Untitled Flashcards Set

Chapter 9

Avant-Garde Jazz

• Avant-garde refers to the leading innovators in art or music who push the boundaries of traditional styles. In jazz, this term is used to describe musicians in the 1960s and 70s who created new, non-traditional forms of jazz that did not fit into other established categories like bebop or swing.

• The chapter specifically explores avant-garde jazz musicians of this era, notably Ornette Coleman, Cecil Taylor, and John Coltrane, who were known for pushing the boundaries of jazz improvisation.

Free Jazz

• Free jazz is a term applied to certain avant-garde styles, notably associated with Ornette Coleman and Cecil Taylor. In free jazz, musicians improvise without adhering to preset chord progressions, and sometimes without a steady tempo or meter.

• Despite the name, free jazz is rarely completely free from form, with some elements like melodies or solo order being predetermined.

• Free jazz musicians often omit the piano due to its role in creating chord progressions, which they sought to break free from.

Drumming in Free Jazz

• Drummers in free jazz often depart from their traditional role as timekeepers. Instead, they focus on creating varied textures, with less predictable patterns compared to swing or bebop drummers.

Characteristics of Free Jazz

1. Pitch and Tone Manipulation: Free jazz often features extreme pitch manipulation, with shrieks, squeals, and rough tone qualities.

2. Textural Complexity: The focus shifts from melody to creating dense, high-energy textures.

3. Fragmented Melodies: The melody is often broken up into short phrases with less emphasis on smooth, flowing lines.

Non-European Influence

• Some free jazz musicians were influenced by non-European musical traditions, incorporating elements from African, Indonesian, Middle Eastern, and Indian music. These traditions typically do not rely on chord progressions, making them compatible with free jazz’s rejection of these structures.

Ornette Coleman

• Ornette Coleman is a central figure in the avant-garde jazz movement. His music, though free from chord progressions, still retains a degree of structure, such as consistent tempo and key choices.

• His famous 1960 album Free Jazz involved two bands improvising simultaneously, embodying the free jazz aesthetic.

Cecil Taylor

• Cecil Taylor was a pianist known for his percussive, intense style that rejected traditional jazz swing. His improvisations were often dense and complex, and his comping was jagged, contrasting with the soloist’s rhythms.

• Unlike Coleman’s focus on melody, Taylor emphasized complex textures, often avoiding set chord progressions or consistent tempo.

Modal Jazz

• Modal jazz, developed by Miles Davis and John Coltrane, used modes (scales) instead of complex chord progressions, allowing for more freedom in improvisation.

• Miles Davis's Kind of Blue is a landmark modal jazz album, as is Coltrane's interpretation of “My Favorite Things,” where he improvises over two repeating chords.

Bill Evans

• Bill Evans, though not strictly avant-garde, was highly influential in jazz during the 1960s. He brought modal harmony into jazz and introduced non-obvious pulse, or floating pulse, where he did not accentuate the primary beats, creating a subtle rhythmic effect.

• His work with Miles Davis on Kind of Blue helped popularize the modal jazz approach. Evans’s style was more delicate and introspective compared to the raw energy of other avant-garde musicians.

Bill Evans and Avant-Garde Jazz:

Bill Evans' Influence:

• Overview: Bill Evans (1929-1980) was one of the most influential pianists in jazz, particularly in the 1960s and 70s, following Bud Powell.

• Style: Unlike the wild, rough styles of many avant-garde jazz musicians, Evans’ approach was polished and smooth, making his innovations less jarring for listeners.

• Harmonic Approach: Evans popularized modal harmonies, borrowing from French composers like Claude Debussy and Maurice Ravel. He constructed jazz harmonies around modes, rather than the typical bebop chords.

• Rhythm and Phrasing:

  • Evans introduced a unique rhythmic approach, avoiding accenting the most obvious beats. He developed a "floating pulse" where his improvisations did not directly hit the beat, often staggering phrases across beats in an unpredictable way.

  • His style avoided the strong, predictable rhythmic pulse of bebop, making his music feel more subtle and introspective.

• Tone and Technique: Known for his delicate tone and precision, Evans created a harp-like effect in slow pieces, allowing each note to resonate before moving to the next.

• Improvisation: Evans’ improvisation was highly crafted, often building phrases and ideas over multiple choruses. His music was described as "brooding" or "introspective" rather than "swinging" or "light-hearted."

Bill Evans’ Legacy and Impact:

• Influence on Other Pianists: His harmonic innovations influenced pianists like Herbie Hancock, Chick Corea, and Keith Jarrett, who incorporated his modal approach into their playing.

• Work with Miles Davis: Evans was hired by Miles Davis in 1958 for his knowledge of modes and his innovative harmonic approach. Their collaboration on Kind of Blue (1959) is considered a pivotal moment in jazz.

• Rhythmic Innovations: His floating pulse and avoidance of strong accents on the beat paved the way for more subtle rhythmic phrasing in jazz.

Miles Davis Mid-’60s Quintet:

• The 1964–1968 Quintet featured incredible musicians: Ron Carter (bass), Wayne Shorter (saxophone), Herbie Hancock (piano), and Tony Williams (drums).

• Their combination of talent and innovation brought significant breakthroughs in jazz.

Avant-Garde Jazz and Free Jazz:

• Free Jazz: A style characterized by the absence of preset chords, melodies, or time signatures. It uses a wider range of pitch and tone quality compared to bebop and often features collective improvisation.

• Key Free Jazz Musicians: Ornette Coleman (saxophone) and Cecil Taylor (piano) are central figures in free jazz, though their music was not widely accepted at first.

• Modal Jazz: Modal jazz, popularized by Miles Davis and John Coltrane, is built around scales (modes) instead of traditional chord progressions. It often features long improvisations over repetitive two-chord patterns.

• Cultural Reception: Free jazz was often not well-received by mainstream audiences or record labels, though it developed a devoted following. Even today, much of free jazz, including the works of Coleman and Taylor, remains difficult to access for many listeners.

Summary of Key Points:

1. Free Jazz avoids preset progressions and steady timekeeping, focusing on improvisation and flexibility.

2. Modal Jazz uses two-chord, repeating patterns guided by scales (modes), a style that gained popularity with Davis and Coltrane.

3. Bill Evans played a key role in popularizing modal jazz and influencing future jazz pianists. His rhythmic approach and harmonic innovations were revolutionary.

4. Reception of Avant-Garde Jazz: Though avant-garde and free jazz were not widely popular during their time, artists like Coltrane and Davis were more successful, and their music became more appreciated over time.

Reflection: Bill Evans, while known for his subtler innovations, was undeniably avant-garde in both his harmonic and rhythmic approaches, influencing the direction of modern jazz despite his more introspective, non-energetic playing style.

Chapter 10 

Key Concepts:

• Jazz-Rock Fusion emerged in the late 1960s, combining jazz improvisation with rock, funk, and R&B rhythms, and became the dominant form of jazz for the next 30 years.

• Jazz, Rock, and Funk share common roots in gospel, work songs, and blues, but evolved in different directions:

  • Jazz emphasizes complex instrumental music, often non-vocal, and uses formal European concert music elements.

  • Rock and Funk focus on simpler compositions, with more emphasis on vocals and repetitive structures.

Characteristics of Rock/Funk vs. Jazz:

1. Jazz:

   • Complex melodies and harmonies

   • Heavy use of improvisation

   • Rhythmic flexibility

   • Instrumental variety (non-electronic instruments)

   • Emphasis on swinging or bouncy rhythms

2. Rock/Funk:

   • Simple melodies and repetitive chord progressions

   • Less improvisation, with more pre-set patterns

   • Pronounced bass and simpler, repetitive drumming

   • Use of electric instruments and amplification

Evolution of Fusion:

• By the late 1960s, funk and soul music (influenced by R&B) began to merge with jazz.

• Jazz-Rock Fusion incorporated electric instruments, syncopated rhythms, and funk-inspired bass lines.

• Fusion musicians took inspiration from jazz legends like John Coltrane and McCoy Tyner, while also drawing from funk and rock styles.

Miles Davis and Fusion:

• Miles Davis was a pioneering figure in fusion, especially with albums like In a Silent Way and Bitches Brew.

• Post-1968, Davis adopted electric instruments and complex rhythms, creating a new sound blending jazz, rock, and funk.

• His use of electric keyboards, bass guitars, and multiple drummers marked the shift in jazz rhythm sections, moving away from traditional jazz structures.

Key Fusion Artists:

• John McLaughlin (guitarist) played a central role in fusion through his work with Davis and his band, Mahavishnu Orchestra.

  • Known for hard, metallic guitar tones and rock-style improvisation.

  • His style incorporated rapid, intricate themes and energetic performances with a high level of amplification.

Style Features:

• Jazz-Rock Fusion often features complex, syncopated rhythms and a blend of jazz improvisation with the structured, repetitive rhythms of funk and rock.

• Solos were focused more on mood and texture rather than traditional melody or phrasing.

Key Terms:

• Bass Guitar: Integral to fusion, replacing the traditional acoustic bass in jazz with electric bass guitars.

• Fusion: A genre combining jazz improvisation with electric instruments and funk-based rhythms.

Listening:

• For understanding the sound of fusion, it’s recommended to listen to key demo tracks like those featuring electric bass guitar and Fender Rhodes electric piano, comparing traditional bebop with funk-inspired rhythms.

This fusion genre marked a shift in jazz, expanding its appeal while also making it more accessible to a broader audience. It incorporated the electric and rhythmic styles of rock and funk while retaining the complexity and improvisational spirit of jazz.

John McLaughlin:

• McLaughlin is famous for his incredible instrumental proficiency and his ability to play extremely fast with precise execution.

• His work with the Mahavishnu Orchestra (especially Inner Mounting Flame 1971 and Birds of Fire 1972) is highly regarded for its group cohesion and jazz-rock improvisation.

• These albums were unique for their use of irregular meters (uncommon in jazz and rock at the time) and were commercially successful, with Birds of Fire reaching #15 on the Billboard chart.

• McLaughlin also recorded on acoustic guitar, as seen on his 1970 album My Goal’s Beyond.

• He later returned to acoustic music when he formed Shakti, blending Indian music with jazz improvisation, continuing through the 1990s.

Weather Report:

• Weather Report was formed in 1971 by pianist Joe Zawinul and saxophonist Wayne Shorter.

• They created a unique fusion of styles that blended funk, jazz, and experimental sounds, pushing the boundaries of traditional jazz by de-emphasizing conventional soloing and incorporating collective improvisation.

• The group's sound was marked by Zawinul’s mastery of electronic synthesizers and Wayne Shorter’s soulful saxophone playing.

• Their music often focused on textures and sound colors rather than conventional melodies and solos, involving all members equally in creating moods and atmospheres.

• They gained popularity with their funk-influenced music, especially their 1977 hit "Birdland."

• Weather Report’s music influenced various genres and is seen as a significant development in the evolution of jazz-fusion.

Herbie Hancock:

• Herbie Hancock is known for his work as both a jazz pianist and a bandleader in the jazz-rock fusionmovement.

• Hancock was influenced by Bill Evans, with whom he developed a unique style combining rhythmic bounce and bluesy figures.

• As a composer, his notable works include “Dolphin Dance”, “Maiden Voyage”, and “Watermelon Man”.

• His Head Hunters album, which embraced funk rhythms and electronic keyboards, became a commercial success, selling a million copies.

• By the 1980s, Hancock’s music shifted towards dance music, with hits like "Rockit" incorporating electronic sounds and funk rhythms.

Chick Corea:

• Chick Corea is known for his work as a pianist, composer, and bandleader in both acoustic jazz and jazz-rock fusion.

• He was influenced by classical composers like Paul Hindemith and Béla Bartók, as well as Latin music.

• Corea’s band Return to Forever blended Latin rhythms with electric keyboards, creating a distinct fusion sound in the early 1970s.

• His music, including pieces like "Spain" and "Crystal Silence", became jazz standards, and he continued to lead fusion bands through the 1980s and 90s.

• Corea’s innovative use of synthesizers and diverse band configurations made him a major influence in jazz and fusion.

Smooth Jazz:

• Smooth jazz emerged in the 1980s as a commercially oriented form of jazz intended for easy listening and background music.

• It emphasized simple, melodic phrases, predictable accompaniments, and repeated rhythms, making it more accessible than traditional jazz.

• The genre drew influence from artists like Freddie Hubbard, Miles Davis, Grover Washington Jr., and David Sanborn, with notable saxophonists like Kenny G, Dave Koz, and Boney James leading the way.

Acid Jazz

• Origin of Acid Jazz:

  • Term coined in the late 1980s by DJs Gilles Peterson and Chris Bangs in England.

  • Originally a joke, it referred to blending "acid house" music (electronic dance music, popular with users of ecstasy and LSD) with jazz.

  • Acid jazz emerged when DJs combined contemporary dance music with jazz elements, especially from the 1960s hard bop jazz of artists like Art Blakey, Horace Silver, and Herbie Hancock.

  • Acid jazz was primarily dance music, similar to swing in the 1930s and '40s.

• Jazz Influences in Acid Jazz:

  • Jazz elements were incorporated into rap music, where samples from jazz records, such as basslines, saxophone riffs, or walking bass patterns, were used to support the rhythm and enhance the "cool" factor.

  • Jazz horn work in acid jazz was often used as a background or decoration rather than the main focus, which reversed the traditional role of horns in jazz.

  • Sampling: DJs and producers often sampled old jazz tracks, electronically re-editing and looping them to form the basis of new music.

  • Overdubbing: Adding additional recordings to existing tracks, enhancing the sound by incorporating jazz or rap elements.

  • Looping: Repeating sampled phrases, especially from jazz accompaniments, to create a groove.

• Key Techniques:

  • Sampling: Lifting parts from earlier recordings to create something new. In acid jazz, it often involved entire phrases, loops, or sections.

  • Overdubbing: Adding new layers on top of existing recordings.

  • Turntablism: DJs (called "turntablists") often manipulate records in real-time, scratching or altering them to create new sounds, sometimes even creating new melodies from older material.

• Types of Acid Jazz:

  • DJ Fusion: DJs mix jazz elements with dance genres like hip-hop, techno, and trip-hop. This often involves the use of looped rhythms and sampled riffs.

  • Fresh Music: Bands worldwide made new music for the acid jazz audience, often combining live jazz improvisation with electronic production.

  • Re-packaged Music: Older jazz music, especially funk-driven hard bop from the '60s and '70s, was re-marketed as "acid jazz" by record labels, often re-labeled as "roots of acid jazz."

• Dominant Features of Acid Jazz:

  • Groove: A strong emphasis on rhythm and groove, designed to get people to dance.

  • Limited Chord Changes: Many acid jazz pieces revolve around just two chords with minimal harmonic development.

  • Melodic Simplicity: Melodies are often simple or non-existent, focusing on rhythm and tone.

  • Influence from African Music: The emphasis on rhythm and tone quality (as opposed to complex melodies or harmonies) links acid jazz to African musical traditions.

• Is It Jazz?

  • Acid jazz often doesn't fit traditional definitions of jazz due to its lack of improvisation and swing.

  • Critics debate whether it qualifies as jazz, as it may not have the "jazz feeling" or improvisation seen in earlier jazz styles.

  • For some, the presence of jazz instrumentation and harmonies qualifies it as jazz, while for others, it’s not jazz because it lacks improvisation and swing.

  • Similar debates occurred with other styles, like fusion or smooth jazz, which many purists don't consider "real" jazz, though they are marketed as such.

• Examples of Key Figures:

  • Herbie Hancock: Incorporating DJs into live performances, blending traditional jazz with electronic elements.

  • Turntablists like DJ Logic and Grandmaster Flash became notable for their role in creating new sounds and rhythms within the genre.

• Related Music Terms:

  • Jazzy Pop: Pop music that includes jazz elements but isn't considered true jazz by purists.

  • Fusion: Combining elements from different genres, particularly jazz with pop, rock, or electronic music.

Chapter 11

Celebrating the Past in Jazz (1980s to 1990s)

Ghost Bands and Repertory Bands

• In the 1980s and 90s, "ghost bands" continued the music of deceased jazz legends. These bands were led by musicians who had played with the original bandleaders. Examples include:

  • "The Count Basie Orchestra under the leadership of Grover Mitchell"

  • "The Woody Herman Band under the leadership of Frank Tiberi"

  • "The Art Blakey Legacy Band"

  • "Sphere" (Thelonious Monk’s music)

  • "The Dizzy Gillespie Alumni All-Stars"

• Repertory bands performed jazz from earlier eras, akin to theater companies performing classic plays. Examples: Lincoln Center Jazz Orchestra, Carnegie Hall Jazz Orchestra.

Swing Dance Revival

• Swing dancing experienced a resurgence, reviving 1930s and 40s big band music.

• Classes teaching jitterbug and Lindy hop became common in major cities.

• The movie Swing Kids and the musical revue Five Guys Named Moe spurred interest.

• Neo-swing bands (e.g., Royal Crown Revue, Squirrel Nut Zippers) attracted attention, sometimes blending early rockabilly and jump bands of the 1940s/50s.

Imitation as a Learning Tool

• Jazz musicians traditionally imitated masters to develop their own style. For example:

  • Dizzy Gillespie imitated Roy Eldridge.

  • Charlie Parker combined Buster Smith, Art Tatum, Lester Young, blues, and classical music.

  • Miles Davis combined styles from Freddie Webster, Dizzy Gillespie, and Charlie Parker.

• Some musicians learned multiple styles and combined them uniquely, while others remained imitators throughout their careers.

New Trend in Young Musicians

• Young musicians in the 1980s and 90s often mastered different styles, such as:

  • Pianists learning Herbie Hancock, Chick Corea, Thelonious Monk, Oscar Peterson, and even stride or ragtime.

  • Saxophonists learning John Coltrane and Ben Webster’s styles.

  • Trumpeters shifting between styles of Miles Davis, Freddie Hubbard, and Clifford Brown.

• Despite their skills, many musicians did not develop substantially new approaches but alternated between historic styles.

Neo-Classical Jazz (Retro) Movement

• The term “neo-classical” or “retro” jazz referred to musicians emulating older styles like 1950s hard bop or 1960s Miles Davis Quintet.

• The style was popularized by Wynton Marsalis, who imitated Miles Davis in the 1980s and later focused on recreating the styles of Louis Armstrong, Duke Ellington, and others.

• Marsalis' music was referred to as “neo-classical,” “neo-traditional,” or “straight-ahead” jazz, contrasting with the smooth jazz of the time.

Jazz's Popular Appeal

• Jazz had decreased exposure in the 1990s, with fewer nightclubs featuring live jazz and lower fees for musicians.

• Many jazz musicians relied on European jazz festivals, teaching at schools, or working as adjunct professors to survive.

• Jazz education boomed, with many young musicians excelling in college and high school bands.

Key Takeaways

1. Smooth jazz dominated after the mid-1980s.

2. Kenny G was the most popular saxophonist, selling over 50 million albums.

3. David Sanborn was another leading saxophonist.

4. Michael Brecker, Joe Henderson, and Wayne Shorter were prominent figures in complex, non-commercial jazz.

5. The swing dance craze revived 1930s styles.

6. Neo-traditional musicians like Marsalis received media attention but had lower record sales.

7. Musicians like John Zorn and Dave Douglas innovated by blending jazz with Klezmer and other genres.

8. Jazz musicians increasingly fused hip-hop, acid jazz, and pop genres with jazz.

9. Major innovators like Cecil Taylor, Sonny Rollins, Ornette Coleman, Herbie Hancock, and Chick Corea continued their careers.

10. Latin Jazz gained respect, bringing Cuban musicians to the U.S. scene.

11. Carla Bley and Maria Schneider created distinct compositions for contemporary big bands.

Key Terms

• Neo-classical Jazz: Revival of older jazz styles.

• Swing Revival: Boost in interest for 1930s band styles due to dance craze.

• Straight-ahead Jazz: Music reflecting traditional jazz without electronic effects.