Jazz - The American Music

8/9/2019 Jazz - The American Music

1/90

Jazz: The American Music

"Jazz is a good barometer of freedom. Inits beginnings, the United States

spawned certain ideals of freedom andindependence through which,

eventually, jazz was evolved, and themusic is so free that many people say it is the only unhampered, unhindered

epression of complete freedomyet produced in this country."

• !ue #llington

“What a Wonderful World” Louis Armstronghttps://www!outu"ecom/watch#$%&'()w*z+d,M

*lues: https://www!outu"ecom/watch#$%-z.zzml012

https://www.youtube.com/watch?v=E2VCwBzGdPMhttps://www.youtube.com/watch?v=0zYzzmlK_9Ihttps://www.youtube.com/watch?v=0zYzzmlK_9Ihttps://www.youtube.com/watch?v=E2VCwBzGdPM


2/90

3istorical and )ultural ,erspecti$es

• 4efinitions

• 5rigins of the word “6azz”

• African7American 8oots


3/90

4efinitions

• )onfluence of African and &uropean Music Traditions 9 Jazz is a musical art form which originated at the "eginning of the '- th

centur! in African American communities in the outhern ;nited tatesfrom a mingling of African and &uropean music traditions The st!le


4/90

Word 5rigins

• The word jazz "egan as a West )oast slang

term of uncertain deri$ation The earliest ?nown

references to jazz are in the sports pages of

$arious West )oast newspapers co$ering the,acific )oast League= a "ase"all minor league:

9 *en 3enderson= ,ortland *ea$ers= K1K' *&BF

JA );8(& D2 got a new cur$e this !ear=D softl!

murmured 3enderson !esterda!= Dand 2Fm goinF topitch one or two of them tomorrow 2 call it the Jazz

"all "ecause it wo""les and !ou simpl! canFt do

an!thing with itD


5/90

• The first musical reference to 6azz was in )hicago

a"out K1K as found in the )hicago 4ail! Tri"uneon Jul! KK= K1K: 9 *lues 2s Jazz and Jazz 2s *lues The Worm had

turned77turned to fo trotting And the D"luesD had doneit The D6azzD had put pep into the legs that hadscram"led too long for the :K At the net place a!oung woman was ?eeping D4er Wacht Am 8heinD andDTipperar! Mar!D apart when the interrogator enteredDWhat are the "lues#D he as?ed gentl! DJazzND The!oung womanFs $oice rose high to drown thepiano The "lues are ne$er written into music= "ut

are interpolated "! the piano pla!er or other pla!ersThe! arenFt new The! are 6ust re"orn into popularit!The! started in the south half a centur! ago and arethe interpolations of dar?ies originall! The trade namefor them is D6azzD


6/90

• The first ?nown use in Bew 5rleans= disco$ered

"! leicographer *en6amin immer in '--1=appeared in the Bew 5rleans Times-Picayune

on Bo$ KC= K1KO:

9 Theatrical 6ournals ha$e ta?en cognizance of the D6as

"andsD and at first these organizations of s!ncopationwere credited with ha$ing originated in )hicago= "ut

an! one e$er ha$ing frePuented the Dtango "eltD of

Bew 5rleans ?nows that the real home of the D6as

"andsD is right here 3owe$er= it remains for the

artisans of the stage to gi$e formal recognition to the

D6as "andsD of Bew 5rleans


7/90

African/American 8oots

• *! KQ-Q the Atlantic sla$e trade had "roughtalmost half a million Africans to the ;nitedtates The sla$es largel! came from West Africa and "rought strong tri"al musicaltraditions with them

• La$ish festi$als featuring African dances todrums were organized on unda!s at Place

Congo= or )ongo Puare= in Bew 5rleansuntil KQC

• African music was largel! functional= for wor?or ritual= and included wor? songs and fieldhollers The African tradition made use of asingle7line melod! and call7and7responsepattern= "ut without the &uropean concept ofharmon! 8h!thms reflected African speechpatterns= and the African use of pentatonicscales led to "lue notes in "lues and 6azz

Modern 4a! )ongo Puare


8/90


9/90

• )ongo Puare 4ancers

African

4rumming &nsem"le

http://www!outu"ecom/watch#$%7RtpL;7B$2

http://www.youtube.com/watch?v=-xQtpLU-NvIhttp://www.youtube.com/watch?v=-xQtpLU-NvI


10/90

• 2n the earl! K1th centur! an increasing num"er

of "lac? musicians learned to pla! &uropean

instruments= particularl! the $iolin= which the!

used to parod! &uropean dance music in their

own ca?ewal? dances

• 2n turn= &uropean7American minstrel showperformers in "lac?face popularized such music

internationall!= com"ining s!ncopation with

&uropean harmonic accompaniment

• Another influence came from "lac? sla$es who

had learned the harmonic st!le of h!mns and

incorporated it into their own music as spirituals


11/90

)ompendium of Jazz t!les

and ,erformers


12/90

1890s to 1910s

The abolition of slavery in 1865 led to new opportunities for the

education of freed African-Americans, though strict segregation

limited employment opportunities for most blacks !owever, blackswere able to find work as entertainmers in dances, minstrel shows,

and in vaudeville "lack pianists also played in bars, clubs, and

brothels, as ragtime developed

8agtime

*lues

Bew 5rleans 4iieland


13/90

8agtime

• 5rigins and t!le 9 8agtime >alternatel! spelled 8agged7time@ is an originall!

American musical genre which en6o!ed its pea? popularit!"etween KQ1I and K1KQ

9 2ts main characteristic trait is its s!ncopated= or DraggedD=rh!thm

9 2t "egan as dance music in the red7light districts of Americancities such as t Louis and Bew 5rleans !ears "efore "eingpu"lished as popular sheet music for piano

9 8agtime fell out of fa$or as Jazz claimed the pu"licFs imagination

after K1KI= "ut there ha$e "een numerous re$i$als since as themusic has "een re7disco$ered

• ,roponents: Joseph Lam"= James cott= cott Joplin


14/90

cott Joplin >KQOQ 9 K1KI@

Maple Leaf 8ag• Joplin was an African7American and pianist= "orn near

Tear?ana= Teas into the first post7sla$er! generation

• 3e achie$ed fame for his uniPue ragtime compositions=and was du""ed the Ding of 8agtimeD

• 4uring his "rief career= he wrote fort!7four originalragtime pieces= one ragtime "allet= and two operas

• Joplin died at age CQ and his music was mostl! forgotten"! all "ut a small= dedicated communit! of ragtime

aficionados until the ma6or ragtime re$i$al in the earl!K1I-s

• 2n K1IO Joplin was posthumousl! awarded the ,ulitzer,rize


15/90

•http://www!outu"ecom/watch#$%pMAtLIn07rc

http://www.youtube.com/watch?v=pMAtL7n_-rchttp://www.youtube.com/watch?v=pMAtL7n_-rc


16/90

Aeolian ,la!er ,iano

• Aeolian )ompan!= founded in KQIQ=de$eloped the pla!er piano= a self7pla!ingpiano= containing a pneumatic or electro7

mechanical mechanism that pla!s on thepiano action pre7programmed music $iaperforated paper rolls

• 8agtime "ecame a fa$orite selection forthe pla!er piano


17/90

Aeolian ,la!er ,iano

,la!er 8oll


18/90

*lues

• 5rigins and t!le

9 *lues is the name gi$en to "oth a musical form and a music genre created withinthe African7American communities in the 4eep outh of the ;nited tates at theend of the K1th centur! from spirituals= wor? songs= field hollers= shouts andchants= and rh!med simple narrati$e "allads

9 The first appearance of the "lues is not well defined and is often dated after the&mancipation Act in KQO= "etween KQI- and K1-- 9 This period corresponds to the transition from sla$er! to sharecropping= small7

scale agricultural production and the epansion of railroads in the southern;nited tates

9 e$eral scholars characterize the earl! K1--s de$elopment of "lues music as amo$e from group performances to a more indi$idualized st!le

9 The origins of the "lues are also closel! related to the religious music of the Afro7 American communit!= the spirituals

9 When the "lues appeared= "efore "lues gained its formal definition in terms ofchord progressions= the "lues was defined as the secular counter part of thespirituals


19/90

• Horm

9 The "lues form is characterized "!

• the use of specific chord progressions S the

twel$e7"ar chord progressions "eing the most

frePuentl! encountered

• "lue notes sung or pla!ed for epressi$e purposes

and distinguished "! the use of the flattened third=

fifth and se$enth of the associated ma6or scale

#hords played over a twelve-barscheme$

#hords for a blues in #$

% % or %& % %'

%& %& % %'

&& or%&

% % or &

## or

(# #'

( ( # #'

)) or

(#

# or)


20/90

• L!rics

9 The traditional "lues $erse was pro"a"l! asingle line= repeated four times

9 2t was onl! later that the current= mostcommon structure of a line= repeated once

and then followed "! a single line conclusion="ecame standard= the so7called AA* pattern

• ,roponents:

9 Jell! 8oll Morton= 8o"ert Johnson= *lind *o!

Huller= +ertrude “Ma” 8aine!= *essie mith


21/90

*essie mith

>KQ1' 9 K1I@

• “The &mpress of the*lues”

• Ma6or influence onsu"sePuent 6azz$ocalists

• “*a"! Won


22/90

Bew 5rleans 4iieland

• 5rigins and t!le 9 4iieland is an earl! st!le of 6azz that de$eloped in Bew 5rleans and it

is the earliest recorded st!le of 6azz music 9 The st!le com"ined earlier "rass "and marches= Hrench Ruadrilles=

ragtime and "lues with collecti$e= pol!phonic impro$isation 9 The DstandardD "and consists of a Dfront lineD of trumpet= trom"one= and

clarinet= with a “rh!thm sectionD of at least two of the followinginstruments: guitar or "an6o= string "ass or tu"a= piano and drums

9 The definiti$e 4iieland sound is created when one instrument >usuall!the trumpet@ pla!s the melod! or a recogniza"le paraphrase or $ariationon it= and the other instruments of the Dfront lineD impro$ise around thatmelod! This creates a more pol!phonic sound

9 The swing era of the K1-s led to the end of man! 4iieland JazzmusiciansF careers

• ,roponents: ing 5li$er= Jell! 8oll Morton= 5riginal 4iieland Jass*and= Louis Armstrong


23/90

Louis 4aniel Armstrong

>K1-K 9 K1IK@

• Bic?named “atchmo”or “,ops”

• American 6azz

trumpeter and singer>scat@

• Houndational influenceon 6azz was to shift

music


24/90

All7tar *and

“4ream a Little 4ream”http://www!outu"ecom/watch#$%5Hl1Ie"ruc

“3ello 4oll!”http://www!outu"ecom/watch#$%?mfe;B44.s

“When the aints +o Marching 2n”http://www!outu"ecom/watch#$%w!L6"M*p+4A

http://www.youtube.com/watch?v=OFl97eZbruchttp://www.youtube.com/watch?v=kmfeKUNDDYshttp://www.youtube.com/watch?v=wyLjbMBpGDAhttp://www.youtube.com/watch?v=wyLjbMBpGDAhttp://www.youtube.com/watch?v=kmfeKUNDDYshttp://www.youtube.com/watch?v=OFl97eZbruc


25/90

1920s and 1930s

wing

&uropean Jazz


26/90

wing

• 5rigins 9 ,rohi"ition in the ;nited tates >from K1'- to K1@

"anned the sale of alcoholic drin?s= resulting in illicitspea?easies "ecoming li$el! $enues of the “Jazz

Age” 9 Jazz started to get a reputation as "eing immoral and

man! mem"ers of the older generations saw it asthreatening the old $alues in culture and promoting

the new decadent $alues of the 8oaring '-s 9 While Bew 5rleans remained an important 6azzcenter= )hicago "ecame the main center during thistimeframe


27/90

• ,recursors and 2nfluences of *ig *and wing 9 *i *eider"ec?e formed The Wol$erines in K1'C

“There


28/90

9 Also in K1'C= Louis Armstrong 6oined the Hletcher 3enderson

4ance *and and then formed his $irtuosic 3ot Hi$e *and

>K1-K7K1IK@

Hletcher 3enderson4ance *and“(ariet! tomp”http://www!outu"ecom/watch#$%hc.*w86MP6gUlist%,LC*4K11I')**CQ&

3ot Hi$e *and

http://www.youtube.com/watch?v=hcYBwRjMqjg&list=PL4BD19972C5BB458Ehttp://www.youtube.com/watch?v=hcYBwRjMqjg&list=PL4BD19972C5BB458E


29/90

9 Jell! 8oll Morton recorded with the Bew 5rleans 8h!thm ings

in an earl! mied7race colla"oration= then in K1'O formed his

8ed 3ot ,eppers

>KQ1- 9 K1CK@


30/90

9 There was a larger mar?et for 6azz! dance music pla!ed "!

white orchestras= such as ,aul Whiteman


31/90

9 5ther influential large ensem"les included 4u?e &llington


32/90

• t!le 9 The K1-s "elonged to popular swing "ig "ands= in which some

$irtuoso soloists "ecame as famous as the "and leaders 9 wing was also dance music 2t was "roadcast on the radio Fli$eF

nightl! across America for man! !ears especiall! "! 3ines andhis +rand Terrace )afe 5rchestra "roadcasting coast7to7coastfrom )hicago Although it was a collecti$e sound= swing alsooffered indi$idual musicians a chance to FsoloF and impro$ise

melodic= thematic solos which could at times "e $er! comple 9 5$er time= social strictures regarding racial segregation "egan to

rela in America: white "andleaders "egan to recruit "lac?musicians and "lac? "andleaders white ones

• ,roponents:

)ount *asie= )a" )allowa!= Jimm! 4orse! and Tomm! 4orse!=4u?e &llington= *enn! +oodman= Hletcher 3enderson= &arl 3ines=+lenn Miller= Artie haw and Louis Armstrong


33/90

Tomm! 4orse! and Jimm! 4orse!

>K1- 9 K1O@ >K1-C 9 K1I@

Jimm! 4orse! 5rchestra

Tomm! 4orse! “5pus 5ne”http://www!outu"ecom/watch#$%0IR6MCc?c

http://www.youtube.com/watch?v=_7QjMZ4ckZchttp://www.youtube.com/watch?v=_7QjMZ4ckZc


34/90

3arr! James

>K1KO 9 K1Q@

3arr! James 5rchestra and Hran? inatra“tardust”

http://www!outu"ecom/watch#$%80"2QAB;L2

http://www.youtube.com/watch?v=R_bI8ANUSLIhttp://www.youtube.com/watch?v=R_bI8ANUSLI


35/90

Artie haw

>K1K- 9 '--C@

Artie haw 5rchestra

http://www!outu"ecom/watch#$%ARI$1atM

“Moonglow”

http://www.youtube.com/watch?v=AKQ7v3S9atMhttp://www.youtube.com/watch?v=AKQ7v3S9atM


36/90

+lenn Miller

>K1-C 9 K1CC@

+len Miller 5rchestra

“ing= ing= ing”http://www!outu"ecom/watch#$%r'K20ienOA

“2n the Mood”http://www!outu"ecom/watch#$%0)27-&06ses

http://www.youtube.com/watch?v=r2S1I_ien6Ahttp://www.youtube.com/watch?v=_CI-0E_jseshttp://www.youtube.com/watch?v=_CI-0E_jseshttp://www.youtube.com/watch?v=r2S1I_ien6A


37/90

*eginnings of &uropean Jazz

• 5utside of the ;nited tates the

"eginnings of a distinct &uropean st!le of

6azz emerged in Hrance with the Quintette

du Hot Club de France which "egan inK1C


38/90

• *elgian guitar $irtuoso 46ango 8einhardt >K1K- 9 K1@popularized g!ps! 6azz= a mi of K1-s American swing=

Hrench dance hall “musetteD and &astern &uropean fol?with a languid= seducti$e feel The main instruments aresteel stringed guitar= $iolin= and dou"le "ass olos passfrom one pla!er to another as the guitar and "ass pla!the role of the rh!thm section

J


39/90

1940s and 1950s

4iieland 8e$i$al

*e"op)ool Jazz

3ard *op

Modal Jazz Hree Jazz


40/90

4iieland 8e$i$al

• 2n the late K1-s there was a re$i$al of “4iielandD music= har?ening"ac? to the original contrapuntal Bew 5rleans st!le This was dri$enin large part "! record compan! reissues of earl! 6azz classics "!the 5li$er= Morton= and Armstrong "ands of the K1-s

• There were two populations of musicians in$ol$ed in the re$i$al5ne group consisted of pla!ers who had "egun their careers pla!ingin the traditional st!le= and were either returning to it= or continuingwhat the! had "een pla!ing all along= such as *o" )ros"!


41/90

*o" )ros"!

>K1K 9 K11@

The *o" )ats

“Jazz Me *lues”http://www!outu"ecom/watch#$%oRW&M!&AQ

http://www.youtube.com/watch?v=oQWEMXyEAS8http://www.youtube.com/watch?v=oQWEMXyEAS8


42/90

Lu Watters

>K1KK 9 K1Q1@

Lu Watters< *and

“Lo$e Me or Lea$e Me”http://www!outu"ecom/watch#$%ed1pL+n-

http://www.youtube.com/watch?v=ed9p5XLGZn0http://www.youtube.com/watch?v=ed9p5XLGZn0


43/90

*e"op

• 5rigins and t!le 9 2n the earl! K1C-s "e"op performers helped to shift 6azz from dancea"le popular

music towards a more challenging DmusicianFs musicD 4iffering greatl! fromswing= earl! "e"op di$orced itself from dance music= esta"lishing itself more asan art form "ut lessening its potential popular and commercial $alue

9 ince "e"op was meant to "e listened to= not danced to= it used faster tempos*e"oppers introduced new forms of chromaticism and dissonance into 6azzG the

dissonant tritone >or Dflatted fifthD@ inter$al "ecame the Dmost important inter$al of"e"opD and pla!ers engaged in a more a"stracted form of chord7"asedimpro$isation which used DpassingD chords= su"stitute chords= and alteredchords

9 The st!le of drumming shifted as well to a more elusi$e and eplosi$e st!le= inwhich the ride c!m"al was used to ?eep time= while the snare and "ass drumwere used for unpredicta"le= eplosi$e accents

• ,roponents: Thelonious Mon?= trumpeters 4izz! +illespie and )lifford*rown= tenor sa pla!er Leston .oung= and drummer Ma 8oach


44/90

)harlie ,ar?er >K1'- 9 K1@

4izzie +illespie >K1KI 9 K11@

• “3ot 3ouse”

)harlie ,ar?er

4izzie +illespiehttp://www!outu"ecom/watch#$%0rmp+Plc

4izzie +illespie

)harlie ,ar?er

http://www.youtube.com/watch?v=_3rZ5mpGqlchttp://www.youtube.com/watch?v=_3rZ5mpGqlc


45/90

Thelonious Mon?

>K1KI 9 K1Q'@

• “*lue Mon?”http://www!outu"ecom/watch#$%cW5z1m2LP"A

http://www.youtube.com/watch?v=cWOz9mILqbAhttp://www.youtube.com/watch?v=cWOz9mILqbA


46/90

*ud ,owell

>K1'C 9 K1OO@

• “A Bight in

Tunisia”• http://www!outu"ecom/watch#$%pth8."tJ)&

M 8 h

http://www.youtube.com/watch?v=pthRYbt3JCEhttp://www.youtube.com/watch?v=pthRYbt3JCE


47/90

Ma 8oach

>K1'C 9 '--I@

• “Mr 3i 3at”http://www!outu"ecom/watch#$%3Qs!i5ww(!.

http://www.youtube.com/watch?v=H8syiOwwVyYhttp://www.youtube.com/watch?v=H8syiOwwVyY


48/90

)ool Jazz

• 5rigins and t!le 9 *! the end of the K1C-s= the ner$ous energ! and tension of

"e"op was replaced with a tendenc! towards calm andsmoothness= with the sounds of cool 6azz= which fa$ored long=linear melodic lines 2t emerged in Bew .or? )it!= as a result of

the miture of the st!les of predominantl! white 6azz musiciansand "lac? "e"op musicians= and it dominated 6azz in the first halfof the K1-s

• ,roponents:

)het *a?er= 4a$e *ru"ec?= *ill &$ans= +il &$ans= tan +etz= the

Modern Jazz Ruartet An important recording was trumpeter Miles4a$is< Birth of Cool >trac?s originall! recorded in K1C1 and K1- andcollected as an L, in K1I@

Mil 4 i


49/90

Miles 4a$is

>K1'O 9 K11K@

• !eru" fromBirth of the

Cool http://www!outu"ecom/watch#$%+A8r*

oz5s

• “)ool Jazz”http://www!outu"ecom/watch#$%K,!CcHw

4 * " ?

http://www.youtube.com/watch?v=GXARxrBozOshttp://www.youtube.com/watch?v=GXARxrBozOshttp://www.youtube.com/watch?v=1P5xZyK4cFwhttp://www.youtube.com/watch?v=1P5xZyK4cFwhttp://www.youtube.com/watch?v=GXARxrBozOshttp://www.youtube.com/watch?v=GXARxrBozOs


50/90

4a$e *ru"ec?

>K1'- 7 '--1@

• “Ta?e Hi$e”http://www!outu"ecom/watch#$%,RLMHB)'Awo

http://www.youtube.com/watch?v=PQLMFNC2Awohttp://www.youtube.com/watch?v=PQLMFNC2Awo


51/90

3ard *op

• 5rigins and t!le 9 3ard "op is an etension of "e"op >or D"opD@ music that

incorporates influences from rh!thm and "lues= gospel music=and "lues= especiall! in the saophone and piano pla!ing

9 3ard "op was de$eloped in the mid7K1-s= partl! in response to

the $ogue for cool 6azz in the earl! K1-s

9 The hard "op st!le coalesced in K1 and K1C= paralleling therise of rh!thm and "lues

• ,roponents 9 Miles 4a$isF performance of DWal?inFD the title trac? of his al"um

of announced the st!le to the 6azz world

9 The Puintet Art *la?e! and the Jazz Messengers= fronted "!*la?e! and featuring pianist 3orace il$er and trumpeter )lifford*rown= were also leaders in the hard "op mo$ement

Mil 4 i


52/90

Miles 4a$is

>K1'O 9 K11K@

“Wal?in


53/90


54/90

Modal Jazz

• 5rigins and t!le 9 Modal 6azz is a de$elopment "eginning in the later K1-s which

ta?es the mode= or musical scale= as the "asis of musicalstructure and impro$isation

9 ,re$iousl!= the goal of the soloist was to pla! a solo that fit into a

gi$en chord progression 3owe$er= with modal 6azz= the soloistcreates a melod! using one or a small num"er of modes Theemphasis in this approach shifts from harmon! to melod!

• ,roponents: 9 Miles 4a$is recorded the "est selling 6azz al"um of all time in the

modal framewor?: #ind of Blue

9 5ther inno$ators in this st!le include John )oltrane >K1'O 9K1OI@ and 3er"ie 3ancoc? >" K1C-@


55/90

Miles 4a$is: #ind of Blue

“All *lues”http://www!outu"ecom/watch#$%rHu3$&uH";

http://www.youtube.com/watch?v=rFuHKvEuFbUhttp://www.youtube.com/watch?v=rFuHKvEuFbU


56/90

Hree Jazz

• 5rigins and t!le 9 Hree 6azz "ro?e through into an open space of Dfree tonalit!D in

which meter= "eat= and formal s!mmetr! all disappeared= and arange of world music from 2ndia= Africa= and Ara"ia were meldedinto an intense= e$en religiousl! ecstatic st!le of pla!ing

9 While rooted in "e"op= free 6azz tunes ga$e pla!ers much morelatitudeG the loose harmon! and tempo was deemedcontro$ersial when this approach was first de$eloped

• ,roponents:

5rnette )oleman= )ecil Ta!lor John )oltrane= Archie hepp=

un 8a= Al"ert A!ler and ,haroah anders

J h ) lt


57/90

John )oltrane

>K1'O 9 K1OI@

• A Lo$e

upremehttp://www!outu"ecom/watch#$%W""L,C$e1?

Harrell “,haroah” anders

http://www.youtube.com/watch?v=WbbLP4vSe9khttp://www.youtube.com/watch?v=WbbLP4vSe9k


58/90

Harrell “,haroah” anders

>* K1C-@

• “Them"i”http://www!outu"ecom/watch#$%l!irrcTaORUlist%,L&)1'-Q1QCO1H*1

un 8a

http://www.youtube.com/watch?v=lyirrcT5a6Q&list=PLEC920898469FB539http://www.youtube.com/watch?v=lyirrcT5a6Q&list=PLEC920898469FB539


59/90

un 8a

>K1KC 9 K11@

• un 8a and 3is Ar?estra

“Hace the Music”http://www!outu"ecom/watch#$%KP6iRw4I()2


60/90

1960s and 1970s

Latin Jazz

,ost *op oul Jazz

Husion


61/90

Latin Jazz

• 5rigins and t!le

9 Latin 6azz com"ines rh!thms from African and

Latin American countries= often pla!ed on

instruments such as conga= tim"ale= guiro=and cla$es= with 6azz and classical harmonies

pla!ed on t!pical 6azz instruments >piano=

dou"le "ass= etc@

9 There are two main $arieties: Afro7)u"an 6azz

and *razilian 6azz


62/90

Afro7)u"an Latin Jazz

9 Afro7)u"an 6azz was pla!ed in the ; right

after the "e"op period

9 2t "egan as a mo$ement in the mid7K1-s as

"e"op musicians such as 4izz! +illespie and*ill! Ta!lor started Afro7)u"an "ands

influenced "! such )u"an and ,uerto 8ican

musicians as

9 ,roponents: a$ier )ugat= Tito ,uente and Arturo ando$al

a$ier )ugat


63/90

a$ier )ugat

>K1-- 9 K11-@

• “Tico Taco”http://www!outu"ecom/watch#$%+QL&n+mnHo

Tito ,uente


64/90

Tito ,uente

>K1' 9 '---@

• “5!e )omo (a”http://www!outu"ecom/watch#$%zRhC2LIunM


65/90

*razilian Jazz

• *razilian 6azz "ecame more popular in the K1O-s

• *razilian 6azz such as "ossa no$a is deri$ed fromsam"a= with influences from 6azz and other '-th centur!classical and popular music st!les

• *ossa is generall! moderatel! paced= with melodiessung in ,ortuguese or &nglish This st!le was pioneered"! *razilians Joao +il"erto and Antonio )arlos Jo"im

• The related term 6azz7sam"a descri"es an adaptation of"ossa no$a compositions to the 6azz idiom "! Americanperformers such as tan +etz and )harlie *!rd

Joao +il"erto


66/90

Joao +il"erto

>" K1K@

• “4esafinado”http://www!outu"ecom/watch#$%uB&uzMzr!A

tan +etz


67/90

tan +etz

>K1'I 9 K11K@

• “*ossa Bo$a Medle!”http://www!outu"ecom/watch#$%loKi(w(PicUlist%,LI-'H1Q'O)K**


68/90

Wa!ne horter


69/90

Wa!ne horter

>" K1@

• “Hee Hi Ho Hum”http://www!outu"ecom/watch#$%h&zAJJfTt*&


70/90


71/90

oul Jazz

• 5rigins and t!le 9 oul 6azz was a de$elopment of hard "op which incorporated

strong influences from "lues= gospel and rh!thm and "lues inmusic for small groups= often the organ trio which featured the3ammond organ Tenor saophone and guitar were alsoimportant in soul 6azz

9 oul 6azz was de$eloped in the late K1-s and was perhaps mostpopular in the mid7to7late K1O-s=

9 Although the term Dsoul 6azzD contains the word Dsoul=D soul 6azzis onl! a distant cousin to soul music= with its origins in gospeland 8U* rather than 6azz

9 ;nli?e hard "op= soul 6azz generall! emphasized repetiti$egroo$es= melodies= and melodic hoo?s The ?inds of rh!thmsused tend to $ar! as well

• ,roponents: Lee Morgan= 3er"ie 3ancoc?= 3oraceil$er

Lee Morgan


72/90

Lee Morgan

>K1Q 9 K1I'@

• “The idewinder”http://www!outu"ecom/watch#$%aCnO!22

3er"ie 3ancoc?


73/90

3er"ie 3ancoc?

>" K1C-@

• Cantaloupe &sland http://www!outu"ecom/watch#$%cPwm4B,egnM


74/90

Husion

• 5rigins and t!le 9 Husion or= more specificall!= 6azz fusion or 6azz roc?= was de$eloped in the late

K1O-s from a miture of elements of 6azz such as its focus on impro$isation withthe rh!thms and groo$es of fun? and 8U* and the "eats and hea$il! amplifiedelectric instruments and electronic effects of roc?

9 While the term D6azz roc?D is often used as a s!non!m for D6azz fusionD= it alsorefers to the music performed "! late K1O-s and K1I-s7era roc? "ands when

the! added 6azz elements to their music such as free7form impro$isation 9 After a decade of de$elopment during the K1I-s= fusion split into different"ranches in the K1Q-s While some K1Q-s performers continued theimpro$isator! and eperimental approaches of the K1I-s= others mo$ed towardsa lighter= more pop7infused eas!7listening st!le called smooth 6azz which oftenincluded $ocals

9 Husion music is t!picall! instrumental= often with comple time signatures=meters= rh!thmic patterns= and etended trac? lengths= featuring length!

impro$isations 9 Man! prominent fusion musicians are recognized as ha$ing a high le$el of

$irtuosit!= com"ined with comple compositions and musical impro$isation incomple or mied meters

• ,roponents: +ar! *urton= Larr! )or!ell= Miles 4a$is

Miles 4a$is


75/90

Miles 4a$is

>K1'O 9 K11K@

• “*lac? )omed!”

from $iles in the

'(y http://www!outu"ecom/watch#$%Ka0)?zfo


76/90

1980s to 2010

2n the K1Q-s= the 6azz communit! shran? dramaticall! and split

A mainl! older audience retained an interest in traditional and

straight7ahead 6azz st!les

,op Husion

3ip73op

traight Ahead

&perimental


77/90

,op Husion

• 5rigins= t!le and ,roponents

9 2n the earl! K1Q-s= a lighter commercial form of 6azz

fusion called pop fusion or “smooth 6azzD "ecame

successful

9 A smooth 6azz trac? is downtempo= la!ering a lead=

melod!7pla!ing instrument o$er a "ac?drop that

t!picall! consists of programmed rh!thms and $arious

pads and/or samples radio airpla!

9 ,roponents include +ro$er Washington= Jr= enn!+= Ba6ee and Michael Lington

enn! + Xenneth +orelic?Y


78/90

enn! + Xenneth +orelic?Y

>" K1O@

• “entimental”http://www!outu"ecom/watch#$%ro0dROc"-1&

“*a"! +”http://www!outu"ecom/watch#$%tBAeRRd8Ils


79/90

3ip 3op

• 5rigins and t!le 9 3ip hop originated in the K1I-s in Bew .or? )it! >*ron@ 9 3ip hopFs Dgolden ageD is a name gi$en to a period usuall! from the late

K1Q-s to earl! 1-s 7 said to "e characterized "! its di$ersit!= Pualit!=inno$ation and influence There were strong themes of Afrocentricit!and political militanc!= while the music was eperimental and the

sampling was eclectic There was often a strong 6azz influence 9 3ip hop music ma! "e "ased around either li$e or produced music= witha clearl! defined drum "eat >almost alwa!s in C/C time signature@=presented either with or without $ocal accompaniment

9 3ip hop was almost entirel! un?nown outside of the ;nited tates priorto the earl! K1Q-s 4uring that decade= it "egan its spread to e$er!inha"ited continent and "ecame a part of the music scene in dozens of

countries• ,roponents: ,u"lic &nem!= 875ne= &ric * and 8a?im= 4e La

oul= A Tri"e )alled Ruest= Jungle *rothers

, "li &


80/90

,u"lic &nem!

• “4on


81/90

XLawrence rishna ,ar?erY

>" K1O@

• “M)


82/90

traight Ahead

• 2n the '---s= straight ahead 6azz continues to appeal toa core group of listeners

• Well7esta"lished 6azz musicians= such as 4a$e *ru"ec?=W!nton Marsalis= Wa!ne horter and Jessican Williams

continue to perform and record• 2n the K11-s and '---s= a num"er of !oung musicians

emerged= including ; pianists *rad Mehldau= JasonMoran= and (i6a! 2!er= guitarist urt 8osenwin?el=$i"rophonist tefon 3arris= trumpeters 8o! 3argro$e and

Terence *lanchard= and saophonists )hris ,otter andJoshua 8edman

Joshua 8edman


83/90

Joshua 8edman

>" K1O1@

• Li$e in Lausanne

'--Qhttp://www!outu"ecom/watch#$%1R84p4Jh&

& i t l


84/90

&perimental

• The more eperimental end of thespectrum has included ; trumpeters

4a$e 4ouglas and 8o" Mazure?=

saophonist en (andemar?= Borwegianpianist *ugge Wesseltoft= the wedish

group &T= and ; "assist )hristian

Mc*ride


85/90


86/90

t +ermain


87/90

t +ermain

XLudo$ic Ba$arreY

• “,seudodementia”from Boule+ard

• http://www!outu"ecom/watch#

$%pIBTuwO$OcUfeature%,la!ListUp%QH&O1-1KAA'Upla!net%KUpla!net0from%

,LUinde%C

Jamie )ullum


88/90

Jamie )ullum

>" K1I1@

• “What a

4ifference a 4a!

Made”• http://www!outu"ecom/watch#$%HKrO+c,PHo

, tl d


89/90

,ostlude

• 2n K1QI= the ; 3ouse of 8epresentati$es andenate passed a "ill proposed "! 4emocratic

8epresentati$e John )on!ers= Jr to define 6azz

as a uniPue form of American music stating=

among other things= Dthat 6azz is here"!

designated as a rare and $alua"le national

American treasure to which we should de$ote

our attention= support and resources to ma?ecertain it is preser$ed= understood and

promulgatedD

, l d Th Ad t f 8 ?


90/90

,relude: The Ad$ent of 8oc?

*ill 3ale! and the )omets

“8oc? Around the )loc?”http://www!outu"ecom/watch#$%HfsP.ctgM

Documents

Jazz - The American Music