From classical music, Third Stream derives its instrumentation, forms, and compositional techniques. Scholar, composer, conductor, teacher author, and music publisher Gunther Schuller (1925– ) is a major figure in Third Stream, a term he coined during a lecture to describe a style that is a synthesis of classical music and jazz. Third Stream music, from around 1959 to the present, is seen as an extension of the cool compositional style. The writing style of west coast jazz showed Western European influences. West coast jazz musicians often made their living by working in Hollywood studio orchestras. The music involved less improvisation and sounded more reserved through its written-out melodies. The style employs light tone color and softer instrumental texture and did not have the same intensity as bop. West Coast jazz, developed during the late 1940s, was cool jazz played on the West Coast. During the 1950s, he was one of the most popular jazz musicians and helped popularize bossa nova, a mixture of jazz and samba. His sound had a rich and pure tone and he played with much self-control and subtlety. Tenor saxophonist Stan Getz (1927–1991) was influenced by Lester Young. He experimented with multi-track recordings and with jazz rock fusion. Tristano’s music stressed the importance of melodic structure over emotional expression. The arrangements of Gil Evans (1912–1988), arranger, composer, pianist, and bandleader, made use of string instruments and other instruments not commonly used in jazz.Ĭhicago-born pianist Lennie Tristano (1919–1978) was blind from birth. His tone is straight with very little vibrato. He championed the development of improvisational techniques incorporating modes rather than the standard chord changes. Trumpet player, composer, and arranger Miles Davis (1926–1991) was an innovative bandleader. He formed his own nine-man orchestra consisting of such great names as Miles Davis, Gerry Mulligan, and Gil Evans. Thornhill studied at the Cincinnati Conservatory and the Curtis Institute in Philadelphia. Pianist and orchestra leader Claude Thornhill (1909–1965) is credited with being the progenitor of cool jazz. Saxophonist and bandleader Woody Herman (1913–1987) hired the best musicians and kept changing musicians to keep the band up-to-date. Others recognized the creative aspirations of cool players. Some listeners felt that cool musicians were bored, arrogant, or cold. Cool moved closer to classical music by adopting such forms as rondos and fugues (thus categorizing it as Third Stream music). New meters were added like 3/4, 5/4, 9/4 as were the use of polymeters (simultaneous use of several meters). Cool players were not confined to 4/4 or 2/4 meters. The flute, French horn, oboe, flugelhorn, and cello became jazz instruments. The cool band usually consisted of three to eight players. Cool music contained a delicate attack, little or no vibrato, use of the middle register of the instrument rather than the extremes, and a generally relaxed sound. The tonal sonorities of the cool style could be compared to pastel colors unlike bop, which could be compared to fiery red colors. Cool players were often conservatory-trained. In cool, instruments not common in jazz such as the cello and French horn came into prominence. In the cool style, jazz found its own chamber ensembles. Players took on an attitude of emotional detachment that helped define what is meant to be “cool.” Cool bands performed in more intimate settings. The size of the performance group also expanded. In cool, the tempos are relaxed and virtuosity gives way to instrument colors and a reserved tonal style. The cool style of playing is different from the complexities of bop. Please change your browser preferences to enable javascript, and reload this page. You must have javascript enabled to view this website.
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