Jazz is a direction in music characterized by a combination of rhythmicity and melody. A separate feature of jazz is improvisation. The musical direction gained its popularity due to its unusual sound and the combination of several completely different cultures.
The history of jazz began at the beginning of the 20th century in the USA. Traditional jazz was formed in New Orleans. Subsequently, new varieties of jazz began to emerge in many other cities. Despite all the variety of sounds of different styles, jazz music can be immediately distinguished from another genre due to its characteristic features.
Improvisation
Musical improvisation is one of the main features of jazz, which is present in all its varieties. Performers create music spontaneously, never thinking ahead or rehearsing. Playing jazz and improvising requires experience and skill in this area of music-making. In addition, a jazz player must remember rhythm and tonality. The relationship between the musicians in the group is of no small importance, because the success of the resulting melody depends on understanding each other’s mood.
Improvisation in jazz allows you to create something new every time. The sound of music depends only on the inspiration of the musician at the moment of playing.
It cannot be said that if there is no improvisation in a performance, then it is no longer jazz. This type of music-making was inherited from African peoples. Since Africans had no concept of notes and rehearsal, music was passed on to each other only by memorizing its melody and theme. And each new musician could already play the same music in a new way.
Rhythm and melody
The second important feature of the jazz style is rhythm. Musicians have the opportunity to spontaneously create sound, as the constant pulsation creates the effect of liveliness, play, and excitement. Rhythm also limits improvisation, requiring sounds to be produced according to a given rhythm.
Like improvisation, rhythm came to jazz from African cultures. But it is precisely this feature that is the main characteristic of the musical movement. The first free jazz artists abandoned rhythm completely in order to be completely free to create music. Because of this, the new direction in jazz was not recognized for a long time. Rhythm is provided by percussion instruments.
Jazz inherited the melody of music from European culture. It is the combination of rhythm and improvisation with harmonious and soft music that gives jazz its unusual sound.
Soul, swing?
Probably everyone knows how a composition in this style sounds. This genre arose at the beginning of the twentieth century in the United States of America and represents a certain combination of African and European culture. Amazing music almost immediately attracted attention, found its fans and quickly spread throughout the world.
It is quite difficult to convey a jazz musical cocktail, since it combines:
- bright and lively music;
- the unique rhythm of African drums;
- church hymns of Baptists or Protestants.
What is jazz in music? It is very difficult to define this concept, since it contains seemingly incompatible motives, which, interacting with each other, give the world unique music.
Peculiarities
What are the characteristic features of jazz? What is jazz rhythm? And what are the features of this music? The distinctive features of the style are:
- a certain polyrhythm;
- constant pulsation of bits;
- a set of rhythms;
- improvisation.
The musical range of this style is colorful, bright and harmonious. It clearly shows several separate timbres that merge together. The style is based on a unique combination of improvisation with a pre-thought-out melody. Improvisation can be practiced by either one soloist or several musicians in an ensemble. The main thing is that the overall sound is clear and rhythmic.
Jazz history
This musical direction has developed and been shaped over the course of a century. Jazz arose from the very depths of African culture, as black slaves, who were brought from Africa to America in order to understand each other, learned to be one. And, as a result, they created a unified musical art.
The performance of African melodies is characterized by dance movements and the use of complex rhythms. All of them, together with the usual blues melodies, formed the basis for the creation of a completely new musical art.
The whole process of combining African and European culture in jazz art began at the end of the 18th century, continued throughout the 19th century, and only at the end of the 20th century led to the emergence of a completely new direction in music.
When did jazz appear? What is West Coast Jazz? The question is quite ambiguous. This trend appeared in the south of the United States of America, in New Orleans, approximately at the end of the nineteenth century.
The initial stage of the emergence of jazz music is characterized by a kind of improvisation and work on the same musical composition. It was played by the main trumpet soloist, trombone and clarinet performers in combination with percussion musical instruments against the backdrop of marching music.
Basic styles
The history of jazz began quite a long time ago, and as a result of the development of this musical direction, many different styles appeared. For example:
- archaic jazz;
- blues;
- soul;
- soul jazz;
- scat;
- New Orleans style of jazz;
- sound;
- swing.
The birthplace of jazz left a big imprint on the style of this musical movement. The very first and traditional type created by a small ensemble was archaic jazz. Music is created in the form of improvisation on blues themes, as well as European songs and dances.
Blues can be considered a fairly characteristic direction, the melody of which is based on a clear beat. This type of genre is characterized by a pitiful attitude and glorification of lost love. At the same time, light humor can be traced in the texts. Jazz music implies a kind of instrumental dance piece.
Traditional black music is considered to be a soul movement, directly related to blues traditions. New Orleans jazz sounds quite interesting, which is distinguished by a very precise two-beat rhythm, as well as the presence of several separate melodies. This direction is characterized by the fact that the main theme is repeated several times in different variations.
In Russia
In the thirties, jazz was very popular in our country. Soviet musicians learned what blues and soul are in the thirties. The attitude of the authorities towards this direction was very negative. Initially, jazz performers were not banned. However, there was quite harsh criticism of this musical direction as a component of the entire Western culture.
In the late 40s, jazz groups were persecuted. Over time, repressions against musicians ceased, but criticism continued.
Interesting and Fascinating Facts about Jazz
The birthplace of jazz is America, where various musical styles were combined. This music first appeared among the oppressed and disenfranchised representatives of the African people, who were forcibly taken away from their homeland. In rare hours of rest, the slaves sang traditional songs, clapping their hands to accompany themselves, since they did not have musical instruments.
At the very beginning it was real African music. However, over time it changed, and motifs of religious Christian hymns appeared in it. At the end of the 19th century, other songs appeared in which there was protest and complaints about one’s life. Such songs began to be called blues.
The main feature of jazz is considered to be free rhythm, as well as complete freedom in melodic style. Jazz musicians had to be able to improvise individually or collectively.
Since its inception in the city of New Orleans, jazz has gone through a rather difficult path. It spread first in America, and then throughout the world.
The best jazz performers
Jazz is a special music filled with unusual inventiveness and passion. She knows no boundaries or limits. Famous jazz performers are able to literally breathe life into music and fill it with energy.
The most famous jazz performer is Louis Armstrong, revered for his lively style, virtuosity, and inventiveness. Armstrong's influence on jazz music is invaluable, as he is the greatest musician of all time.
Duke Ellington made a great contribution to this direction, as he used his musical group as a musical laboratory for conducting experiments. Over all the years of his creative activity, he wrote many original and unique compositions.
In the early 80s, Wynton Marsalis became a real discovery, as he chose to play acoustic jazz, which created a real sensation and provoked a new interest in this music.
Purpose of the lesson: to introduce the features of jazz music.
Lesson objectives:
educational:
- form an idea of the stages of development of jazz music;
developing:
- teach to monitor the development of musical thought based on improvisation;
- practical mastery of polyrhythms and swing;
- jazz terminology
educational:
- to interest students in the beauty of jazz music and the skill of the performers
- verbal;
- visual;
- method of intonation-style comprehension of musical works;
- meaningful analysis of musical works;
Equipment:
- music center, piano, multimedia, sound recordings, lyrics
Lesson progress
Jazz is the music of overcoming and victory.
Martin Luther King
At the heart of this music is something that can be felt, but cannot be explained.
L. Koller
Musical epigraph: “St. Louis Blues” (W.C. Handy) <Приложение 1 >
Teacher: Are you familiar with this musical genre?
Students: This is jazz.
Teacher: Try to define what jazz is? Light or serious music? Modern or antique? Folk or composer?
Student answers.
Teacher: The American jazz historian B. Ulanov tried to get answers to these questions from recognized musicians of this genre in 1935, and no one was able to give an exact definition. But as a result of the survey, B. Ulanov defined jazz as follows: “This is new music that has a special rhythmic and melodic character and constantly includes improvisation.”
So, we begin our journey to the beautiful, mysterious and unique country of “Jazz”.
Any musical illustration of jazz music sounds
The first settlements of British colonists appeared in North America only at the beginning of the 17th century, but the population grew rapidly. The first (English) wave of emigration was followed by others. Germans, Dutch, Swiss, and French Huguenots began to come to the future United States of America, turning the colonies into a huge “ethnic cauldron.”
When America became a refuge for those persecuted from the Old World, music that sounded in Europe ended up with them in the New World: biblical psalms, harsh hymns of England, ancient Scottish ballads, Italian madrigals, and Spanish romances. As a result, the music that crossed the ocean was, as it were, mothballed and became an echo of old Europe. There was no novelty in it.
Slave ships, carrying “living black cargo” in their holds, also brought the innate rhythmic genius of the blacks, the treasures of African polyrhythm, the thousand-year-old art of drumming ( listening to examples of polyrhythms on percussion instruments).
Let's try and combine several simple rhythmic patterns into a single whole.
Students: repeat various rhythmic patterns in groups, later combining them.
Teacher: In addition to the rhythm, the Europeans were fascinated by the manner of singing of the Africans - the whimsicality of the solo voices, which the choir echoes: call and response. Solo improvisation merges with choral improvisation, singing - with shouts and sighs, the voices are passionate and piercing.
“Let them howl,” the white overseers condescended to the blacks’ singing.
“Let them howl,” the slave-owners-planters also condescended. - After all, slaves have nothing but shacks, palms, empty boxes, boards, cans and sticks. Let them sing and knock, it’s not dangerous.”
The great American jazzman Duke Ellington said: “Fearing the silence of black slaves, slave owners forced them to sing, wanting to prevent them from talking, and therefore conspiring on plans for revenge and rebellion.”
And unusual songs floated over the Southern States: piercing, more like commands that were supposed to make backbreaking work easier. Such songs would later be called “hollers” - “screams songs”.
<Figure 1>
<Figure 2>
Converting black slaves to Christianity, American priests did not have much difficulty convincing illiterate people that all earthly torments were sent by God, and that for this torment they would receive heavenly bliss after death. But the singing of religious psalms could not turn the newly converted Christians into humble and obedient ones. Vice versa. Religious chants seemed to explode with the passionate and infectious rhythm of the blacks. In small churches of the American South, different songs sounded: a singer or singer, improvising on biblical themes, asked God: “Where is the way out?” The soloist boldly asked questions, the choir sometimes answered for God, the parishioners filled the church with clapping hands, stamping their feet to the beat, and striking tambourines. And this hot, sharp, rhythmic music evoked a feeling of unity, an uplift of strength and spiritual ecstasy.
This is how the Negro spiritual songs “Spirituals” appeared, in which the singer spoke to God as an equal, conjuring him to come down to earth and punish the evil and cruel. Music gave people back their self-esteem.
Spirituals went beyond the church and the first concert in which this music was performed took place in 1871.
Mahelia Jackson is rightfully considered one of the best performers.
<Figure 3>
Sounds like spirituals “The Lord's Prayer” performed by M. Jackson<Приложение 2 >
Teacher: How did you feel? What is the singer telling us about? Can we classify this work as light music?
Student answers.
Teacher: Now let's listen to another piece.
Sounds performed by Louis Armstrong
< Figure 4>
Can this work be classified as a spiritual genre?
Sounds “Sometimes I Feel Like a Motherless Child” performed by Nemov E.N. (guitar)
What has changed? Which performance did you like best and why?
Teacher: Do you think spirituals are jazz?
Student answers.
Teacher: Spirituals were the harbingers of new music. But its main source was the blues, confessional songs, which contained everything that made up the life and misfortune of their creators: deceived love and separation; longing for a home that is not there; hatred of slavish backbreaking work; eternal poverty, lack of money, hunger - everything could become the blues. In the 30s, the “father of the blues” William Christopher Hendy said: “The blues is our history, the answer to where we came from and what we experienced. The blues grew out of our humiliation and need, out of our hopes.”
By the beginning of the 20th century, a certain form of blues had developed:
The poetic text is three-line, in which the first line is repeated:
I became homeless - it would be better to die,
I became homeless - it would be better to die,
There is no more place in the world where I can warm my heart.
Each phrase (short melodic sentence) is 4 measures. There are 12 bars in total, which makes up the classic jazz “square”.
Louis Armstrong has one old song that is included in all the best albums: "Black and Blue". <Приложение 3 >
The name can be translated as “black and sad”.
Try to feel the mood of the music.
Student answers.
My only sin is that I am black.
What will I do? Who will help me?
I'm so humiliated
I'm so offended
And all because I'm black...
Did you pay attention to what instruments sounded?
When do you think purely European instruments could have appeared among illiterate slaves?
Student answers.
Teacher: When the Civil War ended in 1865, military band musicians returned home, and many cheap brass instruments appeared in second-hand stores. They were so cheap that even very poor people could buy them. This is how the first black brass bands appeared, in which the musicians did not know the notes, but played so skillfully that it seemed as if the instruments had become an extension of their voice.
Let's listen to another blues: “Royal Garden Blues” (C.Williams).
Pay attention to the sounding instruments and name them.
Students: trumpet, clarinet, trombone and percussion group sound: drums, double bass, rhythm - guitar, piano.
Teacher: This composition of the orchestra belongs to the earliest style of jazz, which was liked not only by blacks, but also by the “pure” white public. At that time, funny paddle steamers sailed along the Mississippi, on which small black orchestras always played. New music spread further and further, their repertoire became more interesting and varied. And now “white” orchestras began to play black music, but they really didn’t want to be confused, and then they came up with the idea of adding the word “Dixieland” to the name of the orchestra, which was supposed to mean that only white musicians played in the orchestra.
We can listen to what one of the first such orchestras sounded like: Original Dixieland Jass Band- a New Orleans jazz band that recorded the first-ever jazz record in 1917.
< Рисунок 5>
“Down in Old New Orleans” (listening to fragment)
The orchestra included: drums, trombone, cornet, clarinet, piano.
Very little time passed and orchestras began to unite musicians not by skin color, but by skill, the ability to improvise, which is an integral part of the professionalism of a jazzman.
And he predicted that new blues would appear and new singers would come: both black and white. A new movement of black music will appear - rhythm and blues.
Teacher: Now the time has come to try to perform a song that is very close in style to jazz music. Let's learn “Old piano”(music by M. Minkov, art by D. Ivanov) from the movie “We are from Jazz.” (Vocal and choral work on the song).
Teacher: We will continue our conversation about the further development of jazz in the world and in our country in the next lesson. Thank you for your work!
Literature
1.L.Markhasev. In a light genre.
2. G. Levasheva. Music and musicians.
3. V. Konen. The birth of the blues.
4. Video “History of Jazz”
Understanding who is who in jazz is not so easy. The direction is commercially successful, and therefore they often shout about “the only concert of the legendary Vasya Pupkin” from all the cracks, and the really important figures go into the shadows. Under the pressure of Grammy winners and advertising from Jazz radio, it’s easy to lose your bearings and remain indifferent to style. If you want to learn to understand this kind of music, and maybe even love it, learn the most important rule: don’t trust anyone.
One must make judgments about new phenomena with caution, or like Hugues Panasier, the famous musicologist who drew a line and branded all jazz after the 50s, calling it “unreal.” Ultimately, he was proven wrong, but this did not affect the popularity of his book, The History of Authentic Jazz.
It is better to treat a new phenomenon with silent suspicion, so you will definitely pass as one of our own: snobbery and adherence to the old are one of the most striking characteristics of the subculture.
When talking about jazz, Louis Armstrong and Ella Fitzgerald are often remembered - it would seem that you can’t go wrong here. But such remarks reveal a neophyte. These are emblematic figures, and if Fitzgerald can still be spoken of in a suitable context, then Armstrong is the Charlie Chaplin of jazz. You're not going to talk to an arthouse movie buff about Charlie Chaplin, are you? And if you do, then at least not in the first place. Mentioning both illustrious names is possible in certain cases, but if you have nothing in your pocket other than these two aces, hold on to them and wait for the right situation.
In many directions there are phenomena that are fashionable and not very fashionable, but to the greatest extent this is characteristic of jazz. A mature hipster, accustomed to looking for rare and strange things, will not understand why Czech jazz of the 40s is not interesting. You won’t be able to find something conventionally “unusual” and show off your “deep erudition” here. To imagine the style in general terms, one should list its main directions starting from the end of the 19th century.
Ragtime and blues are sometimes called proto-jazz, and if the former, being not a completely full-fledged form from a modern point of view, is interesting simply as a fact of the history of music, then the blues is still relevant.
Ragtimes by Scott Joplin
And although researchers cite the psychological state of Russians and a total feeling of hopelessness as the reason for such a surge in love for the blues in the 90s, in reality everything can be much simpler.
A selection of 100 popular blues songs
Classic boogie-woogie
As in European culture, African Americans divided music into secular and spiritual, and if blues belonged to the first group, then spirituals and gospel belonged to the second.
Spirituals are more austere than gospel songs, sung by a choir of believers, often accompanied by clapping on even beats - an important feature of all styles of jazz and a problem for many European listeners who clap out of place. Old World music most often makes us nod to odd beats. In jazz it's the other way around. Therefore, if you are not sure that you feel these unusual second and fourth beats for a European, it is better to refrain from clapping. Or watch how the performers themselves do it, and then try to repeat it.
Scene from the film "12 Years a Slave" with the performance of a classic spiritual
Contemporary spiritual performed by Take 6
Gospel songs were often performed by a single singer and had more freedom than spirituals, so they became popular as a concert genre.
Classic gospel performed by Mahalia Jackson
Contemporary gospel from the film "Joyful Noise"
In the 1910s, traditional, or New Orleans, jazz was formed. The music from which it arose was performed by street orchestras, which were very popular at that time. The importance of instruments is growing sharply; an important event of the era is the emergence of jazz bands, small orchestras of 9–15 people. The success of black groups motivated white Americans who created the so-called Dixielands.
Traditional jazz is associated with films about American gangsters. This is due to the fact that its heyday occurred during Prohibition and the Great Depression. One of the prominent representatives of the style is the already mentioned Louis Armstrong.
The distinctive features of a traditional jazz band are the stable position of the banjo, the leading position of the trumpet and the full participation of the clarinet. The last two instruments will over time be replaced by the saxophone, which will become the permanent leader of such an orchestra. By the nature of the music, traditional jazz is more static.
Jelly Roll Morton Jazz Band
Modern Dixieland Marshall's Dixieland Jazz Band
What's wrong with jazz and why is it common to say that no one knows how to play this music?
It's all about her African origin. Despite the fact that by the middle of the 20th century whites defended their right to this style, it is still widely believed that African Americans have a special sense of rhythm that allows them to create a feeling of swinging, which is called “swing” (from the English. to swing - “to swing”) "). It is risky to argue with this: most of the great white pianists from the 1950s to the present day became famous for their style or intellectual improvisations that betray deep musical erudition.
Therefore, if in a conversation you mention a white jazz player, you should not say something like “how great he swings” - after all, he swings either normally or not at all, such is reverse racism.
And the word “swing” itself is too worn out; it is better to pronounce it at the very last place, when it is most likely appropriate.
Every jazz player must be able to perform “jazz standards” (main melodies, or, otherwise, evergreen), which, however, are divided into orchestral and ensemble. For example, In the Mood is more likely to be one of the first.
In the Mood. Performed by the Glenn Miller Orchestra
At the same time, the famous works of George Gershwin appeared, which are considered both jazz and academic at the same time. These are Rhapsody in Blue (or Rhapsody in Blue), written in 1924, and the opera Porgy and Bess (1935), famous for its aria Summertime. Before Gershwin, jazz harmonies were used by composers such as Charles Ives and Antonin Dvorak (symphony “From the New World”).
George Gershwin. Porgy and Bess. Aria Summertime. Academically performed by Maria Callas
George Gershwin. Porgy and Bess. Aria Summertime. Jazz performance by Frank Sinatra
George Gershwin. Porgy and Bess. Aria Summertime. Rock version. Performed by Janis Joplin
George Gershwin. Rhapsody in blues style. Performed by Leonard Bernstein and his orchestra
One of the most famous Russian composers, like Gershwin, writing in the jazz style is Nikolai Kapustin .
Both camps look askance at such experiments: jazzists are convinced that a written piece without improvisation is no longer jazz “by definition,” and academic composers consider jazz means of expression too trivial to work with them seriously.
However, classical performers play Kapustin with pleasure and even try to improvise, while their “counterparts” act wiser and do not encroach on someone else’s territory. Academic pianists who put their improvisations on display have long become a meme in jazz circles.
Since the 20s, the number of cult and iconic figures in the history of the movement has been growing, and it is becoming increasingly difficult to put these numerous names in one’s head. However, some can be recognized by their characteristic timbre or manner of performance. One of these memorable singers was Billie Holiday.
All of Me. Performed by Billie Holiday
In the 50s, a new era called “modern jazz” began. It was this that the above-mentioned musicologist Hugues Panassier disowned. This direction opens with the bebop style: its characteristic feature is high speed and frequent changes in harmony, and therefore it requires exceptional performing skills, which were possessed by such outstanding personalities as Charlie Parker, Dizzy Gillespie, Thelonious Monk and John Coltrane.
Bebop was created as an elitist genre. Any musician from the street could always come to a jam session - an evening of improvisation - so the pioneers of bebop introduced fast tempos to get rid of amateurs and weak professionals. This snobbery is partly inherent in fans of this kind of music, who consider their favorite direction to be the pinnacle of jazz development. It's common to treat bebop with respect, even if you don't know anything about it.
Giant Steps. Performed by John Coltrane
It’s especially chic to admire the shocking, deliberately rude manner of performance of Thelonious Monk, who, according to gossip, played complex academic works superbly, but carefully hid it.
Round Midnight. Performed by Thelonious Monk
By the way, discussing gossip about jazz performers is not considered shameful - rather, on the contrary, it indicates deep involvement and hints at a long listening experience. Therefore, you should know that Miles Davis's drug addiction affected his stage behavior, Frank Sinatra had connections with the mafia, and there is a church named after John Coltrane in San Francisco.
Mural "Dancing Saints" from a church in San Francisco.
Along with bebop, another style arose within the same direction - cool jazz(cool jazz), which is distinguished by a “cold” sound, moderate character and leisurely tempo. One of its founders was Lester Young, but there are also many white musicians in this niche: Dave Brubeck , Bill Evans(not to be confused with Gil Evans), Stan Getz etc.
Take Five. Performed by the Dave Brubeck Ensemble
If the 50s, despite the reproaches of conservatives, opened the way to experiments, then in the 60s they became the norm. At this time, Bill Evans recorded two albums of arrangements of classical works with a symphony orchestra, Stan Kenton, representative progressive jazz, creates rich orchestrations, the harmony of which is compared to Rachmaninov’s, and in Brazil there emerges its own version of jazz, completely different from other styles - bossa nova .
Granados. Jazz arrangement of the work “Mach and the Nightingale” by the Spanish composer Granados. Performed by Bill Evans accompanied by a symphony orchestra
Malaguena. Performed by the Stan Kenton Orchestra
Girl from Ipanema. Performed by Astrud Gilberto and Stan Getz
Loving bossa nova is as easy as loving minimalism in modern academic music.
Thanks to its unobtrusive and “neutral” sound, Brazilian jazz found its way into elevators and hotel lobbies as background music, although this does not detract from the importance of the style as such. It’s worth saying that you love bossa nova only if you really know its representatives well.
An important turn was taking place in the popular orchestral style - symphonic jazz. In the 40s, jazz powdered with an academic symphonic sound became a fashionable phenomenon and the standard of the golden mean between two styles with completely different backgrounds.
Luck Be a Lady. Performed by Frank Sinatra with a symphonic jazz orchestra
In the 60s, the sound of the symphonic jazz orchestra lost its novelty, which led to experiments with harmony by Stan Kenton, arrangements by Bill Evans and thematic albums by Gil Evans, such as Sketches of Spain and Miles Ahead.
Sketches of Spain. Performed by Miles Davis with Gil Evans Orchestra
Experiments in the symphonic jazz field are still relevant; the most interesting projects in recent years in this niche have been the Metropole Orkest, The Cinematic Orchestra and Snarky Puppy.
Breathe. Performed by The Cinematic Orchestra
Gretel. Performed by Snarky Puppy and Metropole Orkest (Grammy Award, 2014)
The traditions of bebop and cool jazz merged into a direction called hard bop, an improved version of bebop, although it is quite difficult to distinguish one from the other by ear. The Jazz Messengers, Sonny Rollins, Art Blakey and some other musicians who originally played bebop are considered outstanding performers in this style.
Hard Bop. Performed by The Jazz Messengers Orchestra
Moanin'. Performed by Art Blakey and The Jazz Messengers
Intense improvisations at fast tempos required ingenuity, which led to searches in the field Lada. Thus was born modal jazz. It is often isolated as an independent style, although similar improvisations are also found in other genres. The most popular modal piece was the composition “So What?” Miles Davis.
So what? Performed by Miles Davis
While great jazz players were figuring out how to further complicate already complex music, blind authors and performers Ray Charles and walked the path of the heart, combining jazz, soul, gospel and rhythm and blues in their work.
Fingertips. Performed by Stevie Wonder
What'd I Say. Performed by Ray Charles
At the same time, jazz organists loudly made themselves known, playing music on a Hammond electric organ.
Jimmy Smith
In the mid-60s, soul jazz appeared, which combined the democracy of soul with the intellectualism of bebop, but historically it is usually associated with the latter, keeping silent about the significance of the former. The most popular figure in soul jazz was Ramsey Lewis.
The 'In' Crowd. Performed by the Ramsey Lewis Trio
If from the beginning of the 50s the division of jazz into two branches was only felt, then in the 70s it was already possible to speak of this as an irrefutable fact. The pinnacle of the elite trend was