Jazz History 4/23/12

Circle (Miles smiles, 1965)

Wayne shorter sax
Miles
Ron carter bass
Herbie hancock keys
Tony Williams drums
Written by WS, formally it is 2 sections , A phrase is essentially in D, plays around in some dominant
functions, next phrase/section is in G, goes around a series of 7
th
chords for 12 measures then a small
extension. Frequent alternation between A phrase and B phrase.
Very loose organization, designed to be an elastic form that can expand or contract to however long the
player wants to play. Layed back, brushes on drums. Has tonal but nonfunctional harmony. The relations
between chords are not functional in the way were used to.

Nefertiti (1968)
Different album in that it is much more disciplined, sounds written out but is still improvised.
In a Silent Way (1969)
First foray into fusion for Miles. John Mcglaughlin, chick corea and bassist Dave Holland. Holland and
Corea had been in a free jazz trio. For this record, the recording studio/mixing board is used as an
instrument. Panning, channels, post-production distortion added. Phasing had to be added with mixer,
the effect box hadnt been invented yet.
Bitches Brew (1969)
Here Miles is amplifying his trumpet, running through wah-wah, echo, distortion.
Miles Runs the Voodoo Down (from Bitches Brew)
-Solo sounds vocalized, like a human voice. Uses blues scale and chromatic passages. Melodies
are covered in embellishments, slurs, scoops etc. uses space strategically and uses long rests for drama.
Mixes long lines of melody with shorter, intense phrases.


On the Corner
-combines NY street music (proto-hiphop), eastern drones (sitars etc), African and S. American
rhythms and percussion instruments. Electric jazz, amplified trumpet again with effects like wah-wah.
Whole new sound in jazz! Hardcore jazz fans and critics pretty much hated it, couldnt handle it, wrote
many negative reviews in prolific magazines. Miles doesnt give a shit b/c he knows he has a whole new
fan base of dead heads and rock kids who dont mind 20 minute jams.
-instrumentation is unusual. 5 drummers. 2 on set, 2 percussionists (afro Cuban, and latin
American shakers) and Indian Tabla player!
-3 types of keyboards. Electric piano (fender Rhodes), electric organ, and brand new Arp
synthesizers.
-3 different plucked string instruments. Electric guitar, electric bass (both with distortion effects)
and electric sitar with sustaining electric sound.
-3 reeds. Soprano sax, bass clarinet, miles trumpet as well.
Complex rhythms are layered onto each other to build a massive groove with a collective groove sound.
Not just backing chords with one soloist. This comes from African musical traditions.
Black Satin
Lots of overdubbing in the intro of whistles and beeps over some tabla and sitar sounds. Stops, then gets
into NY street rhythm (funky as hell). Lots of whistling and clapping, funky guitar chords back up a
repetitive melody that is either whistled or Miles trumpet. Mid 70s sees cocaine addiction, car
accidents, jail miles doesnt play until the 80s when he makes a comeback. Autobiography comes out
in 92, dies shortly after.

Chick Corea
-classically trained. Trained in hard bop, modal jazz, free jazz, fusion, miles davis. Same cred as herbie
hancock.
-herbie in the 70s gets more funky, corea always has latin sound. From Puerto rico, father teaches him
latin folk music and popular songs. Applies with classical technique to become boss. Corea has brighter
sound b/c open chord voicings, especially on fender Rhodes and acoustic piano, hard to tell with
synthesizers. Melody lines are detached, plays phrase and abrubtly stops over and over. Not intrusive,
but just his way of phrasing. Hancock tends to have long drawn out melodies. Corea has more
percussive touch, especially on acoustic pianos. Mmore dramatic, less lyrical than hancock.
-sounds monk-influenced.

Return to Forever, Fiesta
Uses Spanish Phrygian, chords are EM, FM, GM FM EM. Flamenco inspired.
Favors electric Rhodes but has some acoustic piano
Stanley clark on the bass, standup bass, not electric
Eric dolmuerera on drum set. Usually does hand percussion, but skraight set on this nigga
His wife is a vocalist, castinets, bells, etc.
Joe Ferrell on flute and soprano sax

2 sections. One Spanish Phrygian mode, the other A major mode. Clear contrast between parts.
Free form intro, segues from Some Time Ago. Free form rubato on the Rhodes for intro.

Something about fusion. Rock drummers put tons of emphasis on the backbeat, heavy groove is basis
for a whole song. Elastic forms, got yer basic chord progressions that are flexible. Expanded vertical
harmony9ths, 13ths,

Weather report, mahavishnu orchestra, return to forever.
The chameleons

Weather Report, Tears

Free meter, gives you the basis of whats going on..like a roadmap. Not really a head arrangement. Very
derivative of free jazz
The piece is consonant though. Heavy electri keyboard sound, basis of the sound of the tune. Using
technical capabilities of the recording studio to create some tones.

After free meter opening, instruments are used to define the sound. Electric piano defines tonal center,
soprano sax has somewhat of a melodic motive.
Tune is basically based on a variety of musical gestures.