Jazz History essay

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Question 1, word count 350:

Describe the evolution of jazz music from 1940-1970.

  • What changes occurred?
  • Which artists made significant innovations, and what were their contributions?
  • What new styles emerged, and what were the characteristics of this style?

Support your argument by referencing both specific artists, recordings, and dates. Discuss musical changes that occurred, as well as non-musical factors that were an influence (economics, politics, race, etc.).

Question 2, word count 200:

Of the musicians discussed in class (or in readings, see attached file), choose three artists who created music which was at least in part motivated by the Civil Rights Movement and the struggle for equality/freedom. Describe how each artists' work was influenced by surrounding events/influences. If there were specific events that inspired the work, describe those events.

Question 3, word count 200:

List and describe at least three musical traditions or elements that pre-dated "jazz," but were significant factors in its origins. Are those elements present in the music we have listened to since 1940? Discuss or cite at least one artist or recording for each tradition/element you discuss.

Question 4, word count 200:

For the final part of the exam, choose just ONE of the following prompts to answer:

  1. Describe the music of Charlie Parker and Dizzy Gillespie. How was it revolutionary? How was it subversive?
  2. Describe the music of Ornette Coleman. How was it revolutionary? How was it subversive?
  3. Describe the music of John Coltrane. What made him different compared to some of the other musicians we listened to in class.

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SUBSTYLES OF MODERN JAZZ • Bebop ushered in the era of “modern jazz,” featuring: – Primarily small ensembles (rhythm section and horns/vocalist) – Typically simple forms/arrangements (head-solos-head), making the song a vehicle for abstract exploration and improvisation – Rhythm section style that included more interaction from drums and piano as the accompanied soloists – Heavy emphasis on solo improvisation that was virtuosic, used clear storytelling and motivic development – Sophisticated and colorful chord progressions – Greater openness to assimilating musical elements from other traditions COOL JAZZ • May be perceived as a reaction to bebop – Less aggressive, more relaxed style from soloists and the ensemble – The music was less angular/accented than bebop; instead, cool jazz was usually more lyrical and even in range & dynamics COOL JAZZ • Cool Jazz musicians held many of the same beliefs as bebop artists – They were modernists – They liked to experiment and try new things in their music – They were non-conformist and uncompromising – They viewed the music as being part of an underground movement • It also built on many of the characteristics of bebop – “Cool” players (such as Miles Davis) had started their careers by playing bebop, and they were well-versed in the bebop language (melodic/rhythmic/harmonic vocabulary) MILES DAVIS (1926-1991) • Miles Davis was born in Alton, Illinois, near St. Louis, Missouri, during May of 1926 • When Billy Eckstine’s band - featuring Dizzy Gillespie and Charlie Parker – came through St. Louis and asked Miles to sit in with the band, Davis decided he had to move to New York City to join these other musicians • Davis arrived in New York in fall of 1944, having been accepted to study music at the prestigous Julliard School of Music – but he ended up studying more with the bebop musicians on 52nd street than he did at school • By the time he was 19, Miles recorded with Charlie Parker on Parker’s first recording session as a leader MILES DAVIS • Miles’ primary contribution to the bebop era was his role as the trumpet player in Parker’s longest-living group, a quintet also featuring Duke Jordan on piano, Tommy Potter on bass, and Max Roach on drums – Davis could not match the virtuosity of Gillespie or Parker, but absorbed their phrasing, style, and depth of knowledge – His use of silence during solos and his softer, mellow, yet intensely expressive style began to gain more and more critical acclaim and popular attention – After leaving Parker’s group at the end of 1948, Davis went on to record many of his own projects, and became the most influential musician/bandleader in jazz from 1950 onward GIL EVANS (1912-1988) •Wrote for Claude Thornhill’s orchestra from 1941-1948 • His basement apartment located behind a laundromat became a meeting place for musicians • These meetings included Charlie Parker, Miles Davis, Gerry Mulligan, and more… • In 1948, Evans, Davis, Mulligan, and others put together a series of arrangements for a nonet (nine members) that was led by Davis • After several shows, the group recorded twelve different songs that would not be released until 1957 on The Birth of the Cool MILES DAVIS • Birth of the Cool was recorded in 1949 and 1950, and later released in 1957 by Capitol Records – This collection featured a series of original arrangements for a nine-piece ensemble led by Davis – The even, relaxed style of Davis and his sidemen and the complex, detailed arrangements written by Gerry Mulligan and Gil Evans marked a clear departure from the comparatively unrestricted improvisations of Charlie Parker • Inspired by Evans’ writing for the Claude Thornhill band, Birth of the Cool also featured unique instrumentation including french horn and tuba MILES DAVIS “Boplicity” (1949) • Composed and arranged by Miles Davis and Gil Evans • Miles Davis, trumpet • J.J. Johnson, trombone • Sandy Siegelstein, french horn • Bill Barber, tuba • Lee Konitz, alto saxophone • Gerry Mulligan, bari saxophone • John Lewis, piano • Nelson Boyd, bass • Kenny Clarke, drums MILES DAVIS Miles collaborated with Gil Evans several more times throughout the 1950’s Miles Ahead (1957) Porgy & Bess (1959) - Buzzard Song Sketches of Spain (1960) MILES DAVIS Miles’ relaxed style of playing set the tone for the cool jazz era, and many of these characteristics can be heard on other recordings he made in the 1950s – Emphasis on middle range of the trumpet – Even and relaxed time feel (compared to the sometimes hard-swinging feel of bebop players) – Careful note selection (Miles played fewer notes than some contemporaries, but he always managed to pick the right notes) – Use of space (more sparse than his contemporaries) – More introverted, but expressive phrasing/style ICLICKER Name this song: A.Cubana Be, Cubana Bop B.Four in One C.Shaw Nuff D.Boplicity ICLICKER Name this song: A.Cubana Be, Cubana Bop B.Four in One C.Shaw Nuff D.Boplicity ICLICKER Name this song: A.Cubana Be, Cubana Bop B.Four in One C.Shaw Nuff D.Boplicity ICLICKER Name this song: A.Cubana Be, Cubana Bop B.Four in One C.Shaw Nuff D.Boplicity ICLICKER What instrument did Melba Liston play? A.Trombone B.Saxophone C.Clarinet D.Trumpet ICLICKER What instrument did Melba Liston play? A.Trombone B.Saxophone C.Clarinet D.Trumpet ICLICKER Which of the following ID’s allowed jazz musicians to perform in clubs that served alcohol in NYC? A.Liquor License B.Driver’s License C.Cabaret Card D.Social Security Card ICLICKER Which of the following ID’s allowed jazz musicians to perform in clubs that served alcohol in NYC? A.Liquor License B.Driver’s License C.Cabaret Card D.Social Security Card GERRY MULLIGAN (1927-1996) CHET BAKER (1929-1988) CHET BAKER & GERRY MULLIGAN • Bari saxophonist Gerry Mulligan’s role in the Birth of the Cool recording is often underestimated or overlooked, despite the fact that he wrote six of the twelve arrangements • After Birth of the Cool, Mulligan formed his most famous group, performing on Monday nights in Los Angeles with Chet Baker, trumpet, Bob Whitlock, bass, and Chico Hamilton, drums – Mulligan and Baker developed a style which allowed them to play interwoven melodies and counter-melodies (or COUNTERPOINT) • The group achieved significant critical and commercial success with their first recorded hit, “My Funny Valentine” (1952), and the style they played with throughout their career was representative of cool jazz CHET BAKER & GERRY MULLIGAN • Gerry Mulligan – Light, fleet airy sound – Relaxed, even time feel – Use of bebop vocabulary, but at a soft volume and less emphasis on speed/virtuosity • Chet Baker – Soft, even tone with little use of vibrato – Emphasis low and mid range of the trumpet – Use of bebop vocabulary, but at a soft volume and with emphasis on lyricism – A noted vocalist, whose phrasing as a singer often resembled his trumpet playing GERRY MULLIGAN QUARTET “Funhouse” (1953) • Composed by Gerry Mulligan • Gerry Mulligan, bari saxophone • Chet Baker, trumpet • Carson Smith, bass • Larry Bunker, drums CHET BAKER & GERRY MULLIGAN • Gerry Mulligan – Light, fleet airy sound – Relaxed, even time feel – Use of bebop vocabulary, but at a soft volume and less emphasis on speed/virtuosity • Chet Baker – Soft, even tone with little use of vibrato – Emphasis low and mid range of the trumpet – Use of bebop vocabulary, but at a soft volume and with emphasis on lyricism – A noted vocalist, whose phrasing as a singer often resembled his trumpet playing CHET BAKER & GERRY MULLIGAN • Quartet – The collaboration mostly ended in 1953 – Both had become addicted to heroin, and Mulligan was arrested on narcotics charges – By the time Mulligan returned, Baker had become a star in his own right as a vocalist/trumpeter – They would occasionally collaborate over the years, but less and less after 1974 – Mulligan eventually kicked his drug habit, but Baker never did CHET BAKER & GERRY MULLIGAN • Chet Baker – In the early 60’s, spent over a year in jail in Italy – Was expelled from West Germany and the UK – In 1966, he was beaten while attempting to buy drugs, and his teeth were knocked out – No longer able to play, he worked as a gas attendant – He had to relearn to play the trumpet, and would make a comeback in the 70’s – His drug use continued until his death in 1988 - he fell from a balcony at a hotel in Amsterdam and died LENNIE TRISTANO (1919-1978) • Tristano moved to New York in 1946 and quickly gained critical attention – he was named “Musician of the Year” in 1947 by Metronome Magazine. • His 1949 recordings, featuring his students Lee Konitz, Warne Marsh, and Arnold Fishkin were particularly influential • The compositions and solos utilized the bebop rhythmic tradition while largely avoiding melodic cliches • Even when composing contrafacts, as other bebop musicians, Tristano’s music often included surprising harmonic twists, along with dense, complex motivic development LENNIE TRISTANO “Wow” (1949) • Composed by Lennie Tristano, piano • Warne Marsh, tenor saxophone • Lee Konitz, alto saxophone • Billy Bauer, guitar • Arnold Fishkin, bass • Denzil Best, drums “Intuition” (1949) A free, collective improvisation (no pre-set melody, harmony, or meter) – one of the first two ever recorded (the other was also by Tristano). This anticipated the free jazz movement led by Ornette Coleman for a decade. • Warne Marsh, tenor saxophone • Lee Konitz, alto saxophone • Billy Bauer, guitar • Lennie Tristano, piano • Arnold Fishkin, bass LENNIE TRISTANO • “Line Up” (1955) “Line Up” is notable for several reasons: • The drums and bass track was recorded first – Tristano “overdubbed” the extended piano solo. He also recorded it an octave lower, at half speed, and then sped it up. This gives Tristano’s playing a unique style (featuring lots of accents – each note seems to weigh a little differently). Tristano did this long before other jazz musicians were experimenting with recording technology in this way. • Tristano’s solo features sophisticated motivic development throughout, never resorts to a “cliché,” and like Bud Powell/Thelonious Monk, his harmonic vocabulary and ability to create tension through note selection is well ahead of its time MODERN JAZZ QUARTET • • • • Milt Jackson, vibraphone John Lewis, piano Ray Brown, bass Kenny Clarke, drums – The aforementioned musicians made up the original members of the Modern Jazz Quartet – They first came together in Dizzy Gillespie’s big band in 1946 – In 1951, they recorded together as the Milt Jackson Quartet – They were generally considered one of the strongest, most refined groups in cool jazz THIRD STREAM • By 1955, Percy Heath replaced Ray Brown, Connie Kay replaced Kenny Clarke on drums, and the group had begun recording as the Modern Jazz Quartet • In particular because of the influence of pianist John Lewis, the group began to merge elements of jazz with elements of European classical music • His style of counterpoint was inspired by classical composers • Most notably, his use of European forms such as the fugue made the MJQ’s repertoire unique • This fusion of jazz and classical was called “Third Stream,” by composer and historian Gunther Schuller • In 1960, the Modern Jazz Quartet collaborated with Gunther Schuller and the Beaux Arts String Quartet and the Jimmy Giuffre Trio on an album called “Third Stream Music” THIRD STREAM • Versailles (1956) • A notable composition of John Lewis, this piece is a fugue. • A FUGUE is a European form originating in the Baroque Period (1600-1750). As opposed to the AABA and 12-bar blues forms that are common in jazz, a fugue is characterized by continuous development of counterpoint based on a primary melodic theme, called the subject. • Milt Jackson, vibraphone • John Lewis, piano • Percy Heath, bass • Connie Kay, drums THIRD STREAM • Other examples of this sub-style exist with the Gil Evans projects with Miles Davis later in the 1950’s • Miles Ahead (1957) from Miles Ahead • Conceirto de Aranjuez: Adagio (1960) from Sketches of Spain HISTORY OF SEGREGATION • Plessy v. Ferguson (1896) established “separate but equal” doctrine which sanctioned Jim Crow laws in the south • State was allowed to enforce separation of people by race • Black Americans were not allowed to utilize the same public facilities, restrooms, drinking fountains, busing, or schools as White Americans BROWN V. BOARD OF EDUCATION (1954) • Rules that segregation is unconstitutional • Orders that schools be integrated, but doesn’t clarify how, leaving room for local jurisdiction and political evasion for years to come LITTLE ROCK CENTRAL (1957) MURDER OF EMMETT TILL (SEPT, 1955) The brutal murder of 14-year-old Emmett Till added increased anger and determination regarding the injustices faced by African Americans ROSA PARKS & MONTGOMERY BUS BOYCOTT In December of 1955, Parks was arrested for not relinquishing her seat at the front of a public bus. • Her arrest was followed by the Montgomery Bus Boycott, led by Martin Luther King Jr., and a legal battle which challenged and overturned the law which allowed for segregated busing HORACE SILVER AND THE JAZZ MESSENGERS • The Preacher (1955) – Horace Silver, piano – Kenny Dorham, trumpet – Hank Mobely, tenor sax – Doug Watkins, bass – Art Blakey, drums HARD BOP • Ken Burns “Jazz” • Episode 9, 51:00 HARD BOP • ICLICKER • Who was the drummer that formed the jazz messengers along with pianist Horace Silver? A.Kenny Clarke B.Max Roach C.Art Blakey D.Art Taylor HARD BOP • ICLICKER • True or false: this music was danceable and often played on jukeboxes. A.True B.False HARD BOP • ICLICKER • This music was not known for emphasizing influence from: A.Gospel B.Blues C.Classical D.Soul HARD BOP • Theories of Origin – Reaction to Cool Jazz (aka West Coast Jazz) and Third Stream – Geographic – Cool style was reflective of the West Coast lifestyle and Los Angeles – Hard Bop was reflective of New York City HARD BOP • Theories of Origin – Reaction to Bebop – Blakey & his pianist Horace Silver sought to create music that had groove, blues/gospel influence, and which was more memorable compared to bebop – Natural combination of Jazz with R&B – Rhythm-and-Blues was becoming increasingly popular in the 1950’s, and jazz musicians were incorporating elements of their surrounding musical world in their own music ART BLAKEY AND THE JAZZ MESSENGERS • Art Blakey (1919 – 1990) first formed the Jazz Messengers in 1947, at that time with eight members, after having performed with swing era stylists and bebop musicians such as Charlie Parker, Dizzy Gillespie, Miles Davis, and Dexter Gordon • He formed a new group with pianist Horace Silver in 1955 that again used the name the Jazz Messengers – this was the the true beginning of one of the most influential groups in the history of jazz • The Jazz Messengers recorded “Hard Bop” in 1956, a heavyswinging album that gave the style its name ART BLAKEY ART BLAKEY AND THE JAZZ MESSENGERS • Throughout the rest of his career, Blakey’s Jazz Messengers became an institution, a school for jazz musicians, which would continue to train the next generation of jazz musicians through the 1980’s. Jazz Messenger Alumni would include: • Hank Mobley (tenor) • Kenny Dorham (trumpet) • Horace Silver (piano) • Lee Morgan (trumpet) • Benny Golson (tenor) • Freddie Hubbard (trumpet) • Wayne Shorter (tenor) • Curtis Fuller (trombone) • Cedar Walton (piano) • Keith Jarrett (piano) • Wynton Marsalis (trumpet) and many more!!! ART BLAKEY ART BLAKEY AND THE JAZZ MESSENGERS • Moanin'(1958) – Blakey often gave his musicians space to compose as well as to improvise – this Bobby Timmons composition is representative of the funky/soul jazz movement which started in the late 1950’s. It is also a shuffle, a groove which Blakey was famous for – listen for his hard-swinging feel and the accent he plays on beats 2/4 on his snare drum – Lee Morgan, trumpet – Benny Golson, tenor saxophone – Bobby Timmons, piano & composer – Jymie Merritt, bass – Art Blakey, drums HARD BOP • If I Were a Bell (1956) – Miles Davis, trumpet (with harmon mute) – John Coltrane, tenor saxophone – Red Garland, piano – Paul Chambers, bass – Philly Jo Jones, drums MILES DAVIS MILES DAVIS QUINTET • After Birth of the Cool (1949), Miles Davis succumbed to heroin addiction. – Despite winning critical acclaim in various jazz publications, many thought his best work was in his past • Davis overcame his addiction in 1954, and began making a series of outstanding recordings that helped to revive his career • Davis gained popularity and signed with Columbia Records in 1955 and formed his first great quintet, which remained active until roughly 1958, when its members changed – This first great quintet, would become one of the definitive groups in hard bop, and would have enormous influence on jazz musicians who followed in the coming decades MILES DAVIS QUINTET • Significant contributions – Helped to codify the mainstream jazz approach to the “standard,” a song which is part of most jazz musicians’ repertoire • While some of these came from earlier musicals or were contrafacts based on earlier songs, Miles always also used popular music of his time. For example, “If I Were A Bell,” was a song from the 1950 Broadway Musical hit, Guys and Dolls. • Many of the introductions, song endings, reharmonizations, and arrangement devices would be used by future generations of jazz musicians • Many of their recordings would become the definitive version of that song in a hard bop style, making them an important reference for context regarding later performances of the same repertoire JOHN COLTRANE (1926-1967) • Coltrane was arguably the most important addition to the Quintet – his style seemed to directly contradict Miles – this highlighted the difference in their musical personalities and created greater contrast within each song – Coltrane’s style tended to be more fiery and passionate, compared to Miles’ cool, often muted expression – Coltrane took a different approach to harmony and rhythm, often running fast lines and scales in contrast to Miles’ careful note selection and sparse – Coltrane also played with a harsher, more pointed tone than most of his contemporaries on tenor sax JOHN COLTRANE JOHN COLTRANE (1926-1967) • Initially hired in 1955, Coltrane was fired in 1957 - another jazz musician addicted to heroin, he had become unreliable in Davis’ quintet • Coltrane got the message - he quit his habit • He began performing with Thelonious Monk • He also recorded several albums as a leader • Blue Train (1957) • Soultrane (1958) • Coltrane would be rehired by Davis in 1958 JOHN COLTRANE LISTENING… • Boplicity (1949) vs… • Blue Seven (1956) • Pent-Up House (1956) • Moanin' (1958) SONNY ROLLINS (b. 1930) • Born in 1930 in New York City, Rollins made his first recordings with Bud Powell in 1949. • Highly critical of his own playing, he would sometimes take “sabbaticals,” where he would stop performing for a time before returning – the first of these occurred in 1954, and ended when he joined the Clifford Brown/ Max Roach Quintet in 1955. – During his time with Brown/Roach, he became known for the fluency and spontenaeity with which he could improvise thematically SONNY ROLLINS • Blue Seven – Listen for the mysterious and dissonant use of the “tritone” interval, repeated throughout the solo • Rollins is seen as one of the most ambitious and honored improvisers in jazz history CLIFFORD BROWN AND MAX ROACH • The Clifford Brown/Max Roach Quintet was extremely influential given its short life – Formed in 1954, the group ended when Brown and pianist Richie Powell died in a car accident in 1956 • Brown was an extremely wellpracticed trumpeter and musician, who could play with extraordinary clarity at tempos just as fast as in the bebop era – His solos also display thematic improvisation and logical/ satisfying melodic playing CLIFFORD BROWN MAX ROACH CLIFFORD BROWN AND MAX ROACH • Max Roach became one of the most influential drummers in jazz history, a key player during the bebop era with musicians such as Charlie Parker, Dizzy Gillespie, and Bud Powell • Roach’s style of playing, which emphasized conversational interaction with the soloist, provided a strong foundation for future generations of jazz drummers CLIFFORD BROWN MAX ROACH SONNY ROLLINS PLUS 4 • Pent-Up House (1956) – Clifford Brown, trumpet – Sonny Rollins, tenor saxophone & composer – Richie Powell, piano – George Morrow, bass – Max Roach, drums KEN BURNS JAZZ SERIES • Episode 9 - 1:16:54 KIND OF BLUE • Full Album (1959) – So What • Miles Davis, trumpet • Cannonball Adderley, alto saxophone • John Coltrane, tenor saxophone • Bill Evans, piano • Paul Chambers, bass • Jimmy Cobb, drums KIND OF BLUE • The Compositions – “I found Miles in the midst of another stage of his musical development. There was one time in his past that he devoted to multichorded structures. He was interested in chords for their own sake. But now it seemed that he was moving in the opposite direction to the use of fewer and fewer chord changes in songs.” --- John Coltrane – According to pianist Bill Evans, Miles wrote the music only hours before the recording session, and brought to the studio only sketches of what he wanted KIND OF BLUE • The Beginning of “Modal Jazz” – MODAL JAZZ is characterized by some of the following: • Slow harmonic progression – i.e. instead of one or two chords per measure, there may only be one chord every four or eight measures • Lack of functional (traditional) harmony – i.e. the traditional cadences we hear in classical music and in jazz up to this point are not present • Emphasis on quartal harmony – i.e. chord sounds are based on different intervals (fourths) compared to traditional European styles (thirds) SO WHAT • Rhythm Section – The inclusion of Jimmy Cobb on drums and Bill Evans on piano gave the group a more introspective, lyrical sound than with Philly Jo Jones and Red Garland – Notice that while interaction is still present, it is not necessarily as sudden or surprising as on the hard bop recordings – this is one reason many consider Kind of Blue an extension of cool jazz SO WHAT • Miles Davis - solo – Characterized by “cool” style (soft dynamics, even/relaxed time feel) – Sophisticated note selection and use of “upper extensions” – Subtle tone coloring with use of pitch bending and halfvalve technique – Repeated use of short motifs throughout the solo – Varied note length – Little use of formulaic “licks” or previously prepared phrases – Use of space (silence/rest in between statements) SO WHAT • John Coltrane – solo – A notable characteristic is the fiery, passionate style, in which contrasts with Miles Davis • As opposed to Davis, who plays lyrical, logical melodic statements, Coltrane’s lines seem more exploratory, and freer in time – Repeated use of various motifs with continued variation, often within an 8 measure phrase • (listen to 3:40, 4:07, 4:18, 4:48) – Varied phrase length allows him to create tension by playing with and against the AABA structure SO WHAT • Cannonball Adderley – solo – Heavy emphasis on the blues and soulful/gospel character with bebop vocabulary – Notable rhythmic variety (listen for all of the various note lengths and the ways he plays against the beat) JOHN COLTRANE (1926-1967) • After Kind of Blue, Coltrane became more and more independent, recording more often in a quartet setting without any other horn players – One of the most significant albums in his career, Giant Steps, was recorded just a few weeks after Kind of Blue, in 1959 – Giant Steps featured only original compositions by Coltrane, and the song “Giant Steps” contains a difficult, colorful chord progression that Coltrane would later superimpose onto his modal works of the 1960’s with his classic quartet • Giant Steps shows Coltrane near the end of his “Hard Bop” period, his speed and sound bursting at the seams, seemingly reaching for something more – his lines had been described by Ira Gilter not as melodies, but as “sheets of sound” JOHN COLTRANE (1926-1967) • Giant Steps (released 1960) – John Coltrane, tenor saxophone and composer – Tommy Flanagan, piano – Paul Chambers, bass – Art Taylor, drums Giant Steps explained… SOUL JAZZ SOUL JAZZ • Often considered a direct spin-off from “Hard Bop,” “Soul Jazz,” featured all of the common characteristics of mainstream jazz in the 1950’s fused with elements from gospel, soul, and R&B • Soul pianist Ray Charles, who gained notoriety in the early-mid 1950’s, was credited with having widespread influence on jazz musicians in this era – You Don’t Know Me (1954) • The influence of soul, gospel, and R&B had emerged in the music of Charles Mingus and Art Blakey’s Jazz Messengers, but it reached a larger audience through The Cannonball Adderley Quintet in San Fransisco JULIAN CANNONBALL ADDERLEY “ ” (1928 – 1975) • Originally from Florida, he and his brother Nat grew up playing with Ray Charles in Tallahassee • Cannonball became a high school band director in Florida before moving to New York City in 1955 to pursue graduate studies in music Julian Adderley • When he began to attend jam sessions, his high level of playing created a stir, prompting musicians to call him the heir to Charlie Parker • He formed his own group with Nat Adderley, but reached greater fame through his recordings with Miles Davis from 1957-1959 CANNONBALL ADDERLEY • This Here (released in 1960) – From the album The Cannonball Adderley Quintet in San Fransisco • This album, produced by Orrin Keepnews, was noteworthy for being recorded live in a noisy club, and for retaining Adderley’s comments to the audience. Both of these elements were rare for the time period, but became much more common in jazz after the success of this record. • The album’s clear references to gospel music make it a noteworthy contribution in the early days of “Soul Jazz” – Cannonball Adderley, alto saxophone – Nat Adderley, cornet – Bobby Timmons, piano and composer – Sam Jones, bass – Louis Hayes, drums ICLICKER Who was the pianist who initially worked with Art Blakey to form the Jazz Messengers? A. Duke Ellington B. Thelonious Monk C. Bud Powell D. Horace Silver ICLICKER Who was the pianist who initially worked with Art Blakey to form the Jazz Messengers? A. Duke Ellington B. Thelonious Monk C. Bud Powell D. Horace Silver ICLICKER When did the Montgomery Bus Boycott begin? A. 1948 B. 1954 C. 1955 D. 1959 ICLICKER When did the Montgomery Bus Boycott begin? A. 1948 B. 1954 C. 1955 D. 1959 ICLICKER Which jazz musician refused to tour the Soviet Union because of the controversy surrounding the Little Rock Central High in 1957? A. Duke Ellington B. Miles Davis C. Louis Armstrong D. Sonny Rollins ICLICKER Who was the main pianist on “Kind of Blue?” A. Thelonious Monk B. Bill Evans C. Gil Evans D. Bud Powell ICLICKER Who was the main pianist on “Kind of Blue?” A. Thelonious Monk B. Bill Evans C. Gil Evans D. Bud Powell BILL EVANS (1929-1980) Waltz for Debby • Bill Evans, piano • Chuck Israels, bass • Larry Bunker, drums BILL EVANS (1929-1980) • Evans was influenced by earlier jazz pianists such as Lennie Tristano, Bud Powell, and Horace Silver • He released several albums in the mid-1950’s which were more in the bebop/hard bop mainstream style of jazz before he joined Miles Davis in 1958 • Evans founded his groundbreaking trio featuring Paul Motian on drums and Scott LaFaro on bass in 1959. • Evans’ trio was displaying new, innovative ways for the rhythm section to interact and perform • In particular, LaFaro’s playing, still often based in traditional grooves, could be more irregular or conversational in Evans’ trio • Tragically, LaFaro died in a car accident in 1961. Evans’ next bassist would be Chuck Israels, who lives and performs to this day in Portland, OR. BILL EVANS What is This Thing Called Love? (1959) from Portrait in Jazz • Bill Evans, piano • Scott LaFaro, bass • Paul Motian, drums Compare to “What is This Thing Called Love?” recorded in 1956 by the Red Garland Quintet DAVE BRUBECK (1920-2012) • Brubeck met Paul Desmond, who would become famous playing in Brubeck’s quartet a decade later, while serving in the 3rd Army during WWII • Brubeck studied with French composer Darius Milhaud and Austrian composer Arnold Schoenberg – of particular note was the influence of Milhaud • His quartet gained attention and respect by performing on college campuses throughout the (1950’s) – previously, jazz was considered appropriate only for parties on a campus, not for a formal concert in an academic establishment • Throughout the decade, Brubeck’s quartet received critical praise and became one of the most commercially successful groups of the era • The group’s 1959 album Time Out became its most lasting legacy, notable for its innovative use of uncommon meters DAVE BRUBECK (1920-2012) • “Take Five” (1959) • “Blue Rondo a la Turk” (1959) • Composed and arranged by Dave Brubeck • Dave Brubeck, piano • Paul Desmond, alto saxophone • Eugene Wright, bass • Joe Morello, drums ICLICKER What was the significance of “Brown v. Board of Education,” (1954)? A. Overturned “separate but equal" B. Ruled public school segregation unconstitutional C. Ended all segregation D. All of the above E. A & B ICLICKER What was the significance of “Brown v. Board of Education,” (1954)? A. Overturned “separate but equal" B. Ruled public school segregation unconstitutional C. Ended all segregation D. All of the above E. A & B CHARLES MINGUS (1922-1979) • A bassist and composer, Mingus was often compared to Duke Ellington because of the soulful expression his work was known for and his innovative approach to composition • His music embraced the history of jazz, including allusions to the early jazz of New Orleans while also featuring characteristics of the up and coming Avant Garde • He was one of a number of musicians who throughout the late 50’s and early 60’s embraced the gospel tradition of black churches, and was unafraid to write music featuring political commentary CHARLES MINGUS CHARLES MINGUS (1922-1979) • “Fables of Faubus” became one of Mingus’ most explicit political commentaries, and perhaps his most well-known work – After the Supreme Court ruling in Brown vs. Board of Education (1954) ended the legal segregation of American schools, integration remained controversial for years (and decades) – In 1957, Governor Orval Faubus of Arkansas ordered the Arkansas National Guard to stop black students from attending Little Rock Central High School, despite the federally mandated order to desegregate – In October, President Eisenhower federalized the Arkansas National Guard, sent them back to their armories, and sent the 101st Airborne Division to protect the black students trying to attend classes – Faubus retaliated by closing Arkansas public schools for the 1958-59 school year CHARLES MINGUS (1922-1979) • Fables of Faubus (1959) – The original recording of this song from 1959, released through Columbia Records was not allowed to include Mingus’ lyrics • Fables of Faubus (1960) (lyrics) – A year later, on the more independent record label Candid, the lyrics were first recorded – Eric Dolphy, alto saxophone – Ted Curson, trumpet – Charles Mingus, bass/vocals – Dannie Richmond, drums/vocals • Better Get it In Your Soul (1959) ORNETTE COLEMAN (1930-2015) • Lonely Woman (1959) – Recorded on The Shape of Jazz to Come – Ornette Coleman, alto saxophone – Don Cherry, trumpet – Charlie Haden, bass – Billy Higgins, drums • Peace (1959) – Recorded on The Shape of Jazz to Come – Ornette Coleman, alto saxophone – Don Cherry, trumpet – Charlie Haden, bass – Billy Higgins, drums Ornette Coleman ORNETTE COLEMAN (1930-2015) • Coleman grew up in Fort Worth Texas – He joined an R&B band led by Pee Wee Crayton and moved with this group to Los Angeles, where he settled in 1954 – He participated in Los Angeles jam sessions. While he encountered a number of musicians who did not respect his playing, he also met some who were like-minded – In 1958, he recorded two albums that displayed fairly conventional jazz styles while also showcasing his tendency to move away from the original harmony of the song into other tonal centers Ornette Coleman ORNETTE COLEMAN (1930-2015) • In 1959, Coleman signed with Atlantic Records and released The Shape of Jazz to Come and Change of the Century with his own quartet – These albums helped to launch the Avant-Garde movement of the 1960’s – No pre-determined harmony – Use of nontempered intonation – Non-timekeeping role for rhythm section instruments, especially for bass – Use of extended techniques or unusual sounds/timbres Ornette Coleman ORNETTE COLEMAN (1930-2015) • The Avant-Garde, (a French term, translating to the Vanguard), is made up of artists and works which are generally on the cutting edge or experimental – As bebop did before, the Avant-Garde valued progress, experimentation, and artistic innovation over commercial success – However the Avant-Garde movement also distanced itself so radically from typical jazz traditions that some listeners found it to be incoherent Ornette Coleman ORNETTE COLEMAN • Musical Characteristics – Shorter and less predictable melodic statements compared to the flowing lines employed by bebop players – Brighter, nasal tone – Improvised solos based on motivic development, often inspired by the original melody more than by the chord changes – Emotional and expressive playing infused with the feeling of the blues – At times, a disregard for equal tempered intonation Ornette Coleman ORNETTE COLEMAN • Free-form improvisation was not new in jazz, but the social and political ramifications of the new music separated the new musicians from Lennie Tristano – At a time in American history when “freedom” was a politically charged word, and when citizens were fighting to tear down long-standing societal structures (e.g. segregation), the AvantGarde tore down long-standing musical structures Ornette Coleman FREE JAZZ • The term “Free Jazz” came from the Ornette Coleman composition of the same name – It was recorded in 1960, and featured solo improvisation, collective improvisation, and pre-arranged ensemble passages – This album had extensive influence on the up and coming Avante-Garde movement in jazz, due to its: • Lack of repetitive formal structures • Highly interactive nature • Emphasis on motivic improvisation rather than on harmony – Not only did the music challenge its listeners, but it challenged musicians to question their approach to learning, creating, and listening to music FREE JAZZ Chronology (1959) Free Jazz (1960) – Ornette Coleman, alto saxophone – Ornette Coleman, alto saxophone – Don Cherry, trumpet – Don Cherry, trumpet – Charlie Haden, bass – Scott LaFaro, bass – Billy Higgins, drums – Billy Higgins, drums – Eric Dolphy, bass clarinet – Freddie Hubbard, trumpet – Charlie Haden, bass – Ed Blackwell, drums JOHN COLTRANE • The Classic Quartet became one of the most influential groups in jazz history through its approach to group interaction, its unprecedented energy level, and the innovative approaches taken by each individual member • Compare and contrast rhythm section styles: • So What (Miles Davis Quintet) • Afro Blue (John Coltrane Quartet) JOHN COLTRANE • Coltrane’s career is characterized by three general periods over a 12 –year span from 1955 (when he joined Miles Davis’ Quintet) until his death from liver cancer in 1967 • 1955-1960: Hard Bop • Coltrane was known for his SHEETS OF SOUND style but also experimented with CHORD SUPERIMPOSITION, meaning he could play multiple chords on top of the one played by the band • 1960-1965: Classic Quartet and Modal Jazz • Coltrane’s modal compositions provided a vehicle for more exploration of harmony, and his quartet was known in particular for their ability to sustain a massive amount of energy • 1965-1967: Avant-garde • • Coltrane’s late music was largely inspired by exploration and experimentation – including a use of MULTIPHONICS, lack of predetermined tonal centers, use of unusual instrumentation groups and collective improvisation JOHN COLTRANE (1926-1967) • Musical Characteristics • SHEETS OF SOUND - STRAIGHT NO CHASER (1958) • A term used by critic Ira Gitler to describe the way Coltrane’s fast lines and harmonic choices could, in a way, paint colors over a song • CHORD SUPERIMPOSITION • The application of other chords on top of the original chord progression • PLAYING OUTSIDE refers to the use of notes and chords that do not belong in the original chord progression – jazz musicians use this as a way of creating even more tension in their music JOHN COLTRANE • The Classic Quartet became one of the most influential groups in jazz history through its approach to group interaction, its unprecedented energy level, and the innovative approaches taken by each individual member • McCoy Tyner on piano was known for: • Percussive, aggressive right hand style • Thunderous left hand, which played open 5ths to accent the form, interact with the group, and solidify the modal harmony • PLAYING OUTSIDE, using chord superimposition (like Coltrane) • Elvin Jones on drums was known for: • Use of complex polyrhythms which created a dense texture • Providing remarkable drive and sustained vigor • Supporting the intensity of Coltrane’s solos and therefore increasing the participation and role of a jazz drummer during a solo • Jimmy Garrison on bass was known for: • Use of 2-note and 3-note chords during his solos • Often relied on simplified bass lines which moved around less than typical walking lines and made use of more repeated patterns JOHN COLTRANE • Social views & commentaries • In interviews, Coltrane spoke of a desire to be, “a force for good.” • While he did not often comment on politics or current events in great detail, he did believe in his ability to communicate what he felt through his music 16TH STREET BAPTIST CHURCH BOMBING • September 15th, 1963 • Act of white supremacist terrorism • The KKK planted explosives at an African-American church in Birmingham, Alabama • The explosion killed four girls and injured 22 others • Another emotional turning point in American history, the bombing preceded the passage of the Civil Rights Act of 1964 JOHN COLTRANE • Alabama (1963) • Recorded live at Birdland on November 18th, 1963 • Was written in response to the 16th Street Baptist Church Bombing • John Coltrane, tenor saxophone & composer • McCoy Tyner, piano • Jimmy Garrison, bass • Elvin Jones, drums JOHN COLTRANE • Other works inspired by the civil rights movement and the struggle of black Americans included: • Up ‘Gainst the Wall (1962) • Reverend King (1966) JOHN COLTRANE • A Love Supreme (1964) • Coltrane created A Love Supreme, a multi-movement work that was released in four parts (Acknowledgement, Resolution, Pursuance, Psalm) • It represented all of the main characteristics of his classic quartet – modal harmony, use of short motives in composition and improvisation, and the groups’ famous ability to sustain energy and interact with one another • It also represented Coltrane at his most earnest – he wrote the piece as a “thank you” to God, and listeners interpreted the work as a statement of an artist seeking spiritual meaning JOHN COLTRANE • Acknowledgement (1964) • The piece begins with an out-of-time cadenza • The bass then states the four-note motive, based on the lyrics “A Love Supreme,” with Jones’ cymbals rolling over it, before the groove begins • Tyner joins next • Coltrane immediately begins improvising, without a traditional “head” statement • Coltrane’s solo continues to build in intensity, as he plays with various motives in and out of the harmony • Eventually Coltrane transposes the original 4-note motive to every other possible key before returning to play it with the bass • Finally, Coltrane chants, “A Love Supreme” in unison with the bass JOHN COLTRANE • Resolution (1964) • Beginning with the bass playing “double-stops” (two notes at once • The eight-measure theme enters with Coltrane’s saxophone – the quartet demonstrates many of the qualities they’re known for • Tyner’s use of open 5ths in his left hand • Jones’ dense, busy, polyrhythmic texture on drums, creating the powerful force that seems to push the group to higher and higher energy levels • Tyner’s and Coltrane’s use of chord superimposition to create extra tension in the harmony throughout their solos JOHN COLTRANE • Pursuance (1964) • Beginning with a drum solo, “Pursuance” segues into a 12bar blues in the key of Bb minor, featuring a more typical “head” statement from Coltrane • Tyner’s solo displays his willingness to leave the original key of the tune, playing outside of the harmony while chasing the main motive originally found in the melody • Coltrane’s solo picks up where Tyner’s left off, with Jones pushing to greater and greater levels of energy and force • The energy never drops until finally Coltrane finishes his recap of the original melody, which segues into a drums solo, only to be taken over by another bass solo – this is the transition to the final movement JOHN COLTRANE • Psalm (1964) • “Psalm” returns to the out-of-time feel that started the entire piece • “Psalm” also features Jones’ rumbling mallets on his tom drums, cymbals, and timpani, creating a rich, dark, rolling texture for Coltrane to play over • Coltrane wrote a poem, which was included in his line notes – during recording of “Psalm,” he set the poem on his music stand, and played what biographer Lewis Porter called a “wordless recitation” on his saxophone JOHN COLTRANE • After “A Love Supreme” • Many of his works had spiritual connotations: • • Albums: • Ascension • Meditations • Om • Selflessness Compositions: • Ascent • Attaining • Prayer and Meditation Suite • The Father and the Son and the Holy Ghost
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QUESTION 1
Be pop era (1944)
Recording of Charlie Parker first recording, Tommy Potter bass, Mile Davis trumpet,
Duke Jordan piano, and Max Roach drums. Its features were Mile’s softer and mellow
expressive style and the use of silence gained a lot of critical acclaim and attention.
Modern Jazz Quartet
Initially, it was formed in the year 1946. Where they joined in Gillespie big band. The
first recording was done in 1951 as a Milt Jackson Quartet. This was considered as the best and
refined group in the entire cool Jaz. The organization was as follows; Milt Jackson vibraphone,
John Lewis piano, Ray Brown bass, and Kenny Clarke drums. Jazz Messenger was born in 1947
by Art Blakey.
Nonet (1948)
The group was made of Evans, Mulligan, and Davis among others. They performed many
shows with a different number of song that awaited to be released during the birth of the cool in
the year 1957
Birth of the cool (1949-1950)
Was released in 1957. It featured the actual arrangements of the nonet that was led by
Davis. They used an even relaxed style with a detailed arrangement that was written by Gerry,
Milligan, and Gil which was a comparatively, improvisations of Charlie. The cool as featured
outstanding instrumentation that included tuba and horn. “Boplicity” (1949) by Miles Davis and
Evans

Running Head; Music Questions

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Emphasized on the middle range of the trumpet. Clarke drums and Boyd bass it was
characterized by Use of more space and introverts. Gerry Mulligan Quartet (Funhouse in 1953)
was composed by Mulligan. Carson bass, Bunker drums, and Baker trumpet. Lennie Tristao
(Line up 1955) recording has the features of bass track and drum recorded first, a mixture of
accents, development of sophisticated motivic
The Hard Bop Mile Davis
If “I were a bell”1956
Third stream
Comprised of Fugue Versailles (1956)
At this stage, the central focus was the melodic theme. It was characterized by
progressive growth of the counterpoint, Milt Jackson vibraphone, John Lewis Piano and Percy
Health bass and Connie Kay drums
Kind of blue (1959)
The full album was produced
The recording comprised of Cannonball, Alto Saxophone. Coltrane tenor saxophone. Bill
Evans, piano. Chambers, bass and Jimmy Cobb drums. Its style was no traditional harmony of
cadences, Slow and very harmonic progression and Emphasized on Quartal harmony. With the
inclusion of Bill Evans and Jimmy Cobb to replace Jones and Galland, the group attained more
lyrical and introspective sound.

Running Head; Music Questions

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Classical quarter
Innovative approach and creative member. It had a style of chord superimposition and sheet of
sound and it became the most influential in Jazz history.
The free Jazz
Recorded in 1960 by Ornette Coleman. It featured prearranged passages. It was very interactive,
non-repetitive and emphasized on motivic improvisation.
QUESTION 2
John Coltrane
His work Alabama was recorded in Birdland in 1963 which he was inspired to write and
was ...


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