Donovan Tan

Contents
This book is

1 Cool Jazz Introduction

dedicated to Victoria School

,
2

Prez-ident Lester Young

Concert Band,
3

batch of 2004.
2004

Kind of Blue Miles Davis

10

Nil Sine Labore

Time Out The Dave Brubeck Quartet

14

The Sound from Ipanema Stan Getz

18

Acknowledgement
Wikipedia.org AllAboutJazz.com StanGetz.net Britanica.com MilesDavis.com DaveBrubeck.com Mosaic Records

52nd Street
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Jazz Posters

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ter Les z e Pr ng You

Another variety of Cool Jazz was that of the pianist Lennie Tristano and his students. Its coolness was a matter of emotion, but his emphasis on sometimes ferociously fast tempos and on pure improvisation, rather than arrangement, was closer to bebop. The classic mixture of these various influences was during the 1949-1950 sessions now best known under their later title: Miles Daviss Birth of the Cool (1950), a collective project that drew together many players and arrangers/ composers from the period best represented this style of jazz. Cool Jazz later became identified strongly with West Coast jazz. The Cool Jazz influence stretches into such later developments as Bossa Nova, modal jazz, and even Free Jazz.

1950 1950 /

Cool Jazz
is a style of Modern Jazz music that arose during the Second World War. The style became known as Cool Jazz because it avoided the aggressive tempos of bebop.The tones became softer, the volume quieter, the tempos slower, and the rhythms lighter and less jarring. Cool Jazz included intricate arrangements, innovative forms, and songs having a thoroughly composed sound, although they did include improvised sections. It was in some ways a reaction to bebop, utilizing bops harmonic complexity, but bringing back a few aspects from swing. .

Cool Jazz had several sources. Arrangers Gil Evans and Gerry Mulligan developed their initial ideas, working for the Claude Thornhill Orchestra featuring such then-unheard-of instruments, for jazz, as french horn and tuba.

rom the beginning,

Lester Young set out to be diFFerent: in the Forties, he grew his hair out.

Prez-ident Lester Young

the other tenor pLaYers heLd their saxophones upright in Front oF them, so Young heLd his out to the side, kind oF Like a FLute. hawkins pLaYed around harmonic runs. Young pLaYed FLurries oF
notes and had a huge tone that the other tenor pLaYers oF the daY emuLated. Young used a soFter tone that resuLted in a soFt, Light sound. more meLodic soLos.

he used

Less notes and sLurred notes together, creating

he pLaYed using a Lot oF subtLeties to produce music that biLLie hoLidaY said FLips You out oF Your seat with surprise.

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One of the great jazz myths says that Hawkins, the star player of Hendersons orchestra missed a show. Young filled in for him and played so wonderfully, that Hawkins went looking for Young, sax in hand, to teach the young whippersnapper a lesson.
Young moved to Kansas City in the 1930s, and played in various groups, including King Oliver, Benny Moten, and the traveling Fletcher Henderson orchestra. In 1936, Young joined the Count Basie Orchestra and stayed there until 1949. Within 4 years, he had played in top-rated big band and small group settings! Some sources say that he gave Billie Holiday the nickname Lady Day and she gave him the nickname Prez (others say he became the new Prezident when he defeated Hawkins). In 1944, Young was drafted into the Army. When he was caught smoking marijuana, he was court-martialed and spent months in detention. He came back a fine player, but his light, airy, happy tone had left and his music had a darker side to it. He joined Norman Granz Jazz at the Philharmonic tour, but his health decline, and he drank more often and was hospitalized. He returned to the States a sick man and died a year later, at the age of 49.

30 1936 1949 4 y

1944 49

Miles Davis
KIND of BLUE

davis pLaYed the trumpet in a LYricaL, introspective, and meLodic stYLe, oFten empLoYing a stemLess harmon
iLes mute to make his sound more personaL and intimate. to examine his career is to examine the historY oF jazz From the mid-40s to the earLY

90s, since he was

in the thick oF aLmost everY important innovation and stYListic deveLopment in the music during that period. it can even be argued that jazz stopped evoLving when

davis wasnt there to push it Forward.

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1948 19572 19575 1958 1959

In the summer of 1948 Davis organized a nine-piece band featuring an alto saxophone, a baritone saxophone, a trombone, a French horn, and a tuba. The band's relaxed sound had a profound influence on the development of the cool jazz style. In February 1957, Capitol finally issued the tracks together on an LP called Birth of the Cool.

In May 1957, Davis teamed with Gil Evans for his second LP Miles Ahead. , Released in 1958, the album was later inducted into the Grammy Hall of Fame, intended to honor recordings made before the Grammy Awards were instituted in 1959.

The bands relaxed sound had a profound influence on the development of the cool jazz style on the West Coast.

Davis began to experiment with modal playing, basing his improvisations on scales rather than chord changes. This led to his next band recording, Kind of Blue, in March and April 1959, an album that became a landmark in modern jazz and the most popular disc of Davis career, eventually selling over two million copies, a phenomenal success for a jazz record. On October 7, 2008, Kind of Blue received its fourth platinum certification from the RIAA, signifying sales of 4 million copies. Davis was noted as one of the key figures in the history of jazz .

19594 200 107 2008 1959 400 2006.

The Dave Brubeck Quartet TIME OUT

dave brubeck Quartet became the sound that identiFied an era. it was theY
he

who started the wave oF popuLaritY oF jazz on coLLege campuses in the FiFties. and touring with

concurrentLY,

theY were pLaYing in the Leading jazz cLubs,

charLie parker, dizzY

giLLespie, stan getz and other musicians oF the bop era. bY 1954, brubecks picture had appeared on the cover oF time magazine aLong
with a Feature storY heraLding the rebirth

1960, the dave brubeck Quartet, reLeased the aLbum, time out, and its singLes, "take Five" and "bLue rondo a La turk," became the First in modern jazz to "go goLd".
1954 1960

oF jazz. in

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Dave Brubeck is an American jazz pianist known for employing unusual time signatures, and superimposing contrasting rhythms, meters, and tonalities. His musical partner, alto saxophonist Paul Desmond, wrote the quartet's best remembered piece, "Take Five",which has endured as a jazz classic on the topselling jazz album, Time Out. Brubeck entered the College of the Pacific studying veterinary science, but transferred on the urging of the head of zoology. Later, Brubeck was nearly expelled when one of his professors discovered that he could not read music. The college was afraid that it would cause a scandal, and agreed to let Brubeck graduate only after he promised never to teach piano.

After graduating in 1942, Brubeck was drafted into the army. He was spared from service when he volunteered to play piano at a Red Cross show; he was such a hit he was ordered to form a band. While serving, Brubeck met Paul Desmond. He returned to college after serving. After completing his studies, Brubeck organized The Dave Brubeck Quartet in 1951, with Desmond on saxophone. They took up a long residency at San Franciscos Black Hawk nightclub and gained great popularity touring college campuses. In 1959, the Dave Brubeck Quartet recorded Time Out. The album contained all original compositions. It quickly went platinum. The quartet followed up its success with several more albums in the same vein, including Time Further Out (1961), Countdown: Time in Outer Space, Time Changes, and Time In.

Brubeck entered the College of the Pacific studying veterinary science, but transferred on the urging of the head of zoology, who told him Brubeck, your minds not here. Its across the lawn in the conservatory. Please go there. Stop wasting my time and yours.
1951 1959 1961

1942

getz was a jazz saxophone pLaYer. getz was known as the sound because oF his warm, LYricaL tone, his prime inFLuence being the wispY, meLLow timbre oF Lester Young. getz is described as one oF the aLL-time great tenor saxophonists. getz went on to perForm in bebop, cooL jazz and third stream, but
tanLeY is perhaps best known For popuLarizing the bossa nova, as in the worLdwide hit singLe

the girL From ipanema (1964).

1964

Stan Getz

The Sound From Ipanema

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 13 Getzs parents were Ukrainian Jews who emigrated from the Kiev area. Getz worked hard in school, receiving straight As, and finished sixth grade close to the top of his class. Getzs major interest was in musical instruments. His father bought him his first saxophone at the age of 13. Getz instantly fell in love with the saxophone and began practicing eight hours a day. In 1943 at the age of 16, he was accepted into Jack Teagardens band. Getz also played along with Nat King Cole and Lionel Hampton. After playing for Stan Kenton, Jimmy Dorsey, and Benny Goodman, Getz was a soloist with Woody Herman from 1947 to 1949 and he first gained wide attention as one of the bands saxophonists. With Herman, he had a hit with Early Autumn In the mid to late . 1950s, Getz became popular playing cool jazz with Horace Silver, Johnny Smith, Oscar Peterson, and many others. In 1961, Getz became a central figure in introducing bossa nova music to the American audience. Getz recorded Jazz Samba in 1962 and it became a hit. Getz won the Grammy for Best Jazz Performance of 1963 for Desafinado, from the same album. It sold over one million copies, and was awarded a gold disc. As a follow-up, Getz recorded the album, Jazz Samba Encore!. It also sold more than a million copies by 1964, giving Getz his second gold disc. He then recorded the album Getz/ Gilberto, in 1963, with Tom Jobim, Joo Gilberto and his wife, Astrud Gilberto. Their The Girl from Ipanema won a Grammy Award. The piece became one of the most well-known latin jazz tracks. Getz/Gilberto won two Grammys (Best Album and Best Single). 194316 1947 1949 2050

1961 1962 1963 Desafinado 1964 / 1963 / )

52nd
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In its heyday from 1930 through the early 1950s, 52nd Street clubs hosted such jazz legends as Miles Davis, Harry Gibson, Dizzy Gillespie, Billie Holiday, Nat Jaffe, Marian McPartland, Thelonious Monk, Charlie Parker, Louis Prima, Art Tatum, Fats Waller, and many more. Although musicians from all schools performed there, after Mintons Playhouse in uptown Harlem, 52nd Street was the second most important place for the dissemination of bebop. In fact, a tune called 52nd Street Theme by Thelonious Monk became a bebop anthem and jazz standard.

Jazz Posters

Street
The blocks of 52nd Street between Fifth Avenue and Seventh Avenue were renowned in the mid 20th century for the abundance of jazz clubs and lively street life. The street was convenient to musicians playing on Broadway and the legitimate nightclubs and was also the site of a CBS studio. Musicians who played for others in the early evening played for themselves on 52nd Street. 52 20 52 19302050 52 52 52

Virtually every great jazz player and singer of the era performed at clubs such as Downbeat, The Famous Door, Jimmy Ryans, The Onyx, Three Deuces, and the Yacht Club. Noted jazz disc jockey Symphony Sid frequently did live broadcasts from the street, making it famous across the country.

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