Jazz E C U D a Teacher’Sthe a for Guide a N O I T P R G O R M A

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Introduction The Heart of the Art Jazz is a unique style of American music that has Dear Educator, evolved from traditional African and European vocal and instrumental music. The musical As you make plans for your students to attend an upcoming presentation of the characteristics of West Africa were brought to Wells Fargo School Matinee Series at the Robert and Margrit Mondavi Center for America because of the forced importation of the Performing Arts at UC Davis, we invite you to prepare your students by using this slaves. These characteristics were combined with curriculum guide to assure that from beginning to end, the experience is an educationally European-style instruments that had been incor- enriching and memorable one. porated into the American marching band to form the early beginnings of jazz. It began as a The material in this guide is for you. We believe that an understanding of some basic popular form of entertainment and has evolved vocabulary and background information on the performance art form will help to into an established art form. prepare your students to better understand and enjoy what they are about to see. We also encourage you to discuss important aspects of the artistic experience, including Jazz history has mirrored the social history of audience etiquette. the United States from the meetings of slaves in Congo Square in New Orleans in the 18th cen- We hope that your students find their imaginations come alive as lights shine, curtains tury through the social upheavals and changes open, and applause rings through Mondavi Center. As importantly, we hope that this of performing styles of the late 20th century. curriculum guide helps you to bring the arts alive in your classroom. Jazz musicians have played a significant role in the integration of races in America and have Thank you for helping us to make a difference in the lives of our children. been involved in the ideas of social justice that have become mainstream in America. Mondavi Center Arts Education Program Sierra North Arts Project, UC Davis The essence of jazz is improvisation—the art of creating music through the spontaneous inven- tion of ideas. Unlike any other form of music, jazz improvisation relies upon the performer What’s Inside: to create music that is not written or practiced, but produced from the heart and soul for that 2 Introduction moment in time. Through improvisation, jazz The Heart of the Art music evokes thought and emotions through a shared experience between the performer 3 Overview of the Visual and Performing Arts Content Standards and listener. What’s Important to Know Before You Go

4 Words to Know “Jazz is America’s greatest original art form; a music 5 During the Performance whose improvisational spirit perfectly reflects the • Audience Etiquette • Jazz Improvisation nation that gave it birth.” Ken Burns, Film Producer • Post-Performance

6 Instruments of Jazz Ensembles and Combos

7 Jazz Ensembles and Combos

8 Standards-based Classroom Learning Experiences

9 Essential Jazz Listening Guide

10 Recommended Jazz Internet Websites Recommended Jazz Listening Collections

11 Arts Education at UC Davis

12 Credits

Mondavi Center curriculum guides are produced in partnership with:

ArtSmarts is the title for K–12 educational programs at Mondavi Center.

2 Jazz 3 1800s The Origin of Jazz Overview of the Visual and Performing Arts During the late 1800s in Content Standards for California Public Schools America’s south, planta- The Visual and Performing Arts Content Standards for California Public Schools have five component tion songs, spirituals, and strands that cover dance, music, theater, and visual arts. The component strands for music are: field hollers were a part of everyday life for the 1.0 Artistic Perception: Processing, analyzing, and responding to sensory information through the language and skills unique to music. Students read, notate, listen to, analyze, and describe music and other African-American planta- aural information, using the terminology of music. tion slaves. Their music

2.0 Creative Expression: Creating, performing, and participating in music. Students apply vocal and instru- was used to celebrate, to mental music skills in performing a varied repertoire of music. They compose and arrange music and mourn, to entertain, to improvise melodies, variations, and accompaniments, using digital/electronic technology when appro- commemorate, to wor- priate. ship, and to accompany 3.0 Historical and Cultural Context: Understanding the historical contributions and cultural dimensions of the drudgery of work. music. Students analyze the role of music in past and present cultures throughout the world, noting cultural diversity as it relates to music, musicians, and composers. Often this type of music would incorporate a type 4.0 Aesthetic Valuing: Responding to, analyzing, and making judgments about works of music. Students critically assess and derive meaning from works of music and the performance of musicians according Jazz Ti me L i ne of “call and response” in to the elements of music and aesthetic qualities. which one person would sing a verse or phrase 5.0 Connections, Relationships, Applications: Connecting and applying what is learned in music to learning and others around him in other art forms and subject areas and to careers. Students apply what they learn in music across subject areas. They develop competencies and creative skills in problem solving, communication, and would answer with the management of time and resources that contribute to lifelong learning and career skills. They learn same or different phrase. about careers in and related to music. Listening Experience:* “Soon One Mornin’ (Death Come A-Creepin’ In My Room)” Mississippi Fred McDowell

Learning Experience: What’s Important to Know BEFORE YOU GO? Listen to how Mississippi Fred McDowell describes a story, through music, about death creepin’ in his room. This is the As an audience member, you are the reason Before you attend a jazz concert or performance essence of a folk song. In this song, the musicians are on stage. They are there you should have an understanding of what to perform for you and share with you the type of jazz you are going to hear. Is it a small Mississippi Fred utilizes the call and sounds and emotions of their music. combo playing cool jazz from the 1950s or a response format by himself with his large ensemble playing 1940s big band swing? singing and guitar playing. When you are part of the audience at a jazz Will there be a rhythm section? Will there be performance, you become part of that perfor- horns, electronic instruments, acoustic instru- mance. Jazz performers want you to respond ments, vocals? Will the style of music be easy Of Significance: to their music as they rely on your positive to listen to or dance to, or will it require in- The black spiritual, folk music of the reactions to maintain their intensity level. depth concentration to fully appreciate what African-American slaves, became popu- Remember that jazz improvisation is the the performers are accomplishing? Use this spontaneous creation of ideas. The performer guide and the other resources listed to increase lar after the American Civil War. wants to share himself or herself through your understanding and appreciation of jazz, music and evoke an emotion. For this rea- its history, and roots. son a verbal response such as “yeah” or “all right” during the performance is perfectly When you attend a jazz concert, listen closely acceptable. Applauding at the end of a solo to the music, watch the performer, and let your even though the piece has not ended is also mind and emotions wander. See if you can truly acceptable. However, loud conversations or experience and understand what the performer disruptive noises are not acceptable and are is trying to say to you through his or her instru- *All listening experiences in the distracting to the performers as well as other ment and music performance. jazz time line can be found in audience members. Of course, applause the CD collection Ken Burns Jazz after a piece has finished is appreciated by —The Story Of American Music. the performers.

2 Jazz 3 1900s 1800s—Early Late 4

ragtime opera ragtime 1911 his for death his after century a half Prize Pulitzer a won Joplin Scott Of syncopation and notes higher the plays hand right The steady a keeps which and piano, the on hand left the by played are that notes low the of style march-like even, the notice Learning Joplin Scott Rag” Leaf “Maple Listening “ragging.” called was Jazzstyle syncopated this in Playing march. a of feel melody music’sthe to syncopated referring time,” “ragged means ragtime term The jazz. of development Tithe to contributed that styles musical early the meof one was and 1917, about through 1890s the from States United the music popular most Lthe was Ragtime ine As you listen to “Maple Leaf Rag” Leaf “Maple to listen you As Significance: melody Jazz with the form and form the with

Experience: Ragtime Experience: line, which incorporates which line, , also known as ragging. as known also ,

Treemonisha beat

or idiom

pulse .

in . Throughout this curriculum guide you will see certain words in bold print. Below are the definitions of definitions the are Below print. bold in words certain see will you guide curriculum this Throughout to Words these words. these composition. musical a create to melodies of series a structure: Melodic theme. or tune a form to pattern organized an in duration and Melody: sung. than rather Instrumental: bebop. ragtime, swing, as such Idiom: music. European and American in notes two between step: Half composition. musical a within chords of series foundation: Harmonic music. of structure vertical the is Harmony chord. a create to together Harmony: community. or country a of people the of emotions and traditions, customs, the expresses song: Folk “bright.” or “dark” as to referred Often voice. or instrument Color: time. same Chords: four.or two of groups into divided meter,”is 4/4 music or “2/4 of jazz or rock a In three. of groups into divided meter,”is “3/4 music or waltz meter.a In called is pulse of division The beat. steady a to Beat: articulation. “taht” or “ta” a utilize would articulation accentuated An articulation. “doo” or “da” a utilize would articulation smooth A tongue. the of use by released and started is Articulation: conversation, that is call and response. and call is that conversation, a in as forth, and back ideas 8’s).trading (trading are measures musicians When 2’s),4’s),(trading (trading measures measures two eight four with or done is this Sometimes respond. to musician another to over song the of section next the turn then song, a of chorus the of section one play might musician One conversation. a in experience would one as improvisations exchange to musicians allow to used often is response and call jazz, In form. their of part as response and call use songs blues and leader’sspirituals the Many to call. “responds” group the and song the of part a “calls” leader a where music religious and songs work in heard often is It music. WestAfrican in roots its has that jazz of feature a is response and Call and Call The regular pulse in music. Music moves Music music. in pulse regular The A characteristic style of jazz music, jazz of style characteristic A The unique quality of sound created by an by created sound of quality unique The Twothe at played notes more or A succession of notes of varying pitch varying of notes of succession A A combination of notes sounding notes of combination A The smallest interval or distance or interval smallest The Music of anonymous origins that that origins anonymous of Music The way in which a note or tone or note a which in way The Music performed on instruments on performed Music The relationshipThe between The relationship between a between relationship The know Response but instead moves up from a lower note until the until note lower a from up moves instead but another,to note one fromdirectly move not does instrumentalist or singer a which in technique pitches: bending or Scooping improvisation. and melody of rhythm the for foundation the lay that rhythms accompanying and beat foundation: Rhythm pulse. or beat a to relation in tones musical Rhythm: musicians. for points check or signposts as used areRiffs passage. Riffing: voices. and instruments of low) Register: Pulse: idea. musical complete a is phrase a sentence, a to Similar end. and middle, Phrasing: accompaniment. chord establish helps that instrument bass line: Walkingbass beat. established the from away Syncopation: A.” B A “A Together,as to referred is form entire the section. “A” first the of repeat final a by followed is section “B” The section. “B” the called section new contrasting a by followed then and repeated is section “A” The section. “A” the called is which section opening an states form One organized. form: Song pitch. desired established already the above and below fluctuate or waver to tone the allowing is bend A established. is pitch desired See beat. See A jazz term meaning a short, repetitive, short, a meaning term jazz A Everything pertaining to the duration of duration the to pertaining Everything A musical thought with a beginning, a with thought musical A The different levels of range (high and (high range of differentlevels The Form is the way that musical ideas are ideas musical that way the is Form The placing of an accented note accented an of placing The A steady beat played by a by played beat steady A The underlying combination of combination underlying The To scoop a note is a is Tonote a scoop - During the Performance 1900—1920s Listening to music, especially jazz, should be more than a passive activity. Encourage students to The Blues be “active listeners” by identifying the different instruments used in the ensemble. Have the stu- The blues is a distinctive dents ask themselves what style of music is being played and what mood does that type of music African-American song form. create for the listener? Most importantly, encourage students to allow themselves to hear and feel Similar to what we now call a the emotional message that is communicated by the musicians through the art of jazz. folk song, the blues was a highly Audience Etiquette Jazz Improvisation expressive, predominantly vocal tradition that expressed the • Use the restroom before the As stated earlier, the essence of jazz is improvisa- performance begins. tion. When a performer improvises, he is spon- stories and emotions of African- • Leave food, drinks, or gum outside taneously inventing new and original musical Americans at the beginning of ideas. He is not reading music, and is not play- the performance space. the 20th century. The blues was • Turn off pagers and cell phones. ing from memory. Although the musician who • Stay seated during the performance. is improvising does have an understanding of not just a type of music, but • Save comments and questions for after music theory, he is essentially playing his instru- also a state of mind and way of the performance. ment based on emotions. Unlike any other form life for many African-Americans • Listen courteously. of music, this display of emotion is shared with during this time. The most dis- • After a musician has completed an the audience and other performers and becomes improvised solo it is appropriate to a unique experience for all. tinctive melodic characteristic of show your appreciation by applause. Jazz Ti me L i ne the blues is the alteration of the It is also appropriate to applaud upon eight-tone major scale common- completion of a piece of music. ly used in European music. The • Leave cameras, video recorders, or audio recorders at home. eight-tone major scale is essentially a series of tones or pitches Post-performance built on whole and half steps. The Questions to ask your students: blues scale used microtones, What was your favorite part of the concert? Why? which are intervals smaller than What was your least favorite part of the concert? Why? a half step. Although these pitch What instruments were used? Were you surprised by the choice of a particular instrument used in this jazz performance? Why? inflections may occur on any Why not? tone, they are used most often Did the music create an emotional response for you? What was it? on the third and seventh notes What kind of mood did the music create for you? Describe how the overall listening experience affected you and your appreciation for jazz music. of a scale - they are referred to as the “bent” or “blue” notes that give the blues its poignant What is Syncopation? character. Syncopation is the term that refers to moving accented or stressed musical tones away from the established beat or pulse of the music. Syncopation is not exclusive Listening Experience: to jazz, but is commonly found there. Syncopation’s purpose is to create a sense of “Back Water Blues” Bessie Smith surprise and catch us off guard. Let’s take a simple song like “Mary Had a Little

Lamb.” If we sing this song the way we know it, it follows a regular rhythmic Learning Experience: pattern with each word beginning on a beat: As you listen to “Back Water Blues” notice how Clap and sing the beginning of the song. Clap each number as a beat. Bessie Smith adds variation to certain pitches by NON-Syncopated 1, 2, 3, 4, 1, 2, 3, 4, bending or wavering on a pitch and by scooping Mar- y had a little lamb –—–, or bending her voice from one pitch to another. 1, 2, 3, 4, 1, 2, 3, 4 little lamb –—–, little lamb –—– Of Significance: Canadian scientist Reginald Fessenden transmit- In a syncopated rhythm, we might move the words to unexpected places, between ted the human voice via radio for the first time or ahead of beats, changing the feel of the song: in 1907. Clap and sing the song with the words in between some beats and on others. Syncopated 1, 2, 3, 4, 1, 2, 3, 4, ——Ma - ry had a —–—lit-tle ––—— lamb

1, 2, 3, 4, 1, 2, 3, 4 ——– little lamb,——— ——–little ––—— lamb Jazz 5 Dixieland 1920s 6 Learning during the years of prohibition. of years the during illegally served was alcohol where places in performed was it Often 1920s. the in dancing and listening for entertainment of form popular dominant the was Jazz Of notes). scooped pitches, (bent blues the a incorporate trumpet and trombone, net, clari the as such instruments new while steady the how to listen Blues” Stable “Livery In Band Jazz Dixieland Original The Blues” Stable “Livery Listening tuba. or bass string and drums, piano, banjo, trombone, clarinet, cornet, bandincludes trumpeta or Dixieland typical A music. of form instrumental an primarily is Dixieland 1917. in music of style this of recording available publicly first the made who group Orleans New a Band, Jazz Dixieland Original the from derived Jazzlikely most was Dixieland name The ragtime. to u steady,a by often ized character is jazz, Orleans New or jazz traditional as to referred sometimes Tijazz, Dixieland jazz. Dixieland called music meof type new a create to Louisiana, Orleans, New in 1920s early the and 1915 between together came ragtime and Blues Line pbeat melody Significance: Jazz

that is more like the form of form the like more is that beat tempo similar tempo Experience: Experience:

of ragtime is present is ragtime of

- - combo is its rhythm section. Instruments of the of Instruments section. rhythm its is combo Rhythm Jazz of Instruments playing by solos Accompanies band. the of rest the for foundation rhythmic Bass: dynamics. and feel rhythmic varying by contrast Providefigures. and set-ups, fills, playing by ensemble the energize and soloist, or band the of foundation rhythmic the upon build reinforceand Drums: is: section rhythm the of member each of role the stated, Simply solos. improvised own their play often players section rhythm ble, ensem the supporting to addition In ensemble. or band jazz the of rest the for foundation the provide to is section rhythm the of role The section. rhythm a of instrumentation the determine will bandleader the of preference or played, music of style band, of type The instrumentation. section rhythm standard no is There vibraphone. and percussion, guitar,drums, bass, keyboard, electric piano, ing: follow the of any of mix a be can section rhythm

ney through a song. The nursery rhyme “Twinkle, Twinkle, Little Star” is an example of example an “Twinkle,is rhyme Twinkle,Star” nursery Little The song. a through ney listener’sthe for jour points check or signposts as serve to as so ideas melodic of tion repeti the upon depends Form ideas. musical organize musicians that way the is Form Form type of form is “chorus format” in which a jazz musician repeats the sections of a of sections the repeats musician jazz a which in format” “chorus is form of type Another improvisation. jazz for basis the often is and songs popular for form common a been has This sections. “A” two the between gap the fills it because bridge a called sometimes is section “B” The section. “B” the to moving before repeats section “A” the “A-B-A” called is This returns. the Then section. “B” the called be would high”) so world the above “Up words, the with (starting section next The section. “A” the as to referred is typical a playing. It is much like the floors of a skyscraper or layers of a cake. a of layers or skyscraper a of floors the like much is It playing. and melodic the to sticking while times different during instruments of combinations or instruments different feature and utilize to cians form Provides the harmonic and harmonic the Provides of the ensemble and soloists. and ensemble the of Provide a steady pulse or time, or pulse steady a Provide ment and reinforce the melodic structure melodic reinforcethe and ment force chords for the ensemble the for chordsforce and does different things with each repeat. This “chorus format” allows the musi the allows format” “chorus This repeat. each with things different does and and soloist. and Section walking bass lines bass walking Provides chords and color that compli that color and chordsProvides dations provided by the bass and drums. and bass the by provided dations Piano: song form song Reinforces and builds on the foun the on builds and Reinforces The core of any jazz ensemble or ensemble jazz any of core The n Jazz in . The first section (Twinkle, twinkle, little star…) is played or sung, and sung, or played is star…) (Twinkle,little section twinkle, first The . that rein that - song form song es and Ensembles - - . An elaboration on that is “A-A-B-A”, where “A-A-B-A”, is that on elaboration An . - - mony and the bass line. bass the and mony har harmony.plays also saxophone baritone The playing part second the and “lead” playing part first the with parts between split are saxophones tenor and alto the band, big a In instruments. wind the of all or any on “double” will musicians however,bands professional and college In ment. instru one on specialize students most players, age school high of band a In music. of style and type the on depending ensemble jazz a in used be may flute and clarinet A saxophones. tone tenor,bari alto, and the are jazz of instruments Woodwind soloists. and ensemble the of structure melodic reinforcethe and ment comple that color and chordsProvides players. section rhythm other the by provided foundation the on builds and reinforcesit piano, the of Guitar: harmony,bass. and parts, lead create to parts fourth and third, on depending used be also may horn French or However,trombone.tuba and a trumpet the are Brass trombone section are split up into first, second, first, into up split are section trombone and trumpet The music. of style and type the harmonic foundations harmonic Section Similar to the role the to Similar Section The brass instruments used in jazz in used instruments brass The The most commonly used wind used commonly most The melody Combos of the piece they are they piece the of of the “A” section “A” the of song ------“The real power of and innovation of jazz is that 1930s and 1940s a group of people can come together and create Swing art and can negotiate their agendas with each The dominant idiom of the 1930s and much of the 1940s was other; and that negotiation is the art.” swing music. A large ensemble —Wynton Marsalis, jazz musician called a “big band,” usually consisting of 10 or more players, performed swing music almost exclusively for dancing. Swing is very much a musical “feel.” Music of the big bands reflected full ensemble playing Jazz Ensembles and Combos and did not incorporate many opportunities for improvisation. A group of musicians who play jazz can be referred to Radio broadcasts spread inter- as a jazz ensemble or combo. The number and type of instruments used creates the specific sound or tonality the est in big band swing music by members want and allows them to perform music with specific characteristics. Jazz Ti me L i ne bringing it into peoples’ homes.

Jazz ensembles vary in the number of musicians depending on the type of band or style of music. Listening Experience: A “big band” can be made up of seventeen players, including as many as five saxophones, four trumpets, four trombones, piano, bass, drums, and guitar. A jazz ensemble may be as large as “In The Mood” Glenn Miller twenty-five members and may include woodwind and brass instruments, percussion, mallet instruments (xylophone, marimba, vibraphone), and vocalists. Learning Experience: The song “In The Mood” demonstrates how the A jazz combo refers to a smaller group of players compared to that of a big band, and usually con- sists of two to six players. Jazz combos may feature a variety of instrumentation, including piano, call and response form typical of early jazz in electric keyboards, mallet instruments, bass, guitar, drums, woodwinds, and brass. A jazz combo the 1800s is still present in swing music. In this may also incorporate the use of instruments in the string family (violins, violas, and cellos) the case, the saxophone section signifies the “call” harmonica, or non-traditional instruments such as the oboe or bassoon. It is not unusual to hear a vocalist in a jazz combo. while the brass “responds.”

Of Significance: During World War II, black and white musicians What is swing? (as they were referred to then) enjoyed playing Swing is the moving force of jazz. It is its rhythmic motor. Swing happens when together, but had to do it “after hours” because there is something rhythmic taking place on every beat. A typical way to under- of the segregation during that time. It was stand swing is to analyze the layers of rhythm played by the rhythm section (for widely believed that black musicians had the example, the drums, bass, and piano). In swing something happens on every feel for jazz music but often could not read the beat, so the drummer “rides” the cymbal by tapping out a steady swaying notes...and that while white musicians could read rhythm while filling with other drums. The bass player plays up and down the the notes, they did not have a feel for the music. instrument following the chord pattern of the song or piece, also playing on near- Together they shared their love and expertise for ly every beat. This technique is called “walking the bass.” Because tuba players playing jazz. have to stop playing to take breaths of air and therefore cannot play on every beat, tubas eventually went of style as rhythm instruments for jazz. The final rhythm layer is the work of the piano filling in with chords and riffs that accompany or “comp” the rhythms that the other instruments play. Swing also implies that eighth notes (notes half the length of one beat) are not played straight (or square like is commonly found in rock), but are “swung,” that is they have a swaying lilt that feels a little relaxed.

Jazz singer Ella Fitzgerald, when asked, “What is swing?” said, “If you have to ask, you’ll never understand.”

Jazz 7 Bebop 1950s - 1940s became prevalent during the bebop era. bebop the during prevalent became bass, and guitar the as such instruments, amplified electrically of use Widespread Of era. previous the of band big a of that to compared section) rhythm with saxophone and (trumpet band small a of sound in difference the Notice ing. danc not but listening for suitable was which playing bebop of characteristic melody the play who musicians the by notes of use technical and speed the to Listen Learning Gillespie Dizzy Peanuts” “Salt Listening dancing. for unsuitable bands, big of music the to contrast in and, to, listen to challenging erratic, fast, was era bebop the of tion improvisa and music The players. the for tunities oppor solo more allowed the to emphasis more gave musicians, six to four of ensembles smaller tured fea Bebop music. style band big of arrangements restrictive the to musicians jazz some by rejection and revolution a was It bands. big the of music the to greatly trasted con that jazz of style a YorkNew in as 1940s the in emerged Bebop 8 Jazz Time Line Significance: rhythm

and improvise. This was a was This improvise. and Jazz Jazz Experience: Experience:

section, and section,

- - - - -

Learning Classroom Standards-Based performance the After Perception and 4.0 Aesthetic Valuing)Aesthetic 4.0 and Perception Artistic (1.0 not? why or Why performance? future a attend Wouldreaders not? your recommend you why or Why performance? the like you Did stage? on musicians the among place took non-verbal) and (verbal communication and interaction of kind What music? the to respond audience the did How music? the to respond you did How music? the throughcreated was mood of type What used? were instruments What review: your in following the Include attended. just you performance the review to Music Critic: Imagine you have been hired by the local newspaper as a music critic and have been asked been have and critic music a as newspaper local the by hired been have you Imagine Experiences her musical life. What periods of time covered time of periods What life. musical her or his about write and composer or musician Research Applications) Relationships, Connections, (5.0 not? why or Why you? to appeal would that something ness why.and busi interests music your the suit Is best would roles these of one which Explain etc. custodians, ushers, sellers, ticket technicians, sound and lighting managers, business musicians, crew,stage happen: concert a make to takes it A As Business Music Valuing)Aesthetic (4.0 group’syour explain and rating. performance the rate highest, the being 5 with 1-5, of scale a On performance? the during non-verbally and bally ver communicate and interact performers the did How music? the of mood the affect ensemble the in instruments of use and choice the did How create? performers the did mood of kind What attended. just you performance jazz the discuss Group Context) Cultural and Historical (3.0 receive? person the did awards or honors What compose? or play person the did music of styles primary What work? WorldSecond the person’sWar)or the influence Prohibition as (such events political or social did How musicians? other of work the by influenced person the was person’sHow the work? and life Discussion: Project: Break into small groups and groups small into Break Research a well known jazz known well a Research Career: Think of all the people the all of Think - - 1940s - 1950s Cool Jazz

At approximately the same time as bebop, cool jazz developed and remained popular for several decades. Cool jazz was subtle, moody, and more restrained than bebop. Cool jazz was also a return to the carefully organized principles of swing, Essential Jazz Listening Guide without the emphasis of call and response and riffing. The following is a list of specific jazz artists and recordings that had a significant impact and influence in the idiom of jazz. For the serious jazz listeners or performers who wish to bet- Listening Experience: ter their understanding and appreciation of jazz music, these recordings are essential to any library. “Take Five” Dave Brubeck Jazz Ti me L i ne

Artist Recording Recording LabeL Learning Experience: Notice how the musicians prefer to play Duke Ellington The Duke - The Essential Collection Columbia/Legacy in the middle register of the instrument, Complete Brunswick And Vocalion Recordings 1926-1931 GRP utilizing a smooth articulation and simple Ellington Uptown Columbia phrasing, which is different from the bebop The Great Paris Concert Atlantic style. And His Mother Called Him Bill Bluebird Ellington at Newport Columbia Of Significance: Count Basie The Complete Decca Recordings GRP The Essential Count Basie Columbia/Legacy The evolution of jazz has been accompanied Basie, Straight Ahead Impulse by the development of recording technology. Sixteen Men Swinging Verve Early recordings were limited by the technol- Billie Holiday The Legacy Columbia/Legacy ogy of the 78 rpm (revolutions per minute) Coleman Hawkins Body and Soul RCA Bluebird record. This meant recording time was physically limited to between three and four Dizzy Gillespie Shaw ‘Nuff Musicraft/Discovery The Complete RCA/Victor Recordings BMG minutes in length. That’s one reason why Greatest Hits RCA Bluebird today’s popular songs tend to be only three Charlie Parker The Complete Savoy and Dial Studio Sessions Savoy or four minutes long. Bird at St. Nick’s Debut Now’s The Time Verve After World War II, a major technology Thelonious Monk Genius of Modern Music Blue Note change was the introduction of the long Louis Armstrong The Complete Hot Five and Hot Seven Recordings Columbia/Legacy playing record (33 1/3 rpm) This innovation Satch Plays Fats Columbia allowed for recordings to extend to as long The Complete RCA Victor Recordings BMG as thirty minutes per side. Today’s compact Portrait of the Artist as a Young Man Columbia disc (CD) can extend to 75 minutes Miles Davis The Complete Birth of the Cool Capitol CDP in length. Kind of Blue Columbia Milestones Columbia The Complete Bitches Brew Sessions Columbia/Legacy Dave Brubeck Time Out Columbia/Legacy John Coltrane John Coltrane: Giant Steps Rhino Charles Mingus Charles Mingus Presents Charles Mingus Candid Herbie Hancock Future Shock Columbia/Legacy Ella Fitzgerald Sings the Duke Ellington Songbook Verve Jazz 9 1960s Free Jazz

Free jazz represented a totally new direction in jazz that mirrored the social ferment of the 1960s. It was experi- mental, very dissonant, and represented freedom from melodic, harmonic, and rhythmic restraints. Although free jazz was praised by some of the prominent musicians of the time, it was challenging for many listeners and not widely accepted by the public.

Listening Experience: “Original Faubus Fables” Charles Mingus

Learning Experience: Free jazz was quite different than anything else before. Listen to how pitch and tone are manipulated by players on their instruments to produce squeaks, shrieks, Jazz Ti me L i ne and wails. Recommended Jazz Internet Websites The following websites may be used for further understanding and Of Significance: recordings of jazz music:

Rock music surpassed jazz as the popular music of the time. Rock appealed to a www.legacyrecordings.com younger audience and, with the advancements of the recording industry, was big busi- www.vervemusicgroup.com ness for record companies. www.pbs.org/jazz www.apassion4jazz.net www.kennedy-center.org/education/resources.html www.jazzatlincolncenter.org

1970s Jazz-rock

The 1970s brought renewed interest in jazz, with a revival Recommended Jazz Listening Collections of many of the older, more traditional concepts. Jazz-rock, The following is a list of jazz recordings and recording labels that pro- also called fusion, combines jazz improvisation and chord vide a comprehensive resource of various jazz artists from each of the different jazz eras. progressions with the rhythms of rock. It is generally more electronic than acoustic, featuring synthesizer, electric Ken Burns Jazz - The Story of American Music Columbia/Legacy bass, electric guitar, electronically processed woodwind This Is Jazz Columbia/Epic/Legacy and brass instruments, and enlarged percussion sections. Essential Collections Sony Music Jazz: The Definitive Performances Columbia/Epic/Legacy Verve Jazz Master Series Verve Listening Experience: “What Is Hip” Tower Of Power

Learning Experience: Notice how “What Is Hip” incorporates the feel of rock with the use of a horn section (trumpet, trombone, saxophone). The music is upbeat, easy to listen and dance to (similar to that of big band music of the swing era), and is modernized by electronic instruments such as keyboards, bass, and synthesizer.

Of Significance: Although the hard-edged sound of jazz-rock had its place in popular music, an alterna- tive to this was smooth jazz. Smooth jazz was, as the title suggests, mellow, easy to listen to, and somewhat soothing.

10 Jazz 11 Arts Education at UC Davis

Robert and Margrit Mondavi Department of Theatre UC Davis ArtsBridge Center for the Performing Arts and Dance In response to educational funding cutbacks The Robert and Margrit Mondavi Center The Department of Theatre and Dance at and the erosion of formal arts training in the for the Performing Arts at UC Davis serves UC Davis offers undergraduate and graduate public schools, the University of California as a resource for the campus and the region, degrees in conjunction with an aggressive and the state of California have joined reinforcing the university’s status as a and artistically adventurous production forces to expand ArtsBridge, an innovative comprehensive university of the first order season. Courses and productions provide arts outreach program that began at the by raising the profile of its arts and students with consistent opportunities to Irvine campus in 1996. ArtsBridge pro- humanities programs to that of its top-ranked creatively engage with professional direc- vides scholarships for undergraduate and science programs. Opened in October 2002, tors, designers, and choreographers. The graduate arts students to work with K-12 Mondavi Center features the state-of-the-art, department, in collaboration with the teachers in developing arts activities that 1,800-seat Barbara K. and W. Turrentine Granada Television network, is host of supplement the core curriculum. The suc- Jackson Hall, and the 250-seat Studio Theatre the Granada Artists-in-Residence program, cess of the program prompted lawmakers for more intimate productions. Mondavi which brings distinguished theater artists to include a $1.5 million line item in the Center is the largest presenter of the from the United Kingdom to UC Davis. 1999 state budget to facilitate the expan- performing arts in the Sacramento region, A stellar faculty, state-of-the-art facilities, sion of ArtsBridge to all of the UC cam- bringing more than 70 of the world’s and talented students make UC Davis a puses. Presently UC Davis students from greatest artists and lecturers each season. leader in arts education. the departments of Art, Theatre and Dance, Music, and Design are active in classrooms In addition to the artists and speakers theatredance.ucdavis.edu at several area schools, including school presented as part of its annual Season of 530.752.0888 districts in Woodland, Winters, and Dixon. Performing Arts, Mondavi Center also hosts productions by the UC Davis Music artsbridge.ucdavis.edu and Theatre and Dance departments and Sierra North Arts Project 530.754.8477 other campus academic programs, as well as The Sierra North Arts Project (SNAP) those of regional arts organizations such fosters the professional development of as the Sacramento Philharmonic Orchestra. kindergarten through post-secondary teachers Mondavi Center Arts Education www.MondaviArts.org by employing the model of teachers teaching Many of the artists appearing during 530.754.5000 teachers. SNAP addresses the priorities of Mondavi Center’s season also participate The California Arts Project (TCAP) involv- in a range of educational outreach activities ing direct engagement with the artistic pro- coordinated by the center’s Arts Education cess, direct applications to classroom teach- Department of Music Program. These activities include school The Department of Music at UC Davis ing, and the development of teacher lead- matinees, master classes, lecture demon- features a distinguished faculty and ers in arts education. The Sierra North Arts strations, open rehearsals, curriculum accomplished visiting artists, and provides Project is one of six California Arts Project development, and teacher training. These outstanding instruction to students majoring regional sites throughout the state, and it outreach activities, which benefit more than in music as well as more than 1,200 non- serves a twelve-county area extending from 25,000 area school children, college stu- majors each academic year. The program the Central Valley to the Lake Tahoe basin. dents, educators, and community residents includes opportunities to study and perform The goals set forth by SNAP cover four key every season, constitute a major commit- music of all styles and periods, with students objectives: (1) to deepen and strengthen ment to arts education in the region and majoring in music focusing on a special teachers’ subject matter knowledge; (2) to underscore UC Davis’ commitment to the interest area such as composition, analysis, provide opportunities for teachers to con- artists and audiences of the future. history, performance, or secondary school nect with their personal creativity and to teaching. All students may participate in develop connections within the arts learn- www.MondaviArts.org/education a wide array of performance activities, ing community; (3) to enhance and expand 530.754.5431 including the University Symphony, the SNAP within the region and create a wide University Chorus and Chamber Choir, variety of leadership opportunities for SNAP University Concert Band, the Early Music members; and (4) to develop strategies and Ensemble, and chamber music ensembles. techniques for translating research experiences into classroom practice. music.ucdavis.edu 530.752.5537 education.ucdavis.edu/SNAP/ 530.752.9683

10 Jazz 11 Robert and Margrit Mondavi Center Mondavi Center expresses gratitude to its partners at the California Arts Council for the Performing Arts and Sierra North Arts Project, Region III University of California, Davis of the California Arts Project at UC Davis, One Shields Avenue for bringing together a team of educators Davis, CA 95616-8543 to design and develop curriculum guides for Mondavi Center’s Wells Fargo School MondaviArts.org Matinee Series. The following individuals 530.754.5000 participated in the development of materi- als for the guides:

UC Davis Coordinators Sarah Anderberg Director, Sierra North Arts Project CRESS Center, School of Education UC Davis

Linda Buettner Coordinator, Sierra North Arts Project CRESS Center, School of Education UC Davis

Assessment Joanne Bookmyer, Ph.D. Research Analyst CRESS Center, School of Education UC Davis

Teachers Kevin Glaser Music Teacher El Camino High School San Juan Unified School District

Joe Earl Music Teacher C.K. McClatchy High School Sacramento City Unified School District