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Prentice Hall Jazz Collection CD
Sony Special Products

ISBN-10: 0131116746
ISBN-13: 9780131116740

Publisher: Prentice Hall
Copyright: 2007
Format: Audio
Published: 03/06/2003

Suggested retail price: $22.60
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A wonderful aid to any serious study of "America’s music", this compact disc collection contains works from each of the major traditions of jazz. The twelve selections were carefully chosen to complement the content of most mainstream jazz textbooks, including Mark Gridley’s Jazz Styles and Concise Guide to Jazz.

 

Listening Guide for “Wolverine Blues”

 

Composed by Jelly Roll Morton;  Recorded on June 10, 1927 by Jelly Roll Morton Trio–Jelly Roll Morton (pn), Johnny Dodds (cl), Baby Dodds (dr).  Available on the Prentice Hall Jazz Collection; also available on THE JELLY ROLL MORTON CENTENIAL: HIS COMPLETE VICTOR RECORDINGS (RCA Bluebird: 2361). 

 

Jazz Style:  Early Jazz

 

Prentice Hall Jazz Collection: Track 1

 

Just three instruments perform “Wolverine Blues”: piano, clarinet, and drums.  The first minute and a half feature only Jelly Roll Morton’s piano playing, yet in his forceful and swinging style of playing you can almost hear a full band.   As you listen to this recording, imagine how the same notes would sound if they were performed by an early jazz ensemble.  The left hand usually plays in the stride style, often alternating between bass notes and mid-range chords.  The low pitches imitate what a tuba or bass might play, and the chords suggest a banjo part.  Melodic passages in the left hand sound like trombone and tuba playing in octaves.  The thick right hand music suggests trumpet melodies and clarinet ornamentation.  Such an ornate style demonstrates not only Morton’s excellent technical ability on the piano, but also his inclination towards an orchestrational approach to playing.

 

Both the form of this composition and the style of piano playing suggest the influence of ragtime.  But the swinging rhythms and level of improvised sophistication extend well beyond the ragtime tradition into the world of jazz.

 

0’ 00”   Introduction

            Four Measures

            Begins with a figure in octaves, followed by a highly syncopated passage.

 

0’ 05”   First Strain

            16 Measures

            The melody is quite syncopated, complex, and active. 

 

0’ 23”   Repeat of First Strain

16 Measures

The music is ornamented and modified substantially, creating a contrast to the opening presentation.

 

0’ 41”   Second Strain

16 Measures

During this strain, there is a moment when the left hand drops out, and the right hand plays a solo figure.  Such solo-breaks were common in early jazz.  Picture this solo line being played by trumpet or clarinet. 

 

0’ 58”   Repeat of Second Strain

            16 Measures

This section features three more solo-breaks in the right hand.

 

1’ 15”   First Strain

16 measures

The left hand plays very low, while the melody returns to material from the first strain. 

 

1’ 31”   Introduction to Trio Section

            4 Measures

            Very fast octaves.

 

1’ 35”   Trio Section–First Chorus

            14 measures

Clarinet and drums enter.  Clarinet plays an active melody, piano holds sustained chords, and the drums set up a steady rhythmic groove.  If you listen carefully, you will be able to hear the bass drum emphasize beats one and three, while the cymbal places an accent on beats two and four. 

 

1’ 50”   2 measures

Solo-break allows clarinet to shine for two measures. 

 

1’ 52”   8 measures

Piano continues sustained chords, drums a little more active.

 

2’ 01”   8 measures

Piano begins active, stride piano style again.  Some accented cymbal notes are inserted.

 

2’ 09”   Second Chorus

         14 measures

Clarinet continues to solo.  Piano plays various accents with both hands, eliminating the stride feel.  Drum part continues playing ONE two THREE four on the bass drum, but plays a more aggressive pattern on the snare drum, emphasizing beats TWO and FOUR as he had done earlier on the cymbal.

 

2’ 24”   2 measures

This time the solo-break is filled in with the piano repeating one high pitch very quickly.

 

2’ 26”   8 measures

            Piano accents continue under clarinet solo.

 

2’ 34”   8 measures

Stride piano feel once again behind solo.

 

2’ 43”   Third Chorus

            14 measures

Drums change the feel, playing a more active pattern on the snare drum (the snares on the drum are turned off to give a darker and thumpier sound).  Piano and clarinet both play in low registers.

 

2’ 57”   2 measures

Clarinet fills in the solo-break.

 

3’ 00”   14 measures

Piano plays stride style.  Clarinet continues solo. 

 

3’ 15”   Tag (ending passage)

4 measures

These few measures are “tagged” onto the end for one last bout of excitement.  Drums play strong accent on the snare drum on beats TWO and FOUR.  To end the piece, the drummer chokes (mutes) the cymbal with his hand.

 

 

Listening Guide for “Seven Come Eleven”

 

Composed by Benny Goodman & Charlie Christian; Recorded on November 22, 1939 by Benny Goodman (cl), Charlie Christian (gt), Lionel Hampton (vibes), Fletcher Henderson (pn), Artie Bernstein (bass), Nick Fatool (dr).  Available on the Prentice Hall Jazz Collection; also available on GENIUS OF THE ELECTRIC GUITAR (Columbia CK 40846) and on BENNY GOODMAN SEXTET FEATURING CHARLIE CHRISTIAN (Columbia CK 45144). 

 

Jazz Style:  Swing

 

Prentice Hall Jazz Collection: Track 2

 

Though the swing era is most famous for big bands, smaller ensembles recorded and performed as well.  Benny Goodman, who was dubbed the “King of Swing” due to hot and exciting radio performances and concerts with his big band, also performed with a trio, quartet, and the sextet featured in “Seven Come Eleven.”  The instrumentation for “Seven Come Eleven” is clarinet, vibraphone, electric guitar, piano, bass, and drums.  While the theme is simple, and its rhythms are clearly representative of the swing movement, the solos are quite sophisticated.  Specifically, the improvisations by guitarist Charlie Christian and vibraphonist Lionel Hampton are relatively complex for swing, both hinting at techniques that would later be explored by bop musicians.  Note how each of their solos contains some relatively quick and sophisticated passages.

 

0’ 00”   Introduction

            Four Measures

            Drums set up swing time feeling.

 

0’ 05”   Eight Measures

Bass and piano enter with rhythmic figure.  Harmony is static (only one chord implied).

 

0’ 12”   Melody–First Chorus

A          Clarinet, vibes, and guitar enter with melody.  Notice the repeating riffs of the melody.  Piano and bass continue playing the opening bass line. 

0’ 21”   A          Repeat of first A section.

0’ 29”   B          Clarinet improvisation.  Vibes comp over a walking bass line.  The harmony

changes regularly during the B section, contrasting it substantially from the opening.        

0’ 37”   A          Repeat of first A section.

 

0’ 45”   Charlie Christian’s Guitar Solo–Second Chorus

A          Guitarist Charlie Christian opens his solo by emphasizing just one note.  Shortly after, he begins playing short, moving lines.  The solo sounds bluesy.  Bass plays a more-or-less repetitive pattern behind the solo. 

0’ 54”   A          Vibes add a countermelody behind the solo.

1’ 02”   B          Solo becomes more active and complex.  The bass begins to walk, and

vibes comp by playing sustained chords.

1’11”    A          Continuation of solo.

 

1’ 19”   Lionel Hampton’s Vibraphone Solo–Third Chorus

A          Lionel’s Hampton’s vibraphone solo is active throughout.  Clarinet and guitar harmonize a figure in the background.  Bass walks throughout entire solo.

1’ 28”   A          Continuation of solo.

1’ 36”   B          Very active solo, almost no rests.

1’ 44”   A          Continuation of solo.  In middle of section he emphasizes a special note,

which clashes a bit with the harmony.

 

1’ 52”   Benny Goodman’s Clarinet Solo–Fourth Chorus

A          Benny Goodman’s clarinet solo is typical of his playing.  Note his clean and relaxed, but always swinging, approach.  Listen to the way he alternates between long and short phrases.2’ 01”  

A          Continuation of solo.

2’ 09”   B          Continuation of solo.

2’ 17”   A          Continuation of solo.

 

2’ 25”   Melody–Fourth Chorus

            A          As earlier.

2’ 34”   A          Continuation of melody.  After six measures, clarinet, vibes, and guitar

break into short improvisations before ending the piece.

 

 

 

Listening Guide for “Groovin’ High”

 

Composed by Dizzy Gillespie;  Recorded on September 29, 1947, by Dizzy Gillespie (tpt), Charlie Parker (a sx), John Lewis (pn), Al McKibbon (bs), Joe Harris (dr).  Available on the Prentice Hall Jazz Collection; also available on DIZ ‘N BIRD AT CARNEGIE HALL (Blue Note CDP 7243 8 57061 2 7). 

 

Jazz Style:  Bop

 

Prentice Hall Jazz Collection: Track 3

 

The virtuosic playing represented on this recording typifies the styles of Dizzy Gillespie, Charlie Parker, and other leaders of the bebop movement.  As the soloists improvise fast, assymetrical melodic lines, the drummer plays interactively, spurring them on with a number of “kicks” from the snare drum and “bombs” from the bass drum.  The bass player lays down a solid and aggressive walking bass line.  Notice, in their solos, that both Parker and Gillespie tend to leave a second or two of silence following almost every phrase they play.  This gives the listener a chance to absorb the previous statement, and creates a sense of anticipation about what the next line will have in store.  Bebop heralded in the age of modern jazz, and performances like this laid the foundation for much jazz that was to follow.

 

0’ 00”   Introduction

Alto sax and trumpet, playing in unison, are answered by a bass statement, followed by another unison line.

0’ 09”   Theme

Sax and trumpet play theme in unison, accompanied by a walking bass line and timekeeping rhythms in the drums.  Listen for the main melodic idea of this theme: a descending two-note motive.   It happens repeatedly in the melody.

           

        Charlie Parker’s Alto Saxophone Solo

0’ 53”   Solo break, leading into Parker’s solo

0’ 58”   First Chorus

Bass Walking, drums keeping time, pianist comping, sax soloing using a wide variety of rhythms

1’ 41”   Second Chorus

Solo continues.  Notice the enthusiastic, verbal encouragement Gillespie gives to Parker during his solo.  This kind of interaction is not only appropriate, but common for jazz musicians.

2’ 24”   Third Chorus

 

3:04      Transition

Horns quote two-note figure from melody and are answered by the rhythm section.  Then drums imitate the melody of the sax.

3:08      Gillespie solo break.

 

3:14”    Dizzy Gillespie’s Trumpet Solo

Drums play more aggressively here, to support Gillespie’s fiery tone and powerful high notes.  This solo is only one chorus long.

 

3:58      John Lewis’ Piano Solo

This solo is less than a full chorus.  Because this recording is of a live performance, where the piano was not recorded well, it sounds soft on the CD.

 

4: 38”   Ending

Gillespie plays powerful figures while allowing Parker to improvise a bit more.  Drums play aggressively.

4’ 46”   Short alto sax cadenza (solo statement)

4’ 50”   Gillespie returns to the melody, quoting the standard jazz classic “Four,” at a slower pace, accompanied by the rest of band.  Big ending.

 

 

Listening Guide for “Misterioso”

 

Composed by Thelonious Monk;  Recorded on July 2, 1948 by Thelonious Monk (pn), Milt Jackson (vibes), John Simmons (bs), Shadow Wilson (dr).  Available on the Prentice Hall Jazz Collection; also available by SONY Special Products for disc 4, track 6 of SMITHSONIAN COLLECTION OF CLASS JAZZ (RD 0334-4). 

 

Jazz Style:  Bop

 

Prentice Hall Jazz Collection: Track 4

 

Though Thelonious Monk played with bop musicians, his style of improvisation and composition marks a stark contrast to theirs.  “Misterioso” is in a 12-bar blues form, but it is quite unique compositionally.  The theme is not as singable as swing melodies were, but it is also not as active as bop tunes.  There are no “blue” notes in the melody of this composition, giving it a less bluesy feeling, despite its form.  Bass and vibraphone imitate the teeter-totter motion of the piano here.  The rhythm of the melody is also unique because of its simplicity.  One note is played on every pulse.  If you count 1234 2234 3234 4234, the melody changes pitches every time you say a number.  There are no moments of silence, just continuous playing until the final note of the theme. 

 

Monk’s solo is representative of his quirky and eccentric style of playing.  Instead of intricate, densely packed lines, typical for bop, he opts for sparse, angular, and unpredictable melodies, often ending a phrase on the “wrong” note at the “wrong” time.  Monk’s style of playing was so different from other players that it is hard to classify him as a bop musician.  He is truly in a category of his own.

 

0’ 00”   Introduction (8 measures)

Monk introduces the up-down motion of the melody by playing a series of pitches in his right hand.  The 10th note is sustained.  He plays this figure twice to set up the theme.

 

0’ 11”   Melody (12 measures)

Vibes and bass harmonize the melody played by the piano.  Drums play simple figures, supporting the rhythm of the melody rather than using a jazz swing feeling.

 

0’ 46”   Milt Jackson’s Vibes Solo (1 chorus–12 measures)

The tempo here is half-timed from the melody statement.  The bass and drum accompaniment, as well as the vibraphone solo, are characteristic examples of blues playing.  However, Monk’s comping is quite special.  Instead of resorting to a chordal accompaniment, as most players of this era would, he articulates only six individual pitches, played sporadically in the lower and middle registers of the piano. 

 

1’ 23”   Thelonious Monk’s Piano Solo (2 choruses–24 measures)

Listen to how unexpected and awkward Monk’s note choices can sound.  Some pitches feel bluesy, but others sound like mistakes.  Observe, also, the irregular rhythms throughout his soloing.  You may get the impression the Monk is playing a game with the listener, always trying to fool you about what he will or will not play next.

 

2’ 40”   Melody (12 measures)

For the closing thematic statement, the vibes and bass play notes almost identical to the opening passage.  Instead of playing along with them, as he did earlier, Monk picks out quirky notes to emphasize, at times poking, like a child, with just one finger on each hand.  He chooses individual notes and chords that clash with the melody.  Towards the end of the piece Monk joins the others.  To conclude the piece, Monk runs down his favorite scale, called the whole tone scale.

 


 

Listening Guide for “Blue Rondo A La Turk”

 

Composed by Dave Brubeck; Recorded August 18, 1959 in New York by the Dave Brubeck Quartet: Dave Brubeck (pn), Paul Desmond (as), Gene Wright (bs), Joe Morello (dr).  Available on the Prentice Hall Jazz Collection; also available on Dave Brubeck, Time Out (Columbia CK 40648). 

 

Jazz Style:  Cool Jazz

 

Prentice Hall Jazz Collection: Track 6

 

From the earliest days of jazz, there were always musicians who tried to alter and expand various elements of the music.  Players experimented with more adventuresome notes, phrasing, harmonies, sounds, and expanded forms.  The single element that seemed to go unchallenged was the number of beats in a measure.  As can be observed in all the listening examples so far, most jazz was in 4/4 time.  In other words, you can count 1234 2234 3234 4234, etc.  The first jazz musician to experiment with irregular time signatures was Dave Brubeck. 

 

Brubeck’s ensemble performed some compositions that had five or seven beats in a measure, unknown to jazz at the time.  To divide up a measure of five beats it is necessary to split up the counting unevenly.  For example, it could be divided by counting two beats followed by three beats (2+3):  12 345; or 3+2: 123 45.  Either way, the combining of 2 beats and 3 beats is irregular.  Because jazz began as dance music, some argued that jazz had to have four beats to a measure, and that Dave Brubeck was therefore not playing jazz.  How could people possibly dance, or even tap their feet, to a music with beat groupings that were uneven?  Yet nobody could deny that his music included a jazz swing feeling, much improvisation, and many other jazz-influenced traits.

 

Because of this controversy, Columbia Records didn’t want to release Brubeck’s album Time Out originally, which featured many pieces containing an unusual number of beats per measure.  But the president of the company loved this unusual music, and he gave the green light.  The album was a hit.  It became one of the top selling jazz albums of all times, and Dave Brubeck became a household name.  Musicians and non-musicians alike were fascinated with the odd meters exploited on the album. 

 

“Blue Rondo a la Turk” is perhaps the most famous piece from this recording.  The title shows three of the many influences for Brubeck–“blue” is a jazz term, “rondo” suggests a classical form (which means that new sections alternate with old ones), and “a la Turk” refers to Turkish music.  Brubeck studied composition with the classical composer Darius Milhaud, and traveled to Turkey during World War II.  The blending of these seeming disparate elements with jazz contributed to the unique sound of this composition.

 

Brubeck first heard two prominent rhythms used in this piece while he was traveling in Turkey.  Each have nine beats in a measure, grouped differently.  The opening rhythm of the piece groups the nine beats 2+2+2+3 :

 

            Rhythm A:        1 (2)   3 (4)   5 (6)   7 (8 9)

 

Before listening to the recording, try counting like this.  Emphasize the numbers written in bold (1, 3, 5, and 7).  The second way he divides up a measure of nine is 3+3+3:

 

            Rhythm B:        1 (2 3)   4 (5 6)   7 (8 9)

 

At the beginning of the piece Brubeck places three bars of rhythm A followed by one bar of rhythm B.  Try to count this at a quick tempo.  Then see if you can count along with the recording and feel all the beats.  Listen to the way the melody emphasizes the rhythmic structure.

 

Measure 1                    Measure 2                    Measure 3                    Measure 4

1(2) 3(4) 5(6) 7(89) |     1(2) 3(4) 5(6) 7(89) |     1(2) 3(4) 5(6) 7(89)|      1(23) 4(56) 7(89)

 

A third meter used in this piece is the common 4 beats in a bar.  The character of these sections is an enormous contrast to the odd-metered sections.  The beats go by at a slower pace, and the music follows a blues form.  All of the improvised solos are performed over sections with four beats to the measure.  Count 1234 2234 3234 4234, etc.

 

The form of this composition is slightly more complicated than many other jazz tunes.  This shows the influence of the complexities of classical music on Brubeck’s compositions.

 

0’ 00”   A section

This section always features 3 measures of rhythm A plus 1 measure of rhythm B.  The piano begins playing the melody and rhythm. 

 

0’ 05”   Bass and cymbal joins in.  The cymbal part is quite simple.

 

0’ 11”   Alto sax begins doubling the melody.  The melody here is played slightly higher than at the beginning.  The drum pattern becomes increasingly more active. 

 

0’ 22”   Return to the melody in the original register, played by piano, bass, and drums.

 

0’ 34”   B Section

This section, with piano on the melody, uses the same rhythmic divisions as the A section.  However, the shape of the melody is altered.

 

0’ 45”   A Section

Return to opening material, with saxophone playing melody.

 

0’ 55”   B’ Section

The B section is varied slightly, with a more chordal approach in the right hand of the piano.

 

1’ 07”   A Section

Once again, sax plays the melody.

 

1’ 18”   C Section

This section, chordal in nature, still retains the rhythms of the beginning.  The left hand of the piano also plays a prominent figure at times, accenting the uneven division of the bar as the melody had before. 

 

1’ 35”   C Section Extension

Block chords played loudly, adding intensity.

 

1’ 38”   This is the climax of the melody.  Wide spread chords are played in a rhythm that

resembles rhythm A.  However, this short section actually combines a rhythm of 11 beats in a measure:  1(2)3(4)5(6)7(8)9(10 11) with rhythm B.  It gives the impression of the music being stretched out, and sounds a bit slower, though you should still count at the same tempo.

 

1’ 52”   Blues/A Section alternations

This sections alternates two measure of a blues feel with two measure from the A section.  It oscillates between these two rhythms three times, sounding as if the music can’t decide between blues or Turkish rhythms.

 

2’13”    Paul Desmond’s Alto Sax Solo

Finally, the music settles on a blues form, and the sax solo is officially underway.  Notice Paul Desmond’s simple phrasing and soft tone.  This kind of laid back, mellow sound is typical of cool jazz.  His rhythms are often relatively slow, and following a melodic phrase, Desmond often leaves space for several beats to give the music a chance to breath.  Piano does not accompany the sax solo, aiding to a very open and spacious feel.

 

3’52”    Dave Brubeck’s Piano Solo

The piano solo is also simple, leaving a good deal of space.  Brubeck begins the solo with single note, horn-like melody lines, but in the second chorus moves to a block chord style of playing.  During his third chorus, Brubeck returns to clear-cut, bluesy lines.

 

5’ 33”   Blues/A Section alternations

Similar to the music directly preceding the sax solo.

 

5’52      Restatement of the melody–A’

Short reminder of the A section

 

6’ 03”   C section

Repeated literally from earlier.  The piece ends dramatically at the end of this section.

 

 

Listening Guide for “Senor Blues”

 

Composed by Horace Silver; Recorded on Nov. 10, 1956 by Hank Mobley (ts), Donald Byrd (tpt), Horace Silver (pn), Doug Watkins (bs), Louis Hayes (dr).  Available on the Prentice Hall Jazz Collection; also available on The Best of Horace Silver (Blue Note: CDP 7 91143 2). 

 

Jazz Style:  Hard Bop

 

Prentice Hall Jazz Collection: Track 7

 

“Senor Blues” is an example of the aggressive, hard bop compositions of Horace Silver.    The piece is a blues in a minor key.  By comparing this recording with “Groovin’ High” (bop) and “Blue Rondo a la Turk” (cool jazz) some of the unique characteristics of Silver’s style become apparent. 

 

A distinct aspect of this composition is the rhythm.  Slower than most bop tunes, it begins with a prominent bass line, derived from Latin American influence.  The bass emphasizes the rhythmic character of the piece by playing an active, repetitive, written out figure.  The left hand of the piano doubles this line, quite characteristic for Silver.  Throughout this piece, the drums play a constant pattern throughout, with almost no variety.

 

“Senior Blues” is in compound meter.  This means that each beat can be divided into three parts instead of the typical two.  To count the rhythm of this piece, repeat the syllables below:

 

1 — and — a       2 — and — a     3 — and — a      4 — and — a

 

After listening to the recording a few times, try singing along with the melody played by the trumpet.  You will probably have more success with this than you would if you tried to sing a melody from a bop piece.  This simple melody is made up of short, regular phrases, separated by rests.  Bop melodies are typically more complex and less regular, resembling solos more than singable “tunes.”  Though a bit more complicated than the melody, the solos are lyrical, logical, and simpler than the bop improvisations typical of Charlie Parker and Dizzy Gillespie.  Some of the faster, double-timed lines show the influence from bop.  The solos are soulful and funky. 

 

Now listen to the tone of Donald Byrd on trumpet and Hank Mobley on saxophone.  Both have a relatively hard, dark sound.  Compare this with the sweet sound of Paul Desmond on “Blue Rondo a la Turk” or sharp, biting tone of Charlie Parker on “Groovin’ High.”  To sum up, “Senor Blues” is simpler and more arranged than most bop tunes, but more aggressive and blues-oriented than cool jazz.

 

0’ 00”   Introduction

            Bass and left hand of piano establish feel of piece.

 

0’ 10”   Drums enter, as well as right hand of piano, with dark sounding chords.

 

0’ 17”   Melody (1st chorus–12 measures)

Trumpet and tenor sax play a blues-inflected, funky melody, always in harmony with each other.  Rhythm section continues the feel of the introduction. 

 

0’ 48”   Melody (2nd Chorus)

            Intensity picks up, as horns play a related melody in a higher register.

 

1’ 17”   Donald Byrd’s Trumpet Solo (3rd & 4th Choruses)

Some of the lines are double-timed, while others are quite simple and bluesy.  Notice that the piano continues doubling the bass line throughout the solos.

 

2’ 17”   Hank Mobley’s Sax Solo(5th & 6th Choruses)

            Solo begins quite slowly, but faster double-timed figures follow. 

 

3’ 16”   Ensemble Passage (7th Chorus)

Bass and piano simplify figure a bit.  Trumpet and sax harmonize a rhythmic passage featuring rests and many repeated notes.

 

3’ 41”   Horace Silver’s Piano Solo (8th—11th Choruses)

Silver’s blues influence is quite evident here.  Instead of playing chords with his left hand, he continues doubling the bass line.  He combines single-note, horn like lines, with passages of two notes chords.  Several of his lines are double-timed, but he never abandons the blues feel.  Listen to the way he repeats some of his musical ideas, almost literally.  Many Silver compositions have melodies that utilize similar types of repetition.

 

5’ 19”   Melody (12th & 13th Chorus)

            Identical to earlier.

 

6’ 18”   Ending (16 measures)

A new, written-out melody is played by the horns in harmony.  The bass line continues, but this time it stays on one chord instead of moving through the usually blues progression.  The 8-measure figure is repeated identically.

 

6’ 55”   A short rest is followed by a closing bass line.

 

 

 Listening Guide for “Fables of Faubus”

 

Composed by Charles Mingus; Recorded on May 5, 1959 by Shafi Hadi (as), John Handy and Booker Ervin (ts), Jimmy Knepper (tbn), Horace Parlan (pn), Charles Mingus (bs), Danny Richmond (dr). Originally issued on MINGUS AH UM (Columbia CD 8171/CL1370.  Recently available on CD as Columbia CK 40648).  Time 8’ 10” 

 

Jazz Style:  Avant-Garde

 

Prentice Hall Jazz Collection: Track 8

 

Charles Mingus was one of the most creative and important jazz composers and thinkers.  Like Ellington, his prolific and varied output is difficult to categorize.  Much of Mingus’ music was inspired by his political points of view. 

 

“Fables of Faubus” was written as Mingus’ response to a white supremacist governor of Arkansas, named Orval E. Faubus, who tried to prevent the integration of a high school in Little Rock.  The language and content of the lyrics were very strong and politically charged.  The record company did not allow Mingus to record these words.  Instead, he recorded the instrumental version found on the CD.

 

In addition to the significance of the social commentary, this piece is interesting and innovative on a number of other levels.  It is an excellent example of Mingus’ small group arranging.  Note the unusual instrumentation:  3 saxophones, trombone, piano, bass, and drums.  Though the composition is in a typical song form, A-A’-B-A’, it is 71 measures long (quite a contrast to the standard 32 bar model).  Each section can further be broken down into distinct parts, containing a wide array of musical material, continually alternating between several stylistic feelings.  The inclusion of so many influences in this complex composition makes it difficult to categorize.  This type of mix-and-match approach to musical organization was later explored by postmodernists (compare this piece with Kidnapping Kissinger).  Several counter-melodies, contrasting motives, irregular rhythms, and dense harmonies weave in and out of one another, showcasing Mingus’ creativity as a composer.  As a bassist, Mingus provides a number of different functions, switching between faster and slower lines, soloing, and providing a solid accompaniment for the rest of the band.

 

0’ 00”   Introduction (8 measures)

Two saxophones play in unison, while some notes are doubled by trombone.  Bass sets up an open, transparent feel.  Drums and piano rest.

 

0’ 16”   A Section

            Part 1 (8 measures)

Continuation of introduction feel.  The third sax joins in playing a contrasting line with a variety of short (staccato) and sustained pitches.  Trombone adds a related line.  Drums and piano join in as well.

 

0’ 32”   Part 2 (11 measures)

All the saxes and trombone play a melody in unison.  The bass walks a more traditional bass line, and drums lay down a jazz swing feeling.

 

0’ 54”   A’ Section

            Part 1 (8 bars)

            Same as earlier

 

1’ 11”   Part 2 (10 measures)

Begins as earlier, but continues in a different direction, with deliberate hits articulated by several of the instruments. 

 

1’ 30”   B Section

            Part 1 (8 measure)

Alto sax performs the melody, trombone adds a countermelody, while a tenor sax plays a third part that resembles a moan.  The feel is similar to part 1 of the A section.

 

1’ 46”   Part 2 (4 measures)

Rhythm section moves to a double-time feeling.  One sax plays a sustained melody, while another sax and trombone improvise faster figures.

 

1’ 54”   Part 3 (4 measures)

Deliberate punctuations played by piano, bass, and drums, similar to the end of the A section, second part.  Saxes and trombone all play sighing sounds.

 

2’ 02”   A’ Section

            Part 1 (8 measures) + Part 2 (10 measures)

            Same as earlier.

 

2’ 38”   John Handy’s Tenor Sax Solo  (A, A’)

Notice the contrasting rhythmic feelings underneath the soloist.  The accompaniment alternates between halting, jagged rhythms and a steady, relaxed swing.

 

3’ 48”   Piano Solo (B, A’)

The first part of the B section this time begins by alternating between two bars of walking bass and two bars of double-time feel, different than during the melody presentation.  The second part features a walking bass line at the slower tempo.  The third part includes rhythmic hits, as before.  The A’ section uses the same feel as earlier.

 

4’ 53”   Booker Ervin’s Tenor Sax Solo (A, A’)

            Similar feel to earlier solo.

 

6’ 02”   Charles Mingus’ Bass Solo (B, A’)

Drums lay down the same kinds of rhythms found during the piano solo.  Listen to Mingus’ fat and deliberate sound on the bass.  Many lines are soulful, with blues inflections.

 

7’ 05”   Closing Melodic Statement (B, A’)

Similar to opening statement.  Piece ends with a series of rhythmic punctuations.

 

Listening Guide for “Civilization Day”

 

Composed by Ornette Coleman; Recorded on September 9, 1971 by Ornette Coleman (a sx), Don Cherry (pocket tpt); Charlie Haden (bs), Billy Higgins (dr).  Available on the Prentice Hall Jazz Collection; also available on The Complete Science Fiction Sessions (Columbia:  C2K 63569). 

 

Jazz Style:  Free Jazz

 

Prentice Hall Jazz Collection: Track 9

 

This explosive and intense recording begins with a melody largely made up of rhythms and phrasings not so different from bop.  Though some free jazz performances attempt to avoid any bop influences, Ornette Coleman viewed his early work as a logical extension of this music.  “Civilization Day,” recorded in 1971, shares several similarities to the recordings of Charlie Parker and Dizzy Gillespie.  For example, the melody, which begins and ends the recording, is played by alto sax and trumpet.  But this piece is quite unlike bop in many ways.  The horn players, Ornette Coleman and Don Cherry, play with non-refined tones, in a sloppy unison with one another, as the drummer and bassist start and stop with irregularity.  Though a swing feeling in the drums combines with a walking bass line to accompany the solos much of the time, as they would in bop, the soloists play unpredictably, producing unusual sounds and shocking lines.  A few of Cherry’s lines are simple enough to sing, doctored with extra vibrato, but most are fast, unclear, and frenetic.  Coleman’s solo is filled with angry energy from the beginning.  He often reaches for high notes, and then falls agressively from them.  Unfettered intensity lasts throughout.   Notice that there is no piano player.  The piece has no chord changes at all, avoiding the type of harmonic guidelines typical of most other types of jazz.  

 

Up until free jazz, improvisers made musical decisions based on various sets of rules.  Innovative players built upon accepted practices, adding complexity, but their note and rhythmic choices were always determined by theoretical principals.  For the first time, in free jazz, all (or many) rules were eliminated.  Pitch logic was abandoned.  Instead, any note could sound, as long as it evoked particular feelings.  More important than specific pitches was timbre and emotion.  Focus changed from playing the “hippest” notes over a given harmony to sounding “aggressive,” “sweet,” “angry,” or “melancholic.”

 

0’ 00”   Theme

Trumpet and alto sax, more or less together.  Bass and drums play sporadically.

 

0’ 15”   Collective Improvisation

Trumpet and sax improvise freely, seeming to argue and outplay one another.

 

0’ 27”   Don Cherry’s Trumpet Solo

It seems as if Cherry wins the fight and is awarded the first solo.  Walking bass and swing rhythms accompany his solo.  The solo seems to end abruptly.

 

2’ 54”   Ornette Coleman’s Alto Sax Solo

            Solo begins with just bass and sax.

3’ 08”   Drums enter.  Drums play mostly swing rhythms, but get more active at various points in solo.

 

5’ 18”   Billy Higgins’ Drum Solo

            Maintains intense, hurried feel.

 

5’ 48”   Theme

 

 

Listening Guide for “Chameleon”

 

Composed by Herbie Hancock; Recorded in 1972 by Herbie Hancock (keyboards), Benny Maupin (t sx), Paul Jackson (bs), Harvey Mason (dr); Bill Summers (perc).  Available on the Prentice Hall Jazz Collection; also available on Head Hunters (Columbia:  CK 65123). 

 

Jazz Style:  Jazz-Rock Fusion

 

Prentice Hall Jazz Collection: Track 10

 

This Herbie Hancock composition is a typical and famous example of jazz-rock fusion.  The performance, featuring tenor sax, keyboards, bass, drums, and percussion unfolds very slowly, with a great deal of repetition.  The first five minutes present a single, repeating bass line, straightforward groove, and simple melody.  The music is uncomplicated, making it immediately comprehensible and easy to dance to.  Drums play a typical rock and roll groove throughout.  Listen to the way the music is layered, one part entering at a time.  There are several individual keyboard parts.  Though these are all played by Hancock, they were recorded at separate times, using a technique called overdubbing.

 

On the Prentice Hall Jazz Collection there is a fade out during Hancock’s synthesizer solo.  The recording fades back in at the beginning of Hancock’s second solo, this time on Fender rhodes.  (A Fender Rhodes was an electric keyboard instrument commonly used by fusion artists in the 1970s.)  Notice how Hancock’s lines show the influence of jazz, superimposed over the funk rhythms of the rest of the ensemble.  Later, the opening bass line and groove return, and the performance fades out with a fusion-style tenor sax solo. 

 

0’ 00”   Introduction–(Layering one part at a time)

            Synthesizer bass line

0’ 12”   Drums enter with an uncomplicated, rock groove

0’ 32”   Rhythmic keyboard line enters (left speaker)

0’ 52”   Funky, chordal keyboard (clavinet) part begins with a wah-wah effect (right speaker)

1’ 10”   Sparse, keyboard chords enter (left speaker)

1’ 29”   Melody–Part 1

After almost a minute and a half, the melody finally enters.  All of the layered parts from the introduction continue, while the theme is presented by tenor sax doubled by a very low synthesizer.  See if you can sing along with this very simple melody.  The opening phrase repeats 4 times.

2’ 07”   Melody stops, but all background parts continue

2’ 16”   Melody reenters presented exactly the same as before.  It is played 4 more times.

2’ 53”   Melody–Part 2

Notice how similar this new melodic installment is to the original.  Repeats 4 times.

3’ 20”   Melody, part 2 is played one last time, performed by all the instruments together.  A sustained chord indicates the end of the melody.

 

3’ 29”   Transition

Bass and drums continue playing groove.  Other parts are once again layered, at a faster pace than they were during the introduction.

 

4’ 04”   Herbie Hancock’s Synthesizer Solo

            On this recording, the solo fades out.

 

5’ 00”   Herbie Hancock’s Fender Rhodes solo

The bass part changes slightly behind the Rhodes solo.  A variety of sounds played on synthesizer weave in and out behind the solo.  The Rhodes solo is more complex than the rest of the piece, but the regularity of rhythm performed by the other instruments is never obstructed.  Typically, Hancock alternates between active melodic lines and pockets of space. 

7’ 44”   Melody, part 2 is played twice by all the instruments slightly altered.  Hancock’s solo is temporarily interrupted.

7’ 58”   Sustained chords and a prominent string sound are played behind a more active drum part.

8’ 06”   Rhodes solo restarts, alternating between the main groove and sustained string chords. 

9’ 06”   Melody, part 2 is stated once again, ending the Rhodes solo.

 

9’ 16”   Benny Maupin’s Tenor Sax Solo

            Opening bass line returns.  Gradually, layered parts are added, preparing for the tenor entrance. 

9’ 35”   Maupin’s solo is a typical example of the soulful playing by many fusion tenor sax solos.  The recording ends with a fade out.

 

 

Listening Guide for “Express Crossing”

 

Composed by Wynton Marsalis; Recorded on January 14, 1993 by the Lincoln Center Jazz Orchestra, featuring Wynton Marsalis (tpt) and Kent Jordan (picc).  Available on the Prentice Hall Jazz Collection; also available on Jazz: Six Syncopated Movements (Columbia:  CK 66379). 

 

Jazz Style:  Neo-traditionalism

 

Prentice Hall Jazz Collection: Track 11

 

Wynton Marsalis’ powerhouse “Express Crossing,” for big band, pays direct homage to the revolutionary composition by Duke Ellington entitled “Daybreak Express” (1933).  Both of these works imitate the sound of trains.  While employing several techniques found in the Ellington piece, the organization and specific blend of elements that Marsalis employs in his composition sound fresh.  This piece, written to accompany a ballet, features everything from dissonant harmonies to singable melodies, brass instruments with a variety of mutes, drums played with brushes, unconventional techniques on several instruments, a virtuosic solo by Marsalis, and even a rare example of jazz piccolo soloing.

 

“Express Crossing” is certainly an example of neo-traditionalism.  The influence of earlier forms of jazz on this piece is quite apparent.  Several of the sections are based on the chord progression from a Dixieland tune entitled “Tiger Rag.”  The trumpet solo features quick, bebop lines, and the shadow of Duke Ellington is never far behind, apparent in elements ranging from the orchestrational style to the very reference to trains.  Yet this piece also shows a postmodern bent.  It borrows only from jazz styles, as opposed to the nonjazz influences of many postmodernists, but it contrasts several genres of jazz.  The many sections of this composition showcase different tempos, mixtures of regular and irregular time signatures (making it difficult to tap your foot at a steady pace), modern dissonances, a nontraditional jazz instrument (piccolo), and extended techniques on instruments, such as “honking” sounds from saxophones and growls from the trumpet.  With so many postmodern features, it is difficult to categorize this piece definitively as neo-traditionalist.

 

 

0’ 00”   Section 1

From the opening notes, the train reference is clear.  The ensemble chords imitate the sound of a train whistle.  Drums, played with brushes, give the impression of a train rushing full force ahead.  Combinations of regular and irregular meters, combined with the relative business of the section, create a sense of excitement for the journey ahead.  The section ends with a brief dialogue between two saxophones and a honking sound, called a multiphonic. 

 

0’ 14”   Section 1 is repeated, but the addition of some quick, alto sax lines add to the intensity.

 

0’ 26”   Section 2

            The quick tempo of section 1 persists.  Several quick melody lines swirl around one another, as the bass walks in double time.

 

0’ 39”   Section 3

            Section 3 is slower.  Piano and bass emphasize a line that resembles boogie-woogie.  The horns play a number of swelling honks and whistles.

 

0’ 47”  Section 4

            As abruptly as section 3 slowed down, section 4 begins with a bang, returning to the opening, breakneck tempo.  Piccolo and saxophones race through hurried lines, barely pausing for breath, while the brass articulate a series of irregular, punctuated chords.

 

1’ 06”   The rhythm section pauses, while the brass play a “wah-wah” effect.

 

1’ 09”   The activity becomes even busier.  The brass continue their wah-wah effects, later adding a growl sound.  Flute and saxophones continue their runaway melody.

 

1’ 31”   Section 5–Wynton Marsalis’ Muted Trumpet Solo

            The harmonies behind the trumpet solo are identical to the previous section.  Marsalis wails over the quick groove, a variety of hits from the winds, and a solo break with a virtuosic, bebop-style solo.  The section ends with a horn break that recalls the beginning of the piece.

 

2’ 14”   Section 6

            Section 6 alternates between a variety of musical canvases: a written-out piccolo solo, unmuted trumpet improvisations, saxophone honks, bass slapping, wah-wah brass, and full ensemble passages.

 

2’ 57”   Piano Transition

            Piano rushes through a series of high pitches, then lands on a low note.

 

3’ 00”   Section 7

            Marsalis, improvising once again on muted trumpet, solos simultaneously with flute.  They are accompanied by an alternation of brass and saxophone chords and the constant energy of bass and drums.  The section ends with another horn break.

 

3’ 31”   Section 8

            This 10-second section combines the musical ideas from section 1 with the swift piccolo line of section 4.

 

3’ 41”   Section 9

            And now for something completely different, the tempo slows, introducing the closest thing yet to a swinging, singable melody.  Notable is an unmuted trumpet contrasted by a section of muted trumpets.  During part of this section, the piano plays a high melody in octaves.

 

4’ 41”   Section 10

            A final return to the fast, opening material.

 

4’ 52”   Ending

            The train decelerates, reaching its final destination.  After a few final whistle blows, brushes on the drums conclude the piece, slowing down to a halt.

 

 

Listening Guide for “Kidnapping Kissinger”

 

Composed by Dave Douglas;  Recorded on Dec. 13, 2000 by Dave Douglas (tpt), Chris Speed (cl, t sx), Joe Daley (tba), Mark Feldman (vln), Erik Friedlander (vlc), Bryan Carrott (vibes, marimba, glockenspiel), Michael Sarin (dr), Ikue Mori (electronic perc).  Available on the Prentice Hall Jazz Collection; also available on WITNESS: (Bluebird: 09026-63763-2). 

 

Jazz Style:  Postmodernism

 

Prentice Hall Jazz Collection: Track 12

 

In only three minutes of music, “Kidnapping Kissinger” features a no less than 23 highly contrasting sections.  Many of the segments last only 3 to 5 seconds, each abruptly interrupting the material that preceded it.  The performance does not include many sounds most people associate with jazz.  There are no solos in a traditional sense, nor is there is a “tune” at any time.  Instead of presenting a steady groove, swinging melody, or “jazzy” chord progression, this piece emphasizes various sounds and musical gestures.  Each of the sections features a different combination of players from the ensemble, which mixes traditional jazz instruments, such as trumpet, clarinet, tenor sax, bass, vibes, and drums, with nontraditional instruments, such as tuba, violin, cello, orchestral bells (glockenspiel), marimba (a mallet percussion instrument that resembles the xylophone), radio, and a variety of electronic sounds. 

 

“Kidnapping Kissinger” is highly improvised music.  Almost every note and every rhythm is improvised by the performers.  However, specific instructions are given to the players, indicating what kind of music or sounds they should elicit.  The musical score consists mainly of words, including descriptions such as “long, high note,” “hit side of vibes,” and “scratches.”   The players are free to interpret these words as they see fit.  Below is a brief description of what transpires in each of the various sections.  Quoted phrases are taken directly from the score. 

 

0’ 00”   Section 1–cello slides; fast, high tuba; “highest note trill” on glockenspiel.

 

0’ 07”   Section 2–plucked (pizzicato) violin; clarinet trills; dog whistle.

 

0’ 11”   Section 3–trumpet falls; “scratch” tone on bass; electronic effects.

 

0’ 14”   Section 4–low tuba notes; bass bows tailpiece of his instrument; violin “pizzicato thicket on 4 strings”; vibes.

 

0’ 18”   Section 5–high clarinet note; cello strumming chords; cowbells and gongs.

 

0’ 21”   Section 6–drums fast; bass fast; talk radio.

 

0’ 25”   Section 7–cello walking bass line; tuba notes w/out clear tone; violin “crunchy” sounds; percussion hits.

 

0’ 29”   Section 8–high, bowed bass; complex pizzicato cello; high glockenspiel hits; electronics.

 

0’ 34”   Section 9–“jagged improvisation” from violin and cello.

 

0’ 39”   Section 10–clarinet fast scales; trumpet slow scales; electronic percussion hits.

 

0’ 47”   Section 11–crazy, fast, aggressive improvisation on bass, cello, and violin–becoming more and more intense and agitated.

 

1’ 04”   Section 12–“Clapping/AH/HNH/SSS.”

 

1’ 15”   Section 13–electronic improvisation.

 

1’ 47”   Section 14–honky low sax; 2 note chord repeated by violin; sporadic low tuba lines; soft, high, cello tremolo.

 

1’ 57”   Section 15–sax & tuba continue, varied ideas; drums play irregularly; marimba.

 

2’ 20”   Section 16–drums played with hands; percussion; electronics; tapping body of string instruments; pinched trumpet sounds.

 

2’ 29”   Section 17–very high tuba; slow violin slide down; big electronic drum kicks; cello slide up.

 

2’ 35”   Section 18–crazy, fast drums; bass; radio; vibes.

 

2’ 39”   Section 19–plucked cello chords; percussion.

 

2’ 44”   Section 20–high, fast, single tuba note; violin open strings; vibes solo.

 

2’ 47”   Section 21–trumpet falls; cello scratch tone; then high electronic sound.

 

2’ 51”   Section 22–high clarinet trills; violin alternates bowed and plucked pitches.

 

2’ 55”   Section 23–cello fall; then glockenspiel roll; then cello and tuba fall.



 1 Jelly Roll Morton: Wolverine Blues a) (1927) 3:19 Jelly Roll Morton (pn), Johnny Dodds (cl), Baby Dodds (dr)


 2 Benny Goodman and Charlie Christian: Seven Come Eleven (1939) 2:44 Benny Goodman (cl), Charlie Christian (guit), Lionel Hampton (vibes)


 3 Dizzy Gillespie: Groovin' High b) (1947) 5:15 Charlie Parker (a sx) and Dizzy Gillespie (tpt)


 4 Thelonious Monk: Misterioso b) (1948) 3:18 Thelonious Monk (pno) and Milt Jackson (vibes)


 5 Jimmy Giuffre: Four Brothers (1947) 3:16 Woody Herman's Thundering Herd Featuring Zoot Sims, Herbie Steward, Stan Getz (t sx) and Serge Chaloff (bar sx)


 6 Dave Brubeck: Blue Rondo a la Turk (1959) 6:44 Dave Brubeck (pno) and Paul Desmond (a sx)


 7 Horace Silver: Señor Blues b) (1956) 7:00 Horace Silver (pno), Donald Byrd (tpt), Hank Mobley (t sx)


 8 Charles Mingus: Fables of Faubus (1959) 7:00 John Handy (t sx), Horace Parlan(pn), Booker Ervin (t sx), Charles Mingus (bs)


 9 Ornette Coleman: Civilization Day d) (1971) 6:03 Ornette Coleman (a sx) and Don Cherry (tpt)


10 Herbie Hancock: Chameleon d) (1973) 9:35 Herbie Hancock (kbd) and Benny Maupin (t sx)


11 Wynton Marsalis: Express Crossing (1993) 5:11 Wynton Marsalis (tpt), Kent Jordan (picc), and the Lincoln Center Jazz Orchestra


12 Dave Douglas: Kidnapping Kissinger a) (2001) 3:04 Dave Douglas (tpt), Chris Speed (cl, t sx), Mark Feldman (vln), Erik Friedlander (vlc)


a) Courtesy of the RCA Music Group, a unit of BMG Music, under license from BMG Special Products


 b) Courtesy of Blue Note Records, under license from EMI Music Special Markets


 c) Courtesy of Just A Memory Records, Inc.


 d) Sony Music Entertainment Inc.

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