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45 Cards in this Set
- Front
- Back
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What are the characteristics of Be Bop?
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Reharmonization, Recomposition, Unison Lines (heads), extreme tempos, irregular phrase lengths, running 8th, 16th notes, jazz as art music, jam sessions, intellectual approach
Self expression - not entertainment Voice of freedom |
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Explain Thelonius Monk's contribution to Be Bop.
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Composition. - piano - unique harmony/melody -- "Four in One" -- "Misterioso"
architect of be bop |
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Explain Dizzy Gillespie's contribution to Be Bop.
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Trumpet - rhythm - Afro-cuban music w/Chano Pazo (Latin Jazz)
architect of be bop international jazz icon "Bloomdido," "I Can't Get Started", "Groovin' High," "Things to Come," "Manteca," A Night in Tunisia" |
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Explain Charlie Parker's contribution to Be Bop.
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tenor sax - defined be bop (recomposition) -- architect of be bop
"Bloomdido," "Groovin' High," "Koko," "A Night in Tunisia," "Parker's Mood" |
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Dexter Gordon
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tenor sax -- linear (horizontal approach)
dark tone (influenced Coltrane) "Sid's Delight" |
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Bud Powell
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piano - Monk's protege - viruosity - "Audrey"
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J.J. Johnson
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trombone -- first to improvise w/trombone
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Ray Brown Trio
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Brown: bass (fastest) -- influenced James Jamerson, also an influence in classical music
Kenny Clarke/Art Blakey: drums (Pittsburgh) amazing rhythm Clarke - top cymbal accents, "dropping bombs" "The Real Blues" |
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Art Blakey
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drums -- "One by One"
developed many now-standard techniques such as a shuffle beat |
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Oscar Pettiford
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bassist -- bridge between swing and be bop bass - very melodic
"Stardust" |
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Lambert Hendricks and Ross --- Mel Torme
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jazz vocalese -"Everybody's Boppin"
virtuosic technique -- "Lullabye of Birdland" |
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Describe the characteristics of "Cool Jazz"
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*recalls rhythmic style of Lester Young, expands harmonic sophistication of bop (polyphony of Bach), less angular approach, "ensemble approach", more subtle rhythms, pauses in phrases
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Miles Davis
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trumpet, - "Birth of the Cool"
expressive playing -- Nonet w/Gil Evans, Gerry Mulligan and John Lewis (chamber technique) -- "New Rhumba" The Duke" orchestral: "Geru" Quintet: "If I were a bell," "Well You Needn't," "Round Midnight" Sextet: "So What," "Blue in Green," "Flamenco Sketches" |
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George Russell
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Lydian Chromatic Concept of Tonal Gravity
basis for "free jazz" taught Davis and Coltrane theory of tonality |
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Lenny Tristano
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pianist -- beginnings of free jazz
classical influence - studied Bach (crosscurrent) free approach, improve linearly w/no pre-conceived theme |
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West Coast Cool
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Gerry Mulligan, Chet Baker
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Gerry Mulligan
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bari. sax. -- arranger for Birth of Cool
"Freeway" -- cool contrapuntal playing -- lack of piano - counter line of "guide tones" "Geru," "Freeway" |
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Chet Baker
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trumpet -- lyrical playing - cool - dark secrets
"Freeway" |
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Stan Getz
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tenor sax - virtuosic - explored Brazilian and Latin jazz - samba styles
"Corcovado," "Desafinado" |
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John Lewis
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piano - Modern Jazz Quartet
Third Stream Music - european approach to composition Milt Jackson on vibraphone "Django" |
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Dave Brubeck
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piano-composer-bandleader
comp. nothing like be bop unique time signatures (featured altoist - Paul Desmond) "Take 5" "Blue Rondo ala Turk" |
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Explain the characteristics of Hard Bop
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response to Cool
developed drum styles - "ride cymbal" accent on "sock cymbal" on 2 and 4 cross rhythms and polyrhythms! extreme tempos - refined |
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Art Blakey
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drums (Jazz Messengers) -- "One by One"
polyrhythm == African elements - call and response Jazz as American Music |
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Clifford Brown
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trumpet - hard bop
"Joy Spring" "Cherokee" |
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Horace Silver
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piano - composer
brought in African-American gospel church music, rhythms of West Indies -- funky, soul jazz "Doodlin" |
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Miles Davis Quintet
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hard bop period
John Coltrane (tenor), Red Garland (piano), Paul Chambers (bass), Philly Joe Jones (drums) "Well You Needn't," "If I Were a Bell" "Round Midnight" |
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Modal Jazz
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improv strictly from scales and not chords
freedom from harmonic restrictions - further development of rhythm Miles Davis - "Milestones" "Kind of Blue" w/ Cannonball Adderly (alto sax), Jimmy Cobb (drums), Bill Evans (piano) "SO WHAT" - Dorian "FLAMENCO SKETCHES" - modal - 5 scales OTHER MILES: (not modal) "BLUE IN GREEN" - french impressionism, meter changes "ALL BLUES" - 6/8 meter - scalar improv |
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Sonny Rollins
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tenor sax - "thematic improv"
"Blue Seven" "St. Thomas" - rhythm of West Indies played w/Davis, Roach, Brown |
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Bossa Nova - Brazilian Jazz
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played in 2, lilting rhythms (often w/guitar not playing downbeats)
harmonic pattern of cool jazz Bossa - Charlie Byrd (guitar) Samba - Getz (tenor sax) Joao Gilberto (guitar) "Corcovado" "Desafinado" |
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Latin and Afro-Cuban Jazz
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CLAVE: 3/2, or 2/3 rhythm
Jelly Roll Morton Dizzy and Chano - "Manteca" Cachao - "Descarga Cubana" "Montuno" |
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John Coltrane
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tenor sax
hard bop (sheets of sound): "Giant Steps" "They Say it's Wonderful" classic quartet/modal: "Impressions," "Acknowledgement" avant garde: "Tranesonic" |
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Free/Avante Garde
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populists/innovators - taking the music back
reaction to previous mainstreaming of jazz no thematic style - expanding limits of improv and harmony |
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Bill Evans
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piano trio
Scott LaFaro (bass), Paul Motian (drums) rhythm section "Waltz for Debbie" |
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Ornette Coleman
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alto sax - composer (free jazz)
third stream -- avante garde free style - "Harmolodics" -- philosophical and musical "Lonely Woman," "Congeniality" Pulitzer Prize for Music |
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The Bad Plus
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contemporary jazz trio -- applied Ornette Coleman's theory of harmolodics
"Street Woman" |
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Cecil Taylor
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avante garde
pianist uses improv - often writen out after recording "Enter Evening" |
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Eric Doplhy
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alto sax
"out" playing - playing outside the changes w/a freer rhythmic approach solos on "Mendacity" and "Round Midnight" pushed boundaries of expression - wide interval leaps, unusual phrasing, glissandi smears, untempered intonation |
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Miles Davis - Second Quintet
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Wayne Shorter (tenor sax), Herbie Hancock (piano), Ron Carter (bass), Tony Williams (drums)
applied new free jazz to Miles' work "Stella," "7 Steps to Heaven" -- free bop |
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Jazz Fusion
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negative reaction to free and avante garde jazz - influence of popular rock and funk music
electric instruments - synth Davis' second quintet - "In a Silent Way," "Bitches Brew" "Jack Johnson" |
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Weather Report
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Wayne Shoter (tenor), Joe Zawinal (electric piano)
Jaco Pastorious (electric bass) "Surucucu" -- rock, funk approach "Birdland" - mass appeal "Badia/BoogieWoogie Waltz" Pastorious: "Portrait of Tracy," "Chromatic Fantasy," "Blackbird," "Word of Mouth," "Opus Pocus" |
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Herbie Hancock
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pianist - funk
16th notes "Watermelon Man" "Chameleon" - synth crossover artist |
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Chick Correa
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pianist/composer
"Spain" fusion - rock/latin/jazz - playing as fast as possible |
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Wynton Marsalis
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trumpeter/composer
neo-classical trend classical and jazz - equal virtuosity "Chambers of Tain" |
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Pat Methany
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guitar (synth)
sonic approach - jazz and mod. "Video Games" - fusion -- guitar synth - linear continuity |
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Medeski, Martin and Wood
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jam band - jazz
capitalizing off of Deadheads "Philly Cheese Blunt" - jamming |
