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FACULTAD DE ARTES MAESTRÍA EN MUSICOLOGÍA Hank Mobley

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FACULTAD DE ARTES MAESTRÍA EN MUSICOLOGÍA Hank Mobley UNIVERSIDAD DE CUENCA FACULTAD DE ARTES MAESTRÍA EN MUSICOLOGÍA Hank Mobley: Análisis e Interpretación Estilística de su Improvisación Tesis Previa a la obtención del título de Máster en Musicología Autor: Francisco Javier Lara Marrero Director: Arleti María Molerio Rosa Cuenca–Ecuador 2016 UNIVERSIDAD DE CUENCA RESUMEN El Hard Bop constituyó un medio de expresión artística para los jóvenes afroamericanos durante las décadas de 1950 y 1960, mediante el cual demostraron su descontento con el sistema estadounidense entre ellos, por la segregación social y la falta de equidad económica. Este estilo artístico contribuyó a la lucha por los derechos civiles a través de las letras de sus composiciones, y entre los músicos precursores del mismo se encuentra Hank Mobley, uno de los saxofonistas más grabados a lo largo de su carrera como solista y en su rol de sideman. Dada su relevancia, hemos seleccionado -en la presente investigación musicológica- como objeto de estudio, la improvisación de Hank Mobley registrada entre los años 1953 a 1980, cuyo problema científico a demostrar se ha centrado en la identificación de las características estilísticas de sus improvisaciones que han enriquecido el lenguaje jazzístico del período analizado. En concordancia con el objetivo general propuesto, la tesis se ha estructurado en dos capítulos: el primero, dedicado a la contextualización histórico cultural del jazz, centrado en el análisis de la personalidad artística de Hank Mobley y en las transcripciones realizadas por diversos autores; el segundo contiene el análisis de las transcripciones realizadas por el autor de esta tesis, a través de 532 ejemplos, divido en tres períodos de estudio. Esta selección se realizó partir de una valoración cualitativa de su producción discográfica, avalada por la crítica especializada, tomando en cuenta además, las sugerencias emitidas por reconocidos jazzistas sobre los discos más afamados de Mobley. Palabras claves: HANK MOBLEY, HARD BOP, JAZZ, IMPROVISACION, VOICE LEADING PERFECTO, LINE CLICHE, SUPER IMPOSICION ARMONICA, SECUENCIA MELODICA. Autor: Lic. Francisco Javier Lara Marrero 1 UNIVERSIDAD DE CUENCA ABSTRACT The Hard Bop established a way to express artistic expression for young African Americans during the 1950s and 1960s, by which they showed their discontent with the American system including them, due to the social segregation and lack of economic equity. This artistic style contributed to the struggle for civil rights through the lyrics of their compositions, and among the forerunners musicians thereof is Hank Mobley, one of the saxophonists most recorded throughout his career as a "soloist" and its role as sideman. Given its importance, it has been selected - in this musicological research - as an object of study, the improvisation Hank Mobley recorded between the years 1953- 1980, which demonstrate scientific problem has focused on identifying the stylistic characteristics of their improvisations they have enriched the jazz language of the period. In line with the overall objective proposed, the thesis has been structured into two chapters: the first, dedicated to the historical and cultural contextualization of jazz, focused on the analysis of the artistic personality of Hank Mobley and transcripts made by various authors; the second contains the analysis of transcripts made by the author of this thesis, through 532 examples, divided into three study periods. This selection was made from a qualitative assessment of his record production, endorsed by specialized critics, taking into account also, the suggestions issued by renowned jazz musicians on the most famous albums of Mobley. Key words: HANK MOBLEY, HARD BOP, JAZZ, IMPROVISATION, PERFECT VOICE LEADING, LINE CLICHÉ, HARMONIC SÚPER IMPOSITION, MELODIC SEQUENCE. Autor: Lic. Francisco Javier Lara Marrero 2 UNIVERSIDAD DE CUENCA ÍNDICE RESUMEN................................................................................................................................ 1 ABSTRACT .............................................................................................................................. 2 JUSTIFICACIÓN ..................................................................................................................... 8 PROBLEMA ...................................................................................................................................... 9 OBJETO DE ESTUDIO ................................................................................................................... 9 HIPÓTESIS ..................................................................................................................................... 10 ESTADO DEL ARTE ..................................................................................................................... 10 OBJETIVO GENERAL .............................................................................................................. 11 OBJETIVOS ESPECÍFICOS ................................................................................................... 12 ORGANIZACIÓN DE LA INVESTIGACIÓN .............................................................................. 12 METODOLOGÍA ............................................................................................................................ 13 MARCO METODOLÓGICO ..................................................................................................... 13 TÉCNICAS EMPLEADAS ........................................................................................................ 15 CAPÍTULO 1: CONTEXTO HISTÓRICO .......................................................................... 18 1.1 Surgimiento del jazz y sus principales características ...................................................... 18 1.2 Características: vida y obra del autor................................................................................... 21 1.3 Análisis de transcripciones hechas por otros autores ....................................................... 23 Análisis de las improvisaciones transcritas en el libro: Modern jazz tenor solos de Hunt Butler ................................................................................................................................................ 29 1.4 Comparación de la improvisación de Hank Mobley y John Coltrane ....................... 61 CAPÍTULO 2: ANÁLISIS DE LAS TRANSCRIPCIONES ............................................... 87 REALIZADAS EN ESTA INVESTIGACIÓN ...................................................................... 87 2.1 Análisis de la obra estilística. Primer periodo ............................................................... 87 2.2 Análisis del segundo periodo ........................................................................................ 146 2.3 Análisis del tercer período ................................................................................................... 255 2.4 Análisis del cuarto periodo ................................................................................................... 324 CONCLUSIONES................................................................................................................ 372 REFERENCIAS BIBLIOGRÁFICAS ................................................................................. 376 ANEXO Autor: Lic. Francisco Javier Lara Marrero 3 UNIVERSIDAD DE CUENCA DEDICATORIA A mi esposa Nelly A mis hijas Vicky y Ani por convertirse en la razón para la realización y culminación de este proyecto. A la memoria de Diana Fernandez Calvo. Autor: Lic. Francisco Javier Lara Marrero 4 UNIVERSIDAD DE CUENCA AGRADECIMIENTOS A las personas que me han brindado su apoyo incondicional a lo largo de este proyecto: Arleti Molerio Diana Fernández Esteban Molina Gary Campbell Jorge Balladares Gabriel Arias Nacho Azor Pedro Troya Julián Franji Daniel Pacheco Michael Blanchard Danilo Chanchay Javier Vaquero Misael Moya y Marilys Marrero Autor: Lic. Francisco Javier Lara Marrero 5 UNIVERSIDAD DE CUENCA Autor: Lic. Francisco Javier Lara Marrero 6 UNIVERSIDAD DE CUENCA Autor: Lic. Francisco Javier Lara Marrero 7 UNIVERSIDAD DE CUENCA JUSTIFICACIÓN Hank Mobley ha sido uno de los precursores y representantes más importante del Hard Bop, y uno de los saxofonistas más grabados a lo largo de su carrera, en el sello discográfico Blue Note. Hank Mobley grabó tanto como “solista” como en su rol de sideman. Como compositor tuvo una profunda influencia en el desarrollo del estilo de la costa este del jazz, conocido como Hard Bop. Este estilo se inició a mediados de la década de 50 del pasado siglo y su desarrollo está considerado como una respuesta al movimiento Cool Jazz, muy cercano al contexto académico, y por ello, alejado del real sentimiento del blues. Frente a este desafío surge el mencionado estilo Hard Bop imponiendo un regreso a la música afroamericana, retomando el sentimiento del blues; los bateristas que más aportaron a este estilo fueron Art Blakey y Max Roach. El Hard Bop se podía dividir en dos subestilos: el Jazz Funky y el Mainstream. Entre estos subestilos existían similitudes y diferencias. Entre las similitudes, puede citarse, que ambos provienen del BeBop y muestran el éxito en la integración de la improvisación y la composición. La instrumentación era la misma, pues ambas poseían dos o tres vientos y la sección rítmica. Los ensambles que abordaron estos sub estilos, realizaron sus grabaciones en pequeñas compañías discográficas independientes surgidas a fines de las
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