Question.1142 - Listening Journal 3 (Chapters 11-15) The Listening Journal is your account (as best you can) of EACH of the musical pieces covered in the slides. Not all information will be available for every single piece we listen to so do the best you can. It should be in the following form; Date- Journal Entry # Name of Ensemble- Names of musicians and instruments played- Song title- Song form- (such as AABA or a 12 bar blues etc.) Tempo- (How fast is the song? Slow, medium, fast etc.) Style- (Swing, bebop, hard bop, cool, etc.) Melody- (Is the melody angular, melodic, vertical, horizontal, does it use many notes, etc.) Piano techniques-(Is the piano player soloing? Comping? Playing boogie woogie? Stride, etc.) Bass techniques- (Walking? Soloing? Both?) Drum techniques- (Playing swing, straight 8ths, Bossa Nova, etc.) Improvisation- (Who solos when and how. Use timestamps when possible) Your personal thoughts -What you may have liked or disliked about the performance and why.
Answer Below:
Final Listening Journal 3 (Chapters 11 to 15) Lawerance Butts San Jos? State University MUSC 120 Section 80 Professor Jeff Lewis December 6th, 2023 Final Listening Journal 3 (Chapters 11 to 15) Chapter 11 The Messengers What was Art Blakeys mission? I guess JAZZ gospel in terms of spirituality, and also to bring back rhythm in blue. In what bands did he develop his thunderous drum style? Own band with Fletcher Henderson and Billy Eckstine. Who was the co-leader of his group? Horace Silver (pianist) / Jimmy Smith What was the name given to the style of jazz they pioneered? Hard bop. What styles of music did it combine? Swing with an earthy style that made the crowd hum the music, it was often a blend of gospel with blues and rhythm such as west coast Jazz and hard pop. Why did musicians call his a group a jazz university? Because he found player's value by giving a chance to tweak the essence of music in terms of leading a band. Name two musicians who played with the group? Bobby Timmons, Benny Golson, Hank Mobley, Lee Morgan, etc. "Sonny Rollins" Why does he not believe in recordings Who were his influences? because he believes records tend to commercialize the purpose of the music and are used by people to draw into the concert, which reduces the essence of the music. How did he kick his heroin habit? Abruptly left NY and chose to work as a day labor to get off drugs. What is so impressive about his improvisational skill? While playing Solos, in the middle of the solo he mixes a different song in between giving the audience a blend. Most important recording Why did he take extended periods off from performing live? To reassess himself, in order to develop himself in front of the people through isolation as the video calls it "confronting the dragon," mostly used it as a period of personal development. Chapter 12 "John Coltrane" Which big band did he play with? Became famous by playing with? "Thelonious Monk" Dizzy Gillespie. While playing with Monk he had a spiritual awakening. What happened after this period? He gave up drugs and studied the Eastern religion which led to his interest in Eastern music. Who were the members of his famous quartet? McCoy Tyner (piano), Elvin Jones (drums), and Jimmy Garrison (bass). What was the name of his piece that received wide radio play? "My Favorite Things" What musical is the song from? Modal Jazz Coltrane became the 2nd highest paid jazz musician. Who was first? "Miles Davis" Trane switched to what instrument for his recording of My Favorite Things ? "Soprano Saxophone" Chapter 13 "Art Ensemble of Chicago video What were jazz cooperatives ? Give the names of the cooperatives that were formed in Chicago during this time period. Why were the formed? Firstly, to control the music. Secondly, to sustain the advancements and support for music from diverse cultures and race. What musical elements did the Art Ensemble of Chicago draw from? Drew cultural references from African-inspired tribes wherein the performance included costumes and makeup; they called it the "Not Jazz but a Great Black Music." The Adventure video What did Ornette Coleman reject musically? Rejected harmony and sequences of chords (rejecting the harmonic contour) in order to wanting it free and calling the "The Adventure" Who were the members of his band and what did they play? Ornette Coleman, Don Cherry (Trumpet), Billy Higgins (Drummer), Ed Blackwell and Charlie Haden (bass). What was the name of the controversial album he recorded in 1961? "Free Jazz - A Collective Improvisation By The Ornette Coleman Double Quartet" What city was considered the center of the jazz world in 1959? "New York" What was the name of the club Ornettes ensemble played at in New York? "Five Spot Manhattan's East Village" Chapter 11 Analysis of Ray Charles' "You Are My Sunshine" Name of Ensemble:?Ray Charles and Orchestra Musicians and Instruments: Ray Charles - vocals, piano Other musicians - saxophone, guitar, bass, drums, backing vocals Song Title:?You Are My Sunshine Song Form:?AABA (with a shout section in the middle) Blues 16 Bar Tempo:?Medium 110bpm Style:?Gospel-infused soul Melody:?Simple and singable, with some bluesy inflections, wherein Charles uses repetition effectively to create a memorable hook. Rhythm:?Primarily a rhumba, shifting to a more straightforward swing beat during the shout section, mostly bebop. Piano Techniques:?Charles' piano playing is sparse and tasteful, providing rhythmic support and occasional fills, I couldnt find a solo in this version. Bass Techniques:?The bass line walks steadily throughout the song, anchoring the rhythm and providing a foundation for the other instruments. Drum Techniques:?The drummer plays a simple swing beat, with light cymbal work and subtle accents on the snare. Improvisation:?There are no extended instrumental solos in this version. However, Ray Charles' vocal delivery is full of improvisation, with melismas, bends, and subtle variations in phrasing. Singers:?The backing vocalists sing in a gospel style I think this was also improvisation, adding harmony and texture to Charles' lead vocal by the use of call-and-response techniques and echo phrases, creating a sense of community and shared experience. Blues Singer Influences:?Charles' vocal style is heavily influenced by blues singers like Bessie Smith and Billie Holiday by using blue notes, melismas, and a raw, emotional delivery to convey the depth of his feelings. Analysis of Art Blakey and the Jazz Messengers' "Moanin'" Name of Ensemble:?Art Blakey and the Jazz Messengers Musicians and Instruments: Art Blakey - drums Wayne Shorter - tenor sax (1:37 - 3:27) Lee Morgan - trumpet (3:27 - 5:18) Bobby Timmons - piano (5:18 - 6:58) Jymie Merritt - bass (throughout) Song Title:?Moanin' Song Form:?AABA with a bridge (C section) and a tag Tempo:?Medium-fast swing 110bpm Style:?Hard bop Melody:?The melody is angular and bluesy, with catchy motifs and space for improvisation. Rhythm:?The rhythm is a driving swing, with Blakey's drums pushing the band forward. Piano Techniques:?Timmons plays a mix of comping and soloing; with comping in sparse and tasteful pattern, leaving space for the other instruments with bluesy inflections. Bass Techniques:?Merritt walks the bass line throughout the song, providing a solid foundation and adding rhythmic drive, also by taking a brief melodic turn during the bridge. Drum Techniques:?Blakey's drumming is the highlight of the song by playing it in polyrhythmic style, incorporating elements of swing, bebop, and African drumming. Improvisation: Wayne Shorter (1:37 - 3:27):?Shorter's solo is full of melodic invention and rhythmic complexity. He uses a wide range of dynamics and textures, creating a sense of tension and release. Lee Morgan (3:27 - 5:18):?Morgan's solo is more direct and bluesy than Shorter's. Bobby Timmons (5:18 - 6:58):?Timmons' solo is a masterclass in hard bop piano by using uses bluesy motifs, rhythmic displacement, and unexpected chord changes to create a captivating performance. Analysis of Horace Silver's "Se?or Blues" Name of Ensemble:?Horace Silver Quintet Musicians and Instruments: Horace Silver - piano Blue Mitchell - trumpet (1:00 - 2:12) Junior Cook - tenor saxophone (2:12 - 3:24) Gene Taylor - bass (throughout) Louis Hayes - drums (throughout) Song Title:?Se?or Blues Song Form:?12-bar blues with a bridge (C section) AABA Time Signature:?12/8 (Latin feel) Tempo:?Medium swing Rhythm:?The rhythm is a driving Latin groove, with a strong emphasis on the offbeats, the drums play a clave pattern, which is a two-bar rhythm that forms the foundation of many Afro-Cuban rhythms. Melody:?The melody is bluesy and catchy, with a strong Latin flavor with the basis on the traditional 12-bar blues progression, but with some chromatic passing tones and rhythmic variations. Horace's improvisation style: Use of blues scales and motifs:?Silver's solo is full of bluesy inflections, including blue notes, bent notes, and call-and-response phrases. Syncopation and rhythmic displacement:?He plays with the rhythm playfully, placing notes on the offbeats and displacing the accents to create a sense of surprise and anticipation. Sparse and melodic:?He doesn't play a lot of notes, but every note he plays counts by focusing on melody and phrasing, creating memorable lines that stick in your head. Use of space:?He leaves plenty of space in his solo, allowing the other instruments to breathe and the rhythm section to come through. Chapter 12 Analyzing Coltrane's "My Favorite Things": A Jazz Journey Soprano Sax and a Sonic Shift: Coltrane's use of the soprano saxophone in "My Favorite Things." Melody vs. Improvisation: A Dance of Structure and Freedom: The Coltrane rendition is a beautiful interplay between the familiar melody of the song and Coltrane's improvisational genius. According to my understanding: Melody (0:00 - 0:47):?Coltrane opens with a faithful rendition of the melody, establishing the song's theme with a clear, unadorned tone. Improvisation (0:47 - 2:00):?He then dives into improvisation, taking the melody as a springboard to explore a universe of musical possibilities. His solo is virtuosic, weaving intricate lines, rhythmic variations, and playful fragments of the original tune. Melody (2:00 - 2:12):?A brief return to the melody, reminding us of the song's core before venturing further into uncharted territory. Improvisation (2:12 - 4:15):?Coltrane pushes the boundaries further, exploring more dissonant harmonies and angular phrases, while still maintaining a connection to the song's essence. Melody (4:15 - 5:25):?A longer melody section, with Coltrane adding subtle improvisational flourishes, hinting at the freedom yet to come. Improvisation (5:25 - 7:07):?The final improvisation explodes with fiery energy, showcasing Coltrane's mastery of bebop language and his ability to build tension and release with breathtaking virtuosity. Melody (7:07 - 7:21):?A final, understated statement of the melody, bringing the piece to a peaceful resolution. Analysis of Coltrane's "Impressions" Name of Ensemble:?John Coltrane Quartet Musicians and Instruments: John Coltrane - tenor saxophone McCoy Tyner - piano Jimmy Garrison - bass Elvin Jones - drums Song Title:?Impressions Song Form:?AABA, with each section 8 measures long Tempo:?Medium-fast swing Style:?Hard bop 1. The Soloists: First Solo:?McCoy Tyner (0:25 - 1:37) Bass Solo:?Jimmy Garrison (1:37 - 2:09) Coltrane Solo:?John Coltrane (2:09 - 4:25) 2. Piano Solo: Tyner uses the entire range of the piano, playing both high and low notes with introspective passages in variations; both solo, block chords in the left hand while improvising melodies with the right. During Coltrane's solo, Tyner switches to comping, providing rhythmic and harmonic support. 3. Bass Solo: Garrison plays a walking bass line throughout his solo, anchoring the rhythm and outlining the chord changes adding melodic elements, playing single-note lines and double stops. Jones supports him with a light, swinging beat, emphasizing the offbeats. 4. Coltrane's Solo: Coltrane starts his solo with a flurry of notes, showcasing his incredible technical virtuosity by using a wide range of techniques, including arpeggios, chromaticism, multiphonics, and circular breathing. 5. Overall Impression: I believe it represents a hard bop improvisation. "Psalm": Emotional Response and Musical Analysis: "Psalm" evokes a profound sense of spirituality and introspection with a slow tempo, modal melody, and Tyner's sparse piano chords create a meditative atmosphere. Coltrane's mournful saxophone tends to convey a sense of longing and searching; along with repetitive bass line and Elvin Jones' subtle cymbal work add to the sense of depth and mystery. Coltrane's Message: Coltrane's message in "Psalm" is one of spiritual yearning and transcendence; you can hear him use saxophone to speak to the soul, expressing emotions that words cannot capture; his musical intention tends to imply spiritual exploration. Musical Description: Tempo:?slow 70bpm Melody:?Modal, with a repeating motif Piano:?Sparse chords, mostly in the lower register Bass:?Repetitive walking line Drums:?Subtle cymbal work, occasional accents Saxophone:?Long, sustained notes, mournful cries, multiphonicsOverall mood:?Meditative, introspective, spiritual Chapter 13 Ornette Coleman's "Free Jazz": A Collective Improvisation Ensemble Interaction: Yes after 00:28 seconds, there are points where the ensembles seem to be playing together, creating moments of unexpected harmony and rhythmic alignment. Two quartets (on either side). I believe the Bass technique is walking. Melody: mostly swing There isn't a single, fixed melody in the traditional sense. Instead, fragments of melodies emerge and disappear, shared or juxtaposed between the two quartets; it's more like a conversation, with each instrument offering its own melodic contribution to the collective improvisation. Improvisation: Done by Coleman, but feels like everyone is improvising throughout. Although, there are no written solos or pre-determined phrases. Each musician is responding to the moment, reacting to what the others are playing and shaping the music in real-time. Rhythm: The rhythm is not constant, you can hear it in a pattern of ebbs and flows, also tight and swinging, other times it's fragmented and free, reflecting the shifting moods and textures of the improvisation. Cecil Taylor vs. Keith Jarrett: A Tale of Two Improvisers Form: both AABA, both tempo medium 110bpm, ragtime Cecil Taylor:?Completely free, with no pre-determined structure or thematic material. Keith Jarrett:?Loosely based on the blues form, with Jarrett creating variations and improvising within the framework. Harmony: Cecil Taylor:?Dissonant and unpredictable, exploring the outer reaches of tonality and atonality. Keith Jarrett:?More lyrical and consonant, rooted in the traditional jazz harmonic language but with plenty of chromaticism and modal exploration. Melody: Blues 8 Bar Cecil Taylor:?Fragmented and fleeting, often emerging from and dissolving back into the harmonic textures. Keith Jarrett:?More developed and sustained, with Jarrett weaving intricate melodic lines and exploring a wider range of emotions. Rhythm: Cecil Taylor:?Energetic and constantly shifting, driven by polyrhythms and sudden tempo changes. Keith Jarrett:?More groove-oriented, with a steady pulse that allows for space and exploration within the rhythm. Improvisation: Cecil Taylor:?Dense and virtuosic, with rapid-fire runs, clusters, and extended techniques. Keith Jarrett:?More introspective and deliberate, with a focus on melodic development and emotional expression. Sun Ra vs. The Art Ensemble of Chicago: A Kaleidoscopic Contrast Form: both AABA Sun Ra:?Loose and episodic, often flowing into extended jams and exploratory passages. Form emerges from collective improvisation rather than pre-determined structures. Art Ensemble:?More varied, incorporating elements of free jazz, traditional song forms, and even theatrical elements into their performances. Individual solos are more defined, but the overall structure remains fluid and unpredictable. Harmony: Sun Ra:?Dense and layered, drawing from diverse influences like African music, space-age sounds, and modal experimentation. Dissonance and unexpected harmonic shifts are common. Art Ensemble:?More playful and eclectic, blending traditional jazz harmonies with free-form atonality and even incorporating non-musical sounds like whistles and animal noises. Melody: Sun Ra:?Often ethereal and otherworldly, with spacey synth lines and vocal chants weaving through the sonic tapestry. Melodies can be fragmented and elusive, appearing and disappearing like fleeting visions. Art Ensemble:?More grounded in blues and African influences, featuring soulful saxophone lines, playful trumpet melodies, and even spoken-word segments. Melodies are often shared and fragmented, passed between instruments like a baton in a relay race. Rhythm: Sun Ra:?Pulsating and hypnotic, driven by polyrhythms, odd meters, and the hypnotic pulse of electronic keyboards. The rhythm section often operates independently, creating a sense of space and mystery. Art Ensemble:?More grounded in swing and African rhythms, often featuring a driving pulse and playful polyrhythmic interplay. The drums are more interactive, responding to and shaping the improvisations of the other musicians. Improvisation: Sun Ra:?Collective and spontaneous, with individual voices merging into a unified sonic expression. Solos are rare, and the focus is on creating a transcendent, atmospheric experience through collective interplay. Art Ensemble:?More individualistic, with each member showcasing their unique voice through extended solos. Improvisations are often playful and theatrical, incorporating humor, spoken word, and even physical movement. Instrumentation: Sun Ra:?Vast and ever-evolving, featuring traditional jazz instruments alongside homemade electronic devices, synthesizers, and even exotic percussion instruments. The instrumentation contributes to the otherworldly, space-age aesthetic. Art Ensemble:?More traditional, featuring a core quintet of saxophone, trumpet, bass, drums, and piano. However, they also incorporate additional instruments like flutes, percussion toys, and even conch shells, adding a playful and unpredictable element to their sound. Visually: Sun Ra:?Outlandish and theatrical, with Sun Ra himself dressed in flamboyant costumes and headgear. The stage setup is often filled with lights, projections, and other visual elements that enhance the otherworldly atmosphere. Art Ensemble:?More understated, with the focus on the music itself. However, they do incorporate elements of performance art into their shows, with costumes, masks, and even choreographed movement, adding a playful and theatrical dimension. Personal Thoughts: Sun Ra:?I found myself mesmerized by the sheer sonic density and otherworldly atmosphere. It's a challenging listen at times, but it's also deeply rewarding, transporting the listener to a different time and place. Art Ensemble:?I enjoyed the playful energy and infectious joy of their performance. Even though their music can be complex and challenging, it's always rooted in a sense of fun and celebration. Chapter 14 and 15 Weather Report play their hit Birdland https://www.youtube.com/watch?v=pqashW66D7o Musicians and Instruments: Joe Zawinul: Keyboards Wayne Shorter: Saxophones Jaco Pastorius: Bass Peter Erskine: Drums Bobby Thomas Jr.: Percussion Tempo: Fast Rhythm: Ragtime Improvisation: In terms of call and response Form: AABA The piano Technique employed was Swing.? Instruments: Saxophone, Trombone, Piano, Drums, Violin and Trumpet. 3- Guitar starts around 0:19 4- Around 01:47 to 04:18? 5- walking bass while comping for Jazz 6- I believe it is around 05:20 to 05:46 02:45 7- Straight 8ths 8- I believe he used his attitude in music that could have something to do with his life/music experience and learning. Bob Berg (tenor sax) Mike Stern (guitar) Band play Chromazone https://www.youtube.com/watch?v=DRjjDjj9GvI Tempo: 110 bpm Rhythm: Ragtime Form: ABAC Instruments: Saxophone,? Trombone, Piano, Drums, Violin and Trumpet. Melody: 00:50 and later after 09:00. 3- around 05:26 to 09:00 Michael Breckers? Itsbynne Reel https://www.youtube.com/watch?v=7FomR73hq7U Rhythm: ragtime Tempo: 110bpm - medium Melody: Two sessions: one starts at 00:30 and the second after 03:07. Form: AABA 1- Electronic Wind Instrument 2- Social folk dance? 3- Reel is a folk dance type 4- 03:56 to 04:58 5- Vivid (electric Jazz that sounded lit like a party)? 6- The second time 05:49 Britney Spears Circus (yes, really) https://www.youtube.com/watch?v=i-iJbvAhd90 Tempo: medium 110bpm 2- 8 bar 3- Bass 4- According to my understanding, it was electronic. Dirty Loops play their version of? Circus https://www.youtube.com/watch?v=dBqtKU71PeI I believe the tempo and form was similar with till improvisation in terms of Jazz, the differences can be heard during the chorus. Bobby McFerrin https://www.youtube.com/watch?v=U8bLXqhIvJE Tempo: 110 bpm medium 2- riled up the crowd 3- I guess bass kicked in 4- crowd plays along Style: Scat vocals and call/response and traces of bepop. The Bad Plus play Everybody Wants To Rule The World ? https://youtu.be/q9hOSZGMXlI Style: Blues 8 Bar Walking Bass, Comping Piano, Form: AABA, Drums are played in rhythmic Swing, tempo: 70 bpm slow. Robert Glasper Experiment play Nirvanas Smells Like Teen Spirit https://youtu.be/KdgWiWrtMZo When compared to the original the song tends to have alot of improvisation in terms of bass effect, style: blues 12 bar, rhythmic swing drumming, comping piano, walking bass and form: AABA. Trombone Shorty is bringing New Orleans jazz full circle. Hurricane Season https://youtu.be/BzByl_lUOXQ The solo played by the trumpet tends to be stretchy, with other instruments having a party, combing - trombone/violin/bass/horn, rhythmic swing drumming, tempo 110 bpm medium, style call and response and form - AABA.? Jacob Collier sing Fascinating Rhythm https://www.youtube.com/watch?v=K28H04Y2IdE comping - piano (with improvisation), vocal (also bass), harmonic twisted rhythm, scat singing and form AABA.More Articles From Music
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