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Music 131 Final

Terms in this set (93)

John Coltrane Early Life (9)
-Hamlet, NC to Philli after father death
-studied at Ornstein School of Music 1943
-Navy then discharged 1946
-1948-53 played R&B with Eddie "Cleanhead" Vinson, Earl Bostic
-1955 played swing with Johnny Hodges
-1956 Davis -> 1957 Thelonious Monk (over Davis drug habit)
-spiritual awakening in Philli, kicked heroin, dedicated to religion and alto sax
-1958 record under own name
-1960 rejoined Miles
Giant Steps (5)
-Coltrane's ultimate hard bop recording
-16 bar with two 4-bar phrase and 8-bar phrase (harmonic complexity for jazz improv)
-changed tonal center 10 times in 16 bars (divide octave into equal thirds)
- harmonic sequence - Coltrane changes
-rapid tempo
Giant Steps Musicians (4)
-Coltrane - tenor sax, composer
-Tommy Flanagan - piano
-Paul Chambers - bass
-Art Taylor - drums
My Favorite Things (3)
-Coltrane changed the form and harmonies of the song, retained original melody (opposite of bebop)
-single mode/basic chord for improv
-exotic sound from high range of soprano sax (indian ragas)
My Favorite Things Musicians (4)
-Coltrane - soprano sax
-McCoy Tyner - piano
-Steve Davis - bass
-Elvin Jones - drum
John Coltrane Indian Influence (3)
-hypnotizing effect of Indian Ragas = drone tones with sitar improving over
-Western minimalism 0f steady pulse
-spiritual experience
John Coltrane Style 1960s
-sheets of sound
-the sweep on the entire range of sax
-ultra penetrative high notes (shriek/cry)
John Coltrane Classic Quartet (3)
-McCoy Tyner = piano, power, stacked 4th chord voicing
-Jimmy Garrison = bass, empathetic foundation of band, drone and pedal points
-Elvis Jones = drums, explosive interplay with Coltrane
Impressions (4)
-same form and modal structure as Miles Davis' So What
-32 AABA form (A = D Dorian, B = Eb Dorian)
-all of Coltrane's 1960s style
-John Coltrane Classic Quartet
Acknowledgement from a Love Supreme (7)
-John Coltrane Classic Quartet
-masterwork: bop, modal, and free form styles (gift to God)
-4 movement: acknowledgement, resolution, pursuance, psalm
- 4 not mantra mirroring "A-Love-Su-preme"
-constructed on single F minor vamp
-Jone's modified afro-Cuban beat
-end on Garrison bass solo with Coltrane voice overdubbed "A Love Supreme"
Coltrane Free Jazz (3)
-explored free jazz's collective improv, textual improv, rhythm undercurrent of activity, piano avoid harmonies
-controversial move, popularity fell
-saw this movement as Civil Rights
Number One (7)
-Coltrane's last recording
-classic quartet moved on because not into free jazz
-collective improv
-Ali had explosive percussive sound textures
-Garrison had melodic interplay with Coltrane
-Alic avoided modality by improv tone clusters
-no attempt to resolve tension
Number One Musicians (3)
-John Coltrane
-Alice Coltrane = wife, piano, textual sonorities
-Jimmy Garrison = bass
-Rashied Ali - drums, interplay with Coltrane, Islamic
John Coltrane's Influence on Rock and Pop (3)
-Grateful Dead = free improv
-The Doors = Light My Fire influence
-Kenny G = adopted soprano sax, sheets of sound, Songbird
John Coltrane's Legacy (5)
-new approach to playing sax = blues and aggressive (Young and Hawkins)
-popularized modal
-leader of rise of free jazz
-popularized soprano sax
canonized by African Orthodox Church
-won Pulitzer Prize
Charles Mingus (4)
-free spirited and virtuosic bassist and composer
-avoided musical categorization drew heavily from: R&B, gospel, third stream, free jazz, hard bop
-wide variety of compositions: solo bass, jazz trio and string quartet, standards, full symphony
-studied at Red Callender (LA) and H. Rheinshagen of NY Phillharmonic
Pithecanthopus Erectus (6)
-Charles Mingus greatest masterpieces
-4 movement tone poen: evolution, superiority complex, decline, destruction
-upright ape man
-haunted repeated theme rooted in hard bop with R&B swing
-interrupted by frantic free jazz interludes, civilization destruction
-written for specific musicians in mind
Hora Decubitus (5)
-Charles Mingus originally titled E's Flat, Ah's Flat Too
-hard driving swinging 12 bar blues hard bop tune with musical tunes
-riff tunes layered on top of each other (5, additional instrument)
-brass pitted against saxes
-3 soloists stylistically different
Hora Decubitus Musicians (4)
-Brooker Ervin = tenor sax, blues scale
-Eric Dolphy = alto sax, free jazz
-Richard Williams = straight ahead hard bop trumpet solo
-Charles mingus = bass, walk driving energy
Free Jazz (8)
-free of traditional melodic, harmonic, and rhythmic practices
-textual imporv/abstract sound paintings
-new melodic lines
-extreme manipulation of pitch and tone quality
-polytonal approach
-piano omitted
-bass as lead melodic instrument, no longer timekeeper
-avoid drum swing patterns, nonrhythmic feel and interact with horn
Free Jazz Melodic Lines (4)
-angular - large leaps
-stress dissonance
-short melodic fragment bursts
-free of traditional bebop clichés
Free Jazz Pitch and Tone (4)
-high register shrieks and wails
-low gurgles and squawks
-unusual playing techniques to create distortion
-electronics
Free Jazz Familiar Musical Characteristics (4)
-emphasis on collective improv (some solo)
-background riffs behind soloists
-occasional timekeeping/walking bass line
-carefully composed compositions and arrangements
Free Jazz Start (4)
-1950s - 1960s
- Lennie Tristano and Lee Konitz recorded Intuition and Digression
-completely improvised
-reflection of Civil Rights and anti vietnam, freedom
Descent Into Maelstrom (3)
-improvised conception of Edgar Allen Poe's story/tone poem
-Tristano played 2 pianos at same time, overdubbing
-atonality is before free Jazz 1960s
Ornette Coleman (5)
-started in R&B in Texas then switched to Free in LA
-bought white plastic alto sax with harsher tone, play sharp
-attempted to play in the cracks
-improv was melodic based laced with bluesy lines
- LA mainstream hate, move to NY to record with Atlantic Records
Lonely Woman (5)
-meloncholy melody laced with deep blues feeling
-painting in LA as inspiration
-start with 2 tension contrasting rhythms: double stop bass and double time cymbal
-AABA form but no defining phrase length or downbeats
-Coleman had melodic solo with sharper notes of microtonality, purposely out of tune/poor intonation
Lonely Women Musicians (4)
-Coleman = alto, composer
-Don Cherry = cornet
-Charlie Haden = bass
-Billy Higgins = drums
Free Jazz (6)
-Ornette Coleman Double Quartet
-one extended 40 min composition
-composed melodic lines: brief abstract bop riffs
-solo, collective, and textual improv throughout
-no piano
-two rhythm sections: timekeeping and percussive interjections
The Good Life from Skies of America (4)
-Ornette Coleman and the London Symphony Orchestra
-third section of an extended one-movement work
-harmolodics = harmony, melody, rhythm, and pulse are of equal importance (no constraints)
-polytonal turbulence with tutti unison melody
Trigonometry (5)
-Pat Metheny (fusion guitarist) and Ornette Coleman
-lyrical/folk like melody
-rhythmic groove from bop tradition
-Coleman solo = blues laced lines, exploratory intonations
-Metheny solo = subtle electronics to enhance, abstract
Albert Ayler (4)
-extreme free jazz tenor sax
-began with RB, in Army explored high register
-relocated to Sweden, began Euro avant-garde scene
-landmark album Spiritual Unity in NY
Ghosts (4)
-folk like melody contrasted groups free form collective improv
-Ayler sound = low honking, blues liquidity, aggressive improv
-Peacock = bass collective improv with Ayler, space
-Murray = undercurrent of percussive textures
Cecil Taylor (5)
-free jazz pianist with turbulence, drama and energy
-sold out concerts
-swing, RB, bebop at New England Conservatory of Music
-moved to avant garde in school and recorded with Coltrane
-formed The Cecil Taylot Unit
Enter Evening (4)
-tone poem evoking urban sound at dusk
-melodic fragments with collective improv interject
-Cecil stretches boundaries of jazz
-oboe, bass clarinet, alto sax, trumpet, cello, bass, triangle, cymbals
Jitney No. 2 (4)
-free jazz piano improv of Cecil live at 1974 Montreux Jazz Festival
-textual improv free of bebop clichés and jazz harmonies
-sense of beginning, middle, and end with use of musical cues
-lacked key center, traditional harmony, and steady pulse
Four Winds (3)
-Dave Holland Quartet - folk like melody
-English bassist Holland and drummer Altschul weave in and out of time keeping roles or interacting
-saxes Braxton and Rivers have virtuosic free improv with sense of form (no boundaries)
The Association for the Advancement of Creative Musicians (4)
-established in Chicago in 1965
-alliance of black free jazz musicians
-mission: musical edu for inner city youth and promote free jazz concerts
-created chapters around USA
Art Ensemble of Chicago (3)
-flagship chapter of AACM
-focused on collective improv
-incorporated African instruments, costumes, recited poetry, acted political/social skits
Imaginary Situation (4)
-Art Ensemble of Chicago makes collage of musical styles
-trumpeter Lester Bowie provides one jazzy reference with bop rooted riffs
-afro-Cuban groove and free textual improv
Keith Jarrett (5)
-pianist influenced by many sources with concert pianist training
-60s played with Charles Lloyd, 70s with Miles Davis
-known for improv solos in concert in 70s
-connected in 1 hour uninterrupted pieces
-called New Age, hated that
Semblence (2)
-Keith Jarret piano improv that reprised tune throughout
-sprinkle of folk, free, gospel, hard bop, and classical
Jazz Rock (5)
-merge inevitable: blues roots, improv, sense of freedom, battled establishment for respect
-jazz musicians considered rock an inferior music
-rock had integrated RB and sax improv into music from beginning (Little Richard, Fats Domino)
-soul bands integrated horn background riffs from big band (Ray Charles, James Brown)
-1960s young musicians changed attitude
Cantaloupe Island (5)
-early jazz rock from Herbie Hancock
-Tony Williams used straight eighth notes, and interlocked bass and snare for linear approach
-16 bar form, 3 chords, F blues scale
-melody and groove supported by piano vamp
-Hubbard trumpet solo had restraint, sustained notes, complex line occasionally
Cantaloupe Island Musicians (4)
-Hancock = piano
-Freddie Hubbard = trumpet
-Ron Carter = bass
-Tony Williams = drums
Eight One
- Miles Davis Quintet
-Tony Williams plays straight eighth note and quasi rock beat
-two 12 bar blues form with suspended blue chords
-sparse melody line, long space, jarring accented note
-12 chorus improv = 6 Miles, 4 Shorter, 2 Hancock
-bassist Carter had funky electric walking bass
July the 15th, 1967 (3)
- Gary Burton (jazz vibra) and Lary Coryell (rock guitar) wanted to explore other's styles in NY
-angular melody rooted in bebop or is folk like float over rhythm section
-quasi rock drum patternd and soul bass on acoustic upright
Smiling Phases (6)
-Blood, Sweat, & Tears example of jazz rock popularity spread through rock bands using jazz horn section
- Chicago another popular, BST more jazzy
-arranged by blues guitarist Al Kooper (founder of band)
-Ray Charles inspired vocals, Tony Williams inspired drum patterns
-groove evolved into hard bop piano solo
-gospel like brass chorale
Bitches Brew (3)
-Davis inspired by funk of Sly and the Family Stone, James Brown, Jimi Hendrix (acid rock)
-previously messed with rock drums and electric on Miles in the Sky and Filles de Kilimanjaro
-album was hailed as break through for jazz fusion by Rolling Stone, hated by jazz press
Bitches Brew Style (5)
-modal and/or free form improv
-electronic textures and rock/funk grooves
-collective and textual improv (distortion)
-use of electric bass
-double rhythm (keys, bass, drum)
Miles Runs the Voodoo Down (4)
-45 rpm single
-Miles' modal-based free form imporv
-outgoing aggressive nature of solo (new)
-feelings about MLK assassination and Civil Rights
Weather Report (3)
-sax Wayne Shorter and keys Joes Zawinul
-establish direction of fusion in 1970s
-1st like Miles: modal, collective, textual, distortion, afro-cuban
Vertical Invader (3)
-live recording of early Weather Report performance
-Zawinul used electric keys in textual manner, focused on sound development
-shorter had abstract melodic development
The Mahavishnu Orchestra (3)
-formed by rock guitarist John McLaughin in 1971
-previously recorded with Miles and Jimi
-contrasted Weather Report = tight, high energy ensemble playing with virtuosic bop improv
Awakening (5)
-The Mahavishnu Orchestra
-angular bop melody played in unison by whole band
-each member had short solo, with melody interlude as cue
-John Goodman = amplified violin, texture of rock guitar and exotic of sitar
-Billy Cobham = drum solo powerful and complex
Herbie Hancock Fusion (4)
-pioneer in keyboard synthesizer technology
-inspired by Sly, James Brown, and Stevie Wonder
-combined funk music and improv
-used studio edits
Watermelon Man (5)
-Herbie Hancock and Headhunters
-interlocking layered rhythms between synthesizes, electric bass, and drums (funk)
-used electric keyboard orchestral, accompaniment
-improv minimum, more arrangement
-recorded for future live performances (key)
Fusion post-1975 (3)
-more mellow, lyrical approach due to conservative and placid social excess of "me generation"
-evolved into an FM radio format = smooth jazz
-coommercialization
Weather Report post-1975 (3)
-electric bassist Jaco Pastorious joined in 1975
-guitar playing techniques, ultra high harmonies, electronic devices
-combinations of harmonics and electronics enabled Pastorious to be a lead voice and add new melodic line
Birdland (5)
-Weather Report
-mellower lyrical sounf
-avoid distorted electronic sound
-return to past tradtions: solo improv, acoustic piano
-well produced and commercial
Michael Brecker (4)
-best tenor sax of fusion era
-influenced and played with Coltrane
-formed Steps Ahead with hard bop vibra Mike Mainieri
-experimented with MINI and the Akai EWI
MIDI
Musical Instrument Digital Interface
Akai EWI
Electronic Wind Instrument
Beirut (5)
-Steps Ahead recorded live in Tokyo
-high energy techno flavored fusion performance
-new electronic tonal palette with MIDI and EWI
-Brecker solo with sweep, cry, burst of notes, sheets, aggressive
-Mainieri's vibra had sensors to amplifying soft acoustic instrument with electronic effects
Miles 1980s (4)
-hermit during late 70s with drugs
-1981 began recording and touring, live better
-concentrated on electric with synthesizers
-tunes laced with funk and angular melodic lines
You're Under Arrest (3)
-Miles recorded current pop songs (only 2 successful)
-written by guitarist John Scofield
-funk tune with bop melody
Blow (6)
-Miles Davis and Easy Mo Bee
-last recording featured hip hop rhythms, digital samples, and rap vocals
-no formal melody or song structure to improv
-Miles' sound: harmon mute, blues laced, space, modal solo
-Easy rap rooted in tradition of toasting
Neoclassicism/Post-modern Bop (3)
-new era of conservatism with Ronald Reagan election
-led by trumpeter Wynton Marsails who proclaimed jazz as America's classical music
-rejected most styles after hard bop/cool jazz era
Wynton Marsalis (6)
-leader of neoclassic jazz movement in 1980s
-born into NOLA jazz family: father (piano) brothers (sax, trombone, drums)
-attended Julliard like Davis in 1979
-recorded and toured with Art Blakey and Herbie Hancock
-won grammy for Classical and Jazz
-controversy by calling out jazz greats who created new directions in jazz
Delfeayo's Dilemma (4)
-Wynton played big, full tone, excellent command, hard bop (Clifford Brown)
-improv closed to 1960s Miles: modal, dramatic timing, sustained notes, loose swing, lowest range at end
-rhythm section inspired by Hancock, Ron Carter, Tony Williams
-pianist Marcus Roberst employed open-voiced chords
Repertory Jazz Movement (3)
-predicted by pianist James P Johnson in 1947
-recreating past recorded jazz performances (Duke, Basie, Goodman, Henderson)
-oppose spirit of jazz?
Take The A Train (4)
-Lincoln Center Jazz Orchestra established by Wynton in 1988
-Duke repertory, theme song of his band
-original Ray Nance trumpet solo recreated by Lew Soloff of BST with Cootie Williams growl and Nance improv lines
-not note for note
Don Byron (4)
-could play all the old greats
-trained on clarinet and reed instruments at the New England Conservatory of Music
-member of Black Rock Collation which promoted creative freedom and black musicians
-explored Klezmer, Lester Young, etc
Cotton Club Stomp (3)
-Don Byron
-recreated Duke, John Kirby, and Raymond Scott on album Bug Music
-faithful recreation of Duke
New Jazz styles (7)
-hip hop jazz = Miles' Blow
-acid jazz = hip hop and fusion
-klezmer jazz = jewish and eastern Euro folk music
-crossover jazz = fusion, free, world
-avant garde jazz = free
-nu jazz = electronica, house, and trance with bop
-world jazz = non western with jazz
Jazz Mainstream (3)
-repertory and reissuing old jazz albums
-expensive box sets of careers
-small independent labels for new styles
Carla Bley (3)
-important composer and pianist in NY free jazz in 60s
-cofounded Watt Recordss with Michael Mantler for nonmainstream improv music
-awarded Guggenheim Fellowship in 1972 for music composition
Walking Batteriewoman (4)
-Carla Bley as pianist played organ on this recording
-halting syncopated melody lines
-lurches, angular nonlyrical melody
-free-form solos punctuated by background dissonant horn accents
Dave Douglas (4)
-studied trumpet at NYU
-recorded and toured Horace Silver and John Zorn (klezmer)
-formed The Tiny Bell Trio = klezmer
-formed The Dave Douglas Five = string group, world jazz, unusual instrumentation
Mirrors (6)
-Dave Douglas Five
-modified boogaloo beat
-36 bars, 3 12 bar sections AAB
-uneven phrasing and lyrical/angular melody (tension)
-abstract violin improv from Mark Feldman
-end on collective free improv with Douglas on top
Matt Darriau (3)
-clarinet/sax composed and perform fuse of Balkan, Klezmer, Celtci, and Gypsy
-figure at avant garde NY club Knitting Factory (label too)
-Paradox Trio focused on Klezmer old and new world fuse
Rufus 7 (4)
-Matt Darriau Paradox Trio
-co-written by cellist Rufus Cappadocia (electric cello)
-rapid groove in 7/8 time
-Rufus has free-floating melody over groove in unison by Darriau and guitarist Brad Schoeppach
Andrea Parkins (4)
-amplified accordion and piano (laptop)
-composer, sound installation artist, and electronic-acoustic multi-instrumentalist
-at Knitting Factory teamed with sax Briggan Krauss for electro-acoustic free improv
-early nu jazz
Schist (2)
-Andrea Parkins creates sound textures with accordion
-tension form percussive noise and dissonant tone clusters
John Zorn
-avant garde composer and sax
-found punk jazz band Naked City
Klezmer music with quartet Masada (ancient Israeli fortress)
-composed for film and documentaries
Kilayim (3)
-Masada with John Zorn (1997)
-up tempo jewish dance groove bookended the Coleman free jazz section in the middle
-individual solo space
Cuong Vu (5)
-from Vietnam came to Bellevue
-started trumpet lessons at 11 then to New England Conservatory
-Knitting Factory scene in the 1990s
-recorded and toured with Dave Douglas, Laurie Anderson, Pat Metheny
-recorded with trio in 2000 with rock, electronic, ambient music
Again and Again and Again (4)
-Cuong Vu Trio
-chaotic free form improv piece
-rapid trumpet riff repeated many times, break down and collective improv takes over
-digital signal processor with trumpet to abstract
Joshua Redman (4)
-Harvard summa cum lade
-chose music after winning Thelonious Monk International Jazz Saxophone Competition, got contract with WB
-early on bright young neoclassic artist
-went toward fusion, free, and electronica
New From the Front (4)
-Joshua Redman
-rooted in soul-funk laced with angular line and free touch
-digital signal processing of sax and keyboard synth
-overdubbing
All in a Row (5)
-Mike Mainieri/Marnix Busstra Quartet
-Mike career ranged in 90s did free jazz interpretation with American Diary
-2003 joined Dutch guitarist Marnix Busstra
-song based on 12-tone composition technique (avoided)
-no key center since all tones/pitches have equal value
Regina Carter (5)
-violinist from Detroit
-HS played with Detroit Civic Orchestra and electric violin in funk bad
-dual careers in classical and jazz (prefer)
-pop recordings with Mary J Blige and Faith Evans
-Reverse Thread was interpretation of traditional and modern African songs
Aristiya (3)
-Regina Carter, but composed by Mariam Doumbia
-modern African song
-imporv over African dance groove laced with jazz and RB
THIS SET IS OFTEN IN FOLDERS WITH...