Modern direction of jazz. The first heroes of jazz. Jazz in the modern world

The first heroes of jazz appeared here, in New Orleans. The pioneers of the New Orleans jazz style were African-American and Creole musicians. The founder of this music is considered to be the black cornetist Buddy Bolden.

Charles Buddy Bolden born in 1877 (according to other sources in 1868). He grew up amid the craze for brass bands, although he first worked as a hairdresser, then as a tabloid publisher. The Cricket, and in between he played the cornet in many New Orleans bands. Musicians early period the development of jazz had some “strong” professions, and music was a side job for them. Since 1895, Bolden devoted himself entirely to music and organized his first orchestra. Some jazz researchers argue that 1895 can be considered the year of the birth of professional jazz.

Enthusiastic jazz fans often assigned their favorites high titles: king, duke, count. Buddy Bolden was the first to receive the well-deserved title of “king”, since from the very beginning he stood out among trumpeters and cornetists with his incredibly strong, beautiful sound and richness musical ideas. Ragtime Band Buddy Bolden, who later served as the prototype for many black ensembles, was a typical composition of New Orleans jazz and played in dance halls, saloons, street parades, picnics, and outdoor parks. The musicians performed square dances and polkas, ragtimes and blues, and the famous melodies themselves served only as a starting point for numerous improvisations, supported by special rhythm. This rhythm is called big four (square), when every second and fourth beat of the bar is accented. And Buddy Bolden invented this new rhythm!

By 1906, Buddy Bolden had become the most famous musician in New Orleans. King Bolden! Musicians of different generations who were lucky enough to hear the jazzman (Bunk Johnson, Louis Armstrong) noted the beautiful and strong sound of his trumpet. Bolden's playing was distinguished by its extraordinary dynamism, sonic power, aggressive style of sound production, and genuine blues flavor. The musician was an incredibly popular person. He was always surrounded by gamblers, businessmen, sailors, Creoles, white and black, women. Bolden had the most fans in the entertainment district of Storyville, organized in 1897 on the border of the Upper and Lower cities - in the “red light” area. There are similar quarters in all port cities of the world, be it Amsterdam in the Netherlands, Hamburg in Germany or Marseille in France, even in ancient Pompeii (Italy) there was a similar quarter.

New Orleans was deservedly considered a den of debauchery. Most New Orleanians were not Puritans. Along the entire “street of pleasures” there were nightlife establishments, countless dance halls and cafes, taverns, taverns and snack bars. Each such institution had its own music: a small orchestra consisting of African Americans, or even a single player on the piano or mechanical piano. Jazz, which sounded in such establishments with a special mood, dealt with the realities of life. This is what attracted the whole world to jazz music, since it did not hide earthly carnal joys. Storyville, filled with a joyful and sensual atmosphere, was a symbol of a life full of risk and excitement, it attracted everyone like a magnet. The streets of this area were filled with people, mostly men, around the clock.

The apogee of the career of cornetist Buddy Bolden and his Buddy Bolden's Ragtime Band coincided with best years Storyville. Wednesday, of course, was vulgar. And the time comes when you have to pay for everything! A wild life bears fruit. Bolden began drinking alcohol, quarreling with musicians, and missing performances. He always drank a lot, because often in “fun” establishments musicians were paid with drinks. But after 1906, the musician began to have a mental disorder, headaches appeared, and he talked to himself. And he was afraid of everything, even his cornet. Those around him were afraid that the aggressive Bolden might kill someone, especially since there had been such attempts. In 1907, the musician was placed in a mental hospital, where he spent twenty-four years in obscurity. He cut the hair of the unfortunate inhabitants of the mournful house, just like him, and never again touched his cornet, from which indescribably beautiful jazz once sounded. Buddy Bolden, the creator of the world's first jazz orchestra, died in 1931, in complete obscurity, forgotten by everyone, and even not remembering anything, although it was he who tried to bring jazz into the form of a real art.

New Orleans was home to Creoles of color, with French, Spanish and African blood flowing in their veins. In their fairly wealthy and prosperous environment, although the role of the Creoles in the strict caste system of that time was somewhat uncertain, parents were able to give their children a decent education and taught music. Creoles considered themselves heirs European culture. Jelly Roll Morton, about which further we'll talk, came from such an environment. Some sources say Morton was born in 1885, while some sources say he was born in 1890. Morton claimed to be of French descent, but his black mother was brought to New Orleans from the island of Haiti. From the age of ten Ferdinand

Joseph Lemott - that was Morton's real name - studied to play the piano. Most Creoles were Puritans, that is, people of strict rules. Morton wasn't like that! He was attracted to nightlife, he was a “night person.” Already at the age of seventeen, in 1902, Jelly Roll appeared in Storyville and soon became famous musician playing in saloons and brothels. He witnessed and then took part in everything that happened around him. The temperamental and unrestrained young man loved to pull out a knife with or without reason; he was a braggart and a bully. But the main thing is that Morton was a talented musician, a performer of ragtime, the first composer in the history of jazz, who, with the help of improvisation, melted all the melodies that were fashionable at that time into an unprecedented musical fusion. Morton himself was the first connoisseur of his music, claiming that everything that other musicians played was composed by him. This, of course, was not the case. But one thing was true: Morton was the first to write down on the musical staff those melodies that he composed and which later became jazz classics. Often these melodies had a "Spanish flavor", they were based on the rhythms of "Habanera" - Spanish tango. Morton himself believed that without this “seasoning” jazz turns out to be insipid, and he was a man of thrills. The musician demanded to be called Jelly Roll, which was a rather frivolous nickname, since this slang phrase meant “sweet tube” and had an erotic meaning.

Morton became a versatile artist: he played the piano, sang, and danced. However, the local framework of work in “fun houses” turned out to be too tight for him, and soon the pianist left New Orleans, especially since Jelly Rolla’s strict grandmother, having learned about her grandson’s true work, kicked him out of the house. In 1904, the jazzman made several tours around the United States with musicians: B. Johnson, T. Jackson and W. C. Handy. Morton became a wanderer and remained one throughout his life. The musician was recognized in Memphis, St. Louis, New York, Kansas City and Los Angeles. In order to feed himself, because music did not always bring a livelihood, Morton had to play in vaudeville, be a sharpie and play billiards, sell a medicine for consumption of dubious composition, organize boxing matches, be the owner of tailoring workshops, and a music publisher. But everywhere he felt like a stranger, and he had to prove that he was a first-class musician. From 1917 to 1922, Morton had a relatively comfortable life in warm California. He and his wife bought a hotel, and Jelly Roll's reputation as a musician was at its best. But the restless nature of the jazzman made itself felt. In 1923, the musician moved to Chicago, where he organized his own band of ten people - Red Hot Peppers, which at different times included performers of the classical jazz style: Barney Bigard, Kid Ory, brothers Dodds. Since 1926, Morton and his band began recording on records. The most famous compositions - King Porter Stomp, Kansas City Stomp, Wolverine Blues. Morton's music included elements of ragtime, blues, folk songs(Creole folklore), brass band music, Irish and French music, i.e., all the origins of New Orleans jazz, but ultimately it was the original music - the jazz of Jelly Roll Morton himself.

After the swing period of the 1930s, Morton's luck ran out and he returned to California, having previously recorded his stories and music for history in 1938 at the Library of Congress. Over the next two years, Morton performed with the revival orchestra. New Orleans Jazzmen and solo programs. Jelly Roll Morton died in Los Angeles in 1941

Books have been written about Morton's life and work, and perhaps more has been said about this man, a strange mixture of a brilliant jazzman and a braggart bully, than about any other musician in the history of jazz. It remains indisputable that the work of Jelly Roll Morton had a great influence on the development of early jazz.

Jazz music has gone through different periods over its hundred-year history. At first they accused it of low taste, of ugliness, and they did not want to let it into decent society, considering it vicious, “rat”, old-fashioned, that is, music for ragamuffins, because it was not invented in music salons for whites... Then recognition came and love not only in America, but throughout the world. Where did the name of this music come from?

Origin of the term jazz not fully understood. Its modern spelling is jazz- established in the 1920s. There are many versions of the origin of the word “jazz”. First someone called him the word jass, by name, supposedly, jasmine perfume, which was preferred by the Storyville “priestesses of love” in New Orleans. Over time, the word "jass" became jazz. Some researchers believe that since the state of Louisiana was a territory where the French initially set the tone, jazz came from the French. jaser"have an emotional conversation." Some argue that the roots of the word “jazz” are African, that it means “to spur a horse.” This interpretation of the term “jazz” has a right to exist, since initially this music really seemed “spurred” and incredibly fast to listeners. Over the course of more than a century of jazz history, various reference books and dictionaries have continually “discovered” numerous versions of the origin of this word.

By 1910, not only black orchestras, but also white ones, appeared in New Orleans. The drummer is considered the “father of white jazz” and the first orchestra, created back in 1888, consisting only of white musicians Jack Papa Lane(1873-1966). Lane called his next orchestra, which was destined for a long forty-year life Reliance Brass Band(white musicians avoided the word “jazz” in their names, considering it derogatory, because jazz was played by blacks!). Some jazz scholars believe that Lane's orchestra imitated the black New Orleans jazz style. And Jack Lane himself called his music ragtime. The orchestra's musicians were very popular among the white population on the dance floors of New Orleans, but, unfortunately, no recordings of this band have survived.

The musical life of New Orleans did not stand still. New musicians began to appear, pioneers of New Orleans jazz, who eventually became stars: Freddie Keppard(trumpet, cornet), Kid Ory(trombone), Joe Oliver(cornet). And a clarinetist Sydney Bechet whose delightful music would amaze listeners for almost fifty years.

Sydney Joseph Bechet(1897-1959) was born into a Creole family. Parents expected that music for little Sydney would be only a light hobby, and not a profession.

But the boy was not interested in anything except music. He realized his musical genius early on. The teachers were amazed at how this child played, as if he was engulfed in fire escaping from his clarinet! Not wanting to study music for a long time, Sidney Bechet, at the tender age of eight, began playing in the bands of famous trumpeters Freddie Keppard and Buddy Bolden. By the age of sixteen, Sydney had completed his school education and devoted himself entirely to music. Soon Bechet was considered the most a unique musician New Orleans. When we talk about jazz musicians who left a significant mark on music, we first of all talk about personalities and how they were able to express their personality through a musical instrument. Gradually Bechet developed his own individual, inimitable style with a powerful vibrato and a smooth melodic line. Every note of the jazzman trembled, trembled, shook, but the young musician also had the sharpest, “biting attack.” Sidney Bechet loved the blues, and the musician's clarinet moaned and cried as if alive, shaking with sobs.

The right to speak in one’s own voice in jazz music was the main innovation at that time. After all, before the advent of jazz, the composer told the musician what and how to play. And young Sidney Bechet, who was considered a “miracle of nature” in New Orleans, extracted sounds from the instrument that this instrument, it would seem, could not reproduce. In 1914, the musician left his father's house, began to travel around Texas and other southern states with concerts, performed at carnivals, traveled with vaudeville acts on ships, and in 1918 he ended up in Chicago, and later in New York. In 1919 with orchestra Willa Cook Sidney Bechet came to Europe for the first time. The orchestra's concert tour was very successful, and Bechet's performances were assessed by critics and professional musicians as the performance of an outstanding virtuoso clarinetist and a brilliant artist. With the tours of such outstanding New Orleans musicians as Sidney Bechet, a real epidemic of jazz in Europe will begin. In London, the musician purchased a soprano saxophone in one of the shops, which would become the jazzman’s favorite instrument for many years. The soprano saxophone allowed the virtuoso to dominate any orchestra. In the 1920s Sidney Bechet collaborated with pianist, composer, orchestra leader Clarence Williams(1898-1965), recorded with Louis Armstrong and accompanied blues singers. In 1924, Sydney played in an early dance orchestra for three months Duke Ellington bringing blues intonations and the unique deep vibrato of his clarinet to Bond’s sound. Then again toured in France, Belgium, Germany, Hungary, Poland. In 1926, Sidney Bechet gave concerts in the USSR with the ensemble Frank Withers. Over the course of three months, the musicians visited Moscow, Kharkov, Kyiv and Odessa. Probably, Europe, which was more tolerant in racial terms, was very fond of the musician, since later, from 1928 to 1938, the jazzman worked in Paris.

After the outbreak of World War II (1939-1945), when France was occupied by the Nazis, Bechet returned to America, worked in a club with a guitarist Eddie Condon(1904-1973), who became famous as the author of unusual musical projects, in which many traditional jazz musicians took part. The life of musicians is not always smooth and prosperous. Sidney Bechet in the 1930s, during the economic crisis, was forced to interrupt his active musical activity. Sydney even had to open a tailor's shop, but the income from it turned out to be small, and the jazzman there was more involved in music than in tailoring. For the whole musical career Bechet was invited to many orchestras, but the quarrelsome and prickly character of the temperamental musician, who did not always control his passions, often harmed the genius of the soprano saxophone. Sydney was expelled from England and France for fighting; the jazzman spent almost a year in a Paris prison. The musician also felt like an outcast in his homeland, the USA, where jazz music was heard only in restaurants, dance halls or black revues. And Sidney Bechet, who was not devoid of star narcissism, wanted world recognition and worthy halls.

Bechet was always a supporter of New Orleans jazz. In the 1940s, when bebop replaced swing, the musician initiated the revival of traditional jazz, took part in the “revival” movement - recorded records with such jazz veterans as Jelly Roll Morton, Louis Armstrong, Willie Bunk Johnson, Eddie Condon etc.

In 1947, Sidney Bechet returned to his beloved Paris. Playing with French musicians, performing at festivals and touring in many countries, Bechet contributed to the establishment of traditional jazz in Europe. The musician became famous, and his song theme Le Petite Fleure was incredibly popular and loved throughout the music world, a unique business card jazz pioneer. Sidney Bechet was " adopted son» France and died on French soil in 1959. In 1960, after his death outstanding musician, it was published autobiographical book Treat It Gently. France has not forgotten its favorite, in Paris there is a street named after Sidney Bechet and a monument to the jazzman has been erected, and one of the best French traditional jazz orchestras bears his name - Sidney Bechet Memorial Jazz Band.

From New Orleans, jazz music spread throughout America, and then throughout the world, slowly but inevitably. This was also facilitated by the emergence of the recording industry, since 1901 a company of “talking” machines Victor released the first gramophone record. The most large editions records were published classical music and great Italian singer Enrico Caruso. Recording jazz on records at the beginning of the 20th century. It hasn't occurred to anyone yet. In order to listen to jazz, you had to go to those places where jazz was played: to dances, to entertainment venues, etc. Jazz recording appeared only in 1917, around the same time the American press began writing about jazz. Therefore, we will never hear how the legendary Buddy Bolden played the cornet, or how pianist Jelly Roll Morton or cornetist King Oliver sounded at the very beginning of the century. Morton and Oliver began recording later, after 1920. And they caused a sensation in the 1910s. cornetist Freddie Keppard refused to make records for fear that other musicians would “steal his style and music.”

Freddie Keppard(1890-1933) - cornetist, trumpeter, one of the leaders of the New Orleans bond, was born into a Creole family. Next to Buddy Bolden, Keppard is considered the most significant figure in early jazz. As a child, Freddie learned to play many instruments, but as a teenager, having mastered the cornet, he began performing with New Orleans orchestras. In 1914, Keppard left New Orleans for Chicago in 1915-1916. performed in New York. In 1918, the cornetist returned to Chicago and played with Joe King Oliver, Sidney Bechet, impressing listeners with his signature trumpet sound, which was so powerful that its power was compared to the sound of a military brass band. This sound was given to the instrument by the “croaking” mute. But Keppard, as eyewitnesses recall, knew how to play not only bravura, the sound of his trumpet, when the composition required it, was soft or loud, lyrical or rude. The trumpeter mastered the entire spectrum of tones.

In Los Angeles, Keppard and six other musicians organized The Original Creole Orchestra. They performed in New York and Chicago, where Freddie was always received as "King Keppard". They say that the musician hit such high notes on his trumpet that people in the front rows tried to move further away. Keppard was a tall and strong man, and his trumpet sound matched that of a musician. One day a jazzman made such a powerful sound that the mute of his trumpet flew to the next dance floor. All Chicago newspapers wrote about this unprecedented incident. Keppard was a self-taught musician who did not know musical literacy, but he had a phenomenal memory. When it was necessary to learn something new, Freddie first listened carefully as one of the musicians played a new melody, and then he himself played back what he heard. New Orleans musicians often

They didn’t know sheet music, but they were virtuoso performers. For all the artistry and power of his playing, Freddie Keppard was so afraid of imitators that he played the trumpet, covering his fingers with a handkerchief, so that no one could repeat his music and remember his improvisations.

In December 1915 the company Victor invited Keppard and his orchestra to record a record, even though jazz had never been recorded before and record companies had no idea whether the records would sell. Of course, for a musician it was a unique chance to be a pioneer in this matter. Amazingly, Freddie refused, afraid that other musicians would buy his record and be able to copy his style and steal his fame. Keppard missed his chance to be the first jazz musician to be recorded on record.

It should be noted that the entire history of jazz, which occurred in the 20th century, turns out to be incomplete, since the main evidence of this history - recordings - is not comprehensive evidence. After all, jazz is undocumented music, unlike classical music. The improvisational nature of jazz has caused vast gaps in its history. Many jazz musicians, who had no chance to record, remained forever unknown to the history of jazz. Fashion, the commercial attractiveness of the musical product, and even the personal tastes of representatives of this business also influenced the publication of recordings. However, without people music industry, to their credit, creating jazz music and bringing it to listeners would have been impossible.

But let's go back to the historical year 1917, when jazz finally hit the gramophone record. The group was first Original Dixieland Jazz Band, which included five white musicians from New Orleans who moved from hometown V New York. This team was led by Nick LaRocca (1889-1961), who had previously played cornet in Jack "Papa" Lane's orchestra. Other musicians in the quintet played clarinet, trombone, piano and drums. And although in their playing the musicians used the techniques of black New Orleans jazzmen, even in the name of their ensemble, Nick and his comrades used the term “Dixieland” (from the English. Dixieland- land of Dixie - comes from the name of the southern states of the country used in the USA), wanting to emphasize some difference from African Americans.

Dixieland leader Nick LaRocca was the son of an Italian shoemaker. An assertive and ambitious man, Nick taught himself to play the cornet while locking himself in a barn, away from his skeptical father. (It should be noted that at this stage of the development of jazz, many white families were categorically against their offspring’s passion for incomprehensible, “vulgar and immoral” music). Nick's careful study of the performing techniques of New Orleans musicians Lane and Oliver bore fruit.

Band records - Livery Stable Blues, Tiger Rag, Dixie Jass One Step- were a huge success. (You should pay attention to the spelling of the word jass; that’s how it was spelled in those days.) The record, released in March 1917, immediately became a hit. Most likely because the music was danceable, fun, hot and lively. The musicians played as fast as they could. The sound engineer demanded this: two pieces had to be placed on one side. The play was especially funny Livery Stable Blues("Stable Blues") Jazz musicians imitated animals on their instruments: the cornet neighed like a horse, the clarinet crowed like a rooster. The circulation of this record exceeded one hundred thousand copies, which was several times more than the circulation of records by the great Italian tenor Enrico Caruso!

This is how jazz entered American life. Many famous musicians subsequently listened to this record and learned to play new rhythms from it. “Musical anarchists,” as LaRocca himself called his comrades, left their mark on the history of early jazz. In 1919, the musicians of Nick LaRocca's ensemble toured England, where they had stunning success. The jazz band recorded its music at an English company Columbia. From Europe, the musicians brought many popular themes at that time, which were included in the ensemble’s repertoire. But the band soon broke up (the war and the death of one of the musicians intervened). Nick himself sheathed his pipe in 1925 and returned to New Orleans to the family construction business.

However, until the end of his life, LaRocca continued to insist that he invented jazz, and black musicians stole this invention from him. One thing is certain: the credit for popularizing jazz belongs to Nick LaRocca and his team. Although we now know how this wonderful music was born, which is inevitably connected with all American history and mythology, black race and skin color.

Jazz– a unique phenomenon in world musical culture. This multifaceted art form originated at the turn of the century (XIX and XX) in the USA. Jazz music has become the brainchild of the cultures of Europe and Africa, a unique fusion of trends and forms from two regions of the world. Subsequently, jazz spread beyond the United States and became popular almost everywhere. This music takes its basis in African folk songs, rhythms and styles. In the history of the development of this direction of jazz, many forms and types are known that appeared as new models of rhythms and harmonics were mastered.

Characteristics of Jazz

Synthesis of two musical cultures made jazz a radically new phenomenon in world art. The specific features of this new music steel:

• Syncopated rhythms giving rise to polyrhythms.
• The rhythmic pulsation of music is the beat.
• Complex deviation from the beat - swing.
• Constant improvisation in compositions.
• A wealth of harmonics, rhythms and timbres.

The basis of jazz, especially in the first stages of development, was improvisation combined with a thoughtful form (while the form of the composition was not necessarily fixed somewhere). And from African music this new style took the following characteristic features:

• Understanding each instrument as a percussion instrument.
• Popular conversational intonations when performing compositions.
• Similar imitation of conversation when playing instruments.

In general, all styles of jazz are distinguished by their own local characteristics, so it is logical to consider them in the context historical development.

The emergence of jazz, ragtime (1880-1910s)

It is believed that jazz originated among black slaves brought from Africa to the United States of America in the 18th century. Since the captive Africans were not represented by a single tribe, they had to seek a common language with their relatives in the New World. Such consolidation led to the emergence of a unified African culture in America, which included musical culture. It was not until the 1880s and 1890s that the first jazz music emerged as a result. This style was driven by global demand for popular dance music. Since African musical art abounded in such rhythmic dances, it was on its basis that a new direction was born. Thousands of middle-class Americans who did not have the opportunity to master aristocratic classical dancing, began to dance to the piano in ragtime style. Ragtime introduced several future bases of jazz into music. Thus, the main representative of this style, Scott Joplin, is the author of the “3 versus 4” element (cross-sounding rhythmic patterns with 3 and 4 units, respectively).

New Orleans (1910–1920s)

Classic jazz appeared at the beginning of the twentieth century in the southern states of America, and specifically in New Orleans (which is logical, because the slave trade was widespread in the south).

African and Creole orchestras played here, creating their music under the influence of ragtime, blues and songs of black workers. After the appearance in the city of many musical instruments from military bands began to emerge amateur groups. The legendary New Orleans musician, creator of his own orchestra, King Oliver, was also self-taught. Important date In the history of jazz it became February 26, 1917, when the Original Dixieland Jazz Band released its first gramophone record. The main features of the style were also laid down in New Orleans: beat percussion instruments, masterful solo, vocal improvisation with syllables - scat.

Chicago (1910–1920s)

In the 1920s, called the “Roaring Twenties” by classicists, jazz music gradually entered mass culture, losing the titles “shameful” and “indecent.” Orchestras begin to perform in restaurants and move from the southern states to other parts of the United States. Chicago becomes the center of jazz in the north of the country, where free nightly performances by musicians become popular (during such shows there were frequent improvisations and outside soloists). More complex arrangements appear in the style of music. The jazz icon of this time was Louis Armstrong, who moved to Chicago from New Orleans. Subsequently, the styles of the two cities began to be combined into one genre of jazz music - Dixieland. The main feature of this style was collective mass improvisation, which elevated the main idea of ​​jazz to the absolute.

Swing and big bands (1930s–1940s)

The continued rise in popularity of jazz created a demand for large orchestras to play dance tunes. This is how swing appeared, representing characteristic deviations in both directions from the rhythm. Swing has become the main thing style direction of that time, manifested in the work of orchestras. Execution of slim dance compositions required more coordinated playing of the orchestra. Jazz musicians were expected to participate evenly, without much improvisation (except for the soloist), so the collective improvisation of Dixieland became a thing of the past. In the 1930s, similar groups flourished, which were called big bands. Characteristic feature orchestras of that time was a competition between groups of instruments and sections. Traditionally, there were three of them: saxophones, trumpets, drums. The most famous jazz musicians and their orchestras are Glenn Miller, Benny Goodman, Duke Ellington. The last musician is famous for his commitment to black folklore.

Bebop (1940s)

Swing's departure from the traditions of early jazz and, in particular, classical African melodies and styles, caused discontent among history experts. Big bands and swing performers, who increasingly worked for the public, began to be opposed by the jazz music of small ensembles of black musicians. Experimenters introduced super-fast melodies, brought back long improvisation, complex rhythms, and virtuoso control of the solo instrument. The new style, which positioned itself as exclusive, began to be called bebop. The icons of this period were outrageous jazz musicians: Charlie Parker and Dizzy Gillespie. The revolt of black Americans against the commercialization of jazz, the desire to return intimacy and uniqueness to this music became a key point. From this moment and from this style, the history of modern jazz begins. At the same time, big band leaders also come to small orchestras, wanting to take a break from the big halls. In ensembles called combos, such musicians adhered to a swing style, but were given freedom to improvise.

Cool jazz, hard bop, soul jazz and jazz-funk (1940s–1960s)

In the 1950s, the genre of music such as jazz began to develop in two opposite directions. Supporters of classical music “cooled down” bebop, bringing academic music, polyphony, and arrangement back into fashion. Cool jazz became known for its restraint, dryness and melancholy. The main representatives of this direction of jazz were: Miles Davis, Chet Baker, Dave Brubeck. But the second direction, on the contrary, began to develop the ideas of bebop. The hard bop style preached the idea of ​​returning to the roots of black music. Traditional folklore melodies, bright and aggressive rhythms, explosive soloing and improvisation have returned to fashion. Known in the hard bop style are: Art Blakey, Sonny Rollins, John Coltrane. This style developed organically along with soul-jazz and jazz-funk. These styles moved closer to the blues, making rhythm a key aspect of performance. Jazz-funk in particular was introduced by Richard Holmes and Shirley Scott.

Jazz is a special type of music that has become especially popular in the United States. Initially, jazz was the music of black citizens of the United States, but later this direction absorbed completely different musical styles that developed in many countries. We will talk about this development.

The most main feature jazz, both originally and now, is rhythm. Jazz melodies combine elements of African and European music. But jazz acquired its harmony thanks to European influence. The second fundamental element of jazz to this day is improvisation. Jazz was often played without a pre-prepared melody: only during the game did the musician choose one direction or another, giving in to his inspiration. Thus, right before the eyes of the listeners, as the musician played, music was born.

Over the years, jazz has changed, but it still managed to retain its basic features. An invaluable contribution to this direction was made by the well-known “blues” - drawn-out melodies that were also characteristic of blacks. At the moment, most blues melodies are an integral part of the jazz genre. In truth, the blues has had a special influence not only on jazz: rock and roll, country and western also use blues motifs.

Speaking about jazz, it is necessary to mention the American city of New Orleans. Dixieland, as New Orleans jazz was called, was the first to combine blues motifs, black church songs, and elements of European folk music.
Later, swing appeared (it is also called jazz in the “big band” style), which also received widespread development. In the 40s and 50s, “modern jazz” became very popular, which was a more complex interaction of melodies and harmonies than early jazz. Appeared new approach to the rhythm. Musicians tried to come up with new works using different rhythms, and therefore the technique of drumming became more complicated.

The “New Wave” of jazz swept the world in the 60s: it is considered the jazz of the very aforementioned improvisations. When going out to perform, the orchestra could not predict in what direction and what rhythm their performance would be; none of the jazz players knew in advance when the change in tempo and speed of performance would occur. And it must also be said that such behavior of the musicians does not mean that the music was unbearable: on the contrary, a new approach to performing already existing melodies has emerged. By tracing the development of jazz, we can be convinced that it is a constantly changing music, but which does not lose its foundation over the years.

Let's summarize:

• At first, jazz was the music of black people;
• Two tenets of all jazz melodies: rhythm and improvisation;
• Blues - made a huge contribution to the development of jazz;
• New Orleans jazz (Dixieland) combined blues, church songs and European folk music;
• Swing is a direction of jazz;
• With the development of jazz, rhythms became more complex, and in the 60s, jazz orchestras again indulged in improvisation during performances.

Jazz is a movement in music that was founded in the USA in the state of New Orleans, then gradually spread throughout the world. This music enjoyed the greatest popularity in the 30s; it was during this time that the heyday of this genre, which combined European and African culture, fell. Now you can hear many subgenres of jazz, such as: bebop, avant-garde jazz, soul jazz, cool, swing, free jazz, classical jazz and many others.

Jazz combined several musical cultures and, of course, came to us from African lands, this can be understood by the complex rhythm and style of performance, but this style was more reminiscent of ragtime, eventually combining ragtime and blues, the musicians received a new sound, which they called jazz. Thanks to the fusion of African rhythm and European melody, we can now enjoy jazz, and virtuoso performance and improvisation make this style unique and immortal, as new rhythmic models are constantly introduced and a new performance style is invented.

Jazz has always been popular among all segments of the population, nationalities, and it is still of interest to musicians and listeners all over the world. But the pioneer in the fusion of blues and African rhythm was the Chicago Art Ensemble; it was these guys who added jazz forms to African motifs, which aroused extraordinary success and interest among listeners.

In the USSR, the Jazz tour began to emerge in the 20s (as in the USA) and the first creator of a jazz orchestra in Moscow was the poet and theater figure Valentin Parnakh, the concert of this group took place on October 1, 1922, which is considered to be the Birthday of jazz in USSR. Of course, the attitude of the Soviet authorities towards jazz was two-sided, on the one hand, they did not prohibit this genre of music, but on the other hand, jazz was subjected to harsh criticism, after all, we adopted this style from the West, and everything is new and alien at all times was severely criticized by the authorities. Today, jazz music festivals are held annually in Moscow, there are club venues where world-famous jazz bands, blues performers, and soul singers are invited, that is, for fans of this type of music there is always time and place to enjoy the lively and unique sound jazz

Of course, the modern world is changing, and music is also changing, tastes, styles and performance techniques are changing. However, we can say with confidence that jazz is a classic of the genre, yes, the influence of modern sounds has not bypassed jazz, but nevertheless you will never confuse these notes with any others, because this is jazz, a rhythm that has no analogues, rhythm that has its own traditions and has become World Music.

“Jazz” message will briefly help you prepare for music classes and deepen your knowledge in this area. Also, the report on jazz will tell you a lot detailed information about this form musical art.

Message about jazz

What is jazz?

Jazz is a form of musical art. The birthplace of jazz is the USA, where it arose in the twentieth century in the process of synthesis of European and African cultures. Then this art spread throughout the planet.

Jazz is a living, amazing music that has absorbed the rhythmic African genius and the treasures of many years of playing ceremonial and ritual chants and drums. Its history is dynamic, unusual and filled with wonderful events that influenced the musical world process.

IN New World jazz was brought by slaves - the peoples of the African continent. They often belonged to different families and, to better understand each other, they created a new musical direction with blues motifs. Jazz is believed to have originated in New Orleans. The first gramophone record was recorded on February 26, 1917 at Victor Studios, New York. His march around the world began with the composition of the Original Dixieland Jazz Band.

Features of Jazz

The main characteristics of this musical direction are:

• The beat is a regular pulsation.
• Polyrhythm, which is based on syncopated rhythms.
• Improvisation.
• Timbre range.
• Colorful harmony.
• Swing is a set of techniques for performing rhythmic texture.

Several performers can improvise at the same time. Ensemble members interact with each other artistically and “communicate” with the audience.

Jazz styles

The stylistic diversity of jazz since its inception is amazing. Let's name only the most common types of jazz:

• Vanguard. Originated in 1960. It is characterized by harmony, rhythm, meter, traditional structures, and program music. Representatives: Sun Ra, Alice Coltrane, Archie Shepp.
• Acid Jazz. This is a funky musical style. The emphasis is not on words, but on music. Representatives: James Taylor Quartet, De-Phazz, Jamiroquai, Galliano, Don Cherry.
• Big Bend. Formed in the 1920s. Consists of the following orchestral groups - saxophones - clarinets, brass instruments, rhythm section. Representatives: The Original Dixieland Jazz Band, The Glenn Miller Orchestra, King Oliver's Creole Jazz Band, Benny Goodman And His Orchestra.
• Bop. Formed in the 1940s. It is characterized by complex improvisations and a fast tempo, which are based not on changing the melody, but on changing the harmony. Jazz bebop performers - drummer Max Roach, trumpeter Dizzy Gillespie, Charlie Parker, pianists Thelonious Monk and Bud Powell.
• Boogie Woogie. This is an instrumental solo that combines elements of jazz and blues. Originated in the 1920s. Representatives: Alex Moore, Piano Red and David Alexander, Jimmy Yancey, Cripple Clarence Lofton, Pine Top Smith.
• Bossa Nova. This is a unique synthesis of Brazilian samba rhythms and jazz improvisation in the cool style. Representatives are Antonio Carlos Jobim, Stan Goetz and Charlie Bird.
• Classic Jazz. Developed at the end of the 19th century. Representatives: Chris Barber, Aker Bilk, Kenny Ball, The Beatles.
• Swing. It took shape at the turn of the 1920s and 30s. Characterized by a combination of European and Negro forms. Representatives: Ike Quebec, Oscar Peterson, Mills Brothers, Paulinho Da Costa, Wynton Marsalis Septet, Stephane Grappelli.
• Mainstream. This is a fairly new type of jazz, which was characterized by a certain interpretation of musical works. Representatives - to Ben Webster, Lester Young, Roy Eldridge, Coleman Hawkins, Johnny Hodges, Buck Clayton.
• Northeast jazz. Originated at the beginning of the twentieth century in New Orleans. The music is hot and fast. Northeastern jazz representatives include Art Hodes, drummer Barrett Deems and clarinetist Benny Goodman.
• Kansas City style. The newfangled style originated in the late 1920s in Kansas City. It is characterized by the penetration of a blues-tinged piece into a live jazz music and energetic solos. Representatives: Count Basie, Benny Mouthen, Charlie Parker, Jimmy Rushing.
• West Coast Jazz. It arose in the 50s of the twentieth century in Los Angeles. Representatives are Shorty Rogers, saxophonists Bud Schenk and Art Pepper, clarinetist Jimmy Giuffre and drummer Shelley Mann.
• Cool. Began to develop in the 1940s. This is a less frantic, smooth style of jazz. Characterized by a detached, flat and homogeneous sound. Representatives: Chet Baker, George Shearing, Dave Brubeck, John Lewis, Leni Tristano, Lee Konitz, Ted Dameron, Zoot Sims, Gerry Mulligan.
• Progressive jazz. It was characterized by bold harmony, frequent seconds and blocks, polytonality, rhythmic pulsation, and color.

Jazz today

Modern jazz has absorbed the traditions and sounds of the entire planet. There was a rethinking of African culture, which was its source. Representatives of modern jazz include: Ken Vandermark, Mats Gustafsson, Evan Parker and Peter Brotzmann, Wynton Marsalis, Joshua Redman and David Sanchez, Jeff Watts and Billy Stewart.