Jazz History 2

• Art Tatum
• Charlie Christian

• Charlie Parker
• Dizzy Gillespie
• Bud Powell
• Kenny Clarke
• Thelonious Monk

• Miles Davis
• Gerry Mulligan
• John Lewis and MJQ
• Paul Desmond
• Dave Brubeck
• Lennie Tristano
• Lee Konitz

• Art Blakey
• Horace Silver
• Clifford Brown
• Max Roach
• Cannonball Adderly
• Wes Montgomery

• Most extraordinary of all pianists and jazz musicians
• Legally blind but possessed no musical or technical limitations
• Reharmonized popular songs in ingenious way

• Started the use of amplified guitar
• Influenced by Django Reinhardt
• Joined Benny Goodman Band in 1939 and also played at Minton's Playhouse

• Alto Sax
• Product of Kansas City
• Nicknamed "Bird"
• Impacted all jazz players
• Created new jazz language (way of playing)
• 1945 recordings with Dizzy Gillespie

• Bebop Trumpet player
• Played with Billy Eckstein Band ("Bebop School")
• He put a band together that played latin jazz
• "Cubano Be", "Cubano Bop", "Manteca",
• Chano Pozó played with him (Cuban percussionist)

• Bebop pianist and composer
• Member of the Cootie Williams Band
• His method of left hand comping and right hand bebop melodies influenced all jazz pianists of the 1940s and after (most imitated bebop pianist)

• Bebop Drummer
• Moved beat from the bass drum to the ride cymbal achieving a lighter texture
• Used the bass drum for intermittent "punches" (called "dropping bombs")
• Played in the house band at Minton's Playhouse

• Bebop pianist
• Played in house band at Minton's Playhouse
• Hired first by Coleman Hawkins for recordings
• Unique player with emphasis on dissonance in both his melodic improvisations and his approach to comping.

• Bebop used small group format
• Improvised solo was very important
• Tempos are faster
• Clarinet used infrequently
• Average level of proficiency was higher
• Less emphasis on arrangements
• Melodies and harmonies are more complex

This is where bebop was born

Original melodies of standard popular songs were replaced with angular bebop melodies while the original chord progressions were retained

• Bass was the primary time keeper and they were expected to be competent soloists.
• Drums had lighter texture (bass drum "bombs")
• Pianists used Count Basie's style of comping

• Little or no vibrato is used
• Each instrument represents a different tone color
• Works are highly arranged
• Players tend to play in the middle register
• Smoother, more melodic improvisations than in bebop
• More laid back, relaxed feeling than bebop

• Recordings done with Miles Davis nonet from 1948 to 1950
• These were done after Miles Davis left Charlie Parker in 1949

• Advanced harmonies
• Drummer's role is reduced

• Important Cool Jazz trumpet player
• Recorded "Birth of the Cool"
• Had very nonaggressive sound

• Baritone saxophonist, composer, and arranger
• Worked on the Birth of the Cool sessions
• Played in Quarted with Chet Baker

• Began as rhythm section of late 1940s Dizzy Gillespie Big Band
• Consisted of John Lewis (pianist/composer), Kenny Clarke (drummer), Ray Brown (bassist), and Milt Jackson (vibraphonist)

• Cool Jazz alto saxophonist
• He had a mellow tone and frequent understated improvisations
• Wrote "Take Five"
• Played with Dave Brubeck Quartet

• Cool Jazz pianist
• Had quartet with Paul Desmond
• He uses more reliant block chord voicings, which sometimes has dense quality and can be heavy handed

• Cool Jazz pianist, composer, leader, and teacher
• Create alternative style to Bebop
• Influenced by Art Tatum and Lester Young

• Cool Jazz alto saxophonist
• His sound was more reminiscent of Lester Young
• He played on top of the beat, with less syncopation

• Elements of gospel music and blues
• Early 1950s R&B influence
• Hard driving rhythmic feel
• Simpler melodies
• Small group arranging important for melody presentation
• More challenging chord progressions and forms
• Slower tempo than bebop
• Latin influence sometimes present

• Tenor Sax
• Trumpet
• Bass
• Drums
• Piano

• Important hard bop drummer
• He incorporated African drumming concepts in his approach to playing jazz
• Formed the Jazz Messengers with Horace Silver, Hank Mobley and Kenny Dorham

• Hard bop pianist and composer
• Formed a quintet in 1956
• As a funk style pianist, his playing is very rhythmic and bluesy
• Wrote "The Preacher" and "Song for my Father"

• Hard bop trumpet player and composer
• After playing with Art Blakey, he formed a quintet with Max Roach

• Hard bop drummer
• Formed quintet with Clifford Brown

• Hard bop alto saxophonist
• Had funky style like Horace Silver
• Had quintet with Nat Adderly (cornet), Bobby Timmons (piano), Louis Hayes (drums), Sam Jones (bass)
• Performed live in San Francisco's jazz workshop

• Hard bop guitarist
• Used his thumb for mellow sound
• Voiced guitar melodies in octaves

• Skillful timing and dramatic construction of line
• Used silence in his solos
• Used the harmon mute
• His flugelhorn playing
• Used little or no vibrato, characteristic of the cool style
• Played in middle register

• Born in Illinois and grew up in East St. Louis
• Began playing trumpet at age 13
• Filled in for Dizzy Gillespie and played with Charlie Parker

• They produced four albums of music arranged by Evans for an expanded jazz orchestra
• The orchestra featured Miles as a trumpet soloist

This Miles Davis album introduced modal jazz

This style opened a door for all jazz musicians to take a new approach to jazz improv and composition

• Tenor and soprano saxophonist
• Played in Miles Davis Quintet
• Used modal improvisation
• New rhythm section concepts (pedal point in bass)
• Model for tone color and rhythmic conception on sax
• System for juxtaposing/superimposing distantly related chords
• Made "sheets of sound" (played extremely complex subdivisions of rhythm)

• Formed after Coltrane left Miles Davis
• Elvin Jones (drums- intense sound, use of polyrhythms)
• McCoy Tyner (piano- modal comping and soloing, quartal piano voicings)
• Jimmy Garrison or Reggie Workman (bass)