MUSIC 331 Final

Miles Davis Recordings

*"In a Silent Way," "It's About That Time" (included Davis-trumpet, Wayne Shorter-sax, Herbie Hancock-electric piano, Tony Williams-drums, John McLaughlin-guitar) -helped to define fusion *"Miles Runs The Voodoo Down" (many feat. musicians, from 'Bitches Brew')

Gil Evans (1912-1988)

*Claude Thornhill Orchestra-Robbins' Nest (arranged by Gil, melody has a cool detached quality, subtle swing, modern orchestral quality to horn lines, solos are understated & spacious), Gil Evans Orchestra-King Porter Stomp (arranged by Gil, composed by Jelly Roll Morton, hard swinging)

Free Jazz/Avant-Garde/The New Thing/Improvised Music

-avant garde the "advanced guard:" at the cutting edge, innovators not imitators, reflects the latest creation/invention that is outside the norm, non-traditional

Coltrane's Recordings

*Giant Steps (1960, finally left Davis' band & launched his solo career & his "classic quart" at the Jazz Gallery in NY) *My Favorite Things (originally from Oscar & Hammerstein's 'The Sound of Music') *India (shows influence of east Indian classical music on group) *A Love Supreme /Acknowledgment /Resolution (one of his best-loved albums, earned him 2 Grammy nominations for jazz composition & performance, and became his biggest-selling record, classic quartet, deeply spiritual) *Mars (series of duets between Coltrane & Rashied Ali, Coltrane delved into free jazz movement)

Coleman's Recordings

*Invisible (angular, unusual melody, frantic quality, only early recording that would use a piano), Lonely Woman (recorded only 2 months after previous release 'Tomorrow is the Question'), Ramblin' (loosely based on the blues, 16 bars of bass pedal followed by 12 bar blues, Haden's bass solo is a wonderful folk melody), 3 Wishes (middle-eatern vide, modern groove, Jerry Garcia & Coleman had begun collaborating) *Free Jazz-Coleman Double Quartet (rhythm sections function differently from one another, use of collective improvisation followed by cued/written ensembles, influenced many free musicians to come, album cover feat. Jackson Pollack painting, White Light)

Miles Davis Quintet/Sextet Recordings

*Surrey with the Fringe on Top (muted trumpet, Davis/Coltrane, originally from musical 'Oklahoma') *Miles (his first foray into modal jazz) *New Rhumba (arranged by Gil Evans) *So What (from his famous recording 'Kind of Blue,' bass plays melody & horns answer "so what," he lost the key members of his band shortly after this recording and then began assembling next great group in 1962) *E.S.P (1st recording of quintet feat. Wayne Shorter on tenor, composed by Shorter) *Walkin' (Shorter on tenor, new group)

Kneebody

-"a resolutely un-pindownable band" acclaimed for their eclectic style, which uses a common jazz instrumentation to make a somewhat less common amalgam/mixture of urban-signifying genres, from electro-pop to punk-rock to hip-hop *"Blue, Yellow, White"

Rhythm & Blues

-1940s: an offshoot of swing called "jump" (eventually part of R&B) focused on blues, fast tempos, brash, humorous lyrics, ensemble riffs -in addition to swing, boogie-woogie rhythm proved essential to R&B -pianists and blues "shouters" like Big Joe Turner recorded successfully during 30's/40's and reached the white mainstream through Louis Jordan

Miles Davis and the Birth of the Cool

-1945, 19 yr old Miles Davis played on Parker's first recording -1949, Davis led group of musicians who were interested in slowing down pace of music/rebalancing mix between improvisation & composition -group consisted of a coalition that was interracial, intergenerational, culturally diverse (improvisations woven into written arrangements; all instruments gravitated to mid-range, medium dynamics, economical phrasing)

The LP (Long Playing Record)

-1948, Columbia introduced 12 inch microgroove LP recordings that had 20 mins/side of music made of vinyl (RCA-Victor introduced 45-rpm vinyl single-play recording same year) -LP allowed recordings of longer jazz pieces that better reflected live performance -Hard bop musicians inclined to play long solos b/c of new technology -independents liked longer solos b/c got more popularity as labels & longer solos meant fewer tunes on a recording (which meant fewer royalties to pay out)

Art Blakey (1919-1990)

-1954, Blakey (drums/bandleader) & pianist Horace Silver formed a group ("Horace Silver & the Jazz Messengers") -typified growing hard bop movement (hard, funky, bluesy) -1956, Silver left band & Blakey became leader -Jazz Messengers had always been an incubator for young talent *Art Blakey & the Jazz Messengers-Moanin' (call & response quality of gospel church, soloists all have moments of pushing everything "over the top")

Ronald Shannon Jackson

-1975, joined Ornette Colemans' band Prime Time & recorded 2 fusion albums w/Coleman (bringing funk to the avant-garde) -recorded w/Cecil Taylor -started his own band, Decoding Society, with the goal of finding the common denominator of a broad variety of kinds of musics

James Carter

-1994, at age 25, recorded w/Decoding Society on "What Spirit Joy" -considered an exemplar of the historicism that opened borders in the present while engaging the past -worked w/Lester Bowie (avant-garde) & Wynton Marsalis (historicist), both of whom recognized his great talent on the sax

John Birks "Dizzy" Gillespie (1917-1993)

-1st important bebop trumpeter/greatest improvisers & composers in jazz -one of 1st to play sax type lines on the trumpet (influence of Roy Eldridge) -"Dizzy" nickname from clowning behavior/great entertainer -interested in music of other cultures (Cuba-conga drum) -seen as ambassador of jazz (his big band was significant for infusion of bebop & Afro-Cuban contributions) -exemplified clean living/became an "elder statesman" of jazz (no substance abuse) *Shaw 'Nuff-Dizzy & Charlie Parker, Night in Tunisia (2 versions, one cuban musicians), Things to Come-Dizzy Big Band (1st big band arrangement to incorporate elements of bebop, became known as Modern Jazz Quartet), Manteca

Coleman's Career

-2007, received Pulitzer Prize for his recording, 'Sound Grammar' -career continued w/various ups & downs, but his influence was profound on those who followed -he explored writing for a variety of ensembles including symphony orchestra -highly regarded by many, collaborated w/guitarist Pat Metheny

Bossa Nova

-Brazilian origin, an interesting style that fuses the traditional Brazilian samba (a percussion only style) w/American jazz harmonies & cool jazz lyricism -in Brazil, the movement was led by Antonio Carlos Jobim, Luiz Bonfa, Joao Gilberto -Jobim insisted that it was not just another form of samba but a radical break from it (like bop, bossa nova broke w/past in terms of harmonic & melodic sophistication-represented young, new attitude) -1958, guitarist Charlie Byrd toured Brazil and brought music back to saxophonist Stan Getz -craze peaked quickly in 60s, but style has remained a staple of jazz repertoire

80's Fusion

-Chick Corea Elektric Band was one of the most influential in 80s -band was the model of instrumental virtuosity in 80s, particularly influential were drummer Dave Weckl & bassist John Patitucci -Corea has split his time playing acoustic piano in more mainstream contexts as well *"Overture"

Dizzy Gillespie and Chano Pozo

-Dizzy started working toward a Latin jazz fusion w/his 1946 big band for which he hired CONGA player Chano Pozo -Dizzy learned about this music from Bauza when they were both in the Cab Calloway band (he knew very little about Cuban music until Bauza started teaching him) -gave Pozo free rein in band *"Cubana Be," "Cubana Bop," "Manteca" (Dizzy Gillespie Big Band)

Birth of the Cool & Gil Evans

-Gil Evans was oldest of group (ingenious orchestrator, who explored instrumental possibilities when he worked in Claude Thornhill band, which included French horns, tuba, flute, bass clarinet in addition) -lived close to center of action, so people would continually drop in to talk about modern jazz (including Lee Konitz, whom Evans feat. in nonet; arranger Gerry Mulligan, soon to be famous baritone sax player & did most of writing for nonet; composer-pianst John Lewis, who would go on to form Modern Jazz Quartet)

Jazz in Los Angeles

-West Coast had a long history of jazz (N.O musicians recorded there as early as 1922) -Central Ave was center for black life in LA (they were attracted by availability of work in shipbuilding industry) -Central Ave was the Mecca for entertainment, which included modern jazz around 1945 w/Coleman Hawkins, Dizzy Gillespie, Howard McGhee, and the Charlie Parker quintet

Dizzy Gillespie's Contributions

-a model on unparalleled trumpet mastery -assembled a body of original compositions -led a string of high quality combos & big bands featuring many jazz stars-to-be -incorporated Afro-Cuban music into jazz -created a new vocab. of phrases & ways of matching solo notes to accompanying chords -was a mentor to all musicians

Fusion

-advocates the severance (cut off) of jazz & pop music as an error -jazz should take its cue from its audience, not its critics

Anthony Braxton

-all reed instruments & piano -studied philosophy at university, joined the Association for the Advancement of Creative Musicians (AACM) -1969, released a double album of unaccompanied alto sax solos that created quite a furor (anger) over familiar issues: fakery vs genius, jazz vs non-jazz -recorded dozens of albums w/music ranging from improvisatory to structurally constrained & everything in between w/a diverse group of musicians (Chick Corea, Dave Brubeck, Dave Holland, Max Roach) -his historicism created much controversy (his album 'In the Tradition' consisted of traditional repertory played in non-traditional ways & with unconventional titles) -his sources & performance practices were much broader than what most people understood as proper to jazz -often challenged the notion that he is a jazz musician but accepted the title in recent years *"Piece Three" (from album 'Creative Orchestra Music'

Lingua Franca

-although there is no single jazz school, jazz musicians all speak the same language, which is grounded in bebop & respect for the past-a lingua franca -one reason for this is that jazz education has been codified in undergraduate music programs -and yet, even though they learn a shared pool of musical practices & knowledge, highly skilled individual voices persist

Birth of the Cool

-although there were precedents in jazz for this concept of music (Ellington), these young modernists looked to classical chamber music for sonorities that favored: middle range instead of high notes, French horn & tuba, toned-down rhythm in place of up-front beat of dance music) -1949, Davis was youngest of the cool school & good organizer -he landed a recording deal (put together brass-heavy ensemble of 9 players)

John Zorn

-alto sax -inspired by contemporary classical musicians, mainstream jazz musicians, cartoon music -his main free jazz influences are Anthony Braxton & Ornette Coleman -created a new trend w/the formation of his group Masada (described as Ornette Coleman meets Jewish Yiddish music) -extremely creative, important influence on rise of "Downtown Scene" *"Live"

Louis Jordan

-alto sax, singer, songwriter, bandleader -68 hits on both the R&B charts & predominantly white, mainstream pop charts -1938: formed own band, Louis Jordan and His Tympani Five (sounding like a big band-proved that a small ensemble could be successful & as a result, small bands became very popular in jazz and pop after WWII -his success was due to his use of southern black cultural humor that blacks related to and whites could "get" -emphasized humanness of being black (a lesson learned from his early experience in minstrelsy), creating new black archetypes -1940s: recorded w/major stars (Bing Crosby, Armstrong, Fitzgerald) & appeared in movies (real showman) -career slowed down in 1951 due to illness, but his influence can be heard in the music of Chuck Berry, Bill Haley, Ray Charles

Ornette Coleman (B. 1930)

-alto sax/violin/trumpet/composer -fan of Charlie Parker (apparent in work) -extremely unique, controversial, innovative voice in jazz -1950, joined band of blues singer Pee Wee Crayton in LA but was then fired -returned to Fort Worth and then back to LA working as an elevator operator at Bullock's, studying theory books -ultimately formed his first group (it focused on his unusual concepts, attempting to equalize the roles of melody, harmony, and rhythm) -worked w/pianist Paul Bley -he believed that chords were a hindrance to a musicians ability to truly play their own music -bassist Red Mitchell brought him to the attention of record produce Lester Koenig -his sound has always been characterized by his use of a plastic alto sax and very soft reeds (only horn he could afford and points out that Parker used a plastic alto at times)

Swing's Triple Pop Legacy

-as swing faded, it became clear that were 3 successors aside from bebop: rhythm & blues, mainstream pop vocals, latin jazz

George Russell (1923-2009)

-bandleader/composer/arranger who didn't perform professionally on an instrument -seen as the "father" of the modal jazz movement that would become an important new direction in jazz of the 1960s -his arranging greatly influenced modern composers/arrangers -an avid theorist, he formulated & advanced his 'Lydian Chromatic Concept of Tonal Organization,' a work that has had a significant impact on jazz improvisation *Concerto For Billy the Kid (Russell's discovery of Bill Evans is exemplified in the piano solo, for whom the piece is written, simple theme w/bebop, modern classical & latin musics)

Jazz Today-Esperanza Spalding

-bass/voice -2011 Grammy Award winner for Best New Artist *"Smile Like That"

New Directions

-bebop was a style that many who had grown up w/swing could NOT accept -even though bop was an introverted, intellectual music, bebop musicians were interested in pleasing their audience -1950s, new schools of jazz appeared including cool, hard bop, funk, and avant-garde -jazz as art reemerged after bebop (as association of jazz w/dance & entertainment diminished) -jazz musicians sought the status of SERIOUS artists by playing major concert halls (expanded forms of improvisation & composition) -they ceded dance & entertainment to pop music

Cool Jazz/Third Stream

-began as a reaction to the explosive frenzy of bebop (strove for a more sophisticated, mature style) -predominant players favored lighter tone & lyrical qualities of Lester Young and Miles Davis -began utilizing college campuses as performance venues, capitalizing on interest in jazz of college students -facilitated by the quasi-chamber music quality of the new groups (more at home in concert hall than smoky clubs) -cool jazz movement often associated w/west coast, however many of the important early recordings were made on the east coast by Miles Davis, Gerry Mulligan, Gil Evans -term "third stream" by Gunther Schuller while lecturing about attempts of musicians to cross the influence of jazz, classical, & other world musics

Horace Silver (B. 1928)

-began playing piano & sax in HS, inspired by blues singers & boogie-woogie pianists & boppers (Thelonious Monk & Bud Powell) -his piano style became a model for subsequent mainstream pianists -outstanding composer, written many unique, contrasting works (pieces reflect a strong blues/gospel influence) *The Preacher (happy, upbeat mood)

Jazz in transition (big bands of swing era began to decline)

-big bands were expensive to maintain, small groups were much less expensive -transportation of a big band was difficult in wartime -big bands had a difficult time maintaining consistent personnel due to the draft -b/c of the war, people had less money to spend on entertainment and due to a 20% entertainment tax, it was more expensive -shortage of men to accompany women to ballrooms for dancing

Dexter Gordon (1923-1990)

-born & raised in LA -considered 1st significant tenor sax to apply bebop style to his playing -unique identifiable sound & very laid-back sense of phrasing *Dexter Gordon Quintet-Long Tall Dexter (Leonard Hawkins, Bud Powell, Curly Russel, Max Roach, 12 bar blues, in style of Parker's 'Now's the Time')

Frank Sinatra

-born into working-class Italian family -heavily promoted on radio, at the movie, in the press (popularity soared) -singing style combined crooning style of Bing Crosby w/bel canto technique of Italian opera -influenced by female jazz singers such as Billie Holiday *"The Birth of the Blues"

Cool Jazz

-by 1950s, cool was used to describe a kind of toned-down jazz -later became associated w/white musicians who relocated to Cali where they could get day gigs at movie studios (unlike African Americans) while playing jazz at night (called West Coast jazz)

Avant-Garde 2nd Generation

-came of age in 1970s, schooled in Midwest -formed collectives, not unlike fraternal societies of New Orleans -collectives arranged rehearsals, secured work, set the stage for the creation of new music -Black Artist Group (BAG) arose in St. Louis; Horace Tapscott, organist/composer, organized Underground Musicians' Associations in LA; in NY, Cecil Taylor, Ander Cyrille, Archie Shepp tried to launch the Jazz and People's Movement -none of the collectives lasted very long, except for the Association for the Advancement of Creative Musicians (AACM) which lasted 40 years

Dave Brubeck (B. 1920)

-came to prominence in SF during 1950's (piano/composer) -3 years before Miles' "birth of the cool" sessions, Brubeck was making similar recordings as a student, working under Darius Milhaud -next to Miles, Brubeck became the most popular jazz artist during 1960s (interested in classical forms & odd times, with explorations of meter) *Dave Brubeck Quartet-Take Five (piece is in 5/4, huge hit recording) -Time Out is the biggest selling jazz recording of ALL time, along w/Miles' Kind of Blue

The Downtown Scene

-center of this scene was primarily focused around the "downtown" NYC club The Knitting Factory -center of the 80s, avant-garde jazz scene

Ethnic interpretation

-claims that jazz should take its inspiration from African American elements and shun other practices such as experimentation & borrowing from other styles

Mongo Santamaria

-congas -had own hit with "Watermelon Man" written by Herbie Hancock (helped pave way for Latin-soul fusion) -studied violen and then drums (worked w/Tito Puente when arrived in states) -became archetypal crossover musician -made many commercial recordings but also collaborated w/Dizzy *"Afro Blue" (recorded by Coltrane, jazz standard), "Watermelon Man" (essentially dance music, jazz feeling but not jazz substance)

Max Roach's Contributions to Jazz

-considered epitome of bebop drumming -father of modern drum solo -emphasized a melodic approach to drum set -early experiments w/jazz in different time signatures -along w/Kenny Clarke, Max solidified bebop drumming concepts (expressing the time on the ride cymbal relying less on the bass drum or hi-hat like swing era drummers) -interplay between snare drum & bass drum, as well as w/the soloist

Miles Davis' Jazz Legacy

-created an original/substantial trumpet style -produced many recordings -facilitated the 'birth of the cool' sessions -his mid-fities quintet/sextet represented the height of jazz playing in that period -pioneered modal jazz on his "Kind of Blue" album, jazz-rock fusion styles (from elements of modal jazz, rock, funk music) on his "In a Silent Way" and "Bitches Brew" albums -incorporated pop songs & hip-hop a-go-go styles into his repertoire -pioneered predominant group approaches & individual instrumental styles of 80s/90s w/his quintet -one of the most important/influential musicians in history of modern jazz

Latin Jazz

-dance beats from Caribbean have had a long relationships with jazz -postwar jazz was especially influenced by Cuban music (salsa) and Brazilian music (bossa nova) -Cuban influence includes the rumba of 30's, mambo of 40's, cha-cha-cha of 50s -Cuban bands in states offered little jazz but much rhythmic vitality/great showmanship

Free Jazz

-divided jazz world in half -on one hand, it was criticized for being too political (partly true when it came to civil rights, anti-Vietman War movement, Black Power) -on other hand, its supporters called free jazz a people's music, even though it alienated more people than it attracted -Coltrane was well respected for mastering the bop idiom/avant-garde (became unofficial referee between two styles)

Tony Williams

-drums, composer -veteran of Miles' influential mid-60s quintet & performed on "In A Silent Way" -17 when began playing w/Miles (interested in rock music & jazz) *"Sangria for Three" (w/John McLaughlin & Larry Young, samba-like/quasi-Spanish flavor)

The Loft Scene (1974-1986)

-during this era, the new music in NY was played in lofts, churches, galleries & recorded by small labels often owned by the musicians -lasted 12 years (at which time major labels/venues began to accept the new music) -1987, the Knitting Factory opened a large performance space that encouraged musicians to cut across idioms to reach a broader audience -1994, moved to a 3-story building w/several performance spaces available simultaneously -regular musicians had a major impact on the arts scene (saxophonists/composer John Zorn combined classical avant-garde & klezmer music; James Blood Ulmer meshed "harmolodic" jazz w/Delta blues and country music)

Keith Jarrett

-formed the "Standards Trio" which would become his primary avenue of musical expression & one of the finest groups in history of jazz -was at odds w/commercialism & stylization that Marsalis et al were bringing to jazz -felt that the "young lions" representation of the jazz process was wrong & instead focused on everyone sounding the same, looking the same, imitating the same masters *"The Cure"

Ronald Shannon Jackson & James Carter

-from 2 different generations, drummer Jackson & sax Carter are both virtuosos who look beyond the usual boundaries of jazz to explore the avant-garde, fusion, & traditional jazz (all anchored in 90s improvisation *"Now's The Time" (reinterprets blues via bebop)

Free Jazz

-generally free jazz is characterized by unique voices -highly individualized however "free" does not necessarily mean that there is no form or order to the music -performances often have some theme upon which the players will build -a reaction to the social issues that plagued the 1960s (musicians wanted to reflect the social cry for personal freedom & true democracy), reflected in the music by a "freeing-up" of all of the musical elements and an equalization of the roles played by each instrument

Modern Jazz Quartet

-group created by pianist/composer John Lewis (1920-2001) -classical chamber ensemble feeling -in contrast to Mulligan quartet, MJQ was an African-American, East Coast, long-lasting band -Lewis wanted to change how jazz was presented (every performance be like a concert, all member had to wear identical tuxedoes, pieces were introduced, musician would enter/exit the stage) -once lauded in Europe, critics got on board (music was cool on surface but hot at core) *MJQ-All the Things You Are (cool quality, reminiscent of J.S. Bach)

Pat Metheny

-guitar, composer -grew up near Kansas city -initially a discipline of Wes Montgomery -heavily influences by Ornette Coleman w/whom he recorded "Song X" -playing characterized by greatly lyrical melodies & solos, a "country" influence -Pat Metheny Group has been one of the most popular in jazz in last 35 years *"Bright Size Life"

John McLaughlin

-guitar, composer (roots lay in rock & blues) -through Tony Williams, he was introduced to Miles (recorded "In A Silent Way" & "Bitches Brew" with) -looked to as predecessor to rock guitar throne after Hendrix's passing -formed Mahavishnu Orchestra (interest in Hinduism-from name), which feat. carefully arranged compositions (multiple odd time signatures & rock influenced soloing) *"Dance of Maya"

Bill Frisell

-guitar, white -eclectic tastes and an original sound, he redefined the electric guitar (considered one of the most influential voices in jazz of the last 20 years) -playing has bridged gap between free & quasi-mainstream styles, a frequent collaborator with diverse artists from John Zorn to Elvis Costello -combines his unique tone w/slide guitar-like articulation -recent years has been incorporating more bluegrass & country elements into his playing *"Lookout for Hope" (use of fingerpicking style)

John Scofield

-guitar, white -veteran of Davis' early 80s group -at ease in bebop idiom & well versed in jazz fusion, funk, blues, soul, rock, and other forms of modern American music -one of the most prolific artists of last 30 years -extremely influential -unique tone quality, sometime imitating the sound of a Hammond organ *"So You Say," "Chank" (Medeski, Martin, Wood)

Nels Cline

-guitarist w/popular band, Wilco *"The Nels Cline Singers"

Jimmy Smith

-hammond organ -influential as jazz and R&B fusion artist in black community during 50s/60s (trio w/organ, drums & guitar or sax) -studied piano w/his parents and Bud Powell (& bass after serving in WWII) -toured w/his father, playing blues and gospel influenced music in nightclubs -played piano for year in local R&B bands & then heard Wild Bill Davis on organ and decided to switch (by this time the organ was more acceptable as a jazz instrument) *"The Organ Grinder's Swing"

Max Roach (1924-2007)

-he and Kenny Clarke instigated a revolution in jazz drumming -started playing at 10 & took formal musical studies at Manhattan School of Music -by age 18, he played bebop jam sessions at Minton's Playhouse & Monroe's Uptown House w/Charlie Parker & Dizzy Gillespie -Clifford Brown/Max Roach Quintet made recordings that defined hard bop -received a MacArthur Foundation "genius" grant, as an articulate lecturer on jazz (taught at Lenox School of Jazz & prof. of music at U of Mass, Amherst)

Miles Davis Part II

-he left the music scene for most of the mid-late 70s, only to return, reinvigorated in 1979 -he was interested in the music of Prince, Michael Jackson, Cyndi Lauper at this time *"Tutu"

Avant-Garde Historicism (1970s)

-historicism was almost totally absent during the 60s -the 1st wave of avant-garde musicians emphasized new directions -eclectic 2nd wave of 70s did not ignore jazz history -also during this period record companies started to release box sets encompassing the music of a musician, era, movement, or record label -a number of "living legends" who had left jazz for studio work, the academy, pit bands, or Europe returned to an active jazz performance schedule, priming audiences for almost anything

Small bands more popular

-in late 30's, a revivalist movement of early New Orleans jazz was developing (brought focus back on small group context) -dynamic between blacks and white began to change prior to the war w/black communities beginning to assert themselves -new music would reflect the desire of jazz musicians to assert themselves personally (wanting more recognition and opportunity to improvise)

Hard Bop

-in opposition to cool, hard bop was an East Coast revival of bop w/harder edge -Miles instigated this turn & started to record a tougher, more urban, straight-ahead, more rhythmic, emotional music -played mostly by urban musicians originally from Detroit & Philly, but reflected an East Coast, extroverted response to urban life (contrasted w/West Coast's cooler, more introverted response)

Historicism at Work

-in the 21st century artists try to energize the present by mining the past through interpretation and homage. (in 50s/60s jazz musicians tried to create new & original works) -these are mined by present-day musicians 3 kinds of historicist principles: 1. revival of entire idioms 2. original music that celebrates the musical past 3. modernist interpretations of jazz classic -all 3 can be found throughout jazz history

Weather Report

-initially the group drew heavily on influence of 'Bitches Brew' (but more subtle approach) -relied less on extended timbrel manipulations of the Davis groups & focused more on the use of synthesizers (particularly as a solo instrument) & on the infusion of world rhythms -initially it was also prone to free improvisation -after using a series of bass players & drummers, Shorter & Zawinul arrived at the combination of Jaco Pastorious and Alex Acuna -Pastorious had a tremendous affect on the group & became one of the most respected electric bassists in history of the instrument -'Heavy Weather' (most popular recording exemplifies their interest in creating a more accessible sound as well as one that fully expressed their unique voices) -continued until 1985, Zawinul & Shorter had extremely successful solo careers *"Morning Lake," "Birdland," "Teen Town"

Jazz Today-Four Phases

-jazz has gone through 4 broad stages that mark its place in the cultural world 1. (1890s-1920s): genesis of jazz in the black South (esp NO), where musical & cultural mixes resulted in an improvised, bluesy music that helped build social bonds in a variety of social gatherings & appeal to a broad range of culturally, racially, geographically diverse populations 2. (1920s-50s): transformation from a community-based form to an art that spread worldwide, influenced other genres & styles, and was performed by uniquely voiced performers as dance music and as an object of modernist intellectual interest 3. (50s-70s): increased artistic possibilities while alienating the public, which turned to more accessible forms for dancing & singing 4. (70s-): classical status on 2 counts: -depends on academic study & institutional support instead of the commercial marketplace -young jazz musicians are weighed down by the past in that they were partly defined by their pedigree/ancestry (moreover, they were obliged to perform the music of the past b/c modern practices are too difficult for many listeners), this dilemma replicates the dilemma of European classical music -on the other hand, its status as a classical music leaves young jazz musicians to draw freely on the past or present and on different genres & styles (provides the expectation of jazz evolution)

The Weight of History

-jazz history has been considered as several things: 1. art-for-art's sake: an art that progresses through radical leaps of creativity by master musicians 2. a "fusion" tradition that changes in response to contemporary pop culture 3. historicism, wherein jazz creativity is viewed as bound up with its past

New Idioms

-late 1960s saw rise of a fusion btwn jazz and the rhythms, instrumentation, and repertory of rock

The Neoclassicists

-loft era musicians drew on older resources combined w/new ways of playing to create "free jazz"-meaning they were free to play whatever they wanted -during 80s, one response to this approach appeared in the form of new classicism (older styles, practices, techniques were viewed, not as a resource for new music, but as an object of homage & a def of the "real" jazz) -this traditionalist approach to jazz paralleled the conservative nature of political culture during the Regan era of 80s -some jazz musicians, alienated by fusion & the avant-garde, began to explore jazz history by paying homage to decreased or neglected musicians like Billy Strayorn, Miles Davis, Thelonious Monk, Tadd Dameron, Herbie Nichols

Machito (Frank Grillo)

-maracas -worked in a number of Latin bands before joining Bauza in 1939 -band folded for lack of work (Bauza joined Cab Calloway and Machito joined Xavier Cugat before forming his own Afro-Cuban band & hiring Bauza as director) -after he returned from the army, the ensemble crafted much interest among modern jazz musicians

Bepop Era (1942-1955)

-more like modern jazz -not as popular as swing era music: not for dancing, smaller venues, no vocalists, less commercial appeal (jazz as an art form, complex unsingable melodies) -developed in after hours clubs in Harlem -small group jam session approach influenced: emphasis on improvisation, de-emphasis on arrangements, use of borrowed progressions, focus on experimentation & instrumental virtuosity, jam session -turning away from jazz as a popular, part of mainstream of American culture -2 ways to see change: revolutionary (apart from jazz that preceded it) vs. evolutionary (part of jazz tradition as presented as art music, not just entertainment)

Earl "Bud" Powell (1924-1966)

-most imitated of bebop pianists -influenced by Art Tatum, Fats Waller, Mary Lou Williams, Nat King Cole -master of bebop language, rivaling Parker & Gillespie (laid foundation for all bebop pianists) *Tempus Fugue It (great example of his technique, horn like-lines, left hand comping style, Powell & Ray Brown & Max Roach)

Herbie Hancock

-piano, synthesizers -veteran of Miles' quintet and in "In A Silent Way" recording" -had soul jazz hits with "Watermelon Man," "Cantaloupe Island" so no stranger to groove music -initial fusion recordings were largely in the Miles vein, largely textural, however in 1973 he created a seminal funk jazz record 'Headhunters' *"Chameleon" (his hit from 'Headhunters')

The Art Ensemble of Chicago (AEC)

-most important band to come out of the AACM -popularized "little" instruments (bells, whistles, hand drums) which were used in AACM concerts to add some African content -members used makeup, and trumpeter Lester Bowie always appeared in a lab coat -concerts were continuous and ended w/a hard-swinging number or blues -described their concerts as "Great Black Music: From the Ancient to the Future" and included free improvisation, notated compositions, and variety of rhythms

Charlie "Bird" Parker (1920-1955)

-most important saxophonist (master improviser w/complete command of instrument), grew up w/blues -built a system that was conveyed in his improvisations & compositions, which embodied: new ways of selecting/accenting notes compatible w/chords, accenting notes to have a highly syncopated character, methods for adding chords to existing chord progressions/implying additional chords for improvised lines -got a job w/dance band, later got in accident & became addicted to heroin & fired -worked with Jay McShann in Kansas, then join Earl Hines' Big Band and then Billy Eckstine's band in small group format -after going to Cali, returned to NY to form a group w/Miles Davis (unhappy w/commercial attention bebop was getting) -then created arrangements for small string orchestra suing great arrangers (said quality of musician is what should be judged) *Charlie Parker's Re Boppers-Koko (based on chord progression of Ray Noble's Cherokee, incl. Dizzy Gillepsie, Curly Russel, Max Roach), Embraceable You (more aggressive), Just Friends (fav. record, big hit), Now's The Time (12 bar blues)

Characteristics of Free Jazz

-no preset chord progressions -generally the piano is omitted -extensive manipulations of pitch and tone quality, often times simulating the sound of the human voice -sometimes improvised textures assume greater importance than the development of melodies; use of extended instrumental techniques, shrieks, squawks, wails -adoption of non-European musical approaches which do not rely on chord progressions -some free jazz contains pre-set structures, some contains no musical structure -collective improvisation sometimes used -use of folk-like melodies -free jazz parallels trends in art/culture -challenges the notions of what defines jazz

Gill Evans (1912-1988)

-one of the great original voices of jazz (arranger/composer/piano/bandleader) -orchestrated arrangements w/standard big band instrumentation plus 2 french horns & a tuba -fascinated by sound textures (later arranged Jimi Hendrix songs for big band) *Miles Davis Nonet-Moon Dreams (arranged by Gil Evans, influence of Ellington & European impressionist composers like Ravel & Debussy)

Wes Montgomery (1923-1968)

-one of the major jazz guitarists (emerging after Django Reinhardt & Charlie Christian, influencing generations to follow) -came from a musical family, released albums w/brothers (Montgomery Brothers) -signed w/recording contract Riverside Records b/c Cannonball Adderley was impressed by his music -achieved a unique tone on guitar (strumming it w/side of thumb, rather than using a pick) -playing noted for his use of octaves when improvising/playing melodies *Twisted Blues (blues inflected lines), West Coast Blues

Sonny Rollins (B. 1930)

-one of the true jazz giants (all-time great tenor saxophonists) -remains a very vital soloist (skill at turning unlikely material into jazz, unaccompanied flights, rhythmic freedom, and ability to organize & manipulate motivic material in his solos have made one the the most important improvisers in jazz) -one of first to adapt bebop to tenor sax (following Dexter Gordon) *Autumn Nocturne

The 1970's

-period of stylistic pluralism in jazz (musicians were playing in every style from early to jazz to free jazz) -economically, it was a difficult period for jazz (rock music had become predominant popular form) -jazz clubs closed -socially, jazz represented an overly intellectualized style of expression (ironic since it had never been a music of the socially elite)-audiences favored the simpler, down to earth honesty of rock and folk -politically, rock & folk functioned better as means of expression as there was a focus on new compositions & lyric writing -shift in interest very apparent (called fusion) -fusion is a style that draws upon the improvisatory nature of jazz & the rhythmic/timbrel elements of rock and world music

Brad Mehldau

-piano -astounding combination of inventiveness, virtuosity, musicality -draws his material from the Great American Songbook & popular music of bands like The Beatles, Pink Floyd, and Radiohead *"Knives Out"

Robert Glasper

-piano -integrates hip-hop & neo-soul with jazz to remedy what he feels is a lack of energy & direction in the current state of jazz *"Maiden Voyage," "Everything In It's Right Place"

Nat Cole

-piano and later singer -most successful black recording artist of postwar period -in both musical & commercial terms, greatest postwar crooner -made his 1st recording w/Solid Swingers (jazz band led by his brother Eddie) *Nat King Cole Trio-"I Got Rhythm," "Straighten Up and Fly Right" (national hit), "Nature Boy" (#1 on billboard pop charts, great example of what made Nat Cole a pop sensation)

Ray Charles

-piano, alto sax, vocalist -blind from age 6 -represented a swing, bop, R&B, gospel, and rock fusion while alienating church going blacks with his use of gospel techniques in secular music -originally got into music in Seattle 1940s, leading a jazz trio in clubs of Jackson St. (sound based on sound of Nat King Cole trio) -signed w/Atlantic records and scored several R&B hits in 1954 -outstanding vocalists (distinctive timbre) -now widely acknowledged as the 1st important soul artist -worked had an incalculable influence on James Brown, Aretha Franklin, Curtis Mayfield, Otis Redding, Sly Stone *"I've Got a Woman," "Hallelujah I Love Her So," "What'd I Say"

Armando "Chick" Corea

-piano, composer -performed on "In A Silent Way" & "Bitches Brew" too -formed Return to Forever after disbanding his group Circle, a free group with Anthony Braxton, Dave Holland, Barry Altschul -loved sound of Brazilian percussionist Airto Moreira & decided to follow the Spanish element of his writing -group influenced by his interest in Scientology *"Hymn of the 7th Galaxy"

Keith Jarrett

-piano, composer -veteran of Davis' fusion groups -member of Art Blakey's Jazz Messengers -intensely lyrical pianist -most popular solo piano performance was 'The Koln Concert' -a paramount figure in establishing the German ECM label (his recordings put the label on the map) -in the 70s he led a successful group, heavily influenced by work of Ornette Coleman *"Long As You Know You're Living Yours"

Joe Zawinul

-piano, synthesizer, composer -born in Austria, emigrated to US -came to prominence as member of Cannonball Adderly's band -he, along with Chick Corea & Herbie Hancock, was one of 1st to use electric piano and early synthesizers

Thelonious Monk (1917-1982)

-piano/composer -one of the originators of the bebop style (member of the house band at Minton's Playhouse) -strong individual, said what he felt, played the way he wanted w/out concern for what was the popular ideal -borrowed from stride styles of James P. Johnson & Duke Ellington (out of sync w/bebop style) -utilized a great deal of dissonance (melodies are often angular) -compositions are deceptively simple, using a simple rhythmic or intervallic idea & manipulating it to a great degree (out of character w/bebop) -his tunes are generally performed as composed *Thelonious (loved to explore musical ideas, none of the virtuosity of the bebop style but all of the surprise), Rhythm-A-Ning (highly syncopated comping), Criss Cross (2 simple ideas repeated & displaced, highly syncopated)

Diana Krall

-piano/voice -2 Grammy Awards, 8 Juno Awards -married to Elvis Costello *"Let's Fall in Love"

Gerry Mulligan (1927-1996)

-pivotal figure along w/Miles Davis & Gil Evans in Birth of the Cool sessions (baritone sax, composer, arranger) -able to improvise on baritone w/light tone & dexterity of alto sax -worked as arranger/altoist for Gene Krupa & Claude Thornhill -1952, co-led group w/trumpeter Chet Baker (no piano, epitomized West Coast jazz) *Gerry Mulligan Quartet w/Chet Baker-Freeway (quick tempo, relaxed feel, baritone sax & trumpet ONLY)

Miles' Musical Evolution

-played w/Charlie Parker during bebop era -led "birth of the cool" sessions -after difficulties w/drugs, he returned to lead one of the all-time great bands (his hard-bop quintet/sextet) -historic comeback on July 17th 1955 at Newport Jazz Festival, fueled by his performance of Thelonious Monk's composition "Round Midnight"

Differentiating Early Fusion from Rock

-primarily instrumental -less predictable than rock -more complex melodic lines (more syncopated rhythms) -electronics are often used more texturally than melodically -more emphasis on improvisation

ECM (Edition of Contemporary Music)

-record label founded in Germany by Manfred Eicher in 1969 -label's output shares a certain common aesthetic framework, including: a crisply nuanced recording, repertoire consisting mostly of original compositions by the artists, stark & minimalist photographic cover art

Characteristics of Cool Jazz

-reflective, softer approach -influenced by classical elements of tone, form, style, while retaining bebop improvisatory language -greater emphasis on orchestration & arranging -use of instruments usually associated w/orchestral music, french horn, bassoon, oboe -very little or no vibrato

Modernism

-sees bebop & its successors as part of an inevitable evolution from simplicity to complexity

Cyclical view

-sees jazz history as a series of cycles of innovation and elaboration: 1920s jazz is innovative, 1930s saw these innovations become more accessible through swing, 1940s bebop is innovative, 1950s jazz was made more accessible, 1960s avant-garde jazz was assimilated during 1970s -during a post-cyclic period, all styles compete w/classical past

Sarah Vaughan's Risks Taken

-she explored harmony through her piano and applied this to her singing -had a range exceeding 4 octaves & precise intonation (feeling for blues from her gospel roots), and excellent sense of swing -by the time she signed w/Mercury Records, she was recording both pop hits like "Make Yourself Comfortable" and jazz classics with Clifford Brown

Coltrane's Characteristics

-sheets of sound, dense improvisations -squeezing high, crying, notes out of the instrument -long runs that sweep across the range of the instrument, contrasted by long sustained notes -popularized soprano sex -practiced obsessively

Characteristics of Fusion

-shift to electronic instruments & processing -recording process became an art itself, allowing musicians to edit/manipulate result -rock based rhythms & grooves, varied rhythm section aesthetic from jazz-interaction to static groove -groups became focus as opposed to single artists supported by a band -virtuosity within the "rock" idiom

Characteristics of Hard Bop

-simpler than bebop (but same basic harmonic & rhythmic territory) -change in drumming style, more activity, use of backbeat -darker, heavier, rougher sounds from instruments -more original compositions, less based on pop tune chord progressions or forms -hard driving swing feel -effort to reestablish blues as essential elements of jazz -classic quintet instrumentation -popularization of organ trios -strong gospel influence -effort to connect w/audiences be relating to everyday life -movement away from intellectualization of cool era -general interest among players in African roots

Characteristics of Bepop

-small groups emphasized -not for dancing, allowing a greater variety of tempos/rhythmic freedom (& instrumental virtuosity) -more improvisation & complex melodies/harmonies -songs based on standard tunes, altered by complex chord progressions & abstract melodies -emphasis on surprise/unpredictability -more active rhythm sections/rhythmic interplay

AACM (Association for the Advancement of Creative Musicians)

-started in Chicago by pianist, composer, bandleader Muhal Richard Abrams -1965, he & others started the AACM -each member had to write new music for the ensemble -1969, AACM organized a music education program for inner-city youths -1960s/70s, members were among the most important & innovative in all of jazz

The Classic Quartet's Characteristics

-sustained & repeated tones in bass part (called pedal points) -drum patterns whose basic unit occupied several measures instead of just a few beats -sustaining piano chords -focus on modal harmony -long term continuity of mood (composition & lengthy improvisations strung together in an informal manner)

Chris Potter

-tenor sax *"The Wheel"

Stan Getz

-tenor sax -1 of the great saxophonists (known as "The Sound" b/c of his beautiful tone quality) -a discipline of Lester Young school (fully versed in modern jazz) -came up playing w/many popular big bands in 40's (most notably one of the "four brothers" w/Woody Herman's Second Herd) -worked w/Machito earlier in his career & loved records from Brazil that Charlie Byrd had brought him -Getz joining Byrd got American labels interested in the music (they released album 'Jazz Samba' and edited version of "Desifinado" which became a #1 hit-other jazzers jumped on the bandwagon) *"Getz/Gilberto" (w/Brazilian originators), "Girl From Ipanema" (sang by Gilberto's wife, worldwide hit) *Stan Getz & Charlie Byrd-"Samba Dees Days" (Byrd on guitar, Jobim's 'One Note Samba'

David Murray (B. 1955)

-tenor sax -initially influenced by free jazz musicians (Albert Ayler & Archie Shepp) -set himself apart from most tenor players of his generation by not taking John Coltrane as his model, choosing instead to incorporate elements of Coleman Hawkins, Ben Webster, Paul Gonsalves -uses circular breathing to play extended phrases *El Matador (use of spanish scale)

Albert Ayler (1936-1970)

-tenor sax -rooted in the blues, gospel, jazz -entered army in later 1950s (stationed in Europe) & worked w/Cecil Taylor there after being discharged, then moved to NY -heralded by Coltrane who saw him as an extension of his own work -huge sound/played intense improvisations on sax (drawing on full range/sonority of the instrument) *Ghosts (folk-like, strong vibrato in style of Sidney Bechet, drums create energy)

The Brecker Brothers

-tenor sax, Michael & trumpeter, Randy -both led prolific careers as studio musicians but had their roots in straight-ahead jazz -their formidable talent made them at home in any genre, their band focused on progressive funk & fusion *"Same Skunk Funk"

Wayne Shorter

-tenor/soprano sax, composer -veteran of bands of Art Blakey & Miles -one of the greatest composers -cofounded Weather Report w/Joe Zawinul

John Coltrane (1926-1967)

-tenor/soprano saxophones -as a young player, worked in bands led by Dizzy Gillespie & Duke Ellington -1955, joined Davis' group which brought his name to national prominence (heroin problem didn't help with that though) -rejoined Davis playing in his sextet w/Cannonball Adderly -1959, Coltrane participated w/Davis group on album "Kind of Blue" (known for its modal playing become 1 of best-selling and most-acclaimed recordings in history) -in between sessions for the album, Coltrane began recording 'Giant Steps' (his Atlantic Record debut & final nail in bebop coffin) -1966, 'Kulu Se Mama' & 'Meditations' were his last recordings (he died suddenly of liver cancer) -received life time achievement award in 1992 (enormous influence on all jazz musicians)

Fusion

-there have been suggestions that Miles Davis as NOT the 1st musician to attempt to fuse jazz & rock -some cite Larry Coryell, others Tony Williams, but its accepted that Miles' "In a Silent Way" and "Bitches Brew" recordings were the 1st to receive national attention -through these, Miles influenced his followers to utilize studio as an important tool in creative process of music making

Tadd Dameron (1917-1965)

-transitional figure between bebop & cool jazz (piano/composer) -pianist of limited ability, worked as composer/arranger for big bangs & artists during swing era -wrote many compositions of bebop era (Good Bait, Our Delight, Lady Bird, Hot House, Sid's Delight) -led own groups (feat. trumpeter Fats Navarro-very influential) *Tadd Dameron Sextet-Lady Bird (foreshadowing of cool movement that would follow, tune later used by Miles Davis)

Lennie Tristano (1919-1978)

-transitional figure between bebop & cool jazz (piano/composer) -studied music as a young man at a school for the blind, later at American Conservatory in Chicago -guru figure -moved to NY to work Parker & Gillespie -1951, founded a jazz school in NY (first of its kind), staffed by his best students (Konitz, Marsh, Bauer) -didm't perform much after school closed but taught many students still (Mary Lou Williams, Bud Freeman, Art Pepper) -music required great technical skill/characterized by complex harmonies (long, angular, running 8th note lines; irregular shifting of rhythmic accents) -experimented with free improvisation and multi-track recording long before those who followed him *Lennie Tristano Quintet-Subconcious Lee

Clifford Brown (1930-1956)

-trumpet -1954, recorded brilliant solos at Birdland w/Art Blakey's quintet, & later formed a quintet w/Max Roach -considered one of premiere hard bop bands -he had a fat warm tone, bop-ish style & mature improving approach -died at age 26 so did not have mass popularity like Miles or Dizzy *Clifford Brown/Max Roach Quintet-Cherokee ("Native-American" style intro, blazing fast tempo)

Dave Douglas

-trumpet -his music derives from many non-jazz musical styles, like classical music, folk music from Euro. countries & klezmer *"High On A Mountain"

Mario Bauza

-trumpet -one of 1st to introduce Latin music to US by bringing Cuban musical styles into NY jazz scene -worked in Chick Webb's band -1939, started Afro-Cuban band with bandleader, singer, and maracas player Machito (Frank Grillo) *"Tanga" (1st piece to blend jazz w/clave and considered 1st true Afro-Cuban jazz, or Latin jazz tune)

Wynton Marsalis

-trumpet, composer -son of N.O pianist Ellis Marsalis -at home playing classical as well as jazz but quit classical in mid-90s -worked w/Art Blakey & Jazz Messengers -formed a group w/brother (sax-Brandford) modeled after the mid-sixties Miles Davis quintet (this group spurred a renaissance in jazz, referred to as neo-classicism b/c it is essentially based on PREVIOUS styles) -very vocal about state of jazz (disliked fusion-"it was a sell out") -promoted by the media, fueling jazz mythology regarding the young lions, jazz needed a pick-up -a fine composer & educator, his concern for image in 80s often overshadowed/degraded his message -his musical instruments seemed to go back (getting closer to N.O's roots) -in mid-90s, began leading Lincoln Center Jazz Orchestra (group whose repertoire is focused on old works from Ellington & new works by Marsalis) *"Processional" (from "In This House" on 'This Morning,' chronicles a Sunday in life of African American religious family)

Quincy Jones

-trumpet, composer, arranger -one of several important musicians to evolve from the Seattle jazz scene -came to prominence as trumpet player & arranger -evolved into a prominent producer of pop music in 60s/70s *"Jazz Corner of the World" (includes Sarah Vaughn, Dizzy, Ella Fitzgerald, draws a link between hip-hop & jazz)

Miles Davis (1926-1991)

-trumpet, composer, bandleader -nobody looms larger is postwar jazz than Miles -he had a great capacity for change & changed the rules of jazz 5 times: the "Birth of Cool" helped focused a younger generation's search for something beyond bop/started cool jazz movement; "walkin'" started hard bop movement; w/Gil Evans he enlarged scope of jazz composition, big bands, recording projects (adding a new, meditative mood to jazz); "Kind of Blue" was the culmination of Davis' experiments w/modes & melodic improvisation replacing the harmonic complexity of bop; "Bitches Brew" started fusion (shifting focus from melody to rhythm)

Recording ban

-unfortunately a recording ban prevented the earliest examples of bebop from being recorded -AFM instituted ban 1943, which lasted 2 years -musicians were losing jobs as a result of wartime measures (taxes, curfews) and b/c radio & records were creating a form of in-home entertainment, there were decreasing audiences -radio stations were playing more records & broadcasting fewer live performances -the union demanded that royalties be paid on every recording -singers were not part of the union and continued recording in entirely vocal formats (singers become matinee idols in place of instrumentalists)

Characteristics of Miles' Trumpet Style

-use of Harmon mute -dramatic use of space -unique sense of timing/swing -great sense of tone color/use of long tines allowed listeners time to appreciate colors -uses little or no vibrato -favors middle register of trumpet -later work shows a more clustered sense of phrasing/coloristic shapers rather than single notes

Gary Burton

-vibraphone, composer -master of 4 mallet technique -worked w/George Shearing before working w/Stan Getz -he co-led a group w/guitarists Larry Coryell with strong rock influences -his groups helped to define a new sound (often associated w/ECM label) that features melodic vocabulary drawn more from classical & country music that bebop) -frequently collaborates in a duo format w/Chick Corea *Burton & Corea-"Senor Mouse"

Clifford Brown's Legacy To Jazz

-virtuosic command of instrument -co-led group w/Max Roach that is still considered one of the greatest in jazz history -sometimes incorporated fairly complex rhythmic/arranging devices -always maintained a very relaxed sound, a result of his mastery of the trumpet

Cecil Taylor (B. 1929)

-virtuosic pianist inspired by Dave Brubeck, Bud Powell, Thelonious Monk, Duke Ellington -entered New England Conservatory -early work characterized by use of standard jazz repertoire while his improvisations went beyond harmonies -highly percussive, clusters sounds/rhythms together, producing rapid-fire runs significant for their shape/energy rather than specific notes -referred to his ensemble approach as "unit structures" *Bulbs (inspired by lights of Central Parks, Sunny Murray become leader of free jazz drumming movement), Willsau Concert Pt. 3 (just piano)

Charles Mingus (1922-1979)

-virusos bassist (familiar in all styles extant in his lifetime from early jazz to big band to free jazz) -played w/Art Tatum, Stan Getz, Bud Powell, Charlie Parker, Dizzy Gillespie -his compositional style was largely indebted to Ellington & traditions of Gospel, Blues, and New Orleans music -many of compositions were dedicated to important musical influences: Jelly Roll, Open Letter to Duke, Theme for Lester Young, Goodbye Pork Pie Hat, Praying with Eric -outspoken advocate against racial inequality *Charles Mingus and the Jazz Workshop-Boogie Stop Shuffle (blues feat. boogie-woogie inspired line, energetic w/sharp horn articulations)

Soul Jazz

-vocalists like Charles & others reached a larger audience that jazz musicians leading their own groups (for musicians wanting to reach a mainstream audience, soul jazz) -based on hard bop of Blakey, Silver, Adderley with a strong backbeat; an aggressive urban sound; gospel-style chords; simplified basic harmonies (compared to bop); short solos, clear dance rhythms; and an emphasis on ethnic language; and cultural references such as food, church, and parties -1960s: venerable jazz label Blue Note had a series of hard-bop hits (soul jazz musicians made their own 3-minute singles suitable for pop radio)

Sarah Vaughan

-voice -comes from heart of jazz: bop harmonies, rhythms, and improvisation -won Apollo Theater's Amateur Night when she was 18 (Earl Hines heard her & offered her a job in his band, sharing piano and singing duties w/Billy Eckstine) -recorded bop in 1944, & headlined at New York's Cafe Society (signed by Columbia Records) -fused pop & jazz -1967, quit singing for 4 years, after which she reinvented herself by working major concert venus with just a trio (only then did she return to recording, this time on her OWN terms) *"Baby Won't You Please Come Home"

Composers in the 1950s

4 jazz composers represent 4 approaches to expanding the jazz canvas: -Monk worked w/blues & standard song forms -Mingus worked w/and expanded conventional forms, adding effects from gospel, ragtime, bop, classical music -Gil Evans radically transformed the work of other composers -George Russell introduced modalism & new ways to approach harmony, he changed the relation between composition & improvisation