Jazz History 4/23/12

Circle (Miles smiles, 1965)

Wayne shorter sax

Miles

Ron carter bass

Herbie hancock keys

Tony Williams drums

Written by WS, formally it is 2 sections , A phrase is essentially in D, plays around in some dominant functions, next phrase/section is in G, goes around a series of 7th chords for 12 measures then a small extension. Frequent alternation between A phrase and B phrase.

Very loose organization, designed to be an elastic form that can expand or contract to however long the player wants to play. Layed back, brushes on drums. Has tonal but nonfunctional harmony. The relations between chords are not functional in the way we’re used to.

Nefertiti (1968)

Different album in that it is much more disciplined, sounds written out but is still improvised.

In a Silent Way (1969)

First foray into fusion for Miles. John Mcglaughlin, chick corea and bassist Dave Holland. Holland and Corea had been in a free jazz trio. For this record, the recording studio/mixing board is used as an instrument. Panning, channels, post-production distortion added. Phasing had to be added with mixer, the effect box hadn’t been invented yet.

Bitches Brew (1969)

Here Miles is amplifying his trumpet, running through wah-wah, echo, distortion.

Miles Runs the Voodoo Down (from Bitches Brew)

-Solo sounds vocalized, like a human voice. Uses blues scale and chromatic passages. Melodies are covered in embellishments, slurs, scoops etc. uses space strategically and uses long rests for drama. Mixes long lines of melody with shorter, intense phrases.

On the Corner

-combines NY street music (proto-hiphop), eastern drones (sitars etc), African and S. American rhythms and percussion instruments. Electric jazz, amplified trumpet again with effects like wah-wah. Whole new sound in jazz! Hardcore jazz fans and critics pretty much hated it, couldn’t handle it, wrote many negative reviews in prolific magazines. Miles doesn’t give a shit b/c he knows he has a whole new fan base of dead heads and rock kids who don’t mind 20 minute jams.

-instrumentation is unusual. 5 drummers. 2 on set, 2 percussionists (afro Cuban, and latin American shakers) and Indian Tabla player!

-3 types of keyboards. Electric piano (fender Rhodes), electric organ, and brand new Arp synthesizers.

-3 different plucked string instruments. Electric guitar, electric bass (both with distortion effects) and electric sitar with sustaining electric sound.

-3 reeds. Soprano sax, bass clarinet, mile’s trumpet as well.

Complex rhythms are layered onto each other to build a massive groove with a collective groove sound. Not just backing chords with one soloist. This comes from African musical traditions.

Black Satin

Lots of overdubbing in the intro of whistles and beeps over some tabla and sitar sounds. Stops, then gets into NY street rhythm (funky as hell). Lots of whistling and clapping, funky guitar chords back up a repetitive melody that is either whistled or Miles’ trumpet. Mid 70s sees cocaine addiction, car accidents, jail… miles doesn’t play until the 80s when he makes a comeback. Autobiography comes out in 92, dies shortly after.

Chick Corea

-classically trained. Trained in hard bop, modal jazz, free jazz, fusion, miles davis. Same cred as herbie hancock.

-herbie in the 70s gets more funky, corea always has latin sound. From Puerto rico, father teaches him latin folk music and popular songs. Applies with classical technique to become boss. Corea has brighter sound b/c open chord voicings, especially on fender Rhodes and acoustic piano, hard to tell with synthesizers. Melody lines are detached, plays phrase and abrubtly stops over and over. Not intrusive, but just his way of phrasing. Hancock tends to have long drawn out melodies. Corea has more percussive touch, especially on acoustic pianos. Mmore dramatic, less lyrical than hancock.

-sounds monk-influenced.

Return to Forever, Fiesta

Uses Spanish Phrygian, chords are EM, FM, GM FM EM. Flamenco inspired.

Favors electric Rhodes but has some acoustic piano

Stanley clark on the bass, standup bass, not electric

Eric dolmuerera on drum set. Usually does hand percussion, but skraight set on this nigga

His wife is a vocalist, castinets, bells, etc.

Joe Ferrell on flute and soprano sax

2 sections. One Spanish Phrygian mode, the other A major mode. Clear contrast between parts.

Free form intro, segues from Some Time Ago. Free form rubato on the Rhodes for intro.

Something about fusion. Rock drummers put tons of emphasis on the backbeat, heavy groove is basis for a whole song. Elastic forms, got yer basic chord progressions that are flexible. Expanded vertical harmony…9ths, 13ths,

Weather report, mahavishnu orchestra, return to forever.

The chameleons

Weather Report, Tears

Free meter, gives you the basis of whats going on..like a roadmap. Not really a head arrangement. Very derivative of free jazz

The piece is consonant though. Heavy electri keyboard sound, basis of the sound of the tune. Using technical capabilities of the recording studio to create some tones.

After free meter opening, instruments are used to define the sound. Electric piano defines tonal center, soprano sax has somewhat of a melodic motive.

Tune is basically based on a variety of musical gestures.