Musicology 50B~~

Front 1

Chord

Back 1

collection of at least 3 notes. Progression of chords – beginning to end (one chord will lead to another).

Front 2

Phrase

Back 2

Like sentences. Make large section of music.

Front 3

Harmony

Back 3

Blanket term. Complex and simple. The type of chords or chord progression (?) Counterpart to Melody. “Foundation that you build the melody on.”

Front 4

Melody

Back 4

– Tune. Work together with harmony.

Front 5

BeeBop (Bop)

Back 5

1940’s+ (Best time 1941 – early 1950’s)
Following the Swing Era. Swing Era was the most successful/popular period within jazz. Dance type of genre. Big Band (At least 15 musicians). Close to 100 big star bands.
Territory Bands – Bands that operated within a region.
Estimated around 5000 territory bands during the Swing Era.
Swing felt too predictable. Tempo is fast. (Combo: 3-6 Musicians)
Focus is on the Soloist. Improvises solos are harder than previous eras.
“Technically” demanding style of music. “Physical demand” Technique is harder.
Bop harmony – More complex than previous era’s. Challenge by adding more chords or change around the song. This process is known as re-harmonization. Bop musicians like the challenge of improvisations of harmonies.

Front 6

Charlie Parker(bird) 1920-1955

Back 6

Bebop
Band leader, alto saxophonist.
The most influential bop era musician. “most brilliant musician of 20th century.”
Most important saxophonist.
Greatest contribution in the area of improvisation.
Created a unique approach to improvisation.
Art Tatum – widely respected pianist. Coleman Hawkins – Saxophonist. Charlie Young?
These musicians pushed towards concept of Bop.

Front 7

John Birks Gilleipse (Dizzy) 1917-1993

Back 7

Bebop
Trumpet player, band leader, composer.
Played “incorrect”
Most important Bop era trumpet player. Great command of the high range of the trumpet.

Front 8

Thelonius Monk 1917 - 1982

Back 8

Bebop
Pianist and composer.
Played with splade (straight) fingers.

Front 9

Tad Dameron 1917-1965

Back 9

Bebop
Pianist and composer.
Considered to be one of the most influential composer of the Bop period.
Jazz Standard – Popular within the jazz world. Improvisation is used widely.
“Hot House” – played by dizzy gillepsie composed by Dameron.
Known to write for “medium” sized Osambos? (7-10 musicians).
Songs: The Chase. Our Delight

Front 10

John Lewis 1920-2001

Back 10

Bebop
PIanist
Most associated with Modern Jazz Quartet. (MJQ) Founders of this group: Milt Jackson (Vibrophonist),Persy Heath (Bass), Kenny Clarke (Drummer).
Compositions performed by group.
MJQ most associated with Cool Period.
Composed hundreds of music.

Front 11

Kenny Clarke 1914 – 1985

Back 11

Bebop
Drummer. Kept time(beat) differently. Beat was for the Dancers.
Kenny kept time on the “Ride” Symbol. Used it for emphasis.

Front 12

Max Roach 1924 – 2007

Back 12

Bebop and Hardbop
Drummer

Front 13

Charles Mingus 1920-1979

Back 13

Bebop
Composer and band leader. Bass player

Front 14

Ray Brown 1926-2002

Back 14

Bebop
Bass player. Walking bass style, 1 note for every beat (Bar).

Front 15

Oscar Pettiford 1922-1960

Back 15

Bebop
Master improviser. Played chelo too.

Bass player. These player’s technical abilities on the bass makes them significant. Few of the first improvisers on that instrument.

Front 16

Bud Powell 1924-1966

Back 16

Bebop
Pianist. Played very well technically.

Front 17

George Shearing 1919-2011

Back 17

Bebop
Piano. Known for having a light, clean touch of the piano.

Front 18

Oscar Peterson 1925-2007

Back 18

Bebop
Piano. Most admired Pianist. Used the full range of the piano.

Front 19

Dexter Gordon 1923-1990

Back 19

Bebop
Tenor saxophonist. Gift for melody (creating and improvising).

Front 20

Stan Getz 1927 - 1991

Back 20

Bebop
Tenor Saxophonist
Emerged in Bop, continue to Cool.

Front 21

Sunny Stitt 1924 – 1982

Back 21

Bebop
Started as alto saxophonist moved on to Tenor.

Front 22

Phats Navarro

Back 22

Bebop
Trumpet Player

Front 23

JJ Johnson 1924 – 2001

Back 23

Bebop
Only Trombonist to have any success.
Big Band (The Thundering Herd) successful in BeeBop leader = Woody Herman 1913-1987,

Front 24

Woody Herman 1913-1987

Back 24

Mainly claronist but played alto saxophone.
“Four Brother”- described saxophone section. = Stan Getz, Zoot Sims, Herbie Steward, Serge Chaloff.
Sideman – played in somebody else’s band.

Front 25

Cool Period

Back 25

late 1940s to late 1950s
-People viewed cool as a reaction to Bop
-Cool is softer and easier to follow than Bop
-Bop was really just for the entertainment of the musicians. (audience was hoped to keep up)
-Cool was more readily accessible to audience.
-influenced by a swing era saxophonist, Lester Young.

Front 26

Lester Young-

Back 26

Cool
Different tone on tenor saxophone. Light, delicate, “airy” sound.
Musical phrases – link phrases into a melody?
BeBop musician were also heavily influenced by Young.
Minton’s playhouse – musicians would get together here for afterhours jam. Young was one of the musicians.
Influenced different aspects of the music.
The phrasing he used didn’t have much accent to it (not as heavy).
Young was one of the first to try improvising differently.
Would purposely select notes that were not compatible with the harmony. “Playing outside of the changes”

Front 27

Miles Davis

Back 27

Cool
Great trumpet player. He was associated with the Cool period, but not only the Cool period.
Released an album entitled “Birth of the Cool.” Considered to be one of the beginning of the subgenre. Mislead?

Front 28

Modern Jazz Quarter

Back 28

Cool era band.

Front 29

West Coast Sound/Jazz is Cool Jazz

Back 29

Most musicians that were playing Cool Jazz were on the West Coast.
Cool happened mostly in La
Bop happened mostly in New York.
Majority of Bop – African American
Majority of Cool – Caucasian
CoolBop (not going to use term) –
Music tended to be more heavily arranged than Bop. After melody there’s improvisation.
Once the improvisations are finished, play melody at the end.
Intro -> melody -> improvisation -> melody. –Format for cool
Melody might be written in a way in which the band decides (split it up, etc.) There was more advanced planning that went into each song/performance.

Front 30

Lennie Tristano 1919-1978

Back 30

Cool
Pianist. Composer. Band leader. Largely overlooked for his contribution to the Cool era. Was creating a modern jazz alternative to Bop – Cool.
Influence was Art Tatum, Lester Young, Milk Butler. Also influenced by Baroque Bach.
Did not make many recording. Mainly performed live.
Use collected improvisation – more than one improviser playing at any given time. Unusual, but unique during the time.

Front 31

Louis Armstrong

Back 31

Cool
Trumpeter. Showed improvisation could be entertaining on the trumpet.

Front 32

Lee Konitz 1927-present

Back 32

Cool
Alto – Saxophonists.
Student -> colleague -> Band-mate of Lennie.

Front 33

Birth of the Cool

Back 33

Album of the 1950’s do not hit the record stores. Collaboration of Miles Davis, Gil Evans, Lee Konitz. Introduced new instruments that were not associated with jazz (tuba, bass cloronet, flute, French horn.). Recorded by a nonet (group of nine musicians).

Front 34

Big Bands

Back 34

BIG BANDS – entertains dancers.
Jazz Orchestra – more concert-like music.
Concherito – showpiece for one musician. Featured in front of the orchestra.
Stan Kinton Orchestra.

Front 35

Lecture 4

Back 35

A handful of big bands during the cool period. Most of them vanished when Swing era ended. Employment opportunity went bad.
Improviser’s inspired by Parker and Gillepse

Front 36

Stan Kenton

Back 36

Cool
Pianist, composer and arranger.
Led a Jazz orchestra
They are associated with the big band ideal of the cool period. Utilizing sound for the effect of the sound, not just for dancers. When dancers don’t dance “seat audience.”

Front 37

Chet Baker 1929 - 1988

Back 37

Cool
Trumpet player/Vocalist. Did not start with stan Kenton or woody herman. Started with Gerry Mulligan. Had an “introspective” type of sound.

Front 38

Shorty Rogers 1929 – 1994

Back 38

Cool
Trumpet Player
Frugelhorn too?
He is composer/arranger. Play and wrote Stan Kenton and Woody Herman.

Front 39

Jack Sheldon 1931 – present

Back 39

Cool
Vocalist. Trumpet Player? Sang in School House of Rock.

Front 40

Art Farner 1928-1999

Back 40

Cool
Trumpet and flugelhorn player.

Front 41

Art Pepper 1925 1982

Back 41

Cool
Alto-saxophonists.
Very rare to hear him play tenor.
Started with Stan Kenton. Became of its best known improvisers.
Left Big Band for smaller group to better his stats.

Front 42

Jimmy Giuffre 1921 – 2008

Back 42

Cool
Tenner Saxophone/Clarinet/Arranger
Composed and arranged for Woody Herman’s bang but not an actual player, a sub player.
Composed a famous piece for Woody Herman’s Thundering herd, the four brothers. Featured the 4 saxophonists of Herman’s big bang.

Front 43

Paul Desmond 1924-1977

Back 43

Cool
-Featured member of the Dave Bruebeck Quartet (successful Cool group). Alto-saxophonist

Front 44

Gerry Mulligan 1927 – 1996

Back 44

Cool
-Baratone Saxophonist. Composer. Arranger. Member of Birth of the Cool Band. Nearly all bands had a baratone saxophonist.
-Had soft, dry, light sound.
- Created the first pianoless Quartet. Featured Mulligam, Chet Baker, Drummer, Bass Player. Based in LA
- Had a 6 month engagement. THAT’S BIGGGGGGGGGGGG.

Front 45

Chico Hamilton 1921-alive

Back 45

Cool
-Worked with Stan Kenton’s band. AFRICAN AMERICAN IN A WHITE BAND.
-Drummer in Gerry Mulligan’s Pianoless Quartet.

Front 46

Shelly(Sheldon) Manne 1921-2008

Back 46

Cool
-Drummer. Played with Stan Kenton’s and Woody Herman’s band.
-Have to be good to be a session player. And a good reader (notes).
-Henry Mancenni film composer. Owner of Shelly Manne’s Manhole (club?)

Front 47

Jim Hall 1930-alive

Back 47

Cool
Soft and mellow tone on the guitar.

Front 48

Carl Fontana 1928 – 2003

Back 48

Cool
Played in Woody Herman band. Trombone

Front 49

Frank Rosolino 1926 – 1978

Back 49

Cool
Side man in Stan Kenton’s band. Trombone

Front 50

Bob Brookmyer 1929-2011

Back 50

-Cool player
-Composer/Arranger
-Played valve trombone.

Front 51

Dave Bruebeck

Back 51

Cool
¬-Leader of the Dave Bruebeck Quartet. Immensely popular group.
-Album: Jazz goes to College. Had a huge following of college people.
-Album: Timeout. Considered to be the best selling jazz album ever. But Miles Davis’ album: Kind of Blue, might have been the best seller. Not going to ask this.
-Timeout was an experience to play music in different meters.
- 4 4 times means 4 quarter notes. 1-2-3-4,1-2-3-4.
- - Take Five – written in 5 four times.
- Blue Rondo A La Turk – Blue was a blending of genres, references that it’s a jazz piece. Rondo is reference to how the song is written. Reference to Turkey, a rhythmic pattern that Bruebeck observed when he was in Turkey. Set in 9 8-times.

Front 52

HARD BOP

Back 52

Bossanova
- A style of Brazilian music popularized by Antonio Carlos Jobim.
- New Beat
- Mid 1960’s
- Huge following by young musicians and college students.
- Lasted about 6 years
- Mostly performed by small groups invariable involved a nylon string guitar.

Front 53

Antonia Carlos Jobim 1927-1944

Back 53

Bossanova
- Composer/Pianist
- Primary force on bossanove style.
- One of the most influential composers of the 20th century or at least one of the most popular.
- His music was popular because of his collaboration with saxophonist Stan Getz and 2 others: Joao Alberto, Estrud Alberto. Put out two albums Getz-Gilberto Vol. 1 & 2.

Front 54

Desinifado – Bossanova style. Our midterm song.

Back 54

Listening list

Front 55

Hard Bop - 1950's and later

Back 55

Bop- East coast. Cool- West Coast
- Majority of musicians are African American.
- Hard Bop emerged in reaction to Cool. Reaction to the Caucasian musicians that “cashed in” on Cool.
- Hard Bop had some commercial success.
- Singable
- Improvisers inspired by Parker and Gillespie.
- Considered simpler than Bop and have more variety.
- More composers composing music specifically to be performed by Jazz groups.
- Was considered more popular than Bop.
- Alto- Saxophonist Cannonball Adderly and Pianist/composer Horace Silver, popularized the Hard Bop period.

Front 56

Tommy Flanagan 1930 – 2001

Back 56

HARD BOP
- Piano. Influenced by Art Tatum and others (Teddy Wilson, Budd Powell).
- More technically proficient. His ability to move across the keyboard with ease with high dexterity.
- Known for flowing solos and light touch on a piano.
- Recorded numerous albums, but better known as a Sideman. Recorded with Miles Davis, Sunny Rowlins, John Coltrane, West Montgomery, Elefist Gerald.

Front 57

Horace Silver 1928 – Present.

Back 57

HARD BOP
- Pianist, composer, and arranger. One of the most significant composer and band leaders of the period.
- Not technically demanding. Known for playing short catchy phrases.
- Emphasized syncness and clarity. Most Prolific composer of the Hard Bop periods.

Front 58

Ahmad Jamal 1930 – Present

Back 58

HARD BOP
- Still performs today. Hard Bop Pianist.

Front 59

Cedar Walton 1934 – Present

Back 59

HARD BOP
Pianist
- Emerged in hard bop period. Still performing.

Front 60

Clifford Brown 1930-1956

Back 60

HARD BOP
Trumpet player
- Influenced and taught by Fats Nivarro.
- Most widely admired trumpet player since Swing era.
- Could play high and low. Played effortlessly. Long flowing melodies.
- Known for portraying joy in his playing.

Front 61

Freddie Hubbard 1938 – 2009

Back 61

HARD BOP
Trumpet player
- Influenced by Miles Davis and Chet Baker (Cool) and Clifford Brown.
- Known for being able to manipulate tone and pitch.
- Could vary the song.
- Strong sense of rhythm. Liked to play double-time style.
- Double-time: twice as fast than expected.
- Playful and funky.
- Considered daring and adventurous

Front 62

Lee Morgan 1938 – 1972

Back 62

HARD BOP
- Shot on stage while performing.
- Trumpet player and composer. Primary influence was Clifford Brown and studied with him.
- Featured sideman on many recording (Horace Silver, Art Blakey). Recorded 25 albums as a leader
- Highly influential on later generations.
- Clifford Brown(?) had a Big (full, rich) sound. Lee had a rich sound

Front 63

Max Roach

Back 63

HARD BOP
- Bop musician as well.
- Spent years with Clifford Brown.
Drummer

Front 64

Art Blakey 1919 – 1991

Back 64

HARD BOP
- “Loosening” of Jazz drumming.
- Less strict time keeping and more accenting.
- Dynamic drummer.
- One of the first true Jazz educators.
- Trained and mentored younger generation of jazz musicians.
- Co-founded with Horace Silver the Jazz Messengers.

Front 65

“Philly/Papa” Jo Jones

Back 65

HARD BOP
- One of the most or most influential drummer of the period.
- Playing conversation like figures.
- Trade figures with himself during improvisations.

Front 66

Cannonball Adderly 1928-1975

Back 66

HARD BOP
- Most influential alto player since Charlie Parker.
- More influenced by alto saxophonists in the Swing Era (Benny Carter, Johnny Hodges)
- Initially gained recognition as a sideman then developed a significant career as a leader himself.
- Quartet with his brother Nat Adderly.

Front 67

Sonny Rollins 1930 - Present

Back 67

Tenor Saxophone
- Composer and Bandleader
- One of the most popular saxophonist of the 1950’s.
- Still performing
- Initially influenced by Parker, but Rollins was a Tenor – Saxophonist.
- Referred to as a “Titan.”
- Can play long solos, assuming he’s inspired to do so.
- Got to a point of stagnation, so he stopped performing publicly in the late 60’s early 70’s.
- Secluded himself for artistic development.
- Recorded and album, The Bridge.

Front 68

Gene Ammons 1925 – 1964

Back 68

HARD BOP
Tenor Saxophonists.
- Played with Sonny Stit and Joshua Redman.

Front 69

Benny Golson 1929 – Still performing on a limiting basis

Back 69

HARD BOP
Tenor Saxophonists.
- Started as a Jazz Messenger
- Went on to co-lead with Art Former the Jazz Tet.
- Widely respected composer.

Front 70

John Coltrane 1926-1967

Back 70

HARD BOP
Tenor Saxophonists.
- Tenor sax. And composer.
- Very rare playing Alto. Associate him with Tenor
- Emerged during the Hard – Bop, but played in other periods.
- As influential as Charlier Parker, says the Coltrane fans.

Front 71

Joe Henderson 1937 – 2001

Back 71

HARD BOP
Tenor Saxophonists.
- Composer.
- Initially gained recognition as a sideman with Horace Silver.
- Known for short melodic phrases, but builds them much more lengthy than Horace Silver.
- Listen to “Song for My Father.” – Will probably be on midterm.

Front 72

JJ Johnson

Back 72

HARD BOP
Trombone
- Evolved during HardBop.

Front 73

Curtis Fuller

Back 73

HARD BOP
Trombone
- Played with Art Blakey in the Jazz Messenger
- Sideman of many groups and an occasional leader.
- Jazz Tet.
- Played with Cedar Wilton
- Only trombonist to be a sideman with John Coltrain.

Front 74

West Montgomery 1925-1968

Back 74

HARD BOP
Guitar
- Possibly the most influential since Charlie Christian.
- All guitarists heavily influenced by Charlie Christian.
- Entirely self-taught. Did not read a note of music.
- Late starting on the guitar.
- Did not play with guitar pick. Used his thumb.
- Relaxed improviser
- Build intensity (slow-fast)
- Pioneer of the octave (distance from one note to the next note) technique.

Front 75

Kenny Burrell 1931-PRESENT

Back 75

HARD BOP
- Director of Jazz Studies at UCLA
- Equal in influence to West Montgomery.
- Recorded over 100 albums as a leader.
- Most recorded Jazz Guitarist.
- Appeared in the top 5 reader’s poll for Beat magazine for 50 consecutive years.
- First recording as a sideman was with Dizzy Gillespie.
-Guitar

Front 76

Joe Pass 1929 – 1994

Back 76

HARD BOP
- guitar
- Harboppist.
- Took a break from performing for a few years
- Solo guitarist, would play unaccompanied.

Front 77

Grant Green 1935 – 1979

Back 77

HARD BOP
Guitar
- Highly recognizable sound. “Dead-tone”
- Very influenced by BeBop horn players.
- Strong sense of Rhythm – syncopation – an emphasis accents.

Front 78

George Benson 1943 – Present

Back 78

HARD BOP
- Great technical facility on the guitar.
- Emerged at the tail end of HardBop.

Front 79

Pat Martino 1944 – present

Back 79

HARD BOP
- Emerged at the tail end of hardbop.
- Hard to play because of a brain aneurism
- Learned again himself.
- Style was different.
Guitar

Front 80

Thad Jones 1923-1976

Back 80

HARD BOP
- Trumpet player, compose and band leader. Played with Mel Louis.
- Based out of New York.
- Hard to place in a category.

Front 81

Gerald Wilson 1918 – present?

Back 81

HARD BOP
- Trumpet player at one point in his career.
- Former faculty member here at UCLA.
- Primarily LA based. Led several big bands over his career.
- Great harmonic complexity.
- Incorporates Latin Influence

Front 82

Maynard Ferguson 1928 – 2006

Back 82

HARD BOP
- Trumpet player, known as a high note virtuoso.
- Touring band in the 60’s til’ death.

Front 83

Electric Organ

Back 83

Instrument made by Hammond. B-3 was an organ that added a snap. Had 2 separate keyboards.
Many organists performed in a organ trio. Made up of organ, guitar, and drums. The organists would play bass notes with the left hand.

Front 84

Jimmy Smith 1928 – 2005

Back 84

HARD BOP
- Most revered and most influential of the jazz organists

Front 85

Jack McDuff 1926 – 2001

Back 85

HARD BOP
Organist
All these organists were very popular during the HardBop era.

Front 86

Jimmy McGriff 1936 – 2008

Back 86

HARD BOP
All these organists were very popular during the HardBop era.

Front 87

Miles Davis 1926 – 1991

Back 87

- Legendary trumpet player, bandleader.
- Pivotal figure of jazz.
- Cutting edge
- Looking for new ways to challenge his artistry. Ahead of his dayssszzz~
- Very different childhood.
- African – American
- Son of a Dentist
- Lived in East St. Louis.
- Began at age 10.
- Good enough at 17, to play with Charlie Parker and Gillespie.
- Went to Julliard. Dropped out.
- Creating an original trumpet style. Forefront of many styles before it was famous.
- Creating/playing solos by using fewer notes and carefully construct his musical phrases(solos)
- Became known for his use of space. Particularly on the trumpet.
- Create a large body of recordings.
- Recordings served as “textbooks” for future generation.
- Collaboration with Gill Evans – Birth of the Cool.
- A pioneer of modal jazz – chord style changes very slowly.
- Pioneer of jazz fusion – Blending of two or more styles. Jazz rock funk.
- Characteristics of Davis:
- Does not desire to play fast notes.
- Used a mute: object that is inserted into the bell of the trumpet that changes the sound of the instrument.
- Mute: Straight, Cut, Plunger, Bucket, Harmon Mute (Davis uses this) – Creates a buzzing sound.
- Career Highlights: Emerged during the Bebop era as a sideman with Charlie Parker.
- Classic Quinter – His first great Quintet, Sometimes a Sextet. First Quintet was toget 1959;
Sideman: John Coltrane (Tenor Saxophone), Cannonball Adderly (Saxophonist), Red Garland (Pianist), and later Bill Evans (Piano), Philly Jo Jones (Drummer). Recorded Kind of Blue. Only outsold by Dave Brubeck’s Timeout.
- The Collaboration with Gill Evans 1957-1963. Started with the Birth of the Cool album (so often correlated with the beginning of the Cool Era)
- Did not like being categorized as a Cool Musician.
- Collaborations with Gill Evans:
- Miles Ahead (Album) – Miles Davis + 19 musicians??
- Sketches of Spain (album), Porgi and Best (album) – Musical stage show.
- Quiet Nights (album) – most of songs were Latin. Close the Bossanova period.

Front 88

Second Great Quintet 1964 – 1969

Back 88

- Younger Musicians
- Wayne Shorter on Tenor Saxophone went from Jazz Messenger to Davis’ Quintet, Herby Hancock on Piano, Ron Carter on Bass, Tony Williams on Drums and only 17.
- Shorter and Hancock are some of the greatest musicians today: still living and still performing and work here.
- Improvs were beast.

Front 89

Electric Miles (Electric Band?)

Back 89

- Ranged from 1968
- Changed the instruments he was using in his band.
- Used electric instruments rather than the acoustics.
- Electric Bass, E. Guitar, E. Piano (Synthesizer), Drums.
- Did not really play for the audience.
- Chick Korea on Piano or E. Piano, John McGaughin on E. Guitar, Mike Stern on E. Guitar, Marcus Miller on Bass – important – producer of Davis’s albums.

Front 90

John Coltrane 1926-1967

Back 90

HARD BOP
- Tenor Saxophonist, also played Soprano Saxophone.
- Composer and bandleader. -innovative
- Transformative figure
- Coltrane had the same sound throughout his entire career, but the approach changed.
- Improvisation, composition, and sound and approach to the senor saxophone – good at these.
- Very impactful
- Innovative saxophonist.
- Enormous effect on modern jazz.
- Inspired by Swing Era and Bebop Era saxophonists: Lester Young, Sonny Stit, Dexter Gordon.
- Sideman in Davis’ group first quintet.
- 1960’s onward -> inspired by avant garde.
- Very long solos.

Front 91

Late 1950’s - John Coltrane

Back 91

- Started recording.
- His improvisation were energetic and densely packed with notes. His phrases were like sheets of sounds.
- Different approach on ballads.
- Interested in fast moving (complex) harmony.
- Self – absorbed = he’s too into himself (music and composition)
- He was advancing so far beyond the other musicians he was playing with.
- Sight –reading = seeing sheet music for the first time.
- Got the title “Moments Notice” when Coltrane handed out the sheets of music the piano guy said you can expect us to play in a “Mmts Notice.” AYEEEEEEEE
- Playing Giant Steps = benchmark for modern day musicians. Respectable.
- Practiced for 2 years before recording Giant Steps
- Harmony of Giant Steps is deceptively simple.
- Fans LOVE HIMM. Devoted following
- Moved away from harmonic changing part of music in his later years and moved into composing with pedal points or drum notes.
- Pedal point = low or high note, it’s held.
- “My Favorite Things” – a recording in which Coltrane played the Soprano saxophones. One of the last jazz songs to make it into the Jazz music charts.
- Ascension and Meditation were models for free jazz movement.
- A Love Supreme – only has four songs.

Front 92

John Coltrane’s Quartet (1961-1965)

Back 92

put out a lot of recordings. Produced modal types of musics
- Modal = Harmonies changed slowly.
- Sidemen of Coltranes
- Pianist = McCoy Tyner

Front 93

McCoy Tyner

Back 93

HARD BOP
Pianist. Tyner used a strong left hand.
John Coltrane Quartet.

Front 94

Jimmy Garrison

Back 94

HARD BOP
Bass Player. John Coltrane Quartet.
- Maybe the longest standing sidemen

Front 95

Elvin Jones

Back 95

HARD BOP
Drummer, John Coltrane Quartet.
- Polyrhythm master. which is look below
- Contracting beats that are going off all at the same time. 1’2 and 1’2’3

Front 96

Al Haig

Back 96

Bebop - Pianist

Front 97

Sarah Vaughan

Back 97

Bebop/Cool Singer

Front 98

Phil Woods

Back 98

Bebop
Composer
Alto Saxophone
Carinet

Front 99

Charlie Christian

Back 99

Guitarist

Front 100

Mel Lewis

Back 100

Drummer
Band Leader