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UCSD MUS8
MIDTERM 1
| Artist | Facts | Songs |
|---|---|---|
| Pepper Adams (DETROIT) | -Considered one of the most influential baritone saxophonists in Jazz -Recorded with innovative bandleader and bassist Charles Mingus -Recorded with legendary saxophonist John Coltrane -nickname – knife | "Baubles, Bangles and Beads" -baritone saxophone, bass, drum, piano, more organized, show music/pop tunes, harmonic structure, hard swinging, older sound quality |
| Kenny Garret (DETROIT) | -Joined the Duke Ellington Orchestra -Played with Miles Davis for 5 years during Miles' "electric period" -musically diverse- has recorded with Elvin Jones and Bruce Springsteen | "Delfeayo's Dilemma" -Drums, bass, saxophone/ trio, more swingly-like "G.T.D.S." -Saxophone, bass, organ keyboard, drums |
| Ron Carter (DETROIT) | -member of the second great Miles Davis Quintet -Appears on more than 2500 albums -Professor Emeritus - City College of New York | "First Trip" -virtuoso, 8 bar blues, double bass, piano dominant, drums |
| Elvin Jones (DETROIT) | -Part of famed family of jazz musicians -older brother Hank a pianist -younger brother Thad a trumpeter -considered a polyrhythmic innovator | "The Wanderer" -bass, piano, 2 saxophones, drums; improv- free vs. melody- written…. open, abstract |
| Charles McPherson (DETROIT) | -performed and recorded with influential bassist, Charles Mingus -resides in San Diego -Performed as a musical double for Charlie Parker in Clint Eastwood's landmark film "Bird" | "Visa" – sounds like it starts partway through -saxophone, bass, piano 12 bar blue, baritone much lower in tone, alto is higher, older styles |
| Stefon Harris (MALLET MEN) | -uses more spaces/rests in his vibraphone, unlike most others who fill up every rests -breathes more on his instrument -considered one of the most important newer voices on his instrument -Replaced Bobby Hutcherson as vibraphonist for the SF Collective | "A Touch of Grace" – presence of strings, backbeat "The Single Petal of a Rose" – vibraphone solo, soft, gentle, placid, serene |
| Bobby Hutcherson (MALLET MEN) | -Decided to play vibraphone after hearing Milt Jackson -Embraced a wide variety of styles, from free jazz to funkier and Latin based sounds -In 2004 joined the SF collective- one of the most important jazz ensembles of the new millennium | "Oblique" – very abstract sounding "Black Heroes" – singing, saxophone, vibraphone, piano, music going from entertaining,references to Malcolm X,Martin Luther King, repetition, shapes, scales,very abstract sounding, harmonic sounding, |
| Red Norvo (MALLET MEN) | -helped to establish the xylophone, vibraphone and marimba as viable jazz instruments -one of the first musicians of his generation to embrace bebop, he recorded with Charlie Parker, Gilespie, and Mingus -Work with Billie Holiday and F. Sinatra | "In a Mist" – lots of background white noise on recording - influenced by French classical Music – adventurous, harmonically, structure, |
| Joe Locke (MALLET MEN) | -Played with Dizzy Gillespie and Pepper Adams while still in high school -studied classical percussion at the Eastman school of Music -recorded “Revelation” a live tribute to Milt Jackson in 2005 | 3 Version of Laura Charlie Parker - made improvisations, very old recording David Raskin – Laura strings, dark, eerie, muted trombone, suspense Joe Locke- Laura- used vibraphone, percussions – melodic, used popular song,modern,high quality recording |
| Jane Ira Bloom (WOMEN IN JAZZ) | -Commissioned by NASA to write an orchestral piece -Recipient of Guggenheim fellowship award for composition (2007) -involved in performing and composing for prominent dance companies and the use of electronics in jazz | "Blue Poles" – double bass, clarinet, bass, abstract performance, music concerned with mood or motion "Ready For Anything" – 7 and 5 meter, bass is playing long, sustained |
| Terri Lyne Carrington (WOMEN IN JAZZ) | -Began professional career at age 10, playing major festivals with trumpeter Clark Terry -Awarded full scholarship to Berklee College of Music at age 11 -Recorded and toured with Herbie Hancock and Wayne Shorter, among others | "Witch Hunt" – saxophone, drums, electric guitar, synthesizer, hard edge, city sound "Giggles" – saxophone dominant, electric guitar, prominence of drum sets |
| Geri Allen (WOMEN IN JAZZ) | -Recipient of Guggenheim fellowship award for composition (2008) -Professor of jazz piano and improvisation – University of Michigan -Musical Director of the Mary Lou Williams Collective | "Melchezedik" – piano solo, drum bass background, |
| Toshiko Akiyoshi (WOMEN IN JAZZ) | -Recorded first album 1953 which members of Oscar Peterson’s trio – at Peterson’s recommendation -Awarded a full scholarship to Berklee College of Music in Boston -Formed critically acclaimed Akiyoshi – Tabackin big band with husband Lew Tabackin | "Repose" – Akiyoshi arranged this – slow, swingy, piano, saxophone, drum, haunting, moody |
| Mary Lou Williams (WOMEN IN JAZZ) | -A child prodigy, Williams began her career before age 10 -Composed over 350 songs arranged for Louis Armstrong, Benny Goodman and Duke Ellington, among others -One of the first jazz composers to write and record sacred music, composed three masses | "Walkin’ and Swingin’" – dance music for its time, trumpet saxophone, piano, swing style, sound from earlier recording "St. Martin de Porres" – opens with a choir! - Black Christ of the Andes -Afro-peruvian, canonized, known for feeding the poor |
| Terumasa Hino (JAZZ AROUND THE WORLD) | -Originally influenced by Miles Davis, Lee Morgan, and Freddie Hubberd -Widely regarded as one of Japan’s top jazz musicians -Has performed with top American artists including Elvin Jones and Gil Evans | "Kimiko" – very passionate, powerful trumpet player |
| Bheki Mseleku (JAZZ AROUND THE WORLD) | -Originally influenced by pianist McCoy Tyner -Had the unusual ability to play saxophone and piano simultaneously -inspired a generation of South African | "Timelessness" – complex long melody, improvised, saxophone, piano, drums, more sax than Joe Henderson, "Meera-Ma" (Divine Mother) – playing piano and sax simultaneously O__O |
| Nguyen Le (JAZZ AROUND THE WORLD) | -a pioneer in the fusion of jazz and Southeast Asian music -has performed a wide variety of music – including African, Caribbean, Indian, rock, Turkish styles -His music sometimes makes use of effects, synthesizers, and computer programming | "Weaving and Awaiting" (w/ Houng Thanh) – singing, hand drum, gondola, folk music instrument, electronic effect dub, fretless guitar Saiyukio Trio |
| Miguel Zenon (JAZZ AROUND THE WORLD) | -Winner of MacArthur “Genius Fellowship (2008) -Founding member - SF Collective -Fused jazz with traditional Puerto Rican music – Jibaro and Plena | "Seis Cinco" – drums, saxophone took a folk melody and fuzed it with jazz music "Que Sera de Puerto Rico" – tradition rhythm and ideas into jazz context |
| Chico Pinheiro (JAZZ AROUND THE WORLD) | -Diverse influences include John Coltrane, Joao Gilberto (bossa nova pioneer) and the Beatles -Widely considered one of the top young musicians in Brazilian Jazz -Faculty – California Brazil Camp | "Pelo Avesso" |
| Carmen McCrae (VOICES) | – accustomed to jazz standard Originally a pianist -Billie Holiday was a mentor and influence -known for behind-the-beat phrasing and ironic interpretations of lyrics | "Round Midnight" - Says the name of the song "Suddenly (In Walked Bud)" - Starts with a sax, then jumps into a piano / vocal pause |
| Leon Thomas (VOICES) | -Recorded with Louis Armstrong, Count Basie, Mary Lou Williams, Ornette Coleman, and Carlos Santana -pioneered the use of yodeling while scat singing, a technique also used by saxophonist- vocalist James Moody | "One" - |
| Bobby McFerrin (VOICES) | -pioneered the use of an octave jumping technique, moving rapidly from bass notes to falsetto to create polyphonic effects -noted for a Capella performances -tours as a guest conductor for symphonic orchestras | "Hallucinations" - |
| Lizz Wright (VOICES) | -Started her career singing and playing piano at church in her rural hometown -While in college at Georgia State University performed with Atlanta’s top vocal group – In the Spirit -Acclaimed for her maturity, poise and ability to fuse gospel and jazz | "Walk with Me, Lord" - |
| Julius Watkins (INSTRUMENTS LESS HEARD) | -First great jazz horn player, excelled in classical music as well -along with tenor saxophonist Charlie Rouse, created a pioneering chamber jazz group – Les Jazz Modes -Recorded with Mary Lou Williams, Miles Davis, John Coltrane, and Charles Mingus | "Dancing on the Ceiling" – |
| Mark Feldman (INSTRUMENTS LESS HEARD) | -Associated with top composers and performers of avant-garde jazz and new music -Another extremely versatile performer, was important in Nashville’s country music scene early in his career | "Number 9" - w/ John Abercrombie, very haunting, cello |
| Dorothy Ashby (INSTRUMENTS LESS HEARD) | -one of few harpists in jazz, Ashby was widely considered the greatest -Her work from the late 60s was considered a forerunner of Acid Jazz -Has been widely sampled by DJs and remix artists | "Softly, as in a Morning Sunrise" – |
| Howard Johnson (INSTRUMENTS LESS HEARD) | -Noted multi-instrumentalist, has recorded on tuba, baritone and bass saxes and bass clarinet An extremely versatile musician, recorded with Charles Mingus, Gil Evans, B.B. King and John Lennon | "Yesterdays" - horn |
| Toots Thielemans (INSTRUMENTS LESS HEARD) | -Inspired to play jazz by listening to recordings of Louis Armstrong, Fats Waller and Django Reinhardt -a noted guitarist and whistler -2009 National Endowment for the Arts Jazz Masters Fellowship honoree | "Little Rootie Tootie" – chromatic harmonica, -lyric improviser |
| John Coltrane Quartet (THE GREAT SMALL GROUPS) | -Repertoire included intense, spiritually driven themes and Coltrane’s reworking of standard material -In live performances, Sometimes solos lasted 45 minutes -Embraced aural traditions of Africa, Latin America and India | "Alabama" – low rumbling drums, sad trumpet/horn – does not sound like Alabama, more like someone who does not want to be in Alabama "Acknowledgement" – cymbal/gong opening |
| Lester Young’s Kansas City Six (THE GREAT SMALL GROUPS) | Lester Young – a tenor sax and clarinet -Band within a band -Features rare examples of tenor saxophone master, Lester young playing clarinet -one of the jazz groups to employ electric guitar | "Way Down Yonder in New Orleans" – sounds like Disneyland/New Orleans Square "Countless Blues" - guitar, almost banjoy in a way |
| Miles Davis Quintet (THE GREAT SMALL GROUPS) | -Wayne Shorter, Herbie Hancock, Ron Carter, Tony Williams -Considered Miles’ second “great quintet” (First has Coltrane) -Studio recordings show a pioneering unit performing quasi-abstract original compositions (mainly by Shorter) | "The Sorcerer" - "Petit Machins" - |
| Herbie Nichols (INSIDE OUT) | -a prolific composer of well over a hundred works – most of which have been lost -spent a majority of his career accompanying vocalists and playing Dixieland music -his brilliant compositions make him a favorite among top avant-garde musicians | "The Third World" - "Cromagnon Nights" - "Dance Line" - |
| Eric Dolphy (INSIDE OUT) | -first important bass clarinet soloist in jazz -adopted approach to new improv from much practice -considered an ideal sideman -> mastery of several instruments, sight-reading skills, flexible -adopting cries, quarter tones, ++jazz tradition | "Booker’s Waltz" - |
| Andrew Hill (INSIDE OUT) | -one of the most original composers in jazz -Hill’s compositions combined elements from many musical sources, mixing gospel, blues and classical music -began a 20 year career as an academic party due to a lack of widespread acceptance of his music | "Refuge" - "Lift Every Voice" - "Hat and Beard" - |
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