydian as a basis for his solo. G Mixolydian uses the same notes as D Dorian. Mixolydian projects a more euphonious mood matching Adderley's personality. • Pianist Bill Evans played complex voicings of chords based on D Dorian (or D minor). The harmony does not move, but the voicings suggest chordal movement. He also employed cluster chords: chords with notes bunched closely together improvise within the mode and away and back, didn't have to worry about complex harmonies so the improv could be more complex unusual to have horns support melody played by bass coltrane fully explored the modes and took them into free jazz cannonball more outgoing and optimisitic, shifted from D dorian to G myxolidian (same notes in construction) altered mood from serious to having fun piano used to create the illusion of complex chord harmonies, modal chords voiced closely together so it felt harmonic= chord clusters , combines single lines phrases and chord clusters people thought he was cheapening improv by making the process easier, but he was actually putting all the weight on the soloists to make up good melody lines (nothing to draw from)

Fugue - Shelly Manne and His Men

Featured Musicians: Shelly Manne - drums Bob Enevoldsen - valve trombone Bud Shank - alto sax Bob Cooper - tenor sax Jimmy Giuffre - baritone sax, composer Marty Paich - piano Joe Mondragon - bass • Fugue was composed by baritone saxophonist Jimmy Giuffre (1921-2008). Recorded on Manne's 1953 landmark album The West Coast Sound One of the most avant-garde pieces recorded anywhere in the 1950s Based on a classical fugue: a theme or subject introduced at the beginning of a composition The theme recurs in several voices throughout the piece. • Giuffre's fugue is atonal or lacking a key center (an abstract concept) Each instrument mirrors the theme at different points in the piece, but without regard for traditional key centers or harmony. Rhythm section roles were abandoned: for example, drummer Manne was required to play melodically in addition to keeping time abandoned bebop drum patterns, percussive textures on cymbals and tom toms does not swing in the classic sense avant gard

Blue Seven - Sonny Rollins

Featured Musicians: Sonny Rollins - tenor sax Tommy Flanagan - piano Doug Watkins - bass Max Roach - drums • Blue Seven from Rollins' 1956 album Saxophone Colossus is a traditional 12-bar blues with a nontra- ditional melody. -Melody contains several tritones or flatted 5ths. While basically a very simple melody, it "sounds" abstract. •Blue Seven features one of Rollins' most analyzed improvisations. -First choruses were built on short 2-bar phrases followed by silence. (made them longer and bluesier) -He constructed his lines using clever theme and variation techniques. -As he built intensity, his R&B influences became more pronounced. •Max Roach effectively used theme and variation techniques in his drum solo. He used two principal rhythm themes: a triplet motif and a drum roll. inspired by rollins, simple rhythm made complex, relative pitches of tom toms to make melodies He played his solo like a horn emphasizing low to high-pitched sounds rather than executing complex rhythms. gunther schuller reviewed it sounds so good that it doesn't sound improved at all

Misterioso - Thelonious Monk

Featured Musicians: Thelonious Monk - piano Milt Jackson - vibraphone John Simmons - bass Shadow Wilson - drums Johnny Griffin (Tenor Saxophone) • Many of Thelonious Monk's compositions use either the 12-bar blues form or traditional 32-bar pop song structures. -Very few of his melodies or harmonies sound traditional. •Misterioso, 1948, is a 12-bar blues. -The melody is based on a beginning piano student exercise. Rhythmically, the melody does not swing: built on straight 8th notes. -Part of the melody contains a major 7th, even though the blues harmony would normally require a minor (lowered) 7th. -Further melodic tension occurs with vibraphonist Milt Jackson harmonizing a major 6th interval above the piano. • Milt Jackson's vibraphone solo is rhythmically complex over the slow beat laid down by bass and drums. very bebop like •Monk's accompaniment under Jackson's solo: Based on minor (lowered) 7th intervals Quite syncopated and rhythmically unpredictable •Monk's solo is laced with flatted 5ths (tritones) and minor 2nd tone clusters (dissonance). -Either by design or by accident, Monk adds an extra bar after his first improvised chorus, resulting in a 13-bar blues (second chorus is 12 bars).

Criss Cross - Thelonious Monk

Featured Musicians: Thelonious Monk - piano Sahib Shihab - tenor sax Milt Jackson - vibraphone Al McKibbon - bass Art Blakey - drums •Criss Cross, 1951, an unusual Monk composition features a very angular, syncopated melody line. •The melody is built on the standard 32-bar, A-A-B-A structure. -Because of the unusual syncopated accents, it does not sound like the melody is based on four equal 8-bar phrases. -The "B" melody is very similar to the "A" melody, creating the "criss cross" effect. •Monk dismembered and reorganized the written melody by: Rhythmic displacement (odd phrasing technique) -Slight, but effective melodic variation •Harmonic movement of Criss Cross is unpredictable and nontraditional. -Accented chords on weak beats add to the musical tension. •Jackson and Shihab effectively negotiated the structure and harmony of Criss Cross in their respective solos (this is a very difficult piece over which to improvise). be bop style •Monk's improvised solo was perfectly formed around the tune's opening phrase. played out of time with swinging groove -He built improvised lines by turning phases upside down, inverting them, or simply toying with melodic fragments -interjected unusual accents that caused the melody to sound uneven -B melody higher in the scale than A creating the criss-cross effect

A Day In The Life - Wes Montgomery

Featured Musicians: Wes Montgomery - guitar Herbie Hancock - piano Ron Carter - bass Grady Tate - drums Don Sebesky - arranger • Wes Montgomery was one of the first jazz musicians to record songs by The Beatles. His 1967 album, A Day In The Life, featured the title song and Eleanor Rigby. jazz peope upset that he lowered himself to rock and roll, similar to reaction to parker with strings, same thing that it became very respected later • While some of the music on the album contained very little improvisation, Montgomery's impeccable sense of phrasing and musical taste overshadowed the commercial aspects of the arrangements. • The title track, A Day In The Life, featured a nicely constructed improvisation by Montgomery: built on motivic variation techniques Played over a single mode (one chord) • The jazz press dismissed the album as little more than Muzak. At the time, The Beatles were dismissed as a bubblegum pop group by the jazz press. The idea of merging rock with jazz seemed incomprehensible to jazz purists. The issue of jazz/rock remains controversial into the second decade of the twenty-first century forcast jazz/rock fusion soon to come died from a heart attack at the top of his career

Naptown Blues - Wes Montgomery

Featured Musicians: Wes Montgomery - guitar, composer Oliver Nelson - arranger Roger Kellaway - piano Sol Gubin - drums • Naptown Blues, 1965, is a 12-bar blues riff tune. • Big band arrangement by Oliver Nelson (1932-1975) similar to the small group/jump band perfor- mance of Sister Sadie by Horace Silver: Use of cross-section voicings by Nelson Background riffs played underneath Montgomery's solo Areas of call and response between Montgomery and the band Tutti shout chorus occurs near the end of the piece. • Aggressive, horn-like improvisation by Montgomery; lots of rhythm and blues elements • Montgomery employed octave voicings in the latter part of his solo. • Call and response between Montgomery and the band near the end of the recording (part of the shout chorus) refers to his home town indianapolis

MILES DAVIS — SECOND CLASSIC QUINTET

In the early 1960s, Miles worked with several tenor saxophonists and pianists: Tenor sax: Hank Mobely, Jimmy Heath, George Coleman Piano: Wynton Kelly, Victor Feldman • By 1965, Davis had assembled another "classic" quintet: Wayne Shorter (1933- ), tenor sax, composer Herbie Hancock (1940- ), piano Ron Carter (1937- ), bass Tony Williams (1945-1997), drums This would be his last acoustic band. • Like his 1950s classic quintet, this group would have a lasting influence on jazz. • Studio albums featured original pieces, mostly composed by Shorter: Further explorations in modal music A few ventures into free jazz Rhythmic grooves that suggested a move toward rock and funk • Live performances featured updated and more abstract arrangements of Miles' past repertoire. Jazz standards, ballads, and a few originals herbie handcock= piano ron carter= bass tony williams= drums (teenage) -> amazing rhythm section, changed how they function in jazz, interact with horn soloists, bring texture to the music, move beyond support wayne shorter came from blakey's band, tenor sax influenced by coltrane, more lyrical and more restraint, clear stylistic contrast to miles, great composer explored free jazz, and funk and rock miles liked to use older songs in live preformances

Solea - Miles Davis

Miles Davis - trumpet Gil Evans - arranger Paul Chambers - bass Jimmy Cobb - drums Elvin Jones - percussion In 1960, Miles Davis and Gil Evans collaborated on Sketches of Spain. Fused Spanish classical music and jazz improvisation Also considered Third Stream music Sketches of Spain came about after Miles heard a recording of Concierto de Aranjuez for Guitar and Orchestra by Spanish composer Joaquin Rodrigo. Miles was also inspired by a line from a poem by Spanish poet and musician Ferran Obradors. "Alas for me! The More I seek my solitude, the less of it I find. Whenever I look for it, my shadow looks with me." Like Porgy and Bess, Sketches of Spain featured Davis improvising over creative, complex Spanish- tinged arrangements by Evans. Evans' score called for brass, woodwinds, harp, and percussion. In Solea, Miles had unlimited freedom for melodic development. laces with blues The piece was modal and contained only one basic scale and chord. Solea was based on a traditional Spanish song of loneliness, the Soledad. Basically, Miles played the blues over a traditional song of loneliness: the perfect musical setting for Miles. spain and portugal do not share music with western european countries because they had african cultural influences, involved in the colonization of the americas and the slave trade. Afro pan american slaves fused with classical music from spain and portugal davis very emotional playing and improv blues over the soledad, some feeling of longing and lonliness english horn and harp added to brass ensemble no swing, but had rythmic drive

The Theme - Miles Davis Quintet

Miles Davis - trumpet John Coltrane - tenor sax Red Garland - piano Paul Chambers - bass "Philly" Joe Jones - drums • The Theme, 1955, was played by the group at the end of a set (Miles' theme song). Very short 8-bar riff melody: the focus was on improvising. Solos were played over 32-bar A-A-B-A rhythm changes. Bassist Paul Chambers had the unusually placed first solo (instead of trumpet or sax). First 16 bars of Miles' solo: call and response duo with Coltrane, miles followed chamber's solo, lyrical, and bluesy, smooth flowing, self restraint (cool jazz ideal) First 8 bars of Coltrane's solo: call and response with Miles, self restraint at the beginning, then got more aggressive in terms of density and full sound I got rhythm chords shows contrast between the two horns rhythm section is more restrained for miles and more aggressive for coltrane call and response let the listener reflect before moving on to the next soloist

MILES DAVIS CLASSIC QUINTET/influence of miles davis

Miles Davis changed the sound of jazz several times during his career of nearly 50 years; he either led the way himself or inspired others to strike out on a different path. inspired rock/funk called fusion, started modal jazz and cool jazz • From 1947-1948, he was a member of Charlie Parker's band. • From 1948-1949, there was the development of new music culminating in the Birth of the Cool recordings. • From 1950-1953, there were various recordings and performances under his own name; problems with drug dependency limited his success. • From 1953-1955, his decision to stop using narcotics resulted in his first successful quintet featuring Sonny Rollins (tenor sax). • From 1955-1956, the breakthrough years, artistically and commercially, one of the most famous quintets in history was now known as the Miles Davis Classic Quintet. Miles Davis — trumpet John Coltrane — tenor sax Red Garland — piano Paul Chambers — bass Philly Joe Jones — drums • Miles Davis preferred to perform with a saxophonist who provided a stylistic contrast. • John Coltrane was a hard bop tenor saxophonist from Philadelphia. Saxophone style was aggressive and outgoing. Laced with elements of R&B and the blues -this quintet was together for less than 2 years -versitile rhythm section • The diverse nature of the horn soloists ensured popular success since the band appealed to both cool and bop audiences. • Where Davis reflectively understated his musical ideas, Coltrane drove his solos with complex lines reflecting another approach to jazz improvisation. • Garland, Chambers, and Jones tailored their accompaniments to fit the cool approach of Davis as well as the hard bop style of Coltrane. early bebop with parker to eventually rap and synthesized music, could still pick out his trumpet style, he had a very unique sound (plantive, hollow, tone, no vibrato, continued to use the same mute) *columbia records signed the quintet and became the most important jazz label

The Golden Striker - The Modern Jazz Quartet

Percy Heath - bass Connie Kay - drums • The Golden Striker, 1957, is a representative example of the group's style. Three-part counterpoint between the piano, vibraphone, and bass Drummer Connie Kay played triangle, tambourine, and finger cymbals during the melody. Improvisations are subtle and employ dynamics: characteristically cool jazz. John Lewis composed the piece for a French film No Sun in Venice (romantic theme instead of crime). An example of cool jazz used in a movie soundtrack combinne classical/baroque counterpoint swinging lyrical improv solos, cool jazz ideal and some bebop tradition

MILES DAVIS AND MODAL JAZZ

Prior to the development of modern Western scales and harmonies, European music was based upon modes. Modes were based on the Western 12 tone just tuning system. From Pythagorean tuning: intervals based on the ratio 3:2 Modes can be traced back to Greek civilization. Medieval music was based upon a single key center, or mode. Ninth century Gregorian Chants were based upon the church modes. Church modes form the basis for modern use of the modes. Modes evolved into the modern tempered-tuned major and minor scales by the sixteenth century • There are seven modern modes derived from the church modes: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. • In practice a mode is supported by a pedal tone or drone tone sung or played on the root note of the mode. Example: "D" Dorian modal melody would have a "D" drone underneath. Example: Scottish bagpipes employ a drone tone to support a melody. • Miles Davis was the first significant jazz musician to fully explore modal composition and improvisation. A single mode allowed more freedom for improvisation. Melodic development not bound by rapid harmonic and key center changes Modal concepts opened up new horizons for jazz improvisation modes used in R&B and rock n roll

Miles davis

after Parker returned to NY Gillespie had formed his own band, so Parker hired Miles davis as his trumpet player, and he actually became more successful than parker he didn't like playing with parker and he wanted to quit because the temp was so fast and the music was so hard • Miles Davis grew up in a comfortable home in East St. Louis, Illinois. His father was a dental surgeon and a big band enthusiast. • He studied trumpet with Elwood Buchanon, a symphonic musician in St. Louis. Buchanon encouraged two trumpet playing concepts that would stay with Miles throughout his career. Buchanon preferred a subtle, less brassy trumpet tone. He discouraged the use of a vibrato. • His first professional work in 1943 was with the Eddie Randle Orchestra. • He subbed for two weeks on third trumpet with the Billy Eckstine Band in 1944. He met Charlie Parker and Dizzy Gillespie playing in the band. • He relocated in New York in the fall of 1944 to attend the Julliard School of Music. He spent most of his time in the 52nd Street jazz clubs. He dropped out of Julliard after a short time. • He played with Charlie Parker several times between 1945 and 1948. He grew weary of Parker's erratic drug-influenced behavior. He left the band for good following an altercation with Parker at The Royal Roost Club. inspired by tristano and konitz lead bebop into smooth jazz juliard= strictly classical

Th end of the swing era

after the end of WWII 1. Economics High inflation after the war's end priced larger bands out of the marketplace. Costs were too prohibitive for ballroom operators to pay the salaries of 12 to 16 musicians. cut back bands to 6 or less people 2. The effects of the Musicians Union Strike, 1942-1944 Musicians fell out of favor with record companies. Vocalists were promoted over the bands with which they sang. Frank Sinatra featuring the Tommy Dorsey Orchestra Instead of the Tommy Dorsey Orchestra featuring Frank Sinatra. juke boxes started putting musicians out of work the musicians refused to record if they were going to be played on juke boxes. Poor relationship with the bands who went on strike, began promoting the singers who hadn't gone on strike. 3. Changing popular tastes Country music and rhythm and blues emerged from the fringes of pop music into the mainstream. swing was seen as old fashionned 4. Cooling off period after a long depression and a world war Americans were ready for softer music and ballads. The age of the pop crooner replaced the swing band. not the right mood after the depression.

bebop improv

jam session atmosphere musicians from different bands could come together and play together. use a popular song that everyone knew as a base held at after hours clubs (minton's and monroe's)-> many players went to see if the measured up - similar to the harlem stride cutting contests small audiences came to cheer on the contests often hard to tell improv from main melody because it is all so complex that it sounds like improv

bebop

jazz developed by and for virtuoso musicians Attracted musicians with exceptional improvising skills Appealed to small, dedicated liberal-leaning audiences Grew out of a reaction to the commercialism of swing bands The style developed under the radar during World War II in Harlem. Evolved in jam sessions taking place in Harlem "after hours clubs" •It is not clear why the term "bebop" was used to describe the new jazz style that emerged out of the swing era. Scat singing syllables, usually used at the end of a scat phrase The name of an early bebop recording made by Dizzy Gillespie •Bebop evolved out of the cutting contests between musicians. Jam sessions after the dance halls and ballrooms closed •Developed in the "after-hours" clubs in Harlem: Minton's Playhouse Monroe's Uptown House •The music demanded virtuosic technique. Featured long, complicated solo improvisations Intentional move away from the constrictions of playing commercial swing music •An underground Bohemian scene grew out of bebop. Fashion: zoot suits, goatees, sunglasses, string ties, berets, or tams Vocabulary: "hipster" slang Political overtones: modern, ultraliberal philosophies Drugs: use of hard drugs, especially heroin, was common count basie and lionel hampton revolutionized their bands

third stream movement

modern jazz quartet started it embrace classical ideas wore tuxedoes, same level as string quartet printed programs, music halls not clubs lewis took cool jazz further into classical gunther schuller coined the third stream music term miles davis, brubeck and schuller all went on to try third stream

rhythm and blues to jump bands

muddy waters traded acoustic guitars for electric became popular with young white middle class count basie and lionel hampton had heavy rhythm and blues injected into their swing. often had success with swing fans and younger fans early root of rock and roll hampton used scat based lyrics instead of vibrophone call and response hey ba ba re bop with audience when playing live

Parker in LA

parker and dizzy booked at billy berg's jazz club in LA 3000mi away from the birthplace of bebop, so LA audiences who came to hear them were not enthusiastic about what they heard dizzy returned to NY but parker stayed in LA because he could get heroin easier - clint eastwood movie called Bird starring forest whitaker as charlie parker showed his addiction problems

Thelonious Monk

pianist and composer • Thelonious Monk was a unique jazz musician whose solos were unorthodox and not always in the mainstream of bebop. •Monk became a walking symbol of the bebop revolution: Wore bebop clothes (sunglasses, beret, zoot suit, etc.) Spoke bebop language Considered himself an artist and his music an art form Always playing at, or beyond, the known boundaries of mainstream jazz -oblivious to his surroundings, didn't interact with the audience •Monk was a formidable composer: Wrote pieces that were not based upon existing popular song forms Contained abstract melodic lines and unusual harmony Explored dissonance in music Notes that purposely clash with other notes Notes that cause tension with the established tonality Notes that sound "wrong" •Monk's rhythmic feel was very stark, syncopated, and, at times, nonswinging when everyone else in the band was swinging hard. •He was known to stand up and dance for a few moments before returning to the piano. -not always bebop style compositions -paid house pianist at minton's playhouse -his innovative style became the norm -explored dissonance

bebop to hard bop

• After Charlie Parker's death in 1955, bebop re-emerged with renewed energy. A younger generation of musicians emerged with new ideas. The younger musicians had grown up listening to rhythm and blues. They combined the heart and soul of bebop with the energy of rhythm and blues. • Labeled "hard bop" by the record industry because of its R&B edge and stronger beat • The transition to hard bop was seamless. Many older musicians became identified with hard bop including Dizzy Gillespie, Coleman Hawkins, Art Blakey, and Max Roach. • In contrast to cool jazz, which was perceived as a West Coast style, hard bop became identified as East Coast jazz. • By the end of the 1950s, hard bop was becoming as popular as cool jazz. Some hard bop recordings became popular on pop radio. In the 1960s, the music was labeled soul jazz. Like soul music, it became identified with the Civil Rights Movement rock and roll/rhythm and blues were becoming more popular no direct emotional ties to swing music written arrangements horn riffs behind soloists use of dynamics less syncopated and more driving drums bluesier harder edge replaced bebop jam session with more accessible organiszed form rivaled cool jazz east coast dizzy, dexter, blakey, roach all transitioned smoothly many beboppers didn't make it

cool jazz

• Cool jazz began in the late 1940s as a reaction to the explosive frenzy of bebop. Its musicians strove for a more sophisticated, mature style. The end result was a restrained offshoot of the bebop tradition. • Cool jazz musicians insisted on being considered the equals of classical musicians: Borrowed many procedures from classical music Composed sophisticated music requiring consummate technique and music reading skills Sometimes utilized classical instruments in performance Violins, flute, oboe, bass clarinet, and French horn Experimented fusing classical music and jazz styles labeled Third Stream • Cool jazz musicians maintained the bebop tradition of virtuosic improvisation. Cool jazz musicians play rapid bebop passages. Contrasted them with space and subtle melodic lines • The term "cool jazz" refers to an attitude as well as a style of music. Classical musicians were often criticized for projecting a "cool" attitude. • Although the cool movement was centered primarily in New York, there is evidence of cool jazz being played on the West Coast as early as 1946.

dave brubeck

• Dave Brubeck came to prominence in San Francisco during the 1950s. Remained one of the most popular jazz artists into the twenty-first century Performed sold-out concerts around the world Made recordings that consistently sold 100,000 copies or more • Brubeck studied classical piano as a child but did not show much promise. • In World War II while in the Army, he played piano in a French field hospital for wounded soldiers during the Battle of the Bulge invasion. • In 1946, he studied composition with Darius Milhaud (counterpoint and harmony, classical composer, used jazz elements) at Mills College (was a woman's only college at the time) in Oakland, California. Milhaud encouraged him to incorporate classical techniques into his writing. Milhaud himself often incorporated jazz elements into his classical compositions. • Inspired by his studies with Milhaud, Brubeck formed his Octet comprised of several former Mil- haud students The purpose of the Octet was to write new music incorporating experimental composition techniques. The Brubeck Octet projects mirrored the Lennie Tristano/Lee Konitz scene going on in New York.

Art Blakey

• Drummer Art Blakey was one of the few musicians who made the transition from classic bebop to hard bop. He played with Billy Eckstine, Dizzy Gillespie, Thelonious Monk, and Miles Davis in the 1940s and early 1950s. • Along with Horace Silver, he formed the Jazz Messengers in 1954. • Took over leadership of the Jazz Messengers when Silver formed his own quintet in 1956 Led the group until his death in 1990 Many important jazz musicians got their start playing with Blakey and the Jazz Messengers including Donald Byrd, Lee Morgan, Wayne Shorter, Freddie Hubbard, Keith Jarrett, Chuck Mangione, and Wynton Marsalis. -bebop pioneer, one of the most faous jazz of the 20th century -virtuoso drummer drove the band full speed ahead

Shelly Manne

• Drummer Shelly Manne was long associated with West Coast cool jazz. Actually got his start in New York in the bebop movement of the 1940s Performed and recorded with Dizzy Gillespie and Charlie Parker Got involved with the Lennie Tristano/Lee Konitz scene in 1949 After playing with the Stan Kenton Orchestra, Manne moved to Los Angeles in 1951. • Manne played an important role in establishing the West Coast jazz style. Strong focus on composition and orchestration The music and its musicians projected a cerebral temperament. Composition and improvisation experimentations highly encouraged Improvisation style rooted in the bebop ideals get away from intense bebop lifestyle sophistocated tristano konitz style

miles davis stylistic influence

• Even while playing with Charlie Parker, Miles sounded different from other bebop trumpet players: Softer, hollow, plaintive trumpet tone; avoidance of brassy sound Complete avoidance of vibrato; preferred a straight, unwavering tone Preference for the low to middle range of the trumpet Use of high notes restricted to a few, selected occurrences Began using the Harmon mute (produces a buzzing, thin metallic sound) • Miles also exhibited improvisatory tendencies unlike those of other bebop trumpet players. Use of unusual but creative dramatic devices Melismatic phrasing (holding a pitch longer than expected) Emphasizing dissonant notes Creating lines with intricate syncopated rhythms Extensive use of space: using space to create tension • He avoided using of jazz clichés, or standard "licks." His improvisations always contained new and fresh-sounding ideas. • Miles was the master of self-restraint. He played only what was necessary to get his musical idea across. He avoided the pyrotechnic style exhibited by Dizzy Gillespie. not bravura -soft, hollow, plantive -avoid brassy tone quality -avoid vibrato -preferred to low to middle range -resitricted use of high register -melismatic phrasing techniques -extensive use of space to create tension master of self-restraint, played only what was necessary to get his musical ideas across

The modern jazz quartet

• Formed in 1952, The Modern Jazz Quartet became famous for combining classical music concepts with bebop. Often played original pieces that had elements of Baroque counterpoint Their music ushered in the Third Stream jazz movement in the 1950s Third Stream was coined by composer/author Gunther Schuller: 1. First stream: jazz 2. Second stream: classical 3. Third stream: jazz plus classical • Founded by pianist/composer John Lewis (1920-2001) and vibraphonist Milt Jackson (1923-1999) Both had played in Dizzy Gillespie's band in the late 1940s, jackson played with thelonious monk Bassist Percy Heath (1923-2005) and drummer Connie Kay (1927-1994) rounded out the group. • Individually, each member of the group was an important bebop musician. • As The Modern Jazz Quartet, their focus was cool jazz and Third Stream. lewis= most sophitocated composer rarely did anything resembling aggressive style of bebop

MILES DAVIS AND GIL EVANS PROJECTS

• Miles Davis and John Coltrane temporarily parted ways in 1957 due to Coltrane's increasing drug use. • With Coltrane gone, Davis and arranger Gil Evans teamed up to record music from George Gersh- win's 1935 opera Porgy and Bess. (controversial because the cast had afro am singers and bluesy music) Davis and Evans had worked together in the late 1940s on the Birth of The Cool recordings. • Porgy and Bess featured Davis improvising over lush, complex arrangements by Evans. Scored for jazz band with added flutes, French horns, and tuba Davis' Porgy and Bess recording can be considered Third Stream, combining the music from an opera with jazz improvisation. Gershwin's opera contained many songs based on the blues or the blues tradition, making the music conducive to jazz interpretation.

Orbits - Miles Davis Quintet

• Orbits, 1966, is a combination of modal and free jazz with bop sensibility. Composed by Wayne Shorter for the Miles Smiles album "Wayne was the intellectual catalyst for the band." —from "Miles, The Autobiography", (Quincy Troupe, co-author); page 274 • The melody is quite abstract and nonlyrical: Roughly two parts to the melody Part one is played in and out of tempo. Part two contains a repeated swinging riff played in tempo. que played by each solist to say they were done • Once the tempo was established, it was quite fast and grooved hard. • The solos were free form: no set harmony, mode, or length. • To avoid establishing a key center, pianist Herbie Hancock laid out until his solo. His solo contained no left-hand harmony, only right-hand single line melody. only one line of improv and no supporting chords • At the end of each solo, the last 4 bars of the melody were inserted as a cue. Necessary communication since the improvisations were free-form. • Bassist Ron Carter interacted closely with each soloist. propelled the band along, free to develop interactive lines by anticipating soloists Improvised walking bass lines that shadowed each soloist's free improvisation williams grooved hard with linear patterns shorter= bebop like improv and absract melodic lines "free bop" free structure, but bebop ideals individuals formed their own bands and miles move on to fusion of rock and funk

Sonny Rollins

• Tenor saxophonist Sonny Rollins came to bebop from a different direction in the late 1940s. He was initially interested in rhythm and blues. More influenced by swing era saxophonist Coleman Hawkins •Rollins is considered a major transition figure from bebop to hard bop. By the time he had matured as a player, the transition from classic bebop to hard bop was taking shape. born in NY parker and gordon as a teen influenced him played wiiith davis 52nd street bebop club scene leader in hard bop style played with younger musicians who also loved rhythm and blues and bebop

Wes Montgomery

• The 1960s was the "decade of the electric guitar." Rock music and rock guitarists dominated American popular music. • Wes Montgomery brought the guitar into focus in jazz during the 1960s. He became one of that decade's most influential electric guitarists along with Jimi Hendrix and Eric Clapton. • Montgomery's style was rooted in hard bop: Funky, bluesy improvisations, laced with rhythm and blues elements Aggressive, outgoing improvisational character Long, flowing, bop-rooted virtuosic horn-like lines Use of octave voicings to reinforce his melodic lines • Unlike Hendrix or Clapton, Montgomery's sound was clean and pure: No amplified distortion No use of electronic effects (wah wah pedals, fuzz tones, etc.) most important guitar since christian no distortion of the sound of the guitar, clean amp, no pick, thumb tehcnique for full well-rounded sound bebop and R&B doubled each note in octaves at the same time

'Round Midnight - Miles Davis Quintet

• The success of the Miles Davis Quintet led to a major label contract with Columbia Records in 1955. • The first album released on Columbia was 'Round About Midnight The title song 'Round Midnight was composed by Thelonious Monk. A beautiful ballad written by Monk in the 1940s • Throughout his career, Miles loved to play ballads more than any other type of song. Slow ballads were especially suited for his reflective nature. Influenced by vocalists including Billie Holiday and Frank Sinatra Projected the essence of the song's lyrics, without the lyrics present On most ballads, Miles effectively used the Harmon mute to add a haunting quality to the sound of his trumpet. drums use soft brushes behind miles • Tenor saxophonist John Coltrane was also a creative interpreter of slow ballads. Coltrane's ballad playing contained deep, soulful improvisations. More energetic than Miles, but equally lyrical, strong sense of blues drums use sticks behind coltrane for more rhythmic energy

Clifford Brown

•Clifford Brown (1930-1956) left behind only four years worth of recordings before his untimely death in a car accident. -He influenced many trumpet players who followed him. •Brown's trumpet style provided an alternative to Dizzy Gillespie and Miles Davis: -Warm, fat tone (Gillespie's was brilliant and brassy; Miles was softer) Relaxed but highly articulated solos Advanced conception of harmony forecasting the 1960s Used the entire range of the instrument •He formed a quintet with drummer Max Roach (1924-2007) in 1954. Considered the definitive bebop group after Charlie Parker's decline Also the bridge from classic bebop to hard bop -confident and outgoing -very harmonically advanced

Dexter Gordon

•Dexter Gordon was the premier tenor saxophonist during the bebop era. Gordon was based in Los Angeles, whereas the primary bebop musicians were in New York. •In many ways, Gordon's improvisation style was similar to Charlie Parker's: Long, flowing lines contrasted with short, irregular, syncopated phrases Inserting short quotes of popular songs in his solos Impressive displays of virtuosic technique contrasted with soulful, bluesy lines •Gordon's saxophone sound based more on the Coleman Hawkins model. •Gordon was an important influence on succeeding tenor saxophonists. The bridge between Coleman Hawkins and John Coltrane •Nominated in 1986 for an Academy Award for Best Supporting Actor in the movie 'Round Midnight.

john birks Dizzy Gillespie

•Dizzy Gillespie was the first and most influential bebop trumpet player. Achieved worldwide fame; more than any other bebop musician, walking symbol of bebop •Born in Cheraw, South Carolina Studied piano at an early age Self-taught trumpet: led to unorthodox technique with bulging cheeks • Playingcharacteristics: Big, full brassy tone Outgoing musical personality Preferred high-register playing Created intense, syncopated, yet very accessible improvised lines, matched his personality, amazing rhythms •According to trumpeter Wynton Marsalis, "He was a master of harmony — and fascinated with studying it." • Performed in swing bands led by Ella Fitzgerald, Cab Calloway, Earl "Fatha" Hines, and Billy Eckstine •Joined forces with alto saxophonist Charlie Parker in 1945 -first jazz musician to fuse bebop with Afro-Cuban styles •Gillespie met Cuban immigrant percussionist Chano Pozo (1915-1948) in 1947. Gillespie invited Pozo to play congas in his band. Gillespie had encountered Cuban music in 1938 while playing in Cab Calloway's band. -Cuban trumpeter Mario Bauza played in Calloway's band. Bauza introduced Pozo to Gillespie trumpet he and parker were regulars at the contests at the night clubs engaging personality allowed him to communicate with his audience regular guest on the tonight show with jonny carson he and parker started a quintet, much not recorded due to the ban

Horace Silver

•Horace Silver represents the essence of the hard bop style: -Strong elements of rhythm and blues and gospel in his playing -Use of bluesy, riff phrases in building melodic lines -Use of silence as a dramatic device -His compositions often utilized elements of jump band R&B -Background horn riffs -Bluesy shout choruses •Many of Silver's compositions are part of the standard jazz repertoire. Sister Sadie, Song For My Father, The Preacher, and Doodlin' portugese played with stan ghetz played with art blakey left jazz messengers and got a contract bud powell influence, strong rhythm and blues gospel music influence

I Know That You Know - Sonny Rollins

•I Know That You Know is from a 1957 Sonny Rollins album Sonny Side Up. -The recording featured two older bebop artists along with Rollins. ->Dizzy Gillespie (trumpet) ->Sonny Stitt (alto sax) •Rollins' solo stands out as the highlight of this recording. -Rollins' improvisation is a study in virtuosic improvising. -The band played stop time behind his solo. -The stop time accents were on primary downbeats giving the listener something easy to grab on to while listening to Rollins' complex improvisation. •Rollins' solo contained several "honking" blues notes as well as long, flowing bebop phrases. •This track is an example of the seamless transition from classic bebop to hard bop counterpoint not heard in bebop stop time like hot five, rhythm section only played on downbeat drumming patterns more groove based, less syncopated, make bluesier

I Should Care - Thelonious Monk

•I Should Care is a standard pop song originally composed in 1944 by Sammy Cahn. •Thelonious Monk created an abstract musical sound "painting" of the song in 1957. All original musical elements are distorted (as are shapes in an abstract painting). -The original melody line is purposely and completely distorted. •Monk explored the concept of creating musical tension without release by: -Using exaggerated rhythms -Doing away with a steady tempo -Employing unusual harmonies -Incorporating dissonance -Utilizing unorthodox playing techniques (special effects) •This recording was a forerunner to the free jazz revolution that occurred in the 196os -changed the mood of a beautiful love song to an intense and emotionally jarring song -goal of all abstract artists was to eleict a response from the audience, one way or another