Those who wrote and played it cultivated an attitude, a style and a language that came to epitomise the meaning of a word that is now so liberally used.
“Cool” Jazz refers to modern jazz that tends to be softer and easier to follow–Mark Gridley
“Cool” also has affiliation with “West Coast” Jazz in California.
This period was also highly influenced by the “Birth of the Cool” recording of Miles Davis, arr. by Gill Evans. These attributes can be found on this recording:
1) An emphasis on the “arrangement” is found on this recording.
2) Exploration of different orchestrations were used.
3) Much more effort was made on Western European borrowings.
4) Evans toys with forms and uses more nontraditional jazz harmonies.
5) Miles coins another unique approach to improvising, emphasizing sound, melody and the melodic phrase.
6) The contrafact lines in this style are linear in nature, not vertical.
7) This recording prompted new ideas and many sub-styles begin to appear. As diverse as Art Pepper to Lennie Tristano.
Journalists and record companies used the term “Cool” extensively in the 50’s. They also gave a disproportionate amount of attention to “white’ musicians based in California at the time. In reality, however, the label “cool” has not been limited to the work of any particular race or geographic origin. It’s important to note that California had many sub-styles in addition to “cool” style.
“Cool” music is a fusion of European Classical influences, “Swing” music, Bebop and musicians who wanted to make their own distinct voice in improvisational music. By this time, white musicians every where wanted to play Jazz music. It’s safe to say, Miles, Basie and Lester Young were early models to improvisational thought in the “cool” school. You combine this with European borrowings in the area of composition and a new sub-style has been born.
¤ Cool Style Characteristics
1) Non-conventional ensembles were more accepted.
2) Sound was more emphasized.
3) More sophisticated arrangements were introduced.
4) Improvisation and composition were more linear in nature.
5) There was less emphasis in rhythmic interplay between musicians.
6) Less Black-vocality (intonation) can be heard in this music.
7) You hear more counterpoint and other European techniques being introduced.
8) More irregular phrasing can be found. More breaking the mold of 4,8, and 16 bar phrases.
9) Saxophonists like Gerry Mulligan and Lee Konitz develop “lighter” sounds. (Played together in the Claude Thornhill Band)
10) Trumpet players like Chet Baker and Conte Condoli also are more sound based when developing improvisations.
11) Lester Young and Miles were key Black figures who ironically shape the way the “whites” choose to play.
12) It was also a recording by Miles Davis a black musician, who ultimately help coin the the term “cool jazz” in his “Birth of the Cool” album.
¤ Some Important Contributors of the Cool School
• Gerry Mulligan [1927-1996]
a) Led one of the most popular Jazz groups in the 50’s. It was a piano-less quartet which featured Chet Baker and later Art Farmer, Bob Brookmeyer and Paul Desmond.
b) The quartet incorporated many European aspects of music, including the use of counterpoint, sound, less agitated rhythm in order to focus on lines and melody and linear line improvisation.
c) Along with European influences, they were still highly improvisitory and improvisation was the main focus.
d) Mulligan popularized the Baritone saxophone, an instrument not used much in Jazz circles as a prominent improvisational voice.
e) Along with Chet Baker, Mulligan developed a unique counterpoint improvisational sound that many would call a collective style.
f) Mulligan was also a fine composer and arranger. He could be found on many important Big Band recordings as a composer and arranger. (He was staff arranger for the Gene Krupra Band)
g) Led successful 10 , 14 and 20 piece ensembles.
• Chet Baker [1929-1988]
a) One of the most recorded trumpeters in Jazz history. (Hundreds of recordings as a leader and sideman)
b) Was a very successful despite not always leaving a mezzo-forte dynamic level.
c) One of the most lyrical improvisers in the history of Jazz.
d) Played with illumanaries Charlie Parker and Gerry Mulligan two of the greatest leaders in their perspective idioms.
e) His career was marred by drug addictions and jail sentences.
f) Great Jazz singer and produced widely imitated scat solos.
g) His recording with Mulligan “My funny Valentine” pushed him into instant fame. Won Downbeat polls as best Jazz trumpeter and did much modeling making him a type of iconian figure in the 50’s.
• Paul Desmond [1924-1977]
a) One of the great soloists with the Dave Brubeck quartet.
b) Had instant fame with the release of Brubeck’s Quartet of “Take Five”, which he composed.
c) Was known for his warm sound and lyrical approach to Jazz improvisation.
d) Help to repopularized the soprano saxophone.
e) Distinctive career by playing with primarily one group, the Dave Brubeck Quartet.
f) Known for his Alto stylings, he reminds many people of Benny Carter’s soft approach to sound.
g) One of the most identifiable players along with Miles Davis in the 1950’s.
• Stan Getz [1927-1991]
a) Sound reminiscent of Lester Young.
b) Had perfect pitch and a photographic memory.
c) Along with Serge Chaloff, Zoot Sims and Herbie Steward made Woody Herman’s Band popular with the release of “The Four Brothers”. One of the most popular big band charts in the history of Jazz.
d) His improvised solo on Ralph Burn’s “Early Autumn” established him as one of the major improvisers of his era.
e) Career interrupted by drug addictions.
f) Known for a light tone which was vibrato-less. He could remain lyrical even on very fast tempos.
g) Became a champion of many white musicians as he helped to precipitate a reaction to the “Bop” movement in the 50’s.
h) His recording of “Crazy Chords”, a breakneck recording of Blues in all twelve keys, set new standards of virtuosity for Jazz improvisation in his era.
i) He was the selected tenor soloist for Jobim when the Bossa and Samba recordings were introduced here in the United States. These recordings were some of the most widely listened Jazz recordings of the modern era.
• Lennie Tristano [1919-1978]
a) Pianist and acclaimed teacher.
b) Possibly the most prolific of all the “Cool” improvisers.
c) Is credited for developing a “linear” approach to improvisation which is widely held as one of the more sophisticated approaches to improvisation in Jazz history.
d) Taught and developed many of the great improvisers in this era. Including Lee Konitz, Warne Marsh, Billy Bauer, Bill Russo and Sal Mosca.
e) In 1945. he made some of his most critical solo releases. Ironically, they were not released until 1977.
f) In 1946-49 he moved to NY and played with Jazz most famous musicians Dizzy Gillespie and Charlie Parker. He issued his first album and was named “Metronome” magazines “musician of the year. He later added pupil Warne Marsh to a sextet including Lee Konitz and Billy Bauer which raised much controversy among musicians. The album sold poorly.
g) founded the first school of Jazz in NYC in 1951 attracting a large number of students. Characteristics of the Tristano School of Jazz:
1) Extraordinary long improvisations which consisted of angular, linear 1/8th note lines.
2) Linear approach consisted of little rhythmic variation.
3) Ensembles needed much instrumental virtuosity to execute lines at uptempos.
4) Use of complex harmonies and incorporated multiple use of meter and hemiola.
5) Used different levels of double-time at various tempos.
6) A master of block-chording. Had a unique approach using a diverse use of dissonance.
7) An early exponent of “free” music (Bauer’s private tapes) that influences the thinking of Ornette Coleman.
• Lee Konitz [1927 – 2020]
a) One of the key pupils of Tristano.
b) Made his mark as an unique alto-saxophone stylist and considered the foremost Alto soloist of the “Cool” style.
c) Like Tristano, he was known for his long improvisations that were linear in nature.
d) Sound influenced by the French Classical tradition.
e) Influenced many saxophonists after him, including, Paul Desmond, Bud Shank and Art Pepper.
f) Rejected Parker’s rhythmic approach, creating an even 1/8th note more reminiscent of Tristano.
g) One of the key figures in Mile Davis “Birth of the Cool” which spurred on the “Cool” period.
h) His emphasis in improvising focused on long linear lines, rich in harmonic consideration played evenly and smoothly through the entire range of the instrument.
i) His best noted recordings are with those of the Tristano school including, Marsh, Bauer and Mosca.
• The Modern Jazz Quartet
a) Consisted of members John Lewis on piano, Ray Brown on Bass, Kenny Clarke on Drums and Milt Jackson on vibes. Connie Kay replaces Clarke and Percy Heath replaces Ray Brown. (Originally Milt Jackson Quartet)
b) Known for their eclectic taste in music combining Bach to Bop.
c) John Lewis was a composer of amazing scope and influence.
d) MJQ was known for their restrained, conservative bop style which some like to label as “cool” jazz.
e) Very popular group with American public and college campuses.
f) Also known for their association with the third stream movement. This was music written and performed by Gunther Schuller, Andre Hodier and John Lewis.
• Dave Brubeck [1920-2012]
a) His quartet was one of the most popular modern Jazz groups in history.
b) Was able to crack the top of popular music charts with compositions like “Take Five”. It sold over a million copies.
c) The Classic quartet members consisted of Paul Desmond on Alto, Joe Morello on Drums and Gene Wright on Bass.
d) Brubeck was very popular on college campuses. Creating almost a cult following.
e) Released “Jazz at Oberlin” in 1953, containing some of Desmond and Brubeck best improvisations, in 1954 appeared on the cover of “Time” magazine and signed with Columbia Records. A sign of his immense popularity.
f) His compositions were known for the use of changing meters, “Take 5” and “Blue Rondo a la Turk” were written in 5/4 and 9/8 meter respectively.
g) Brubeck also wrote large scale compositions such as Oratorios, 2 ballets, 4 cantatas, a mass and works for Jazz group and orchestra.
←• Art Pepper [1925-1982]
Despite a remarkably colorful and difficult life, Art Pepper was quite consistent in the recording studios; virtually every recording he made is well worth getting. In the 1950s he was one of the few altoists (along with Lee Konitz and Paul Desmond) that was able to develop his own sound despite the dominant influence of Charlie Parker. During his last years, Pepper seemed to put all of his life’s experiences into his music and he played with startling emotional intensity.
After a brief stint with Gus Arnheim, Pepper played with mostly black groups on Central Avenue in Los Angeles. He spent a little time in the Benny Carter and Stan Kenton orchestras before serving time in the military (1944-1946). Some of Pepper’s happiest days were during his years with Stan Kenton (1947-1952), although he became a heroin addict in that period.
The 1950s found the altoist recording frequently both as a leader and a sideman, resulting in at least two classics (Plays Modern Jazz Classics and Meets the Rhythm Section←), but he also spent two periods in jail due to drug offenses during 1953-1956.
Pepper was in top form during his Contemporary recordings of 1957-1960, but the first half of his career ended abruptly with long prison sentences that dominated the 1960s. His occasional gigs between jail terms found him adopting a harder tone influenced by John Coltrane that disturbed some of his longtime followers. He recorded with Buddy Rich in 1968 before getting seriously ill and rehabilitating at Synanon (1969-1971)
Art Pepper began his serious comeback in 1975 and the unthinkable happened. Under the guidance and inspiration of his wife Laurie, Pepper not only recovered his former form but topped himself with intense solos that were quite unique; he also enjoyed occasionally playing clarinet. His recordings for Contemporary and Galaxy rank with the greatest work of his career. Pepper’s autobiography →Straight Life← (written with his wife) is a brutally honest book that details his sometimes horrifying life. He died at the age of 56.
¤ Big Bands in the Cool Era
• Stan Kenton [1911-1979]
a) Bandleader, pianist and composer-arranger.
b) Had one of the loudest big bands in this history.
c) Has a rather ambiguous position in history as many of his sidemen overshadowed his abilities as an arranger and improviser. Some of his sidemen included: Shorty Rogers, Pete Rugolo, Gerry Mulligan, Neil Hefti, Bill Russo, Lee Konitz, Stan Getz, Zoot Sims, Pepper Adams, Maynard Ferguson, Kai Winding and Shelly Manne.
d) His scores from his library permeate High School and College libraries.
e) The host for his entire library is North Texas State university.
f) Kenton’s greatest accomplishment might be in the “University clinics” he set up at university campuses MSU and U of Indiana. He trained and recruited many young players from campuses nationally.
g) His band was top of popularity polls in 1945 when Pete Rugolo became staff arranger. He constantly challenged the parameters of the big-band idiom by expanding the instrumentation (20 to 43 piece ensembles) and combining the works of classical notables such as Richard Wagner.
h) Heavy on the brass sound, Kenton also explored Latin works and the works of Broadway (West Side Story)
i) West Side Story and Adventures in Jazz won grammy awards.
j) In 1970, he formed Creative World records and Creative World music which served as a training ground for young composers, arrangers and players.
• Woody Herman [1913-1987]
a) Herman’s band was actually a product of the Bebop era in the late 1940’s.
b) Bandleader, clarinetist, alto saxophonist and singer.
c) His amazing success of the big-band was achieved without being a prolific arranger or composer.
d) Was internationally famous for having a band of originality and ingenuity.
e) “Four Brothers”, one of the famous compositions of his band, featured sax sections of Getz, Sims, Cohn, Ammons and Chaloff. These were some of most preeminent sax improvisers of the “Cool” era.
f) His legacy is having some of the most exciting big-bands in the history of Jazz. He was an organizer and was able to sustain bands for many decades.
g) as a side note, Igor Stravinsky was so impressed with the band, he composed Ebony Concerto, for the band.
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