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Miles Davis(1926-1991)
PresentationBy Akram NajjarKaraz w Laimoon16 Nov 2016
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BebopHard BopCool Jazz
Modal JazzFree Jazz
Jazz-Rock Fusion
Ancestors of Big Bands . . .
Ragtime Stride
Boogie
Woogie
Rock n Roll
Early
Jazz
March
Bands
Sacred
Music
Rhythm and
Blues
Honky
Tonk
Blues
20s+30s
50s
20s
30s
Big
Bands
30s+40s
Modern Jazz
started in the early 40s
with the decline of
Big Bands
The Evolution of Jazz after Big Bands
Oppositional
Big
BandsBebop
Cool
Jazz
Hard
Bop
Oppositional
Regressive
Modal
Jazz
Extensive
Free
Jazz
Opposed
Everything
Oppositional
Fusion
Absorbed
Everything
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Miles Davis: Periods and School
(In Spite of Overlap!)
A) The New York Bebop Years 1944 - 1948
B) The Birth of the Cool (Nonet) 1949 - 1950
C) Hard Bop Period 1950 - 1954
D) The First Great Quintet 1955 - 1958
E) The Sextet 1957 - 1958
F) Collaboration with Gil Evans 1957 - 1963
G) Modal (Kind of Blue) 1959 - 1964
H) The Second Great Quintet 1964 - 1968
I) 1969 onwards . . . .
Bebop(early 40s to late 50s)
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Dizzy Gillespie (tr)
Charlie Parker (as)
Thelonious Monk (p)
Bud Powell (p)
Kenny Clark (dr)
Max Roach (dr)
Miles Davis (tr)
Key Bebop Musicians
Dexter Gordon (ts)
Ray Brown (b)
Sonny Stitt (ts)
J.J. Johnson (tb)
Fats Navaro (tr)
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Modern Jazz starts with a Severe
Reaction by Bebop to Big Band Music
A rise of late night Jam Sessions for small Combos:
Speeded up tempos
Unusual keys
Changed improvisation schemes
A rise in cutting contests encouraging virtuoso playing
A rise in small dynamic bands / soloists without contracts
Bebop musicians saw their music as Art Music
NOT a Functional Music or Music for Dancing
as in Big Bands in large halls, studios or events (army?)
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They Saw a Major Need
to Change the Musical Format
No more writing for instrumental sections
Songs consisted of a single head (statement of melody) + an
unspecified number of choruses assigned to one or more artists
Each chorus is an improvisation over the harmonic structure of
the head
Sometimes, the head would also appear at the end
(Compare with Classical Sonata Allegro Form!!)
Often, the end would be through unresolved chords
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More Musical Variance from Big Bands
Soloists introduced fluid vs discontinuous playing
influenced by: Lester Young (tenor) and Charlie Christian (guitar)
Competent musicians used advanced harmonic structures:
New chords and unusual harmonies
Flattened 5th, whole tone scales, 9th, 11th, 13th
Tritones, Augmented and Diminished chords
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And . . . Instrument Roles Changed
Bass maintained walking but was promoted to to a soloists role
(Thanks to Jimmy Blanton (Duke Ellington bassist) and Oscar
Pettiford)
Pianists started comping (or providing rhythmic accompaniment)
This elevated the guitar to a soloists role
Emphasis on speed and virtuosic playing
Vocalists were not common anymore: melodic lines were
changed from lyrical/melodic to more angular/fast
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Rhythmic Changes?
Advanced rhythms away from 2/4, 4/4
Also away from standard accents: 1-2-3-4 or 1-2-3-4
Kenny Clarke built on Basies enhanced drummers role
Bass drum was not fast enough to provide flexible beats
Moved beat from bass drum to the ride cymbal
Bass drum freed to provide dropping bombs
Often called KLOOK-MOP after Kennys nickname: Klook
Clarkes polyrhythms affected later drummers:
Max Roach and Art Blakey
Charlie Parker (Bird)(1920-1955)
Dizzy Gillespie(1917-1993)
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Considered as the most influential Jazz Musician ever Maybe
Armstrong can sit with him
Grew up without musical training but with a love for Jazz
He taught himself music theory
His virtuosity was legendary: melodic, harmonic and rhythmic
Died as a burnout at 37
Parker?
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Gillespie
Started life with large bands: Eckstine . .
Big Band music was always under his skin
With Parker, they were two of the most
important creators of Bebop
He was Parkers other half of his heartbeat
but only for 3-4 years
Gillespie went back to Big Bands and changed
a lot in the way they worked
He was behind introduction of Latin American
modes
While most of his colleagues chose to be Black
Moslems, he chose to be a Bahai
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1944: he was 18 and on his way to Julliard in New York
Really, he was searching for Charlie Parker
He dropped out of Julliard
As a young genius trumpeter he played around beboppers
1947: Gillespie left Parker because of Parkers drug abuse
Miles Davis replaced Gillespie (at 21 years of age)
1948: end of 3 years of great Bebop experience.
BUT speed and complexity did not suit his style
He left Parker and started on his own
Trumpet Influences: Bebop Fats Navarro and Dizzy Gillespie
Influenced greatly by Ahmad Jamal
Miles Davis
1944 - 1948: The New York Bebop Years
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A) The New York Bebop Years
1944 - 1948
1) Hothouse: Parker and Gillespie
With Parker +
Max Roach (dr), Bud Powell (p), or John Lewis (p)
2) Blue Bird (1947)
3) Donna Lee
4) Youre my Everything
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Cool Jazz(Late 40s to early 50s)
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Miles Davis
Ahmad Jamal
Modern Jazz Quartet
Dave Brubeck (p, qrt, oct)
Paul Desmond (as)
Bill Evans
(p / (composer/arranger)
Gerry Mulligan (bs)
Chet Baker (tr)
Gil Evans
(composer/arr)
Jimmy Giuffre (ts)
Key Cool Jazz Musicians
Stan Gets (ts)
Claude Thornhill(cool big band)
Woody Herman(cool big band)
Stan Kenton (cool big band)
Lennie Tristano (p)
Art Pepper (as)
George Shearing
Bob Brookmeyer
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Characteristics of Cool Jazz
A reaction to the hard driving, harmonically complex Bebop
Relaxed tempos (often slow)
Lighter melodies, lots of space
Re-emergence of arrangement (regressive!)
Closeness to European Classical Music
Tonal colors can be compared to pastel
And . . .
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Cool Jazz? Why and Where?
(With considerable Overlap)
Group 1: Musicians who preferred soft variants of Bebop (evolutionary)
Group 2: Musicians who dropped Bebop in favor of Advanced Swing
(oppositional)
Moreover: the above were often reclassified as East Coast and West
Coast Jazz
Stylistically the difference was not significant
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Group 1:
Soft Variants of Bebop
Miles Davis Birth of the Cool LP (1949-1950)
John Lewis and Gerry Mulligan were part of the Nonet
Lewis and Gil Evans key arrangers
The Modern Jazz Quartet MJQ (1952)
John Lewis and Milt Jackson (MJ?)
Gerry Mulligan (when with Chet Baker and Bob Brookmeyer)
Stan Kenton's sidemen (late 40s thru 50s)
George Shearing
Stan Getz (when with Woody Herman)
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Group 2:
Dropped Bebop for Advanced Swing
Lennie Tristano (p)
Art Pepper (as) and Lee Konitz (as)
Both major influences on Paul Desmond
Dave Brubeck (p) and Paul Desmond (as)
Woody Hermans Herds (First and Second)
Four Brothers: Gets, Sims, Steward, Chaloff (by Giuffre)
Jimmy Giuffre (ts)
Lester Young's small group music
Even later Gillespie who had his own Big Bands
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1948: Miles Davis starts collaborating with 3 musicians all of them
great instrumentalists, arrangers, composers:
Gil Evans: extensive experience with Claude Thornhill (late big band)
(Not to be confused with Bill Evans, a later collaborator)
John Lewis: pianist, later with Modern Jazz Quartet
Gerry Mulligan: baritone saxophone
Later with Chet Baker (trump) / Bob Brookmeyer (tromb): the Piano-less
Quartet
This led to the first Davis Band: The Nonet
With Max Roach (drums), Lee Konitz (tenor), Kai Winding (tromb), etc.
Also had French Horn and Tuba
1949 - 1950: The Birth of the Cool (The Nonet)
"I prefer a round sound with no attitude in it, like a round voice with not too much tremolo
and not too much bass.
Just right in the middle.
If I cant get that sound I cant play anything."
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1949 - 1950: The Nonet records
many single 78 rpm records
1956: all 78 rpm tracks
released as a single LP: The Birth of the Cool
Later on, Konitz, Mulligan and Lewis going their own way with
their own brand of Cool
Mysteriously, one year earlier, Dave Brubeck had started an Octet
in LA: very similar style
More on the Cool . . . .
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B)
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