MUH 214 1st Edition Lecture 16Bebop 1940-1950; From the Dance Hall to the Concert HallCharacteristics-Typically small ensembles-Individualistic-Focus on improvisation-Very fast tempo-Complex harmony-Busy, angular melodies-Unison heads (monophonic)-High level of technique requiredRepertoire-Standard tunes AABA, ABAC-12 bar blues-Reharmonized standards-Contrafacts – original melodies based on standard tune chords-Melody often omittedPerformance Format-Introduction-Head-Horn solos (typically alto/trumpet front line)-Rhythm solos (piano/drums typically)-Trading 4’s or 8’s-Head -TagPerformers-Charlie Parker – alto sax-Dizzy Gillespie – trumpet-Bud Powell – piano-Thelonious Monk – piano/composer-Max Roach – drums-Kenny Clarke – drums-J.J. Johnson – tromboneCool 1950-1960; Laid-Back, West Coast/California, Beach StyleCharacteristics-Slower tempos-Shorter, more concise improvisations-Softer dynamics-Lighter tone quality-Smoother melodic phrases (less angular)-Use of non-standard instruments/combinations-Emphasis on arrangement-Renewed use of collective improvisation-More contrapuntal melodies-Less intense rhythm section techniques-Use of meters other than 4/4-Less blues influenceForm-Use of classical forms such as rondo, sonata, theme and variations, concerto-Non-standard form lengths-Third Stream – combined classical/jazz-Works for orchestral/jazz ensemble-Bossa NovaArrangers-Claude Thornhill-Gil Evans-Gunther SchullerPerformers-Miles Davis – “Birth of the Cool”-Dave Brubeck – “Take Five”-Gerry Mulligan-Chet Baker-Modern Jazz Quartet-Paul Desmond-Lee Konitz/Lennie Tristano-Stan Getz-Antonio Carlos Jobin-Return of Big Bands- Woody Herman- Stan KentonHard Bop 1955-1965; Bebop with Funky Soul, Incorporated elements of bebop with funky rhythm sectionInfluences -Blues, Gospel-Spiritual renewal-Popularity of cool jazz-Envy of white musicians notoriety and popularity -Lifestyle of urban Blacks-Attempt to return to emotional roots-Backlash against detachment of bebopCharacteristics-AKA Funky Hard Bop Regression-Earthly, emotional feel to music-Highly rhythmic, but simpler melodies-Riff-like melodies-Feel good sound without tension and frustration-Use of bebop solo techniques-Extensive use of blue notes-Use of minor keys to enhance bluesy quality-Unresolved dissonance-Primarily Midwest and East Coast – based (Detroit, Indy, Philly)Instrumentals-Tenor sax/ trumpet frontline-Often trombone added-Piano, Bass, Drums-Return of guitar-Increased use of Hammond organ-Development of organ trios (Jimmy Smith)Form-Use of original tunes-Non-standard tune lengths-Creation of Jazz Standards-Planned arrangementsRhythm Section-Funky style -Heavy snare drum backbeat-Shuffle -Boogaloo-Latin beatsBands-Jazz Messengers (Art Blakey)-Jazztet (Benny Golson/ Art Farmer)-Classic Quartet (John Coltrane)-Brown/ Roach, Inc.-Miles DavisPerformers-Trumpet- Miles Davis, Nat Adderley, Clifford Brown-Alto sax- Julian “Cannonball” Adderley, Phil Woods-Tenor Sax- Joe Henderson, Sonny Rollins, Stanley Turrentine-Piano- Horace Silver, Ramsey Lewis, McCoy Tyner, Hank Jones-Guitar- Wes Montgomery, Kenny Burrell-Organ- Jimmy Smith, Jimmy McGriff, Lonnie Smith-Bass- Paul Chambers, Percy Heath-Drums- Art Blakey, Elvin Jones, Max RoachAvant Garde-Free Jazz 1960-1970; Controlled Chaos Philosophy-Reaction to social unrest-Reflected mood of country-Questioned traditional rules and practices-Sought freedom and individuality of expression-Unconcerned with public acceptanceCharacteristics-No preset chord changes (harmolodics)-Atonal harmonies often present-Open or free forms-Entire tunes based on improvisation-Dense textures-High energy playing style-Use of collective improvisation-More dissonance-Use of tone clusters-Fragmented phrasing (pointillism)-Experimental instrumentation-Unorthodox sounds-Use of visual effects-Costumes and choreography reflecting African heritageRhythm Section-Piano often omitted-Random comping rhythms-Use of bass ostinato or drones-Interactive drumming-Use of key area rather than chord changes-Fluctuating tempo-Limited use of swing feelPerformers-Ornette Coleman – alto sax-Don Cherry – trumpet-Cecil Taylor – piano-Sun Ra – piano/composer-Albert Ayler – tenor sax-Eric Dolphy – alto sax/flute/bass clarinet-Charlie Haden – bass-Lester Bowie – trumpet-Rahsaan Roland Kirk – soprano sax-Anthony Braxton – sax/clarinetPerforming Groups-Art Ensemble of Chicago-World Saxophone Quartet-Sun Ra Arkestra- Cooperatives-AACM (Assoc. for Advancement of Creative Musicians)-BAG (Black Artists Group)Fusion 1970-1980; The marriage of Rock, Funk, Jazz, and TechnologyCharacteristics-Incorporated elements of Rock, Soul, and Funk-AKA Jazz-Rock-Swing feel replaced with rock/funk rhythms-Simpler harmonies-Slower harmonic movement-Use of long vamps-Repetitive bass lines-Attention focused on rhythm section -Use of studio techniques-Extensive use of electronic instruments-Use of blues scale over vamps-Amplification and use of effectsInstrumentation-Electric Bass/Guitar-Electronic keyboards (Wurlitzer) (Fender Rhodes) (Clavinet)-Sythesizers (Minimoog) (Arp)-Saxophones more prominent than brass-Sampling-Phase shifter/Echoplex-Chorus/Reverb/Digital DelayForm-Simple melodies with vamps-Open forms-Sectionalized compositions-Through-composed compositionsRhythm Section-Ostinato patterns-16th note subdivision-Heavy use of backbeats-Slap bass-Bass as a melodic instrument-OverdubbingBands-Weather Report – Zawinul/Shorter/Pastorious-Return to Forever – Corea-Mahhavishnu Orchestra – McLaughlin-Head Hunters – Hancock-Crusaders – Sample-Brecker Brothers – Michael/Randy-Blackbyrds – Donald Byrd-L.A. Express – Tom Scott-Jeff Lorber Fusion -Lifetime – Tony WilliamsPerformers-Peter Erskine – drums-Billy Cobham – drums-Al DiMeola – guitar-Stanley Clarke – bass-Joe Farrell – Sax/flute-Hubert Laws – Flute-Steve Gadd – drums-Larry Coryell – guitar-John Scofield – guitar-Pat Metheny – guitar-Flora Purim – vocals Significant Recordings -Bitches Brew, Tutu – Miles Davis-Chameleon – Herbie Hancock-Heavy Weather – Weather Report -Strap Hanging – Brecker Brothers-Birds of Fires – Mahavishnu Orchestra-Light As A Feather – Return to Forever -CTI – Creed Taylor RecordsThe 80’s and 90’s; Modern EclecticismNeo-Traditional/Neo-Classical-1. Retro Techniques-2. Preserved traditional elements- A. Form- B.