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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