| Louis Armstrong: New Orleans and Chicago |
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- N.O. – born there, takes lessons from Joe “king” Oliver
- Later leads Oliver’s band when Oliver moves to CHI
- CHI – Plays 2nd trumpet for Oliver, then leaves CHI
- Returns to record Hot Fives/Hot Sevens
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| Louis Armstrong: Influence on Jazz |
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- Most important figure in jazz – transforms it into an “art”
- Influential as instrumentalist and vocalist
- Greates trumpet player of his time – technique far beyond anyone;
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| Benny Goodman: Importance/Influence |
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- Clarinet player – his band ushers in the “swing era”;
- X-country tour made jazz youn people’s music – started most successful period in jazz
- Advocate of integration in jazz
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- Influenced by Louis Armstrong
- Huge sound, wide vibrato
- Vertical improvisation – lots of arpeggios
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| Coleman Hawkins: Influence |
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- “Father of the tenor saxophone”
- Replaces clarinet with saxophone in jazz
- First great big band sax solist
- Influences development of Bebop
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| Duke Ellington: The Cotton Club |
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- High end club in harlem
- Minstrel-type entertainment
- “Jungle Music” – Bubber Miley’s trumpet growl
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| Duke Ellington: Later Years |
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- Writes many types of music – compositions longer
- Nominated for Pulitzer Prize;
- Grammy lifetime achievement award
- Presidential medal of freedom;
- Dies 1974 – 12,000 attend funeral
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| People/Style: Charlie Parker |
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- “Bird” influenced by Lester Young -;Born in K.C
- Incredible facility and Rhythmic innovations
- Heavy drug use leads to death;
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| People/Style: Miles Davis |
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- Grows up in St. Louis
- Studies classical trumpet
- Simpler style – fewer notes, middle register, more space
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| Miles Davis: What is his “genius”? |
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- He could anticipate stylistic direction that jazz needed to take
- He would adopt new styles before anyone and usher in new eras of jazz
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| Latin Jazz: Early Origins |
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- West African and Caribbean rhythms influence the development of Jazz
- Caribbean music travels to N.O.
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- “Father” of Afro-Cuban Jazz/Cubop;
- Born in Havana, moved to NYC
- 1939 – Forms band with Machito
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- Raised in Havana – one hell of a maraca player
- Combines big band instrumentation and arrangement style w/ Cuban rhythm section
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- Rhythmic – dominated by percussion;
- Clave = thythmic idea that everything is organized around
- Syncopated way of delivering pulse
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- Timbale Player – helped popularize Cuban music in America (although Puerto Rican)
- WWII Vet – seved in 9 naval battles;
- Graduated from Julliard;
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- Percussion is syncopated and dominant force – use of unique instruments (tamborin, surdo)
- Popularized in 30’s/40’s by Carmen Miranda movies
- THE music of Carnival/the people of Brazil
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- “New Flair” – initially popular among upper class
- More laid back that Afro-Cuban and Samba
- MOST ICONIC FORM OF BRAZILIAN EXPRESSION
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| People: Antonio Carlos Jobim |
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- Leading composer of Bossa Nova style
- His music often performed by American jazz artists
- Made famous by Stan Getz/Joao Gilberto
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- Guitar player/singer;
- Leading interpreter of Jobim songs
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- Sax – cool/sensitive sound, fluffy tone
- Lester Young influence
- Works with Joao Gilberto
- Real big asshole
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- Free from musical restriction – removes structure from jazz
- Allows artists to experiment;
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- Recognized as first Free Jazz player
- Does not want to be constrained by jazz or musical conventions
- Use of “Harmelodics”
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| Ornette Coleman: “Harmelodics” |
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- A musical phrase should not be determined by any underlying values of pulse or harmony
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| Free Jazz as Inevitability: Davis/Coltrane |
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- Davis – modal music features slower harmony, requires less planning to execute;
- Coltrane – expands modal conception allowing him to experiment w/ harmony
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- Composer/band leader – mythical figure of Free Jazz
- Believed AA’s were a myth of society – his music will lead AA’s to freedom;
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| Early Fusion: Miles Davis |
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- Responsible for launching Fusion;
- In A Silent Way;considered first fusion album – multiple electric pianos, organ, guitar, tape edits;
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- Multiple chordal instruments/drummers, use of effects on trumpet
- Psychedelic – Miles creates connection with younger audiences by integrating their music, fashion, etc.;
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| Style: Characteristics of Fusion; |
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- Rhythmically/harmonically informed by whatever popular music style it is attempting to fuse
- Adopts instrumentation of popular music styles
- Experimentation/improvistion much more central then popular music
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| People: Herbie Hancock (and Head Hunters) |
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- Pianist w/ Miles 2nd quintet – leaves to start his own groups
- Important in the development/use of synthesizers
- Head Hunters;- less rock influenced than Miles’ group, funk is fused
- 80’s – focuses on commercial styles, still innovative
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| People/influence: Jaco Pastorius |
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- Revolutionized electric bass by stripping it of its frets
- Redefined articulation/facility people expected from Bass
- Played bass with fingers – started this style
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- Formed by Wayne Shorter (sax) and Joe Zawinul (keys) – Davis alums
- Features bass virtuoso Jaco Pastorius
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| Band: John McLaughlin and the Mahavishnu Orchestra |
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- British guitarist – worked w/Miles on “Bitches”
- Fusion group that sounded most like rock-n-roll
- Influential on creation of “prog-rock” (Rush, Dream Theatre, Yes, The Mars Volta);
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- Great decline in straight-ahead Jazz
- Fusion artists able to sell more records – leads to saturation and need for change
- Some musicians refuse to integrate Fusion (Blakey, Ellington, Mingus)
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| Jazz in the 1980’s: Young Lions |
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- Young musicians who lead resurgence of straight-ahead jazz in 80’s
- Model their style after bebop/hard bop
- Emphasize “swing” and “blues” as core of Jazz
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| Miles Davis: “dark” period |
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- 6 years of cocaine, sex, and no music
- Saw jazz as corrupt/racist industry – AA’s exploited by Whites
- This period resulted in many health problems
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- Trumpet player – Born in N.O. to musical family – father = pianist, brother = sax
- First artist to win Jazz AND Classical Grammy, also won Pulitzer
- Dismissed/hated avant-garde and fusion
- First important jazz musician to ally himself w/critics;
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| Today: Where and What is Jazz? (Marsalis) |
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- Marsalis – most recognizable figure in present era, but hasn’t ushered in new style
- Instead, he elevates Jazz by canonizing its past figures
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