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156 Cards in this Set
- Front
- Back
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Jazz big composers |
Thelonious Monk, Charles Mingus, George Russell, Gil Evans |
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Thelonious Monk |
Stride pianist and composer, played at Minton's playhouse, "high priest of bebop", dissonant, whole tones, tritones, semitones, simple but unpredictable, on the beat though, fingers splayed straight |
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Charles Mingus |
Went from cello to bass, studied classical but listened to jazz, influenced by Duke Ellington and Charlie Parker, Cool - modernist compositions, political, inspired by black church, historicist tributes |
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George Russell |
Theorist, composer, dissonant harmonies, rhythm improvisation |
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Gil Evans |
Jazz history, composer's arranger, historicist |
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Miles Davis best known for... |
Birth of Cool Jazz |
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Miles Davis education |
Went to Juilliard but played at Minton's and NY's 52nd street on the side, once played after Charlie Parker in band, competes with Dizzy Gillespie |
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Where does Davis go after Charlie Parker band? |
Gil Evans, cool style - top trumpet, relationship with Juliette Greco, heroin junkie but quits at father's farm |
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Miles as hard bop |
Miles cool solo with hard bop background, improvising style has restraint, energy held back, "teaches" by example |
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John Coltrane |
Tenor sax, part of Miles Davis Quintet, intense, melodic paraphrase, was with Thelonious Monk at one point, harmonic improvisation, heroin addiction, covered "My Favorite Things" |
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Bill Evans |
Pianist with Miles Davis band, modern |
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Modal improvisation |
Improvisation within a single scale |
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Pedal point |
Bass line stays predominantly on one pitch - not usually maintained for long |
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A Love Supreme |
John Coltrane album - based on four movements |
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Motives |
Short melodic ideas |
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Quartal chords |
Built on fourths rather than thirds |
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Post bop |
Rhythm section not restricted, complex and dissonant harmonies, semi-atonal, quartal chords, playing outside, no chord progression |
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Post bop bandleaders |
Miles Davis, Joe Henderson, Andrew Hill |
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Miles Davis Quintet |
Harmonies ambiguous, quartal, pedal points, abstract, |
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Avant-garde jazz |
Rethinking all conventions, attacking traditions, art, and modernism - also known as free jazz - "new wave" |
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Avant garde in music |
No dance beat, ambiguous, flexible, rhythm section disappears, openness |
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Harmony and form of avant garde |
No reliance on chords or scales, no standard forms (AABA, , blues) |
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Instrumentation of avant-garde |
Symphony, percussion, Third World |
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Politics behind Avant-Garde |
Black nationalism, antiwar |
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Ornette Coleman |
Alto saxophonist, composer, youth played bebop, then free jazz |
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Ornette Coleman Quartet |
No piano, free rhythm section - bass and drums in different time zones, strong melodies, jarring timbres, intonation, melody not harmony |
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Free Jazz 1960 |
2 alto sax, 2 trumpet, 2 bass, 2 drums - improvising on loose structures - 37 minute performances |
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Harmolodics |
Harmony, melody, movement |
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Song X Duo |
Ornette Coleman and Pat Metheny |
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Ornette awarded with... |
Pulitzer Prize |
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Cecil Taylor |
Pianist/composer - classical training, but turns to avant-garde modernism - virtuosic, intellectual |
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Cecil Taylor key style |
Unit Structures - composition = small units |
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Eric Dolphy |
Alto sax, flute, bass clarinet - played with Coltrane, Ornette, and Mingus |
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Eric Dolphy style |
Based in bop, but outside |
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Albert Ayler |
Tenor sax - energy and timbre - intense physical experience... Energy music |
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Sonny Rollins |
Openness, consecutive motives, timbre |
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Coltrane:Ascension |
Energy music - begins at climax, goes further - 40 minute free improvisation, few cues, Coltrane quartet as free jazz |
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Sun Ra |
Came from Saturn, black nationalism through intergalactic imagination, avant-garde improv, costumes, chants, African percussion, dance, theater |
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Collectives |
Association for the Advancement of Creative Musicians (AACM) and Black Artists Group (BAG) |
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AACM |
Non-profit, political, community based, black avant-garde music support |
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Muhal Richard Abrams |
AACM cofounder - pianist and composer |
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Art Ensemble of Chicago |
Costumes, face paint, vast array of instruments (little instruments), Lester Bowie on trumpet, "Great Music from Ancient to the Future" |
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"Spirit Possession" |
Anthony Braxton and Max Roach, open conversation between |
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World Saxophone Quartet |
From BAG - Hamiet Bluiett, David Murray, avant-garde chamber music, 1st jazz group with no rhythm section |
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David Murray |
WSQ - bebop tenor playing, "free energy" improv, historicist style, inside playing with dissonance, multiphonics, high register squeaks |
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Loft jazz |
The eternal avant-garde - downtown lofts - knitting factory, |
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John Zorn |
Post modern Pastiche, avant-garde, jazz, pop |
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Fusion - where does jazz + pop go? |
Rhythm and blues |
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Audience? |
Urban and affluent |
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"Jump music" |
Up tempo swing and vocals - Nat "King" Cole Trio and Louis Jordan |
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Louis Jordan |
Blues with shuffle beat, Southern black humor |
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Rhythm and blues |
New style of black music, contemporary dance music |
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R&B becomes... |
Rock'n'roll |
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Soul |
Ray Charles - gospel + jazz - offshoot of hard bop, "keeping up" with black pop - less walking bass, syncopated bass line - "funky" - new dance groove, strong backbeat |
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Cannonball Adderley |
Soul - "live" recording, gospel introduction |
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Joe Zawinul |
Composer, pianist |
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Hammond B3 Organ |
From black church to black night club |
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Organ trios |
Organ, guitar, and drums - organ plays bass line - 2 keyboards - soulful groove |
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The "Incredible" Jimmy Smith |
Keyboard, "torrents" of notes, pedals drawbars, ethnic themes |
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Now where does jazz + pop go? |
Singers - 1950s, singers dominate pop music |
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Singers |
Patti Page, Perry Como, Tony Bennett, Rosemary Clooney, Nat "King" Cole |
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Frank Sinatra |
1940s - ballad crooner, 1950s reinvents as jetset hipster, film star, uptempo swing |
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Sarah Vaughan |
Bebop jazz singer - Gillespie, Parker, jazz and pop careers - straight melody, solo scat |
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Jazz on TV |
Beatnik culture, jive talk, goatees |
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Jazz in film |
Crime, drugs, violence, sultry women, urban decay |
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Latin Jazz |
Subset of jazz + pop |
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Mario Bauza |
Cuban music to America - "father of Latin Jazz" |
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Machito |
Bandleader, singer, maracas, Afro-Cuban band |
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Dizzy Gillespie? |
1940s big band - Cubop - "Manteca" - Latin riffs - complex, chromatic - Afro-Cuban to big band bebop |
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Salsa |
New dance music, jazz brass/saxes, intense polyrhythm, timbales, congas |
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Eddie Palmieri |
Salsa bandleader, 1970-present |
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Brazilian jazz |
Cuban revolution, Black Orpheus |
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Antonio Carlos Jobim |
Creator of bossa nova, "Girl from Ipanema", beautiful melody, complex chromatic chords - early 1960s |
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1960s fusion |
Jazz-rock |
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1964 |
British invasion - Beatles, Rolling Stones |
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Jazz vs. rock dynamic? |
Jazz on defensive - limited audience, fewer clubs, concerts - rock on attack |
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Musical distinctions between jazz and rock? |
Rock - steady, pulse rhythm, vocalists, electronic instruments - jazz = uneven eighth notes "swing" feel, instrumentalists |
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"Jazzy" rock |
Rock sound with saxophones and trumpets - "Blood, Sweat, and Tears" |
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Improvisational rock |
Grateful Dead - San Francisco group improv |
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Virtuoso rock |
Jimi Hendrix - blues-based electric guitar virtuoso |
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What brings jazz and pop together? |
Soul music |
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James Brown |
Soul musician - Africanized polyrhythm - "I Feel Good" |
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Soul music |
Saxes, keyboards, extended chord modes, rhythmic layers (polyrhythm), new improv approach) |
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Miles Davis and fusion? |
Fusion applied to Miles first - marketing category - experimenting with youth fashion and rock music - electric amplification featured in albums of late 1960s |
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Miles's style |
Discards solos, layered funk texture, electronic gadgets, wah-wah pedals |
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Myles Davis keyboards |
Herbie Hancock, Joe Zawinul, and Chick Corea |
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Miles Davis 1970 breakthrough album |
Bitches Brew - double album, best seller, long and complex instrumentals |
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Teo Macero |
Helped with Miles Davis recording of Bitches Brew - modern technology - looping and dubbing |
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John McLaughlin |
British guitarist, founded Mahavishnu Orchestra |
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Mahavishnu orchestra |
Jazz, rock, Indian music, foundation for 1970s fusion - intense timbre, Indian tala rhythm, electric distortion, complex slash chords, long solos |
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Followers of Mahavishnu? |
Miles Davis and Chick Corea (Return to Forever) |
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Herbie Hancock |
Funk/fusion - inspired by James Brown - "Chameleon" - layers built on funk bass line - synthesizer, electric piano |
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Weather Report |
1970 - Miles alumni - Wayne Shorter, Joe Zawinul - first albums experimental, avant-garde - later, jazz/funk fusion - Jaco Pastorious |
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Jaco Pastorious |
Electric bass - new timbre, incredible speed, rock sensibility |
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Pat Metheny |
Electric guitar - first fusion star from rock generation - grew up with rock, admired jazz - Wes Montgomery and Ornette Coleman - Pat Metheny Group |
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Keith Jarrett |
Musical prodigy, acoustic piano, idiosyncratic - twisting, turning at the piano - free jazz, fusion, gospel, pop |
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Koln Concert |
Keith Jarrett concert - lengthy, improvised piano concert |
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Standards Trio |
1983 - Jack DeJohnette, Gary Peacock, acoustic standards |
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Jan Gabarek |
Norway, tenor sax, European quartet - long soul melody head - "Spanish scale" |
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Oregon |
Acoustic fusion - jazz+world music - oboe, bass, 12-string guitar, tabla (Indian drum) |
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End of fusion? |
1980s |
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New fusion? |
Jazz + R&B |
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Audience for new fusion? |
Black middle class, affluent, unashamed, jazz and pop oriented |
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Grover Washington Jr. |
Philadelphia saxophonist, jazz/R&B fusion hits |
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New market category? |
Contemporary jazz - all others traditional jazz |
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Radio formats? |
New Adult Contemporary - young adults tired of rock - "The Wave" station |
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Smooth jazz |
Limited radio play time, upbeat mood, looping, sequencing, "quiet storm", jazz lite - "smooth music for the mature mind" |
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King of "Smooth Jazz" |
Kenny G |
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Kenny G |
Top selling jazz artist, 48 million records |
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Jam bands? |
Roots in Grateful Dead, Phish - performance based, non-commercial, dance-oriented |
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Rock jam bands |
Group improv within rock - audience of millions |
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Jazz jam bands |
New groups based on organ trios, soul jazz |
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Medeski, Martin, and Wood |
Jazz jam band |
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Charlie Hunter |
8 string guitar |
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Jazz and hip hop - 1990s |
The Roots - youth, mass appeal, respectability, history - hip hop grooves + jazz improvisation |
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Jazz and hip hop groups |
Digable Planets, Groove Collective |
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Acid jazz |
Term invented in Britain, late 1980s - jazz as dance music, "rave" settings - older jazz for new grooved, soul-jazz fascination |
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Robert Glasper |
Jazz with modern R&B, pop |
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Fusion + avant garde? |
Free funk - rock/funk grooves, semi-atonal harmony - Ornette Coleman |
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M-BASE |
Macro-Basic Array of Structured Extemporization - Robin Eubanks, trombone - derives from jazz, funk, African music, Cassandra Wilson singer - later 1980s-early 1990s peak |
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Steve Coleman |
Alto sax, M-BASE |
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Miles Davis... Again |
1975-1981 inactive, drug, health problems - returns with new electric band - "Tutu |
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Historicist jazz |
Links jazz to the past |
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Bunk Johnson |
"Rediscovered", center of NOLA jazz revival until 1949 - Joplin's "The Entertainer" |
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NOLA jazz revival |
"Rediscovery" of old musicians - Sidney Bechet, James P. Johnson |
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Preservation Hall |
NOLA - founded 1961, dedicated to NOLA jazz |
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Preservation Hall Jazz Band |
Older NOLA musicians, link to the past, known worldwide |
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NOLA jazz post-1960 revival |
"Dixieland", dominated by white revival bands |
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Mainstream |
Coined in 1950s - mainstream between "modern" (bebop) and "ancient" (NOLA jazz) |
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1950s mainstream |
Art Blakey on Blue Note, Miles Davis and John Coltrane on Columbia, Thelonious Monk on Prestige |
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Herman Leonard |
Photographer, used black and white lighting and smoke to create visual jazz myths |
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Newport Festival |
Begun 1954, George Wein, jazz meets "society" - wildly popular - Dixieland to Monk, Ellington revival |
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Lenox School for Jazz |
1957-1960 - Berkshires, Mass. - jazz performers teach talented students - Modern Jazz Quartet, Jimmy Giuffre |
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Jazz on TV |
1957, 1961-1968 |
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Jazz on public radio |
Marian McPartland's Piano Jazz - 1978-present - longest running cultural show on public radio |
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Jazz and education |
U of N. Texas - 1st jazz degree program, 1947 |
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Where does historicism begin? |
Avant-garde music, 1970s, all of jazz history |
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Amiri Baraka |
"In the Tradition" - dedicated to Arthur Blythe, many previous jazz musicians mentioned |
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Air |
Threadgill, Hopkins, and McCall - Air Lore - Scott Joplin - "The Ragtime Dance" - historically respectful yet played their way |
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1980s Jazz Renaissance |
Revival of mainstream acoustic jazz, conservative: "neo-classical" - wants to preserve the past |
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Dexter Gordon |
1976 - returns to US from Denmark, live album from the Village Vanguard |
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Wynton Marsalis |
Musical family, born in 1961, NOLA, trained by Juilliard, Art Blakey - chose jazz over classical - articulate, controversial, spokesman for jazz tradition, fusion and avant garde as wrong turn |
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Wynton's style |
Early - post bop style (Miles Davis) |
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Jazz at Lincoln center |
Wynton Marsalis head of most powerful jazz performing organization in the US |
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Lincoln Center Jazz Orchestra |
Historicist big band, classically trained player, jazz as repertory, "The Pearls" - Jelly Roll Morton tune - "authentic reproduction" shift to "post bop" and shift back |
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"Ghost Bands" |
Glenn Miller Band, Mingus Big Band |
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Thelonious Monk Institute of Jazz |
Founded 1986, 1987: International Jazz competition |
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SFJazz Collective |
Alternative organization, founded 2004, all-star group, led by Joshua Redman (sax) - inspired by jazz composers (Ornette, Coltrane, Monk, Hancock, Stevie Wonder) |
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Revival of older musicians |
Joe Henderson, post-bop, 1960s-1970s, retreats to local celebrity - return to national scene with Verve contract - albums with "themes", tributes to Antonio Carlos Jobim, Miles Davis, Billy Strayhorn |
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Harry Connick Jr. |
Singer - Sinatra style, performs with big band |
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Diana Krall |
Jazz singer and pianist (Nat "King" Cole) - regenders jazz performance |
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Jazz nostalgia in movies |
Bird (1988) - Charlie Parker movie, Kansas City (1996) - KC jazz, Round Midnight (1986) - last days of Bud Powell and Lester Young |
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Betty Carter |
New Mainstream - bebop singer 1940s/50s - light tone, musical, pop hit with Ray Charles "Baby It's Cold Outside" - had her own label (BetCar), own trio - "My Favorite Things" - Coltrane Standard - fast |
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Michael Brecker |
Coltrane inspired tenor sax, studio musician - mainstream 1990s-2000s |
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Jason Moran |
Contemporary pianist, composer, fusion, avant-garde, and historicism - version of "You've Got to Be Modernistic" |
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Effects of Historicism |
Jazz club to concert halls, learning jazz in streets to formal jazz programs, CD reissues of the masters |
