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MUSIC 131 Final

Terms in this set (82)

Dave Holland
Four Winds
Art Ensemble of Chicago
Imaginary Situations
Keith Jarrett
Semblance
Wes Montgomery
Naptown Blues
A Day in the Life
Miles Davis Classic Quintet
The Theme
Round Midnight
Summertime
Solea
Miles Davis Sextet
So What
Miles Davis Second Classic Quintet
ESP
Orbits
John Coltrane
Giant Steps
My Favorite Things
Impressions
Acknowledgement from A Love Supreme
Number One
Blood, Sweat, and Tears
Smiling Phases
Miles Davis
[blank] Runs the Voodoo Down
Bitches Brew
Weather Report
[pre-1975]
Vertical Invader
John McLaughlin
Awakening
Herbie Hancock
Watermelon Man
Weather Report
[post 1975]
Birdland
Michael Brecker & Steps Ahead
Beirut
Miles Davis in 1980s
You're Under Arrest
Blow
Wynton Marsalis
Delfeayo's Dilemma
Lincoln Center Jazz Orchestra
Take the "A" Train
Don Byron
Cotton Club Stomp
Carla Bley
Walking Batteriewoman
Dave Douglas Five
Mirrors
Matt Darriau Paradox Trio
Rufus 7
Andrea Parkins
Schist
John Zorn and the Masada
Kilayim
Four Winds: Dave Holland Quartet
[Recording]
folk-like melody
more lyrical approach to free jazz
Barry Altschul: drummer
Anthony Braxton: Sax--> virtuosic, free-form improv
Sam Rivers: Sax--> virtuosic, free-form improv
Imaginary Situations: Art Ensemble of Chicago
[recording]
-collage of musical styles ranging from avant-garde free jazz to Afro-Cuban grooves
-Lester Bowie: trumpet--> "jazzy" reference in piece with few well-placed bop-rooted riffs
Semblance: Keith Jarrett
[recording]
-folk-like melody out of free intro and reprised tune near end of piece
-hints of folk, free jazz, gospel, hard bop, and classical are evident
Keith Jarrett
influenced by hard bop, stride, gospel, folk, and 20th C avant garde
-played with Miles Davis
Wes Montgomery
-guitar
-brought guitar into focus in jazz
-style rooted in hard bop
-aggressive, outgoing improv character
-horn-like lines
-use of octave voicing to reinforce melodic lines
-clean and pure sound, no amplified distortion
Naptown Blues: Wes Montgomery
[recording]
-12-bar blues riff tune
-arrangement: Oliver Nelson
-use of cross-section voicing
-areas of call and response with band
-tutti shout chorus near end of piece
Day in the Life: Wes Montgomery
[recording]
-played over single mode
-cover of Beatles song
-idea of mixing rock and jazz seemed imcomprehensible
Miles Davis Classic Quintet
John Coltrane: tenor sax
Davis' style = cool; Coltrane's style = hard bop
The Theme: Miles Davis Classic Quintet
[recording]
-short 8-bar riff melody
-solos played over 32 bars A-A-B-A rhythm changes
Round Midnight: Miles Davis Classic Quintet
[recording]
composed by Thelonious Monk
loved to perform ballads
Summertime: Miles Davis Classic Quintet
[recording]
-Arranger: Gil Evans--complex substitute chords; cross-section voicings
-employed Harmon Mute for haunting sound
Solea: Miles Davis Classic Quintet
[recording]
-Arranger: Gil Evans
-fused Spanish classical music and jazz improv
-Considered 3rd Stream music
-piece was modal and contained only 1 basic scale and chord
-based on Spanish song of lonliness
So What: Miles Davis Sextet
[recording]
-A-A-B-A form based on two modes:
"A" sections: D Dorian
"B" sections: Eb Dorian
-John Coltrane: tenor sax
-Cannonball Adderley: used G Mixolydian as basis for solo
Miles Davis Second Classic Quintet
Wayne Shorter: tenor sax, composer
Herbie Hancock: piano
Ron Carter: bass
Tony Williams: drums
ESP: Miles Davis Second Classic Quintet
[recording]
-composed by Wayne Shorter
-32 bar form, A1-A2 form
-Tony Williams: heartbeat of song
Orbits: Miles Davis Second Classic Quintet
[recording]
-combo free jazz and modal jazz with bop sensibility
-abstract, nonlyrical melody
-Pt. 1: played in and out of tempo
-Pt. 2: contains repeated riff played in tempo
-Herbie Hancock's solo contained no left handed harmonies
Giant Steps: John Coltrane
[recording]
-ultimate bop recording
-16 bar form, with two 4-bar phrases followed by one 8-bar phrase
-changes tonal centers 10 times in 16 bars
My Favorite Things: John Coltrane
[recording]
-single mode
-played high-range soprano sax
-sound reminiscent of Indian Ragas
Impressions: John Coltrane
[recording]
-same form and structure as "So What"
-32 bar, A-A-B-A form
-D Dorian in "A" sections
-Eb Dorian in "B" section
Acknowledgement from A Love Supreme: John Coltrane
[recording]
-performer's masterwork
-culminations of his hard bop, modal, and free-form styles
-[blank] saw song as his gift to God
-composed as 4 movement work:
acknowledgement
resolution
pursuance
psalm
-based on 4-not mantra: rhythmically mirrored "A-Love-Su-Preme"
-constructed on single F minor vamp
-Elvin Jones' modified Afro-cuban beat energized [blank] solo
- at end of solo, [blank] played 4 note mantra over and over, constantly modulating to different keys
Coltrane explored free jazz techniques
-collective improv between all members of group
-textural improv instead of melodic
-undercurrent of activity by drums and bass: traditional time keeping rules abandoned
Number One: John Coltrane
[recording]
Alice Coltrane: piano, textural sonorities
Jimmy Garrison: bass
Rashied Ali: drums; direct interplay with Coltrane
-collective improv throughout piece
Gary Burton Quartet
Stan Getz: sax
Larry Coryell: guitarist
-part of melody is angular and rooted in bebop
-part of melody is folk-like and seems to float over rhythm section
Smiling Phases: Blood, Sweat, & Tears
[recording]
composed by Steve Winwood
Miles Runs the Voodoo Down: Miles Davis
[recording]
-fusion: music that contains jazz and rock or pop
-modal-based, free-form improv
Bitches Brew: Miles Davis
-modal and/or free-form improv accompanied by electronic textures and rock/funk grooves
-elements of collective, textural improv supporting featured solos
-use of amplified and/or distorted sound textures
-use of distorted electric guitar
-use of electric bass; rarely heard in jazz until this album
-double rhythm section
Weather Report
-formed by Wayne Shorter and Joe Zawinul
-style first modeled after Miles Davis and/or free-jazz improv
Vertical Invader: Weather Report
[recording]
-chaotic quality of music mirrored Vietnam War and SE Asia aflame
-free collective improv with focus on creating sound textures
-use of electric keyboard instruments
-heave amplification and use of distortion electronics
-Zawinul focused on sound development rather than melodic development
John McLaughlin
-played with Miles Davis on "In a Silent Way" & "Bitches Brew"
-band contrasted stylistically with Weather Report:
---high energy, tight ensemble playing & virtuosic, bop-rooted improv
---Weather Report focused more on spontaneous, free-form improv jams
Awakening: John McLaughlin & Mahavishnu Orchestra
[recording]
-formed by British guitarist
-angular, bop-like melody played in unison by whole band (tutti)
-opening melody used as an interlude between each soloist
Herbie Hancock
-pioneer in keyboard synthesizer technology
-molded new approach to fusion:
combining funk and improv
incorporating new kewboard synthesizer technology w/ advances in recording studio techniques
Watermelon Man: Herbie Hancock & the Headhunters
[recording]
-interlocking layered rhythms between synthesizer, electric bass, drums; characteristics of funk music
-used electric keyboards orchestrally: traditional accompaniment role rather than creating textural sound effects
-focus on tight-knit, coordinated ensemble playing
-improv to a minimum
-recording served as basis for future live performances
Birdland: Weather Report
[recording]
-mellower, lyrical sound
-avoidance of distorted electronic sounds
-return to traditional, lyrical (and shorter) solo improv
-acoustic piano playing by Zawinul
-focus on well-produced, commercially accessible recordings
Michael Brecker
-formed Steps Ahead with hard bop vibraphonist Mike Manieri
-expanded use of digital delays and tape loops with acoustic tenor sax
-experimented with computer-based MIDI technology
-mastered technique of playing Akai EWI
Beirut: Steps Ahead
[recording]
-composed by Brecker
-high energy, techno-flavored fusion
-created new electronic tonal palette
-improv projected strong references to John Coltrane's improv approach
-long, sweeping lines from bottom to top of EWI's range
-high register "cry"--squeezing out notes
-sheets of sound approach
-big, aggressive, full-tone sound
Miles Davis in 1980s
-focused on electric music with extensive use of synthesizers
-tunes generally laced with angular melodic lines and funky rhythms
You're Under Arrest: Miles Davis
[recording]
-written by guitarist John Scofield
-funk tune with bebop-inspired melody
-free-form solo over top of funk groove exposed his bebop roots
Blow: Miles Davis & Easy Mo Bee
[recording]
-premise of song: vehicle for [blank] to "blow" (improvise)
-no formal melody or song structure over which to improvise
-still sense unmistakable sound of [blank]:
harmon muted trumpet
blues-laced, well-constructed improv lines
dramatic use of space
free-form, modal-based solo
Wynton Marsalis
-primary leader in rise of neoclassic jazz (post-modern bop)
-"potentially greatest trumpeter of all time."--Maurice Andre
-"a nice young man, only confused."--Miles Davis
Delfeayo's Dilemma: Wynton Marsalis
[recording]
-classic hard bop-rooted performance
-trumpet style close to Clifford Brown:
big, round full tone
excellent command of trumpet
hard bop-inspired approach
-improv style close to MD's in the 1960s:
modal jazz improv
carefully-constructed & dramatically timed solos
long held notes floating over top rhythm sections
driving, loose swinging quality--"old school" bop
use of lowest range of trumpet near end of solo
Take the "A" Train: Lincoln Center Jazz Orchestra
[recording]
group established by Wynton Marsalis
-composed by Billy Strayhorn
-originally recorded by Duke Ellington
-Lew Soloff: trumpet; utilized grow; trumpet style of Cootie Williams
-Roland Hanna: piano
Cotton Club Stomp: Don Byron
[recording]
recreated overlooked 1920 & 1930s classics
faithful recreation of Duke Ellington's 1929 recording
Walking Batteriewoman: Carla Bley
[recording]
-playing organ, NOT piano
-features haltingly syncopated melody line
-rhythmically lurches backwards & forwards
-angular, non-lyrical melody inspired by avant-garde music
-free-form solos punctuated by background dissonant horn accents
-Michael Mantlers: trumpet--contain long tones and abstract lines
-Tony DaGradi: sax--based on John Coltrane's "sheets of sound" model
-Gary Valente: trombone--hard bop-inspired with abstract ending
Mirrors: Dave Douglas Five
[recording]
-melody played over modified boogaloo beat
-melody constructed over 36 bars: three 12-bar sections, A-A-B
-melodic line is lyrical, but somewhat angular
-uneven phrasing of melody added tension to music
Knitting Factory Club
presented avant-garde jazz and other new music styles
-Matt Darriau important fixture in scene
Rufus 7: Matt Darriau Paradox Trio
[recording]
-co-written by Rufus Cappadocia: cellist
-begins with rapid groove in 7/8 time
-free floating melody played over top of groove
Schist: Andrea Parkins
[recording]
-created improvised sound textures
-laced with tension-filled percussive noises and dissonant tone clusters
-sensitive support from percussionist Kenny Wollensen
Kilayim: Masala feat. John Zorn
[recording]
-up-tempo traditional Jewish dance groove bookended the Ornette Coleman-inspired free-jazz section in middle
-free jazz section collectively improvised with short individual solo spaces
John Zorn
-avant-garde composer/sax
-impossible to categorize his style
-composed Jewish inspired music
Nu Jazz
combines electronica, house music, and trance music with bop ideas
hip hop jazz
inspired by Miles Davis's last studio album
Acid Jazz
combo of hip hop and fusion styles
Klezmer jazz
inspired by jewish and eastern european folk music traditions
crossover jazz
further explorations of fusion, free jazz, and world music
world jazz
non-western music combined with jazz elements
repertory jazz movement
-in 1990s, concept of recreating past recorded jazz performances became popular
-offshoot of neoclassical jazz movement
-movement dedicated to performance of jazz masterpieces
Neoclassicism (post-modern bop)
-new era of conservatism emerged in America after Reagan elected prez: era reflected in new approach to jazz
-jazz found it's "center of gravity" in past greatness of hard bop/cool jazz era of 50s and 60s
-new movement led by Wynton Marsalis
neoclassic
borrowed form other musical worlds, esp. classical music
-represents borrowing ideas and material from earlier stylistic periods
THIS SET IS OFTEN IN FOLDERS WITH...