Concept

Cool jazz

Cool jazz is a style of modern jazz music inspired by bebop and big band that arose in the United States after World War II. It is characterized by relaxed tempos and a lighter tone than that used in the fast and complex bebop style. Cool jazz often employs formal arrangements and incorporates elements of classical music. Broadly, the genre refers to a number of post-war jazz styles employing a more subdued approach than that of contemporaneous jazz idioms. As Paul Tanner, Maurice Gerow, and David Megill suggest, "the tonal sonorities of these conservative players could be compared to pastel colors, while the solos of [Dizzy] Gillespie and his followers could be compared to fiery red colors." The term cool started being applied to this music around 1953, when Capitol Records released the album Classics in Jazz: Cool and Quiet. Mark C. Gridley, writing in the All Music Guide to Jazz, identifies four overlapping sub-categories of cool jazz: "Soft variants of bebop," including the Miles Davis recordings that constitute Birth of the Cool; the complete works of the Modern Jazz Quartet; the output of Gerry Mulligan, especially his work with Chet Baker and Bob Brookmeyer; the music of Stan Kenton's sidemen during the late 1940s through the 1950s; and the works of George Shearing and Stan Getz. The output of modern players who eschewed bebop in favor of advanced swing-era developments, including Lennie Tristano, Lee Konitz, and Warne Marsh; Dave Brubeck and Paul Desmond; and performers such as Jimmy Giuffre and Dave Pell who were influenced by Count Basie and Lester Young's small-group music. Musicians from either of the previous categories who were active in California from the 1940s through the 1960s, developing what came to be known as West Coast jazz. "Exploratory music with a subdued effect by Teddy Charles, Chico Hamilton, John LaPorta, and their colleagues during the 1950s." Ted Gioia and Lee Konitz have each identified cornetist Bix Beiderbecke and saxophonist Frankie Trumbauer as early progenitors of the cool aesthetic in jazz.

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Related publications (2)

The Jazz Harmony Treebank

Martin Alois Rohrmeier, Daniel Harasim, Christoph Finkensiep, Petter Harald Ericson

Grammatical models which represent the hierarchical structure of chord sequences have proven very useful in recent analyses of Jazz harmony. A critical resource for building and evaluating such models is a ground-truth database of syntax trees that encode ...
ISMIR2020

The Learnability of the Grammar of Jazz: Bayesian Inference of Hierarchical Structures in Harmony

Daniel Harasim

Musical grammar describes a set of principles that are used to understand and interpret the structure of a piece according to a musical style. The main topic of this study is grammar induction for harmony --- the process of learning structural principles f ...
EPFL2020
Related concepts (7)
West Coast jazz
West Coast jazz refers to styles of jazz that developed in Los Angeles and San Francisco during the 1950s. West Coast jazz is often seen as a subgenre of cool jazz, which consisted of a calmer style than bebop or hard bop. The music relied relatively more on composition and arrangement than on the individually improvised playing of other jazz styles. Although this style dominated, it was not the only form of jazz heard on the American West Coast. Before World War II, the west coast of the U.S.
Free jazz
Free jazz or Free Form in the early- to mid-1970s is a style of avant-garde jazz or an experimental approach to jazz improvisation that developed in the late 1950s and early 1960s when musicians attempted to change or break down jazz conventions, such as regular tempos, tones, and chord changes. Musicians during this period believed that the bebop and modal jazz that had been played before them was too limiting, and became preoccupied with creating something new.
Dizzy Gillespie
John Birks "Dizzy" Gillespie (ɡɪˈlɛspi ; October 21, 1917 – January 6, 1993) was an American jazz trumpeter, bandleader, composer, educator and singer. He was a trumpet virtuoso and improviser, building on the virtuosic style of Roy Eldridge but adding layers of harmonic and rhythmic complexity previously unheard in jazz. His combination of musicianship, showmanship, and wit made him a leading popularizer of the new music called bebop. His beret and horn-rimmed spectacles, scat singing, bent horn, pouched cheeks, and light-hearted personality have made him an enduring icon.
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