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148 Part II: Jazz Greats and Great Jazz: An Evolutionary Riff Figure 8-3: John Coltrane is one of the most influential jazz musicians of the 20th century. Peruse your local (or online) music store for CDs by these other free players: reedmen Arthur Blythe, Henry Threadgill, David Murray, and John Zorn; trumpeter Lester Bowie; pianists Don Pullen and Marilyn Crispell; violinist Leroy Jenkins; trombonist George Lewis; drummer Sunny Murray; and guitarists Sonny Sharrock and James “Blood” Ulmer. John Coltrane’s spiritual quest Tenor saxophonist John Coltrane (1926–1967) grew up in High Point, North Carolina, and played various horns as a teenager and for a Navy band in Hawaii around the end of World War II in 1945. Although Coltrane (shown in Figure 8-3) broke jazz wide open with his free explorations and spirituality, he began his career in rhythm-and-blues and jazz bands led by King Kolax, Eddie “Cleanhead” Vinson, Jimmy Heath, Howard McGhee, Dizzy Gillespie, and Earl Bostic. Everett Collection
Chapter 8: A Radical Departure: The 1960s and 1970s Coltrane’s move into experimental music came in Miles Davis’s 1959 Kind of Blue quintet. On that album Coltrane’s solos began to break free from the past as he explored wildly imaginative improvisations using only a few scales and began to explore the exotic saxophone tones that eventually became his signature. Key elements of Coltrane’s music include the following: � Free, soaring solos: Coltrane selected a few chords and scales as the basis for improvisations that became longer than most any player’s before him. � Wild sounds: Squeals and squawks that others may consider “noise” artfully integrated into his solos, extending the emotional range and intensity. � Modal: Modal is a meditative approach that Coltrane used as his fascination with Shankar and Indian music grew. Coltrane wrote songs centered on single scales or modes instead of complex chord changes. Improvisers felt freer to play straight from their feelings because they didn’t need to follow the zigzagging chord changes of jazz. � Blues connections: Coltrane captured the earthy feel of blues on albums such as Blue Train. Coltrane’s music and personal life continued to follow a spiritual path, and he studied eastern religions and musicians including Indian sitarist Ravi Shankar (Coltrane named his son Ravi, who’s discussed in Chapter 10). Coltrane saw his music as a spiritual offering. To this day in San Francisco, the Church of John Coltrane uses his music as a basis for services. Coltrane’s 1964 album A Love Supreme marked a new milestone, as the music took on a meditative aura, and Coltrane improvised with no restrictions as far as chord changes, melodies, or length of solo. The music built on spare “sketches” of themes that Coltrane explained to his band just before the recording session. Coltrane gave his only live performance of A Love Supreme at the Antibes Jazz Festival in 1965. Late in his career, Coltrane used pure feeling and less preconceived form in his music. He often used a soprano sax instead of a tenor sax to capture increasingly intense feelings. The power of the music shows through his albums that showcase both uncompromising art and commercial viability — the saxophonist tapped something primal and universal in human emotions. Among 20th century jazz musicians, Coltrane ranks as one of the most influential, alongside Charlie Parker (see Chapter 7) and Miles Davis (covered later in this chapter and in Chapter 7). Young players who got their start with Coltrane include drummer Elvin Jones and pianist McCoy Tyner. As they continued in Coltrane’s spirit, you could hear the dark moods and boundless improvisation they learned from Coltrane. 149
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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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Chapter 6 The Golden Era of Big Ban
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Chapter 6: The Golden Era of Big Ba
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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 and 160: Figure 7-5: Miles Davis played both
Page 161 and 162: In This Chapter Chapter 8 A Radical
Page 163 and 164: Figure 8-1: Classical fugues influe
Page 165: Mingus’s 1972 album Let My Childr
Page 169 and 170: 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
Page 213 and 214: Other musicians Other musicians who
Page 215 and 216: 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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