History
Jazz has roots in the combination of Western and African music traditions, including spirituals, blues and ragtime, stemming ultimately from West Africa, western Sahel, and New England's religious hymns and hillbilly music, as well as in European military band music. After originating in African American communities near the beginning of the 20th century, jazz gained international popularity by the 1920s. Since then, jazz has had a pervasive influence on other musical styles worldwide. Even today, various jazz styles continue to evolve.
The word jazz itself is rooted in American slang, probably of sexual origin, although various alternative derivations have been suggested. According to University of Southern California film professor Todd Boyd, the term was originally slang for sexual intercourse as its earliest musicians found employment in New Orleans brothel parlors, with the word deriving from the term 'jass'. The term "jass" was rude sexual slang, related either to the term "jism" or to the jasmine perfume popular among urban prostitutes. Lacking an attentive audience, the musicians began to play for each other and their performances achieved esthetic complexity not evident in ragtime. At the root of jazz is the blues, the folk music of former enslaved Africans in the U.S. South and their descendants, heavily influenced by West African cultural and musical traditions, that evolved as black musicians migrated to the cities. According to Pulitzer Prize-winning African American composer and classical and jazz trumpet virtuoso Wynton Marsalis:
Jazz is something Negroes invented, and it said the most profound things -- not only about us and the way we look at things, but about what modern democratic life is really about. It is the nobility of the race put into sound ... jazz has all the elements, from the spare and penetrating to the complex and enveloping. It is the hardest music to play that I know of, and it is the highest rendition of individual emotion in the history of Western music.
Needless to say, the view of jazz as simply and solely "black music" is controversial. Numerous non-black musicians (Bix Beiderbecke, Benny Goodman, Harry James, Zoot Sims, Gerry Mulligan, Bill Evans, Stan Getz, Dave Brubeck, and Charlie Haden among others) have made important contributions to jazz. In addition, it could be argued that jazz would not exist without both instruments invented or developed by Europeans (the trumpet, saxophone, trombone, double bass, etc.) and the previous work of Europeans in music theory, which was explored in different ways by jazz musicians, such as increased use of the seventh chord and extended chords. The origins of jazz are multicultural, not entirely "pure," and perhaps reflect the hybrid nature of American culture more than any other art form.
Early jazz influences found their first mainstream expression in the marching band and dance band music of the day, which was the standard form of popular concert music at the turn of century. The instruments of these groups became the basic instruments of jazz: brass, reeds, and drums, and are voiced in the Western 12-tone scale.
Other regional styles
Meanwhile, other regional styles were developing which would influence the development of jazz.
African-American minister Rev. Daniel J. Jenkins of Charleston, South Carolina, was an unlikely figure of far-reaching importance in the early development of jazz. In 1891, Jenkins established the Jenkins Orphanage for boys and four years later instituted a rigorous music program in which the orphanage's young charges were taught the religious and secular music of the day, including overtures and marches. Precocious orphans and defiant runaways, some of whom had played ragtime in bars and brothels, were delivered to the orphanage for "salvation" and rehabilitation and made their musical contributions, as well. In the fashion of the Fisk Jubilee Singers and Fisk University, the Jenkins Orphanage Bands traveled widely, earning money to keep the orphanage afloat. It was an expensive enterprise. Jenkins typically took in approximately 125 – 150 "black lambs" yearly, and many of them received formal musical training. Less than 30 years later, five bands operated nationally, with one traveling to England — again in the Fisk tradition. It would be hard to overstate the influence of the Jenkins Orphanage Bands on early jazz, scores of whose members went on to play with jazz legends like Duke Ellington, Lionel Hampton and Count Basie. Among them were the likes of trumpet virtuosos Cat Anderson, Gus Aitken and Jabbo Smith.
In the northeastern United States, a "hot" style of playing ragtime developed. While centered in New York City, it could be found in African-American communities from Baltimore to Boston. Some later commentators have categorized it after the fact as an early form of jazz, while others disagree. It was characterized by rollicking rhythms, but lacked the distinctly bluesy influence of the southern styles. The solo piano version of the northeast style was typified by such players as noted composer Eubie Blake, the son of slaves, whose musical career spanned an impressive eight decades. James P. Johnson took the northeast style and around 1919 developed a style of playing that came to be known as "stride." In stride piano, the right hand plays the melody, while the active left hand "walks" or "strides" from upbeat to downbeat, maintaining the rhythm. Johnson influenced later pianists like Fats Waller and Willie Smith.
The top orchestral leader of the style was James Reese Europe, and his 1913 and 1914 recordings preserve a rare glimpse of this style at its peak. It was during this time that Europe's music profoundly influenced a young George Gershwin, who would go on to compose the jazz-inspired classic "Rhapsody in Blue." By the time Europe recorded again in 1919, he was in the process of incorporating the influence of the New Orleans style
into his playing. The recordings of Tim Brymn give later generations another look at the northeastern hot style with little of the New Orleans influence yet evident.
In Chicago at the start of the 1910s, a popular type of dance band consisted of a saxophone vigorously ragging a melody over a 4-square rhythm section. The city soon fell heavily under the influence of waves of New Orleans musicians, and the older style blended with the New Orleans style to form what would be called "Chicago Jazz" starting in the late 1910s.
Along the banks of the Mississippi around Memphis, Tennessee to St. Louis, Missouri, another band style developed incorporating the blues. The most famous composer and bandleader of the style was the "Father of the Blues," W.C. Handy. While in some ways similar to the New Orleans style (Bolden's influence may have spread upriver), it lacked the freewheeling improvisation found further south. Handy, indeed, for many years denounced jazz as needlessly chaotic, and, in his style, improvisation was limited to short fills between phrases and was considered inappropriate for the main melody.
The national spread of ‘jass’ music
A number of educated "colored" New Orleanians left the South due to increasingly restrictive Jim Crow laws, at first heading mostly to California. One of these was musician Bill Johnson, who thought a good New Orleans-style band would have commercial possibilities out West. Johnson sent for some of the city's best hot musicians, including Freddie Keppard, to join him at the start of the 1910s, forming the Original Creole Orchestra. A vaudeville promoter caught the band playing to enthusiastic crowds in between rounds at a boxing match and booked the band to tour the nation on the Pantages Circuit. The members of the Creole Orchestra wrote their colleagues back home that hot New Orleans musicians could make much better money playing their style up North and out West than they could at home, encouraging many to start spreading the style around the nation.
Chicago was one of the first cities to embrace the new style, and from some accounts it was here that the New Orleans style was first popularly christened "jass." Back in New Orleans, it was called by such names as "ratty music", "hot music," or simply "ragtime" (Sidney Bechet often continued to call his music "ragtime" as late as the 1950s). The style was so different from the ragtime and dance music of the rest of the nation, that a new name was needed to distinguish it. Apparently, the first band billed as playing "jass" was that of trombonist Tom Brown. The term "jass" was rude sexual slang, related to the term "jism" (an alternative explanation relates the term to jasmine, which may have been an attempt to create a less risque story).
One group that followed the Original Creoles and Tom Brown to Chicago went North in 1916 as "Stein's Dixie Jass Band." These veterans of the Papa Jack Laine bands made their way to New York City the following year, calling themselves "The Original Dixieland Jass Band." In New York, they had an opportunity to record phonograph records. The discs, recorded as a novelty, were a surprise national hit, and "jass" quickly became a national craze.
It was in New York where "jass" became "jazz" in the late 1910s, purportedly because mischievous people were making a habit of scratching out the "J"s on posters, which then, unfortunately, advertised "ass band"s.
Jazz in the 1920s
The King & Carter Jazzing Orchestra photographed in Houston, Texas, January 1921.
Two disparate, but important, inventions of the second half of the nineteenth century quietly had set the stage for jazz to capture the spotlight in American popular music by the 1920s. George Pullman's invention of the sleeping car in 1864 brought a new level of luxury and comfort to the nation's railways; and Thomas Edison's invention, in 1877, of the phonograph record made quality music accessible to virtually everyone.
Pullman's ingenious, rolling sleeping quarters provided employment to legions of African-American men, who criss-crossed the nation as sleeping car porters; and by the second decade of the twentieth century, the Pullman Company employed more African-Americans than any single business concern in the United States. But Pullman porters were more than solicitous, smiling faces in smart, navy blue uniforms. The most dapper and sophisticated of them were culture bearers, spreading the card game of bid whist, the latest dance crazes, regional news, and a heightened sense of black pride to cities and towns wherever the railways reached. Many porters also shared, traded and even sold "race records" to augment their income, speeding artistic innovations to musicians eager to hear the latest; spreading among the general public an awareness of and appreciation for this rapidly evolving musical form; and, in the process, putting jazz on the fast track to first U.S., then worldwide, acclaim.
With Prohibition, the constitutional amendment that forbade the sale of alcoholic beverages, the legal saloons and cabarets were closed; but in their place hundreds of speakeasies appeared, where patrons drank and musicians entertained. The presence of dance venues and the subsequent increased demand for accomplished musicians meant more artists were able to support themselves by playing professionally. As a result, the numbers of professional musicians increased, and jazz—like all the popular music of the 1920s—adopted the 4/4 beat of dance music.
Another nineteenth-century invention, radio, came into its own in the 1920s, after the first commercial radio station in the U.S. began broadcasting in Pittsburgh in 1922. Radio stations proliferated at a remarkable rate, and with them, the popularity of jazz. Jazz became associated with things modern, sophisticated, and decadent. The third decade of the new century, a time of technological marvels, flappers, flashy automobiles, organized crime, bootleg whiskey, and bathtub gin, would come to be known as the Jazz Age.
Key figures of the decade
This USPS stamp celebrates the rise of jazz in the 1920s
King Oliver was "jazz king" of Chicago in the early 1920s, when Chicago was the national hub of jazz. His band was the epitome of the New Orleans hot ensemble jazz style. Unfortunately, his band's recordings were little heard outside of Chicago and New Orleans, but the ensemble was a powerful influence on younger musicians, both black and white.
Sidney Bechet was the first master jazz musician to take up what previously often had been dismissed as a novelty instrument, the saxophone. Bechet helped propel jazz in more individualistic personality- and solo-driven directions.
In this last point, Bechet was joined by a young protege of King Oliver, Louis Armstrong, who was to become one of the major forces in the development of jazz. Armstrong was an extraordinary improviser, capable of creating endless variations on a single melody. Armstrong also popularized scat singing, an improvisational vocal technique in which nonsensical syllables or words are sung or otherwise vocalized, often as part of a call-and-response interaction with other musicians onstage. His unique, gravely voice and innate sense of swing made scat an instant hit.
Arguably, Bix Beiderbecke was both the first white and the first non-New Orleanian to make major original contributions to the development of jazz with his legato phrasing, bringing the influence of classical romanticism to jazz.
Paul Whiteman was the most commercially successful bandleader of the 1920s, billing himself as "The King of Jazz." Sacrificing spontaneous improvisation for the sake of elaborate written arrangements, Whiteman claimed to be "making a lady out of jazz." Despite his hiring Bix and many of the other best white jazz musicians of the era, later generations of jazz lovers have often judged Whiteman's music to have little to do with real jazz. Nonetheless, his notion of combining jazz with elaborate orchestrations has been returned to repeatedly by composers and arrangers of later decades. It was Whiteman who commissioned Gershwin's "Rhapsody in Blue," which was debuted by Whiteman's Orchestra.
Fletcher Henderson led the top African American band in New York City. At first he wished to follow the lead of Paul Whiteman, but after hiring Louis Armstrong to play in his band, Henderson realized the importance of the improvising soloist in developing jazz bands. Henderson's arrangements would play a significant role in the development of the Big Band era in the following decade.
Young pianist and bandleader Duke Ellington first came to national attention in the late 1920s with his tight band making many recordings and radio broadcasts. Ellington's importance would grow in the coming decades. Today he is widely regarded as one of the most important composers in jazz history.
1930s to 1950s
While the solo became more important in jazz, popular bands became larger in size. The Big band became the popular provider of music for the era. Big bands varied in their jazz content; some (such as Benny Goodman's Orchestra) were highly jazz oriented, while others (such as Glenn Miller's) left little space for improvisation. Most were somewhere in between, having some musicians adept at jazz solos playing with section men who kept the rhythm and arrangements going. However even bands without jazz soloists adopted a sound owing much to the jazz vocabularity, for example sax sections playing what sounded like an improvised variation on a melody (and may have originated as a transcription of one).
Key figures in developing the big jazz band were arrangers and bandleaders Fletcher Henderson, Don Redman and the man sometimes deemed the most prolific composer in American history, Duke Ellington.
In the early 1920s, popular music was still a mixture of things—current dance numbers, novelty songs, show tunes. "Businessman's bounce music," as one horn player put it. But musicians with steady jobs, playing with the same companions, were able to go far beyond that. The Ellington band at the Cotton Club and the various Kansas City groups that became the Count Basie band date from this period.
Over time, social strictures regarding racial segregation began to relax in entertainment. White bandleaders, who tended to mold the music more to orthodox rhythms and harmony, began to recruit black musicians. In the mid-1930s, Benny Goodman hired pianist Teddy Wilson, vibraharpist Lionel Hampton, and guitarist Charlie Christian to join small groups. During this period, the popularity of swing (genre) and big band music was at its height, making stars of such men as Glenn Miller and Duke Ellington. Swing, the popular music of its time, covered a broad spectrum from "sweet" to "hot" bands, with the jazz content varying across the range.
The influence of Louis Armstrong also continued to grow. Musicians and bandleaders like Cab Calloway — and, later, trumpeter Dizzy Gillespie and Pop vocalists like Bing Crosby embraced Armstrong's style of improvising on the melody, and U.S. pop singers seldom since have rendered a tune "straight," in the pre-jazz style. In Crosby's mould, artists famed for their vocals rather than instrumental skills also began to emerge as great 'jazz singers' in the form of vocalists like Ella Fitzgerald, Billie Holliday and later, Frank Sinatra and Sarah Vaughan, all of whom jumped on the scat bandwagon that galvanised the genre till the 1950s.
A development of swing in the early 1940s known as "jumping the blues" or jump music anticipated rhythm and blues and rock and roll in some respects. It involved the use of small combos instead of big bands and a concentration on up-tempo music using the familiar blues chord progressions. Drawing largely upon the evolution of boogie-woogie in the 1930s, it used a doubled rhythm—that is, the rhythm section played "eight to the bar," eight beats per measure instead of four. Big Joe Turner, a Kansas City singer who worked in the 1930s with Swing bands like Count Basie's, became a boogie-woogie star in the 1940s and then in the 1950s was one of the first innovators of rock and roll, notably with his song "Shake, Rattle and Roll". Another jazz founder of rock and roll was saxophonist Louis Jordan.
Development of bebop
The next major stylistic turn came in the 1940s with bebop, led by such distinctive stylists as the saxophonist Charlie Parker (known as "Yardbird" or "Bird"), Bud Powell and Dizzy Gillespie. This marked a major shift of jazz from pop music for dancing to a high-art, less-accessible, cerebral "musician's music." Thelonious Monk, while too individual to be strictly a bebop musician, was also associated with this movement. Bop musicians valued complex improvisations based on chord progressions rather than melody. Hard bop moved away from cool jazz, incorporating influences from soul music, gospel music, and the blues. Hard bop was at the peak of its popularity in the 1950s and 1960s, and was associated with such figures as Sonny Rollins, John Coltrane, Miles Davis, Art Blakey and Charles Mingus. Later, bebop and hard bop musicians, such as trumpeter Miles Davis, made more stylistic advances with modal jazz, where the harmonic structure of pieces was much more free than previously, and was frequently only implied -- by skeletal piano chords and bass parts. The instrumentalists then would improvise around a given mode of the scale.
Latin jazz
Main article: Latin jazz
Latin jazz has two varieties: Afro-Cuban and Brazilian. Afro-Cuban jazz was played in the U.S. directly after the bebop period, while Brazilian jazz became more popular in the 1960s and 1970s.
Afro-Cuban jazz began as a movement after the death of Charlie Parker. Notable bebop musicians such as Dizzy Gillespie and Billy Taylor started Afro-Cuban bands at that time. Gillespie's work was mostly with big bands of this genre. While the music was influenced by such Cuban and Puerto Rican musicians as Tito Puente and, much later, Arturo Sandoval, there were many Americans who were drawing upon Cuban rhythms for their work.
Brazilian jazz is, in North America at least, nearly synonymous with bossa nova, a Brazilian popular style which is derived from samba with influences from jazz as well as other 20th-century classical and popular music. Bossa is generally slow, played around 80 beats per minute or so. The music uses straight eighths, rather than swing eighths, and also uses difficult polyrhythms. The best-known bossa nova compositions are considered to be jazz standards in their own right.
The related term jazz-samba essentially describes an adaptation of bossa nova compositions to the jazz idiom by American performers such as Stan Getz and Charlie Byrd, and usually played at 120 beats per minute or faster. Samba itself is actually not jazz but, being derived from older Afro-Brazilian music, it shares some common characteristics.
Free jazz
Main article: Free jazz
Free jazz, or avant-garde jazz, is a subgenre that, while rooted in bebop, typically uses less compositional material and allows performers more latitude in what they choose to play. Free jazz's greatest departure from other styles is in the use of harmony and a regular, swinging tempo: Both are often implied, utilized loosely, or abandoned altogether. These approaches were rather controversial when first advanced, but have generally found acceptance — though sometimes grudgingly — and have been utilized in part by other jazz performers.
There were earlier precedents, but free jazz crystalized in the late 1950's, especially via Ornette Coleman and Cecil Taylor, and probably found its greatest exposure in the late 1960s with John Coltrane, Archie Shepp, Albert Ayler, Sun Ra, Pharoah Sanders, Sam Rivers, Leroy Jenkins, Don Pullen and others.
While perhaps less popular than other styles, free jazz has exerted an influence to the present. Peter Brotzmann, Ken Vandermark, William Parker, Derek Bailey and Evan Parker are leading contemporary free jazz musicians, and musicians such as Coleman, Taylor and Sanders continue to play in this style. Keith Jarrett has been prominent in defending free jazz from criticism by traditionalists in recent years.
Jazz and rock music: jazz fusion
Main article: Jazz fusion
Bitches Brew is often cited as the most influential record in the history of jazz fusion.
With the growth of rock and roll in the 1960s, came the hybrid form jazz-rock fusion, again involving Miles Davis, who recorded the fusion albums In a Silent Way and Bitches Brew in 1968 and 1969 respectively. Jazz was by this time no longer center stage in popular music, but was still breaking new ground and combining and recombining in different forms. Notable artists of the 1960s and 1970s jazz and fusion scene include: Chick Corea, Herbie Hancock and his Headhunters band, John McLaughlin and the Mahavishnu Orchestra, Al Di Meola, Jean-Luc Ponty, Sun Ra, Soft Machine, Narada Michael Walden (who would later enjoy huge success as a music producer), Wayne Shorter, Jaco Pastorius, the Pat Metheny Group and Weather Report. Some of these have continued to develop the genre into the 2000s.
Recent developments
The stylistic diversity of jazz has shown no sign of diminishing, absorbing influences from such disparate sources as world music and avant garde classical music, including African rhythm and traditional structure, serialism, and the extensive use of chromatic scale, by such musicians as Ornette Coleman and John Zorn.
Beginning in the 1970s with such artists as Keith Jarrett, Paul Bley, Billy Childs, the Pat Metheny Group, Jan Garbarek, Ralph Towner, and Eberhard Weber, the ECM record label established a new chamber-music aesthetic, featuring mainly acoustic instruments, and incorporating elements of world music and folk music. This is sometimes referred to as "European" or "Nordic" jazz, despite some of the leading players being American.
However, the jazz community has shrunk dramatically and split, with a mainly older audience retaining an interest in traditional and "straight-ahead" jazz styles, a small core of practitioners and fans interested in highly experimental modern jazz, and a constantly changing group of musicians fusing jazz idioms with contemporary popular music genres. The latter have formed such styles as acid jazz which contains elements of 1970s disco, acid swing which combines 1940s style big-band sounds with faster, more aggressive rock-influenced drums and electric guitar, and nu jazz which combines elements of jazz and modern forms of electronic dance music.
Exponents of the "acid jazz" style which was initially UK-based included the Brand New Heavies, James Taylor Quartet, Young Disciples, and Corduroy. In the United States, acid jazz groups included the Groove Collective, Soulive, and Solsonics. In a more pop or smooth jazz context, jazz enjoyed a resurgence in the 1980s with such bands as Pigbag and Curiosity Killed the Cat achieving chart hits in Britain. Sade Adu became the definitive voice of smooth jazz.
There have been other developments in the 1980s and 1990s that were less commercially oriented. Many of these artists, notably Wynton Marsalis, called what they were doing jazz and in fact strove to define what the term actually meant. They sought to create within what they felt was the tradition, creating extensions of small and large forms initially pioneered by such artists as Louis Armstrong and Duke Ellington. In the case of Marsalis these efforts met with critical acclaim.
Others musicians in this time period - although clearly within the tradition of the great spontaneous composers such as Charlie Parker, John Coltrane, Fats Navarro and many others – choose to distance themselves from the term jazz and simply define what they were doing as music (this in fact was suggested by the great composer Duke Ellington when the term jazz first began to be popular). Alternatively they created their own names for what they were doing (such as M-Base). Many of these artists agree with the creative guitarist Jean-Paul Bourelly who feels that "You shouldn't categorize according to styles of music, you should categorize in terms of creative levels". These musicians feel that rhythm is the key for further progress in the music. Bourelly, similar to M-Base, believes that the rhythmic innovations of James Brown and other Funk pioneers can provide an effective rhythmic base for spontaneous composition. However, the ideas of these musicians go far beyond simply playing over a funk groove, extending the rhythmic ideas in a way analogous to what had been done with harmony in previous times. Some of the musicians involved in the approach called M-Base even view this as Rhythmic Harmony. Others, like Wynton Marsalis, disagree with this point of view, preferring instead to retain the rhythmic base of swing for creating their music. However, all of these artists participate in spontaneous composition and only differ in creative focus and what could be called groove emphasis.
With the rise in popularity of various forms of electronic music during the late 1980s and 1990s, some jazz artists have attempted a fusion of jazz with more of the experimental leanings of electronica (particularly IDM and Drum and bass) with various degrees of success. This has been variously dubbed "future jazz", "jazz-house" or "nu jazz". The more experimental and improvisional end of the spectrum includes Scandinavia-based artists such as pianist Bugge Wesseltoft, trumpeter Nils Petter Molv?r (who both began their careers on the ECM record label), and the trio Wibutee, all of whom have gained their chops as instrumentalists in their own right in more traditional jazz circles. The Cinematic Orchestra from the UK or Julien Lourau from France have also gained praise in this area. Toward the more pop or pure dance music end of the spectrum of nu jazz are such proponents as St Germain and Jazzanova, who incorporate some live jazz playing with more metronomic house beats.
In the 2000s, "jazz" hit the pop charts and blended with contemporary Urban music through the work of artists like Norah Jones, Jill Scott, Jamie Cullum, Erykah Badu, Amy Winehouse and Diana Krall and the jazz advocacy of performers who are also music educators (such as Jools Holland, Courtney Pine and Peter Cincotti). Some of these new styles may be light on improvisation, a key characteristic of jazz. However, their instrumentation and rhythms are similar to other jazz music, and the label has stuck.
Improvisation
Reggie Workman, Pharaoh Sanders, and Idris Muhammad, c. 1978
Jazz is often difficult to define, but improvisation is unquestionably a key element of the form. Improvisation has been since early times an essential element in African and African-American music and is closely related to the pervasiveness of call and response in West African and African-American cultural expression. The exact form of improvisation has changed over time. Early folk blues music often was based around a call and response pattern, and improvisation would factor into the lyrics, the melody, or both. Part of the Dixieland style involves musicians taking turns playing the melody while the others make up counter lines to go with it. By the Swing era, big bands played carefully arranged sheet music, but the music often would call for one member of the band to stand up and play a short, improvised solo. In bebop, however, the focus shifted from the cleverness of arrangement to the cleverness of improvisation over the form; musicians gave comparably little attention to the composed melody, or "head," which was played at the beginning and the end of the performance.
As previously noted, later styles of jazz, such as modal jazz, abandoned the strict notion of a chord progression, allowing the individual musicians to improvise more freely within the context of a given scale or mode. The best-known example of this is the classic Miles Davis album Kind of Blue. When a pianist or guitarist improvises an accompaniment while a soloist is playing, it is called comping or vamping.
Black musicians frequently used the melody, structure, and beat of marches as points of departure; but says "North by South, from Charleston to Harlem," a project of the National Endowment for the Humanities: "...a black musical spirit (involving rhythm and melody) was bursting out of the confines of European musical tradition, even though the performers were using European styled instruments. This African-American feel for rephrasing melodies and reshaping rhythm created the embryo from which many great black jazz musicians were to emerge." Many black musicians also made a living playing in small bands hired to lead funeral processions in the New Orleans African-American tradition. These Africanized bands played a seminal role in the articulation and dissemination of early jazz. Traveling throughout black communities in the Deep South and to northern big cities, these musician-pioneers were the Hand helping to fashion the music's howling, raucous, then free-wheeling, "raggedy," ragtime spirit, quickening it to a more eloquent, sophisticated, swing incarnation.
For all its genius, early jazz, with its humble, folk roots, was the product of primarily self-taught musicians. But an impressive postbellum network of black-established and -operated institutions, schools, and civic societies in both the North and the South, plus widening mainstream opportunities for education, produced ever-increasing numbers of young, formally trained African-American musicians, some of them schooled in classical European musical forms. Lorenzo Tio and Scott Joplin were among this new wave of musically literate jazz artists. Joplin, the son of a former slave and a free-born woman of color, was largely self-taught until age 11, when he received lessons in the fundamentals of music theory from a classically trained German immigrant in Texarkana, Texas.
Also contributing to this trend was a tightening of Jim Crow laws in Louisiana in the 1890s, which caused the expulsion from integrated bands of numbers of talented, formally trained African-American musicians. The ability of these musically literate, black jazzmen to transpose and then read what was in great part an improvisational art form became an invaluable element in the preservation and dissemination of musical innovations that took on added importance in the approaching big-band era.
The United States music scene at the start of the 20th century
By the turn of the century, American society had begun to shed the heavy-handed, straitlaced formality that had characterized the Victorian era. --citation needed
Strong influence of African American music traditions had already been a part of mainstream popular music in the United States for generations, going back to the 19th century minstrel show tunes and the melodies of Stephen Foster.
Public dance halls, clubs, and tea rooms opened in the cities. Curiously named black dances inspired by African dance moves, like the shimmy, turkey trot, buzzard lope, chicken scratch, monkey glide, and the bunny hug eventually were adopted by a white public. The cake walk, developed by slaves as a send-up of their masters' formal dress balls, became the rage. White audiences saw these dances first in vaudeville shows, then performed by exhibition dancers in the clubs.
The popular dance music of the time was not jazz, but there were precursor forms along the blues-ragtime continuum of musical experimentation and innovation that soon would blossom into jazz. Popular Tin Pan Alley composers like Irving Berlin incorporated ragtime influence into their compositions, though they seldom used the specific musical devices that were second nature to jazz players—the rhythms, the blue notes. Few things did more to popularize the idea of hot music than Berlin's hit song of 1911,"Alexander's Ragtime Band," which became a craze as far from home as Vienna. Although the song wasn't written in rag time, the lyrics describe a jazz band, right up to jazzing up popular songs, as in the line, "If you want to hear the Swanee River played in ragtime...."
The early New Orleans "jass" style
A number of regional styles contributed to the early development of jazz. Arguably the single most important was that of the New Orleans, Louisiana area, which was the first to be commonly given the name "jazz" (early on often spelled "jass").
The city of New Orleans and the surrounding area had long been a regional music center. People from many different nations of Africa, Europe, and Latin America contributed to New Orleans' rich musical heritage. In the French and Spanish colonial era, slaves had more freedom of cultural expression than in the English colonies of what would become the United States. In the Protestant colonies African music was looked on as inherently "pagan" and was commonly suppressed, while in Louisiana it was allowed. African musical celebrations held at least as late as the 1830s in New Orleans' "Congo Square" were attended by interested whites as well, and some of their melodies and rhythms found their way into the compositions of white Creole composer Louis Moreau Gottschalk. In addition to the slave population, New Orleans also had North America's largest community of free people of color, some of whom prided themselves on their education and used European instruments to play both European music and their own folk tunes.
According to many New Orleans musicians who remembered the era, the key figures in the development of the new style were flamboyant trumpeter Buddy Bolden and the members of his band. Bolden is remembered as the first to take the blues — hitherto a folk music sung and self-accompanied on string instruments or blues harp (harmonica) — and arrange it for brass instruments. Bolden's band played blues and other tunes, constantly "variating the melody" (improvising) for both dance and brass band settings, creating a sensation in the city and quickly being imitated by many other musicians.
By the early years of the 20th century, travelers visiting New Orleans remarked on the local bands' ability to play ragtime with a "pep" not heard elsewhere.
Characteristics which set the early New Orleans style apart from the ragtime music played elsewhere included freer rhythmic improvisation. Ragtime musicians elsewhere would "rag" a tune by giving a syncopated rhythm and playing a note twice (at half the time value), while the New Orleans style used more intricate rhythmic improvisation often placing notes far from the implied beat (compare, for example, the piano rolls of Jelly Roll Morton with those of Scott Joplin). The New Orleans style players also adopted much of the vocabulary of the blues, including bent and blue notes and instrumental "growls" and smears otherwise not used on European instruments.
Key figures in the early development of the new style were Freddie Keppard, a dark Creole of color who mastered Bolden's style; Joe Oliver, whose style was even more deeply soaked in the blues than Bolden's; and Kid Ory, a trombonist who helped crystallize the style with his band hiring many of the city's best musicians. The new style also spoke to young whites as well, especially the working-class children of immigrants, who took up the style with enthusiasm. Papa Jack Laine led a multi-ethnic band through which passed almost all of two generations of early New Orleans white jazz musicians (and a number of non-whites as well).
Jazz has roots in the combination of Western and African music traditions, including spirituals, blues and ragtime, stemming ultimately from West Africa, western Sahel, and New England's religious hymns and hillbilly music, as well as in European military band music. After originating in African American communities near the beginning of the 20th century, jazz gained international popularity by the 1920s. Since then, jazz has had a pervasive influence on other musical styles worldwide. Even today, various jazz styles continue to evolve.
The word jazz itself is rooted in American slang, probably of sexual origin, although various alternative derivations have been suggested. According to University of Southern California film professor Todd Boyd, the term was originally slang for sexual intercourse as its earliest musicians found employment in New Orleans brothel parlors, with the word deriving from the term 'jass'. The term "jass" was rude sexual slang, related either to the term "jism" or to the jasmine perfume popular among urban prostitutes. Lacking an attentive audience, the musicians began to play for each other and their performances achieved esthetic complexity not evident in ragtime. At the root of jazz is the blues, the folk music of former enslaved Africans in the U.S. South and their descendants, heavily influenced by West African cultural and musical traditions, that evolved as black musicians migrated to the cities. According to Pulitzer Prize-winning African American composer and classical and jazz trumpet virtuoso Wynton Marsalis:
Jazz is something Negroes invented, and it said the most profound things -- not only about us and the way we look at things, but about what modern democratic life is really about. It is the nobility of the race put into sound ... jazz has all the elements, from the spare and penetrating to the complex and enveloping. It is the hardest music to play that I know of, and it is the highest rendition of individual emotion in the history of Western music.
Needless to say, the view of jazz as simply and solely "black music" is controversial. Numerous non-black musicians (Bix Beiderbecke, Benny Goodman, Harry James, Zoot Sims, Gerry Mulligan, Bill Evans, Stan Getz, Dave Brubeck, and Charlie Haden among others) have made important contributions to jazz. In addition, it could be argued that jazz would not exist without both instruments invented or developed by Europeans (the trumpet, saxophone, trombone, double bass, etc.) and the previous work of Europeans in music theory, which was explored in different ways by jazz musicians, such as increased use of the seventh chord and extended chords. The origins of jazz are multicultural, not entirely "pure," and perhaps reflect the hybrid nature of American culture more than any other art form.
Early jazz influences found their first mainstream expression in the marching band and dance band music of the day, which was the standard form of popular concert music at the turn of century. The instruments of these groups became the basic instruments of jazz: brass, reeds, and drums, and are voiced in the Western 12-tone scale.
Other regional styles
Meanwhile, other regional styles were developing which would influence the development of jazz.
African-American minister Rev. Daniel J. Jenkins of Charleston, South Carolina, was an unlikely figure of far-reaching importance in the early development of jazz. In 1891, Jenkins established the Jenkins Orphanage for boys and four years later instituted a rigorous music program in which the orphanage's young charges were taught the religious and secular music of the day, including overtures and marches. Precocious orphans and defiant runaways, some of whom had played ragtime in bars and brothels, were delivered to the orphanage for "salvation" and rehabilitation and made their musical contributions, as well. In the fashion of the Fisk Jubilee Singers and Fisk University, the Jenkins Orphanage Bands traveled widely, earning money to keep the orphanage afloat. It was an expensive enterprise. Jenkins typically took in approximately 125 – 150 "black lambs" yearly, and many of them received formal musical training. Less than 30 years later, five bands operated nationally, with one traveling to England — again in the Fisk tradition. It would be hard to overstate the influence of the Jenkins Orphanage Bands on early jazz, scores of whose members went on to play with jazz legends like Duke Ellington, Lionel Hampton and Count Basie. Among them were the likes of trumpet virtuosos Cat Anderson, Gus Aitken and Jabbo Smith.
In the northeastern United States, a "hot" style of playing ragtime developed. While centered in New York City, it could be found in African-American communities from Baltimore to Boston. Some later commentators have categorized it after the fact as an early form of jazz, while others disagree. It was characterized by rollicking rhythms, but lacked the distinctly bluesy influence of the southern styles. The solo piano version of the northeast style was typified by such players as noted composer Eubie Blake, the son of slaves, whose musical career spanned an impressive eight decades. James P. Johnson took the northeast style and around 1919 developed a style of playing that came to be known as "stride." In stride piano, the right hand plays the melody, while the active left hand "walks" or "strides" from upbeat to downbeat, maintaining the rhythm. Johnson influenced later pianists like Fats Waller and Willie Smith.
The top orchestral leader of the style was James Reese Europe, and his 1913 and 1914 recordings preserve a rare glimpse of this style at its peak. It was during this time that Europe's music profoundly influenced a young George Gershwin, who would go on to compose the jazz-inspired classic "Rhapsody in Blue." By the time Europe recorded again in 1919, he was in the process of incorporating the influence of the New Orleans style
into his playing. The recordings of Tim Brymn give later generations another look at the northeastern hot style with little of the New Orleans influence yet evident.
In Chicago at the start of the 1910s, a popular type of dance band consisted of a saxophone vigorously ragging a melody over a 4-square rhythm section. The city soon fell heavily under the influence of waves of New Orleans musicians, and the older style blended with the New Orleans style to form what would be called "Chicago Jazz" starting in the late 1910s.
Along the banks of the Mississippi around Memphis, Tennessee to St. Louis, Missouri, another band style developed incorporating the blues. The most famous composer and bandleader of the style was the "Father of the Blues," W.C. Handy. While in some ways similar to the New Orleans style (Bolden's influence may have spread upriver), it lacked the freewheeling improvisation found further south. Handy, indeed, for many years denounced jazz as needlessly chaotic, and, in his style, improvisation was limited to short fills between phrases and was considered inappropriate for the main melody.
The national spread of ‘jass’ music
A number of educated "colored" New Orleanians left the South due to increasingly restrictive Jim Crow laws, at first heading mostly to California. One of these was musician Bill Johnson, who thought a good New Orleans-style band would have commercial possibilities out West. Johnson sent for some of the city's best hot musicians, including Freddie Keppard, to join him at the start of the 1910s, forming the Original Creole Orchestra. A vaudeville promoter caught the band playing to enthusiastic crowds in between rounds at a boxing match and booked the band to tour the nation on the Pantages Circuit. The members of the Creole Orchestra wrote their colleagues back home that hot New Orleans musicians could make much better money playing their style up North and out West than they could at home, encouraging many to start spreading the style around the nation.
Chicago was one of the first cities to embrace the new style, and from some accounts it was here that the New Orleans style was first popularly christened "jass." Back in New Orleans, it was called by such names as "ratty music", "hot music," or simply "ragtime" (Sidney Bechet often continued to call his music "ragtime" as late as the 1950s). The style was so different from the ragtime and dance music of the rest of the nation, that a new name was needed to distinguish it. Apparently, the first band billed as playing "jass" was that of trombonist Tom Brown. The term "jass" was rude sexual slang, related to the term "jism" (an alternative explanation relates the term to jasmine, which may have been an attempt to create a less risque story).
One group that followed the Original Creoles and Tom Brown to Chicago went North in 1916 as "Stein's Dixie Jass Band." These veterans of the Papa Jack Laine bands made their way to New York City the following year, calling themselves "The Original Dixieland Jass Band." In New York, they had an opportunity to record phonograph records. The discs, recorded as a novelty, were a surprise national hit, and "jass" quickly became a national craze.
It was in New York where "jass" became "jazz" in the late 1910s, purportedly because mischievous people were making a habit of scratching out the "J"s on posters, which then, unfortunately, advertised "ass band"s.
Jazz in the 1920s
The King & Carter Jazzing Orchestra photographed in Houston, Texas, January 1921.
Two disparate, but important, inventions of the second half of the nineteenth century quietly had set the stage for jazz to capture the spotlight in American popular music by the 1920s. George Pullman's invention of the sleeping car in 1864 brought a new level of luxury and comfort to the nation's railways; and Thomas Edison's invention, in 1877, of the phonograph record made quality music accessible to virtually everyone.
Pullman's ingenious, rolling sleeping quarters provided employment to legions of African-American men, who criss-crossed the nation as sleeping car porters; and by the second decade of the twentieth century, the Pullman Company employed more African-Americans than any single business concern in the United States. But Pullman porters were more than solicitous, smiling faces in smart, navy blue uniforms. The most dapper and sophisticated of them were culture bearers, spreading the card game of bid whist, the latest dance crazes, regional news, and a heightened sense of black pride to cities and towns wherever the railways reached. Many porters also shared, traded and even sold "race records" to augment their income, speeding artistic innovations to musicians eager to hear the latest; spreading among the general public an awareness of and appreciation for this rapidly evolving musical form; and, in the process, putting jazz on the fast track to first U.S., then worldwide, acclaim.
With Prohibition, the constitutional amendment that forbade the sale of alcoholic beverages, the legal saloons and cabarets were closed; but in their place hundreds of speakeasies appeared, where patrons drank and musicians entertained. The presence of dance venues and the subsequent increased demand for accomplished musicians meant more artists were able to support themselves by playing professionally. As a result, the numbers of professional musicians increased, and jazz—like all the popular music of the 1920s—adopted the 4/4 beat of dance music.
Another nineteenth-century invention, radio, came into its own in the 1920s, after the first commercial radio station in the U.S. began broadcasting in Pittsburgh in 1922. Radio stations proliferated at a remarkable rate, and with them, the popularity of jazz. Jazz became associated with things modern, sophisticated, and decadent. The third decade of the new century, a time of technological marvels, flappers, flashy automobiles, organized crime, bootleg whiskey, and bathtub gin, would come to be known as the Jazz Age.
Key figures of the decade
This USPS stamp celebrates the rise of jazz in the 1920s
King Oliver was "jazz king" of Chicago in the early 1920s, when Chicago was the national hub of jazz. His band was the epitome of the New Orleans hot ensemble jazz style. Unfortunately, his band's recordings were little heard outside of Chicago and New Orleans, but the ensemble was a powerful influence on younger musicians, both black and white.
Sidney Bechet was the first master jazz musician to take up what previously often had been dismissed as a novelty instrument, the saxophone. Bechet helped propel jazz in more individualistic personality- and solo-driven directions.
In this last point, Bechet was joined by a young protege of King Oliver, Louis Armstrong, who was to become one of the major forces in the development of jazz. Armstrong was an extraordinary improviser, capable of creating endless variations on a single melody. Armstrong also popularized scat singing, an improvisational vocal technique in which nonsensical syllables or words are sung or otherwise vocalized, often as part of a call-and-response interaction with other musicians onstage. His unique, gravely voice and innate sense of swing made scat an instant hit.
Arguably, Bix Beiderbecke was both the first white and the first non-New Orleanian to make major original contributions to the development of jazz with his legato phrasing, bringing the influence of classical romanticism to jazz.
Paul Whiteman was the most commercially successful bandleader of the 1920s, billing himself as "The King of Jazz." Sacrificing spontaneous improvisation for the sake of elaborate written arrangements, Whiteman claimed to be "making a lady out of jazz." Despite his hiring Bix and many of the other best white jazz musicians of the era, later generations of jazz lovers have often judged Whiteman's music to have little to do with real jazz. Nonetheless, his notion of combining jazz with elaborate orchestrations has been returned to repeatedly by composers and arrangers of later decades. It was Whiteman who commissioned Gershwin's "Rhapsody in Blue," which was debuted by Whiteman's Orchestra.
Fletcher Henderson led the top African American band in New York City. At first he wished to follow the lead of Paul Whiteman, but after hiring Louis Armstrong to play in his band, Henderson realized the importance of the improvising soloist in developing jazz bands. Henderson's arrangements would play a significant role in the development of the Big Band era in the following decade.
Young pianist and bandleader Duke Ellington first came to national attention in the late 1920s with his tight band making many recordings and radio broadcasts. Ellington's importance would grow in the coming decades. Today he is widely regarded as one of the most important composers in jazz history.
1930s to 1950s
While the solo became more important in jazz, popular bands became larger in size. The Big band became the popular provider of music for the era. Big bands varied in their jazz content; some (such as Benny Goodman's Orchestra) were highly jazz oriented, while others (such as Glenn Miller's) left little space for improvisation. Most were somewhere in between, having some musicians adept at jazz solos playing with section men who kept the rhythm and arrangements going. However even bands without jazz soloists adopted a sound owing much to the jazz vocabularity, for example sax sections playing what sounded like an improvised variation on a melody (and may have originated as a transcription of one).
Key figures in developing the big jazz band were arrangers and bandleaders Fletcher Henderson, Don Redman and the man sometimes deemed the most prolific composer in American history, Duke Ellington.
In the early 1920s, popular music was still a mixture of things—current dance numbers, novelty songs, show tunes. "Businessman's bounce music," as one horn player put it. But musicians with steady jobs, playing with the same companions, were able to go far beyond that. The Ellington band at the Cotton Club and the various Kansas City groups that became the Count Basie band date from this period.
Over time, social strictures regarding racial segregation began to relax in entertainment. White bandleaders, who tended to mold the music more to orthodox rhythms and harmony, began to recruit black musicians. In the mid-1930s, Benny Goodman hired pianist Teddy Wilson, vibraharpist Lionel Hampton, and guitarist Charlie Christian to join small groups. During this period, the popularity of swing (genre) and big band music was at its height, making stars of such men as Glenn Miller and Duke Ellington. Swing, the popular music of its time, covered a broad spectrum from "sweet" to "hot" bands, with the jazz content varying across the range.
The influence of Louis Armstrong also continued to grow. Musicians and bandleaders like Cab Calloway — and, later, trumpeter Dizzy Gillespie and Pop vocalists like Bing Crosby embraced Armstrong's style of improvising on the melody, and U.S. pop singers seldom since have rendered a tune "straight," in the pre-jazz style. In Crosby's mould, artists famed for their vocals rather than instrumental skills also began to emerge as great 'jazz singers' in the form of vocalists like Ella Fitzgerald, Billie Holliday and later, Frank Sinatra and Sarah Vaughan, all of whom jumped on the scat bandwagon that galvanised the genre till the 1950s.
A development of swing in the early 1940s known as "jumping the blues" or jump music anticipated rhythm and blues and rock and roll in some respects. It involved the use of small combos instead of big bands and a concentration on up-tempo music using the familiar blues chord progressions. Drawing largely upon the evolution of boogie-woogie in the 1930s, it used a doubled rhythm—that is, the rhythm section played "eight to the bar," eight beats per measure instead of four. Big Joe Turner, a Kansas City singer who worked in the 1930s with Swing bands like Count Basie's, became a boogie-woogie star in the 1940s and then in the 1950s was one of the first innovators of rock and roll, notably with his song "Shake, Rattle and Roll". Another jazz founder of rock and roll was saxophonist Louis Jordan.
Development of bebop
The next major stylistic turn came in the 1940s with bebop, led by such distinctive stylists as the saxophonist Charlie Parker (known as "Yardbird" or "Bird"), Bud Powell and Dizzy Gillespie. This marked a major shift of jazz from pop music for dancing to a high-art, less-accessible, cerebral "musician's music." Thelonious Monk, while too individual to be strictly a bebop musician, was also associated with this movement. Bop musicians valued complex improvisations based on chord progressions rather than melody. Hard bop moved away from cool jazz, incorporating influences from soul music, gospel music, and the blues. Hard bop was at the peak of its popularity in the 1950s and 1960s, and was associated with such figures as Sonny Rollins, John Coltrane, Miles Davis, Art Blakey and Charles Mingus. Later, bebop and hard bop musicians, such as trumpeter Miles Davis, made more stylistic advances with modal jazz, where the harmonic structure of pieces was much more free than previously, and was frequently only implied -- by skeletal piano chords and bass parts. The instrumentalists then would improvise around a given mode of the scale.
Latin jazz
Main article: Latin jazz
Latin jazz has two varieties: Afro-Cuban and Brazilian. Afro-Cuban jazz was played in the U.S. directly after the bebop period, while Brazilian jazz became more popular in the 1960s and 1970s.
Afro-Cuban jazz began as a movement after the death of Charlie Parker. Notable bebop musicians such as Dizzy Gillespie and Billy Taylor started Afro-Cuban bands at that time. Gillespie's work was mostly with big bands of this genre. While the music was influenced by such Cuban and Puerto Rican musicians as Tito Puente and, much later, Arturo Sandoval, there were many Americans who were drawing upon Cuban rhythms for their work.
Brazilian jazz is, in North America at least, nearly synonymous with bossa nova, a Brazilian popular style which is derived from samba with influences from jazz as well as other 20th-century classical and popular music. Bossa is generally slow, played around 80 beats per minute or so. The music uses straight eighths, rather than swing eighths, and also uses difficult polyrhythms. The best-known bossa nova compositions are considered to be jazz standards in their own right.
The related term jazz-samba essentially describes an adaptation of bossa nova compositions to the jazz idiom by American performers such as Stan Getz and Charlie Byrd, and usually played at 120 beats per minute or faster. Samba itself is actually not jazz but, being derived from older Afro-Brazilian music, it shares some common characteristics.
Free jazz
Main article: Free jazz
Free jazz, or avant-garde jazz, is a subgenre that, while rooted in bebop, typically uses less compositional material and allows performers more latitude in what they choose to play. Free jazz's greatest departure from other styles is in the use of harmony and a regular, swinging tempo: Both are often implied, utilized loosely, or abandoned altogether. These approaches were rather controversial when first advanced, but have generally found acceptance — though sometimes grudgingly — and have been utilized in part by other jazz performers.
There were earlier precedents, but free jazz crystalized in the late 1950's, especially via Ornette Coleman and Cecil Taylor, and probably found its greatest exposure in the late 1960s with John Coltrane, Archie Shepp, Albert Ayler, Sun Ra, Pharoah Sanders, Sam Rivers, Leroy Jenkins, Don Pullen and others.
While perhaps less popular than other styles, free jazz has exerted an influence to the present. Peter Brotzmann, Ken Vandermark, William Parker, Derek Bailey and Evan Parker are leading contemporary free jazz musicians, and musicians such as Coleman, Taylor and Sanders continue to play in this style. Keith Jarrett has been prominent in defending free jazz from criticism by traditionalists in recent years.
Jazz and rock music: jazz fusion
Main article: Jazz fusion
Bitches Brew is often cited as the most influential record in the history of jazz fusion.
With the growth of rock and roll in the 1960s, came the hybrid form jazz-rock fusion, again involving Miles Davis, who recorded the fusion albums In a Silent Way and Bitches Brew in 1968 and 1969 respectively. Jazz was by this time no longer center stage in popular music, but was still breaking new ground and combining and recombining in different forms. Notable artists of the 1960s and 1970s jazz and fusion scene include: Chick Corea, Herbie Hancock and his Headhunters band, John McLaughlin and the Mahavishnu Orchestra, Al Di Meola, Jean-Luc Ponty, Sun Ra, Soft Machine, Narada Michael Walden (who would later enjoy huge success as a music producer), Wayne Shorter, Jaco Pastorius, the Pat Metheny Group and Weather Report. Some of these have continued to develop the genre into the 2000s.
Recent developments
The stylistic diversity of jazz has shown no sign of diminishing, absorbing influences from such disparate sources as world music and avant garde classical music, including African rhythm and traditional structure, serialism, and the extensive use of chromatic scale, by such musicians as Ornette Coleman and John Zorn.
Beginning in the 1970s with such artists as Keith Jarrett, Paul Bley, Billy Childs, the Pat Metheny Group, Jan Garbarek, Ralph Towner, and Eberhard Weber, the ECM record label established a new chamber-music aesthetic, featuring mainly acoustic instruments, and incorporating elements of world music and folk music. This is sometimes referred to as "European" or "Nordic" jazz, despite some of the leading players being American.
However, the jazz community has shrunk dramatically and split, with a mainly older audience retaining an interest in traditional and "straight-ahead" jazz styles, a small core of practitioners and fans interested in highly experimental modern jazz, and a constantly changing group of musicians fusing jazz idioms with contemporary popular music genres. The latter have formed such styles as acid jazz which contains elements of 1970s disco, acid swing which combines 1940s style big-band sounds with faster, more aggressive rock-influenced drums and electric guitar, and nu jazz which combines elements of jazz and modern forms of electronic dance music.
Exponents of the "acid jazz" style which was initially UK-based included the Brand New Heavies, James Taylor Quartet, Young Disciples, and Corduroy. In the United States, acid jazz groups included the Groove Collective, Soulive, and Solsonics. In a more pop or smooth jazz context, jazz enjoyed a resurgence in the 1980s with such bands as Pigbag and Curiosity Killed the Cat achieving chart hits in Britain. Sade Adu became the definitive voice of smooth jazz.
There have been other developments in the 1980s and 1990s that were less commercially oriented. Many of these artists, notably Wynton Marsalis, called what they were doing jazz and in fact strove to define what the term actually meant. They sought to create within what they felt was the tradition, creating extensions of small and large forms initially pioneered by such artists as Louis Armstrong and Duke Ellington. In the case of Marsalis these efforts met with critical acclaim.
Others musicians in this time period - although clearly within the tradition of the great spontaneous composers such as Charlie Parker, John Coltrane, Fats Navarro and many others – choose to distance themselves from the term jazz and simply define what they were doing as music (this in fact was suggested by the great composer Duke Ellington when the term jazz first began to be popular). Alternatively they created their own names for what they were doing (such as M-Base). Many of these artists agree with the creative guitarist Jean-Paul Bourelly who feels that "You shouldn't categorize according to styles of music, you should categorize in terms of creative levels". These musicians feel that rhythm is the key for further progress in the music. Bourelly, similar to M-Base, believes that the rhythmic innovations of James Brown and other Funk pioneers can provide an effective rhythmic base for spontaneous composition. However, the ideas of these musicians go far beyond simply playing over a funk groove, extending the rhythmic ideas in a way analogous to what had been done with harmony in previous times. Some of the musicians involved in the approach called M-Base even view this as Rhythmic Harmony. Others, like Wynton Marsalis, disagree with this point of view, preferring instead to retain the rhythmic base of swing for creating their music. However, all of these artists participate in spontaneous composition and only differ in creative focus and what could be called groove emphasis.
With the rise in popularity of various forms of electronic music during the late 1980s and 1990s, some jazz artists have attempted a fusion of jazz with more of the experimental leanings of electronica (particularly IDM and Drum and bass) with various degrees of success. This has been variously dubbed "future jazz", "jazz-house" or "nu jazz". The more experimental and improvisional end of the spectrum includes Scandinavia-based artists such as pianist Bugge Wesseltoft, trumpeter Nils Petter Molv?r (who both began their careers on the ECM record label), and the trio Wibutee, all of whom have gained their chops as instrumentalists in their own right in more traditional jazz circles. The Cinematic Orchestra from the UK or Julien Lourau from France have also gained praise in this area. Toward the more pop or pure dance music end of the spectrum of nu jazz are such proponents as St Germain and Jazzanova, who incorporate some live jazz playing with more metronomic house beats.
In the 2000s, "jazz" hit the pop charts and blended with contemporary Urban music through the work of artists like Norah Jones, Jill Scott, Jamie Cullum, Erykah Badu, Amy Winehouse and Diana Krall and the jazz advocacy of performers who are also music educators (such as Jools Holland, Courtney Pine and Peter Cincotti). Some of these new styles may be light on improvisation, a key characteristic of jazz. However, their instrumentation and rhythms are similar to other jazz music, and the label has stuck.
Improvisation
Reggie Workman, Pharaoh Sanders, and Idris Muhammad, c. 1978
Jazz is often difficult to define, but improvisation is unquestionably a key element of the form. Improvisation has been since early times an essential element in African and African-American music and is closely related to the pervasiveness of call and response in West African and African-American cultural expression. The exact form of improvisation has changed over time. Early folk blues music often was based around a call and response pattern, and improvisation would factor into the lyrics, the melody, or both. Part of the Dixieland style involves musicians taking turns playing the melody while the others make up counter lines to go with it. By the Swing era, big bands played carefully arranged sheet music, but the music often would call for one member of the band to stand up and play a short, improvised solo. In bebop, however, the focus shifted from the cleverness of arrangement to the cleverness of improvisation over the form; musicians gave comparably little attention to the composed melody, or "head," which was played at the beginning and the end of the performance.
As previously noted, later styles of jazz, such as modal jazz, abandoned the strict notion of a chord progression, allowing the individual musicians to improvise more freely within the context of a given scale or mode. The best-known example of this is the classic Miles Davis album Kind of Blue. When a pianist or guitarist improvises an accompaniment while a soloist is playing, it is called comping or vamping.
Black musicians frequently used the melody, structure, and beat of marches as points of departure; but says "North by South, from Charleston to Harlem," a project of the National Endowment for the Humanities: "...a black musical spirit (involving rhythm and melody) was bursting out of the confines of European musical tradition, even though the performers were using European styled instruments. This African-American feel for rephrasing melodies and reshaping rhythm created the embryo from which many great black jazz musicians were to emerge." Many black musicians also made a living playing in small bands hired to lead funeral processions in the New Orleans African-American tradition. These Africanized bands played a seminal role in the articulation and dissemination of early jazz. Traveling throughout black communities in the Deep South and to northern big cities, these musician-pioneers were the Hand helping to fashion the music's howling, raucous, then free-wheeling, "raggedy," ragtime spirit, quickening it to a more eloquent, sophisticated, swing incarnation.
For all its genius, early jazz, with its humble, folk roots, was the product of primarily self-taught musicians. But an impressive postbellum network of black-established and -operated institutions, schools, and civic societies in both the North and the South, plus widening mainstream opportunities for education, produced ever-increasing numbers of young, formally trained African-American musicians, some of them schooled in classical European musical forms. Lorenzo Tio and Scott Joplin were among this new wave of musically literate jazz artists. Joplin, the son of a former slave and a free-born woman of color, was largely self-taught until age 11, when he received lessons in the fundamentals of music theory from a classically trained German immigrant in Texarkana, Texas.
Also contributing to this trend was a tightening of Jim Crow laws in Louisiana in the 1890s, which caused the expulsion from integrated bands of numbers of talented, formally trained African-American musicians. The ability of these musically literate, black jazzmen to transpose and then read what was in great part an improvisational art form became an invaluable element in the preservation and dissemination of musical innovations that took on added importance in the approaching big-band era.
The United States music scene at the start of the 20th century
By the turn of the century, American society had begun to shed the heavy-handed, straitlaced formality that had characterized the Victorian era. --citation needed
Strong influence of African American music traditions had already been a part of mainstream popular music in the United States for generations, going back to the 19th century minstrel show tunes and the melodies of Stephen Foster.
Public dance halls, clubs, and tea rooms opened in the cities. Curiously named black dances inspired by African dance moves, like the shimmy, turkey trot, buzzard lope, chicken scratch, monkey glide, and the bunny hug eventually were adopted by a white public. The cake walk, developed by slaves as a send-up of their masters' formal dress balls, became the rage. White audiences saw these dances first in vaudeville shows, then performed by exhibition dancers in the clubs.
The popular dance music of the time was not jazz, but there were precursor forms along the blues-ragtime continuum of musical experimentation and innovation that soon would blossom into jazz. Popular Tin Pan Alley composers like Irving Berlin incorporated ragtime influence into their compositions, though they seldom used the specific musical devices that were second nature to jazz players—the rhythms, the blue notes. Few things did more to popularize the idea of hot music than Berlin's hit song of 1911,"Alexander's Ragtime Band," which became a craze as far from home as Vienna. Although the song wasn't written in rag time, the lyrics describe a jazz band, right up to jazzing up popular songs, as in the line, "If you want to hear the Swanee River played in ragtime...."
The early New Orleans "jass" style
A number of regional styles contributed to the early development of jazz. Arguably the single most important was that of the New Orleans, Louisiana area, which was the first to be commonly given the name "jazz" (early on often spelled "jass").
The city of New Orleans and the surrounding area had long been a regional music center. People from many different nations of Africa, Europe, and Latin America contributed to New Orleans' rich musical heritage. In the French and Spanish colonial era, slaves had more freedom of cultural expression than in the English colonies of what would become the United States. In the Protestant colonies African music was looked on as inherently "pagan" and was commonly suppressed, while in Louisiana it was allowed. African musical celebrations held at least as late as the 1830s in New Orleans' "Congo Square" were attended by interested whites as well, and some of their melodies and rhythms found their way into the compositions of white Creole composer Louis Moreau Gottschalk. In addition to the slave population, New Orleans also had North America's largest community of free people of color, some of whom prided themselves on their education and used European instruments to play both European music and their own folk tunes.
According to many New Orleans musicians who remembered the era, the key figures in the development of the new style were flamboyant trumpeter Buddy Bolden and the members of his band. Bolden is remembered as the first to take the blues — hitherto a folk music sung and self-accompanied on string instruments or blues harp (harmonica) — and arrange it for brass instruments. Bolden's band played blues and other tunes, constantly "variating the melody" (improvising) for both dance and brass band settings, creating a sensation in the city and quickly being imitated by many other musicians.
By the early years of the 20th century, travelers visiting New Orleans remarked on the local bands' ability to play ragtime with a "pep" not heard elsewhere.
Characteristics which set the early New Orleans style apart from the ragtime music played elsewhere included freer rhythmic improvisation. Ragtime musicians elsewhere would "rag" a tune by giving a syncopated rhythm and playing a note twice (at half the time value), while the New Orleans style used more intricate rhythmic improvisation often placing notes far from the implied beat (compare, for example, the piano rolls of Jelly Roll Morton with those of Scott Joplin). The New Orleans style players also adopted much of the vocabulary of the blues, including bent and blue notes and instrumental "growls" and smears otherwise not used on European instruments.
Key figures in the early development of the new style were Freddie Keppard, a dark Creole of color who mastered Bolden's style; Joe Oliver, whose style was even more deeply soaked in the blues than Bolden's; and Kid Ory, a trombonist who helped crystallize the style with his band hiring many of the city's best musicians. The new style also spoke to young whites as well, especially the working-class children of immigrants, who took up the style with enthusiasm. Papa Jack Laine led a multi-ethnic band through which passed almost all of two generations of early New Orleans white jazz musicians (and a number of non-whites as well).
Даже еслиб это было по-русски,то я бы ниасилил. 
В промт загони )
Ух ты ёпт!!! сколько $$$?
я то конечно всё понял, но лучше тебе в перевод. контору пойти...
я то конечно всё понял, но лучше тебе в перевод. контору пойти...
Маряхин, вот и я о том же))) тока за бабки)
Нафик это переводить? Подобной инфы навалом и на русском языке..
Козлов выпускал мп3 серию "история джаза". На каждом диске прикольная подборка по стилю. Попадались реально редкие записи...
И на дисках также текстовые документы про разные джазовые стили.
Avanguard, bebop, hardbop, funky jazz, smooth, fusion.... В том числе и ПЕРЕВОДЫ фрагментов разных американских книг об истории джаза.
И на дисках также текстовые документы про разные джазовые стили.
Avanguard, bebop, hardbop, funky jazz, smooth, fusion.... В том числе и ПЕРЕВОДЫ фрагментов разных американских книг об истории джаза.
может соберемся всем форумом и по фразке переведем? 
Ага! Жлобье!!! трудно перевести/
как петь на английском, так все сразу знают язык, а как перевести полезную статью, то крайнего нет
Джаз имеет корни в комбинации Западных и африканских традиций музыки, включая спайритуалс, блюза и рэгтайма, происходя, в конечном счете, из Западной Африки, западного Сахэль, и религиозных гимнов Новой Англии и музыки кантри, так же как в европейской музыке военного оркестра. После возникновения в Афро-американских сообществах около начала 20-ого столетия, джаз получил международную популярность в
1920-х. С тех пор, джаз имел распространяющееся влияние на другие музыкальные стили во всем мире.
Даже сегодня, различные джазовые стили продолжают развиваться.
Джаз самого слова внедрен в американском сленге, вероятно сексуального происхождения, хотя различные альтернативные происхождения предложились. Согласно Университету Южного Калифорнийского профессора фильма Тодда Бойда, срок был первоначально сленгом для половых сношений как его самые ранние музыканты, найденные занятостью в Новоорлеанских комнатах борделя, со словом, происходящим от срока 'джасс'.
Срок "джасс" был грубым сексуальным сленгом, связанным или к сроку "джисм" или к духам жасмина, популярным среди городских проституток, испытывающих недостаток во внимательной аудитории, музыканты начали играть для друг друга, и их действия достигли эстетической сложности, не очевидной в рэгтайме. В корне джаза - блюз, народная музыка прежних порабощенных Африканцев в США.
Юг и их потомки, тяжело под влиянием культурных западноафриканских и музыкальных традиций, которые развились как черные музыканты, мигрировали к городам. Согласно Награжденному Афро-американскому композитору Палитзер и классическому и джазовому виртуозу трубы Винтону Марсалису:
Джаз - кое-что Негры, изобретенные, и это сказало самые глубокие вещи - не только о нас и способе, которым мы смотрим на вещи, но о том, о каком современная демократическая жизнь является действительно. Это - благородство гонки, помещенной в звук ..., джаз имеет все элементы, от запчасти и проникающий к комплексу и окутыванию. Это - самая твердая музыка, чтобы играть это, я знаю о, и это - самое высокое исполнение индивидуальной эмоции в истории Западной музыки.
Рано джазовые влияния нашли их первое господствующее выражение в полосе похода и музыке эстрадного оркестра дня, который был стандартной формой популярной концертной музыки в повороте столетия. Инструменты этих групп стали основными инструментами джаза: руководство, тростники, и барабаны, и высказаны в Западном масштабе с 12 тонами.
Черные музыканты часто использовали мелодию, структуру, и бились из маршей как пункты отправления; но говорит "Север Югом, от Чарлстона до Гарлема, " проект Национального Снабжения для Гуманитарных наук: ", который черный музыкальный дух (вовлекающий ритм и мелодию) разрывал из границ европейской музыкальной традиции, даже при том, что исполнители использовали европейца, разрабатывал инструменты.
Этот Афро-американец нащупывает мелодии перефразирования, и изменение ритма создало эмбрион, от которого должны были появиться много больших черных джазовых музыкантов.
Много черных музыкантов также зарабатывали на жизнь, играя в маленьких полосах, нанятых, чтобы вести похоронные процессии в Новоорлеанской Афро-американской традиции. Эти Африканизированные полосы играли оригинальную роль в артикуляции и распространении раннего джаза.
Путешествуя всюду по черным сообществам на Глубоком Юге и к северным большим городам, этим музыкантом пионерами была Рука, помогающая вылеплять вой музыки, хриплый, тогда вольный, "изношенный", дух рэгтайма, ускоряя это к более красноречивому, сложный, воплощению колебания.
Для всего его гения, рано исполните джаз, с его скромным, народными корнями, был продукт, прежде всего само преподававших музыкантов. Но внушительная послевоенная сеть черно-установленных и - учреждения, которыми управляют, школы, и гражданские общества и на Севере и на Юге, плюс расширение господствующих возможностей образования, произвели постоянно увеличивающиеся числа молодых, формально обучал Афро-американских музыкантов, некоторые из них обученный в классических европейских музыкальных формах.
Лоренсо. Тио и Скотт Джоплин были среди этой новой волны музыкально грамотных джазовых художников. Джоплин, сын прежнего раба и свободнорождённой женщины цвета, в значительной степени само преподавался до возраста 11, когда он получил уроки в основных принципах теории музыки от классически обучаемого немецкого иммигранта в Тексаркане, Техасе.
Также помощь этой тенденции была сжиманием законов Джима Кроу в Штате Луизиана в 1890-ых, который вызвал изгнание из интегрированных полос чисел талантливых, формально обучал Афро-американских музыкантов. Способность этих музыкально грамотных, черных джазистов, чтобы переместить и затем читать, что было в большой части художественная импровизационная форма, стала неоценимым элементом в сохранении и распространении музыкальных новшеств, которые взяли добавленную важность в приближающуюся эру биг-бенда [редактируйте] сцену музыки Соединенных Штатов в начале 20-ого столетия наступлением нового века, американское общество начало терять властную, пуританскую формальность, которая характеризовала Викторианскую эру. Сильное влияние Афро-американских традиций музыки уже было частью господствующей популярной музыки в Соединенных Штатах в течение нескольких поколений, возвращаясь к мелодиям показа менестреля 19-ого столетия и мелодиям Стивена Фостера.
Общественные дансинги, клубы, и кафе-кондитерские открылись в городах. Любопытно названный черными танцами, вдохновленными африканскими шагами танца, как рубашка, индейка несется, канюк лопе, царапина цыпленка, обезьяна скользит, и объятие кролика, в конечном счете, было принято белой публикой. Прогулка пирога, развитая рабами как пародия шаров вечернего костюма их владельцев, стала гневом. Белые зрители видели эти танцы сначала на показах водевиля, затем выполненных балеринами выставки в клубах.
Влияние Луи Армстронга также продолжало расти. Музыканты и руководители джаз-оркестра как Такси, Calloway - и, позже, трубач Диззай Джиллеспи и вокалисты Популярности как Резкий звук, Кросби охватил стиль Армстронга импровизации на мелодии, и США, суют певцов редко с тех пор, отдали мелодию "прямо", в предджазовом стиле. В почве Кросби, художники, знаменитые за их вокалы, а не инструментальные навыки также bega появляться как большие 'джазовые певцы в форме вокалистов как Элла Фитзджералд, Билли Холлидей и позже, Франк Синатра и Сара Воган, все из которых вскочили на фургон с оркестром ската, который гальванизировал жанр до 1950-ых. Развитие колебания в начале 1940-ых, известных как "скачок блюза" или музыки скачка ожидало ритм и блюз и рок-н-ролл в некотором отношении. Это вовлекало использование из маленьких компаний вместо биг-бендов и концентрации на музыке наверх-темпа, используя знакомые прогрессии аккорда блюза. Тянущий в значительной степени после развития буги-вуги в 1930-ых, это использовало удвоенный ритм то есть, который секция ритма играла "восемь к бруску," восемь ударов в меру вместо четыре. Большой Джо Тернер, певец Канзас-Сити, который работал в 1930-ых с полосами Колебания как граф Бази,
стал звездой буги-вуги в 1940-ых, и затем в 1950-ых был один из первых новаторов рок-н-ролла, особенно с его песней "Толчок, Скрежет и Рулон". Другой джазовый основатель рок-н-ролла был саксофонистом Луи Джорданом. [редактируйте] Развитие бибопа, следующий главный стилистический поворот вошел в 1940-ые с бибопом, во главе с такими отличительными стилистами как саксофонист Чарли Parker (известный как "Новобранец" или "Птица"), Зародыш Powell и Диззай Джиллеспи. Это отметило главное изменение джаза от поп-музыки для того, чтобы танцевать к высокому искусству, музыке менее - доступного, мозгового "музыканта." Монах Thelonious, в то время как слишком индивидуально, чтобы быть строго музыкантом бибопа, был также связан с этим движением. Музыканты бибопа оценили сложные импровизации, основанные на прогрессиях аккорда, а не мелодии. Трудно бибоп переезжал от прохладного джаза,
включая влияния от музыки души, музыки евангелия, и блюза. Твердый бибоп был в пике его популярности в 1950-ых и 1960-ых, и был связан с такими фигурами как Сонни Роллинс, Джон Колтрэйн, Мили Дэвис, Арт Блакей и Чарльз Мингас. Позже, бибоп и трудно танцует бибоп, музыканты, типа Миль трубача Дэвис, сделали больше стилистических авансов с модальным джазом, где гармоническая структура частей была намного более свободный чем предварительно, и часто только подразумевался - скелетными аккордами фортепьяно и басовыми частями. Музыканты тогда импровизировали бы вокруг данного способа масштаба. [редактируйте] латинскую джазовую статью Main: латинский джазовый латинский джаз имеет два варианта: относящийся к темнокожим кубинцам и бразильский. Относящийся к темнокожим кубинцам джаз игрался в США непосредственно после периода бибопа, в то время как бразильский джаз стал более популярным в 1960-ых и 1970-ых.
Относящийся к темнокожим кубинцам джаз начался как движение после смерти Чарли Паркера. Известные музыканты бибопа, типа Диззай Джиллеспи и Билли Тэйлора начали относящиеся к темнокожим кубинцам полосы тогда. Работа Джиллеспи была главным образом с биг-бендами этого жанра. В то время как музыка была под влиянием такого кубинца и музыкантов Пуэрто-риканца как Тито Пуенте и, намного позже, Артуро Сандоваль, было много американцев, которые догоняли кубинские ритмы для их работы.
Бразильский джаз, в Северной Америке по крайней мере, почти синонимичен с боссановой, бразильский популярный стиль, который получен из самбы с влияниями от джаза так же как другого 20-ого столетия классическая и популярная музыка. Bossa вообще медленен, играл приблизительно 80 ударов в минуту или около этого. Музыка использует прямые восьмые, вместо того, чтобы качать восьмые, и также использует трудные многоритмы. Самые известные составы боссановы полагавший быть джазовыми стандартами в их собственном праве. Связанная джазовая самба срока по существу описывает адаптацию составов боссановы к джазовой идиоме американскими исполнителями, типа Стэна Джетза и Чарли Бирда, и обычно играемый при 120 ударах в минуту или быстрее. Сама самба - фактически не джаз, но, будучи полученным из старшей афро-бразильской музыки, это разделяет некоторые общие особенности.
[редактируйте] Свободную джазовую статью Main: Свободный джаз
Свободный джаз, или авангардистский джаз, являются поджанром, который, в то время как внедрено в бибопе, типично использует меньше композиционного материала и позволяет исполнителям больше широты в том, что они хотят играть. Самый большой отъезд свободного джаза от других стилей находится в использовании гармонии и постоянного клиента, качая темп: Оба часто подразумеваются, используются свободно, или оставляются в целом. Эти подходы были довольно спорны когда сначала продвинуто,но вообще находили принятие - хотя иногда неохотно - и использовались частично другими джазовыми исполнителями. Были более ранние прецеденты, но свободный джаз, кристаллизованный в конце 1950-ых, особенно через Орнетт Колемана и Сесила Тэйлора, и вероятно нашли его самое большое подвергание в конце 1960-ых с Джоном Колтрэйном, Арчи Шеппом, Альбертом Эйлером, Ра Солнца, Фароаом Сандерсом, Сэмом Риверсом, Лероем Дженкинсом, Доном Пульеном и другими.
В то время как возможно менее популярный чем другие стили, свободный джаз проявил влияние к подарку. Питер Бротзманн, Майкл Шулз, Кен, Vandermark, Уильям Паркер, Дерек Бэйлей и Эван Паркер ведут свободного современника, подбадривает музыкантов, и музыканты, типа Coleman, Тэйлора и Sanders продолжают играть в этом стиле. Кит Джарретт был виден в защите свободного джаза от критики традиционалистами в последние годы. [редактировать]
Джаз и рок-музыка: джазовая статья Main сплава: Джазовое Варево Сук сплава часто цитируется как самый влиятельный отчет в истории джазового сплава. С ростом рок-н-ролла в 1960-ых, прибыл гибридный сплав джаз-рока формы, снова вовлекая Мили Дэвис, который сделал запись альбомов сплава Тихим Способом и Варевом Сук в 1968 и 1969 соответственно. Джаз не был к этому времени больше стадией центра в популярной музыке,
но все еще нарушал новое основание и объединялся и повторно объединялся в различных формах. Известные художники 1960-ых и джаза 1970-ых и сцены сплава включают: Чик Кореа, Эрби Ханкок и его полоса Охотников за головами, Джон Маклоглин и Оркестр Mahavishnu, Ал Ди Меола, Жан-Luc Ponty, Ра Солнца, Мягкая Машина, Нарада Майкл Волден (кто позже наслаждался бы огромным успехом как производитель музыки), Wayne Короче, Jaco Pastorius, Группа и Погодное Сообщение Пата Метэни. Некоторые из них продолжили развивать жанр в 2000-ые. [редактируйте] Недавние события, Которые стилистическое разнообразие джаза не показало никакому признаку уменьшения, поглощая влияния из таких несоизмеримых источников как мировая музыка и avant garde классическая музыка, включая африканский ритм и традиционную структуру, serialism, и обширное использование из хроматической гаммы, такими музыкантами как Орнетт Колеман и Джон Зорн. Начинаясь в 1970-ых с таких художников как Кит Джарретт, Пол Блей, Билли Чайлдс, Группа Пата Метэни, январь Garbarek, Ральф Тоунер, и Эберард Вебер, ярлык отчета Европейского Общего рынка установил новую эстетическую камерную музыку, показывая главным образом акустические инструменты, и включая элементы мировой музыки и народной музыки. Это иногда упоминается
"Европейский" или "скандинавский" джаз, несмотря на некоторых из ведущих игроков, являющихся американским. Однако, джазовое сообщество сжалось драматично и раскололось, с главным образом старшей аудиторией, сохраняющей интерес в традиционном и "прямо вперед" подбадривает стили, маленькое ядро практиков и болельщиков, заинтересованных очень экспериментальным современным джазом, и постоянно изменяющейся группой музыкантов, плавящих джазовые идиомы с современными жанрами популярной музыки. Последний сформировали такие стили как кислотный джаз, который содержит элементы дискотеки 1970-ых, кислотное колебание, которое комбинирует звуки биг-бенда стиля 1940-ых с более быстрыми, более агрессивными рок-влиявшими барабанами и электрической гитарой, и джазом ню, который комбинирует элементы джаза и современных форм электронной музыки танца. Образцы "кислоты подбадривают" стиль, который был первоначально основан в Великобритании, включал Совершенно новый Heavies, Квартет Джеймса Тэйлора,
Молодые Ученики, и Вельвет. В Соединенных Штатах, кислотные джазовые группы включали Коллективное Углубление, Soulive, и Solsonics. В большем количестве популярности или гладкого джазового контекста, джаз обладал всплеском в 1980-ых с такими полосами, как Pigbag и Любопытство Убили Кота, достигающего хитов диаграммы в Великобритании. Sade Adu стал категорическим голосом гладкого джаза. В 1980-ых и 1990-ых были другие события это менее коммерчески ориентировалось. Многие из этих художников, особенно Wynton Marsalis, названный, что они делали джаз и фактически стремились определить то, что фактически означал срок. Они стремились создать в пределах того, что они чувствовали, была традиция, создавая расширения маленьких и больших форм, первоначально ведомых такими художниками как Луи Армстронг и Дьюк Эллингтон. В случае Marsalis приветствуют эти усилия, встреченные с критическим.
Музыканты других в этом периоде времени - хотя ясно в пределах традиции больших непосредственных композиторов, типа Чарли Паркера, Джона Колтрэйна, Жиры Navarro и многие другие - хотят дистанцироваться от срока, подбадривают и просто определяют то, что они делали как музыка (этому фактически предлагал большой композитор Дьюк Эллингтон, когда срок исполняет джаз, сначала начал быть популярным). Альтернативно они создали их
имейте названия для того, что они делали (, типа М. Основа). Многие из этих художников соглашаются с творческим гитаристом Жаном-Полом Боереллай, который чувствует, что "Вы не должны категоризировать согласно стилям музыки, Вы должны категоризировать в терминах творческих уровней". Эти музыканты чувствуют, что ритм - ключ для дальнейшего продвижения музыки. Боереллай, подобный М. Основы, полагает что ритмичные новшества Джеймса Брауна и другого Пионеры испуга могут обеспечить эффективную ритмичную основу для непосредственного состава. Однако, идеи относительно этих музыкантов идут далеко вне простой игры по углублению испуга, расширяя ритмичные идеи в пути, аналогичном тому, что было сделано с гармонией в предыдущие разы. Некоторые из музыкантов, вовлеченных в подход по имени М. Основы даже рассматривают это как Ритмичная Гармония. Другие, как Wynton Marsalis,
не согласитесь с этой точкой зрения, предпочитая вместо этого сохранять ритмичную основу колебания для того, чтобы создать их музыку. Однако, все эти художники участвуют в непосредственном составе и только отличаются по творческому центру и что можно было бы назвать акцентом углубления. С повышением популярности различных форм электронной музыки в течение конца 1980-ых и 1990-ых, некоторые джазовые художники делали попытку сплава джаза с больше экспериментальных склонностей electronica (особенно IDM и Барабан и бас) с различными степенями успеха. Это было по-разному дублировано "будущий джаз", "джазовый дом" или "джаз ню". Конец более экспериментального и improvisional спектра включает основанных в Скандинавии художников, типа пианиста Багдж Весселтофта, Ноли трубача Petter Molv? r (кто оба начали их карьеры на ярлыке отчета Европейского Общего рынка),
и трио Wibutee, все из которых получили их отбивные как музыканты в их собственном праве в более традиционных джазовых кругах. Кинематографический Оркестр из Великобритании или Жюлиана Луро из Франции также получил похвалу в этой области. К большему количеству популярности или чистого конца музыки танца спектра ню джаз - такие сторонники как С-Жермен и Джаззанова, которые включают немного живого джаза, играющего с большим количеством metronomic ударов дома.В 2000-ых, "джаз" поражал диаграммы популярности и смешанный с музыкой современника Ербана через работу художников как Нора Джоунс, Джилл Скотт, Джейми Каллам, Erykah Badu, Эми Винехаус и Диана Крол и джазовая защита исполнителей, которые являются также педагогами музыки (, типа Голландии Jools, Коертней Пин и Питером Сайнкотти). Некоторые из этих новых стилей могут быть легкими на импровизации, ключевая особенность джаза.
Однако, их инструментовка и ритмы подобны другой джазовой музыке, и ярлык придержался. [редактируйте] Импровизацию Реджи Уоркман, Pharoah Sanders, и Идрис Махаммад, c. 1978
Джаз часто труден определить, но импровизация - бесспорно ключевой элемент формы. Импровизация была с ранних времен существенный элемент в африканской и Афро-американской музыке и близко связана с распространяющимся из запроса и ответа в западноафриканском и Афро-американском культурном выражении. Точная форма импровизации изменилась время. Ранняя народная музыка блюза часто базировался вокруг запроса и образца ответа, и импровизация выступит в качестве фактора в лирику, мелодию, или оба. Часть стиля Диксиленда вовлекает музыкантов сменяющаяся игра мелодии, в то время как другие составляют встречные линии, чтобы пойти с этим. К эре Колебания, биг-бенды играли тщательно устроенные ноты, но музыка часто будет призывать, чтобы один член полосы встал и играл короткое, импровизированное соло.
В бибопе, однако, центр переместился от ума договоренности к уму импровизации по форме; музыканты уделили сравнительно небольшое внимание составленной мелодии, или "голове", которая игралась вначале и конец работы. Как предварительно отмечено, более поздние стили джаза, типа модального джаза, оставили строгое понятие прогрессии аккорда, разрешая индивидуальным музыкантам импровизировать больше
свободно в пределах контекста данного масштаба или способа. Самый известный пример этого - классические Мили альбом Дэвиса, Отчасти Синий. Когда пианист или гитарист импровизируют сопровождение, в то время как солист играет, это называют, аккомпанируя, или vamping (также см. остинато). [редактировать]
как петь на английском, так все сразу знают язык, а как перевести полезную статью, то крайнего нет
Джаз имеет корни в комбинации Западных и африканских традиций музыки, включая спайритуалс, блюза и рэгтайма, происходя, в конечном счете, из Западной Африки, западного Сахэль, и религиозных гимнов Новой Англии и музыки кантри, так же как в европейской музыке военного оркестра. После возникновения в Афро-американских сообществах около начала 20-ого столетия, джаз получил международную популярность в
1920-х. С тех пор, джаз имел распространяющееся влияние на другие музыкальные стили во всем мире.
Даже сегодня, различные джазовые стили продолжают развиваться.
Джаз самого слова внедрен в американском сленге, вероятно сексуального происхождения, хотя различные альтернативные происхождения предложились. Согласно Университету Южного Калифорнийского профессора фильма Тодда Бойда, срок был первоначально сленгом для половых сношений как его самые ранние музыканты, найденные занятостью в Новоорлеанских комнатах борделя, со словом, происходящим от срока 'джасс'.
Срок "джасс" был грубым сексуальным сленгом, связанным или к сроку "джисм" или к духам жасмина, популярным среди городских проституток, испытывающих недостаток во внимательной аудитории, музыканты начали играть для друг друга, и их действия достигли эстетической сложности, не очевидной в рэгтайме. В корне джаза - блюз, народная музыка прежних порабощенных Африканцев в США.
Юг и их потомки, тяжело под влиянием культурных западноафриканских и музыкальных традиций, которые развились как черные музыканты, мигрировали к городам. Согласно Награжденному Афро-американскому композитору Палитзер и классическому и джазовому виртуозу трубы Винтону Марсалису:
Джаз - кое-что Негры, изобретенные, и это сказало самые глубокие вещи - не только о нас и способе, которым мы смотрим на вещи, но о том, о каком современная демократическая жизнь является действительно. Это - благородство гонки, помещенной в звук ..., джаз имеет все элементы, от запчасти и проникающий к комплексу и окутыванию. Это - самая твердая музыка, чтобы играть это, я знаю о, и это - самое высокое исполнение индивидуальной эмоции в истории Западной музыки.
Рано джазовые влияния нашли их первое господствующее выражение в полосе похода и музыке эстрадного оркестра дня, который был стандартной формой популярной концертной музыки в повороте столетия. Инструменты этих групп стали основными инструментами джаза: руководство, тростники, и барабаны, и высказаны в Западном масштабе с 12 тонами.
Черные музыканты часто использовали мелодию, структуру, и бились из маршей как пункты отправления; но говорит "Север Югом, от Чарлстона до Гарлема, " проект Национального Снабжения для Гуманитарных наук: ", который черный музыкальный дух (вовлекающий ритм и мелодию) разрывал из границ европейской музыкальной традиции, даже при том, что исполнители использовали европейца, разрабатывал инструменты.
Этот Афро-американец нащупывает мелодии перефразирования, и изменение ритма создало эмбрион, от которого должны были появиться много больших черных джазовых музыкантов.
Много черных музыкантов также зарабатывали на жизнь, играя в маленьких полосах, нанятых, чтобы вести похоронные процессии в Новоорлеанской Афро-американской традиции. Эти Африканизированные полосы играли оригинальную роль в артикуляции и распространении раннего джаза.
Путешествуя всюду по черным сообществам на Глубоком Юге и к северным большим городам, этим музыкантом пионерами была Рука, помогающая вылеплять вой музыки, хриплый, тогда вольный, "изношенный", дух рэгтайма, ускоряя это к более красноречивому, сложный, воплощению колебания.
Для всего его гения, рано исполните джаз, с его скромным, народными корнями, был продукт, прежде всего само преподававших музыкантов. Но внушительная послевоенная сеть черно-установленных и - учреждения, которыми управляют, школы, и гражданские общества и на Севере и на Юге, плюс расширение господствующих возможностей образования, произвели постоянно увеличивающиеся числа молодых, формально обучал Афро-американских музыкантов, некоторые из них обученный в классических европейских музыкальных формах.
Лоренсо. Тио и Скотт Джоплин были среди этой новой волны музыкально грамотных джазовых художников. Джоплин, сын прежнего раба и свободнорождённой женщины цвета, в значительной степени само преподавался до возраста 11, когда он получил уроки в основных принципах теории музыки от классически обучаемого немецкого иммигранта в Тексаркане, Техасе.
Также помощь этой тенденции была сжиманием законов Джима Кроу в Штате Луизиана в 1890-ых, который вызвал изгнание из интегрированных полос чисел талантливых, формально обучал Афро-американских музыкантов. Способность этих музыкально грамотных, черных джазистов, чтобы переместить и затем читать, что было в большой части художественная импровизационная форма, стала неоценимым элементом в сохранении и распространении музыкальных новшеств, которые взяли добавленную важность в приближающуюся эру биг-бенда [редактируйте] сцену музыки Соединенных Штатов в начале 20-ого столетия наступлением нового века, американское общество начало терять властную, пуританскую формальность, которая характеризовала Викторианскую эру. Сильное влияние Афро-американских традиций музыки уже было частью господствующей популярной музыки в Соединенных Штатах в течение нескольких поколений, возвращаясь к мелодиям показа менестреля 19-ого столетия и мелодиям Стивена Фостера.
Общественные дансинги, клубы, и кафе-кондитерские открылись в городах. Любопытно названный черными танцами, вдохновленными африканскими шагами танца, как рубашка, индейка несется, канюк лопе, царапина цыпленка, обезьяна скользит, и объятие кролика, в конечном счете, было принято белой публикой. Прогулка пирога, развитая рабами как пародия шаров вечернего костюма их владельцев, стала гневом. Белые зрители видели эти танцы сначала на показах водевиля, затем выполненных балеринами выставки в клубах.
Влияние Луи Армстронга также продолжало расти. Музыканты и руководители джаз-оркестра как Такси, Calloway - и, позже, трубач Диззай Джиллеспи и вокалисты Популярности как Резкий звук, Кросби охватил стиль Армстронга импровизации на мелодии, и США, суют певцов редко с тех пор, отдали мелодию "прямо", в предджазовом стиле. В почве Кросби, художники, знаменитые за их вокалы, а не инструментальные навыки также bega появляться как большие 'джазовые певцы в форме вокалистов как Элла Фитзджералд, Билли Холлидей и позже, Франк Синатра и Сара Воган, все из которых вскочили на фургон с оркестром ската, который гальванизировал жанр до 1950-ых. Развитие колебания в начале 1940-ых, известных как "скачок блюза" или музыки скачка ожидало ритм и блюз и рок-н-ролл в некотором отношении. Это вовлекало использование из маленьких компаний вместо биг-бендов и концентрации на музыке наверх-темпа, используя знакомые прогрессии аккорда блюза. Тянущий в значительной степени после развития буги-вуги в 1930-ых, это использовало удвоенный ритм то есть, который секция ритма играла "восемь к бруску," восемь ударов в меру вместо четыре. Большой Джо Тернер, певец Канзас-Сити, который работал в 1930-ых с полосами Колебания как граф Бази,
стал звездой буги-вуги в 1940-ых, и затем в 1950-ых был один из первых новаторов рок-н-ролла, особенно с его песней "Толчок, Скрежет и Рулон". Другой джазовый основатель рок-н-ролла был саксофонистом Луи Джорданом. [редактируйте] Развитие бибопа, следующий главный стилистический поворот вошел в 1940-ые с бибопом, во главе с такими отличительными стилистами как саксофонист Чарли Parker (известный как "Новобранец" или "Птица"), Зародыш Powell и Диззай Джиллеспи. Это отметило главное изменение джаза от поп-музыки для того, чтобы танцевать к высокому искусству, музыке менее - доступного, мозгового "музыканта." Монах Thelonious, в то время как слишком индивидуально, чтобы быть строго музыкантом бибопа, был также связан с этим движением. Музыканты бибопа оценили сложные импровизации, основанные на прогрессиях аккорда, а не мелодии. Трудно бибоп переезжал от прохладного джаза,
включая влияния от музыки души, музыки евангелия, и блюза. Твердый бибоп был в пике его популярности в 1950-ых и 1960-ых, и был связан с такими фигурами как Сонни Роллинс, Джон Колтрэйн, Мили Дэвис, Арт Блакей и Чарльз Мингас. Позже, бибоп и трудно танцует бибоп, музыканты, типа Миль трубача Дэвис, сделали больше стилистических авансов с модальным джазом, где гармоническая структура частей была намного более свободный чем предварительно, и часто только подразумевался - скелетными аккордами фортепьяно и басовыми частями. Музыканты тогда импровизировали бы вокруг данного способа масштаба. [редактируйте] латинскую джазовую статью Main: латинский джазовый латинский джаз имеет два варианта: относящийся к темнокожим кубинцам и бразильский. Относящийся к темнокожим кубинцам джаз игрался в США непосредственно после периода бибопа, в то время как бразильский джаз стал более популярным в 1960-ых и 1970-ых.
Относящийся к темнокожим кубинцам джаз начался как движение после смерти Чарли Паркера. Известные музыканты бибопа, типа Диззай Джиллеспи и Билли Тэйлора начали относящиеся к темнокожим кубинцам полосы тогда. Работа Джиллеспи была главным образом с биг-бендами этого жанра. В то время как музыка была под влиянием такого кубинца и музыкантов Пуэрто-риканца как Тито Пуенте и, намного позже, Артуро Сандоваль, было много американцев, которые догоняли кубинские ритмы для их работы.
Бразильский джаз, в Северной Америке по крайней мере, почти синонимичен с боссановой, бразильский популярный стиль, который получен из самбы с влияниями от джаза так же как другого 20-ого столетия классическая и популярная музыка. Bossa вообще медленен, играл приблизительно 80 ударов в минуту или около этого. Музыка использует прямые восьмые, вместо того, чтобы качать восьмые, и также использует трудные многоритмы. Самые известные составы боссановы полагавший быть джазовыми стандартами в их собственном праве. Связанная джазовая самба срока по существу описывает адаптацию составов боссановы к джазовой идиоме американскими исполнителями, типа Стэна Джетза и Чарли Бирда, и обычно играемый при 120 ударах в минуту или быстрее. Сама самба - фактически не джаз, но, будучи полученным из старшей афро-бразильской музыки, это разделяет некоторые общие особенности.
[редактируйте] Свободную джазовую статью Main: Свободный джаз
Свободный джаз, или авангардистский джаз, являются поджанром, который, в то время как внедрено в бибопе, типично использует меньше композиционного материала и позволяет исполнителям больше широты в том, что они хотят играть. Самый большой отъезд свободного джаза от других стилей находится в использовании гармонии и постоянного клиента, качая темп: Оба часто подразумеваются, используются свободно, или оставляются в целом. Эти подходы были довольно спорны когда сначала продвинуто,но вообще находили принятие - хотя иногда неохотно - и использовались частично другими джазовыми исполнителями. Были более ранние прецеденты, но свободный джаз, кристаллизованный в конце 1950-ых, особенно через Орнетт Колемана и Сесила Тэйлора, и вероятно нашли его самое большое подвергание в конце 1960-ых с Джоном Колтрэйном, Арчи Шеппом, Альбертом Эйлером, Ра Солнца, Фароаом Сандерсом, Сэмом Риверсом, Лероем Дженкинсом, Доном Пульеном и другими.
В то время как возможно менее популярный чем другие стили, свободный джаз проявил влияние к подарку. Питер Бротзманн, Майкл Шулз, Кен, Vandermark, Уильям Паркер, Дерек Бэйлей и Эван Паркер ведут свободного современника, подбадривает музыкантов, и музыканты, типа Coleman, Тэйлора и Sanders продолжают играть в этом стиле. Кит Джарретт был виден в защите свободного джаза от критики традиционалистами в последние годы. [редактировать]
Джаз и рок-музыка: джазовая статья Main сплава: Джазовое Варево Сук сплава часто цитируется как самый влиятельный отчет в истории джазового сплава. С ростом рок-н-ролла в 1960-ых, прибыл гибридный сплав джаз-рока формы, снова вовлекая Мили Дэвис, который сделал запись альбомов сплава Тихим Способом и Варевом Сук в 1968 и 1969 соответственно. Джаз не был к этому времени больше стадией центра в популярной музыке,
но все еще нарушал новое основание и объединялся и повторно объединялся в различных формах. Известные художники 1960-ых и джаза 1970-ых и сцены сплава включают: Чик Кореа, Эрби Ханкок и его полоса Охотников за головами, Джон Маклоглин и Оркестр Mahavishnu, Ал Ди Меола, Жан-Luc Ponty, Ра Солнца, Мягкая Машина, Нарада Майкл Волден (кто позже наслаждался бы огромным успехом как производитель музыки), Wayne Короче, Jaco Pastorius, Группа и Погодное Сообщение Пата Метэни. Некоторые из них продолжили развивать жанр в 2000-ые. [редактируйте] Недавние события, Которые стилистическое разнообразие джаза не показало никакому признаку уменьшения, поглощая влияния из таких несоизмеримых источников как мировая музыка и avant garde классическая музыка, включая африканский ритм и традиционную структуру, serialism, и обширное использование из хроматической гаммы, такими музыкантами как Орнетт Колеман и Джон Зорн. Начинаясь в 1970-ых с таких художников как Кит Джарретт, Пол Блей, Билли Чайлдс, Группа Пата Метэни, январь Garbarek, Ральф Тоунер, и Эберард Вебер, ярлык отчета Европейского Общего рынка установил новую эстетическую камерную музыку, показывая главным образом акустические инструменты, и включая элементы мировой музыки и народной музыки. Это иногда упоминается
"Европейский" или "скандинавский" джаз, несмотря на некоторых из ведущих игроков, являющихся американским. Однако, джазовое сообщество сжалось драматично и раскололось, с главным образом старшей аудиторией, сохраняющей интерес в традиционном и "прямо вперед" подбадривает стили, маленькое ядро практиков и болельщиков, заинтересованных очень экспериментальным современным джазом, и постоянно изменяющейся группой музыкантов, плавящих джазовые идиомы с современными жанрами популярной музыки. Последний сформировали такие стили как кислотный джаз, который содержит элементы дискотеки 1970-ых, кислотное колебание, которое комбинирует звуки биг-бенда стиля 1940-ых с более быстрыми, более агрессивными рок-влиявшими барабанами и электрической гитарой, и джазом ню, который комбинирует элементы джаза и современных форм электронной музыки танца. Образцы "кислоты подбадривают" стиль, который был первоначально основан в Великобритании, включал Совершенно новый Heavies, Квартет Джеймса Тэйлора,
Молодые Ученики, и Вельвет. В Соединенных Штатах, кислотные джазовые группы включали Коллективное Углубление, Soulive, и Solsonics. В большем количестве популярности или гладкого джазового контекста, джаз обладал всплеском в 1980-ых с такими полосами, как Pigbag и Любопытство Убили Кота, достигающего хитов диаграммы в Великобритании. Sade Adu стал категорическим голосом гладкого джаза. В 1980-ых и 1990-ых были другие события это менее коммерчески ориентировалось. Многие из этих художников, особенно Wynton Marsalis, названный, что они делали джаз и фактически стремились определить то, что фактически означал срок. Они стремились создать в пределах того, что они чувствовали, была традиция, создавая расширения маленьких и больших форм, первоначально ведомых такими художниками как Луи Армстронг и Дьюк Эллингтон. В случае Marsalis приветствуют эти усилия, встреченные с критическим.
Музыканты других в этом периоде времени - хотя ясно в пределах традиции больших непосредственных композиторов, типа Чарли Паркера, Джона Колтрэйна, Жиры Navarro и многие другие - хотят дистанцироваться от срока, подбадривают и просто определяют то, что они делали как музыка (этому фактически предлагал большой композитор Дьюк Эллингтон, когда срок исполняет джаз, сначала начал быть популярным). Альтернативно они создали их
имейте названия для того, что они делали (, типа М. Основа). Многие из этих художников соглашаются с творческим гитаристом Жаном-Полом Боереллай, который чувствует, что "Вы не должны категоризировать согласно стилям музыки, Вы должны категоризировать в терминах творческих уровней". Эти музыканты чувствуют, что ритм - ключ для дальнейшего продвижения музыки. Боереллай, подобный М. Основы, полагает что ритмичные новшества Джеймса Брауна и другого Пионеры испуга могут обеспечить эффективную ритмичную основу для непосредственного состава. Однако, идеи относительно этих музыкантов идут далеко вне простой игры по углублению испуга, расширяя ритмичные идеи в пути, аналогичном тому, что было сделано с гармонией в предыдущие разы. Некоторые из музыкантов, вовлеченных в подход по имени М. Основы даже рассматривают это как Ритмичная Гармония. Другие, как Wynton Marsalis,
не согласитесь с этой точкой зрения, предпочитая вместо этого сохранять ритмичную основу колебания для того, чтобы создать их музыку. Однако, все эти художники участвуют в непосредственном составе и только отличаются по творческому центру и что можно было бы назвать акцентом углубления. С повышением популярности различных форм электронной музыки в течение конца 1980-ых и 1990-ых, некоторые джазовые художники делали попытку сплава джаза с больше экспериментальных склонностей electronica (особенно IDM и Барабан и бас) с различными степенями успеха. Это было по-разному дублировано "будущий джаз", "джазовый дом" или "джаз ню". Конец более экспериментального и improvisional спектра включает основанных в Скандинавии художников, типа пианиста Багдж Весселтофта, Ноли трубача Petter Molv? r (кто оба начали их карьеры на ярлыке отчета Европейского Общего рынка),
и трио Wibutee, все из которых получили их отбивные как музыканты в их собственном праве в более традиционных джазовых кругах. Кинематографический Оркестр из Великобритании или Жюлиана Луро из Франции также получил похвалу в этой области. К большему количеству популярности или чистого конца музыки танца спектра ню джаз - такие сторонники как С-Жермен и Джаззанова, которые включают немного живого джаза, играющего с большим количеством metronomic ударов дома.В 2000-ых, "джаз" поражал диаграммы популярности и смешанный с музыкой современника Ербана через работу художников как Нора Джоунс, Джилл Скотт, Джейми Каллам, Erykah Badu, Эми Винехаус и Диана Крол и джазовая защита исполнителей, которые являются также педагогами музыки (, типа Голландии Jools, Коертней Пин и Питером Сайнкотти). Некоторые из этих новых стилей могут быть легкими на импровизации, ключевая особенность джаза.
Однако, их инструментовка и ритмы подобны другой джазовой музыке, и ярлык придержался. [редактируйте] Импровизацию Реджи Уоркман, Pharoah Sanders, и Идрис Махаммад, c. 1978
Джаз часто труден определить, но импровизация - бесспорно ключевой элемент формы. Импровизация была с ранних времен существенный элемент в африканской и Афро-американской музыке и близко связана с распространяющимся из запроса и ответа в западноафриканском и Афро-американском культурном выражении. Точная форма импровизации изменилась время. Ранняя народная музыка блюза часто базировался вокруг запроса и образца ответа, и импровизация выступит в качестве фактора в лирику, мелодию, или оба. Часть стиля Диксиленда вовлекает музыкантов сменяющаяся игра мелодии, в то время как другие составляют встречные линии, чтобы пойти с этим. К эре Колебания, биг-бенды играли тщательно устроенные ноты, но музыка часто будет призывать, чтобы один член полосы встал и играл короткое, импровизированное соло.
В бибопе, однако, центр переместился от ума договоренности к уму импровизации по форме; музыканты уделили сравнительно небольшое внимание составленной мелодии, или "голове", которая игралась вначале и конец работы. Как предварительно отмечено, более поздние стили джаза, типа модального джаза, оставили строгое понятие прогрессии аккорда, разрешая индивидуальным музыкантам импровизировать больше
свободно в пределах контекста данного масштаба или способа. Самый известный пример этого - классические Мили альбом Дэвиса, Отчасти Синий. Когда пианист или гитарист импровизируют сопровождение, в то время как солист играет, это называют, аккомпанируя, или vamping (также см. остинато). [редактировать]
во #####) запихнул в промт, он ему и выдал *монаха телоуниса*))))
Что за чушь, нах, епт.
"....джаз имеет все элементы, от запчасти и проникающий к комплексу и окутыванию...." ты сам-то это читал??? ПРИДУРОК!!!
Если бы было на русскрм не читал бы. могу сказать точно,здессь написанно про джаз