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1

Considering the 1960s to be a time of unrest and experimentation (in virtually all aspects of society), how did jazz artists find new ways and styles to express themselves? In answering this question, consider the material from both chapters 11 and 12.
2

Track the evolution of the jazz trumpet by listening to Louis Armstrong's "West End Blues," Bix Beiderbecke's "Singin' the Blues," Dizzy Gillespie's "Manteca," and Miles Davis's "Summertime." Consider use of range (low or high notes), technique (playing slow or fast), timbre (brilliant or mellow sound), vibrato (straight tone or with vibrato), and any other aspects you notice. Another interesting alternative approach to this question is to track the evolution of Miles Davis by comparing his music from "Moondreams" to "Summertime" to "Milestones" to "Spanish Key."
3

One of the keys to defining different jazz styles is the manner in which the rhythm section plays. Compare Miles Davis's hard bop rhythm section on "Milestones" to his fusion rhythm section on "Spanish Key." Are the instruments in the two rhythm sections the same? Now consider what each rhythm instrument is doing and describe how they differ between the two songs (e.g., how is what the bass is playing on "Milestones" different from the bass's role on "Spanish Key?).
4

Some of John Coltrane's later music had a spiritual quality and an extra-musical meaning (e.g., the song "Alabama" or the album A Love Supreme). That is, they were not just songs, but pieces of music that had a theme or meaning to them. Without lyrics to convey this meaning, how do you think Coltrane conveyed this greater meaning behind the music? The instructor may play some of this music in class. Do you think Coltrane was successful in bringing his message to the listener?





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