Music Appreciation: Facing you

Miles Davis, “Bitches Brew” (Miles Davis), New York, August 19, 1969. Miles Davis, trumpet; Wayne Shorter, soprano sax; Bennie Maupin, bass clarinet; Joe Zawinul, elec. piano (left); Chick Corea, elec. piano (right); John McLaughlin, guitar; Dave Holland, bass; Harvey Brooks, elec. bass; Lenny White, drums (left); Jack DeJohnette, drums (right); Don Alias, congas; Jumma Santos (a.k.a. Jim Riley), shakers. [Original release: Columbia GP-26]
Topic 1: Miles Davis’ “Bitches Brew” is a groundbreaking fusion recording. We encourage you to listen to the 27-minute recording. For this topic, we'll focus on three excerpts of the piece. Listen closely to 00:00 to 06:20, 12:43 to 15:57 and 24:00 to the end. How many soloists are featured in these excerpts? Please list them by name and instrument. Now listen closely to what the keyboard is playing during these 3 excerpts. Do you hear similarities in the keyboard parts between these excerpts? Describe Davis’ phrasing in these sections. Does he always sound like he is improvising or does any of his playing sound planned. Does Davis use any effects on his trumpet? Describe the other accompanying musicians during these sections. Does their accompaniment have rock elements? Is there a hypnotic pulse? Does the bass line function as a pedal point? Do the bass and other accompanying instruments give this piece a modal quality? What characteristics of Davis’ fusion solos in “Bitches Brew” are different from other Davis solos you have heard with his earlier (pre-fusion) jazz groups? What aspects of his fusion solo are similar to his previous solos?
Topic 2: Miles Davis’ “Bitches Brew” is a groundbreaking fusion recording. We encourage you to listen to the 27-minute recording. For this topic, we'll focus on three excerpts of the piece. Listen closely to 00:00 to 06:20, 12:43 to 15:57 and 24:00 to the end. How many sections do you count in these excerpts? Provide counter numbers for the beginning of each section. Does this piece have a melody like other jazz pieces you have heard? Do you hear any musical material that is repeated between the three excerpts? “Bitches Brew” presents examples of the jazz-rock fusion style such as: 1) the use of electrified instruments, 2) straight rock beats instead of swing and the swung 8th note, 3) repetitive funk-style riffs, 4) highly dissonant, multi-layered textures, 5) hypnotic pulse. Listen to these excerpts and provide counter numbers where all five of these aspects can be heard. Describe in detail how these aspects support the different sections of the excerpts. How does this piece end? Does this piece sound composed? Are the musicians in this group playing written parts as it was traditionally done in earlier jazz ensembles? Describe how these musicians collectively created this piece. How does Davis lead the musicians in this group as they play collectively?
Miles Davis, “Sivad” (Miles Davis), Live at The Cellar Door, Washington, DC, December 19, 1970. Miles Davis, trumpet (t); Gary Bartz, soprano and alto saxophones (ss/as); John McLaughlin, guitar (g); Keith Jarrett, electric piano and organ (ep/o); Michael Henderson, electric bass (eb); Jack DeJohnette, drums (d); Airto Moreira, percussion (per)
Topic 1: This piece was performed by many of the musicians that performed on Miles Davis’ “Bitches Brew.” How many soloists are there in this piece? Please list them by name and instrument. Now listen closely to Miles Davis who solos at various sections in the piece. Where do these sections occur? Provide counter numbers. Now listen where Davis first enters at 00:50. What does his trumpet sound like? Is it a guitar? Jimi Hendrix was very influential with his use of a wah-wah electronic effect on his electric guitar. Davis adopted this effect with his trumpet. He also uses the wah-wah effect from 05:04 to 07:58. Describe Davis’ phrasing in this section. Describe the other accompanying musicians during this section. Does their accompaniment have rock elements? Is there a hypnotic pulse? Does the bass line function as a pedal point? Do the bass and other accompanying instruments give this piece a modal quality? What happens to Davis’ trumpet sound at 08:06? What characteristics of Davis’ fusion solo in “Sivad” are different from other Davis solos you have heard with his earlier (pre-fusion) jazz groups? What aspects of his fusion solo are similar to his previous solos?
Topic 2: This piece was performed by many of the musicians that performed on Miles Davis’ “Bitches Brew.” How many sections do you count in this piece? Provide counter numbers for the beginning of each section. Does this piece have a melody like other jazz pieces you have heard? This piece is a good example of Miles Davis’ first experimentation in the fusion style of jazz. “Sivad” presents examples of the jazz-rock fusion style such as: 1) the use of electrified instruments, 2) straight rock beats instead of swing and the swung 8th note, 3) repetitive funk-style riffs, 4) highly dissonant, multi-layered textures, 5) hypnotic pulse. Listen to the piece and provide counter numbers where all five of these aspects can be heard. Describe in detail how these aspects support the different sections and form of the piece. How does this piece end? Does this piece sound composed? Are the musicians in this group playing written parts as it was traditionally done in earlier jazz ensembles? Describe how these musicians collectively created this piece. How does Davis lead the musicians in this group as they play collectively?
Weather Report, “Birdland” (Joe Zawinul), Hollywood, 1976. Wayne Shorter, soprano and tenor saxes; Joe Zawinul, keyboards, piano, vocal, melodica; Jaco Pastorius, elec. bass, mando-cello, vocal; Alex Acuna, drums; Manolo Badrena, tambourine. [First issue: Heavy Weather, Columbia CK 34418]
Topic 1: “Birdland” is a famous jazz-rock fusion piece by Weather Report. The order of solos in this piece are: Zawinul, Shorter, Zawinul. Regarding the solos of Shorter and Zawinul (his keyboard solo after Shorter): Listen to the recording and provide counter numbers for the beginning and end of these two solos. Provide detail of how they phrase or create musical lines. What is your impression of this piece? Describe the keyboard and piano accompaniment during Shorter’s solo. How would you compare/contrast the solo style of Shorter in “Birdland” with his tenor solo in “E.S.P.” from the Lesson 11 Supplementary Recordings? How would you compare/contrast the solo style of Zawinul in “Birdland” with that of Herbie Hancock in “E.S.P” from the Lesson 11 Supplementary Recordings? Briefly describe the general differences between the solos in “Birdland” with the solos in Davis’ “Bitches Brew.” Do these jazz rock-fusion soloists of “Birdland” have any ties to the hard bop style or the free style of jazz?
Topic 2: This piece begins with a keyboard introduction by Zawinul. How many bars is this intro? The melody, or “head,” begins at 00:18 and ends at 02:46. How many sections are in this melody? Use letters to designate the sections. How does this group arrange the melody? Which instrument has the melody in each of the sections? Now listen to Zawinul’s first keyboard solo from 02:47 to 03:08. Does his solo occur over the form of the piece? Describe the vamp or repeated pattern that is played under his solo. Now listen to Shorter's tenor sax solo. Does his solo occur on the form of the piece? Describe the riffs that are played in the keyboard and sax, starting at 03:36 and ending at 4:59. Zawinul begins to solo again at 05:00. Describe Pastorius’ bass line during this solo? Does it sound like a repeated pattern? Briefly compare and contrast this jazz-rock fusion piece with that of Davis’ “Bitches Brew.” What are the general characteristics of this piece that are different from the hard bop and free groups you have heard?
Weather Report, “This is This” (Josef Zawinul), Los Angeles, CA, 1986. Josef Zawinul, keyboards (kb); Wayne Shorter, saxophones (s); Victor Bailey, bass (b); Mino Cinelu, percussion and vocals (p/vc); Peter Erskine, drums (d); Carlos Santana, guitars (g); Marva Barnes, Colleen Coil, D. Siedah Garrett and Darryl Phinnessee, vocals (vc)
Topic 1: See “Weather Report” and “Birdland” in the online Lesson on Jazz-Rock Fusion to help you describe “This is This.” Carlos Santana is the only soloist. Santana solos at various points in the piece. Provide counter numbers for the sections where he solos. Describe his solo style. How does he phrase with the rhythm section? Is Santana regarded as a jazz musician? What style of music does he bring to Weather Report in his performance? Describe Santana’s solos when he plays with Zawinul’s keyboard parts at 02:43, 03:29 and 04:52. Do the keyboard parts sound improvised or written? How do the bass/drums/percussion support Santana during his solos? Does their accompaniment have rock elements? Is there a hypnotic pulse during the piece? Does the bass line function as a pedal point? Do the bass and other accompanying instruments give this piece a modal quality? What characteristics of Santana’s solo in “This is This” is different from soloists you have heard in other jazz styles such as hard bop, modal and free? What aspects of his solo are similar (to hard bop, modal and free)?
Topic 2: There is no introduction in this piece. The melody, or “head,” begins at 00:00 and ends at 02:12. What is the form? Use letters and counter numbers to designate the sections. Hint: the melody is made up of funk-based riffs. Describe how this group arranges the melody. What instrument plays most of the melody? Listen closely to the keyboard and bass parts during the melody. What role do the drums have? Are the musicians playing written parts during the melody? Describe the keyboard parts that are played during Santana’s guitar solo. Do these keyboard parts sound like any part of the beginning melody? This piece is one of Weather Report’s later compositions in the fusion style of jazz in 1986. “This is This” presents examples of the jazz-rock fusion style such as: 1) the use of electrified instruments, 2) straight rock beats instead of swing and the swung 8th note, 3) repetitive funk-style riffs, 4) highly dissonant, multi-layered textures, 5) hypnotic pulse. Listen to the piece and provide counter numbers where all five of these aspects can be heard. Describe in detail how these aspects support both the melody and the solo by Santana. How does this piece end? What are the similarities between the overall organization of “This is This” and that of earlier bop and hard bop ensembles? What is the most striking difference?
Chick Corea, “Steps – What Was” (Chick Corea), New York, March 1968. Chick Corea, piano; Miroslav Vitous, bass; Roy Haynes, drums. [Original issue: Now He Sings, Now He Sobs, Solid State SS 18039]

Topic 1: The order of solos in this piece is: Corea, Haynes, Vitous. Listen to the recording and provide counter numbers for the beginning and end of Corea’s solo and Vitous’ solo. Describe their solo styles. Listen to how they phrase or create musical lines over the chord changes. Try to include some detail. How do their solos change and develop over the course of their particular solo? Briefly describe what Vitous plays during Corea’s solo? Is he walking in a traditional way? How does he play bass with the drummer Haynes? Is there a “floating pulse?” Does Corea phrase across the bar lines? Vitous solos after Haynes’ drum solo. Describe his technique on the bass. Does he phrase his solo as other bass players you have heard, such as Scott LaFaro? Is his soloing like that of a horn player? Would you describe the style of these soloists as: hard bop, cool, free or elements of more than one style? Explain using what you’ve learned from the Lessons about these particular styles.
Topic 2: This piece begins with a piano introduction. The melody, or “head,” is played twice, beginning at 00:47 and ending at 01:05. What is the form? Use letters and counter numbers to designate the sections. Hint: the form of this piece has 4 short equal sections. Describe how this trio phrases the melody together. What are the bass and drums playing during the melody? Does is sound written? How many choruses does Corea solo? Give your best guess based upon the length of the melody. What happens at 04:33? Briefly describe what is played from 07:32 until the beginning of Vitous’ solo? Is this a new section in the piece? How many choruses does Vitous solo? How is the melody played at the end of the piece? What style or styles would you say characterize this piece: hard bop, cool, or free? Explain in detail using what you’ve learned from the Lessons about these particular styles.
Chick Corea, “Now He Sings, Now He Sobs” (Chick Corea), New York, March 14, 19 and 27, 1968. Chick Corea, piano (p); Miroslav Vitous, bass (b); Roy Haynes, drums (d)
Topic 1: The order of solos in this piece is: Corea, Miroslav. Listen to the recording and provide counter numbers for the beginning and end of these two solos. Describe their solo styles. Listen to how they phrase or create musical lines over the chord changes. Try to include some detail. How do their solos change and develop over the course of their particular solo? Describe what Miroslav plays during Corea’s solo? Is he walking in a traditional way? Does he clearly play the downbeats? Are Corea and Miroslav in a “conversation” during Corea’s solo? Miroslav solos after Corea. Describe his technique on the bass. Does he phrase like other bass players you have heard solo, such as Scott LaFaro? Is his soloing like that of a horn player? Describe the feel of drummer Haynes during the solos. Compare and contrast Corea’s soloing with Bill Evans. Would you describe the style of these soloists as bop, hard bop, cool, modal, free or elements of more than one style? Explain in detail using what you’ve learned from the Lessons about these particular styles.
Topic 2: The melody, or “head,” begins at 00:00 and ends at 01:23. What is the form? Use letters and counter numbers to designate the sections. Hint: this piece does not have a traditional form. Listen for changes in melody and feel to mark the beginning and end of the sections. Also, the melody is played twice. Does any part of the melody sound modal with a pedal point in the bass? Describe how this trio phrases the melody together. Describe how Corea uses chords to support the melody. Does is sound written? Is it harmonized? Is the trio unified? Describe what Miroslav plays during the melody. Is he just keeping time? After the melody Corea begins his solo at 01:24 and then Miroslav plays his solo at 04:30. Does it sound like they are soloing on the form of the melody or set of chord changes? How is the melody played at the end of the piece? Compare the feel of this Corea trio with the Evans trio that is featured in the piece “Gloria’s Step.” What style or styles would you say characterize this piece: bop, hard bop, cool, or modal? Explain in detail using what you’ve learned from the Lessons about these particular styles.

Return to Forever, “Spain” (Chick Corea), London, October 1972. Chick Corea, elec. piano; Stanley Clarke, bass; Joe Farrell, flute; Flora Purim, vocals, percussion; Airto Moreira, drums. [Original issue: Light As a Feather, Polydor]

Topic 1: “Spain” is a famous piece by Corea’s Return to Forever that is a mix of jazz-rock fusion and Latin jazz. The order of solos in this piece is: Farrell, Corea, Clarke. Regarding the solos of Farrell and Corea: Listen to the recording and provide counter numbers for the beginning and end of these two solos. Compare and contrast the solo styles, and describe them. Listen to how they phrase or create musical lines over the chord changes. Try to include some detail. How would you compare/contrast the flute solo style of Farrell with that of a hard bop alto saxophonist such as “Cannonball” Adderley? Does it sound like he has elements of a hard bop style? How would you compare/contrast the electric piano style of Corea in this piece with his piano solo style in “Steps- What Was?” Describe the Latin feel of the bass/ drums and percussion during the solos. Briefly compare and contrast the fusion style soloists of “Spain” with the soloists of Weather Reports’ “Birdland.”
Topic 2: “Spain” is a famous piece by Corea’s Return to Forever that is a mix of jazz-rock fusion and Latin jazz. There is an introduction by Corea. Are there elements of the melody in this intro? The melody, or “head,” begins at 01:14 and ends at 02:45. How many sections are in the melody? What is the form? Use letters and counter numbers to designate the sections. How is the melody arranged? Is it harmonized? Who is featured playing the melody? Describe the sound of the flute and the voice. Farrell is the first to solo. Is he soloing over the entire form or just a section of the form? Describe how Corea comps for his solo with the electric piano. What happens in the section at 04:33? What could you call this section that is between Farrell’s solo and Corea’s solo? Describe the two sections that occur between 06:57 and Clarke’s bass solo. How is the melody played at the end? What are the general characteristics of this piece that are different from the hard bop and free groups that we have heard? Compare/contrast the overall fusion style of “Spain” with that of Weather Reports’ “Birdland.”
Herbie Hancock, “Sly” (Herbie Hancock), San Francisco, CA, Fall, 1973. Herbie Hancock, piano/Fender Rhodes (p/FR); Bennie Maupin, soprano and tenor saxophones, saxello, bass clarinet, alto flute (ss/ts/saxello/bcl/af); Paul Jackson, electric bass, marimbula (eb); Bill Summers, Congas, Shekere, Balafon, Agogo, Cabasa, Hindewho, Tambourine, Log drum, Surdo, Gankogui, Beer Bottle (per); Harvey Mason, Yamaha drums
Topic 1: This piece was released by Herbie Hancock’s fusion band The Head Hunters on their self-entitled album “Head Hunters.” See “Acid Jazz and Jazz-Hip-Hop Fusion” in the on-line Lesson on Jazz Rock Fusion to help you describe “Sly.” How many soloists are there in this piece? Please list them by name and instrument. Now listen closely to Bennie Maupin who solos on the soprano sax at 02:26. Describe his solo style. How does he phrase with the rhythm section? Describe what happens to the feel and tempo just before he solos at 02:03. What happens at 05:20 just before Hancock’s solo? Describe how Hancock’s playing of an electric piano is different from an acoustic piano. How do the other musicians support him? Does their accompaniment have rock elements? Is there a hypnotic pulse during the solos? Does the bass line function as a pedal point? Do the bass and other accompanying instruments give this piece a modal quality? What characteristics of these fusion soloists in “Sly” are different from soloists you have heard in other jazz styles such as hard bop, modal and free? What aspects of these fusion soloists are similar (to hard bop, modal and free)?
Topic 2: There is no introduction in this piece. The melody, or “head,” begins at 00:00 and ends at 02:02. What is the form? Use letters and counter numbers to designate the sections. Hint: the melody is made up of four sections, the third of which is an abbreviated restatement of the first section. Describe how this group arranges the melody. What instrument plays most of the melody? What role do the bass and drums have? Are the musicians playing written parts during the melody? This piece is one of Herbie Hancock’s first compositions in the fusion style of jazz. “Sly” presents examples of the jazz-rock fusion style such as: 1) the use of electrified instruments, 2) straight rock beats instead of swing and the swung 8th note, 3) repetitive funk-style riffs, 4) highly dissonant, multi-layered textures, 5) hypnotic pulse. Listen to the piece and provide counter numbers where all five of these aspects can be heard. Describe in detail how these aspects support both the melody and the two solos by Maupin and Hancock. How does this piece end? What are the similarities between the overall organization of “Sly” and that of earlier bop and hard bop ensembles? What is the most striking difference?
Keith Jarrett, “Landscape For Future Earth” (Keith Jarrett), Oslo, Norway, November, 1971. Keith Jarrett, piano (p)
Topic 1: This is a solo piece by Keith Jarrett. Where in the piece does Jarrett seem to begin his solo? Listen to the recording and provide counter numbers for the beginning and end of his solo. Note: Jarrett’s solo starts when he begins to sing along with his right hand phrasing. Describe his solo style. Listen to how he phrases or creates musical lines over the chord changes. Try to include some detail. How does his solo change and develop over the course of the piece? What elements of his solo sound “classical?” What elements sound like “pop” music? Describe and give counter numbers. Describe Jarrett’s technique in his right hand. Does he phrase in a traditional “swing” style as earlier pianists? Compare and contrast Jarrett’s phrasing to that of Evans and Hancock. Give some detail. Would you describe the style of Jarrett as bop, hard bop, cool, modal or elements of more than one style? Explain in detail using what you’ve learned from the Lessons about these particular styles.