jazz
Mon 02/20/06
everything up until today will be covered on your test.
eventually bassie's band moved from kansas city to new york
promoted by john hammond
got them a regular gig at a club called the famous door
his band took part in th3e 2nd battle of the bands at the savoy -- te winner is undecided (judges technically said chick webb)
noted for:
riff tunes -- based on blues progression except with a full band
no distinct melody
worked out riffs just things that everybody could play and they would play those in the key of [Ab] and then they sned the soloists out to play over the blues. additional riffs added to keep the momentum going. a tune like this could last an hour
very made up lots and lots of room for improv -- w/o solos -- doesn't make it at all
head arrangements -- come up with the melody and the harmony that is under the melody is then repeated for soloists
wide open for soloists
1 o'clock jump
bassie on piano
this is all the material for test.
not big on dates or lots of specifics
but first
1st jazz musician
1st recording
1st things of important players
early trumpet players
early piano styles
all written
multiple choice
short answer
lists (ex: popular bands)
essayish
Mon 02/27/06
Billy Holiday
abused as a child
had addictions
had about 1.5 octive range
very bad heroine problem
nickname is lady day
vocal style
conveyed a very deep sense of emotion -- communication with the audience
small vocal range
after the 30's her range was even more limited due to her style of living
toured with artie shaw bennie goodman -- both white bands
count basie
recorded with lester younger (basies famous tenor sax player) -- those recordings are amoung the moot highly regarded in all of jazz history
wrote her own music ex: god bless the child
got tired of the problmes with the big band circuit
bands all male, white bands a problem. if she wasn't singing a song she had to leave the bandstand while the whites could stay up the whole time
she got tired of that so she settled in ny at Cafe society
Strange Fruit.
written by a leftist school teacher about a lynching
billy holiday -- the quintessential jazz tragic figure
ella fitzgerald also had a rough childhood -- homeless for awhile
was a lookout for a pimp
began signing in harlem clubs -- had a dificult time catching on -- was not the most attractive
actually won an amature competition and the winner was supposed to get a concert with a group ofsome sort -- she won but they didnt' give her the concert (not attractive enough)
eventually got a tryout with webb's band -- at first said no because not pretty enough but once he heard her -- he took her
helped band --
tisket a tasket
basically took nusery rhymns and became popular songs of the day
after webb's death (spinal disease), the band became fitzgerald's backup band
ella fitzerald and her orchestra
evolved with the evolution of jazz
"first lady of song"
style -
excellent technique, knew right where the notes were
wide vocal range
voice was lighter -- perfect for the novelty tunes
those are the two biggest early female jazz singers
guys:
(armstrong)
young frank sinatra
grew up in new jersey
sang small groups
big break came when dorsey said "come and sing with my band"
voice is clear and light
frank is one who rumor has it lived pretty hard -- hard drinking hard smoking; his voice in later years -- you can tell the damage
early frank sinatra -- blue skies
with dorsey band
after dorsey bnd -- became a solo recording artist -- got into vegas when vegas was not vagas -- did things at the sans
album - sinatra at the sans
basie at the sans (before frank)
carrier actor singers
susspected of having mob ties
nice name such as old blue eyes, chairman of the board
style
-clear tone (early days)
no scat sing
sang songs -didn't improvize
by that definition -- its very had to call it jazz at all
much of his sucess came from singing the popular tunes -- like ella's tisket a tasket
rearraged for big bands
fools rush in
the sky fell down
i never .. again
small group jazz -starts to arrize -- very important for what's nexts
goodmans groups
gene crupal durms
charlie christianson
colman hawkings -- leading sax player of the 1920's with henderson -- steps back on the timeline
when swing became popular he travedl to europe and sorta disappeared but he was doing small grup when big band was popular
in his solo -- he just barely plays the moleody
this is kinda how bebop all starts
hawkins does not play the tune when he solos he now is taking the harmony - the chord structure and doing his own thing
don't relate to the melody in any way/
styles of solos -- (lyrical, rhapsodic -- a lot of notes)
this is the beginning of rhapsodic
downbeat magazine 19?9 - tenor saxaphonist of the year
battled alcoholism, etc
be-bop
------
the antithesis of popular music (swing was)
compare with punk
bebop really the first bbig reaction to pop music
very hard to understand
book - p 137
performance aspects
small combos - very hard to put a big band together -- there was the ocasional one
less emphasis on the written arragements
faster tempos!!!!!!!
didn't use clarinet -- sax used
higher display of instrumental virtuosity
rhythm gets stripped down -- base drums piano and soloist
more complex improv
more themes in a solo
lss similarity in the themes
more excursions outside the original key
harmonic devolopment goes sooo far
you'd typically not put f# in a c chord but these guys find a way to do that kinda thing
unresolved quality in bop tunes in chord progressions -> unpredictable
other things
characteristics
- improv were made of fast moving 8th notes and 16th notes
angular -- not melodic
going so fast and so intense
going so fast that the piano player, instead of playing a chord a couple times, thye really have a change to hit it like once
and the base player is moving all around tyring to outline the structure that the piano players
sometimes you only get a chord for like two beats
salt peanuts
tomorrow 2:30!!!
Wed 03/01/06
be-bop -- a rebelious thing in the most far out intellectual side of jazz music.
notes from the other day
who you need to know
charlie parker -- biggest name -- tragic short existance
billy holiday -- addictions
many stories about charlie parker how he would put his horn up for auction just for drugs
dizzie galespie -- trumpet player (played with his cheeks puffed out)
thaloneous munk -- piano player
max roach -- drums
?? --piano
gorden, gets -- sax
early miles davis
davis was involved in mnay froms 0of jazz
charlie parker
-------------
when we talked aobu the scne in kanasas city, charlie parker grew up in kc -- he was surrounded by the improv nature of the music --- pivital figure in changing jazz from big band to purley imporov
-- loved the sound of lester young
additions
- heroine alcolhol, benzodine and morphine
remember: Minton's playouts in NY -- birth of be-bop
colaborated with munk and galespie creating this new music -- 3 talented genious musicians - at it took to play this kind of music
nickname was bird (fondness for fried chicken)
died tragically (young) at the age of 34
this man lived extremely hard and had a wide variety of problems
THE MOST IMPORTANT SAXAPHONIST IN JAZZ HISTORY
he could do anything on that instrument -- know for practicing nine hours a day
stuff that makes bop bop
-- new system of improv
-- new ways of selecting notes that fit in chords
-- new ways of accenting notes so that logs phrases would have a sincopated feel
-- methods for adding additional chords to existing songs or implying them
either used the same harmony but through their improv, maybe played in a different key
or possibly they would stick other chords in there that are related to C but not C.
just started making it a lot more busy
extremely creative mind -- genious
he played at a rapid pace!
a lot of times in slow tunes, they would just speed it up anyway -- played it in double time; gave it double time feel which makes it feel twice as fast while the harmony is still going at the same speed. IMPORTANT.
talented composer
- people study the omnibook if they want to play like charlie parker
any group that has "bird" in it is related to charlie parker
Fri 03/03/06
opposite of sad charlie parker story:
Dizzie Gallespie
partner in bebop
extremely intelegent person
good at music composition -- understood harmonic basics of bebop better than anyone else
played in cad calloway in ny
influenced by trumpeter roy eldrich
collaborated with charlie parker and thaddius at Minton's playhouse
surrounded but avoided drugs and alcohol
lived into his late 70's
lenghhy career
virtuoso trumopet player
armstrong played in a completely different style (traditional swing, dixie land etc)
so to compare gollespie to armstrong is apples and oranges
but from the recordings its hard to say one way or another
but most would agree that gallespie had more technical command of the instrument than louis
soaring solos
art of surprize in solos
public face of bebop
very popular
BIG: he bridged the gap between afro-cuban music and jazz music {manteca, night in tonizia sp?}
sizable body of new music -- jazz standards composed by him
manteca
note drastic difference between swing
a night in tonizzia
thanlonious munk
piano player composer
MINTONS PLAYHOUSE
viewed himself as a serious composer
didn't usually play anythng but what he wrote
did a lot of unusual things
danced around a little bit
didnt really talk
unique piano style - banged his giant feet on the floor while playing
ellington was the most prominent composer -- munk was 2nd
standard tunes
straight no chaser
....
you're supposed to have nice curved fingers -- and relaxed -- and munk did the opposite -- very stiff and straight fingers "splayed"
precussive piano style
munk easier to understand than parker
that's all we have for bebop
cool jazz
---------
bebop was a reaction to swing -- cool was a reaction to bebop
decided to go different direction relax a little bit
characteristics
- light and dry (west coast in particular)
not too loud just relaxed
they didn't go the whole range -- just stayed in the good sounding range of your istrument
parallel with other movements -- this was beatneck music
began as a reactin to bebop
solo styles go from rhapsodic -- to more lyrical songful style
long phrases usually fairly even not of different lengths like bebop
favored by players who did not have the technique for bebop
miles davis (and gill evans ) -- cool jazz at its finest
"that's cool" actually came from this
can almost be traced back to the name of the album that gave this its started "birth of the cool"
by nine piece band
trumpet
2 t-bones
french horn
tuba
alto sax
bari sax
piano
bass
kinda unusual sound colors -- "boplicity" w/ miles davis
little high notes not much high playing -- album "birth of the cool"
in addition to davis and evans, there are a whole bunch of other guys who started leaning toward this direction
lennie trustano -- created music inspired by the relax piano playing of count bassie
postwar migration to california
development of suburbs
cookie cutter houses
relaxed atmosphere
ever heard the stereotype midwesterners work harder -- its true -- i swear to god its true
west coast jazz -- becomes synonimous with "cool"
david brubec -- must bands play in 4/4 or 3/4, he was in europe and heard a lot of a lot of unusual time signatures like 9/4.
why can't we swing to that?
but you cant really swing like that so the swing section is in fast four
blue rondo a la turk
dry also sax sound
take 5 dry quality of the alto sax
west coast cool jazz -- the anitbop
stan getz -- tenor sax
they kinda took some latin american things -- bossa nova rhythms from brasil
girl from eponima -- on listening cd
solo style is far from rhapsodic far from a lot of notes here essentially the melody elaborated on wen he feels like it
style also became very popular in television like mission impossible
in ny this style is also there
artists
dave brubeck - piano -- very first jazz artist to appear on the cover of time magazine
paul dedman (sp) -- dry alto sax
lee cunitz --
jerry mulligan -- bari sax -- one of the first really influential bari sax players -- played on birth of the cool
played in PIANOLESS cortet.
chet baker - trumpet
trumpet, bari sax, bass, and drums piano player and vocalist -- look up
stan ketan - took big band and west cost style and created "big band on steriods"
hollywood sounding big band.
compare sounds and styles between bebop and cool jazz
spend a little time between bebop and cool
relax to some stan gets
Mon 03/06/06
bebop -- frantic, busy, complex, large range,
cool - smooth, relaxed (VERY)
west coast big band - stan kenton all star big band
swing band begin the beguine vs kenton's begin the beguine.
slower , with bossa beat.
very 1950's
hard bop
-------
not like bebop -- don't know where terminology came from
hard bop -- small group jazz
appeared around mid 1950s in very urban areas
the guys who really established hard bop went out of their way to amke the music very very black -- wanted it to be the kind of soul that would be hard for white musicians to play properly -- lot blues not very intellectual. opposite of west coast jazz -- not more technically demanding but such an intensity
developed in philly detroit new york
reaction to bebop
differs from bebop - simpler improvized lines
more variety in accompianment instruments
fewer pop tunes and pop tune chord progressions
nothing pop about hard bop at all, darker wavier heavy stuff.
more emphasis on hard, unrelenting swing, -- almost bassie swing -- grooviest jazz you will ever hear
can be refered to as funcky jazz
most influencial group -- jazz messengers
art blacky (leader) drummer lead jazz messengers for over thirty years
loosened the role of drumers
so art blakcy says why cant i work with the soloist and the piiano player etc and create a dialoogue -- became more active almost in a melodic sense.
famous for launching the carriers of young, talented musicians and instead of hanging on to them, these guys were all about spreading the message -- so you join and polish but then go start your own group and do your own thing
whynton marsalis was in the jazz messengers
bradford marsalis was also in it
along with art -- harace sliver -- prolific composer -- composed many of the jazz messagers tunes
most representative group of hard bop
harace silver tune on the book cd -- similar to jazz messengers
not frantic but not overly relaxed like cool -- this is agressive playing a lot of stuff in there but they just because its heavy and meaty doesn't mean they have to play really fast
blues march -- art blakey
not a lot of complicated accompianment . fairly easy to follow
moaning
other leading influencial players -- clifford brown (trompet) not widely known outside of jazz circles because he had a limited number of recordings because he dided when he was 24/5 after a gig and he had to drive with some people and he died in an automoblie crash
very tenically solid player -- similar to davis -- smooth , tone was heavier than gillespie because it was not as fast
davis's tone -- very emotional and vulnerable.
brown -- heavier -- bigger and rounder an meatier sound
often used a wide virbato in his sound
unliek most of the people he worked with was free of drugs and alcohol -- which helped a lot of other people kick their habits
it was n't the junk that was helping them make great jusic
formed a great cortet with max roach
melodic approach to the drum solo
take the eight train (ellington)
max roach /brown version
junion "cannon ball" aterly -- alto sax player; high school band director
ended up going to ny to play hard bot with his brother nat
became the leading alto sax player of hard bop. most hard bop has tenor sax (huskier sound) but he was able to make it fit
had a darker tone than parker or any of the cool players {stan gets, }
considered one of the best improvizers on the sax after charlie parker
and he performed with coltrane, davis, other leading hard bop groups,
allyson's uncle
side note -- on the cd, JJ johnson under hard bop -- jj johnson was THE trombone soloist .. swing bands had a lot of trombone leaders (miller dorsey) once we got into bebop, trombone players had a very difficult time hanging with bebop because, with the frantic nature its hard for a trombone to do it.
so for awhile there trombone players we'rent prominate soloists
but jj johnson could do some stuff with it
in hard bop, wwith jj johnson, curtis fuller, trombone made a ferocious comeback.
Sunny rawlins - tenor sax (later also played soprano say)
huge figure
promoted primarily in NY
first to take the activity and the fury of parker and take it to the tenor sax and put it with hard bop style
leading sax along with coltrane
saxophone colosus
worked on miles davis recordings, clifford brown, recorded with the rolling stones later on
know for:
widely admired for his ability to take a simple melodic idea and develop it over time'
lyrical ,linear, melodic approach
toyed with his rythm -- intentionally played out of rhythm
rough dry sound
interesting facts:
very opposed to recording things
always likes to work things out and things are different each time -- so doesn't have a whole lot of music put down on record. known or his live music over anything else. he'd dissapeear and then come bakc with a splash.
didn't like to have his sound captured forever on record
st. thomas -- most famous tune
listening exam and test right after spring break.
Wed 03/08/06
Listening exam MONDAY
listen to (reserve cds) categories
bebop
cool
third stream
modal
hard bop
funky jazz
(hard bop == funky jazz)
bop through funky jazz
disk 2 - bebop to modal -- 11 songs
do not go into free jazz
11 total tracks
describe the traits of the music
tell author and why is it hard bop
in text book
we have a test on Friday of that week.
chapters 8,9,10,11
two of the most prominant figures in jazz history
miles davis
-----------
(cool 3rd stream, modal and fusion) variety of categories
born in east st. louis ; father dentist and a gentleman farmer
they were extremely well off for an african american family in that day
called him pretty -- small boy very atractive so he developed a very tough aditude that he would carry through out his life
very hard to deal with after he got famous -- record companies ,etc
known to be extremely rude to fans
mistreated women / married a number of times not nice to any of them
went through the same problems as most jazz artists -- additions heroine, cocane, alcohol -- alway could overcome
continued innovation over a 50 year period -- always looking forward never looking back
when he was finished wit a style he was finishe with it
died in 1991 at 65.
wore giant sunglasses / dress very strange
iimportant contributions
created an orginial and substanctial improv style
- long lyrical lines (imortant -- contrast with gillespie)
some selections
performed in 6 jazz style or genras but he was a pioneer in creating four of them
created cool jazz (with gil evans) -- birht of the cool
3rd stream -- mix of jazz and classical jmusic - non tradition al jazz instruments and orchestral settings
3rd stream is like having a concierto setting with a jazz soloist
3 popular albums
modal jazz - complex chord structures of previous arias (like bop) were replaced by modes
there are fewer chord changes which gives the soloist a lot omore freedom
much more relaxed and harmonies are much spread up so less mathimatical make more music
jazz rock fusion - late sixties social termoil
jazz rock.
2whaatis important is that jazz up until the early 1960's , jazz was always acoustic -- (except for the electic guitar)
but the bass was always acoustic , piano always, trumpets, sax, trombone -- all acoustic instruments
when you get to jazz rock fusion, things start to go electric -- you get electric bass, electric keyboards, hammond b3 organ sound.
even miles davis himself would actually clip a mic onto his trumpet and use elaborite effects -- delay pettle or wah wah petal -- incorperated electronci elements into his music
a large body of influencial recordings
birth of the cool (cool jazz 1949)
3rd stream
-----
miles ahead
porgy and bess (opera by gershwin - davis reorchestrated that (with evans))
and sketchs of spain
//orchestra backgronds
kinda blue -- modal jazz one of the most important albums
bitch brew -- jazz rock fusion
highlights of the career
- began in bebop with parker and gillespie
did not have the technical control that dizzy had so he sough an alternative style
worked with evans to create cool jazz -- birth of the cool
davis -- latest in the trumpet lineage
armstrong
gillespie -
davis - boplicity / on cds
that was cool jazz
after cool jazz he played in the hard bop with sax player julian canon ball ..
even though he played in hard bop he was not a big innovator
miles was very popular for playing balods (sensative tone)
miles davis's "my funny valentine"
again collaborated with GIL evans and they stared to create 3rd stream jazz -- has a lot of classical - " this was the sort of jazz that people who didn'' know anything about jazz had in their record collection"
he used the flugal horn extensively -- larger trumpet -- a little softer sounding.
typically the tubing stays the same until the bell but with a flugal horn - the diameter gets steadily larger until you get to the bell.
sketchs from spain.
concierto de aronduez
a section is an cd on reserve
other famous 3rd stream albums -- charlie parker actually did one
but what makes it jazz??
in these peices, he's giving a bare outline and all the playing he's doing is improvized and other pieces has more prominant rhythm sections -- does streach the boundaries
50's wanted to give the solist a little more freedom
devoloped modal jazz -- "kinda blue"
canon ball
john coltrane -sax
piano
whynton collie
and BILL evans // not the cool jazz arranger!!! ; he playes the piano. and arranged the kinda blue album
often referred to as Mile's first (of two) quintet
modal jazz -- "so what" -- the chord structure moves very slowly (the piece could move fast
they culd grove on one chord for a long time
in so what there are actually only two chords in the 9.5min tune (skoranski)
next one (with 2nd quintet) mid 60s -- modal style evoled into collective improvization -- back to new orleans dixie land!
at its max in free jazz
verging on the music of the avant guard
2nd quintent most innovated and influential of all jazz history
herbie handcock - piano
ron carter -- bass
tony williams - drums
whane shorter -- tenor sax (in for coltrane(fired))
they pushed into jazz/rock fusion
with the rise and popularity of rock, jazz lost its audience -- so miles said "i need a way to make this happen"
played at the new port jazz festival and the folks there were trying to make up for declining sales so they invltited sly and the family stone - place went nuts
davis wanted to make that happen with what he was doing
so he's lik i'm going to go electric we are going to do this funky rock and roll intensity thing
major style shift --
obviously in trumpet playing but as far as band sound everthing's electric and your bass guitar no longer plays traditional bass things -- now you have a bass playr playing r&r bass
instead of having a swinging drummer (riding the ride, etc) now you have an r&r drummer
bitches brew -- title track -- defined jazz rock fusion
up until his death he was still mixing with other popular styles passed away in 1991.
wrapup
eight components of his style
he would altar the pitch and tone quality of the notes .
gets a complete free pass about songing bad on your instrument
frequent use of a harmon mute with no stem
(stick inside a trumpet and has another stick that gives it a nazel quality --) he pulled the stick out. sounds very pulled back and nazel -- played entire concerts with it like that
extremely skillfull in harmonies (?)
rhythmic talent -- even though he had tight band, he could play out of rhythm
played against the grain sounds out but magically gets right back in
acute sensativity in paraphrashing melodies
very good at taking popular tunes and makeing them his own
mastery of economy and susinctness - vast spaces of very few notes
over the decades tone quality and pitch changed a little (agressive in 60s)
incorperated electroncis
bands were built around what he was all about at the time
listen to lots of miles
friday -- coltrane
Wed 03/22/06
Wed 04/05/06
Read chapter 12
strectching the boundries but you can only do that so much.
ex: classical -- stretched harmonics eventually we got to a point where a single guy was tired of the boundries. completely broke from rules -- piano pieces that sound like cat and mouse -- chaos. -- coleman kinda does the same thing in jazz -- free jazz.
a few ground rules.
leonard bbernstein -- largest classical figure of the 20th century -- the american musical figure -- was a genious very ground breaking.
was from boston.
bernstein would be able to tell you what notes were not playing when you pounded your arm on the piano.
free jazz -- 2nd cd in the library , the 2nd to last track.
does it fit "what is jazz"
has improv
swing? swings occasionally
using the instruments of jazz
you can develop your own opinion, but by definition it is some sort of jazz.
avant garde and free jazz
criteria
should contain some of the following:
seeking an extension of the jazz tradition, not trying to break with it
an avoidance of preset chord progressions - do what you think might work
(unbelievably difficult)
collective improv
multiple jazz styles
new sounds or unconventional means of playing traditional instruments
-- using parts of traditional instruments instead of the entire instrument -- ex: take the mouth piece
controversy over its validity.
figure : ornette coleman
learned to play in bebop but wanted more harmonic freedom
free jazz - very polarizing -- some felt that the music wasn't jazz at all or that coleman was an imposter.
two week engagement at the five spot turned into six months.
--
cesal taylor - composer and piano player
classically trained at NE conservitory of music
taught at a number of University inscluding MadTown
music is based on improv of musical texture rather than melodic lines. (can't whistle it)
major alternative to mainstream jazz (and everything else !)
- does not swing; sounds kinda classical , played without any preset chord changes or tempos, sometimes completely atonal -- resembles cat & mouse sound
charles mingus ---
kinda hot tempered -- beat up his band members if they didn't learn their parts
performed with anybody who was anybody
used unorthodox tecinques as a band leader
didn't actually write stuff out -- he'd just like sing it and you had to pplay it
2nd only to ellington in the breath of compositions
his biggest influenced was ellington
where the funcky jazz label comes from
composed in many different styles -- would often changes styles or tempos in thhe same compositiion
social commentaries -- racial and political (he wrote)
..song: desegrigation of school. eight bars of bebop influence
not the only person making social statments -- time of malcom x and king and there are other musical racial protests -- rolins -- freedom sweet -- the first purely instrumental racial protest in jazz
max roach wrote the freedom now suite (screaming).
not released on a major label. described by as a "scathing critcism of the racial and social conditions"
Fountess fables - the record company would not let him release it with lyrics -- he released it on an independent label.
fountess - - called the national guard to not let the little rock kids into the school.
art ensemble of chicago - group of collectives by artists
weird far out music combining everything -- great black music.
very free based bery open very everything
very interesting time
when you parallel it with what was happening in pop music this time, there was -- the same reflection -- the whole freek scene -- frank zappa, sf scene - bay area -- greatful dead, jefferson airplane, crosy stills nash and young -- it just took another 10 years but the same statements were being made in popular music as in jazz
Fri 04/07/06
fusion
funk influences
see handout
going off the deep end, everthing is electric.
Mon 04/10/06
70s - disco was getting popular
very few groups stay above the fray and keep doing what they do
big bands and popular jazz in the late 60s early 70s
going further out than davis
big bands were still around .. they hadn't really been wildly popular since 1946, 47 etc.. since bop took over
but there were still many big bands that still existed and conintued to tour - ellington (till he died) - honored by reagon at the white house
bassie in the same situation
stan kenton -
woodie herman - "thundering herd" - taken over by sax eventually
aditionally, there were ghost bands:
the glen miller band -> still tours today
much like hhow old rock and roll bands end up playing really small clubs same thing happens to millers band
there are others
new developments
buddy ritch and his big band (played the drums) talented jazz drummer but r&r inflections
lead a band made of up mostly unknown talent -- usually younger fresh out of school didn't traditiinally know how life on the road worked ; renouned by his tempor and ranting.
google buddy ritch yelling or ranting.
between sets, he'd be furious with people
threatens to get rid of the whole band
t-bone player from au kinda talks back to him a bit
band performed in a very energetic drum heavy style with some rock influence
mercy mercy mercy - hard blues based
"there is no man in the whole that could love me like you do"?????
sounds different -- kinda pop oriented - r&b tune -- supremesish
jazz's version of an r&r big band, but same instrumentation that we're used to -- like glen miller or ellington but you can hear its very different styles
they would arrange a number of pop tunes -- beatles tunes:
high intensity; in your face.
a combination of jazz, rock , r&b, just high intensity all the time.
wildly popular at that time
further on into the 70s
increased level of popular jazz "contemporary jazz"
kenny G - example of this that we all recognize
he was once an extremely talented jazz sax player, but he realized that there was no money in that so he decied to do other stuff to make a fortion
started here in the 70s /w chuck mangioni
many players continuedd to perform in styles such as hard bop -- art blacky and the jazz messengers are still doing what they do essentially
fusion artists such as weather report -- and hits on the popular charts
these jazz groups would chart on the popular charts
many hard bop and modal artists sort of gracefully disappear -- considered dark period in jazz history
chuck mangion - flugal horn player - - (tapored bore, bigger bell, softer sweeter, singsongy sound to it)
originally from rodechster ny,
went to the east man school of music
did play with the jazz messages and with chick corria
became very popular - many people did not consider this to be jazz although he performs at leading jazz fests and improvs.
feel so good.:1979
some consider this to be the birth of the smooth jazz -- adult contemporary rock
1980 - composed and performed olympic theme.
that's a lot different from what was happening 15 years previous
chick correa;
piano player with davis
eventually formed an avant guarde trio - circle
formed - return to forever in 1972
in the 80s and 90s keeps going with the acousitik and electrik band.
la fiesta
not as pop oriented - much more rooted in jazz tradition but stil has fusion and pop music instruments - ex electric bass / guitar
herbie hancock -
piano player with davis 2nd quartet
formed a group called the head hunters - became very popular ever since
self titled album - one of the highest selling jazz cds of all time
wrote the theme to beavery hills __, axel f, became an naa jazz messenger in 2004
watermelon man!!
version 2: the one actually on the head hunters album
comeleon -- also on the album
joe zuan -- spelling!!!
also keyboard, performed with adderly, formed bitches brew
formed a band called weather report with short - get notes
key traight - collective improv
weather report:
got quite a bit of commerical sucess later on with tunes most noteably "birdland"
now you have a six minute more pop oriented tune that has 30 seconds of a solo in it. but we're loosing the spirit of what exactly jazz music is
weather report dispanded in 85
wayne shorter = tenor sax in weather report (davis 2nd quintet) art blacky and the jazz messengers
and still continues to this day - realeased alegria in 2003.
times have changed and the product has changed.
know as a dark era - music is good in a rfew ways also kinda weird.
still plenty of classic groups doing their stuff.
by this point, coltrane passed away but you still hagve rawlins, gillespie, but nothing terribly innovative.
Wed 04/12/06
live music - monday the 24th
final listening exam: monday may 1st
legends of jazz - pbs
the dark age in jazz
opostmodernism in the 80s - still in the dark -- pulling out of it slowly.
Postmodernism
-music drew from many different sources
- world music (indonesian, african, native american
- classical
- pop - country rock hiphop r& b heavy metal
new sounds produced on synthesizers - electro pop
because popular - found its way into jazz - if you were a jazz artist and wanted to make money, you had to incorporate the sounds b/c they were popular
developing new techinques and new sounds for the instruments - electronic sax.
made keyboards that peoplle strapped over them like a guitar - dummest idea ever :-D
some one develooped an electronic say - not a really read, but you blow in it, and it has keys you can play this sax and get many many synth sounds
in the plater part of the decade , the line between postmodernism and neotraditionalism started to blur
the knitting factory in NY - bet - (black entertainment tv)
famous artists -
john zorn - alto sax, composed , known for the blocks of sounds (trane had sheets) in which the musicians are given loose guidelines to follow rather than sheet music.
like alioatoric - play these notes in any order at any speed for x amoutn of time
because of that - he opens the debate as to what category you can call his music
pat matheeny - from kc -- guitar - lyrical style of guitar playing -- group has now been around for 35 years syth effects , biggest jazz starts of 80s 90s and today.
??circle??
they put outan album every couple years well receive
brecker brothers - randy and michael -- brecker brothers. did a lot of midi work.
ewi - electronic wind instrument - looks like a soprano sax - b/c a digital sound, you just plug it in, you can accomplish whatever sound you want.
song for barry-- brecker brothers.
played with a lot of other folks also -- on many albums
mador fergison --
high note trumpet player - who orringinally played lead trumpet in kenton band.
later formed his own group
claim to fame -- higher & louder than anyone else
very talented improviser, but hard to tell that at the high range of the trumpet
played the superbone : hybrid trombone trumpet -- had a combination of a slide and valves.
maynard
continues to tour with his band ____
he starts them off and then hell play high notes and lets the band play and then plays some more high notes and so on.
but the band is very very good.
these guys can outblow anybody
did a lot of pop tunes. -- camelian, gonna fly now
well produced.
gonna fly now
very impressive, very hard to do.
Mon 04/23/06
worksheets 1-11, 20, 21?
two exams
...
final listening exam: NEXT MONDAY!
unusual instruments, unusual sounds, ...
moving further and further from what is pure jazz music
along came a few people who decided to go back to traditional
neotraditional
all acoustic instruments, bakc to traditional forms, not necessarily dixie lang but there will still dixie groups happening -- but bebop hard bop cool modal.
getting back to the swing feel
avoided collective improv
davis's 2nd quintet - collective improv
the biggest name in this type of jazz music is marsalis
born in NO
child prodegy
when jay leno first took over the tonight show - the band was lead by bradford marsalis
another brother - trombone
seven kids
all suns & daughters of Ellis Marsalis
famous piano player and teacher.
whynton
performed with art blakey and the ajzz messengers
one a __ award in both jazz and classical.
80s - also high profile classical soloist.
eqully at home in the jazz and classical roles
his groups performed explosively on acousitc insturments
updated version of hard bop and modal
similar work to davis's 2nd quintet
controversial figure - outspoken on what exactly jazz is -- he's toned that down a bit .. but can always back it up
"fusion is not real jazz"
popular, young - brought this new blood to jazz (traditional jazz was just a bunch of 'old dudes')
fast agile playing -- traditional playing
in additon to that you have
big bands from the 80s still going strong
ghostbands -- bassie's band still going, not lead by bassie any more.
leaders have passed away but the bands keep going ; people like nostalgia
classic bands with new matterial - woddie herman's thundering bird (?) stayed fresh. performed new styles written by the younger musicians. eventually john fetchock took over the band and still tours under woody herman's thundering herd (herman has passed away)
limited edition -- la based band. bob florance - worked for the kentan band.
also a great wirter.
overall sound quality of the enemble evokes a west coast style - unusual sense of humor - Green Dophin street --> Purple Pourpoise Parker
traditional big band instrumentation .. swings like traditional big bands.
--
breaker brothers
michael breaker
frank zappa albums
'87 - breaker brothers type albums
considered the most influential sax since coltrane.
after the electric instrument fase, he went neotraditional - very similar to coltrane.
michaelbreaker.com
sings and arrows
busy like coltrane
tenor sax - joshua redman -- from ca , son of dewey redman, hs validictorian -- didn't study music in college , but ended up just playing a lot with guys at berkly
was accecpted to yale law school, but decided to play jazz instead.
so he moved to brookland and just hung out and worked on his stuff
won 1st prize in thaloneous monk institute prize
..
sf jazz collective - 7 or 8 of sf's best jazz musicians
neo traditional .. little bit of fusion, blues heavey, a little warmer sound than brecker, - more relaxed; solos a bit more melodic and logical
home fries
sonny rawlins-esq
modeskey martin wood
1991 got together in nyc
1996 - had a residency every monday night at the knitting factory (jazz club)
kinda a jam band hybrid.
like to set up their groups and just imporovize right on top
realy don't follow any charts or set things they work so well together they jsst let things go and sees whwere it takes them.
house mop
maria schneider orchestra - maria has one last last couuple of down beat magazine big bands, one a few grammies, artishare -- you caa't buy her cd in a store -- go to artishare and get it for 16 bucks. produced and sold solely through artishare - money goes to the right people.
.. eventually became assitant to gil evans.
soundtrack to the color of money. -1987
formed the orchestra in 1993
performed in the ..
iaje
hippest thing in jazz big band these days -- what she does
compsitions are lengthy and deeply personal.
lots of solo space -- everyone hin her band wants to solo
often with a modal harmonic basis - band churns on a handful of chords. soloists float on that for as long as they want to.
very artistic approach, colors, lush harmonies, fluid melodies.
a lot of cross-section
musicians double up
dance you monster to my soft song.
vocal
- cassandra wilson (?)
called best american vocalist by someone
began singing as a young girl in jackson mississi.
worked her way up
eventually landed on blue note (biggest jazz label)
grammy awards etc.
albums include originals unique interpretations of jazz standards.
very deep dark voice.
occasional scat sing.
blues heavy.
dianna croll
canadian -
berkly college of music
eventally to la and then back to ca
first recording as a leader in 73
recorded several albums
had a nomination for album of the year (for everybody -- so HUGE for jazz artist)
lilith fair tour
accused of using her attractiveness to sell
"jazz is supposed to speak for itself"
married elvis costello
new cd - "girl in the other room"
deeply rooted in jazz -- covers bop and swing. talented piano player
great voice
walt weiscoff - tenor sax
eastman school of music grad
played in toshico iyahosi's band
real scholarly guy - players guide to his harmony and the augmentic scale in jazz -- all about coltrane.
small version of the big band.
nicholas payten
- - raised in NO, studied with ellis marsalis
one a grammy at the age of 24
sonic trance - 68 minutes long in 18 different sections - integrates many music styles in a psycadellic representation intended to lead to self-realization
tantric (sp?)
postmodernist
no class on friday.
Wed 04/26/06
IAJE - international association of jazz educators
- he's a member
conference.
magazine.
do a lot of things for educators
iaje.org
nea jazz masters (national endowment for the arts)
established in 1982- kinda a hall of fame
solo instrumentalist, rhythm, [...] new category : jazz advocate.
verve - commemorative cd by them every year
tours conference
Jazz foundation of America
- 1990 founded
dr. billy taylor (who is an nea jazz master)
established the jazz musicians emergency fund -- helpful in katrina
partnerships with different hospitals
network of jazz enthiasts - provide free legal , .. , and dental services
jazzfoundation.org
publications
------------
downbeat - leading jazz journal since 1934 - monthly or so.
downbeat readrs polls - can vote every year. -- keep up with who is the most highly respected
jazz times - similar to downbeat (1970 -- started as radio free jazz) 1/2 of the magazine is record reviews -- bilboard magazine for jazz.; feature fpeople and article, etc, too
jazz cruse: special event where people who appreciate jazz get on a cruize ship and loaded with very talented musicians -- jazz music 24/7
jazz improv - for students of jazz -- four times a year. with it, companion cd -- will transcribe solos. cds articles playalongs, etc
jazz at lincoln center
whynton marsalis -- education and preservation of jazz history
traditional big band swinging jazz "neo-traditional"
dedicated to preservation of big band -- esp. ellington.
ellington most prolific composer in america
videos - marsalis on music -- pbs series.
marsalis won prize for jazz opera "blood on the fields" - slavery
educational outreach concerts --
jazz for young people
jazz 101 --- for adults
essentially ellington series - becomes the ultimate jazz band competition world wide
high school bands participate in this -- learn the tunes and record them with their own improvizations and JALC listens to these and selects 15 finalists
- invited to ny for a huge festival and competition
uw eou claire has won numerous downbeat awards for best college jazz bands.
jalc -- more
new facilities
128 million dollar building right near central park
over 100,000 square feet
3 performance venues - Rose hall biggest, alan room 500 seats - 1 side is all glass, dizzie's club coca-cola - resturant/bar associated with that. jalc.org