Miles Davis’ Kind of Blue exemplifies my favorite merits of cool jazz. The bestselling jazz album is bursting with innovative music that is largely independent from the routine melody and rhythm that often accompanied jazz music before the records conception; its recordings perpetuate a sound that is both tranquil and engaging. The artists responsible for creating this widely recognized album are Miles Davis on trumpet, Jon Coltrane on tenor saxophone, Julian Adderley on alto saxophone, Paul Chambers on bass, Jimmy Cobb on drums, Bill Evans on piano and Wynton Kelly substituting in at piano for the piece Freddy Freeloader. In my opinion, what gave Kind of Blue its unique sounds are the eccentric conditions in which Davis required his musicians to record. Instead of providing each musician with a series of harmonies or chord progressions, Davis simply gave each musician parameters in which to perform their improvisation. There were five recordings on the original album; So What, Freddie Freeloader, Blue in Green, All Blues and Flamenco Sketches. My personal favorite is the second recording on the album, Freddie Freeloader. I enjoy its particular chord and phrase structure which is composed in the twelve-bar blues format. I also found it fascinating that Davis incorporated the beginning phrases of the first recording, So What, into Freddie Freeloader. Speaking less formally, I greatly appreciated the (only) piano solo performed by Wynton Kelly early in the recording; it was one of the only times in my young life that music has, somewhat unexplainably, ‘taken me away’ from my current worries—something that has inspired me to further investigate his work. Kelly’s improvisation sounded light, playful and optimistic, in a way contrasting the slightly provocative tone of the rest of the piece. My second favorite record on the album is Flamenco Sketches. I found the way that Davis performed during the piece…
Throughout the 1920’s, she recorded with many famous musicians, including Fletcher Henderson and members of his band, and the pianist James P. Johnson, with whom she recorded her masterpiece “Backwater Blues”.…
Percy Grainger was a prolific composer and pianist in the 20th century. He is especially well known for his masterful compositions and pioneering for the literature of the wind band. Grainger’s works have taken on a variety of compositional approaches across a wide range of genres. His scorings, particularly for wind band, have been described as having “a rich sonority and color which compares favorably with any celebrated example of brilliant orchestration.”1 A majority of his works, specifically his wind band works, are characterized by their inclusion of folk song melodies as source material. Within his catalog of wind band compositions, Lincolnshire Posy stands out as a masterwork in the genre. While Grainger’s Lincolnshire Posy…
Crow, Bill. Jazz Anecdotes. New York and Oxford: Oxford University Press, 1990. “Charlie Parker” Print.…
In the last several sessions, we discussed a variety of black stereotypes portrayed in the media during the Harlem Renaissance. During the 1920s, there were specific stereotypes associated with Classic Blues vocal performers-especially black female artists. These stereotypes were based on the “Mammy” figure, which dates back to slavery. Female classic blues artists were portrayed as buxom and “hyper sexualized.” The idea of sexually independent women was considered immoral, so it is of no surprise that the stereotypes were unfair and damaging to the black culture. For further understanding of the common stereotypes, we looked at W. C. Handy’s St. Louis Blues. This short film featured many popular artists of the time, most notably, blues artist Bessie Smith. We discussed both the musical aspects, as well as our initial response to the film.…
After growing up having a privileged life and going on to pursuing his dream, African American singer Cabell “Cab” Calloway devoted his professional life to entertaining his audience to a great extent and putting international spotlight on “The New Negro.” Indeed, Calloway stands as a monument against the popular stereotype of catastrophic black jazz musicians being tormented by racism and drug addiction. Even though Calloway was exposed to these social struggles, he was eventually able to overcome them by focusing on the integrity of his music. As Calloway reported in a 1990 Chicago Tribune interview, “ you tried to concentrate on your performance and tried to forget that there were hardly any blacks in the audience.” It was this kind of determination,…
Before taking Jazz class I barely knew anything about this type music. Six different bands performed fifteen pieces. Most of the pieces are written by popular Jazz composers, such as “Cantaloupe Island” by Herbie Hancock or “Donna Lee” by Charlie Parker. Also, there was one band that performed pieces written by its members, which really impressed me. For example, “Preparation” was composed by Alex Reiff, who plays bass in the band called Krista White 3 PM Combo. In this report I would like to pay attention on two pieces that I enjoyed the most.…
In the first episode of “JAZZ,” Ken Burns demonstrates how the creation of jazz was made possible by the social and political circumstances in New Orleans during the late seventeenth century and early eighteenth century. By combining the historical explanations of narrator Keith David and the emotional commentaries of African American artists, he retells history in an unconventional way that gives a more meaningful description than textbooks and encyclopedias. As Keith David explains, New Orleans was the home to two different social circumstances: it was the most “cosmopolitan city in America” as well as the center of the slave trade. New Orleans was a place filled with “people from all nationalities living side by side” who brought upon a musical “gumbo” of Caribbean rhythms, classical music, minstrel music, the blues, ragtime and more. These diverse musical styles were taken advantage of by the African American people, in a period of time where they were deprived of the freedom that America promised to all of her inhabitants. African Americans found the liberty they sought for in music and dancing. Ken Burns supports this idea by explaining how blacks were allowed to sing, dance and play the drums in the Congo Square as he demonstrates it in a series of…
Cited: Lopez, Steve. The Soloist: A Lost Dream, an Unlikely Friendship, and the Redemptive Power of Music. New York: Berkley Books, 2008. Print.…
The late Dave Brubeck left behind a legacy as a jazz pianist, composer, bandleader, husband, and father. He wrote everything that ranged from opera and ballet, to a contemporary mass. Brubeck was well known for experimenting with time signatures unusual to the traditional jazz sound. The uneven meters, along with the incorporation of all kinds of different rhythms in his music, is how he captivated the attention of younger listeners. The significance of Brubeck in the history of jazz is unambiguous. The Dave Brubeck Quartet helped spark an obscure interest in Jazz after World War II, and was a fundamental part of the “West Coast Cool Jazz” style of music that jazz in the fifties and sixties would be known for.…
The book, Chicago Jazz, a Cultural History 1904-1930, was written by William Howland Kenny and published in 1993. This book is a secondary source which explains many of the cultural elements and emotions – such as liveliness – and how they were infused into jazz. The purpose of this text is to analyze jazz music and its culture from its origins up to the great depression. It was written as a scholarly text and as a means of exploring the past of jazz. This source demonstrates value as…
Considered one of the best jazz writers ever, Duke Ellington had a huge effect on the prevalent music of the late twentieth century. Among his more than two thousand melodies are such hits as "In A Nostalgic Mind-set," "Refined Woman," "I Got It Awful And That Ain't Great," and "I'm Starting To See The Light." For nearly fifty years, he visited the world as a band pioneer and piano player. Today his recordings stay among the most prevalent jazz of the enormous band period.…
Cited: Georgis, Dina. "Falling for Jazz: Desire, Dissonance, and Racial Collaboration." Canadian Review of American Studies, 35.2 (2005): 215-229. Academic Search Complete. Web. 4 Nov. 2009.…
Three brothers with three very different personalities, and many issues have to come together to make their living situation work. The Curtis brothers throughout the course of the novel, learn more about each other and their relationships change greatly. After a gruesome incident that killed the boys parents, Ponyboy and his brother Sodapop are left in the care of Darry Curtis, their older brother. The changes in their relationships go from resentment and disappointment, to understanding each other in ways that they hadn’t before and lastly, they learn how strong their love and loyalty really is for one another.…
Howze, Margaret “Jazz Profiles from NPR: Nat ‘King’ Cole: the Pianist.” NPR 2010. 9 March 2010 http://www.npr.org/programs/jazzprofiles…