When Africa were brought to the new world as slave they were not allowed to bring their own
instruments，although slave in some area would compose their own music which was kept
1 In early 1800s，new Orlean was the most cosmopolitan and musical city in American
2 Brass band were immensely popular，especially for wedding，funerals，and Mardi gras
3 After the emancipation in 1863 ， rural freed slaves arrived bringing with them the sounds of
work song，field hollers，and blues
4 1890，ragtime was appeared
5 New Orleans ethnic mix ： before the mid 19th century ， sexual practices between blackes and
whites led to a mixing of Africa and European 。 Some of these decendants are known as
creoles，many creole musician ere classically trained and some even went Paris conservatorie to
study classical virtuosity
Until plessy V ferguson——black emancipation
Early jazz developed in early 20th century 1900-1928，
it main influences were ragtime，military brass band，blues and gaspel music，
it originated in new Orleans then entered Chicago，new york and continued to develop，
not only through the usa but also promote the development of music in Europe ，Asia and other
regions
Characteristic
In early jazz period ， it use of collective improvisation （ polyphony ） ， the overall felling of the
music was more intense and fast
The usually instrumentation of early jazz band was trumpet （ or
cornet），clarinet，trombone，drum，new Orleans style typically include banjo and tuba，，later
replace by guitar and string bass in chicago style ，Chicago style also typically add saxophone to
the front line.
Each instrument has its own specific role：① trumpet or cornet play melody②clarinet add color
to the melody③trombone embellishes the bass line or chord tone and has a lower range than
clarinet and trumpet④piano，banjo，guitar play chord and often played on each beat⑤ string
or tuba play the bass line ， walking bass or two beat style⑥drumer keep the beat steady and
swinging。
Stride style
Other：
1 the collective improvisation of Dixieland jazz represented Africa American new found freedom
2 Dixieland was the musical back drop of city life during the roaring twenties and early year of
Harlem renaissance
The blues tradition contributed to jazz in at least four respects:
1 providing a model for novel sounds and displaced rhythms
2 offering a standard set of accompaniment harmonies,
3 furnishing part of the jazz repertory, and
4 giving work to instrumentalists.
1. The first forms of jazz resulted from blending improvisational approaches to
ragtime, blues, spirituals, marches, and popular tunes.
2. The first jazz bands used the instruments of brass bands: trumpet, clarinet,
trombone, tuba, drums, and (occasionally) saxophone.
3. The earliest jazz was not recorded. We can only infer how it sounded on
the basis of recordings made by New Orleans players after they had moved to
Chicago.
4. The first jazz group to record was the Original Dixieland Jazz Band in 1917.
5. Chicago was the jazz center of the world during the 1920s, composed of a.
allstar black groups such as Oliver’s Creole Jazz Band which had moved from
New Orleans, b. white bands from New Orleans such as the New Orleans
Rhythm Kings, and c. Chicago-born imitators of the New Orleans Rhythm
Kings such as the Austin High Gang.
6. One of the most historically significant New Orleans natives to first record
in Chicago was pianist-composer-bandleader Jelly Roll Morton.
7. Morton was the first great jazz composer. Several of his tunes became
standards: “Wolverine Blues,” “King Porter Stomp,” and “Milenburg Joys.
8. Morton devised a piano style that featured horn-like lines and long-short,
strong-weak eighth-note patterns that swung more than ragtime.
9. Morton blended New Orleans improvisational approaches with elaborately
arranged, written passages.
10. The single player who stands above all others in jazz history is New
Orleansborn trumpeter Louis Armstrong.
11. Armstrong possessed a larger tone, wider range, and better command of
the trumpet than most early players.
12. Armstrong’s improvisations were especially well constructed.
13. Armstrong was one of the first combo players to effectively demonstrate
solo improvisation instead of retaining the New Orleans tradition of collective
improvisation.
14. Armstrong is possibly the most influential of all trumpeters, having been
imitated by saxophonists, trombonists, and pianists as well as by trumpeters.
15. Next to Armstrong, Bix Beiderbecke was the most influential brass player
of the 1920s, and he was harmonically more advanced than Armstrong.
16. In addition to a cool, thoughtful style, Beiderbecke was a composer in the
tradition of French Impressionists Maurice Ravel and Claude Debussy.
17. Soprano saxophonist-clarinetist Sidney Bechet helped move jazz horn
conception from collective improvisation techniques to a dramatic solo style.
18. Bechet influenced Johnny Hodges and John Coltrane, especially in the
expressive timing of ornamentations which precede important notes.
19. Earl Hines helped take jazz piano conception from a traditionally pianistic
orientation to a horn-like conception.
20. Hines influenced numerous other piano greats, including Teddy Wilson, Art
Tatum, and Nat Cole.
21. The stride piano tradition of James P. Johnson was continued by Fats
Waller, who, in turn, became the principal influence on Count Basie.
22. Vocal blues originated before jazz, then influenced jazz by offering novel
sounds and new repertory
23.Blues singers often hired jazz musicians for their bands.
24. Bessie Smith was the most famous blues singer from the 1920s.
SWING
Swing period was the most popular in jazz history (conerstone of popular culture) ，at 1930s to
early 1940s，
much of the jazz was called swing music.it was a mix of danceable music and entertainment，
Jazz was a symbol of urban American energy, optimism, and resilience.
Swing was the musical backdrop during the later years of the Harlem Renaissance.
Influence：
1 jazz helped pull usa out of depression and get through the world warII
2 It nursed the recoding industry back to health
3 it influenced cloth style，fasion，dance and even language
At swing period has some characteristic：
1 most of it played by 10 or more musician，it was all large ensemble or called big band
2 more emphasis on written arrangements, features of standard big band arrangement could
include：tutti，soli，shout chorus， riffs，cross-setion voicing
3 less collective improvisation and more solo improvisation
4 emphasis on showmanship like:band uniforms ， theme song ， logo on
stands，choreography，singer
5 development of rhythm sections based on the early model of front line in the new orleans or
Chicago style ， but①less use tuba more use of string bass ， ② replacement of banjo with
guitar （ freddie green style ） ③ the saxophone becoming the predominate instrument,trumpet
and trombone(3+2 or 4+4)，piano and drum
Fall
It began to fall in 1940s
1 changing economics caused the suply of bands to outpace demand
2 during world war II the rationing of natural gas ， bubber and the imposition of amusement
taxed on dance ven ues worsened the economic situation of swing band
3 the swing band format had become predictable
4 the rise of bebop immediately
Melody ： Infectious Melodies, Repetition and Variation, Diverse Fusion, Lively Rhythms,
Improvisational Expression.
Harmony ： Based on traditional chords, blues scale, substitution chords, innovative challenges,
contrapuntal voices.
Musician
2. Important big bands were led by Fletcher Henderson, Duke Ellington, Count
Basie, Benny Goodman, and Jimmie Lunceford.
3. The most influential saxophonists were Coleman Hawkins, Lester Young,
Benny Carter, and Johnny Hodges.
4. The most influential pianists were Art Tatum and Teddy Wilson.
Tatum possessed phenomenal speed and was known for spontaneously
changing keys and chords in pop tune accompaniments.
Wilson was known for his grace and his streamlining of jazz piano style.
5. Nat Cole influenced modern jazz piano style by reducing left-hand activity
and making right-hand lines more horn-like.
6. Pianist Milt Buckner perfected the technique of harmonizing melody lines in
a block-chord “locked-hands” fashion.
7. Roy Eldridge paved the way for modern jazz trumpeter Dizzy Gillespie by
improvising fiery, saxophone-like lines on trumpet.
8. Django Reinhardt and Charlie Christian were the most prominent guitarists
Bebop
Musician had began exploring more advance harmonics ， complex syncopations
alter ， chord ， chord substitutions and continued this exploration ， this time was from bebop
period that at 1940s-1955s，and Africa American invention，Bebop was considered art music
Characteristic：
1 bebop was primarily played by small group（small combos），the combos was composed of two
horns（saxophone and trumpet）and rhythm section（GBPD），rhythm guitar was rare
2 this period usually faster tempos than swing period and emphasis on virtuosity and instrumenal
technique，rhythm section expand on their role as tampo keeper.
3 more focus on the soloist to improvisation，（rather than on complex arrangement） ,more free
structure,improvisation based on harmonic structure rather than melody
4 bebop combos arrangements are simple and rarely written，
5 a “head” would present at begin and the end of each piece ，improvisational soloist based on
the major chord to making up the body
6 bebop appeared to sound racing,nervous, ofen fragmented,that was exciting and beautiful
revolution in the art of jazz
Influence
1 bebop reflect culture of the times，like the Africa American experience at that time, the music
①was difficult②alluded to the blues③explore direction and uncharted territory④the music
was separate from mainstream of American
2 Minton’S play house
3 racism, segregation, were rampant at thies eras
the reason of the rise of bebop：
①the demise of the swing era bigband②due world war II because of the draft ， many jazz
musicians were called to the WWII ， leaving few at home③20% amusement tax④Band
similarity was high in swing jazz band⑤transportation was very hard，dismantling of urban and
interurban railway
Musicians
1. Bop differed from swing by using smaller bands, richer chords, more chord changes, faster
playing with more surprises, and drier, more biting tone qualities.
2. The originators of bop included alto saxophonist Charlie Parker, trumpeter Dizzy Gillespie, and
pianist Thelonious Monk.
3. Parker wrote numerous tunes based on popular song and 12-bar blues chord progressions
that became standard repertory for generations of jazz musicians.
4. Gillespie devised a very unorthodox trumpet style and led a string of combos and big bands.
5. Monk played piano in a very spare manner filled with unusual rhythms and harmonies and
wrote tunes rendered difficult by their odd accents and chord progressions.
6. The ideas of Tatum, Parker, and Gillespie surfaced in the piano style of Bud Powell, who was
widely imitated and who significantly altered jazz piano style by reducing the activity of the left
hand.
7. Tenor saxophonist Dexter Gordon extended the deep, dark-toned, swing era style and mixed it
with bop approaches and his own unique lyricism.
8. Tenor saxophonist Stan Getz blended Lester Young, bop, and classical music to create an
original style and became the most popular player on his instrument.
9. Pianists John Lewis and Tadd Dameron were important bop composers, and Lewis continued
writing for the Modern Jazz Quartet long after the bop era.
10. Modern Jazz Quartet vibraphonist Milt Jackson devised a warm, swinging style by way of a
slow tremolo rate, intelligently constructed bop lines, relaxed delivery, and funky melodic figures.
11. Bop drummers differed from swing drummers by increasing the frequency and spontaneity
of kicks and prods, feathering the bass drum instead of pounding it, playing timekeeping rhythms
on a suspended cymbal, and snapping the highhat shut sharply on the second and fourth beats.
12. Bop styles and their offshoots were less popular than swing styles because they used f ewer
popular tunes, and had fewer singers, less predictability, and more complicated solos and
accompaniments.
Cool Jazz
Cool jazz was at forefront of jazz and went through its most concentrated growth and
development at 1949-1955.
During 1946s ， after W W II,there was an influx of Californian jazz musician to new york ， and
musicians mixed with mostly Africa American bebop musician，
Characteristic：
①in cool jazz that sound subdued and they use light,dry tone qualities②low levels of volume ；
calm, unhurries to improvisation which is more fluid ；thinner texture，soft dynamic；smoother
melodic phrasing；③ avoid aggressive tempo, but relaxed tempo，avoid harmonic abstraction of
bebop ,avoid hight notes ； ④ less harsh tone quality with little vibrato ； less obvious blues
influence
2 small group setting ； cool jazz band were usually a quartet or quintet and were compsed of
saxophone trumpet and rhythm section,less intense kicks/bombs by drumer and increase use of
brushes；
3 cool jazz had wider variety of size and instrumentation,new instrument combination （ flute,
Cello, french horn, oboe，etc）；
4 renew interest of collective improvisation
5 cool jazz was blending of jazz and classical music（incorporation of classical elements）and often
include counterpoint（two or more melodic line occurring at the same time）
6 in addition more emphasis arrangement and composition
Other
1 cool jazz brought jazz music back to the mainstream that is it repopularized jazz
2 bebop was associated with the east coast，cool jazz was associated west coast，so cool jazz is
often referenced to as West coast jazz
3 Post World War II, American attitudes were shifting due to some newfound affluences in the
1950s and a growing uncertainty of the future;
4 Cool Jazz reflected a subdued emotion and quiet intellectual control that had become valued in
American society.
Musician
1)Pianist-composer Stan Kenton led a string of innovative big bands, some of which were
influenced by Claude Thornhill’s style.
2)Kenton’s repertory of the 1950s contained ambitious concert works resembling twentieth-
century classic music scored for brass, saxes, and rhythm section.
3) “West Coast style” refers to cool jazz played by a predominantly white community of jazz
musicians based in the Los Angeles area during the 1950s, many of whom had played with the
big bands of Stan Kenton and Woody Herman.
4) Gerry Mulligan, Chico Hamilton, Dave Brubeck, and Shorty Rogers were prominent West Coast
bandleaders.
5)Paul Desmond, Art Pepper, Jimmy Giuffre, and Gerry Mulligan were prominent West Coast
saxophonists.
6)Chet Baker and Shorty Rogers were prominent West Coast trumpeters.
7) Carl Fontana, Frank Rosolino, and Bob Brookmeyer were prominent West Coast trombonists.
Hard bop
Hard bop was at forefront of jazz and went through its most concentrated growth and
development at 1951s-1960s.
Hard bop was ,in part, a reaction to cool jazz，because the music had become to classic that is too
European，hard bop was a return to music that was more afro music and more blues based.
Primarily black musicians from New York City, Detroit and Philadelphia
Hard Bop was Afro-centric.
Threre was two branches of hard bop；
①Funky jazz ： its essence was one of groove and feeling and was heavily influenced by blues
and gospel music.
②Mainstream Jazz ： it was far more complex (more difficult melodies, improvisations, chord
progressions, and forms); it was still about groove and feeling but added the complexities of
Bebop; Some arrangements are usually included(head in , endings,background lines, etc.).
Characteristic：
1 The size and instrumentation of Hard Bop combos was similar to the bebop period: usually two
or three horns plus rhythm section.
2 raw, dark, heavy, complex, hard driving style with emotional emphasis，
3 more variety in accompaniment patterns，fewer pop tune chord progression .
4 Emphasis on "groove" , danceability and the"shuffle" rhythm.
5 Latin elements and a "straight" eighth note feel used at times.
6 slower tempos and simpler melodies than in bop
Other
1. One of the key features of Hard Bop was its African American identity. Hard Bop was heavily
influenced by traditional and popular African American music.
a. Hard Bop’s influences included bebop, blues, R&B, and black gospel music.
2. Hard Bop, in part, was a means of artistic expression by young African American men to
demonstrate their dissatisfaction with the social, political, and economic climate of America at
that time, i.e., segregation and lack economic equity;
3. Hard Bop reflected and contributed to the beginnings of the civil rights movement.
1950s–1960s
4. Hard Bop was mainly an East Coast (e.g., New York) phenomenon. And reflected the fast-
paced, complex New York lifestyle.
Musician
1) Hard bop evolved directly from bop during the 1950s, mainly from East Coast and Midwest
musicians.
2) When hard bop differs from bop, it is simpler, has more variety in accompaniment patterns,
fewer pop tune chord progressions, darker, weightier tone qualities, and more emphasis on hard,
unrelenting swinging.
3) Funky jazz is a subcategory of hard bop, and it is characterized by bluesy inflections of pitch
and gospelish harmonies. Several pieces performed by the bands of Horace Silver and Connonball
Adderley were popular because of their funky qualities and simple, catchy melodies.
4)The most prominent figures in hard bop were pianist-composer Horace Silver, drummer-
bandleader Art Blakey, and alto saxophonist-bandleader Cannonball Adderley.
5)The top tenor saxophonists in hard bop were Sonny Rollins, John Coltrane, Wayne Shorter, and
Joe Henderson.
6)The top trumpeters in hard bop were Clifford Brown and Freddie Hubbard.
7)Drummers in hard bop were louder and more intrusive than their predecessors. Art Blakey and
Philly Joe Jones further emancipated the drummer from the role of mere timekeeper.
8)Hard bop big bands were led by trumpeters Maynard Ferguson, Gerald Wilson, and Thad Jones.
Modal jazz
Modal jazz is a style of jazz that emerged in the late 1950s and 1960s, this
Modal jazz use of musical modes rather than chord progressions as a harmonic framework.
often modulating among them to accompany the chords instead of relying on one tonal center
used across the piece.
Though modal music is far older, modal jazz represents a time in jazz history when certain jazz
artists tried to redefine the genre and escape the harmonic restrictions of the bebop and hard
bop eras.
Modal jazz, in part, was a means of artistic expression by young African American men to
demonstrate their dissatisfaction with the social, political, and economic climate of America at
that time, i.e., segregation and lack economic equity;
modal jazz reflects the emotional expression of musicians during the Civil Rights movement
Characteristic：
1 The harmony in modal jazz is not tonal.But it has a tonal center, all other chord changes in the
composition are considered equal..②it Still Uses Diatonic Chords，Quartal Harmony
2 Harmonic Simplicity and Space Allows For Greater Freedom During improvisation, with more
emphasis on Mood and Atmosphere
3 in addition ， it emphasis arrangement and composition, Incorporate all kinds of musical
elements into it
4 quartet or quintet
Jazz artists interested in modal jazz, like Miles Davis and John Coltrane, wanted to explore
improvisation from a different angle.
Post bop
Post-bop,refers to the genre of small-group jazz music that emerged in the early 1960s and
combined elements of bebop, hard bop, modal jazz, avant-garde jazz, and free jazz.
The goal of post-bop jazz was to move away from the traditional limitations of bebop while
maintaining the form found in free jazz.
Origins: In the late 1950s, the avant-garde and free jazz movements emerged in full force. These
movements emphasized a structure-free jazz style heavy on improvisation and unconventional
sounds. Many bebop and hard bop artists combined free jazz trends with their own conventions.
Thus, the post-bop movement was born, integrating some experimental elements into bebop
without completely succumbing to the avant-garde and free jazz styles.
Decline and revival: Post-bop thrived into the late 1960s, but its popularity waned throughout the
1970s due to the emergence of jazz fusion, a combination of jazz, funk, blues, and rock music.
Characteristic：
1. Original compositions: While bebop ensembles typically play non-original songs or songs based
on pre-existing chord progressions, post-bop ensembles tend to play highly conceptual material
that is completely original.
2. Harmonic progressions: Post-bop chord progressions are typically non-diatonic, and, while they
are still technically tonal (like the chord progressions in bebop), they tend to have an ambiguous
tonal center.
3. Rhythm section: In post-bop, the rhythm section plays a supporting role, but it has more
freedom to improvise than in bebop or avant-garde jazz.
In particular, bassists can time shift to a different pattern besides the standard walking bass line,
and drummers add more than just rhythm to a song.
4. Mixed meter: Instead of the 4/4 time signature common in traditional jazz, post-bop musicians
play with mixed and irregular meters.
Free Jazz
Free jazz was at forefront of jazz and went through its most concentrated growth and
development at 1959s-1970s.
FJ is a style of music and improvisation that combines elements of avant garde art music and
composition with elements of traditional jazz，involved in northwestern musical conceptions and
20th century classical composers.
Unlike previous style of jazz whose composition were based on a series of predetermined
chords，free jazz composition were not based on a series of predetermined chords. Free jazz was
simply based on sound and jazz musician experimented with making all kinds of sounds on their
instrument。Sometime also dispenses with preset melody
Characteristic：
1 free jazz was often open and or free forms ，the tunes often completes improvisation，lack the
chord changes
2 usually dense textures and high energy playing that very loud and frenzied
3 collective improvisation of a more dissonant
4 oftentimes ensemble omit use of a piano or chord instrument
5 Use of unorthodox sound like squeaks，screams，etc
extend techniques like altissimo register（ultra high pitches）multiphonic etc.
Used wider variation in pitches and tone quality
Other
1 Free jazz represented the loosening of standard of behavior in the turbulent 1960s
2 free jazz was predominantly played by African American musician and often expressed anger
and dissatisfaction with the lack of civil right in American society
3 free jazz was primarily a east coast，urban phenomenon.
3.Prominent free saxophonists include Ornette Coleman and Albert Ayler.
4.Free jazz pianist Cecil Taylor is known for his virtuosity and his practice of improvising dense
textures and turbulence.
5.Prominent bassists in free jazz include Charlie Haden and Dave Holland.
6.Trumpeter Don Cherry was Ornette Coleman’s sideman in the late 1950s and early 1960s, one
of the most original improvisers to appear since bop, and one of the most-dedicated to World
Music.
7.Free jazz drummers perfected approaches that depart from marching band and dance band
traditions by generating an ever-changing undercurrent of activity instead of standard
timekeeping patterns.
8.Charles Mingus was an innovative modern bassist and a bandleader-composer who combined
composition and improvisation while creatively altering accompaniment patterns.
9.Eric Dolphy was a virtuoso on flute, alto sax, and bass clarinet who devised jarring
improvisations that were totally unpredictable and wrote tunes that were as odd as those of
Thelonious Monk.Though perceived as free-form by some listeners, his lines were actually rooted
in chord progressions and steady tempo.
10.Sun Ra and other avant-garde players from Chicago departed from bop practices of melody,
chord progressions, and swing feeling, in addition to incorporating World Music.
11.Beginning in the 1950s, pianist Sun Ra’s big band methods demonstrated some of the most
varied voicings since Duke Ellington’s.
12.Sun Ra explored collective improvisation in big band music during the 1960s and 1970s and
was one of the first jazz composer-arrangers to extensively use synthesizers and electric keyboard
instruments.
13.The Association for the Advancement of Creative Musicians was a Chicagobased collective
founded by Richard Abrams during the 1960s.
14.The Chicagoans stressed continuity between composition and improvisation.
15.The AACM’s Art Ensemble of Chicago, which gained prominence during the 1970s, consisted of
trumpeter Lester Bowie,
saxophonists Roscoe Mitchell and Joseph Jarman,
bassist Malachi Favors,
and drummer Don Moye.
16.Multi-instrumentalist Anthony Braxton is a composer and improviser of sweeping scope who
does not play in bop style and whose music draws from non-Western music, the styles of Eric
Dolphy and Lee Konitz, and twentiethcentury symphonic music.
17. The World Saxophone Quartet was composed of David Murray, Julius Hemphill, Oliver Lake,
and Hamiet Bluiett.It demonstrated a successful integration of written passages and freely
improvised parts without rhythm section accompaniment.
Fusion
Fusion is a music genre that merges elements of jazz with other style of music—particularly
pop，rock，folk，funk，metal，country，r&b，hip hop，electronic music，world music。
In the lates 1960s ，jazz musician begin mixing the forms and improvisational techniques of jazz
with the electric instrument
Fusion jazz was at forefront of jazz and went through its most concentrated growth and
development at 1970s-1980s.
2branches——jazz funk，jazz rock fusion
Characteristic：
1 In fusion period ， they extensive use of electronic instrument ： electric
piano，synthesizers，electric bass，electric guitar，electronic modifications on acoustic instrument
2 more Focus on the rhythm section and more attention on studio recording technology and the
process of recording
3 fusion music is typically instrumental ， often with①complex signatures rhythm
patterns ， featuring lengthy improvisation②more emphasis on straight eight note than
swing③less frequent chord changes④much more repetition chord progression and drumming
pattern and bass line⑤pieces arrangement often from simple melody but some case were
complexity melodic phrase and often forms was complex and sectionalized compositions，
⑥saxophone used more often than brass instruments
Other
1 jazz and rock represent separate stream in Africa American music which have occasionally
overlapped
2 fusion jazz musician like their rock brethren often expressed their dissatisfaction
3 fusion jazz came into being at the height of the “hippie moment”of the lates 1960s and
1970early
4 Jazz differs from rock in its smaller amount of repetition, larger amount of improvisation, more
complexity, and higher musicianship.
1.Jazz and rock represent separate streams in African American music which have occasionally
overlapped.
2.Jazz differs from rock in its smaller amount of repetition, larger amount of improvisation,
greater complexity, and higher musicianship.
3. Chicago Transit Authority (Chicago), Blood, Sweat & Tears, and Ten Wheel Drive ought not to
be called jazz-rock because they used little improvisation and had more roots in soul music than
in rock and roll.
4.These three groups represent amalgamations of existing trends, such as the band styles of
James Brown, rather than a fresh style.
5. The most original fusions of funk and jazz occurred in bands of Larry Coryell, Gary Burton,
Miles Davis, and the bands launched by their sidemen.
6. The most prominent jazz-rock guitarists were John McLaughlin, Larry Coryell, and Pat Metheny.
7. Their tone color and rhythmic conception departed from jazz guitar tradition and drew more
from urban blues and rock practices.
8.John McLaughlin plays with phenomenal speed and precision, and draws from the music of
India and John Coltrane.
9. McLaughlin led several innovative bands containing musicians who were themselves important
jazz-rock bandleaders.
10. Pianist Joe Zawinul wrote the funk hits “Mercy, Mercy, Mercy” and “Walk Tall” while with
Cannonball Adderley’s band.
11. Zawinul’s arrangements formed the basis for the important 1969 Miles Davis jazz-rock albums
Bitches Brew and In a Silent Way.
12.In 1971, Zawinul and Wayne Shorter founded Weather Report, an innovative fusion band
which lasted until 1985.
13. Weather Report originally began with much collective improvisation.
14.Weather Report eventually adopted approaches employing extensive repetition and the
feeling of soul music, culminating in Zawinul’s riff-based hit “Birdland.” Their later approaches
influenced “smooth jazz.”
15. Jaco Pastorius was the bass guitarist with Weather Report from 1976 to 1982, and his sound
became an important model for bassists.
16. The post-1968 work of Miles Davis displayed a blend of the jazz tradition, funk music, and the
music of India and South America.
