Jazz - The American Music
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Transcript of Jazz - The American Music
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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
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3istorical and )ultural ,erspecti$es
• 4efinitions
• 5rigins of the word “6azz”
• African7American 8oots
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4efinitions
• )onfluence of African and &uropean Music Traditions 9 Jazz is a musical art form which originated at the "eginning of the '- th
centur! in African American communities in the outhern ;nited tatesfrom a mingling of African and &uropean music traditions The st!le
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Word 5rigins
• The word jazz "egan as a West )oast slang
term of uncertain deri$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
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• 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
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• 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
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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
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• )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
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• 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
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)ompendium of Jazz t!les
and ,erformers
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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
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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$ered
• ,roponents: Joseph Lam"= James cott= cott Joplin
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cott Joplin >KQOQ 9 K1KI@
Maple Leaf 8ag• Joplin was an African7American and pianist= "orn near
Tear?ana= Teas into the first post7sla$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$al in the earl!K1I-s
• 2n K1IO Joplin was posthumousl! awarded the ,ulitzer,rize
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•http://www!outu"ecom/watch#$%pMAtLIn07rc
http://www.youtube.com/watch?v=pMAtL7n_-rchttp://www.youtube.com/watch?v=pMAtL7n_-rc
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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
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Aeolian ,la!er ,iano
,la!er 8oll
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*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$idualized st!le
9 The origins of the "lues are also closel! related to the religious music of the Afro7 American communit!= the spirituals
9 When the "lues appeared= "efore "lues gained its formal definition in terms ofchord progressions= the "lues was defined as the secular counter part of thespirituals
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• Horm
9 The "lues form is characterized "!
• the use of specific chord progressions S the
twel$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)
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• L!rics
9 The traditional "lues $erse was pro"a"l! asingle line= repeated four times
9 2t was onl! later that the current= mostcommon structure of a line= repeated once
and then followed "! a single line conclusion="ecame standard= the so7called AA* pattern
• ,roponents:
9 Jell! 8oll Morton= 8o"ert Johnson= *lind *o!
Huller= +ertrude “Ma” 8aine!= *essie mith
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*essie mith
>KQ1' 9 K1I@
• “The &mpress of the*lues”
• Ma6or influence onsu"sePuent 6azz$ocalists
• “*a"! Won
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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$er= Jell! 8oll Morton= 5riginal 4iieland Jass*and= Louis Armstrong
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Louis 4aniel Armstrong
>K1-K 9 K1IK@
• Bic?named “atchmo”or “,ops”
• American 6azz
trumpeter and singer>scat@
• Houndational influenceon 6azz was to shift
music
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All7tar *and
“4ream a Little 4ream”http://www!outu"ecom/watch#$%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
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1920s and 1930s
wing
&uropean Jazz
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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 $alues of the 8oaring '-s 9 While Bew 5rleans remained an important 6azzcenter= )hicago "ecame the main center during thistimeframe
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• ,recursors and 2nfluences of *ig *and wing 9 *i *eider"ec?e formed The Wol$erines in K1'C
“There
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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
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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@
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9 There was a larger mar?et for 6azz! dance music pla!ed "!
white orchestras= such as ,aul Whiteman
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9 5ther influential large ensem"les included 4u?e &llington
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• 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
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Tomm! 4orse! and Jimm! 4orse!
>K1- 9 K1O@ >K1-C 9 K1I@
Jimm! 4orse! 5rchestra
Tomm! 4orse! “5pus 5ne”http://www!outu"ecom/watch#$%0IR6MCc?c
http://www.youtube.com/watch?v=_7QjMZ4ckZchttp://www.youtube.com/watch?v=_7QjMZ4ckZc
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3arr! James
>K1KO 9 K1Q@
3arr! James 5rchestra and Hran? inatra“tardust”
http://www!outu"ecom/watch#$%80"2QAB;L2
http://www.youtube.com/watch?v=R_bI8ANUSLIhttp://www.youtube.com/watch?v=R_bI8ANUSLI
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Artie haw
>K1K- 9 '--C@
Artie haw 5rchestra
http://www!outu"ecom/watch#$%ARI$1atM
“Moonglow”
http://www.youtube.com/watch?v=AKQ7v3S9atMhttp://www.youtube.com/watch?v=AKQ7v3S9atM
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+lenn Miller
>K1-C 9 K1CC@
+len Miller 5rchestra
“ing= ing= ing”http://www!outu"ecom/watch#$%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
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*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
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• *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= $iolin= and dou"le "ass olos passfrom one pla!er to another as the guitar and "ass pla!the role of the rh!thm section
J
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1940s and 1950s
4iieland 8e$i$al
*e"op)ool Jazz
3ard *op
Modal Jazz Hree Jazz
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4iieland 8e$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$al5ne group consisted of pla!ers who had "egun their careers pla!ingin the traditional st!le= and were either returning to it= or continuingwhat the! had "een pla!ing all along= such as *o" )ros"!
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*o" )ros"!
>K1K 9 K11@
The *o" )ats
“Jazz Me *lues”http://www!outu"ecom/watch#$%oRW&M!&AQ
http://www.youtube.com/watch?v=oQWEMXyEAS8http://www.youtube.com/watch?v=oQWEMXyEAS8
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Lu Watters
>K1KK 9 K1Q1@
Lu Watters< *and
“Lo$e Me or Lea$e Me”http://www!outu"ecom/watch#$%ed1pL+n-
http://www.youtube.com/watch?v=ed9p5XLGZn0http://www.youtube.com/watch?v=ed9p5XLGZn0
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*e"op
• 5rigins and t!le 9 2n the earl! K1C-s "e"op performers helped to shift 6azz from dancea"le popular
music towards a more challenging DmusicianFs musicD 4iffering greatl! fromswing= earl! "e"op di$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$e accents
• ,roponents: Thelonious Mon?= trumpeters 4izz! +illespie and )lifford*rown= tenor sa pla!er Leston .oung= and drummer Ma 8oach
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)harlie ,ar?er >K1'- 9 K1@
4izzie +illespie >K1KI 9 K11@
• “3ot 3ouse”
)harlie ,ar?er
4izzie +illespiehttp://www!outu"ecom/watch#$%0rmp+Plc
4izzie +illespie
)harlie ,ar?er
http://www.youtube.com/watch?v=_3rZ5mpGqlchttp://www.youtube.com/watch?v=_3rZ5mpGqlc
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Thelonious Mon?
>K1KI 9 K1Q'@
• “*lue Mon?”http://www!outu"ecom/watch#$%cW5z1m2LP"A
http://www.youtube.com/watch?v=cWOz9mILqbAhttp://www.youtube.com/watch?v=cWOz9mILqbA
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*ud ,owell
>K1'C 9 K1OO@
• “A Bight in
Tunisia”• http://www!outu"ecom/watch#$%pth8."tJ)&
M 8 h
http://www.youtube.com/watch?v=pthRYbt3JCEhttp://www.youtube.com/watch?v=pthRYbt3JCE
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Ma 8oach
>K1'C 9 '--I@
• “Mr 3i 3at”http://www!outu"ecom/watch#$%3Qs!i5ww(!.
http://www.youtube.com/watch?v=H8syiOwwVyYhttp://www.youtube.com/watch?v=H8syiOwwVyY
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)ool Jazz
• 5rigins and t!le 9 *! the end of the K1C-s= the ner$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$is< Birth of Cool >trac?s originall! recorded in K1C1 and K1- andcollected as an L, in K1I@
Mil 4 i
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Miles 4a$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
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4a$e *ru"ec?
>K1'- 7 '--1@
• “Ta?e Hi$e”http://www!outu"ecom/watch#$%,RLMHB)'Awo
http://www.youtube.com/watch?v=PQLMFNC2Awohttp://www.youtube.com/watch?v=PQLMFNC2Awo
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3ard *op
• 5rigins and t!le 9 3ard "op is an etension of "e"op >or D"opD@ music that
incorporates influences from rh!thm and "lues= gospel music=and "lues= especiall! in the saophone and piano pla!ing
9 3ard "op was de$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
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Miles 4a$is
>K1'O 9 K11K@
“Wal?in
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Modal Jazz
• 5rigins and t!le 9 Modal 6azz is a de$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-@
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Miles 4a$is: #ind of Blue
“All *lues”http://www!outu"ecom/watch#$%rHu3$&uH";
http://www.youtube.com/watch?v=rFuHKvEuFbUhttp://www.youtube.com/watch?v=rFuHKvEuFbU
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Hree Jazz
• 5rigins and t!le 9 Hree 6azz "ro?e through into an open space of Dfree tonalit!D in
which meter= "eat= and formal s!mmetr! all disappeared= and arange of world music from 2ndia= Africa= and Ara"ia were meldedinto an intense= e$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$eloped
• ,roponents:
5rnette )oleman= )ecil Ta!lor John )oltrane= Archie hepp=
un 8a= Al"ert A!ler and ,haroah anders
J h ) lt
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John )oltrane
>K1'O 9 K1OI@
• A Lo$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
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Harrell “,haroah” anders
>* K1C-@
• “Them"i”http://www!outu"ecom/watch#$%l!irrcTaORUlist%,L&)1'-Q1QCO1H*1
un 8a
http://www.youtube.com/watch?v=lyirrcT5a6Q&list=PLEC920898469FB539http://www.youtube.com/watch?v=lyirrcT5a6Q&list=PLEC920898469FB539
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un 8a
>K1KC 9 K11@
• un 8a and 3is Ar?estra
“Hace the Music”http://www!outu"ecom/watch#$%KP6iRw4I()2
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1960s and 1970s
Latin Jazz
,ost *op oul Jazz
Husion
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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 $arieties: Afro7)u"an 6azz
and *razilian 6azz
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Afro7)u"an Latin Jazz
9 Afro7)u"an 6azz was pla!ed in the ; right
after the "e"op period
9 2t "egan as a mo$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$ier )ugat
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a$ier )ugat
>K1-- 9 K11-@
• “Tico Taco”http://www!outu"ecom/watch#$%+QL&n+mnHo
Tito ,uente
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Tito ,uente
>K1' 9 '---@
• “5!e )omo (a”http://www!outu"ecom/watch#$%zRhC2LIunM
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*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$a compositions to the 6azz idiom "! Americanperformers such as tan +etz and )harlie *!rd
Joao +il"erto
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Joao +il"erto
>" K1K@
• “4esafinado”http://www!outu"ecom/watch#$%uB&uzMzr!A
tan +etz
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tan +etz
>K1'I 9 K11K@
• “*ossa Bo$a Medle!”http://www!outu"ecom/watch#$%loKi(w(PicUlist%,LI-'H1Q'O)K**
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Wa!ne horter
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Wa!ne horter
>" K1@
• “Hee Hi Ho Hum”http://www!outu"ecom/watch#$%h&zAJJfTt*&
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oul Jazz
• 5rigins and t!le 9 oul 6azz was a de$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
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Lee Morgan
>K1Q 9 K1I'@
• “The idewinder”http://www!outu"ecom/watch#$%aCnO!22
3er"ie 3ancoc?
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3er"ie 3ancoc?
>" K1C-@
• Cantaloupe &sland http://www!outu"ecom/watch#$%cPwm4B,egnM
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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
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Miles 4a$is
>K1'O 9 K11K@
• “*lac? )omed!”
from $iles in the
'(y http://www!outu"ecom/watch#$%Ka0)?zfo
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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
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,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
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enn! + Xenneth +orelic?Y
>" K1O@
• “entimental”http://www!outu"ecom/watch#$%ro0dROc"-1&
“*a"! +”http://www!outu"ecom/watch#$%tBAeRRd8Ils
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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 &
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,u"lic &nem!
• “4on
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XLawrence rishna ,ar?erY
>" K1O@
• “M)
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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$e and
Terence *lanchard= and saophonists )hris ,otter andJoshua 8edman
Joshua 8edman
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Joshua 8edman
>" K1O1@
• Li$e in Lausanne
'--Qhttp://www!outu"ecom/watch#$%1R84p4Jh&
& i t l
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&perimental
• The more eperimental end of thespectrum has included ; trumpeters
4a$e 4ouglas and 8o" Mazure?=
saophonist en (andemar?= Borwegianpianist *ugge Wesseltoft= the wedish
group &T= and ; "assist )hristian
Mc*ride
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t +ermain
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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
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Jamie )ullum
>" K1I1@
• “What a
4ifference a 4a!
Made”• http://www!outu"ecom/watch#$%HKrO+c,PHo
, tl d
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,ostlude
• 2n K1QI= the ; 3ouse of 8epresentati$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$ed= understood and
promulgatedD
, l d Th Ad t f 8 ?
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,relude: The Ad$ent of 8oc?
*ill 3ale! and the )omets
“8oc? Around the )loc?”http://www!outu"ecom/watch#$%HfsP.ctgM