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SWING, BOP, AND COOL JAZZ Dr. Dickert 50 MINUTE PRESENTATION MUST 307
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May 20, 2015

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Dr. Dickerts PPT presentation on jazz for MUST 307.
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  • 1. 50 MINUTE PRESENTATIONMUST 307SWING, BOP, AND COOL JAZZ Dr. Dickert

2. Dixieland (Early Jazz)Chicago (Early Jazz) SwingBebopCoolThird StreamHard Bop/FunkyModalApprox. time period Avante-Garde (Free Jazz)1920s = 1945FusionContemporaryA National Craze3. THE SWING ERAKing Porter Stomp, Benny Goodman Orchestra 1935 3. WHAT CAUSED THE POPULARITY OF SWINGBANDS? World War I (1914 1918) [1 of 2] Increased need for dance music Musician migration northward (the closing ofStoryville) [2 of 2] New Orleans to Chicago Chicago to NY (Harlem) 4. SWING BAND - GEOGRAPHY What is seen onstage?Rhythm Section Trumpets BonesSaxes Audience 5. THE SWING ERA RISE TO POPULARITY 3 Basic Ingredients Benny Goodmansband (playing F.Hendersons charts) Radio show: LetsDance (1935) Goodman US tourending in Los AngelesCA 6. THE SWING ERA IMPORTANT NAMES 7. 1. (KING OF SWING) #1 - Benny Goodman 1909 - 1986 1st successfulintegrated band (blackrhy section) Had a combo within hisbig band (hearing now) A perfectionist (and miser) Breakfast Feud 15 Jan 1941 Benny Goodman sextet 8. 2. EDWARD KENNEDY DUKE ELLINGTON Cotton Club (1928-1932) 2,000+ compositions in his life time Ko-Ko Good example of whathe sounded like at the Ellington @Cotton Club, 1929Cotton Club (in Harlem)He had to write a new floor show every 6 months (for 5 years) 9. DUKE ELLINGTON - CONTD Duke Ellington 1899 - 1974 East St. Louis Toddle-Oo Another example of hisjungle sound 10. DUKE ELLINGTON - CONTD Why was Duke Ellington so unique among swingbandleaders? He wrote specifically for his musicians10/54 11. A FEATURE OF BIG BANDS Soloists Considered rock stars Typically sax stars of that generation Ben Webster Coleman Hawkins Lester Young Vocalists Frank Sinatra Sarah Vaughan Ella Fitzgerald 12. LESTER YOUNG: SOLOIST IN COUNT BASIES BAND aka Prez 1909 - 1959 Hip language (ex next page) Unusual way to hold sax Lester Leaps In, Count Basie Orchestra, 1939 13. THE LANGUAGE OF PREZEarly hipster well before Dizzy Lady (Lady Parks)A policeman: Bob CrosbyA Rehearsal: Molley TrolleyHis fingers (on the sax keys): His peopleGirlfriends: waybacksB section to tunes:George WashingtonPot: ettuceAttractive young girl:Pound cake Cool Dig catOften spoke in 3rd person: Way outPrez dont like bombs just chicky-boom.hipPres feels a draft in here. 14. 3. WILLIAM COUNT BASIE All-American Rhythm Why are they soSection important? Count Basie (pno) They revolutionized & Freddie Green (gtr) modernized the rhythm Walter Page (bs)section. Jo Jones (dr) How? Rhy. Section roles This became a crucialrole in the developmentof bebop. 15. COUNT BASIE Basies bandarguably was thebest swing bandof the swing era! Riff-oriented charts Many competingsoloists One OClock Jump 1943 From the Columbia film Reveillewith Beverly 16. COUNT BASIE Corner Pocket 1962 in Zurich concert Tpt solo: Thad Jones Tpt solo: Al Aarons T Sax solo: Frank Wess Drummer: Sonny Payne 17. SWING ERA - SUMMARY 18+ pc. Bands Reasons for Swings VocalistsDemise Soloists WWII Musicians not satisfied Dance musicwith role Pop music repertoire Wanted respect as artistsIn A Mellow Tone, Duke Ellington Orchestra, 1940 18. Dixieland (Early Jazz) Chicago (Early Jazz) Swing Bebop Cool Third Stream Approx. time period Hard Bop/Funky 1945-1950 Modal Avante-Garde (Free Jazz) Fusion ContemporaryThe Beginning of Modern Jazz4. BEBOP 19. BEBOP Developed as a reaction. I Got Rhythm, Don Byas & Slam Stewart, 1945 20. THE DECLINE OF SWING BANDS World War II Less need for dance The draft music Resources/supplies Difficult to travel in US Oil, petroleum products Metals, metal products Gas food But on a more personal level.20/54 21. THE DECLINE OF SWING BANDS Dissatisfaction with music scene Social scene 1st awareness of black civil rights 22. BEBOP BORN IN HARLEM (1 of 3) Mintons Playhouse***: Monk Kenny Clarke (drummer) Unknown Teddy Hill (Mintons mgr) 23. BEBOP VS. SWING - ORIGINS Swing born in dance halls Bop born in clubs 24. BEBOP VS. SWING - REPERTOIRE Swing: charts and arrangers Bop Repertoire: no charts Blues changes Contrafacts (ex. = Rhythm Changes tunes) New compositions 25. BEBOP VS. SWING - APPEAL Swing: a national craze Bop: not widelyaccepted 26. RECAP: WHAT MAKES BOP BOP? Instrumentation Necessity of contrafacts Small group (4-5 No charts remember?players) Consistency of form: Absence of charts AABA 12-bar blues Harmonic complexity Range of tempi 27. BEBOP COMPLEXITY/VIRTUOSITY Technical junkies Expanded harmony Harmonic complexity 9, 11, 13 chords common Altered dom chords common Chord substitutions 28. BEBOPS GOALS Concert stage Appreciated as artists Exclusivity (the club) Exclude average players whowerent hip Everybody woodshed 29. BEBOP - GROUP SIZE as compared to swingbandsCount Basie Orchestra Max Roach Quintet 30. BEBOP EXTREME TEMPI Anthropology Round Midnight Charlie Parker Thelonious Monk Live at Birdland, 31 Mar 1951Tempo = 54 Tempo = 306Contrafact of Gershwins I Got Rhythm 31. BEBOP WHATS ONSTAGE (RECAP) Small groups quartets & quintets Extreme tempi Sax is favored Rhythm guitar is rare Music stands are rare Virtuosic chopsrequired L-R: Tommy Potter, Bird, Miles, unknown pianist (Max Roach at the piano?)Donna Leethe Three Deuces, NYC, Aug 1947Bird (1951) 32. THE 3 ARCHITECTS OF BEBOP32/54 33. 1. THELONIOUS (SPHERE) MONK 1917 - 1982 House pianist in Mintons Eclectic Not well accepted at first Cover of Time mag (1957) NC native Rocky Mount, NC 34. MONK Thelonious Monk Round MidnightMonk: pianoCharlie Rouse:tsLarry Gales: bBen Riley: d1966Norway 35. 2. JOHN BIRKS DIZZY GILLESPIE 1917 - 1993 Trumpet Cheraw SC 36. DIZZY Dizzy Gillespie A Night in Tunisia 37. 3. CHARLIE PARKER aka Bird 1920 - 1955 Alto sax The most influential ofthe 3 Story about his first jamsession 38. BEBOP EXAMPLES Charlie Parker Anthropology mm = 306 39. CONTRAFACT New melody over chordchanges to a pre-existing tune Focus on virtuosity &improvisation Contrafacts The Flintstones theme(from H-B cartoon) A contrafact of I Got Rhythm Herb Ellis, guitar Ray Brown, bass Ross Tompkins, piano 40. Dixieland (Early Jazz)Chicago (Early Jazz)SwingBebopCoolThird StreamHard Bop/FunkyModalApprox. time periodAvante-Garde (Free Jazz)1949 - 1955FusionContemporaryA reaction to Bop5. COOL JAZZLine For Lyons, Gerry Mulligan Chet Baker Quartet, 195340/54 41. COOL JAZZ WHAT IS IT? De-emphasis of virtuosity in favor of lyricism. 42. COOL JAZZ Flute becomes a coolinstrument as does: Oboe Cello French Horn Middle range iscommon The emergence ofconservatory-trainedmusiciansBlue Rondo a la TurkTime Out (1959)Dave Brubeck Quartet 43. IMPORTANT NAMES COOL JAZZ 44. 1. MILES DAVIS & GIL EVANS The Birth of the Cool (1949) 45. THE SOUND OF MILES DAVIS & GIL EVANS The Duke 1959 46. 2. BILL EVANS - PIANO 1929 1980 Arguably the mostinfluential jazzpianist in jazzhistory Heavily influencedby ImpressionismWitchcraft, Bill Evans Trio, 1959 47. 3. DAVE BRUBECK (MORE COOL JAZZ) 1920 - (Thats alto sax man Paul Desmond behind Brubeck)Brubeck, 2008Take Five, Dave Brubeck, 1959 48. QUICK OBSERVATIONS COOL JAZZ The evolution of Cool jazz had aone style does cleaner look.not erase theexistence of otherstyles. Drug use was not a focal point. 49. Dixieland (Early Jazz)Chicago (Early Jazz)SwingBebopCoolApprox. time period Third StreamLate 1950s early 1960s, Hard Bop/FunkyModalAvante-Garde (Free Jazz)FusionContemporaryRadical, rebellious9. AVANTE GARDE (FREE JAZZ)49/54 50. AVANTE GARDE (AKA FREE JAZZ) No standard instrumentation However, piano often was omitted. Why? Historically, the piano was the harmonic gatekeeper. Any potential for accidental structured harmony was to be avoided. Most pianists were not comfortable with such restrictions Parallels traditional music historys 20th centurymusic. Composers began to reject the use of: Rules scales harmony form 51. ORNETTE COLEMAN (AVANTE GARDE) 1930 Dancing in Your HeadDancing In Your Head ,1986, Tokyo,JapanOrnette Coleman & the Prime TimeplayersOrnette Coleman, 2005 (L) Ornette Coleman, 1971 (R) 52. SUN RA (AVANTE GARDE/FREE JAZZ) Born Herman PooleBount Legal name Le Sonyr Ra His arkestra All-starsHoly Crap!! 53. JOHN COLTANE (AVANTE GARDE) aka Trane 1926 - 1967 Alabama Free jazz, influenced by Ornette Coleman 54. Final Thought: * Art music is a composers art * Jazz is a performers artTHE END