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- in ellington’s band
- trumpet
- “Concerto for Cootie”
- Swing
- growling, or jungle music
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interactive approach with Jaco Pastorious. Revolutionized the double bass |
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- Played with Weather Report
- electric Base
- drug problems and bipolar. beaten to death getting into a club.
- Jazz rock fusion
- fast tempo
- changed the direction of Jazz bass playing
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Jaco Pastorious’ band
- used collective improvisation
- emancipation of traditional roles in the rhythm section
- Joe Zawinul
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- one of the biggest names in Jazz
- guitarist
- Jazz Rock Fusion
- spacious and open sounds (elevator type music)
- Songs: first circle, slip away, 5-5-7(named for the chorus)
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- Sax
- Songs: Nefertiti, Chameleon
- Jazz Rock Fusion
- electronic overdubs
- platinum selling.
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- Tenor and Sporano
- after parker, the most widely imiatated saxophonist in Jazz.
- Miles Davis Quintet
- worked with Monk
- drugs, but overcame the addiction. A Love Supreme is the album that celebrates it.
- one main objectives was to elaborate the full implications of bop chord progressions.
- played with sheets of sound
- re established
- Hard bop and Bop.
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- Transition to bepop.
- first one to amplify guitar
- played with goodman
- breakfast fued.
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- belgian gypsy guitarist
- only had 3 fingeres on one hand
- unamplified guitar
- first outstanding Jazz Musician
- Qunitette du Hot Club de France
- transition
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- severly limited vision
- amazing technique and velocity at piano
- reharminization
- songs: Willow Weep for Me, Tiger Rag
- transition
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- nicknamed yardbird
- possibly the most important musical figures in jazz history
- played and lots of notes. densley packed solos
- saxiphonist
- songs: Shaw Nuff(with Dizzy), Embraceable You (two alternate takes)
- bebop
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- first important bop trumpeter
- introduced Afro-Cuban music
- Cab Calloway called his music “chinese music”
- bebop
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- Unorthodox composer
- played like he could bend the notes like a jaz player
- pianist
- songs: straight no chaser
- bebop
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- admired as a composer not as a pianist
- worked with Paul Desmond (alto sax)
- mastery of “odd” meters
- “Time out” was most Famous Album
- songs: take 5, blue rondao ala turk (based on Mozart)
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A legend is an old man with a cane known for what he used to do. I’m still doing it.;
Do not fear mistakes. There are none.;
Don’t play what’s there, play what’s not there.
For me, music and life are all about style.
I’ll play it and tell you what it is later.;
It’s always been a gift with me, hearing music the way I do. I don’t know where it comes from, it’s just there and I don’t question it.;
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- played through 4 decades of Jazz
- trumpet
- nonflamboyant style (just the pretty notes)
- caressed harmonies rather than set them on fire
- thought to be more of a re-composer rather than a rearranger.
- Albums: Birth of Cool (bop), Bitche Brew(jazz rock fusion), Kind of Blue (introduced modal Jazz), Hard Bop
- Allstar band from Kind of Blue: Miles, Coltrane, Bill Evans (piano), Cannonball Adderly (alto sax), Jimmy Cobb (drums), Paul Chambers (bass)
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Paul Chambers
Wynton Kelly
Bill Evans
Jimmy Cobb
John Coltrane
Cannonball Adderley
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1963-1968 (second great quintet) |
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Miles
Wayne Shorter (Saxophone)
Herbie Hancock (Piano)
Tony Williams (Drums)
Ron Carter (Bass)
-free flowing sounds, airy feeling.
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Stella by Starlight
Nefertitti
Hand Jive
Brown Hornet
Miles Runs the Voodoo Down
Tutu
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Chet Baker/ Gerry Mulligan |
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- west coast
- Pianoless quartet
- no harmonic instrument
- used counterpoint as the main focus
- songs: Bernie’s Tune, Walkin’ Shoes
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- Piano
- AABA
- Uses brass vs. reeds-call and response
- played in silent movie theaters
- took over Bennie Moten’s band in 1935
- style went from stride to very sparse
- songs: doggin’ around, jumpin at the woodside
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Freddie Green (Father Time) |
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- played in basie’s band
- strummed chords on each beat.
- rarely played solos, more of a rhythm player
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- edward kennedy ellington
- composer, band leader and pianist
- 2000+ compositions.
- “Master of the three minute form”
- took the idiom of jazz into the format of extended works
- often wrote more than one versoin to a song
- “jungle” pieces at the cotton club
- dance pieces
- cotton club was his important engagement
- buber miley- growling sounds and plunger mute
- discovered the “golden section”
- wrote the suites- a group of pieces tied together in some way and intended to be performed together
- somposed a film score, Anatomy of a murder
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difference between lyrics and poems |
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Poems are free flowing
Lyrics are defined by form and meter
Poems can be of any length
Lyrics must be concise
Poetry can have a visual dimension – giving the reader a chance to go back and reflect on abstractions
Lyrics are primarily aural and are absorbed by the ear as the song goes along
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- Ellington’s “alter ego”
- cowrote with ellington a lot of music during the 50s.
- liked to compose the dark keys
- wrote Take a Train, Lush Life at 18
- flourished in Ellington’s Shadow
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- Bossa Nova (rich)
- Samba (poor)
- contains a cool jazz sense of flavor
- BimBom played on classical nylon stringed guitar
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difference between Afro-cuban and Brazillian |
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Bass notes are almost always on the beat, aside from salsa |
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- drummer and leader of the Jazz messengers
- epitomized the “loosening” of Jazz drumming styles
- loud intrusions
- call and response
- AABA
- 12 bar blues
- songs: moanin’, blues march
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American Saxist under Antonio |
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voice of america, durring the cold war. (europian) |
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- Free Jazz
- post modern
- his jazz sounds like rock
- Naked City
- opposite of Wynton Marsalis
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- Neo Traditionalism
- plays at the lincoln center in NY
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on the trumpet. died in a car crash in 1956 at the age of 25. played long fluid lines remenicent of Bebop, but was a Hard Bop player.
;
songs: Charokee, Easy Living
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armstrong
ellington
parker
davis
coltrane
evans
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On the Sax. Played with clifford brown. |
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- Known as a Rearranger instead of a composer.
- worked with Miles Davis for a while.
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The word “vocalese” is a play on the musical term “vocalise” and the;suffix;”-ese”, meant to indicate a sort of language. |
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- A reaction (in part); to the anemic, cool jazz records that exploited the superficial elements of west coast.
- Return to roots: gospel and blues influences;
- Simpler harmony, rhythm and melody than bebop
- Powerful, explosive, hard driving
- ;Funk; became an important concept.
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big band jazz, dancable music. |
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