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129 Cards in this Set
- Front
- Back
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-trumpet
-in duke ellington's band -"concerto for cootie" written for him -used plunger mute for color sound, growl effect, and in mellow tone -"new east st. louis toodle-oo" -known for jungle sounds |
cootie williams
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-bass
-revolutionized the technical approach to the double bass -in the bill evans trio |
scott lafarro
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-bass (electric)
-weather report -change direction of jazz bass playing -imitated just as the great jazz bassists -outstanding in 4 different roles- walking bass, interactive approach, funk bass, soloist -jazz fusion -beaten to death by luc haven a bouncer in south florida at a nightclub |
jaco pastorious
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-trumpet/singer
-in gerry mulligan quarter used counterpoint -imprisoned in the 1960's -died falling out of a hotel window -pianoless quartet- trumpet, baritone saxophone, drums, bass -cool jazz era -songs- "bernie's tune", "walkin' shoes" |
chet baker
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-guitar (belgian gypsy guitarist)
-1st important european jazz musician -lost 2 fingers in fire accident in 1928, and had to compensate with a new technique -used an un-amplified guitar unlike charlie christian -most famous group- "quintette du hot club de france" with violinist stephane grappell -songs- "dinah", "shine" |
django rheinhart
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-bass
-miles davis' sideman during the hard bop period -in all star band featured in miles davis' album "kind of blue" -1959 |
paul chambers
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-drummer
-leader of the "jazz messengers" -used loud intrusions and epitomized the loosening of jazz drumming styles -hard bop era -songs- "moanin'", "blues march" |
art blakey
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-tenor saxophone
-made brazilian jazz famous -known as the sound because of his warm, lyrical tone -lester young was his prime influence and idol -important name in latin jazz -helped develop the bossa nova structure |
stan getz
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-piano
-used re-harmonization= keeping the original melody and substituting different chords -amazing technique and velocity at the piano -songs- "willow weep for me", "tiger rag" |
art tatum
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-tenor and soprano saxophone
-in miles davis' all-star band on album "kind of blue" -worked with thelonious monk in 1957 (important period) -after charlie parker, most imitated saxophonist -came to fame in 1955 with miles davis quintet -addiction to drugs/alcohol effected career -"a love supreme" celebrates him overcoming his addictions and his religious experience along with it -turned to radical musical styles in mid 1960's -after death, acquired cult-like following -church in san francisco bears his name |
john coltrane
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-believed in universal musical structure (musica universalis)
-one main objective was to elaborate the full implications of bop chord progressions -improvised from formulae -rigid 8th note repetitions/progressions -used triple meter -impressive techniques yielded sheets of sound -re-established soprano saxophone as a modern jazz instrument -estsblished avant-garde jazz as popular music -songs- "blue train", "giant steps", etc |
john coltrane
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-trumpet
-long fluid lines, reminiscent of bebop -worked with sonny rollins (saxophone) and max roach (drums) -nickname= brownie -died in auto accident at 25 -hard bop era -going to be the next dizzy gillespie -songs- "cherokee", "easy living -song with sonny rollins- "pent-up house" - melodic development in sonny's playing, long line in his |
clifford brown
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-tenor saxophone
-worked with clifford brown -career began at age 11, played with piano legend thelonious monk before reaching 20 |
sonny rollins
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-piano/composer
-supermetric used in "blue rondo a la turk" -international fame, on the cover of Time -worked with paul desmond (saxophone) -the "master" of odd meters -admired as a composer, not pianist -cool jazz era -most famous album= "time out" 1959 -music had distinct western feel -piano compositions coupled jazz beats with classical melodies -songs- "blue rondo a la turk", "take five" |
dave brubeck
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piano-1973
-jazz fusion -was in miles davis' band, then head hunters -wanted to have funk musicians who could play jazz, not vice versa -platinum selling album with head hunters -committed to playing true jazz -very electronic, lots of studio production and overdubs -songs- "watermelon man"- 2 versions |
herbie hancock
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-trumpet/bandleader/composer
-recording project with gil evans -9 piece band-nonet -instrumentation was unusual, it added french horn and tuba -arrangement was central to the music -harmon mute used close to the microphone -influence on 4 decades of jazz- west coast, hard bop/modal, post bop, and jazz rock/fusion -great use of space -caressed harmonies, and played standard tunes rather than originals |
miles davis
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"birth of the cool" -1949
-collaboration with the arranger gil evans -songs- "boplicity", "summertime" |
miles davis (west coast/cool jazz era)
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-kind of blue"- 1959
-most important/pivotal album in modern jazz -featured all-star band- miles davis (trumpet), paul chambers (bass), bill evans (piano), jimmy cobb (drums), john coltrane (alto sax), and cannonball adderley (tenor sax) -affected the harmonic rhythm, with harmonies of a single chord or scale remain in effect for several measures -departure from traditional bop-derived styles |
miles davis (hard bop)
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-1963-68, band included famous rhythm section
-miles davis (trumpet), wayne shorter (saxophone), herbie hancock (piano), tony williams (drums), and ron carter (bass) -tunes didn't have bridges, turnarounds or sections -encourages free-flowing sounds and improvisation -"airy" feeling -2nd great quintet -songs- "nefertiti", "filles de kilimajaro", "miles smiles" |
miles davis (post bop)
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-"bitches brew" -1969
-jumpy melodic figures on top, metronomic pulse patterns on bottom -moved his music to this at the end of the 1960's |
miles davis (jazz rock/fusion)
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-"a legend is an old man with a cane known for what he used to do. i'm still doing it."
-"do not fear mistakes. there are none." -"don't play what's there, play what's not there." -"for me, music and life are all about style." -"i'll play it, and tell you what it is later." -"it's always been a gift to me, hearing the way i do. i don't know where it comes from, it's just there and i don't question it." |
miles davis quotes
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-piano
-unorthodox composer, his work challenged improvisers -sounds like he was bending notes -melodic, cell development -called the high priest of bop -used rhythm extensively -bebop era -songs- "straight, no chaser", "epistrophy" |
thelonious monk
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-1st example of amplified guitar
-"rose room" with benny goodman sextet -"breakfast feud" with goodman sextet, compilation of several solos. each solo introduced by a 4 bar phrase |
charlie christian
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-piano/guitar/composer/singer
-main composer of brazilian jazz |
antonio carlos jobim
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-piano/composer/arranger
-ellington's alter ego -liked to compose in dark keys -co-wrote most of the music in this period- "take the train" and "lush life"- age 18 -difficult to discern where one's style ended and the other's began -flourished in ellington's shadow |
billy strayhorn
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-clarinet
-became a pop icon -king of swing- popularized swing style -at 14, met and played with bix beiderbecke -extensive classical training -benny goodman quartet- 1st racially mixed band -important concert- carnegie hall 1938 -band- benny goodman (clarinet), lionel hampton (vibraphone), gene krupa (drums), and teddy wilson (piano) -"sing, sing, sing" featured gene krupa on drums, drum cadenza |
benny goodman
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-born in chicago, 1909
-grew up in the ghetto |
benny goodman
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-piano/bandleader/composer
-swing era -master of the 3 minute form -formed the band the washingtonians and moved to nyc -performed at the cotton club and had bubber miley -expansion of forms and compositions -collaboration with billy strayhorn -songs- "such sweet thunder", "nutcracker", and "black, brown and beige" -diminuendo and crescendo in blue -emphasized the personal sounds of his players -voiced across sections of the band -often wrote more than 1 version of a song |
duke ellington
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-born in 1899 in washington dc
-father was a butler- cultivated, proper, and elegant -many believe his best work was in the 1930's and 40's -studied the piano roll of james p johnson and learned "carolina shout" note for note -engagement at the "cotton club" 1927-1931 -played for floor shows |
duke ellington
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jungle pieces- cotton club
-popular dance pieces -mood pieces -solo features- concerto for cootie/ warm valley -concerto works- all of the suites |
categories of duke ellington's music
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-piano
-swing era -in the kansas city swing band -style went from stride to very sparse -emphasized swing as main componet. 1st great rhythm section came out of this band -took over and reorganized bennie moten's band in 1935 -band- count basie (piano), freddie green (guitar), walter page (bass), and jo jones (drums) -used brass vs. reeds- call and response -AABA form -songs- "doggin' around", "jumpin' at the woodside" |
count basie
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-born in red bank, new jersey- 1904
-stranded in kansas city, 1927, played in silent movie theaters |
count basie
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-piano/arranger/composer/bandleader
-"birth of the cool" with miles davis -west coast style with miles davis -played seminal role in development of the cool jazz, modal jazz, free jazz, and jazz rock |
gil evans
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-guitar
-played with pianist lyle mays -spacious and open sounds -one of the biggest names in jazz in the 70's and 80's -songs-"first circle", "slip away", "5-5-7" |
pat metheny
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-piano/drums/keyboard
-jazz fusion -influenced by bill evans and spain -bop voicing sound, muddy of electric piano -interest in voicing chords in 4ths -followed herbie hancock in miles davis' group -songs- "spain", "children's song", "you're everything", "armando's rhumba", and "spain- acoustic version (1989)" |
chick corea
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-avant garde composer/arranger/record producer/saxophone/multi-instruments
-sounds unlike anything that came before it, like ellington's music -post modernism -band was naked city -opposed new-traditionalists -eclectic music -performed in new york opposite of wynton -song- "graveyard shift" |
john zorn
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-trumpet/composer
-neo-traditional/perservationist -award-winning, 9 grammys and a pulitzer prize -born in new orleans -turned acoustic jazz tradition around, saved the industry -closely tied to techniques and ellington's repertoire -controversial, proclaimed "what is" and "what isn't" jazz -played with art blakey -artistic director of jazz at lincoln center (jazz orchestra) |
wynton marsalis
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-alto saxophone
-invited the term "harmolodic"- describes simultaneous soundings of a single melodic line in different tonalities, pitches, or keys -1st recordings from 1958 & 1960 -club work was met with hostility -songs- "congeniality", "free jazz" |
ornette coleman
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-drums
-afro cuban -did "cubanobe cobanobop" with dizzy gillespie -intense rhythm, basse notes rarely on the beat -salsa, mambo, merinque -combination on duble and triple rhythms |
chano pazo
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1-louis armstrong (trumpet/singer)
2-duke ellington (composer/piano/bandleader 3-charlie parker (saxophone/composer) 4-miles davis (trumpet/bandleader/composer) 5-john coltrane (tenor/soprano saxophone/composer) -bill evans (piano) |
the big 6
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-a place where slaves were permitted to dance
-now called louis armstrong park -in new orleans, louisiana -performed ring shouts- a cluster of individuals moving in a circular pattern |
congo square
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-a style of genre of jazz singing where in lyrics are written for melodies that were originally part of an all-instrumental composition or improvisation
-ex- jimmy hendricks "freddie freeloader" from kind of blue |
vocalese
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-significant in jazz history
-used collective improvisation -emancipation of traditional roles in rhythm section -little distinction between soloist and accompanist -important names- joe zawinul and miroslav vitous -known for adding rock elements to jazz -jaco pastorious- electric bass for it -performed "birdland" -interesting use of musical textures, synthesizer sounds, and overlapping instruments |
weather report
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-pianoless quarter- counterpoint was the main focus of the songs
-no harmonic instrument present -cool jazz era -he called the cool jazz era "pipe and slipper" music |
gerry mulligan (along with chet baker)
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standard group was the quintet-
piano, bass, drums, trumpet, tenor saxophone |
common format (instrumentation) of the hard bop group
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-big band
-5 saxophones, 3-4 trumpets, 3-4 trombones, piano, bass, guitar, and drums |
common format (instrumentation) of the swing period group
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-influenced many jazz musicians and composers including john coltrane
-exhaustive study of scales and patterns -based on dividing the octave into various numbers of equal parts -may well be applied to any idiom -written enharmonically, no key signatures and can be used by all instruments |
thesaurus of musical scales by nicholas slonimsky
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-quiet refined "funk" music
-just as easy to hear or ignore -aka instrumental pop music -fuzak- combination of fusion and muzak -best known practitioners- kenny g, george benson and bob james |
smooth jazz
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-notes that are "foreign" to a given key, and the free utilization of altered notes. they lend color to the sound of a chord or scale
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chromatic
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bill evans was highly influenced by french impressionist ________ (harmonically)
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influences of french impressionism- maurice ravel
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-form of many standard tunes
-32 bars long, 4 sections of 8 bars each -includes a bridge |
AABA
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ragtime form of music
-ragtime thought of as a piano genre, doesn't swing -even division of the beat, and comes from military march form |
AABBACCDD
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-a feeling and form of music
-12 bars, 3 sections of 4 bars each -text is statement, statement, commentary |
blues
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-written by billy strayhorn and duke ellington- 1957
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"such sweet thunder"
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-written by billy strayhorn and duke ellington
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"star-crossed lovers"
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-rapid up and down motion of a pitch, gives warmth to a sound
-added at the end of the note to achieve warmth -vocalists were originally copied by instrumentalists -used in swing by Sidney Bechet- open throat aspect |
jazz vocalists- vibrato
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-1939- billie holiday
-made the lyrics come alive -nicknamed lady day -was the most influential jazz vocalist since the 1930's |
"strange fruit"
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-both latin jazz- straight 8th note division, no swing
-1st type- bossa nova, sumba-dance rhythms -bass notes almost always on beat -very light and airy -main composer- antonios carlos jobim, made famous by jazz tenor sax player stan getz -lifted straight from its culture 2nd type- -more intense and rhythmic -bass notes rarely on the beat -salsa, mambo, merinque -combination on duble and triple rhythms -all fits inside a clave rhythm, all descends from something significantly religious -more 'high octane' |
difference between brazilian (1st type) and afro-cuban (2nd type) of latin music
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-lengthening or widening of rhythms, melodies, intervals, or chords
-opposite is diminution- a diminished triad |
augmentation
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-the ratio of the short half to the long half is equal to the ration of the long half to the whole
-divide the larger number into the smaller number -occurs at the "premature" return of the bridge- used by duke ellington "warm valley" -based on the fibonacci series |
proportion- golden section, fibonacci series, .618
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-influenced saxophonists of west coast jazz
-influenced count basie and paul desmond |
lester young
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-combination of the popular rock idiom of the 1960's with the jazz idiom
-almost always straight 8th music, electronic -electric bass guitar over acoustic bass, electric piano over acoustic piano -rock borrowed jazz harmonies and improvisation -jazz borrowed the complex rhythms of rock and funk -should be called "jazz funk" -distinguishes jazz from rock and funk |
fusion roots and origins
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-comes from hard bop, reaction to the anemic, cool jazz records that exploited the superficials elements of the west coast jazz
-shorter phrases, less frequent chord changes, less complexity of melody and harmony, less improvisation, more repetition of melodic phrases, more repetition of short chord progressions, simpler drum patterns, and more pronounced repetition of drum and bass figures |
funk origins of the word
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-small meter over the big meter
-used by dave brubeck in "blue rondo a la turk" |
supermetric
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-duke ellington and the washingtonians played here in nyc with bubber miley
-ellington plunger mute started here, played for 4 years -important night club in the late 1920's, and features black entertainers and white audiences |
cotton club
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-name comes from the sound
-brass and reeds didn't belong -dominated by the saxophone -heavy drug use -musicians tried to ride from entertainers to artists -many compositions written over the changes of other popular tunes -clarinet and rhythm guitar were rare -on the beat chording -preferred instrumentation was small groups -improvisation/harmonies were more complex -melodic chromaticism -comping more prevelant than stride style -surprise was highly valued -more agitated style than swing |
bebop characteristics
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He wasn't but some people thought he was because the way he entertained people.
-had an FBI file due to his comments about the little rock 9 |
Louis armstrong- was he an uncle tom?
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-bill evans used this
-no piano soloist -bass, drums and piano were all equal -bill evans trio with scott lafarro (bass) and paul motian (drums) |
equal contribution style
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-herbie hancock's band
-wanted funk musicians who could play jazz, not vice versa |
headhunters
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-on album "kind of blue" 1959
-members- miles davis (trumpets), john coltrane (tenor and soprano saxophone), bill evans (piano), cannonball adderley (alton saxophone), jimmy cobb (drums), and paul chambers (bass) |
miles davis all-star/first quintet
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-members-
miles davis (trumpet), wayne shorter (saxophone), herbie hancock (piano), tony williams (drums), and ron carter (bass) -created new jazz idiom -no bridges, turnarounds, or sections -encourage free-flowing sounds and improvisations -caused "airy" feeling |
miles davis 2nd quintet
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-poems and lyrics don't have to rhyme
- ex- "moonlight in vermont"- song that doesn't rhyme |
a song without lyrics that don't rhyme? -haiku?
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moans and sings while playing
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keith jamett
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-coined by ornette coleman (saxophone) meaning using physical and metal logic to make an expression of sound to bring about music sensation of unison by a single person or group
-simultaneous soundings of a single melodic line in different tonalities, pitches, or keys |
harmolodic
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-enables musical instruments such as keyboard controllers, computers and other electronic equipment to communicate, control, and synchronize with each other
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fianle- midi
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-means "without which (there is) nothing"
-something absolutely indispensable or essential, applies to the jazz idiom |
sine qua nom
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-film score by duke ellington. 1959
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anatomy of a murder
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-9 instruments
-miles davis used it when gil evans helped with "the birth of the cool" -french horn and tuba were added, which was unusual |
nonet instrumentation
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-willis conover
-began during WW II -broadcast jazz to eastern europe during the cold war -was unknown in america, but famous in eastern europe |
voice of america
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-improvisation style, 8th note progressions
-used by john coltrane -impressive technique -pattern oriented, rigid 8th not repetitions |
sheets of sound
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-john coltrane wrote this song because of his drug/alcohol addiction being saved
-it celebrates his victory and religious experience overcoming his addictions |
a love supreme
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-bass
-in miles davis' 2nd quintet- 1963-1968 |
ron carter
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-drums
-in miles davis' 2nd quintet- 1963-1968 |
tony williams
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-saxophone
-im miles davis' 2nd quintet- 1963-1968 |
wayne shorter
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-drums
-im miles davis' 1st quintet- 1959-1963 -did album "kind of blue"- 1959 |
jimmy cobb
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-alto saxophone- "stella by starlight"
-in miles davis' 1st quintet- 1959-1963 -did album "kind of blue"- 1959 |
cannonball adderley
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-perservationists= wynton and lincoln center jazz orchestra
-post avant-garder experimentailists- john zorn -jazz-lite (smooth jazz)- kenny g and others -world music- lation, asian, african, other ethnic music -crooner vocalists- diana krall, michael buble, etc -big band writes |
musical trends
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-guitar
-contemporary, yet strongly based in tradition -song- "i'm old fashioned" |
cassandra wilson
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-both typically have-
-shorter phrase lengths/less frequent chord changes - less improvisation and complexity of melody and harmony -more repetition of melodic phrases, short chords, and progressions -simple drum progressions -more pronounced repetition of drum and bass figures |
distinguishing jazz from rock and funk
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-should be called "jazz-funk" because the "rock" influences on fusion came from james brown, sly stone, and other motown groups, not from the rolling stones or beatles
-early examples include miles davis- "filles de kilimajaro" |
jazz rock
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-took chick corea's place in miles davis band- 1970
-sings what he plays -balance between playing standard tunes and original compositions -1973- began playing improvised solo concerts -songs- "the windup"-1973, "koln concert"-1975, "my song"- folk jazz, "standard video- 1993 |
keith jamett
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-effected the harmonic rhythm (the speed of the change in harmony)
-harmonies of a single chord or scaled remain in effect for several measures |
modal jazz
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-composer/piano/bandleader
-hard bop era -virtuosity not essential to his style -solos like tune- simple ideas, memorable -native of cape verde islands -songs- "cape verdean blues"- 1965, "song for my father"- 1964, "nutville- 1965 |
horace silver
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-a reaction the america, cool jazz records that exploited the superficial elements of west coast
-return to roots gospel and blues influence -simpler harmony, rhythm and melody than before -powerful, explosive, hard-driving -standard group- quintet -1st era when LP was firmly entrenched -3 important bands- art blakey and the jazz messengers, horace silver and miles davis |
hard bop
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-used by chick corea in his group, Return to Forever
-used in his song "Spain" |
Fender Rhodes piano
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-quote from Bill Evans, in video interview with his brother Harry
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"i don't want to rob you the joy of discovering it yourself"
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-the relationship between two or more voices that are independent in contour and rhythm, and interdependent in harmony
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counterpoint
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-trumpet
-1917-1993 -born in cheraw, south carolina -1st and most important bop trumpeter -favored big bands -virtuoso player -gillespie pouches -contributed many compositions -autobiogrpahy- t be or not to bop -introduced afro-cuban music in jazz -songs- "salt peanuts", "cubanobe cubanobop" with chano pazo |
dizzy gillespie
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-saxophone
-1920-1955 -songs- "shaw nuff", "koko", "embraceable you" -may be one of the most important musical figures in history of jazz -densely packed solos. played fast and played a lot of notes -prolific composer -nickname- yardbird, jazz club took his name, birdland -influenced numerous musicians |
charlie parker
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-used by chick corea in his group, Return to Forever
-used in his song "Spain" |
Fender Rhodes piano
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-quote from Bill Evans, in video interview with his brother Harry
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"i don't want to rob you the joy of discovering it yourself"
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-the relationship between two or more voices that are independent in contour and rhythm, and interdependent in harmony
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counterpoint
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-trumpet
-1917-1993 -born in cheraw, south carolina -1st and most important bop trumpeter -favored big bands -virtuoso player -gillespie pouches -contributed many compositions -autobiogrpahy- t be or not to bop -introduced afro-cuban music in jazz -songs- "salt peanuts", "cubanobe cubanobop" with chano pazo |
dizzy gillespie
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-saxophone
-1920-1955 -songs- "shaw nuff", "koko", "embraceable you" -may be one of the most important musical figures in history of jazz -densely packed solos. played fast and played a lot of notes -prolific composer -nickname- yardbird, jazz club took his name, birdland -influenced numerous musicians |
charlie parker
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-no single event responsible
-many young musicians drafter -shortage of men caused dance halls to close -petroleum/shellac in short supply -pop singers/jazz musicians went in different directions -growing artistic unrest with musicians -times were changing |
decline of the big bands
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-composer/pianist
-1 of the most influential from 1950's and 60's -died in 1980's of complications from heroin -highly influenced by french impressionist maurice ravel (harmonically) -used light, legator sound -loved to play waltzes -made 4 LP's with bassist scott lafarro -loosened bebop formlua patterns which were standard during the 1940's and 1950's |
bill evans
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1-early jazz
2-swing 3-bebop (early 1940's-mid 50's) 4-cool jazz (west coast) 5-hard bop (1950's-1960's) 6-post bop 7-free jazz |
evolution of jazz
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-when unites of poetry don't coincide with the verse it's called...
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enjambment
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-piano
-had a trio which emphasized space and silence -vernel fournier (drums), israel crosby (bass) -song- "poinciana_ |
ahmad jamal
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-saxophone
-used scooping of the pitch as expressive gestures -duke ellington made him into one of the greatest ballad players of all time -in duke ellington's orchestra |
johnny hodges
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-was in 3/4 time which was hard to get to swing first
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problem with the jazz waltz
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vocalist with unique vibrato
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sidney bechet
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-duke ellington used this vocalist in the song "come sunday"
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mahalia jackson
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-piano
-jazz fusion -voiced chords in fourths -influenced by bill evans, spain, l. ron hubbard, and scientology |
chick corea
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-piano/singer
-both played piano and sang at the same time -1st-sing way behind the beat, expressive ballad singing. song "come dance with me" |
shirley horn/diana krall
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-arranging became important
-big band became the standard group -rhythm section- piano, bass, drums, perhaps guitar -played on all 4 beats; emphasis on each beat equally |
developments of the swing era
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-wrote "i got rhythm"- 1945
-don byas- tenor sax (advanced) -slam stewart- bass (bowed/sung solos |
george bushwin
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-word "funk" comes from this
-standard group- quintet with piano, bass, drums, trumpet, tenor saxophone |
hard bop
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-said quote "lord, what fool these mortals be?"
-trumpeter for count basie's 2nd band and duke ellington's orchestra |
clark terry
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-wrote "i got rhythm"- 1945
-don byas- tenor sax (advanced) -slam stewart- bass (bowed/sung solos |
george bushwin
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-word "funk" comes from this
-standard group- quintet with piano, bass, drums, trumpet, tenor saxophone |
hard bop
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-said quote "lord, what fool these mortals be?"
-trumpeter for count basie's 2nd band and duke ellington's orchestra |
clark terry
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-omitted tonality
-avant-garde jazz of the 1960's -main artists- ornette coleman, cecil taylor, albert ayler, and late coltrane -highly individualized styles, absence of tonality and predetermined chord sequences, abandonment of the chorus structure and formal constructions, avoidance of traditional sounds and replaced by voice-like sounds -play out of tune, use of altissimo register, uses high energy and gestures -least popular jazz style in history |
free jazz
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-omitted tonality
-avant-garde jazz of the 1960's -main artists- ornette coleman, cecil taylor, albert ayler, and late coltrane -highly individualized styles, absence of tonality and predetermined chord sequences, abandonment of the chorus structure and formal constructions, avoidance of traditional sounds and replaced by voice-like sounds -play out of tune, use of altissimo register, uses high energy and gestures -least popular jazz style in history |
free jazz
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-tenor saxophone/clarinet
-nickname= prez -swing era -one of the most influential saxophonists -influenced by f. trumbauer -played with light, airy sound -song- "lester leaps in" -influenced saxophonis of west coast jazz and count basie |
lester young
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changing the density of the chords per minute changes the...
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harmonic rhythm
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-applies contemporary techniques to the voice
-songs- "don't worry be happy", "flight of the bumblebee", "hush little baby", "coyote" |
bobby mcferrin
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-best known singer to emerge from the bop tradition
-much richer and darker tone quality than billie holiday -song- "they can't take that away from me" (george and ira gershwin) -song is an example of enjambment |
sarah vaughn
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-1918-1996
-probably the best known non-operatic singer from the 20th century -songs- "a tisket a tasket" with chuck webb- 1930, "how high the moon" example of scat, and "i'm getting sentimental over you" ballad singing |
ella fitzgerald
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