https:/.../2019-02-07_mus307_pt3.mp4

of the same tune.

So there's the idea with that.

Alright, so now we're going
to talk about Cannonball

bringing the electric piano
into jazz and this idea of

what we're going to call "soul jazz".

So electric instruments were starting
to become in vogue in the 1960's.

The electric bass and
the electric piano and

this particular piano player
is called Joe Zawinul.

And later on we'll be talking
about the band Weather Report

when we get to fusion.

It's a month or two down
the road at this point,

but we will talk about Joe Zawinul.

And this particular electric
piano is called a Wurlitzer

or we call it affectionately a "Whirly".

A Wurlitzer electric piano
and it's got a really

kind of specific sound that
Cannonball used a lot.

So, started to bring in the
electric piano and with that

became the R&B grooves,
rhythm and blues grooves,

started to get into jazz.

So this is not swinging anymore,
but instead it's more of

a rhythm and blues, kind of
rock-ish sort of groove.

So, we're putting together this
rhythm and blues grooves

and this song that you're
going to hear coming up,

the electric piano and
gospel elements and so

this kind of jazz or this
segment of Cannonball's

recorded output is sometimes
called soul jazz.

So the rhythm and blues
grooves were like

basically taking grooves from
artists outside of jazz,

such as Ray Charles and
the Staples Singers.

The song we're going to
check out is called,

"Mercy, Mercy, Mercy" from 1966,
off of the album of the same name.

And this competed with, you know,
the popular music of the time.

It got to number 11
on the top singles chart.

That's not the jazz single
chart or anything like that.

That's every single Beatles,
Rolling Stones,

everything that was going on there, okay.

So I'll just play you a little bit of
this kind of groove which is repetitive.

♪ ("Mercy, Mercy, Mercy" on piano) ♪

So that's a lot of the basis
for "Mercy, Mercy, Mercy".

It's a very simple tune.

And those chords by the way
were one and four,

the gospel chords that we've
been hearing on "Moanin'"

and other tunes, right.

♪ (replays "Mercy, Mercy, Mercy") ♪

This is one.

This is four.

Back to one.

Back to the four.

So the chords are not hard.

It's not about the chords,
it's about the groove.

It's about the way these
cords are arranged...

♪ (emphasizes gospel chords on piano) ♪

to sound like gospel
and that kind of feeling.

And it's about like a great,
you know, pocket or groove

with the rhythm section
that's going on.

So Cannonball was quite a character
as many jazz musicians were.

And he often would do these
spoken introductions to tunes.

Also, you might be getting
the sense that this is,

you know, kind of party music.
You know, it really is,

and you'll hear that I think in this,
where they did this recording session,

there's a lot of hooting and hollering
going on in the audience.

So, you'll hear the audience's
involvement on this record too.

So, here we go.

There's Cannonball-- like the rhythm
section is going to start this groove,

and Cannonball is going to
give us a little preaching about

the nature of "Mercy, Mercy, Mercy."
Here we go.

♪ ["Mercy, Mercy, Mercy"
by Cannonball Adderley] ♪

(audience on recording applauds)
>> You know...

Sometimes we're not
prepared for adversity.

When it happens sometimes
we're caught short.

♪ (soft gospel piano) ♪
(audience softly cheers)

>> We don't know exactly
how to handle it...

(audience hollers)

when it comes up.

(audience hollers)

Sometimes we don't know...

just what to do when adversity
takes over (chuckles).

(audience applauds)
♪ (audio fades) ♪

>> And it goes on from there,
and so he says,

"I asked my pianist, Joe Zawinul,"
and he came up.

And Joe Zawinul actually
wrote this tune,

and he came up with
"Mercy, Mercy, Mercy"

and then everybody goes crazy.

And we go into the tune, and that's
what we're going to hear now.

One chorus of the
pre-composed melody.

And then Zawinul is doing an
improvised electrical piano solo

after that on the
Wurlitzer electric piano.

So you're going to hear
bluesy short developed or

related phrases in
Joe Zawinul's playing.

It's going to be very
kind of rockish things.

Interesting to note that this
record was very popular.

But Cannonball Adderley did not
improvise on this song.

So he does not take an
alto saxophone solo

even though it came out
under his name and all that.

So let's listen to a little bit of the
melody, which I was playing a little bit.

♪ (piano) ♪

And then you'll hear a kind of morph
into an improvised piano solo.

So hear we go, audio clip 11.

♪ ["Mercy, Mercy, Mercy"
by Cannonball Adderley] ♪

♪ (bluesy, gospel-inspired jazz) ♪

(audience on recording cheers)

♪ (jazz ensemble) ♪

♪ (music intensifies) ♪

♪ (saxophone wails) ♪

♪ (music softens) ♪

(audience claps to beat)

♪ (music intensifies) ♪

>> Piano solo.

♪ (bluesy electric piano solo) ♪

(audience softly cheers)

♪ (electric piano solo continues) ♪

♪ (music fades) ♪

>> Right so this whole is
very simple, right?

It's very rhythmically oriented.

It's very gospel bluesy, you know.

♪ ("Mercy, Mercy, Mercy" on piano) ♪

Right, just a great kind of
grooving thing.

So definitely, actually I'm
hoping you're going to hear

that rhythm and blues
influence on this tune, right.

And Cannonball had a number
of tunes like this that,

you know, feature those
kind of rock-ish rhythms,

and the Wurlitzer electric piano,
and all that kind of stuff.

So I wish I would have time to play
some of Nat Adderley's playing for you.

He's kind of an unsung hero
of the trumpet or the cornet,

and we don't get to talk
about him in the class,

but he was definitely a great
improviser as well.

And maybe you heard that
one place where they were like,

got really loud there.

♪ (piano) ♪

And it really blasted out.

And that's really like Cannonball and Nat
were a powerful team.

Just those guys like blasting that cord
would sound like five or six players

just with their energy and the way
they played together and all that.

So, we got Cannonball doing
a couple of different things, right?

We've got Cannonball playing the
more like hard bop kind of stuff,

like "Work Song,"
the swing kind of stuff,

and then we've also got Cannonball's
soul jazz with the R&B groove.

So he kind of had dual things there.

And those are the things on his own,

and then he also was in Miles Davis's
hard bop band later on in that period,

and played on "Kind of Blue,"
so a very important jazz artist.

He doesn't quite get into our
all-time greats,

but you know, he's right
there knocking on the door.

(laughs)

Okay, so few other great albums
since I don't have anymore time to

talk to you about Cannonball Adderley.

I'll give you some other
albums here to check out.

Nancy Wilson and Cannonball Adderley.

And Nancy Wilson just unfortunately
left us not very long at all.

That reminded or rekindled
a lot of interest in that record.

She's a great female singer,
was a great female singer.

Fantastic.

"Somethin' Else" with Miles Davis
and the rhythm section,

so this album "Somethin' Else"
basically is like a Miles Davis record

kind of a bonus almost.

The same rhythm section that he played,
Miles Davis's rhythm section.

Great album there.

And then there's one that he made with
just John Coltrane and Cannonball Adderley

on the front line called
"Cannonball Adderley Quintet in Chicago."

So those are all great records.

I try to give you maybe
a record or two from

every artist that we don't
get to talk about in class.

But just will help you find
those artists for further listening.

Really encourage you to
seek out the actual records,

rather than-- I know it's
a great tendency in

the auto-play world and all that stuff
to just let Spotify send you

Cannonball Adderley of any sort.

You know, that's cool but
it's worth it sometimes to

seek out albums and songs
that were meant to be

put together that represent a
particular musical point of view.

It might change your perspective
on an artist if you do that.

And it might help to defeat
some algorithms out there.

Right, anyway, that's a whole other story
I don't want to get into today.

Okay, so that wraps up
our Cannonball Adderley

and pretty much our hard bop segment.

I think we got a little bit of hard bop

just to start contrasting that and
moving into cool in our next class.

So, we're going to head for Interplay
right now, pretty quickly.

Got a short video buffered.

It'll get me to make my camera friends
to make the quick trip upstairs.

So here's another example
on this short video

about Cannonball Adderley and combination
of blues and bebop in his vocabulary.

Here we go.

Cannonball's improvisation,
as I mentioned is a great

combination blues, motives, and ideas,
with energetic bebop technique.

So with these blues ideas,
or motives, or short phrases,

we have lots of bending in the notes.

And Cannonball uses a very gruff sound.

He alters the tone on some of his long
notes to give it more of a blues flavor,

almost a screaming or a grunting flavor.

A little bit of that.

And then in the bebop ideas
he plays fast notes that

move up and down scales real rapidly.

So let's check out the difference
between those two techniques.

Here's some of his blues idea.

♪ (jazz music) ♪

You might have noticed there were
very few notes in those motives,

and that those motives were very similar.

They all have a very strong blues feeling.

So let's contrast that sound
with the bebop sound

where he plays lots of rapid arpeggios.

Here's the first example of some bebop.

♪ (bebop jazz) ♪

So those phrases really fill the spaces.

When they're moving from beginning to end
there's a lot of notes moving through.

Here's some even faster notes.

♪ (bebop jazz) ♪

Cannonball's playing
sometimes four notes per beat

in the rhythm section to
communicate that bebop flavor.

♪ (upbeat traditional jazz) ♪

>> And now for Interplay.

>> Alright, so we've got--
joined today by Andrew and Bill.

And Peter and Joseph.

Thanks for being here.

So let's talk about...

let's talk about has your
process of listening to jazz

and listening to music changed since
you've been involved in this course.

So Andrew, I think you had some
thoughts about that, yeah?

>> Yeah...
>> Yeah.

>> So, you know, before
this course I kind of thought

jazz was just all over
the place, and you know

it didn't really have any
kind of feel to it.

And now, when I listen to
jazz even subconsciously

I feel like there's an organization to it.

You know, it's not just
all over the place anymore.

I understand it more as a genre.

>> Oh cool.
>> I would say, yeah.

>> That's great.
Bill, you're nodding your head.

Is it the same way for you?

>> Yeah, so jazz always felt like,
I guess... unorganized.

>> Yeah, alright.
>> I didn't know what was happening.

>> Uh huh.
>> But like it always sounded good.

And like, now that I know
that there's like this

form involved, that like,
it all makes sense now.

Everything comes together really nicely.

>> Yeah, okay, cool.
That's great.

Some people still think,
even if they understand form,

they still think it sounds
disorganized, you know.

>> (laughs)
>> Because it's a busy music, right.

Sometimes there's a lot
happening, you know.

So I can understand that.

You know, it's totally cool
if you don't like jazz, it's okay.

Really it is! (laughs)

But yeah, that's a common
thing you hear a lot.

"Jazz sounds like a bunch
of noise to me."

You know, how do they know
when to start and to stop?

They just start and stop
whenever they want.

So it's good to know that there's a little
more to it than that.

Does anybody else want to
weigh in on that particular

question about listening to music?

What's changed about it?

They way you understand the organization
of jazz more right?

>> I agree with all of them.
Like form changed how I view jazz.

And how I listen for loose form,
or like the A-A-B-A,

and I'm like, "Oh, there's
a 'B' coming up!"

>> Right okay cool, that's awesome.

So, you know, not to
burst the form bubble,

which I probably already
have anyway or

I'll give you the bad news that not all
jazz fits AABA or blues forms, right?

>> So then you're going to
get lost, you know, probably.

Some forms are very complicated.

And then there are songs
where the form--

like some of the things
you'll hear when you go to

see the big bands like
the jazz orchestra especially,

you know, we have these
multi-sectional compositions.

So the first part will be in one form,

but that will only last for a
little bit and then we get to

the improvised solo it'll be
related to this other form

but it won't be
the same exactly.

And this is nice, we get into
periods of sections

where there's just a repeated
four bars of chords

that are again related but
not necessarily the same.

And that'll go on for a while, and then
that'll just get stuck there, so to speak.

Not in a bad way but
it'll just stay there.

And then it'll move
into some other chords.

And then maybe at the end,
some of the stuff from

the beginning comes back
and it's the same form there.

So it can be, you know, kind of crazy

especially when you're dealing
with big bad composers

and modern composers and things.
They want to twist things around.

So...

but still, even when that's
happening, you know,

the players are aware of what the
sections are and what the forms are.

And so they're still going
to make the transitions or

the changes at junction points
in the form.

It's just that you won't be
able to count 8, 2, 3, 4.

It's going to change now.
Oh, no, it didn't.

But anyway, that's the idea.

So, but you know we're
also going to play,

at least on the "JO" concert,
we're going to play a blues.

So you're going to like, you know,
be able to count along with that okay.

It does have a little four bar
introduction I think,

but anyhow, I'm going to
tell you about that,

so you're going to be able to
catch up with some of those.

Okay, cool.

So I want to talk a little bit about the
live performance demonstration last time.

So, any questions about that
or thoughts about that?

Yeah?
>> Was that your first time

playing with them or was it like
an established band beforehand?

>> Yeah. Well actually in that
particular combination

that was the first time we'd
ever played that stuff together,

but we've all know each other
in a variety of contexts.

So, Wayne the drummer
came to school as a student,

as a graduate student about ten years ago.

So I've been playing with
Wayne in different bands

for pretty much that time.

And then for a while,
,you know, we have a--

when you teach jazz at a school that's,
you know, somewhat of a--

you're wearing different hats, you know.

So sometimes I'm teaching a
class with these current graduates--

all the rest of the players were
current graduate students

so they've all been in a class
that I've been teaching or

a band I've been directing.

So sometimes it's like
that but other times,

and still it's very democratic,
you know, we're all working

towards the same thing so...

just want to put that out there.

(laughs)

Sometimes we're just playing
gigs together though, you know.

So we might just be playing
at Elephant Room.

It's very common-- James.

In fact, James the bass
player came down to the--

we were both on the same Elephant
Room gig Tuesday night.

You know, so it's like--
so that relationship is you know,

where a lot of times we're just
band mates, you know.

So, the thing that helps us
do that kind of stuff is

we have all gained a familiarity
with the standard repertoire.

You know, so we know like
on the songs I picked for

the demonstration were
pretty much standards.

So we all know those.

We all know the melody to those,
the form, the chord changes.

And then that allows us
to play the stuff right away.

>> Good.
>> Yeah.

Which is good right.
(laughs) Yeah.

And that's a wonderful thing,
you know. I mean I've traveled

all around the world, you know,
going to Russia quite--

I've spent a number of years.

But I went to Russia
and was in a rhythm section

with players that I couldn't
speak the same language,

but yet we could play
"All The Things You Are."

You know, we all knew that song
and we just played together,

and that is amazingly cool.

Yeah, so love that part about it.

Yeah.

So.

And the solos are always
different every time, you know.

So if we did that again
you'd hear totally different

improvisations in the middle, right?

Which keeps us all coming back I think.

Yeah.

Anything else about that performance?

>> I mean I though it was
really cool how,

like you just mentioned, how no piece of
jazz is ever going to be the same,

because there's no way you can
possibly memorize an improvisation.

(professor laughs)

So just knowing that I think,
really actually made me

appreciate like,
"Oh wow, this is really cool."

And then seeing how all the like nods
and signalling to each other--

>> Uh huh.

>> I thought that was actually
really cool to see too.

>> Yeah.
>> So how it's not...

how there is organization,
how there is a process to all that.

>> Yeah. Right.
>> That was really cool.

>> Cool, I'm glad you liked that.

Yeah.

Shoot, a thought just evaporated.

What was the first thing that
you were talking about?

It was the...

oh, no improvisations are the same, right.

So once in a while people
make a jazz video

which I find is pretty interesting, right.

So they're like, you know,
trying to do the--

it's not MTV anymore right,
but they're going to put

another video on YouTube.

And sometimes they want
to do it with a record.

This doesn't happen very often,

but in those cases,
the players have to memorize

what they improvised and
play it again for the video shoot.

So, unfortunately I've never had
to do that personally, you know.

But I've had-- I know
people who have.

So they make the record
and they're like,

okay, now two months later
we're going to shoot the video

so everyone has to learn their solo
and play it along with the record.

Right? That's kind of--
would be maddening.

But anyway, other than that,
players don't improvise their solo.

Now players will play
similar solos, you know,

on tunes, you know.

There's especially,
I think that happened with

some players earlier,
like around the swing era.

You know, jazz was very
popular back in that time and

people got used to these
records and they wanted to

hear that improvised
solo the same way.

You know, so the players would be
sort of obligated to play a famous solo.

But once in a while.

But largely it's the other way,
so that's cool.

Anything else about the
live performance?

Were you able to catch
the difference--

oh, do you have something?

>> Oh, no.

>> Were you able to catch
the difference between

the even eighths song and
the swing song?

>> (students inaudibly answer)
>> Like (inaudible)

If we can tell that
difference a little bit.

>> And that is actually a
little something that

I was going to comment on is
I couldn't really tell

when like the genre changed
but I could tell when, you know,

the musical feel changed.

I knew that there was something up,
and someone asked

a question about it, and I was like...

>> You mean the rhythmic feel?
>> Yeah, yeah.

>> The rhythmic feel, right.
Yeah right.

You knew something was different, right.

So for most of that, you're probably going
to be zeroing in on the bass,

which I know is like--
sometimes that's--

and especially like with the things
that we listen to music on now,

a lot of the time, bass is not
necessarily treated favorably.

Your iPhone is not going to
pump out a lot of bass.

I mean it's great. It's amazing
what it does actually,

but still like, you know,
it's way different than putting a

LP on a record player,

like hearing it with big speakers
with stuff, right?

But anyway, that being said,
the bass is the thing.

So instead of the walking
bass with the--

(hums a bass line)

Like the "Song For My Father"
bass line, or whatever,

that's going to be a big help.

Or the drums.

It just depends on what your ears
are best attuned towards, right.

So the drums will be playing
different patterns.

Like what the drums are
playing on the cymbals,

usually with the right hand,
will be different in the swing style

versus the even eighths.

A lot of the times when the
drums are playing even eighths

they're playing those eighth
notes on the hi-hat.

That's the one over here
with the foot, you know,

that's like the two cymbals
that are on a stand.

Not always, but a lot of times it's there,

and on the right cymbal,
which is the cymbal over here,

it's where they'd be playing
that swing pattern a lot.

So it's not always--
that's not exclusive by any means,

but that helps you--
>> What did you say about the hi-hat?

>> The hi-hat is like a pedal
with a (coughs) sorry,

two cymbals mounted on a foot pedal.

>> Yeah, so do they play
eighth notes on the...

>> Hi-hat?
>> Yeah.

>> Sometimes they do, yeah.

Sometimes they play it on the
right cymbal, so it just depends.

The right cymbal has got
more ring to it,

so if they're looking for
a tighter sound,

a little more clipped sound,
they'll play on the hi-hat.

Because the hi-hat, you can vary whether
it's open or closed, with your foot.

So a lot of times they'll play
that on a closed hi-hat.

(makes sounds of beat on hi-hit)

Kind of, you know of course here
I am making my vocal drums, sorry.

But that right cymbal will ring more.

You know, so that's a more open,
splang, lang, lang, lang, a lang.

or gig, keep the gig, keep the gig,
or whatever it is for the swing pattern.

Yeah, but the big thing's if you see
drummers in bands,

you're looking at what they're going
to be doing with their right hand a lot,

if they're a right-handed drummer.

Of course that's all reversed for
left-handed drummers,

which is a whole other story.

But yeah, so you were hopefully able
to start recognizing that.

So a large proportion of the music
we're going to listen to in the first

part of the course is swing,
swing rhythmic feel.

I guess you're probably already
getting the sense.

And then, as we get in the cool era,
we'll hear about the bossa nova,

and that's one of the
first even eighths things.

And then we've got a little
even eighths today,

and "Mercy, Mercy, Mercy,"
a little bit of R&B today.

So we're edging into that.

And then when we get to fusion,
we'll hear a lot of even eighths

and even sixteenths and stuff,
later on in the course.

Cool.

Any other quick last minute questions?

How's Cerego going?

>> Good.
>> Good, everything's cool?

>> Okay, glad to hear it. That's a quick
question I guess.

(all laughing)

>> I had a question about the--
you said we don't have to go

to the jazz concerts available?

>> No, you have to go to one of the
two jazz concerts.

>> We can go to the off campus ones?
>> You can.

That's possible, but you have
to clear the event with us.

>> Yeah. Is that before hand?

>> Yes, beforehand. Don't go and then
say like "Oh, is this okay?"

Check with us beforehand.
Use the online Music 307 email for that.

>> Alright.

>> And don't go anywhere that's a
21 and up if you're not 21.

Okay. Alright. So yeah.

The thing that's optional is-- well,
you're already here,

so you know about Interplay.

But those of you out there that are still
watching, Interplay is optional.

Okay, you don't have to do it,
but it's a lot of fun, as you can tell.

So we had a great conversation today.
I hope you all have a great weekend.

Study for the quiz next time.
Keep working in Cerego,

and I hope you enjoy jazz.

We'll talk to you soon.

♪ (piano) ♪