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1 ARTS 615 Instructor: Noah Baerman Jazz in the Sixties Nbaerman ARTS 615 Instructor: Noah Baerman Jazz in the Sixties [email protected] Wesleyan University Graduate Liberal Studies Program Summer, 2020 Overview The 1960s were a turbulent but stimulating time for the world of jazz. The R&B based soul jazz movement was at its peak and often at odds with the still developing avant-garde aesthetic. Certain other influences, such as those of Brazilian and African music were becoming widespread in jazz for the first time. Older forms of jazz like bebop, big band music and traditional jazz (or “Dixieland”) were struggling to remain viable and relevant. Rock music’s surge in popularity was threatening the commercial solvency of jazz while acting as a musical and cultural force to which all jazz musicians had to react in some manner. Meanwhile much of this decade’s jazz is inexorably linked to the political and social upheaval of the era, particularly those aspects relating to African-Americans’ sense of identity and struggles for equality. In this course, we will broadly explore the various movements that made up the jazz of this decade. We will delve more deeply into the music of some of the most important figures in jazz during this time, such as Art Blakey, John Coltrane, Miles Davis, Ornette Coleman, Charles Mingus, Stan Getz, Rahsaan Roland Kirk, Jimmy Smith, Yusef Lateef, and Sun Ra. We will study musicians who typified a particular movement, those who assimilated several into a personal style, and those who moved freely among factions. All the while, we will be contextualizing the music within the social and political climate of the decade and the broader artistic and commercial landscape of music at the time. No prior musical experience, theory knowledge, or expertise is needed or expected of students. Sound recordings (including a Spotify playlist of assigned material) will be the primary source material for this course, with occasional video footage. We will read most of the book “Notes and Tones,” compiled by Arthur Taylor, as well as a number of other articles and excerpts available through the library’s e-res system. Specific assignments and grading scales subject to change Grades: Class Participation*: 10% Discussion Board posts on Moodle (Classes 2-9): 25% Comparative Essays: 45% (15% per essay) Final Project: 20% * For students unable to attend class synchronously, this grade will be based on relevant participation on Moodle in the form of pre-submitting questions about the assigned reading/listening to be addressed during class and/or responding to the class discussions after viewing archived videos of classes. 1 Assignments: This is only a brief overview. More details on these assignments can be found in the “Assignment Addendum.” Weekly “Reflections”: For each class session you will be asked to write and submit (on the Discussion Boards on Moodle) reflections on what you observed in the week’s music and readings. The highest six grades (out of eight reflections, since none will be due on the first or last class) will be averaged at the end of the semester. Comparative Essays: Each of these essays will compare two assigned pieces of music, picking apart the various elements that make up each performance. The “optional, un- graded essay” assigned early in the semester allows you to pick two songs of your choice (not necessarily from this course) and write analyze in this way to get feedback about whether you are on the right track in anticipation of the graded essays. Final Project: This will be an in-depth examination of a specific topic relating to jazz from this decade. There will be an ongoing dialogue between professor and student to explore, find and narrow down an appropriate topic. It will take the form of a written essay along with an in-class presentation (which will not factor directly into your grade for the assignment) in which you will share some of the music and discuss your findings. Assignments handed in late will be lowered by one letter grade per class session. Week-By-Week Overveiw with Assignments Note that all assignments are due on the class dates under which they are listed. For information about specific assignments, see the Assignment Addendum on Moodle. ……………………………………………………………………………………………………… Class 1 (6/30) – Introduction to Course; How Jazz Works; Jazz Until 1959 Listening: “Tiger Rag” by Original Dixieland Jazz Band “Carolina Shout” by James P Johnson “Struttin’ With Some Barbecue” by Louis Armstrong “Koko” by Duke Ellington “Jumpin’ at the Woodside” by Count Basie “Koko” by Charlie Parker “Hot House” by Dizzy Gillespie “Moon Dreams” by Miles Davis “Soft Shoe” by Gerry Mulligan “Step Lightly” by Clifford Brown “Are You Real” by Art Blakey 2 Class 2 (7/2) – Mainstream Jazz in the Sixties/Ongoing Work of Previous Eras’ Significant Figures Optional non-graded essay: follow format of Comparative Essays, but choose your own topic – pick 2 songs you like that have something in common. Do this if you want feedback on your analytical writing before the graded essays begin. Listening: Duke Ellington and Louis Armstrong – “Duke’s Place” Dave Brubeck – “It’s a Raggy Waltz” Ella Fitzgerald – “Mack the Knife” Stan Getz and Charlie Byrd – “Desafinado” Modern Jazz Quartet – “Skating in Central Park” Erroll Garner – “Our Love Is Here to Stay” Oscar Peterson – “Blues Etude” Dexter Gordon – “Our Love Is Here to Stay” Dizzy Gillespie – “Bebop” Thelonious Monk – “Bolivar Blues” Reading: Selection from Jazz in American Culture by Burton Peretti Notes and Tones: Dexter Gordon, Erroll Garner, Dizzy Gillespie, Thelonious Monk ……………………………………………………………………………………………………… Class 3 (7/7) – Hard Bop and Soul Jazz Begin email dialogue about final project topics Listening: Hampton Hawes – “Black Forest” Sonny Rollins – “Alfie’s Theme” Art Blakey – “Backstage Sally” Horace Silver – “The Jody Grind” Art Farmer/Benny Golson Jazztet – “Killer Joe” Ramsey Lewis – “The In Crowd” Kenny Burrell – “Chitlins Con Carne” Lee Morgan – “Sweet Honey Bee” immy Smith and Wes Montgomery – “Baby, It’s Cold Outside” Shirley Scott with Stanley Turrentine – “’Tain’t What You Do (It’s the Way That You Do It)” Cannonball Adderley – “Mercy, Mercy, Mercy” Reading: Selection from Jazz, From Its Origins to the Present by Lewis Porter: Chapter 20 – “The Sixties: Big Band, Bossa Nova and Soul” Notes and Tones: Art Blakey, Sonny Rollins, Hampton Hawes 3 Class 4 (7/9) – John Coltrane from 1960 to 1967 Comparative Essay #1: Compare Dave Brubeck’s “It’s a Raggy Waltz” to Art Blakey’s “Backstage Sally” Listening: John Coltrane – “Equinox” John Coltrane (and Johnny Hartman) – “Lush Life” John Coltrane – “Your Lady” John Coltrane – “Impressions” John Coltrane – “Welcome” John Coltrane – “Compassion” Reading: Selections from John Coltrane, His Life and Music by Lewis Porter Notes and Tones: Elvin Jones ……………………………………………………………………………………………………… Class 5 (7/14) –– Miles Davis from 1960 to 1969 Initial Final Project Proposal Listening: Miles Davis – “Pfrancing” Miles Davis – “Once Upon a Summertime” Miles Davis – “Fall” Miles Davis – “Footprints” Miles Davis – “Frelon Brun” Reading: Notes and Tones: Miles Davis, Ron Carter, Tony Williams ……………………………………………………………………………………………………… Class 6 (7/16) –– The Avant-Garde Comparative Essay #2: Compare the Miles Davis recordings “Someday My Prince Will Come” and “Footprints” Listening: Cecil Taylor – “O.P.” Ornette Coleman – “Humpty Dumpty” Sun Ra – “Cosmos” Archie Shepp – “Rufus (Swung His Face At Last To The Wind, Then His Neck Snapped)” 4 Art Ensemble of Chicago – “Get in Line” Albert Ayler – “The Wizard” Reading: Selection from Jazz, From Its Origins to the Present by Lewis Porter: Chapter 18 – “Ornette Coleman” Selection from Moment’s Notice: Jazz In Poetry and Prose: “Garden” by Cecil Taylor Selections from Space is the Place: The Lives and Times of Sun Ra by John Szwed Notes and Tones: Ornette Coleman, Don Cherry ……………………………………………………………………………………………………… Class 7 (7/21) –– Postmodern Assimilation Revised/Refined Final Project Proposal Listening: Charles Mingus – “Track A – Solo Dancer” Charles Mingus – “Prayer for Passive Resistance” Bill Evans – “Gloria’s Step” Chick Corea – “Matrix” Larry Young – “Softly As In a Morning Sunrise” Jackie McLean – “Blue Rondo” Yusef Lateef – “Blues for the Orient” Roland Kirk – “Three for the Festival” Charles Lloyd – “Forest Flower – Sunrise” Booker Little – “Moods in Free Time” Pharoah Sanders – “Cosmos” Betty Carter – “Medley: I Didn't Know What Time It Was/All the Things You Are/I Could Write a Book” Reading: Selections from Beneath the Underdog by Charles Mingus Notes and Tones: Max Roach, Leon Thomas, Betty Carter, Freddie Hubbard ……………………………………………………………………………………………………… Class 8 (7/23)–– Political Statements Comparative Essay #3: Compare Larry Young’s recording of “Softly As In a Morning Sunrise” to Shirley Scott’s recording of “’Tain’t What You Do (It’s the Way That You Do It)” with Stanley Turrentine. In addition to the usual criteria, pay specific attention to the similarities and differences in the approaches to the organ (Young and Scott) and to the tenor saxophone (Joe Henderson and Turrentine). Listening: Nina Simone – “Mississippi Goddam” 5 Oscar Brown, Jr. – “Brown Baby” Charlie Haden – “Circus ’68 ‘69” Charles Mingus – “Prayer for Passive Resistance” Archie Shepp - “Rufus (Swung His Face At Last To The Wind, Then His Neck Snapped)” Abbey Lincoln and Max Roach – “Driva’Man” Reading: Selections from Jazz in Black and White: Race, Culture and Identity in the Jazz Community by Charley Gerard Notes and Tones: Philly Joe Jones, Johnny Griffin, Nina Simone, Kenny Clarke ……………………………………………………………………………………………………… Class 9 (7/28) – Jazz and Rock: the Birth of “Fusion” Listening: Miles Davis – “Frelon Brun” Herbie Mann – “Hold On, I’m Comin’” Steve Marcus – “Eight Miles High” George Benson – “Golden Slumbers/You Never Give Me Your Money” Tony Williams – “Vashkar” Eddie Harris – “Listen Here” Cannonball Adderley – “Mercy, Mercy, Mercy” Ramsey Lewis – “The In Crowd” Reading: Selections from Jazz-Rock: a History by Stuart Nicholson ……………………………………………………………………………………………………… Class 10 (7/30)– Student Presentations Final Project Presentation Essay component of Final Project due for all students 6.
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