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| -dance oriented music
-dance style: “lindy hop”
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-Harlem Renaissance |
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| -arranger/band leader (piano)
-section vs. section arrangements (dialogue between instruments)
-“four beat” swing rhythm- more danceable and driving |
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| -important musician out of Fletcher Henderson’s band
-tenor sax
-sequencing: connecting ideas, using a single idea as a motive |
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| -important musician associated with Duke Ellington
-bass
-played melody (unusual for bass)
-used a bow (trained violinist)
-great soloist and improviser
-developed more linear bass lines (melodic and fluid) |
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| -Helped Duke Ellington write (writing styles remarkably similar)
-composer/arranger/pianist |
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| -blind pianist
-“cutting contest” (trying to outplay each other)
-combined classical, stride, and boogie
-reharmonization (creating more tension) |
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| -“Lady Day”
-singer
-very personable style: instrumental voice (imitates horn players)
-emotional storytelling (had a difficult life) |
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| -guitar
-first great (best) guitar soloist |
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| -amazing scat singer, very instrumental
-sang fair amount of traditional jazz AND pop
-broke mold of stereotypical female singer (larger girl) |
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| -swing vocal style (doo-wop)
-first black group to be on a national/network radio group
-influenced the Andrews sisters |
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| -singer/pianist
-first black to have weekly radio show & also a TV variety show
-broke color barrier in the business (compared to Jackie Robinson) |
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| -singer/ stereotypical big band singer
-appealed to younger (female) audience
-unique phrasing style |
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| -alto sax, bass clarinet, flute (virtuoso for all 3)
-dissected Charlie Parker’s notes
-strange sound but more logical
-Picasso of the jazz world: real picture but very disjointed and strange |
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| -alto sax
-took piano out of his music completely: no chord progression
-lots of complicated melodies: CHAOS |
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| -took be-bop and made it more legitimate
-took be-bop to the concert halls
-tried to find a wider audience in their music
-mixed classical, jazz, and ethnic styles together
-“3rd stream”- mixing classical and jazz |
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| -piano player for the Modern Jazz Quartet |
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| -vibrophone player for the Modern Jazz Quartet |
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-piano/composer
-best selling jazz musician of all time
-w/ Paul Desmond: experimented with odd meter in “5” and “9” |
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-piano
-British; legally blind
-pop orientation: shorter tunes, arranging
-“Shearing sound”= piano, guitar, vibes all playing melody |
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-piano/composer
-most famous for his trio
-brilliant organization, classical influence, technical
-collective improvisation: let bass and drummers be more experimental and melodic |
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-Bill Evans: piano
-Scott Lafaro: bass
-Paul Motian: drums |
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-Ellington player
-trumpet |
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-Ellington player
-alto sax
-most innovative soloist |
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-Ellington player
-tenor sax
-shifted sound of the band |
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-Special effects used by Ellington’s players
-“growls” imitated animals with their instruments |
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-most popular big band leader of his era
-23 #1 hira
-NOT jazz: no improvisation (jazz-like)
-popular because it was predictable |
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| Duke Ellington: importance, history, style |
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-most recorded jazz musician ever
-composer/arranger/pianist
-brought jazz to the classical world (crossover
-wrote personal arrangements for individual players
-cross-section writing |
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-alto sax
-“Yardbird”
-most important sax player of his period
-1st major Bebop sax player
-Kansas City
-wrote new, complex faster melodies based on old tunes
-worked closely with Dizzy Gillispie
-after Armstrong, most important improviser
-Charlie Parker W/ Strings= effort to reach more pop audience |
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-trumpet
-experimented with Bebop and Cuban salsa/mambo
-worked closely with Charlie Parker
-complex chords= more extension (color) |
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-piano/composer
-Bebop harmonic/chordal genius
-mixed old and new: stride + melodies/blues
-didn’t catch on real widely b/c of dissonance and not “pretty” sounds
-improv made it hard to dance to |
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-piano
-“Best Bebop piano player”
-adapted Parker’s style to piano
-piano trio (modern: piano/bass/drums) |
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-2nd important quintet: hard bop (crazier, more intense) :
1. Herbie Hancock-piano
2. Wayne Shorter- tenor sax
3. Ron Carter -bass
4. Tony Williams- drummer |
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| Miles Davis Classic Quintet |
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-“mature” bebop- model for typical jazz
-a.k.a. mainstream jazz period
1. Paul Chambers- Bass
2. Philly Jo Jones- Drums
3. Red Garland -Piano
4. John Coltrane -Tenor Sax
5. Cannonbal Adderly -Alto sax
[Late Replacements]
1. Wynton Kelly -piano
2. Jimmy Cobb -drums |
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“Birth of the Cool”
=Jane
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| -Miles Davis/Gil Evans recording -smoother, more chilled out, listenable bebop |
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-Miles Davis/Bill Evans recording
-most important album in jazz history (influential: one of the best selling of all time)
-classic sextet
-atypical/revolutionary experimentation style with “modal” jazz
(mode = scale not used to hearing- lack of chord/harmonic progression) |
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-rock mixed with jazz
-“psychadellic”
-1970s “Bitches Brew” most innovative fusion album (mostly improvised)
-David didn’t want to play the same music over again: makes jazz fit with time period and culture |
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| -developed the 8 track recording machine |
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| John Coltrane Famous Quartet |
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1. McCoy Turner – piano
2. Elvin Jones -drums
3. Jimmy Garrison -bass |
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| Post-war era intro/technology |
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-magnetic tape allowed higher quality and more tracks on a single tape
-1948: First tape recorder available (Ampex)
-1949: Two track stereo (Ampex)
-1939: FM radio
-1939-1951: TVs |
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a.k.a. “avant-garde”
-improv not tied to any chord progression agreed upon before the performance
-most free jazz groups got rid of piano b/c the pianist had the assumed role of chord progressions |
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-clarinet/ white band leader
-bought Henderson and Carter’s arrangements |
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| Change from N.O. jazz -> Big Band |
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-more players
-no banjo in rhythm section
-more arrangements and more specific ORGANIZED arrangement style
-conversation-type playing |
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1. RHYTHM 2. BRASS 3. SAX
-trumpet
-trombone
-saxophone
-piano
-drums
-bass |
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-Count Basie
-Blues/rural
-Riff based
-Head charts = improvised parts |
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-drummer for Basie
-quiet, relaxed style |
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-led consistent, smooth, rhythm section
-amazing pianist and bandleader
-timing of a drummer, used silence |
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-not written down
-spontaneously created during performances and memorized |
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-sax/composer/bandleader
-intense, fast
-chord changes
-modal (“my favorite things”)
-free jazz/ bebop hard bop
-“Giant Steps” |
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-small combo
-less emphasis on arrangement
-more complex improv
-complex melodies and harmonies
-surprise |
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