1961 was one of jazz’s finest years, a year in which a critical mass of players were ready to explore new territory that had been opened up in the late Fifties. Also, two adventurous labels, Impulse! and Candid, had started up for the specific purpose of allowing these musicians to take risks. Way too many great albums came out for one post, so over the next few weeks, I will post about some of the most interesting ones. For now, I would just like to tell the story of how this new territory was created. Specifically, I will try to explain how jazz collectively spun out of its be-bop/hard bop corner. As a bonus at the end, I’ll review one record from 1961, Gil Evan’s Out of the Cool.
Parallel Avant-Gardes
This story of sudden innovation and expansion of possibilities was, in many ways, reminiscent of the emergence of the Abstract Expressionists a dozen years
earlier. For them the breakthrough came when they were able to assimilate all of the lessons of European modernism, and then find a way to move beyond those lessons to find an American voice for modernism. In their de Kooning: An American Master, Mark Stevens and Annalyn Swan masterfully pin down the dynamics of this moment in their description of de Kooning’s Excavation:
In Excavation, de Kooning took upon himself the European clash of styles. For decades, the art of painting had seesawed between expressionist impulses and classical reserve, between the rational and the irrational. In particular, cubism and surrealism presented two contrasting alternatives, one depending upon geometry and the grid, the other upon the looser form of dreams. Excavation was a magisterial synthesis of these two claims on modern truth. To de Koonning’s circle, cubism represented not only a certain way of organizing space, but also a responsibility to make a well-constructed picture; a painter should submit to the discipline of history and school the ‘self’ as a tradition of one. The surrealist found authority in the private dreams rather than any adherence to the past…de Kooning created a powerfully poised style that integrated the rigorous detachment of cubist structure with the personal drive and spontaneity of surrealism…
De Kooning gave his synthesis a strongly American character. Excavation had none of the monkish reserve of Parisian cubism, but seemed brash and pulsing, like the blinking sign of New York….
No other American painting–not even Stuart Davis’s pictures–conveyed with comparable force the jazzy syncopation of the city…Color slipped beguilingly across the eye and was lost. Excavation was a personal improvisation on the great abstract grid of modern urban life: the gestural line sometimes seemed to step forward from the rest of the painting, almost like a jazz soloist…
The restless casting about of line–and the tension between darks and lights and the fitful illuminations of color–also suggested the nervous play of existential thinking in 1950…
There is much more to the passage, but I’ll stop there. I think this catches something universal about the avant garde throughout the 20th century. Specifically, I think that when innovation happened, the artists who pulled it off managed to assimilate lessons from divergent traditions and forge them, through sheer force of personality, into something new. Giants like de Kooning were able to create new aesthetic territory this way, which, in turn, opened things up for a flood of innovation. Essentially the flowering of American art in the Fifties was an exploration of territory opened up by a few artists: de Kooning, Pollock, and Rothko.
In the case of jazz, by the late Fifties, it was in danger of fossilizing into a sort of mannerism. Everyone had assimilated the demanding techniques of be-bop, but nothing had emerged to move beyond. So, what could you do? One solution was to fuse it with soul, which is what Blue Note did, and did with great success. But the hard bop was bound to become a bit repetitive, and ultimately dependent on Soul fo
r innovation. This is why, with a few notable exceptions, all Blue Note managed to do in the Sixties was to become funkier. Another possibility was hitching jazz to Latin or African sounds, but that could also lead to a dead-end of silly bachelor-pad exotica . Then you had the Third Stream movement that was being pushed by Gunther Schuller. His solution was to hitch jazz to chamber music. While I’m not sure if it is fair to regard this approach as a dead end, it was certainly problematic. The danger, of course, was that you might destroy the swing and improvisational energy that made jazz unique. But, again, I think Third Stream was ultimately pretty valuable, and in some upcoming posts I’ll talk about some stuff from 1961 that was influenced by it in very fruitful ways.
What all these solutions have in common is that they proposed hitching jazz to something else. And this makes sense. When a genre or movement begins to go stale, you’ll find this sort of thing all the time. Your wagon is in a rut, so you hitch onto another to get you out. And sometimes the results will be fantastic. Some of those Horace Silver tracks on his Fifties Blue Note records sound great. I also like Cal Tjader’s exotic lounge jazz. Nothing wrong with the vibraphone! But without the spark of genius, you don’t get anything fundamentally new from these appropriations.
So how did jazz go on to enjoy another dozen years of innovation? More than any other
record, you have to give credit to Kind of Blue. Yes, there were other records from 1959 that were innovative–Ornette Coleman’s “The Shape of Jazz to Come” and Charles Mingus’s “Mingus Ah Um” come to mind. But they didn’t have nearly the same effect. I know many would disagree, but Coleman’s free jazz was, for the most part, a dead end, like Finnegan’s Wake. You can’t really go any farther with it, although it did help some musicians, such as Coltrane, to drop the anchor of 4/4 rhythm. As for Mingus, “Mingus Ah Um” wasn’t really anything radically different from what he had already done on “Pithecanthropus Erectus” and “The Clown”. Also, Mingus’s innovations, which were tremendous, never seemed to influence anyone else. I have never understood this, but I suppose that is a story for my post on Mingus’s music from 1961.
The Kind of Blue Solution
There are technical explanations for how Davis led jazz out of the rut I described above, but I’m not at all qualified to do that. Instead, I’d like to start out by comparing the atmosphere it creates with other albums from the same year. For instance, you can hear a classic piece of hard bop from Blue Mitchell.
Blue Mitchell–\”Blue Soul\”
The Mitchell song is great, the perfect soundtrack for any urban setting where you could meet the man or woman of your dreams. It has a swinging poise, a stylish masculinity that is loose-limbed, confident, and sophisticated. It is completely opposed to the manliness of John Wayne, the 1950s representation of laconic, humorless, sexually repressed masculinity. But it is also miles away from the desperate vulnerability that Elvis or James Dean were presenting as an alternative to John Wayne’s version of manhood and sexuality. No, it’s too grown up and urban for that. Now, check out “So What” from Kind of Blue:
Miles Davis — \”So What\”
The revolution is to shift the extroverted masculinity of hard bop and make it introverted, contemplative, even spiritual. And yet it has given up no erotic power in this inward turn. Indeed, it is as stylish as a tailored Italian suit, still limber and poised. Now when you consider what American men normally look and act like when they journey off into the spiritual realm, you’ll see Miles has pulled of something rare in American culture. If they are not sexless, busily sublimating their sex drives to achieve spiritual wholeness, America’s spiritual strivers are usually bearded, smelly, and wild-eyed.
How is this effect achieved? Richard Williams, in his The Blue Moment: Mile Davis’s ‘Kind
of Blue’ and the Remaking of Modern Music, does a really nice job of getting at the innovations that make “Kind of Blue” sound so different form everything that came before it. First of all, it is “modal,” which is a technical term I don’t really understand. But what I do understand is that it achieves a kind of static ambiance that is unlike any other jazz that came before it.There is also the sonic space created by the good folks at Columbia, which allows all the instruments to fill the space of the song in a way that had never existed before. This was a result of improvements in recording technology, making it possible for bass, drums, and piano to move beyond being merely, as Williams describes it, a “platform” for the soloists. Also, through his tone and economy, Davis created solos that seem to have been “distilled from a much more complex subject. The most obvious hallmark of all this was restraint, but behind the economy of gesture and effort appeared to lie enormous reserves of intensity.”
Aside from Miles himself, Gil Evans was most responsible for creating the static ambiance I referred to above. Back in the late forties, Evans was already slowing jazz down and expanding its emotional palette by smuggling in sounds from impressionist composers like Faure and Ravel. He also befriended Davis in the late Forties, leaving his door unlocked so Miles could crash there whenever he wanted. This was how Davis was exposed to French stuff like Faure and Ravel, but also American avant garde composers like John Cage and Harry Partch. He also introduced Miles to George Russell, a jazz composer who was loosely connected to the Third Stream crowd because was he was experimenting with exotic scales. You can hear an example from a 1957 show that also featured compositions by Charles Mingus and Gunther Schuller. On piano is Bill Evans two years before he played on “Kind of Blue”. Here is something from “New York, New York,” which featured Coltrane a year before “Kind of Blue” (his solo is around the 7:30 mark).
Also, Miles’ trip to France in 1957 further extended his sonic palette and provided an opportunity to explore more open song structures. He basically got off the plane, made
friends with Sartre, and then fell in love with the singer Juliette Greco, whose version of “Autumn Leaves” would lead him to cut his own version in 1959 with Cannonball Adderley. It’s easy to see why he would have connected so easily them. The intellectual and erotic landscape of Sartre’s existentialism and 50s chansons is not at all far from Davis. But more than Sartre and Greco, it is was perhaps the opportunity to make a soundtrack for the film “Ascenseur pour l’echafaud” that was a most important for Miles’ development. To make the soundtrack, Davis was given a few French players and a screen to watch the film. All he did was improv over fairly basic compositions, which freed him from creating conventional progressions and breaks for solos. Instead, he could just play what he thought would fit was going on in front of him, improvising a pure mood that could be cut off whenever he felt like it. The results are not necessarily the greatest album, but you can see that he was freed up to create some pretty cool snatches of song, as in “L’assassinat de Carla”.
Finally, the increasing cosmopolitan scene in New York encouraged him to explore African sounds. In 1959, he saw Keita Foddeba’s Les Ballets africains perform, which not only exposed him to new rhythms, but introduced him to the kalimba, a kind of hand-held piano. He tried to get Bill Evans to produce something like a kalimba effect on “All Blues“.
What you here is an integration of a number of loosely connected trends happening throughout the Fifties. First you have a meditative spirituality that was generated through a sustained mid-tempo modal playing. There is a comfort in the static, an atmospheric suspension that John Cage would have recognized. Certainly 1960s minimalists like Terry Riley did. And then you have touches of European, particularly French, high modernism smuggled in by Gil Evans’ arranging and Bill Evans’ Debussy-like melodies. It is certainly not Third Stream, but has assimilated its high modernist seriousness. You have a transmuted blues and world music, a sophisticated integration of earthy sounds. Bluesy soul, world music, and classical: the three modes that jazz was fruitless trying to hitch itself to. But it was Davis, through the force of his own personal aesthetic, who took all three and created an entirely new landscape that could be explored over the next decade.
1961: The Gil Evans Extension
With this massive terrain established in 1959, there were a bunch of different places to go. For now, I just want to start with a rather straightforward extension by Gil Evans. Taking what he had developed with Miles on “Kind of Blue” and “Sketches of Spain,” he cut two amazing records, ”Into the Hot” and “Out of the Cool,” with the new Impulse! label in 1961. “Into the Hot” is good, but it isn’t really an Evans record. Instead he just lent his name to it, leaving the composing/arranging to John Carisi and Cecil Taylor. But “Out of the Cool” is pure Evans, definitely one of the under-appreciated albums of the 1960s.
In “Out of the Cool,” you have an orchestra of a dozen or more players. But he doesn’t actually create a big swinging sound with it. Instead, you get something more stylish and atmospheric. Evans is on piano, providing very cool vamps, particularly the one at the beginning of “La Nevada“. On trombone, you have Jimmy Knepper, who was frequently used by Mingus. But rather than the propulsive, careening drive that Mingus demanded, Knepper, on “Where Flamingos Fly,” plays with a drooping, hip melancholy, all stretched out with a repeating portentous melody underneath that would fit a suspense film. The song just sort of fades to an end. After that is “Bilbao,” a Kurt Weil track that uses this odd little percussion instrument that is played with mallets made of rubber balls. It sounds sort of like a subdued karimba. After that is a George Russell composition, “Stratusphunk”. Then the album finishes with “Sunken Treasure,” which has rather Miles-like playing by John Coles on trumpet. Throughout the whole album, Elvin Jones provides a rhythm that gives the album its sonic space and depth.
It doesn’t have the quiet spiritual intensity of “Kind of Blue,” but that isn’t what it is going for. Instead, it is creating a cinematic sonic space that can transport you in the way the best exotica does. But rather than generating the touristy titillation of jungle princesses, it creates an urbane space, one informed by High Modernism. It is Kind of Blues‘ existentialist turned into a cosmopolitan man of action, a jazzy James Bond.