A message on the topic of what jazz is. About jazz
Nov 3 2016
What is jazz?
Where did jazz develop?
What is improvisation?
What is jazz? This is such a simple question with such a difficult answer. As you will soon learn, jazz by its nature is difficult to define.
Perhaps jazz legend Louis Armstrong gave the best definition when he said, “If you ask what jazz is, you will never understand.”
Dubbed the "Classical Music of America" and America's one true art form, jazz originated in the United States in the early 1900s in New Orleans. Multi-ethnic population The city was represented by people from Africa, the Caribbean, Europe, Mexico and England.
The musical traditions of African-Americans, mixed with other styles, gave rise to what everyone now knows as jazz. Jazz was ultimately created from a blend different types music.
Over the past 100 years, jazz has continued to evolve, led by brilliant musicians such as Louis Armstrong, Duke Ellington, Charlie Parker and Miles Davis. Today, there are more than two dozen different jazz styles, including traditional jazz, swing, bebop, cool jazz, fusion and jazz rock.
The dictionary defines jazz as: a style of American music known for its improvisation, distinctive tone, technique, and syncopated rhythmic pattern. But any jazz musician will immediately tell you that jazz is much more than a dictionary definition.
Perhaps the defining feature of jazz is its unique diversity, which is a direct result of its key moment: improvisation. In most cases, jazz musicians play solo and do so spontaneously, making up new things as they go.
Thus, jazz can be considered as a kind of communication language of a musician, fueled by dreams, passions, emotions and desires.
Jazz musicians tend to create their own sound and style. So, for example, trumpeter Miles Davis can be very different from trumpeter Louis Armstrong.
With jazz musicians developing their own unique styles. You can listen to several different recordings of the same song and it will sound different each time! Jazz musicians can turn a familiar song into something new with each subsequent improvisational solo.
Although improvisation creates a lot of variety in jazz, most compositions are rhythmic music and use expressive notes.
What is jazz, history of jazz
What is jazz? These exciting rhythms, pleasant live music, which is constantly developing and moving. This direction, perhaps, cannot be compared with any other, and it is impossible even for a beginner to confuse it with any other genre. Moreover, here’s a paradox: it’s easy to hear and recognize, but it’s not so easy to describe it in words, because jazz is constantly evolving and the concepts and characteristics used today will become outdated in a year or two.
Jazz - what is it?
Jazz is a direction in music that emerged at the beginning of the 20th century. It closely intertwines African rhythms, ritual chants, work and secular songs, and American music of past centuries. In other words, it is a semi-improvisational genre that emerged from the mixing of Western European and West African music.
Where did jazz come from?
It is generally accepted that it originated from Africa, as evidenced by its complex rhythms. Add to this dancing, all kinds of stamping, clapping, and here it is ragtime. The clear rhythms of this genre, combined with blues melodies, gave rise to a new direction, which we call jazz. Having asked the question where this new music came from, any source will give you the answer that from the chants of black slaves who were brought to America at the beginning of the 17th century. They found solace only in music.
At first these were purely African motives, but after several decades they began to be more improvisational in nature and overgrown with new American melodies, mainly religious melodies - spirituals. Later, lament songs were added to this - blues and small brass bands. And so a new direction arose - jazz.
What are the features of jazz music
The first and most important feature is improvisation. Musicians must be able to improvise both in an orchestra and solo. One more no less significant feature– polyrhythm. Rhythmic freedom is perhaps the most important feature of jazz music. It is this freedom that gives musicians a feeling of lightness and continuous movement forward. Remember any jazz composition? It seems that the performers are easily playing some wonderful and pleasant to the ear melody, no strict framework, as in classical music, only amazing lightness and relaxation. Of course, jazz works, like classical ones, have their own rhythm, meter, etc., but thanks to a special rhythm called swing (from the English swing) such a feeling of freedom arises. What else is important for this direction? Of course, a beat or otherwise a regular pulsation.
Development of jazz
Having originated in New Orleans, jazz is rapidly spreading, becoming more and more popular. Amateur groups, consisting mainly of Africans and Creoles, begin to perform not only in restaurants, but also tour other cities. Thus, in the north of the country, another center of jazz is emerging - Chicago, where nightly performances of musical groups are in particular demand. The compositions performed are complicated by arrangements. Among the performers of that period, the most notable Louis Armstrong , who moved to Chicago from the city where jazz was born. The styles of these cities were later combined into Dixieland, which was characterized by collective improvisation.
The massive passion for jazz in the 1930s and 1940s led to a demand for larger orchestras that could perform a variety of dance tunes. Thanks to this, swing appeared, which represents some deviations from the rhythmic pattern. It became the main direction of this time and pushed collective improvisation into the background. Groups performing swing began to be called big bands.
Of course, such a departure of swing from the features inherent in early jazz, from national melodies, caused discontent among true music connoisseurs. That is why big bands and swing performers are beginning to be opposed to the playing of small ensembles, which included black musicians. Thus, in the 1940s there arises a new style bebop, which stands out clearly among other types of music. He was characterized by incredibly fast melodies, long improvisation, and complex rhythmic patterns. Among the performers of this time, figures stand out Charlie Parker and Dizzy Gillespie.
Since 1950, jazz has developed in two different directions. On the one hand, adherents of the classics returned to academic music, pushing bebop aside. The resulting cool jazz became more restrained and dry. On the other hand, the second line continued to develop bebop. Against this background, hard bop arose, returning traditional folk intonations, a clear rhythmic pattern and improvisation. This style developed together with such trends as soul-jazz and jazz-funk. They brought the music closest to the blues.
Free music
In the 1960s, various experiments and searches for new forms were carried out. The result is jazz-rock and jazz-pop, combining the two different directions, as well as free jazz, in which performers completely abandon the regulation of rhythmic pattern and tone. Among the musicians of this time, Ornette Coleman, Wayne Shorter, and Pat Metheny became famous.
Soviet jazz
Initially, Soviet jazz orchestras mainly performed fashionable dances such as the foxtrot and Charleston. In the 1930s, a new direction began to gain increasing popularity. Despite the fact that the attitude of the Soviet authorities towards jazz music was ambiguous, it was not banned, but at the same time it was harshly criticized as belonging to Western culture. In the late 40s, jazz groups were completely persecuted. In the 1950s and 60s, the activities of the orchestras of Oleg Lundstrem and Eddie Rosner resumed and more and more musicians became interested in the new direction.
Even today, jazz is constantly and dynamically developing, many directions and styles are emerging. This music continues to absorb sounds and melodies from all corners of our planet, saturating it with more and more new colors, rhythms and melodies.
How a type of music developed at the turn of the 19th and 20th centuries. as a result of the synthesis of elements of two musical cultures - European and African. Of the African elements, one can note polyrhythmicity, repeated repetition of the main motive, vocal expressiveness, improvisation, which penetrated into jazz along with common forms of Negro musical folklore - ritual dances, work songs, spirituals and blues.
Word "jazz", originally "jazz band", began to be used in the middle of the 1st decade of the 20th century. in the southern states to refer to the music created by small New Orleans ensembles (composed of trumpet, clarinet, trombone, banjo, tuba or double bass, drums and piano) in the process of collective improvisation on themes of blues, ragtime and popular European songs and dances.
To get acquainted, you can listen and Cesaria Evora, and, , and many others.
So what is it Acid Jazz? This is a funky musical style with built-in elements of jazz, 70s funk, hip-hop, soul and other styles. It can be sampled, it can be live, and it can be a mixture of the latter two.
Mostly, Acid Jazz puts emphasis on music rather than text/words. This is club music that aims to get you moving.
First single in style Acid Jazz was "Frederick Lies Still", author Galliano. This was a cover version of the work Curtis Mayfield "Freddie's Dead" from the movie "Superfly".
Great contribution to the promotion and support of style Acid Jazz contributed Gilles Peterson, who was a DJ on KISS FM. He was one of the first to found Acid Jazz label In the late 80s - early 90s, many performers appeared Acid Jazz, which were like “live” teams - , Galliano, Jamiroquai, Don Cherry, and studio projects - PALm Skin Productions, Mondo GroSSO, Outside, And United Future Organization.
Of course this is not a style of jazz, but a type of jazz instrumental ensemble, but still it was included in the table, because any jazz performed by a “big band” stands out very much from the background of individual jazz performers and small groups.
The number of musicians in big bands usually ranges from ten to seventeen people.
Formed in the late 1920s, it consists of three orchestra groups: saxophones - clarinets(Reels) copper wind instruments
(Brass, later groups of trumpets and trombones emerged), rhythm section(Rhythm section - piano, double bass, guitar, percussion instruments). The Rise of Music big bands, which began in the USA in the 1930s, is associated with the period of mass enthusiasm for swing.
Later, right up to the present day, big bands performed and continue to perform music of a wide variety of styles. However, in essence, the era of big bands begins much earlier and dates back to the times of American minstrel theaters in the second half of the 19th century, which often increased the performing cast to several hundred actors and musicians. Listen The Original Dixieland Jazz Band, King Oliver's Creole Jazz Band, The Glenn Miller Orchestra, And His Orchestra and you will appreciate all the charm of jazz performed by big bands.
Jazz style that developed in the early to mid-40s of the 20th century and ushered in the era of modern jazz. Characterized by fast tempo and complex improvisations based on changes in harmony rather than melody.
The ultra-fast tempo of performance was introduced by Parker and Gillespie in order to keep non-professionals away from their new improvisations. Among other things, a distinctive feature of all bebopists was their shocking behavior. "Dizzy" Gillespie's curved trumpet, Parker and Gillespie's behavior, Monk's ridiculous hats, etc.
Having emerged as a reaction to the widespread spread of swing, bebop continued to develop its principles in the use of expressive means, but at the same time revealed a number of opposing trends.
Unlike swing, which is mostly the music of large commercial dance orchestras, bebop is experimental creative direction in jazz, associated mainly with the practice of small ensembles (combos) and anti-commercial in its orientation.
The bebop phase marked a significant shift in the emphasis in jazz from popular dance music to a more highly artistic, intellectual, but less mass-produced “music for musicians.” Bop musicians preferred complex improvisations based on strumming chords instead of melodies.
The main instigators of the birth were: saxophonist, trumpeter, pianists Bud Powell And Thelonious Monk, drummer Max Roach. If you want Be Bop, listen , Michel Legrand, Joshua Redman Elastic Band, Jan Garbarek, Modern Jazz Quartet.
One of the styles of modern jazz, formed at the turn of the 40s - 50s of the 20th century based on the development of the achievements of swing and bop. The origin of this style is primarily associated with the name of the Negro swing saxophonist L. Young, who developed a “cold” style of sound production that was opposite to the sound ideal of hot jazz (the so-called Lester sound); It was he who first introduced the term “kul” into use. In addition, the premises of cool jazz are found in the work of many bebop musicians - such as C. Parker, T. Monk, M. Davis, J. Lewis, M. Jackson and others.
At the same time cool jazz has significant differences from bopa. This was manifested in a departure from the traditions of hot jazz that bop followed, in a rejection of excessive rhythmic expressiveness and intonation instability, and in a deliberate emphasis on specifically black flavor. Played in this style: , Stan Getz, Modern Jazz Quartet, Dave Brubeck, Zoot Sims, Paul Desmond.
With the gradual decline in activity in rock music beginning in the early 70s, and with the diminishing flow of ideas from the world of rock, fusion music became more straightforward. At the same time, many began to realize that electric jazz could become more commercial, producers and some musicians began to look for such combinations of styles to increase sales. They really successfully created a type of jazz that was more accessible to the average listener. Over the past two decades, many various combinations, for which promoters and publicists like to use the expression "Modern Jazz", used to describe the "fusions" of jazz with elements of pop music, rhythm and blues and " world music".
However, the word "crossover" more accurately describes the essence of the matter. Crossover and fusion achieved their goal of increasing the audience for jazz, especially among those who were fed up with other styles. In some cases, this music is worthy of attention, although generally the jazz content in it is reduced to zero. Examples of the crossover style range from (Al Jarreau) and vocal recordings (George Benson) to (Kenny G), "Spyro Gyra" And " " . In all this there is the influence of jazz, but, nevertheless, this music fits into the field of pop art, which is represented by Gerald Albright, George Duke, saxophonist Bill Evans, Dave Grusin,.
Dixieland is the broadest designation for the musical style of the earliest New Orleans and Chicago jazz musicians who recorded records from 1917 to 1923. This concept also extends to the period of subsequent development and revival of New Orleans jazz - New Orleans' Revival, which continued after the 1930s. Some historians attribute Dixieland only to the music of white bands playing in the New Orleans jazz style.
Unlike other forms of jazz, the musicians' repertoire of pieces Dixieland remained quite limited, offering endless variations of themes within the same tunes composed throughout the first decade of the 20th century and included ragtimes, blues, one-steps, two-steps, marches and popular tunes. For performance style Dixieland characteristic was the complex interweaving of individual voices into the collective improvisation of the entire ensemble. The opening soloist and the other soloists who continued his play seemed to oppose the “riffing” of the rest of the wind instruments, right up to the final phrases, usually performed by the drums in the form of four-beat refrains, to which the entire ensemble responded in turn.
The main representatives of this era were The Original Dixieland Jazz Band, Joe King Oliver, and his Famous Orchestra, Sidney Bechet, Kid Ory, Johnny Dodds, Paul Mares, Nick LaRocca, Bix Beiderbecke and Jimmy McPartland. Dixieland musicians were essentially looking for a revival of the classic New Orleans jazz of yesteryear. These attempts were very successful and, thanks to subsequent generations, continue to this day. The first of the Dixieland revivals took place in the 1940s.
Here are just some of the jazzmen who played Dixieland: Kenny Ball, Lu Watters Yerna Buena Jazz Band, Turk Murphys Jazz Band.
Since the early 70s, a German company has occupied a separate niche in the jazz style community ECM (Edition of Contemporary Music- Modern Music Publishing House), which gradually became the center of an association of musicians who professed not so much an attachment to the African-American origin of jazz, but rather the ability to solve a wide variety of artistic problems, without limiting themselves to a certain style, but in line with the creative improvisational process.
Over time, a certain personality of the company nevertheless developed, which led to the separation of the artists of this label into a large-scale and clearly defined stylistic direction. The label's founder Manfred Eicher's focus on uniting various jazz idioms, world folklore and new academic music into a single impressionistic sound made it possible to use these means to claim depth and philosophical understanding of life values.
The company's main recording studio, located in Oslo, clearly correlates with the dominant role in the catalog of Scandinavian musicians. First of all, they are Norwegians Jan Garbarek, Terje Rypdal, Nils Petter Molvaer, Arild Andersen, Jon Christensen. However, the geography of ECM covers the whole world. Europeans are here too Dave Holland, Tomasz Stanko, John Surman, Eberhard Weber, Rainer Bruninghaus, Mikhail Alperin and representatives of non-European cultures Egberto Gismonti, Flora Purim, Zakir Hussain, Trilok Gurtu, Nana Vasconcelos, Hariprasad Chaurasia, Anouar Brahem and many others. The American Legion is no less representative - Jack DeJohnette, Charles Lloyd, Ralph Towner, Redman Dewey, Bill Frisell, John Abercrombie, Leo Smith. The initial revolutionary impulse of the company's publications turned over time into a meditative and detached sound of open forms with carefully polished sound layers.
Some mainstream adherents deny the path chosen by the musicians of this trend; however, jazz, as a world culture, develops despite these objections and produces very impressive results.
In contrast to the refinement and coolness of the cool style, the rationality of progressive on the East Coast of the United States, young musicians in the early 50s continued the development of the seemingly exhausted bebop style. The growth of self-awareness of African Americans, characteristic of the 50s, played a significant role in this trend. There was a renewed focus on staying true to African-American improvisational traditions. At the same time, all the achievements of bebop were preserved, but many developments of cool were added to them both in the field of harmony and in the field of rhythmic structures. The new generation of musicians, as a rule, had a good musical education. This current, called "hardbop", turned out to be quite numerous. Trumpeters joined in Miles Davis, Fats Navarro, Clifford Brown, Donald Byrd, pianists Thelonious Monk, Horace Silver, drummer Art Blake, saxophonists Sonny Rollins, Hank Mobley, Cannonball Adderley, double bassist Paul Chambers and many others.
Another technical innovation turned out to be significant for the development of the new style: the appearance of long-playing records. It became possible to record long solos. For musicians, this has become a temptation and a difficult test, since not everyone is able to speak out fully and succinctly for a long time. Trumpeters were the first to take advantage of these advantages, modifying Dizzy Gillespie's style to a calmer but deeper playing. The most influential were Fats Navarro And Clifford Brown. These musicians paid the main attention not to virtuosic high-speed passages in the upper register, but to thoughtful and logical melodic lines.
Hot jazz is considered to be the music of the New Orleans pioneers of the second wave, whose highest creative activity coincided with a mass exodus of New Orleans jazz musicians to the North, mainly to Chicago. This process, which began shortly after the closure of Storyville due to the US entry into the First World War and the declaration of New Orleans as a military port for this reason marked the so-called Chicago era in the history of jazz. The main representative of this school was Louis Armstrong. While still performing in the King Oliver ensemble, Armstrong made revolutionary changes to the concept of jazz improvisation at that time, moving from traditional schemes of collective improvisation to the performance of individual solo parts.
The very name of this type of jazz is associated with the emotional intensity characteristic of the manner of performing these solo parts. The term Hot was originally synonymous with jazz solo improvisation to highlight the differences in approach to soloing that occurred in the early 1920s. Later, with the disappearance of collective improvisation, this concept began to be associated with the method of performing jazz material, in particular with the special sound that determines the instrumental and vocal style of performance, the so-called hot intonation: a set of special methods of rhythmization and specific intonation features.
Perhaps the most controversial movement in jazz history arose with the advent of "free jazz". Although the elements "Free Jazz" existed long before the term itself appeared, in “experiments” Coleman Hawkins, Pee Wee Russell and Lenny Tristano, but only towards the end of the 1950s through the efforts of such pioneers as the saxophonist and pianist Cecil Taylor, this direction took shape as an independent style.
What these two musicians created together with others, including John Coltrane, Albert Euler and communities like Sun Ra Orchestra and a group called The Revolutionary Ensemble, consisted of various changes in the structure and feel of the music.
Among the innovations that were introduced with imagination and great musicality was the abandonment of the chord progression, which allowed the music to move in any direction. Another fundamental change was found in the area of rhythm, where "swing" was either revised or ignored altogether. In other words, pulse, meter and groove were no longer essential elements in this reading of jazz. Another key component was related to atonality. Now musical expression was no longer based on the usual tonal system.
Piercing, barking, convulsive notes completely filled this new sound world. Free jazz continues to exist today as a viable form of expression, and is in fact no longer as controversial a style as it was in its early days.
Perhaps the most controversial movement in jazz history arose with the advent of "free jazz".
A modern style direction that emerged in the 1970s based on jazz rock, a synthesis of elements of European academic music and non-European folklore.
For the most interesting compositions jazz-rock is characterized by improvisation, combined with compositional solutions, the use of harmonic and rhythmic principles of rock music, the active embodiment of the melody and rhythm of the East, the introduction of electronic means of sound processing and synthesis into music.
In this style, the range of application of modal principles has expanded, and the range of different modes, including exotic ones, has expanded. In the 70s, jazz-rock became incredibly popular; the most active musicians joined it. More advanced regarding the synthesis of various musical means Jazz-rock was called "fusion" (fusion, merger). An additional impulse for “fusion” was another (not the first in the history of jazz) bow towards European academic music.
In many cases, fusion actually becomes a combination of jazz with conventional pop music and light rhythm and blues; crossover. Fusion music's ambitions for musical depth and empowerment remain unfulfilled, although in rare cases the search continues, for example, in groups like "Tribal Tech" and in Chick Corea's ensembles. Listen: Weather Report, Brand X, Mahavishnu Orchestra, Miles Davis, Spyro Gyra, Tom Coster, Frank Zappa, Urban Knights, Bill Evans, from the new Niacin, Tunnels, CAB.
Modern funk refers to popular destinations jazz of the 70s and 80s, in which the accompanists play in a black pop-soul style, while the solo improvisations are more creative and jazzy in nature. Most saxophonists in this style use their own set of simple phrases that consist of bluesy shouts and groans. They build on a tradition adopted from saxophone solos in rhythm and blues vocal recordings like King Curtis's Coasters recordings. Junior Walker with vocal groups of the Motown label, David Sanborn from "Blues Band" by Paul Butterfield. A prominent figure in this genre - who often played solos in the style Hank Crawford using funk-like accompaniment. Much of the music , and their students use this approach. , also work in the style of "modern funk".
The term has two meanings. Firstly, it is an expressive means in jazz. A characteristic type of pulsation based on constant deviations of the rhythm from the supporting beats. Thanks to this, the impression of great internal energy is created, which is in a state of unstable equilibrium. Secondly, the style of orchestral jazz, which emerged at the turn of the 1920s and 30s as a result of the synthesis of Negro and European stylistic forms of jazz music.
Initial definition "jazz-rock" was the most clear: a combination of jazz improvisation with the energy and rhythms of rock music. Up until 1967, the worlds of jazz and rock existed practically separately. But by this time, rock becomes more creative and more complex, psychedelic rock and soul music emerge. At the same time, some jazz musicians began to get tired of pure hardbop, but they did not want to play difficult avant-garde music. As a result, two different idioms began to exchange ideas and join forces.
Since 1967, guitarist Larry Coryell, vibraphonist Gary Burton, in 1969 drummer Billy Cobham with the group "Dreams", in which the Brecker brothers played, they began to explore new spaces of style.
By the end of the 60s, Miles Davis had the necessary potential to transition to jazz rock. He was one of the creators of modal jazz, on the basis of which, using 8/8 rhythm and electronic instruments, he took a new step by recording the albums “Bitches Brew”, “In a Silent Way”. Along with him at this time is a brilliant galaxy of musicians, many of whom later become fundamental figures in this movement - (John McLaughlin), Joe Zawinul(Joe Zawinul) Herbie Hancock. Davis's characteristic asceticism, brevity, and philosophical contemplation turned out to be just the thing in the new style.
By the early 1970s jazz rock had its own distinct identity as a creative jazz style, although it was ridiculed by many jazz purists. The main groups of the new direction were "Return To Forever", "Weather Report", "The Mahavishnu Orchestra", various ensembles Miles Davis. They played high-quality jazz-rock that combined a huge range of techniques from both jazz and rock. Asian Kung-Fu Generation, Ska - Jazz Foundation, John Scofield Uberjam, Gordian Knot, Miriodor, Trey Gunn, trio, Andy Summers, Erik Truffaz- you should definitely listen to it to understand how diverse progressive and jazz-rock music is.
Style jazz-rap was an attempt to bring together African-American music of past decades with a new dominant form of the present, which would pay tribute and infuse new life into the first element of this - fusion - while also expanding the horizons of the second. The rhythms of jazz-rap were completely borrowed from hip-hop, and the samples and sound texture mainly came from such genres of music as cool jazz, soul-jazz and hard bop.
The style was the coolest and most famous of all hip-hop styles, and many artists demonstrated an Afro-centric political consciousness, adding historical authenticity to the style. Considering the intellectual bent of this music, it is not surprising that jazz-rap never became a favorite of the street parties; but then no one thought about it.
The representatives of jazz-rap themselves called themselves supporters of a more positive alternative to the hardcore/gangsta movement, which displaced rap from its leading position in the early 90s. They sought to spread hip-hop to listeners who could not accept or understand the growing aggression of urban music culture. Thus, jazz-rap found the bulk of its fans in student dormitories, and was also supported by a number of critics and fans of white alternative rock.
Team Native Tongues (Afrika Bambaataa)- this New York collective, consisting of African-American rap groups, has become a powerful force representing the style jazz-rap and includes groups such as A Tribe Called Quest, De La Soul and The Jungle Brothers. Soon began their creativity Digable Planets And Gang Starr also gained fame. In the mid-to-late 90s, alternative rap began to break down into a large number of sub-styles, and jazz-rap rarely became an element of a new sound.
Jazz is a music direction that arose in late XIX- early 20th century in the USA. Character traits jazz - improvisation, polyrhythm based on syncopated rhythms, and a unique set of techniques for performing rhythmic texture - swing.
Jazz is a type of music that arose from the blues and spirituals of African-Americans, as well as African folk rhythms, enriched with elements of European harmony and melody. The defining features of jazz are:
- sharp and flexible rhythm, based on the principle of syncopation;
-wide use of percussion instruments;
-highly developed improvisational ability;
- an expressive manner of performance, characterized by great expression, dynamic and sound tension, reaching the point of ecstasy.
Origin of the name jazz
The origin of the name is not completely clear. Its modern spelling - jazz - was established in the 1920s. Before this, other options were known: chas, jasm, gism, jas, jass, jaz. There are many versions of the origin of the word “jazz”, including the following:
- from the French jaser (to chat, to speak quickly);
- from the English chase (chase, pursue);
- from the African jaiza (the name of a certain type of drum sound);
- from Arabic jazib (seducer); from the names of legendary jazz musicians - chas (from Charles), jas (from Jasper);
- from the onomatopoeia jass, imitating the sound of African copper cymbals, etc.
There is reason to believe that the word "jazz" was used as early as the mid-19th century as a name for an ecstatic, encouraging cry among blacks. According to some sources, in the 1880s it was in use among New Orleans Creoles, who used it to mean “to speed up,” “to make quicker,” in reference to fast, syncopated music.
According to M. Stearns, in the 1910s this word was used in Chicago and had “not quite a decent meaning.” The word jazz appeared in print for the first time in 1913 (in one of the San Francisco newspapers). In 1915, it became part of the name of T. Brown's jazz orchestra - TORN BROWN'S DIXIELAND JASS BAND, which performed in Chicago, and in 1917 it appeared on a gramophone record recorded by the famous New Orleans orchestra ORIGINAL DIXIELAND JAZZ (JASS) BAND.
Jazz styles
Archaic jazz (early jazz, early jazz, German archaischer jazz)
Archaic jazz is a collection of the oldest, traditional types jazz, created by small ensembles in the process of collective improvisation on themes of blues, ragtime, as well as European songs and dances.
Blues (blues, from English blue devils)
Blues is a type of black folk song whose melody is based on a clear 12-bar pattern.
The blues sing about deceived love, about need, and the blues are characterized by a self-pitying attitude. At the same time, blues lyrics are imbued with stoicism, gentle mockery and humor.
In jazz music, the blues developed as an instrumental dance piece.
Boogie-woogie (boogie-woogie)
Boogie-woogie is a piano blues style characterized by a repeating bass figure that determines the rhythmic and melodic possibilities of improvisation.
Gospels (from the English Gospel - Gospel)
Gospel music is the religious tunes of North American blacks with lyrics based on the New Testament.
Ragtime
Ragtime is piano music based on the “beating” of two non-coinciding rhythmic lines:
-as if torn (sharply syncopated) melody;
- clear accompaniment, sustained in the style of a rapid step.
Soul
Soul is black music associated with the blues tradition.
Soul is a style of vocal black music that arose after the Second World War on the basis of rhythm and blues and gospel traditions.
Soul-jazz
Soul jazz is a type of hard bop, which is characterized by an orientation towards the traditions of the blues and African-American folklore.
Spiritual
Spiritual - an archaic spiritual genre of choral singing of North American blacks; religious tunes with lyrics based on the Old Testament.
Street-cry
Street edge - archaic folklore genre; a type of urban solo work song of street peddlers, represented by many varieties.
Dixieland, dixie (dixieland, dixie)
Dixieland is a modernized New Orleans style characterized by collective improvisation.
Dixieland is a jazz group of (white) musicians who adopted the style of performing black jazz.
Zong (from English song - song)
Zong - in B. Brecht's theater - a ballad performed in the form of an interlude or an author's (parody) commentary of a grotesque nature with a plebeian vagabond theme, close to a jazz rhythm.
Improvisation
Improvisation - in music - is the art of spontaneously creating or interpreting music.
Cadenza (Italian cadenza, from Latin Cado - ending)
Cadenza is a free improvisation of a virtuoso nature, performed in an instrumental concert for a soloist and orchestra. Sometimes cadenzas were composed by composers, but often they were left to the discretion of the performer.
Scat
Scat - in jazz - a type of vocal improvisation in which the voice is equated to an instrument.
Scat - instrumental singing - a technique of syllabic (textless) singing, based on the articulation of unrelated syllables or sound combinations.
Hot
Hot - in jazz - a characteristic of a musician performing improvisation with maximum energy.
New Orleans style of jazz
New Orleans style of jazz is music characterized by a clear two-beat rhythm; the presence of three independent melodic lines, which are performed simultaneously on the cornet (trumpet), trombone and clarinet, accompanied by a rhythmic group: piano, banjo or guitar, double bass or tuba.
In the works of New Orleans jazz, the main musical theme is repeated many times in various variations.
Sound
Sound is a stylistic category of jazz that characterizes the individual sound quality of an instrument or voice.
The sound is determined by the method of sound production, the type of sound attack, the manner of intonation and the interpretation of timbre; sound is an individualized form of manifestation of the sound ideal in jazz.
Swing, classic swing (swing; classic swing)
Swing is jazz, arranged for expanded pop and dance orchestras (big bands).
Swing is characterized by a roll call of three groups of wind instruments: saxophones, trumpets and trombones, creating the effect of rhythmic swing. Swing performers refuse collective improvisation; musicians accompany the soloist’s improvisation with a pre-written accompaniment.
Swing reached its peak in 1938-1942.
Sweet
Sweet is a characteristic of entertaining and dance commercial music of a sentimental, melodious and lyrical nature, as well as related forms of commercialized jazz and “jazzed” popular music.
Symphonic jazz
Symphonic jazz is a jazz style that combines the features of symphonic music with elements of jazz.
Modern jazz
Modern jazz is a set of styles and trends of jazz that have emerged since the late 1930s after the end of the classical style period and the “swing era.”
Afro-Cuban jazz (German: afrokubanischer jazz)
Afro-Cuban jazz is a style of jazz that developed towards the end of the 1940s from the combination of bebop elements with Cuban rhythms.
Bebop, bop (bebop; bop)
Bebop is the first style of modern jazz that emerged in the early 1930s.
Bebop is a direction of black jazz of small ensembles, which is characterized by:
-free solo improvisation based on a complex sequence of chords;
-use of instrumental singing;
-modernization of old hot jazz;
-a spasmodic, unstable melody with broken syllables and a feverishly nervous rhythm.
Combo
Combo is a small modern jazz orchestra in which all instruments are soloists.
Cool jazz (cool jazz; cool jazz)
Cool jazz is a style of modern jazz that emerged in the early 50s, updating and complicating the harmony of bop;
Polyphony is widely used in cool jazz.
Progressive
Progressive is a style direction in jazz that arose in the early 1940s based on the traditions of classical swing and bop, associated with the practice of big bands and large symphonic orchestras. Widely using Latin American melodies and rhythms.
Free jazz
Free jazz is a style of modern jazz associated with radical experiments in the field of harmony, form, rhythm and improvisation techniques.
Free jazz is characterized by:
-free individual and group improvisation;
-use of polymetry and polyrhythm, polytonality and atonality, serial and dodecaphonic technique, free forms, modal technique, etc.
Hard bob
Hard bop is a style of jazz that evolved from bebop in the early 1950s. Hard bop is different:
-gloomy, rough coloring;
-expressive, rigid rhythm;
-strengthening blues elements in harmony.
Chicago style of jazz (chicago-still)
The Chicago style of jazz is a variant of the New Orleans jazz style, which is characterized by:
-more strict compositional organization;
-strengthening solo improvisation (virtuoso episodes performed by various instruments).
Variety orchestra
A pop orchestra is a type of jazz orchestra;
instrumental ensemble performing entertainment and dance music and pieces from the jazz repertoire,
accompanying performers popular songs and other masters of the pop genre.
Typically, a pop orchestra includes a group of reed and brass instruments, piano, guitar, double bass and a set of drums.
Historical background on jazz
It is believed that Jazz, as an independent movement, arose in New Orleans between 1900 and 1917. A well-known legend says that from New Orleans, jazz spread along the Mississippi to Memphis, St. Louis and finally to Chicago. The validity of this legend is Lately has been questioned by a number of jazz historians, and today it is believed that jazz arose in the black subculture simultaneously in different places in America, primarily in New York, Kansas City, Chicago and St. Louis. And yet the old legend, apparently, is not far from the truth.
Firstly, it is supported by the testimonies of old musicians who lived during the period when jazz reached the boundaries of the black ghettos. All of them confirm that New Orleans musicians played very special music, which other performers readily copied. The fact that New Orleans is the cradle of jazz is also confirmed by recordings. Jazz records recorded before 1924 were made by musicians from New Orleans.
Classical period Jazz continued from 1890 to 1929 and ended with the beginning of the “swing era.” Classical jazz usually includes: New Orleans style (represented by Negro and Creole styles), New Orleans-Chicago style (which arose in Chicago after 1917 in connection with the move here of most of the leading Negro jazzmen of New Orleans), Dixieland (in its New Orleans and Chicago varieties ), a number of varieties of piano jazz (barrel house, boogie-woogie, etc.), as well as styles of jazz related to the same period that arose in some other cities in the South and Midwest of the United States. Classic Jazz together with certain archaic stylistic forms, it is sometimes designated as traditional jazz.
Jazz in Russia
The first jazz orchestra in Soviet Russia was created in Moscow in 1922 by the poet, translator, dancer, theater figure Valentin Parnakh and was called “The first eccentric orchestra of jazz bands of Valentin Parnakh in the RSFSR.” The birthday of Russian jazz is traditionally considered to be October 1, 1922, when the first concert of this group took place.
The attitude of the Soviet authorities towards jazz was ambiguous. At first, domestic jazz performers were not banned, but harsh criticism of jazz and Western culture was widespread. In the late 40s, during the fight against cosmopolitanism, jazz groups performing “Western” music were persecuted. With the onset of the Thaw, repressions against musicians ceased, but criticism continued.
The first book about jazz in the USSR was published by the Leningrad publishing house Academia in 1926. It was compiled by musicologist Semyon Ginzburg from translations of articles by Western composers and music critics, as well as his own materials, and was called “Jazz Band and Modern Music” Next book about jazz was published in the USSR only in the early 1960s. It was written by Valery Mysovsky and Vladimir Feyertag, called “Jazz” and was essentially a compilation of information that could be obtained from various sources while. In 2001, the St. Petersburg publishing house “Skifia” published the encyclopedia “Jazz. XX century Encyclopedic reference book." The book was prepared by the authoritative jazz critic Vladimir Feyertag.
JAZZ. The word jazz, which appeared at the beginning of the 20th century, began to denote a type of new,
music that sounded then for the first time, as well as the orchestra that played this music
performed. What kind of music is this and how did it appear?
Jazz arose in the USA among the oppressed, disenfranchised black population,
among the descendants of black slaves who were once forcibly taken from their homeland.
At the beginning of the 17th century, the first slave ships with live animals arrived in America.
cargo It was quickly snapped up by the rich of the American South, who became
use slave labor for heavy labor on their plantations. Torn off
from their homeland, separated from loved ones, exhausted from overwork,
black slaves found solace in music.
Blacks are amazingly musical. Their sense of rhythm is especially subtle and sophisticated.
In rare hours of rest, the blacks sang, accompanying themselves by clapping their hands,
hitting empty boxes, cans - everything that was at hand.
In the beginning it was real African music. The one whom the slaves
brought from their homeland. But years and decades passed. In the memory of generations
Memories of the music of the country of our ancestors were erased. All that remained was spontaneous
thirst for music, thirst for movement to music, sense of rhythm, temperament. On
the ear perceived what was sounding around - the music of the whites. And they sang
mostly Christian religious hymns. And the blacks also began to sing them. But
sing in your own way, investing in them all your pain, all your passionate hope for
a better life, at least beyond the grave. This is how Negro spiritual songs arose
spirituals.
And at the end of the 19th century other songs appeared - songs of complaint, songs
protest. They began to be called the blues. The blues talk about need, about hardship
work, about disappointed hopes. Blues singers usually accompanied
yourself on some homemade instrument. For example, they adapted
neck and strings for an old box. Only later were they able to buy for themselves
real guitars.
Blacks loved to play in orchestras, but even here the instruments had to be
invent yourself. The work involved combs wrapped in tissue paper, veins,
stretched on a stick with a dried pumpkin tied to it instead of a body,
washboards.
After the end of the Civil War of 1861 - 1865, the United States was dissolved
brass bands of military units. The instruments that remained from them ended up in
junk shops where they were sold for next to nothing. From there the blacks finally
were able to get real musical instruments. began to appear everywhere
black brass bands. Coal miners, masons, carpenters, peddlers in
in their free time they gathered and played for their own pleasure. Were playing
for any occasion: holidays, weddings, picnics, funerals.
Black musicians played marches and dances. They played, imitating the manner
performance of spirituals and blues - their national vocal music. On
with their trumpets, clarinets, and trombones they reproduced the features
Negro singing, its rhythmic freedom. They didn't know the notes; musical
white schools were closed to them. Played by ear, learning from experienced
musicians, listening to their advice, adopting their techniques. Same for
composed by rumor.
As a result of the transfer of Negro vocal music and Negro rhythm to
In the instrumental sphere, a new orchestral music was born - jazz.
The main features of jazz are improvisation and freedom of rhythm,
free breathing melody. Jazz musicians must be able to improvise
either collectively or solo against the background of a rehearsed accompaniment. What
concerns jazz rhythm (it is denoted by the word swing from the English swing
Swinging), then one of the American jazz musicians wrote about it like this:
"It's the feeling of inspired rhythm that makes musicians feel
ease and freedom of improvisation and gives the impression of unstoppable movement
the entire orchestra forward at an ever-increasing speed, although
in fact, the pace remains the same."
Since its origins in the southern American city of New Orleans, jazz
I've come a long way. It spread first to America and then
worldwide. It ceased to be the art of blacks: very soon they came to jazz
white musicians. The names of outstanding jazz masters are known to everyone. This is Louis
Armstrong, Duke Ellington, Benny Goodman, Glen Miller. This is the singer Ella
Fitzgerald and Bessie Smith.
Jazz music influenced symphonic and operatic music. American composer
George Gershwin wrote "Rhapsody in Blue" for piano with
orchestra, used elements of jazz in his opera Porgy and Bess.
There are jazz in our country too. The first of them arose back in the twenties. This
there was a theatrical jazz orchestra conducted by Leonid Utesov. On
For many years the composer Dunaevsky linked his creative destiny with him.
You've probably heard this orchestra too: it sounds cheerful, until now
since the successful film "Jolly Fellows".
Unlike a symphony orchestra, jazz does not permanent staff. Jazz
It is always an ensemble of soloists. And even if by chance the compositions of two jazz
collectives will coincide, after all, they cannot be completely identical: after all, in
In one case, the best soloist will be, for example, a trumpet player, and in another it will be
some other musician.
