HISTORY OF JAZZ 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, Sonny Rollins extended to encompass the music of Miles Davis, 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 bebop, 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, Max Roach, 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 Clifford Brown 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 (Harold Land 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 – Study in Brown, 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 Bud Powell 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”.