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cont. of excellance
Expansion of forms, and compositions
-many believed his best works are from the 1930’s and 40’s
-More sacred concerts
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| Such Sweet Thunder, Suite Thursday, Nutcracker Suite, Black Brown and Beige suite |
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| Written about a central idea |
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| Ellington’s preoccupation with form was… |
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| much more advanced than his contempararies |
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Ellington’s “alter ego”
-co-wrote much of the music during the period
-Liked to compose is “dark” keys |
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| “Take A Train, Lush Life” and collaborated on the suites |
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| Billy Strayhorn flourished |
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| It was difficult to discern where Ellington’s style ended and Billy Strayhorn’s began |
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| Sonet in Search of a Moor |
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Duke Ellington
– wrote in same form as Shakespear |
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| Up and Down (Midsummer Night Dreams) |
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Pairs up instruments to represent the couples from the play
-changes it up to represent Puck’s plans |
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Trumpet player
played the quote “Lord what fools these mortals be” through use of mute in “Up and Down” |
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After Charlie Parker the most widely imitated saxaphonist in Jazz
-Heavily influenced by Bird
Worked with Monk in 1957
Addiction to drugs and alcohol disrupted his career |
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his addictions
“A Love Supreme” celebrates the victory and the religious experience associated with it. |
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| in a universal musical structures which transcended ethnic distinctions (Musica Universalis) |
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| radical musical style in the mid 1960’s attracted large audiences |
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| After Coltrane’s death, developed a cult following |
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| Had a church named after him in San Fransisco |
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Improvised from formulae
-Patterned oriented, rigid eighth note repetitions |
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| Coltrane’s impressive technique |
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| Entrenched in the “Thesaurus of Musical Scales” |
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Enormous impact on contemporaries and future players
-Re-established saprano sax as a modern jazz instrument
-sold hundreds of thousands of albums in his final years, and established Avant-Garde jazz as popular |
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Used a sextet rather than a quintet
Played standard tunes rather than originals
Used Cannonball Adderley on Alto sax
Bye Bye Blackbird
Stella by Starlight |
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Miles Davis
John Coltrane
Bill Evans
Cannonball Adderly
Jimmy Cobb
Paul Chambers |
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Recorded in 1959.
Most important and pivotal album in modern jazz. |
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| Significance of “Kind of Blue” |
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A set of inspired improvisations by an all-star band.
A significant departure from traditional bop-derived styles.
Introduced the format of Modal Jazz |
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Affected the Harmonic Rhythm
(the speed of the change in harmony)
Harmonies of a single chord or scale remain in effect for several measures. |
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Miles Davis
Based on one mode, Dorian (minor scale with a raised 6th scale degree)
AABA form, the bridge is the same as the A sections, except one-half step higher.
Miles only leaves the mode twice during his solo. |
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Written by Bill Evans
The overall form is a palindrome
Harmonic rhythm speeds up and slows down
10 5 2.5 5 10 |
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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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