The Subject is Jazz; 8; Cool

The National Broadcasting Company is cooperation with the educational television and radio center presents the subject is jazz. With Gilbert Saldens, this program is cool. With our guests, Lee Konens. And now our host, critic and chronicler are the lively arts, Gilbert Saldens. Since 1926 at least, France has provided some of the best criticism of jazz for years and fact that I'll spit around.

Today, this tradition is continued by Andre Odier, himself a composer of both jazz and academic music in an excellent critic of both. According to his book, jazz, it's evolution and essence. The kind of jazz that we call cool represents a striving toward a certain conception of musical purity. He says it contributes a new element, a modesty and musical expression not to be found before in jazz. With cool Odier says jazz becomes an intimate art, like chamber music and comparison with symphony orchestras. Here's an example as one of the famous cool numbers, God Child. Thank you.

Thank you. Thank you. Thank you.

Thank you. Thank you. I want to welcome and to identify three new players who are combo on this program.

There's one marsh on the tenor sacks, not only in trumpet and he'll also be heard on the telephone and the five presently and our guest Lee Konens. Now, at the time that our French critic was writing about cool, he heard very little of this quality. It was out of fact a recording of Miles Davis version of God Child that led him to conclusion that cool was most interesting for a certain sonority, a way of making sound that he felt was different from all earlier jazz. Others, particularly American critics, have been as much excited by experiments in rhythm and melody and pool, but known as failed to note the phenomenal quality of pool sound. Of course, it's been created by many men on many different instruments. Here's one of the pioneers in pool, less to young on the tenor sacks that he sounded about 1939. American critics also give a great deal of credit to Charlie Christians guitar and Europeans and Americans all agree on significance of Miles Davis, both as a creative and trumpeter and as an assembler of musicians.

Just be quiet in your publicity, for instance, the tuba and the French horn fairly unfamiliar instruments and jazz are as interesting as a trumpet itself. Another of the great leaders of Cool of course is Lennie Cristano. Here in an excerpt from his composition, which is called Wow, you'll note a melodic approach which is quite as fresh as the sounds of the group. There's one meaning of the word cool, the jazz man will accept.

It is definitely a more relaxed style of playing than hard jazz. No cool band, for instance, attempts the shock treatment. It could be delivered by the tenbrasses and five saxophones of say Lionel happens in 1946 band. Makeup of a typical cool combo is closer to what we've seen here. When we're talking about a dilator pointed out the fundamentally, our musicians play modern jazz and they play it hard or cool as the occasion demands. Before they play it either way, I wish to talk about something else that you mentioned to me. We're talking about weather, cool, and swing and it does how and how is the rhythm section differ from previous. Well, in one way, the rhythm section differs by instead of playing percussive accents as in earlier phones, barf and other earlier phones, percussive accents like this.

Cool rhythm section leaves much more of a subtle or plays in a much more subtle fashion like this. Well, now there's a big difference because as you can see there's a floating sensation rather than a pushing. Instead of playing on top of the beat, you are actually grinding on the beat. It means that I have to listen to it more closely. Just not jammed at me? Very definitely. This gives the soloists who are playing the melodic line and who have a certain kind of continuity which hasn't been found in music prior to this. It gives them a good place to develop this continuity. It makes it easier for the listener to hear the continuity of the melodic line.

Well, I think that the other side, the other portion we have both in records and the playing just now, we've heard that new sound of cool. And that is the third element. What does cool do to the whole melody, the whole number as you play it? Well, to take it to a written by Ted Dameron, which was a tune out of the Bob era, which had very lovely harmonic progressions and which was called Lady Bird. It's the tune itself sounds something like this. As of Bob. Yes, it was a tune of the Bob era. Miles Davis added something to this tune. He put a melody on this harmonic construction and the melody, even though he articulated and played the rhythm, rhythmic patterns of the melody in a very careful fashion. There's no attempt to make it metronomic.

The syncopations may be before or after the beat and they're very low. They flow. They flow. Yeah. Like this. No, I didn't want to put this together with the combo. Yes, I'd like to demonstrate all of these things. And you can hear a difference in seniority between what it sounds like on the panel and what happens to it when you give these different parts to individual instruments like this. Yeah. Yeah.

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