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Trumpet player
Performed with Duke Ellington, “Concerto for Cootie” |
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Belgian gypsy guitarist
1928 – Lost 2 fingers in a fire. Compensated with a new technique.
Un-amplified – unlike Charlie Christian
Quintette du Hot Club de France
First outstanding European Jazz Musician |
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1909-1956
Severely limited vision
Amazing Technique & velocity at piano
Reharmonization
Willow Weep for Me
Tiger Rag |
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Charlie Christian w/ Goodman sextet.
Blues form. This is a compilation of several solos.
Each solo is introduced by a 4 bar phrase.
First to use amps
First example of amplified electric guitar |
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A place where slaves were permitted to dance
Now called Louis Armstrong park
New Orleans City Council 1817 designated Congo square as the official site for slave dances
Other parts of the country did not permit this and outlawed any African elements in the music of slaves. New Orleans Latin-Catholic influence was tolerant |
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Edward Kennedy Ellington – (1899-1974).
Composer, bandleader, & pianist.
Wrote more than 2,000 compositions, more than just a songwriter.
Referred to as “master of the three minute form”. |
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Born Red Bank, NJ, 1904
Style went from stride to very sparse.
Kansas City Swing Style
Uses Brass vs. Reeds – Call and Response
Emphasized swing as the main component.
First great rhythm section came out of this band
William “Count Basie – Piano
Freddie Green – Guitar
Walter Page – Bass
Jo Jones – Drums |
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Born 1899 – Washington DC.
Father was a butler – cultivated, proper, & elegant.
Formed a band the “Washingtonians” and moved to NYC. |
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| Categories of Duke’s Music |
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Jungle pieces – (Cotton club)
Popular dance pieces
Mood Pieces (Mood Indigo & In a Sentimental Mood)
Solo features – )Concerto for Cootie/Warm Valley)
Concert works – All of the suites |
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| Duke Ellington played at the.. |
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Historically important engagement at the “Cotton Club” (1927-31)
Played for floor shows
Critics said “Jungle Sounds”
“Bubber” Miley
Plunger Mute
Growls |
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As a soloist, he defined jazz clarinet as no other, before or since.
Established standards of technical perfection unheard of in that era.
Popularized Swing Style
Had First Racially Mixed band |
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Unorthodox composer, his work seriously challenged improvisers.
Able to play as if he could “bend” notes.
Used melodic, cell development. (Straight, No Chaser)
Minimum amount of material.
Called “High Priest of Bop”
Straight No Chaser
Epistrophy |
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| Gerry Muligan on cool Jazz |
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Achieved international fame. (Cover of TIME, 11/8/54)
Admired as a composer, not as a pianist.
Worked with Paul Desmond (Alto sax).
Mastery of “odd” meters.
Time Out – most famous album (1959) |
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blue rondo ala turk
small beat over the larger beat |
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1949 – As influential as Armstrong’s Hot Five
Recording Projects with arranger Gil Evans.
Nine piece band – Nonet
Instrumentation was unusual, it added french horn and tuba.
Once again, the arrangement was central to the music. |
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with Gerry Muligan
“Pianoless” quartet.
Used counterpoint as the main focus.
No harmonic instrument was present. |
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| the relationship between two or more voices that are independent in contour and rhythm, and interdependent in harmony. |
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| Recording projects with miles davis |
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Continuation of excellence
Expansion of forms, and compositions.
Many believe his best works are from the 1930s and 40s.
More sacred concerts.
Suites – Such Sweet Thunder, Suite Thursday, Nutcracker Suite, Black Brown and Beige Suite |
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Ellington’s “alter ego”
Co-wrote much of the music during this period
Liked to compose is “dark” keys
Wrote Take the A Train, Lush Life (age 18), and collaborated on the suites
Flourished in Ellington’s shadow
It was difficult to discern where one’s style ended and the other’s began. |
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One of the most influential jazz composers and pianists from the 1950s & 60s.
Highly influenced by French impressionist Maurice Ravel. (Harmonically)
He used a light, legato style.
Loved to play waltzes.
Studied at SLU in Hammond
Worked with Miles Davis on Kind of Blue
This album helped to solidify his reputation. |
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He made four LPs with bassist Scott LaFarro – who revolutionized the technical approach to the double bass.
This trio used more of an equal contribution style, rather than piano solo with bass & drums accompaniment. (as compared to Oscar)
Drummer was Paul Motian.
This trio’s most significant contribution was to loosen the bebop formula patterns which were standard during the 1940s & 50s. |
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He also belongs in the jazz fusion category
Followed Herbie Hancock in Miles Davis group.
Interest in voicing chords in fourths, both playing and compositionally.
Due to –bop voicings sound muddy on the electric piano.
Influenced heavily by Bill Evans and Spain.
Also influenced by L. Ron Hubbard and Scientology |
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Tenor & Soprano Sax
After Charlie Parker, the most widely imitated saxophonist in Jazz.
Came to fame in 1955 with the Miles Davis quintet.
Worked with Monk in 1957, an important period.
Addiction to drugs/alcohol disrupted his career. |
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Overcame the addictions. (1957)
A Love Supreme celebrates this victory and the religious experience associated with it.
Believed in a universal musical structures which transcended ethnic distinctions. (Musica universalis)
Turned to radical musical styles in the mid 1960s. Attracted large audiences.
After his death, he acquired a cult-like following. Church in San Francisco bears his name. |
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One of his main objectives was to elaborate the full implications of bop chord progressions.
Improvised from formulae
Pattern oriented, rigid eighth note repetitions.
Impressive technique yielded sheets of sound.
Entrenched in the Thesaurus of Musical Scales by Nicholas Slonimsky. |
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Enormous impact on contemporaries and future players.
Re-established soprano saxophone as a modern jazz instrument.
He sold hundreds of thousands of albums in his final years, & established Avant-Garde jazz as popular music. (Temporary) |
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Significant in jazz history
Used collective improvisation
Emancipation of traditional roles in the rhythm section.
Little distinction between soloist and accompanist.
Important names
Joe Zawinul
Miroslav Vitous |
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Bass player (electric) with Weather Report
Changed the direction of jazz bass playing
Imitated just as the great jazz bassists.
Outstanding in four different roles
Walking Bass
Interactive approach (ala Scott LaFarro)
Funk Bass
Soloist |
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A troubled genius
Health problems, drug use led to his death
Beaten to death, 9/21/87 by a bouncer (Luc Havan) in a South Florida nightclub. |
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1973
Chameleon
Wanted to hire not jazz musicians who could play funk but to hire funk musicians who could play jazz.
Very electronic, lots of studio production and overdubs.
Platinum selling album. |
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Born 1930
Played alto saxophone
First recordings were from 1958 and 1960.
Club work was met with hostility.
“Harmolodic” – a term he invented to describe simultaneous soundings of a single melodic line, in different tonalities, pitches, or keys. |
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| a term he invented to describe simultaneous soundings of a single melodic line, in different tonalities, pitches, or keys. |
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Born in New Orleans
Played with Art Blakey
Numerous awards, Grammys & Pulitzer
Jazz at Lincoln Center |
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One of the biggest names in jazz in 70s and 80s.
Guitarist, he worked with pianist Lyle Mays.
Spacious and open sounds.
Some of his music falls into the “new age” category. |
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was an influential jazz bassist, perhaps best known for his work with the Bill
Evans Trio
who revolutionized the technical approach to the double bass. |
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Bass player
Played with Miles Davis Quientet |
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worked with Dizzy
cuban percussionist
heard on cubanobe cubanobop |
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Leader of Jazz Messangers
Drummer |
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tenor sax
made Brazilian music popular |
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trumpet player
died at age 25 in car crash |
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Played Tenor Sax
Played with Monk |
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Main Brazilian composer
Played Piano/Guitar |
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Saxophonists, Avant Garde Composer
Performs in New York on opposite side of Wynton |
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Drummer and leader of the Jazz Messengers
Epitomized the loosening of jazz drumming styles.
Used loud intrusions as accompanimental figures. |
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Worked with Sonny Rollins (Sax) and Max Roach (Drums)
Long fluid lines, reminiscent of bebop.
Died in auto accident at age 25. |
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Influential on Four Decades of Jazz
West Coast (w/ Gil Evans)
Hard Bop/Modal (Kind of Blue)
Post Bop (1963-68)
Jazz Rock/Fusion (Bitches Brew)
Trumpeter, composer, and bandleader.
Unmistakable sound. (Harmon)
Great use of space. |
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A less flamboyant trumpet player
Caressed harmonies rather than set them on fire.
Played standard tunes rather than originals
Used Cannonball Adderley on Alto sax |
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| Miles First Great Quentet |
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Miles
Wayne Shorter (Saxophone)
Herbie Hancock (Piano)
Tony Williams (Drums)
Ron Carter (Bass) |
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| Miles Davis’s Second Great Band |
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This band created a new jazz idiom.
Every album used new concepts.
They used tunes which did not have bridges, turnarounds, or sections.
Used these forms to encourage free-flowing sounds and improvisations.
Caused an “airy” feeling. |
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| Louis Armstrong, Duke ellington, Charlie Parker, Miles Davis, John Coltrane, Bill Evans |
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| uses lyrics, either improvised or set to pre-existing instrumental solos. |
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| Instumentation of Hardbop group |
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| Standard group was the Quintet– Piano, bass, drums, trumpet, and tenor sax. |
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| instrumentation of swing group |
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| 5 saxophones, 3-4 trumpets, 3-4 trombones, piano, bass, guitar, and drums. |
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Wrote the Thesaurus of musical scales
used by Monk
A book containing musical scales |
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| type of music played in elevators and on weather channel |
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Quiet refined “Funk” music.
Just as easy to hear or ignore.
Another definition–Instrumental pop music.
Fuzak – combination of fusion and muzak.
Best known practitioners are:
Kenny G
George Benson
Bob James |
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statement
statement
commentary |
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| each section has 8 measures with a bridge |
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| added vibrato to add warmth to their sound |
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Bass notes are almost always on the beat.
Very light and airy. |
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More intense
More rhythmic
Bass notes are seldom on the beat.
Salsa, mambo, merengue.
Combination on duple and triple rhythms. |
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| Larger by a semitone than the corresponding major or perfect interval |
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Golden Section
.618
Duke Ellington used it |
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| Lester young was influential on the saxophonists in which period of jazz history |
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Almost always straight 8th music
Fusion uses more electronic instruments
Electric bass guitar rather than acoustic bass
Electric piano rather than acoustic piano.
Many electronic effects alter the sound. |
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a combination (borrowing) of the popular rock idiom of the 1960’s with the jazz idiom.
rock borrowed jazz harmonies, & improvisation
jazz borrowed the complex rhythms of rock and funk. |
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| Orginated during hard pop era |
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a smaller beat on top of the Main beat
used in blue rhondo turk |
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| Important night club in the late 1920s featured balck entertainers and white audiences |
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Name comes from the sound of the music.
Dominated by the saxophone.
Drug use was heavy in the bebop crowd.
Bop improvisation was more complex
Melodic chromaticism
Harmonies were more complex in bop
(Much more chromatic)
Comping was more prevalent than stride style and simple, on-the-beat chording
Surprise was more highly valued in bop.
Bop was a more agitated style than swing |
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Small chamber groups
Arrangements unimportant
Solos were always different
Aimed at listeners, not dancers
Guitar not used
Melodies were obscured
Focused on Blues / I Got Rhythm
Saxophone eclipses the clarinet |
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| Louis Armstrong an uncle tom? |
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| no, he had an fbi file due to his comments about the little rock 9 |
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used by bill evans
every instrument is equally important, all make contributions to the music |
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Herbie Hancocks band
Wanted to hire not jazz musicians who could play funk but to hire funk musicians who could play jazz.
Very electronic, lots of studio production and overdubs. |
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Miles Davis
John Coltrane
Bill Evans
Cannonball Adderly
Jimmy Cobb
Paul Chambers |
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| Miles Davis’s Second Band |
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Miles
Wayne Shorter (Saxophone)
Herbie Hancock (Piano)
Tony Williams (Drums)
Ron Carter (Bass) |
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song with lyrics that do not rythm.
haiku |
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| Shirley Horn and Diana Krall |
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| Play piano and sing at the same time |
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| a computer composing program |
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used by miles davis
added the french horn and tuba |
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used by coltrane
due to his impressive technique |
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| celebrates Coltrane’s victory and the religious experience associated with it. |
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| Believed in a universal musical structures which transcended ethnic distinctions. |
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