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    Cool Jazz

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    Chris McGrath
    The document summarizes the development and fragmentation of different jazz styles in the United States from the 1950s. It discusses the emergence of cool jazz pioneered by Miles Davis and the Gil Evans Orchestra. It also describes the development of hard bop centered in New York, modal jazz popularized by Miles Davis and John Coltrane, and the more relaxed West Coast style exemplified by Gerry Mulligan and Chet Baker.

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    Cool Jazz

    Uploaded by

    Chris McGrath
    1K views25 pages
    The document summarizes the development and fragmentation of different jazz styles in the United States from the 1950s. It discusses the emergence of cool jazz pioneered by Miles Davis and the Gil Evans Orchestra. It also describes the development of hard bop centered in New York, modal jazz popularized by Miles Davis and John Coltrane, and the more relaxed West Coast style exemplified by Gerry Mulligan and Chet Baker.

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    The document summarizes the development and fragmentation of different jazz styles in the United States from the 1950s. It discusses the emergence of cool jazz pioneered by Miles Davis and the Gil Evans Orchestra. It also describes the development of hard bop centered in New York, modal jazz popularized by Miles Davis and John Coltrane, and the more relaxed West Coast style exemplified by Gerry Mulligan and Chet Baker.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    1K views25 pages

    Cool Jazz

    Uploaded by

    Chris McGrath
    The document summarizes the development and fragmentation of different jazz styles in the United States from the 1950s. It discusses the emergence of cool jazz pioneered by Miles Davis and the Gil Evans Orchestra. It also describes the development of hard bop centered in New York, modal jazz popularized by Miles Davis and John Coltrane, and the more relaxed West Coast style exemplified by Gerry Mulligan and Chet Baker.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
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    The document discusses the fragmentation and diversification of jazz styles in the 1950s, with the emergence of Cool Jazz, West Coast Jazz, Hard Bop, modal jazz and other developments.

    Cool Jazz emerged from informal jam sessions in Gil Evans' apartment in New York in the late 1940s. Miles Davis' Nonet recordings of 1949-1950, such as 'Birth of the Cool', helped define the cool style with its less overtly virtuosic and sophisticated arrangements.

    Hard Bop was a reaction against the dominance of West Coast Jazz by white musicians. It featured elements of bebop mixed with blues and gospel styles, and emphasized the backbeat on beats 2 and 4 with influences from R&B. Artists like Horace Silver introduced this style with recordings such as 'Doodlin'.

    Jazz in the United States 1890-2011

    Professor Frank Lyons

    Monday, 19 March 12

    Fragmentation of Styles in the 1950s



    Cool West Coast Hard Bop East Coast Modal Third Stream

    Monday, 19 March 12

    Cool Jazz
    1947 Group of musicians began to gather 1949/50 Miles Davis Nonet recording
    sessions regularly at Gil Evans New York apartment

    Band featured Gil Evans circle including


    Davis, Mulligan, Konitz and Lewis

    Released by Capitol as Birth of the Cool

    Monday, 19 March 12

    Miles Davis (1926-1991)



    Born into well-to-do family in Illinois Worked in Parkers bebop quintet 1945-48 Nonet recordings 1949-50 Developed intense lyrical style of playing Pioneered use of harmon mute became his signature sound

    Monday, 19 March 12

    Jeru (1949) - Mulligan



    Miles Davis trumpet Kai Winding trombone Junior Collins French horn John Barber tuba Lee Konitz alto sax Gerry Mulligan baritone sax Al Haig piano Joe Shulman bass Max Roach - drums

    Monday, 19 March 12

    Jeru (1949) - Mulligan


    Recorded at rst session with Miles Davis
    Nonet Cool style Less overtly virtuosic Sophisticated arrangement by Gerry Mulligan Different instruments conceived of as single section Use of classical instruments Mixed race ensemble

    Monday, 19 March 12

    Boplicity (1949) - Henry (Davis/Evans)



    Miles Davis trumpet JJ Johnson trombone Sandy Siegelstein French horn John Barber tuba Lee Konitz alto sax Gerry Mulligan baritone sax John Lewis piano Nelson Boyd bass Kenny Clarke - drums

    Monday, 19 March 12

    Boplicity (1949) - Henry (Davis/Evans)


    Recorded at second session with Miles
    Davis Nonet Very cool style Seamless integration of written and improvised elements Reaction against ferocity of bebop

    Monday, 19 March 12

    Modern Jazz Quartet



    John Lewis Piano Milt Jackson Vibraphone Kenny Clarke Drums Percy Heath - Bass

    Formed in 1952 Wore concert attire and played concert halls Reaction against stereotypical image of black jazz musicians as junkies Anti-drugs

    Monday, 19 March 12

    Django (1954) -Lewis

    John Lewis Piano Milt Jackson Vibraphone Kenny Clarke Drums Percy Heath - Bass

    Monday, 19 March 12

    West Coast Jazz



    After WW2 many moved to California to pursue the American dream Gerry Mulligan moved to the West Coast after the Birth of the Cool sessions Formed a pianoless quartet with Chet Baker on trumpet, Chico Hamilton on drums and Bob Whitlock on bass Developed more relaxed cool style in keeping with lifestyle on West Coast Young fan base Very popular on college circuit

    Monday, 19 March 12

    Walkin Shoes (1952) Mulligan

    Gerry Mulligan Baritone Sax Chet Baker Trumpet Bob Whitlock Bass Chico Hamilton Drums

    Monday, 19 March 12

    Bernies Tune (1955) - Miller, Lieber, Stoller arr. Mulligan

    Gerry Mulligan Baritone Sax Bob Brookmeyer Trombone Jon Eardley Trumpet Zoot Sims Tenor Sax Peck Morrison Bass Dave Baily - Drums

    Monday, 19 March 12

    Blue Rondo Alla Turk (1959)-Brubeck

    Dave Brubecks Quartet Time Out album released in 1959 Experimenting with odd-metre 2+2+2+3 Odd-metre sections alternate with 4/4 swing sections Metric modulation between sections

    Monday, 19 March 12

    Take Five (1959) - Desmond

    Paul Desmond Alto Sax Dave Brubeck Piano Joe Morello Drums Eugene Wright - Bass

    Monday, 19 March 12

    Take Five (1959) - Desmond

    Paul Desmond Alto Sax Dave Brubeck Piano Joe Morello Drums Eugene Wright - Bass

    Monday, 19 March 12

    Hard Bop

    Reaction against white domination of West Coast jazz Black musicians looking to identiably black styles Features from bebop mixed with blues and gospel Accent on backbeat 2 and 4 from R&B

    Monday, 19 March 12

    Doodlin (1954) - Silver Horace Silver and the Jazz Messengers

    Blues changes Rhythmic displacement Gospel swing feel Emphasis on 2 and 4

    Monday, 19 March 12

    The Preacher (1954) - Silver Horace Silver and the Jazz Messengers

    Hank Mobley Tenor Sax Kenny Dorham - Trumpet Horace Silver Piano Art Blakey Drums Doug Watkins - Bass

    Monday, 19 March 12

    John Coltrane (1926-67)



    Born in Hamlet, North Carolina Went to music conservatory Joined Miles Davis quintet in 1955 First made an impact as leader with 1957 recording Blue Train After problems with drugs had a spiritual awakening in 1957

    Monday, 19 March 12

    Blue Train (1957) - Coltrane



    John Coltrane Tenor Sax Lee Morgan Trumpet Curtis Fuller - Trombone Paul Chambers Bass Kenny Drew Piano Philly Joe Jones - Drums

    Monday, 19 March 12

    Straight, No Chaser (1958) Monk


    Miles Davis Sextet recording of Monk standard Contrast of cool sound of Davis with the searching
    virtuosity of Coltrane Coltrane extending harmonic boundaries

    Monday, 19 March 12

    So What - Davis (1959)



    Monday, 19 March 12

    Miles Davis Trumpet Julian Cannonball Adderley Alto Sax John Coltrane Tenor Sax Bill Evans - Piano Paul Chambers Bass Jimmy Cobb - Drums From Kind of Blue the biggest selling jazz recording of all time Constructed from dorian mode on D and Eb 32-bar song form AABA Modal jazz

    Giant Steps (1959) - Coltrane

    John Coltrane

    Tenor Sax Paul Chambers Bass Tommy Flanagan Piano Art Taylor - Drums

    Monday, 19 March 12

    Giant Steps (1959) - Coltrane


    Fast harmonic rhythm Unusual chord progression based on thirds Ambiguous phrasing Extended solos Coltrane 206 bars Stretching the boundaries on all levels

    Monday, 19 March 12

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