Jazz Final

Recent Trends (smooth Jazz)

- How the media of transmission was central to developing the style - --- Radio helped define smooth jazz, marketing programs to particular audience (white collar office workers -> wanted music at work -> smooth jazz (background music) for at work) Radio stations slapped label smooth jazz on it - Smooth jazz = controversial - --- "This is watered down jazz, real jazz values aren't there" Kenny G (soprano sax) : biggest record seller of all time - ---- Songbrird (1986): created spark for the style and his career

"Hard Bop" compared to bebop

1. Drummers play with more activity 2. Tone colors are darker, weightier, and rougher 3. Chord progressions in accompaniment are less frequently identical to those of pop tunes 4. Less of the start-and-stop quality that leaves the listener off balance 5. Hard-driving feeling that pushes relentlessly with an emphasis on consistent swinging 6. piano comping has more variety in rhythms and chord voicing

Categories of Acid Jazz

1. Fusions devised by disc jockeys of jazz elements with various pop dance music styles 2. Fresh Music 3. Renamed music from earlier recordings

Dominant Aspects of Acid Jazz

1. accompaniment rhythms and he way it feels 2. Few chord changes occur, entire selection revolves around 2 chords that continuously alternate with one another 3. Melodic development is less elaborate than in any other style of jazz. no melody at all.

rock and funk music

1. emphasized vocals 2. sticks largely to the simple composition forms such as (a) the 4-chord and 12-bar blues (b) other progressions that repeat

Jazz, rock, and funk share similar roots in

1. gospel music 2. work songs 3. the blues

Miles Davis most important contributions

1. original and substantial trumpet style 2. Large body of recordings with distinctive high quality performances 3. Making a change to his original trumpet style 4. Part of the "Birth of Cool" recording sessions of 1949 and 1950 that combined Claude Thornhill's and Gil Evans' styles of orchestration with the subdued approaches of Gerry Mulligan, Lee Klonitz, and himself 5. Pioneering "modal jazz" on Kind of Blue in 1959 6. Pioneering predominant group approaches and individual instrumental styles of the 80s and 90s 7. Pioneering jazz-rock fusion styles with an original mixture of elements from modal jazz rock, and funk on Bitches Brew in 1969

Rock and funk typically have

1. shorter phrase lengths 2.less frequent chord changes 3. less complexity of melody 4. less complexity of harmony 5. less use of improvisation, especially in accompaniments 6. much more repetition of melodic phrases 7. more repetition of brief chord progressions 8. simpler, more repetitive drum patters 9. more pronounced repetition of bass figures 10. More is preset 11. intensity and firmness 12. electric instruments

Rock and R&B remain similar as they both use

1. simple melody lines 2. repeated bass patterns 3. steady tempo 4. instrumentalists who bend the pitches of their notes extensively in a high stylized manner

3 qualities associated with free jazz have nothing to do with the absence of chord progressions:

1.More extensive manipulations of pitch and tone quality: high register playing, squeaks, shrieks, wails, rough tone 2. Creation of textures seemed more important than development of melody: "Free jazz" label was applied to music of high energy and dense textures 3. Free players' concept of melody displayed a loosening of bebop melodic and rhythmic practices that had been standard for jazz musicians since the 1940s but there was an unfinished quality to it.

Stan Kenton

1912-1979 Led the best known succession of big bands in modern jazz 1940s: leading a big band in swing era style 50s: cool jazz Influenced by Claude Thornhill, after whom Miles Davis had modeled the "Birth of the Cool" and style He classified his music as progressive jazz Most impressive work: non-swinging concert music that exposed rich, modern harmonies Performed without vibrato, trumpets: high pitched, loud Ranged from softest to loudest of sounds Earned the reputation for leading the loudest big band (partly due to the # of brass instruments) Glossy trombone tones: high register, vibrato that started short and became long Skill at public relations

Lennie Tristano

1919-1978 Pianist, composer, and bandleader Music was just as complex as bebop but he preferred very long phrases to pet phrases. His lines were smoother and less jumpy than Parker and Gillespie Did not swing his music in the customary bebop manner Lines did not resemble popular songs Influenced by Art Tatum and Lester Young

Charles Mingus

1922-1979 Bassist and composer Electric influences -Hard Bop (#1 influence) -Free Jazz (extended instrumental techniques) -Gospel/blues -Ellington Extreme forms of tone decoration

Wes Montgomery

1925-1968 Guitarist Modern Jazz invent a graceful style

Miles Davis

1926-1991 Composer Bandleader Trumpeter Primary innovator (cool, modal, jazz/rock) Nobody else has been on the forefront of three styles Started as bebop and used to sub for Dizzy Gillespie Trumpet style is of the 1950s The notes he didn't play were just as important as the notes he did play

Miles Davis (book: hard bop)

1926-1991 Trumpeter and Bandleader Pivotal role in history of modern jazz

John Coltrane

1926-67 Tenor Sax

John Coltrane

1926-67 among the then most important figures in jazz history tenor and soprano sax, composer, and bandleader Unusually vigorous, rough-textured, biting, dark Speed and agility intense densely packed fascination for chord changes (1960s): tried to play every note in every chord and every scale that might be compatible with it Giant Steps (1959) Techniques: multi-noted playing and difficult chord progressions, modal style, improv and the creation of frantic turbulence that emphasized textures more than the development of melody-like lines Controversial

Gerry Mulligan

1927-1996 Mile's Davis' baritone saxophonist and primary composer-arranger on the Birth of the Cool recordings Also used a soft, dry, lightweight tone quality whose texture has been compared to tweed cloth simpler, more direct approach to bebop less jagged rhythms than Parker and Gillespie Choice of notes suggested greater deliberation rather than wild exuberance Phrases: coolly logical and systematically developed, rarely squeezed a lot of notes into them Simpler compositions Absence of the Piano: responsible for the light, simple sound and highlighted the base Drummers played conservatively, use brushes Music came to stand for what journalists mean by "West Coast Jazz" Many considered him to be "West Coast Cool"

Cannonball Adderley

1928-1975 One of the best improvisers to play the alto sax after Charlie Parker flowing, energetic, unpredictable tone quality: deep and full (mistaken for tenor sax) -> warm and flowing Tone decoration: blue notes and wails resulting in an earthy legato style called "blues drenched" FUN loved to double-time put snippets of pop tunes into lines Could also be calm and meditative (Kind of Blue solos, were the most original improvs he recorded) 1950-70: coled a series of bands with his brother, cornetist Nat Adderley Bands: jazz funk, biggest hit= Mercy, Mercy, Mercy

Bill Evans

1929-1980 Piano -Completed definition of modern jazz piano ----Count Basie to Bud Powell to Bill Evans -Lyric Sensitivity: can take a soft, sensitive approach to the piano ---ballads and meter of 3 (Waltz) -----likes to play cool style a lot ---Peace Piece (1958): right hand moves, left hand just plays notes -Rhythm section interaction: historically important, leads to what miles davis does in the 1960s: widely influential ----= collective improvisation ---Scott LaFaro: bass ---Paul Motian: drums ---Autumn Leaves (1959) -----mainstream jazz

Miles Mid-60s Quintet (Book)

1964-68 one of the best combos in jazz history Ron Carter: bass Wayne shorter: tenor sax Herbie Hancock: piano Tony Williams: drums Shorter and Hancock were also composers

Weather Report

1971-1985 Best jazz/rock group: critical and popular Primary members: Shorter, Zawinal, JAco Pasorious (electric bass, more popular sound) Collective Improvisation -Continues Evans : Miles mid-60s line - Nobody plays solos or we all solo at the same time Formula: collective improvisation with rock feel Songs: Tears (1971), Birdland (1977)

Horace Silver accompaniment

50s= structured setups for his soloists

McCoy Tyner

Born 1938 Modal (fourths): basis of style -- Ebony Queen (1972) Intense, assertive, powerful -- Sahara (1972) Broke a piano string by playing too hard

Ornette Coleman

Born in 1930 Alto Sax Composer 1949-1956: LA, not welcome at jam sessions because he played sounds no one expected to hear 1957: Newport Jazz Festival 1959: NYC, started receiving success

Ornette Coleman

Born in 1930 Alto sax Composer LA (1949-1956) : not welcome at jazz sessions 1957: Newport Jazz Festival 1959: NYC Elementa of classical: saw that he was doing what classical music had done (atonal period)

Chick Corea

Born in 1941 Mainstream Modal (fourths) Jazz/Rock groups Return to Forever --- 500 miles high 1973 Electric Band --- Stretch is (1990) --- Shows his handling of syncopation as a composer Latin ---Spain (1973) ----- Most famous Composition --- Of Puerto Rican descent

Wynton Marsalis

Born in 1961 1983: classical Grammy, jazz grammy- only person ever One of jazz's greatest trumpet virtuoso Neo-traditionalism ---Redid old songs from the 1950s mainly and also Parker and Ellington (anything before modal jazz) Jazz as a tradition, craft "Young Lions" -- Nicholas Payton, Trumpet -- James Carter, tenor -- Benny Green, piano -- Joshua Redman, tenor Songs: --Autumn Leaves (1986) --Expressing Crossing (1993)

My favorite things

Coltrane's strategies in this became a model formal 1. Played melody while pianist and bassist used the tune's original chords as accompaniment 2. Abandoned the original chords and based his solo improvisation on a two-chord repeating pattern played by the piano. Those two chords contained all the notes in the scale that guided his improvisation Turbulent and non swinging densely packed rough textured Did not sound like most music that uses preset organization even though Coltrane had preset a series of four scales to guide the improvisations Coltrane's name became associated with free jazz

Miles Mid-60s Quintet

Evans, this one, and weather report= take collective improv and run with it 1963-1968 -Wayne Shorter ---Tenor Sax- unusual ideas ----- Didn't play typical ideas -----Synthetic ---Composer: odd, dreamy style ----- Strange chord progression ----- Important for determining sound of the whole group - Herbie Hancock --- Piano - Ron Carter --- Bass -Tony Williams --- Drums -Abstract sound; interaction -Engaged in interaction -Sound is abstract -It's taken things out (background, chord progression, time) but still a chorus form... Just like the face even though its missing details

Hard Bop Schools

Gospel/Blues School Mainstream School

Coltrane's 3 style periods

Hard bop (giant steps) Modal Free Jazz

Harmony in free jazz

Important that harmony was free because the harmony guides the listener -> outer space because notes are not set up Made it controversial Anyone can play any note they want

Sampling

In acid Jazz, lifting an entire part from an earlier recording to form the basis of a new creation

#1 Jazz Recording of all time

Kind of Blue Album Miles Davis

Coltrane: Musical Style

Large, dark, rough tone (Tone is very serious) Intense urgency, little humor Dense (sheets of sound) Sheets of sounds: creates a dense, comparison to sheets of rain (lots of rain), each individual drop and note loses significance -> looks at a series of sounds not individual notes High register (emphasized Goes with soprano saxophone: Had been used in NO jazz, Pitched higher, Completely straight , Coltrane popularized that □ Liked to play higher and higher and higher even on tenor) Soprano sax popularized Speed and agility (Liked to play for a long time 30 min + solos) Long improvisations

Coltrane's Musical Style

Large, dark, rough, serious tone Intense urgency, little humor Dense (sheets of sound) Higher Register emphasized Soprano Sax popularized Speed and agility Long improvisations

Dave Brubeck

Led the best known of all cool jazz groups Quartet: Alto sax Paul Desmond, bassist, and a drummer Rhythmic feeling was more common with classical music Was never a classical pianist Stayed away from the sounds of bebop which made him more classical Simple and tuneful, easier to follow than bebop, orderly and clear, light and pleasant mood Use of fun and usual meters brought him much publicity ' Albums: time out and time further out From 1955-1985 ranked second in record sales among all jazz recording artists Quartet provided an introduction to jazz for millions of new listeners, including a whole generation of college students

Most important jazz musician of the second half of the twentieth century?

Miles Davis

The Popularity of Cool Jazz

Most popular musicians in modern jazz: Miles Davis, Stan Getz Dave Brubeck Quartet: one of the first groups in jazz history to regularly tour

Crossover

Music that "crosses over" from appealing only to jazz fans to also appealing to fans of popular music

Expected elements of free jazz

Not planned or atonal harmony (tonal vs atonal) No piano or guitar (no harmony-> no need for piano-guitar) Extreme tone decorations (shrieks, cries on sax) Dense textures collective improvisation high energy pulse and swing absent

Coltrane compared to ornette

Ornette -Athena Did what he did, born fully developed Coltrane - Sisyphus Boulder for all eternity Always on a journey Going through 3 major style periods Always a sense of pushing and trying to go beyond

Free Jazz album

Ornette Coleman two bands all playing at the same time trying to improvise without following preset key, melody, of chord progressions High-energy, high-density

Free Jazz is mostly associated with

Ornette Coleman and Cecil Taylor

Popularity of Avant-Garde Jazz

Ornette Coleman and Cecil Taylor are the most exciting and challenging styles in jazz history not played well on the radio Bill Evans influenced: Hancock, Corea, and Jarrett

Postmodernism

Relativity, not objectivity - Reality is not mirrored, but actively constructed - ---colors, solidity of objects - Critique: Alaskan Sokol affair - Deconstruction reveals assumptions of modernity In Culture - Fingers, silverware, or chopsticks?? = all equal , depends on culture (can't say one is the best way) - Melting pot vs salad bowl - ---- postmodernism thinks it's a salad bowl (each individual part contains its identity even if you mix it up) In Politics - Who benefits? - The way society does things stems from the fact that people who are in power want to stay in power and don't want those who don't have power to get any Globalization - Aligned with postmodernism - ----- Implies all genres are equal - Equal Genres implies fusions of genres - Jazz was the original fusion music - ----- Africa and Europe at its inception - ----- Latin jazz- throughout its history - -----Jazz/Rock - The internet allows instant access to all styles so that they can be fused 1. Fusion or blend a. Tim Hagans (trumpet) Far West (1999) b. Jazz Rock and classic Indian music 2. Mosaic Form (juxtaposition of elements) a. John Zorn (alto sax) Latin Quarter (1989) 3. Re-Mix (old tune in new style) a. The Bad Plus, Smells Like Teen Spirit (2003) 4. Mash-up (disparate elements in one) a. John Zorn, Lonely Woman (1989)

Roland Kirk and John Cage

Saxophone -hard bop -gospel and blues -extended instrumental technique (like mingus) Made flute sound different Stuck flute in his nose

jazz rock solos

Saxophones: John Coltrane Trumpeters: Freddie Hubbard Pianists: Herbie Hancock, McCoy Tyner, Chick Corea simpler styles

Tristano/Konitz School

Sounded a lot like bebop distinguishes from cool jazz to Cool jazz Subconscious Lee

Gospel/Blues School

Strong tone decoration Louder Beat more strongly articulated Blues and gospel influences Amen cadence Head arrangements Apply to combo tunes More natural fit than Basie Harsher tone colors Tpt and sax unison (from bebop) More popular than bebop Back Beat "Moanin"

Ornette Coleman (book)

alto sax born 1930 most influential force in free jazz in the 1960s and 70s improviser and composer catchy known for its freedom from present accompaniment chords, but that's all its free of same tempo throughout written and memorized tunes freely changes keys while improvising, staying in each one long enough to hear what key hes in plan out their music while they improvise uses instruments in solo and accompaniment roles rejects present chord changes and the supportive sound of a pianist's comping doing away with chord patterns that repeat again and again in cycles

Free Jazz

an approach associated with Ornette Coleman and Cecil Taylor, in which the music contains improvised solos which are free of preset chord progressions, and sometimes also free of preset meter

Second wave of hard bop players

beyond hard bop and created its own stream of styles draws upon sources outside hard bop Tenor Sax: Joe Henderson and Wayne Shorter Trumpeter: Freddie Hubbard Pianists: McCoy Tyner, Herbie Hancock, Chick Coream Keith Jarrett Drummers: Tony Williams and Elvin Jones

Horace Silver

born 1928 one of the biggest names in hard bop Composer and Bandleader Used trumpet and sax to make it sound like his group had more than 5 instruments

Cecil Taylor

born 1929 pianist, composer, and bandleader style: major alternative to dominant modern jazz styles does not play with a modern jazz feeling too tense to swing does not try to swing emphasizes complex musical textures rather than musical lines layered groups rather than singable phrases percussive and violent 1950s: improvs based on tunes and chord changes, bebop style bassists and drummers 1960s: played without preset chord progressions or constant tempo, only planned "unit structures" aka phrases and overall concepts about the architecture that the piece should assume Piano: jagged and dense, listeners found him spiritually uplifting, did not listen to him to relax

Herbie Hancock

born 1940 pianist leader of jazz-rock fusion bands original and versatile jazz pianist and composer freshest work was when he was playing with Miles Davis light, airy, and firm known for originality bill evans was his biggest influence but he has more bebop

John McLaughlin

born 1942 fusion guitarist, bandleader, and composer hard color and texture of rock wah wah pedal and phase shifter improvisations contain little of the pronounced syncopation solos are interrupted by held tones that distort waveform and pitch high level of energy high levels of instrumental proficiency: fast strings of notes with razor sharp precision

Miles Davis School of Cool Jazz

cool with a small letter c Laid back and pushed ahead Birth of the Cool 1949 with Gil Evans (arranger)

cool

description of jazz sounds

Screed

editorial rant

Sampling

electronically excerpting portions of old albums old meaning: recording samples of a given instrument's tone from each pitch range new: phrases from an old album are recorded into a computer and are re-synthesized into another recording apparatus if a new album is being created

Weather report's two main phases

emphasis on collective improvisation of textures funk band emphasis

Geographic location of hard bop

f-ing everywhere man

modernism

idea that progress is possible, gaining knowledge about world is possible, better and worse ways of thinking Postmodernism: wants to equalize that

Drummer

instead of timekeeping they only provided an undercurrent of drum sounds Popping and crackling Less predictable

Jazz-Rock fusion mixed

jazz improvisation with the instrumentation of rhythms in R&B

Smooth Jazz (book)

less challenging to hear emphasized refinement easy listening soft and pleasing neither intricate or elaborate phrases in improv were shorter and melodic development was limited predictable and less jarring fewer chord changes not spontaneous Freddie Hubbard and Miles Davis popular

Bill Evans (book)

most influential jazz pianist after Bud Powell 1929-1980 smooth and pretty not considered avant-garde by most but Davis hired him because he was Constructed harmonies around the flavors of modes Used popular sounds to develop harmonies phrased improvisations without stressing notes that land on the most obvious beats accenting notes at times we normally clap our hands began a phrase in a way that was staggered across a series of beats Rhythms did not directly state the pulse never flashy, not percussive more of composed music than improv

Why is it free?

musicians are improvising jazz that is free from present chord progressions Free from conventional practices of any kind Free of tempo or key Rarely free of distinctions between soloists and accompanists

Drummers in jazz rock

new timekeeping that resembled R&B and Latin America Tony Williams: high hat was shut on every beat instead of every other beat more emphasis on the bass drum and less on cymbals for time keeping intense and repeated rhythms less bounce and lit

Birth of the Cool

nine-piece band organized by Miles Davis Concept for music was inspired by Gill Evans Used a standard rhythm section: piano, bass, drums, along with a french horn, tuba, trombone, and no tenor sax or guitar Much more subdued than the sounds of big jazz bands-> "cool jazz"

Chick Corea (book)

pianist 1941 better known as a bandleader in the jazz-rock fusion than as a jazz pianist pianist in the miles davis quintet of 1968 created harmonic and melodic vocabulary that fostered a new stream of jazz piano styles composer and bandleader crisp, percussive touch bright, spirited style of comping stunning level of musicianship not bebop or hard bop choosing notes for his line was fresh lightness 1970s: jazz-rock fusion (electric piano), got a large audience.

More free jazz omitted

piano Because: historically they have the role of providing chord progressions and few pianists are comfortable improvising without chord or key

Laid Back

played fractionally late, tempo doesn't change -> obvious thing a cool jazz musician would do

Push Ahead

played just before the beat happened and sounds like musician wants to play faster but really doesn't

back beat

played on a high hat and snare drum; strong beat on 2 and 4

Back Beat

played on high hat and snare drum, strong beat on 2 and 4

Jazzy pop

pop music that has certain jazz elements- such as instrumentation or improvisation- but is not viewed as "real" jazz by purist listeners

Popularity of Hard Bop

radio rejected their music Jimmy Smith and Ramsey Lewis groups made the most money

Horace Silver's Piano style

replaced bebop's emphasis on long, bobbing lines with brief, catchy phrases Virtuosity was not essential Almost never plays fast for long stretches Compactness and clarity are higher priorities than speed and agility Made use of silence solos: simple ideas that are hummable and easy to remember

Rhythm sections in jazz rock

replaced piano with electric piano and synthesizer replacing acoustic bass with electric bass

Modal Jazz: Miles Davis

simple, easy to grasp in one mode for a long time

Performance Format

soloists improvised in a way that followed John Coltrane and McCoy 'Tyner: more intent of creating moods than melodies Miles Davis: outgoing, tension, high energy, 1980s: added trumpet over funk vamps, hot funky solos Rarely allowed his keyboards to solo highly arranged

Mode

special kind of scale

Cool

style of jazz

Sonny Rollins

tenor sax who played hard bop Original used Charlie Parker's alto sax styles on the tenor sax started with simple, melodic ideas and then developed on them avoided cliches, even at high speeds 1950s tone quality: Rough, hard, dry, "brittle", aggressive, swung when he wished, purposefully deviated from the tempo at time 1960s-80s: streamlined, broader, less speed, disco, funk, and so much like popular music

Kind of Blue (book)

tenor sax: John Coltrane piano: Bill Evans modal jazz

West Coast Jazz

the jazz style associated with Dave Brubeck, Paul Desmond, Gerry Mulligan, and Chet Baker during the 1950s, often applied to classify cool jazz by California-based white musicians

Mixer

the title for the disc jockey who blends excepts of various recordings and adds scratching sounds from wiggling the turntable underneath an album while the needle is connected to the loudspeaker

Classicists liked Ornette Coleman because

they thought jazz was on a new level through his atonal playing

Arranger

unique to jazz, semi-composer, does not compose chorus form in original composed melody

Sweetnighter

weather report began using more repetition compositions were constructed of brief phrases repeated continually and accompanied by a funk rhythm section style

Vocalists in recent trends

- Dianna Krall, NORAH JONES - Great commercial, crossover success - Solidly mainstream (vocal - ---- You're Getting to Be a Habit (1997)

Smooth Jazz (lecture)

- How the media of transmission was central to developing the style - --- Radio helped define smooth jazz, marketing programs to particular audience (white collar office workers -> wanted music at work -> smooth jazz (background music) for at work) Radio stations slapped label smooth jazz on it - Smooth jazz = controversial - --- "This is watered down jazz, real jazz values aren't there" - Kenny G (soprano sax) - HUGE recording artist: most selling records - ---- Songbrird (1986) - -------- created spark for style

Miles Davis Trumpet Style

7 components - expressively toying with pitch and tone quality at the beginning and end of notes - Harmon mute -> wispy sound that is delicate and intimate - Unusually skillful timing and dramatic construction of melodic figures: self restrainer, silence meant as much as what he did play, sounded like he was editing solos carefully while performing them - Improvised swinging melodic figures and also played outside of strict tempo and away from the swing feeling while most trumpet players played swinging lines and stayed close to a strict tempo - Acute sensitivity in paraphrasing (fresh way that made finished products like new melodies) - Simplicity; solos: brief and simple with only a few notes - Handling of tone quality and pitch range: tone quality was lighter, softer, and less brassy and he used almost no vibrato, favored the middle register of the trumpet, rarely double-timed but was rather gentle

Jazz Rock: Miles Davis

81(1965) : Miles DAvis band -Miles stays up higher --- much more extroverted approach - Early jazz rock - Only changes: rock rhythms (not swung) - Straight rhythms Bitches Brew (1969) -Album -Won a grammy for album of the year: surprising bc it was way out of left field -DRUGS -Sivad (1970) Miles Davis: primary innovator in jazz rock --- Style changes from his beginning a lot

Floating Pulse

A method of improvising that avoids stressing the most obvious beats, while extending phrases across several beats, pioneered by Bill Evans; also called a non-obvious pulse

Looping

A recording technique in which a short musical phrase is repeated

Progressive Jazz

A term coined by Stan Kenton to describe his own music

Jazz-Rock

A variety of styles beginning in the late 1960s that use jazz improvisation, electric instruments, funk rhythm section accompaniments; also known as fusion music

Kind of Blue

Album First album with consistent modal jazz #1 Jazz recording of all time by a very strong consensus New Style (only been played for a couple months) No rehearsal, first takes, super spontaneous

Kind of Blue

Album, first with consistent modal jazz #1 jazz recording of all time New style that had only been played for a couple months No rehearsal 1st takes Spontaneous

Modal Jazz (book)

Davis reasoned hat improv would change if a single chord were in effect for a long time or if improvisers could choose their notes from those in a single scale that was in effect for a long time

Acid Jazz book

Developed by English Disc Jockeys Gilles Peterson and Chris Bangs rap groups were beginning to borrow jazz sounds for two reasons: 1. needed a new way to get accompaniments cheaply 2. their performance would gain a jazz flavor if any element associated with jazz was incorporated Overdubbed reversed the roles traditionally occupied in most jazz

Recent Trends (Vocalists)

Dianna Krall Norah Jones Great commercial, crossover success solidly mainstream (vocal) --You're Getting to be a Habit (1997)

Freddie Hubbard

Drew from Clifford Brown and Miles Davis departed from bebop and was compatible with free and jazz rock Refused to stray from the beat and liked to double-time offhanded and playful looseness that implies great creative freedom does not hesitate to interrupt himself on an idea to start another one avoids stock bebop phrases spontaneously construct and rework figures from odd combinations of notes and rhythms Daring and impulsive Universally envied for his outstanding mastery of the instrument

Miles Mid 60s quintet and fusion

Drummer tony williams played straight, repeated eighth notes on the ride cymbal Ron Carter, bassist: simple repeated bass figures

Instrumentation of fusion

Electric piano and organ replaced piano Electric Bass Guitar replaced acoustic bass viol Davis used electric guitarists Davis sax of the period spent more time playing soprano t Davis usually employed two or more drummers elaborate colors and textures

Free Jazz: lecture notes

Elements present: non planned or atonal harmony (tonal vs atonal), no piano or guitar (because no harmony), extreme tone decoration (shrieks, cries), dense textures, collective improvisation, high energy (wanted everything to be free-> ended up being more hot than cool, pulse and swing absent Free from traditional and conventional harmony FREE HARMONICALLY: important because harmony guides the listener Any note is possible at any time, made it controversial, dissonance is very important

Modal Jazz

Jazz Improvisation based on a mode (or scale) rather than on chord changes Simple, Easy to grasp, in one mode for a long time Miles Davis

Fusion

Jazz-rock fusion : 1960s

Weather Report

Joe Zawinul and Wayne Shorter founded it accompanied by a bassist and 2 drummers did not use the standard rhythm section in standard ways bassist barely played walking lines drummer rarely played standard ride rhythms spurts of melody might come from any member, rhythmic figures and fills could come from any members exchanged long solos for a greater variety of moods and sound textures After 1972: rich combination of orchestral sounds Shorter: rich soulful, mysterious, like an orchestral composer

Mainstream School

Just mainstream Jazz Pent-Up House (1956)

The Classic Miles Davis Quintet

Tenor Sax: John Coltrane Pianist: Red Garland Bassist: Paul Chambers Drummer: "Philly Joe" Jones Album: Milestones Recordings: Steamin', Cookin', Workin', and Relaxin' Hard Bop and later stiles Intense Fresh and excitement First time jazz fans heard Coltrane's sax Additions of Cannonball Adderley Broke away from the practice of guiding improvs solely by chord progressions-> used different scales 64-64-32-> more freedom for improviser

John Coltrane 1927-1967

Tenor Saxophone

Lee Konitz

Tristano's most talented student Alto Saxophonist Speed and Agility compared to Parker's in a class by themselves, outplaying others Inspired by Tristano while most others were imitating Charlie Parker Played with a dry, light, airy tone Employed a slow vibrato Preferred the upper register Differed from Parker: Did not like to sneak quotes from pop tunes into playing and in rhythm and way he treated individual notes and used less offbeat rhythm

Schools of Cool Jazz

Tristano/Konitz Schoolo Miles Davis School

Clifford Brown

Trumpet 1930-1956 Most widely admired trumpet player since the swing era only recorded from 1952-56 wider, more delicate vibrato: responsible for its renewed use by jazz trumpeters int he 50s and 60s didn't jump into the high register often smoother Did not tend to make as many peculiar note choices melodic, pretty, and relaxing masterful control over the trumpet Refined bebop instead of blazing new trails Preferred to swing rather than to try to throw off his listeners with surprises Repertory of his own phrases led him gracefully through the chord progression Fluid, manner, easy swing feeling Joyful spirit Long, flowing lines at furious tempos and still maintain warmth and ease of his wide, glowing tone Dazzling speed and agility Kept accurate pitch, kept a swing feeling

Giant Steps

Ultimate chord challenge Most difficult chord progression to improvise on Piano solo that follows struggles

Acid Jazz

Usually the creation of a disc jockey who takes funky accompaniments that have been synthesized electronically and/or sampled from jazz recordings, then repeats continuously with raps and/or jazz improvisations superimposed atop them

Scale

White keys example

Was Dissonance important in free jazz?

Yes

Turntablist

a disc jockey who usually operates two turntables simultaneously, mixing and altering the source material to form new sounds

Pianists and Guitarists in jazz rock

adopted repeating accompanying riffs in place of the spontaneous comping

bassists in jazz rock

adopted the strongly rhythmic, syncopated, and staccato bass paterns

"Avant-garde"

advance group of creators in a field of art of music