CHAPTER 11: JAZZ ROCK

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.
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
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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)

BLOOD, SWEAT, AND TEARS
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)
 1st album: Child Is Father to the Man (1968)

Was an uneven album; showed tensions of those
favoring rock versus jazz
 “My Days Are Numbered”- Kooper
 “Just One Smile”- Randy Newman
 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

BLOOD, SWEAT, AND TEARS (CONT)

1969- #1 album: Blood, Sweat, and Tears
Received 10 Grammy nominations and 3 awards
 “You’ve Made Me So Very Happy” (#2)
 “And When I Die” (#2)
 “Spinning Wheel” (#2) by Clayton-Thomas

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 band


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

BLOOD, SWEAT, AND TEARS (CONT)

Blood, Sweat, and Tears 3 (1970)
“Hi-De-Ho” by Garry Goffin and Carole King
 “Lucretia MacEvil” by Clayton-Thomas



“Symphony for the Devil/Sympathy for the Devil”


A strong rock piece flavored by jazz harmonies
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
CHICAGO

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

CHICAGO (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”


Chicago III (1971)- also a double album (#2)
“Free”
 “Lowdown”


Chicago IV (1971)- 4-record boxed set with live
recordings
CHICAGO (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

BILL CHASE
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)
 1st album: Chase (1971)

“Get It On”- their hit single
 “Reflections” uses a tape delay echo effect


3rd 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
JAZZ ROCK
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.
“SYMPHONY FOR THE DEVIL/SYMPATHY
FOR THE DEVIL”
Rolling Stones







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
Blood, Sweat & Tears
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

“SYMPHONY FOR THE DEVIL/SYMPATHY
FOR THE DEVIL” (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

“SYMPHONY FOR THE DEVIL/SYMPATHY
FOR THE DEVIL” (CONT)

Part 2- “Devil’s Game”

Begins with a labyrinth (theme B)
Uses Stones’ song but slightly changes the accompaniment
through each chorus
nd chorus transitions to the 3rd chorus through the
 The 2
horns and the meter changes
rd chorus is accompanied with horn and electric guitar
 The 3
interplay
th chorus ends with a high note on electric
 The end of the 4
guitar
the middle of phrase 5 has the A theme material in the horns
 The last 2 measures of the 6th phrase is from theme A

“SYMPHONY FOR THE DEVIL/SYMPATHY
FOR THE DEVIL” (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)
“SYMPHONY FOR THE DEVIL/SYMPATHY
FOR THE DEVIL” (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
HOMEWORK
Please define the following terms based on the theory
learned in the musical close-up on pages 252-257.
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Augmentation
Dissonance
Fanfare
Fugue
Motive
Polyphony
Tritone