Dear Educator

Total Page:16

File Type:pdf, Size:1020Kb

Dear Educator © 2020 YMI, Inc. DEAR EDUCATOR, Ever wonder where your personalities, quirks, and interests come from? In Disney and Pixar’s upcoming film Soul, middle-school band teacher Joe Gardner will go on an unexpected journey to find out where his love for jazz music comes from. Along the way, he’ll meet a soul named 22 and discover what matters TARGET AUDIENCE ACTIVITY 1 Let’s GET JAZZED! most in life. Students in grades 3 to 5 as a Disney/Pixar © 2020 Materials “Soul” Joe Gardner loves jazz. In this This free educational program supplement to social studies, Extension: Ask students to activity, students will learn from the curriculum specialists music, and language arts classes research another jazz great about jazz and its influential at Young Minds Inspired such as Bud Powell, Fats Waller, PROGRAM OBJECTIVES history. Before distributing the (YMI) has been designed to Art Blakey, or Valaida Snow. • Familiarize students with the activity sheet, ask students: complement your language Have students draw a portrait rich history and impact of jazz What is jazz? Explain that jazz arts, social studies, and of their artist and add a word is a style of music in which music curricula. The engaging • Build critical-thinking and collage to describe them and musicians improvise, or make activities introduce students literacy skills based on the up, their own interpretations of their music. Create a bulletin to jazz and some legendary film’s theme of self-discovery a tune. What does jazz sound board of the portraits with the musicians who inspire Joe, and ABOUT SOUL like? Descriptions may include Soul poster as the centerpiece. encourage kids to reflect on What is it that makes you, smooth, lively, energetic, soulful, ACTIVITY 3 the movie’s central theme of etc. Then pass out the activity DEAR FUTURE SELF… self-discovery. YOU? Pixar Animation Studios’ all-new feature filmSoul sheet for students to complete. To begin, read the synopsis of Please share this program introduces Joe Gardner (voice You can also play jazz music for the movie Soul to students. Then with other teachers in grades of Jamie Foxx)—a middle-school students from Lincoln Center’s tell them that in this activity, 3 to 5. Although these materials Jazz Academy at academy.jazz. band teacher who gets the they will explore the question, are protected by copyright, org/media-library. Answers: chance of a lifetime to play at What makes you, YOU? you may make as many copies 1. saxophone; 2. New Orleans; as you need for educational the best jazz club in town. But 3. blues; 4. improvisation; 5. Jazz Distribute the activity sheet, purposes. one small misstep takes him Age; 6. swing which encourages students to from the streets of New York Return the enclosed reply card Extension: Students can bring reflect on this question by writing City to The Great Before— or comment online by visiting their activity sheets home to letters to themselves 15 years a fantastical place where new ymiclassroom.com/feedback- discuss jazz with their family from now. Have students figure PixarSoul to let us know your souls get their personalities, members and to ask if they have out how old they will be in 15 thoughts on this program. quirks, and interests before a favorite jazz musician and why. years and think about what their they go to Earth. Determined We depend on your feedback ACTIVITY 2 lives will be like when they open to continue providing free to return to his life, Joe teams their letters. up with a soul named 22 (voice MEET SOME JAZZ LEGENDS educational programs that Extension: Invite students to of Tina Fey), who has never Distribute the activity sheet. In make a real difference in create time capsule boxes for students’ lives. understood the appeal of the the first part, students will meet some famous jazz musicians their letters. They can write the Sincerely, human experience. As Joe tries who inspire Joe Gardner. After date when they should open the to show 22 what’s great about box on the outside. Students can living, he may just discover the students complete the quiz, review the answers as a class. also include a list of songs that answers to some of life’s most Answers: 1. John Coltrane; they like and think might reflect important questions. Dr. Dominic Kinsley 2. Billie Holiday; 3. Satchmo life today. Editor in Chief HOW TO USE ThIS PROGRAM RESOURCES Young Minds Inspired In the second part, prompt Distribute copies of the students to write about • disney.com/soul activity sheets to all students someone who has influenced • ymiclassroom.com/PixarSoul and display a copy of the and inspired them. Is it a poster in your classroom. Visit friend, relative, or teacher? Is it • academy.jazz.org ymiclassroom.com/PixarSoul someone famous, like an author, For questions, contact us toll-free at 1-800-859-8005 or by email at for a standards alignment chart artist, musician, or leader? Or [email protected]. and to view the film’s trailer. someone who helps others? Activity 1 • Reproducible Master Let’s GET JAZZED! In Soul, middle-school band teacher Joe Gardner pours his heart into his passion—jazz. Read on to learn about jazz and its history. Jazz is a kind of music that expresses different emotions. It is played all over the world. But did you know jazz got its start in the United States? In the early 1900s, jazz was created by African Americans in New Orleans, Louisiana. Jazz traces its roots to music from Africa. It grew out of ragtime, blues, slave songs, spirituals, and other types of music, including marches and opera. A unique part of jazz is called “improvisation.” That is when musicians make up their interpretation of a tune on the spot. Jazz musicians use improvisation to develop their own sounds and styles. Jazz can be sung or played on many different instruments. For example, you can hear jazz played on the saxophone, trumpet, drums, guitar, and piano. By the 1920s, jazz had spread to places like Chicago and New York City and soon became popular across the U.S. and around the world. This period became known as the Jazz Age. Over time, new styles of jazz were born. In the 1930s, big band jazz was called swing music. People liked to dance to it. In the 1940s, a new style of jazz called bebop emerged. From rock to hip hop, jazz has even influenced music we listen to today. Now, read the clues below. Then, unscramble the answers. 1. A popular jazz instrument 4. When jazz musicians make up their own interpretation of a tune AONOXPEHS ___ ___ ___ ___ ___ ___ ___ ___ ___ OITNSAIRMIPOV ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ 2. The city where jazz was created 5. What the 1920s is called WNE ROSALNE ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ZJZA EAG ___ ___ ___ ___ ___ ___ ___ 3. One type of music that contributed to jazz 6. Jazz music played by the big bands SULBE ___ ___ ___ ___ ___ GINWS ___ ___ ___ ___ ___ ThINK ABOUT IT How does jazz encourage creativity and self-expression? Join aspiring jazz musician Joe Gardner on an unexpected journey as © 2020 YMI, Inc. he explores the question, “WHAT MAKES YOU, YOU?” “Soul” Materials © 2020 Disney/Pixar Activity 2 • Reproducible Master MEET SOME JAZZ LEGENDS In the new movie Soul, Joe Gardner is inspired by some of the greatest jazz artists in history. Read about some of Joe’s jazz heroes. LOUIS JOHN BILLIE ARMSTRONG COLTRANE HOLIDAY (1901-1971) (1926-1967) (1915-1959) Louis Armstrong is the most famous John Coltrane, born in North Billie Holiday was born in jazz player of all time. Born in New Carolina, was an acclaimed American Philadelphia and began her Orleans, he grew up poor, but loved saxophonist, bandleader, and singing career in Harlem, New York. watching local jazz musicians play. composer, and became an iconic She was known for her expressive Nicknamed Satchmo, Armstrong was figure of 20th-century voice, inventive sense of rhythm, a great trumpet player, singer, and jazz. To Coltrane, a and ability to improvise on a tune bandleader. One of his hit songs was musician was a message- while she was performing. Billie “What a Wonderful World.” Armstrong giver, and music provided never learned to read music, but was also known for scat, which is a spiritual purpose. Many that did not stop her from being making up words in a song. people think he is one voted best female jazz vocalist of greatest saxophone four years in a row. Many singers players of all time. have been influenced by Billie and her techniques. Part 1: Answer the questions below: 1. Who is recognized as one of the greatest saxophone players of all time? 2. Which artist could improvise while singing? 3. What was Louis Armstrong’s nickname? Part 2: Now, think about someone who inspires you. Answer the questions below. 1. Who inspires you? 2. Why does that person inspire you? 3. What qualities does that person have that you admire? 4. How has that person influenced your life or interests? Join aspiring jazz musician Joe Gardner on an unexpected journey as © 2020 YMI, Inc. he explores the question, “WHAT MAKES YOU, YOU?” “Soul” Materials © 2020 Disney/Pixar Activity 3 • Reproducible Master DEAR FUTURE SELF… In Soul, Joe Gardner has his heart set on becoming a jazz musician. After finally landing his dream gig, he is unexpectedly taken from the streets of New York City to The Great Before—a fantastical place where new souls get their personalities, quirks, and interests before they go to Earth.
Recommended publications
  • THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
    COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography……………………………………………………………………………….
    [Show full text]
  • Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
    Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A.
    [Show full text]
  • Top 12 Soul Jazz and Groove Releases of 2006 on the Soul Jazz Spectrum
    Top 12 Soul Jazz and Groove Releases of 2006 on the Soul Jazz Spectrum Here’s a rundown of the Top 12 albums we enjoyed the most on the Soul Jazz Spectrum in 2006 1) Trippin’ – The New Cool Collective (Vine) Imagine a big band that swings, funks, grooves and mixes together R&B, jazz, soul, Afrobeat, Latin and more of the stuff in their kitchen sink into danceable jazz. This double CD set features the Dutch ensemble in their most expansive, challenging effort to date. When you can fill two discs with great stuff and nary a dud, you’re either inspired or Vince Gill. These guys are inspired and it’s impossible to not feel gooder after listening to Trippin.’ Highly recommended. 2) On the Outset – Nick Rossi Set (Hammondbeat) It’s a blast of fresh, rare, old air. You can put Rossi up there on the Hammond B3 pedestal with skilled survivors like Dr. Lonnie Smith and Reuben Wilson. This album is relentlessly grooving, with no ballad down time. If you think back to the glory days of McGriff and McDuff, this “set” compares nicely. 3) The Body & Soul Sessions – Phillip Saisse Trio (Rendezvous) Pianist Saisse throws in a little Fender Rhodes and generally funks up standards and covers some newer tunes soulfully and exuberantly. Great, great version of Steely Dan’s “Do It Again.” Has that feel good aura of the old live Ramsey Lewis and Les McCann sides, even though a studio recording. 4) Step It Up – The Bamboos (Ubiquity) If you’re old enough or retro enough to recall the spirit and heart of old soul groups like Archie Bell and the Drells, these Aussies are channeling that same energy and nasty funk instrumentally.
    [Show full text]
  • Report from Edinbur H • Soul Man Review • Robert Hooks Three Critics Look at She's Gotta Have It • Peter Wang Interview
    Report From Edinbur h • Soul Man Review • Robert Hooks Three Critics Look at She's Gotta Have It • Peter Wang Interview World of Black Film Collectors Remembering Lorenzo Tucker- The Black. Gil Noble Plans Valentino Like It Is Archive Film Clips and News Early Black Independents Co-produced with the Black Film Institute of the University of the District of Columbia ••••••••••••••••••••••••••••••• Vol. 2, No. 4/Fa111986 'Peter Wang Breaks Cultural Barriers Black Film Review by Pat Aufderheide 10 SSt., NW An Interview with the director of A Great Wall p. 6 Washington, DC 20001 (202) 745-0455 Remembering lorenzo Tucker Editor and Publisher by Roy Campanella, II David Nicholson A personal reminiscence of one of the earliest stars of black film. ... p. 9 Consulting Editor Quick Takes From Edinburgh Tony Gittens by Clyde Taylor (Black Film Institute) Filmmakers debated an and aesthetics at the Edinburgh Festival p. 10 Associate EditorI Film Critic Anhur Johnson Film as a Force for Social Change Associate Editors by Charles Burnett Pat Aufderheide; Keith Boseman; Excerpts from a paper delivered at Edinburgh p. 12 Mark A. Reid; Saundra Sharp; A. Jacquie Taliaferro; Clyde Taylor Culture of Resistance Contributing Editors Excerpts from a paper p. 14 Bill Alexander; Carroll Parrott Special Section: Black Film History Blue; Roy Campanella, II; Darcy Collector's Dreams Demarco; Theresa furd; Karen by Saundra Sharp Jaehne; Phyllis Klotman; Paula Black film collectors seek to reclaim pieces of lost heritage p. 16 Matabane; Spencer Moon; An­ drew Szanton; Stan West. With a repon on effons to establish the Like It Is archive p.
    [Show full text]
  • (LACMA) Hosted Its Ninth Annual Art+Film Gala on Saturday, November 2, 2019, Honoring Artist Betye Saar and Filmmaker Alfonso Cuarón
    (Los Angeles, November 3, 2019)—The Los Angeles County Museum of Art (LACMA) hosted its ninth annual Art+Film Gala on Saturday, November 2, 2019, honoring artist Betye Saar and filmmaker Alfonso Cuarón. Co-chaired by LACMA trustee Eva Chow and actor Leonardo DiCaprio, the evening brought together more than 800 distinguished guests from the art, film, fashion, and entertainment industries, among others. This year’s gala raised more than $4.6 million, with proceeds supporting LACMA’s film initiatives and future exhibitions, acquisitions, and programming. The 2019 Art+Film Gala was made possible through Gucci’s longstanding and generous partnership. Additional support for the gala was provided by Audi. Eva Chow, co-chair of the Art+Film Gala, said, “I’m so happy that we have outdone ourselves again with the most successful Art+Film Gala yet. It was such a joy to celebrate Betye Saar and Alfonso Cuarón’s incredible creativity and passion, while supporting LACMA’s art and film initiatives. I couldn’t be more grateful to Alessandro Michele, Marco Bizzarri, and everyone at Gucci—our invaluable partner since the first Art+Film Gala—and to Anderson .Paak and The Free Nationals for making this evening one to remember.” “I’m deeply grateful to our returning co-chairs Eva Chow and Leonardo DiCaprio for helping us set another Art+Film Gala record,” said Michael Govan, LACMA CEO and Wallis Annenberg Director. “We honored two incredibly powerful artistic voices this year. Betye Saar has helped define the genre of Assemblage art for nearly seven decades, and recognition of her as one of the most important and influential artists working today is long overdue.
    [Show full text]
  • Reconsidering the Theoretical/Practical Divide: the Philosophy of Nishida Kitarō
    University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2013 Reconsidering The Theoretical/Practical Divide: The Philosophy Of Nishida Kitarō Lockland Vance Tyler University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the Philosophy Commons Recommended Citation Tyler, Lockland Vance, "Reconsidering The Theoretical/Practical Divide: The Philosophy Of Nishida Kitarō" (2013). Electronic Theses and Dissertations. 752. https://egrove.olemiss.edu/etd/752 This Thesis is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. RECONSIDERING THE THEORETICAL/PRACTICAL DIVIDE: THE PHILOSOPHY OF NISHIDA KITARŌ A Thesis presented in partial fulfillment of requirements for the degree of Master of Arts in the Department of Philosophy University of Mississippi by LOCKLAND V. TYLER APRIL 2013 Copyright Lockland V. Tyler 2013 ALL RIGHTS RESERVED ABSTRACT Over the years professional philosophy has undergone a number of significant changes. One of these changes corresponds to an increased emphasis on objectivity among philosophers. In light of new discoveries in logic and science, contemporary analytic philosophy seeks to establish the most objective methods and answers possible to advance philosophical progress in an unambiguous way. By doing so, we are able to more precisely analyze concepts, but the increased emphasis on precision has also been accompanied by some negative consequences. These consequences, unfortunately, are much larger and problematic than many may even realize. What we have eventually arrived in at in contemporary Anglo-American analytic philosophy is a complete repression of humanistic concerns.
    [Show full text]
  • Jon Batiste and Stay Human's
    WIN! A $3,695 BUCKS COUNTY/ZILDJIAN PACKAGE THE WORLD’S #1 DRUM MAGAZINE 6 WAYS TO PLAY SMOOTHER ROLLS BUILD YOUR OWN COCKTAIL KIT Jon Batiste and Stay Human’s Joe Saylor RUMMER M D A RN G E A Late-Night Deep Grooves Z D I O N E M • • T e h n i 40 e z W a YEARS g o a r Of Excellence l d M ’ s # m 1 u r D CLIFF ALMOND CAMILO, KRANTZ, AND BEYOND KEVIN MARCH APRIL 2016 ROBERT POLLARD’S GO-TO GUY HUGH GRUNDY AND HIS ZOMBIES “ODESSEY” 12 Modern Drummer June 2014 .350" .590" .610" .620" .610" .600" .590" “It is balanced, it is powerful. It is the .580" Wicked Piston!” Mike Mangini Dream Theater L. 16 3/4" • 42.55cm | D .580" • 1.47cm VHMMWP Mike Mangini’s new unique design starts out at .580” in the grip and UNIQUE TOP WEIGHTED DESIGN UNIQUE TOP increases slightly towards the middle of the stick until it reaches .620” and then tapers back down to an acorn tip. Mike’s reason for this design is so that the stick has a slightly added front weight for a solid, consistent “throw” and transient sound. With the extra length, you can adjust how much front weight you’re implementing by slightly moving your fulcrum .580" point up or down on the stick. You’ll also get a fat sounding rimshot crack from the added front weighted taper. Hickory. #SWITCHTOVATER See a full video of Mike explaining the Wicked Piston at vater.com remo_tamb-saylor_md-0416.pdf 1 12/18/15 11:43 AM 270 Centre Street | Holbrook, MA 02343 | 1.781.767.1877 | [email protected] VATER.COM C M Y K CM MY CY CMY .350" .590" .610" .620" .610" .600" .590" “It is balanced, it is powerful.
    [Show full text]
  • An Analysis of Sound and Music in the Shining and Bridget Jones' Diary
    Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 2019 The oundS s Behind the Scenes: An Analysis of Sound and Music in The hininS g and Bridget Jones’ Diary Abby Fox Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Communication Commons, and the Film and Media Studies Commons Running head: THE SOUNDS BEHIND THE SCENES The Sounds Behind the Scenes: An Analysis of Sound and Music in The Shining and Bridget Jones’ Diary Abby Fox Communication Studies Advisor: Satish Kolluri December 2018 THE SOUNDS BEHIND THE SCENES 2 Abstract Although often subtle, music and sounds have been an integral part of the motion picture experience since the days of silent films. When used effectively, sounds in film can create emotion, give meaning to a character’s actions or feelings, act as a cue to direct viewers’ attention to certain characters or settings, and help to enhance the overall storytelling. Sound essentially acts as a guide for the audience as it evokes certain emotions and reactions to accompany the narrative unfolding on-screen. The aim of this thesis is to focus on two specific films of contrasting genres and explore how the music and sounds help to establish the genres of the given films, as well as note any commonalities in which the films follow similar aural patterns. By conducting a content analysis and theoretical review, this study situates the sound use among affect theory, aesthetics and psychoanalysis, which are all highly relevant to the reception of music and sound in film. Findings consist of analyses of notable instances of sound use in both films that concentrate on the tropes of juxtaposition, contradiction, repetition and leitmotifs, and results indicate that there are actually similar approaches to using sound and music in both films, despite them falling under two vastly different genres.
    [Show full text]
  • The Hard Bop Trombone: an Exploration of the Improvisational Styles of the Four Trombonist Who Defined the Genre (1955-1964)
    Graduate Theses, Dissertations, and Problem Reports 2019 The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett Curtis Goods West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Music Performance Commons Recommended Citation Goods, Emmett Curtis, "The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964)" (2019). Graduate Theses, Dissertations, and Problem Reports. 7464. https://researchrepository.wvu.edu/etd/7464 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett C. Goods Dissertation submitted to the School of Music at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Trombone Performance H.
    [Show full text]
  • 14 Modal Jazz.Pptx
    4/26/12 Miles Davis Tracing the innovations of Miles in his path to Modal Jazz A Miles Overview • 1949 – 1950: The Birth of the Cool and Cool Jazz • 1954: Walkin’ and Hard Bop • 1957 – 1960: Sessions with Gil Evans • 1959: Kind of Blue and Modal Jazz • 1963 – 1967: The 2nd Quintet and Post-bop (Free Bop) • 1969: Bitches Brew and Jazz Fusion • 1980s: Jazz and Pop Fusion leads to Smooth Jazz 1 4/26/12 Early Miles Miles in the afterglow of Bebop Early history • 1945: Moved to New York • To study Classical music at Julliard • Dropped out to work with Parker and Dizzy • Replaced Dizzy in Parker’s band • 1949 to 1950: The Birth of the Cool sessions • Invented / pioneered Cool Jazz • 1951 to 1954: Semi-retirement • Largely over his drug abuse • Jazz press declared his career dead 2 4/26/12 The 1st Quintet • 1954: Triumphant return • Strong Hard Bop influence (despite Miles’ “Cool” style) • Introduced John Coltrane: tenor sax • Introduced the Harmon Mute • Huge critical success • Leapt to a major label • Repertoire • Tin Pan Alley show tunes Reorganization • 1957: disbanded the quintet • Due to drug use of his sidemen • Gil Evans collaborations • Miles Ahead, Porgy & Bess and Sketches of Spain • Miles soloing with an exotic orchestra • Led to film scores, experiments in simplicity 3 4/26/12 Modal Jazz Jazz meets impressionism Modal Jazz • Around 1957: Miles began working with a new sound • Pioneered by George Russell in the early 50’s • Jazz impressionism • Scales and “colors” more than chords • Slow harmonic rhythm: pace of chords • Personal
    [Show full text]
  • Jon Batiste - We Are Episode 205
    Song Exploder Jon Batiste - We Are Episode 205 Hrishikesh: You’re listening to Song Exploder, where musicians take apart their songs and piece by piece tell the story of how they were made. My name is Hrishikesh Hirway. (“We Are” by JON BATISTE) Hrishikesh: Jon Batiste is a pianist, songwriter, and composer from New Orleans. He’s been nominated for multiple Grammys, and just won the Golden Globe and got an Oscar nomination for the soundtrack to the Pixar film Soul, which he composed along with Trent Reznor and Atticus Ross. Jon is also a recipient of the American Jazz Museum’s lifetime achievement award, and on weeknights, you can see him as the bandleader on The Late Show with Stephen Colbert. In March 2021, he put out his new album, We Are. But the title track from it actually came out much earlier last year in June 2020. Jon: We put the song out during the Black Lives Matter protest before it was even finished being mixed and mastered. Hrishikesh: In this episode, Jon talks about how he drew from his roots, both at a personal level and at a cultural level, and wove all of it into the song. Jon: I’m Jon Batiste. (Music fades out) Jon: So I started working on this song in September of 2019 with Kizzo, a great producer from the Netherlands, and Autumn Rowe. We met up in New York City. And this is pre-COVID, my life is busy - I'm doing the Late Show, I'm writing the score for Soul.
    [Show full text]
  • Prestige Label Discography
    Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron.
    [Show full text]