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 1950s60s.
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
cools 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 Gillespies repertoire.. The hard bop players brought
back an earthy soulfulness that had receded during the beboppers 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 Zawinuls Mercy, Mercy,
Mercy (1966).
Hard boppers dug deeply into the blues and minor key melodies than the
boppers with tunes such as Silvers Senor Blues (1956), and Nat Adderleys
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. Nicas 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 Powells Blue Flames in 1952 (first recording) and Tadd
Dameron (The Clifford Brown Memorial Album)
1953 Toured Europe w/ Lionel Hamptons band and made recordings with
American and European musicians. Hamptons trumpet section included
Quincy Jones, Walter Williams, Art Farmer and Brown.
1953 returned from Europe and joined Blakelys 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 Gillespies orchestra in New York and remained until
1958. An important member of Art Blakeys Jazz Messengers from 19581961. Returned to work again with Art in 1964-5 and then later as a freelance
musician. 1970-71 active in the Jazz and Peoples Movement. Shot dead by
his mistress at Slugs a night club in New York.
A high spirited player, heavily owing to Clifford Browns influence. His 1961
record The Freedom Rider shows less of Browns 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 Coltranes 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 Monroes Uptown House
Associated w/ Dizzy, Bird, Monk; also many jam sessions at Mintons
1940s 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 1950s 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, Ive
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 Browns group
From 1957 on pretty much leads his own groups and composes classis such
as:
Valse Hot meter example
St. Thomas calypso pattern
Blue Seven Gunther Schuller Thematic improvisation motifs developed and
extracted from the theme. Schullers analysis of Blue Seven gave me
credibility among a lot of people in the jazz community. On the other hand it
was troubling didnt 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, Im 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 Im really playing
I dont even know whats happening. Music is a mystery you cant analyze
it while youre 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 Kellys Stable NY
W/ Fletcher Henderson 1943-44 also toured the south.
Left Henderson and led a big band in Boston before joining Billy Eckstines
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 1980s
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 Coltranes. 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 HalfMast Inhibitions in 1940-1.
Played with Early Jazz greats Kid Ory, Barney Bigard and Louis Armstrong
(c1943) also with Lionel Hamptons Big Band (1947-8).
Gained national attention via Red Norvos 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 whiteled 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 Minguss 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 Charles Mingus, 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
Hendersons band. Formed the Sun Ra 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 John Gilmore, Pat Patrick, Marshall Allen.
An important figure in the development of free jazz along with Ornette
Coleman 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, 20 th
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 Kind of Blue 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
Blantons 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 Tranes 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 80s
Tyners 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 Coltranes 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
didnt 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 Coreas 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 1970s 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 Blakeys
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. Lloyds 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, Barbers 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.Ds 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
Youre Under Arrest more produced than previous album Decoy.

Shorter Early Fusion continued

Shorter a key composer in the 60s 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 - 1970s 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 60s
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
1970s 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 swings popularity in the mainstream of
pop American music. Swings 10 year period 1935-1945; Rock since the
1950s. Jazz figures continued to incorporate elements of r & b and rock.
Hancocks 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 Cobhams 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 Gadds
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 groups 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 Shakespeares King Richard and
A Midsummer Nights 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 1980s lots of International tours
that featured hard bop and modal pieces.

Recorded music mixes bop, modal and jazz rock. In early 60s 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 Fergusons big band where he would meet Wayne Shorter as a
new member of Fergusons band. Zawinuls 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 Dinah Washington 1959-61
Joins Cannonballs 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 Richs 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.
Zawinuls 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 Daviss 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 groups
musical direction.
It is important to note that many of Zawinuls pieces were recorded practice/
improvisation sessions that are the basis of WRs and his compositions.
Again Zawinuls 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 Dukes 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 Coreas acoustic and electric bands. Spent 18 years
with Corea!
He has become one of todays 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 195219 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.