Ten Listening examples. You are responsible for the listening examples on the Jazz Classics CD. If a tune from that CD is played, from one of the modern jazz genres, you will need to recant the pertinent details: The CD credited composer/Performer, title, and style (Cool, Modal Jazz, Free Jazz, etc…). The other 5 examples will include pre-modern jazz genres and some could come from the JCCD. For those examples, state a possible title, composer, and genre (Dixieland, Minstrelsy, Swing, etc.). Each question will have a bonus that must be directly related to the song to receive credit. I will not blindly award bonus points. So, know enough about each song from the JCCD and pre-modern genres to get the point. I WILL NOT TAKE BLANK STATEMENTS LIKE "HAS IMPROIVISATION…SWINGS…A LOT OF TRUMPET…" Tell me about the genre and how that tune fits in, other players on the recording, comping styles issues, solo style issues, texture issues. Etc.

How to use this guide: When I first started making it I used a lot of questions - making you do the gathering of info. I then decided to just pare down my notes and give you those. There's a fair amount of restatement of important things. Here's what to do:

Be able to list 3 or 4 style elements for each genre and marquee player. The marquee players are the main 3-4 in each chapter. The other important players "orbit" around the main players and are less important. I give you a matching list. Make sure you have the big concepts for each chapter BEFORE you start memorizing and minutia…you can afford to miss a few minutia questions. You cant afford to miss large conceptual ones.

• Be able to compare bop to swing and know what changed. Did it derive from swing? Art (bop) over function (swing/dance)? Was it popular? How big were the groups (bop and swing)?
• Why did bop even happen? What are some plausible reasons?
• How do solo and comping styles differ between bop and swing.
• Understand the style and significance of Parker, Monk, and Gillespie. What are their contributions to the repertoire, their instrument, improvisational patterns, texture (number and style of band), and concepts of bop.
• Who coined the term Third Stream music and what is it? What's an example of it?
• What are some drumming, piano comping, and bass playing elements associated with bop?
• Fats Narvarro - Tpt.; almost a Gillespie; vibrato king; Clifford Brown mentor.
• Sax innovations flow from Coleman Hawkins-Lester Young-Parker.
• Sonny Stitt - Almost a Parker; Coltrane Mentor; Important for creating stock patterns for improvisation.
• Dexter Gordon - most important Tenor Bop player.
• Big Bands - Woody Herman (Woodchoppers ball, No Figs, 4 Brothers). His band could do it all. The band was large, adding instruments not associated with jazz, and more intstruments per section.
• Vocal order of importance - Bessie Smith/Billie Holiday (blues), Ella (Swing/Bop), Sarah Vaughn (Bop). Does this mean that Ella and Sarah only sang bop or swing?
• Why were some acts, the MJQ, Stan Getz, and George Shearing popular when most bop acts were not?

Cool Jazz - what is it and how does it differ from bop? What changed in the style, solos, rhythm, tempo, and vibe? How does it retrieve swing elements but not sound like swing? Elements come from Basie and Young in the 30s, Tristano and Konitz in the 40s, Claude Thornhill's big band style in the late 40s, all was Miles's model for the BCB.

• Lennie Tristano is credited with pioneering this sound. He's important as a pioneer, experiemtnalist, and educator. Had students play Bach, Young and Tatum solos to learn the art. His tunes Intuition and Digression forecast free jazz with the use of collective improvisation without preset key, tempo, or chord changes.
• Lee Konitz grows from the Tristano mold. His alto playing provides an alternative to Parker's. He typified Cool Jazz: legato lines, few staccatos, rhythmic smoothness with little or no accent. Compare No figs to Shaw nuff.
• 1949 Birth of The Cool Band. Who were they? What did Gil Evans contribute to Miles' Nonet? What Big band were they from? Did they borrow its style and concepts? Unusual use of instruments and unusual instruments, harkens back to what other leader (DE).
• How was the California vibe different? Why didn't bop fit this vibe?

• Stan Kenton - covered all styles but is linked to the cool style. Kenton credits Thornhill as the father cool Big band. Did Kenton write "concert" music? Who else did that (DE and JJ).
• Chico Hamilton - used a unique latin based texture/instrumentation including flutes, cello, guitar, etc…Chamber music vibe. Innovative for moving ride rhy. Back to sn, toms, or bass drums like which early genre?
• Dave Brubeck - Associated with cool. Not a big band. Just a combo. Played cool in the 40s before Miles. Influenced by Tristano. Sax player Paul Desmond wrote Take 5.

What changed with the style, solos, tempo, swing, and comping from Bop to hard bop? Is it harder to play or listen to than bop? Is the term funky jazz appropriate for Hard Bop (HP). Style associated with Silver, Adderly, and Blakey.

Matching Players (I cant list all of these players of facts on the test…focus on the ones you've heard me discuss the most in class…

Carl Fontana - Virtuoso Bone player. First main one to play bop like a sax player on bone.

Chet Baker - Trumpet. Milesesque; soloist and studio player. Sparse sound, used flugel horn. Not really a big band graduate.

Shorty Rodgers - Trumpet. Noted as a writer. Composed and arranged for Kenton. A free jazz innovator, the first main one after Lennie Tristano. The free jazz concept doesn't really hit until Ornette Coleman ca. 1958-9.

Jimmy Giuffre - Sax. Cool player. One of the 4 brothers - he wrote the tune for Woody Herman's band.

Paul Desmond (alto)- Played with Brubeck, wrote take five. Not a hard bopist, more a swing player. Played fewer notes and focused on rhythmic displacement.

Art Pepper (alto) - Best known and most important altoist with Kenton. West coast cool player He absorbed the Konitz style and latered added the Coltrane style to his vocabulary.

Gerry Mulligan - Bari player with Miles' nontet. Innovative for having a pianoless combo. A cool player - not a bop player.

Tommy Flanagan played piano with Wes, Miles, and Trane.

Horace Silver was a band leader/pianist of import. Tasteful and not flashy. Noted for arranging his comping instead of improvizing it. Horace Silver is the most prolific hard bop composer. Wrote 25 years of tunes, a lot of repertoire. His arrangments were tight and well respected. The solo section accompaniments were arranged and harkened back to earlier big band processes in the 30s and 40s.

• Excellent technique with a laid back feel. Simpler than bop. Navarro Acolyte
• Focused on swing not surprise.
• Created a bop vocabulary of chops for players to adopt - like Freddie Hubard
• Joyful groove and swing.

Freddie Hubbard:

• Excellent technique. Master of the lip trill ( to a minor 3^rd)
• Brown, Davis, Baker acolyte.
• Known as a free jazz, funk, and rock player.
• Had a Coltrane type of style.

• Dramatic Accompaniment style which loosened up the norm.
• Solos often a de-escallation
• Excellent at pacing and building drama over time and forcing the ensemble to do the same. Influenced Coltrane and others with this.
• His group and their sound was hard driving, intense, complex, and had the bop swing.

• Main hard bop drummer. Influenced more than Blakey.
• Clean style, discrete. Tasteful.

• Pioneer of the conversational accompaniment style.
• Very spontaneous player.

1. Probably the best post- Parker alto player.
2. Absorbed and added to the Parker vocabulary.
3. Later incorporated Coltrane licks and style.
4. Peak was with Davis and Coltrane in 57-9.
5. Many say he out-boped Coltrane at times.
6. Work song and Mercy were Adderly group tunes.
7. Listen to JCCD Flemenco Sketches.

• Hard bop player with Blakey from 59-64.
• Established new composition and improvisation approaches.
• Jazz-Rock pioneer with Weather Report.

• Parker Acolyte was one of the first to do Parkerisms on Tenor.
• Solos were chains of simple motives, not long complex bop lines.
• Featured staccato instead of the Young/Parker legato style.

1. Later style went rougher with a blues tone and feel in the 70s. Played with the Stones.

• Probably the most important big band of the Hard Bop period.
• His chops were amazing. High notes and fast scales which extended the bar past Gillespie and all the rest.
• Started with Kenton's big band.
• His band downsized. It was virtually a combo.
• Bright sound… alittle piercing.
• Innovative for adding electric instruments in the 70s and 80s.
• The first and most important crossover band of the period. Compsed and recorded the Rocky theme. Did MacArthur's park and Hey Jude as arrangements. Sold well.
• Important TV/Movie composer and band.
• Read Furguson's last paragraph on p.224.

• Hard bop trumpet player band leader. Played cornet and flugel horn.
• Innovative arranger. Most significant since Ellington.
• Thickened harmonies to 8 notes at times

And used instruments in unusual ways at times.

• Wes Montgomery and Kenny Burrell are the main two hard bop players. Both were Charlie Christian acolytes.

Miles lived from 1926-1991. His productivity spanned 50 plus years of jazz. His main contibutions are:

• An original trumpet style which served as an alternative to Gillespie. Remember Parker hired Davis when the Gillespie/Parker duo split. His playing marks the development of cool jazz and hard bop. He kept innovating and influencing players, including Wynton Marsalis and others.
• His numerous recording means he gave jazz a lot of repertoire.
• His style merged Claude Thornhill's big band hard bop arranging style with Gil Evan's orchestration style. The birth of the cool recordings marked the arrival of cool in 1949-50. This trend had begun with Lee Konitz and Lennie Tristano.
• Pioneered Modal jazz with his 1959 Kind of Blue album. (Flamenco Sketches is from this album). Blue in Green and So What.
• His small group (quintet from 1965-68) innovations foreshadowed later 80s groups that focused on group/collective approaches and idiomatic instrumental styles.
• Pioneered Jazz-Rock fusion styles with later groups like Weather Report with Bitches Brew in 1969.

His trumpet style.

• Again, Be able to compare contrast Gillespie and Davis.
• Master of understatement! Changing tone and color are more important than playing a lot of notes.
• The extensive, over 50%, use of a stemless Harmon mute is an example of this. He also was the first horn man to use guitaresque effects like delay and wah.
• Use of silence and small gestures.
• He pioneered a free rhythmic sense. Most players played swing rhythm lines (steady 8^th notes), even in slow tunes. Miles' rhythm is very free and unstructured.
• Master of quoting and paraphrase.
• Popularized a simpler style in every way.
• Tone was light and airy. Not loud and brassy. He focused on the middle range of the horn. He used bursts of upper register playing in the 60s and 70s, but his sound is mainly soft and in the middle.
• His concept of sound is crucial. He focused on texture, the conglomerate result of everything happening at any given moment. He directed when players played and how busily they played. He even used two or three guitarists and pianists simultaneously to get the desired effect. He used long notes strategically during solos for their effect on the total sound, often treating his notes as extensions of the harmony. This is evident on Bitches Brew and Kind of blue. These concepts of space and flow were largely derived from Thornhill via Debussey.

The Classic Quintet

• The album Steamin, Cookin, Workin, and Relaxin (1956) featured Coltrane and though Miles is linked with the birth of cool, this album is hard bop. It marks the most important recording since Parker/Gillespie.
• The Quintet added Cannonball Adderly and marked another innovation with recording of Milestones (1958). This album pioneered the concept of modal playing, a departure from thinking in terms of chord progressions. This modal trend continued with Kind of Blue (1959) and the tune Flamenco Sketches.

Gil Evans Collaborations

• Miles began working with Gil again in 1957. Remember Gil's orchestrations resulted in the Birth of the Cool Band recordings in 1949.
• The 1957 recordings featured Miles's soloing in front of a big band playing Gil's arrangements, arrangements especially crafted to feature Miles. This was full band with French, WWs, and even Harp. These monumental albums include Miles Ahead, Porgy and Bess, and Sketches of Spain. The quality of these pieces retrieves the innovations and style of Ellington's concert music and marks Miles' third Stream Projects.
• Miles Ahead was a continuous program. Gil wrote interludes to link the pieces seamlessly. The works feature cross-sectional voicings, unusal instruments on the melody, and all while Miles' solos weave in and out of the texture in a very smooth manner.
• Porgy and Bess and rerendering of Gershwin's opera musically with vivid colors and musical drama.
• Sketches of Spain basically adapts the Concerto de Aranjuez, a work for guitar and orchestra, for Miles and Jazz orchestra. This is a thrid stream work.

• The 1959 Kind of Blue recording with Adderly and Coltrane is the pioneering of modal jazz. Modal tunes allow the improviser to play as long as he or she wants, not being fenced in by measures or changes. When the improviser moves to the next mode the rhythm section hears it and follows. This lead to many players in the 60s and 70s who rejected the formality of bop, with preset chords and durations. The main importance of Kind of Blue was 1) it was a recording by an all-star group, 2) it marked the departure from bop based styles, and 3), it popularized modal composition. Later groups like Weather Report combined modal sections and chordal sections inside single tunes.
• Davis was no doubt familiar with the free jazz styles of Ornette Coleman. Free jazz means not adhering to a single key, mode, or chord progression. Coleman's free jazz style was also a rejection of bop.

Miles' Rhythm Sections:

• The classic section was pianist Wynton Kelly. He swung hard and derived his style from Powell and Silver. Drummer Jimmy Cobb anticipated the beat and influenced Tony Williams. You'll hear their playing on Flemenco Sketches.
• A new Modal rhythm section worked with Miles from 63-68. Herbie Hancock played keyboard, Tony Williams drums, and Ron Carter on Bass. You'll hear their playing on Masqualero. All of these players were phenomenal. Hancock goes on to play with Weather Report. From early he is important as a composer and performer and has played on many other people's albums by 68. Tony Williams forges his own group. His drumming style is explosive and busy. He plays assertively and shapes the group's sound dynamically and dramatically. He uses the HH for color not just time. His fills are orchestral and classical sounding. Ron Carter is the most significant bassist between Jimmy Blanton and Charlie Mingus. He played on over 400 recordings by the mid-70s. This rhythm section could change tempo, style, dymanics, virtually anything, at whim by sensing each other. The point is the new focus on the rhythm section and its spontaneous collective improvisations. Miles forges the trend of focusing complexities on the rhythm section and simplifying the solo component.

Wayne Shorter and Miles

• Miles recorded few conventional tunes after Wayne Shorter joined the group in 1964. His playing in the 50s was fairly conventional. After 1964 his tunes were simpler, with fewer bridges, changes, complex turnarounds, or other structural landmarks which he considered barriers to free imporivsation. His use of silence and long notes exposed/featured the rhythm section.

Shorter worked with Miles from 64-70. Many scholars consider him the most significant jazz composer of that period. His works were featured in Art Blakey's band and next with Miles, and then in Weather Report. The Blakey recording are in the hard bop style (59-64). His work with Miles is freer, with spontaneous qualities, and often modal (64-70). Shorter wrote Masqualero. Like Mile, Thornhill before him, and Tristano, Shorter was greatly influenced by classical Impressionistic music, especially Debussey, Ravel, and Satie. The classical influence is very important. Miles and Shorter influenced one another also, especially in his sax soloing style. Around 69, Shorter's style became sparse, with strategic silence, and long notes. Overall, his solo style was very original. He's one of the few players we cannot align with Young, Parker, Coltrane or anyone else. He strived to be original and tried not to use practice patterns or other rehearsed sequences. Many feel his compositions are more important than his sax soloing. He also switched the complexity to the rhythm section while simplifying the melody or solo improvisation. He also wrote funk based fusion tunes, as seen in his work with Weather Report. Shorter lead many groups of his own and recorded solo projects throughout his long career.

• Tenor and Soprano Sax player. Most speculate he is the most important jazz figure of the 1960s and one of the most important of all time.
• His debut was with a trio in Philadelphia, 1945, played with the US Navy band in Hawaii from '45-6; toured with R&B Star Eddie Vinson from 47-8; played alto, tenor, and recorded with Gillespie's big band and sextet from '49-51. Met Yusef Lateef who introduced Coltrane to Islam around this time. Work with pioneer Earl Bostic in 1952; Johnny Hodges from 53-4. Fired for drugs abuse. First LP with Miles' quintet was in 55. Landmark recording with Davis is "Cookin', Relaxin, Workin, Steamin." Made other innovative recordings as Two Tenors and Tenor Conclave (four tenors), and Tenor Madness with Sonny Rollins - the other most infl. Tenorist of all time. These recordings happen from 55-56.
• Coltrane quits drugs and alcohol in 57 and decides to put his music first. He works with Monk at the Five Spot in NYC where he begin his sheets of sound style - so called because he seems to try to play every note in the chord. The term was coined by Ira Gitler. Davis asked him why he played so many notes and 'Trane said "it took that long to get it all in." Trane learned more about harmony from Monk. Trane recorded 11 more albums in 57 with various artists.
• During 57-8 he recorded his first LPs as leader. Blue Train on Blue note and a dozen LPs on Prestige.
• During this time Miles' styled changed from playing over standards with many chords to originals with fewer chords. The quintet reformed and cut Kind of Blue in 59 which marked the beginning of modal jazz.
• 1959 - Two albums followed that year :Giant Steps and Coltrane Jazz (both on Tenor). Giant Steps is a landmark composition which moves chordally but unconventionally. To be concise, its hard to play over. It is a tune all musicians fight with to prove their jazz worthiness. This is a tune to know for the test. His style over this tune swings, he plays with massive power and authoriti, and yet the tune conveys a happy feeling.
• The all star group featured McCoy Tyner on Keys and Elvin Jones, the most significant jazz drummer since Tony Williams. This is the most important group since Gillespie's Hot 5.
• Coltrane made The Avante-Garde album soon afterward with Don Cherry, Charlie Hayden and Ed Blackwell. His first use of Soprano on LP.
• In 1960, he released My Favorite Things, Coltrane Plays the Blues, and Coltrane's Sound with his quartet. My Fav. Things sold about 50K copies at a time when most jazz records were selling 5K. He recorded other popish hits around 65-6 including My Fair Lady, Greensleeves and Disney's Chim Chim Cheree among others.
• Coltrane continued to work with Miles during the 60s.
• Coltrane continued to release LPs with his own group. Some tunes had big band, others were quartet fashioned. He used Freddie Hubbard on trumpet a lot. Even his second wife Alice played piano on some of the tunes.
• Trane released an album with Ellington in 1962 and recorded a premier version of In a Sentimentlal Mood.
• Many LPs released in multiple styles during the last years of his life.
• A man loved by many, gentle, honest, and sincere. Died of Liver Cancer.
• His playing is the second in importance only to Coleman Hawkins and Charlie Parker.

• Young, Stitt, and Gordon acolyte. His signature style features blitzing speed, falsetto crys and sheets of sound. He perpetuated the Parkeresque drive for rapid, densely packed solos. He was addicted to chord changes.
• Flamenco Sketches proves he has a tasteful ballad style- so very versatile.
• Tunes like Giant steps are awkward while tunes like Naima, off the same LP, were based on single note or pedal - ala Eastern, asian or spanish style.
• Coltrane, unlike Wayne Shoter, is very calculated.
• His My Favorite things recording crosses over to a larger audience via a pop show tune - a best selling recording. His other albums during this time feature blues, modal, and pop recordings.
• Influenced by Ornette Coleman and the idea of free jazz. He was also Sonny Rollin's contemporary- other big tenor player of the time. Recorded The Avante-Garde album with coleman's group minus coleman. The other free jazz LP is Acension which like the first is important for focusing on free jazz collective concepts. Use of four modes which changed acoording to the playing of the soloist. Coltrane is important for influencing future use of collective improvisation.
• Elvin Jones, Coltrane's drummer. Jones forms a pianoless, therefore west coast style quartet which is also important.
• The Sweep style is heard on Promise and represented:

A change from:

• Markers for each measure, rhythmically and harmonically.
• Frequent chord changes
• Ride rhythms and walking bass
• Continuos 8^th notes as solo lines

• Sustained and repeated bass pedals (for pedal organ analogy).
• Drum beat units (time lines) which are longer than a measure.
• Sustained chords from comping instruments, a ringing canvas.
• Sustaining one chord for long periods of time.
• Long glissandos- falsetto cries. (In Promise)
• Solos with sustained notes (per Miles)
• Pieces with various moods and mood painting.

• Densely packed hard bop solo lines over tunes with frequent chord changes. His practice of adding chords and chord substition was widely adopted. The composition Giant Steps caused others to write tunes with non-traditional chord progressions.

• Modal Player composing tunes with long sustained pedal points. Promise is an example of this period and the sweeping style.

• Focus on collective improvisation and texture. Emphasis of composite sound over solo performance. The Avante-Garde, Meditation, and Acension recordings protray this style.

Avante-Garde - Typically defines those players and artists on the cutting edge. Gridley rightly points out that this term could apply to each chapter. The problem is that historically, those eras had titles already. Avante garde became the moniker of the 60s and 70s because no other name, like dixieland or swing, popped up to crystalize its character. This chapter includes several styles which also have no real home elsewhere.

• Coleman is a forward thinker. His music is considered the flag-ship of the Free Jazz style. But there are some issues with this.

• Free jazz is supposed free of preconceived chord changes, meter, rhythm, and tempo. Role reversal would also be expected.
• Coleman's album Free Jazz (1960) contains several collective improvisational pieces. But, they are not free of preset melody, tempo, key, and the like.
• This style borrows from the west-coast style in that it is largely a pianoless style. Piano players are by design, harmonically focused and this worked against the creed of the free jazz style. It also explains why they were late to join the scene.
• The style is associated with tone/timbre exploration, often with one pitch. (Like Miles and other early figures).
• It also focused on texture instead of solos, fast rhythms and frantic sounds.
• Free jazz melodies and solos became the antithesis of bop melody/soloing style.
• Free jazz often incorporated Eastern music practices, sounds, and structure. Is this a return to the motherland?

• Alto player… As significant as Parker.
• His 1959 recordings are smooth like Lester Young. He didn't have the ultra chops of Parker…but it was close.
• Prolific composer with 20 albums by the 70s.
• The Free aspect of his music is 1) few preset chord progressions, 2) Chorus length, 3) some works had free tempo and meter, but not many.
• His leader style focused on melody instead of harmony.
• The Free Jazz 1960 LP was as important and impacting as Davis' Kind of Blue. Kind of Blue popularized modal playing while Free jazz popularized free form.
• Free Jazz used two pianoless quartets. Trumpeters Freddie Hubbard and Don Cherry stand out on these recordings. All 8 played together at times on the recordings.
• What is not free in Free Jazz are the prearranged solo passages, solos with rhythm section accompaniment, and a bass duet.
• Who did the free jazz style first? Do you remember? Remember Lennie Tristano? He did it in the late 40s-early 50s but it didn't catch on with the public or, the public wasn't ready.

• Don Cherry is a Fats Navarro/Clifford Brown acolyte. Played on Coleman's early recordings. Cherry later lead his own band and reflected Coleman's influence with using pianoless ensembles, Eastern influences, and writing with an experimental quality. His pieces, like several of Coleman's, exhibit the accretion method of composition: basically laying ideas one over another over time to arrive at a composite goal.

• Cecil Taylor: (JCCD Jitney #2)
• Pianist, composer, band leader. Very unique player/composer. A Free jazz style player. Preferred textures over solo lines. His playing is staccato, percussive, tense, and swingless. His compositions are moody and may seems random. He is one of the first players to use atonal concepts in his works. Most, even Coleman on Free Jazz used tonal progressions.
• Form innovator. Not totally free from but used phrase structures which are repetitions of single ideas, expanded and elaborated.
• Many rightly consider his music as 20^th century classical music ala Luciano Berio, Stockhausen, or Oliver Massiaen.

• Extended playing range into the altissimo region. Often played an octave higher than any before him. Influenced Coltrane emmensely in the mid 60s. Had some swing and bebop rhythm in his playing style. His solos and compositions convey a lot of tension.
• His bands were often pianoless and he usually used the players from Coleman's group.

• Frist virtuoso bass soloist since Jimmy Blanton.
• Unorthodox band leader and composer.
• Prolific composer and arranger who combined every style imaginable: Funk, Gospel, R&B, Latin music, and 20thc classical music. His pieces convey pre and modern jazz elements from Morton to Ellington.
• Played for Ellington, Davis, and Gillespie.
• He composed many style of music:
• Program (Faubus Fables)
• Funky Gospel style (Better Git it in your soul)
• Third Stream Music (Revelations)
• Bop (w/ Gillespie, Parker, Powell and Roach)
• Free Jazz (What Love)
• Film Music (Shadows)
• Textures included everything from his own solo piano playing to full band with orchestral instruments.
• The Ellington influence is emmense. It comes out in cross sectional voicings, voice as an instrument, and compositional styles.
• Pieces combine arranged, composed, and improvised sections. The big point is that Mingus brings the composed sections back in the middle of the tune, and at times even during the solos of his players. The importance of the composed/arranged sections cant be overly emphasized. Until this time, listeners and performers were use to a specific pattern of events. The group plays the head (melody) completely at the beginning of the tune, soloists play over the changes, and the finally the tune is restated at the end of the improvized solos. Mingus introduced composed and arranged parts early - s the listeners knew them - and brought them back through out the song. It gave listeners something familiar to hold on to and allowed him to stretch the length and concept of the piece.
• Another important innovation was his use of changing tempos amid the tune. Something not previously popularized in jazz.

His impact affects players and listeners. Players who had worked on long bop solos had to rethink their style and technique. The sheer difference of concept lead to difference in improvisation.

• Most important player since Bud Powell. Influenced everyone else in this chapter.
• Derived his style partly from Tristano (Bach, Tatum, Young).
• His trio featured Bassist Scott Lafaro - most important bassist since Blanton.
• Hancock refined Evan's style and grew while working with Miles.
• Hancock lead several bands of his own and wrote hits like Watermelon man and Maiden Voyage. (Added to jazz repertoire).
• Chic Corea has a more rounded base of influences than Hancock. Including classical and many early jazz players.
• Corea is important for his use of chordal 4ths. He pioneered and popularized this trend in jazz, though others Evans and Tyner had also used them.
• His tunes, Spain and Windows became standards.
• Jarrett's style also hails from Evans, with influence from Ornette Coleman.
• Jarrett's band combined Funk, Free Jazz, and Classical styles. This multiplicity of styles made him the most popular concert pianist in jazz history.
• His band in the 70s added country and world music to their artistic pallet.

• Jazz and Rock are separate genres derived from African-American music. They have periodically overlapped. And these styles have overlapped with other styles as well.
• Jazz differs through 1) less repetition, 2) more improvisation, 3) more complexity, and 4) generally higher musicianship.
• Many rock groups that are popularly considered jazz (BS &T and CTA) have little or no improvisation. Their roots were mainly in blues, soul and gospel.
• James Brown's style is in the same category.
• Miles Davis, Larry Coryell, and Gary Burton lead bands which are jazz-fusion flagship groups.
• The main fusion guitarists are Pat Methany, John McLaughlin, and Larry Coryell.
• They naturally brought a sense of blues and rock to the genre, being guitarists.
• McLaughlin incorporates world music into his virtuosic compositions. His group was called the Mahavinishu Orchestra.
• Joe Zawinul wrote mercy, mercy, mercy while with Cannonball Adderly's group. His arrangements formed the basis for 1969 trend setter Bitches Brew with Miles. He, with Wayne Shorter become the main writers for Weather Report which lasted until 1985.
• Weather Report (WR) used a lot of collective improvisation at the beginning. WR paves the way for smooth jazz as their style moves to a riff based process that combines rock and soul with jazz. Birdland, Zawinul's hit, marks this style.
• Jaco Pastorius is probably the most important bassist of this era. His innovations carry on until players like John Pattituci arrive on the scene.
• Miles' late, post 1968, work combines jazz and funk with world music from India and South America.
• New Age is softer on the ear than smooth jazz. Few abrupt actions, easy rhythms, mostly funk based, few changes and consisten textures.