Abstract
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.
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. The electric jazz period post- 1970 was an exploratory time when composers began merging other music styles and genres with jazz in the search for new ideas and concepts. The CD recording represents the outcome of a five-year research process and a musical and personal journey to New York City to rehearse and record the CD with Omar Hakim, Mike Mainieri, Rachel Z and other well- known jazz exponents.
To develop these broad considerations, I constructed a semi-autoethnographic narrative that focuses on my creative practices, processes and discoveries as an electric bassist. The narrative is grounded in my lived experiences and research. It reveals shifts between explanation and action, discussion and personal reflection, and credits broader considerations.
Integral to the performances and exegesis research was the audio examination phase and the meticulous inspection of works and literature encompassing 1970 through to the twenty-first century. This procedure was to gain archetypal works worthy of demonstration of this period of jazz and the electric bass. This journey of intense audio investigation, practice, transcription, associations and research alignment forms the most substantial portion of the selection procedure and review. The personal findings of my journey determined the direction of the CD compositions and consequently, the performed works.
The transcriptions, analysis and review culminated in a methodical list of varied approaches, techniques, relationships and developments on electric bass connecting to rhythm, counterpoint, improvisation, interpretation, phrasing and polyrhythm, all of which are outlined in a glossary overview. This list was used and examined as a practical application guide, a structure for personal exploration, including expansions of concepts that are discussed throughout this exegesis. The facets of this journey led inevitably to its conclusion, being the effects of my studies on the three performances and the CD release.
The pivotal points of this performance-based exegesis are where the discoveries of the varied facets of research are applied, all of which stipulated the foundation of my research.