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142 Part II: Jazz Greats and Great Jazz: An Evolutionary Riff
In This Chapter Chapter 8 A Radical Departure: The 1960s and 1970s � Experimenting with the avant garde � Feeling liberated with free jazz � Recognizing how jazz reflected the sixties � Focusing on electric fusions When the black-and-white ’50s faded into the Technicolor ’60s, jazz exploded in radical directions that indicated the social and political changes ahead. But the past wasn’t entirely abandoned. As new music developed, older forms of jazz came along. Giants from jazz’s Golden Age of the ’30s still made vital music (see Chapter 6 for details on this era), and hard bop players from the ’50s played bluesy, hard-driving jazz for three more decades (Chapter 7 has the scoop on bebop). But as in earlier eras, a new generation once again arrived to lead jazz in new directions. Those paths ranged from free improvisation to mergers of jazz with classical and world music and the adoption of electric instruments and synthesizers. The Future Is Now: Avant Garde Jazz Avant garde jazz is experimental and often includes significant improvisation, but it also usually has structure. It may sometimes sound chaotic, but it’s often elaborately composed in advance. In the following sections, I discuss two avant garde movements — the Lydian Concept and Third Stream — that originated in the ’40s and ’50s and how they continued to influence jazz musicians through the ’60s and ’70s.
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Jazz FOR DUMmIES‰ by Dirk Sutro 2
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Jazz For Dummies ® , 2nd Edition P
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Publisher’s Acknowledgments We’
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Table of Contents Introduction.....
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Table of Contents Ragging the Rhyth
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Table of Contents Let’s Get Funky
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Table of Contents Guinness Jazz Fes
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Table of Contents Avant Garde Jazz
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Introduction As you begin your jour
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What You’re Not to Read I include
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Part VI: Appendixes Part VI covers
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Part I All That Jazz: A Tour of the
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In This Chapter Chapter 1 In the Be
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Chapter 1: In the Beginning: Enteri
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Meanwhile, Latin music had a signif
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Chapter 2 Altered Ears: Understandi
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Chapter 2: Altered Ears: Understand
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In This Chapter Chapter 3 The Schem
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Chapter 3: The Scheme of Things: El
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In This Chapter Chapter 4 Tools of
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Figure 4-1: A soprano sax looks lik
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Chapter 4: Tools of the Trade: The
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Figure 4-6: The bass clarinet is mo
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Strumming Along: Strings Chapter 4:
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seconds, filling the space behind a
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� Cymbals: In early jazz, one cym
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Figure 4-8: A musician plays a vibr
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Part II Jazz Greats and Great Jazz:
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Chapter 5 The Birth of an American
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Chapter 5: The Birth of an American
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Figure 5-3: Jelly Roll Morton is fa
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Page 109 and 110: Chapter 5: The Birth of an American
Page 111 and 112: Chapter 6 The Golden Era of Big Ban
Page 113 and 114: Chapter 6: The Golden Era of Big Ba
Page 133 and 134: In This Chapter � Witnessing the
Page 135 and 136: Chapter 7: Bebop to Cool: The 1940s
Page 137 and 138: Surveying Influential Bebop Musicia
Page 139 and 140: Figure 7-1: Charlie Parker was nick
Page 145 and 146: Figure 7-4: Ella Fitzgerald was the
Page 159: Figure 7-5: Miles Davis played both
Page 163 and 164: Figure 8-1: Classical fugues influe
Page 165 and 166: Mingus’s 1972 album Let My Childr
Page 167 and 168: Chapter 8: A Radical Departure: The
Page 171 and 172: Figure 8-5: Cecil Taylor overlapped
Page 173 and 174: Hear Dolphy’s wild leaps of imagi
Page 175 and 176: Chicago In Chicago, a group of Afri
Page 179 and 180: Although some fans and critics dism
Page 183 and 184: Chapter 9 The Perfect Hybrid: Latin
Page 185 and 186: In the ’30s, bandleaders Don Azpi
Page 187 and 188: Chapter 9: The Perfect Hybrid: Lati
Page 189 and 190: O’Farrill created “Undercurrent
Page 191 and 192: musical elements through travels to
Page 193 and 194: Gato Barbieri Born in Argentina, sa
Page 195 and 196: Mongo Santamaria For his prolific o
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Page 199 and 200: Hilton Ruiz Ruiz (born 1952) grew u
Page 201 and 202: In This Chapter Chapter 10 Looking
Page 203 and 204: Chapter 10: Looking Ahead: The Pres
Page 207 and 208: Figure 10-1: Wynton Marsalis plays
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Chapter 10: Looking Ahead: The Pres
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Other musicians Other musicians who
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Part III The Beat Goes On: Jazz App
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Chapter 11 Mass Appeal: Taking Note
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Chapter 11: Mass Appeal: Taking Not
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In This Chapter � Jazzing up your
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on together in 1959. Charles Mingus
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Chapter 12: Good Times: Jazzing Up
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Sending Your Guests Home with Fun P
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Chapter 13 Lovin’ It Live: A Jazz
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Chapter 13: Lovin’ It Live: A Jaz
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In This Chapter Chapter 14 Travelin
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Chapter 14: Traveling Jazz: Your Ti
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Part IV I Like the Way You Play: Th
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Chapter 15 Feeding the Jazz Jones:
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Chapter 15: Feeding the Jazz Jones:
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Chapter 16 So You Wanna Be in a Ban
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Chapter 16: So You Wanna Be in a Ba
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In This Chapter Chapter 17 Digital
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Chapter 17: Digital Jazz: Making Mu
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Part V The Part of Tens
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In This Chapter Chapter 18 Ten Grea
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Cool venues to check out include
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Los Angeles Considering its wealth
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As in many other cities, local radi
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Chapter 18: Ten Great Cities for Ja
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San Diego Chapter 18: Ten Great Cit
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San Francisco Bay Area Big time jaz
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Chapter 19 Ten Tips for Building an
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Chapter 19: Ten Tips for Building a
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Part VI Appendixes
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Appendix A More Than 100 Recommende
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Bebop and Hard Bop Appendix A: More
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Avant Garde Jazz and Free Jazz Begi
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Appendix B Trustworthy Jazz Labels
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� Benny Goodman, clarinetist �
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� Count Basie, bandleader and pia
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Appendix C Resources for Further Ja
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Appendix C: Resources for Further J
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The Story of Jazz (Oxford Universit
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• Numerics • 12-bar format, 32-
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lesser-known, 221-222 Lunceford, Ji
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Howard Rumsey’s Lighthouse All-St
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Fitzgerald, Ella (vocalist) as bebo
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Jazz Messengers, 134, 171 jazz musi
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multi-track recording, 292, 293 mus
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Herman, Woody, 218 improvisation, 4
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stretching words, 38 stride piano,
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BUSINESS, CAREERS & PERSONAL FINANC
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