Interesting Facts. A brief history of jazz music The history of jazz in brief for children
Jazz- a type of musical art that appeared in the late 19th and early 20th centuries as a result of the mixing of the African musical culture of black slaves and the European one. From the first culture, this type of music borrowed improvisation, rhythm, repeated repetition of the main motive, and from the second - harmony, sounds in minor and major. It is worth noting that such elements of the folklore of African slaves brought to America, such as ritual dances, work and church songs, and blues, were also reflected in jazz melodies.
Disputes about the origin of jazz are still ongoing. It is known for sure that it spread throughout the world from the USA, and its classical direction originated in New Orleans, where on February 26, 1917, the Original Dixieland Jazz Band recorded the first jazz record.
In the first decade of the 20th century, musical ensembles that performed original improvisations on the themes of blues, ragtime, and European songs became especially popular in the southern states of the United States. They were called “jazz-band”, which is where the word “jazz” came from. These groups included musicians playing a variety of instruments, including: trumpet, clarinet, trombone, banjo, tuba, double bass, drums and piano.
Jazz has several characteristic features that distinguish it from other musical genres:
- rhythm;
- swing;
- instruments that imitate human speech;
- a kind of “dialogue” between instruments;
- specific vocals, intonation reminiscent of a conversation.
Jazz has become an integral part of the music industry, spreading throughout the globe. The popularity of jazz melodies has led to the creation of a huge number of ensembles performing them, as well as to the emergence of new directions in this genre of music. Today, more than 30 such styles are known, among which the most popular are blues, soul, ragtime, swing, jazz-rock, and symphonic jazz.
For those who want to master the basics of this type of musical art, the decision is to buy a clarinet, trumpet, banjo, trombone or any other jazz instrument will be an excellent start towards mastering this genre. Later joined jazz orchestras and ensembles included a saxophone, which today you can even buy in an online store. In addition to those listed, a jazz group may also include ethnic musical instruments.
After Christopher Columbus discovered a new continent and Europeans settled there, ships of traders in human goods increasingly headed to the shores of America.
Exhausted by hard work, homesick and suffering from the cruel treatment of their guards, the slaves found solace in music. Gradually, Americans and Europeans became interested in unusual melodies and rhythms. This is how jazz was born. What is jazz and what are its features, we will consider in this article.
Features of the musical direction
Jazz includes music of African-American origin, which is based on improvisation (swing) and a special rhythmic structure (syncopation). Unlike other genres, where one person writes the music and another performs it, jazz musicians are also composers.
The melody is created spontaneously, the periods of composition and performance are separated by a minimum period of time. This is how jazz comes about. orchestra? This is the ability of musicians to adapt to each other. At the same time, everyone improvises their own.
The results of spontaneous compositions are stored in musical notation (T. Cowler, G. Arlen “Happy All Day”, D. Ellington “Don’t You Know What I Love?”, etc.).
Over time, African music was synthesized with European music. Melodies appeared that combined plasticity, rhythm, melody and harmony of sounds (CHEATHAM Doc, Blues In My Heart, CARTER James, Centerpiece, etc.).
Directions
There are more than thirty styles of jazz. Let's look at some of them.
1. Blues. Translated from English word means “sadness”, “melancholy”. Initially, the blues was the name given to the solo lyrical song of African Americans. Jazz blues is a twelve-bar period corresponding to a three-line poetic form. Blues compositions are performed at a slow tempo, and there is some understatement in the lyrics. blues - Gertrude Ma Rainey, Bessie Smith and others.
2. Ragtime. The literal translation of the name of the style is torn time. In the language of musical terms, "rag" refers to additional sounds between the beats of a measure. The trend appeared in the USA after people overseas became interested in the works of F. Schubert, F. Chopin and F. Liszt. The music of European composers was performed in the jazz style. Later original compositions appeared. Ragtime is typical for the works of S. Joplin, D. Scott, D. Lamb and others.
3. Boogie-woogie. The style appeared at the beginning of the last century. Owners of inexpensive cafes needed musicians to play jazz. It went without saying that such musical accompaniment requires the presence of an orchestra, but inviting a large number of musicians was expensive. The pianists compensated for the sound of different instruments, creating numerous rhythmic compositions. Boogie features:
- improvisation;
- virtuosic technique;
- special accompaniment: the left hand performs a motor ostinant configuration, the interval between the bass and the melody is two or three octaves;
- continuous rhythm;
- pedal exclusion.
Boogie-woogie was played by Romeo Nelson, Arthur Montana Taylor, Charles Avery and others.
Style legends
Jazz is popular in many countries around the world. Everywhere has its own stars, surrounded by an army of fans, but some names have become real legends. They are known and loved all over. Such musicians, in particular, include Louis Armstrong.
It is unknown what the fate of the boy from a poor black neighborhood would have been like if Louis had not ended up in a correctional camp. Here the future star was enrolled in a brass band, although the band did not play jazz. and how it was performed, the young man discovered for himself much later. Armstrong gained worldwide fame thanks to diligence and perseverance.
Billie Holiday (real name Eleanor Fagan) is considered the founder of jazz singing. The singer reached the peak of her popularity in the 50s of the last century, when she changed the scenes of nightclubs to the theater stage.
Life was not easy for the owner of a three-octave range, Ella Fitzgerald. After the death of her mother, the girl ran away from home and led a not very decent lifestyle. The start of the singer’s career was her performance at the Amateur Nights music competition.
George Gershwin is world famous. The composer created jazz works based on classical music. The unexpected manner of performance captivated listeners and colleagues. The concerts were invariably accompanied by applause. The most famous works of D. Gershwin are “Rhapsody in Blue” (co-authored with Fred Grof), the operas “Porgy and Bess”, “An American in Paris”.
Also popular jazz performers were and remain Janis Joplin, Ray Charles, Sarah Vaughn, Miles Davis and others.
Jazz in the USSR
The emergence of this musical movement in the Soviet Union is associated with the name of the poet, translator and theatergoer Valentin Parnakh. The first concert of a jazz band led by a virtuoso took place in 1922. Later, A. Tsfasman, L. Utesov, Y. Skomorovsky formed the direction of theatrical jazz, combining instrumental performance and operetta. E. Rosner and O. Lundstrem did a lot to popularize jazz music.
In the 1940s, jazz was widely criticized as a phenomenon of bourgeois culture. In the 50s and 60s, attacks on performers stopped. Jazz ensembles were created both in the RSFSR and in other union republics.
Today, jazz is performed freely in concert venues and clubs.
Subsequently, ragtime rhythms combined with blues elements gave rise to a new musical direction - jazz.
The origins of jazz are connected with the blues. It arose at the end of the 19th century as a fusion of African rhythms and European harmony, but its origins should be sought from the moment of the importation of slaves from Africa to the territory of the New World. The brought slaves did not come from the same family and usually did not even understand each other. The need for consolidation led to the unification of many cultures and, as a result, to the creation of a single culture (including musical) of African Americans. The processes of mixing African musical culture and European (which also underwent serious changes in the New World) occurred starting from the 18th century, and in the 19th century led to the emergence of “proto-jazz”, and then jazz in the generally accepted sense.
New Orleans jazz
The term New Orleans, or traditional, jazz usually refers to the style of musicians who performed jazz in New Orleans between 1900 and 1917, as well as New Orleans musicians who played and recorded in Chicago from about 1917 through the 1920s. . This period of jazz history is also known as the Jazz Age. And this concept is also used to describe the music performed at various historical periods by representatives of the New Orleans revival, who sought to perform jazz in the same style as the musicians of the New Orleans school.
The development of jazz in the USA in the first quarter of the 20th century
After the closure of Storyville, jazz from a regional folk genre begins to turn into a national one Musical direction, spreading to the northern and northeastern provinces of the United States. But its widespread spread, of course, could not have been facilitated only by the closure of one entertainment district. Along with New Orleans, in the development of jazz great importance St. Louis, Kansas City and Memphis played from the start. Ragtime originated in Memphis in the 19th century, from where it then spread throughout the North American continent in the period -1903. On the other hand, minstrel shows, with their motley mosaic of all kinds of musical movements of African-American folklore from jigs to ragtime, quickly spread everywhere and prepared the way for the arrival of jazz. Many future jazz celebrities began their careers in minstrel shows. Long before Storyville closed, New Orleans musicians went on tour with so-called “vaudeville” troupes. Jelly Roll Morton toured regularly in Alabama, Florida, and Texas since 1904. Since 1914 he had a contract to perform in Chicago. In 1915, Thom Browne's white Dixieland orchestra also moved to Chicago. The famous “Creole Band,” led by New Orleans cornetist Freddie Keppard, also made major vaudeville tours in Chicago. Having separated from the Olympia Band at one time, Freddie Keppard's artists already in 1914 successfully performed in the very the best theater Chicago and received an offer to make a sound recording of their performances even before the Original Dixieland Jazz Band, which, however, Freddie Keppard short-sightedly rejected.
The area covered by the influence of jazz was significantly expanded by orchestras that played on pleasure steamers sailing up the Mississippi. Since the end of the 19th century, river trips from New Orleans to St. Paul have become popular, first for a weekend, and later for a whole week. Since 1900, New Orleans orchestras have been performing on these riverboats, and their music has become the most attractive entertainment for passengers during river tours. The future wife of Louis Armstrong, the first jazz pianist Lil Hardin, started in one of these “Suger Johnny” orchestras.
Many future New Orleans jazz stars performed in the riverboat orchestra of another pianist, Faiths Marable. Steamboats traveling along the river often stopped at passing stations, where orchestras staged concerts for the local public. It was these concerts that became the creative debuts for Bix Beiderbeck, Jess Stacy and many others. Another famous route ran through Missouri to Kansas City. In this city, where, thanks to the strong roots of African-American folklore, the blues developed and finally took shape, the virtuoso playing of New Orleans jazzmen found an exceptionally fertile environment. By the beginning of the 2010s, the main center for the development of jazz music was Chicago, where, through the efforts of many musicians gathered from different parts of the United States, a style was created that received the nickname Chicago jazz.
Swing
The term has two meanings. Firstly, it is an expressive means in jazz. A characteristic type of pulsation based on constant deviations of the rhythm from the supporting beats. Thanks to this, the impression of great internal energy is created, which is in a state of unstable equilibrium. Secondly, the style of orchestral jazz, which emerged at the turn of the 1920s and 30s as a result of the synthesis of Negro and European stylistic forms of jazz music.
Performers: Joe Pass, Frank Sinatra, Benny Goodman, Norah Jones, Michel Legrand, Oscar Peterson, Ike Quebec, Paulinho Da Costa, Wynton Marsalis Septet, Mills Brothers, Stephane Grappelli.
Bop
Jazz style that developed in the early to mid-40s of the 20th century and ushered in the era of modern jazz. Characterized by fast tempo and complex improvisations based on changes in harmony rather than melody. The super-fast tempo of performance was introduced by Parker and Gillespie in order to keep non-professionals away from their new improvisations. Among other things, a distinctive feature of all bebopers was their shocking behavior and appearance: the curved trumpet of “Dizzy” Gillespie, the behavior of Parker and Gillespie, Monk’s ridiculous hats, etc. Having emerged as a reaction to the widespread spread of swing, bebop continued to develop its principles in the use of expressive means, but at the same time discovered a number of opposing trends.
Unlike swing, which is mostly the music of large commercial dance orchestras, bebop is an experimental creative movement in jazz, associated mainly with the practice of small ensembles (combos) and anti-commercial in its orientation. The bebop phase marked a significant shift in the emphasis in jazz from popular dance music to a more highly artistic, intellectual, but less mass-produced “music for musicians.” Bop musicians preferred complex improvisations based on strumming chords instead of melodies.
The main instigators of the birth were: saxophonist Charlie Parker, trumpeter Dizzy Gillespie, pianists Bud Powell and Thelonious Monk, drummer Max Roach. Also listen to Chick Corea, Michel Legrand, Joshua Redman Elastic Band, Jan Garbarek, Charles Mingus, Modern Jazz Quartet.
Big bands
The classic, established form of big bands has been known in jazz since the early years. This form retained its relevance until the end of the 1920s. The musicians who joined most big bands, as a rule, almost in adolescence, played very specific parts, either memorized at rehearsals, or from notes. Careful orchestrations coupled with large brass and woodwind sections brought out rich jazz harmonies and created a sensationally loud sound that became known as “the big band sound.”
Big band became the popular music of its time, reaching its peak of fame in the mid-'s. This music became the source of the swing dancing craze. The leaders of the famous jazz orchestras Duke Ellington, Benny Goodman, Count Basie, Artie Shaw, Chick Webb, Glenn Miller, Tommy Dorsey, Jimmy Lunsford, Charlie Barnett composed or arranged and recorded a veritable hit parade of tunes that were heard not only on the radio , but also everywhere in dance halls. Many big bands showcased their improvising soloists, who whipped audiences into a state of near hysteria during well-promoted “battles of the bands.”
Although the popularity of big bands declined significantly after World War II, orchestras led by Basie, Ellington, Woody Herman, Stan Kenton, Harry James and many others toured and recorded frequently over the next few decades. Their music gradually transformed under the influence of new trends. Groups such as ensembles led by Boyd Rayburn, Sun Ra, Oliver Nelson, Charles Mingus, Tad Jones-Mal Lewis explored new concepts in harmony, instrumentation and improvisational freedom. Today big bands are a standard in jazz education. Repertory orchestras such as the Lincoln Center Jazz Orchestra, the Carnegie Hall Jazz Orchestra, the Smithsonian Jazz Masterpiece Orchestra, and the Chicago Jazz Ensemble regularly play original arrangements of big band compositions.
In 2008, George Simon’s canonical book “Big Bands of the Swing Era” was published in Russian, which is essentially an almost complete encyclopedia of all big bands of the golden age from the early 20s to the 60s of the 20th century.
Mainstream
Pianist Duke Ellington
After the end of the prevailing fashion of large orchestras in the era of big bands, when the music of large orchestras began to be crowded out on stage by small jazz ensembles, swing music continued to be heard. Many famous swing soloists, after concert performances in ball rooms, liked to play for fun at spontaneous jams in small clubs on 52nd Street in New York. And these were not only those who worked as “sidemen” in large orchestras, such as Ben Webster, Coleman Hawkins, Lester Young, Roy Eldridge, Johnny Hodges, Buck Clayton and others. The leaders of the big bands themselves - Duke Ellington, Count Basie, Benny Goodman, Jack Teagarden, Harry James, Gene Krupa, being initially soloists, and not just conductors, also looked for opportunities to play separately from their large group, in a small composition. Not accepting the innovative techniques of the upcoming bebop, these musicians adhered to the traditional swing manner, while demonstrating inexhaustible imagination when performing improvisational parts. The main stars of swing constantly performed and recorded in small lineups, called “combos,” within which there was much more room for improvisation. With the beginning of the rise of bebop, the style of this direction of club jazz of the late 1920s received the name mainstream, or main movement. Some of the era's finest performers could be heard in fine form at the jams, when chord improvisation had already taken precedence over the melody-coloring method of the swing era. Re-emerging as a free style in the late 's and 's, the mainstream absorbed elements of cool jazz, bebop, and hard bop. The term "contemporary mainstream" or post-bebop is used today for almost any style that does not have a close connection to historical styles of jazz music.
Northeastern jazz. Stride
Louis Armstrong, trumpeter and singer
Although the history of jazz began in New Orleans with the advent of the 20th century, the music really took off in the early years when trumpeter Louis Armstrong left New Orleans to create new revolutionary music in Chicago. The migration of New Orleans jazz masters to New York, which began shortly thereafter, marked a trend of constant movement of jazz musicians from the South to the North. Chicago took the music of New Orleans and made it hot, raising its intensity not only through the efforts of Armstrong's famous Hot Five and Hot Seven ensembles, but also others, including such masters as Eddie Condon and Jimmy McPartland, whose crew at Austin High School helped revive the New Orleans schools. Other notable Chicagoans who pushed the boundaries of the classic New Orleans jazz style include pianist Art Hodes, drummer Barrett Deems, and clarinetist Benny Goodman. Armstrong and Goodman, who eventually moved to New York, created a unique critical mass, which helped this city turn into a real jazz capital of the world. And while Chicago remained primarily a recording center in the first quarter of the 20th century, New York also became a major jazz venue, with such legendary clubs as the Minton Playhouse, the Cotton Club, the Savoy and the Village Vanguard, and also such arenas as Carnegie Hall.
Kansas City style
In the era Great Depression and Prohibition, the Kansas City jazz scene became something of a Mecca for the newfangled sounds of the late ’s and ’s. The style that flourished in Kansas City was characterized by soulful, blues-tinged plays performed by both big bands and small swing ensembles that demonstrated highly energetic solos, performed for patrons of speakeasies selling illegal alcohol. It was in these zucchini that the style of the great Count Basie, who began in Kansas City in Walter Page's orchestra and subsequently with Benny Mouthen, crystallized. Both of these orchestras were typical representatives of the Kansas City style, the basis of which was a peculiar form of blues, called “urban blues” and formed in the playing of the above-mentioned orchestras. The Kansas City jazz scene was also distinguished by a whole galaxy of outstanding masters of vocal blues, the recognized “king” among whom was the long-time soloist of the Count Basie orchestra, the famous blues singer Jimmy Rushing. The famous alto saxophonist Charlie Parker, born in Kansas City, upon his arrival in New York, widely used the characteristic blues techniques that he had learned in the Kansas City orchestras and which later formed one of the starting points in the bopper experiments in 2010.
West Coast Jazz
Artists caught up in the cool jazz movement of the 1950s worked extensively in Los Angeles recording studios. Largely influenced by Miles Davis' nonet, these Los Angeles-based performers developed what is now known as "West Coast Jazz", or West Coast jazz. As recording studios, clubs such as the Lighthouse in Hermosa Beach and the Haig in Los Angeles often featured his masters, including trumpeter Shorty Rogers, saxophonists Art Pepper and Bud Schenk, drummer Shelley Mann and clarinetist Jimmy Giuffre. .
Cool (cool jazz)
The high intensity and pressure of bebop began to weaken with the development of cool jazz. Beginning in the late and early years, musicians began to develop a less violent, smoother approach to improvisation, modeled after the light, dry playing of tenor saxophonist Lester Young, which he had employed during the swing era. The result was a detached and uniformly flat sound, based on emotional “coolness”. Trumpeter Miles Davis, an early pioneer of bebop who cooled it down, became the genre's greatest innovator. His nonet, who recorded the album “The Birth of a Cool” in the 1950s, was the embodiment of the lyricism and restraint of cool jazz. Other notable musicians of the cool jazz school include trumpeter Chet Baker, pianists George Shearing, John Lewis, Dave Brubeck and Lenny Tristano, vibraphonist Milt Jackson and saxophonists Stan Getz, Lee Konitz, Zoot Sims and Paul Desmond. Arrangers also made significant contributions to the cool jazz movement, notably Ted Dameron, Claude Thornhill, Bill Evans and baritone saxophonist Gerry Mulligan. Their compositions focused on instrumental coloration and slow motion, on frozen harmonies that created the illusion of space. Dissonance also played some role in their music, but with a softened, subdued character. The cool jazz format left room for somewhat larger ensembles such as nonets and tentets, which became more common during this period than in the early bebop period. Some arrangers experimented with modified instrumentation, including cone-shaped brass instruments such as horn and tuba.
Progressive jazz
In parallel with the emergence of bebop, a new genre was developing among jazz - progressive jazz, or simply progressive. The main difference of this genre is the desire to move away from the frozen cliché of big bands and outdated, worn-out techniques of the so-called. symphojazz introduced in 2000 by Paul Whiteman. Unlike boppers, progressive creators did not strive for a radical rejection of the jazz traditions that had developed at that time. They rather sought to update and improve swing phrase models, introducing compositions into practice latest achievements European symphonism in the field of tonality and harmony.
The greatest contribution to the development of the concept of “progressive” was made by pianist and conductor Stan Kenton. The progressive jazz of the early 1920s actually began with his first works. The sound of the music performed by his first orchestra was close to Rachmaninoff, and the compositions bore the features of late romanticism. However, in terms of genre it was closest to symphonic jazz. Later, during the years of creating the famous series of his “Artistry” albums, elements of jazz ceased to play the role of creating color, but were already organically woven into the musical material. Along with Kenton, the credit for this also belonged to his best arranger, Pete Rugolo, a student of Darius Milhaud. Modern (for those years) symphonic sound, a specific staccato technique in the playing of saxophones, bold harmonies, frequent seconds and blocks, along with polytonality and jazz rhythmic pulsation - these are the distinctive features of this music, with which Stan Kenton entered the history of jazz for many years, as one of its innovators who found a common platform for European symphonic culture and elements of bebop, especially noticeable in pieces where solo instrumentalists seemed to oppose the sounds of the rest of the orchestra. It should also be noted that Kenton paid great attention to the improvisational parts of soloists in his compositions, including the world famous drummer Shelley Maine, double bassist Ed Safransky, trombonist Kay Winding, June Christie, one of the best jazz vocalists of those years. Stan Kenton remained faithful to his chosen genre throughout his career.
In addition to Stan Kenton, interesting arrangers and instrumentalists Boyd Rayburn and Gil Evans also contributed to the development of the genre. A kind of apotheosis of the development of progressive, along with the already mentioned “Artistry” series, can also be considered a series of albums recorded by the Gil Evans big band together with the Miles Davis ensemble in the years, for example, “Miles Ahead,” “Porgy and Bess” and “Spanish drawings." Shortly before his death, Miles Davis again turned to this genre, recording old Gil Evans arrangements with the Quincy Jones Big Band.
Hard bop
Hard bop (English - hard, hard bop) is a type of jazz that emerged in the 50s. XX century from bop. It is distinguished by expressive, brutal rhythms, based on blues. Refers to styles modern jazz. Around the same time that cool jazz was taking root on the West Coast, jazz musicians from Detroit, Philadelphia, and New York began developing harder, heavier variations of the old bebop formula, called Hard Bop or Hard Bebop. Closely resembling traditional bebop in its aggressiveness and technical demands, hard bop of the 1950s and 1960s relied less on standard song forms and began to place more emphasis on blues elements and rhythmic drive. Incendiary soloing or mastery of improvisation, together with a strong sense of harmony, were properties of paramount importance for performers on wind instruments; in the rhythm section, the participation of drums and piano became more noticeable, and the bass acquired a more fluid, funky feeling. (taken from the source “Musical Literature” by Kolomiets Maria )
Modal jazz
Soul jazz
Groove
An offshoot of soul jazz, the groove style draws melodies with bluesy notes and is characterized by exceptional rhythmic focus. Sometimes also called "funk", the groove concentrates on maintaining a continuous characteristic rhythmic pattern, flavoring it with light instrumental and sometimes lyrical embellishments.
Works performed in the groove style are full of joyful emotions, inviting listeners to dance, both in a slow, bluesy version, and at a fast tempo. Solo improvisations remain strictly subordinate to the beat and collective sound. The most famous exponents of this style are organists Richard "Groove" Holmes and Shirley Scott, tenorsaxophonist Gene Emmons, and flautist/alto saxophonist Leo Wright.
Free jazz
Saxophonist Ornette Coleman
Perhaps the most controversial movement in jazz history arose with the advent of free jazz, or "New Thing" as it was later called. Although elements of free jazz existed within the musical structure of jazz long before the term itself was coined, it was most original in the "experiments" of such innovators as Coleman Hawkins, Pee Wee Russell and Lenny Tristano, but only towards the end by the efforts of such pioneers as saxophonist Ornette Coleman and pianist Cecil Taylor, this direction took shape as an independent style.
What these two musicians, along with others including John Coltrane, Albert Ayler, and groups like the Sun Ra Arkestra and a group called The Revolutionary Ensemble, accomplished was a variety of changes in structure and the feeling of music. Among the innovations, which were introduced with imagination and great musicality, was the abandonment of the chord progression, which allowed the music to move in any direction. Another fundamental change was found in the area of rhythm, where "swing" was either revised or ignored altogether. In other words, pulse, meter and groove were no longer essential elements in this reading of jazz. Another key component was related to atonality. Now musical utterance was no longer based on the conventional tonal system. Piercing, barking, convulsive notes completely filled this new sound world.
Free jazz continues to exist today as a viable form of expression, and is in fact no longer as controversial a style as it was in its early days.
Creative
The emergence of the “Creative” direction was marked by the penetration of elements of experimentalism and avant-garde into jazz. The beginning of this process partially coincided with the emergence of free jazz. Elements of the jazz avant-garde, understood as changes and innovations introduced into music, have always been “experimental.” So the new forms of experimentalism offered by jazz in the 50s, 60s and 70s were the most radical departure from tradition, introducing new elements of rhythms, tonality and structure. In fact, avant-garde music became synonymous with open forms, which were more difficult to characterize than even free jazz. The pre-planned structure of sayings was mixed with freer solo phrases, partly reminiscent of free jazz. The compositional elements merged so much with improvisation that it was already difficult to determine where the first ended and the second began. In fact, the musical structure of the works was designed so that the solo was the product of the arrangement, logically leading the musical process to what would normally be considered a form of abstraction or even chaos. Swing rhythms and even melodies could be included in musical theme, but this was not at all necessary. Early pioneers of this movement include pianist Lenny Tristano, saxophonist Jimmy Joffrey and composer/arranger/conductor Gunther Schuller. More recent masters include pianists Paul Bley and Andrew Hill, saxophonists Anthony Braxton and Sam Rivers, drummers Sunny Murray and Andrew Cyrille, and members of the AACM (Association for the Advancement of Creative Musicians) community such as the Art Ensemble of Chicago.
Fusion
Beginning not only from the fusion of jazz with pop and rock, but also with music stemming from areas such as soul, funk and rhythm and blues, fusion (or literally fusion) as a musical genre emerged at the end - x, initially called jazz-rock. Individual musicians and bands like guitarist Larry Coryell's Eleventh House, drummer Tony Williams' Lifetime, and Miles Davis led the way, introducing elements like electronica, rock rhythms, and extended tracks, quashing much of what what jazz “stood on” from its beginning, namely, swing beat, and based primarily on blues music, the repertoire of which included both blues material and popular standards. The term fusion came into use soon after various orchestras emerged, such as the Mahavishnu Orchestra, Weather Report and Chick Corea's Return To Forever ensemble. Throughout the music of these ensembles there remained a constant emphasis on improvisation and melodicity, which firmly linked their practice to the history of jazz, despite detractors who claimed that they had “sold out” to the music merchants. In fact, when heard today, these early experiments hardly seem commercial, inviting the listener to participate in what was music with a highly conversational nature. During the mid-'s, fusion evolved into a variant of easy listening and/or rhythm and blues music. Compositionally or from the point of view of performance, he lost a significant part of his sharpness, or even completely lost it. In this era, jazz musicians turned the musical form of fusion into a truly expressive medium. Artists such as drummer Ronald Shannon Jackson, guitarists Pat Metheny, John Scofield, John Abercrombie and James "Blood" Ulmer, as well as well as veteran saxophonist/trumpetist Ornette Coleman have creatively mastered this music in different dimensions.
Postbop
Drummer Art Blakey
The post-bop period encompasses music performed by jazz musicians who continued to create in the field of bebop, shying away from the free jazz experiments that developed during the same period in the 1960s. Also like the aforementioned hard bop, this form relied on the rhythms, ensemble structure and energy of bebop, the same horn combinations, and the same musical repertoire, including the use of Latin elements. What distinguished post-bop music was the use of elements of funk, groove or soul, reshaped in the spirit of the new time, marked by the dominance of pop music. Often this subtype experiments with blues rock. Masters such as saxophonist Hank Mobley, pianist Horace Silver, drummer Art Blakey, and trumpeter Lee Morgan actually began this music in the mid-'s and anticipated what has now become the dominant form of jazz. Along with simpler melodies and a more soulful beat, the listener could hear traces of gospel and rhythm and blues mixed together here. This style, which saw some changes during the 1970s, was used to a certain extent to create new structures as a compositional element. Saxophonist Joe Henderson, pianist McCoy Tyner, and even a prominent bopper like Dizzy Gillespie created music in the genre that was both humane and harmonically interesting. One of the most significant composers to emerge during this period was saxophonist Wayne Shorter. Shorter, having gone through school in Art Blakey's ensemble, recorded a number of strong albums under his own name during the course of his career. Along with keyboardist Herbie Hancock, Shorter helped Miles Davis create the quintet (the most experimental and highly influential post-bop group in the 2000s was the Davis Quintet featuring John Coltrane) that became one of the most significant groups in jazz history.
Acid jazz
Jazz Manush
Spread of jazz
Jazz has always aroused interest among musicians and listeners around the world, regardless of their nationality. It is enough to trace the early work of trumpeter Dizzy Gillespie and his synthesis of jazz traditions with the music of black Cubans in the 1960s or the later combination of jazz with Japanese, Eurasian and Middle Eastern music, famous in the work of pianist Dave Brubeck, as well as that of the brilliant composer and leader of jazz. Duke Ellington Orchestra, which combined the musical heritage of Africa, Latin America and the Far East. Jazz constantly absorbed not only Western musical traditions. For example, when different artists began to try working with musical elements of India. An example of these efforts can be heard in the recordings of flautist Paul Horne at the Taj Mahal, or in the stream of "world music" represented, for example, in the work of the Oregon group or John McLaughlin's Shakti project. McLaughlin's music, previously largely jazz-based, began to use new instruments of Indian origin, such as the khatam or tabla, while working with Shakti, introduced intricate rhythms, and made widespread use of the Indian raga form. The Art Ensemble of Chicago was an early pioneer in the fusion of African and jazz forms. The world later came to know saxophonist/composer John Zorn and his explorations of Jewish musical culture, both within and outside of the Masada Orchestra. These works inspired entire groups of other jazz musicians, such as keyboardist John Medeski, who recorded with African musician Salif Keita, guitarist Marc Ribot and bassist Anthony Coleman. Trumpeter Dave Douglas enthusiastically incorporates Balkan influences into his music, while the Asian-American Jazz Orchestra has emerged as a leading proponent of the convergence of jazz and Asian musical forms. As the globalization of the world continues, jazz continues to be influenced by other musical traditions, providing ripe fodder for future research and proving that jazz is truly a world music.
Jazz in the USSR and Russia
First in the RSFSR
eccentric orchestra
jazz band of Valentin Parnakh
In the mass consciousness, jazz began to gain wide popularity in the 30s, largely thanks to the Leningrad ensemble led by actor and singer Leonid Utesov and trumpeter Ya. B. Skomorovsky. The popular film comedy with his participation “Jolly Guys” (1934, original title “Jazz Comedy”) was dedicated to the history jazz musician and had a corresponding soundtrack (written by Isaac Dunaevsky). Utyosov and Skomorovsky formed the original style of “thea-jazz” (theater jazz), based on a mixture of music with theater, operetta, vocal numbers and the element of performance played a large role in it.
A notable contribution to the development of Soviet jazz was made by Eddie Rosner, a composer, musician and orchestra leader. Having started his career in Germany, Poland and other European countries, Rosner moved to the USSR and became one of the pioneers of swing in the USSR and the founder of Belarusian jazz. Moscow groups of the 30s and 40s, led by Alexander Tsfasman and Alexander Varlamov, also played an important role in the popularization and development of the swing style. The All-Union Radio Jazz Orchestra conducted by A. Varlamov took part in the first Soviet television program. The only composition that has survived from that time was Oleg Lundstrem's orchestra. This now widely known big band was one of the few and best jazz ensembles of the Russian diaspora, performing in 1935-1947. in China.
The attitude of the Soviet authorities towards jazz was ambiguous: domestic jazz performers, as a rule, were not banned, but harsh criticism of jazz as such was widespread in the context of opposition Western culture generally . In the late 40s, during the fight against cosmopolitanism, jazz in the USSR was going through a particularly difficult period, when groups performing “Western” music were persecuted. With the beginning of the “thaw”, persecution of musicians stopped, but criticism continued.
According to the research of history and American culture professor Penny Van Eschen, the US State Department tried to use jazz as an ideological weapon against the USSR and against the expansion of Soviet influence into the Third World.
The first book about jazz in the USSR was published by the Leningrad publishing house Academia in 1926. It was compiled by musicologist Semyon Ginzburg from translations of articles by Western composers and music critics, as well as his own materials, and was called “ Jazz band and modern music» .
Next book about jazz was published in the USSR only in the early 1960s. It was written by Valery Mysovsky and Vladimir Feiertag, called “ Jazz” and was essentially a compilation of information that could be obtained from various sources at that time. From that time on, work began on the first encyclopedia of jazz in Russian, which was published only in 2001 by the St. Petersburg publishing house “Skifia”. Encyclopedia " Jazz. XX century Encyclopedic reference book"was prepared by one of the most authoritative jazz critics, Vladimir Feyertag, contained more than a thousand names of jazz personalities and was unanimously recognized as the main Russian-language book about jazz. In 2008, the second edition of the encyclopedia “ Jazz. Encyclopedic reference book", where jazz history was carried out up to the 21st century, hundreds of rare photographs were added, and the list of jazz names was increased by almost a quarter.
Latin American jazz
The fusion of Latin rhythmic elements has been present in jazz almost since the beginning of the cultural melting pot that began in New Orleans. Jelly Roll Morton spoke of "Spanish flavors" in his mid- to late-'s recordings. Duke Ellington and other jazz bandleaders also used Latin forms. A major (though not widely recognized) progenitor of Latin jazz, trumpeter/arranger Mario Bausa brought a Cuban orientation from his native Havana to Chick Webb's orchestra in the 's, and a decade later he carried it into the sound of the orchestras of Don Redman, Fletcher Henderson, and Cab Calloway. Working with trumpeter Dizzy Gillespie in the Calloway Orchestra from the late 's, Bausa introduced a direction that already had a direct connection with Gillespie's big bands of the mid-'s. Gillespie's "love affair" with Latin musical forms continued for the rest of his long career. In 2010, Bausa continued his career by becoming the musical director of the Afro-Cuban Machito Orchestra, fronted by his brother-in-law, percussionist Frank “Machito” Grillo. The 1950s-1960s were marked by a long flirtation between jazz and Latin rhythms, mainly in the bossa nova direction, enriching this synthesis with Brazilian elements of samba. Combining the cool jazz style developed by West Coast musicians, European classical proportions and seductive Brazilian rhythms, bossa nova, or more correctly "Brazilian jazz", became widely known in the United States around 1995. Subtle but hypnotic acoustic guitar rhythms punctuate the simple melodies sung in both Portuguese and English language. Discovered by Brazilians João Gilberto and Antonio Carlos Jobin, the style became a dance alternative to hard bop and free jazz in the 1980s, greatly expanding its popularity through recordings and performances by West Coast musicians such as guitarist Charlie Byrd and saxophonist Stan Getz. The musical amalgamation of Latin influences spread through jazz and beyond into the 's and 's, including not only orchestras and groups with top-notch Latino improvisers, but also a combination of native and Latin performers, creating some of the most exciting stage music. This new Latin jazz renaissance was fueled by a constant influx of foreign performers from among Cuban defectors, such as trumpeter Arturo Sandoval, saxophonist and clarinetist Paquito D'Rivera, and others who fled Fidel Castro's regime in search of greater opportunities, which they expected to find in New Zealand. York and Florida. It is also believed that the more intense, more danceable qualities of the polyrhythmic music of Latin jazz greatly expanded the jazz audience. True, while maintaining only a minimum of intuitiveness for intellectual perception.
Jazz in the modern world
This section may contain original research. |
Jazz is a musical movement that originated in the late 19th and early 20th centuries in the United States. Its emergence is the result of the interweaving of two cultures: African and European. This movement will combine spirituals ( church hymns) American blacks, African folk rhythms and European harmonious melody. Its characteristic features: flexible rhythm, which is based on the principle of syncopation, the use percussion instruments, improvisation, an expressive manner of performance, characterized by sound and dynamic tension, sometimes reaching the point of ecstasy. Jazz was originally a combination of ragtime and blues elements. In fact, it grew out of these two directions. The peculiarity of the jazz style is, first of all, the individual and unique play of the jazz virtuoso, and improvisation gives this movement constant relevance.
After jazz itself was formed, a continuous process of its development and modification began, which led to the emergence of various directions. Currently there are about thirty of them.
New Orleans (traditional) jazz.
This style usually means exactly the jazz that was performed between 1900 and 1917. It can be said that its emergence coincided with the opening of Storyville (New Orleans' red light district), which gained its popularity due to bars and similar establishments where musicians playing syncopated music could always find work. The previously widespread street orchestras began to be replaced by the so-called “Storyville ensembles,” whose playing was increasingly acquiring individuality compared to their predecessors. These ensembles later became the founders of classical New Orleans jazz. Vivid examples of performers of this style are: Jelly Roll Morton (“His Red Hot Peppers”), Buddy Bolden (“Funky Butt”), Kid Ory. It was they who carried out the transition of African folk music into the first jazz forms.
Chicago Jazz.
In 1917, the next important stage in the development of jazz music began, marked by the appearance of immigrants from New Orleans in Chicago. New jazz orchestras are being formed, the playing of which introduces new elements into early traditional jazz. This is how an independent style of the Chicago school of performance appears, which is divided into two directions: hot jazz of black musicians and Dixieland of whites. The main features of this style: individual solo parts, changes in hot inspiration (the original free ecstatic performance became more nervous, full of tension), synthetics (the music included not only traditional elements, but also ragtime, as well as famous American hits) and changes in instrumental playing (the role of instruments and performing techniques has changed). Fundamental figures of this movement (“What Wonderful World”, “Moon Rivers”) and (“Someday Sweetheart”, “Ded Man Blues”).
Swing is an orchestral style of jazz of the 1920s and 30s that grew directly from the Chicago school and was performed by big bands (The Original Dixieland Jazz Band). It is characterized by the predominance of Western music. Separate sections of saxophones, trumpets and trombones appeared in the orchestras; The banjo is replaced by a guitar, tuba and sassophone - double bass. The music moves away from collective improvisation; the musicians play strictly adhering to pre-written scores. A characteristic technique was the interaction of the rhythm section with melodic instruments. Representatives of this direction: , (“Creole Love Call”, “The Mooche”), Fletcher Henderson (“When Buddha Smiles”), Benny Goodman And His Orchestra, .
Bebop is a modern jazz movement that began in the 40s and was an experimental, anti-commercial movement. Unlike swing, it is a more intellectual style that places a lot of emphasis on complex improvisation and places more emphasis on harmony than melody. Music of this style is also characterized by a very fast tempo. The brightest representatives are: Dizzy Gillespie, Thelonious Monk, Max Roach, Charlie Parker (“Night In Tunisia”, “Manteca”) and Bud Powell.
Mainstream. Includes three movements: Stride (northeastern jazz), Kansas City style and West Coast jazz. Hot stride reigned supreme in Chicago, led by such masters as Louis Armstrong, Andy Condon, and Jimmy Mac Partland. Kansas City is characterized by lyrical plays in the blues style. West Coast jazz developed in Los Angeles under the leadership of , and subsequently resulted in cool jazz.
Cool jazz (cool jazz) emerged in Los Angeles in the 50s as a counterpoint to the dynamic and impulsive swing and bebop. Lester Young is considered to be the founder of this style. It was he who introduced a style of sound production unusual for jazz. This style is characterized by the use of symphonic instruments and emotional restraint. Such masters as Miles Davis (“Blue In Green”), Gerry Mulligan (“Walking Shoes”), Dave Brubeck (“Pick Up Sticks”), Paul Desmond left their mark in this vein.
Avante-Garde began to develop in the 60s. This avant-garde style is based on a break from the original traditional elements and is characterized by the use of new technical techniques and means of expression. For the musicians of this movement, self-expression, which they carried out through music, came first. Performers of this movement include: Sun Ra (“Kosmos in Blue”, “Moon Dance”), Alice Coltrane (“Ptah The El Daoud”), Archie Shepp.
Progressive jazz arose in parallel with bebop in the 40s, but it was distinguished by its staccato saxophone technique, a complex interweaving of polytonality with rhythmic pulsation and elements of symphonic jazz. The founder of this trend can be called Stan Kenton. Prominent representatives: Gil Evans and Boyd Rayburn.
Hard bop is a type of jazz that has its roots in bebop. Detroit, New York, Philadelphia - this style was born in these cities. In its aggressiveness, it is very reminiscent of bebop, but blues elements still predominate in it. Featured performers include Zachary Breaux (“Uptown Groove”), Art Blakey and The Jass Messengers.
Soul jazz. This term is commonly used to describe all black music. It draws on traditional blues and African-American folklore. This music is characterized by ostinato bass figures and rhythmically repeating samples, due to which it has gained wide popularity among various masses of the population. Hits in this direction include the compositions of Ramsey Lewis “The In Crowd” and Harris-McCain “Compared To What”.
Groove (aka funk) is an offshoot of soul, but is distinguished by its rhythmic focus. Basically, the music of this direction has a major coloration, and in structure it consists of clearly defined parts for each instrument. Solo performances fit harmoniously into the overall sound and are not too individualized. Performers of this style are Shirley Scott, Richard "Groove" Holmes, Gene Emmons, Leo Wright.
Free jazz got its start in the late 50s thanks to the efforts of such innovative masters as Ornette Coleman and Cecil Taylor. Its characteristic features are atonality and a violation of the chord sequence. This style is often called “free jazz”, and its derivatives include loft jazz, modern creative and free funk. Musicians of this style include: Joe Harriott, Bongwater, Henri Texier (“Varech”), AMM (“Sedimantari”).
Creative appeared due to the widespread avant-garde and experimentalism of jazz forms. Such music is difficult to characterize in certain terms, since it is too multifaceted and combines many elements of previous movements. The first followers of this style include Lenny Tristano (“Line Up”), Gunter Schuller, Anthony Braxton, Andrew Cirilla (“The Big Time Stuff”).
Fusion combined elements of almost all musical movements existing at that time. Its most active development began in the 70s. Fusion is a systematic instrumental style characterized by complex time signatures, rhythm, elongated compositions and the absence of vocals. This style is designed for a less broad masses than soul and is its complete opposite. At the head of this trend are Larry Corall and the band Eleventh, Tony Williams and Lifetime (“Bobby Truck Tricks”).
Acid jazz (groove jazz" or "club jazz") arose in Great Britain in the late 80s (heyday 1990 - 1995) and combined funk of the 70s, hip-hop and dance music of the 90s. The emergence of this style was dictated by the widespread use of jazz-funk samples. The founder is considered to be DJ Giles Peterson. Performers in this direction include Melvin Sparks (“Dig Dis”), RAD, Smoke City (“Flying Away”), Incognito and Brand New Heavies.
Post-bop began to develop in the 50s and 60s and is similar in structure to hard bop. It is distinguished by the presence of elements of soul, funk and groove. Often, when characterizing this direction, they draw a parallel with blues rock. Hank Moblin, Horace Silver, Art Blakey (“Like Someone In Love”) and Lee Morgan (“Yesterday”), Wayne Shorter worked in this style.
Smooth jazz is a modern jazz style that arose from the fusion movement, but differs from it in the intentional polishing of its sound. A special feature of this area is the widespread use of power tools. Famous performers: Michael Franks, Chris Botti, Dee Dee Bridgewater (“All Of Me”, “God Bless The Child”), Larry Carlton (“Dont Give It Up”).
Jazz-manush (gypsy jazz) is a jazz movement specializing in guitar performance. Combines the guitar technique of the gypsy tribes of the Manush group and swing. The founders of this direction are the Ferre brothers and. Most famous performers: Andreas Oberg, Barthalo, Angelo Debarre, Bireli Largen (“Stella By Starlight”, “Fiso Place”, “Autumn Leaves”).
Jazz is a movement in music that was founded in the USA in the state of New Orleans, then gradually spread throughout the world. This music enjoyed the greatest popularity in the 30s; it was during this time that the heyday of this genre, which combined European and African culture, fell. Now you can hear many subgenres of jazz, such as bebop, avant-garde jazz, soul jazz, cool, swing, free jazz, classical jazz and many others.
Jazz combines several musical cultures and of course came to us from African lands, this can be understood by the complex rhythm and style of performance, but this style was more reminiscent of ragtime, eventually combining ragtime and blues, the musicians received a new sound, which they called jazz. Thanks to the fusion of African rhythm and European melody, we can now enjoy jazz, and virtuoso performance and improvisation make this style unique and immortal, as new rhythmic models are constantly introduced and a new performance style is invented.
Jazz has always been popular among all segments of the population, nationalities, and it is still of interest to musicians and listeners all over the world. But the pioneer in the fusion of blues and African rhythm was the Chicago Art Ensemble; it was these guys who added jazz forms to African motifs, which aroused extraordinary success and interest among listeners.
In the USSR, the Jazz tour began to emerge in the 20s (as in the USA) and the first creator of a jazz orchestra in Moscow was the poet and theater figure Valentin Parnakh, the concert of this group took place on October 1, 1922, which is considered to be the Birthday of jazz in THE USSR. Of course, the attitude of the Soviet authorities towards jazz was two-sided, on the one hand they did not prohibit this genre of music, but on the other hand, jazz was subjected to harsh criticism, after all, we adopted this style from the West, and everything is new and alien at all times was severely criticized by the authorities. Today, jazz music festivals are held annually in Moscow, there are club venues where world-famous jazz bands, blues performers, and soul singers are invited, that is, for fans of this type of music there is always time and place to enjoy the lively and unique sound jazz
Of course modern world changes, so does music, tastes, styles and performance techniques change. However, we can say with confidence that jazz is a classic of the genre, yes, the influence of modern sounds has not bypassed jazz, but nevertheless you will never confuse these notes with any others, because this is jazz, a rhythm that has no analogues, rhythm that has its own traditions and has become World Music.
- What documents should an individual entrepreneur have?
- Accounting for individual entrepreneurs - rules and features of independent reporting under different tax regimes Primary documentation for individual entrepreneurs
- Accounting for individual entrepreneurs: features of accounting in individual entrepreneurs?
- How to privatize an apartment, everything about privatization List of documents for privatization of an apartment