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'''Jazz''' is an original [[United States|American]] [[music]]al art form which originated around the beginning of the 20th century in [[African American]] communities in the [[Southern United States]] out of a confluence of African and European music traditions. The use of [[blue note]]s, [[call and response (music)|call-and-response]], [[improvisation]], [[polyrhythm]]s, [[syncopation]] and the [[swung note]] of [[ragtime]] are characteristics traceable back to jazz's West African pedigree.<ref>{{cite web |url=http://www.kennedy-center.org/programs/jazz/ambassadors/Lesson3.html |title=Understanding Jazz: The Roots of Jazz |accessdate=2007-10-23 |format= |work=}}</ref> During its early development, jazz also incorporated music from [[New England]]'s religious [[hymn]]s and from 19th and 20th century American popular music based on European music traditions.<ref>{{cite web |url=http://www.cnmat.berkeley.edu/People/Vijay/06.%20Microtiming%20Studies.html |title=6. Microtiming Studies |accessdate=2007-10-23 |format= |work=}}</ref> The origins of the word "jazz," which was first used to refer to music in about 1915, are uncertain; for the origin and history, see [[Jazz (word)]]. |
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Jazz has, from its early 20th century inception, spawned a variety of subgenres, from [[New Orleans]] [[Dixieland]] dating from the early 1910s, [[big band]]-style [[swing music|swing]] from the 1930s and 1940s, [[bebop]] from the mid-1940s, a variety of Latin-jazz fusions such as [[Afro-Cuban jazz|Afro-Cuban]] and [[Brazilian jazz]] from the 1950s and 1960s, [[jazz fusion|jazz-rock fusion]] from the 1970s and later developments such as [[Acid jazz|acid jazz]]. |
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==Origins== |
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[[Image:Slave dance to banjo, 1780s.jpg|thumb|left|African-Americans dance to banjo and percussion, around the 1780s.]] |
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By 1808 the [[Atlantic slave trade]] had brought almost half a million [[Africa]]ns to the [[United States]]. The slaves largely came from [[West Africa]] and brought strong tribal musical traditions with them.<ref>{{harvnb|Cooke|1999|p=7-9}}</ref> Lavish festivals featuring African dances to drums were organized on Sundays at ''Place Congo'', or [[Congo Square]], in [[New Orleans]] until 1843, as were similar gatherings in [[New England]] and [[New York]]. African music was largely functional, for work or ritual, and included [[work song]]s and [[field holler]]s. In the African tradition, they had a single-line melody and a call-and-response pattern, but without the European concept of harmony. Rhythms reflected African speech patterns, and the African use of pentatonic scales led to [[blue note]]s in blues and jazz.<ref>{{harvnb|Cooke|1999|p=11-14}}</ref> |
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[[Image:Virginia Minstrels, 1843.jpg|thumb|right|The [[blackface]] [[Virginia Minstrels]] in 1843, featuring tambourine, fiddle, banjo and [[Bones (instrument)|bones]].]] |
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In the early [[19th century]] an increasing number of black musicians learned to play European instruments, particularly the [[violin]], which they used to parody European dance music in their own [[cakewalk]] dances. In turn, European-American [[minstrel show]] performers in [[blackface]] popularized such music internationally, combining [[syncopation]] with European harmonic accompaniment. [[Louis Moreau Gottschalk]] adapted African-American cakewalk music, South American, Caribbean and other slave melodies as piano salon music. Another influence came from black slaves who had learned the harmonic style of [[hymn]]s and incorporated it into their own music as [[spirituals]].<ref>{{harvnb|Cooke|1999|p=14-17, 27-28}}</ref> The [[origins of the blues]] are undocumented, though they can be seen as the secular counterpart of the spirituals. [[Paul Oliver]] has drawn attention to similarities in instruments, music and social function to the [[griot]]s of the West African [[savannah]].<ref>{{harvnb|Cooke|1999|p=18}}</ref> |
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==1890s–1910s== |
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===Ragtime=== |
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{{Main|Ragtime}} |
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[[Image:ScottJoplin.jpeg|left|frame|[[Scott Joplin]].]] |
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Emancipation of slaves led to new opportunities for education of freed African-Americans, but strict segregation meant limited employment opportunities. Black musicians provided "low-class" entertainment at dances, [[minstrel show]]s, and in [[vaudeville]], and many marching bands formed. Black pianists played in bars, clubs and brothels, and [[ragtime]] developed.<ref>{{harvnb|Cooke|1999|p=28, 47}}</ref><ref>{{cite web |url=http://cnx.org/content/m10878/latest/ |title=Ragtime |accessdate=2007-10-18 |author=Catherine Schmidt-Jones |date=2006 |publisher=Connexions }}</ref> |
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It appeared as sheet music with the African American entertainer [[Ernest Hogan]]'s hit songs in 1895, and two years later [[Vess Ossman]] recorded a medley of these songs as a [[banjo]] solo "Rag Time Medley".<ref>{{harvnb|Cooke|1999|p=28-29}}</ref><ref>{{cite web |url=http://www.redhotjazz.com/firstragtimerecords.html |title=The First Ragtime Records (1897-1903) |accessdate=2007-10-18 |format= |work=}}</ref> Also in 1897, the white composer [[William H. Krell]] published his "Mississippi Rag" as the first written piano instrumental ragtime piece. The classically-trained pianist [[Scott Joplin]] produced his "Original Rags" in the following year, then in 1899 had an international hit with "[[Maple Leaf Rag]]." He wrote numerous popular rags combining syncopation, banjo figurations and sometimes call-and-response, which led to the ragtime idiom being taken up by classical composers including [[Claude Debussy]] and [[Igor Stravinsky]]. [[Blues]] music was published and popularized by [[W. C. Handy]], whose "Memphis Blues" of 1912 and "[[St. Louis Blues (song)|St. Louis Blues]]" of 1914 both became jazz standards.<ref>{{harvnb|Cooke|1999|p=18}}</ref> |
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===New Orleans music=== |
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[[Image:Bolden band.gif|thumb|right|[[Buddy Bolden|The Bolden Band]] around 1905.]] |
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The [[music of New Orleans]] had a profound effect on the creation of early jazz. Many early jazz performers played in the brothels and bars of [[red-light district]] around [[Basin Street]] called "[[Storyville]]."<ref>{{harvnb|Cooke|1999|p=47, 50}}</ref> In addition, numerous marching bands played at lavish funerals arranged by the African American community. The instruments used in [[marching band]]s and dance bands became the basic instruments of jazz: brass and reeds tuned in the European 12-tone scale and drums. Small bands of primarily self-taught African American musicians, many of whom came from the funeral-procession tradition of [[New Orleans]], played a seminal role in the development and dissemination of early jazz, traveling throughout Black communities in the Deep South and, from around 1914 on, [[Louisiana Creole people|Afro-Creole]] and African American musicians playing in [[vaudeville]] shows took jazz to western and northern US cities.<ref name=creoleorch>{{cite web |url=http://www.redhotjazz.com/creole.html |title=Original Creole Orchestra |accessdate=2007-10-23 |publisher=The Red Hot Archive}}</ref>[[Image:Jelly Roll Blues 1915.jpg|thumb|left|Morton published "Jelly Roll Blues" in 1915, the first jazz work in print.]] |
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Afro-Creole pianist [[Jelly Roll Morton]] began his career in Storyville. From 1904, he toured with [[vaudeville]] shows around southern cities, also playing in [[Chicago]] and [[New York]]. His "[[Jelly Roll Blues]]," which he composed around 1905, was published in 1915 as the first jazz arrangement in print, introducing more musicians to the New Orleans style.<ref>{{harvnb|Cooke|1999|p=38, 56}}</ref> |
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[[Image:Dixie-was-Born-.jpg|right|frame|That's How Dixie Was born, music sheet cover for a 1936 song]] |
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In the northeastern United States, a "hot" style of playing ragtime had developed, notably [[James Reese Europe]]'s symphonic [[Clef Club]] orchestra in [[New York]] which played a benefit concert at [[Carnegie Hall]] in 1912, and his "Society Orchestra" which in 1913 became the first black group to make recordings.<ref>{{harvnb|Cooke|1999|p=78}}</ref><ref name=hellfighters>{{cite web |url=http://www.redhotjazz.com/hellfighters.html |title=Jim Europe's 369th Infantry "Hellfighters" Band |accessdate=2007-10-24 |author=Floyd Levin |date= |format= |work= |publisher=The Red Hot Archive}}</ref> The [[Baltimore]] rag style of [[Eubie Blake]] influenced [[James P. Johnson]]'s development of "[[stride piano|Stride]]" piano playing, in which the right hand plays the melody, while the left hand provides the rhythm and bassline.<ref>{{harvnb|Cooke|1999|p=41-42}}</ref> |
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The [[Original Dixieland Jass Band]]'s "Livery Stable Blues" released early in 1917 is one of the early jazz records.<ref>{{cite web |url=http://www.gracyk.com/jasband.shtml |title=Tim Gracyk's Phonographs, Singers, and Old Records – Jass in 1916-1917 and Tin Pan Alley |accessdate=2007-10-27 |format= |work=}}</ref> That year numerous other bands made recordings featuring "jazz" in the title or band name, mostly ragtime or novelty records rather than jazz. In September 1917 [[W.C. Handy]]'s Orchestra of Memphis recorded a cover version of "Livery Stable Blues".<ref>{{cite web |url=http://www.redhotjazz.com/jazz1917.html |title=The First Jazz Records |accessdate=2007-10-27 |publisher=The Red Hot Archive}}</ref> In February 1918 [[James Reese Europe]]'s "Hellfighters" infantry band took ragtime to Europe during [[World War I]],<ref>{{harvnb|Cooke|1999|p=44}}</ref> then on return recorded Dixieland standards including "The Darktown Strutter's Ball".<ref name=hellfighters/> |
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==1920s and 1930s== |
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[[Prohibition in the United States]] (from 1920 to 1933) banned the sale of alcoholic drinks, resulting in illicit [[speakeasy|speakeasies]] becoming lively venues of the "[[Jazz Age]]", an era when popular music included current dance songs, novelty songs, and show tunes. Jazz started to get a reputation as being [[immoral]] and many members of the older generations saw it as threatening the old values in culture and promoting the new decadent values of the [[Roaring 20s]]. From 1919 [[Kid Ory]]'s Original Creole Jazz Band of musicians from New Orleans played in [[San Francisco]] and [[Los Angeles]] where in 1922 they became the first black jazz band to make recordings.<ref>{{harvnb|Cooke|1999|p=54}}</ref><ref name=ory>{{cite web |url=http://www.redhotjazz.com/ory.html |title=Kid Ory |accessdate=2007-10-29 |publisher=The Red Hot Archive}}</ref> However, the main centre developing the new "Hot Jazz" was [[Chicago]], where [[Joe "King" Oliver|King Oliver]] joined [[Bill Johnson (jazz musician)|Bill Johnson]]. That year also saw the first recording by [[Bessie Smith]], the most famous of the 1920s blues singers.<ref>{{cite web |url=http://www.redhotjazz.com/bessie.html |title=Bessie Smith |accessdate=2007-10-29 |publisher=The Red Hot Archive}}</ref> |
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[[Image:Jazzing orchestra 1921.png|thumb|right|300px|The King & Carter Jazzing Orchestra photographed in Houston, Texas, January 1921.]] |
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[[Bix Beiderbecke]] formed The Wolverines in 1924. Also in 1924 [[Louis Armstrong]] joined the [[Fletcher Henderson]] dance band as featured soloist for a year, then formed his virtuosic [[Louis Armstrong and his Hot Five|Hot Five]] band, also popularising [[scat singing]].<ref>{{harvnb|Cooke|1999|p=56-59, 78-79, 66-70}}</ref> [[Jelly Roll Morton]] recorded with the [[New Orleans Rhythm Kings]] in an early mixed-race collaboration, then in 1926 formed his Red Hot Peppers. |
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There was a larger market for jazzy dance music played by white orchestras, such as [[Jean Goldkette]]'s orchestra and [[Paul Whiteman]]'s orchestra. In 1924 Whiteman commissioned [[George Gershwin|Gershwin]]'s ''[[Rhapsody in Blue]]'', which was premièred by Whiteman's Orchestra. Other influential large ensembles included [[Fletcher Henderson]]'s band, [[Duke Ellington]]'s band (which opened an influential residency at the [[Cotton Club]] in 1927) in New York, and [[Earl Hines]]'s Band in Chicago (who opened in The Grand Terrace Cafe there in 1928). All significantly influenced the development of big band-style swing jazz.<ref>{{harvnb|Cooke|1999|p=82-83, 100-103}}</ref> |
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===Swing=== |
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{{Main|Swing music}} |
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The 1930s belonged to popular [[swing (music)|swing]] [[big band]]s, in which some virtuoso soloists became as famous as the band leaders. Key figures in developing the "big" jazz band included bandleaders and arrangers [[Count Basie]], [[Cab Calloway]], [[Fletcher Henderson]], [[Earl Hines]], [[Duke Ellington]], [[Artie Shaw]], [[Tommy Dorsey]], [[Benny Goodman]], and [[Glenn Miller]]. |
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[[Image:Louis Armstrong NYWTS.jpg|thumb|left|210px|[[Trumpeter]], bandleader and [[singer]] [[Louis Armstrong]], known internationally as the "Ambassador of Jazz," was a much-imitated innovator of early jazz.]] |
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Swing was also dance music and it was broadcast on the radio 'live' coast-to-coast nightly across America for many years. Although it was a collective sound, swing also offered individual musicians a chance to 'solo' and improvise melodic, thematic solos which could at times be very complex and 'important' music. Included among the critically acclaimed leaders who specialized in live radio broadcasts of swing music as well as "Sweet Band" compositions during this era was [[Shep Fields]]. |
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Over time, social strictures regarding racial segregation began to relax, and white bandleaders began to recruit black musicians. In the mid-1930s, [[Benny Goodman]] hired pianist [[Teddy Wilson]], vibraphonist [[Lionel Hampton]], and guitarist [[Charlie Christian]] to join small groups. An early 1940s style known as "jumping the blues" or [[jump blues]] used small combos, up-tempo music, and blues chord progressions. Jump blues drew on [[boogie woogie (music)|boogie-woogie]] from the 1930s. [[Kansas City Jazz]] in the 1930s marked the transition from big bands to the bebop influence of the 1940s. |
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===European jazz=== |
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Outside of the [[United States]] the beginnings of a distinct European style of jazz emerged in [[France]] with the [[Quintette du Hot Club de France]] which began in 1934. Belgian guitar virtuoso [[Django Reinhardt]] popularized [[gypsy jazz]], a mix of 1930s American [[swing]], French dance hall "[[musette]]" and Eastern European folk with a languid, seductive feel. The main instruments are steel stringed guitar, [[violin]], and [[double bass]]. Solos pass from one player to another as the guitar and bass play the role of the [[rhythm section]]. Some music researchers hold that it was Philadelphia's [[Eddie Lang]] (guitar) and [[Joe Venuti]] (violin) who pioneered the [[gypsy jazz]] form <ref>{{http://http://www.redhotjazz.com/lang.html}} |
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</ref>, which was brought to France after they had been heard live or on [[Okeh Records]] in the late 1920's. |
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<ref>{{cite book |
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| first=Bill |
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| last=Crow |
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| title=Jazz Anecdotes |
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| publisher=Oxford University Press |
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| location=New York |
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| year=1990}} |
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</ref> |
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==1940s and 1950s== |
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===Dixieland revival=== |
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In the late 1930s there was a revival of "[[Dixieland]]" music, harkening back to the original contrapuntal New Orleans style. This was driven in large part by record company reissues of early jazz classics by the Oliver, Morton, and Armstrong bands of the 20s. There were two populations of musicians involved in the revival. One group consisted of men who had begun their careers playing in the traditional style, and were either returning to it, or continuing what they had been playing all along. In the late 1930s, [[Bob Crosby]]'s Bobcats led this revival. Other prominent Dixieland revivalists included [[Max Kaminsky]], [[Eddie Condon]], and [[Wild Bill Davison]]. Most of this group were originally midwesterners, although there were a small number of New Orleans musicians involved as well. The second population of revivalists consisted of young musicians too young to have been involved in early jazz, but who now rejected the contemporary swing style of jazz, and who preferred the traditional approach. The [[Lu Watters]] band was perhaps the most prominent of this second group. By the late 1940s, the revival was in full swing. [[Louis Armstrong]] formed his Allstars band, which became a leading ensemble in the Dixieland revival. Through the 1950s and 60s, Dixieland was one of the most commercially popular jazz styles in the U.S., Europe, and Japan, although critics paid little attention.<ref>Collier, 1978</ref> |
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===Bebop=== |
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[[Image:Charlie-parker1.jpg|thumb|right|250px|Memorial to Charlie Parker at the [[American Jazz Museum]] at 18th and Vine in Kansas City]] |
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In the mid-1940s [[bebop]] performers helped to shift jazz from danceable popular music towards a more challenging "musician's music." Differing greatly from swing, early bebop divorced itself from dance music, establishing itself more as an art form but lessening its potential popular and commercial value. Influential bebop musicians included saxophonist [[Charlie Parker]], pianists [[Bud Powell]] and [[Thelonious Monk]], trumpeter [[Dizzy Gillespie]] and [[Clifford Brown]], bassist [[Ray Brown (musician)|Ray Brown]], and drummer [[Max Roach]]. (See also [[List of bebop musicians]]). |
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Beboppers introduced new forms of [[chromaticism]] and [[dissonance]] into jazz and engaged in a more abstracted form of chord-based improvisation which used "passing" chords, [[substitute chord]]s, and altered chords. The style of drumming shifted as well to a more elusive and explosive style, in which the [[ride cymbal]] was used to keep time, while the snare and bass drum were used for unpredictable accents. These divergences from the jazz mainstream of the time initially met with a divided, sometimes hostile response among fans and fellow musicians. By the 1950s bebop had become an accepted part of the jazz vocabulary. |
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===Cool jazz=== |
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is cool. |
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===Hard bop=== |
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[[Hard bop]] is an extension of [[bebop]] (or "bop") music that incorporates influences from [[rhythm and blues]], [[gospel music]], and [[blues]], especially in the [[saxophone]] and [[piano]] playing. Hard bop was developed in the mid-1950s, partly in response to the vogue for [[cool jazz]] in the early 1950s. The hard bop style coalesced in 1953 and 1954, paralleling the rise of rhythm and blues. [[Miles Davis]]' performance of "[[Walkin' (jazz tune)|Walkin']]," the title track of his [[Walkin'|album]] of the same year, at the very first [[Newport Jazz Festival]] in 1954, announced the style to the jazz world. The quintet [[Art Blakey and the Jazz Messengers]], fronted by [[Art Blakey|Blakey]] and featuring pianist [[Horace Silver]] and trumpeter [[Clifford Brown]], were leaders in the hard bop movement along with Davis. (See also [[List of Hard bop musicians]]) |
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===Free jazz=== |
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[[Image:Peter-broetzmann.jpg|thumb|150px| A shot from a 2006 performance by [[Peter Brötzmann]], a key figure in European free jazz]] |
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[[Free jazz]] and the related form of [[avant-garde jazz]], are subgenres rooted in [[bebop]], that use less compositional material and allow performers more latitude. Free jazz uses implied or loose [[harmony]] and [[tempo]], which was deemed controversial when this approach was first developed. The bassist [[Charles Mingus]] is also frequently associated with the avant-garde in jazz, although his compositions draw off a myriad of styles and genres. The first major stirrings came in the 1950s, with the early work of [[Ornette Coleman]] and [[Cecil Taylor]]. In the 1960s, performers included [[John Coltrane]], [[Archie Shepp]], [[Sun Ra]], [[Albert Ayler]], [[Pharoah Sanders]], and others. Free jazz quickly found a foothold in Europe, also – in part because musicians such as Ayler, Taylor, [[Steve Lacy]] and [[Eric Dolphy]] spent extended periods in Europe. |
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[[Keith Jarrett]] has been prominent in defending free jazz from [[criticism]] by [[traditionalists]] in recent years. |
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==1960s and 1970s== |
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===Latin jazz=== |
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[[Latin jazz]] has two main varieties: [[Afro-Cuban]] and [[Brazilian jazz]]. [[Afro-Cuban jazz]] was played in the U.S. directly after the bebop period, while Brazilian jazz became more popular in the 1960s. Afro-Cuban jazz began as a movement in the mid-1950s as [[bebop]] musicians such as [[Dizzy Gillespie]] and [[Billy Taylor]] started Afro-Cuban bands influenced by such Cuban and Puerto Rican musicians as [[Xavier Cugat]], [[Tito Puente]], and [[Arturo Sandoval]]. [[Brazilian jazz]] such as [[bossa nova]] is derived from [[samba]], with influences from jazz and other 20th century classical and popular music styles. Bossa is generally moderately paced, with melodies sung in Portuguese or English. The style was pioneered by Brazilians [[João Gilberto]], [[Antônio Carlos Jobim]], [[Vinícius de Moraes]], among others. The related term jazz-samba describes an adaptation of bossa nova compositions to the jazz idiom by American performers such as [[Stan Getz]] and [[Charlie Byrd]]. |
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===Soul jazz=== |
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[[Soul jazz]] was a development of [[hard bop]] which incorporated strong influences from [[blues]], [[gospel]] and [[rhythm and blues]] in music for small groups, often the [[organ trio]] which featured the [[Hammond organ]]. Unlike [[hard bop]], soul jazz generally emphasized repetitive grooves and melodic hooks, and [[improvisation]]s were often less complex than in other jazz styles. [[Horace Silver]] had a large influence on the soul jazz style, with his songs that used funky and often [[gospel]]-based piano vamps. Important soul jazz organists included [[Jimmy McGriff]] and [[Jimmy Smith (musician)|Jimmy Smith]] and [[Johnny Hammond Smith]], and influential tenor [[saxophone]] players included [[Eddie (Lockjaw) Davis|Eddie "Lockjaw" Davis]] and [[Stanley Turrentine]]. (See also [[List of soul-jazz musicians]].) |
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===Jazz fusion=== |
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In the late 1960s and early 1970s the hybrid form of jazz-rock [[Jazz fusion|fusion]] was developed. Although jazz purists protested the blend of jazz and rock, some of jazz's significant innovators crossed over from the contemporary hardbop scene into fusion. Jazz fusion music often uses mixed meters, odd time signatures, syncopation, and complex chords and harmonies, and fusion includes a number of electric instruments, such as the electric guitar, electric bass, electric piano, and synthesizer keyboards. Notable performers of jazz fusion included [[Miles Davis]], keyboardists [[Chick Corea]] and [[Herbie Hancock]], drummer [[Tony Williams]], guitarists [[Larry Coryell]] and [[John McLaughlin (musician)|John McLaughlin]], [[Frank Zappa]], saxophonist [[Wayne Shorter]], and bassist-composer [[Jaco Pastorius]]. |
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===1970s trends=== |
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There was a resurgence of interest in jazz and other forms of African American cultural expression during the [[Black Arts Movement]] and [[Black nationalism|Black nationalist]] period of the early 1970s. Musicians such as [[Pharoah Sanders]], [[Hubert Laws]] and [[Wayne Shorter]] began using [[kalimbas]], cowbells, beaded gourds and other instruments not traditional to jazz. [[Alice Coltrane]] drew notice as a jazz [[harp]]ist, [[Jean-Luc Ponty]] as a jazz violinist, and [[Rufus Harley]] as a bagpipe player. Jazz continued to expand and change, influenced by other types of music, such as [[world music]], [[experimental music|avant garde classical music]], and rock and pop music. Guitarist [[John McLaughlin (musician)|John McLaughlin]]'s [[Mahavishnu Orchestra]] played a mix of rock and jazz infused with [[Music of India|East Indian]] influences. The [[ECM (record label)|ECM]] record label began in the 1970s with artists including [[Keith Jarrett]], [[Paul Bley]], the [[Pat Metheny]] Group, [[Jan Garbarek]], [[Ralph Towner]], and [[Eberhard Weber]], establishing a new chamber-music aesthetic, featuring mainly acoustic instruments, and incorporating elements of [[world music]] and [[folk music]]. |
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==1980s–2000s== |
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In the 1980s, the jazz community shrank dramatically and split. A mainly older audience retained an interest in traditional and "straight-ahead" jazz styles. [[Wynton Marsalis]] strove to create music within what he believed was the tradition, creating extensions of small and large forms initially pioneered by such artists as [[Louis Armstrong]] and [[Duke Ellington]]. |
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In the early 1980s, a lighter commercial form of jazz fusion called pop fusion or "[[smooth jazz]]" became successful and garnered significant radio airplay. Smooth jazz saxophonists include [[Grover Washington, Jr.]], [[Kenny G]] and [[Najee]]. Smooth jazz received frequent airplay with more straight-ahead jazz in [[quiet storm]] time slots at radio stations in urban markets across the U.S., helping to establish or bolster the careers of vocalists including [[Al Jarreau]], [[Anita Baker]], [[Chaka Khan]], and [[Sade]]. |
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In the late 1980s and early 1990s, several subgenres fused jazz with popular music, such as [[Acid jazz]], [[nu jazz]], and [[jazz rap]]. Acid jazz and nu jazz combined elements of jazz and modern forms of [[electronic music|electronic dance music]]. While [[nu jazz]] is influenced by jazz harmony and melodies, there are usually no improvisational aspects. [[Jazz rap]] fused jazz and hip-hop. [[Gang Starr]] recorded "Words I Manifest", "Jazz Music" and "Jazz Thing", sampling [[Charlie Parker]] and [[Ramsey Lewis]], and collaborating with [[Branford Marsalis]] and [[Terence Blanchard]]. Beginning in 1993, rapper [[Guru (rapper)|Guru]]'s [[Jazzmatazz]] series used jazz musicians during the studio recordings. |
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The more experimental and improvisational end of the spectrum includes Norwegian pianist [[Bugge Wesseltoft]] and American bassist [[Christian McBride]]. Toward the more pop or dance music end of the spectrum are [[Saint Germain (musician)|St Germain]] who incorporates some live jazz playing with [[house music|house beats]]. [[Radiohead]], [[Björk]], and [[Portishead]] have also incorporated jazz influences into their music. |
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In the 2000s, straight-ahead jazz continues to appeal to a core of listeners. Well-established jazz musicians whose careers span decades, such as [[Chick Corea]], [[Jack DeJohnette]], [[Bill Frisell]], [[Charlie Haden]], [[Herbie Hancock]], [[Roy Haynes]], [[Keith Jarrett]], [[Wynton Marsalis]], [[John McLaughlin]], [[Pat Metheny]], [[Paquito D'Rivera]], [[Sonny Rollins]], [[John Scofield]], [[Wayne Shorter]], [[John Surman]], [[Stan Tracey]] and [[Jessica Williams]] continue to perform and record. Some innovative jazz artists to emerge in the 1990s and 2000s with a wide following include [[Brad Mehldau]], Jason Moran, [[Kurt Rosenwinkel]], [[Robert Glasper]], [[Brian Blade]], [[Stefon Harris]], [[Roy Hargrove]], [[Aaron Goldberg]], [[Vijay Iyer]], [[Chris Potter]], [[Joshua Redman]], and [[Terence Blanchard]]. |
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==Definition== |
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As the term "jazz" has long been used for a wide variety of styles, a comprehensive definition including all varieties is elusive. While some enthusiasts of certain types of jazz have argued for narrower definitions which exclude many other types of music also commonly known as "jazz", jazz musicians themselves are often reluctant to define the music they play. [[Duke Ellington]] summed it up by saying, "It's all music." Some critics have even stated that Ellington's music was not in fact jazz, as by its very definition, according to them, jazz cannot be orchestrated. On the other hand Ellington's friend [[Earl Hines]]' s 20 solo "transformative versions" of Ellington compositions (on ''Earl Hines Plays Duke Ellington'' recorded in the 1970s) were described by Ben Ratliff, the ''New York Times'' jazz critic, as "as good an example of the jazz process as anything out there."<ref>Ratliff 2002, 19.</ref><br /> |
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There have long been debates in the jazz community over the definition and the boundaries of “jazz.” In the mid-1930s, New Orleans jazz lovers criticized the "innovations" of the swing era as being contrary to the collective improvisation they saw as essential to "true" jazz. Through the 1940s, '50s and '60s, traditional jazz enthusiasts and Bop enthusiasts criticized each other, often arguing that the other style was somehow not "real" jazz. Although alteration or transformation of jazz by new influences has often been initially criticized as a “debasement,” Andrew Gilbert argues that jazz has the “ability to absorb and transform influences” from diverse musical styles<REF>In [http://www.metrotimes.com/music/features/19/12/jazz.html "Jazz Inc."] by Andrew Gilbert, ''[[Metro Times]]'', [[December 23]] [[1998]]</REF>.<br /> |
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Commercially-oriented or 'popular' music-influenced forms of jazz have both long been criticized, at least since the emergence of Bop. Traditional jazz enthusiasts have dismissed Bop, the 1970s jazz fusion era [and much else] as a period of commercial debasement of the music. However, according to Bruce Johnson, jazz music has always had a "tension between jazz as a commercial music and an art form" <REF NAME="Elsdon">In [http://www.8ung.at/fzmw/2003/2003_12.htm Review of ''The Cambridge Companion to Jazz''] by Peter Elsdon, FZMw (Frankfurt Journal of Musicology) No. 6, 2003</REF>. |
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Gilbert notes that as the notion of a canon of jazz is developing, the “achievements of the past” may be become "…privileged over the idiosyncratic creativity...” and innovation of current artists. Village Voice jazz critic Gary Giddins argues that as the creation and dissemination of jazz is becoming increasingly institutionalized and dominated by major entertainment firms, jazz is facing a "...perilous future of respectability and disinterested acceptance." David Ake warns that the creation of “norms” in jazz and the establishment of a “jazz tradition” may exclude or sideline other newer, avant-garde forms of jazz<REF NAME="Elsdon" />. |
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One way to get around the definitional problems is to define the term “jazz” more broadly. According to Krin Gabbard “jazz is a construct” or category that, while artificial, still is useful to designate “a number of musics with enough in common part of a coherent tradition”. Travis Jackson also defines jazz in a broader way by stating that it is music that includes qualities such as “ 'swinging', improvising, group interaction, developing an 'individual voice', and being 'open' to different musical possibilities”<REF NAME="Elsdon" />. |
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==Improvisation== |
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[[Image:PharoahSanders.jpg|thumb|300px|right|Reggie Workman, Pharoah Sanders, and Idris Muhammad, c. 1978]] |
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While jazz may be difficult to define, [[improvisation]] is clearly one of its key elements. Early [[blues]] was commonly structured around a repetitive [[Call and response (music)|call-and-response]] pattern, a common element in the African American oral tradition. A form of folk music which rose in part from work songs and field hollers of rural Blacks, early blues was also highly improvisational. These features are fundamental to the nature of jazz. While in European [[classical music]] elements of interpretation, ornamentation and accompaniment are sometimes left to the performer's discretion, the performer's primary goal is to play a composition as it was written. |
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In jazz, however, the skilled performer will interpret a tune in very individual ways, never playing the same composition exactly the same way twice. Depending upon the performer's mood and personal experience, interactions with fellow musicians, or even members of the audience, a jazz musician/performer may alter melodies, harmonies or time signature at will. European classical music has been said to be a composer's medium. Jazz, however, is often characterized as the product of democratic creativity, interaction and collaboration, placing equal value on the contributions of composer and performer, 'adroitly weigh[ing] the respective claims of the composer and the improviser'.<ref>Giddins 1998, 70.</ref> |
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In New Orleans and [[Dixieland]] jazz, performers took turns playing the melody, while others improvised countermelodies. By the [[swing]] era, [[big bands]] were coming to rely more on arranged music: [[arrangement]]s were either [[sheet music|written]] or learned by ear and memorized - many early jazz performers could not read music. Individual soloists would improvise within these arrangements. Later, in [[bebop]] the focus shifted back towards small groups and minimal arrangements; the melody (known as the "head") would be stated briefly at the start and end of a piece but the core of the performance would be the series of improvisations in the middle. |
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Later styles of jazz such as [[modal jazz]] abandoned the strict notion of a chord progression, allowing the individual musicians to improvise even more freely within the context of a given scale or mode.<ref>(e.g., "[[So What (composition)|So What]]" on the [[Miles Davis]] album ''[[Kind of Blue]]'')</ref> The [[avant-garde jazz|avant-garde]] and [[free jazz]] idioms permit, even call for, abandoning chords, scales, and rhythmic meters. |
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==Samples== |
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{{sample box start|jazz music}} |
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{{multi-listen start}} |
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{{multi-listen item|filename=SongFromCottonField.ogg|title="Song From A Cotton Field"|description=This 1920s classic jazz song by [[Bessie Brown]] has a clear [[blues]] influence.|format=[[Ogg]]}} |
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{{multi-listen item|filename=DukeEllington_TakeTheATrain.ogg|title="Take The 'A' Train"|description=This 1941 sample of [[Duke Ellington]]'s signature tune is an example of the [[swing (genre)|swing]] style.|format=[[Ogg]]}} |
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{{multi-listen item|filename=CharlieParker_YardbirdSuite.ogg|title="Yardbird Suite"|description=Excerpt from a [[saxophone]] solo by [[Charlie Parker]]. The fast, complex rhythms and [[substitute chord]]s of [[bebop]] would change jazz forever.|format=[[Ogg]]}} |
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{{multi-listen item|filename=JohnColtrane_MrPC.ogg|title="Mr. P.C."|description=This hard blues by [[John Coltrane]] is an example of [[hard bop]], a post-bebop style which is informed by [[gospel music]], [[blues]] and [[work song]]s.|format=[[Ogg]]}} |
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{{multi-listen item|filename=MahavishnuOrchestra Birds of Fire.ogg|title="Birds of Fire"|description=This 1973 piece by the [[Mahavishnu Orchestra]] merges jazz improvisation and rock instrumentation into [[jazz fusion]]|format=[[Ogg]]}} |
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{{multi-listen item|filename=CourtneyPine_TheJazzstep.ogg|title="The Jazzstep"|description=This 2000 track by [[Courtney Pine]] shows how [[electronica]] and [[hip hop music|hip hop]] influences can be incorporated into modern jazz.|format=[[Ogg]]}} |
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{{multi-listen end}} |
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{{sample box end}} |
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==See also== |
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*[[Alabama Jazz Hall of Fame]] |
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*[[American Jazz Museum]] |
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*[[Big Band and Jazz Hall of Fame]] |
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*[[Cape jazz]] |
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*[[Cool (aesthetic)]] |
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*[[European free jazz]] |
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*[[International Association for Jazz Education]] |
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*[[Jazz at Lincoln Center]] |
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*[[Jazz in Germany]] |
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*[[Jazz poetry]] |
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*[[Jazzpar Prize]] |
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*[[Music of the United States]] |
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*[[Swing (genre)]] |
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*[[Thirty-two-bar form]] |
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==Sources== |
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*Adorno, Theodor. "Prisms." The MIT Press: Cambridge, MA. 1967. |
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* Allen, William Francis, Charles Pickard Ware, and Lucy McLim Garrison, eds. 1867. ''Slave Songs of the United States''. New York: A Simpson & Co. Electronic edition, Chapel Hill, N. C.: Academic Affairs Library, University of North Carolina at Chapel Hill, [http://docsouth.unc.edu/church/allen/menu.html 2000]. |
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* Burns, Ken, and Geoffrey C. Ward. 2000. ''Jazz—A History of America's Music''. New York: Alfred A. Knopf. Also: The Jazz Film Project, Inc. |
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*{{Citation | last = Cooke | first = Mervyn | date= 1999 | title = Jazz | publication-place = London | publisher =Thames and Hudson | isbn =0-500-20318-0 }}. |
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*Collier, James Lincoln. ''The Making of Jazz: A Comprehensive History'' (Dell Publishing Co., 1978) |
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* Davis, Miles. 2005. {{cite_audio | author=Miles Davis | title=Boplicity | Label=Delta Music plc. | year=2005 | id=ISBN 4-006408-264637}} |
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* Elsdon, Peter. 2003. "''The Cambridge Companion to Jazz'', Edited by Mervyn Cooke and David Horn, Cambridge: Cambridge University Press, 2002. Review." ''Frankfürter Zeitschrift für Musikwissenschaft'' 6:159–75. |
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*[[Gang Starr]]. 2006. ''Mass Appeal: The Best of Gang Starr''. CD recording 72435-96708-2-9. New York: Virgin Records. |
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* Giddins, Gary. 1998. ''Visions of Jazz: The First Century'' New York: Oxford University Press. ISBN 0195076753 |
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* Gridley, Mark C. 2004. ''Concise Guide to Jazz'', fourth edition. Upper Saddle River, NJ: Pearson/Prentice Hall. ISBN 0131826573 |
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* Kenney, William Howland. 1993. ''Chicago Jazz: A Cultural History, 1904-1930''. New York: Oxford University Press. ISBN 0195064534 (cloth); paperback reprint 1994 ISBN 0195092600 |
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*{{Citation | last = Oliver | first = Paul | author-link =Paul Oliver | year = 1970 | title =Savannah Syncopators: African Retentions in the Blues | place = London | publisher =Studio Vista | isbn =0-289-79827-2 }}. |
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* Mandel, Howard. 2007. ''Miles, Ornette, Cecil: Jazz Beyond Jazz''. Routledge. ISBN 0415967147. |
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* Porter, Eric. ''What Is This Thing Called Jazz? African American Musicians as Artists, Critics and Activists''. University of California Press, Ltd. London, England. 2002. |
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* Ratliffe, Ben. 2002. ''Jazz: A Critic's Guide to the 100 Most Important Recordings''. The New York Times Essential Library. New York: Times Books. ISBN 0805070680 |
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* Scaruffi, Piero: ''A History of Jazz Music 1900-2000'' (Omniware, 2007) |
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* Szwed, John Francis. 2000. ''Jazz 101: A Complete Guide to Learning and Loving Jazz''. New York: Hyperion. ISBN 0786884967 |
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==References== |
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{{reflist}} |
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==External links== |
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{{wikiquote}} |
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{{commons|Jazz}} |
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*[http://www.jazz-radio.info/ Online jazz radio stations] |
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*[http://pbskids.org/jazz/nowthen/index.html Great Jazz Musician Biographies] |
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*[http://www.historyexplorer.net/?Jazz_History_Timeline Jazz History Timeline] |
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*[http://www.pbs.org/jazz/index.htm Jazz - A Film by Ken Burns, PBS] |
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*[http://www.smithsonianjazz.org/ Jazz @ the Smithsonian] |
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*[http://www.themediaguide.net/Jazz-Radio-Stations.html Smooth Jazz Radio Links] |
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*[http://www.scaruffi.com/history/jazz.html Piero Scaruffi's history of jazz music 1900-2000] |
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*[http://www.jazzhall.com Alabama Jazz Hall of Fame website] |
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*[http://www.jalc.org/ Jazz at Lincoln Center website] |
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*[http://www.americanjazzmuseum.com/ American Jazz Museum] website |
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*[http://www.ejn.it/ Europe Jazz Network] |
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*[http://www.jazzbarisax.com Great Jazz Baritone Saxophonists and players] |
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*[http://jazzhistorydatabase.com/ New England Jazz History Database] |
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{{jazzfooter}} |
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Revision as of 19:27, 28 February 2008
NIGS