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-more like modern jazz
-not as popular as swing era music: not for dancing, smaller venues, no vocalists, less commercial appeal (jazz as an art form, complex unsingable melodies)
-developed in after hours clubs in Harlem
-small group jam session approach influenced: emphasis on improvisation, de-emphasis on arrangements, use of borrowed progressions, focus on experimentation & instrumental virtuosity, jam session
-turning away from jazz as a popular, part of mainstream of American culture
-2 ways to see change: revolutionary (apart from jazz that preceded it) vs. evolutionary (part of jazz tradition as presented as art music, not just entertainment) -most important saxophonist (master improviser w/complete command of instrument), grew up w/blues
-built a system that was conveyed in his improvisations & compositions, which embodied: new ways of selecting/accenting notes compatible w/chords, accenting notes to have a highly syncopated character, methods for adding chords to existing chord progressions/implying additional chords for improvised lines
-got a job w/dance band, later got in accident & became addicted to heroin & fired
-worked with Jay McShann in Kansas, then join Earl Hines' Big Band and then Billy Eckstine's band in small group format
-after going to Cali, returned to NY to form a group w/Miles Davis (unhappy w/commercial attention bebop was getting)
-then created arrangements for small string orchestra suing great arrangers (said quality of musician is what should be judged)
*Charlie Parker's Re Boppers-Koko (based on chord progression of Ray Noble's Cherokee, incl. Dizzy Gillepsie, Curly Russel, Max Roach), Embraceable You (more aggressive), Just Friends (fav. record, big hit), Now's The Time (12 bar blues) -virusos bassist (familiar in all styles extant in his lifetime from early jazz to big band to free jazz)
-played w/Art Tatum, Stan Getz, Bud Powell, Charlie Parker, Dizzy Gillespie
-his compositional style was largely indebted to Ellington & traditions of Gospel, Blues, and New Orleans music
-many of compositions were dedicated to important musical influences: Jelly Roll, Open Letter to Duke, Theme for Lester Young, Goodbye Pork Pie Hat, Praying with Eric
-outspoken advocate against racial inequality
*Charles Mingus and the Jazz Workshop-Boogie Stop Shuffle (blues feat. boogie-woogie inspired line, energetic w/sharp horn articulations) *Invisible (angular, unusual melody, frantic quality, only early recording that would use a piano), Lonely Woman (recorded only 2 months after previous release 'Tomorrow is the Question'), Ramblin' (loosely based on the blues, 16 bars of bass pedal followed by 12 bar blues, Haden's bass solo is a wonderful folk melody), 3 Wishes (middle-eatern vide, modern groove, Jerry Garcia & Coleman had begun collaborating)
*Free Jazz-Coleman Double Quartet (rhythm sections function differently from one another, use of collective improvisation followed by cued/written ensembles, influenced many free musicians to come, album cover feat. Jackson Pollack painting, White Light) -came of age in 1970s, schooled in Midwest
-formed collectives, not unlike fraternal societies of New Orleans
-collectives arranged rehearsals, secured work, set the stage for the creation of new music
-Black Artist Group (BAG) arose in St. Louis; Horace Tapscott, organist/composer, organized Underground Musicians' Associations in LA; in NY, Cecil Taylor, Ander Cyrille, Archie Shepp tried to launch the Jazz and People's Movement
-none of the collectives lasted very long, except for the Association for the Advancement of Creative Musicians (AACM) which lasted 40 years -alto sax, singer, songwriter, bandleader
-68 hits on both the R&B charts & predominantly white, mainstream pop charts
-1938: formed own band, Louis Jordan and His Tympani Five (sounding like a big band-proved that a small ensemble could be successful & as a result, small bands became very popular in jazz and pop after WWII
-his success was due to his use of southern black cultural humor that blacks related to and whites could "get"
-emphasized humanness of being black (a lesson learned from his early experience in minstrelsy), creating new black archetypes
-1940s: recorded w/major stars (Bing Crosby, Armstrong, Fitzgerald) & appeared in movies (real showman)
-career slowed down in 1951 due to illness, but his influence can be heard in the music of Chuck Berry, Bill Haley, Ray Charles -piano, alto sax, vocalist
-blind from age 6
-represented a swing, bop, R&B, gospel, and rock fusion while alienating church going blacks with his use of gospel techniques in secular music
-originally got into music in Seattle 1940s, leading a jazz trio in clubs of Jackson St. (sound based on sound of Nat King Cole trio)
-signed w/Atlantic records and scored several R&B hits in 1954
-outstanding vocalists (distinctive timbre)
-now widely acknowledged as the 1st important soul artist
-worked had an incalculable influence on James Brown, Aretha Franklin, Curtis Mayfield, Otis Redding, Sly Stone
*"I've Got a Woman," "Hallelujah I Love Her So," "What'd I Say" -guitar, white
-veteran of Davis' early 80s group
-at ease in bebop idiom & well versed in jazz fusion, funk, blues, soul, rock, and other forms of modern American music
-one of the most prolific artists of last 30 years
-extremely influential
-unique tone quality, sometime imitating the sound of a Hammond organ
*"So You Say," "Chank" (Medeski, Martin, Wood) -loft era musicians drew on older resources combined w/new ways of playing to create "free jazz"-meaning they were free to play whatever they wanted
-during 80s, one response to this approach appeared in the form of new classicism (older styles, practices, techniques were viewed, not as a resource for new music, but as an object of homage & a def of the "real" jazz)
-this traditionalist approach to jazz paralleled the conservative nature of political culture during the Regan era of 80s
-some jazz musicians, alienated by fusion & the avant-garde, began to explore jazz history by paying homage to decreased or neglected musicians like Billy Strayorn, Miles Davis, Thelonious Monk, Tadd Dameron, Herbie Nichols -jazz has gone through 4 broad stages that mark its place in the cultural world
1. (1890s-1920s): genesis of jazz in the black South (esp NO), where musical & cultural mixes resulted in an improvised, bluesy music that helped build social bonds in a variety of social gatherings & appeal to a broad range of culturally, racially, geographically diverse populations
2. (1920s-50s): transformation from a community-based form to an art that spread worldwide, influenced other genres & styles, and was performed by uniquely voiced performers as dance music and as an object of modernist intellectual interest
3. (50s-70s): increased artistic possibilities while alienating the public, which turned to more accessible forms for dancing & singing
4. (70s-): classical status on 2 counts:
-depends on academic study & institutional support instead of the commercial marketplace
-young jazz musicians are weighed down by the past in that they were partly defined by their pedigree/ancestry (moreover, they were obliged to perform the music of the past b/c modern practices are too difficult for many listeners), this dilemma replicates the dilemma of European classical music
-on the other hand, its status as a classical music leaves young jazz musicians to draw freely on the past or present and on different genres & styles (provides the expectation of jazz evolution) 