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- Frequent use of counterpoint
- Less aggressive sound
- Relaxed tempos
- Emotional detachment
- Delicate sounds
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- Group lead by Miles Davis – Pioneered the style of “cool jazz”
- Interested in playing lighter sound rather than stylistic precedent
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New Instruments: Cool Jazz |
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- Flute
- French Horn
- Oboe
- Flugelhorn
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- First to use bebop style on baritone sax
- Developed piano-less quartet
- Emphasizes counterpoint between bass and melody
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- Trumpet player/vocalist – “Doomed Jazz Genius”
- Ultimate image of cool jazz artist – good looks, romantic musician
- Terrible junkie
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- Jazz teacher/pianist – blind from birth
- Highly innovative – valued countrapuntal and harmonic content
- Abrasive/reclusive personality made him less popular
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- Influence on modern pianists – phenomenal technique/musical sensitivity
- Worked w/ Miles Davis
- His trio redefines roles of rhythym section – uses bass/drum counterpoint
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- Clasically trained pianist – Balkan/Middle eastern influence
- Use of odd-meters
- Tremendous commercial success
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- From St. Louis
- Studied classical trumpet
- Had the ability to anticipate stylistic direction jazz needed to take
- Had heroin addiction, then cleaned up
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- Simpler style – fewer notes, middle register, more space
- Valued content over technique
- Played w/ Charlie Parker & Dizzy Gillespie
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Miles Davis: 3rd Stream Jazz |
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- Blending jazz/classical music
- Addition of “non-jazz” instruments
- Unique orchestration – use of classical forms
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- Tired of bebop cliches – wants originality and freedom
- Fewer chords, simplification of harmony
- “Kind of Blue” – provides next shift in jazz
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Miles Davis: Hard Bop/Funky |
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- Heavy gospel/R&B influences
- Bluesy – recognizable/catchy melodies
- Featured shout chorus and ensemble sections
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- Aggressive drummer – central figure in hard bop
- Forms Art Blakey and the Jazz Messengers
- “One man university of jazz” – developed many talented artists
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People/Style: Horace Silver
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- Pianist – Plays with Art Blakey
- Left hand = syncopated and active
- Incorporates blues, folk, gospel
- Catchy melodies – songs popular in jazz
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People/Style: Julian “Cannonball” Adderley |
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- (hard bop) Alto sax player – Bluesy/big sound
- Plays w/ Miles on Kind of Blue
- Leaves Miles –> forms band w/brother Nat
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People/Style: Wes Montgomery |
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- Guitar player – uses thumb to play
- From Indianapolis, discovered by “Cannonball”
- Single lines, octaves, and chords
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People/Style: Jimmy Smith |
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- Used Hammond B3 Organ – usually used in church
- Left = walking bass line, Right = melodies & chords
- Church influence – funky/gospel sound
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People/Style: Clifford Brown |
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- Trumpet Player
- Great tone, technique, time, and harmony
- “Clean musician” – influences lifestyle choices for others
- Dies at age 25 in car accident
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People/Style: Charles Mingus |
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- Virtuoso bassist – great composer
- Music spans many genres – classical, gospel, bebop
- Music contains civil rights messages
- Heavily influenced by Ellington/Parker
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- Born North Carolina, grows up in Philidelphia
- Begins playing clarinet, then alto sax –> later switches to tenor sax
- Joined military – played in service band
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- Joins Miles Davis Quintet
- Replaced Sonny Rollins
- Initially, critics dislike style/sound
- Gets fired by Miles for drugs, then works with Monk
- Rejoins Miles “Kind of Blue”
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John Coltrane: “Sheets of Sound” |
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- Refers to Coltrane’s use of fast scales
- Plays as much harmonic knowledge as possible at all times
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John Coltrane: “Giant Steps” |
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- 1959 Album – explores new harmonic movement
- Very difficult to play
- Important influence on modern jazz
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- 2 seperate melodic ideas occuring simultaneously
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Band Members: Miles Davis 2nd Quintet |
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- Wayne Shorter – Saxophone
- Herbie Hancock – Piano
- Ron Carter – Bass
- Tony Williams – Drums
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Importance: Miles Davis 2nd Quintet |
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- More freedom – form/harmony
- Soloist is a function of the dynamics of the accompaniment
- Elasticity: band members push/pull on each others melodies, tones, solos without talking
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- Influenced by rock and funk
- Electric guitar and Synthesizers
- Simpler musical structures allow greater musical freedom
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