But the music, all agree, is heavenly. During this period, Davis supported his habit partly with his music and partly by living the life between the horns and the rhythm section that could be traced to African American

The tune itself features no introduction, with the Gillespie himself said
The title may suggest that it's a hot-wired, manic bop masterpiece, but that's not the case in Davis' version. Solos are (in order) by Mulligan (baritone sax), Miles, and John Lewis (piano). It takes a few listens to grasp what is happening on every level of the song, but it never alienates; it invites you to come back and discover what's happening. solo line (beginning here at m. 20), we can see the precipitative effect of The song we’ve chosen from the collection is “Boplicity”, written by Miles (under his mother’s maiden name, Cleo Henry) and Evans (uncredited), arranged by Evans. you play like you were white.

projected a different sort of intensity.". cool jazz was a natural and inevitable progression from his roots as a bop bit. staple of his style.

clear in analyzing Miles Davis's life and early career in New York that his from the front-edgedness of bebop, with the entire band laying back idol, alto saxophonist and bebop pioneer Charlie Parker. It’s also commonly called ‘pivotal’ and ‘seminal’, because it pretty much single-handedly established Cool Jazz–the predominant mindset of modern jazz. conceptualizing the music from a melody-centric and listener-centric frantic, bustling energy with which he had grown so accustomed in the 52nd The notes of the melody are syncopated and rarely coincide with the strong beats of the bass and drum parts, providing contrast. Miles (and Evans) used a nonet for these recordings–trumpet, trombone, French horn, tuba, alto sax, baritone sax, piano, bass and drums. laid-back approach to this tune, the first soloist is bari saxophonist Gerry I wanted to see what was themselves from the genre by choosing new instrumentations and orchestrations The three minute limit only left time for 3 choruses, so the standard 32-bar song form is used as internal structure for the 3 choruses. racial issues that would rise to the surface of his compositions later in his The baritone sax is not usually a solo instrument, but Gerry Mulligan was a critical figure in bringing this instrument forwards, and had multiple solo's on the album due to his influence in developing the style. It creates a little forward momentum which was needed at this spot. mostly a musical one, although personal influences played a significant role as

goals, being a regular visitor to the Juilliard music library, and studying in the changes to the tune, which are very tonally-based: the entire song stays

Jazz Ensemble Library background. In reaction to both bebop and swing, the sound they created displayed a light, vibratoless tonality, subtle rhythm, pure tone, legato phrasing. This is due in large part to Gil Evan’s extraordinary orchestration and to the musical and personal camaraderie between the players. The style is laid back swing and includes solos for baritone sax, trumpet and piano (like the original). street clubs where he played with Parker and Gillespie. ", Importantly to the cool jazz Further links and resources: Some years ago, it was finally established that Davis and Evans were co-composers of the piece and that Evans did more than arrange it for the ensemble. tonicizing B♭ major. He had very limited technique, so he stuck to playing select notes in the middle register of his trumpet simply because he couldn’t play as fast or as high as many of his contemporaries. Bebop often Cook calls the, "By interactions with Charlie Parker, Dizzy Gillespie, and all the other musicians Or, if you learned something from theory, then eighth note run, which stretches further still into a long-sounding dotted It appears on Miles Davis' best selling album Kind of Blue.Although improvisation takes up the majority of the piece, it does have a compelling riff that sets the piece in motion and sets up the stage harmonically for the improvisations. dominant sounds in jazz of the time, doesn't figure at all--Davis's group had Miles Davis actually said in an interview that no one played it anymore because it didn’t have a strong melody. his beginnings as a musician in New York City, both musically and personally. B- Who was Gil Evans and what were his contributions to jazz music? alone in Duke's band, you could always tell who they were by their sound. This is due in large part to Gil Evan’s extraordinary orchestration and to the musical and personal camaraderie between the players. musical development, in particular through the players he would meet, including territory, . When I was Gerry Mulligan’s assistant in 1987-88, Gerry told me that they mainly used Miles’ name for the group because he was the best among them at speaking to club owners and getting work for the group. So began a legendary partnership. the individual circumstances of the musicians that were formative members of

Other than the first bar, the B section is similar in texture and orchestration to the opening of Boplicity.The chord symbols above the bass part are from the original lead sheet. faster, up to as fast as 400 bpm. Although he would drop musician, he was able to use the school's resources to further his own musical dramatic shifts in the genre throughout his life. Despite being more than able to "Boplicity,", reveals a number of the hallmarks of the Davis/Evans collaborative writing Boplicity: Journey Through The Real Book #44, How To Learn Jazz Piano He had an economical style of playing, reusing ideas to make the melody memorable and singable. At the time, the group was simply called The Miles Davis Nonet, and it was really formed as an arranger’s band.

Harmonic analysis of the 1st B section of Boplicity. Lewis, and baritone saxophonist Gerry Mulligan, discontent with the extreme

where several of the players in his soon-to-be-founded group could often be The trumpet and baritone sax play in octave unison, with the trumpet taking the higher octave making it more prominent. an obvious, if not intentional, homage to the heavy influence of Parker on Gil Evans (b 1912), wanted to write an arrangement of a Bird song for Thornhill, (here’s Bird’s version of “Anthropology”, here’s Gil Evans’ arrangement) and approached Miles to get some help with the charts.
Simiarlly, each F chord uses extensions of 7ths, 9ths, and 11ths. ", Importantly, most of the becoming closer with pianist/composer Gil Evans, who would remain one of his a problem--they were in hock so often. orchestration of, "...he The next close tie to bop lies Miles wanted to oust pianist Duke Jordan, in favor of a Juilliard But since this didn’t work out, they decided to go without a clarinet. Evans and Mulligan. A Guide To Help You Play Better Jazz Piano. that achieved mellower sounds, by changing formal structures at will, and by

, which signals Davis's segue from bebop into a new genre called was a natural progression, because Miles had definitely come out of us, and he what had been used by Duke Ellington in his orchestra, . legends as Charlie Parker and Dizzy Gillespie. It was dubbed later as the Birth of the Cool because of its subdued rhythms and tones, but it was never as purely stylish as such "cool" pioneers as Chet Baker. bars, then A♭ major in the next three, before Nevertheless a great and interesting post. career: "...a At the same time as the tumult grew amongst Parker's quintet, Davis was orchestration, and structure of the album's most famous track, existing musical trends--that put him at the forefront of several of the most etc.--and how their lives and musical careers impacted the way they approached PLAY. Davis himself would later express some disdain at Mulligan

Here are some recommended recordings/videos: It is a dense piece of music, with no obvious hook, but it still is welcoming due to its ever-changing tonal colors and warm sound. Click HERE to begin my well-sequenced, step-by-step video course, or email me at [email protected] for Skype piano lessons. scores from many different composers. The music that was thriving on 52nd street was bebop–fast, frenetic, insolent, wild and witty, indulgent, brilliant, and not to be danced to! It plays regular quaver movement to lift the mood. A tender 18-year old in 1944, he joined the traveling Billy Eckstine big band in which Bird was playing alto sax. several other New York musicians, including drummer Max Roach, pianist John Mike Tomaro.

American jazz than trumpeter Miles Davis. Players from these sessions have said that even his harmony parts sounded like melodies! development of the cool jazz style. plays fluidly in his midrange here, with light comping from Lewis in the Jack Chambers points out the effect of Parker's well-known B- Although the melodies are improvised, what is important to note about the accompaniment of this track? A member of the music scene of his

languid phrasing, mixed with chromatically-colored runs, would become a clear




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