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26 Cards in this Set
- Front
- Back
- Originally derived from a term used for the group in the French military that would scout unknown territory - The birth of jazz in the 1920's was considered - part if this movement - |
Avant-Garde - Free jazz in the late 1950's and 1960's focused on the abandonment of traditional techniques and modes of expression, broke established standards, and expressed socially important concepts. |
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The shape of jazz to come |
Ornette Coleman |
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Free Jazz |
Ornette Coleman's 1961 Album |
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Other Titles - New Music, New Thing, Revolutionary Music, Fire Music |
Names for This Avant-Garde Jazz |
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Characteristics for Avant-Garde Jazz - Rhythm |
Absence of Pulse |
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Characteristics for Avant-Garde Jazz
- Harmony |
Absence of predetermines harmonic structure (chord changes/form) |
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Characteristics for Avant-Garde Jazz
- Rhythm Section |
Altered role of the rhythm section, not just keeping time but textures and soundscapes too |
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Characteristics for Avant-Garde Jazz
- Extended Techniques |
Timbre |
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Characteristics for Avant-Garde Jazz
- Melody |
Did not rely on the traditional patterns or notes |
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Passionate expression and deviation from standard intonation |
Characteristics for Avant-Garde Jazz
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Changes from Avant Garde - Emotion and the improvised direction of the music dictated the structure |
Structure/form |
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changes from Avant Garde - Serious art music with deeply personal motivation often including political sub-context (civil rights, antiwar) |
Presentation |
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Things to Consider about Avant Garde |
-colors - noise/sound - melody vs anti melody - dissonance vs consonance - rhythm/pulse - mood - freedom from jazz rules -experimentation |
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- 1959 to 1961 recorded for the Atlantic label and produced revolutionary albums such as 'The Shape of Jazz to Come' ,'Free Jazz' and 'Change of the Century' - Recognized as one of the originators of the style - 1959 concerts at the Five Spot and significant exposure in NYC |
Ornette Coleman - Improvising based on melody and the development of melody (blues and folk) - Free Jazz musicians and Ornette were often disregarded as untrained and uneducated. (UNTRUE) |
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- No chords included pocket trumpet, plastic saxophone, bass and drums - instrumentation and format of music ironically similar to bebop: Two horns and rhythm section. melody then solos then melody - Coleman, Don Cherry, Charlie Haden. Billy Higgins |
The Quartet |
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- Virtuosic and classically trained pianist (intellectually) - Studied starting at age 5 and attended the New England Conservatory of Music - His abilities in the traditional jazz world were heavily questioned by many |
Cecil Taylor - Emphasized the percussive and drum-like aspect of the piano - avoided traditional notation and composed and rehearsed using "unit structures" |
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- 1922 to 1979 - Bass player and composer - performed with Dizzy Gillespie and Charlie Parker before delving into the Avant- Garde - Social Activism "Fables of Faubus about Governor Orval Faubus from Arkansas in 1957 |
Charles Mingus |
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- 1926 to 1967 - Progressive musician that followed the 'standard' jazz path - Mentored and apprecnticed with Johnny Hodges, Dizzy Gillespie, Thelonious Monk, and Miles Davis - Classic Quartet - from jazz to Avant Garde 61-65 |
John Coltrane - Championed avant-garde musicians such as Albert Ayler, Eric Dophy and Ornette's Rhythm section - Free records recorded from 64-67 amounted to his final phase of jazz Styles - Recored "the Avant Garde in 1960 with Ornette's rhythm section - sun ship |
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- Began using many of the musicians from his more traditional, yet modern jazz group of the late 60's. Ex. Herbie Hancock - The musicians were younger and into all kinds of music that was happening - bass line from Brazilian bossa nova, rock beat in the drums/electric piano |
Miles Davis' Entrance into Fusion |
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- Simple harmony and forms like pop music - Sounds from rock )used guitar with effects, multiple keyboard layering, percussion, effected horns - influences came from Hendrix, Sly and the Family Stone, James Brown - |
Miles Davis- Jazz Innovator - His recognizable sound floated over the top of this iconic 1970's style called fusion - Heavily influenced by Michael Jackson in 80's |
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- Often regarded as Miles' first fusion album - marks the transition into what is known as his electric period - He was appealing to a larger/younger audience with this new offshoot style of jazz. |
In a Silent Way - 1969 - His motivation to be current in musical styles and trends led to the fusion innovation |
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- Marriage of musical styles and technology - Produced the album with Miles and the two used editing techniques new to jazz and often said to be first introduced by the beatles |
Teo Marceo and Miles |
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After A Silent Way for Miles |
Next Album: Bitches Brew 1970 - first gold album more than 1/2 a million sold - fully embraced rock and funk rhythms - little to no written music. - Instructed the band during the recordings process verbally/visually (when to solo, tempos, feel of music - Studio became a large part of the music with editing capabilities - Rhythmic layering for drums, keys, percussion |
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- 1971-1976 group (later reformed in the 80's - Led by British guitarist John McLaughlin (from In a silent way) - International Band - Instrumentation: guitar, violin, synthesizers, bass and drums |
Mahabishnu Orchestra - Embraced World music (indian Music) and heavy rock into their improvised jazz and fusion styles |
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- Led by keyboardist Joe Zawinul from Miles' ' In a Silent Way and Saxophonist Wayne Shorter from Miles 60's jazz quintet - Embraced the pop element into their sound - Bassist Jaco Pastorious is the most influential electric bassists in the history of music |
Weather Report |
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- Association with Miles Davis - Desire to make jazz styles more popular and gain individual or group notoriety - influence of Hendrix and rock styles of 60's/70's - emphasis on rhythmic accompaniment with simplicity of harmony - Use of the guitar. electric bass and keyboards - |
Trends in Early Fusion - Greatly influenced the Jam Bands of today both in instrumentation and style |