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30 Cards in this Set
- Front
- Back
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"cool jazz"
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Modern jazz that tends to be softer and easier to follow than the bop of CP and DG. Influenced by LY - ie Stan Getz and Miles. But! sometimes it's indistinguishable from bop
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Gerry Mulligan
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bari sax and primary composer-arranger for the MD Nonet of 1949 and 1950. ie: Boplicity
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Dave Brubeck
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bandleader & composer (and pianist) - not influenced as much by bop as by Art Tatum, Fats Waller, Cleo Brown (ie Blue Rondo a la Turk) 1959 = Time Out
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Stan Getz
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Distinctive tenor sax - developed original melodic and rhythmic vocab; one of few "bop" musicians to become popular with the general public.
1962 = "Desafinado" w/Charlie Byrd = major event in popzn of bossa nova 1964 - "Girl from Ipanema" = one of best selling records in jazz history ie "Four Brothers" and "No Figs" |
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bossa nova
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cross btwn Brazilian music and jazz
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Birth of the Cool
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1949/50: MD and arranger Gil Evans organized recording sessions with a nine-piece band (sax = Lee Konitz and Gerry Mulligan, plus MD, French horn, trombone, tuba, rhythm section)
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precursors to cool jazz
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Bix Beiderbecke; Frankie Trumbauer; Lester Young
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Horace Silver
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one of biggest names in hard bop because of work as composer and bandleader, but also influential pianist. ie "Senor Blues"
distinct rhythm: slower than most bop tunes and has a prominent Latin-Am influenced bass linepiano vamp; very singable melody Silver = new accompaniment style = riff-based, not spontaneous comping |
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Art Blakey
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Loosened the jazz drumming style - extremely dynamic and dialogic accompanist. AB & Jazz Messengers: engine of jazz enculturation - trained lots of musicians
ie "Cranky Spanky" - supercharged drumming = great example of hard bop |
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Max Roach
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good ex of bop and hard bop drumming; clean touch and discreet accompanying - didn't show off his virtuosity
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"Philly Joe" Jones
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highly active, dialogic drumming; played in the MD Classic Quartet
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Cannonball Adderley
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style similar to CP: high fluidity, supercharged, unpredictable; but was influenced by swing era ie Benny Carter. Very virtuosic, some say at level of MD/JC - warm and glowing tone - became the 5th member to create MD Classic Quintet in 1958
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Sonny Rollins
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Very popular tenor sax - one of 1st to adopt CP's style for tenor. Master improvisor in the 50s/60s - known for unpredictability and wit until the 70s-90s, when he streamlined his style.
ie "Kiss and Run" w/Clifford Brown |
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how hard bop differs from bop
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1) simpler
2) higher variety in accompaniment patterns 3) fewer pop tune chord progressions 4) darker, weightier tone qualities 5) higher emphasis on hard, unrelenting swing |
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funky jazz
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subcategory of hard bop - characterized by bluesy inflections of pitch and gospelish harmonies
ie Horace Silver and Cannonball Adderley |
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Miles Davis
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Played pivotal role in HOJ bc was deeply involved in recording and promoting several styles before they became widespread trends.
- pioneered modal jazz in "Kind of Blue" (1959) - pioneered predominant group approaches and individual instrumental styles of 1980s w/his quintet of 1965-68 - pioneered jazz-rock fusion styles on "In a Silent Way" and "Bitches Brew" trumpet style: alternating pitch and tone quality; frequent use of harmon mute; using silence as effective dramatic device; generating lines free from strict tempo/swing feeling; lighter, softer, less brassy tone; concern wsound texture in trumpet style |
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MD classic quintet
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1956 = John Coltrane, Red Garland, Paul Chambers (bass), "Philly Joe" Jones (drums)
1958 = added Cannonball Adderley -->more characteristic of hard bop than cool jazz, but introduced modal jazz with "Milestones" in 1958; was also the first time many people heard JC later (mid-60s): Tony Williams (drums), Herbie Hancock, Ron Carter (bass); later added Wayne Shorter |
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Gil Evans
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MD's arranger for Birth of the Cool in 1949/50; worked with him on "Miles Ahead," "Porgy and Bess," "Sketches of Spain"
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Harmon mute
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created wispy, soft trumpet sound - used often by MD
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jazz-rock fusion
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mix of modal jazz, rock, funk (ie Bitches Brew)
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modal jazz
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mode = scale containing predetermined selection of notes - not major or minor; modal jazz used harmonies of a single chord that remained for 4+ measures; transitions were unspecified rather than structured chord changes of previous jazz styles
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Kind of Blue
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1959 MD, with Adderley, Coltrane, Bill Evans, Paul Chambers, Jimmy Cobb (drums); Evans conceived most of the harmonies and wrote "Blue in Green"
1) representative set of inspired improvisations by an all-star band 2) easy to digest departure from bop-derived styles 3) introduced generation of improvisers to mode-based formats |
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John Coltrane
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Saxophonise - bandleader-composer-saxophonist; went through diff style periods; popularized soprano sax in modern jazz
1st style period = "sheets of sound," a la "Giant Steps" 2nd/most famous = modal period (ie "My Favorite Things") 3rd = free/avant garde jazz (primal, atavistic qualities, ie "Ascension") spiritual awakening post-drug addiction => "A Love Supreme" |
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JC's classis quartet
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McCoy Tyner (piano): popularized voicing chords in 4ths and constructing lines from 5-note patterns
Elvin Jones (drums): one of 1st drummers to play very polyrhythmically but still swing hard Jimmy Garrison (bass):praised for timekeeping skills; popularized strumming double stops as a bass technique |
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Bill Evans
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pioneered the piano trio; also helped develop modal concept and aesthetics (quartal chord voicings)
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melisma
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when one syllable gets many notes - characteristic of gospel music
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Great Migration
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1930s mvt of AfAms from the South to the NE/Midwest (Detroit, Philadelphia, Chicago) --> urbanization of music
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odd meter
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contains both simple and compound beats (ie 5/8, 7/8)
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vamp
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repeating musical figure/accompaniment used in jazz, gospel, soul
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Paul Desmond
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West Coast altoist that played in Brubeck's quartet -> good ex of open, logical improvisations free of cliche and reminiscent of Tchaikovsky and Rachmaninoff
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