11 December

Start of class: "That Old Devil Called Love" by Billie Holiday (1944) "Black and Blue" by the Duke Ellington Orchestra (1929) Acid Jazz example: "Take Four" by Chris Bangs from Fuck Acid House… This Is Acid Jazz (2008) Electrojazz example: "Live at Bla" by Bugge Wesseltoft from New Conception of Jazz Live (2003) Contemporary Jazz example: "You've Got To Be Modernistic" by Jason Moran from Modernistic (2002) Contemporary Jazz example: "Paranoid Android" by Brad Mehldau from Largo (2002) End of course: "Butterfly" by the Robert Glasper Experiment from Double Booked (2009)

9 December

Start of class: "Hollywood Stampeded" by Coleman Hawkins (1945) "China Boy" by the Bechet-Spanier Big Four (1940) Neoclassical Jazz example: "Autumn Leaves" by Wynton Marsalis from Standard Time, Vol. 1 (1986) Contemporary Jazz example: "River" by Tatsu Aoki from The Miyumi Project (2000) Contemporary Jazz example: "Á l'ouest!" by Le Sacre du tympan from Le Sacre du tympan (2002) Contemporary Jazz example: "Chank" by John Scofield from A Go Go (1998) End of class: "Sir Roderick the Aloof" by the Branford Marsalis Quartet from Braggtown (2006)

6 December

Start of class: "Paradoxe 1" by Le Jazz Groupe de Paris and André Hodeir from Jazz in Paris (recorded 1956, released 2001) "Live and Love Tonight" by Basie's Bad Boys (1939) "Lookie, Lookie, Lookie" by Cleo Brown (1935) Example of progressive movement in jazz: "Piece Three" by Anthony Braxton from Creative Orchestra Music (1976) Example of neoclassical jazz: "Processional" by Wynton Marsalis from In This House, On This Morning (1994)

4 December

Start of class: "Downtime" by Robert Glasper Trio from Double Booked (2009) "Blues In Disguise" by Mezz Mezzrow (1934) Example of Afro-Brazilian fusion (samba): "Samba Dees Days" by Stan Getz from Jazz Samba (1962) Example of Afro-Brazilian fusion (bossa nova): "Desafinado" by Stan Getz and Joao Gilberto from Getz/Gilberto (1959) Example of Afro-Cuban fusion: "Watermelon Man" by Mongo Santamaria from Watermelon Man! (1963)

2 December

Start of class: "Take the A Train" by Ella Fitzgerald with Duke Ellington and his Orchestra from Ella Fitzgerald Sings the Duke Ellington Songbook (1957) Fusion example: "Bitches Brew" by Miles Davis from Bitches Brew (1970) Soul jazz example: "This Little Girl of Mine" by Grant Green from Blues for Lou (1963) Smooth jazz example: "Breezin'" by George Benson from Breezin' (1976) Jazz-rock fusion: "Teen Town" by Weather Report from Heavy Weather (1976) End of class: "Major and Minor Stomp" by Jimmy Dorsey (1939)

25 November

Start of class: "Big Sky" by the John Scofield Quartet from What We Do (1993) Free improvisation example: "Number 7" by Fred Van Hove, Peter Brötzmann, and Hans Bennink from FMP130 (1973) John Coltrane example: "Acknowledgement" from A Love Supreme (1965) The Avant garde example: "Ghosts" by Albert Ayler from Lörrach, Paris, 1966 (1966) The Avant garde example 2: "Nonaah" by the Roscoe Mitchell and the Art Ensemble of Chicago from Nonaah (1976) Fusion example and end of class: "Bitches Brew" by Miles Davis from Bitches Brew (1970)

22 November

Start of class: "A Little Love, A Little Kiss" by Django Reinhardt (1937) "Blues for Alice" by Charlie Parker (1951) "There'll Come a Time" by Bix Beiderbecke (1928) Miles Davis example: "E.S.P." from E.S.P. (1965) John Coltrane example: "Giant Steps" from Giant Steps (1959) Free improvisation example: "Free Jazz" by Ornette Coleman from Free Jazz (1961)