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It was a good laugh. Divorcing itself from dance music, bebop established itself more as an art form, thus lessening its potential popular and commercial appeal. Jazz fusion was also popular in Japan, where the band Casiopea released over thirty fusion albums. The New York Times. Latest environmental news, features and updates.
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African-based rhythmic patterns were retained in the United States in large part through "body rhythms" such as stomping, clapping, and patting juba dancing.
In the opinion of jazz historian Ernest Borneman , what preceded New Orleans jazz before was "Afro-Latin music", similar to what was played in the Caribbean at the time. Tresillo is the most basic and most prevalent duple-pulse rhythmic cell in sub-Saharan African music traditions and the music of the African Diaspora.
Tresillo is heard prominently in New Orleans second line music and in other forms of popular music from that city from the turn of the 20th century to present. In the post-Civil War period after , African Americans were able to obtain surplus military bass drums, snare drums and fifes, and an original African-American drum and fife music emerged, featuring tresillo and related syncopated rhythmic figures.
African-American music began incorporating Afro-Cuban rhythmic motifs in the 19th century when the habanera Cuban contradanza gained international popularity. John Storm Roberts states that the musical genre habanera "reached the U.
Habaneras were widely available as sheet music and were the first written music which was rhythmically based on an African motif Jelly Roll Morton called the rhythmic figure the Spanish tinge and considered it an essential ingredient of jazz.
The abolition of slavery in led to new opportunities for the education of freed African Americans. Although strict segregation limited employment opportunities for most blacks, many were able to find work in entertainment. Black musicians were able to provide entertainment in dances, minstrel shows , and in vaudeville , during which time many marching bands were formed.
Black pianists played in bars, clubs, and brothels, as ragtime developed. Ragtime appeared as sheet music, popularized by African-American musicians such as the entertainer Ernest Hogan , whose hit songs appeared in Two years later, Vess Ossman recorded a medley of these songs as a banjo solo known as "Rag Time Medley". Krell published his " Mississippi Rag " as the first written piano instrumental ragtime piece, and Tom Turpin published his "Harlem Rag", the first rag published by an African-American.
The classically trained pianist Scott Joplin produced his " Original Rags " in and, in , had an international hit with " Maple Leaf Rag ", a multi- strain ragtime march with four parts that feature recurring themes and a bass line with copious seventh chords. Its structure was the basis for many other rags, and the syncopations in the right hand, especially in the transition between the first and second strain, were novel at the time.
African-based rhythmic patterns such as tresillo and its variants, the habanera rhythm and cinquillo, are heard in the ragtime compositions of Joplin, Turpin, and others.
Blues is the name given to both a musical form and a music genre,  which originated in African-American communities of primarily the " Deep South " of the United States at the end of the 19th century from their spirituals , work songs , field hollers , shouts and chants and rhymed simple narrative ballads.
The African use of pentatonic scales contributed to the development of blue notes in blues and jazz. Many of the rural blues of the Deep South are stylistically an extension and merger of basically two broad accompanied song-style traditions in the west central Sudanic belt:.
Handy became intrigued by the folk blues of the Deep South whilst traveling through the Mississippi Delta. In this folk blues form, the singer would improvise freely within a limited melodic range, sounding like a field holler, and the guitar accompaniment was slapped rather than strummed, like a small drum which responded in syncopated accents, functioning as another "voice".
The primitive southern Negro, as he sang, was sure to bear down on the third and seventh tone of the scale, slurring between major and minor. Whether in the cotton field of the Delta or on the Levee up St. Louis way, it was always the same. Till then, however, I had never heard this slur used by a more sophisticated Negro, or by any white man. I tried to convey this effect The publication of his " Memphis Blues " sheet music in introduced the bar blues to the world although Gunther Schuller argues that it is not really a blues, but "more like a cakewalk" .
This composition, as well as his later " St. Louis Blues " and others, included the habanera rhythm,  and would become jazz standards. The blues form which is ubiquitous in jazz is characterized by specific chord progressions, of which the twelve-bar blues progression is the most common. Basic blues progressionions are based on the I, IV and V chords often called the "one", "four" and "five" chords. An important part of the sound are the microtonal blue notes which, for expressive purposes, are sung or played flattened thus "between" the notes on a piano , or gradually "bent" minor third to major third in relation to the pitch of the major scale.
The blue notes opened up an entirely new approach to Western harmony, ultimately leading to a high level of harmonic complexity in jazz. The music of New Orleans had a profound effect on the creation of early jazz. The reason why jazz is mainly associated with New Orleans is due to the slaves being able to practice elements of their culture such as voodoo, and they were also allowed drums.
The instruments used in marching bands and dance bands became the basic instruments of jazz: Small bands which mixed self-taught and well-educated 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.
These bands travelled throughout Black communities in the Deep South and, from around onwards, Afro-Creole and African-American musicians played in vaudeville shows which took jazz to western and northern US cities. In New Orleans, a white marching band leader named Papa Jack Laine integrated blacks and whites in his marching band.
Laine was known as "the father of white jazz" because of the many top players who passed through his bands including George Brunies, Sharkey Bonano and the future members of the Original Dixieland Jass Band. Laine was a good talent scout. During the early s, jazz was mostly done in the African-American and mulatto communities, due to segregation laws. The red light district of Storyville, New Orleans was crucial in bringing jazz music to a wider audience via tourists who came to the port city. Louis Armstrong also got his start in Storyville  and would later find success in Chicago along with others from New Orleans after the United States government shut down Storyville in The cornetist Buddy Bolden led a band who are often mentioned as one of the prime originators of the style later to be called "jazz".
He played in New Orleans around —, before developing a mental illness; there are no recordings of him playing. From , he toured with vaudeville shows around southern cities, also playing in Chicago and New York City.
In , he composed his " Jelly Roll Blues ", which on its publication in became the first jazz arrangement in print, introducing more musicians to the New Orleans style. Now in one of my earliest tunes, "New Orleans Blues," you can notice the Spanish tinge. Morton was a crucial innovator in the evolution from the early jazz form known as ragtime to jazz piano, and could perform pieces in either style; in , Morton made a series of recordings for the Library of Congress , in which he demonstrated the difference between the two styles.
An oft quoted definition of swing by Louis Armstrong is: Swing defies analysis; claims to its presence may inspire arguments. This aspect of swing is far more prevalent in African-American music than in Afro-Caribbean music. One aspect of swing, which is heard in more rhythmically complex Diaspora musics, places strokes in-between the triple and duple-pulse "grids". New Orleans brass bands are a lasting influence, contributing horn players to the world of professional jazz with the distinct sound of the city whilst helping black children escape poverty.
Armstrong, perhaps more than any other musician, codified the rhythmic technique of swing in jazz and broadened the jazz solo vocabulary. In Ohio and elsewhere in the midwest the major influence was ragtime, until about Around , when the four-string banjo and saxophone came in, musicians began to improvise the melody line, but the harmony and rhythm remained unchanged.
A contemporary account states that blues could only be heard in jazz in the gut-bucket cabarets, which were generally looked down upon by the Black middle-class.
From to , Prohibition in the United States banned the sale of alcoholic drinks, resulting in illicit speakeasies which became lively venues of the "Jazz Age", hosting popular music including current dance songs, novelty songs, and show tunes. Jazz began to get a reputation as being immoral, and many members of the older generations saw it as threatening the old cultural values and promoting the new decadent values of the Roaring 20s.
Henry van Dyke of Princeton University wrote, " The New York Times used stories and headlines to pick at jazz: Siberian villagers were said by the paper to have used jazz to scare off bears when, in fact, they had used pots and pans; another story claimed that the fatal heart attack of a celebrated conductor was caused by jazz. Bix Beiderbecke formed The Wolverines in Despite its Southern black origins, there was a larger market for jazzy dance music played by white orchestras.
In , Paul Whiteman and his orchestra became a hit in San Francisco, California, signing with Victor Talking Machine Company in and becoming the top bandleader of the s, giving "hot jazz" a white component, hiring white musicians including Bix Beiderbecke , Jimmy Dorsey , Tommy Dorsey , Frankie Trumbauer , and Joe Venuti. In spite of all this, he has expressed himself in a significant and, on the whole, highly original form In , Louis Armstrong joined the Fletcher Henderson dance band for a year, as featured soloist.
The original New Orleans style was polyphonic, with theme variation and simultaneous collective improvisation. Also in the s Skiffle , jazz played with homemade instruments such as washboard, jugs, musical saw, kazoos, etc. The s belonged to popular swing big bands, in which some virtuoso soloists became as famous as the band leaders.
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 "important" music. Swing was also dance music. It was broadcast on the radio "live" nightly across America for many years, especially by Earl Hines and his Grand Terrace Cafe Orchestra broadcasting coast-to-coast from Chicago  well placed for "live" US time-zones. Over time, social strictures regarding racial segregation began to relax in America: In the s, Kansas City Jazz as exemplified by tenor saxophonist Lester Young inventor of much of hipster jargon marked the transition from big bands to the bebop influence of the s.
An early s style known as "jumping the blues" or jump blues used small combos, uptempo music and blues chord progressions, drawing on boogie-woogie from the s. British jazz began with a tour by the Original Dixieland Jazz Band in This distinct style entered full swing in France with the Quintette du Hot Club de France , which began in Much of this French jazz was a combination of African-American jazz and the symphonic styles in which French musicians were well-trained; in this, it is easy to see the inspiration taken from Paul Whiteman since his style was also a fusion of the two.
Ellington called his music "American Music" rather than jazz, and liked to describe those who impressed him as "beyond category.
Several members of the orchestra remained with him for several decades. The band reached a creative peak in the early s, when Ellington and a small hand-picked group of his composers and arrangers wrote for an orchestra of distinctive voices who displayed tremendous creativity. Divorcing itself from dance music, bebop established itself more as an art form, thus lessening its potential popular and commercial appeal.
In I heard the great Earl Hines band which had Bird in it and all those other great musicians. They were playing all the flatted fifth chords and all the modern harmonies and substitutions and Dizzy Gillespie runs in the trumpet section work. But people also have the erroneous impression that the music was new. The music evolved from what went before. It was the same basic music. The difference was in how you got from here to here to here Since bebop was meant to be listened to, not danced to, it could use faster tempos.
Drumming shifted 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 accents. This led to a highly syncopated music with a linear rhythmic complexity. Bebop musicians employed several harmonic devices which were not previously typical in jazz, engaging in a more abstracted form of chord-based improvisation.
Bebop scales are traditional scales with an added chromatic passing note;  bebop also uses "passing" chords, substitute chords , and altered chords. I could hear it sometimes. Gerhard Kubik postulates that the harmonic development in bebop sprang from the blues and other African-related tonal sensibilities , rather than 20th-century Western art music as some have suggested:.
Bebop musicians eliminated Western-style functional harmony in their music while retaining the strong central tonality of the blues as a basis for drawing upon various African matrices. Samuel Floyd states that blues were both the bedrock and propelling force of bebop, bringing about three main developments:.
While for an outside observer, the harmonic innovations in bebop would appear to be inspired by experiences in Western "serious" music, from Claude Debussy to Arnold Schoenberg , such a scheme cannot be sustained by the evidence from a cognitive approach.
And it is also true that Duke Ellington adopted and reinterpreted some harmonic devices in European contemporary music. West Coast jazz would run into such debts as would several forms of cool jazz, but bebop has hardly any such debts in the sense of direct borrowings.
On the contrary, ideologically, bebop was a strong statement of rejection of any kind of eclecticism, propelled by a desire to activate something deeply buried in self. Bebop then revived tonal-harmonic ideas transmitted through the blues and reconstructed and expanded others in a basically non-Western harmonic approach. The ultimate significance of all this is that the experiments in jazz during the s brought back to African-American music several structural principles and techniques rooted in African traditions .
These divergences from the jazz mainstream of the time initially met with a divided, sometimes hostile, response among fans and fellow musicians, especially established swing players, who bristled at the new harmonic sounds.
To hostile critics, bebop seemed to be filled with "racing, nervous phrases". The general consensus among musicians and musicologists is that the first original jazz piece to be overtly based in clave was "Tanga" , composed by Cuban-born Mario Bauza and recorded by Machito and his Afro-Cubans in New York City.
This was the birth of Afro-Cuban jazz. The use of clave brought the African timeline , or key pattern , into jazz. Music organized around key patterns convey a two-celled binary structure, which is a complex level of African cross-rhythm. The harmonic progression can begin on either side of clave, and the harmonic "one" is always understood to be "one".
If the progression begins on the "three-side" of clave, it is said to be in clave. If the progression begins on the "two-side", its in clave. According to Gillespie, Pozo composed the layered, contrapuntal guajeos Afro-Cuban ostinatos of the A section and the introduction, while Gillespie wrote the bridge.
I thought I was writing an eight-bar bridge, but I had to keep going and ended up writing a sixteen-bar bridge. While pushing the boundaries of harmonic improvisation, cu-bop also drew from African rhythm. Jazz arrangements with a Latin A section and a swung B section, with all choruses swung during solos, became common practice with many Latin tunes of the jazz standard repertoire. Cuban percussionist Mongo Santamaria first recorded his composition " Afro Blue " in The following example shows the original ostinato "Afro Blue" bass line; the slashed noteheads indicate the main beats not bass notes , where you would normally tap your foot to keep time.
In the late s, there was a revival of Dixieland , harking back to the contrapuntal New Orleans style. This was driven in large part by record company reissues of jazz classics by the Oliver, Morton, and Armstrong bands of the s. There were two types of musicians involved in the revival: Through the s and s, Dixieland was one of the most commercially popular jazz styles in the US, Europe, and Japan, although critics paid little attention to it.
In , he founded Clef Records , discovering Canadian jazz pianist Oscar Peterson in , and merging Clef Records with his new label Verve Records in , which advanced the career of Ella Fitzgerald et al.
By the end of the s, the nervous energy and tension of bebop was replaced with a tendency toward calm and smoothness with the sounds of cool jazz , which favored long, linear melodic lines. It emerged in New York City and dominated jazz in the first half of the s. The starting point was a collection of and singles by a nonet led by Miles Davis , released as the Birth of the Cool The theoretical underpinnings of cool jazz were laid out by the Chicago pianist Lennie Tristano , and its influence stretches into such later developments as bossa nova , modal jazz , and even free jazz.
Hard bop is an extension of bebop or "bop" music which incorporates influences from rhythm and blues, gospel music and blues, especially in the saxophone and piano playing. Hard bop was developed in the mids, coalescing in and ; it developed partly in response to the vogue for cool jazz in the early s and paralleled the rise of rhythm and blues. Modal jazz is a development which began in the later s which takes the mode , or musical scale, as the basis of musical structure and improvisation.
Previously, a solo was meant to fit into a given chord progression , but with modal jazz, the soloist creates a melody using one or a small number of modes. The emphasis is thus shifted from harmony to melody: The modal theory stems from a work by George Russell. Miles Davis introduced the concept to the greater jazz world with Kind of Blue , an exploration of the possibilities of modal jazz which would become the best selling jazz album of all time.
The track "So What" has only two chords: Other innovators in this style include Jackie McLean ,  and two of the musicians who had also played on Kind of Blue: John Coltrane and Bill Evans. By the s, Afro-Cuban jazz had been using modes for at least a decade, as much of it borrowed from Cuban popular dance forms which are structured around multiple ostinatos with only a few chords.
However, there is no evidence that Davis or other mainstream jazz musicians were influenced by the use of modes in Afro-Cuban jazz, or other branches of Latin jazz. Free jazz, and the related form of avant-garde jazz , broke through into an open space of "free tonality" in which meter, beat, and formal symmetry all disappeared, and a range of world music from India, Africa, and Arabia were melded into an intense, even religiously ecstatic or orgiastic style of playing.
The bassist Charles Mingus is also frequently associated with the avant-garde in jazz, although his compositions draw from myriad styles and genres. The first major stirrings came in the s with the early work of Ornette Coleman whose album Free Jazz: A Collective Improvisation coined the term and Cecil Taylor. On his tour of France, he was booed, but persevered, signing with the new Impulse!
Records in and turning it into "the house that Trane built", while championing many younger free jazz musicians, notably Archie Shepp , who often played with trumpeter Bill Dixon , who organized the 4-day "October Revolution in Jazz" in Manhattan in , the first free jazz festival. In the studio, he all but abandoned his soprano to concentrate on the tenor saxophone.
In addition, the quartet responded to the leader by playing with increasing freedom. In June , Coltrane and 10 other musicians recorded Ascension , a minute-long piece without breaks that included adventurous solos by young avante-garde musicians as well as Coltrane, and was controversial primarily for the collective improvisation sections that separated the solos.
Dave Liebman later called it "the torch that lit the free jazz thing. After recording with the quartet over the next few months, Coltrane invited Pharoah Sanders to join the band in September While Coltrane used over-blowing frequently as an emotional exclamation-point, Sanders would opt to overblow his entire solo, resulting in a constant screaming and screeching in the altissimo range of the instrument. Since the s, various creative centers of jazz have developed in Europe, such as the creative jazz scene in Amsterdam.
Following the work of veteran drummer Han Bennink and pianist Misha Mengelberg , musicians started to explore free music by collectively improvising until a certain form melody, rhythm, or even famous song is found by the band. Ukip is collapsing, but Henry Bolton might just be the man to save it Nigel Farage. Theresa May needs to embrace her inner psychopath Charlotte Gill. Monetary policy is outdated.
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