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UW MUS 131 Final

Terms in this set (60)

Pithecanthropus erectus - artist
Charles Mingus
considered one of Charles Mingus's masterpiece
Pithecanthropus erectus
characteristics of pithecanthropus erectus
built on haunting repeated theme
rooted in hard bop
frantic free jazz interludes
artists that inspired pithecanthropus erectus
jackie mclean - alto sax (R&B/bebop roots)
jr montrose - tenor sax (inspired by sonny rollins)
mal waldron - aggressive blues oriented pianist
Hora Decubitus artist
Charles Mingus
characteristics of hora decubitus
hard-driving
swinging
12 bar blues
fletcher henderson arranging technique
layered riffs
3 soloists on hora decubitus
Booker Ervin - tenor sax (blues scale solo)
Eric Dolphy - alto sax (free jazz rooted solo)
Richard Williams - "straight ahead" hard bop trumpet solo
free jazz
music commonly free of traditional melodic, harmonic, and rhythmic practices
characteristics of free jazz
textural improv
melodic lines -> angular, dissonance, free of bebop clichés
extreme manipulation of pitch and tone
polytonal approach
no traditional harmony, usually no piano or bass lines, avoidance of "swing" and steady tempos
sound textures
when did free jazz come into focus
this type of jazz came into focus in the late 1950's and early '60's
who had the first examples of free jazz?
lennie tristano and lee konitz -> Intuition and Digression
why did free jazz come into focus?
it was a reflection of the turbulence of the 60's, civil rights movement, anti-Vietnam War protests
ornette coleman
leading figure of free jazz into the 21st century, originally played rhythm and blues as a teenager in Texas, used a white plastic alto sax after he got into a bar fight in 1954 and lost his alto sax
los angeles
which city did ornette coleman fail to succeed in?
new york city
which city did ornette coleman move to and find success in?
"Lonely Woman" - Ornette Coleman
This song was recorded in 1959 and opened the artist's landmark album "The Shape of Jazz to Come"
Melancholy melody with deep blues feeling, inspired by LA painting
Charlie Haden strumming on bass, Billy Higgins as the drummer, A-A-B-A form with no defining phrase lengths
"Free Jazz (excerpt)" - Ornette Coleman Double Quartet
one extended 40-minute composition with composed melodic lines with brief abstract riffs rooted in the bop tradition, solo improvisation, collective improvisation, rhythmic background riffs, no piano, and two rhythm sections
"The Good Life from Skies of America" - Ornette Coleman and The London Symphony Orchestra
1971, third stream combining free form jazz
employed the artist's musical philosophy - the theory of harmolodics -> harmony, melody, rhythm, and pulse are equal
features polytonal turbulent orchestral parts alternating with contrasting tutti unison melody
"Trigonometry" - Pat Metheney and Ornette Coleman
from the album Song X, mostly frenetic in nature featuring free jazz collective improvisations
one of the more lyrical tracks on Song X
"Enter Evening (excerpt)" - Cecil Taylor
this pianist is unmatched in terms of turbulent activity, drama, and energy
song from the album "Unit Structures"
tone poem evokes urban sounds heard at dusk, composed melodic fragments
"Jitney No. 2" - Cecil Taylor
spontaneous, free jazz piano improvisation recorded live at the 1974 Montreux Jazz Festival in Switzerland
primarily a textural improvisation free of bebop clichés and jazz harmonies, displays the artist's turbulent violent and imaginative playing
has a sense of beginning, middle, and end but lacks a key center
"Smiling Phases" - Blood, Sweat, and Tears
first widespread popularity of jazz rock
composed by Steve Winwood and recorded by the British rock band Traffic
features Ray Charles-inspired vocals by Davis Clayton-Thomas
complex, tony williams-inspired linear rock drumming by Bobby Colomby
moves to a hard-bop piano solo by Fred Lipsius
Miles Davis
which artist was moving towards a funk-based jazz style in 1968?
"Bitches Brew" - Miles Davis
1970 Miles Davis masterwork hailed by younger musicians and Rolling Stone Magazine as a major breakthrough in both rock and jazz music
"Miles Runs the Voodoo Down" - Miles Davis
example from Bitches Brew, modal-based free form improvisation, outgoing aggressive nature during the solo
Weather Report
formed in 1971 by saxophonist Wayne Shorter and keyboardist Joe Zawinul, established the direction that fusion would take during the 1970's
used modal and/or free jazz improvisations, collective/textural improvisation focus along with featured solos, use of amplified or distorted keyboard sound textures, use of afro-cuban instruments for added rhythmic intensity
"Vertical Invader" - Weather Report
live recording from 1972, captures the essence of this band's early years
free collective improv, use of electric keyboard, heavy amplification, loud heavy driving rock drumming
utilized electric keyboards in a textural manner
John McLaughin & The Mahavishnu Orchestra
British rock guitarist formed this orchestra in 1971, contrasted stylistically with Weather Report
"Awakening" - John McLaughin & The Mahavishnu Orchestra
features an angular, bop-like melody played in unison by the whole band
had highly-amplified violinist Jerry Goodman and drum solo by Billy Cobham
"Watermelon Man" - Herbie Hancock and Headhunters
originally composed in 1962 and became a billboard top 40 for Mongo Santamaria
1973 version was radically different from the '62 version
funk style performance with interlocking layered rhythms between the synthesizer
used electric keyboard orchestrally, focused on tight-knit, coordinated ensemble playing
weather report after 1975
a more mallow, lyrical approach to style of fusion
FM radio format labeled "smooth jazz"
not immune to changing tastes in fusion and emerged in 1975 with a new sound
"Birdland" - Weather Report
this song was made after Jaco Pastorius joined the band
from the album "Heavy Weather", with a mellower lyrical sound, avoidance of distorted electronic sounds, and acoustic piano playing by Zawinul
"Steps Ahead" - Michael Brecker
had one of the best tenor saxophonists of the fusion era whose improv style was greatly influenced by John Coltrane
formed the song with Mike Mainieri, hard bop vibraphonist
"You're Under Arrest" - Miles Davis
this artist's return to recording was in an album of current pop songs
song was written by guitarist John Scofield, a funk tune with bebop-inspired melody and a free-for solo over the top of the funk groove that exposed the artist's bebop roots
"Blow" - Miles Davis and Easy Mo Bee
last studio recording made by this artist, featuring hip hop rhythms, digital samples, and rap vocals
had no formal melody or song structure over which to improvise
harmon-muted trumpet, blues-laced, well-constructed improvised lines, use of space, free-form modal-based solo
Neoclassic Jazz / Post-Modern Bop
reflected a new era of conservatism emerging in America after Reagan's election in 1980
jazz found its center of gravity in the past greatness of the hard bop / cool jazz era of the '50's and '60's
this style was led by NOLA born trumpeter Wynton Marsalis who rejected most styles of jazz after hard bop / cool jazz
looks back primarily to the hard bop era for inspiration
"Delfeayo's Dilemma (excerpt)" - Wynton Marsalis
'86 live recording demonstrates the neoclassic / post-modern bop style
rhythm section inspired by Herbie Hancock, Ron CArter, and Tony Williams model of Miles Davis's 1960's band
trumpet had big, round full tone with a hard-bop inspired approach and an improv style closer to 1960's Miles Davis
cool jazz sensibility over hard bop groove, used lowest range of trumpet at end
pianist Marcus Roberts employs open-voiced chords under Marsalis's solo, similar to McCoy Tyne behind John Coltrane
Repertory Jazz Movement
predicted by James P. Johnson in 1947
concept of repeating past recorded jazz performances, an offshoot of neoclassical jazz music
Lincoln Center Jazz orchestra in 1988 was first significant ensemble dedicated to this movement, founded by Wynton Marsalis in '88
"Take the 'A' Train" - Lincoln Center Jazz Orchestra
- edited from a '92 live performance
- originally recorded by Duke Ellington in 1941
- composed by Billy Strayhorn
- trumpet solo on original was played by Ray Nance, Lew Soloff played the 1992 solo
Don Byron
the type of jazz musician predicted in 1947 by James P Johnson
capable of playing everything from Duke Ellington to Ornette Coleman in a single concert
classically trained on clarinet and reed instruments in New England Conservatory of Music
a member of the Black Rock Coalition (BRC), dedicated to promoting the creative freedom and works of black musicians
1993 explored klezmer music and in 2004 explored 1946 recording sessions by Lester Young
"Cotton Club Stomp" - Don Byron
1996, original is by Duke Ellington, and this rendition is a faithful recreation of Ellington's 1929 recording
Thirty Years of Innovative Jazz -> 1980-2009
domination of mainstream by neoclassic or post-modern bop continued
major record labels concentrated on jazz repertory, and expensive box sets covering careers of artists were made
small independent labels stepped in to fill void with new jazz
Carla Bley
an important composer and pianist in the New York free jazz scene of the 1980's
forecast the emergence of 1980's small independent jazz record labels and cofounded Watt Records with trumpeter Michael Mantier, specialized in issuing recordings of non-mainstream improvised music
"Walking Batteriewoman" - Carla Bley
recorded in 1980 and included on "Social Studies" in 1981
composer played the organ on the recording
features a haltingly syncopated melody line that rhythmically lurches forwards and backwards with non-lyrical melody inspired by avant-garde music
free-form solos are punctuated by background dissonant horn accents
Dave Douglas Five
the lead of this band studied trumpet at NYU and toured Europe with pianist Horace Silver in 1987
became inolved in NYC avant-garde jazz scene in the '80's, recorded and performed Klezmer jazz with John Zorn, formed The Tiny Bell Trio performing a blend of eastern european folk music and free jazz
founded the group in 1992 and called it his "String Group"
"Mirrors" - Dave Douglas Five
recorded in 1995, melody is played over a modified boogaloo beat over 36 bars -> 3 12-bar sections A-A-B
short, abstract violin improvisation by Mark Feidman, collective free-form improv after the violin solo
Matt Darriau
clarinetist/saxophonist who composes and performs jazz fused with traditional Balkan, Klezmer, Celtic, and Gypsy influences
became an important fixture in the New York Knitting Factory Club scene in the 1990's
his Paradox Trio specializes in fusing Eastenr European folk music traditions with avant-garde jazz, and his original compositions mix old world and modern influences
"Rufus 7" - Matt Darriau Paradox Trio
recorded in '95 and cowritten by cellist Rufus Cappadocia
piece has a rapid groove in 7/8 time, and the elctric cello played by Cappadocia is played like a funk electric bass
free-floating melody in unison with the soprano sax and guitarist, sometimes with collective improv
"Andrea Parkins
plays amplified accordion and piano, utilizes digital electronics with laptop computer technology
considers herself a composer, sound installation artist, and elctro-acoustic multi-instrumentalist
became involved in New York Knitting Factor club scene in 1990's and teamed with saxophonist Briggan Krauss to create stunning electro-acoustic free-form improvisations as early examples of "nu jazz"
"Schist" - Andrea Parkins
recorded on 1996 Knitting Factory album Cast Iron Fact
utilized amplified accordion for improvised sound textures
laced with tension-filled percussive notes and dissonant tone clusters
reminiscent of John Coltrane's turbulent free jazz recordings
John Zorn
avant-garde composer/saxophonist
ipossible to categorize his style
founded punk jazz band naked city
compsoed Jewish-inspired music for the Klezmer influenced quartet "masada"
composed music for film and documentary
became key figure in nYC avant-garde music scene in 1980's
spearheaded the Klezmer jazz movement in the early '90's with Masada (also the name for a site of ancient places and fortifications, located in south of Israel on top of an isolated rock plateau)
wanted to create radical Jewish music
"Kilayim" - Masada feat. John Zorn
a classic example of John Zorn's Klezmer compositions
up-tempo traditional Jewish dance groove bookends the Ornette Coleman-inspired free jazz section fo the middle
free jazz section collectively improvised with short individual solo spaces
Joshua Redman
son of avant-garde saxophonist
jazz artists career almost didn't happen, went to Harvard and only played jazz gigs around Boston during the summer
won the 1991 Thelonius Monk International Jazz Saxophone Competition and led to first recording contract
early on he was cited as one of the bright young neoclassic jazz artists -> open-minded about fusion and free jazz and criticized for making reocrdings that didn't fit the definition of neoclassic or post-modern bop
"News from the Front" - Joshua Redman
from eclectic 2002 album Elastic
rooted in soul-funk, laced with angular lines and avant-garde
utilizes overdubbing techniques, alters the sound of his saxophone with digital signal processing
unusual overdubbed keyboard synthesizer solo by Sam Yahel
Mike Mainieri
vibraphonist with long and varied career, played hard bop in '50's, produced pop albums for Carly Simon, founded fusion band Steps Ahead, and moved further into avant-garde performance in the '90s
His albums explored free jazz interpretations of American music from classical to folk
toured with Netherlands-based guitarist Marnix Busstra in 2003
"All In A Row" - Mike Mainieri / Marnix Busstra Quartet
recorded in 2006, based on 12-tone composition technique that was devised by composer Arnold Schoenberg in the early 20th century that used melodies built on rows using all 12 pitches of his chromatic scale
no key center established, free-form solo improvisation utilized all 12 tones of the chromatic scale
Regina Carter
studied violin at age 4 in Detroit, played in the Detroit Civic Orchestra while in high school, played electirc violin in a high school funk band, and studied jazz improv with trumpeter Marcus Belgrave
began professional career in 1987 after studying at New England Conservatory of Music and has dual careers in jazz and classical music
virtuosic technique allows to play many styles, has played on pop recordings by Mary J. Blige and Faith Evans
2009 album Reverse Thread has interpretation of traditional and modern African songs
"Artistiya" - Regina Carter
composed by Mariam Doumbia, a modern African song
improvisation over the top of the African dance groove is laced with jazz and R&B elements
Cuong Vu
born in South Vietnam and immigrated to Bellevue in 1975
began turmpet lessons at age 11 and attended the New England Conservatory of Music on a full scholarship
became invovled in the New York Knitting Factory scene in the 1990's and issued first recordings on Knitting Factory label
performed with musicians such as Dave Douglas, Laurie Anderson, and fusion guitarist Pat Metheny
"Again and Again and Again" - Cuong Vu Trio
chaotic free-form improvised piece
built around a rapid trumpet riff repeated many times
riff breaks down and free form collective improv takes over
utilized various digital signal processors with his trumpet to create an abstract soundscape
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