Who am I?

1
Who am I?

• Hard Bops most prolific composer was_____.
• Fats Navarro
• Clifford Browns prime influence was
  trumpeter___________.
• Fats Navarro
• The most popular tenor saxophonists of the 1950s
  were Stan Getz and________.
• Sonny Rollins
• What instrument does the leader of the Maynard
  Ferguson band play?
• Trumpet

2
What am I?

• Who is the bandleader best known for playing
  extremely high notes?
• Maynard Ferguson
• What band had hits with 1970s movie themes?
• Maynard Ferguson
• Who co-led a famous quintet with Clifford Brown?
• Max Roach

3
Background

• Charlie Parkers death in 1955
• Most young performers were classified as
  beboppers regardless of their individuality
• Cool, or West Coast style was emerging
• MJQ became the model group in the Cool style
• Traditional blues elements were re-entering jazz
• Blues flavored bebop style became popular

4
Definitions

• Hard Bop - Funky - Soul
• Cool Jazz became too intellectual
• A jazz style developed in the 1960s in which jazz
  is combined with features of r b
• Further developments combined jazz with the soul
  music of the 1960s resulting in a blusier
  harmonic style with simpler, funkier melodies and
  improvisation
• Hard Bop continued the tradition of Bebop with
  improvisation and the structures of the past,
  including 12-bar and 32-bar forms

5
What?

• Hard Bop
• 1950s, Speed, intense, powerful, sometimes
  incorporated gospel and blues.
• Funky
• Combines elements of gospel and RB with jazz.
  Also called soul jazz.
• Soul
• Combines elements of gospel and RB with jazz.
  Also called funky.

6
Horace Silver and Art Blakey

• Horace Silver and Art Blakey defined the terms
  hard bop, funky and soul jazz
• Art Blakey and the Jazz Messengers

7
Horace Silver b. 1928, Norwalk, CT

• Portuguese descent
• Cape Verdian folk music pervades his mature work
• Soloist and composer for the original Jazz
  Messengers which he formed with Art Blakey in
  1955
• Defined the new style called hard bop
• Left the Messengers in 1956
• Under contract with Blue Note from 1952-1980
• Formed his own label Silveto Records

8
Horace Silver

• The greatest influence on other pianists after
  Bud Powell and before Bill Evans
• Limited technique
• Deep feeling for traditional blues
• Listen to
• Sweet StuffSCJP III, 11
• Funky style - made up of bebop piano, black
  gospel music and basic blues
• reintroduces the minor third (a Blues note) as
  a melodic note after it was neglected for years

9
Moon Rays - 1958SCCJ 4 - 11

• The band
• Piano - Horace Silver
• Trumpet - Art Farmer
• Tenor Sax - Clifford Jordan
• Bass - Teddy Kotick
• Drums - Louis Hayes
• Tight organization at opening

• 0.00 intro, soli horns and pedal point in bass
• 0.31 repeat. Cool sound continues
• 0.59 bridge. Same texture but with new chords
• 1.30 return to opening theme AABA structure
• 1.58 tenor solo, drums ride, piano comps
• 2.29 bridge more aggressive hard bop texture
• 2.56 solo continues with relaxed bebop melodic
  line
• 3.54 relaxed trumpet solo rhythm walking and
  comping
• 4.22 bridge
• 4.51 2nd solo chorus
• 5.21 bridge
• 5.50 piano solo, sparse accompaniment
• 6.45 2nd solo chorus. Single note accomp
• 7.18 blues motives
• 7.43 horns enter with new tutti theme
• 8.13 repeat
• 8.39 another new unison melody
• 8.55 shoutlike riff
• 9.38 return to main theme bass plays pedal
  point

10
Art Blakey 1919-1990

• One of a small number of musicians who have
  helped young talented musicians
• Did this for 35 years after 1955
• At age 11 he taught himself to play piano and
  organized a band
• Switched to drums and played with
• Mary Lou Williams
• Fletcher Henderson
• Billy Eckstine
• Charlie Parker
• Dizzy Gillespie
• Thelonious Monk
• Miles Davis

11
Art Blakey

• Formed the Jazz Messengers in 1955 with
• Pianist Horace Silver
• Tenor Sax Hank Mobley
• Trumpet Kenny Dorham
• Bass Doug Watkins
• When Silver left in 1956 many new players came
  and were influenced by Blakey including
• Woody Shaw, Chuck Mangione, Art Farmer, Wynton
  Marsalis, Branford Marsalis, Keith Jarrett

12
E. T. A. - 1981Intro to Jazz Hist., 1 - 10

• Drums - Art Blakey
• Trumpet - Wynton Marsalis
• Tenor Sax - Bill Pierce
• Alto Sax - Bobby Watson
• Piano - James Williams
• Bass - Charles Fambrough

• 0.00 begins with a drum solo
• 0.26 horns enter in a very tight soli line
• 0.37 softer contrasting phrase, drums continue
• 0.48 alto sax solo, double time melody, bass
  walks, piano comps
• 1.10 2nd solo chorus
• 1.32 3rd solo chorus horns in background
• 1.54 trumpet solo
• 2.15 2 solo chorus
• 2.37 3rd solo chorus with soft horn accompt.
• 2.59 tenor sax solo in double time
• 3.20 2nd solo chorus
• 3.41 piano solo
• 4.25 fast unison line played by 3 winds
• 4.47 drum solo
• 5.32 main theme
• 5.56 ending - long note with drum solo
• 6.09 end

13
Clifford Brown1930 - 1956

• Bop and hard (postbop) player
• From Wilmington, Del. and worked in Philadelphia
  and New York
• Worked with
• Lionel Hampton
• Max Roach
• Technique based on running 8th notes
• Died in an auto accident before his style fully
  matured
• Did his best work with the quintet he led with
  Max Roach

14
Clifford Brown 1930-1956

• Style
• angular melodic lines
• irregular phrase lengths
• full trumpet range
• emotionally involved player
• rich, full tone
• little reliance on previously worked out licks
• Listen to
• Sonny Rollins Plus Four - Pent-up House SCCJ
  Disc 4 - cue 15

15
Sonny Rollins

• Began his career in small groups around NYC
• Established his reputation in the Roach-Brown
  quintet
• Became the leading sax player through recordings
  made after 1957
• Able to experiment with various jazz styles with
  periods of woodshedding
• Prefers to improvise on strong melodies unlike
  Parker, who rarely refers to the tune in fast
  improvs

16
Sonny Rollins

• Rollins style
• wide variety of melody
• melodic connections based on voice leading
• varied melodic rhythms
• irregular phrase lengths
• rich tone
• use of space
• entire range of instrument
• emotional expression
• inside playing
• One of the richest styles in modern jazz
• Listen to Blue Seven
• SCCJ disc V, 1

17
After Charlie Parker

• The bebop tradition continues with
• Alto Sax Phil Woods and Charles McPherson
• Guitarist John Tyner
• Trumpet player Wallace Roney
• Pianists Oscar Peterson and McCoy Tyner

18
Bebop in the Mainstream

• Jazz proceeds through the 1980s with continuous
  modifications
• Technical advancement had the greatest impact
• Bebop was most affected by virtuosity

19
Mainstream Bebop

• The rhythm section
• Bass is free from walking and now augments the
  drums, creating a new sense of tempo
• Patterns are not played for long times
• Drumming style is very aggressive
• Drumming style sounds soloistic even when it
  isnt
• The pianos role is similar to the late 1940s
• It plays difficult melodies
• Provides interesting comps

20
Mainstream Bebop

• The ensemble
• The various sections of the band collaborate with
  kicks and punches a la fusion
• A high level of communication between the players
• Arrangements and compositions
• Standard songs often provide the harmonic
  structure
• The music is shaped by the new role of the rhythm
  section
• Pieces are often played at top speed
• Compositions are designed to display the soloists
  and the ensemble

21
The Marsalis Family

• Talent runs in families
• Ellis Marsalis (pianist and Father)
• Taught at the New Orleans Center for Creative
  Arts
• Dolores Marsalis (singer and Mother)
• Singer with jazz groups

22
Wynton Marsalis1961 -

• Wynton Marsalis (trumpet and son)
• early accomplishments
• New Orleans Philharmonic at age 14
• Tanglewood at age 17
• Juilliard at age at age 18 playing and recording
  with Art Blakeys Jazz Messengers at age 19
• toured with Herbie Hancock
• 1982 Kool Jazz Festival
• 1984 - Grammys for classical and jazz recordings
• championed neoclassicism in jazz

23
Wynton Marsalis1961 -

• recordings with him as leader include
• Wynton Marsalis 1981
• Think of One
• recital in 1982 of classical music won him
  international honors and prizes
• a spokesman for his style of playing and for
  modern bebop
• attracted a new and young audience to jazz

24
Sing On

• Wynton Marsalis, trumpet
• Michael White, clarinet
• Wess Warmdaddy Anderson, alto sax
• Victor Goines, tenor sax
• Ron Westray, Delfeayo Marsalis, Reginald Veal,
  trombones
• Don Vappie, banjo
• Wycliffe Gordon, tuba
• Herlin Riley, drums
• Producer - Delfeayo Marsalis

25
Mainstream Bop

• Branford Marsalis
• Saxophone
• Recorded and toured as a member of Stings band
• Became prominent as leader of the Tonight Show
  band
• Delfeayo Marsalis
• Trombonist and record producer
• Jason Marsalis
• Jazz drummer
• Acoustic musicians
• Their mission to play jazz better than it has
  ever been played before

26
Mainstream Bop

• Roy Hargrove 1970-
• Discovered by Wynton Marsalis
• Attended Berklee on scholarship
• Suggested listening The Vibe BMG/Novus 63132

27
Mainstream Bop

• Joshua Redman 1968-
• Harvard on full scholarship, summa cum laude
• Yale Law School
• Won Thelonious Monk Institute Jazz Sax Comp. In
  1991
• Signed to Warner Bros.
• Suggested listening Wish Warner Bros. 9 45365-2
  

28
Unique Styles

• Stanley Jordan 1959-
• New style to jazz
• Tunes strings to intervals of the fourth
• Plays notes by tapping the strings at the frets
  with fingers of both hands
• The approach is pianistic
• First noticed at the 1984 New York Kool Jazz
  Festival
• Thought to have been self taught
• Studied classical piano age 6
• Father sold piano
• Became absorbed in rock and roll and blues

29
Stanley Jordan

• Learned from Jimi Hendrix
• Licks (short melodic ideas)
• Harmonics (very high notes produced when the
  string is lightly touched)
• Studied Wes Montgomery and Art Tatum
• Graduated from Princeton in 1981 where he had
  studied composition and theory
• Listen to
• Eleanor Rigby (lennon-McCartney)
• 1984
• Stanley Jordan, guitarSammy Figueroa, percussion
• The Best of Stanley JordanBlue Note CDP 7243 8
  315022 2 9

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Unique Styles

• Bobby McFerrin
• A one man show - a complete ensemble
• Slaps his chest for rhythm
• Sings melody in high range
• Interjects bass effortlessly
• Invented new sounds
• Listen to Another Night in Tunisia 1986
• The band
• Music by Frank Paparelli and Dizzy Gillespie
• Arrangers Cheryl Bentyne and Bobby McFerrin
• Vocals The Manhattan Transfer
• Soloist and lyricist Jon Hendricks

31
Supplemental Listening

• I Got Rhythm 1945 SCCJ 3-9
• Tenor sax - Don Byas
• Bass - Slam Stewart
• The tempo is over 300 beats per minute
• AABA form
• I Should Care 1957 SCCJ 4-10
• Thelonious Monk, piano
• Form ABAC
• This improv is basically an harmonic treatment
• Pent-Up House 1959 SCCJ 4-15
• Sonny Rollins, tenor, Clifford Brown, trumpet,
  Richie Powell, piano, George Morrow, bass, Max
  Roach, drums
• Typical of later style bebop when solos were of
  primary concern

32
Charles Mingus 1922-1979

• From Arizona, raised in the Watts section of LA
• Bass player and sideman with swing and bop bands
• Evolved his own modern style in the 1950s
• Unique position comes from the individuality of
  his music
• Borrowed from free jazz, remained tonal, rooted
  in bop and older styles, blues, and Afro-American
  music
• Often avoided the use of the piano - allowed the
  bass to shine through

33
Charles Mingus

• Expressed strong feelings in his music
• Expected high standards from his sidemen
• Expected high standards from his audiences
• b. 4/22/22, Nogales, AZ
• Watts (L.A.) was the seat of big city segregation
• Age 5-6 received a trombone from his father
• Age 10 father trades trombone for a cello
• After high school, father trades cello for a bass

34
Charles Mingus

• Ellington turned Mingus to jazz
• 1947 redorded his first successful composition
  Mingus Fingers
• Late 1940s worked with Dizzy, Bud Powell, Max
  Roach, Charlie Parker, Lionel Hampton
• Always rehearsing
• 1960 his stature had grown - Newport
• public rage
• Semiretirement 1966-1970

35
Charles Mingus

• Depression
• Belleview
• 1971 - autobirography Beneath the Underdog
• Returned to public performance in 1970 and
  produced Three or Four Shades of Blue
• European tour in 1972
• Final project with Joni Mitchell
• Died January 5, 1979 in Cuernavaca, Mexico

36
Charles Mingus

• His output covers many styles from Armstrong to
  free jazz
• Attempted to channel the energies of his players
  into a single statement
• Gunther Schuller coined the term Third Stream
  but Mingus (and Teo Macero) successfully
  incorporated the avant-garde classical ideas into
  jazz combos

37
Charles Mingus

• Listen to
• Hora Decubitus SCCJ
• Original Faubus Fables NW 216
• Three or Four Shades of Blue

38
Quiz Time!
39
Hard Bop Quiz

• 1. Hard bops most prolific composer was_____.
• A. Fats Navarro
• B. Sonny Rollins
• C. Maynard Ferguson
• D. Max Roach

40
Hard Bop Quiz

• 2. The most popular tenor saxophonists of the
  1950s were Stran Getz and________.
• A. Fats Navarro
• B. Sonny Rollins
• C. Maynard Ferguson
• D. Max Roach

41
Hard Bop Quiz

• 3. Who is the bandleader best known for playing
  extremely high notes?
• A. Fats Navarro
• B. Sonny Rollins
• C. Maynard Ferguson
• D. Max Roach

42
Hard Bop Quiz

• 4. Who successfully coined the term Third
  Stream ?
• A. Gunther Schuller
• B. Charles Mingus
• C. Sonny Rollins
• D. Bobby McFerrin

43
Hard Bop Quiz

• 5. Name this tune
• A. Hora Decubitus
• B. Pent-Up House
• C. Another Night in Tunisia
• D. Eleanor Rigby

44
Hard Bop Quiz

• 6. Which of the following correctly associates
  the instrument with the performer?

A. Ellis Marsalis B. Wynton Marsalis C. Branford Marsalis D. Delfeayo Marsalis E. Jason Marsalis
Sax Drums Trumpet Trombone Piano
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