PAS 214 NotesJazz History: Bebop, Cool, Hard Bop, Avant Gard—Free JazzI. Bebop: 1940-1950—From the Dance Hall to the Concert HallA. Characteristics1. Typically small ensembles2. Individualistic3. Focus on Improvisation4. Very fast tempos5. Complex Harmony6. Busy, Angular melodies7. Unison Heads (monophonic)8. High level of technique requiredB. Repertoire1. Standard Tunes AABA, ABAC2. 12 bar blues3. Reharmonized standards4. Contrafacts: original melodies based on standard tune chords5. Melody often omittedC. Performance Format1. Introduction2. Head3. Horn solos (typically alto/trumpet front line)4. Rhythm solos (piano/drums typically)5. Trading 4s or 8s6. Head7. TagD. Performers1. Charlie Parker—alto sax2. Dizzy Gillespie—trumpet3. Bud Powell—piano4. Thelonious Monk—piano/composer5. Max Roach—drums6. Kenny Clarke—drums7. J.J. Johnson—tromboneII. Cool: 1950-1960—Laid Back West Coast/California Beach StyleA. Characteristics1. Slower tempos 2. Shorter, more concise improvisations 3. Softer dynamics4. Lighter tone quality 5. Smoother melodic phrases (less angular) 6. Use of non-standard instruments/combinations7. Emphasis on arrangement 8. Renewed use of collective improvisation 9. More contrapuntal melodies10. Less intense rhythm section techniquesPAS 214 Notes 11. Use of meters other than 4/412. Less blues influenceB. Form1. Use of classical forms such as rondo, sonata, theme and variations, concerto2. Non-standard form lengths3. Third Stream—combined classical/jazz4. Works fro orchestra/jazz ensemble5. Bossa NovaC. Arrangers1. Claude Thornhill2. Gil Evans3. Gunther SchullerD. Performers1. Miles Davis—“Birth of the Cool”2. Dave Brubeck—“Take Five”3. Gerry Mulligan4. Chet Baker5. Modern Jazz Quartet6. Paul DesmondE. Performers1. Lee Konitz/Lennie Tristano2. Stan Getz3. Antonio Carlos Jobim4. Return of Big bandsa. Woody Hermanb. Stan KentonIII. Hard Bop: 1955-1965—Bebop with funky soul incorporated elemetns of bebop with funky rhythm sectionA. Influences1. Blues, Gospel2. Spiritual renewal3. Popularity of cool jazz4. Envy of white musicians notoriety and popularity5. Lifestyle of urban blacks6. Attempt to return to emotional roots7. Backlash against detachment of bebopB. Characteristics1. AKA Funky Hard Bop Regression2. Earthy, emotional feel to music 3. Highly rhythmic, but simpler melodies 4. Riff-like melodies 5. Feel good sound w/o tension and frustration6. Use of bebop solo techniques 7. Extensive use of blue notes8. Use of minor keys to enhance bluesy qualityPAS 214 Notes9. Unresolved dissonance 10. Primarily Midwest & East Coast-based (Detroit, Indy, Philly)C. Instrumentation1. Tenor sax/Trumpet frontline2. Often trombone added3. Piano, Bass, Drums4. Return of guitar5. Increased use of Hammond organ6. Development of organ trios (Jimmy Smith)D. Form 1. Use of original tunes2. Non-standard tune lengths3. Creation of Jazz Standards4. Planned arrangementsE. Rhythm Section1. Funky style2. Heavy snare drum back beat 3. Shuffle4. Boogaloo5. Latin beatsF. Bands1. Jazz Messengers (Art Blakey)2. Jazztet (Benny Golson/Art Farmer)3. Classic Quartet (John Coltrane)4. Brown/Roach, Inc.5. Miles DavisG. Performers1. Trumpet: Miles Davis, Nat Adderley, Clifford Brown2. Alto Sax: Julian “Cannonball” Adderley, Phil Woods3. Tenor Sax: Joe Henderson, Sonny Rollins, Stanley Turrentine4. Piano: Horace Silver, Ramsey Lewis, McCoy Tyner, Hank Jones5. Guitar: Wes Montgomery, Kenny Burrell6. Organ: Jimmy Smith, Jimmy McGriff, Lonnie Smith7. Bass: Paul Chambers, Percy Heath8. Drums: Art Blakey, Elvin Jones, Max RoachIV. Avant Garde-Free Jazz: 1960-1970—Controlled ChaosA. Philosophy1. Reaction to social unrest2. Reflected mood of country3. Questioned traditional rules and practices4. Sought freedom and individuality of expression5. Unconcerned with public acceptanceB. Characteristics1. No preset chord changes (Harmolodics)2. Atonal harmonies often present3. Open or free formsPAS 214 Notes4. Entire tunes based on improvisation5. Dense textures6. High energy playing style7. Use of collective improvisation8. More dissonance9. Use of tone clusters10. Fragmented phrasing (Pointillism)11. Experimental instrumentation12. Unorthodox sounds13. Use of visual effects14. Costumes and choreography reflecting African heritageC. Rhythm Section1. Piano often omitted2. Random comping rhythms3. Use of bass ostinato or drones4. Interactive drumming5. Use of key area rather than chord changes6. Fluctuating tempo7. Limited use of swing feelD. Performers1. Ornette Coleman—alto sax2. Don Cherry—trumpet3. Cecil Taylor—piano4. Sun Ra—piano/composer5. Albert Ayler—tenor sax6. Eric Dolphy—alto sax/flute/bass clarinet7. Charlie Haden—bass8. Lester Bowie—trumpet9. Rahsaan Roland Kirk—soprano sax10. Anthony Braxton—sax/clarinetE. Performing Groups1. Art Ensemble of Chicago2. World Saxophone Quartet3. Sun Ra Arkestra4. Cooperativesa. AACM (Association for the Advancement of Creative Musicians)b. BAG (Black Artist’s