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Home , Ari Brown, Barney Bigard, Ben Wolfe, Beyond the Sound Barrier, Blood on the Fields, Charlie Beal

Division of Continuing Eduction African and African American Studies E-179 , Freedom, and Culture Spring 2015

Lectures available online

Professor Ingrid Monson Professor of African American Music Departments of Music and African and African American Studies Music Building 202S [email protected]

Teaching Fellow Krystal Klingenberg, [email protected]

Course Description and Objectives

One of the most notable paradoxes about jazz is that something so powerfully associated with freedom, individuality, and collective self-assertion could have arisen at a point in American history so starkly unfree. Throughout the first sixty-five years of its history, after all, jazz was indelibly shaped by the legal, social, and economic restrictions of Jim Crow segregation. The freedom of musical expression and joy in jazz improvisation always contrasted starkly with the oppressiveness of the social and legal structures in which the music developed. As Albert Murray famously noted, the of jazz and popular music provided “equipment for living” in an unfair world. A central focus of the course will be to trace this central contrast as it has evolved over the last century.

We devote considerable attention to the history of jazz improvisation as a musical process and also explore the cultural, aesthetic, racial, and social debates that shaped the development of the music. On the one hand, jazz fashioned itself as the ultimate modern music with freedom and justice for all, and, on the other, provided an arena in which complex debates about race, cultural ownership, and social disparity repeatedly took place.

Improvisation is central to the musical language of jazz and is often taken both as the defining characteristic of the art form and the central symbol of its musical and political freedom. Jazz musicians famously take a song and embellish and extend it through melodic, harmonic, and rhythmic processes of variation. Each musician and stylistic era did it a bit differently and by building on the performative and recorded legacies of those who came before developed a powerful and influential art form that has long been global in its reach. Learning about how to listen to improvisation and appreciate its multi-faceted styles and organization is another goal of the course.

Jazz courses are traditionally historically organized, which has the down side of not getting to appreciate jazz as a living music and community until the later stages of the course. This semester we’ll be putting historical examples in dialogue with the music of today as we combine a historical and thematic approach to the music. The of ’s years and the New Orleans of post-Katrina have much in common, as the poverty and racism that shaped the emergence of jazz are still present. The brass band parades and funerals of the 1910s continue today are anything but dead. The economic depression of the 1930s and the salience of War in the 1940s have their counterpart in the economic crash of 2008 and the continuous state of war since 9/11. Musicians of each of these eras and today have tried to make their art speak to the central issues of their time. Musicians today have taken the forms and traditions of the past and created remarkable new interpretations and extensions on venerable traditions. As we listen to old music, we’ll also listen to music from today.

We will have several artist visits this semester also. Both pianist/composer Vijay Iyer and drummer/composer Terri Lynne Carrington will be coming to class in April. Drummer Ralph Peterson and his group will show you how a modern jazz rhythm section works in February. In addition the Harvard Jazz Bands will have as pianist and tenor saxophonist George Coleman as Jazz Master artists in residence culminating in a concert at Sanders Theatre on April 18.

This course fulfills the General Education requirement in Aesthetics and Interpretation. It also counts toward the Secondary Field in Ethnic Studies.

Materials and Access 1. Ingrid Monson, Freedom Sounds: Civil Rights Call Out to Jazz and Africa, : Oxford University Press, 2007.

2. Additional readings, listening, and tutorials posted on course website

Web site: https://canvas.harvard.edu/courses/2381

Music Tutorials The course presumes no pre-existing technical knowledge of music. You will be expected to develop your technical knowledge with the help of an online Music Tutorial and your weekly discussion sections. The tutorials offer a means of self-guided musical learning and you are expected to make use of them throughout the course whether or not they are specifically mentioned in lectures. Your section leaders will help you use these materials in a way that is appropriate to you. There are several technical levels of musical examples available in the tutorial, including many for those of you who do have pre-existing technical knowledge of music.

Course Requirements and Grading Procedures

1. Watching Lectures and attending online sections (20%) 2. Weekly section assignments. (30%). Section assignments may include short response papers, listening quizzes, or class presentations (e.g. lead a panel discussion with your section on topic of significance). 3. Three short papers: 4-6 pages (30%--10% per paper) a. Paper #1. Due Feb 19. Write an essay on Armstrong and Ellington and the significance of New Orleans, , and New York to jazz. b. Paper #2. Due Mar 10. Due An essay on a historical or critical topic. You will be given a choice of issues and questions to write about. The purpose of the assignment is to have you critically synthesize your reading, listening, and interpretive perspectives. c. Paper #3. Due Apr 2. Research and write about the history and influence of an or song 4. Final Project (20%). Due May 6. Options include: a. A 10-15 page research paper on a topic related to the music and themes of this course. b. A multi-media presentation (Powerpoint, Keynote, Prezi) on a topic related to the music and themes of this course. The commentary for each slide must be written out and turned in with the presentation. c. A video project on a topic related to the music and themes of this course. A written narrative must accompany the video explaining the conceptualization of the video, how it video was made and the research materials on which it was based.

Course Policies and Expectations

Reading Assignments You are expected to complete the reading assignments before each lecture. This will facilitate informed discussion at the end of each class.

Listening Assignments You are responsible for listening to the recordings assigned before lectures. Those pieces listed under “Listening--Required Set List:” are those that can appear in listening quizzes. You should listen and relisten to the selections until you are confident that you can recognized the piece, identify the performing group, and know the approximate year of the performance.

Late Work Students will have four grace period days to be used throughout the semester to be applied against any late assignments. This means that you need not ask for an extension for up to four assignments late by one day each, or two assignments each two days late, etc. Once you have exhausted your late assignment allowance, you must request an extension at least 48 hours in advance and of an assignment’s due date and present a doctor's note, or a special request from your Resident Dean. Late papers without an extension will be assessed a penalty of 1/3 of a letter grade for every day beyond the deadline.

Sickness If you are ill and cannot attend a lecture or section, please provide a note from your resident dean or doctor to verify your condition.

Academic Integrity

Members of the Harvard College community commit themselves to producing academic work with integrity—that is, work that adheres to the scholarly and intellectual standards of accurate attribution of sources, appropriate collection and use of data, and transparent acknowledgement of the contribution of others to our ideas, discoveries, interpretations, and conclusions. Cheating on exams or problems sets, plagiarizing or misrepresenting the idea or language of someone else as one’s own, falsifying data, or any other instance of academic dishonesty violates the standards of our community, as well as the standards of the wider world of learning and affairs.

Collaboration Discussion and the exchange of ideas are essential to academic work. For assignments in this course, you are encouraged to consult with your classmates on the choice of paper topics and to share sources. You may find it useful to discuss your chosen topic with your peers, particularly if you are working on the same topic as a classmate. However, you should ensure that any written work you submit for evaluation is the result of your own research and writing and that it reflects your own approach to the topic. You must also adhere to standard citation practices in this discipline and properly cite any books, articles, websites, lectures, etc. that have helped you with your work. If you received any help with your writing (feedback on drafts, etc), you must also acknowledge this assistance.

Accommodations for students with disabilities

Students needing academic adjustments or accommodations because of a documented disability must present their Faculty Letter from the Accessible Education Office (AEO) and speak with the professor by the end of the second week of the term (Februay 6). Failure to do so may result in the teaching staff’s inability to respond in a timely manner. All discussions will remain confidential, although Faculty are invited to contact AEO to discuss appropriate implementation.

Course Schedule

Week 1

T Jan 27: Introduction

Th Jan 29 History, Politics, Race, Culture: Theorizing the Jazz Tradition Question of the day: What is the jazz tradition?

Reading: 1. DeVeaux, Scott. 1991. “Constructing the Jazz Tradition: Jazz Historiography,” Black American Literature Forum, 25(3):525-531. 2. Monson, Ingrid. Freedom Sounds: Civil Rights Call Out to Jazz and Africa. NY: Oxford University Press, pp. 1-28. 3. Baraka, Amiri. 1963 Blues People: Negro Music in White America, pp. ix-xii 4. Ralph Ellison, 1964. “Blues People,” In Shadow and Act, New York: Vintage, pp. 247- 249. 5. Albert Murray, Stomping the Blues. New York: DaCapo, 1976, pp. 7-20 6. Greg Tate, 2007. “Black Jazz in the Digital Age.” Critical Studies in Improvisation 3(1).

Listening--Required Set List 1. Smith, Bessie. 1925. "St. Louis Blues." , 1924-1925. New York: January 14, 1925: Classics 812. Bessie Smith (voc), Louis Armstrong (tp), Fred Longshaw (org). 2. Ellington, Duke. 1935. “,” New York: April 30, 1936. , , (t); Lawrence Brown, Joe Nanton, (tb); (cl,ts); (ss,as); Otto Hardwicke(cl,as); Harry 3. Davis, Miles. 1966. “,” Miles Smiles. Columbia CL 2601.: Recorded New York, October 25, 1966. ,tp; ; ts; , p; , b; Tony Williams, dr. Additional listening 4. Hancock, Herbie. 1998. “St. Louis Blues.” Gershwin’s World. New York: Verve. Herbie Hanocck, keyboards; Stevie Wonder harmonica, vocals; , drums; Ira Coleman, bass Carney(cl,as,bar); (p); (g); (sb); (d,ch) 5. Coltrane, John and Duke Ellington. “In a Sentimental Mood,” Englewood Cliffs, NJ: September 26, 1962. , ts; Duke Ellington, p; , b; , dr 6. Shorter, Wayne. 2001. “Footprints,” Footprints Live! Verve. Wayne Shorter, ts; ,p; John Patitucci, b; d.

T Feb 3: New Orleans: Parading Then and Now Question: How did music for joy, pleasure, and release become a beacon of dignity?

Reading: 1. Brothers, Thomas. 2006. Louis Armstrong's New Orleans. New York: Norton, pp. 1-30. 2. Sublette, Ned. The World that Made New Orleans. Chicago: Lawrence Hill, pp. 293-313. 3. Martin, Henry and Keith Waters. 2005. The Essential Jazz: The First 100 Years. Belmont, CA: Schirmer, pp 43-50.

Listening-Required Set List: 1. Armstrong, Louis. "Hotter Than That." The Hot Fives & Hot Sevens. Volume III. Chicago: 12/13/1927. Columbia CK 44422. Louis Armstrong, cornet, vocals; , ; , and alto ; Lil Armstrong, and vocals; Johnny St. Cyr, banjo, Lonnie Johnson, gt. 2. , “Hu Ta Nay,” Indian Blues, 1992 Additional Listening/viewing 1. Armstrong, Louis. "Do You Know What It Means to Miss New Orleans?" Louis Armstrong, 1946-1947. : October 17, 1947. Classics. Louis Armstrong (tp), Kid Ory (tb), Barney Bigard (cl), Charlie Beal (p), Budd Scott (g), Red Callender (b), Minor Hall (d). 2. Armstrong, Louis. “Struttin’ with Some Barbecue.” The Hot Fives & Hot Sevens. Volume III. Chicago: 12/9/1927 Videos 3. Mardi Gras Indians singing Indian Red, St. Joseph Night Celebration 4. Treme Brass Band, Red Beans and Rice Parade, 2013

Th Feb 5 Louis Armstrong, the Solo Voice, Great Migration Question: What is the place of the concept of genius in the way the story of jazz is told?

Reading 1. Kenney, William H. 1993. Chicago Jazz: a Cultural History, 1904-1930 (New York: Oxford University Press), pp. 35-62. 2. Baker, Houston, 1987. Modernism and the Renaissance, Chicago: University of Chicago Press, pp. chapter 3 3. Wilkerson, Isabel. The Warmth of Other Suns: the Epic Story of America’s Great Migration,

Listening--Required Set List 1. Oliver, Joe "King". "Dippermouth Blues." and his Creole Jazz Band 1923. Chicago: June 23, 1923: Classics 650. Louis Armstrong, Joe "King" Oliver, cornet; Honore Dutrey, tb; Johnny Dodds, cl; Lil Hardin, p; Baby Dodds, d 2. Armstrong, Louis. "Potato Head Blues." (Chicago: 5/10/27) Hot Fives and Hot Sevens. Columbia CK 44253. Hot Sevens: Louis Armstrong, tp; Johnny Dodds, cl; Lil Armstrong, p; Johnny St. Cyr, banjo, gt; Pete Briggs, tba; Baby Dodds, d. 3. Armstrong, Louis. 1928. "West End Blues." (6/28/1928), Louis Armstrong Volume IV: Louis Armstrong and . Chicago: Columbia 45142. Louis Armstrong, tp, vocal; Fred Robinson, tbn; Jimmy Strong, cl, ts; Earl Hines, p; Mancy Carr, banjo; , d. Additional Listening 4. .Armstrong, Louis. "Copenhagen." Louis Armstrong: the Ultimate Collection. New York: Oct 30, 1924, Verve 314 543 699-2. piano, Elmer Chambers Howard Scott, , Charlie Green trb, clar, alto & arranging, ColemanHawkins tenor; banjo, Ralph Escudero, tba, Kaiser Marshall drums. 5. Smith, Bessie, "St. Louis Blues." Bessie Smith, 1924-1925. New York: January 14, 1925: Classics 812. Bessie Smith (voc), Louis Armstrong (tp), Fred Longshaw (org). 6. Armstrong, Louis. "Cornet Chop Suey." The Hot Fives. Chicago: February 26, 1926. Columbia CK 44049, Louis Armstrong, cornet; Kid Ory, trombone and vocals; Johnny Dodds, clarinet and ; Lil Armstrong, piano and vocals; Johnny St. Cyr, banjo. 7. Armstrong, Louis. "Weatherbird." (12/5/1928). Louis Armstrong Volume IV: Louis Armstrong and Earl Hines. Chicago: Columbia 45142. Louis Armstrong, tp; Earl Hines, p.

T Feb 10: Duke Ellington and Harlem Renaissance New York Question: Why did Ellington not always embrace the term jazz and why do some musicians reject the term today?

First week of sections: Reading 1. Magee, Jeffrey, 2014. “Ellington’s Afro-Modernist Vision in the 1920s,” in The Cambridge Companion Ellington, edited by Edward Green, pp. 85-90. Cambridge: Cambridge University Press. 2. Mark Tucker. The Duke Ellington Reader. New York: Oxford University Press, 1993, pp. 119-20; 132-38; 170-78. 3. Pareles, Jon. “Don’t Call Jazz America’s Classical Music.” New York Times, Feb 28, 1999. 4. Payton, Nicholas, “On Why Jazz isn’t Cool Anymore,” https://nicholaspayton.wordpress.com/2011/11/27/on-why-jazz-isnt-cool-anymore/

Listening--Required Set List 1. Ellington, Duke. "." Duke Ellington and His Orchestra: Hop Head. Camden, NJ October 26, 1927. (International Music Company AG, 20.41401-302). Duke Ellington p; Bubber Miley, tp; Joe 'Tricky Sam' Nanton tb; ss as bs; cl as bs; Rudy Jackson cl ts; Fred Guy bjo; bs; Sonny Greer d. 2. Ellington, Duke. "Daybreak Express." Duke Ellington and his Orchestra: . Chicago: Jan 9, 1934.(International Music Co. AG 20.41461-302). Cootie Williams, Arthur Whetsol, Freddy Jenkins, , tp; Joe Nanton, Lawrence Brown, tb; Barney Bigard, cl, ts; Johnny Hodges, ss, as; Otto Hardwick, as; Harry Carney, bs, as; Fred Guy, bj, g; Wellman Braud, b; Sonny Greer, d, train whistle. 3. Ellington, Duke "Black." Black, Brown, and Beige. Selections. Duke Ellington and His Orchestra: . New York: January 23, 1943. (International Music Co. AG, 20.41561-302). Rex Stuart, Wallace Jones, Harold Baker (tp); (tp, vcl); Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb); Johnny Hodges (as, sop); Chauncy Haughton (cl, ts); Otto Hardwick (as), (ts); harry Carney (bar, cl, as); Duke Ellington, (p), Fred Guy (g), (b), Sonny Greer (d).

Additional listening 4. Ellington, Duke. "East St. Louis Toodle-Oo." (12/19/1927) Duke Ellington and his Orchestra: Hop Head. (International Music Co. AG, 20.41401-302). Bubber Miley, Louis Metcalf (tp), Joe Nanton (tb), Rudy Jackson (cl,ts), Otto Hardwick (as, bari, cl), Harry Carney (bar, cl, as), Duke Ellington (p), Fred Guy (bj), Wellman Braud (b), Sonny Greer (d). 5. Ellington, Duke. "Ko-Ko." Duke Ellington and his Orchestra: . Chicago: March 6, 1940.(International Music Co. AG, 20.41531-302). Rex Stuart (c), Cootie Williams, Wallace Jones (tp); Joe nanton, Juan Tizol, Lawrence Brown (tb); Barny Bigard (cl, ts), Johnny Hodges (as, sop), Otto Hardwick (as, bari); Ben Webster (ts), Harry Carney (bari, cl, as); Duke Ellington (p), Fred Guy (g); (b), Sonny Greer (d). 6. Payton, Nicholas. “Tiger Rag” Dear Louis. Verve 2001.

Th Feb 12 Development of the Question: What were the politics of Swing?

Reading 1. Jeffrey Magee, 2004. The Uncrowned King of Swing: Fletcher Henderson and Big Band Jazz. New York, Oxford University Press, chapter 9, pp. 2740-2882 2. Engelbrecht, Barbara 1983. Swinging at the Savoy, Dance Research Journal 15(2): 3-10 3. Bakan, Jonathon 2009. “Jazz and the ‘Popular Front’: ‘Swing’ Musicians and the Left-Wing Movement of the 1930s-1940s. Jazz Perspectives 3(1) pp. 35-56

Listening--Required Set List 1. Henderson, Fletcher. "New King Porter Stomp." Big Band Jazz Vol 1. 12/9/32.(Smithsonian RD 030-1). Russell Smith, Bobby Stark, Rex Stewart (tp), J.C. Higginbotham, (tb); (cl, as); (as), (ts), Fletcher Henderson (p, arr.), Freddy White (g), (b), Walter Johnson (d) 2. Kirk, Andy, and his Twelve Clouds of Joy. "The Lady Who Swings the Band." Andy Kirk and his Twelve Clouds of Joy, 1936-1937. New York: Dec 9, 1936.(Classics 573). Andy Kirk, bari (dir); Harry Lawson, Paul King, Earl Thomson (tp); Ted Donely, Henry Wells (tb), John Harringotn (cl, as, bari); John Williams (as, bari); Dick Wilson (ts), Claude Wiliams (vln), Mary Lou Williams (p); Ted Robinson (gt), Book Collins (b); Ben Thigpen (d), Pha Terrell (vocal). 3. Hines, Earl. "GT Stomp." 1939 Piano Man. (RCA (Bluebird) 6750-2-RB). Walter Fuller, Milton Fletcher, Edward Simms (tp); George Dixon (tp, as); Edward Burke, John Ewing, Joe McLewis (tb); Omer Simeon (cl and bari sax); (cl, as ts); Leroy Harris (as); Robert Crowder (ts); Earl Hines (p, dir); Claude Roberts (gt); Quinn Wilson (b); (d); Jimmy Mundy, (arr).

Additional Listening 4. Morton, Jelly Roll. "Black Bottom Stomp." The Pearls. Chicago: Sept 15, 1926.(Bluebird 6588-2-RB). , p, arr.; George Mitchell, cornet; Kid Ory, tb; Omer Simeon, cl; Johnny St. Cyr, banjo; John Lindsey, b; Andrew Hilaire, d. 5. Henderson, Fletcher. "Henderson Stomp." Big Band Jazz Vol 1. 11/2/26.(Smithsonian RD 030-1). , Joe Smith, Russell Smith, (tp), (tb); Buster Bailey, Don Redman (cl, as), Coleman Hawkins (cl, ts), (p), Charlie Dixon (bj), (tba), Kaiser Marshall (d) 6. Basie, Count. "Volcano." Big Band Jazz, vol. III. New York: November 6, 1939.(Smithsonian RD 030-3) .Ed Lewis, , Shad Collins, (tp), Dickie Wells, Dan Minor, Bennie Morton (tbn), Earle Warren (as), Jack Washington (as, bs), , (ts), (p), Freddie Greene (g), (b), (d). 7. Henderson, Fletcher. "Hotter Than 'Ell." Ken Burns Jazz: the Story of America's Music. September 25, 1934.(Columbia/Legacy CSK 61432). Henry Allen, Irving Randolph, Russell Smith (tp), , (tb); Buster Bailey (cl, ); Hilton Jefferson, Russell Procope (as, cl), possibly (as), Ben Webster (ts), Fletcher Henderson (p, arr.), Lawrence Lucie (g), Elmer James (b), Walter Johnson (d). Horace Henders (b) 8. Moten, Benny. "Moten Swing." Big Band Jazz Vol 2. Camden, NJ: 12/13/32.(Smithsonian RD 030-2). Joe Keyes, Oran 'Hot Lips' Page, Dee Stewart (t); Dan Minor (tb), Eddie Durham (tb, g), Eddie Barefield (cl, as); Jack Washington (as, bs), Ben Webster (ts), Count Basie (p); Leroy Berry (g), Walter Page (b), Willie McWashington (d); Bennie Moten, dir).

T Feb 17 : Jazz, Race, Economics Question: How did segregation and racism shape which bands became most visible in the 1930s and 1940s?

Reading

1. Erenberg, Lewis. 2003. Swingin’ the Dream, Chicago: University of Chicago Press. Chapter 3. 2. Hall, Perry A. 1997. “African-American Music: Dynamics of Appropriation and Innovation.” In Borrowed Power: Essays on Cultural Appropriation, edited by Bruce Ziff and Pratima Rao, pp. 31-49. New Brunswick, NJ: Rutgers University Press.

Listening--Required Set List 1. Goodman, Benny. "King Porter's Stomp." Masterpieces 5. New York: January 7, 1935.(Jazz Archives 158172). Nate Kazebier, , Ralph Muzillo, tp; Red Ballard, Jack Lacey, tb; Benny Goodman cl, Toots Mondello, Hymie Schertzer, as; art Rillinin, Dick Clark, ts; Frankie Froeba, p; George Van Eps, gt; Harry Goodman, b; Gene Krupa, dr, Fletcher Henderson, arr. 2. Goodman, Benny and . "Breakfast Feud." Benny Goodman Sextet 1939- 1941. NY: 12/1940.(Columbia CK 45144). Benny Goodman, cl; Cootie Williams; tp; George Auld, ts; Kenny Kersey, p; Charlie Christian, gt; Artie Bernstein, b; Harry Jaeger, d. 3. Maria Schneider, Hang Gliding.

Additional listening 4. Goodman, Benny. "Oh Lady Be Good." Benny Goodman 1935-1936. (LaserLight 15 726). Benny Goodman, cl, , p, Gene Krupa, d; , vb. 5. Goodman, Benny. " Blues." Benny Goodman 1935-1936. (LaserLight 15 726). Benny Goodman, cl; Lionel Hampton, vb; Teddy Wilson, p; Gene Krupa,d. 6. Goodman, Benny and Charlie Christian. "Flying Home." Benny Goodman Sextet 1939- 1941. NY: 10/2/1939.(Columbia CK 45144). Benny Goodman, cl; Fletcher Henderson, p; Charlie Christian, gt; Artie Bernstein, b; Nick Fatool d; Lionel Hampton, vb. 7. SF Jazz Collective: Lingala

Th Feb 19 Special Guest Artist: Drummer Ralph Peterson and his group: demonstrating the rhythm section.

Th Feb 19 Paper #1 due on Armstrong, Ellington and New Orleans, Chicago, New York

T Feb 24 Listening from the bottom of the band up: Forms, Bass lines, Riffs, Call and Response Question: How is Jazz Improvisation a Community Affair?

Reading 1. Monson, Ingrid, Saying Something (Chicago: University of Chicago Press, 1996), pp. 26- 72. 2. Website Jazz Tutorial sections. Form, Bass lines, Riffs/Call & Response, Drums Comping, Rhythmic Feels, Timbre

Th Feb 26 Jazz as Art Music: The Revolution Question: What were the goals of the bebop movement?

Reading 1. DeVeaux, Scott 1997. The Birth of Bebop: A Social and Musical History. Berkeley: University of Press, pp. 236-69. 2. Ellison, Ralph. 1964. "The Golden Age, Time Past" Shadow and Act. New York: Vintage, pp. 199-212. 3. Gillespie, Dizzy. To Be or Not to Bop: Memoirs of with Al Fraser. New York: Da Capo Press, Inc., 1979, 278-302 Listening--Required Set List: 1. Parker, Charlie. "Salt Peanuts." Yardbird Suite: The Ultimate Collection. NY: 5/11/45: Rhino R2 72260. Charlie Parker, as; Dizzy Gillespie, t; Al Haig, p; Curly Russell, b; Sidney Catlett, d. 2. Powell, Bud. "Tempus Fugit (Tempus Fugue-It).". New York: Feb. 23, 1949.(Verve). , piano; , drums; 3. Parker, Charlie. "Shawnuff." Yardbird Suite: The Ultimate Charlie Parker Collection. NY: 5/11/45: Rhino R2 72260.Charlie Parker, as; Dizzy Gillespie, . tp;;Al Haig, p; Curly Russell,b; Sidney Catlett, d.

Additional listening 4. Gillespie, Dizzy. "Kerouac." Swing to Bop: Live Sessions at Minton's Playhouse. May 1941. Natasha Imports NI-4020. Dizzy Gillespie, ; and unknown, ts; Kenny Kersey, piano;Nick Fenton, b; , d. 5. Powell, Bud. "Wail." , Volume 1. NY: Aug 8, 1949.(Blue Note). Bud Powell, p; with , tp, , ts; with , b; , d.

T Mar 3: Bebop Rules. Question: In what ways was bebop a subculture?

Reading 1. Scott DeVeaux and Gary Giddens, 2011. Jazz Essential Listening, pp. 202-231 2. Baraka (LeRoi Jones), Amiri. 1963. Blues People: Negro Music in White America. New York: William Morrow, pp. 181-203.

Listening--Required Set List:

1. Charlie Parker. "Parker's Mood." Yardbird Suite: The Ultimate Charlie Parker Collection. NY: 9/18/48.(Rhino R2 72260). Charlie Parker, as; , p; Curly Russell, b; Max Roach, d/ 2. Parker, Charlie. "Koko." Yardbird Suite: The Ultimate Charlie Parker Collection. NY: 11/26/45.(Rhino R2 72260). Dizzy Gillespie, p, tp; Curly Russell; b; Max Roach d.; Charlie Parker, as. 3. Monk, Thelonious. "Four in One." New York: 7/23/1951. : Genius of Modern Music Volume 2. Blue Note CDP 7 81511 2. Thelonious Monk, p; , as; , vb; Al McKibbon, b; , d. 4. Davis, Miles. 1954. “Bags Groove. ” Miles Davis and the Modern Jazz Giants. Miles Davis tp; Milt Jackson vb; Thelonious Monk p; b; Kenny Clarke d

Additional listening 5. Davis, Miles. "Chance It (Alt. Take." 5/9/1952. Miles Davis Volume 1. Blue Note CDP 7 81501 2. Miles Davis, tp; J.J. Johnson, tb; Jackie McLean, as; Gil Coggins, p; , b; Kenny Clarke, d. 6. Parker, Charlie. "Now's the Time." Savoy Recordings Vol. 1. NY: Nov 26, 1945.(Savoy Jazz ZDS 4402). Charlie Parker,as; Miles Davis, tp; Dizzy Gillespie, p; Sadik Hakim, p; Curly Russell, b; Max Roach, d 7. Monk, Thelonious. "Raise Four." Underground. New York: Feb 14, 1968.(Columbia CK 40785). Thelonious Monk, p ; Larry Gales, b; Charlie Rouse, ts; Ben Riley, d.

Th Mar 5: The Great Singers: , , Question: Why are singers and women so seldom treated as geniuses in jazz?

Reading 1. Farah Griffin, 2001. If You Can’t Be Free Be a Mystery: In Search of Billie Holiday. New York: Free Press, pp. 14-33 2. Pellegrinelli, Lara V., 2005. “The Song is Who?: Locating Singers on the Jazz Scene.” Ph.D. diss: Harvard University, pp. 107-125 3. Tucker, Sherrie. 2001. "Big Ears: Listening for Gender in Jazz Studies." Current Musicology 71- 73 (2001): 375-380 (excerpt).

Listening--Required Set List:

1. Holiday, Billie. “No More” Billie Holiday: The Complete Decca Recordings. GRD-2-601. Russ Case (trumpet) Jack Cressey, Hymie Schertzer (alto saxophone) Larry Binyon, Paul Ricci () Dave Bowman (piano) Carl Kress (guitar) Haig Stephens (bass) Johnny Blowers (drums) Billie Holiday (vocals) unidentified 6 strings, Toots Camarata (conductor) 2. Fitzgerald, Ella. 1947.“Oh Lady Be Good” Decca 23956. NY: March 19, 1947. Ella Fitzgerald, vc, Bob Haggart (bl, b), Andy Ferretti, Chris Griffin, Bob Peck (tp), Will Bradley, Freddie Ohms, Jack Satterfield (tb), Ernie Caceres (bs), Stan Freeman (p), Dan Perri (g), Morey Feld (d) 3. Vaughan, Sarah. 1956. “Lullaby of Birdland.” Mercury 826 320-2. NY: Dec 16, 1956. (trumpet) () (tenor saxophone) (piano) (bass) Roy Haynes (drums) Sarah Vaughan (vocals) Additional listening 4. Holiday, Billie. 1941 “God Bless the Child”. Columbia 38792. NY: May 9, 1941. (trumpet) Lester Boone, Ernie Powell, (alto saxophone) Eddie Heywood (piano) Paul Chapman (guitar) Grachan Moncur (bass) Herbert Cowans (drums) Billie Holiday (vocals) 5. Holiday. Billie. “Strange Fruit.” Commodore 526. NY: April 20, 1939. Frank Newton (trumpet) Tab Smith (soprano,alto saxophone) Kenneth Hollon, Stanley Payne (tenor saxophone) Sonny White (piano) Jimmy McLin (guitar) John Williams (bass) Eddie Dougherty (drums) Billie Holiday (vocals) 6. Fitzgerald, Ella. 1956. “It Don’t Mean a Thing (If It Ain’t Got That Swing”). V-4008-2. Hollywood: Sept 4, 1956. Ella Fitzgerald (vc), Ben Webster (ts), Stuff Smith (vl), Paul Smith (p), Barney Kessel (g), Joe Mondragon (b), (d) 7. Vaughan, Sarah. 1971. “Scattin’ the Blues.” Live at the 1971 Monterey Jazz Festival. Monterey, CA.

T Mar 10. Jazz in the : Cool Jazz and Question: What kinds of sound stereotypes are involved in coding cool jazz as white and hard bop as black?

T Mar 10 Paper #2 on Historical or Critical Issue due *****

Reading 1. Monson, Ingrid. 2007. Freedom Sounds: Civil Rights Call Out to Jazz and Africa, New York: Oxford University Press, pp. 66-106; 1-28. 2. Johnson, E. Patrick, Appropriating Blackness: Performance and the Politics of Authenticity. Durham: Duke University pp. 1-9

Listening--Required Set List: 1. Davis, Miles. "Boplicity." (Cleo Henry). 4/22/1949. . Capitol Jazz CDP 7 92862 2. Miles Davis, tp, leader; J.J. Johnson, tb; Sandy Siegelstein, fh; John Barber, tba; Lee Konitz, as; , bs; John Lewis, p; , b; Kenny Clarke, d. 2. Blakey, Art. "Moanin'." (). Moanin'. NY: October 30, 1958. Blue Note CDP 7 46516 2. , tp; , ts; Bobby Timmons, p; , b; Art Blakey, d 3. Brubeck, Dave. "Blue Rondo a la Turk." Time Out. New York: June-Aug 1959.(Columbia CK 65122). ,p; , as; Eugene Wright, b; Joe Morello, d 4. , "." Django. NY: June 25, 1953.(Prestige OJCCD-057-2).

Additional listening

5. Davis, Miles. "Jeru." (Gerry Mulligan). 4/22/1949. Birth of the Cool. Capitol Jazz CDP 7 92862 4. Miles Davis, tp, leader; , tb; Junior Collins, fh; John Barber, tba; Lee Konitz, as; Gerry Mulligan, bs; Al Haig, p; Joe Shulman, b; Max Roach, d 6. Blakey, Art. "." A Night At Birdland, Vol. 1. New York: February 21,1954: Blue Note CDP 7 46519 2. Clifford Brown, tp; Louis Donaldson, as; , p; Curly Russell, b; and Art Blakey, d.com 7. Silver, Horace. "Horoscope." Horace Silver Trio. Oct 9, 1952.(Blue Note CDP 7 81520 2). Horace Silver,p; Gene Ramey, b; Art Blakey, d 8. Adderley, Cannonball. "This Here." Greatest Hits: The Riverside Years. San Francisco: October 20, 1958.( MCD-9275-2). , cor; , as; Bobby Timmons, p; , b; , d. 9. Brubeck, Dave. "Take 5." Time Out. New York: June-Aug 1959.(Columbia CK 65122). (personnel same as above). 10. Modern Jazz Quartet, "Vendome." Dedicated to Connie [Live]. Slovenia, May 27, 1960.(Atlantic 82763-2). John Lewis, p ; Milt Jackson, vb; Percy Heath, b; , d

Th Mar 12 Jazz and the Civil Rights and Black Power Movements Question: How did jazz musicians respond to the activism of the Civil Rights and Black Power movements?

Reading 1. Monson, Ingrid, Freedom Sounds, pp. 152- 237.

Listening--Required Set List: 1. Roach, Max. “Freedom Day.” We Insist! Max Roach's Freedom Now Suite. New York: Aug 31 and September 6, 1960: Candid CCD 9002. Max Roach, d; , vcl; , tp; Coleman Hawkins, , ts; , tb; Raymondo Mantillo, Tomas Du Vall, Michael (Babatunde) Olatunji (percussion); James Schenck, b. 2. Mingus, Charles. "Original Faubus Fables." Complete Candid Recordings of . New York: October 20, 1960: Mosaic MD3-111 (Candid CS 9005). , tp; , as, bcl, fl; Charles Mingus, b; Dannie Richmond, d. 3. Coltrane, John. "Alabama." Live at Birdland. New York: November 18, 1963, Impulse! IMPD- 198. John Coltrane, ts; Jimmy Garrison, b; McCoy Tyner, p; Elvin Jones, d.

Additional Listening 1. Roach, Max. We Insist! Max Roach's Freedom Now Suite. New York: Aug 31 and September 6, 1960: Candid CCD 9002. Max Roach, d; Abbey Lincoln, vcl; Booker Little, tp; Coleman Hawkins, Walter Benton, ts; Julian Priester, tb; Raymondo Mantillo, Tomas Du Vall, Michael (Babatunde) Olatunji (percussion); James Schenck, b. Tracks 1, 4-5: I. "Driva' Man" III. "Triptych" IV. "All Africa" V. "Tears For Johannesburg" 2. Blakey, Art. "." The Freedom Rider. Englewood Cliffs, NJ: May 27, 1961, Blue Note CDP 7243 8 21287 2 4. Art Blakey, d.

Spring Break Mar 14-Mar 22

T Mar 24 Miles Davis / Question: What is modal jazz?

Reading 1. Davis, Miles with Quincy Troupe. Miles: The Autobiography. (New York: Simon and Schuster, 1989), pp. 197-218. 2. Hancock, Herbie. 2014. Possibilities. New York: Viking. Chapter 5 3. Monson, Ingrid. 2007. Freedom Sounds, New York: Oxford, pp. 283-304

Listening--Required Set List: 1. Davis, Miles. "My Funny Valentine." The Complete Concert 1964: My Funny Valentine + Four & More. New York: February 12, 1964: Columbia CK 40609 Miles Davis, tp; George Coleman, ts; Herbie Hancock, p; Ron Carter, b; Tony Williams, d. 2. Davis, Miles. "'Round Midnight." (T. Monk). 'Round About Midnight. New York: September 10, 1956: Columbia CK 40610. Miles Davis, tp; John Coltrane, ts; , p; , b; , d 3. Russell, George. "." Stratusphunk. New York: Oct 18, 1960.(Riverside OJC- 232 [RLP-9341]). Al Kiger tp; Dave Baker tb; Dave Young ts; George Russell p, composer; Chuck Israel b; Joe Hunt d.

Additional listening 4. Davis, Miles. "Dig." Miles Davis Chronicle: the Complete Prestige Recordings, 1951- 1956. New York: October 5, 1951.(Prestige PCD-012-2). 5. Davis, Miles. "My Funny Valentine." Cookin'. NY: 10/26/56: Jazz Heritage 513321F. Miles Davis, tp; Red Garland, p; Paul Chambers, b; Philly Joe Jones, d.. 6. Davis, Miles. "I Could Write a Book." Relaxin'. NY: October 26, 1956.(Prestige OJCCD- 190-2). Miles Davis, tp; John Coltrane, ts; Red Garland, p; Paul Chambers, b; Philly Joe Jones, d. [should be on server for Music 194 2003) 7. Davis, Miles. "Oleo." Jazz at the Plaza. New York: Sept 9, 1958 (Columbia CK 85245). Miles Davis, tp; Cannonball Adderley, as; John Coltrane, ts; , p; Paul Chambers, b; , d. 8. Davis, Miles. 1958. "Milestones." Milestones. Columbia CS 9428. Miles Davis, tp; John Coltrane, ts; Julian 'Cannonball' Adderley, as; Red Garland, p; Paul Chambers, b; Philly Joe Jones, d. 9. Davis, Miles. "So What," "All Blues." Kind of Blue. New York: March 2 and April 22, 1959: Columbia CK40579. Miles Davis, tp; Julian 'Cannonball' Adderley, as; John Coltrane, ts; Bill Evans, p; Paul Chambers, b; and Jimmy Cobb, d. [should be on server for Miles Davis music 194] 10. Davis, Miles. "Milestones." Miles in Berlin. Berlin: 9/25/1964: CBS/Sony CSCS 5147. Miles Davis, tp; Wayne Shorter, ts; Herbie Hancock, p; Ron Carter, b; Tony Williams, d. 11. Russell, George. "Ezzthetic," The Jazz Workshop. New York: March 31, 1956: RCA Victor LPM 2534. , tp; Hal McKusick, fl, as; Bill Evans, p; , g; Milt Hinton, b; Joe Harris, d. 12. Coltrane, John. "My Favorite Things." My Favorite Things. New York: October 21, 1960, Atlantic SD-1361, John Coltrane,ss; McCoy Tyner, p; , b; Elvin Jones, d.

Th Mar 26: Spiritual Quest: The John Coltrane Quartet Question: What is the relationship between Coltrane’s genius, blackness, and spiritual power?

Reading 1. Ashley Kahn, 2002. A Love Supreme: The Story of John Coltrane’s Signature Album. New York: Viking, pp. 83-127.

Listening--Required Set List: 1. Coltrane, John. A Love Supreme. New York: December 9, 1964: Impulse! GRD 155. John Coltrane, ts; McCoy Tyner, p; Jimmy Garrison, b; Elvin Jones, d. a. Part I: "Acknowledgement" b. Part II: "Resolution" c. Parts III-IV: "Pursuance-Psalm"

Additional listening 1. Coltrane, John. "." Giant Steps. New York: May 4, 1959, Atlantic 1311-2. John Coltrane, ts; Tommy Flanagan, p; Paul Chambers, b; 2. Coltrane, John. "Wise One." Crescent. Englewood Cliffs, NJ: 4/27/1964: Impulse! IMPD- 200. John Coltrane, ts; McCoy Tyner, p; Jimmy Garrison, b; Elvin Jones, d.

3. Coltrane, John. "Tunji." Olé Coltrane. New York: May 25, 1961 (Atlantic Jazz 1373-2). John Coltrane, ss, ts; Eric Dolphy, fl, as ; , tp; McCoy Tyner, p; , b; Art Davis, b; Elvin Jones, d.

T Mar 31: Jazz Experimentalism 1: , Question: What did jazz take it out (get avant-garde)?

Reading 1. Chinen, Nate. 2006. In His Own Language. Jazz Times 36 (9):46-51, 130. 2. Szwed, John F. Space Is the Place: The Life and Times of Sun Ra. New York: Pantheon Books, 1997, pp. 122-63.

Listening--Required Set List: 1. Coleman, Ornette. "Blues Connotation." This is Our Music. New York: August 1960: Atlantic 7567-80767-2. Ornette Coleman, as; Don Cherry, tp; , b; Ed Blackwell, d. 2. Coleman, Ornette, “Turnaround,” Sound Grammar, Sound Grammar SG 11593, Ornette Coleman, alto sax, violin, trumpet ; Denardo Coleman, drums, percussion ; Gregory Cohen, Tony Falanga, bass. 3. Sun Ra and his Solar Myth Arkestra, "Ancient Ethiopia." Solar Myth Approach. NY: 1970- 1971, Affinity CD AFF 760, Sun Ra (piano, moog synthesizer, spacemaster, cl), , as, , flute, piccolo; Danny Davis fl, as, alto cl; ts,, percussion,, Akh Tal Ebah (tp, space dimension mellophone, Kwame Hadi(tp), Ali Hassan, tb; Charles Steven, tb; Danny Thompson, bs, flute; Eloe Omoe, bcl; , bari sax, fl; James Jacson (oboe, flute, ancient Egyptian infinity drum), , b, , percussion; , percussion; Nimrod Hunt (hand drums), , vocals; Art Jenkins, vocals 4. Turner, Mark. 2013. “The Edenist.” Lathe of Heaven. ECM. Mark Turner, ts; Avishai Cohen, tp; Marcus Gillmore, d; Joel Martin, b.

Additional listening

5. Coleman, Ornette. "Lonely Woman." The Shape of Jazz to Come. Los Angeles: May 22, 1959/ Atlantic 1317-2. Ornette Coleman, as; Don Cherry, tp; Charlie Haden, b; Billy Higgins, d. 6. Coleman, Ornette, “Turnaround,” Sound Grammar, Sound Grammar SG 11593, Ornette Coleman, alto sax, violin, trumpet ; Denardo Coleman, drums, percussion ; Gregory Cohen, Tony Falanga, bass. 7. Sun Ra, "Dancing in the Sun." Heliocentric Worlds Vol. 1. New York: April 20, 1965.(ESP- 1014 [LP].). Sun Ra (p, bass marimba, electronic celeste, tymp), Pat Patrick (bs, percussion), Chris Capers (tp), Teddy Nance (tb), Bernard Pettaway (bass tb), Marshall Allen (piccolo, as, bells, spiral, cymbal), Danny Davis (fl, as), Robert Cummings (bcl, wood blocks), Ronnie Boykins (b), Jimmi Johnson (percussion, tymp), John Gilmore (tenor tympani) 8. Sun Ra and his Astro Intergalactic Infinity Arkestra, "Space Is the Place," Space is the Place. Chicago: October 19-20, 1972, Impulse! IMPD-249. Sun Ra (piano, space organ [Farfisa]), Marshall Allen (as, fl), Danny Davis (fl, as), John Gilmore (ts), Akh Tal Ebah, tp, flg; Kwame Hadi, tp; Danny Thompson (bs, vocal), Eloe Omoe (bcl), Pat Patrick (elec. bass, bs, vocal), Lex Humphries, d,; Atakatun, Odun,percussion; Space Ethnic Voices: June Tyson, Ruth Wright, Cheryl Banks, Judith Holton.

Th April 2 Jazz Experimentalism 2: AACM Question: How were jazz experimentalism, community organizing, and musicians collectives related?

Th April 2 Paper #3 due on the history and influence of an album or song

Reading Lewis, George. 2008. A Power Stronger Than Itself: The AACM and American Experimental Music. Chicago: University of Chicago Press, pp. 115-141, 389-397.

Listening--Required Set List 1. . 1980. "Promenade: Bamako I," "Bush Magic." Urban Bushmen. Munich: May 1980. ECM 1211/12, 839 394-2. 2. , “Soundance pt 2,” Muhal Richard Abrams, piano, , tenor sax; George Lewis, Trombone, electronics

Additional listening 3. “The Corner of Walk and Don’t Walk.” Eight Bold Souls, Ant Farm, Chicago, July 1994, Arabesque Recordings AJO114. Ed Wilkerson, Jr., tenor sax; Mwata Bowden, baritone sax; Aaron Dodd, tuba; Harrison Bankhead, bass; Naomi Millender, cello; Isaiah Jackson, trombone, Robert Griffin, trumpet, Dushun Mosley, drums. 4. , “Meeting Time,” Ultimate Frontier, Chicago: January 1995. DE-486. Ari Brown, tenor sax, Kirk Brown, p; Yusef Ben Israel, b; Avreeayl Ra, d; Dr. Cuz & Enoch, percussion.

T April 7 Vijay Iyer class visit Agenda: TBA

Th April 9 Teri Lyne Carrington artist visit Listen: Mosaic and

T April 14 Wayne Shorter and his Compositions Question: Why are Wayne shorter and his compositions central to the story of jazz since the 1960s?

Reading 1. Wayne Shorter Footprints: The Life and Work of Wayne Shorter, New York: Penguin 2004. Chapter 6 from location, 1583; chapter 14 from location 3668, Chapter 17 from location 4188.

Listening--Required Set List 1. Wayne Shorter. 1964. “Armageddon,” , Blue Note BLP 4173. Recorded Englewood Cliffs, NJ: April 29, 1964. Wayner Shorter, ts; Lee Morgan, tp; McCoy Tyner, p; Reggie Workman, b; Elvin Jones, d. 2. Wayne Shorter. 1988. “.” Joy Ryder. New York: Columbia, Wayne Shorter, ts; , p, synth; Nathan East, b; Terry Lyne Carrington, d 3. Wayne Shorter and Herbie Hancock, 1997. “Aun San Suu Kyi,” 1+1. Verve. 4. Wayne Shorter. 2013. “Zero Gravity to the 10th Power.” Without a Net. Blue Note. Wayne Shorter, ts; Danilo Perez, p; John Patitucci, b; Brian Blade, d.

Additional listening 5. Wayne Shorter. 1964. “Deluge,” Juju. Blue Note. BLP 4182. Recorded Englewood Cliffs, NJ: Aug 3, 1964. Wayne Shorter, ts; McCoy Tyer, p; Elvin Jones d; Reggie Workman, b. 6. Wayne Shorter. 1985. “On the Eve of Departure.” Atlantis. Columbia. New York: 1985. 7. . 1977. “Palladium.” Heavy Weather. Columbia. Recorded: North Hollywood, CA. Wayne Shorter, ts; Joe Zawinul, keys, , b; Alex Acuña, d; Manolo Badrena, congas. 8. Wayne Shorter. 2003. “Sacajawea,” Alegría. Verve. Wayne Shorter, ts; Danilo Perez, p; John Pattitucci, b; Brian Blade, d. 9. Wayne Shorter. 2005. “.” Beyond the Sound Barrier. Verve. Wayne Shorter, ts; Danilo Perez, p; John Patitucci, b; Brian Blade, d.

April 16 and Lincoln Center Questions: What are the pros and cons of the development of a major jazz institution? What are the challenges of being its leader?

Reading 1. Hadju, David. “Wynton’s Blues,” The Atlantic, March 2003. 4. Amiri Baraka, “Wynton Marsalis: Black Codes (from the Underground). Digging: The Afro-American Soul of American Classical Music,

Listening-Required Set list 1. Marsalis, Wynton. "Harriet Tubman." Thick in the South. Columbia CK 47977. New York: 1991. Wynton Marsalis, tp; , p; , ts; Bob Hurst, b; Jeff Watts, d. 2. Marsalis, Wynton, “Due North,” , NY: January 22-25, 1995: Columbia CXK 57694, 1995. same as “Work Song. 3. Marsalis, Wynton. "Rosewood." Reeltime. New York: September 1996, Sony Classical SK 51239, 1999. 4. Marsalis, Wynton with Yacub Addy. 2007. “Tsotsobi,” Congo Square. Lincoln Center Jazz Orchestra

Additional Listening 5. Marsalis, Wynton. “Work Song” Blood on the Fields, NY: January 22-25, 1995: Columbia CXK 57694, 1995. Wynton Marsalis trumpet; , vocals; , vocals; Miles Griffith, vocals; Wess Anderson, as; James Carter, bari, bcl, cl; , ts, ss, cl, bcl; Robert Stewart, ts; Walter Blanding, ss on Work Song; Russell Gunn, tp; , tp; Marcus Printup, tp; Wayne Goodman, tb; Wycliffe Gordon, tb, tuba; Ron Westray, tb; Michael Ward,vl; , p; Reginald Veal, b; , d, . 6. Marsalis, Wynton, “Due North,” Blood on the Fields, NY: January 22-25, 1995: Columbia CXK 57694, 1995. same as “Work Song.” 7. Marsalis, Wynton. "Four in One." Marsalis Plays Monk. New York: October 3-4, 1994: Columbia CK 67503. Wynton Marsalis, trumpet; Walter Blanding, Victor Goines, tenor sax; , alto saxophone; Wycliffe Gordon, trombone; Eric Reed, piano; , Reginald Veal, basses ; Herlin Riley, drums. 8. Marsalis, Wynton. “Where Y'all At?" From the Plantation to the Penitentiary. New York: June 28-29, 2006 Blue Note 0946 3 73675 2 0, 2007. Wynton Marsalis, trumpet ; Walter Blanding, tenor and soprano ; Dan Nimmer, piano ; Carlos Henriquez, bass ; Ali Jackson, Jr., drums ; Jennifer Sanon, vocals. 9. Marsalis, Wynton. "Supercapitalism," From the Plantation to the Penitentiary. New York: June 28-29, 2006 Blue Note 0946 3 73675 2 0, 2007. same as previous track.

Sat April 18th Tribute to Memphis. George Coleman and Harold Mabern with the Harvard Jazz Bands. Sanders Theatre 8:00 pm

Th April 21: Diasporic Jazz Question: How has jazz related to the African diaspora? Read: 1. Monson, Ingrid. 2007. Freedom Sounds, Chapter 4, pp. 2. Himes, Geoffrey. 2008. “Lionel Loueke: African American” Jazz Times, May 2008; 3. Fine, Eric. 2008. “Dafnis Prieto: Multiligual Rhythms,” Jazz Times, August 2008; 4. Cohen, Sharone, “Yosvany Terry: New Throned King”, Jazz Times, August 2014.

Listening--Required Set List Loueke, Lionel. 2006. “Virgin Forest’ (w Gretchen Parlato), Virgin Forest. Prieto, Dafnis. 2009. “Si o Si.” Si o Si Quartet Live at the Jazz Standard. Terry, Yosvany, 2014. “New Throned King.” New Throned King. Yosvany Terry, perc, as, saxophone

Additional Listening 5. Art Blakey Dinga.1958. Holiday for Skins v.2. New York: November 9, 1958, Blue Note BST-84005. Personnel: (tp) Ray Bryant(p) (b) Art Blakey,Art Taylor,Philly Joe Jones(d); Sabu Martinez, bongo and conga, Ray Baretto, Chonguito Vincente congas; Victor Gonzalez, bongo, Andy Daleannoy maracas and cencerro, Julio Martinez, conga and tree log; Red Pagani Jr, timbales. 6. Weston, Randy. 1960. “Uhuru .” Uhuru Afrika. Roulette R 65001. Personnel: , Richard Williams, Freddie Hubbard, tp; , , , , tb; (fhr) , (ts, fl, oboe) , bs;) Budd Johnson, ts, cl Sahib Shihab (as, bs, pic , fl; , p); Les Spann (g, Ron Carter, b , , Wilbert G.T Hogan, Olatunji, Candido, Armando Peraza, perc, Martha Flowers, Brock Peters, vcl Max Roach, Tuntemeke Sanga (narrator); g and bs, on some tracks only, not known which ones) by . 7. Ibrahim, Abdullah. 1988. “African Marketplace.” Mindif. Enja. , p; Ricky Ford, Craig Handy, ts; Benny Powell, b; Billy Higgins, d.

April 23: Jazz, Hip Hop, R&B Questions: How are jazz, hip hop, and R&B intertwined and related today?

1. Read: Robert Glasper: “Renegade of Funk.” Jazz Times 42(4) June 4, 2012 2. Blount, Ericka “Where Jazz Meets Hip Hop,” Jazz Times April 1998 3. Roy Hargrove on Hip Hop and Jazz: http://youtu.be/6z1ChouasFU,

Listening--Required Set List 1. Glasper, Robert. 2012. “Ah Yeah” (ft. Musiq Soulchild and Chrissette Michele), Black Radio.Robert Glasper p; Derrick Hodge, b; Chris Dave, d; 2. Glasper, Robert. 2013. “Calls” ft. Jill Scott. Black Radio 2. Robert Glasper,p; Derrick Hodge, b; Mark Colenburg, d, perc. 3. Christian Scott, “Re:” Anthem, Berkeley, CA: Jan 26-30, 2007: Concord Jazz CCD30209. Christian Scott:, trumpet, piano; Esperanza Spalding: bass; Marcus Gilmore: drums. 4. Iyer, Vijay and Mike Ladd. 2013. “On Patrol.” Holding it Down: The Veterans’ Dreams Project. Pi Recordings.

T Apr 28: Last day of class: course wrap up

Final Projects due May 6