-
Cootie Williams
- Plays Trumpet
- Featured in:
- New East St. Louis
- Toodle O
- (2)
- Concerto for Cootie-
- Duke Ellington and Orchestra; used plunger mute to:
- Color sound
- Growl effect
- In Mellow Tone
-
Scott Lafarro
Bassist
- revolutionized the technical approach to the double
- bass
-
Jaco Pastorious
- Bass player
- (electric) with Weather Report
- Changed the
- direction of jazz bass playing
- Imitated
- just as the great jazz bassists.
- Outstanding
- in four different roles
- Interactive
- approach (ala Scott LaFarro)
-
Chet Baker
- Pianoless
- quartet - Trumpet, bari sax, bass, drums.
- Main focus
- was on counterpoint, with no harmonic instrument present.
-
Django
Rheinhart
- 1928 - Lost
- 2 fingers in a fire. Compensated with a new technique.
- Used an
- un-amplified guitar- unlike Charlie Christian.
- Most famous
- group was Quintette du Hot Club De France with violinst Stephane Grappelli
- First
- outstanding European Jazz Musician
Dinah
Shine
-
Paul
Chambers
- Miles
- Davis’ sideman during hard bop period
-
Art
Blakey
Drummer
- Leader of
- the Jazz Messengers- important hard bop band
- Epitomized
- the loosening of jazz drumming styles.
- Used loud
- intrusions as accompanimental figures.
-
Art Tatum
Piano
- Severely
- limited vision - completely blind in one eye, limited vision in the other
- Amazing
- Technique & velocity at piano
- Well known
- for Reharmonization - Keeping the original melody -
- substituting different chords
-
John
Coltrane
- In Miles
- Davis’ all star band on Kind of Blue
- After
- Charlie Parker, the most widely imitated saxophonist in Jazz.
- Came to
- fame in 1955 with the Miles Davis quintet
- Addiction
- to drugs/alcohol disrupted his career.
- A Love
- Supreme celebrates this victory and the
- religious experience associated with it
- Turned to
- radical musical styles in the mid 1960s. Attracted large audiences
- After his
- death, he acquired a cult-like following. Church in San Francisco bears his
- name
- One of his
- main objectives was to elaborate the full implications of bop chord
- progressions.
- Pattern
- oriented, rigid eighth note repetitions
- Impressive
- technique yielded sheets of sound.
- Entrenched
- in the Thesaurus of Musical Scales by Nicholas Slonimsky.
- Enormous
- impact on contemporaries and future players.
- Re-established
- the soprano saxophone as a modern jazz instrument.
- He sold
- hundreds of thousands of albums in his final years, & established
- Avant-Garde jazz as popular music. (Temporary)
-
Clifford
Brown
- Worked with
- Sonny Rollins (Sax) and Max Roach (Drums)
- Long fluid
- lines, reminiscent of bebop.
- Died in
- auto accident at age 25.
Cherokee
Easy Living
- Clifford
- and Sonny Rollins
Pent-up House
- Listen for
- the melodic development in Sonny's playing
- Listen for
- the long lines in Clifford's playing.
-
Sonny
Rollins
Saxophone
- Worked with
- Clifford Brown
-
Dave
Brubeck
Piano
- Achieved
- international fame.
- Admired as
- a composer, not as a pianist.
- Worked with
- Paul Desmond (Alto Sax) who had a very light, airy, sweet sound.
- Had a
- mastery of "odd" meters.
-
Herbie
Hancock
Piano
Headhunters
Chameleon
- Wanted to
- hire not jazz musicians who could play funk but to hire funk musicians who
- could play jazz.
- Very
- electronic, lots of studio production and overdubs.
- My mind wandered to an old dream I had to be on one of Sly
- Stone’s records. It was actually a
- secret desire of mine for years—I wanted to know how he got that funky
- sound. Then a completely new thought
- entered my mind: Why not Sly Stone on one of my records? My immediate response
- was “Oh, no, I can’t do that!” So I
- asked myself why not. The answer came to
- me: pure jazz snobbism.
-
Miles
Davis
- Birth of
- the Cool (1949-1950)
- Done in
- collaboration with arranger Gil Evans
- Instrumentation
- was unusual, it added french horn and tuba.
- Once
- again, the arrangement was central to the music.
Boplicity
- Summertime
- - Listen for Miles' muted trumpet sound.
- Influential
- on Four Decades of Jazz
- Hard
- Bop/Modal (Kind of Blue)
- Jazz
- Rock/Fusion (Bitches Brew)
- Trumpeter,
- composer, and bandleader.
- Unmistakable
- sound. (Harmon Mute)
-
During the Hard Bop period. Miles Davis Used the following sidemen
- (5)
- Albums included Kind
- of Blue, Live at the Blackhawk, & Milestones.
-
Talk about Miles' Kind of Blue
- (2)
- Most important and
- pivotal album in modern jazz.
- (3)
- Featured an all-star
- band:
- (a)
- A set of inspired improvisations
- by an all-star band
- (b)
- A significant departure
- from traditional bop-derived styles.
- (c)
- Introduced the format of
- Modal Jazz
- (i)
- Affected the Harmonic
- Rhythm
- (ii)
- Harmonies of a single
- chord or scale remain in effect for several measures.
-
Miles band in 1963-1968 This band included a famous rhythm section
- (2)
- Wayne Shorter
- (Saxophone)
- (3)
- Herbie Hancock (Piano)
- (4)
- Tony Williams (Drums)
- (6)
- This band created a new
- jazz idiom.
- (7)
- Every album used new
- concepts.
- (8)
- They used tunes which
- did not have bridges, turnarounds, or sections.
- (9)
- Used these forms to
- encourage free-flowing sounds and improvisations.
- (10)
- The music Caused an
- "airy" feeling.
- (11)
- Albums included -
- Nefertitti, Filles de Kilimanjaro, & Miles Smiles
- (12)
- Experimental, rock
- influenced recordings from 1963-1968. Headed in the direction of
- "Fusion"
-
Thelonious
Monk
- An
- unorthodox composer, his work seriously challenged improvisers.
- Able to
- sound as if he "Bends" notes.
- His music
- transcends a stylistic category.
- Melodic,
- germ development.
- Had well
- focused compositions with a minimum amount of material. Each of his pieces has
- different qualities.
Epistrophy
-
Charlie
Christian
- Guitar-
- used amplified guitar
- Rose Room with Benny
- Goodman sextet
- Breafast Feud with BG
- sextet
-
Billy
Strayhorn
- Co-wrote
- much of the music during this period
- Liked to
- compose is “dark” keys
- Wrote Take
- the A Train, Lush Life (age 18), and collaborated on the suites
- Flourished
- in Ellington’s shadow
- It was
- difficult to discern where one's style ended and the other's began.
- Ellington/Strayhorn
- Listening
- Danse of
- the Floreadors (Nutcracker)
- Sugar Rum
- Cherry (Nutcracker)
- Such Sweet
- Thunder (1957) (Shakespeare themes)
- Sonnet in
- Search of A Moor (Shakespeare themes
- Up and
- Down (Shakespeare themes)
- Star
- Crossed Lovers (Shakespeare themes)
- Come
- Sunday – (from Black Brown and Beige)
-
Benny
Goodman
Swing
- As a
- soloist, he defined jazz clarinet as no other, before or since.
- As a
- bandleader, he established standards of technical perfection unheard of in that
- era.
- Autocratic
- approach to band leading. (The Ray!!)
- Popularized
- swing, he became a pop icon.
-
Benny
Goodman History
- Born
- Chicago, 1909, 9th of 12 children
- Eastern
- European Jewish immigrant parents. Grew up in a ghetto.
- At the age
- of 14 he meets and play with Bix Beiderbecke.
- Had
- extensive classical training.
-
Benny
Goodman Quartet
- First
- racially mixed band.
- Nationwide
- tour met with negative reaction, until they got to the Palomar ballroom in LA.
- Due to
- prior radio broadcasts.
- Important
- concert - Carnegie Hall - 1938
-
Duke
Ellington
- Continuation
- of excellence in composition and sidemen.
- Expansion
- of forms, and compositions.
- Formed a
- collaboration with Billy Strayhorn. Strayhorn became his "Alter Ego"
- Suites -
- Such Sweet Thunder, Nutcracker, Black Brown and Beige
- Such Sweet
- Thunder - based on the ideas and characters from Shakespeare.
- Come
- Sunday - Black Brown and Beige) with Mahalia Jackson - Gospel singer.
- Sugar Rum
- Cherry - From Tchaikovsky's Nutcracker Suite. Features the bari sax.
- Danse of
- the Floreadors - changes the meter from a waltz to a swing tune.
- Diminuendo
- and Crescendo in Blue
- Duke
- Ellington at Newport
- Diminuendo
- & Crescendo in Blue
- PaulbGonsalves plays the blues (27 choruses)
- Has the same energy one would find at a contemporary rock concert.
-
Count
Basie
Piano
Swing
- his early
- playing has much stride in it. It begins to drop out in the 1930s and is gone
- by the l950s. (just plink, plink)
- Emphasized
- swing as the main component. First great rhythm section came out of this band:
-
Gil Evans
Arranger
- Birth of the Cool with
- Miles Davis
- West Coast
- style with Davis
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