Modern Sounds: The Artistry of Contemporary Jazz
Edition: 2
Copyright: 2011
Edition: 2
Copyright: 2011
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Modern Sounds: The Artistry of Contemporary Jazz is a storybook approach on the journey, the musicians, and the music that has been created in the pursuit of artistic achievement over the half century. Modern Sounds picks up where most jazz textbooks leave off. This is a complete documentation of contemporary jazz.
- Suitable for a semester course at the college level, either for music majors or non-majors.
- A four-month access to an online music library. With this exclusive access, students and instructors can follow accompanying textbook playlists and have the ability to create their own playlists from over six million titles.
- A primer on how to define jazz has been included for students new to jazz.
- Lists of key terms, names, places and music at the beginning of each chapter
- There are also performance review sheets included that can be filled out and handed as assignments for students who attend local jazz performances.
As one of Kendall Hunt's best-selling authors, Thomas A. Larson, has written two additional textbooks:
Chapter 1: You Say You Want a Revolution?
From Dance hall to Concert Hall
A Quick Look Back on the Early Years of Jazz
New Orleans
Chicago
New York, Kansas City and the Swing Era
The Emergence of Bebop
Minton?s and the Harlem Jam Session Scene
The Bebop Esprit de Corps
Defining Bebop
Bebop Repertoire
The Architects
Charlie Parker: Tormented Genius
Dizzy Gillespie: The Schoolmaster
Thelonious Monk: The High Priest
Other Bebop Pioneers
Bebop: Initial Reaction and Lasting Impact
Chapter 2: Let?s Cool One
Beyond Bebop
Jazz Matures
Jazz in Film and Festival
Miles Davis and the Birth of the Cool
The Birth of the Cool
Miles: The Early Years
The Euro Connection: Kenton, Russell and Schuller
West Coast Jazz
The Scene
Black and White
Gerry Mulligan/Chet Baker: Pianoless on the Pacific
Dave Brubeck/Paul Desmond: 2+2+2+3=Swing
Art Pepper: Tormented Storyteller
Other Cool Jazz Artists
Lennie Tristan Sightless Visionary
The MJQ: Fugues and Formality
Chapter 3: The Soul of Jazz
Sounds of the Inner City
The Other Side of Cool
A New Mainstream
Blue Note: The Sound of Hard Bop
Important Hard Bop Artists
Art Blakey and the Jazz Messengers: Jazz Academy
Horace Silver: Hard Bop Tunesmith
The Clifford Brown-Max Roach Quintet
Miles Davis/Sonny Rollins/John Coltrane
The First Quintet
The Bridge
Workin?, Steamin?, Cookin?, and Relaxin?
Spiritual Awakening
Kind of Blue
Charles Mingus: Voice of the Apocalypse
Shouts, Cries, and Moans
The Jazz Workshop
The Underdog
Freedom Now!
Jazz and The Movement
Anti-Festival
Chapter 4: The New Thing
The Shape of Jazz to Come
1959: The Beginning of Beyond
Ornette Coleman: Patron Saint of Freedom
Paid Not to Play
Fury at the Five Spot
The Crude Stables
Cecil Taylor: The Seer
Imaginary Concerts
John Coltrane: Avant-Garde Avatar
The Coltrane Quartet
A Love Supreme
The Final Chapter
Eric Dolphy: Out to Lunch
Making Music with the Birds
Sun Ra: Intergalactic Traveller
Saturn Calling
Archie Shepp and Albert Ayler
The 1960s Free Jazz Collectives
The October Revolution
The AACM and the New York Loft Scene
Chapter 5: The Other Side of the Sixties and Seventies
Meanwhile, Behind the Bluster of the New Thing?
Stan Getz: Bossa Nova Man
A Nice Bunch of Guys
The New Flair
Soul Jazz: Hard Bop Meets the Soul
Jimmy Smith
Cannonball and Nat Adderley
Wes Montgomery
Bill Evans: The Art of the Trio
Jazz Zen Master
Triumph and Tragedy
Miles Davis: The Second Quintet
Miles in Transition
E.S.P.
Sonny Rollins and Dexter Gordon: Tenor Titans
Detour Ahead
Homecoming
Keith Jarrett: Spontaneous Invention
CTI and ECM: Redefining Jazz Marketing
Chapter 6: Sleeping with the Enemy
Jazz in the Sixties: Stuck Between a Rock and a Hard Place
Jazz Exodus
Strange Bedfellows
Miles Davis: To the Rescue
Bitches Brew
The Diaspora
Important 1970s jazz/Rock Fusionists
Tony Williams Lifetime: The New Organ Trio
The Mahavishnu Orchestra: Jazz Goes International
Weather Report: heavy Weathermen
Chick Corea and Return to Forever: Jazz/Rock Artiste
Herbie Hancock: Mwandishi Turns to Head Hunting
Fusion Evolves: Can We Still Call This Jazz?
Chapter 7: Neocons, Fusionists and the New Left
Morning in America
Wynton Marsalis: Jazz Messiah or Prophet of Death?
The Marsalis Invasion
Neocon Controversy
M-C-M
The Neo-Conservative Movement
The Young Lions
Fusion Evolves in the 1980s
Miles Returns
Pat Methany
Michael Brecker
Other 1980s Fusionists
The New Left: Avant-Garde Jazz in the 1980s
Steve Coleman and M-Base
The World Saxophone Quartet
Chapter 8: Going Downtown
Jazz in the Nineties: A Brave New World
Canonic Breakdown
Death of a Legend
No Man?s Land
Uptown/Downtown
The Knitting Factory
John Zorn
Bill Frisell
Dave Douglas
Other Downtown Artists
Other Important Jazz Artists from the Nineties
Medeski, Martin and Wood: Jam Session Warriors
Don Byron: Attacking Stereotypes with a Clarinet
Maria Schneider: Continuing the Big Band Tradition
Saxophone Superiority: Lovano, Garrett, and Potter
Chapter Nine: Nu Jazz
At the Millennium: The Death of Jazz
Ken Burns to the Rescue
So, Is Jazz Really Dead This Time?
City of Glass
Important Jazz Musicians at the Turn of the Century
The Pianists: Mehldau, Iverson, Iyer, and Moran
The Guitarists: Monder, Rosenwinkel, and Stryker
Women in Jazz: Jensen, Carter, and Carrington
The Norah Effect
Is it Jazz, or Is it Pop?
Beyond Norah: Karrin and Kurt
Jazz + Technology
A New Guy in the Band
Turntablists, DJs, and Laptops
Globalization: Outsourcing Jazz
The World Is Flat
Scandinavian Jazz: Dangerous Art
Future Jazz
What Lies Ahead
Appendix: Understanding and Defining Jazz
Glossary
Index
Tom Larson is Assistant Professor of Composition (Emerging Media and Digital Arts) at the Glenn Korff School of Music at the University of Nebraska-Lincoln. In addition to authoring The History of Rock and Roll, he is also the author of Modern Sounds: The Artistry of Contemporary Jazz, and The History and Tradition of Jazz, both published by Kendall Hunt Publishing. His first CD of original jazz compositions, Flashback, was released in 2003. He has studied jazz piano with Dean Earle, Fred Hersch, Bruce Barth, and Kenny Werner, jazz arranging with Herb Pomeroy and music composition with Robert Beadell and Randall Snyder. In addition to performing with jazz ensembles throughout the Midwest and East Coast, he has performed with Paul Shaffer, Victor Lewis, Dave Stryker, Bobby Shew, Claude Williams, Bo Diddley, Jackie Allen, the Omaha Symphony, the Nebraska Chamber Orchestra, the Nebraska Jazz Orchestra, and the University of Nebraska Faculty Jazz Ensemble.
Tom also writes and produces music for documentary films; among his credits are the scores for three documentaries for the PBS American Experience series (a production of WGBH-TV, Boston): In the White Man’s Image, Around the World in 72 Days, and Monkey Trial. He also scored the documentaries Willa Cather: The Road Is All for WNET-TV (New York), Ashes from the Dust for the PBS series NOVA, and the PBS specials Most Honorable Son and In Search of the Oregon Trail. Tom has written extensively for the Nebraska Educational Telecommunications, South Dakota Public Broadcasting, and the University of Illinois Asian Studies Department. His music has also been used on the CBS-TV series The District. His commercial credits include music written for Phoenix-based Music Oasis, L.A.-based Music Animals, Chicago-based Pfeifer Music Partners and General Learning Communications, and advertising agencies in Nebraska.
A Lincoln native, Tom received a Bachelor of Music in Composition in 1977 from Berklee College of Music in Boston and a Master of Music in Composition
in 1985 from the University of Nebraska-Lincoln. He is also an avid runner, and completed the Boston Marathon in 2005, 2006, and 2007. More information on Tom Larson can be found at tomlarsonmusic.net.
Modern Sounds: The Artistry of Contemporary Jazz is a storybook approach on the journey, the musicians, and the music that has been created in the pursuit of artistic achievement over the half century. Modern Sounds picks up where most jazz textbooks leave off. This is a complete documentation of contemporary jazz.
- Suitable for a semester course at the college level, either for music majors or non-majors.
- A four-month access to an online music library. With this exclusive access, students and instructors can follow accompanying textbook playlists and have the ability to create their own playlists from over six million titles.
- A primer on how to define jazz has been included for students new to jazz.
- Lists of key terms, names, places and music at the beginning of each chapter
- There are also performance review sheets included that can be filled out and handed as assignments for students who attend local jazz performances.
As one of Kendall Hunt's best-selling authors, Thomas A. Larson, has written two additional textbooks:
Chapter 1: You Say You Want a Revolution?
From Dance hall to Concert Hall
A Quick Look Back on the Early Years of Jazz
New Orleans
Chicago
New York, Kansas City and the Swing Era
The Emergence of Bebop
Minton?s and the Harlem Jam Session Scene
The Bebop Esprit de Corps
Defining Bebop
Bebop Repertoire
The Architects
Charlie Parker: Tormented Genius
Dizzy Gillespie: The Schoolmaster
Thelonious Monk: The High Priest
Other Bebop Pioneers
Bebop: Initial Reaction and Lasting Impact
Chapter 2: Let?s Cool One
Beyond Bebop
Jazz Matures
Jazz in Film and Festival
Miles Davis and the Birth of the Cool
The Birth of the Cool
Miles: The Early Years
The Euro Connection: Kenton, Russell and Schuller
West Coast Jazz
The Scene
Black and White
Gerry Mulligan/Chet Baker: Pianoless on the Pacific
Dave Brubeck/Paul Desmond: 2+2+2+3=Swing
Art Pepper: Tormented Storyteller
Other Cool Jazz Artists
Lennie Tristan Sightless Visionary
The MJQ: Fugues and Formality
Chapter 3: The Soul of Jazz
Sounds of the Inner City
The Other Side of Cool
A New Mainstream
Blue Note: The Sound of Hard Bop
Important Hard Bop Artists
Art Blakey and the Jazz Messengers: Jazz Academy
Horace Silver: Hard Bop Tunesmith
The Clifford Brown-Max Roach Quintet
Miles Davis/Sonny Rollins/John Coltrane
The First Quintet
The Bridge
Workin?, Steamin?, Cookin?, and Relaxin?
Spiritual Awakening
Kind of Blue
Charles Mingus: Voice of the Apocalypse
Shouts, Cries, and Moans
The Jazz Workshop
The Underdog
Freedom Now!
Jazz and The Movement
Anti-Festival
Chapter 4: The New Thing
The Shape of Jazz to Come
1959: The Beginning of Beyond
Ornette Coleman: Patron Saint of Freedom
Paid Not to Play
Fury at the Five Spot
The Crude Stables
Cecil Taylor: The Seer
Imaginary Concerts
John Coltrane: Avant-Garde Avatar
The Coltrane Quartet
A Love Supreme
The Final Chapter
Eric Dolphy: Out to Lunch
Making Music with the Birds
Sun Ra: Intergalactic Traveller
Saturn Calling
Archie Shepp and Albert Ayler
The 1960s Free Jazz Collectives
The October Revolution
The AACM and the New York Loft Scene
Chapter 5: The Other Side of the Sixties and Seventies
Meanwhile, Behind the Bluster of the New Thing?
Stan Getz: Bossa Nova Man
A Nice Bunch of Guys
The New Flair
Soul Jazz: Hard Bop Meets the Soul
Jimmy Smith
Cannonball and Nat Adderley
Wes Montgomery
Bill Evans: The Art of the Trio
Jazz Zen Master
Triumph and Tragedy
Miles Davis: The Second Quintet
Miles in Transition
E.S.P.
Sonny Rollins and Dexter Gordon: Tenor Titans
Detour Ahead
Homecoming
Keith Jarrett: Spontaneous Invention
CTI and ECM: Redefining Jazz Marketing
Chapter 6: Sleeping with the Enemy
Jazz in the Sixties: Stuck Between a Rock and a Hard Place
Jazz Exodus
Strange Bedfellows
Miles Davis: To the Rescue
Bitches Brew
The Diaspora
Important 1970s jazz/Rock Fusionists
Tony Williams Lifetime: The New Organ Trio
The Mahavishnu Orchestra: Jazz Goes International
Weather Report: heavy Weathermen
Chick Corea and Return to Forever: Jazz/Rock Artiste
Herbie Hancock: Mwandishi Turns to Head Hunting
Fusion Evolves: Can We Still Call This Jazz?
Chapter 7: Neocons, Fusionists and the New Left
Morning in America
Wynton Marsalis: Jazz Messiah or Prophet of Death?
The Marsalis Invasion
Neocon Controversy
M-C-M
The Neo-Conservative Movement
The Young Lions
Fusion Evolves in the 1980s
Miles Returns
Pat Methany
Michael Brecker
Other 1980s Fusionists
The New Left: Avant-Garde Jazz in the 1980s
Steve Coleman and M-Base
The World Saxophone Quartet
Chapter 8: Going Downtown
Jazz in the Nineties: A Brave New World
Canonic Breakdown
Death of a Legend
No Man?s Land
Uptown/Downtown
The Knitting Factory
John Zorn
Bill Frisell
Dave Douglas
Other Downtown Artists
Other Important Jazz Artists from the Nineties
Medeski, Martin and Wood: Jam Session Warriors
Don Byron: Attacking Stereotypes with a Clarinet
Maria Schneider: Continuing the Big Band Tradition
Saxophone Superiority: Lovano, Garrett, and Potter
Chapter Nine: Nu Jazz
At the Millennium: The Death of Jazz
Ken Burns to the Rescue
So, Is Jazz Really Dead This Time?
City of Glass
Important Jazz Musicians at the Turn of the Century
The Pianists: Mehldau, Iverson, Iyer, and Moran
The Guitarists: Monder, Rosenwinkel, and Stryker
Women in Jazz: Jensen, Carter, and Carrington
The Norah Effect
Is it Jazz, or Is it Pop?
Beyond Norah: Karrin and Kurt
Jazz + Technology
A New Guy in the Band
Turntablists, DJs, and Laptops
Globalization: Outsourcing Jazz
The World Is Flat
Scandinavian Jazz: Dangerous Art
Future Jazz
What Lies Ahead
Appendix: Understanding and Defining Jazz
Glossary
Index
Tom Larson is Assistant Professor of Composition (Emerging Media and Digital Arts) at the Glenn Korff School of Music at the University of Nebraska-Lincoln. In addition to authoring The History of Rock and Roll, he is also the author of Modern Sounds: The Artistry of Contemporary Jazz, and The History and Tradition of Jazz, both published by Kendall Hunt Publishing. His first CD of original jazz compositions, Flashback, was released in 2003. He has studied jazz piano with Dean Earle, Fred Hersch, Bruce Barth, and Kenny Werner, jazz arranging with Herb Pomeroy and music composition with Robert Beadell and Randall Snyder. In addition to performing with jazz ensembles throughout the Midwest and East Coast, he has performed with Paul Shaffer, Victor Lewis, Dave Stryker, Bobby Shew, Claude Williams, Bo Diddley, Jackie Allen, the Omaha Symphony, the Nebraska Chamber Orchestra, the Nebraska Jazz Orchestra, and the University of Nebraska Faculty Jazz Ensemble.
Tom also writes and produces music for documentary films; among his credits are the scores for three documentaries for the PBS American Experience series (a production of WGBH-TV, Boston): In the White Man’s Image, Around the World in 72 Days, and Monkey Trial. He also scored the documentaries Willa Cather: The Road Is All for WNET-TV (New York), Ashes from the Dust for the PBS series NOVA, and the PBS specials Most Honorable Son and In Search of the Oregon Trail. Tom has written extensively for the Nebraska Educational Telecommunications, South Dakota Public Broadcasting, and the University of Illinois Asian Studies Department. His music has also been used on the CBS-TV series The District. His commercial credits include music written for Phoenix-based Music Oasis, L.A.-based Music Animals, Chicago-based Pfeifer Music Partners and General Learning Communications, and advertising agencies in Nebraska.
A Lincoln native, Tom received a Bachelor of Music in Composition in 1977 from Berklee College of Music in Boston and a Master of Music in Composition
in 1985 from the University of Nebraska-Lincoln. He is also an avid runner, and completed the Boston Marathon in 2005, 2006, and 2007. More information on Tom Larson can be found at tomlarsonmusic.net.