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Notes on video lecture:
Jazz Rock in the 70s
Choose from these words to fill the blanks below:
Bitches, archetypal, neither, Boulez, virtuosity, rock, cartoonish, Spinning, Flame, improvisatory, Heeled, Transit, Coltrane, connection, McLaughlin, studio, Beatlesque, Reelin, serious, categorize, seriously, Davis, classical, jazz, vulgar, Aja, mastery, horn, professional, orphan, East, cynical, Coasters
Jazz Rock is a funny kind of stylistic              in the history of popular music
Jazz Rock Fusion
Miles           
John Mclaughlin
Return to Forever
most rock historians would say that it is not         
most jazz historians would say it is not         
by the virtue of bringing together rock and jazz music, it falls into a kind of no-man's land between the two so that it is claimed by               
jazz influences
letting it flow on stage
provided a model for the technical                needed for ambitious rock music
when one thought of virtuosos, one thought of:
1. classical music
2. jazz music
John                 
Charlie Parker
jazz, "America's classical music"
a self-conscious attempt to cast themselves as being equal to the                    position
looking at jazz from the rock point of view
both classical and jazz were sources of                      and exquisite musicianship
jazz requires advanced                            skills
jazz is almost exclusively about this
many pop and rock musicians of the 70s were from a jazz background
The                 , 1955-1972
producing team of Leiber and Stoller
the              musician
someone who could read all kinds of music and play it error free on the first take
celebrated as the very top of what it is to be a musical                          and instrumentalist
you can play in any style
jazz rock fed into this idea of the studio musician
Jazz-Rock Fusion
Miles Davis
1970:                Brew
what a long Cream jam would sound like if he got jazz musicians to do it
brought in John                     
not so much atonal or experimental but the modal jazz that became a standard
Mahavishnu Orchestra
John McLaughlin
interesting blend of          meets West tradition
goes back to Norwegian Wood with George Harrison on the sitar
embraced Indian philosophy and lifestyle
begun during the era of psychedelia
1971: The Inner Mounting           
no singing whatsoever
Herbie Hancock
picks up the Jazz Rock Funk                     
1973 Head Hunters
established the                      approach to the blending of funk together with jazz and rock
Return to Forever
Weather Report
Frank Zappa
Jazz Funk is probably the place to mention Frank Zappa
he was so stylistically diverse it was hard to find a place to                      him
his music was technically demanding
used highly skilled studio players as band members
has a penchant for                satire that at times challenges good taste
vocals are often                     
references to              aspects but not done in a way that is vulgar
e.g. the song "Dinah-Moe-Humm"
a way of defeating people taking it too                   , to have lyrics that are satirical and fun-loving
the music itself was often extremely               
produced classical music pieces, conducted by Pierre             
1973: Over-Nite Sensation
Traffic
Stevie Winwood
1971 The Low Spark of High              Boys
Jazz and Bluesy soul
Steely Dan
jazz influenced by kept a pop take
performed without a band per se and just used top New York and Los Angeles session musicians
1973             ' in the Years
1977 Aja
their albums such as        were well recorded
an example of what stereo is as opposed to the mono wall of sound
        -based groups
Blood, Sweat & Tears
formed by Al Kooper
produced Lynyrd Skynyrd
1968 Child is Father to the Man
that version of the group broke up
group led by David Clayton Thomas
1969                  Wheel
big band, R&B kind of group
more ambition in terms of the horns
Chicago
1969 Chicago                Authority
Does Anybody Really know what Time it Is?
Beginnings
good example of ambitious horn composition together with a                      approach to popular song-writing that makes it all look look effortless
a fantastic group and very representative with what was happening with jazz rock from the pop, horn-based genre

Spelling Corrections:

improvisitoryimprovisatory
psychodeliapsychedelia
synicalcynical

Ideas and Concepts:

From the stylistic orphan department, via this evening's History of Rock and Roll class: "Jazz Rock Fusion is a funny kind of stylistic orphan in the history of popular music. Most rock historians would say that it is not rock, while most jazz historians would say it is not jazz, so by the virtue of bringing together rock and jazz music, it falls into a kind of no-man's land between the two in such a way that it is claimed by neither. Perhaps one of the most representative bands of Jazz Rock Fusion is Return Forever, here in a 1976 live performance of Sorceress."
On the similarities and differences of jazz and classical music, via tonight's History of Rock and Roll class:

"It's easy to see why people linked jazz and classical music. Both are music for music's sake, in a separate commercial realm from the windfalls of pop, rock and hip-hop. Both styles are primarily instrumental and wordless, without the easy signposts of pop verses and choruses. They both reward knowledgeable listeners, though they can easily be enjoyed without a music degree. And both call for their performers and listeners to be mature, emotionally if not chronologically:to have long attention spans, to understand depth and nuance.

Yet the similarities end when it comes to the music itself. In almost every way except the high standards they impose on musicians, jazz and classical music are diametrically opposed. Every esthetic criterion is different:the smoothness of instrumental and vocal delivery in most classical music versus the smears and growls of jazz, well-tempered classical intonation versus the blues inflections of jazz, the central role of rhythm in jazz versus the peripheral one of rhythm in classical music, and, most important, the fixed classical composition versus the improvisatory disciplines of jazz. Classical performances are almost entirely premeditated, resuscitating scores from the distant or near past; jazz insists on surprises and lives in an eternal present tense."
Celebrating virtuosity and exquisite musicianship, via tonight's History of Rock and Roll class:

"John McLaughlin's 1970's electric band, the Mahavishnu Orchestra, performed a technically virtuosic and complex style of music that fused electric jazz and rock with Indian influences.

McLaughlin had particular ideas for the instrumentation of the group, in keeping with his highly original concept of genre-blending in composition. He particularly wanted a violinist as an integral contributor to its overall sound.

As the group evolved, McLaughlin adopted what became his visual trademark — a double neck guitar (six-string and twelve-string) which allowed for a great degree of diversity in musical textures.

McLaughlin's style has been described as one of aggressive speed, technical precision, and harmonic sophistication. He has stated that the guitar is simply "part of his body," and he feels more comfortable when a guitar is present."
Via tonight's History of Rock and Roll class, The Beatles: "Norwegian Wood with George Harrison on the sitar and John Lennon with the lyrics:"I was very careful and paranoid because I didn't want my wife, Cyn, to know that there really was something going on outside of the household. I'd always had some kind of affairs going on, so I was trying to be sophisticated in writing about it. A lot of people at that time were decorating their places in wood. Norwegian wood. It was pine, really, cheap pine. But it's not as good a title, "Cheap Pine", baby. So it was a little parody really on those kind of girls who when you'd go to their flat there would be a lot of Norwegian wood...I once had a girl, or should I say, she once had me..."
On the origin of jazz funk, via this morning's History of Rock and Roll class: "Herbie Hancock's 1973 album 'Head Hunters' established the archetypal approach to the blending of funk together with jazz and rock, from the sleeve notes:'I began to feel that I had been spending so much time exploring the upper atmosphere of music and the more ethereal kind of far-out spacey stuff. Now there was this need to take some more of the earth and to feel a little more tethered.'"
Late 1960s horn-based talent via tonight's History of Rock and Roll class: "The 1969 album Chicago Transit Authority is a good example of ambitious horn composition together with a Beatlesque approach to popular song-writing that makes it all look look effortless on stage, a fantastic group and very representative with what was happening at the end of the 60s with jazz rock from the pop, horn-based genre."
1970s: Hippie Aesthetic, Corporate Rock, Disco, and Punk
British Blues-Based Bands and the Roots of Heavy Metal
American Blues Rock and Southern Rock
The Era of Progressive Rock
Jazz Rock in the 70s
Theatrical Rock: KISS, Bowie, and Alice Cooper
American Singer-Songwriters of the 70s
British and Canadian Singer-Songwriters
Country Rock's Influence on 1970s Music
Black Pop in the 1970s
Sly Stone and His Influence on Black Pop, Funk, and Psychedelic Soul
Motown in the 1970s
Philadelphia Sound and Soul Train
Blaxploitation Soundtracks
The Uniqueness of James Brown
Bob Marley and the Rise of Reggae
The Backlash Against Disco
1975-1980: The Rise of the Mega-Αlbum
Continuity Bands in the 1970s
Rock and Roll in the Second Half of the 1970s
U.S. Punk 1967-1975
1974-77: Punk in the UK
American New Wave 1977-80
British New Wave 1977-80
The Hippie Aesthetic: 1966-1980
The Rise of MTV
Michael Jackson: MTV's Unexpected Boon
Madonna as Disruptive Shock Artist
Prince and Janet Jackson
Other Groups Who Benefited from MTV
1980s New Traditionalists and New Wave
1980s New Acts, Old Styles and Blue-Eyed Soul
1970s Progressive Rock Adapts to the 80s
1980's Heavy Metal
1980s Heavy Metal and L.A. Hair Bands
1980s Ambitious Heavy Metal
The Beginning of Rap
1980s: Rap Crosses Over to Mainstream
Late 1980s Hard Core Rap
Punk Goes Hardcore
Late 80s Indie Rock Underground
1990s: The Rise of Alternative Rock
1990s Indie Rock and the Question of Selling Out
1990s Metal and Alternative Extensions
Hip-Hop in the 1990s
Classic Rock of the 1990s
1990s Jam Bands and Britpop
Female Singer-Songwriters of the 1990s
The Rise of Teen Idols in the 1990s
1990s Dance Music