Jazz Music 231/331 Autumn :30 2:50 p.m. Monday and Wednesday Goodspeed Hall 402
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1 Jazz Music 231/331 Autumn :30 2:50 p.m. Monday and Wednesday Goodspeed Hall 402 Prof. Travis A. Jackson Office Hours: Wed. 3 5 p.m., 302 Goodspeed Hall Phone: (773) travieso@uchicago.edu Web: Course Description: This survey charts the history and development of jazz from its African roots to the present. Representative recordings in various styles are selected for intensive analysis and connected to other musics, currents in American and world cultures, and the contexts and processes of performance. Course Materials All readings will be available via the Chalk Site as PDF files, unless otherwise indicated. Listening assignments will be accessible via Chalk. Course Requirements: Attendance and active participation in class sessions. More than 2 unexcused absences will result in your final grade being lowered by one letter (e.g., A- will become B-). An excused absence is one for which you have presented a note from your doctor, the Student Care Center or the Student Counseling and Resource Service (because you were ill) or when you have given the professor written notice in advance and received written confirmation that your absence will be excused. You can find further information on University policies by going to the Frequently Asked Questions section of my University webpage (the URL is above). A midterm and (non-cumulative) final examination. A 6 8 page concert paper (for undergraduates), due Nov. 20. No late papers will be accepted (anticipate computer failures, disk problems, etc.). All papers should have a cover page indicating, at minimum, the paper s title and the student s name. The text should be doublespaced (but not triple-spaced!), and no margins (left, right, top, or bottom) are to be larger than one inch. No typefaces are to be larger than 12 points. Any students attempting to reach the page limit through use of abnormally large typefaces or margins will have points deducted from their grade. A research paper (for graduates), due Nov. 20.
2 Statement on Disabilities: It is the responsibility of students with disabilities and/or personal circumstances that may negatively affect their academic performance to inform the professor as early in the term as possible, preferably before the end of week two. Without timely prior notification, it may be difficult or impossible to adjust the due dates of assignments or other projects, to reschedule examinations or to make other accommodations. For further information on University policies regarding disabilities, contact the office of the Dean of Students or consult the Disabilities Services web page: Grading: Attendance and Participation 20% Midterm Examination 30% Final Examination 30% Papers 20% 2
3 Readings and Assignments: 25 Sep. In Medias Res Reading: None Listening: None 27 Sep. Definitions Reading: Porter 1997, Chs. 1 and 2; Merriam and Garner Listening: None. 2 Oct. African Diaspora Musics Reading: Waterman 1948; Wilson 1992; Gilroy Listening: Akbegor ; Armstrong, Hotter than That ; Run-D.M.C., Sucker M.C.s ; Brown, Super Bad ; Alabama Schoolchildren, I m Goin Up North ; Hindewhu ; Prince, Solo 4 Oct. Jazz Tributaries Reading: Gioia 1997, Chapter 1; Gushee Listening: Kneebone Bend ; Patton, Jersey Bull Blues ; Johnson, Kind-Hearted Woman Blues ; Smith, St. Louis Blues ; Joplin, Maple Leaf Rag 9 Oct. Early Jazz in New Orleans and Chicago Reading: Gioia 1997, Chapter 2; Kenney 1993, Chapters 1 2 Listening: Original Dixieland Jazz Band, Livery Stable Blues ; Morton, Black Bottom Stomp, Dead Man Blues and Grandpa s Spells 11 Oct. Early Jazz: New York and Beyond Reading: Gioia 1997, Chapter 3; Schuller 1968, Chapter 3 Listening: Bechet, Blue Horizon ; Armstrong, Hotter than That and West End Blues ; Trumbauer, Riverboat Shuffle ; Nichols, Dinah ; Waller, I Ain t Got Nobody ; Tatum, Willow, Weep for Me 16 Oct. The Big Bands, Part I: Fletcher Henderson and Duke Ellington Reading: Gioia 1997, Chapter 4 and Chapter 5, only Listening: Henderson, The Stampede and Wrapping It Up ; Ellington, East St. Louis Toodle-Oo, Black and Tan Fantasy, Mood Indigo and Koko 18 Oct. The Big Bands, Part II: Popular Swing Bands Reading: Gioia 1997, Chapter 5 (up to 182); Malone 1998; Murray 1976, Chapter 9 3
4 Listening: Goodman, King Porter Stomp, Christopher Columbus and Seven Come Eleven ; Basie, Oh, Lady Be Good and Taxi War Dance ; Coleman, Body and Soul ; Holiday, These Foolish Things ; Hampton, Flying Home 23 Oct. Midterm Examination 25 Oct. Bebop and Latin Jazz Reading: Gioia 1997, Chapter 6 Listening: Gillespie, Shaw Nuff, Things to Come and Manteca ; Parker, A Night in Tunisia, Parker s Mood, Confirmation and Just Friends ; Powell, Nice Work If You Can Get It and Un Poco Loco ; Monk, Misterioso and Blue Monk 1 Nov. Progressive Jazz and Cool Jazz Reading: Gioia 1997, Chapter 7, Listening: Davis, Move and Boplicity ; Tristano, Sub-Conscious Lee ; Graettinger, City of Glass; Modern Jazz Quartet, Django ; Brubeck, Take Five ; Getz/Gilberto, Desafinado 6 Nov. Hard Bop Reading: Gioia 1997, Chapter 7, ; Rosenthal 1992, Chapter 4 Listening: Brown/Roach, Sandu ; Rollins, Blue 7 ; Blakey, Blues March and Dat Dere ; Mobley, This I Dig of You ; Morgan, The Sidewinder ; Smith, When I Grow Too Old to Dream 8 Nov. Modal Jazz and Other Late 1950s Developments Reading: Gioia 1997, Chapter 7, ; Priestley 1982, Chapters 3 and 5 Listening: Coltrane, Moment s Notice, Giant Steps and Naima ; Davis, Milestones and So What ; Mingus, Pithecanthropus Erectus and Better Get Hit in Your Soul 13 Nov. The 1960s, Part I: Miles Davis and John Coltrane Reading: Carr 1984, Chapters 11 13; Jost 1974, Chapters 1 and 5; Porter 1985 Listening: Davis, So What, Nefertiti and Frelon Brun ; Coltrane, My Favorite Things, India, Acknowledgement, and The Father and the Son and the Holy Ghost 15 Nov. The 1960s, Part II: Free Jazz Reading: Gioia 1997, Chapter 8, ; Spellman 1966 (77 150) Listening: Coleman, Lonely Woman, Congeniality and Free Jazz ; Taylor, Enter Evening and Conquistador ; Ayler, Ghosts ; Art Ensemble of Chicago, A Jackson in Your House and Old-Time Religion 4
5 20 Nov. The 1960s and 70s: Fusions and Other Hybrids Reading: Gioia 1997, Chapter 8 (364-81); Watrous 1995 Listening: Davis, John McLaughlin ; Mahavishnu Orchestra, Meeting of the Spirits ; Coleman, What Reason Could I Give? ; Weather Report, Directions ; Hancock, Watermelon Man ; Metheny, Bright Size Life ; Cherry et al., Guinea 22 Nov. The 1970s and 1980s: Neo-Classicism and Eclecticism Reading: Lewis ; Davis 1986, 82 89, , Listening: Sun Ra, Discipline ; Air, Keep Right on Playing Through the Mirror over the Water ; Blythe, Hip Dripper ; Murray, Fast Life ; Marsalis, Black Codes (From the Underground) ; Zorn, Snagglepuss 27 Nov. The 1990s and Beyond: Purity and Hybridity Reading: Gioia 1997, Chapter 8, ; Zabor 1998, Listening: Threadgill, Little Pocket Size Demons ; Redman, Echoes ; Garrett, Wayne s Thang ; Carter, I Should Care ; Krall, Only Trust Your Heart ; Wilson, Time After Time ; Medeski, Martin and Wood, Big Time ; Henderson, Triste ; Perez, Evidence and Four in One ; Harrison, Free to Be Concert Reports Due. Final Papers Due. 29 Nov. Final Examination 5
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