Where was jazz born? Abstract: Jazz: development and distribution
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) brass 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 a period of mass enthusiasm for swing.
Later, right up to the present day, big bands performed and continue to perform the music of the most different 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. Besides everything else, distinctive feature All bebopists have become outrageous in their 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 an experimental creative movement in jazz, associated mainly with the practice of small ensembles (combos) and anti-commercial in its orientation.
The bebop phase marked a significant shift in the emphasis in jazz from popular dance music to a more highly artistic, intellectual, but less mass-produced “music for musicians.” Bop musicians preferred complex improvisations based on strumming chords instead of melodies.
The main instigators of the birth were: saxophonist, 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 everyday 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 starting in the early 70s, and with a decrease in the 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 different combinations have emerged for which promoters and publicists like to use the phrase "Modern Jazz", used to describe the "fusions" of jazz with elements of pop, 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- the broadest designation musical style 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- Publishing house modern music), 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 combining diverse jazz idioms, world folklore and new academic music into a single impressionistic sound allowed him to use these means to claim depth and philosophical understanding 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 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 the 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 World War I 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 on the basis of 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. Jazz-rock, which is more developed in terms of the synthesis of various musical means, is called “fusion” (fusion, merging). 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, such as in groups like Tribal Tech and 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 styles of jazz of the 70s and 80s, in which accompanists play in a black pop-soul style, while solo improvisations have a more creative and jazzy character. 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 instill new life into the first element of this - fusion - and also expand 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-late 90s, alternative rap began to be divided into a large number of substyles, and jazz-rap no longer often became an element of the new sound.
As one of the most revered forms musical art In America, jazz laid the foundation for an entire industry, revealing to the world numerous names of brilliant composers, instrumentalists and vocalists and giving rise to a wide range of genres. 15 of the most influential jazz musicians are responsible for a global phenomenon that has occurred over the last century in the history of the genre.
Jazz developed in later years XIX century and at the beginning of the XX as a direction that unites classical European and American sound with African folk motifs. The songs were performed with a syncopated rhythm, giving impetus to the development, and subsequently the formation of large orchestras to perform it. Music has made great strides from the days of ragtime to modern jazz.
The influence of West African musical culture is obvious in the kind of music that is written and how it is performed. Polyrhythm, improvisation and syncopation are what characterize jazz. Over the past century, this style has changed under the influence of contemporaries of the genre, who brought their ideas to the essence of improvisation. New directions began to appear - bebop, fusion, Latin American jazz, free jazz, funk, acid jazz, hard bop, smooth jazz, and so on.
15 Art Tatum
Art Tatum was a jazz pianist and virtuoso who was practically blind. He is known as one of the most greatest pianists of all time, which changed the role of the piano in the jazz ensemble. Tatum turned to the stride style to create his own unique style of playing, adding swing rhythms and fantastic improvisations. His attitude towards jazz music radically changed the meaning of the piano in jazz as a musical instrument compared to its previous characteristics.
Tatum experimented with the harmonies of the melody, influencing the chord structure and expanding it. All this characterized the bebop style, which, as we know, would become popular ten years later, when the first recordings in this genre appeared. Critics also noted his impeccable playing technique - Art Tatum was able to play the most difficult passages with such ease and speed that it seemed that his fingers barely touched the black and white keys.
14 Thelonious Monk
Some of the most complex and varied sounds can be found in the repertoire of the pianist and composer, one of the most important representatives of the era of the emergence of bebop and its subsequent development. His very personality as an eccentric musician helped popularize jazz. Monk, always dressed in a suit, hat and sunglasses, openly expressed his free-spirited approach to improvised music. He did not accept strict rules and formed his own approach to creating essays. Some of his most brilliant and famous works were Epistrophy, Blue Monk, Straight, No Chaser, I Mean You and Well, You Needn’t.
Monk's playing style was based on an innovative approach to improvisation. His works are distinguished by shock passages and sharp pauses. Quite often, during his performances, he would jump up from behind the piano and dance while the other band members continued to play the melody. Thelonious Monk remains one of the most influential jazz musicians in the history of the genre.
13 Charles Mingus
The recognized double bass virtuoso, composer and band leader was one of the most extraordinary musicians on the jazz scene. He developed a new musical style, combining gospel, hard bop, free jazz and classical music. Contemporaries called Mingus "the heir to Duke Ellington" for his fantastic ability to write works for small jazz ensembles. His compositions demonstrated the skill of playing by all members of the group, each of whom was also not just talented, but was characterized by a unique playing style.
Mingus carefully selected the musicians who made up his band. The legendary double bassist had a short temper, and once even hit trombonist Jimmy Knepper in the face, knocking out his tooth. Mingus suffered from a depressive disorder, but was not ready to allow it to somehow affect his creative activity. Despite this disability, Charles Mingus is one of the most influential figures in jazz history.
12 Art Blakey
Art Blakey was a famous American drummer and bandleader who made waves in his drumming style and technique. He combined swing, blues, funk and hard bop - a style that is heard today in every modern jazz composition. Together with Max Roach and Kenny Clarke, he invented a new way of playing bebop on drums. For more than 30 years, his band The Jazz Messengers gave a start to big jazz to many jazz artists: Benny Golson, Wayne Shorter, Clifford Brown, Curtis Fuller, Horace Silver, Freddie Hubbard, Keith Jarrett, etc.
The “Jazz Ambassadors” did not just create phenomenal music- they were a kind of “musical testing ground” for young talented musicians, like the Miles Davis group. Art Blakey's style changed the very sound of jazz, becoming a new musical milestone.
11 Dizzy Gillespie
The jazz trumpeter, singer, composer and bandleader became a prominent figure in the times of bebop and modern jazz. His trumpet playing influenced the styles of Miles Davis, Clifford Brown and Fats Navarro. After his time in Cuba, upon his return to the United States, Gillespie was one of those musicians who actively promoted Afro-Cuban jazz. In addition to his inimitable performance on the characteristically curved trumpet, Gillespie could be identified by his horn-rimmed glasses and incredibly large cheeks when he played.
The great jazz improviser Dizzy Gillespie, as well as Art Tatum, innovated harmonies. The compositions Salt Peanuts and Goovin' High were rhythmically completely different from previous works. Remaining true to bebop throughout his career, Gillespie is remembered as one of jazz's most influential trumpeters.
10 Max Roach
The top ten of the 15 most influential jazz musicians in the history of the genre includes Max Roach, a drummer known as one of the pioneers of bebop. He, like few others, influenced modern drumming. Roach was a civil rights activist and even recorded the album We Insist! with Oscar Brown Jr. and Coleman Hawkins. – Freedom Now (“We insist! – Freedom now”), dedicated to the 100th anniversary of the signing of the Emancipation Proclamation. Max Roach has an impeccable playing style, capable of performing extended solos throughout the entire concert. Absolutely any audience was delighted with his unsurpassed skill.
9 Billie Holiday
Lady Day is the favorite of millions. Billie Holiday wrote only a few songs, but when she sang, she captivated her voice from the first notes. Her performance is deep, personal and even intimate. Her style and intonation are inspired by the sound musical instruments that she had heard. Like almost all the musicians described above, she became the creator of a new, but already vocal style, based on long musical phrases and the tempo of their singing.
The famous Strange Fruit is the best not only in Billie Holiday’s career, but in the entire history of jazz due to the singer’s soulful performance. She was posthumously awarded prestigious awards and inducted into the Grammy Hall of Fame.
8 John Coltrane
The name of John Coltrane is associated with virtuoso playing technique, excellent talent for composing music and a passion for exploring new facets of the genre. On the threshold of the origins of hard bop, the saxophonist achieved enormous success and became one of the most influential musicians in the history of the genre. Coltrane's music had an edgy sound, and he played with great intensity and dedication. He was capable of both playing alone and improvising in an ensemble, creating solo parts of incredible length. Playing tenor and soprano saxophone, Coltrane was also able to create melodic compositions in the smooth jazz style.
John Coltrane is credited with rebooting bebop by incorporating modal harmonies. While remaining a major figure in the avant-garde, he was a very prolific composer and continued to release discs, recording about 50 albums as a band leader throughout his career.
7 Count Basie
A revolutionary pianist, organist, composer and bandleader, Count Basie led one of the most successful bands in jazz history. For 50 years, Count Basie Orchestra, including incredibly popular musicians such as Sweets Edison, Buck Clayton and Joe Williams, has earned a reputation as one of America's most sought-after big bands. Winner of nine Grammy awards, Count Basie instilled a love of orchestral sound in more than one generation of listeners.
Basie wrote many compositions that became jazz standards, such as April in Paris and One O'Clock Jump. Colleagues described him as tactful, modest and full of enthusiasm. Without Count Basie's orchestra in the history of jazz, the big band era would have sounded different and probably would not have been as influential as it became with this outstanding band leader.
6 Coleman Hawkins
The tenor saxophone is a symbol of bebop and all jazz music in general. And for that we can thank Coleman Hawkins. The innovations that Hawkins brought were vital to the development of bebop in the mid-forties. His contributions to the instrument's popularity may have shaped the future careers of John Coltrane and Dexter Gordon.
The composition Body and Soul (1939) became the standard for tenor saxophone playing for many saxophonists. Other instrumentalists were also influenced by Hawkins: pianist Thelonious Monk, trumpeter Miles Davis, and drummer Max Roach. His ability for extraordinary improvisations led to the discovery of new jazz sides of the genre that were not touched upon by his contemporaries. This partly explains why the tenor saxophone has become an integral part of the modern jazz ensemble.
5 Benny Goodman
The top five 15 most influential jazz musicians in the history of the genre opens. The famous King of Swing led almost the most popular orchestra of the early 20th century. His 1938 Carnegie Hall concert is recognized as one of the most important live concerts in the history of American music. This show demonstrates the advent of the jazz era, the recognition of this genre as an independent art form.
Despite the fact that Benny Goodman was the lead singer of a large swing orchestra, he also participated in the development of bebop. His orchestra was one of the first to combine musicians of different races. Goodman was an outspoken opponent of the Jim Crow Law. He even canceled a tour of the Southern states in support of racial equality. Benny Goodman was an active figure and reformer not only in jazz, but also in popular music.
4 Miles Davis
One of the central jazz figures of the 20th century, Miles Davis, stood at the origins of many musical events and oversaw their development. He is credited with innovating the genres of bebop, hard bop, cool jazz, free jazz, fusion, funk and techno music. Constantly searching for a new musical style, he always achieved success and was surrounded by brilliant musicians, including John Coltrane, Cannoball Adderley, Keith Jarrett, JJ Johnson, Wayne Shorter and Chick Corea. During his lifetime, Davis was awarded 8 Grammy Awards and was inducted into the Rock and Roll Hall of Fame. Miles Davis was one of the most active and influential jazz musicians of the last century.
3 Charlie Parker
When you think about jazz, you remember the name. Also known as Bird Parker, he was a pioneer of jazz alto saxophone, bebop musician and composer. His fast playing, clear sound and talent as an improviser had a significant influence on the musicians of that time and our contemporaries. As a composer, he changed the standards of jazz music writing. Charlie Parker became the musician who cultivated the idea that jazzmen were artists and intellectuals, and not just showmen. Many artists tried to copy Parker's style. His famous playing techniques can also be traced in the manner of many current beginning musicians, who take as a basis the composition Bird, which is consonant with the nickname of the alt-saccosophist.
2 Duke Ellington
He was a great pianist, composer and one of the most outstanding orchestra leaders. Although he is known as a pioneer of jazz, he excelled in other genres including gospel, blues, classical and popular music. It is Ellington who is credited with elevating jazz to its own art form. With countless awards and honors, the first great composer jazz has never stopped improving. He was an inspiration to subsequent generations of musicians, including Sonny Stitt, Oscar Peterson, Earl Hines, and Joe Pass. Duke Ellington remains a recognized genius of the jazz piano - instrumentalist and composer.
1 Louis Armstrong
Unarguably the most influential jazz musician in the history of the genre, Satchmo is a trumpeter and singer from New Orleans. He is known as the creator of jazz, who played a key role in its development. The amazing abilities of this performer made it possible to elevate the trumpet into a solo jazz instrument. He is the first musician to sing in the scat style and popularize it. It was impossible not to recognize his low, “thundering” voice.
Armstrong's commitment to his own ideals influenced the work of Frank Sinatra and Bing Crosby, Miles Davis and Dizzy Gillespie. Louis Armstrong influenced not only jazz, but also the entire musical culture, giving the world new genre, a unique style of singing and style of playing the trumpet.
Jazz was born in New Orleans. Most histories of jazz begin with a similar phrase, usually with the obligatory clarification that similar music developed in many cities of the American South - Memphis, St. Louis, Dallas, Kansas City.
The musical origins of jazz, both African American and European, are numerous and too long to list, but it is impossible not to mention its two main African American predecessors.
You can listen to jazz songs
Ragtime and blues
For about two decades turn of XIX-XX centuries - a short heyday of ragtime, which was the first type of popular music. Ragtime was performed primarily on the piano. The word itself translates as “ragged rhythm,” and this genre received its name because of the syncopated rhythm. The author of the most popular plays was Scott Joplin, nicknamed the “King of Ragtime.”
Example: Scott Joplin – Maple Leaf Rag
Another equally important predecessor of jazz was the blues. If ragtime gave jazz its energetic, syncopated rhythm, blues gave it a voice. And in the literal sense, since blues is a vocal genre, but primarily in a figurative sense, since blues is characterized by the use of blurred notes that are absent in the European sound system (both major and minor) - blues notes, as well as a colloquially shouted and rhythmically free manner execution.
Example: Blind Lemon Jefferson - Black Snake Moan
The birth of jazz
Subsequently, African-American jazz musicians transferred this style to instrumental music, and wind instruments began to imitate the human voice, its intonations and even articulations. So-called “dirty” sounds appeared in jazz. Every sound should have a peppery quality. A jazz musician creates music not only with the help of different notes, i.e. sounds of different heights, but also with the help of different timbres and even noises.
Jelly Roll Morton - Sidewalk Blues
Scott Joplin lived in Missouri and the first known published blues was called the "Dallas Blues." However, the first jazz style was called "New Orleans Jazz".
Cornetist Charles "Buddy" Bolden combined ragtime and blues by playing by ear and improvising, and his innovation influenced many of the more famous New Orleans musicians who later took the new music across the country, most notably in Chicago, New York, Los Angeles: Joe "King" Oliver, Bunk Johnson, Jelly Roll Morton, Kid Ory and, of course, the King of Jazz, Louis Armstrong. This is how jazz took over America.
However, this music did not immediately receive its historical name. At first it was called simply hot music (hot), then the word jass appeared and only then jazz. The first jazz record was recorded by a quintet of white performers, the Original Dixieland Jass Band, in 1917.
Example: Original Dixieland Jass Band - Livery Stable Blues
The Swing Era - Dance Fever
Jazz emerged and spread as dance music. Gradually, dance fever spread throughout America. Dance halls and orchestras multiplied. The era of big bands, or swing, began, lasting about a decade and a half from the mid-20s to the end of the 30s. Never before or since has jazz been so popular.
A special role in the creation of swing belongs to two musicians - Fletcher Henderson and Louis Armstrong. Armstrong influenced a huge number of musicians, teaching them rhythmic freedom and variety. Henderson created the format of a jazz orchestra with its later division into a saxophone section and a wind section with a roll call between them.
Fletcher Henderson - Down South Camp Meeting
The new composition has become widespread. There were about 300 big bands in the country. The leaders of the most popular of them were Benny Goodman, Duke Ellington, Count Basie, Chick Webb, Jimmy Lunsford, Tommy Dorsey, Glenn Miller, Woody Herman. The repertoire of orchestras includes popular melodies that are called jazz standards, or sometimes called jazz classics. The most popular standard in the history of jazz, Body and Soul, was first recorded by Louis Armstrong.
From bebop to post-bop
In the 40s The era of large orchestras ended quite abruptly, primarily for commercial reasons. Musicians began to experiment with small compositions, thanks to which a new jazz style was born - bebop, or simply bop, which meant a whole revolution in jazz. This was music intended not for dancing, but for listening, not for a wide audience, but for a narrower circle of jazz lovers. In a word, jazz ceased to be music for the entertainment of the public, but became a form of self-expression for musicians.
The pioneers of the new style were pianist Thelonious Monk, trumpeter Dizzy Gillespie, saxophonist Charlie Parker, pianist Bud Powell, trumpeter Miles Davis and others.
Groovin High - Charlie Parker, Dizzy Gillespie
Bop laid the foundations for modern jazz, which is still predominantly the music of small bands. Finally, bop sharpened jazz's constant desire to search for something new. An outstanding musician aimed at constant innovation was Miles Davis and many of his partners and the talents he discovered, who later became famous jazz performers and jazz stars: John Coltrane, Bill Evans, Herbie Hancock, Wayne Shorter, Chick Corea, John McLaughlin, Wynton Marsalis.
Jazz of the 50s and 60s continues to evolve, on the one hand, remaining true to its roots, but rethinking the principles of improvisation. This is how hard bop, cool...
Miles Davis - So What
...modal jazz, free jazz, post-bop.
Herbie Hancock - Cantaloupe Island
On the other hand, jazz begins to absorb other types of music, for example, Afro-Cuban and Latin. This is how Afro-Cuban and Afro-Brazilian jazz (bossanova) appeared.
Manteca - Dizzy Gillespie
Jazz and rock = fusion
The most powerful impetus for the development of jazz was the appeal of jazz musicians to rock music, the use of its rhythms and electric instruments (electric guitar, bass guitar, keyboards, synthesizers). The pioneer here was again Miles Davis, whose initiative was picked up by Joe Zawinul (Weather Report), John McLaughlin (Mahavishnu Orchestra), Herbie Hancock (The Headhunters), Chick Corea (Return to Forever). This is how jazz-rock or fusion arose...
Mahavishnu Orchestra — Meeting Of The Spirits
and psychedelic jazz.
Milky Way - Weather Report
History of jazz and jazz standards
The history of jazz is not only styles, trends and famous performers jazz, it is also a set of beautiful melodies that live in many versions. They are easily recognized, even if they don’t remember or don’t know the names. Jazz owes its popularity and attractiveness to such wonderful composers as George Gershwin, Irving Berlin, Cole Porter, Hoggy Carmichael, Richard Rodgers, Jerome Kernb and others. Although they wrote music primarily for musicals and shows, their themes, taken up by representatives of jazz, became the best jazz compositions of the twentieth century, which were called jazz standards.
Summertime, Stardust, What Is This Thing Called Love, My Funny Valentine, All the Things You Are - these and many other themes are known to every jazz musician, as well as compositions created by the jazzmen themselves: Duke Ellington, Billy Strayhorn, Dizzy Gillespie, Thelonious Monk, Paul Desmond and many others (Caravan, Night in Tunisia, 'Round Midnight, Take Five). This is a jazz classic and a language that unites both the performers themselves and the jazz audience.
Modern jazz
Modern jazz is a pluralism of styles and genres and a constant search for new combinations at the intersections of directions and styles. And modern jazz performers often play in a variety of styles. Jazz is susceptible to influence from many types of music, from avant-garde and folk music to hip-hop and pop. It turned out to be the most flexible type of music.
The recognition of the worldwide role of jazz was the proclamation of UNESCO in 2011 International Day jazz, which is celebrated annually on April 30.
A small river, the source of which was in New Orleans, in just over 100 years turned into an ocean that washes the whole world. American writer Francis Scott Fitzgerald in his time called the 20s. the age of jazz. Now these words can be applied to the twentieth century as a whole, since jazz is the music of the twentieth century. The history of the emergence and development of jazz almost fits into the chronological framework of the last century. But, of course, it doesn't end there.
1. Louis Armstrong
2. Duke Ellington
3. Benny Goodman
4. Count Basie
5. Billie Holiday
6. Ella Fitzgerald
7. Art Tatum
8. Dizzy Gillespie
9. Charlie Parker
10. Thelonious Monk
11. Art Blakey
12. Bud Powell
14. John Coltrane
15. Bill Evans
16. Charlie Mingus
17. Ornette Coleman
18. Herbie Hancock
19. Keith Jarrett
20. Joe Zawinul
Text: Alexander Yudin
Jazz is music filled with passion and inventiveness, music that knows no boundaries or limits. Making a list like this is incredibly difficult. This list has been written, rewritten, and then rewritten some more. Ten is too limiting a number for a musical genre like jazz. However, regardless of the quantity, this music can breathe life and energy, awaken you from hibernation. What could be better than bold, tireless, warming jazz!
1. Louis Armstrong
1901 - 1971
Trumpeter Louis Armstrong is revered for his lively style, inventiveness, virtuosity, musical expressiveness and dynamic showmanship. Known for his raspy voice and a career spanning over five decades. Armstrong's influence on music is invaluable. Louis Armstrong is generally considered the greatest jazz musician of all time.
Louis Armstrong with Velma Middleton & His All Stars - Saint Louis Blues
2. Duke Ellington
1899 - 1974
Duke Ellington is a pianist and composer who has led a jazz orchestra for almost 50 years. Ellington used his band as a musical laboratory for his experiments, in which he showcased the talents of the band members, many of whom remained with him for a long time. Ellington is an incredibly gifted and prolific musician. During his five-decade career, he wrote thousands of compositions, including scores for films and musicals, as well as many famous standards such as "Cotton Tail" and "It Don't Mean a Thing."
Duke Ellington and John Coltrane - In a sentimental mood
3. Miles Davis
1926 - 1991
Miles Davis is one of the most influential musicians of the 20th century. Along with his bands, Davis has been a central figure in jazz music since the mid-1940s, including bebop, cool jazz, hard bop, modal jazz and jazz fusion. Davis has tirelessly pushed the boundaries of artistic expression, resulting in him often being identified as one of the most innovative and respected artists in music history.
Miles Davis Quintet - It Never Entered My Mind
4. Charlie Parker
1920 - 1955
Virtuoso saxophonist Charlie Parker was an influential jazz soloist and a leading figure in the development of bebop, a form of jazz characterized by fast tempos, virtuosic technique and improvisation. In his complex melodic lines, Parker combines jazz with other musical genres, including blues, Latin and classical music. Parker was an iconic figure for the beatnik subculture, but he transcended his generation and became the epitome of the uncompromising, intelligent musician.
Charlie Parker - Blues for Alice
5. Nat King Cole
1919 - 1965
Known for his silky baritone, Nat King Cole brought the emotion of jazz to American popular music. Cole was one of the first African Americans to host a television program that was visited by such jazz artists as Ella Fitzgerald and Eartha Kitt. A phenomenal pianist and accomplished improviser, Cole was one of the first jazz performers to become a pop icon.
Nat King Cole - Autumn Leaves
6. John Coltrane
1926 - 1967
Despite the relatively short career(first accompanied at the age of 29 in 1955, officially began solo career at 33 in 1960, and died at 40 in 1967), saxophonist John Coltrane is the most important and controversial figure in jazz. Despite his short career, Coltrane's fame allowed him to record in abundance, and many of his recordings were released posthumously. Coltrane changed his style radically over the course of his career, yet he still has a strong following for both his early, traditional sound and his more experimental ones. And no one, with almost religious devotion, doubts his significance in the history of music.
John Coltrane - My Favorite Things
7. Thelonious Monk
1917 - 1982
Thelonious Monk is a musician with a unique improvisational style, the second most recognizable jazz artist, after Duke Ellington. His style was characterized by energetic, percussive lines mixed with sharp, dramatic silences. During his performances, while the rest of the musicians were playing, Thelonious would get up from his keyboard and dance for several minutes. Having created jazz classics "Round Midnight" and "Straight, No Chaser," Monk ended his days in relative obscurity, but his influence on modern jazz noticeable to this day.
Thelonious Monk - "round Midnight
8. Oscar Peterson
1925 - 2007
Oscar Peterson is an innovative musician who has performed everything from a classical ode to Bach to one of the first jazz ballets. Peterson opened one of the first jazz schools in Canada. His "Hymn to Freedom" became the anthem of the civil rights movement. Oscar Peterson was one of the most talented and important jazz pianists of his generation.
Oscar Peterson - C Jam Blues
9. Billie Holiday
1915 - 1959
Billie Holiday is one of the most important figures in jazz, although she never wrote her own music. Holiday turned "Embraceable You", "I'll Be Seeing You" and "I Cover the Waterfront" into famous jazz standards, and her performance of "Strange Fruit" is considered one of the best in American music. musical history. Although her life was full of tragedy, Holiday's improvisational genius, combined with her fragile, somewhat raspy voice, demonstrated an unprecedented depth of emotion unmatched by other jazz singers.
Billie Holiday - Strange fruit
10. Dizzy Gillespie
1917 - 1993
Trumpeter Dizzy Gillespie is a bebop innovator and master of improvisation, as well as a pioneer of Afro-Cuban and Latin jazz. Gillespie has collaborated with various musicians from South America and the Caribbean. He had a deep passion for traditional African music. All this allowed him to bring unprecedented innovations to modern jazz interpretations. Throughout his long career, Gillespie toured tirelessly and captivated audiences with his beret, horn-rimmed glasses, puffy cheeks, carefree attitude and his incredible music.
Dizzy Gillespie feat. Charlie Parker - A Night In Tunisia
11. Dave Brubeck
1920 – 2012
Dave Brubeck is a composer and pianist, jazz promoter, civil rights activist and music scholar. An iconoclastic performer recognizable from a single chord, a restless composer pushing the boundaries of genre, and building a bridge between the past and future of music. Brubeck collaborated with Louis Armstrong and many other famous jazz musicians, and also influenced avant-garde pianist Cecil Taylor and saxophonist Anthony Braxton.
Dave Brubeck - Take Five
12. Benny Goodman
1909 – 1986
Benny Goodman is a jazz musician better known as the "King of Swing". He became a popularizer of jazz among white youth. His appearance marked the beginning of an era. Goodman was a controversial figure. He relentlessly strived for excellence and this was reflected in his approach to music. Goodman was more than just a virtuoso performer—he was a creative clarinetist and innovator of the jazz era that preceded the bebop era.
Benny Goodman - Sing Sing Sing
13. Charles Mingus
1922 – 1979
Charles Mingus is an influential jazz double bassist, composer, and jazz bandleader. Mingus's music is a mixture of hot and soulful hard bop, gospel, classical music and free jazz. Mingus's ambitious music and menacing temperament earned him the nickname "The Angry Man of Jazz." If he were just a string player, few people would know his name today. He was most likely the greatest double bassist ever, one who always had his fingers on the pulse of the ferocious expressive power of jazz.
Charles Mingus - Moanin"
14. Herbie Hancock
1940 –
Herbie Hancock will always be one of the most revered and controversial musicians in jazz - as will his employer/mentor Miles Davis. Unlike Davis, who steadily moved forward and never looked back, Hancock zigzags between almost electronic and acoustic jazz and even r"n"b. Despite his electronic experiments, Hancock's love for the piano continues unabated and his piano playing style continues to evolve into ever more challenging and complex forms.
Herbie Hancock - Cantelope Island
15. Wynton Marsalis
1961 –
The most famous jazz musician since 1980. In the early 80s, Wynton Marsalis became a revelation, as a young and very talented musician decided to make a living playing acoustic jazz, rather than funk or R"n"B. There had been a huge shortage of new trumpet players in jazz since the 1970s, but Marsalis' unexpected fame inspired new interest in jazz music.
Wynton Marsalis - Rustiques (E. Bozza)
Jazz is a type of musical art that arose as a result of the synthesis of African and European cultures featuring African American folklore. Rhythm and improvisation were borrowed from African music, and harmony from European music.
General information about the origins of the formation
The history of jazz originates in 1910 in the USA. It quickly spread throughout the world. During the twentieth century, this direction in music underwent a number of changes. If we talk briefly about the history of jazz, it should be noted that several stages of development passed through the process of formation. In the 30-40s of the twentieth century, he was greatly influenced by the swing and bebop movements. After 1950, jazz began to be seen as a musical genre that included all the styles it had evolved through.
Currently, jazz has taken a place in the field of high art. It is considered quite prestigious, influencing the development of world musical culture.
The history of jazz
This trend arose in the USA as a result of the merger of several musical cultures. The history of the origins of jazz begins in North America, most of which was inhabited by English and French Protestants. Religious missionaries sought to convert blacks to their faith, caring for the salvation of their souls.
The result of the synthesis of cultures is the emergence of spirituals and blues.
African music is characterized by improvisation, polyrhythm, polymetry and linearity. The rhythmic principle plays a huge role here. The meaning of melody and harmony is not so significant. This is explained by the fact that music among Africans has practical significance. It accompanies work and rituals. African music is not independent and is associated with movement, dance, and recitation. Its intonation is quite free, as it depends on the emotional state of the performers.
From European music, which was more rational, jazz was enriched with a major-minor modal system, melodic structures, and harmony.
The process of unification of cultures began in the eighteenth century and led to the emergence of jazz in the twentieth century.
New Orleans School period
In the history of jazz, the first instrumental style is considered to have originated in (Louisiana). This music first appeared in the performance of street brass bands, which were very popular at that time. Storyville, an area of the city specially designated for entertainment venues, was of great importance in the history of the emergence of jazz in this port city. It was here, among Creole musicians of Negro-French origin, that jazz was born. They knew light classical music, were educated, mastered European playing techniques, played European instruments, and read music. Their high performing level and upbringing in European traditions enriched early jazz elements not subject to African influences.
The piano was also a common instrument in Storyville establishments. The sound here was mostly improvisation, and the instrument was used more as a percussion instrument.
An example of the early New Orleans style is the Buddy Bolden (cornet) band, which existed from 1895-1907. The music of this orchestra was based on collective improvisation of polyphonic structure. At first, the rhythm of early New Orleans jazz compositions was march-like, since the origin of the bands came from military bands. Over time, secondary instruments were removed from the standard composition of brass bands. Such ensembles often organized competitions. “White” squads also took part in them, which were distinguished by their technical play, but were less emotional.
There were a large number of orchestras that played marches, blues, ragtime, etc.
Along with black orchestras, orchestras consisting of white musicians also appeared. At first they performed the same music, but were called “Dixieland”. Later, these compositions used more elements of European technology, their style of sound production changed.
Steamboat orchestras
New Orleans orchestras that worked on steamships that plied the Mississippi River played a role in the history of the origins of jazz. For passengers who traveled on pleasure boats, one of the most attractive entertainments was the performance of such orchestras. They performed entertaining dance music. For performers, a mandatory requirement was knowledge of musical literacy and the ability to read notes from a sheet. Therefore, these compositions had a fairly high professional level. In such an orchestra, jazz pianist Lil Hardin, who later became the wife of Louis Armstrong, began her career.
At stations where ships made stops, orchestras organized concerts for the local population.
Some of the bands remained in cities along or far from the Mississippi and Missouri rivers. One of these cities was Chicago, where blacks felt more comfortable than in South America.
Big band
In the early 20s of the 20th century, the big band form emerged in the history of jazz music, which remained relevant until the end of the 40s. The performers of such orchestras played learned parts. The orchestration involved the bright sound of rich jazz harmonies, which were performed by brass and The most famous jazz orchestras were the orchestras of Glenn Miller, Benny Goodman, Count Basie, and Jimmy Lunsford. They recorded genuine hits of swing melodies, which became the source of the passion for swing in wide circles listeners. At the “battles of the bands” that were held at that time, the improvising soloists of big bands drove the audience into hysterics.
After the 1950s, when the popularity of big bands declined, famous orchestras continued to tour and record for several decades. The music they performed changed, being influenced by new directions. Today, big band is the standard of jazz education.
Chicago jazz
In 1917, the United States enters World War I. In this regard, it was declared a city of strategic importance. All entertainment establishments where a large number of musicians worked were closed. Left unemployed, they migrated en masse to the North, to Chicago. During this period everyone is there the best musicians both from New Orleans and from other cities. One of the most prominent performers was Joe Oliver, who became famous in New Orleans. During the Chicago period, his band included famous musicians: Louis Armstrong (second cornet), Johnny Dodds (clarinet), his brother “Babby” Dodds (drums), Chicago young and accomplished pianist Lil Hardin. This orchestra performed improvisational, full-textured New Orleans jazz.
Analyzing the history of the development of jazz, it should be noted that during the Chicago period the sound of orchestras changed stylistically. Some tools are being replaced. Performances that become stationary may allow the use of bands that have become mandatory members. A double bass is used instead of a brass bass, a guitar is used instead of a banjo, and a trumpet is used instead of a cornet. Changes are also taking place in the drum group. Now the drummer plays on a drum kit, where his capabilities become wider.
At the same time, the saxophone began to be used in orchestras.
The history of jazz in Chicago is replenished with new names of young performers, musically educated, who can sight read and arrange. These musicians (mostly white) did not know the true New Orleans sound of jazz, but they learned it from black performers who migrated to Chicago. Musical youth imitated them, but since this did not always work out, a new style arose.
During this period, the skill of Louis Armstrong reached its peak, setting the example for Chicago jazz and cementing the role of a soloist of the highest class.
The blues is being reborn in Chicago, bringing out new artists.
There is a fusion of jazz and pop, so vocalists begin to appear in the foreground. They create their own orchestral compositions for jazz accompaniment.
The Chicago period is characterized by the creation of a new style in which jazz instrumentalists sing. Louis Armstrong is one of the representatives of this style.
Swing
In the history of the creation of jazz, the term “swing” (translated from English as “swinging”) is used in two meanings. Firstly, swing is an expressive means in this music. It is characterized by an unstable rhythmic pulsation, creating the illusion of an accelerated tempo. In this regard, it seems that music has great internal energy. Performers and listeners are united by a common psychophysical state. This effect is achieved through the use of rhythmic, phrasing, articulation and timbre techniques. Every jazz musician strives to develop his own original way"swinging" music. The same applies to ensembles and orchestras.
Secondly, this is one of the styles of orchestral jazz that appeared in the late 20s of the twentieth century.
A characteristic feature of the swing style is solo improvisation against the background of an accompaniment that is quite complex. Musicians with good technique, knowledge of harmony and mastery of musical development techniques could work in this style. For such music-making, large orchestras or big bands were provided, which became popular in the 30s. The standard composition of an orchestra traditionally included 10-20 musicians. Of these - from 3 to 5 trumpets, the same number of trombones, a saxophone group, which included a clarinet, as well as a rhythm section, which consisted of piano, string bass, guitar and percussion instruments.
Bop
In the mid-40s of the twentieth century, a new jazz style emerged, the emergence of which marked the beginning of the history of modern jazz. This style arose as a contrast to swing. He had a very fast pace, which was introduced by Dizzy Gillespie and Charlie Parker. This was done with a specific purpose - to limit the circle of performers only to professionals.
The musicians used completely new rhythmic patterns and melodic turns. The harmonic language has become more complex. The rhythmic basis from the bass drum (in swing) moved to the cymbals. Any danceability in the music has completely disappeared.
In the history of jazz styles, bebop was the first to leave the sphere of popular music towards experimental creativity, into the sphere of art in its “pure” form. This happened due to the interest of representatives of this style in academicism.
Boppers were distinguished by their shocking appearance and manner of behavior, thereby emphasizing your individuality.
Bebop music was performed by small ensembles. In the foreground is the soloist with his individual style, virtuoso technique, creative thinking, and mastery of free improvisation.
In comparison with swing, this direction was more highly artistic and intellectual, but less widespread. It was anti-commercial. Nevertheless, bebop began to spread rapidly, and it had its own wide audience of listeners.
Jazz territory
In the history of jazz, it is necessary to note the constant interest of musicians and listeners around the world, regardless of what country they live in. This is explained by the fact that jazz performers such as Dizzy Gillespie, Dave Brubeck, Duke Ellington and many others built their compositions on a synthesis of various musical cultures. This fact suggests that jazz is music that is understood throughout the world.
Today, the history of jazz has its continuation, since the potential for the development of this music is quite large.
Jazz music in the USSR and Russia
Due to the fact that jazz in the USSR was considered a manifestation of bourgeois culture, it was subject to criticism and banned by the authorities.
But October 1, 1922 was marked by the concert of the first professional jazz orchestra in the USSR. This orchestra performed the fashionable Charleston and Foxtrot dances.
The history of Russian jazz includes the names of talented musicians: pianist and composer, as well as the leader of the first jazz orchestra Alexander Tsfasman, singer Leonid Utesov and trumpeter Y. Skomorovsky.
After the 50s, many large and small jazz ensembles began their active creative work, including Oleg Lundstrem's jazz orchestra, which has survived to this day.
Currently, a jazz festival is held every year in Moscow, in which world-famous jazz bands and solo performers participate.
