Jazz Final 2.txt

• A place where slaves were permitted to
• dance.

Now called Louis Armstrong Park

• Ring shout - a cluster of individuals
• moving in a circular pattern.

Comes from an African ritual ceremony.

• New Orleans City Council - 1817
• designated Congo Square as the official site for slave dances.

• Other parts of the country did not
• permit this and outlawed African elements in the music of slaves.

• The Latin-Catholic influence on society
• was more tolerant.

John Hendricks- Freddie Freeloader, taking a instrumental song and turning the solo areas into lyrical areas to be sung

Significant in jazz history

Used collective improvisation

• Emancipation of traditional roles in
• the rhythm section.

• Little distinction between soloist and
• accompanist.

Important names

Joe Zawinul

• Miroslav
• Vitous

• - no piano –
• counterpoint

• Pianoless quartet - Trumpet, bari sax,
• bass, drums.

• Main focus was on counterpoint, with no
• harmonic instrument present.

Bernie's Tune

Walkin Shoes

Coltrane

• study of scales and patterns. It is based on dividing the octave into various
• numbers of equal parts. This study is not coming from any specific idiom such
• as jazz or classical but may very well be used in application to any idiom. It
• is a written enharmonically, no key signatures and can be used by all
• instruments.

Quiet refined “Funk” music.

Just as easy to hear or ignore.

• Another definition–Instrumental pop
• music.

• Fuzak – combination of
• fusion and muzak.

Best known practitioners are:

Kenny G

George Benson

Bob James

But is it jazz?

What to consider?

Where are the CDs found? In which bin?

Classical

Rock

Jazz

Outsides missing the distinctions.

Insiders missing the commonalities.

• Consider the characteristics of the
• music, not just the reaction of listeners.

• There has long been a reluctance among
• musicians and purist fans to include within the jazz category any watered-down
• variants of a style that is derived from the jazz tradition.

• Notes that are
• "foreign" to a given key, and the free utilization of altered notes.,
• Notes that lend color to the sound of a chord or scale. (from Chroma).

• bill evans Highly
• influenced by French impressionist Maurice Ravel. (Harmonically

Blues

AABA form

billy strayhorn wrote this with elligton

billy strayhorn wrote this with elligton

Fusion – roots and origins

• a combination (borrowing) of the
• popular rock idiom of the 1960's with the jazz idiom.

• rock borrowed jazz harmonies, &
• improvisation

• jazz borrowed the complex rhythms of
• rock and funk.

• Should be called jazz-funk because the
• "rock" influences on fusion came from James Brown, Sly Stone, and
• other Motown groups, not from the Rolling Stones and the Beatles

• Early examples include Miles Davis –
• Filles de Kilimanjaro

Rock & Funk typically have:

shorter phrase lengths

less frequent chord changes

less complexity of melody & harmony

• less improvisation, especially in
• accompaniments

more repetition of melodic phrases

• more repetition of short chord
• progressions

simpler drum patterns

• more pronounced repetition of drum and
• bass figures.

• Bruebec (dave bruebec - west coast- Blue Rondo A La
• Turk-)

Composer, bandleader, & pianist.

• Historically
• important engagement at the “Cotton Club”
• (1927-31)

Played for floor shows

Name comes from the sound of the music.

Dominated by the saxophone.

Drug use was heavy in the bebop crowd.

• Tremendous split between musicians and
• the public.

• Musicians tried to rise from
• entertainer to artist.

• Many compositions were written over the
• changes of other popular tunes.

• Preferred instrumentation was the small
• combo instead of big band.

• Less emphasis was placed on
• arrangements in bop.

Average tempo was faster in bop.

• Clarinet was rare in bop. Rhythm guitar
• was rare.

• Display of instrumental virtuosity was
• higher.

Bop improvisation was more complex

Melodies were more complex in bop.

• Harmonies were more complex in bop
• (Much more chromatic)

Comping was more prevalent than stride style and simple, on-the-beat chording

Surprise was more highly valued in bop.

• Bop was a more agitated style than
• swing.

Pretty Eyes – 1965

Good example of a jazz waltz

• Problem
• with jazz waltz is ¾ time which was hard to get to swing at first

Form is AABA – 64 measures, not 32

Big Band became the standard group.

• Consolidation of the rhythm section to piano,
• bass, drums, and perhaps guitar, tuba
• and banjo died out

• Bill evans - This trio used more of an
• equal contribution style, rather than piano solo with bass & drums
• accompaniment.
• (as compared to Oscar)

• trio used more equal contribution rather than piano
• solo w/ bass and drums accompaniment

• but some people thought he was
• beacuse the way he entertained people

• • 1959-1963
  
  
• Paul Chambers

Wynton Kelly


Bill Evans


Jimmy Cobb

• –
• John Coltrane

• –
• Cannonball Adderley

• 1963-1968
• Miles
• Wayne Shorter (Saxophon
• Herbie Hancock (Piano)
• Tony Williams (Drums
• Ron Carter (Bass)

Ornette Coleman

• a term he invented to describe simultaneous
• soundings of a single melodic line, in different tonalities, pitches, or keys