SYLLABUS JAZZ HISTORY AND DEVELOPMENT Spring 2018

Catalog #: MUSI 111 CRN #: 02024

Instructor: Joey Earnest Office: C-211 ​ Office Hours: E-mail: [email protected] ​ Course meets: Tuesdays & Thursdays, 12:45-2:10 pm ​ Room #: C-203 Building: C-200 Music, San Diego Mesa College ​

Office hour study sessions are from 11:30-12:30 @ C-109 on specified dates: Tuesdays [9/11, 9/25, 11/13, 12/11] Thursdays [9/20, 11/8, 12/13] Fridays [9/21, 11/9, 12/7,]

COURSE MATERIALS

Required text: None. Required class materials: You will need a notebook, a Dropbox account, and a computer with internet to access the digital files for this course.

CATALOG COURSE DESCRIPTION

This course is intended for all students interested in the history of Jazz. This course is a survey of the history and development of Jazz in the United States. Emphasis is placed on the origins of Jazz, the variety of styles that developed throughout the twentieth and twenty-first centuries, current trends, and outstanding performers and composers.

STUDENT LEARNING OBJECTIVES

Upon successful completion of the course the student will be able to: 1. Describe and explain the emergence of Jazz in the United States and list major Jazz trends and artists from the 20th and 21st centuries. 2. Assess the importance of iconic Jazz musicians such as Louis Armstrong, Duke Ellington, Charlie Parker, Miles Davis, John Coltrane, and Ornette Coleman on the development of Jazz in the United States and globally. 3. Analyze, compare and contrast the history and characteristics of modern Jazz trends including Dixieland, Swing, Bebop, Soul Jazz, Hard Bop, Modal Jazz, Third Stream, Cool Jazz, Post-bop, Free Jazz, Fusion, Smooth Jazz, Latin Jazz, and Nu Jazz and the identify musicians influential to each trend. 4. Recognize a variety of vocal styles, instruments, instrumentalists, ensembles, rhythms, melodies, song forms, and styles through the development of listening skills. 5. Assess the cross influences between Jazz and various world music cultures, various popular music genre (Blues, Country, Rock, Funk, Rap), and Classical music composers.

COURSE LEARNING OUTCOMES

1. Understand the history of Jazz as a musical genre from 1890s–present. 2. Evaluate the music elements that define the major styles of Jazz music.

PREREQUISITES & UNITS

ENGL 047A with a grade of "C" or better, or equivalent or Assessment Skill Level W5/R5 or ENGL 048 with a grade of "C" or better, or equivalent or Assessment Skill Level R5 and ENGL 049 with a grade of "C" or better, or equivalent or Assessment Skill Level W5 Units: 3 with Letter Grade or Pass/No Pass Option

TRANSFER APPLICABILITY

Associate Degree Credit & transfer to CSU. CSU General Education IGETC UC Transfer Course List

IMPORTANT INFORMATION

1. Method of Instruction & Class Preparation: Reading comprehension of the provided ​ course PPTs, note taking of and critical listening to lecture-demonstrations, multimedia presentations, and audio-visual examples are primary methods of information delivery. It is important that you listen carefully in class to lectures taking detailed notes and to the audio examples outside of class. Be sure to critically read and listen to the assignments for each class. Take practical notes and spend time studying & thinking about what was presented in class. Listening examples will be a part of each quiz and test.

2. Attendance & Behavior: Regular attendance is required to be successful in the course. ​ It is important that you come to each class because a variety of teaching methods will be used including lecture, slides, video, and audio. The instructor reserves the right to make changes to the class syllabus as deemed necessary. It is your responsibility to stay aware of any changes by coming to each class on time and not leaving early. Arriving to class late and/or departing early, conversations while the instructor is speaking, and use of digital devices in ways that do not contribute to class focus are examples of disruptive behavior. Disruptive students will be removed from class, which may also result in your being dropped from the course roster. Any student with three absences by the drop deadline will result in automatic dropping from for the course roster. Any student with three absences after the drop deadline 2018 will result in automatic failure of the course. You are expected have a Dropbox account and to check your San Diego Mesa College e-mail regularly.

3. Grading: Letter grade or P/NP. Your test & quiz grades will be reflected in numbers, ​ based on a scale of 100 (90-100 = A, 80-89 = B, 70-79 = C, 60-69 = D, 59 and below = F). Your report will be graded on overall percentage points based on 1-10. Assignments will be graded on various point values that cumulatively add up to 15 points total. 3 Tests on class lectures and listening over specific sections (15% each) 45% 3 Listening Quizzes (10% each) 30% Jazz Concert Report (2-3 pages) 10% Assignments & Participation (combined total 15%) 15% Computing the Course Grade: Adding the three test scores, divide by three, and multiply by 45% (.45). Add the tests average to the scores for quizzes (maximum 30 points, 10 points per), review (maximum 10 points), and assignments/participation (maximum 15 points) to get the course grade.

4. Make-up policy: There is a make-up policy for tests in this course only for students with a ​ ​ college-sanctioned excuse (official participation in college event, serious illness, death of close family member). Only with sufficient proof (such as a doctor’s note) of an absence will an offer of a make-up for a test be made. Quizzes and Test 3 have a no make-up policy and must be taken as scheduled. There are no extra credit opportunities in this class.

5. Quizzes & Concert Report: Quizzes: three listening quizzes over specific sections will be ​ ​ given testing aural recognition of genres, artists, and historical dates in short answer format drawn from class audio. Quizzes will be given at the start of each class scheduled lasting no more than ten minutes. Concert Report: a concert report based on specific guidelines given out in class. Reports should be 2-3 pages in length, typed, double-spaced, 12-point Times New Roman font, stapled, and error free. Use The Chicago Manual of Style, 16th edition, for bibliographic and footnote form. Late reports will have grades reduced by half. Due dates for all quizzes and the report are on the syllabus. Reports must be in hard copy form. No e-mailed papers will be acceptable.

6. Assignments & Participation: Students will be given various assignments and expected to ​ ​ participate throughout the semester. These will involve some creative writing, listening journals, and a report on a Jazz instrumentalist or review of an iconic Jazz album. Assignments are to be typed responses in hard copy with participation in class discussions. These will be explained and assigned in a class that precedes each due date. Assignments must be completed on time (late not accepted).

7. Tests: Three tests will be given over specific sections covered in class. For each test, a ​ ​ variety of question types will be used including short answer/fill-in, multiple choice, listening, and essay. The dates for all tests are on the syllabus. Study guides will be given out 1 week prior to each test.

8. Student Integrity & Rights: Students are expected to observe the highest levels of ​ ​ academic integrity.Please refer to the San Diego Mesa College Academic Regulations at http://www.sdmesa.edu/about-mesa/facultystaff/policies/3100-3pdf/. Student Rights policy is located athttp://www.sdmesa.edu/index.cfm/about-mesa/facultystaff/policies/3100pdf/. Any student found to be in breach of the Academic Regulations due to cheating or other misrepresentation will be dealt with accordingly.

9. Student Disabilities: Any student with a documented disability requiring special ​ ​ consideration in this course should bring San Diego Mesa College Disability Support Programs & Services documentation to the instructor at the beginning of the semester and make arrangements with the DSPS office for appropriate accommodations in a timely manner. Please see http://www.sdmesa.edu/students/services/dsps/. ​ ​

10. Educational Equity: This class is committed to supporting the educational goals of all ​ ​ students and the right to equal access of its educational purview regardless of student race, gender, financial situation, sexual orientation,religious orientation, disability, age, or other circumstances. Contact your Instructor if you feel your situation requires further discussion. (Please refer to http://www.sdmesa.edu/student-services/student-success-equity/).

CLASS SCHEDULE

WK. 1: Tues. 8/21: Introduction: Basic musical elements of Jazz. ​ Function of instruments: rhythm section & horns. Terms and Definitions. Thurs. 8/23: Basic structures in jazz: Blues & AABA forms. ​ How to listen to Jazz: Appreciating improvisation.

WK. 2: Tues. 8/28: Alan Lomax Recordings. Roots of Jazz: Blues roots in West Africa, Senegambian ​ cultural traits. Country Blues regional styles: Delta, Piedmont & Texas. Thurs. 8/30: Urban Blues: Classic, Electric & Barrelhouse. Blues elements in Jazz. ​

WK. 3: Tues. 9/4: Roots of Jazz: Ragtime. ​ Ragtime styles: Song, Classic & Novelty. Other piano styles: Stride piano & Art Tatum, Boogie-woogie & Meade “Lux” Lewis. ASSIGNMENT 1 DUE. ​ Thurs. 9/6: American Popular Song, Cole Porter, George Gershwin, Richard Rodgers. ​

WK. 4 Tues. 9/11: Jazz Styles: New Orleans & Dixieland. QUIZ 1. ​ ​ ​ Thurs. 9/13: Jazz in Chicago, New York & Kansas City. ​ Louis Armstrong & melodic improvisation.

WK. 5 Tues. 9/18: Swing, Jazz dance, Duke Ellington & Jazz composition. Billie Holiday. ​ Thurs. 9/20: Swing (cont.). ​

WK. 6 Tues. 9/25: TEST 1: Blues – Kansas City Jazz. ​ ​ ​ Thurs. 9/27: Jazz in the 1940s: Bebop, Charlie Parker & harmonic improvisation. ​ Ella Fitzgerald, Max Roach, Thelonious Monk.

WK. 7 Tues. 10/2: Bebop (cont.). ​ Thurs. 10/4: Jazz in the 1950s: Hardbop, John Coltrane. ​

WK. 8 Tues. 10/9: Jazz in the 1950s: Modal Jazz, Miles Davis. Soul Jazz. ​ Thurs. 10/11: Jazz in the 1950s: Cool Jazz, Dave Brubeck. Third Stream, Gunther Schuller. ​ Alan Lomax Spanish Recordings.

WK. 9 Tues. 10/16: Jazz in the 1960s: Post-bop & Miles Davis. ASSIGNMENT 2 DUE. ​ ​ Thurs. 10/18: Jazz in the 1960s: John Coltrane & advancing improvisation. ​

WK. 10 Tues. 10/23: Jazz in the 1960s: Free Jazz & Ornette Coleman, Association for the ​ Advancement of Creative Musicians, Black Artists Group. Thurs. 10/25: Jazz in the 1970s: Fusion, Miles Davis. ​

WK. 11 Tues. 10/30: Jazz in the 1970s: Fusion, Weather Report. QUIZ 2. ​ ​ Thurs. 11/1: Smooth Jazz & New Age: George Benson, Kenny G., Paul Horn, Paul Winter. ​

WK. 12 Tues. 11/6: Jazz & world musics: Latin jazz, Brazilian jazz: Bossa Nova. ASSIGNMENT 3 DUE. Thurs. 11/8: Jazz & other world musics, Gypsy Jazz. ​

WK. 13 Tues. 11/13: TEST 2: Swing – Free Jazz. ​ Thurs. 11/14: Jazz in 1980s-2000s: Innovation vs. Tradition, Jaco Pastorius, Pat Metheny, ​ Bobby McFerrin & Wynton Marsalis, Diana Krall, Harry Connick Jr.

WK. 14 NO SCHOOL Tues. 11/20 and Thurs. 11/22

WK. 15 Tues. 11/27: Jazz & Classical Music composers: George Gershwin, Leonard Bernstein. ​ Thurs. 11/29: Jazz & Country: Jimmie Rodgers, Western Swing, Bob Wills, Tex Williams, ​ Newgrass. QUIZ 3. ​

WK. 16 Tues. 12/4: Jazz & Rock: Blood, Sweat and Tears, Chicago, Steely Dan, punk jazz, jazzcore, ​ jazz metal. CONCERT REPORT DUE. Thurs. 12/6: Jazz & Rap: Us3, Acid Jazz. Nu Jazz/Jazztronica/Future Jazz. ​

WK. 17 Tues. 12/11: Course summary & review. ​ Thurs. 12/13: TEST 3: Fusion – Nu Jazz. ​

CLASS AUDIO: Available in iTunes & YouTube.

Work Song 1. “I Be So Glad When The Sun Goes Down” Ed Lewis. Recorded by Alan Lomax

Country Blues: Delta Blues 2. Son House. “My Black Mama” (1930, style established 1880-1890s). 3. Freddie Spruell. “Milk Cow Blues” (1927, First Delta Blues recording) 4. Robert Johnson. “Crossroad Blues” (1936)

Country Blues: Piedmont Blues 5. Sonny Terry & Brownie McGhee. “I’m a Stranger Here” (1961, style established 1915-1920s).

Country Blues: Texas Blues 6. Blind Lemon Jefferson. “See That My Grave is Kept Clean” (1927, style established 1915-1920s).

Urban Blues: Classic Blues 7. Bessie Smith. “Empty Bed Blues, Parts 1 & 2” (1928, style established 19-teens-1930s).

Urban Blues: Barrelhouse Piano 8. Champion Jack Dupree. “Too Evil to Cry” (Blues by Various Artists, 1944).

Urban Blues: Electric Blues 9. Muddy Waters. “Stormy Monday” (Live in Switzerland 1976, electric ensembles established in late-1940s).

Ragtime: Ragtime Song 10. Bert Williams. “Nobody” from Abyssinia (1906).

Ragtime: Classic Ragtime 11. Scott Joplin. “Maple Leaf Rag” (1899/1907)

Ragtime: Novelty Ragtime 12. George Cobb. “Russian Rag” (1918, performed by James Reese Europe’s 369th US Infantry Hellfighters Band).

Stride 13. Art Tatum. “Tea for Two” (1933).

Boogie-woogie 14. Meade “Lux” Lewis. “Honky Tonk Train Blues” (1927). American Popular Song 15. Irving Berlin. “Blue Skies” from Betsy (1927, Irving Kaufman, vocalist). 16. George Gershwin & Ira Gershwin. “I Got Rhythm” from Girl Crazy (1930, Judy Garland, vocalist). 17. Cole Porter. “Night and Day” from Gay Divorce (1932, Fred Astaire, vocalist).

Dixieland 18. The Original Dixieland Jass Band. “Livery Stable Blues” (1917).

New Orleans Jazz 19. Jelly Roll Morton’s Red Hot Peppers. “Dead Man Blues” (1926). 20. Jelly Roll Morton’s Red Hot Peppers. “Black Bottom Stomp” (1926) 21. King Oliver’s Creole Jazz Band. “Dippermouth Blues” (1923)

Chicago Jazz 22. Louis Armstrong. “West End Blues” (1928).

Kansas City Jazz 23. Bennie Moten’s Kansas City Orchestra. “Band Box Shuffle” (1929).

Jazz in New York 24. Fletcher Henderson. “Variety Stomp” (1927).

Swing 25. Benny Goodman Orchestra. “Sing, Sing, Sing” (1937). 26. Glenn Miller. “In the Mood” (1939). 27. Billie Holiday. “Night and Day” (1939). 28. Duke Ellington Orchestra. “It Don’t Mean a Thing (If It Ain’t Got That Swing)” (1931/1943). 29. Woody Herman’s Herd & Buddy Rich. “Hi Fi Drums” (1952). 30. Count Basie Orchestra. “Everything’s Coming Up Roses” (Broadway Basie’s . . . Way, 1966).

Bebop 31. Coleman Hawkins. “Body and Soul” (1939). 32. Don Byas & Slam Stewart. “I Got Rhythm” (1945). 33. Charlie Parker & Dizzy Gillespie. “Ko-Ko” (1945). Charlie Parker & Dizzy Gillespie. “Anthropology” (1945). 34. Thelonious Monk. “Straight, No Chaser” (1951) 35. Ella Fitzgerald. “Blue Skies” (Ella Fitzgerald Sings the Irving Berlin Song Book, 1958).

Hard Bop 36. Art Blakey and the Jazz Messengers. “Cranky Spanky” (Hard Bop, 1956). 37. John Coltrane. “Giant Steps” (Giant Steps, 1959). 38. Dexter Gordon. “Cheesecake” (1964)

Cool Jazz 39. Miles Davis. “Boplicity” (Birth of the Cool, 1953). 40. The Dave Brubeck Quartet. “Take Five” (Time Out, 1959). 41. Henry Mancini. “The Pink Panther” (1963)

Modal Jazz 42. Miles Davis. “Milestones” (Milestones, 1958). 43. Miles Davis. “So What” (Kind of Blue, 1959).

Soul Jazz 44. Horace Silver and the Jazz Messengers. “The Preacher” (Horace Silver and the Jazz Messengers, 1955). 45. The Cannonball Adderley Quintet. “This Here” (The Cannonball Adderley Quintet in San Francisco, 1959).

Third Stream 46. Miles Davis. Concierto de Aranjuez (Adagio) (Sketches of Spain, 1959). 47. Modern Jazz Quartet. “Regret?” (Blues on Bach, 1973).

Post-bop 48. John Coltrane Quartet. A Love Supreme: “Psalm” (A Love Supreme, 1965). 49. Miles Davis Quintet. “Footprints” (Miles Smiles, 1967).

Free Jazz 50. Ornette Coleman. “Lonely Woman” (The Shape of Jazz to Come, 1959). 51. Albert Ayler. “Ghosts” (Spiritual Unity, 1965). 52. John Coltrane. “Ascension (Edition 1)” (Ascension, 1966). 53. Art Ensemble of Chicago. “Oouffnoon” (Bap-Tizum, 1972).

Fusion 54. Miles Davis. “Bitches Brew” (1970) 55. Miles Davis. “Black Satin” (On the Corner, 1972). 56. The Headhunters. “Daffy’s Dance” (Survival of the Fittest, 1975). 57. Jaco Pastorius. “Portrait of Tracy” (Jaco Pastorius, 1976). 58. Weather Report. “Volcano for Hire” (Weather Report, 1982). 59. Chick Corea Elektric Band. “Elektric City” (1986)

Jazz in the 1980s-1990s 60. Pat Metheny & Lyle Mays. “It’s For You” (As Falls Wichita, So Falls Wichita Falls, 1981). 61. Oregon. “The Rapids” (Oregon, 1983). 62. Bobby McFerrin. “Blackbird” (The Voice, 1984). 63. Wynton Marsalis. “When You Wish Upon a Star” (Hothouse Flowers, 1984). 64. Steps Ahead. “Trains” (Magnetic, 1986). 65. Diana Krall. “This Can’t Be Love” (Stepping Out, 1993).

Jazz & World Music 66. Dizzy Gillespie. “Manteca” (Dizzy Gillespie and His Big Band in Concert, 1947), Latin Jazz/Afro-Cuban. 67. Sonny Rollins. “St. Thomas” (Saxophone Colossus, 1956), Caribbean influence. 68. Tito Puente. “Mambo Gozón” (Dance Mania, 1957), Latin Jazz/Afro-Cuban. 69. João Gilberto & Stan Getz. “The Girl from Ipanema” (Getz/Gilberto, 1964), Brazilian Bossa

Nova. 70. Quarteto Novo. “Misturada” (Quarteto Novo, 1967), Brazilian Samba Jazz. 71. Tony Scott & the Indonesian All-Stars. “Djanger Bali” (Djanger Bali, 1967), Indonesian gamelan influence. 72. Jim Pepper. “Witchi-Tai-To” (Pepper’s Pow Wow, 1971), Native American influence. 73. Shakti. “Happiness is Being Together” (Natural Elements, 1977), India influence. 74. Codona. “Walking on Eggs” (Codona 2, 1981), pan-ethnic. 75. Oriental Wind. “Veli Aga” (Life Road, 1983), Turkish folk influence. 76. Jan Garbarek. “He Comes from the North” (Legend of the Seven Dreams, 1988), Norwegian folk influence.

Gypsy Jazz 77. Le Quintette du Hot Club de France (Django Reinhardt & Stephane Grappelli). “Appel Indirect” (1938).

Smooth Jazz 78. Paul Desmond. “Bridge Over Troubled Water” (Bridge Over Troubled Water, 1969). 79. Spyro Gyra. “Morning Dance” (Morning Dance, 1979). 80. Kenny G. “Forever in Love” (Breathless, 1992).

New Age 81. Paul Horn. “Mumtaz Mahal” (Inside, 1968/1972). 82. Paul Winter Consort. “Icarus” (Icarus, 1972). 83. George Winston. “Colors / Dance” (Autumn, 1980).

Jazz & Classical Music 84. George Gershwin. “Summertime” from Porgy and Bess (opera, 1935). 85. Leonard Bernstein. Prelude, Fugue and Riffs (for jazz orchestra, 1949). Country & Jazz 86. Jimmie Rodgers. “My Carolina Sunshine Girl” (1928).

Western Swing 87. Bob Wills & His Texas Playboys. “Too Busy” (1936). 88. Tex Williams & His Texas Caravan. “Smoke! Smoke! Smoke! (That Cigarette)” (1947).

Country & Bebop 89. Jimmy Bryant & Speedy West. “Stratosphere Boogie” (Flaming Guitars of Speedy West & Jimmy Bryant, 1952).

Newgrass 90. Richard Greene. “Caravan” (Ramblin’, 1979).

Jazz-rock 91. Blood, Sweat and Tears. “God Bless the Child” (Blood, Sweat and Tears, 1968). 92. Chicago. “Listen” (Chicago Transit Authority, 1969). 93. Steely Dan. “Deacon Blues” (Aja, 1977).

Punk Jazz 94. The Lounge Lizards. “Incident on South Street” (Lounge Lizards, 1981).

Jazzcore 95. John Zorn & Naked City. “Shock Corridor” (Radio, 1994).

Jazz Metal 96. Conflux. “Stomping Grounds” (Spark, 2010).

Jazz-rap 97. Herbie Hancock. “Rockit” (Future Shock, 1983). 98. Gang Starr. “Words I Manifest” (No More Mr. Nice Guy, 1988). 99. Gang Starr. “Jazz Thing” (Mo‘ Better Blues, 1990). 91. Us3. “Cantalaoop (Flip Fantasia)” (Hand on the Torch, 1993).

Acid Jazz 100. Galliano. “Frederick Lies Still” (Acid Jazz and Other Illicit Grooves, 1988), UK. Nu Jazz/Jazztronica/Future Jazz 101. Bugge Wesseltoft. “New Conception of Jazz” (New Conception of Jazz, 1997).