1. C HAPTER 11: J AZZ R OCK Jazz was pushed aside in the mid-1950s because rock & roll was getting everyone’s attention Jazz players resented rock because: Jazz players were superb technicians on their instruments whereas rock players could barely play 3 chords; Jazz was very sophisticated whereas rock was basic; and Rock and roll was taking money away from the jazz artists. Jazz was “old people’s music” 1966- bands began mixing rock and blues band music Examples: Blues Project, Paul Butterfield Blues Band, Barry Goldberg Blues Band They added horn lines (trumpets and saxes)

2. B LOOD, S WEAT, AND T EARS As the Blues Project was dissolving, members Al Kooper and Steve Katz recruited Bobby Colomby and Jim Fielder to form Blood, Sweat, and Tears with 4 horn players. (NYC) 1 st album: Child Is Father to the Man (1968) Was an uneven album; showed tensions of those favoring rock versus jazz “My Days Are Numbered”- KooperMy Days Are Numbered “Just One Smile”- Randy NewmanJust One Smile The album made #47 and had no Top 40 singles Kooper, Brecker, and Weiss left the group due to these tensions 1968- Lew Soloff, Chuck Winfield (trumpets), and David Clayton-Thomas (singer) joined the group

3. B LOOD, S WEAT, AND T EARS ( CONT ) 1969- #1 album: Blood, Sweat, and Tears Received 10 Grammy nominations and 3 awards “You’ve Made Me So Very Happy” (#2)You’ve Made Me So Very Happy “And When I Die” (#2)And When I Die “Spinning Wheel” (#2) by Clayton-ThomasSpinning Wheel The album’s biggest hit Begins with a jazz chord followed by a gentle rock song. The instrumental break has a jazz beat with a “walking bass” and jazz-style solo “Blues-Part II” – is an introduction to the bandBlues-Part II Features solos by various members This album opened up a whole new audience for rock Jazz fans could find music to respect and enjoy Rock fans discovered a more sophisticated rock style

4. B LOOD, S WEAT, AND T EARS ( CONT ) Blood, Sweat, and Tears 3 (1970) “Hi-De-Ho” by Garry Goffin and Carole KingHi-De-Ho “Lucretia MacEvil” by Clayton-ThomasLucretia MacEvil A strong rock piece flavored by jazz harmonies “Symphony for the Devil/Sympathy for the Devil” a creative Stones arrangement- will be discussed later 1971-1973- 5 band members departed, resulting in change in personnel and a drop in album sales

5. C HICAGO Had continuing popularity: At least one Top 40 hit every year in the 1970s 8 hit singles in the 1980s By 2000, they claimed 18 gold albums, 13 platinum albums, twenty Top 10 singles (5 made it to #1) 6 out of 7 founding members all from Chicago All born between 1944 and 1948 1967- formed the Missing Links Moved to Los Angeles and received a Colombia contract under “Chicago Transit Authority” Robert Lamm- keyboards and vocals (not from Chicago) Peter Cetera- bass and vocals Terry Kath- guitar and vocals Danny Seraphine- drums Lee Loughnane- trumpet James Pankow- trombone Walter Parazaider- flute and saxophones

6. C HICAGO ( CONT ) 1969- Chicago Transit Authority released “Does Anybody Really Know What Time It Is?” A double album 1970- their name was shortened to “Chicago” Released Chicago II (1970)- double album “Make Me Smile” “25 or 6 to 4”25 or 6 to 4 Chicago III (1971)- also a double album (#2) “Free”Free “Lowdown”Lowdown Chicago IV (1971)- 4-record boxed set with live recordings

7. C HICAGO ( CONT ) 1972-1975- Chicago V, VI, VII, VIII, IX all became #1 albums Chicago V through VIII contained nine Top 30 hits Chicago VII included “outsiders” Side 1 is the most adventurous and complex music on any Chicago album Side 2 continues the experimentation side Sides 3 and 4 settle down to the familiar Chicago sound January 1978- Terry Kath accidentally shot himself In 1986- 6 of the 7 original band members were still with the group

8. B ILL C HASE Played lead trumpet with Woody Herman’s big band Formed his own jazz rock band that included 4 trumpets (unlike the other bands which only had 1) 1 st album: Chase (1971) “Get It On”- their hit singleGet It On “Reflections” uses a tape delay echo effectReflections 3 rd album: Pure Music (1974) Bill Chase was the only original band member More jazz-influenced jazz rock fusion than the strong rock feeling from earlier albums August 9, 1974- Chase and 3 other band members killed in a plane crash

9. J AZZ R OCK By 1972, the first phase of jazz rock was over (except Chicago) Jazz brought more complex chords, odd meters, changing meters, and superimposed rhythms and syncopations to rock Horns were finally able to take their place in the front with lead guitar Therefore, jazz added more musical ideas to the basics of rock.

10. “S YMPHONY FOR THE D EVIL /S YMPATHY FOR THE D EVIL ” Only 4 chords 6-minute song Form: simple & repetitive Little or no change in meter, beat or rhythmic texture Few changes in timbre No key changes Simple and repetitive melody 8-minutes long Form: 3 major sections called Emergence, Devil’s Game, and Submergence Stone’s material is only in Devil’s Game All other material is new Rolling StonesBlood, Sweat & Tears

11. “S YMPHONY FOR THE D EVIL /S YMPATHY FOR THE D EVIL ” ( CONT ) “Emergence”- Theme A Consists of 20 notes and begins with a tritone Notes 1 and 2 Starts over and gives us notes 1-6 Starts over again, rushing notes 1 to 15 Pauses before playing notes 16 through 20 Has 11 different pitches before it repeats a pitch All 12 notes are used with only one pitch repeating After the ending chord, a drumroll enters as the Devil prepares to speak A dissonant brass fanfare enters

12. “S YMPHONY FOR THE D EVIL /S YMPATHY FOR THE D EVIL ” ( CONT ) Part 2- “Devil’s Game” Begins with a labyrinth (theme B) Uses Stones’ song but slightly changes the accompaniment through each chorus The 2 nd chorus transitions to the 3 rd chorus through the horns and the meter changes The 3 rd chorus is accompanied with horn and electric guitar interplay The end of the 4 th chorus ends with a high note on electric guitar the middle of phrase 5 has the A theme material in the horns The last 2 measures of the 6 th phrase is from theme A

13. “S YMPHONY FOR THE D EVIL /S YMPATHY FOR THE D EVIL ” ( CONT ) “Satan’s Dance” is an instrumental break halfway through the piece Has 3 internal sections Polyphony based on theme A A 5-note motive, called motive S for Sympathy A sax solo A brief fugue on theme A Theme is presented alone and then is imitated in other voices at different pitch levels in succession As theme A reaches notes 16-20, the rhythmic values are lengthened (called augmentation)

14. “S YMPHONY FOR THE D EVIL /S YMPATHY FOR THE D EVIL ” ( CONT ) “Submergence”- Time for the Devil to return “Contemplation” Theme A just like the beginning, except it stops on note 15 A free “spinning” around notes 13-15 happens Gets louder, faster, then slower and softer Piano pedal is held down throughout “Return” The Devil will submerge to theme A beginning played backwards Theme A begins on note 15 and “rewinds” After a pause, the Devil shuts the trap door to hell behind him as note 1 of theme A sounds one last time Rolling Stones version Blood, Sweat and Tears version

15. H OMEWORK Please define the following terms based on the theory learned in the musical close-up on pages 252-257. Augmentation Dissonance Fanfare Fugue Motive Polyphony Tritone