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Home , Richie Powell, The Cry of Jazz

HISTORY OF II

MUZ2339W –Semester One Class Notes By Prof M.J. Rossi

Hard Bop

Hard bop – term applied to hard driving, intense style of jazz in the 1950s- 60s. Art Blakey, Horace Silver, Cannonball Adderley, extended to encompass the music of , J.J. Johnson, Art Farmer – Benny Golson.

Dark weighty textures, soulful inflections, blues like melodic figures, chord progressions borrowed form the black church, louder more interactive drumming, more facile bass playing, drew less on forms of the previous period. Most players were African-Americans and came out of Philadelphia and Detroit. Best remembered tunes: Senor Blues, Song for My Father – Horace Silver Work Song – Nat Adderely, Mercy, Mercy, Mercy – Joe Zawinul The Sidewinder – Lee Morgan Watermelon Man – Herbie Hancock

The Birth of Hard Bop (Jazz: The First Century, pgs 115-117)

The cool school had offered a reaction to , but in New York, Chicago, Philadelphia and Detroit, the jazz of the 1950s derived primarily from bebop to become the style called hard bop. The Miles Davis recordings of “Four” (1954) and “Walkin’ (1954) suggest the arrival of hard bop, the real parents were Art Blakey and Horace Silver. In the summer of 1954 both formed a cooperative quintet, the Jazz Messengers, and in 1955 they recorded a jubilant shout in the form of the 16-bar blues “The Preacher”, composed by Silver, as Goldberg states, “The reaction to the reaction had taken place.”. To be sure, the hard boppers were responding to cool’s constraints with their emotionalism. But they were also reacting to the calcinations of bebop.

The hard bop musicians used much of the same language as the beboppers, but they relaxed the tempos, and simplified difficult melodies that were the essence of Parker and Gillespie’s repertoire.. The hard bop players brought back an earthy soulfulness that had receded during the bebopper’s quest for more serious recognition. The soulfulness had its roots in the ecstasy of church and gospel music, which provided the first listening experience for many black musicians, and which permeates such hard bop classics as Bobby Timmons’ “Moanin” (recorded by the Jazz Messengers in 1958, and Joe Zawinul’s “Mercy, Mercy, Mercy” (1966). Hard boppers dug deeply into the blues and minor key melodies than the boppers with tunes such as Silver’s Senor Blues (1956), and Nat Adderley’s “Work Song (1960). Also the invention of the LP allowed for longer solos and large scale thematic development. The most important hard bop bands developed under bebop veterans such as Davis, , Horace Silver. In 1956 Silver left Blakey to form his own group and play and record his own compositions. Nica’s Dream, Sister Sadie, Song for My Father, Doodlin’ all became classics.

Clifford Brown 1930-56 Began trumpet at 13 attracted notice in H.S. and College Began studying math at Delaware State College and music at Maryland State College. Brief appearances with Dizzy, Bird Fats Navarro who all encouraged him; became close friends w/ Fats.

Car accident in 1950 – spent a year in hospital. Joined Chris Powell’s Blue Flames in 1952 (first recording) and Tadd Dameron (The Memorial Album) 1953 – Toured Europe w/ Lionel Hampton’s band and made recordings with American and European musicians. Hampton’s trumpet section included Quincy Jones, Walter Williams, Art Farmer and Brown. 1953 returned from Europe and joined Blakely’s group new group 1954 – Formed w/Roach the great quintet ( later replaced by Rollins) one of the great groups of the 1950s.

Style – synthesis of Dizzy, Fats, and Miles. Rich, board sound Percussive attack Long and well crafted phrases. Virtuosity Equal fluidity from highest to lowest register Most mature work with Brown-Roach Quintet Pervasive influence on jazz in the 1960s and 1970s Represented an alternative approach to the subdued manner of Miles Davis.

Excellent Recordings – , At Basin Street Influenced – Lee Morgan, Freddie Hubbard, Marsalis Lee Morgan (1938-1972) began playing professionally in Philadelphia at 15 and in1956 joined Dizzy Gillespie’s orchestra in New York and remained until 1958. An important member of Art Blakey’s Jazz Messengers from 1958- 1961. Returned to work again with Art in 1964-5 and then later as a freelance musician. 1970-71 active in the “Jazz and People’s Movement”. Shot dead by his mistress at Slug’s a night club in New York.

A high spirited player, heavily owing to Clifford Brown’s influence. His 1961 record “The Freedom Rider” shows less of Brown’s influence and Morgan coming out on his own. “Totem Pole” release set another standard for the rest of his career. Morgan played irregular phrases with underpinning exuberant virtuoso/technical displays. Made important recordings as a sideman with Hank Mobley, and on John Coltrane’s classic Blue Train.

Max Roach 1924-2007 Drummer/composer Mother a gospel singer Early involvement w/ black religious music has a major impact on his development. Studied formally at the Manhattan School of Music 1942 became the house drummer at Monroe’s Uptown House Associated w/ Dizzy, Bird, Monk; also many jam sessions at Minton’s 1940’s took part in the major bop recording of the era bird 1945-53, Davis 1948-50 1954-56 co-lead w/ Brown an important group Late 1950’s and 60 became associated w/ the free jazz movement And Max Roach at Newport, Deeds, Not Words omitted piano from his group on We Insist on Freedom Now Suite (1960) using open formal structures. Drum Conservation (1953) and Drums Unlimited (1966) improvised drum pieces. 1960s became a strong spokesman for black rights also w/ his then wife Abby Lincoln. Plays in many different ensembles, Strings, solo, multiple percussion Recorded w/ Cecil Taylor, Abdullah Frees up the cymbal, less bass drum opposite of the 4 on the floor approach. Allows for change in sound, pitch, timbral variety Flexible use of the other parts of the drum set – play/listen to St. Thomas, I’ve Got a Crush on You

Horace Silver (1928) pianist, bandleader, composer. Exposed to Cape Verdean folk music performed by his father, who was of Portuguese decent. Began studying saxophone and piano in High School., influenced by blues singers Memphis Slim, and boogie-woogie pianists, and bop pianists and Monk. 1950 works with Stan Getz – first big break, as a freelance musician with Coleman Hawkins, Lester Young, Oscar Pettiford, and Art Blakey. First recording as a leader for Blue Note in 1952, lasted with Blue Note for over 30 years. !953-55 cooperative band with Blakey called the Jazz Messengers. !956 on his own as a leader of his own quintet. A major jazz on jazz in at least 4 areas 1. pioneer of the style called hard bop – combined elements of R & B, gospel music and jazz influencing pianist Bobby Timmons, Les McCann, Ramsey Lewis 2. instrumentation of trumpet, tenor, piano, double bass, drums served as a model for small jazz groups of mid 1950s-late 1960s 3. Groups provided a training ground for young musicians such as Donald Byrd, Art Farmer, Blue Mitchell, Woody Shaw, Benny Golson, Joe Henderson. 4. Refined the art of jazz composition for his chosen instrumentation to a level craftsmanship as yet unsurpassed in jazz.

Week Two

Sonny Rollins – (1930) Began on piano then alto sax age 11, took up tenor in 1946. High School Group w/ Jackie McLean, Kenny Drew, Art Taylor. Rehearsed w/Monk in 1948 for months 1949-54 recorded mostly w/ bop players J.J. Johnson, Bird, Navarro, Bud Powell, Roach and MJQ Performed w/ Miles Davis from 1949 mostly in clubs recorded Airegin, Doxy, Oleo in 1954 w/ MD became standards and part of the Davis book 1955 – Overcame drugs and joined Clifford Brown’s group From 1957 on pretty much leads his own groups and composes classis such as: Valse Hot ¾ meter example St. Thomas – calypso pattern

Blue Seven Gunther Schuller “Thematic improvisation” motifs developed and extracted from the theme. Schuller’s analysis of Blue Seven “gave me credibility among a lot of people in the jazz community. On the other hand it was troubling –didn’t realize what I was doing.”

Strong rhythmic player – genius!

1957- Way out West and Live at the Village Vangaurd uses trio format (no piano) *Classic example of piano-less trio “Sonnymoon for Two” Improvises cleverly, quotes from other pieces midstream, and often humorously (Wagon Wheels, I’m an Old Cowhand) Country and Western - Tennessee Waltz Solo sax – It Could Happen to You (1957) The Freedom Suite (1957 solo sax and political statement) 1956-58 the top saxophonist 1959-61 withdrew and went up to practice on the Williamsburg Bridge. 1961- Back on the scene. Thought to have a conservative style, however played w/ Don Cherry, Billy Higgins playing free jazz “East Broadway Run Down 1965 – writes the film score for “Alfie” Burt Bacharach wrote the title tune.

The link w/ Parker and Coltrane as the next “best”. However when Coltrane dies in 1967 Rollins does not record for 5 years –feels the pressure as the next best. Use of quotes and formulaic design in improvisations –plays melody to “A” Train for an entire set at the Village Vanguard, 20 minute solos on St. Thomas, unabated energy! 1970s records mostly for Milestone Records featuring a blend of jazz, calypso, country & western – goes beyond the jazz format. Makes appearances with the Rolling Stones in the 1980s. Keeps jazz music in anxious suspense ala Miles Davis. From the David Jaffe Village Voice interview Rollins “When I’m really playing I don’t even know what’s happening”. Music is a mystery – you can’t analyze it while you’re playing.”

Lecture two- Hard Bop Rhythm section and Art Blakey Hard driving, varied chords and ‘comping’, altered changes more frequent, more interaction with soloist, groove oriented focusing on swing, instrumental technique of bassists also grows; solos also become more horn-like.

Art Blakey (Abdullah Buhaina) 1919 – 1989 Early piano lessons by grade 7 was playing music full-time, leading a commercial band. Changed to drums and taught himself in the style of Chick Webb, Sid Catlett, Ray Baulduc. 1942 gig w/ Mary Lou Williams at Kelly’s Stable NY W/ Fletcher Henderson 1943-44 also toured the south. Left Henderson and led a big band in Boston before joining Billy Eckstine’s Band 1944-47 Associated w/ the modern jazz movement along w/ Miles, Dexter Gordon, Fats Navarro, After B.E. broke up Art formed a 17-piece big band The “Seventeen Messengers” a rehearsal band and recorded w/ an octet called the Jazz Messengers. Travelled to Africa for a year to study Islamic culture. Important broadcast w/ Bird, Davis, Brown and Horace Silver. After recording several times Silver and Blakey formed a cooperative band also w/ Hank Mobley and Kenny Dorham. Silver left the following year and Art became the leader. Group was driving, aggressive extension of bop with strong blues inflections and roots. J.M. served as a springboard for young and upcoming musicians – Woody Shaw, Wayne Shorter, Donald Byrd, Freddie Hubbard, Chuck Mangione, Wynton Marsalis, JoAnne Brackeen, Keith Jarrett. World tour w/ Dizzy, Kai Winding, Sonny Stitt, Monk, Al McKibbon 1971-72 Frequent appearances at Newport Famous drum battle w/ Buddy Rich, Elvin Jones, Max Roach – 1974 Busy performing career into the 1980’s

Earliest sessions w/Monk exudes power and originality, dark cymbal sound, loud snare and bass drum accents in triplet or cross-rhythms. Does not include African music or his experience there w/ any influence on his playing. However he adopted African devices to his playing; rapping on the side of the drum, elbow to alter pitch on the toms, Later did sessions w/ multiple drummers which included African musicians and pieces. Forceful closing of the hi-hat on 2&4 Loud and domineering drummer, but also musical. Listens and responds to his players. Makes you play! Contribution to jazz for over 30 years as “a discover” and moulder of young is no less significant than his considerable innovations on the instrument. – Lewis Porter, Groves

Miles Davis and the Hard Bop Quintets Miles Davis is important for the following reasons: 1. as an original trumpet stylist 2. large body of recordings from this period 3. would change direction in the 1960s 4. pioneer of the “cool” jazz sound 5. pioneer of model jazz 6. pioneer of jazz rock later moving to fusion

Sound – skilful alterations of pitch and tone. Quality of sound with Harmon mute and using it as an expressive devise and means Skilful timing Paraphrase melodic figures Freedom from strict tempo and swing – plays within and around the ground beat Play SIMPLY Preference for a certain pitch range Little vibrato Draws the listener in

The Quintet records for Prestige Record Label- Steamin’, Workin’, Relaxin’ in 1956 to complete his Prestige contract and then moves on to Columbia Records. These recordings would do much to represent the Harp Bop movement. The band: John Coltrane on tenor sax, Red Garland on piano, Paul Chambers on bass, Philly Joe Jones on drums, In 1958 Cannonball Adderley joins the band creating an excellent alternate voice to Coltrane’s. The group played with blistering intensity. This group is as important as the Parker/Gillespie collaborations of the 1940s and the Hot 5 & 7 recordings of Louis Armstrong. This band becomes an excellent showcase for Coltrane to later step out on is own and then later Addrerley. Addreley and Coltrane are excellent bookend for Miles and his approach. Miles was supreme in picking THE band in putting musicians together for the greater “good” of the group.

Charles Mingus (1922-1979) Double bass player, composer, bandleader. Born in Watts area of La and first attempted cello, trombone took uo bass in High School and would study with New York PO bassist Herman Rheinshager and composition with Lloyd Reese, writing “What Love” in 1939 and “Half- Mast Inhibitions” in 1940-1.

Played with Early Jazz greats Kid Ory, Barney Bigard and Louis Armstrong (c1943) also with Lionel Hampton’s Big Band (1947-8).

Gained national attention via Red Norvo’s group. Moved to New York in the early 1950s and works with Dr. Billy Taylor, Duke Ellington, Stan Getz, Art Tatum and Bud Powell. Takes place in the famous Massey Hall Toronto Jazz concert with Parker and Gillespie.. Starts a workshop for composers 1953-6, then another in 1955. Groups would range from 4-11 pieces in size. These groups would include the new breed such as Eric Dolphy, John Handy, Jimmy Knepper, Jaki Byard, Roland Kirk, Booker Irvin and Dannie Richmond. Richmond would play with Mingus for years. Many musicians were dedicated to Mingus and his approach to music. The early 1960s saw a creative output that would place him at the top of the creative jazz crowd. “The Black Saint and Sinner Lady” and “Meditations on Integration” were major works and outlined his movement away from white- led commercially driven jazz. Mingus would go on to form the Jazz Artists Guild with the focus of creating better working and business relations for jazz artists, however the guild was short lived. Writes an important autobiography “Beneath the Underdog” (recommended reading), can only secure a publisher years later. His later years found him writing music for big band, films and a classic LP with folk/pop singer Joni Mitchell. As a player an important bassist who developed a conversational style on the bass (Haitian Fight Song as one example). Excellent chops which would let him “talk” to other instruments as found in the recording with Eric Dolphy. (What Love 1960, Epitaph 1962). His bop works are a blend of New Orleans, bop, blues, gospel and made use of material borrowed from Ellington. Would modify the rhythm section to shift gears that included half –time, double –time, stop time, shifting meters in a free but fixed form manner. Freedom within Structure (Fables of Faubus 1959, The Black Saint and the Sinner Lady 1963). Band could change textures and directions at any moment but still within a form of some kind. Preferred dictating music and parts to his musicians, only written down later. Has a preference for lower pitched instruments and sounds –use of baritone sax, trombone, tuba and double bass. His theatrical side and biting humour can also be heard in his vocal pieces “Eat that Chicken” (1961) and “Freedom” (1962)

Important pieces: Fables of Faubus Haitian Fight Song Song With Orange Orange was the Color of Her Dress Jelly Roll Goodbye Pork Pie Hat

Mingus Dynasty was formed in 1979 by his wife Sue Mingus with the purpose of giving performances of Mingus’s compositions. The band has recorded “Chair in the Sky” (1979), “Reincarnation” (1982). Jimmy Knepper and Dannie Richmond have both worked as musical directors. The band is still active today and most recently performed at the 2008 Toronto IAJE Conference.

Watch The Jazz Icons DVD on “, Live in ‘64”

Watch The Jazz Icons DVD on John Coltrane, Live in ‘61 & ‘65”

Sun Ra –“Sonny” Herman Blount. Composer, Band leader, piano/keyboards Led his own early groups in Chicago after a brief tenure with Fletcher Henderson’s band. Formed the ‘Arkestra’ in the early 1950s with a concept based on Myth-Science, The Solar System and Astronomy. Sun Ra is an important figure in the Chicago Avant-garde movement. Film Documentary “The Cry of Jazz” 1959 1960 moves to New York and develops a highly original and unique orchestra style – which attracts a considerable following mostly in Europe. Appears on :Saturday Night Live in 1976 Another film “A Joyful Noise” 1980 Sun Ra as a band had little work over the years, however the musicians he used were dedicated to his concept and band. Devotion to the music and to rehearse. Some members included , Pat Patrick, Marshall Allen. An important figure in the development of free jazz along with and Cecil Taylor. The band played a representation and incorporated elements of pop/commercial jazz, blues, and free jazz. “Reflections in Blue” 1957 piece in the bop style with blues patterns and formal designs. 1957 – 1959 anticipated the new Free-jazz movement “A Call for All Demons” atonal improve, Latin Dance rhythms, free jazz mambo “Cosmic Chaos” (mid 1960s) radical, complex, frenetic idiom, obsession with percussion, microtonal elements, electronic effects. Mixed Media based in Egyptian imagery, astronomical slide and light shows with modern dance. Electric keyboards used to explore new timbres and colours.

World Saxophone Quartet (1976)- David Murray –tenor, Oliver Lake –alto, Julius Hemphill –alto, Hamiet Bluiett –baritone. All members played various flutes, clarinets, reeds to create a larger tonal spectrum than the standard saxophone quartet. Rhythmic, melodic and timbral traditions of blues-flavoured Black American popular music and jazz approaches of Ornette Coleman, Albert Ayler, Writing recalls that of Ellington, Thad Jones, Oliver Nelson and Ornette Coleman. Cleverly composed parts integrated with improvisation and ensemble playing. A delicate balance of free jazz, blues, traditional, earthy tone colours, 20th Century concert music and R & B.

Cecil Taylor (1929) pianist, composer. Mother a pianist and highly educated. Cecil began piano at age 5 and also studied percussion and timpani which influenced his approach to the piano. Entered New England Conservatory of Music in 1952. Studied the music of Dave Brubeck, Lennie Tristano, Ellington, Monk, Silver, and Igor Stravinsky. Received and Honorary Doctorate from NEC in the mid 1990s. 1956 recording “Jazz Advance” with Steve Lacy, Buell Neidlinger, Dennis Charles a landmark recording. Has an extended engagement at the “5 Spot” in New York, which draws much attention along with Ornette to the new music. 1962 –receives the Down beat “New Star” award 1962-3 European tours with Sunny Murray and Jimmy Lyons. Periods of high critical acclaim followed by no work. His playing in the 1950s finds him playing single note lines. In the 1960s his playing becomes much denser with the use of clusters, palms, fists, elbows and complex rhythms during his improvisations. 1970s brief teaching stints and mainly solo piano concerts. A controversial figure in jazz.

HISTORY OF JAZZ II Term 2

Bill Evans and the Modern Keyboard School. - The Evans trio concept.

Bill Evans (1929- 1980) grew up in the cool/avant-garde stream. Played with George Russell in the early 50s, although his style was rooted in Bop with Bud Powell as a major influence. Emerged as the most influential pianist after Bud Powell. 1956-58 with Charles Mingus and Miles Davis. Major influence on the shape of recording (1959). This recording establishes him as a major force.

Major figure on the development of the trio format –which would remain as his main performance focus for the rest of his career. He integrated the roles of the bass and drums. The rhythm section becomes a conversational one and oftentimes plays in a contrapuntal manner. Major Bass players would emerge from associations with Evans, such as Scott La Faro, Gary Peacock, Eddie Gomez, Marc Johnson. Drummers tended to play in a light manner such as Paul Motian, Joe Labarbra.

Piano style would be considered to be economical, yet with virtuoso technique. Thoughtful and interactive with bass – leaving space, bouncing off of ideas. Excellent harmonic and melodic transformation of tunes. Master of development in rhythm, melody and harmony. Compositional approach to improvisation, carefully crafted performances and improvisations - a feeling on ongoing editing. Combines styles of Bop, Cool, Hard Bop. Also even like play in the style of Lennie Tristano moving through and against changes and across the bar playing. Play lines with a straighter but still swinging sense, feel. Each note is then heard in equal relationship to the next. Does not use his chops for the sake of displaying them.

Contributions are a refined harmonic idiom, influenced Left Hand chord voicings and extended the Bud Powell approach. Developed the trio format to take on a chamber like feel and atmosphere. Placed demands on the bass which elevated it to a higher standard, also as an extension of Jimmy Blanton’s contribution to solo bass. Piano style would go on to influence Hancock, Corea and Jarrett generation. Week 2:

(period one) McCoy Tyner and the Coltrane Quartet.

McCoy Tyner – born 1938 Began studies at age 13 in Philly, like Coltrane took theory lesson at Granoff School. Early influences – Bud and Richie Powell, Art Tatum and Monk 1959- first important gig with Benny Golson- Art Farmer Jazztet. International with Trane’s Quartet 1960-65 Also recorded under his own name for Blue Note and Impluse, then later with Milestone in 1972 Formed a group with Gary Bartz and vl. John Blake in the mid 80’s Tyner’s music has been a major influence in the adaptation of quartal and quintal harmonies, modes and pentatonics and African rhythmic elements. Continues to lead groups ranging from small group to big band. Last remaining member of the Coltrane Quartet.

Coltrane Quartet Known as the Third period of Coltrane’s development Period one – 1955-57 post bop lyricist coming out of the Sonny Rollins & Dexter Gordon school of thematic development Period 2 – 1957-59 hard bop period with Miles and making a name as a leader – Blue Train, Giant Steps. Also recorded with Miles from 1955-61 Third period – 1960-65 Group with Jones (innovation and energy), Tyner (quartal sound), Garrison the rhythm rock of the quartet; played “with” complimented and “against” countered the group, understood the directions of Coltrane and Jones and also Workman & Steve Davis. His popularity peaked during this period. Use of quartal harmony, polydiatonicism, sheets of sound, extended saxophone techniques. Makes strong use of the soprano saxophone as part of the quartet sound. Coltrane also left Atlantic and joined Impulse during this period where he would remain until his death. Issues a number of landmark recordings of expect tonal quality. After 1965 the music becomes more abstract.

Herbie Hancock – bn. 1940. Played with from 1963-69; in great demand in the ‘60s, many thought his best work was with Miles. Touch was gentle and fluid, sounding at times light and airy, but also strong Playing comprised of Blues elements, funky, strong rhythmic development – over the bar playing; lines were accented in “off” or against the meter and beat places, also chord playing and harmonic playing attention to re-harm with a strong influence from Bill Evans. Excellent use of space in his playing and let voicings ring. Influenced strongly by Claire Fisher, Maurice Ravel, Paul Hindemith and Claude Debussy A sense of openness and flexibility in his playing, also strong use of modes in improvisation. As a “comper” brought a new perspective to the soloists, moved the rhythm section into many different directions. Strong rapport with Carter and Williams. Playing was swinging but not aggressive, more polished and sensitive. Composer of note i.e. Maiden Voyage, Watermelon man, Dolphin Dance, Cantouple Island, Headhunters, Thrust, later moved into movie music and pop. Death Wish, The Prisoner. Branched out to synths and multiple percussion in his groups. Saxophonists tended to double

Chick Corea – 1941 followed Hancock as the pianist with Davis in 1968 until 1970. Soon joined the ranks with Evans, Tyner, Hancock as one of the most prominent pianist on the scene. Influenced by Bud Powell, Tyner, Evans and Classical composers Hindemith and Bela Bartok. Devised his lines from pentatonics and use of quartal harmony as found often in Horace Silver. Made strong use of the Fender Rhodes due to the openness of the overtones and the manner in which Corea voiced his chords reinforced the sound of the electric piano – bop voicings didn’t work as well. Latin American music a Big influence; played in many Latin bands when growing up in Massachusetts. Playing had a double-time feeling to it due to Latin influence, played lines rather evenly. Crisp, percussive touch. Now He Sings, Now He Sobs landmark 1968 recording of originals with Haynes and Vitous. Great interpretation of an open ended blues. Deletes the ‘sign posts’ associated with the blues form, applied to other forms as well. Hearing him again in NY 2006 with Jack and Eddie Gomez – stretched! Also interested in Free – form music Formed Return to Forever after the group Circle disbanded – huge influence on cont jazz that brought all the elements together.

Corea – cont.

Groves – early influence from his father who was a musician; exposed to Bop Masters, transcribed solos of Horace Silver and later came under the influence of Bud Powell First important gigs with a Mongo Santamaria and Willie Bobo (1962-3) b 1963-64 with Blue Mitchell c Early important recordings d A Tones for Jones Bones 1966 – pieces become part of the jazz cannon e Matrix 1968 1968 – Joined Miles Davis who was involved with fusion and electronic instruments also marked the beginning of Corea’s interest in free improvisation Left Davis in 1970 with Dave Holland and formed a group with Anthony Braxton and Barry Altschul called “Circle” very influential on the Avant-Garde scene, however Corea felt the need to develop a more lyrical approach with 2 solo piano albums in 1971 called Piano Improvisations and also became associated with Scientology.

1971-73 first group with RTF attracted a much wider crowd, much more melodic than Circle The second RTF was a powerful Rock band with Corea playing Fender Rhodes ARP Synthesizer Hohner Clavinet and other gadgets and pedals Continued to compose most notable of these: Spain Windows Crystal Silence 500 Hundred Miles High Late 1970’s formed third RTF with a brass section, small string ensemble, less use of electronics and more use of Latin influences Still continues to perform and record in a wide array of settings with: Gary Burton Michael Brecker Eddie Gomez Steve Gadd

1981 reformed the group with Roy Haynes and Miroslav Vitous – “Trio Music” 1985 formed the Elektric Band with Weckl and Pattitucci. Scott Henderson on guitar from my old days plays with Frank Gambale.

Keith Jarrett – 1945 Allentown, PA Pianist and composer began studies at age 3 at 7 presented a full recital and was also composing and improvising Played as a pro during Elementary school years and for one season with the Fred Warring Pennsylvanians In 1962 he moved to Boston and spent a year on scholarship at Berklee and began working in Boston with his own trio with Roland Kirk and Tony Scott. Moved to NY in 1965 avoided commercial music and then joined Art Blakey’s jazz Messengers in that year and stayed for 4 months, gaining critical notice and made his first recording with an established group. Rose to further international fame with the Charles Lloyd. Lloyd’s group also attracted a youthful following; in quartet from 1966-9. A group which explored a wide range of improvisational styles. Jarrett traits:

 Flawless technique  Lyrical  Physical involvement w/ the piano  Ornette influence  Extension and development of rubato style  3rd world approach  non-bop feel  long, vamp based improvisation

Played Soprano sax and percussion w/Lloyd and afterwards

1969-71 worked with Miles Davis on electric organ while Chick played electric piano and then both after Corea left the group and also recorded on his own while w/ Davis which included Charlie Haden, Paul Motian, Dewey Redman until 1976. 1972 started performing extended improvisations in his solo concerts lasting 30-45 minutes each spanned a rich variety of traditions – holistic approach and universal folk music feel

Attracted a wide crowd and then later formed a group with Jan Garbarek, Jack DeJonette, Gary Peacock, stopped playing electric instruments after M.D. Also recorded works for pipe organ, Barber’s Piano Concerto, wrote for classical chamber groups as well, symphony orchestra, and orchestra with improvising instruments.

M.D. and Wayne Shorter

1964-68 mixing of rock devices and jazz. Non-functional chord progressions – no more ii-7 V7 I. Rhythmic bounce gone as in swing. Extends modal playing almost to rock format always combined with electric guitar. Goes for more studio sound in live performance and relies heavily on producer for the “new sound” Teo Macero instrumental in this 1959-83.  Soprano sax used more  Electric bass replaces upright  Electric guitars – sometimes 3 with Davis  Multiple electric keyboards, organ  2 drummers - one played percussion

Williams tended to play straight, bass player firstly Carter, Holland, later Marcus Miller repeating bass figures instead of walking, 1968 –Filles de Kilimanjaro, which followed Miles in the Sky using electric piano, military like drumming 1969 – In a Silent Way and Bitches Brew contained a variety of musical approaches, shifting textures, heavy combining of jazz and rock. M.D’s last years develops into a ‘more’ of a commercial style. Synths become more common, less ‘Rock’ guitar sound. Use of more edits in the studio example You’re Under Arrest more produced than previous album Decoy.

Shorter – Early Fusion continued

Shorter a key composer in the 60’s 70s Wrote music for his own albums as well as for Davis and later Weather Report. With Blakey – 1959-63 and also served as musical director. Davis – 1964-69 Weather Report 1971-85. Last long term saxophonists with Davis. Saxophonist – unique approach, sound! Placed chords in progressions not common to jazz. Used 9 & 14 bar sections in tunes example Infant Eyes (9) Yes and No (14) Waltzes are of remarkable quality – Ju Ju , Footprints, Miyako, Wild Flower Melodies tended to floating and simple while accompaniment was complex and intense Harmony did not function in the ii-7 V7 I sense, used suspended chords, Lydian chords/sound, bass did not function in the V to I role Classic tunes that are standards today: Footprints Witch Hunt Infant Eyes Speak No Evil Yes and No ESP

Early Fusion – Rhythm section to the forefront. Drummers add a key roll. Departure from Bop influences. Rhythmic energy! Straight eighths (non Swing Complex snare and bass figures Accent on 2& 4 on the snare and not the High Hat Bass – shifts to ostinatos, drones (Miles), and now is Electric Keyboard – Electric with effects Electric Guitar with effects Two or more of the above – example Miles B.B. and In a Silent Way Percussionists Crusaders - 1970’s fusion used the name Jazz Crusaders from 1961-71 Also known as the Jazz Crusaders all began as a high school by 3 of the members in Houston (early ‘50s). Joe Sample pn, Wilton Felder sax, Stix Hooper drums, leader, Henry Wilson double bass, Hubert Laws – joins later, Hard Bop players, Wayne Henderson trombone, by 1968 all active session players Music reflective of times – gospel, rock, soul “Street Life” a hit Group sold in the area of 500,000 copies of each album. When they dropped the name The Jazz Crusaders they sold more records and had more hits Jazz at the crossroads – Rock fans help to revive the music Coltrane – cult leader, Love Supreme big following amongst the 60’s generation, jazz club scene dies Miles also looking to capture large rock audiences Question if music failed to “swing” was it then jazz? Originally called the “Swingsters”, Modern Jazz Sextet, Night Hawks then Jazz Crusaders in 1961 By 1968 all very active as studio musicians combined rock, soul, gospel, funk 1970’s Sample used piano, electric keyboards, electric bass, joined Larry Carlton and Max Bennett on electric bass.

From Chapter 19 Gridley

By the mid 1980s rock had exceeded swing’s popularity in the mainstream of pop American music. Swing’s 10 year period 1935-1945; Rock since the 1950s. Jazz figures continued to incorporate elements of r & b and rock. Hancock’s “Head Hunters” #13 on the Billboard charts and Miles in the top 100. Bitches Brew moved to #35 produced his greatest success. Jazz albums sold 10,000-20,000 jazz-rock in the 1970s 1980s sold 100,000 copies. Chuck Mangione Feels So Good sold 2.2 million copies.

By the late 1970s and early 80s the “formula” was in place which consisted of repeated riffs, simple chord progressions and chords, funky rhythm with improv riding on top. Hits by Grover Washington, Earl Klugh, Jeff Lorber, Sypro Gyra etc employed this approach. By jazz adopting electric instruments and rock rhythms it created a bridge of similarity for the listener. Prominence of drums and focus on drums related with dancing and dancers. Summary – Gridley 1. Jazz and Rock represent different streams of Afro-American music, overlapped 2. Jazz differs from rock with regard to repetition, more improve, more complex, higher level of musicianship 3. Groups such as Chicago, Blood Sweat and Tears, Ten Wheel Drive perhaps not jazz groups as little improvisation took place. 4. Bands of Larry Coryell, Miles, Gary Burton fusion of funk and jazz 5. Jazz-rock guitarists John McLaughlin and Larry Coryell – tone color and rhythm. Concept departed from jazz 6. McLaughlin draws on Coltrane, music of India and plays with great chops. Led innovative bands that contained sideman such as Billy Cobham, Jean Luc Ponty and Jan Hammer who would go on to be important leaders in jazz-rock. 7. 1971 Weather Report is formed. Included Shorter, etc who combined many elements such as Latin, Classical, Collective, African, impressionistic elements. 8. Later moves to more preset approach found in Birdland etc. 9. Jaco Pastorious (Weather Report 1976-82) sound and imagination becomes a new model for bassists. Also important as a composer and arranger, for example Word of Mouth band.

The fusion drummers: Billy Cobham, Steve Gadd

Probably the most important instrument to influence Jazz-rock and later fusion, more so than instrumentalists. Much of the linear improv element was common to mainstream jazz styles, particularly bop and hard bop. It was the rhythm concept that major departures were made. Although jazz drummers interpolated a lot of intricate material by way of individual initiative (Elvin Jones) the basic nature of swing rhythm has been quite simple. Rhythmic energy, intensity in fusion styles (non-swing 8ths) was being generated by complex bass/snare patterns against some kind of continuous ride. Most of overall feeling tended towards accent on 2 and 4 on the snare drum. Drums and bass (mostly electric) were volatile elements in the emergent fusion style.

Billy Cobham (1944)

Late 1960s appearance with the New York Jazz Sextet, Billy Taylor and Horace Silver. Meets (somehow) with the Brecker Brothers and co-forms the group Dreams along with Will Lee. Important band in the fusion movement; rock oriented group with R & B (Steve Kroppa) accessible sound and style aligned with pop styles of the time. Fresh sound, quality performances. Also with Miles Davis at the time. 1971 with John McLaughlin forms the Mahavishnu Orchestra which establishes him as a leading fusion drummer. The Mahavishnu Orchestra played music comprised of various styles – a world music/jazz/rock ensemble. Strong influences from Indian music used in a contemporary setting along with mixed time meters. Cobham a powerful drummer. Precise almost military like precision on straight 8th style. Impressive chops! From the mid 1970s led own groups, recording projects and in 1984 plays again with John McLaughlin new Mahavishnu Orchestra

Billy Cobham’s strong point is technique and his ability to be ambidextrous, which is sometimes astounding. Machine like tom-tom fills as 16ths or smaller divisions. Time never suffers always secure on the first beat and can also play across the bar. Total control of complex time meters, able to fill and set up figures with ease (Mahavishnu –Inner Mounting Flame as an example). His power is also a reflection of his physical strength. Very dedicated to weightlifting while serving a prison sentence. On Snare drum he uses a very tight sound. Use of extra large drum set influenced other fusion players - multiple toms, roto toms, double bass drum, many cymbals – overall lots of gear!!!

Steve Gadd (1945)

Began drums at age 3, formal lessons at age 7. College background and training at Eastman and Manhattan Schools of Music. Emerged in the 1960s as an innovative player crossing the fusion/mainstream boundary; does both equally well, which was rare at the time. 1971 with Gap & Chuck Mangione at Eastman. After college joined an Army band then formed his own Rock band and moved to New York. Quickly became one of the most sought after session players from the mid 1970s on.

Records with Quincy Jones, Stevie Wonder, Chick Corea, Steely Dan, Bob James, Aretha Franklin, Paul Simon, Sergio Mendes.

Versatility is the work that best suits Gadd. Perfect styles from Latin to Swing to Rock and Bop. Ability to hit/make the groove happen on any style. Best known for his work in rock/fusion work, but maintains a reputation as an all around virtuoso. Played swing with authentic feel and used fusion style elements to enhance rather than confuse or over power. Use of upside-down fills, creative use of the bass drum. Can play light or heavy. Intricate rhythms with complex configurations of bass/snare drum/ride and toms are a feature of Gadd’s style.

In comparison with Cobham, not as powerful but equally impressive in technical ability –emphasis more on finesse, thoughtful and unusual approach. Swings more on straight ahead things while Cobham still a master of straight 8th rock for sheer stamina and chops.

Peter Erskine began drums at age 4, and has been at the forefront of some of the most famous jazz ensembles for over thirty years. Plays with Stan Kenton in 1972 for 3 years then Maynard Ferguson for 2 years and joins Weather Report in 1978 and along with bassist Jaco Pastorius was an integral part of the group’s success. After 4 years with WR he would join Steps Ahead with Mike Brecker, Mike Maineri, Eddie Gomez and Elaine Elias which would result in one of the most important fusion groups of the late 70s and early 80s. Other appearances and recordings with Steely Dan, Chick Corea, Diana Krall, Joe Henderson, Pat Metheny, Kurt Elling etc. Like Gadd able to play extremely well in context or with any ensemble. Outstanding big band drummer!

He is also active as a composer writing music for dance, theatre and animation. Completed musical scores for Shakespeare’s “King Richard” and “A Midsummer Night’s Dream”, other important works “The History of the Drum”, and received commissions from the BBC to compose his suite “Music for Brass and Percussion” in 2001.

Studied at Interlochen Arts Academy in Michigan and Indiana University, his teaching efforts have resulted in books “Drum Concepts and Techniques” and “The Drum Perspective”. Also released excellent teaching videos. He also teaches on the staff at USC.

The CTI artists: Freddie Hubbard, Hubert Laws

Creed Taylor would form a record company (Creed Taylor International) in the 1970s that would feature a group of jazz artists moving in and towards the jazz rock direction. They would include people such as George Benson, Freddie Hubbard, Stanley Turrentine, Hubert Laws, Ron Carter, Eric Gale, Billy Cobham, and a staff arranger by the name of Don Sebesky. Most of the CTI gang would play on each others recordings that could represent many styles ranging from classical, to harp bop, to R & B, and ranging in size from quartets to full size symphony orchestras. All of the artists aligned with Creed Taylor would go on to have very successful and popular careers on their own.

Freddie Hubbard (1938-2009)

Trumpet & Flugelhorn early experience with the Montgomery Brothers, moved to New York and played with Philly Jo Jones 1958-9, 1961, Sonny Rollins 1959, Slide Hampton 1959-60, J.J. Johnson 1960 and Quincy Jones which he toured Europe with 1960-61. Joined Blakey in 1961 left in ’64 to form his own group. Also played as a sideman with Max Roach 1965-66. Toured with VSP and Hancock in 1977. In 1980’s lots of International tours that featured hard bop and modal pieces. Recorded music mixes bop, modal and jazz rock. In early 60’s participated in the Avant garde with “Free Jazz” with Ornette Coleman and Coltrane with “Ascension”, never really embraced the Avant garde. Recordings with Hancock and Shorter placed him as the foremost hard bop trumpeter. Virtuoso displays, climatic trills

Hubert Laws (1939)

Brother of Ronnie, began his career in Texas with the Crusaders and at the same time studied and performed classical music in Houston. 1960s and 70s made many recording for Atlantic and CTI records and played for many years with the New York Jazz Sextet (1967); made the flute popular in the jazz world and also played in the Metropolitan Opera Orchestra and New York Philharmonic Orchestra. In the 1980s began doing concerts with classical flute legend Jean-Pierre Rampal and continued to record jazz in the commercial vein. One of the few jazz artists to just play flute and make a mark as an important soloist on an instrument rarely used in jazz.

Joseph Zawinul and “Weather Report”

Joe Zawinul (1932-2007) Keyboard player, composer, band leader. Born in Vienna and emigrates to the US and lands first important gig with Maynard Ferguson’s big band where he would meet Wayne Shorter as a new member of Ferguson’s band. Zawinul’s early musical experiences find him starting off on accordion as a child in Vienna and later would study music at the Vienna Conservatory. In the early 1950s he would play with leading Austrian dance and radio orchestras and worked as a house pianist for Polydor; also played with Friedrich Guida. Important dates With Maynard Ferguson 1959 Musical Director for 1959-61 Joins Cannonball’s group in 1961 and performs and records with them until 1970 Plays with Miles Davis in 1969-1970; contributes the title piece “In a Silent Way” for Miles’ classic jazz-rock release In December 1970, along with Wayne Shorter they form Weather Report which he would lead until 1985.

One of the most original composers to emerge from the 1970s.His piece Mercy, Mercy, Mercy was a considerable success with the recording by Adderley and later Buddy Rich’s Big Band (arranged by Phil Wilson). In a Silent Way – an impressive early attempt to fuse jazz and rock Birdland becomes a huge hit to cross nearly all musical genres, and is recorded by other groups such as the Manhattan Transfer, Maynard Ferguson etc. Zawinul’s use of Fender Rhodes and Wulitzer electric keyboards with Cannonball opens the door for other pianists to jump onto the keyboard wagon His use of Oberheim, ARP, Prophet, synths and ring modulators has been masterful and important part of the Weather Report sound. Weather Report focused on a group sound with shifting textures, tone colors, fresh and exotic rhythmic textures and grooves. He created one of the first musically successful vehicles for collective improvisation since early New Orleans bands. Manuscripts of his works are housed in the BMI Archives in New York.

Weather Report – Influential fusion group with an individual ensemble style which has been emulated by later groups such as the Yellow Jackets and Miles Davis’s fusion groups in the 1970s to some extent. The roles of the soloist and accompanist are not easily defined. – as noted earlier reintroduced collective improvisation concept in a contemporary setting. Wayne Shorter and Zawinul mainly responsible for the group’s musical direction. It is important to note that many of Zawinul’s pieces were recorded practice/ improvisation sessions that are the basis of WRs and his compositions. Again Zawinul’s combination of piano, electric, synth sounds an important aspect of the WR sound. Can be described as shifting blocks of sound, the use of texture in an improvisational manner merging with linear improvisation which in turn creates a ‘mosaic’ effect.

The rhythm section played a versatile role as both time keepers and soloing. Auxiliary percussion used to a great extent and effect. Important percussionists would emerge such as Don Alais, Airto Moreira, Peter Erskine. Erskine would be the longest serving and most versatile member on the drum chair.

Several outstanding bass players would pass through the band such as Miroslov Vitous, Alphonso Johnson and finally Jaco Pastorius. Pastorius could play swing and rock equally. Jaco was a virtuoso soloist who added a new dimension to the group.

Jaco Pastorius (1951-87) and the evolution of Electric Bass. The most influential finger-style player with unequalled technique. Established the fretless instrument as a major vehicle for jazz and rock, set standards for interpretation, style and sound on that instrument. Played with many R & B, pop artists while growing up in South Florida (Fort Lauderdale). While in his teens, Pat Metheny took notice of his playing (1975) Records “Bright Size Life” album with PM along with drummer Bob Moses – classic recording! Long association with WR and Joe Zawinul, live work with Joni Mitchell, Michel Colombier. Formed his own groups in the 1980s which expanded into a big band “Word of Mouth” that included Toots Thielmans, Howard Johnson, Brecker Bros and other NY studio musicians.

Jaco liked Ellington. His use of textures reminded one of Duke’s writing and sound. Great versatility in either rock or jazz idioms. A creative fusion of styles from bebop to R & B, Pop, and funk. A commanding and creative soloist. Use of vibrato, use of harmonics combined with virtuoso technique able to voice 2 & 3 note chords. Sometimes used effects (electronic in nature) ala Jimi Hendrix. Flawless intonation which is very difficult on a fretless instrument. Maintained his individual sound. Had a self destructive nature like Parker, and Hendrix. Died in Fort Lauderdale after a brawl with a bouncer.

Marcus Miller (1959) Roots in soul music and R & B. Toured with drummer Lennie White (1977) following that became a NY session player who would record with Bob James, Grover Washington Jr. Aretha Franklin, Roberta Flack and Tom Scott.

Played with Davis for 2 years and later with David Sanborn. Would go on to act as a producer for many artists, including Davis and Sanborn. Active as a session composer and arranger. Plays also keyboards, sings, bass clarinet. Equally as busy and in demand in both the commercial and jazz worlds.

Wrote the music for MD album TUTU, sessions with McCoy Tyner, Jackie McLean, Kevin Eubanks, and pop singer Luther Vandross

He is an exponent of the funk style on bass. Strong use and development of slapping and popping the bass strings. He further developed the technique pioneered by Larry Graham in the early 1970s

Bassists in the modern era: Stanley Clarke & John Patittucci

Stanley Clarke (1951) Electric bass guitarist who first played accordion and then changed to violin, then cello, then double bass before taking up electric bass which he played in R & B bands and rock bands in High School. Before graduating he went to New York to find work in jazz, giving up his earlier plans to pursue a short lived classical music career.

Played double and electric bass with Pharaoh Sanders in 1971, toured and recorded with Stan Getz 1972 (Captain Marvel), Dexter Gordon and Art Blakey also in ’72. Also worked with Gil Evans, Horace Silver and Mel Lewis in the early 1970s. Met Chick Corea while working with Joe Henderson in 1971 and became a founding member of Return to Forever and recorded 8 albums with the band. 1977 steps out on his own and had a hit with “Sweet Baby” made with George Duke which reached the Top 20 in 1981. 1983 toured again with RTF. His playing is influenced by Charles Mingus, Paul Chambers and Ron Carter. Also by the work and guitar playing of Jimi Hendrix and soul singer James Brown. He plays rapid fire lines that are precise, known too for slapping the strings, a stinging attack and rich sound.

John Patittucci A bassist equally versed on acoustic and electric attracting fame much recognition with Chick Corea’s acoustic and electric bands. Spent 18 years with Corea! He has become one of today’s most influential musicians and composers. Worked with the famous ensembles of Wayne Shorter, Freddie Hubbard, Danilo Perez (wow) and Stan Getz. Established as one of the leading figures in contemporary and Brazilian jazz, and also has a great scope of modern and traditional music. His recording “Songs, Stories and Spirituals” showcases his ability as an acoustic & electric bassist and as a composer and arranger. Impeccable time and intonation as a bassist. Chops are simply amazing on both acoustic and electric bass.

Reading: Gridley Jazz Styles; Chapters 15 (Evans, Hancock, Corea, Jarrett), 17 (Coltrane) 18 (Shorter, Carter, Williams), Chapter 19 Twenty Years of Jazz Rock, and American Popular Music: The Mid-1960s to the Mid-1980s. Chapter 8: Late-Century Tradition and Innovation pages 195- 219 from Jazz the First Century edited by John Edward Hasse. Listening material will be on reserve in Listening Lab. Please request the prepared listening cd/tapes from Mr. Sedres as soon as possible.