Jazz 6 - Lecture notes 6 PDF

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THE COOL MOVEMENT -1940s group of young NY musicians were meeting, studying and rehearsing with pianist and teacher Lennie Tristano -Tristano was influenced by the music that was similar to Lester Young and JS Bach among others -experimented with music that was similar to bebop in improvisational approach, more subdued in dynamics and more controlled emotionally -musicians played with dryer sounds and tended to contrast with the “hot” aggressive approach of Beboppers, hence the term “cool” was used to describe this sound -same time, another group of influential NY jazz based musicians were meeting and rehearsing music that leaned towards a “cool” approach as well -composer/arranger Gil Evans and trumpeter Miles Davis formed a rehearsal band to explore these new sounds which included bebop veterans John Lewis on piano, Max Roach on drums, and Claude Thornhill Band sax Gerry Mulligan and Lee Konitz -Evans and Mulligan were the primary contributors of compositions, each using interesting combinations of instruments and arranging styles begun during their time with the Claude Thornhill Band -instrumentation grew to include French horn, tuba, and woodwinds achieving a group sound that was more associated with orchestral timbres than the big band sound of jazz -around the same period in California pianist Dave Brubeck began to experiment with his music, which featured a highly arranged sound as well -these groups/musicians were searching for new sounds and means of expression, creating jazz music that sounded a little more controlled and calmer than Bebop, style known as Cool Jazz was born -some of this music is often referred to as West Coast Jazz as this style of music became popular with many players in clubs in Cali during the 50s, and it seemed to fit in with the relaxed life style of the day there -cool jazz may be considered a style more than Era as this music was being played alongside developments of other styles of jazz in the 50s -many musicians associated with cool jazz were also playing bebop and other jazz styles at the same time, probably did not distinguish the various styles of jazz as being exclusive -another example of jazz musicians adapting of different styles and musical influences and their search for interesting musical explorations and direction -jazz musicians of this era studied, listened, and learned to perform music in the style required in any given situation, a trait of jazz musicians to this day COOL STYLE CHARACTERISTICS:  More subdued sound than bebop  Little or no vibrato by horn players  Most works are highly arranged  Cool composers would often use advanced harmonies  Counterpoint is used often as a compositional device

-counterpoint involves composing a second melodic line to be played at the same time as the original line, composed in such a way that each line compliments the other and the harmony of the composition is outlined by the two melodic lines   

Improvisations are smoother and more melodic than bebop Tempos are more relaxed Classical influences can be heard in many instances

Counterpoint- involves composing a second melodic line to be played at the same time as the original line, composed in such a way that each line complements the other and the harmony of the composition is outlined by the two melodic lines

THE MILES DAVIS NONET-birth of the cool group -group had a profound effect on jazz in the 50s and beyond -originally a group that met informally at arranger Gil Evans apartment to talk about music and share ideas and concepts, musicians formed a band modeled after the Claude Thornhill band -important elements of the sound of this group were the light, airy sounds of the featured soloists (Miles Davis-trumpet/flugelhorn, Lee Konitz-alto sax, and Gerry Mulliganbaritone sax) along with unique instrumentation using French horn, tuba, and trombone -another important contributor to this group was composer/pianist John Lewis who provided compositions and understated cool style piano solos -Lewis would later gain fame as co-leader of the modern jazz quartet “Boplicity” –Miles Davis Birth of the cool band -classic cut, an excellent example of the innovations made by Miles Davis/Gil Evans collaboration -featuring soloists Gerry Mulligan on baritone sax (important contributor of “birth of the cool” compositions) and Davis on trumpet displayed the understated melodic improvisations associated with Cool style -also of note is instrumentation that uses French horn, tuba, trombone, alto sax along with Davis and Mulligan to achieve a classical musical influenced ensemble sound -Miles Davis skills as a leader become apparent with this group-ability to move the group in interesting directions inspiring creative contributions from each of the members is an important contribution to this project -skill as leader is an important factor in Miles Davis becoming one of the most influential jazz musicians of all time -Davis was influential in directing the recording sessions, resulting in a sound that combined the Thornhill, Evans, and Lennie Tristano influences to create a new music that would later be re-titled Birth of the Cool. –features a delicate subdued sound overall, using moderate tempos, limited dynamic range (rarely did the music get very loud) controlled and understated solos, and classically influenced instrumental combinations -music also followed a trend that started during bebop era, that of jazz being for serious listeners, not for dancing

-music can be compared to classical chamber music (small group) as the intention is create great art, in the musical sense, for a small, unique grouping of musicians

LENNIE TRISTANO -pianist, composer, teacher, and bandleader -cool jazz pioneer, created an alternative to the bebop style in the late 1940s -grew up in Chicago, and later moved to NY where his explorations in jazz took root -music influenced by Art Tatum, Lester Young and JS Bach -Trisatno’s improvisations are smoother with less angular than the bebop players, his music is just as intense and involved -Tristano’s music is harmfully complex, using many chord changes per measure, like bebop music -in fact, some of the more well known Tristano melodies are written contrafacts of the same jazz standards famous bebop contrafacts were written on -Tristano’s “Marshmallow” like Charlie Parker’s composition “Koko” is a composition written to the chord changes of the classic jazz standard “Cherokee” -led a “school” of sorts at his house, similar to the exploratory sessions at Gil Evan’s apartment -students included alto sax Lee Konitz, guitarist Billie Bauer, and sax Warne Marsh -explored classical and jazz styles, concentrating on creating “pure” melodies for improvisations while playing smooth lines with little or no accents -try to extend their improvised lines beyond a standard 2 or 4 measure phrase, giving the music an elastic quality as phrases would go beyond the expected phrase length, causing listeners to feel stretched.

LEE KONITZ -one of the great improvisers of the Cool jazz style -one of the few sax of the era not to be heavily influenced by Charlie Parker, Konitz’ light and airy sound was reminiscent of Lester Young’s tenor sound and his improvised lines were smoother with less change of direction than Parkers, although equally intense -1 of the great arguments of the day involved the question: “Who is the best saxophonist, Parker or Konitz?” -little perspective we can now answer by saying that both of these jazz masters are great artists, with a different style and approach “Sub-Conscious Lee” –Lee Konitz/ Lennie Tristano -example of the Tristano influenced jazz sound “Sub-Conscious Lee” is a contrafact written on “What is This Thing Called Love” the same tune as Parker’s “Hot House” -cool style elements found in the light airy sound and improvisational elements of smoother lines with fewer accents and changes of direction that a Parker bebop style solo -although a smoother and quieter than Parker, Konitz playing is still intense and exciting -Tristano’s solo also displays the cool traits on creating “pure” melodic ideas, use of irregular phrase lengths, and smooth lines with little or no accents

GERRY MULLIGAN 1927-1996 -baritone sax and composer/arranger who contributed much of the music for the Birth of the Cool recording, is an important figure in jazz music and will always be associated with the Cool/West Coast Jazz style -used a soft, dry, sound on baritone sax, instrument previously associated with the huge sound Ellington sax Harry Carney, and one that was rarely featured as a solo instrument in a small group setting before Mulligan -developed recognizable sound and improvisational approach that featured logical lines and phrases which were melodic and always seemed to outline the harmony of the tune played -compositions very melodic and logical, epitomizing the Cool style -1952 Mulligan moved to Cali and soon formed a group with trumpeter/vocalist Chet Baker -Baker played with smooth airy sound, and relaxed style reminiscent of his singing, which became a recognizable Cool/West coast sound for jazz fans -playing was very melodic, blending nicely with Mulligan’s style as did his ability to outline harmony in his improvisations -Mulligan and baker began working with a quartet using bass, drums, and 2 horns, without a piano or guitar to “comp” the chords- new sound in jazz required great skill as improvisers to outline harmony over the bass lines, and allowed Baker and Mulligan the freedom to play a second improvised line behind the other which helped outline the harmony -Technique called “counterpoint”-classical compositional technique that involves a second melodic line which is played along with the primary melodic line, often weaving in and out of each other while emphasizing the harmonic movement -Mulligan composed many memorable arrangements and compositions for this group, often using counterpoint to create a group sound that is easily recognizable as the Mulligan/Baker “pianoless” quartet “Line for Lyons”- Chet Baker/Gerry Mulligan quartet 2:26 -famous “pianoless” quartet associated with the West Coast style of Cool jazz showcased the melodic genius of Baker and Mulligan and their ability to improvise together at the same time, creating 2 melodic lines which would be played at the same time (counterpoint)

DAVE BRUBECK -perhaps the best known of all the Cool jazz musicians -born in the San Fran area, Northern California would remain his base of operations for his entire career -led one of the most popular groups in jazz history, the Dave Brubeck Quartet from 1951-1967 featuring sax Paul Desmond -music combines classical and jazz influences -early explorations in the late 1940s reflect this direction and have been compared to the Birth of the Cool explorations going on simultaneously in NY

-1951 Brubeck added alto sax Paul Desmond to the Dave Brubeck Trio, forming what would become 1 of the worlds best loved and commercially successful groups, the Dave Brubeck Quartet -Desmond brought a mellow sound and understated melodic sense to his improvisations, which perfectly balanced the Brubeck style -group became popular with college students on the West Coast, becoming one of the first jazz groups to perform formal concerts on college campuses -group recorded a number of live performances for a series of albums called Jazz Goes to College in 1950s -1958 released Time Out, one of the most successful jazz recordings in jazz historyfeatured Brubeck and Desmond compositions, many of which explored the use of odd meters -“Take Five” written by Desmond is in a 5/4 (5 beats to the measure) time signature -odd meter- using rhythmic groupings which were not the standard 4 beats per measure “Take Five” –Dave Brubeck Quartet -played by one of the most popular and commercially successful groups in the history of jazz “Take Five” is the biggest selling jazz sound in history -written in 5/4 time signature, this tune displays the classic elements of the Brubeck style, odd meter signatures, and the relaxed melodic improvisations of alto sax Paul Desmond -another Brubeck hit from this album was “Blue Rondo a la Turk” which was written in 9/8 time signatures -piece alternates 3 measures of a 2+2+2+3 grouping with 1 measure of a 3+3+3 grouping both groupings equaling the nine beats in each measure “Blue Rondo a la Turk” –Dave Brubeck Quartet -classic Brubeck composition in odd meter -features the whole group playing together to create the interesting combination of melodic and rhythmic material LEARNING TO “COUNT” IN ODD METERS -classic Brubeck Quartet tunes are written in odd meter time signatures -say rhythmic groupings out loud in time with the music “Take Five” is grouped in a “3” and a “2” beat pattern, so say 1 two three 4 five with music “Blue Rondo a la Turk” grouped in 2 different 9 beat patterns 1st- 2+2+2+3 and then 3+3+3 1 two 1 two 1 two three -Brubeck is significant because of his compositions and as a bandleader of one of the most popular jazz groups of all time -written works for orchestra, ballet, and chamber music groups

MODERN JAZZ QUARTET “MJQ” -most popular jazz groups of any era, spanning a performance history from the 1940s to the 1980s -quartet, made up of piano, bass, drums, and vibraphone is associated with the Cool sound because of their quiet approach and use of classical influences in some of the music written by pianist John Lewis -used bebop and blues influences, especially heard in vibraphonist Milt Jackson’s style -late 40s group was the rhythm section for the Dizzy Gillespie Big Band, performing together during intermissions so the horn players could get a rest -group played so well together that they decided to form a working quartet in the early 50s led by pianist John Lewis -drummer Kenny Clarke (a bebop pioneer), bassist Ray Brown (also played with Parker, etc.) and vibraphonist Milt Jackson formed the first MJQ -Percy Heath soon replaced Ray Brown and Connie Kay joined when Kenny Clarke who moved to Europe, forming the MJQ that would perform together for the next 30 years -sound of MJQ contrasted the bluesy bebop improvisations of Milt Jackson with the reserved and classically influenced playing and writing of Lewis -contrast made for interesting music, although it would cause some strife between Jackson and Lewis throughout their careers as each kept the other in check -sound of the group was soft in part because the vibraphone is limited in volume, and the group performed acoustically for the most part -regulars on the “concert and lecture” circuit, the MJQ were often the only jazz group that would be heard on primarily classical concert series -group played in concert and recital halls more often than in clubs and helped to cultivate the classical audience interest in jazz “Django” –Modern Jazz Quartet -displayed cool jazz characteristics of quiet, refined sound using understated melodic improvisations -credited with combining elements of classical music with jazz to create classic “Chamber Jazz” sound (referring to chamber music, small group music in the classical genre) -pianist John Lewis (discussed previously as a member of Dizzy Band and important part of Miles Davis Birth of the Cool project) contributed many of the compositions for the MJQ that also featured the improvisations of Milt Jackson on the vibraphone and bassist Percy Heath and drummer Connie Kay -(bassist Ray Brown and drummer Kenny Clarke were the original members of the group)

STAN KENTON ORCHESTRA 1911-1979 -started his own band in LA in early 40s -interest in classical music and afro-Cuban music combined with a passion for jazz resulted in a unique big band sound

-theme song “Artistry in Rhythm” features Afro-Cuban beats and was based on music by classical composer Maurice Ravel -many of the influential “West Coast” jazz musicians of the fifties played with the Kenton band who made a point to featured the great soloists in his band, rarely showcasing his own piano playing -1947 increased the size of his band to include 5 trumpets, 5 trombones, and a sax section that utilized 2 baritone sax, 2 tenors, and 1 alto creating a very powerful horn section sound -also added percussion to complement the regular drummer -band called The Progressive Jazz Orchestra became known for its powerful sound and driving rhythmic force -Kenton encouraged the composer/arrangers on his band to be creative and was never afraid to try new sounds and ideas -later Kenton added strings and French horns to make a 40-member orchestra known as the Innovations in Modern Music Orchestra -1952 had gone back to a 19 piece band known as The New Concepts of Artistry in Rhythm Orchestra which became the model for subsequent bands until his death in 1979 -Kenton became well known for his adventurous music, developing a large and faithful following especially on the West Coast -famous musicians, composers, and arrangers associated with Kenton are testament to his influence on jazz, as is his ability to inspire his musicians to create new music of high artistic quality -some of the important jazz figures that played and wrote for Kenton include: trumpeters Maynard Ferguson and Shorty Rogers, trombonist Kai Winding, Frank Rosalino, Dee Barton and Willie Maiden, and sax Gerry Mulligan, Art Pepper, and Lee Konitz -great jazz composers got their start with Kenton including Lennie Neihaus, Bill Holman, Johnnie Richards, and Hank Levy “Artistry in Rhythm” –Stan Kenton Orchestra -theme song for the Kenton band -shows the Afro Cuban rhythmic influence as well as the melodic influence of classical Impressionist composers Maurice Ravel and Claude Debussy “Artistry in Rhythm” –Stan Kenton DVD from movie: Stan Kenton “Let’s make rhythm” -opening if live action AND music by the Kenton Band, playing an arrangement of the theme song “Artistry in Rhythm” -tune is noted for its Latin rhythms and melody which was inspired by classical composers Debussy and Ravel -listen to differences between this arrangement and the arrangement on the previous audio clip...