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Tenor and Soprano sax
1926-1967 |
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| Had a heroin addiction hat broke up the Miles Davis quintet |
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| Played excessive lengths in his performances |
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| Played with Thelonious Monk “School of Monk” |
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“Sheets of Sound”
Double-timing |
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Tried to play every note in every chord and every scale
(Coleman Hawkins X 10) |
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| Most influential tenor saxophonist in Jazz |
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| 1960 classic quartet with John Coltrane |
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McCoy Tyner (Piano)
Jimmy Garrison (bass)
Elvin Jones (drums) |
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| What was Elvin Jones known for? |
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| Rolling triplets on drums |
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| Natural minor scale with a raised sixth |
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| Album made by John Coltrane when he went clean |
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| What did John Coltrane die of? |
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| Only recorded for 12 years, but had a high impact on jazz music |
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Trumpeter (1991)
Born in St. Louis |
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| At age 18, he performed wih Bird and Diz |
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| Quit Julliard School of music to play at NY nightclub with Bird |
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| Absorped the Bebop style with Bird and Diz |
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| Was not as technically able as Gillespie |
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| Had a nine-person group with Gil Evans |
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| Encounter with Gil helped his first style change “Cool Jazz” |
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| Cool Jazz created a great appeal to the White audience than Bebop |
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| Who was Miles Davis’ rhythm section in his 1st Quintet? |
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| Red Garland, Paul Chambers, “Philly” Joe Jones |
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| Who was Miles Davis’ rhythm section in his 2nd Quintet? |
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| Herbie Hancock, Ron Carter, Tony Williams (17 years old) |
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| When was Jazz-Rock Fusion introduced? |
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| Bitches Brew album dropped (1970)
One of best-selling jazz albums of all time |
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No Walking bass (modal delays)
No swing |
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| Straight up and down rock beat |
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| Bass-repetitive and busy funk lines |
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| Inclusion of african insttruments |
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| Emmerged during the late 60’s |
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| Short repetitive chord progressions |
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| most important fusion pioneers were in the bands of miles davis |
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| Mixed jazz improvisation with the instrumentation and rhythms of R and B |
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Chicago |
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| bands that first started fusion |
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| Fusion guitarist
Recorded with miles davis, Tony Williams |
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| Jan Hammer-keyboards
Jerry Goodman-violin
Rick Laird- Bass guitar
Billy Cobham-drums |
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| Considered the ultimate models of group cohesion and fuison improvisation |
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| Joe Zawinul-piano, synth
Wayne Shorter-soprano saxo (w/ davis) |
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| Often no distiction between solo and band |
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| Collective improvisation of textures
Funk band emphasis |
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| Played with head hunters and sextant |
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| Pianist composer
return to forever
Chick Corea Electric band |
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| Latin and Spanish influence |
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| How Davis avoided musical stasis (single mode) |
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| Davis created a variety of shifting- to a different scale during the composition |
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| How did Davis view modal jazz? |
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| As a challenge to melodic invention |
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| Deliberate restriction of resources results in __________________? |
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| Paradoxical sense of creative liberation |
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| Sharp contrast between Miles understated improvisations and John Coltrane’s impassioned streams of notes, made music more intense |
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| “Jazz as we know it is DEAD” |
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| October 1967 Downbeat magazine |
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| Rhythmically interlocking parts for bass, guitar, drums. |
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| Solos utilized long strings of sixteenth notes |
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