It is an investigation that examines my journey, through the CD recording, three performances, transcription, analysis and research, utilising some pivotal contemporary jazz composers and electric bassists from the late twentieth century. This exegesis is tied to the CD, ‘Portrait of New York’ – an assortment of inventive musical compositions to explore diversity in electric jazz after 1970, and three multi-faceted live performances focused on electric bass from that period. Using the All-Stars as an example of modern jazz in the fifties, the frequently confusing jazz history narrative found in most textbooks can be reshaped, providing a more useful picture of the music during that decade. They viewed their music as modern, just as their New York-based contemporaries did. Recent interviews with members of the All-Stars and articles appearing in both jazz and general interest periodicals during the fifties also indicate that the All-Stars were not playing in a different style. The recordings do not support the view that the All-Stars were playing an identifiable West Coast or Cool style that was different from an East Coast or Hard Bop style favored by players based in New York. The recordings contain a variety of modern or post-swing approaches to jazz improvisation, composition, and arranging similar to those found on recordings produced in New York. The band produced both live and studio recordings over a period of seven years. The Lighthouse provided a stable working environment for jazz musicians with few, if any, commercial restraints. This study examines the music produced by Howard Rumsey's Lighthouse All-Stars at The Lighthouse nightclub in Hermosa Beach, California between 19 and its relationship to music recorded by New York-based groups during the same period. However, by the mid-sixties when jazz was dominated of the Avant-garde or New Thing, this variation on modern jazz was discredited and frequently forgotten. It also appealed to many casual listeners, some as attracted to the provocative album cover art as they were to the music. Moreover, a part of this research deals with the creative exploration of the production techniques discussed in order to develop my personal compositional work and eventually to create a framework where a discussion about composing electroacoustic music from the perspective of rock production (and vice-versa!) could emerge.ĭuring the Fifties, a musical style frequently called West Coast jazz became popular with both critics and serious jazz fans. Musical examples from the field of classical, jazz and rock styles (including artists like Glenn Gould, Lennie Tristano, Miles Davis, the Beatles, Pink Floyd, Fred Frith (Henry Cow) and Frank Zappa) are addressed for the sake of exploring different experimental studio practices. A historical overview of the context which experimental rock emerged from is attempted, exploring why and how certain production techniques were used at that period in rock music and investigating into whether the aesthetic outcome of these techniques relates to experiments in the field of electroacoustic music. This thesis tries to elucidate and exemplify possible intersections between experimental rock of the late 60s and early 70s and the field of electroacoustic music, focusing mostly on production/compositional techniques and aesthetic approaches.
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