Everyone loves jazz. Why do I love jazz? The new project of the “Culture” channel caused a mixed reaction from Russian musicians
Jazz, as is commonly believed, is “intellectual” music. Not available to everyone. With a high entry threshold. Famous controversy: to listen to jazz, you need to understand it, but to understand it, you need to know what exactly to listen to! But these are all problems only at first glance. Firstly, our readers are not afraid of the word “intelligence” (even we in the editorial office are not very afraid of it). Secondly... I’m embarrassed to say, but jazz is also music, and also, excuse me, soulful.
It’s just that it may not be immediately clear what exactly to listen to and how to react to what you heard. And it’s true - you can’t sing along “la-la-la-lai” or stomp your foot to the beat. Well, the form: the square of the theme - and then continuous improvisations. Where's the chorus? Yes, it is not needed at all: the pleasure of jazz lies precisely in following the improvisation, which flows like a river or a conversation, and not throwing your fist up at the tired shock phrase of the chorus.
And it doesn't matter. There are jazz tracks that catch, captivate and don’t let go. We have selected the seven most “infectious”. Finally, a piece of advice - listen to improvisational pieces, keeping the theme in mind. Let the original melody play in the background in your head. And so, having understood this dizzying roll call of the play of harmony and counterpoint, spontaneity and vitality, you will have a condescending and calm attitude towards pop music. Even to Madonna and Zemfira!
Take 5
Brubeck is one of the creators of the post-war cool jazz style, a pianist and composer who combined the harmonies of European classics and cool jazz. He also “taught” jazz how to swing in asymmetrical time signatures. Yes, the great Max Roach and Thelonious Monk played pieces in waltz time and in 5/4, but those were isolated cases.
Brubeck's quarters released the album “Time Out” in 1959, where all the plays are in “crooked” meters. The 5/4 piece "Take Five" (by alto saxophonist Paul Desmond) became a hit. Later they even composed words for it. You've probably heard this melody, which, by the way, is based on the usual blues scale. But the whole album is good. And the next one is “Time Further Out”.
Song for My Father
The composition is a rare touching composition - a dedication by pianist Horace Silver to his father, a well-known Portuguese from Cape Verde. In the version with lyrics it is sung: “If there was ever a man so generous, kind and good, it was my father.”
Horace placed a photograph of his old father, John Tavares Silver, on the cover of his major album, Song for My Father (1965). And thus immortalized dad, because the album recorded with the team cool musicians like saxophonist Joe Henderson and trumpeter Blue Mitchell, became hard bop classics. The entire album is a must-have for anyone who is at least somehow interested in jazz, or simply any non-stupid music.
My Favorite Things
John Coltrane for his short life wrote that moved jazz forward. But, alas, almost none of this is suitable for entry into the genre. In addition to “My Favorite Things,” a cover of a song from the musical “The Sound of Music.” Of course, the great Train didn't play covers - he elevated famous tunes to his level as a sage and visionary. But specifically, “My Favorite Things” from the 1961 album of the same name is a beautiful melody in an original arrangement, with an oriental flavor, which “fits” absolutely any listener. Verified.
In the same 1961, the composition was even released as a single, although it was very original: it was broken in half and placed on two sides. Perhaps we'll listen to the shortened version.
Girl from Ipanema
One thing is worth saying: this song started world fame bossa novas. , but in general, father bosses Antonio Carlos Jobim and tenor saxophonist Stan Getz sang so well that the album with “The Girl from Ipanema” received “Record of the Year” at the Grammy in 1965.
And you have all, of course, heard this song a hundred times. But now know - this is serious music, bossa plus cool jazz - from the masters!
Waltz for Debby
A person does everything best (and worst) for his family and friends. Bill Evans is no exception. outstanding pianist style "cool", who wrote the touching "Debbie's Waltz" for his niece. The piece first appeared as a solo piano piece on debut album Evans "New Jazz Conceptions" (1957). A few years later - already in the trio version, on live album"Waltz for Debby" (1962). Everyone plays the piece in this arrangement.
Autumn Leaves
Yes, another cover of a pop song, but what a song! " Autumn leaves"(Les Feuilles mortes, 1945) by Vladimir Cosma and Jacques Prévert - a classic love ballad. And it seems that all the jazzmen sang and played it, but saxophonist Cannonball Adderley did something special for his album “Somethin’ Else” (1958). The arrangement - walking bass, Miles Davis's hoarse trumpet - simply enhanced the aching note to the utmost!
So what
But if “So What” doesn’t work, then you’re just an insensitive brute. Sorry, it's a typo, I wanted to say - try " My Funny Valentine"performed by him (album "Cookin" with the Miles Davis Quintet").
In general, jazz is not scary. It's scary when there is no jazz.
Last updated: 03/12/2012
Is it possible that the music tracks hiding on your iPod actually reveal information about your identity? A study conducted by psychologists Jason Rentfrow and Sam Gosling suggests that knowing the type of music you listen to can actually lead to surprisingly accurate predictions about your personality. For example, researchers have found that people can make accurate inferences about a person's levels of extraversion, creativity, and openness after listening to their top ten favorite songs. Extroverts tend to look for songs with heavy bass lines, while those who like more complex styles, such as jazz and classical music, tend to be more creative and have a higher IQ.
Another study conducted by Heriot-Watt University researchers was conducted on more than 36,000 participants from around the world. Participants were asked to rate more than 104 different musical styles, in addition to being given information about aspects of their personality. Below are just a few personality traits associated with certain musical styles.
Pop
Do you prefer listening to top 40 hits? Are the latest tracks from Rhianna, Selena Gomez and Flo Rida making up your player's main playlist? If so, then most likely you are an extrovert. While pop music fans tend to be hardworking and have high self-esteem, researchers suggest that pop music fans tend to be less creative and more shy.
Rap and hip-hop
Are Snoop Dogg and Dr. Dre more your style? Despite the stereotype that rap fans are more aggressive and violent, researchers have not actually found such a connection. Rap fans tend to have high self-esteem and a desire for freedom.
Country
Do you prefer watching CMT instead of MTV? Country fans tend to be hard workers. While country songs often focus on heartbreak, people who gravitate toward the genre tend to be very emotionally stable.
Rock/Heavy Metal
Despite the sometimes aggressive image that rock and heavy metal projects have, researchers have found that fans of this style of music tend to be very affectionate. They tend to be creative, but are often introverted and may suffer from low self-esteem.
Indie
Do you love searching for unknown bands and indie artists? Fans of the indie genre tend to be introverted, intellectual, and creative. They also tend to be less hardworking and less affectionate, according to the researchers. Passivity, anxiety and low self-esteem and others General characteristics personality.
Dance
You love fast pace and dance music rhythms? According to researchers, people who prefer dance music, as a rule, are assertive and goal-oriented.
Classical
Lovers classical music, as a rule, are more reserved, but also at ease with themselves and the world around them. They are creative and have a strong sense of self-esteem.
Jazz, Blues and Soul
People who love jazz, blues or soul turn out to be extroverts with high self-esteem. They also tend to be creative, highly intelligent and laid-back.
Sometimes, having asked yourself a very simple question, you suddenly discover that the answer to it does not lie on the surface. The question of love for jazz has interested me for a very long time. It contains one of the keys to understanding how and why jazz developed.Jazz is unthinkable without the listener and his feedback. This means that the performer cannot ignore the fact that his music is loved/disliked by the audience. That is, with our love we develop jazz - which means that analysis of this development is impossible without our introspection. So, why do I love jazz? But first, what kind of jazz do I like? And when did you fall in love? I love: Monk, Mingus, Dolphy, Coleman, Parker, Gillespie, Clifford Brown (very!), Max Roach, Count Basie (especially the small lineups of the 30s - 40s), Billie Holiday (I love it, including Lady In Satin) , Sidney Bechet, Coleman Hawkins, and also almost the entire Blue Note of the 60s (it would take a long time to list), partly Coltrane, partly Davis, and much more. I don't like Oscar Peterson, Ella Fitzgerald, All Stars Louis Armstrong, almost all of Pablo (it would take a long time to list), fusion (not to be confused with free funk), Dave Brubeck, Keith Jarrett after 1975, ECM stuff and FMP stuff.
But, which is typical, those whom I don’t love are also “my own”. Jazz too, and I’m ready to accept them much more to a greater extent than other music. When faced with a choice: listen to Oscar Peterson or any classic, I almost always prefer the first. Moreover, there were times in my life (like military training) when, deprived of the opportunity to listen to what I wanted, I found myself liking Glenn Miller. Why, you ask?
Where did it all start? When did I really fall in love with jazz? Probably with Count Basie's Jumping At The Woodside. I was not yet able to distinguish a saxophone from a trumpet by ear - but Lester “President” soaring above the orchestral riffs produced a simply magical impression. Just like the heavy, boogy introduction of Count himself on the piano under Jones's cymbals: " tata-tata-tata -tata" up and down twice.
Before that, I probably heard a lot of music. That is, my parents took me to the conservatory (hopelessly ruined Sundays twice a month), some kind of pop music was playing around, there were recordings of both classics and rock and roll in the house (Elvis was definitely there), a little bit of Sinatra - by the way, he touched deeply souls, Strangers in the Night, Over and Over and all that, but nothing prompted me to start systematically loving music, listening, collecting, studying. The simple film “We are from Jazz” changed everything; I suddenly found a kind of “label” for the musical movement that interests me - “jazz”.
Alas, musical education I was not burdened. Attempts to teach myself to play the guitar (according to V. Molotkov’s manual) only led to knowledge of how a seventh chord differs from a terdecim and where to look for lower steps in them. I still don’t perceive this by ear and can reproduce even the simplest melody only by the “tra-tat” method. They told me, however, that I have a sense of rhythm (I’m glad to believe it), but still, even if I feel syncopation, I can’t depict it on music paper. And yet - I love jazz, I think about it, collect CDs, try to research something. Why, why? Why do Parker’s Confirmation or Coltrane’s Giant Steps or Haitian Fight Song or Dolphy-Hubbard’s Green Dolphin Street or Round Midnight (for which I even composed the words) give me goosebumps?
First of all, I am captivated by the sound - more precisely, by the variety of sounds, timbres, textures, changing, shimmering with all shades. A colossal range - from the purity of a girl's voice to the sound of a chainsaw with a poorly adjusted carburetor - can be encountered throughout one piece by one soloist. Moreover, among the “greats” the variation of timbre, purity and volume of sound is not just a game, but most powerful tool aesthetic impact on the audience, communication with it.
Jazz is capable of expressing any human momentary emotions. This is what distinguishes it from academic music for me. Academicians don’t care about my feelings, they impose theirs on me. I am instructed to go through a certain emotional scenario (as Cage said about Beethoven’s symphonies: he upsets the listener for the first half of the work, calms the listener for the second, ultimately bringing him back to his original state). In classical music I am asked to empathize with the composer; jazz is encouraged to empathize with me. Moreover, it empathizes “here and now”; jazz does not pretend to live outside of time and space, but this is precisely the ultimate task of a classical work - “to become immortal.”
Jazz is the music of the moment, and this is constantly emphasized by rhythm and swing. I don’t believe in jazz without swing, by the way, the entire real jazz avant-garde (ready to go to the stake with the phrase “ECM (and Jan Garbarek, its prophet) is not jazz!”) swings, and it’s not hard to feel it. (Another aside: I just can’t understand why it is considered that one cannot get completely hedonistic pleasure from the Art Ensemble of Chicago). In jazz one cannot abstract from the flow of time; on the contrary, it sticks out, is pushed out into foreground(again, in contrast to classical music, where, ideally, the listener should be completely immersed in the music and forget that there is anything besides it). For me, this is the rhythm of life: I have a fairly short (and no one knows how short) period of time, and I want to feel every second of it.
In my opinion, the acceptance of jazz and love for it is the same motivation as the love for modernism in literature, painting, and theater. Destruction of the "ivory tower" created by classical art. Recognition that man lives in the world and is not eternal.
The pathos of the Enlightenment was to rise above the world by the power of intellect, achieving pseudo-immortality. Romanticism took this pathos to the extreme - the idea of posthumous recognition of a “genius” rejected during life by the “crowd”.
Modernism (for example, Joyce, Hesse) returns genius to earth, again making him a person open to simple joys life. These joys themselves cease to be “low”. In the culture of the 20th century, a person can again eat, have fun, enjoy - and listen to jazz - without embarrassment.
Jazz is the music of non-geniuses. Jazz musician, no matter how great he is, steps off the stage and is ready to drink whiskey with a bar patron. Moreover, for me personally, this inner feeling of modernity and accessibility of my favorite musicians arose completely spontaneously, even before I learned anything about the peculiarities of jazz life or jazz business. For me, Clifford Brown is almost the same age (now), and it’s easy for me to imagine myself in the company of, say, Eric Dolphy - and not to talk about jazz, but simply to drink beer. Can anyone imagine themselves drinking beer with Rachmaninoff? Classical composer or a musician - a celestial being. Jazzman - a guy next door.
We can say that all this is a profanation of art. Many jazz lovers saw their mission as precisely to “raise” it and its musicians, to make jazzmen “creators” in the European sense of the word. Do jazzmen need this? Don't know. I know for sure that as a listener I don’t want this. It seems to me that this will lead to the end of jazz (if it hasn’t already): having lost the bidirectionality of communication, it will lose its essence.
This is the stream of consciousness. To Eric Dolphy with Herbie Hancock.
Marina Moskvina
My dog loves jazz
Autumn of my summer
I love the morning of the first of September. When it's time to go to school. Mom and Dad always shower me with gifts. This time they bought me a flashlight and solemnly presented it to me with the words that learning is light! Dad also handed over a kit to a young mechanic and said the following phrase: labor made a man out of a monkey.
Dad also bought me a good Schwarzenegger - a portrait of him with one bulging eye.
“Idols are idols,” said dad, “you have to smoke incense for them.”
And mom - pointed-toed, rag boots, the kind only fat women wear. I put them on, and they turned out to be sewn to each other with a harsh thread. Dad cut the thread with scissors and said
Well, take a long step into the fifth grade!
Then it suddenly became clear that my mother had not lengthened my school trousers. And a minute before leaving, I stood at the door, as they say, in “knee-length trousers.” Plus dazzling White shirt With yellow spot on the chest. This is my dear cousin Roma always messes everything up, and then gives it to me.
My socks are striped like a clown's, although my favorite colors are grey, black and brown.
Damn, why are all these misfortunes haunting me? - I say.
Come on, says dad, pay attention to your clothes! This is not a man's business.
And he gave me a bouquet of wilted dahlias - he bought them in advance the day before yesterday. And just today they withered.
Well, well,” I say, “I see you, dad, have no nerves.” If you were in my place.
No,” said dad, “I don’t want to be in your place, I don’t want to be ten years old.” Growing up and growing up...
Only Keith understands me. He, of course, went with us.
Ruben was waiting for us at the entrance. His dad Armen didn’t buy any bouquet at all, so Ruben carried a stuffed hedgehog as a gift to the teacher.
“He lived and lived,” Ruben decided to explain, so that no one would think that it was he who killed him, “he lived and lived, and then he grew old and died. By your death.
Well, Ruben,” says my mother, “shut up, don’t torment our hearts.”
And Keith got terribly excited when he saw the hedgehog. He probably thought that the hedgehog was a cat. He chases and hunts all the cats. He probably thinks they are sables or ferrets.
Ruben says:
Andryukha! You have boots like Lomonosov's. Lomonosov goes to school to study.
Ruben is good with shoes, his mother loves going to the shoe store. But my mother doesn't like it. She says:
I'm not cut out to go to a shoe store.
What are you created for? - Dad and I ask.
But for nothing! - she answers. - It’s impossible to adapt me for anything.
Let's go. The clouds have dispersed, the sun is golden, the sky is blue. How I love the holiday of the First of September! On school yard plays funny music- it lifts your spirit! Old bald tenth graders shake hands. All of us are assembled - Vadik Khrul, Senya - narrow eyes, Falileev, who walks around without a hat in an unbuttoned jacket in any bad weather. And no one will tell him:
Wrap your jacket, Falilei!
Everyone spread out and spread out. It's a pity that our physical education teacher can't see us. This was a real teacher. He taught us so much. From him we learned that the best smell in the world is the smell of the gym. And the best joy is muscular joy. The most A big dream he had - to walk along Red Square with his class: everyone with ribbons, flags, hoops, in front he was in wide white pants, in a T-shirt, and “Dynamo” was written on his chest, and his students were walking behind. This year he dropped out of school and became a robber.
The rest are all here, our favorite teachers.
Worker Vitya Panichkin in a black suit. The sleeves cover his calloused hands. He's been polishing pointers all his life. He grinds, sharpens, and polishes himself. We know very little about his life. We only know one thing: when Vitya’s heart was checked with ultrasound, his heart turned out to be like a dried lemon.
Vitaly Pavlovich in Russian and literature. The teacher, as they say, is from God, covered in black hair from head to toe. Takes us every year on an excursion to Execution place. So that we know and love the history of our country.
What is this little checkered thing there? Oh, this is an Englishwoman!
Leave with the dog! - she shouts to my mom and Keith. - Children and a dog are not things together! Like genius and villainy!
She is kind, but strict, and very uncultured. “The table, the table,” while she picks her nose. My whole nose was twisted. And everyone looks at her seriously. And the English office always smells of something - either sour watermelon or rotten tomato. Impossible to sit! But she doesn’t open the window, although it’s warm outside...
This is a cozy house born from a dream of a quiet family happiness, this is the rhythm that gives birth to the element of freedom, multiplied by stylish chaos. Oh yeah! Oh yeah! Light and graceful, like life itself, lightly touching moisturized lips - he has so many masks that it’s hard to keep up. Black, white, red - what's the difference! The main thing is that this is one of the greatest musical languages! Don't you like jazz? As piercingly as I love him?
On the eve of my birthday (yes, just a couple of days left) at 15.00, this Saturday, December 3, jazz pianist Odyssey Bogusevich will perform at the Gallery of Classical Photography.
The maestro's performance program includes jazz melodies in his own interpretation, an unusual cocktail of classical music and jazz compositions for connoisseurs of live sound and ingenious improvisations.
It is impossible to systematize and condense the biography of this musician into a paragraph. Odyssey Bogusevich is a virtuoso pianist and composer who managed to perform at the 29th Montreux Jazz Festival on one of the main stages of the festival, Miles Davis Hall. He teaches an improvisation class at music school them. Yurgenson, actively performs as a soloist-improviser, leads several musical projects V different styles and records albums instrumental music. On this moment he released more than a dozen discs. 
Jazz connoisseurs know Odyssey Bogusevich from his performances at numerous jazz festivals, including the Bohemian Jazz Festival and Jazz under open sky"(Moscow), Piano Solo (Brussels), multimedia project Junglеr at the FoCom festival and AnigrafTelecom, Ayurveda (Moscow), CyberArt (Austria), Dances Hus (Sweden), Warm Rivers (Surgut), Jazz in Arkhangelskoye" (Moscow) and many others.
Rather than listing the regalia of Odysseus Bogusevich, it would be much more appropriate, I think, to give a review of him music journalist V. Kim Heron: “His musical style– between funk fusion and swing, folk escapade and bop, Tin Pan Alle and avant-garde. He mixes conservatory precision with internal improvisations that can appear only momentarily during rapid-fire jam sessions... or, as a summary: he is a creator who creates his own sense of music, a musician with a completely different, fundamentally different technique! ”, the expert believes.
Odyssey Bogusevich’s performance will take place with the participation of jazz vocalist Anastasia Glazkova. The singer collaborated and performed on the same stage with famous jazzmen different generations– German Lukyanov, Mikhail Okun, Vagif Sadikhov, Georgy Garanyan, Igor Butman, Yakov Okun and many other musicians.
Anastasia Glazkova is a jazz artist whose work stands on three pillars: she writes music and poetry and sings her compositions. Her concerts are interesting to listen to and watch. The singer herself calls her work GlazzJazz, and that is the name of her record. Anastasia Glazkova interned in the USA under the Open World program. One of her photographs is presented at the exhibition “Emotional Jazz” by Pavel Korbut, within the framework of which the concert will take place. 
