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    Cool Jazz

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    fred
    Cool jazz developed in the 1950s as a reaction against the aggressive style of bebop. It featured a softer, more reflective approach with sophisticated arrangements influenced by classical music. Miles Davis' nonet recordings with Gil Evans from 1949 to 1950, known as The Birth of the Cool, helped define the cool jazz style with its lighter sound and quieter dynamics compared to bebop. Other major figures in cool jazz included Gerry Mulligan, Chet Baker, Stan Getz, and Dave Brubeck. Cool jazz was initially more popular on the West Coast while bebop remained dominant on the East Coast.

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    Cool Jazz

    Uploaded by

    fred
    157 views4 pages
    Cool jazz developed in the 1950s as a reaction against the aggressive style of bebop. It featured a softer, more reflective approach with sophisticated arrangements influenced by classical music. Miles Davis' nonet recordings with Gil Evans from 1949 to 1950, known as The Birth of the Cool, helped define the cool jazz style with its lighter sound and quieter dynamics compared to bebop. Other major figures in cool jazz included Gerry Mulligan, Chet Baker, Stan Getz, and Dave Brubeck. Cool jazz was initially more popular on the West Coast while bebop remained dominant on the East Coast.

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    Cool jazz developed in the 1950s as a reaction against the aggressive style of bebop. It featured a softer, more reflective approach with sophisticated arrangements influenced by classical music. Miles Davis' nonet recordings with Gil Evans from 1949 to 1950, known as The Birth of the Cool, helped define the cool jazz style with its lighter sound and quieter dynamics compared to bebop. Other major figures in cool jazz included Gerry Mulligan, Chet Baker, Stan Getz, and Dave Brubeck. Cool jazz was initially more popular on the West Coast while bebop remained dominant on the East Coast.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    157 views4 pages

    Cool Jazz

    Uploaded by

    fred
    Cool jazz developed in the 1950s as a reaction against the aggressive style of bebop. It featured a softer, more reflective approach with sophisticated arrangements influenced by classical music. Miles Davis' nonet recordings with Gil Evans from 1949 to 1950, known as The Birth of the Cool, helped define the cool jazz style with its lighter sound and quieter dynamics compared to bebop. Other major figures in cool jazz included Gerry Mulligan, Chet Baker, Stan Getz, and Dave Brubeck. Cool jazz was initially more popular on the West Coast while bebop remained dominant on the East Coast.

    Copyright:

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    of 4

    Evolution of Cool Jazz

    History of Jazz
    A m e r i c a s C l a s s i c a l
    M u s i c

    Reaction to explosive frenzy of bebop; sophisticated, mature

    Cool Jazz more attitude than style; more academic and


    reflective

    Improvisation based on bebop; softened attitude, more space


    and subtlety in the melodic line

    By 1950, cool jazz played predominantly on the west coast,


    with bebop remaining on the east coast

    Despite that, first important cool jazz recording made on east


    coast by Miles Davis, Gerry Mulligan, Gil Evans and several
    others

    Cool jazzers insisted upon equal status with concert


    musicians

    Listening Example: The Theme (Take 1) by M. Davis; performed by Miles Davis Quintet

    A Comparison between Bebop and Cool Jazz

    Lecture Four:

    Cool Jazz

    Bebop

    Cool

    Improvistory
    Character

    aggressive; outgoing in nature

    reflective; softer approach

    Instrumentation

    trumpet, sax, rhythm section

    trumpet, sax, rhythm section;


    use of orchestral instruments
    (strings, horn, woodwinds,
    tuba, percussion)

    Written
    Arrangements

    no

    yes

    Compositions

    generally new melodies over


    existing pop song structures

    new composed pieces using


    classical elements, artistic
    methods and bebop
    improvisation

    Use of
    Counterpoint

    no; melodies performed in


    unison by horns

    yes; composed counterpoint


    interjected with solo
    improvisation

    Use of Dynamics

    no; uniform volume

    yes; enumerated in music

    small, dedicated audience

    gradual popularity through film


    and TV exposure

    Popularity
    Listening Example: The Theme (Take 2) by M. Davis; performed by Miles Davis Quintet

    Miles Davis

    Miles Davis
    Birth of the Cool

    Listening Example: Moon Dreams by C. MacGregor & J. Mercer; performed by Miles Davis Nonet

    Miles Davis

    Born and raised in Illinois; son of affluent


    dentist

    Classically trained at and dropped out of


    Julliard, yearned to meet Charlie Parker

    Spent time working with notables


    Charlie Parker, Coleman Hawkins, Dizzy
    Gillespie, Max Roach

    Fascinated with new approach to jazz by


    pianist Lennie Tristano and saxophonist
    Lee Konitz: bebop essence with complex
    structured arrangements like Ellington

    Led to partnerships with Gil Evans, John


    Lewis and Gerry Mulligan
    Listening Example: It Never Entered My Mind by R. Rodgers & L. Hart; performed by Miles Davis Quintet

    Left Charlie Parker Quintet in 1948; formed


    own band based on Tristano/Konitz style

    Arranger Gil Evans scored for standard and


    unusual instrumenation: tuba (first time used
    regularly since early 1920s), French horn
    (never before heard in jazz)

    Evans used Ellingtons cross-section voicing


    and Monks clever use of dissonance

    Two key characteristics to this new sound:

    lighter sound
    quieter dynamic (volume)

    Evans used Ellingtons cross-section voicing


    and Monks clever use of dissonance

    Listening Example: In Your Own Sweet Way by D. Brubeck; performed by Miles Davis Quintet

    Miles Davis
    Between January 1949 and March 1950:
    Miles Davis Nonet had three recording sessions,
    eventually released by Capitol as The Birth of the
    Cool; by mid-1950s, this term was clich, but the
    title was appropriate

    1959: Kind of Blue released; what many

    considered the finest jazz album all-time

    1960s: Davis collaborated with other notables:

    John Coltrane, Paul Chambers, Cannonball


    Adderley, Bill Evans, Jimmy Cobb, Wayne Shorter,
    Herbie Hancock, etc.

    1968: Bitches Brew released; after experiencing

    music of James Brown, Jimi Hendrix and Sly Stone;


    first jazzman to ever make cover of Rolling Stone
    Listening Example: Half Nelson by M. Davis; performed by Miles Davis Quintet

    Miles Davis
    Continued recording until his death in
    1991

    Became well-known as a freelance talent

    scout in jazz, buoying the careers of


    Marcus Miller, Al Foster, Mino Cinelu, etc.

    Last album for Columbia Records in

    1985, Youre Under Arrest, included


    treatments of two ballads: Michael
    Jacksons Human Nature and Cyndi
    Laupers Time After Time

    Inducted into the Rock and Roll Hall of


    Fame in 2006 (15 years after his death)

    Modern Jazz Quartet


    Started by pianist John Lewis and Milt Jackson
    on vibraphone

    One of the most significant jazz quartets;

    portrayed image of classical string quartet

    Wore tuxedos at performances


    Performed at finest music halls
    Provided printed programs with program
    notes

    Well-rehearsed music; polished


    performances

    New complex compositions by John Lewis


    Introduced the Third Stream Jazz concept, a
    halfway point between traditional jazz and
    concert music

    Listening Example: So What by M. Davis; performed by Miles Davis Sextet

    Listening Example: Django by J. Lewis; performed by Modern Jazz Quartet

    Dave Brubeck

    Stan Getz

    Rose to prominence in San Francisco during 1950s


    and remained one of the most popular jazz artists
    through the 1990s

    Brubeck made similar recordings to Davis Birth of


    the Cool while a student of concert composer
    Darius Milhaud, who encouraged the use of jazz
    elements in 20th century concert music

    Thought of himself as a bebopper, his sound and


    style were more associated with cool jazz; part
    had to do with his cool image

    Inspired by Lester Young; took that light, buoyant


    sound to almost an extreme - airy, feathered
    sound; earned him the nickname The Sound

    Next to Davis, Brubeck became most popular jazz

    Musically, Getz was aggressive which caused him

    Brubeck, working on and off with his Quartet over

    Influenced heavily by Romantic era classical

    Another noted jazz pianist grew out of the San

    Became commercially popular when he recorded

    artist of the 1960s

    the years, also composed concert music: oratorios,


    cantatas, solo works for voice and instruments
    Francisco jazz scene around the same time: Vince
    Guaraldi
    Listening Example: Blue Rondo A La Turk by D. Brubeck; performed by the Dave Brubeck Quartet

    to cross-referenced in bebop and cool jazz

    music; his improvisations often described as


    classical melodies
    bossa nova music from Brazil; scored a top 40 hit
    with Astrud Gilberto, The Girl From Ipanema
    Listening Example: Desafinado by A.C. Jobim; performed by Stan Getz & Charlie Parker

    Next Lecture:

    Hard Bop or
    East Coast Style

    Listening Example: Doodlin by H. Silver; performed by Horace Silver & the Jazz Messengers

    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

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