MUSIC 240, INTRODUCTION TO JAZZ, Tuesday, 7:00 – 9:50 pm, Winter, 2014 Conrad Grebel University College, UW, Room 1111 (Great Hall)

Dr. Carol Ann Weaver, Professor Sound Files on

Week Dates Material Covered Readings in Gridley Text Module 1 Jan. 7 Intro. to Jazz, African Roots, North American Beginnings – Gridley Ch.1-4 1 2 Jan. 14 Country Blues; Women’s (Classic) Blues; Ragtime Video – Gridley Ch. 4,5 2,3a 3 Jan. 21 New Orleans, Dixieland, Chicago Dixieland, Hot, Stride – Gridley Ch. 4,5 3 Bunk Johnson, Jelly Roll, King Oliver, Sydney Bechet, Louis Armstrong, Lil Hardin, Bix Beiderbecke, James P. Johnson, etc. PRESENTATION PROPOSALS DUE, JAN. 21

4 Jan. 28 Big Band, Stride, Swing –Henderson, Duke, Basie, Goodman, etc. – Gridley Ch. 6, 7, 8 4 Benny Goodman, Duke Ellington, Basie, Django, etc. Guest Presenter: Mary Petrich from Phoenix, “Jazz Saxophone Today” PRESENTATIONS APPROVED, JAN. 28

Wed. Jan. 29, 12:30 Noon Hour Concert: “Mary Petrich, Jazz Saxophonist” – Grebel Chapel 5 Feb. 4 Swing con’d; Vocalists I – Billie Holiday Video – Gridley Ch. 6 5, 15 Guest Lecturer: Carol Ann Muller from S. Af, “South African Jazz Today” 6 Feb. 11 Bebop – Parker, Dizzy, Tatum, Powell, etc. – Gridley Ch. 9 6 LISTENING QUIZ No. 1 on Modules 1–6, Feb. 11 NO CLASSES, READING WEEK — FEB. 17 – 21 (NO CLASS TUESDAY, FEB. 18) 7 Feb. 25 Cool Jazz; Tristano, Brubeck, Mulligan, etc. – Gridley Ch. 10 7 STUDENT PRESENTATIONS 8 March 4 Modern Jazz: Hard Bop, Third Stream; Miles Davis Styles – Gridley Ch.11, 12,16 8 STUDENT PRESENTATIONS 9 March 11 Mingus Styles; Funk Styles; Modern Jazz – Gridley Ch.11,14,15,17 9 Mingus, Blakey, Hancock, Ulmer, Clinton, Trouble Funk, Marsalis STUDENT PRESENTATIONS 10 March 18 Modal Styles – Coltrane; Free Jazz Styles – Gridley Ch.13, 14 10 Coltrane, Coleman, Taylor, Art Ensemble, Sun Ra, others STUDENT PRESENTATIONS CONCERT REVIEW due, March 18, 7:00 PM Wed. March 19, 12:30 Noon Hour Concert: Tribute to Mandela–Music by Carol Ann Weaver, with Rebecca Campbell, voc. 11 March 25 Fusions — Jazz Mass, Jazz-Rock, Acoustic, Acid, Hiphop, – Gridley Ch.15-18 11, 12 Nu Jazz, Electronica, Turntablism, Breakdance & more (or less!) Williams, Weather Report, Mahavishnu, Corea, Me’Shell, Guru Guest Presenter: Jake Moolenbeek, “Chipmusic” 12 April 1 African Fusions – Afro-jazz forms – Gridley Ch. 16, 18 1,12,13,14,15 Three Stylists: pianists Oscar Peterson, Joanne Brackeen, Tania Maria New Acoustic Jazz: David Grisman, Bella Fleck, etc. Extra Credit (2nd) CONCERT REVIEW due, April 1, 7:00 PM LISTENING QUIZ No. 2 on Modules 7–15, April 1 (Very selective choices on Listening Quiz 2 – don’t fret!)

FINAL EXAM DURING EXAM WEEKS, SET BY UNIVERSITY

2 Music 240: Introduction to Jazz Winter, 2014 Instructor: Dr. Carol Ann Weaver, Conrad Grebel College, Room 1108, phone: 885-0220, ext. 24245. Please contact me via my regular email: caweaver@uwaterloo.ca (not via LEARN) Lectures: Tuesdays, 7:00 - 9:50 PM, Conrad Grebel College, Room 1111 (Great Hall) Office Hours: Mon., Wed., Fri., 10:30 – 11:30, and *12:30-1:30 (*except for Noon Hour Concert Wednesdays) Other hours by appointment. Check room door for office hour updates Prerequisite: A love of music, plus curiosity and keen interest in jazz music Required Text: Mark C. Gridley, Jazz Styles: History and Analysis, 11th or earlier edition Note: the Gridley CDs are not required) Reference Texts: James Lincoln Collier, The Making of Jazz: A Comprehensive History Tanner, Gerow, Megill, Jazz in Conrad Grebel library reserve COURSE REQUIREMENTS: Written Concert Review of jazz-related concert 15% Two Listening Quizzes (20% each) 40% Presentation (Optional) 20%* Final Exam if Presentation is done 25%* Final Exam if Presentation is NOT done 45% Extra (2nd) Concert Review 02% * Percentages of Presentation and Final Exam will vary as to format of presentation. See page 3. COURSE OBJECTIVES and EXPECTATIONS: Through reading and listening to recorded and live music, students will be presented with major trends within the jazz movement, as well as African and early American roots. Emphasis will be placed on developments of different styles within jazz and jazz-related music, as well as on factors, which distinguish jazz from other types of music. Stylistic traits, musical forms, improvisation, and composition of jazz and blues will be discussed, along with social, cultural and historical factors. It is expected that each student will listen to and read assigned materials in preparation for the next lecture. Classroom discussion can only be aided by a student’s prior knowledge of information covered in class. Actual listening to music is a vital part of the course. WEB-BASED MUSIC LISTENING: An extremely vital, required component of this course consists of listening to jazz music. ALL required listening items are posted on the UW LEARN Music 240 website, found within the designated Modules as individual mp3 files. When you reach the course site, go to “contents” in the menu, where all the sound files are located. A large zipfile is included at the bottom of each module, which in turn contains the most important sound files. (Note, the zipfile for Modules 12 - 15 is found at the end of Module 12. Be sure to listen to the sound files each week. Jazz listening is tuff to cram right before a listening quiz!! Note: while all sound files are relevant to the course, the starred ones are of particular relevance and are most likely to appear on the listening quizzes. Complete listings of sound file contents appear on pages 8 – 21 in syllabus. Note that starred items may be adjusted as the course continues. Any alterations will be announced clearly within class lectures, well ahead of all listening quizzes. FOR ACCESSING SOUND FILES, go to LEARN site, select course, Music 240. Go to Course Materials in top left menu, and select Content. Select desired module and then the desired sound file. Access the file, and you can play it on your computer or follow the prompt to download into your computer. LISTENING QUIZZES: Two listening quizzes will be given throughout the term, pertaining to pieces on the sound files. For each quiz students need to know name of performer/composer, title of piece, genre/style, approximate date of recording for selected pieces, which will be announced well in advance of each quiz. Each one will be a closed-book quiz. A name guide will be provided. No electronic devices (computers/iPhones, etc.) may be accessed during the quiz; if such items are found, the student will receive no credit for the quiz. Note comments above on “Web-based Music Listening.” If a quiz occurs before certain ‘quizzable’ items are studied in class, special ‘help’ will be given. Don’t fret!! CONCERT REVIEW: Attending and reviewing one live jazz-related concert/jazz club venue is required during the course, with priority given to Conrad Grebel/UW jazz-related concerts. No credit for doing online concerts or concerts in which the reviewer is one of the performers. An extra credit review may be handed in on April 1, worth an extra 2% of the course grade. Reviews must be carefully written. Consult Concert Review Guide Sheet, page 4. See sample concert reviews in Module 16 of the course website on LEARN. Reviews must be handed in as hard copy at the start of the class period. Absolutely NO electronic submissions are allowed. CLASS MATERIALS: Note: besides the sound files, class syllabus, sample reviews, and study guides, all class handouts will be given out in class and will NOT be posted on the web. Thus, it is essential for students to attend each class in order to receive class handouts, take in class lectures and Powerpoints, and be part of the interactive class.

3 CLASS PRESENTATION (OPTIONAL ASSIGNMENT), submitted on January 21, approved on January 28. As an optional assignment, a 15-minute student presentation, with handouts and recorded excerpts, may be given by interested students within designated class periods. Material from student presentations is considered part of the “text” of the course and will appear on the final exam. Thus, it is important for everyone to attend all presentations. On the night of a student’s presentation, the student must arrive 40 minutes before 7:00 PM in order to confirm presentation-giving and to format computer uploading/presenting materials. Presenters who arrival late WILL NOT BE ABLE TO PRESENT. A student’s commitment to present must be honoured; otherwise, a mark of 0 results for the 20% presentation. A printed-out, thorough handout of the topic including a set-list of selections played must be distributed in hard copy to all students and instructor at the time of the presentation. This handout should include relevant factual notes and a complete discography and bibliography of any source materials used, as well as a clearly laid out play list. If any sources are quoted during the presentation, full credit MUST be given VERBALLY to author and source of the quote. As well, quoted sources must be properly credited within the handout. Otherwise, quoted materials which are not properly placed within quote marks and/or credited are considered plagiarism and no credit can be given for the presentation. Plagiarism could possibly result in a student’s failing the course. Students are encouraged to conduct wide-spread research, consulting periodicals, books, album liner notes, live interviewing if possible. Those who consult only internet information will be docked. UW academic guidelines are found at the bottom of p. 4, here. Topics chosen for presentation should expand upon or go beyond, rather than duplicate class lecture material. Credit will be given for clarity, presentation style, content, documentation of topic, and choice of examples played in class. The presentation itself may not exceed 15 minutes. After this 15 minutes, a few minutes will be provided for questions and discussion. Time your presentation before you give it in class. It will count against you if you have not measured your own time!! *18-minute co-presentations given by two students are also possible, with each student receiving an 18%-Presentation/27%-Final Exam mark percentage. Alternate presentation styles – video, radio broadcast – may be proposed, but there is no guarantee. These may not exceed 18 minutes in length. Live music may be included if presenters are jazz players. SUGGESTED TOPICS OR TOPIC-TYPES FOR PRESENTATIONS: This list is ONLY a starter—the sky is the limit. Credit will be given for originality in choice of topic, as well as content and style of presentation or writing. Topics may not ‘seriously’ overlap with class lecture material — new schools of acid, trip, hiphop jazz, DJ, MC, rap, turntable, breakdance & its music — fusion tendencies in contemporary Canadian jazz music — Herbie Hancock – jazz or popular artist?; or other jazz pianists or guitarists, their unique styles, techniques — the newgrass, acoustic jazz music — Diana Krall or Norah Jones — jazz artist or neo-crooner? OR scat singing – a survey of trends and styles — ballroom music, a retro explosion — development of improvisation as a jazz art (choose a specific tradition/vocal style, etc.) — jazz hiphop or acid jazz; turntablism or Nu Jazz or electronica — free jazz and the current Guelph Jazz Festival-style philosophies — Latin jazz OR African jazz – a survey — to sample or not to sample – new technologies gone wild — Beck, Medeski, Phish, a profile of their work and musical impact — East Asian techno music – hiphop, electronica, related styles — new ethnic/jazz fusions (could include First Nations throat singing, Persian, Islamic, any!) In this course students are not expected to have jazz improvisation/performance skills. But whenever possible, student and guest jazz performances will occur, bringing forth as much live music as possible. A NOTE TO ALL STUDENTS: In any written or presented work, students must be sure to provide proper credits for all materials used. If a direct quote is used in a paper or as part of handout materials, it MUST appear in quotation marks, or be announced verbally with “quote/end-quote,” followed by complete source listings of author, book/website/album booklet AND page number. Failure to provide this information is considered plagiarism, for which one could possibly fail the course. No credit will be given for an assignment if plagiarism be discovered. See bottom of page 4 in syllabus for further UW web-based policies,) A written quote should appear thus: “Despite Evan’s refinement of non-obvious pulse, he did swing.” [Gridley, p. 285], with the Gridley book properly cited in bibliography at the end of your project, appearing thus: Gridley, Mark C. Jazz Styles: History and Analysis, 8th Edition (Upper Saddle River, NJ: Prentice Hall, 2003). Further citations samples: **Note: sample citations (1) for book, (2) periodical, (3) album, (4) internet. If using quotes you MUST also give page #’s.

(1) Dahl, Linda. Stormy Weather: The Music and Lives of a Century of Jazzwomen (New York: Limelight, 1989) p. 3-4. (2) Sandow, Gregory. “Roll Over Opera.” Village Voice, June 16, 1987, p. 78. (3) Me’Shell NdegeOcello. “I’m Diggin’ You.” Plantation Lullabies, Maverick/Sire/Reprise, CDW 45333, 1993 (4) from New Grove Dictionary of Jazz, “Artie Shaw”, http://www.pbs.org/jazz/biography/artist_id_shaw_artie.htm (accessed Jan. 6, 2014)

4 CONCERT REVIEW GUIDE SHEET

(with UW guidelines at bottom of the page)

1. This review must be written about a live, jazz or jazz-related concert or club performance which occurs during the term of the course. No credit for reviewing online concerts, or concerts in which the reviewer is one of the performers. The review must be written in essay style, with a proper introduction including concert date, time, city, venue (hall or club), and performers, and final concluding sentence(s). No credit will be given for writing that contains incomplete sentences or outline format (as in handout notes, lab report, or other such formats). Complete sentences and good paragraph divisions must be used at all times. Imagine you are writing this for an actual periodical. Strong emphasis will be placed on proper grammar, clarity of word usage, good writing style, accurate spelling, correct and consistent use of verb tense (i.e., use the same tense throughout, do not mix past and present!). Papers with serious writing issues will be returned for resubmission at the next class period.

2. List all composers/performers by name and instrument(s) unless a large band or ensemble is involved, in which case you need only mention composers, conductor, and featured performers. If possible give a VERY brief (1-line) background on the composer, main performers, or band. Be aware that a two-page review may contain only EXTREMELY BRIEF information on musicians’ backgrounds and careers. Credit will be given for well-proportioned review contents.

3. Speak intelligently about musical style and genre of each piece. Is the music within a known jazz style; is it a hybrid of several styles? Does it bring together vernacular, avant garde or new music styles along with jazz? Is it innovative, creating a new jazz-related style? Avoid bland, non-descriptive words like nice, great, fabulous, or interesting!

4. Remember, you are reviewing the music as well as the performers. Are the performers able to bring out the best within the given style of music? Do not hesitate to note performance issues that you note.

5. What is the impact of the music? Remain objective. Do not allow subjectively to over-rule. Personal musical taste should not prejudice the review. Does the music seem to fulfill its own destiny? Is the music effectively composed within its own style? Do the performers embrace, identify with, and enhance the quality of the music?

6. Review all pieces equally on the concert, showing how each piece unfolds structurally and instrumentally, giving a sense of the overall shape and compositional elements of individual pieces. If the pieces are numerous, you can certainly group ‘types’ of pieces, but be sure you have accounted for all individual pieces.

7. Reviews must be only two pages long, double-spaced, font 11 or 12. No smaller! Do not exceed limit.

8. Though you may speak a word about audience receptivity to various pieces, you will be focusing on the MUSIC, NOT the audience. Do not create long introductions nor spend much time on non-musical elements.

9. The reviewed concert should reflect musical knowledge gained in the course. Priority is given to reviewing Grebel concerts as listed on syllabus. If you wish to review a non-Grebel concert, please check with the professor.

10. Do not quote other reviewers; this is your own work. Should you seek other references, give full credits.

11. Song titles in "quotes," longer compositions should be underlined, italics, bold font, or ALL CAPS.

Following are further guidelines and links from University of Waterloo regarding Academic Integrity and related topics. Academic Integrity: In order to maintain a culture of academic integrity, members of the University of Waterloo are expected to promote honesty, trust, fairness, respect and responsibility. Discipline: A student is expected to know what constitutes academic integrity, to avoid committing academic offences, and to take responsibility for his/her actions. A student who is unsure whether an action constitutes an offence, or who needs help in learning how to avoid offences (e.g., plagiarism, cheating) or about “rules” for group work/collaboration should seek guidance from the course professor, academic advisor, or the Undergraduate Associate Dean. When misconduct has been found to have occurred, disciplinary penalties will be imposed under Policy 71 – Student Discipline. For information on categories of offenses and types of penalties, students should refer to Policy 71 - Student Discipline, http://uwaterloo.ca/secretariat/policies-procedures-guidelines/policy-71. Grievance: A student who believes that a decision affecting some aspect of his/her university life has been unfair or unreasonable may have grounds for initiating a grievance. Read Policy 70 - Student Petitions and Grievances, Section 4, http://uwaterloo.ca/secretariat/policies-procedures-guidelines/policy-70. Also consult http://arts.uwaterloo.ca/student-grievances-faculty-arts-processes for the Faculty of Arts’ grievance processes. Appeals: A student may appeal the finding and/or penalty in a decision made under Policy 70 - Student Petitions and Grievances (other than regarding a petition) or Policy 71 - Student Discipline if a ground for an appeal can be established. Read Policy 72 - Student Appeals, http://uwaterloo.ca/secretariat/policies-procedures-guidelines/policy-72. Academic Integrity website (Arts): http://arts.uwaterloo.ca/arts/ugrad/academic_responsibility.html Academic Integrity Office (uWaterloo): http://uwaterloo.ca/academic-integrity/ Accommodation for Students with Disabilities: Note for students with disabilities: The AccessAbility Services (AS) Office, located in Needles Hall, Room 1132, collaborates with all academic departments to arrange appropriate accommodations for students with disabilities without compromising the academic integrity of the curriculum. If you require academic accommodations to lessen the impact of your disability, please register with the AS Office at the beginning of each academic term. Appeals: A decision made or penalty imposed under Policy 70 (Student Petitions and Grievances) (other than a petition) or Policy 71 (Student Discipline) may be appealed if there is a ground. A student who believes he/she has a ground for an appeal should refer to Policy 72 (Student Appeals) www.adm.uwaterloo.ca/infosec/Policies/policy72.htm.

5

Music 240 PRESENTATION POINTERS

1. Keep presentation within 15 minutes for single presenters (18 minutes for co-presenters). Carefully pace yourself. Bring your own clock/watch, and gage accordingly. A few minutes will be provided after your 15 minutes for questions & discussion. Note: often the most effective presentations are those with the fewest technical complications. It is FAR better to give an excellent presentation without Powerpoint or DVD than one, which is compromised by technical setup problems. After all, 15 minutes is far too short of a time to devote even a minute to figuring out new equipment. For best results, and possibly a far higher mark, use as few technical aids as possible. You will not be adjudicated for your use of visual aids or kool screen shows. Your time is best spent explaining the music/musicians/styles and playing carefully chosen musical examples, always placing music/musicians within meaningful historical/social/musical/stylistic contexts (i.e., most likely the best presentations will be just you, your tape or CD of sound sources, and your handout.)

2. Present information in an interesting, engaging, conversational manner. Please do not merely ‘read off the page, or off the screen.’ Rather, ‘talk’ or ‘tell’ your notes. Keep our attention! Those who insist on merely READING notes (as in reading aloud from a book) will receive LOWERED MARKS.

3. Provide a handout for each class member, which contains brief, pertinent information, including properly formatted discography, bibliography, AND playlist of pieces played in class. No credit will be given for presentations without handouts. The handout may range from one to four sides in length, back to back, but one side may be quite sufficient. For references, you will need to include more than internet resources. NOTE: your handout needs to be printed out and photocopied by you, ready to hand out to all students and the prof on the night of your presentation. Web-based, electronic handouts DO NOT replace the hard-copy handouts due on the night of your presentation. Information you present will form part of the course “text” and will appear on the final exam. So, you become an important co-teacher in this jazz course!

4. Except for live performing, all sound excerpts should be pre-recorded on cassette tape, OR on CD-R, not on other playing devices which would require further refiguring/replugging/rewiring of the sound system. Have all your sounds well marked so that you can go IMMEDIATELY to the cued places within each track. Playing an entire track is NOT acceptable. Rather, choose excerpts within the track, which are short enough to cover the musical areas you choose. Explain or comment on each excerpt played, explaining musical style and form, allowing it to demonstrate clearly the musical points you wish to make. Direct the attention to telltale musical, stylistic, lyric events. Fast-forwarding taped or CD tracks is NOT acceptable. Also, do NOT talk OVER the music for more than a word or two. Let the music have its own sound space!

5. Students who wish to use Powerpoint or Video equipment MUST inform the professor at least ONE WEEK in advance of the presentation. Both Powerpoint and Video equipment have to be set up specially for each use in Grebel’s Great Hall. ALL students must appear at class 40 minutes early in order to rehearse using the equipment, thus avoiding “surprises.” Be sure you are well able to run the equipment so as to create a smooth-flowing presentation. Use of each new piece of equipment can costs time within your presentation; think twice about expanding your media base. In the case of Powerpoint, anyone who merely READS from a computer screen will receive LOWERED MARKS. Again note: your presentation does NOT rely on Powerpont for top marks.

6. As in any written term paper, observe all rules of using information. If you quote verbatim, you MUST tell us the author and source, verbally. If you quote on your handout, use standard referencing formats, listed below. You are required to put material IN YOUR OWN WORDS, using your sources as references**, not as texts from which to quote sans credits. It is essential to avoid plagiarism in any of its forms. Failure to do so could result in dismissal from university. (UW policies are explained and further detailed on bottom of page 4 in this syllabus.)

7. Once your date has been agreed upon, your commitment to present must be honoured; otherwise, a mark of 0 results for the 20% presentation. Again note: on the night of your presentation, all students must arrive 40 minutes before 7:00 PM in order to confirm your presentation-giving, prepare for any sound/visual components, and clear all presentation details. Presenters who arrival late WILL NOT BE ABLE TO PRESENT. Should health* or family crisis arise, converse with me immediately so as to avoid penalty.

8. What we most want is your contagious love for the music and topic, clear speaking, well chosen musical excerpts, critical thinking, listening which is well articulated and explained, and solid research properly credited. Your own stamp of uniqueness is what we look forward to. As you present, you teach us things we may remember the rest of our lives! *Note: Any absence due to medical conditions will be excused only on receipt of a Medical Doctor’s note.

**Sample citations for (1) book, (2) periodical, (3) album, (4) internet source. If using quotes you MUST also give page #’s. (1) Dahl, Linda. Stormy Weather: The Music and Lives of a Century of Jazzswomen (New York: Limelight, 1989) p. 3-4. (2) Sandow, Gregory. “Roll Over Opera.” Village Voice, June 16, 1987, p. 78. (3) Me’Shell NdegeOcello. “I’m Diggin’ You.” Plantation Lullabies, Maverick/Sire/Reprise, CDW 45333, 1993 (4) from New Grove Dictionary of Jazz, “Artie Shaw”, http://www.pbs.org/jazz/biography/artist_id_shaw_artie.htm (Accessed Jan. 6, 2014)

6 AFRICAN TRADITIONAL MUSIC — a few basic concepts

1. GROUP ORIENTED — encouraging collective behaviour — social — ceremonial — work-related — festive — family-oriented — music for healing, as with the Sangoma in South Africa, or at bira ceremonies in Zimbabwe — music for worship of deities or of royalty or natural events

2. CELEBRATING PASSAGES IN LIFE — birth and various childhood events such as a child’s losing a tooth, etc. — puberty — circumcision and initiation ceremonies — marriage — death

3. ORAL HISTORY TOLD OR NEWS CARRIED BY DRUMS — often songs are a means of passing on stories & legends within the social group or family

— talking drums (uniquely among the Yoruba of Nigeria) used to carry messages over long distances; these are used in areas where tonal languages prevail

4. PLACES OF MUSIC MAKING — often in centres of villages — performed on work locations — performed for special festivals in processions

5. INSTRUMENTS USED — percussion instruments — drums, rattles, talking drums, shakers, bells, etc. — percussive melodic instruments — thumb pianos, xylophone or marimba-like instruments — stringed instruments such as Ethiopian masenka or Nigerian banya (forerunner of banjo)

— vocal — voices used with various inflections in traditional singing, in wail, in u-u-lating, in chant, within different scales or tunings

6. MUSICAL STYLES — call and response — improvised, extemporized melodies and words — multi-layered rhythms and often single-lined melodies, or basic harmonies of parallel third — unaccompanied vocal music often sung in harmony, Southern and East Africa

BLACK AMERICAN MUSIC

1. TRADITIONAL AFRICAN MUSIC WITHIN AMERICA — Place Congo, New Orleans — a gathering of blacks on Sunday afternoons for traditional dancing and music; dancers would reach frenzies; African instruments were used; circle and ring dances occurred; was closed down in 1843 by white city officials; other places of ring dances were camp meetings and praying bands throughout Eastern USA

2. SLAVERY MUSIC — blacks prohibited from using drums or loud brass — Work Songs — field hollers, corn husking songs, harvesting songs — The “Shout” — black worship services where dancing, clapping, singing took place — Spirituals — coded-message songs relating to underground railway & to heaven for deliverance — Entertainment Music — black slaves often co-opted to entertain white plantation owners — Story Songs — musical narratives about legendary figures, ancestors, family, friends or animals

3. POST-SLAVERY MUSIC — Minstrel Songs — cakewalks, coon songs, so-called “Ethiopian Songs” (perceived to be “African”) — ragtime music — worship music (spirituals) — blues — work songs (shoe shining songs, field work songs, chain gang songs, etc.) — choral, vocal, instrumental music informed by Western classical traditions

7 AFRICAN MUSIC — A FEW SOUNDS AND TRAITS

I. BASIC INSTRUMENTAL TYPES 1. Idiophones – struck instruments: gongs, thumb pianos, rings, shakers, metalic instruments

2. Membraphones – drums 3. Aerophones – flutes, wind instruments 4. Chordophones – stringed instruments II. A FEW SOUNDS

1. "MANDICAPPELLA" by Sweet Honey In The Rock (African Americans from D.C.) from THE OTHER SIDE

2. "FESTIVAL MUSIC" Malian people (2 cuts)

3. "DANCE OF A WITCH DOCTOR"– from Kingdom of Baoule, a matrifocal people (Ivory Coast)

4. "HYMN OF PRAISE" "There is no other God" from Koran, with accompaniment on kora--harp-like lute, similar to seron, but with 21 strings, Music of Malinke (Mali), Upper-Guinea

5. "FESTIVAL OF CIRCUMCISION" from people of Mali, the Malinke--shows call and response

6. "TALKING DRUM OF YORUBA, NIGERIA"

7. "DANCE OF THE HUNTERS" from Malinke--shows call and response , with 6-stringed harp-lute, male story- giving as "call", with chorus of women's voices doing the "response"

8. "BOTSWANA CHILDREN" recorded 1974, Ramotswa, Botswana by Kathie Kurtz' school children

9. "IBONGA" a rhythm from French Cameroon, southern part of French West Africa

10. "HAMMER RING" early American Black work song with Spiritual connotations--call/response

11. "SHINE" a shoe shine song from North America, a forerunner of RAP !

12. "OH HAPPY DAY"-Aretha Franklin/Mavis Staples, ONE LORD, ONE FAITH, ONE BAPTISM, 1987—call/resp

III. A FEW TRAITS & SOUNDS

A. MUSIC AS STORY AND CELEBRATION 1. Maasai Women — Katende— Maasai women’s beadmaking day, close to Ngang, Kenya, Feb. 25, 1993. Example of singing as means of conversation, story-telling, “work music.” Two-8va melodic range; melody with 2 parts--high; low drone.

2. Maasai Women — Maasai girl’s pre-circumcision ceremonies, near Migori, Kenya, Oct. 17,1992. Singing shows descending melodic line with M9th range, call and response.

3. Maasai Men — Maasai girl’s pre-circumcision ceremonies, near Migori, Kenya, Oct. 17, 1992. Shows typical Maasai vocal, guttural, rhythmic sounds which become a “rhythm section” for their a cappella music. Also used to accompany jumping (Maasai form of dance. (“uh- him-a-uh him-a-uh”--often a 5/8 pattern)

B. MUSIC USING CALL AND RESPONSE 1. Maasai Girls — Maasai girl’s pre-circumcision ceremonies, near Migori, Kenya, Oct. 17, 1992. Call and response from this girls’ age-set group.

2. Mali — “Festival of Circumcision” among the Malinke people

3. Botswana — call and response, recorded in 1974 by Kathie Kurtz’ school children

C. SINGLE PERCUSSION 1. Nigeria — Talking Drum with master drummer first giving first vocal message, than imitating this on the drum; Yoruba is a tonal language which lends itself to different pitches on the drum

D. MULTIPLE PERCUSSION — MULTI-LAYERED 1. Kenya — National Dance Troupe Percussion Ensemble, with Alfayo Omwandu, master drummer playing Iskuti Dance. Shows entry of different layers of drums, including piano improv. by CA Weaver; Feb. 26, 1993

2. Cameroon (West Africa) — Ibonga, a traditional, multi-layered rhythm--drums, bells, etc.

E. MELODIC, HARMONIC MUSIC 1. South Africa--Miriam Makeba -- “Mbube” by Solomon Linda, rec.1960, typical S.Af. harmonies I,IV,I 6/4,V

2. South Africa — Mahlathini and the Mahotella Queens — “We Have Been Invited”, — mbaqanga music, popular music of South Africa, with typical melodic guitar bridge and vocal u-ulating; released 1991 on THE LION ROARS; harmonies, I, IV, V, I

3. Congo — Loketo — “Rokiatou”, an example of soukous music--virtuosic highlife music of Congo with typical Afro-beat harmonies I, IV, I, V. Also, showing multiple melodic layers played by middle, bass, lead guitars

8 MUSIC 240 SOUND FILES

• accessed via UW LEARN, Music 240 Website: Sound Files found on Modules 1 – 15 • note: starred items on these sound file pages are most likely to be tested within listening quizzes. • starred items may vary as the course continues, announced clearly within class lectures • within each module all starred sound files are found at the bottom of the list in a zipfile for easier uploading • For accessing the sound files, go to LEARN site, select course, Music 240. Go to Course Materials in top left menu, and select Content. Select desired module and then the desired sound file. Access the file, and you can play it on your computer or follow the prompt to download into your computer. Module 1 — AFRICAN TRADITIONAL MUSIC Module 2 — AFRICAN-AMERICAN ROOTS & BLUES Module 3 — RAG, DIXIELAND, CHICAGO DIXIELAND, HOT, STRIDE Module 4 — SWING Module 5 — JAZZ VOCALISTS Module 6 — BEBOP Module 7 — TRANSITIONS INTO COOL; COOL Module 8 — HARD BOP, THIRD STREAM, MILES DAVIS Module 9 — MINGUS, FUNK, MODERN STYLES Module 10 — COLTRANE, COLEMAN, TAYLOR, FREE STYLES Module 11 — 70s/80s FUSIONS Module 12 — 90s/2000s FUSIONS – HIPHOP, ACOUSTIC, DJ

Module 13 — JAZZ KEYBOARD Module 14 — JAZZ GUITAR Module 15 — AFRICAN JAZZ

9 MUSIC 240, INTRO TO JAZZ — Sound File Contents

*note: starred items on these sound file pages are most likely to be tested within listening quizzes.

Module 1 — AFRICAN TRADITIONAL MUSIC 1. Baka Women – Yelli (Cameroon) (HEART OF THE FOREST) – music of

Baka pygmy women singing in response to crickets & insects in a yodelling fashion *2. Kutende and Maasai Women – bead-making day (Kenya) recorded, Ngong, 1993, by CAW (MUSICWORKS 61)

3. Miriam Makeba — Ihoyiya a yodeling cry done by sangomas to evoke ancestral spirits (SANGOMA), 1988

*4. Yoruba Talking Drum (Nigeria) — spoken words in Ibo imitated on drum 5. Stella Chiweshe — Mugomba (Zimbabwe) — traditional & contemporary mbira music (Zimbabwean thumb piano)

*6. Ibonga (French Cameroon) — cross rhythms par excellence *7. Dance of the Hunters (Upper Guinea) played on a 6-stringed luth (harp) with women’s singing and metal scraping sounds 8. Music 240 African Traditional.zip

Module 2 — AFRICAN-AMERICAN ROOTS & BLUES AFRICAN-AMERICAN WORK SONGS

1. Shine — a shoe shine song performed by Percy Randolph (American) — rap, eh ?! 2. Hammer Ring — African American work song; call and response

COUNTRY BLUES c. early 1900s, up to 1937 — male singer & guitar or jug band

*3. Blind Lemon Jefferson — Matchbox Blues (1926-29) *4. Memphis Jug Band — Stealin', Stealin' (early 20s) (singers unidentified) *5. Leadbelly — See See Rider (Ma Rainey) (early 20s) *6. Robert Johnson — Preachin’ Blues (Johnson), Nov. 27, 1936 *7. Robert Johnson — Hell Hound on My Trail (Johnson), 1936

CLASSIC BLUES/WOMEN’S BLUES c. 1920-30s and beyond

*8. Mamie Smith and Her Jazz Hounds — Crazy Blues, (Bradford) Aug, 1920; Addington Major, cor; Willie the Lion Smith, p, Ernest Elliot, cl; Leroy Parker, vln *9. Ma Rainey — Countin' The Blues (Rainey) Oct. 1924,with her Georgia Band: Louis Armstrong, cor; Charlie Green, trb; Buster Bailey, cl; Fletcher Henderson, pno; Charlie Dixon, bjo *10. Bessie Smith — St. Louis Blues (W.C. Handy) Jan. 14, 1925; Louis Armstrong, cor; Fred Longshaw, organ 11. Bessie Smith — Gimme A Pigfoot Nov. 1933 (Bessie's last recording); Frank Newton, tpt; Jack Teagarden, trb; Benny Goodman, cl; Chu Berry, ten sx; Buck Washington, pno; Bobby Johnson, gt; Billy Taylor, bass

12. Alberta Hunter — You Can't Tell the Difference After Dark Mar. 1935 (players unidentified) 13. Ida Cox — Wild Women Don’t Get the Blues sung by Nell Carter, 1980, NY

*14. Ida Cox — Wild Women Don’t Get the Blues by Alive, 1981: Rhiannon, voc; Janet Small, pno; Susanne Vincenza, bs; Barbara Bordon, dr; Carolyn Brandy, perc *15. Big Mama Thornton – You Ain't Nothin’ But a Hound Dog, 1980, NY

16. Cassandra Wilson — Hellhound On My Trail (Robert Johnson) (BLUE LIGHT 'TIL DAWN,1993; Wilson, voc; Brandon Ross, steel string gt; Ola Dara, cornet 17. Music 240 African/Am Work Songs & Blues.zip

10 Module 3 — RAG, DIXIELAND, CHICAGO DIXIELAND, HOT, STRIDE

RAGTIME c. 1899 - 1920 *1. Scott Joplin — Maple Leaf Rag 1899, from Joplin piano roll *2. Scott Joplin/Jelly Roll Morton — Maple Leaf Rag 1938, jazzed up Jelly Roll

NEW ORLEANS DIXIELAND 3. Young Tuxedo Brass Band — Eternal Peace, recorded 1958, Dixieland Revival— typical of a funeral march played on the way to the cemetery 4. Bunk Johnson’s Brass & Dance Band — Didn’t He Ramble, recorded 1945

*5. Original Dixieland Jazz Band — Livery Stable Blues by D.J. LaRocca, recorded 1917 Nick LaRocca, cor; Eddie Edward, tb; Larry Shields, cl; Harry Ragas, p; Tony Sbarbaro, dr.

6. Original Dixieland Jazz Band — Dixie Jazz Band One-Step, recorded 1917, players same as above EARLY CHICAGO DIXIELAND

*7. Jelly Roll Morton's Red Hot Peppers — Black Bottom Stomp 1928; George Mitchell, cor; Omer Simeon, cl; Morton, p; Lee Blair, bjo; Bill Benford, tuba; Tommy Benford, dr. *8. King Oliver's Creole Jazz Band — Dippermouth Blues, 1923; Oliver & Louis Armstrong, cor. Johnny Dodds, cl; Honore Dutrey, tb; Lil Harden, p; Bud Scott, bjo,& voc; Baby Dodds, dr

HOT JAZZ (1920s, and beyond) 9. Sidney Bechet & Red Onion Jazz Babies — Cakewalking Babies, 1924; LA, ct; Bechet, s. sax; Ch. Irvis, tb; Clarence Williams, p; Buddy Christian, bjo; Alberta Hunter, Clarence Todd,vc

*10. Sidney Bechet and His Blue Note Jazzmen — Blue Horizon, 1944; Bechet, cl; Sidney DeParis, tpt; Vic Dickenson, trb; Art Hodes, p; Pops Foster, b; Manzie Johnson, dr *11. Bix Beiderbecke with Frankie Trumbauer & His Orchestra — Riverboat Shuffle, 1927 Carmichael, Mills, Parish) Bix Beiderbecke, cor. Trumbauer, sax; Bill Rank, trb; Don Murray,

cl, b.s.; Ernest "Red" Ingle, a.s.; Itzy Riskin, p; Eddie Lang, bjo, g; Chaunsey Morehouse, dr. *12. Louis Armstrong and His Hot Five — West End Blues June., 1928; Armstrong, tpt; Fred Robinson, trb; Jimmy Strong, cl, sax; Earl Hines, p; Mancy Carr, bjo, vc; Zutty Singleton, *13. Lil Hardin & Louis Armstrong and His Hot Five — Struttin' With Some Barbeque (Lil Hardin Armstrong) Sept, 1927; Armstrong, cor; Kid Ory, trb; Johnny Dodds, cl; Lil Armstrong, p; St. Cyr, bjo *14. Louis Armstrong and His Hot Five — Hotter Than That Dec,1927; same as #19 Louis, voc.

*15. Louis Armstrong, tpt, & Earl Hines, pno — Weather Bird (LA) Dec.1928 *16. Mary Lou Williams - Boogie Misterioso, 1946 Williams, pno; Marjorie Hyams, vibes; Mary Osborne, gt; June Rogenberg, bs; Rose Gottesman, dr STRIDE PIANO

*17. James P. Johnson — Carolina Shout (Johnson), 1921; Johnson, piano *18. James P. Johnson — You've Got to Be Modernistic, 1929, recorded 1981, William Albright 19. Music 240 Rag, Ch.Dix.,Stride.zip

11 Module 4 — SWING (c. 1925-1940's) 1. Fletcher Henderson — The Stampede (Henderson, arranged Redman), 1926; Henderson, p; Russell Smith, tpt; Rex Stewart, Joe Smith, cor; Buster Bailey, cl, a. sax; Don Redman, cl, a. sx; Coleman Hawkins, cl, t. sax, bjo; Ralph Escudiro, tuba; Kaiser Marshall, dr

*2. Fletcher Henderson — Wrappin’ It Up (Henderson), 1934; Russell Smith, Irving Randolph, Henry Allen, tr; Keg Johnson, Claude Jones, trb; Buster Bailey, Hilton Jefferson, Russell Procope, cl., a.sx; Ben Webster, t.sx; Horace Henderson, p; Lawrence Lucie, gt; Elmer James, bs; Walter Johnson, dr *3. Jimmy Lunceford — Lunceford Special (Eddie Durham), 1939; Eugene Snooky Young, Gerald Wilson, Paul Webster, tpt; Elmer Crumbley; Russell Bowles, Trummy Young, trb; Willie Smith, Earl Carruthers, Ted Budkner, Dan Grissom, a. sax; Joe Thomas, t. sx; Edwin Wilcox, pno; Al Norris, gt; Moses Allen, bs; Jimmy Crawford, dr.; Lunceford, leader (played a. sax but not here) *4. Duke Ellington — Harlem Air Shaft (Duke) 1940; Duke, pno; Wallace Jones, Cootie Williams, tpt; Rex Stewart, cor; Joe Nanton, Juan Tizol, Lawrence Brown, trb; Barney Bigard, cl, t. sax; Otto Hardwicke, Johnny Hodges, a. sax; Ben Webster, t. sax; Harry Carney, b. sax; Fred Guy, gt; Jimmy Blanton, bass; Sonny Greer, dr 5. Duke Ellington — Concerto for Cootie (Duke) 1940 (same as above)

*6. Duke Ellington — In a Mellowtone (Duke) 1940 (same as above) *7. Benny Moten — Moten Swing (Buster & Moten), 1932; Hot Lips Page, Joe Keys, Dee Stewart, tpt; Dan Minor, trb; Eddie Durham, trb, gt, a. sax; Eddie Barefield, cl, a. sax; Jack Washington, a & b sax; Ben Webster, t. sax; Count Basie, pno; Leroy Berry, gt; Walter Page, bass; Willie McWashington, dr *8. Count Basie — Doggin Around (H. Evans, W. Battle), 1938; Basie, pno; Buck Clayton, Ed Lewis, Harry Edison, tpt; Eddie Durham, trb, gt; Benny Morton, Dan Minor, trb; Earl Warren, a. sax; Jack Washington, a. & b. sx; Hershel Evans, t. sx; Lester Young, t. sax; Freddie Green, gt; Walter Page, bass; Jo Jones, dr *9. Count Basie — Taxi War Dance (L. Young, Basie), 1939; Basie, pno; Buck Clayton, Ed Lewis, Shad Collins, tpt; Dickie Wells, Benny Morton, Dan Minor, trb; Earl Warren, Jack Washington, a. sx; Buddy Tate, Lester Young, ts; Freddie Green, gt; Walter Page, b; Jo Jones, dr *10. Count Basie's Kansas City Seven — Lester Leaps In (Lester Young), 1939; Basie, pno; Buck Clayton, tpt; Dickie Wells, trb; Lester Young, t sx; Freddy Green, gt; Walter Page, b; Jo Jones, dr 11. International Sweethearts of Rhythm — Digging Dyke l946, all women band

*12. Benny Goodman and Charlie Christian— Air Mail Special (Mundy, Goodman, Christian), 1941, Georgie Auld, t.sx; Johnny Guarnieri, p; Charlie Christian, gt; Artie Bernstein, b; Dave Tough, dr. 13. Benny Goodman and Charlie Christian — Seven Come Eleven 1941 Georgie Auld, t.sx; Johnny Guarnieri, pno; Charlie Christian, guit; Artie Bernstein, b; Dave Tough, dr.

*14. Benny Goodman Trio — Body and Soul (Sour, Green, Heyman), 1935; Goodman, cl; Teddy Wilson, pno; Gene Krupa, dr *15. Coleman Hawkins and His Orchestra — Body and Soul (Sour, Green, Heyman), 1939; Hawkins, t. sx; Tommy Lindsay, Joe Guy, tpts; Earl Hardy, trb; Jackie Fields, Eustis Moore, a. sx; Gene Rodgers, pn; William Oscar Smith, bass; Arthur Herbert, dr *16. Lionel Hampton — When Lights Are Low (Benny Carter), 1939; Hampton, vibes; Dizzy Gillespie, tpt; Benny Carter, a. sx; Coleman Hawkins, Ben Webster, Chu Berry, t sx; Clyde Hart, p; Charlie Christian, gt; Milt Hinton, bs; Cozy Cole, dr 17. Django Reinhardt, Stepane Grappelli and the Quintet of the Hot Club of France — Runnin' Wild (Wood, Gibbs, Grey), 1937; Reinhardt, gt; Grapelli, vln; Pierre Ferret, Marcel Bianchi, gt; Louis Vola, bass

*18. Django Reinhardt, Stepane Grappelli and the Quintet of the Hot Club of France — Mystery Pacific (Reinhardt, Grappelli), 1937 (same as above) 19. Fats Waller — Ain't Misbehavin' (Razaf/Brooks/Waller) 1936-43; Waller, pno

*20. Stephan Grappelli — Minor Swing (Reinhardt, Grappelli), rec. 1980; Grappelli, vln; John Etheridge, Martin Taylor, gt; Jack Sewing, bass

VIRTUOSO SWING/POST-SWING PIANO *21. Art Tatum — Too Marvelous For Words (Richard Whiting/Johnny Mercer),’56 *22. Art Tatum — Willow Weep For Me (Ann Ronnell), 1949; Tatum, solo piano 23. Music 240 Swing.zip

12 Module 5 — JAZZ VOCALISTS

*1. Billie Holiday and Her Orchestra — He's Funny That Way (R. Whiting/N. Moret), 1937; Holiday, voc; Buck Clayton, tpt; Buster Bailey, cl; Lester Young, t. sax; Claude Thornhill, pno; Freddy Greene, gt; Walter Page; bass; Jo Jones, dr *2. Billie Holiday and Eddie Heywood and His Orchestra — All of Me (S. Simons/G. Marks) 1941; Holiday, voc; Shad Collins, tpt; Leslie Johnakins, Eddie Barefield, a. sax; Lester Young, t. sax; Heywood, pno; John Collins, gt; Ted Sturgis, bass; Kenny Clarke, dr *3. Billie Holiday — Lover Man, 1944, Decca orch (1st time for strings with Black blues singer) *4. Billie Holiday — Don't Explain (Holiday/Herzog) 1945, with a Decca orchestra conducted by Bob Haggart *5. Ella Fitzgerald and Count Basie Orchestra — Fine and Mellow (song by Billie Holiday). 1963 *6. Ella Fitzgerald — Mack the Knife (Weill/Brecht/Blitzstein), rec. 1960; Fitzgerald, voc; Paul Smith, pno; Jim Hall, gt; Wilfred Middlebrooks, bass; Gus Johnson, dr.) *7. Ella Fitzgerald — You'd Be So Nice to Come Home To (Cole Porter) rec. 1964; Fitzgerald, voc; Roy Eldridge, tpt; Tommy Flanagan, pno; Bill Yancey, bass; Gus Johnson, dr 8. Sarah Vaughan — Lullaby of Birdland (Shearin/Foster) , 1954; Vaughn; Clifford Brown, tp; Paul Quinichette, t. sax; Herbie Mann, fl; Jimmy Jones, pno; Joe Benjamin, bs; Roy Haynes, dr 9. Shirley Horn — Nice and Easy (Spencer/Bergman/Keith), 1987; Horn, pno, voc; Charles Ables, bass; Steve Williams, dr 10. Lena Horn — Sing My Heart (Harold Arlen/Ted Koehler) (THE MEN IN MY LIFE, 1988) Horn, voc; Frank Owens, organ; Rodney Jones, gt; Benjamin Franklin Brown, bass; Kenny Washington, dr; Sammy Figueroa, perc, & big band 11. Nat King Cole — Embraceable You (George & Ira Gershwin)

*12. Etta James — Don't Explain (Herzog/Billy Holiday) from ETTA JAMES, MYSTERY LADY — SONGS OF BILLIE HOLIDAY, 1994; James, voc; Cedar Walton, p; Tony Dumas, b; Ralph Tenland, dr; Josh Sklair, gt; Ronnie Buttacavoli, tpt; Kraig Kilby, trb; Red Holloway, saxes 13. Anita O'Day — Honeysuckle Rose (Fats Waller/Andy Razaf) from ANITA, 1955; O'Day, voc; Joe Mondragon, bass; Milt Bernhardt, Lloyd Elliott, Joe Howard, tpt; Si Zentner, trb; Paul Smith, pno, Barney Kessel, gt; Joe Mondragon, bass; Alvin Stoller, dr

*14. Betty Carter — Sometimes I'm Happy from FEED THE FIRE, 1994; Carter, Geri Allen, pno; Dave Holland, bs; Jack DeJonette, dr 15. Tony Bennett — Don't Get Around Much Anymore,1967, (Ellington/Russell) from TONY BENNETT - JAZZ, 1987; Marion Evans & Orchestra w/ Joe Newman, Joe Wilder, tpt; Bobby Tricarico, t. sax; Joe Soldo, fl; John Bunch, p; Corky Hale, harp; Milt Hinton, b; Sol Gubin, dr

*16. Rhiannon and Alive — Call It Jazz (Janet Small) from same album, 1981; Rhiannon, voc; Janet Small, pno; Susanne Vincenza, bass; Barbara Bordon, dr; Carolyn Brandy, perc.

*17. Bobby McFerrin — From Me to You (Lennon/McCartney) (SPONTANEOUS INVENTIONS, 1985) McFerrin, voc, body perc.

*18. Holly Cole — Crusin' (Smokey Robinson/Marvin Tapplin) (GIRL TALK,1990), Cole, voc; Aaron Davis, pno; David Piltch, bass; John Johnson, a. sax

*19. Diana Krall — I Don’t Know Enough About You (LOVE SCENES 1997) Krall, pno, voc; Russell Malone, gt; Christian McBride, bs *20. Karen Young — Salsa 5 (Young/Ferguson/Manigat) from CONTREDANSE, 1988; Young, voc; Michel Donato, voc., bass; Francine Martel, congas [EXCERPT] 21. Rosemary Clooney — I Cried for You (Arnheim/Freed/Lyman) (EVERYTHING'S COMING UP ROSIE,’77)Nat Pierce, p; Monty Budwig, b; Jake Hanna, d; Scott Hamilton, sax; Bill Berry, tpt 22. Music 240 Jazz Vocalists.zip

13 Module 6 — BEBOP

*1. Dizzy Gillespie's All Star Quintet — Shaw 'Nuff (Gillespie/Parker) 1945; Gillespie, tpt; Charlie Parker, a. sax; Al Haig, pno; Curley Russell, bass; Sidney Catlett, dr *2. Dizzy Gillespie — Groovin' High (Gillespie) 1947; Gillespie, tpt; Charlie Parker, a. sax; John Lewis, pno; Al McKibbon, bass; Joe Harris, dr *3. Charlie Parker — Embraceable You (George & Ira Gershwin), 1947 Parker, a. sax; Duke Jordan, pno; Tommy Potter, bass; Max Roach, dr [EXCERPT]

*4. Charlie Parker's All Stars — Parker's Mood (Parker), 1948; Charlie Parker, a. sax; John Lewis, pno; Curley Russell, bass; Max Roach, dr *5. Charlie Parker — Scrapple From the Apple (Parker) c. 1945; Parker; Miles Davis, tpt; Bud Powell, pno; Curley Russell, bs; Max Roach, dr *6. Thelonious Monk — Misterioso (Monk) 1948 ; Monk, pno; Milt Jackson, vibes; John Simmons, bass; Shadow Wilson, dr 7. Thelonious Monk — ’Round Midnight (Monk) 1947 ; Monk, pno *8. Bud Powell Trio — Somebody Loves Me (Macdonald/Gershwin/De Sylva), 1947; Powell, pno; Curley Russell, bass; Max Roach, dr 9. Music 240 Bebop.zip Module 7 — TRANSITIONS INTO COOL; COOL TRANSITIONS INTO COOL *1. Tadd Dameron's Sextet — Lady Bird (Dameron) 1948; Fats Navarro, tpt; Wardell Gray, Allen Eager, t. sax; Curley Russell, bass; Kenny Clarke, dr *2. Lennie Tristano — Crosscurrent (Tristano), 1949; Lee Konitz, a. sx; Warne Marsh, t. sx; Lennie Tristano, pno; Billy Bauer, gt; Arnold Fishkin, b; Harold Franovsky,dr.

COOL *3. Gerry Mulligen, Miles Davis, and Birth of the Cool Orchestra — Boplicity (Gil Evans), 1950 Miles Davis, tpt; J. J. Johnson, trb; Gunther Schuller, Fr. hn; Bill Barber, tuba; Lee Konitz, a sax; Gerry Mulligan, b. sax; John Lewis, pno; Al McKibbon, bass; Max Roach, dr *4. Gerry Mulligen Quartet — Walkin’ Shoes (Mulligen), 1954; Mulligan, b. sax; Bob Brookmeyer, valve trb; Red Mitchell, bass; Frank Isola, dr (LIVE IN PARIS) *5. Gerry Mulligen Quartet — Motel (Mulligen), 1954 (same as above) [cut short] *6. Dave Brubeck — Take Five (Paul Desmond), 1963; Brubeck, pno; Desmond, a. sax; Eugene Wright, bass; Joe Morello, dr. (live at Carnegie Hall) *7. Dave Brubeck — It's a Raggy Waltz (Brubeck),1963 (same as above) [excerpt] *8. Dave Brubeck — Blue Rondo a la Turk (Brubeck), 1963 (same) [EXCERPT] 9. Stan Getz — Body and Soul (Heyman/Sour/Eyton/Green) rec. 1952; (STAN GETZ PLAYS 1988) Getz, t. sax; Jimmy Raney,, gt; Duke Jordan; Bill Crow, bass; Frank Isola, dr

*10. Stan Getz — Girl from Ipanema (Jobim) (STAN GETZ, 1964);Astrud Gilberto, vc; Getz, ts; Joao Gilberto, gt, voc; Gary Burton, vib; Gene Cherico, b; Joe Hunt, dr 11. Music 240 Transitions into Cool; Cool Jazz.zip

14 Module 8 — HARD BOP, THIRD STREAM, MILES DAVIS

HARD BOP *1. Sonny Rollins — Pent-Up House (Rollins) 1956; Rollins, t. sx; Clifford Brown, tpt; Richie Powell, pno; George Morrow, bass; Max Roach, dr 2. Sonny Rollins — St. Thomas (Rollins) 1956; Rollins, t. sx; Tommy Flanagan, pno; Doug Watkins, bass; Max Roach, dr

THIRD STREAM *3. Modern Jazz Quartet — Django (John Lewis), 1960; Milt Jackson, vibes; John Lewis, pno; Percy Heath, bass; Connie Kay, dr *4. Modern Jazz Quartet — Sketch (John Lewis), 1959;Beaux Arts Quartet {Gerald Tarack, Alan Martin, vln; Carl Eberl, vla; Joe Tekula, cello} Milt Jackson, vibes; John Lewis, pno; Percy Heath, bass; Connie Kay, dr [EXCERPT] 5. Claude Bolling — Fugace (Bolling) (SUITE FOR FLUTE AND JAZZ PIANO, 1975) Bolling, p; Jean-Pierre Rampal, flute; Max Hediguer, b; Marcel Sabiani, dr [EXCERPT] 6. Andre Previn — The Five of Us (Previn) (A DIFFERENT KIND OF BLUES, 1980) Itzhak Perlman, vln; Previn, p; Shelly Manne, d; Jim Hall, gt; Red Mitchell, b. STYLES OF MILES LATE BOP *7. Miles Davis — Two Bass Hit (John Lewis/Gillespie) rec. 1955 (CIRCLE IN THE ROUND,1979) Davis, tpt; John Coltrane, t. sax; Red Garland, pno; Paul Chambers, bass; Philly Joe Jones, dr THIRD STREAM 8. Miles Davis — Will O' The Wisp (arr. Gil Evans/Davis - Manuel de Falla: El Amor Brujo (SKETCHES OF SPAIN 1959) Evans, cond/arr; Davis, tpt; winds MODAL

*9. Miles Davis — So What (Davis) (KIND OF BLUE, 1959) Davis, tpt; Julian (Cannonball) Adderly, a. sax; John Coltrane, t. sax; Bill Evans, pno; Paul Chambers, b, James Cobb, d *10. Miles Davis — All Blues (Davis) (KIND OF BLUE ‘59) Davis, tpt; [same as above] [Excerpt] JAZZ BALLAD *11. Miles Davis — Someday My Prince Will Come (Churchill/Morey), 1964; Davis, tpt; John Coltrane, t. sax; Hank Mobley, t. sax; Wynton Kelly, pno; Paul Chambers, b; Jimmy Cobb, dr [EXCERPT] FUSION into FUNK *12. Miles Davis — Miles Runs the Voodoo Down (Davis) (BITCHES BREW, 1969) Davis, tpt; Wayne Shorter, s.sax; Bennie Maupin, b. cl; John McLaughlin, gt; Chick Corea, Larry Young pno; Dave Holland or Harvey Brook, bass; Jack DeJohnette, Charles Alias, Lenny White, dr [EXCERPT] *13. Miles Davis — Pharoah's Dance (Joe Zawinal) (BITCHES BREW, 1969) (same as above) [VERY SHORT EXCERPT CLOSE TO END, W/ TPT ENTRY] 14. Miles Davis: Splatch (Marcus Miller) (TUTU, 1986). same as above with Holzman, synth; Steve Reid, perc. [EXCERPT]

*15. Miles Davis: Full Nelson (Marcus Miller) (TUTU, 1986) Davis, tpt; Marcus Miller, all other instruments; Jason Miles, programming 16. Music 240 Hard Bop, 3rd Stream, Miles.zip

15 Module 9 — MINGUS, FUNK, MODERN STYLES

STYLES OF MINGUS PROGRAMMATIC — FREE — COLLECTIVE IMPROV

*1. Charles Mingus — Pithecanthropus Erectus (Mingus & Jazz Workshop),1956; Mingus, bass; Jackie McLean, a. sax; J. R. Monterose, t. sax; Mal Waldron, pno; Willie Jones, dr. [2 EXCERPTS: evolution & destruction at very end]

*2. Charles Mingus — A Foggy Day (George & Ira Gershwin, arr. Mingus) 1956 (same as above) [EXCERPT] SOUL - FUNK

*3. Charles Mingus — Better Git It In Your Soul (MINGUS AH UM 1959) Mingus, bass; John Handy III, Booker T. Ervin Jr, & Shafi Hadi, sax; Horace Parlan, pno; Willie Dennis, James Knepper, trb; Charles Richmond, dr HARD BOP

*4. Charles Mingus — Hora Decubitus (Mingus)1963; Mingus, bass; Eddie Preston, Richard Williams, tpt; Britt Woodman, trb; Don Butterfield, tuba; Eric Dolphy, a sax., fl; Dick Haffer, t sx, fl, cl; Booker Ervin, t sx; Jerome Richardson,s & b sax, fl; Jaki Byard, pno; Walter Perkins, dr FUNK-RELATED STYLES — VARIOUS MUSICIANS

*5. Art Blakey's Jazz Messengers — Moanin', 1958; Lee Morgan, tpt; Benny Golson, t. sax; Bobby Timmons, pno; Jimmy Merrit, bass, Art Blakey, dr *6. Herbie Hancock — Watermelon Man (HEAD HUNTERS, 1973) Hancock, kb; Bennie Maupin, saxes; Paul jackson, bass; Harvey Mason, dr, Bill Summers, per *7. Herbie Hancock — Chameleon (Hancock) (HEAD HUNTERS, 1973) Hancock, kbs; Bill Laswell, bass; Michael Beinhorn, Moog synth; Pete Cosey, gt; Sly Dunbar, dr. [2 EXCERPTS] *8. Herbie Hancock — Future Shock (FUTURE SHOCK, 1983) Hancock, kb; etc. [EXCERPTS] *9. James Blood Ulmer — Jazz is the Teacher, Funk is the Preacher (same as above) [EXCERPT] 10. George Clinton/Funkadelic — One Nation Under a Groove (Clinton/ Shider/L.Brown) (FUNKADELIC/ONE NATION UNDER A GROOVE, 1978)

*11. George Clinton —The Banana Boat Song (Brugess/Attaway)(CINDERELLA THEORY ‘89) 12. Trouble Funk — Pump Me Up (Risher/Reed/Avery) ('SAY WHAT', 1986) (also an example of rap/hiphop/jazz) MODERN — A FEW CONTEMPORARY STYLISTS 13. Wynton Marsalis — I’ll Be There When the Time is Right (H. Hancock) (WYNTON MARSALIS, 1982) Wynton, tpt; Branford Marsalis, sax; KennyKirkland, pno; Clarence Seay, bass; Jeff Watts, dr. 14. Branford Marsalis — Random Abstract (B. Marsalis) (TRIO JEEPY) Branford, a.s,; Milton Hinton, b; Jeff Watts, dr 15. Music 240 Mingus, Funk, Modern.zip

16 Module 10 — COLTRANE, COLEMAN, TAYLOR, FREE STYLES STYLES OF COLTRANE HARD BOP

*1. John Coltrane — Giant Steps (Coltrane) from GIANT STEPS,1959; Coltrane, t. sax; Tommy Flanagan, pno; Paul Chambers, bass; Art Taylor, dr MODAL towards FREE

*2. John Coltrane — My Favorite Things (Rodgers & Hammerstein/Williamson) from same album, 1960; Coltrane, t., s. sax; McCoy Tyner, pno; Steve Davis, bass; Elvin Jones, dr. [2 EXCERPTS; 2nd one with sop. sax] 3. John Coltrane — Naima (Coltrane) from COLTRANE LIVE AT THE VILLAGE VANGUARD AGAIN!, 1966; John Coltrane,Pharoah Sanders, t. sx; Alice Coltrane, pno; Jimmy Garrison, bass; Rashied Ali, dr [EXCERPT] *4. John Coltrane — Psalm (Coltrane) (A LOVE SUPREME, 1964) Coltrane, t. sax; McCoy Tyner, pno; Jimmy Garrison, bass; Elvin Jones, dr [EXCERPT]

STYLES OF ORNETTE COLEMAN SOUL-RELATED

5. Ornette Coleman — Rambling (Coleman) (CHANGE OF THE CENTURY, 1959) Coleman, a. sx; Don Cherry, pocket tpt; Charlie Haden, bs; Billy Higgins, dr [EXCERPT] *6. Ornette Coleman — Lonely Woman (Coleman) (SHAPE OF JAZZ TO COME,1959) players same as above FREE JAZZ

*7. Ornette Coleman — Free Jazz (Coleman) (FREE JAZZ, 1960) Coleman, a. sax; Don Cherry, Freddie Hubbard, tpt; Eric Dolphy, bass cl; Scott La Faro, Charlie Haden, bass; Billy Higgins, Ed Blackwell, dr. STYLES OF CECIL TAYLOR ABSTRACT, HARD BOP-RELATED 8. Cecil Taylor — Little Lees (Taylor),1959 (IN TRANSITION) Taylor, pno; Ted Curson, tpt; Bill Barron, t. sax; Chris White, bass; Rudy Collins, dr [EXCERPT] FREE JAZZ

*9. Cecil Taylor — Enter Evening (Taylor) (UNIT STRUCTURES, 1966) Taylor, pno, bells; Eddie Gale Stevens, tpt; Jimmy Lyons a sx; Ken Mcintyre, a. sax, reeds; Henry Grimes, bass; Alan Silva, Andres Cyrille, dr [EXCERPT] *10. Cecil Taylor — Jittny No. 2 (Taylor) (SILENT TONGUES: LIVE AT MONTREAUX,1974) Taylor, solo piano [EXCERPT] FREE STYLES — OTHER ARTISTS

*11. Art Ensemble of Chicago — People in Sorrow, 1969 from same album; Ruscoe Mitchell, saxes, perc; Joseph Jarman, reeds, fl, perc; Lester Bowie, tpt, perc; Malachi Favors, bass, zither, perc [5 CONTINUOUS, SHORT EXCERPTS]

12. Sun Ra and His Intergalactro Cosmo Arkestra — Of the Other Tomorrow (Live at Montreax) from same album, 1976; Marshall Allan, s. sax; Elmo Omo, bass cl; Sun Ra, pno [EXCERPT] 13. World Saxophone Quartet — Take the "A" Train (Billy Strayhorn) from WORLD SAXOPHONE QUARTET PLAYS DUKE ELLINGTON, 1986; Julius Hemphill, Oliver Lake, a. sx; David Murray, t. sax; Hamiet Bluiett, b. sa

*14. Shuffle Demons — Spadina Bus & Gabis Gimi Suit from STREETNIKS, 1986; Rich Underhill, Dave Parker, Perry White, saxes; George Koller, Stich Wynston, dr. [3 EXCERPTS — 1st: rap, 2nd: free jazz from Spadina; 3rd, Gabis] 15. Queen Mab — Close album of same name, 2000; Lori Freedman, clar; Marilyn Lerner, pno; Fides Krucker, guest vocalist 16. Music 240 Coltrane, Coleman, Taylor, Free.zip

17 Module 11 — 70s/80s FUSIONS

70s JAZZ MASS FUSION *1. Mary Lou Williams — The Lord Says (MARY LOU’S MASS,1974) Williams, piano; Milton Suggs, voc.; Carline Ray, bass guit [all Mary Lou's Mass items EXCERPTS] *2. Mary Lou Williams — Kyrie—Lord Have Mercy from above; *3. Mary Lou Williams — Lazarus from above; Leon Atkinson, gt. 1974 4. Mary Lou Williams — Medi I (Meditation) from above; Williams, pno; Milton Suggs, bs; David Parker, dr; Ralph MacDonald, conga; Roger Glenn, fl 70s JAZZ-ROCK FUSION

*5. Weather Report — Birdland (Zaiwinul & Johnson) (HEAVY WEATHER, 1977) Joseph Zawinul, kbd; Wayne Shorter, sax.; Jaco Pastorius, bass; Acuna & Badrena, drums and perc. 6. Weather Report — Cucumber Slumber by Zaiwinul & Johnson from MYSTERIOUS TRAVELLER, 1974. Joseph Zawinul, kb, Wayne Shorter, sax; Alphonso Johnson, Miroslav Vitous, b; Dom Um Romao & Ishmael Wilburn dr.

*7. Mahavishnu Orchestra — Cosmic Strut, If I Could See, Be Happy, & On The Way Home to Earth (VISIONS OF THE EMERALD BEYOND) Jean-Luc Ponty, Elect. vln; John McLaughlin, guit; Michael Walden, drums; Gayle Moran, kbs; Bob Knapp, tpt; Russel Tubbs, sax; Carol Shive, voc [EXCERPTS] *8. Stanley Clarke — Silly Putty (JOURNEY TO LOVE, 1975) Clarke, b; Jeff Beck, g; Lenny White, d 9. Jeff Beck: Blue Wind by Jan Hammer from WIRED, 1976. Beck, gts; Jan Hammer, dr & synth. 10. Al DiMeola — Morning Fire — from Suite — Golden Dawn (DiMeola) (LAND OF THE MIDNIGHT SUN, 1976) DiMeola, g; Jaco Pastorius, b; Mingo Lewis, perc; Barry Miles, kb

80’s FUSION * *11. Chick Corea Elektric Band — Trance Dance (EYE OF THE BEHOLDER, 1988) Corea, kbs; Dave Weckl, dr; Joe Patitucci, bs; Eric Marienthal, sax; Frank Gambale, *12. UZEB — Tribecca by Stephan Montanaro (UZEB LIVE AT BRACKNELL, 1981) Michel Cusson, gt; Alain Caron, bass; Stephan Montanaro, kb; Paul Brochu, dr. *13. Manteca — Avoco by Aaron Davis (STRENGTH IN NUMBERS, 1986) Henry Hellig, bass; Matt Zimbel, Norman Jones, perc; Aaron Davis, kb; Herb Koffman, Rick Tait, tpt; John Johnson, Ralph Bowen, saxes; Dave Jomes, dr. 14. Music 240 70s, 80s Fusions.zip

18

Module 12 – 90s/2000s FUSIONS – ACID, HIPHOP/RAP, ACOUSTIC, NU, DJ, etc. ACID JAZZ

*1. Jamiroquai — Hooked Up (Jason Kay/Toby Smith) (EMERGENCY ON PLANET EARTH, 1993) Toby Smith, kb; Nick Van Gelder, dr; Stuart Zender, bass; Kofi Kari Kari, perc; Glenn Nightingale & Simon Bartholomew, guit. HIPHOP/RAP

*2. Me’Shell NdegeOcello — I’m Diggin’ You (Like an Old Soul Record) (PLANTATION LULLABIES, 1993) Me’Shell, bass, voice, instruments; David Gamson, dr; David Fiuczynski, gt., 3. Me'Shell NdegeOcello & Herbie Hancock — Nocturnal Sunshine (Me'Shell NdegeOcello); (STOLEN MOMENTS: RED HOT + COLD, 1994) NdegeOcello, Rhodes, clavinet; voc; Herbie Hancock, p; David Gamson, kb, progr; Wah Wah Watson, g; Luis Conte, cowbell; Harvey Mason, dr.

*4. Guru — Lifesaver (lyrics: K. Elam/A. Evans; music: Bess/Elam) with Baybe, voc (JAZZMATAZZ VOLUME II THE NEW REALITY HOSTED BY GURU, 1995 5. Guru — Jazzalude III: Hip Hop as a Way of Life (Elam/Colin/McNeil/Lee) [ABOVE] 6. US 3 — Different Rhythms (Simpson/Wilkinson), vocal samples,"Art Blakey's Comments on Ritual" &"At The Cafe Bohemia, Vol. 2",The Jazz Messengers (HAND ON THE TORCH’93. Mel Simpson, kb/programming; Geoff Wilkinson, samples/scratches/programming; Gerard Presencer, tpt; Steve Williamson, Ed Jones, sx; Matthew Cooper, p; Kobie Powell,Tukka Yoot, Rahsaan, rap;Tony Remy,gt.

7. Tukka Yoot — Tukka Yoot's Riddim (Taylor/Simpson/Wilkinson/Covay/Cropper) samples "Sookie Sookie" by Grant Green. Tukka Yoot, rap; Ed Jones, t. (HAND ON THE TORCH, 1993) NEW JAZZ-ROCK FUSIONS

8. Pat Metheny — The Girls Next Door (Metheny/Mays)(WE LIVE HERE’95) Metheny, guit; Mays, kb; Steve Rodby, bs; Paul Wertico, dr; Luis Conte, perc; David Blamires, voc; Mark Ledford, voc, tpt *9. Pat Metheny — And Then I Knew (Metheny/Mays) (WE LIVE HERE 1995); [EXCERPTS] ACOUSTIC GROOVE JAZZ 10. David Grisman — Bativa (Grisman) (DWAG '90, 1990) Grisman, mandolin; Mark O'Connor, fiddle; Matt Eakle, fl; John Carlini, gt; James Kerwin,b.[EXCERPTS] 11. Turtle Island — Who Do You Think You Are (song by Tower of Power) Darol Anger, David Balakrishnan, vlns; Katrina Wreede, vla; Mark Summer, cello 12. Jerry Douglas, Russ Barenberg, Edgar Meyer — Squeezy Pig (Bar/Douglas/Meyer) (SKIP, HOP & WOBBLE, 1993) Barenberg, gt; Douglas, dobro; Meyer; bass

*13. Bela Fleck — Cheeseballs in Cowtown (Fleck) (TALES FROM THE ACOUSTIC PLANET, 1995) Fleck, banjo; Sam Bush, mand; Stuart Duncan, fiddle; Jerry Douglas, resphonic gt; Victor Wooten, fretless bass; Kenny Malone, dr ELECTRIC GROOVE JAZZ 14. Phish — Lama (PICTURE OF NECTAR, 1992) Trey Anastasio, gt; Page McConnell, kb; Mike Gordon, bass; John Fishman, dr 15. John Scofield — I Brake for Monster Booty (THE JOHN SCOFIELD BAND UBERJAM, 2002) Scofield, lead gt; Avi Bortnick, rhy. gt; Jesse Murphy, bs; Adam Deitch, dr. NU JAZZ; ELECTRONICA 16. Radiohead – Everything In Its Right Place 17. Tricky Remix with Billie Holiday – Strange Fruit 18. Mum - There is a Number of Small Things 19. Jazzanova – Another Day

DJ— BREAKBEAT, TURNTABLISM (notes - Mason Marchildon, 2003, used by permission) *20. Grand Master Flash –Adventures on the Wheels of Steel - Single (Sugar Hill Records 1981). First recording of live Breakbeats & Turntablism; regarded as the birth of Hiphop & sampled music *21. Steinski & Double Dee –Lesson 2 (James Brown Mix) - Single (Tommy Boy Records 1983). Most famous of 3 Lessons by Steinski & Double Dee, demonstrating evolution of break music mid 80s. *22. DJ Q-Bert – Sneak Attack - (Wave Twisters, Galactic Butt 1998). Mix Master Mike’s protege, one of the most technical Turntablists ever, releases his own turntable oriented song. 23. Invisbl Skratch Piklz – Five Turntables, Four DJ's - (Recorded Live 1996) Featuring the ISP DJs Flare, Q-Bert, Disk and Shortkut, showing turntablism in rawest form possible, with only 5 turntables, played live on pirate radio station. The composition is mostly improvised —“Free Jazz” of Turntablism. 24. Ludovic Navarre (aka St. Germain) – So Flute 25. Music 240-Modules 12 – 15 Acid, Acoustic, Nu, Guitar, Keybd, Af.zip

19 Module 13 — JAZZ KEYBOARD

MODAL, MODERN, CHROMATIC *1. Bill Evans — We Will Meet Again (Evans) (WE WILL MEET AGAIN, 1980) Evans, solo piano (recorded, 1979, one year before his death 2. McCoy Tyner — Someone to Watch Over Me (Gershwin) Rec. 1988, (BLUE GERSHWIN, 1992) 3. Marian McPartland — Theme from Piano Jazz (Marian McPartland) (LIVE AT MAYBECK RECITAL HALL, VOL. 9, 1991) McPartland, pno

*4. Joanne Brackeen — Egyptian Dune Dance from SPECIAL IDENTITY, 1982; Brackeen, pno; Eddie Gomez, bass; Jack DaJohnette, dr [EXCERPT]

NEW FUSION, FUNKY 5. Keith Jarrett — The Windup (Jan Garbarek) (BELONGING, 1974) Jarrett, pno; Jan Garbarek, s.sax; Palle Danielsson, bs.; Jon Christensen, dr. *6. Keith Jarrett and Gary Burton — Grow Your Own (Jarrett) [same album, c. 1980] Jarrett, pno; Gary Burton, vib; Sam Brown, guit; Steve Swallow, bs; Bill Goodwin, dr. *7. Keith Jarrett — Part XII: Royal Festival Hall, London (TESTAMENT Paris/London, 2009) solo piano

BRUBECK CONNECTIONS (Chris & Darius are sons of Dave) 8. Dave Brubeck and his New Quartet — Mr. Fats (Brubeck) (PAPER MOON, 1981) Brubeck, pno; Jerry Bergonzi, t. sax; Chris Brubeck, bass; Randy Jones, dr 9. Darius Brubeck — Meadowlands (Strike Vilakazi), rec. S. Afr. (AFRICAN TRIBUTES — DARIUS BRUBECK AND THE NU JAZZ CONNECTION, 1992) Chris Merz, sax; S’thembiso Ntuli, t. sax; Fezile Faku, tpt; Darius Brubeck, pno; Lex Futshane, bs; Lulu Gontsana, dr.

MINIMALIST/FUNKY/POST MODERN 10. Herbie Hancock and Bobby McFerrin — Turtle Shoes (McFerrin/Hancock) (SPONTANEOUS INVENTION, 1986) Hancock, pno; McFerrin, voc.

LATIN (BRAZILIAN), FUSION, FUNKY *11. Tania Maria — Chiclete Com Banana, (Jackson Do Pandeiro) (PIQUANT, 1981) Tania Maria, voc, pno; Eddie Duran, gt; Rob Fisher, bs; Vince Lateano, dr; Willie Colon, perc *12. Tania Maria — Sangria (Tania Maria) (COME WITH ME, 1983) Maria, voc & pno; Eddie Duran, gt; Lincoln Goines, bs; Jose Neto, gt; John Pena, bs; Portinho & Steve Thornton, dr/perc *13. Tania Maria — Funky Tamborin (Tania Maria) (LOVE EXPLOSION, 1984) Maria, kbs, voc; Don Carillo, gt; Abraham Laboriel & John Pena, bass; Steve Thornton, Alex Acune, Joe Heredia, dr; John Beesley, synth; Justo Almario, a. sax; Harry Kim, tpt; Art Velasco, trb 14. Tania Maria — Pour Toi (Tania Maria) (LOVE EXPLOSION 1983) Maria, pno., voc; Dan Carillo, ac. & el. guit; Abraham Laboriel, John Pena, bass; Steve Thornton, Alex Acuna, Joe Heredia, dr, perc; John Geasley, synth; Justo Almario, a sax; Harry Kim , tpt; Art Velasco, trb [EXCERPT]

SWING & VIRTUOSO SWING 15. Jimmy Smith (organ) — The Preacher (Horace Silver) rec. 1993 (THE MASTER/ JIMMY SMITH TRIO 1994) Jimmy Smith, organ; Kenny Burrell, gt; Jimmy Smith, dr (another one!)

*16. Jimmy Smith (organ) — 8 Counts for Rita (Jimmy Smith) (DOT COM BLUES 2000) Jimmy Smith, organ; Russell Malone, gt; Reggie McBride, bs; Harvey Mason, dr,

Lennie Castro, perc. 17. Oscar Peterson Trio — March Past; Peterson, pno; Ray Brown, bass; Ed Thigpen, dr

*18. Oscar Peterson — You Look Good to Me (LIVE AT MONTREAUX, 1977) Peterson, pno; Ray Brown & Niels Pederson, bass 19. Oscar Peterson Trio — Blues Etude (Peterson) (THE TRIO 1975) Peterson, pno; Joe Pass, guit; Niels Pedersen, bass (ZIP file in Module 12 pertains to Keyboard tracks)

20 Module 14 — JAZZ GUITAR (note: certain items may be starred and selected for testing as the course continues)

SWING 1. Herb Ellis (b.1921) — Blues for H. G. (Oscar Peterson) (HELLO HERBIE, 1969) Ellis, guit; Peterson, pno; Ray Brown, bass; Bobby Durham, dr 2. Barnie Kessel (b.1923 ) — Slow Burn (Kessel) [order of solos: Kessel, Byrd] from GREAT GUITARS, (live at Concord Summer Festival, 1974); Charlie Byrd,Barney Kessel, Herb Ellis, gt; Joe Byrd, bass; John Rae, dr 3. Charlie Byrd (b. 1925) — It's a Wonderful World (JAdamson/Savitt/Watson) (THE CHARLIE BYRD TRIO, 1989) Byrd, gt; John Goldsby, bass; Chuck Redd, dr; Scott Hamilton, t. sax 4. Wes Montgomery (1925-1968) — The Thumb (Montgomery) rec. 1966 (WES MONTGOMERY, VERVE JAZZ MASTERS 14,1993)Montgomery,g;Ron Carter,b;Ray Barretto,congas;Grady Tate, d.

BOP 5. Wes Montgomery — Impression (John Coltrane) rec. 1965 from same album as #4 above; Montgomery, gt; Wynton Kelly, pno; Paul Chambers, b; Jimmy Cobb, dr

BALLAD 6. Joe Pass (1929-1994) — Night and Day (Cole Porter) rec. ‘64 (BLUE GUITAR,’92) Pass, gt; John Pisano, rhy. gt; Jim Hughart, bass; Colin Bailey, dr. 7. Ed Bickert (b. 1932) — Nina's Dream (H. Silver) (JAZZ CANADA EUROPE '79) Bickert, gt; Don Thompson, bass; Terry Clark, dr.

EXPERIMENTAL, FUSION, ECLECTIC 8. Larry Coryell (b. 1943) — Spaces from SPACES, 1969; Coryell and John McLaughlin, acoustic gt; [EXCERPT] 9. Larry Coryell — The Jam with Albert (Coryell) rec. 1969, (THE ESSENTIAL LARRY CORYELL, 1975) Coryell, gt; Albert Stinson, b; Bernard Purdie, d; [EXCERPT] 10. Larry Coryell — Fancy Frogs (Coryell) rec. 1981, (BOLERO 1993) Coryell, gts. multi-track

BOSSA NOVA; LATIN-BASED 11. Luiz Bonfa — Um Abraco No Getz (A Tribute to Getz) (Bonfa) rec. 1981 (JAZZ SAMBA ENCORE 1963) Stan Getz, a. sax; Bonfa, guit; Antontio Carlos Jobim, gt; Geroge Duvivier, Tommy Williams, bs; Paulo Ferreira, Jose Carlos, dr.

BLUES/FUNKY 12. Kenny Burrell — Chittlin Son Carne (Kenny Burrell) rec. 1993, (THE MASTER/ JIMMY SMITH TRIO,1994) Burrell, guit; Jimmy Smith, organ; Jimmie Smith dr. NEW BALLAD STYLINGS 13. Emily Remler — Pocket West (Emily Remler) (THE EMILY REMLER QUARTET, 1982) Remler, gt; James Williams, pno; Don Thompson, bass; Terry Clarke, dr

SOLO GUITAR STYLES (No Overdubs ! ) 14. Stanley Jordan — Fundance (Jordan) (MAGIC TOUCH, 1985) Jordan, guit. 15. Don Ross — Yoyomama (Ross) (THIS DRAGON WON’T SLEEP, 1995) Ross, gt. (ZIP file in Module 12 pertains to Guitar tracks)

21 Module 15 — AFRICAN JAZZ/JAZZ-RELATED STYLES (starred items may vary)

MALI 1. Ali Farka Toure (Mali)— Ali’s here (Toure) (NIAFUNKE, 1994) Ali Farka Toure, gt; John Patitucci, b; Jim Keltner, d; Hamma Sankare, calabash; Oumar Toure, congas 2. Rokia Traore - Nienafing (BOWMBOI) 2004. Rokia voc., guit; Alou Coulibaly, Andra Kouyate, Steve Shenhan, perc; Mamah Diabate, n’goni, Adama Diarra, balafon, Christophe Minck, bass

NIGERIA 3. King Sunny Ade & His African Beats (Nigeria) — 365 Is My Number (JUJU MUSIC,1982), Ade, gt, voc; and band

CAMEROON 4. Armand Sabal-Lecco — Showtime; Sabal-Lecco, gt; John Patitucci, bs, coprod. 5. Manu Dibango — Soul Makossa (Dibango) (WAKAFRICA, 1994) Debongo, sax; Youssou N’Dour, vocals; Olivier Besenval, dr; Bokilo Malekani, gt; Kaissa Doumbe, Florence Titty-Dimbeng, voc; David Lewis, tpt; Andre Manga, bs; Francois Moity, kb. 6. Sally Nyolo — Semengue (Nyolo) (MULTICULTI, 1998) Nyolo, v; Salvador Douezy, dr.

KENYA 7. Kalambya Sisters — Kopulo Onesi Kamba Benga beat (THE NAIROBI BEAT- KENYAN POP MUSIC TODAY) Onesmas Musyoki, Mary, Patricia, Flossie

CONGO 8. Loketo — Soukous Trouble from album of same name, 1990; Diblo Dibala, lead gt. Blandin, rhy. gt; Johnson, bs; Mack Macaire, dr; Komba, Aurlus Mabele, perc

SOUTH AFRICA 9. Thomas Mabiletsa — ZULU PIANO MEDLEY, 1944, No 1, Part 1 (FROM MARABI TO DISCO, 42 YEARS OF TOWNSHIP MUSIC, 1994) 10. Dolly Rathebe & the Africa Inkspots — Unomeva, 1954 (Welcome Duru) same album 11. Elite Swingsters — Thulandivile, 1960 (same album) Jordan Bangazi & Band 12. Dorothy Masuka — Ufikizolo, 1956 (same album as above), Masuka, voc; Alpheus Hlongwane, Peytos Majozi, Jerry Mlotshwa, gt, Charlie Mafunda, b; Wally Petsane, dr. 13. Miriam Makeba — Amampondo (THE WORLD OF MIRIAM MAKEBA, 1963),

*14. Miriam Makeba — Pata Pata by Makeba; duet with Zenzi Lee (HOMELAND,) 2000 15. Sibongile Khumalo — Township Medley ‘97 (LIVE AT MARKET THEATRE’98) Sibongile, voc; Themba Mkhize, p; Herbie Tsoaeli, bs; Vusi Khumalo, dr; Prince Lengoasa, tpt; Khaya Mahlangu, t. sax

*16. Brenda Fassi — Sum’ Bulala (Makeba) (HOMELAND, 2000) Fassi, Zenzi Lee,voc 17. Carol Ann Weaver — Calabash Woman w/ Thandeka Mazibuko, voc. (DANCING RIVERS—FROM SOUTH AFRICA TO CANADA, 2001) Mageshan Naidoo, gt, Bongani Sokhela, bs, Legohang Methebeng, dr, CAW, pno; guit. intro - Zulu Maskanda; bass - Mbaqanga; vocal & guit. solos - township, Afro jazz improv 18. Busi Mhlongo — Shasholoza (Busi,Twasa) (BABHEMU 95) Busi, Doc Mthalane, Mshaks Gasa, gt; Mdu Keswa, Susan Barry kb; Bernard Mndaweni, b; Sindile Tshawe, d.

*19. Busi Mhlongo —Yehlisan’umoya Ma-Afrika (Maskanda style) (URBANZULU, 2000); Busi, voc; Jack Djeyim, Mkhalelwa Ngwazi, Umfazi Omnyama, gts; Mphendukelwa Mkhize, concertina, Brice Wassy, dr; Will Mowat, kb; Sydney Thiam, perc; Themba Ngcobo, b; Moussa Kanoute, kora; Simpiwe Matole, marimba

*20. Busi Mhlongo & Hugh Masekela — Vukuzenzele by Masekela, (FREEDOM, 2003-Mhlongo) Mhlongo, voc; Masekela, tpt; band *21. Sipho Gemede — Alone in a Strange Place (BLUES FOR MY MOTHER, 1998) Gemede, bass; McCoy Mrubata, t. sax; Paul Hammer, pno; Barry Van Zyl, dr. *22. Jimi Dludlu — Mr. Mokoena (ESSENCE OF RHYTHM, 1999) Dludlu, gt; Themba Mkhize, pno, accord; Lucas Khumalo, bs; John Hassan, perc; Frank Paco, dr 23. Thandiswa Mazwai— Nizalwa Ngobani? (ZABALAZA, 2004) Thandiswa, voc; band

*24. Thandiswa Mazwai — Ntyilo Ntyilo (ZABALAZA, 2004) Thandiswa, voc; band 25. Ernie Smith – Kwa Zulu – My Hometown (MY AFRICAN HEART, 2004) Smith,voc; gt; band *26. Simphiwe Dana – Bantu Biko Street (ON BANTU BIKO STREET) 2006 Dana, voc; Sydney Mnisi, sx, Feya Faku, tpt, Siya Makhuzeni, trb; Miagi Orch.

*27. Simphiwe Dana – Injongo, (ON BANTU BIKO STREET) 2006. Dana, voc; Bafana Sukwene, dr; Vuyo Shiburi, b; Tokoloho Moeketsi,gt; Tshegofatso Didibeng, kb; Mdu Mtshali,p;Moeketsi, Pule, Khobeni, Magwaza,voc (ZIP file in Module 12 pertains to AFrican tracks)