Who loves jazz. Why girls love jazz
Last update: 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 offering information about aspects of your 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.
The new project of the “Culture” channel caused a mixed reaction from Russian musicians
Screenshot from the site tvkultura.ru
On May 18, the second episode will be aired on the Kultura TV channel. new program"Big Jazz" It will be dedicated to music Soviet composers. However, after the first release, which referred to American jazz, a discussion flared up in the professional community about how logical it is to popularize the genre by forcing young performers to copy someone else’s music rather than perform their own.
Izvestia turned to the leading masters of Russian jazz for comment.
But first, about the project itself.
Over the course of two hours, young musicians - trumpeters, drummers, saxophonists, double bassists, percussionists, pianists and vocalists - prove to the distinguished jury their creative potential by performing well-known jazz standards. The jury consists of reputable musicians - David Goloshchekin, Alexey Kozlov, Arkady Shilkloper, Andrey Makarevich and others.
The lineup is periodically diluted by judges who have an indirect relationship with jazz, for example, Alexander Filippenko (reciter of Aksenov’s jazz miniatures) and Karen Shakhnazarov (director of the film “We are from Jazz”).
Young musicians on stage feel noticeably awkward, and not at all because most of them,attracted by the unprecedented opportunity to play for a huge audience,came to Moscow from other cities. These are fully formed artists living in the jazz genre. It’s another matter that fulfilling even great standards for the hundredth time, having your own view on modern jazz, they clearly don't want to.
The same is experienced by professionals who were initially excited by the idea of a program promoting jazz.
— If the goal is to popularize jazz, you need to give musicians air and the opportunity to express themselves. “Big Jazz” shows jazz on the one hand, squeezing the musicians, and with it the viewer, into some kind of narrow, mothball-like framework -Maria Semushkina, general producer of the main Russian jazz festival “Usadba Jazz”, told Izvestia.
- This competition is not able to touch the most valuable thing that exists in modern Russian jazz - young, original musicians performing their music. As a result, despite all the usefulness of this program, it turns out to be absurd. “I contacted the channel’s management, offered myself as a consultant, but received no response,” famous jazzman Alexei Kozlov told Izvestia.
Another famous musician has an even more tense relationship with the project -horn player Arkady Shilkloper, who said that he was leaving the jury because musicians “are given the opportunity to show themselves only as American copies, thereby almost completely killing the creativity and originality of talented creative individuals.”
The jazzman’s position reached the channel’s management, who issued a response statement to the media. Arkady Shilkloper was accused of blackmailing the creators of the program, demanding that his composition “Cobra” be included in the repertoire.
Mr. Shilkloper, at the request of Izvestia, provided correspondence with the leadership of Big Jazz, where he was told that the piece he proposed for performance was out of the general standard sound. To which the indignant musician remarked that thereby the chance was lost “ show the Americans and everyone honest people that we, Russians, were able to find our face in aesthetics jazz music».
“Nobody needs the third and fifth Breckers, Coltranes, Parkers, Jarretts and Davises,” the jazzman concluded.
The channel's management, without entering into controversy, replaced the obstinate Arkady Shilkloper with Nikolai Levinovsky, conductor and arranger of the Igor Butman band, who has nothing against standards, including American ones.
Andrei Makarevich does not share the position of his protesting colleagues.
— The overall standard of the program is high, and for the “Culture” channel this is generally a feat. As for the reluctance to perform American jazz standards, when our musicians write something similar, perhaps in fifty years they will also be able to be performed with pleasure,” stated the leader of “Time Machine”,in the 1970s, he suffered a lot from colleagues who believed that rock music could only be performed in English.
Saxophonist Igor Butman decided to stick to the golden mean - he said that for him “it’s surprising that no one consulted with the musicians, who would have given a lot of practical advice,” but at the same time stated that “he likes the repertoire.”
— After all, jazz is American music in terms of repertoire and quality, and this program is a musical educational program. Let people understand whether they like jazz or not, and then you can bring original ideas, one of the main Russian jazzmen told Izvestia.
There is still much more professional controversy surrounding the new project than there is information about the success of the public. “Big Jazz” airs on a channel aimed at a purely marginal “intelligentsia” audience, and it makes no sense to talk about the program’s mass success and high ratings. We can rather talk about trying, worthy of respect, albeit not without a share of absurdity, which professionals caught in it.
Competitions, even the most idiotic ones, in which venerable pop and humor stars compete, are, of course, much more popular than competitions for young pop performers, and even more so for jazz musicians. So the creators of “Big Jazz” are going all-in.
Whether the management of the “Culture” channel planned the “Big Jazz” show as a response to the ratings “Voice” and “One on One” of Channel One, one can only guess, but to walk through a “jazz” show on a frankly pop show would be beautiful, bright, unexpected, and The difference in match formats is obvious.
The conference of the presenters - choreographer Alla Sigalova and trumpeter Vadim Eilenkrig - evokes obvious analogies with “One to One”. In the Channel One show, the role of an admiring clown is played by actress Lyudmila Artemyeva, whose deliberate, very active facial expressions that precede any performance have already been parodied in KVN.
Choreographer Sigalova does not resort to facial expressions, but performs something similar with the help of questions: to the jury - “Does it matter to you how the musician answers your questions?”; to Olga Rostropovich - “Can you imagine how your father would play the drums?”; to the contestants - “Who carries such a heavy instrument for you?”, “Did you manage to find something of your own in this so often performed melody?”
I would like to believe that the creators of “Big Jazz” themselves will be inclined towards the most important jazz component - jazz improvisation, capable of sometimes drawing out the most hopeless musical themes.
Many people don't realize how much music influences their lives. Simple melodies in commercials, music in bars, films, soundtracks for TV series... The whole world lives in a rhythm that is set by the environment. What could be better than your favorite track on headphones or speakers? Good track helps you relax, disconnect from the outside world and even lift your spirits. Some people like rap, others - calm and melodic indie. But Lately Somewhat unusual overseas jazz is gaining more and more fans in Europe. How music affects our productivity, mood and well-being, and what can be said about a person who prefers jazz tunes.
Why do people love jazz? This is improvisation, emotions, style and mood. Such compositions can be called relaxed music. Scientists have repeatedly said that our musical preferences change in direct proportion to our age and lifestyle. Interesting fact, but jazz rhythms appeal to middle-aged people who like to relax after a hard day at work and really know a lot about good company and music.
Also, numerous studies have confirmed the fact that jazz lovers are easy-going and have objective, and sometimes even somewhat inflated, self-esteem. They can safely be called extroverts. And if the fans classical symphonies prefer to stay at home alone with themselves or those closest to them, then fans of the multifaceted saxophone would rather go to the nearest bar for a get-together with friends.
At the beginning of the last century, during the golden years of jazz, it was difficult to have fun. In America at that time, the Great Depression had just ended, the population suffered from unemployment, Prohibition was soon adopted, then there was a period of prolonged devastation post-war years. Jazz music is rhythm and mood, into which the musician tries to put everything he can. A few minutes of a bright composition is a storm of good emotions, permanent shift rhythm and style. Distinctive feature jazz melodies in their richness and the absence of any rules. The most best compositions were created simply according to the mood of the authors, in an ideal tandem of saxophone, piano or cello.
If you yourself or one of your colleagues also like to work with headphones that sound perky sax melodies have you ever thought about How much does music affect your productivity at work?? In fact, music can do wonders for our brain. It is not for nothing that doctors attribute analgesic properties and the ability to relieve the listener of headaches to Mozart’s compositions.
The pleasant rhythms you hear through your headphones can improve your productivity. Repeated studies have confirmed positive influence musical compositions for those employees who perform monotonous office work. In this case, the composition sets the rhythm and does not allow you to “go astray.” Compositions that are too loungey and calm can lead to boredom, but playful jazz motifs are the best way to set the mood for a positive mood and effective work.
Favorite music is a great way to close yourself off from the outside world when you need to concentrate. Modern offices in most cases are built on the open space principle. Sales managers, programmers, or even call center employees can sit in the same office. Each of them has their own rhythm of work. Someone needs to share with colleagues latest news, while others need to focus on completing a complex task or writing a report. In this case, headphones will become a “legal” way to get rid of inappropriate questions from colleagues and unnecessary conversations. Some workers deliberately wear headphones without music, pretending to be inaccessible to “outside interference.” But it’s much better to enjoy your favorite jazz compositions.
By the way, jazz, like any other music you prefer, can make you happy. Studies on the effects of musical compositions on the brain have shown that while listening to pleasant songs, dopamine is produced in the body. This is a hormone that is responsible for feelings of love, euphoria and pleasure. It's stupid to give up music when it's so useful.
Music is a powerful tool for influencing a person’s mood, the course of his thoughts and, as a result, his performance. Of course, jazz is no exception here. For example, slow jazz helps reduce the level of anxiety and act more calmly, rationally and deliberately. This is especially important for mental work or work that requires high level concentration. So music in the work process is common among IT developers, web designers, professionals separate intellectual varieties card games and even surgeons. A study by British scientists showed that about 90% of British surgeons listen to music during operations, giving preference to calm compositions. And a study conducted at the University of Windsor (Canada) showed that background music has a positive effect on productivity and interest in tasks among IT industry workers. In cases where there was no music, employees showed lower KPIs.
By the way, jazz has a huge advantage before other musical genres. There are practically no words in the compositions, and this will not allow you to be distracted while working on their comprehension and perception. You will be able to concentrate on work, avoiding external irritants. The main rule " musical work“- don’t turn up the volume in your headphones too much and choose the songs that you really enjoy. Working to music is not only pleasant, but also useful - trust science!
Why do I love jazz?
I have repeatedly tried to understand and answer this question myself. And in general, how did it happen that I love jazz? What does this music mean to me, what associations does it evoke, what feelings does it touch? Which of the jazz masters turned out to be the most understandable for me and discovered jazz for me? It is interesting that famous performers are usually called “masters”. Now everything is easier and faster. I remember that not long ago I recorded Kogan’s program “Jazz up to 12” on a cassette tape. It was a ritual, I spent an hour preparing, checking the cords, setting up the receiver, and soldering the adapters. Then he listened, re-listened, breaking out his tongue and pronouncing these incomprehensible, unknown and unmemorable names: Alan Holsward, Jimm Hall, Lee Ritenour.... There were a lot of things. I slowly, by touch, in small steps, entered this world of complex harmonies and unusual rhythms. I tried to understand the beauty of the melodies, and sometimes I even understood. Now, looking back, having behind me musical education I think that I understood everything correctly, I didn’t even understand, but rather I felt correctly. And everyone new track was an incredible revelation. Just a sacred rite. It probably still remains that way. Now, of course, everything is faster and easier, but those feelings that were born then are alive to this day. I can’t tell you how much joy I felt when I held my first jazz CD in my hands. It was Tal Farlow from the Verve Jazz Masters series. The very fact of owning a branded disc, and even a jazz one, set you at an unattainable peak. You are not like everyone else, you listen to jazz. You can talk about the advantages of the original disc and the quality of the selection of tracks not from the words of someone, but yourself. Cool in general) Of course, now having the opportunity to choose and compare, you can treat that period with a certain degree of irony, but the real joy and feeling of touching revelation remains precisely there, in that time. There are many compositions that are certainly beautiful and talented, superbly performed and represent a certain standard of performance. And this is of course great, but I want to mention a few that for me are something more than music.
Jimmy Hall "Kiss of a Flower" It was this composition that opened Kogan’s program. At the age of 16, Jim Hall seemed to me like a demigod who clearly knew where each string was inside me and skillfully used it, plunging me into a state of stupor. And it’s not about virtuosity, it’s not about arrangement, it’s not about improvisation. It's all about the sound of Jim's guitar, viscous, similar to human voice with half-intonations, half-shades and a mass of shades and gradations, moods and states. It's like a storyteller who you can't tear yourself away from, who tells you what's close to you. And you believe. And unconditionally. The name itself suggests that there will be something incredibly tender, since 2 eternal symbols of tenderness and manifestations of feelings are contained in it. For me, this composition will forever be associated with those people whom I loved and love.
Frank Gamble. A virtuoso who is certainly not deservedly underrated. His 1996 album “Thoughts Out Loud” is so complete that it is not perceived as separate tracks, but as parts single work. Mood changes mood, state - state. I especially like "Gaudi". 6 minutes of the rhythm of a night metropolis. Moreover, with incessant movement, continuous pulsation, speed, hard rhythms and pervasive loneliness. It seems to me that such music should be played on the upper floors of a skyscraper, looking down on night city. See how the flow of cars from above turns into strips of light, see movement, but hear no noise. It is at such moments that such music is born, filling the entire space, every corner. It pulsates to the beat and synchronizes breathing. makes you think in unison.
These are two completely different, one might even say polar, moods.
21.05.2015
Few people like jazz compared to pop music. And why? Because the vast majority of people, and this is a medical fact, are idiots.
If you have never even tried to listen to jazz, you are a complete idiot and are wasting your breath in vain. Why? Read this story by Sergei Dovlatov about the history of jazz, he will explain it better and more clearly.
Close your eyes and blow
A mini-history of jazz, written by an irresponsible layman, partially justified by his fanatical passion for the topic at hand.
A short, turbulent story American jazz has an enchanting, triumphal character. Jazz gained recognition quickly. For a long time and with enviable ease.
There were no wasted talents, crippled destinies, or false idols in jazz. There were almost no belated laurels, debunked idols, or deceptive shrines in jazz.
Jazz has never known periods of decline, regression, or audience indifference.
Jazz has always been a fashionable, extremely popular, exciting phenomenon.
What is jazz?
Jazz is more than musical genre. Even more than art.
Jazz is a way of perceiving the world. Jazz is philosophy, morality, religion. Jazz is a style of life.
The outstanding American Scott Fitzgerald was called a “jazz writer.”
Not because he worked during the era of crazy passion for jazz. But because jazz was in his nature - open, suffering and clear.
Of the Russians, I would name a jazz writer - Vasily Aksenov. Not because he loves and knows jazz well. But because jazz stands between him and life.
Jazz has millions of parasites, dependents, imitators. Anything can be called jazz. A brigade of labukhs on the dance floor is jazz. Joseph Kobzon is jazz. Legrand is jazz. Some all-union orchestra radio broadcasting is also jazz.
I'm not saying that Kobzon and especially Legrand are bad. It's just not jazz.
Jazz is the art of self-expression. A jazz musician is not a performer. He is a creator who creates his art before the eyes of the viewer - fragile, instantaneous, elusive, like the shadow of falling snowflakes or the pattern of foliage overhead.
The writer creates within four walls and in the armor of his office. Looking for the right word he writes up mountains of paper. The artist changes the color a thousand times, practicing a subtle reflex on the ceiling. A jazz musician doesn't have drafts. He creates in front of witnesses, once and for all. Therefore, any false sound in his improvisation takes on the scale of an unseemly act.
The Jazz Lab is always open. The viewer thus becomes a participant in art, a necessary element of jazz.
One of the sensational jazz records is called “Lionel Hampton - with audience participation.”
Jazz is completely frank. Lester Young called it "a striptease of the soul." Billy Cale argued that jazz is a conversation with a celestial being. Mel Lewis says that jazz is “life itself.”
In the consistent vagueness of these formulations, an iron unity is discerned. Jazz is us in our best hours. That is, when elation, fearlessness and frankness coexist within us.
Jazz is the art of American blacks. They created jazz. They were leaders at all stages of the development of jazz. Jazz is in their blood.
Although, of course, there are also white people who have become luminaries of jazz. For example, Dave Brubeck. (By the way, the blacks gave him a special diploma as an equal. He was the first white man to reach the level of his black colleagues.) There are wonderful jazz musicians in Europe. One of them is Romano Mussolini, the son of the famous Duce. There are true jazzmen in Poland (Niemyslovsky, Komela). There are also in the Union.
The Communist Party fought against jazz for sixty years. No less persistent than with alcohol. But jazz won Soviet power. Just like alcohol. Jazz won and established itself. Brilliant musicians live and work in the Union - Tovmasyan, Lukyanov, Goloshchekin.
But jazz was created by black people. And this, in my opinion, is enough to immortalize the Negro race.
By the way, there are no racial problems in jazz. Jazz doesn't remember the fight over skin color. Because jazz is above racial mentality. Apparently, jazz unites people more closely than common national interests.
Our generation was formed in an atmosphere of jazz. Jazz, Hemingway and Picasso determined our destiny. They branded an entire generation as “atypical representatives of Soviet youth.”
I know a smart grown man who emigrated to listen to jazz. Which is not the worst motive for emigration.
I know that in Leningrad, when discussing my fate, friends say:
He saw Gillespie alive!
Unfortunately, I am not a musicologist or a historian. I'm not even a very big expert on the subject under study. But I love jazz and I think I feel it. And if musicologists go into programming, then a newspaperman takes up his own business.
Of course I'll miss something important. I'm sure I'll get confused in the terminology. Apparently, I will be too partial to my favorite musicians.
In short, I ask for your indulgence. And let's start a conversation.
As Armstrong often said:
Close your eyes and blow!
No, you don’t need to urgently give up everything and love jazz without any alternative. But you have to try! If you don't understand anything, don't despair - jazz will remain for others.
Here are a dozen jazz albums to start your own collection with.
10. Esbjorn Svensson Trio - From Gagarin's Point of View (1999)
The clearest plot is how the millennium ended. A Swedish guy in white sneakers who is very good at doing his thing on stage. E.S.T. will record several more iconic sound albums, and then Svenson will die while diving. Everything is extremely simple here, people just play jazz. Listen, for example, to Dodge the Dodo, which is always with me.
9. Bill Evans - Complete Live in Village Vangaurd (1961)
The son of a Welshman and a Russian woman created a canon of complex post-bop piano playing aesthetics in the early 1960s. Evans is very melodic and easy to listen to with minimal cravings. jazz sound, but that doesn’t make it any less great. The three-disc album contains live notes that formed the basis of two classic records.
8. Billie Holiday - Lady In Satin (1958)
The greatest singer of the 20th century, a prostitute in Philadelphia at the age of 12, a heroin addict after the war. This is an archaic form, but you need to listen to the voice and the song, everything else will pass, but this will remain.
7. Charles Mingus - Mingus Ah Um (1959)
The greatest bassist in the history of jazz music, Mingus was a charismatic bandleader, and left several best records in the history of late bop. This is not a revolutionary, but a man who did his job better than anyone else.
6. Anouar Brahem Trio - Astrakan Cafe (1999)
I chose this record to show how jazz crosses the boundaries of genres and countries. Tunisian Anwar Brahem plays the oud - as you can see from the name, about an Astrakhan cafe.
5. Thelonius Monk - Brilliant Corners (1957)
Another bop pianist, Evans' alter ego. I wear T-shirts with his images on the streets. They say that Monk did not know how to play the piano at all from a technical point of view. Apparently this is true, and he was simply a genius who collected hats. To appreciate Monk you probably need to understand a little more about this music than you do with Evans.
4. Charles Parker The Compoete Live Performance on Savoy (1947)
Live recordings at the Savoy club of the main musical revolutionary of the mid-century - Charlie Parker. Parker was criticized by Glen Gould, and Parker himself complained about his fellow blacks who were fond of rhythm and blues. The oldest recording in the collection, bad sound, but real music. Listen to Koko and Grooving High.
3. Miles Davis - Bitches Brew (1970)
The greatest innovator in the history of jazz, Davis also invented the fusion style. The album, called Bitch Brew, is meant for lying on the floor and kicking your legs.
2. Keith Jarrett - The Koln Concert (1975)
Solo improvisation by Keith Jarrett in 1975, very melodic music, one of the peaks of piano art of the 20th century, not only jazz, and quite difficult to understand if you do not constantly listen to academic modernists.
1. John Coltrane - Love Supreme (1965)
A story about God and the saxophone.
