Âm nhạc - Chapter 11: Jazz tenth edition

JazzTenth EditionChapter 11PowerPointbySharon Ann Toman, 2004Hard Bop, Funky, Gospel JazzHard (more driving)Bop (return to the elements of the bop style)Funky (rollicking, rhythmic feeling)Gospel Jazz (funky + elements of early Gospel music)2Chapter 11 - Hard Bop, Funky, Gospel JazzHard Bop, Funky, Gospel JazzThe Hard Bop style was more improvisational and emotionally basedThe Funky Hard Bop era was a return to the Bop style (vitality)The term funky was often used interchangeably with soul during this period3Chapter 11 - Hard Bop, Funky, Gospel JazzHard Bop, Funky, Gospel JazzThe term soul was connected to church and speaks of the emotional content of the musicThe term funky had a more earthy association4Chapter 11 - Hard Bop, Funky, Gospel JazzHard Bop, Funky, Gospel JazzFunky music borrows musical characteristics from African American church musicUsed scales that were used in early blues (blue notes)Result is a gospel blues soundHighly rhythmical melodiesLess complex harmoniesHappy sound5Chapter 11 - Hard Bop, Funky, Gospel JazzGospel JazzGospel JazzOriginally called “soul jazz”Extension of the funky styleGospel jazz used more triadic harmonies (like which is found in church hymns)Rhythm and emotional intensity6Chapter 11 - Hard Bop, Funky, Gospel JazzThe PerformersThe funky was 1st introduced by pianistsLater adopted by all instrumentalistsBrought to public notice by:Pianist – Horace SilverDrummer – Art Blakey and his group called: The Jazz Messengers7Chapter 11 - Hard Bop, Funky, Gospel JazzHorace Silver (1928- )Pianist, composerAn important pioneer of Hard bopHis quintet served as a model for small jazz groups during the 1950s – 1960sTrained many young playersExcellent composer and arranger8Chapter 11 - Hard Bop, Funky, Gospel JazzWild Bill Davis (1918-1995)“Godfather of the Jazz Organ”Performed on Hammond organAlso played piano, and guitarLed an organ trio groupWorked with Ellington, Lionel Hampton, and Count BasieWorked not only in the USA but also worked extensively in Europe9Chapter 11 - Hard Bop, Funky, Gospel JazzArt Blakey(1919-1990)DrummerFormed a group called the “Jazz Messengers”Blakey’s name became synonymous with hard drive and pulsating excitement© Getty.10Chapter 11 - Hard Bop, Funky, Gospel JazzSonny Rollins (1930- )Tenor saxophonist/composerAlso studied piano, and alto saxKnown for melodic style of improvisationPlaying style shows the influence of cool and bopHas a quintet group/bandPopular nightclub performerHis recording of “Blue 7” is an example of the way Rollins is able to dissect a melody (humorously)11Chapter 11 - Hard Bop, Funky, Gospel JazzCharles Mingus (1922-1979)Bassist, pianistComposer/bandleaderInfluenced by Ellington, Charlie Parker, Thelonious Monk, Negro gospel music, Mexican folk musicHad a strong approach to composition and performanceExcellent bass soloist© Corbis.12Chapter 11 - Hard Bop, Funky, Gospel JazzBill Evans (1929-1980)Pianist who fulfills the piano legacy begun in the early days of jazzPlacing the piano in the middle of the developing jazz traditionEvans added a new improvisation authority to this legacy© Getty.13Chapter 11 - Hard Bop, Funky, Gospel JazzBill Evans (1929-1980)He laid the foundation for future generations of jazz piano playersMoved to the head of the jazz community when asked to join the Miles Davis groupCreated a new sound for the piano that took the traditional chords and reshaped them with his own trademark “voicings”14Chapter 11 - Hard Bop, Funky, Gospel JazzConclusionThe era in jazz represents a time in the history of jazz as a developing art formOffered a window to continuing the jazz traditionthe “mainstream”15Chapter 11 - Hard Bop, Funky, Gospel Jazz