Syllabus
Textbooks
The Other Side Of Nowhere – jazz, improvisation, and communities in dialogue, Daniel Fischlin and Ajay Heble editors, Wesleyan University Press, ISBN 0-8195-6682-9.
Class Reader
Excerpts from Jazz-Rock A History, Stuart Nicholson, Schirmer Books, ISBN 0-02-864679-7
Supplemental Texts
What Is This Thing Called Jazz? African-American Musicians As Artists, Critics and Activists, Eric Porter, University of California Press Berkeley, ISBN 0-520-23296-8.
Weather Bird Jazz At The Dawn Of Its Second Century, Gary Giddins, Oxford University Press – ISBN 0-19-530449-7
The Gonzalo Rubalcaba Collection, Artist Transcription Series Piano, Hal Leonard, ISBN 73999-72507
New Musical Figurations Anthony Braxton’s Cultural Critique, Ronald M. Radano, University of Chicago Press – ISBN 0-226-70196-4
This class will carefully examine the multiple paths of development that Jazz has created since 1970. The most significant composer/performers of these various styles will be examined to understand the innovative aspects of their art and the way in which each of their artistic contributions connect to the earlier periods of Jazz. A close analysis of what constitutes Electric World Music- Rock-Jazz Fusions, Free-Jazz, Neo-Classic Post-Bop, Post- Coltrane, new hybrids of Latin-Jazz, Jazz-Classical combinations, current Modern and Post-Modern styles along with new organizations that function as umbrellas for innovative music and social change such as the AACM, UGMA, Asian-Improv, M-Base and others. This course will also cover Modern Jazz’s ever-evolving relationship with the music industry.
A twenty page, double-spaced paper will be due by the end of the tenth week. The paper will be included as 30% of the final grade. The paper should cover an artist’s influences, primary career contributions and impact on the future of jazz. The paper must be an original work and citations must be included. A complete list of references should be included and should be in addition to the required twenty pages. The artist chosen as the subject of the paper should be derived from the listening list; however, if the student chooses an artist outside of the list the Professor must pre-approve.
Week 1: March 31
This lecture will discuss three major artists who had an essential role in influencing the development of Jazz in the 1970’s: John Coltrane, Miles Davis and Charles Mingus. Each helped to create styles as diverse as fusion Jazz-Rock, Modal Jazz, Afro-Asian Jazz, Free Jazz and others. Mingus’ use of the full range of the Jazz Tradition, from Work Songs to the Avant-Garde, and his new approaches to the use of extended form will also be carefully examined.
Homework:
a) Begin studying the listening list.
Week 1: April 2
Complete the discussion on Davis, Coltrane and Mingus. Introduce the main proponents of the Jazz Fusion style that combined electronic and acoustic instruments with World Music, Rock, Funk, and European Avant-Garde Classical with Jazz. Groups such as Weather Report, Herbie Hancock’s Mwandishi, John McLaughlin’s Mahavishnu Orchestra, Chick Corea’s Return To Forever, Tony Williams’ Lifetime and others will be covered.
Homework
a) Read The Other Side Of Nowhere pp. 1-42.
b) Read Jazz-Rock A History Foreword, Preface and pp.1 -13.
c) Continue studying the listening list.
Week 2: April 7
Continue the discussion on Jazz Fusion and its lasting inclusion in the language of Modern Jazz.
Homework
a) Read Jazz-Rock A History pp. 74 - 111
b) Continue studying the listening list.
Week 2: April 9
Charles Mingus made monumental contributions during his last decade as composer/bandleader. We will discuss these contributions and the passing on of his concepts to members of his last ensembles, particularly to pianist/composer Don Pullen.
Homework
a) Read Jazz-Rock A History pp. 112 – 206
b) Read The Other Side Of Nowhere pp. 268-295.
c) Continue studying the listening list
Week 3: April 14
This lecture will cover the dominance of the Post-Coltrane concepts in Jazz in the seventies and eighties. The works of Alice Coltrane, Mc Coy Tyner, Pharoah Sanders, Michael Brecker, Gary Bartz and others will be examined in this lecture.
Homework
- Read The Other Side Of Nowhere pp. 45-83.
- Read It’s About That Time, Miles Davis On and Off Record, pp. 245-261.
- Continue studying the listening list.
Week 3: April 16
Discussion on gender issues in Jazz and how the role of women in Jazz slowly begins to expand beyond previous stereotypes despite strong obstacles within society and the Jazz community. The work of Mary Lou Williams, Toshiko Akiyoshi, Carla Bley, Geri Allen and others will be covered.
Homework
- Read Jazz-Rock A History pp. 224 -276.
- Read The Other Side Of Nowhere pp. 87-130.
c) Continue studying the listening list.
Week 4: April 21
We will discuss the innovations of autodidact, Ornette Coleman, and his immense influence upon both acoustic and electric (Prime Time) Jazz musical environments. Included in this discussion will be Coleman’s sidemen who also produced music of great depth. Among this group of musicians are Don Cherry, Charlie Haden, James “Blood” Ulmer, Dewey Redman and others.
Homework
- Read The Other Side Of Nowhere pp. 173-191 & 319-349.
- Read Jazz-Rock A History pp. 304 -338.
- Continue studying the listening list.
Week 4: April 23
This lecture will cover the Jazz Mainstream and how groups such as the New York Jazz Quartet, with its own parameters, developed the Mainstream. This class will also cover the mature Sarah Vaughn’s invention of some of the most refined work within the Jazz Canon. The return of former expatriates such as Dexter Gordon, and the signing of new artists such as Arthur Blythe and Woody Shaw, gave a lot of press dominance to Columbia Records. This led to the signing of Jazz’s next mega-star, Wynton Marsalis. Marsalis’ music and philosophical approaches to Jazz will be discussed.
Homework
- Read The Other Side Of Nowhere pp. 131-172.
- Continue studying the listening list.
Week 5: April 28
Homework
a) Continue studying the listening list.
Week 5: April 30
We will discuss the Post-Sixties, Free-Jazz movements and the development of a new structuralism that emerged from the AACM (Association For The Advancement of Creative Musicians). Members of the AACM: Muhal Richard Abrams, Anthony Braxton, Lester Bowie, George Lewis, Art Ensemble of Chicago, Air and a second generation of innovators, Nicole Mitchell, Ed Wilkerson and others will be covered in this lecture.
Homework
a) Study for the Midterm.
Week 6: May 5
*Midterm: Will cover all of the material presented in class through the fifth week and listening list number one.
Homework
- Read The Other Side Of Nowhere pp. 319-349.
- Work on papers and listening list.
Week 6: May 5
In contrast to the huge influence on the media of Columbia Records, smaller Jazz labels are flourishing and supporting a number of innovative artists including: Air; Anthony Davis; The World Saxophone Quartet collectively and individually; and many others.
Homework
a) Work on papers and listening list.
Week 7: May 12
This discussion will cover two separate ways of interpreting the Jazz tradition -- archival and transformative. Many artists within the Avant-Garde movement are re-examining the tradition in fresh ways while the Archivists try hard to constrict the parameters and preserve what they consider “Authentic”.
Homework
- Read The Other Side Of Nowhere pp. 173-192.
- Work on papers and listening list.
Week 7: May 14
This class will discuss the major contributions of Steve Coleman, particularly in the field of rhythm, and the M-Base Collective whose visionary contributions to creative music stand in stark contrast to the dominant trends of Jazz conservatism. Among the M-Base Collective musicians to be covered are Greg Osby, Cassandra Wilson, Gary Thomas, and Ravi Coltrane.
Homework
- Read The Other Side Of Nowhere pp. 195-267.
- Work on papers and listening list.
Week 8: May 19
This class will survey a diverse group of modern Jazz artists of the 1990’s into the 21st Century. Among these artists will be Take Six, Luciana Souza, Jon Jang and others.
Homework
- Work on papers and listening list.
Week 8: May 21
Jazz-Classical combinations expand the creative outlets of Jazz composers and help to compile a catalogue of works that builds upon the traditions of African-American Classical Composers: William Grant Still, Florence Price, Margaret Bonds, Hale Smith and others. Composer/Pianist Gonzalo Rubalcaba and his revolution in Afro-Cuban Jazz will be discussed.
Homework
- Work on papers and listening list.
Week 9: March 26 Memorial Day Holiday
Week 9: March 28
This class will examine the work and philosophies of the exceptional contemporary composer/pianist, Jason Moran.
Homework
- Work on papers and listening list.
Week 10: June 2
Final Review
Homework
- Work on papers and listening list.
Week 10: June 4
This class will cover technology’s role as a conduit to imaginative, live Jazz performance in recent years. DVDs by Herbie Hancock – Future To Future and the Pat Metheny Group - The Way Up – Live will be examined.
Homework
a) Study for the Final
Final Exam Schedule: Tuesday, June 10, 2008, 11:30 a.m. To 2:30 p.m., Room 1440.
Final Grade:
30% Paper
35% Midterm examination
35% Final examination
*The grading system will use pluses and minuses.
Listening List
Recordings 1 through 24 will be reflected in the Midterm test.
1)Waterfall Weather Report
2) Surucucú Weather Report
3) Watermelon Man Herbie Hancock
4) You’ll Know When You Get There Herbie Hancock
5) The Shoes Of The Fisherman's Wife Are Some Jive Ass Slippers Charles Mingus
6) Adagio Ma Non Troppo Charles Mingus
7) Suite (Sweet) Malcolm (Part 1: Memories And Gunshots) Don Pullen
8) The Eagle Is First Don Pullen
9) You're Everything Return To Forever Feat. Chick Corea
10) Spain Return To Forever Feat. Chick Corea
11) Awakening Mahavishnu Orchestra
12) Meeting Of The Spirits Mahavishnu Orchestra
13) To Whom It May Concern – Them Tony Williams Lifetime
14) Big Nick Tony Williams Lifetime
15) Oh Allah Alice Coltrane
16) The Ankh Of Amen-Ra Alice Coltrane
17) People Dance Gary Bartz Ntu Troop
18) The Warrior's Song Gary Bartz Ntu Troop
19) Astral Traveling Pharoah Sanders
20) What Reason Could I Give Ornette Coleman
21) All My Life Ornette Coleman
22) Search For Life Ornette Coleman
23) Black Codes Wynton Marsalis
24) Django Wynton Marsalis
These recordings will be covered in the second half of the course and reflected in the Final test.
25) Children Of The Night Wayne Shorter
26) Planet Rock Jason Moran
27) Intermezzo, Op. 118, No. 2 Jason Moran
28) Break Down Jason Moran
29) Artists Ought to Be Writing Jason Moran
30) Rain Jason Moran
31) I L-O-V-E U Take 6
32) A Quiet Place Take 6
33) Mary Take 6
34) The Mockingbird Sin Henry Threadgill
35) Opening Pat Metheny Group
36) Part One Pat Metheny Group
37) Lullaby World Saxophone Quartet and African Drums
38) Su Mama Ah Zumu World Saxophone Quartet and African Drums
39) The Lord Says Mary Lou Williams
40) Tell Him Not To Talk Too Long Mary Lou Williams
41) A Brilliant Madness Gary Thomas
42) Supernova 1 Gonzalo Rubalcaba
43) Infantil Dedicated to John Mc Laughlin) Gonzalo Rubalcaba
44) LWB’s House (The Remix) Geri Allen
45) House Luciana Souza
46) Butterfly Lover’s Song Jon Jang
47) Two Flowers On A Stem Jon Jang
48) Streaming George Lewis, Muhal Richard Abrams & Roscoe Mitchell
|