History of Jazz A m e r i c a s C l a s s i c a l Music Miles Davis Changed his sound, and the sound of jazz, several times during his nearly 50 year career self-discovery and pioneering inspiration to others Raised in East St. Louis; trained by Elwood Buchanan, symphonic musician in St. Louis Developed Buchanan s sound subtle, less brassy no vibrato Listening Example: Moon Dreams by C. MacGregor & J. Mercer, arranged by G. Evans; performed by the Miles Davis Nontet MILES DAVIS & JOHN COLTRANE Lecture Seven Miles Davis: Trumpet Style soft, hollow, plaintive trumpet tone; no brassy sound complete avoidance of vibrato; straight, unwavering tone extensive use of Harmon mute preferred low to middle range; used high notes on selected occasions Listening Example: Trane s Blues by J. Coltrane; performed by the Miles Davis Quintet Listening Example: It Never Entered My Mind by R. Rodgers & L. Hart; performed by the Miles Davis Quintet
Miles Davis: Improvisatory Tendencies melodic lines skillfully crafted; theme and variation approach dramatic devices used: intricate syncopated rhythms extensive use of space avoided jazz clichés; sounded new and fresh appropriate understated use of vocalistic effects sparing use of technique; rarely played long dense melodies holding notes longer than expected emphasizing dissonant notes economic; used only what was necessary to get his musical point across reflective cool nature of playing; lived through same attitude more lyrical approach; could use angular, abstract melodies if needed Listening Example: In Your Own Sweet Way by D. Brubeck; performed by the Miles Davis Quintet Miles Davis Quintet: 1950s Miles Davis - trumpet - tenor sax Red Garland - piano Paul Chambers - bass Philly Joe Jones - drums one of the most successful jazz ensembles ever commercially: sold thousands of recordings, played sold-out concerts world-wide artistically: model of greatness for 1950s, featured two most influential improvisors after Charlie Parker Listening Example: Four by M. Davis; performed by the Miles Davis Quintet Miles Davis 1944: first break as sub in Billy Eckstine s Band in St. Louis; met Dizzy Gillespie and Charlie Parker 1944: accepted to Julliard (classical track); dismissed from school for practicing jazz 1944-7: played with various NYC jazz musicians 1947-8: member of Charlie Parker s band 1948-9: experimenting and pioneering; led to Birth of the Cool, new jazz style created by Davis 1950-3: various performances & recordings; problems with drug dependency surface 1953-5: stops narcotics use; first successful band with Sonny Rollins 1955-6: breakthrough years, artistically and commercially Miles Davis & Gil Evans 1957: Davis and arranger Gil Evans to record Porgy and Bess; had worked together during Birth of the Cool sessions in late 1940s 1960: Davis/Evans Third Stream recording Sketches of Spain scored accompaniment for brass, woodwinds, and percussion inspired by Concierto de Aranjuez for Guitar and Orchestra by Joaquin Rodrigo
Miles Davis: Kind of Blue Breakthrough recording of jazz based on modes Modes were the basis of harmony pre-bach. Instead of scales, changing chords and key centers, Medieval music based on single key centers, which did evolve to today s major/minor tonality system. Davis is first significant jazz musician to use these modes as a basis for jazz Miles Davis & Fusion Jazz After 1968, Davis moves away from cool/ bebop traditions to a jazz/rock oriented style Not first jazz musician to fuse rock elements with free and modal jazz With two albums, In A Silent Way and Bitches Brew, he established a new direction for jazz/rock, or fusion, and inspired many musicians on that path Listening Example: So What by M. Davis; performed by the Miles Davis Quintet (1959) Listening Example: Spanish Key by M. Davis; performed by Miles Davis & Friends (1969) Miles Davis Quintet: 1960s Miles Davis - trumpet Wayne Shorter - tenor sax Herbie Hancock - piano Ron Carter - bass Tony Williams - drums these musicians would go on to become important leaders on their respective instruments combined traditional cool and hard bop styles with modal and free jazz elements Listening Example: E.S.P. by M. Davis; performed by the Miles Davis Quintet (1965) Miles Davis: Summary changes his sound and subsequently, the sound of all jazz during his 50 year career, leading the way or inspiring others created original, substanital trumpet style, evident from first recordings in 1940s with Charlie Parker to his last recordings of hip-hop jazz in early 1990s created large body of high-quality recordings which serve as models for contemporary musicians in the footsteps of Armstrong, Parker, Young
Miles Davis: Summary Jazz Styles Created or Heavily Influenced by Davis 1944-9: Bebop 1949-91: Cool Jazz 1959-91: Modal Jazz 1964-91: Free/Modal Jazz 1969-91: Fusion 1980-91: Techno Jazz 1990-1: Hip-Hop Jazz Artists Influenced and/or Introduced by Davis Saxophone: Sonny Rollins, Gerry Mulligan,, Cannonball Adderley, Wayne Shorter, Sam Rivers, Benny Maupin Piano: John Lewis, Red Garland, Bill Evans, Wynton Kelly, Herbie Hancock, Chick Corea, Marcus Miller Bass: Paul Chambers, Ron Carter, Dave Holland Drums: Max Roach, Kenny Clarke, Ary Blakey, Philly Joe Jones, Jimmy Cobb, Tony Williams, Al Foster Guitar: John McLaughlin, George Benson, Larry Coryell, John Scofield born in North Carolina; moved to Philadelphia in 1943 studied saxophone & music theory at Ornstein School of Music drafted into Navy 1945, discharged in 1946 switched to tenor sax in 1948 played in bands of Eddie Vinson, Dizzy Gillespie, Earl Bostic and Johnny Hodges Music and life are all about style. To Coltrane, music was something more: playing was his research, his intellectual challenge, his means of investigating, as well as expressing his spiritual moods. - Miles Davis Listening Example: Take the Coltrane by E.K. Ellington; performed by Duke Ellington & and Friends 1955: Miles Davis hired Coltrane on recommendation from drummer Philly Joe Jones 1955-6: Miles Davis Classic Quintet; international acclaim to Coltrane; his hard bop, R&B style style contrasted well with Miles Davis restrained cool style April 1957: Davis fired Coltrane after argument about Coltrane s drug use and irresponsibility; escalated into a backstage fist fight Coltrane returns to Philadelphia, confronted drug problems by going cold turkey at his mother s home 1957: Coltrane made first solo recordings; rejoined Davis in 1958; evident that Coltrane is ready to step out completely and forge his own path Listening Example: Big Nick by J. Coltrane; performed by Duke Ellington & and Friends
Coltrane forms his own group following recording session of Miles Davis Kind of Blue Rivals the artistic achievements of Davis quintet; surpasses Davis as most influential jazzer of 1960s - tenor and soprano sax McCoy Tyner - piano Jimmy Garrison - bass Elvin Jones - drums Performance Practice Characteristics Sheets of Sound - jazz critic Ira Gitler coined this phrase as if Coltrane enveloped listeners in sheets of sounds, a wall of notes cascading down on his audiences. The Sweep - attempt to encompass a wide range of effects centered around sustaining note in bass and piano, long linear drum patterns and long sweeping runs covering the entire range of saxophone The Cry - higher register on tenor sax; create rising melodies, squeezing out notes on the high end, as if crying or shrieking Listening Example: Giant Steps by J. Coltrane; performed by the Classic Quartet Listening Example: Take the Coltrane by E.K. Ellington; performed by Duke Ellington & and Friends Coltrane s musical persona evolved after 1960 studied music theory books influenced by avant-garde saxophonist John Gilmore Coltrane s music takes on political overtones compositions explored religious themes Listening Example: Acknowledgement by J. Coltrane; performed by the Classic Quartet : Legacy devised new approach to saxophone playing built upon Hawkins and Young schools bluesy, scalar approach of Young aggressive, dense big-sound of Hawkins influenced technique, improvisation and dedication to jazz than any other musician from 1960s onward developed and popularized modal jazz (after Miles Davis introduced concept) leader in rise of free jazz in 1960s popularized soprano saxophone Listening Example: The Feeling of Jazz by B. Troup, E.K. Ellington & G. Simon; performed by Duke Ellington & and Friends
Next Lecture: Avant-Gard or Free Jazz Listening Example: Rick Kick Shaw by C. Taylor; performed by the Duke Ellington & and Friends Sources Collier, Tom. History of Jazz. Kendall/Hunt Publishing Co., Dubuque, Iowa: 1997 Gridley, Mark C. Concise Guide to Jazz, fifth edition. Pearson-Prentice Hall, Upper Saddle River, NJ: 2007 Hasse, John Edward, ed. Jazz: The First Century. William Morrow Publishers, New York, NY: 2000 Rosengarten, Lewis. Jazz in Short Measures. Authors Choice Press, Lincoln, NE: 2001 Zorn, Jay D. & August, June. Listening to Music, fifth edition. Pearson-Prentice Hall, Upper Saddle River, NJ: 2007