Jazz 4

Front 1

John Coltrane

Back 1

--tenor sax
--complex chord progression, difficult to improv over
--sheets of sound (scalar sweeps)
--Coltrane changes (harmonic progression variation using substitute chords over common jazz chord progression)
--exhaustive use of scale permutations including 4 & 5 note groups (tetratonic, pentatonic)(scales from other cultures. Re-ordered notes)

Front 2

John Coltrane

Back 2

--played using a hard sound, harsh, intense
--highest range of saxophone
--playing more than one notes at a time, adding different tone color using different fingers (mutiphonics, harmonics)
--repopularized soprano sax
-- “Classic Quartet” w/ McCoy Tyner (piano) and Elvin Jones (polyrhythmic drumming) and jimmy garrison (bass)

Front 3

John Coltrane

Back 3

--long duration modal improvisations
--pedal point improvisations ( taking one central tone, rather than scale)
--“late Trane”= free meter, coloristic approach, harmonic collage, additional saxophonis
--free jazz summarized on “Ascension”and “Mediations”

Front 4

Coltrane

Back 4

--born in NC, moved to Philly
--similar to Bichet's playing

Front 5

Free Jazz (avant-garde)

Back 5

--a modernistic style of jazz exploring new methods that radically oppose existing traditions;
--rhythm-ambiguous pulse or several pulses at once instead of steady beat
--harmony: dispensed harmony based on chords and scales--instead discovering harmony as musicians instinctively felt their way through a performance

Front 6

Free Jazz

Back 6

--Melody: no longer relied on harmonic patterns and resolutions
--structure: free improv, rejected blues and songs, where energy or emotion of performance dictated overall shape
--instrumentation: wide variety of instrumentation, from hand drums and woods flutes to cello and oboe
--presentation: no longer entertainment, instead it could be witty, even funny, but it was serious, challenging music--requiring listener's full concentration
--politics: entrenched in the increasingly militant racial and antiwar struggles--> assertive posture

Front 7

Ornette Coleman

Back 7

--alto sax, violin, trumpet
--played with Don cherry (trumpet), Charlie Haden (bass), and Billy Higgins (drums), and Paul Bley (piano)
--moved to NY
--formed not determined by preset chord changes
--can be determined by mood or spontaneous interaction w/in group
--swing
--uses tuning and temperament freely and subjectively on the sax with a high level of vocalization
--strong influence of blues phrasing and gestures
--instrumental 'soloing' and simultaneous improv by various horns
--compositions first received more acceptance by jazz establishment than did his improv on alto sax

Front 8

Ornette Coleman

Back 8

--elastic beat
--shifting tempos
--self taught
--head/solos/head format; rhythm section plays time (walking quarter notes)
--no piano or guitar
-- it also resembled bebop, melody with bunch of solos

Front 9

Cecil Taylor

Back 9

--Pioneer free jazz pianist on east coast (from long island, NY)
--cycles of chord progressions
--studied at New England Conservatory
--influenced by classical music

Front 10

Cecil Taylor

Back 10

--sounds like chaos
--small melodic motives offset by dense chordal textures
--functional chords often replaced by clusters
--frequent use of 'countermelodies' in solos and accompaniment
--attention on density/texture/energy performances instead of melodic/chordal based soloing

Front 11

Sun Ra (Herman Blount)

Back 11

--Keyboard player, pioneer in electronic keyboard and organs (synthesizer)
--led a free jazz collective, living communally
--CHI->NY->PHI
--collective free improv with an emphasis on unifying the sister arts of music, dance, poetry, and theatre

Front 12

Bill Evans

Back 12

--early influences (including classical music, Tristano, Bud Powell)
--advanced and subtle use of harmony
--early career w/Miles Davis: “Kind of Blue”
--delicate touch, lyricism
trio w/Scott LaFaro (bass) and Paul Motian: dialogue oriented, non-walking bass function, 1961 Village Vanguard recordings
--huge influence on subsequent jazz pianists

Front 13

Bill Evans

Back 13

--contemporary of Miles
--piano and flute

Front 14

Herbie Hancock

Back 14

--pianist, bandleader
--early influences (Bill Evans and Oscar Peterson)
--from CHI
--w/ Miles Davis 1963-68
--“Maiden Voyage” (1965)
--“Headhunters” fusion (1974)
--synthesizers and funk music
--(funk vs. jazz)

Front 15

Keith Jarrett

Back 15

--pioneered solo piano concert and improvised off the top of his head
--early work with Charles Lloyd Quartet (1966-69)
--solo piano in the 1970’s (ECM recordings):highly eclectic style, totally improvised solo concerts
--American and European Quartets
--“standards” trio (1980’s to the present)

Front 16

Afro-Cuban jazz

Back 16

clave patterns--dividing subsequent measures into 2 and 3 parts
--Machito/Dizzy Gillespie/ Chano Pozo in the 1940’s
--salsa music (including Puerto Rican influences) in the 1970’s

Front 17

Bossa Nova

Back 17

rooted in Brazilian samba
--Antonio Carlos Jobim: the idiom’s most famous composer
--popularized by Stan Getz in the early 1960’s

Front 18

Jimmy Smith and the Hammond B-3 organ

Back 18

--B-3 organ could actually be mobile on road, amplification of keyboard, color of it
--jazz vs. R&B
--brash, bluesy, and rocking

Front 19

Jazz Rock Fusion

Back 19

Jazz, rock, R &B/Soul, World Music

Front 20

Jazz (Fusion)

Back 20

-swing feel
-virtuoso technique
-advanced harmony
-advanced linear concepts
-walking bass lines
-extended soloing
-modal improv
-AABA,AA' song form

Front 21

Rock (Fusion)

Back 21

-electricity (volume)
-guitar as lead instrument
-rock drumming
-poetics
-mod fashion
-large performing venues
-music as theater
-music as protest
-democratization of the bandstand

Front 22

R&B/Soul Music (Fusion)

Back 22

-blue modality
-soul singing
-blues guitar
-accompanying guitar riff patterns
-bass ostinatos
-open form
-Hammond Organ
-funk drumming
-gospel music harmonies and call and response

Front 23

World Music: India (Fusion)

Back 23

-sitar, tablas, tambora, shanai
-microtonal melodies
-drones=note or chord is continuously sounded throughout most or all of a piece
-raga/tala improv
-impact of Hindu religious traditions

Front 24

World Music: Latin Music (Fusion)

Back 24

Afro-Cuban Music
-clave patterns
-drumming techniques
Bossa Nova and Brazilian music
-samba rhythms
-Brazilian percussion instruments
-comping patterns
-acoustic guitar techniques
Sub Saharan African Music
-polyrhythmic drumming and instrumentation
-open forms
-pentatonics
-flute traditions

Front 25

Miles Davis and fusion

Back 25

use of electric piano by 1967
studio methods
--additional bass, keyboards, and drummers
--post-production techniques
--centered on bass ostinatos (motif or phrase, that persistently repeats in the same musical voice, usually at the same pitch) and rich textures
all of the above summarized on “Bitches Brew”
--tape splicing, effects added
--no longer tune based, based on bass lines

Front 26

The Tony Williams Lifetime

Back 26

--w/John McLaughlin and Larry Young (organ)
--fusion based on organ trio

Front 27

Weather Report

Back 27

--texture oriented
--difference between soloing front line and backround instruments merged
w/ Joe Zawinul, Wayne Shorter, Miroslav Vitous;w/ Jaco Pastorius-bass (late 70’s)

Front 28

The Mahavishnu Orchestra

Back 28

John McLaughlin-- guitar player, complicated harmonics
--chords are not common for jazz
--complex meter (Indian musical influences)

Front 29

ECM recordings in the 1970’s

Back 29

--progessive record company whose musical orientation reflected the influences of the 60's modalism, the Bill Evans 'equal voiced' trio concept, European classical music, European and South American folk music, and free jazz improvisation. ECM recordings are notable for their acoustical character, often sounding as if they were recorded in a small concert hall
--recordings of Jan Garbarak, Keith Jarrett, Gary Burton, Ralph Towner, Chick Corea
-popularized improv solo piano concerts

Front 30

Wynton Marsalis and the “Young Lions”

Back 30

--retrospective examination of Miles legacy of the 1960’s quintet
--Ellington influences
--trumpeter
--eclectic
--half-valving--pressing trumpet valves halfway down
--making most of long phrases and high notes in his improvs

Front 31

Neoclassicism in Jazz

Back 31

composers sought to return to aesthetic precepts associated with the broadly defined concept of "classicism", namely order, balance, clarity, economy, and emotional restraint
--emphasis on rhythm and on contrapuntal texture, an updated or expanded tonal harmony

Front 32

Acoustic Jazz Extensions

Back 32

1. McCoy Tyner
2. Keith Jarrett American Quartet 3. Paul Motian small groups
4. Dave Liebman/Richie Beirach and Quest
5. Jack Dejohnette Special Edition
6. Dave Holland groups
7. Brad Mehldau Trio
8. Keith Jarrett Standards Trio
9. Joe Lovano
10. Big Bands (Thad Jones/Mel Lewis; Maria Schneider)

Front 33

Neoclassicism

Back 33

--devotion to a canon of jazz musicians
--defining jazz by the work of certain artists and practices
--tribute albums/repertory ensembles