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Theres always the question about structure and freedom in jazz.

Free jazz promoters feel traditional jazz is too much bounde d and they want to get free from it. This however free jazz has never accomplished and I think free jazz is on the contrary a very structured kind of music. Also free jazz needs compositional forms as a structure to improvise on. The compositions arent melodies but often themes or just some set of agreements, structures without a catching melody. Its even a kind of denial of improvisation I tend to think, since a a theme as structure, precedes improvisation, while by contrast a melody is being created by improvisation, in a creative mood. So a melody, as compositional improvisation, where traditional jazz works wit h, has much more to do with improvisation than the themes and compositional forms of free jazz. Jazz needs composition, improvising needs fixed things to improvise. Composition offers these fixed things. Structure only is not enough, what is needed is a composition in the form of a melody or tune to be recognizable for the listener, as well for the improviser to be challenging to make it his own. What I actually try to say is that structure is not needed at all, it only seems to be an issue in free jazz. The composition just offers a fixed tune by which the band and the soloist can play and improvise. If desired orchestration can be used to expand a tune. Traditional jazz isnt so much bounded as free jazz promoters tend to think. The amounts of composition and ways of playing them in a band are infinite and they can be combined. This is in fact what makes people feel happy about it and why they like the music! The same song could be played over and over again without getting people bored, every time its different when the band and the artists are creative enough, people know this intuitively. This is also whats the magic and interaction is abou t between the performers and the public. Theres a certain energy field I think, the band plays the public and the public enjoy s the music and encourages the band. In this process also the public learn about jazz and while listening develop certain skills in how to play jazz. This is a typical feature of jazz music I think and its part of the pleasure of attending a concert. What I want to emphasize is that theres is creativity in the sense of create something out of nothing, a new song, a melody or tune. And theres in jazz the idea of musical personality, improvising on a tune. These are two different kinds of creativity and they cant be combined at the same time, which I think musicians try in free jazz, certainly not when playing together in a ba nd. The compositional forms free jazz works with, these structures, arent creative forms at all (those themes sound really dreadful to me), the improvisation and playing of the whole band becomes largely structured as well. Playing standards and classic compositions I think its a great thing to play standards, but they should be played in a modern way (and not in an odd way). Its getting done more in my opinion, it really is a shame to play them not, these are great tunes! I saw the video of Miguel Zenon playing Miles Davis tunes (see at the bottom of the page). It really gave me the right feeling about what jazz is, how jazz feels, in a way I never really felt with jazz. Also because Zenon plays the saxophone very well. Paul Motian also performs standards very well in my opinion. Whats common in classical music, to perform old compositions and to actualize them, can be become common in jazz as well. Not covering it and popularize it, but stay loyal to the orginal but at the same time actualize it. Its really a ki nd of art on it self, like performers of classical music do. The problem of jazz Really the problem of jazz always has been and still is the dictatorship of the saxophone as Harry Mulisch called it. In pop its the dictatorship of the guitar. There are saxophone players who play the saxophone in a good way, I think Miguel Zenon and Kenny Garrett playing in Miles Davis band, and also the saxophone players in Paul Motians band Trio 2000 + two. And I notic e (I dont know if this is a right observation) that Vandermark is busy with how to play the saxophone. Jazz performers understand the public badly (while performers think the other way around) The dictatorship of the saxophone caused an evolution in jazz with the progression of free jazz. This affected the whole genre. Jazz lost its popularity. Free jazz may be fun for the players, thats the main reason why its played I think, but really sucks for the average listen er. And

the average listener is right imo. The complaints about people not interesti ng in new music are understandable from the artists perspective, but you cant accuse people for this! Dont blame people, the people may be right! Musicians should listen to th eir own music. I think they only listen to music to learn, but not really to think about if they like it. So musicians, listen to your own and others music, become listeners as well, and ask yourself Do I like this music?! What I mean is that there are two aspects of listening to music. You can listen to a performer as someone w hos playing music which happens outside you, but theres also an important aspect of internalization of the music and then you experience what the music does with you. Experiencing the music that way I myself hear rather fear and aggressiveness in much jazz, not only in typical free jazz. I think jazz becomes like this when a certain structure is used as a basis for improvisation, by which improvisation and the playing of the whole band becomes largely structured. But what I think is the true spirit of jazz is that it sounds nice and friendly, and is about style and class (so Im not talking here about integration with other traditions of music and new sounds, which have to offer other qualities). Innovative developments in jazz and popular music (the cre ation of international sound) I think pure jazz really has a great future, Miguel Zenon makes me feel promising about it, I already mentioned it in the paragraph playing standards and old compositions. But theres also a promising future for fusion and Im recalling on what Miles Davis did in the 80s and what he said. Miles Davis said that the sound becomes international. So all kinds of traditional music, different genres and all kind of new sound are to be integrated. And thats whats happening. I myself as a listener am always searching for the best music. I feel pleasured to share my preferences: Miguel Zenon Esta Plena John Zorns late work (Zorn really gets better and better imo). Keiko Matsui The Road (may sound as easy listening at first instance, but really great music I think) Paul Motians Trio 2000 + Two Cantoma Out of Town (lounge music, but good music) Brazilian Bossa music (various artists) Fela Kuti (Afrobeat) Angelique Kidjo. Really does progressive things in developing an international sound. Di Johnston. This lady makes nice music. Blonde Redhead Penny Sparkle (I think this is a kind of fusion between pop and drum and bass music, a development in music which I find very interesting). Kassav make great music, a kind of music they have named Zouk. Their music has much texture (so not structure). Gerald Clayton. Piano trio. Gideon van Gelder Perpetual Eric Vloeimans Gatecrash Heavensabove! Marcus Miller Tutu Revisited Hiromi Voice I think there are more interesting developments in jazz, I want to mention Josh Roseman and Maurice Brown, but the saxophone in their bands, it spoils it for me. This is a shame because I actually like their music very much. Josh Roseman in his recording Treats for the Nightwalker does a lot with orchestration and also is innovative in other projects. And I want to mention Jim Blacks AlasNoAxis. Jim has really done something special with this band I think. Furthermore pop bands like Yes Sir Boss! and Tin Roots are innovative I think. Also special mention of Joss Stone and KT Tunstall. These are all British artists and bands who sound far more interesting to me than American bands. And I really am curious how Prince will develop. I dont listen to his music anymore, I totally lost interest. His music may be funky, but its rather cold as well and in that sense not really cool. But his last track on his latest album, Laydown is promising.

The jazz philosophy I really think learning to improvise doesnt need much pract ice, very much people can learn it in a playful manner. It seems though that even people who practice very much are only copying the great improvisers. A totally dramatic pedagogy in jazz I think. I like to cling to the philosophy of Downbeat magazine. I think they keep carrying out that jazz is music that is for everybody and that very much people have capabilities to improvise. Theory should be made simple so that people can just learn to play an instrument in an playful way, without having to practice a lot. Jazz is about playing in a band, playing with others. With the emphasis on playing, so as an individual with other individu als. In modern free jazz however it seems the musicians are only part of a collective, creating a kind of mechanical music. Many artists and bands, no matter the genre, seem to forget that the basis is to play with others, maybe because of their professionality. What subsequently is needed is a bandleader who has the quality of creating intimacy with his band members. Thats how Miles Davis worked, thats how today Colin Benders works and many others I think but maybe in a too distant way, too much internally. And I think many musicians are totally unaware of this function. This really is a thing by which music becomes of great significance and the musicians can play at their best, as soloists as well as together in a band.

Gaya Muzik Jazz [1] 2 Gaya Jazz ketara berkembang dengan ciri-ciri keperluan dalam apa-apa bentuk seni yang benar Ragtime - Asal-usul Jazz: Irama dibawa dari warisan muzik di Afrika telah dimasukkan ke dalam Cakewalks, Lagu Coon dan muzik "Jig Band" yang akhirnya berkembang menjadi ragtime, c.1895 (garis masa). Komposisi ragtime pertama telah diterbitkan oleh Ben Harney. Muzik, vitalized oleh irama menentang biasa untuk tarian Afrika, adalah bertenaga, bersemangat dan sering spontan. Terutamanya pelopor kepada gaya Jazz, muzik ragtime awal telah ditetapkan dalam perarakan, waltzes dan lain-lain bentuk lagu tradisional tetapi ciri-ciri yang sama adalah sinkopasi. Nota Syncopated dan irama menjadi begitu popular dengan orang ramai bahawa penerbit muzik lembaran termasuk perkataan "syncopated" dalam pengiklanan. Pada tahun 1899, seorang pemain piano muda klasik dilatih dari Missouri bernama Scott Joplin diterbitkan pertama banyak komposisi ragtime yang akan datang untuk membentuk muzik negara. Jazz Classic - Pada awal tahun 1900-an, gaya Jazz mengambil bentuk muzik band kecil dan asalnya dikreditkan ke New Orleans. Ini gaya muzik kadang-kadang tersilap dirujuk sebagai "Dixieland" tetapi adalah kurang solo berorientasikan. Walaupun tradisional New Orleans Jazz telah dilakukan oleh orang kulit hitam, kulit putih dan Creoles Afrika-Amerika, "Dixieland" adalah istilah untuk kebangkitan pelaku putih gaya ini. New Orleans gaya, atau "Jazz Classic" bermula dengan band tembaga yang dilakukan bagi pihak dan tarian pada lewat 1800-an dan awal 1900. Banyak alat-alat muzik telah diselamatkan dari Perang Gabungan termasuk klarinet, saksofon, trompet, trombon, tuba, banyo, bass, gitar, drum dan kadang-kadang piano. Susunan muzik berbeza dengan ketara daripada prestasi pencapaian dan banyak solos dihiasi melodi dengan perhiasan penambahbaikan Jazz. Ini muzik baru meriah digabungkan syncopations daripada ragtime dengan adaptasi melodi popular, pujian, perarakan, lagu kerja dan Blues. Pertengahan 1990-an menyaksikan kemunculan yang kukuh dalam bentuk Classic. Jazz Hot - c.1925 Louis Armstrong direkodkan pertama Hot rekod Lima band beliau, kali pertama beliau direkodkan di bawah namanya sendiri. Rekod-rekod yang dibuat oleh Hot Lima dan Hot band Seven Louis Armstrong dianggap Jazz klasik mutlak dan bercakap tentang kuasa kreatif Armstrong. Band pernah bermain langsung, tetapi rakaman berterusan sehingga tahun 1928. Muzik dicirikan oleh solos spontan kolektif, di sekitar struktur melodi, yang ideal membina kepada "panas" kemuncak emosi dan. Bahagian irama, biasanya drum, bass, banyo atau gitar disokong lambat laun ini, banyak kali dalam gaya perarakan tempo.

Tidak lama kemudian, kumpulan-kumpulan yang lebih besar dan orkestra mula mencontohi tenaga yang, terutamanya dengan kemajuan teknologi rekod, yang menyebarkan "Hot" bunyi baru di seluruh negara. Gaya Chicago - Chicago adalah tempat pembiakan bagi kebanyakan anak muda, pemain merekacipta. Ciri-ciri harmoni, pengaturan inovatif dan keupayaan teknikal yang tinggi daripada pemain, Chicago Style Jazz ketara melanjutkan muzik spontan hari itu. Sumbangan daripada peserta yang dinamik seperti Benny Goodman, Bud Freeman dan Eddie Condon bersama-sama dengan alur kreatif Gene Krupa, membantu perintis muzik Jazz dari bayi itu dan memberi inspirasi kepada orang-orang yang diikuti. Swing - Tahun 1930-an milik Swing. Dalam era yang klasik, kebanyakan kumpulan Jazz adalah Pancaragam Besar. Berasal dari New Orleans gaya Jazz, Swing adalah mantap dan menyegarkan. Swing juga muzik tarian, yang berkhidmat sebagai ia adalah sambungan segera kepada rakyat. Walaupun ia adalah bunyi kolektif, swing juga ditawarkan pemuzik individu peluang untuk menambah baik melodi, solos tema yang pada masa-masa boleh menjadi sangat kompleks. Pertengahan 1990-an menyaksikan kebangkitan semula muzik Swing didorong oleh trend retro dalam tarian. Sekali lagi pasangan muda di seluruh Amerika dan Eropah ketar-bugged dengan bunyi swing'n muzik Big Band, sering dimainkan oleh berkumpulan lebih kecil. Kansas City Style - Semasa Kemelesetan dan Larangan era, Kansas City kejadian Jazz berkembang pesat sebagai Mekah untuk bunyi moden tahun 1920-an dan 30-an. Dicirikan oleh stylings penuh perasaan dan blusey Big Band dan Swing ensemble kecil, perkiraan sering mempamerkan solos sangat bertenaga dimainkan untuk "Speakeasy" penonton. Alto Saksofon perintis Charlie Parker berasal dari Kansas City. Gypsy Jazz - Berasal oleh gitar French Django Reinhardt, Gypsy Jazz adalah campuran tidak mungkin tahun 1930-an swing Amerika, Perancis tarian dewan "musette" dan ketegangan kaum Eropah Timur. Juga dikenali sebagai Jazz Manouche, ia mempunyai lesu, menggoda berasa dicirikan oleh irama yang aneh dan memandu irama. Instrumen utama adalah gitar bertali nilon, sering berjumlah ensemble setengah dozen, dengan sekali-sekala dan biola biola bass. Solos lulus dari seorang pemain yang lain seperti gitar lain menganggap irama. Walaupun terutamanya gaya nostalgia ditetapkan di bar Eropah dan tempat-tempat kecil, Gypsy Jazz adalah dihargai di seluruh dunia. Bebop - Dibangunkan pada awal 1940-an, Bop telah mengukuhkan kedudukannya sebagai tren oleh 1945. Inovasi utama Ia adalah pemain Saksofon alto Charlie Parker dan trompet Dizzy Gillespie. Sehingga itu, penambahbaikan Jazz berasal dari garisan melodi. Solo Bebop terlibat dalam penambahbaikan harmonik, sering mengelakkan melodi sama sekali selepas korus pertama. Biasanya di bawah tujuh keping, pemain solo itu bebas untuk meneroka kemungkinan spontan selagi mereka patut ke dalam struktur kord. Berbeza besar daripada Swing, Bebop bercerai sendiri awal daripada muzik tarian, mewujudkan dirinya sebagai bentuk seni tetapi memutuskan nilai komersil yang berpotensi. Ironinya, apa yang pernah dianggap sebagai gaya Jazz yang radikal, Bebop telah menjadi asas bagi semua inovasi yang diikuti. Vocalese - Seni mengarang lirik dan menyanyi dengan cara yang sama seperti solos instrumental direkodkan. Dicipta oleh Jazz pengkritik Leonard bulu, Vocalese mencapai tahap tertinggi 1957-62. Penghibur boleh solo atau menyanyi dalam ensemble, disokong oleh kumpulan kecil atau orkestra. Bop di alam, Vocalese jarang menceburi gaya Jazz lain dan tidak membawa kejayaan komersial kepada penghibur itu sehingga beberapa tahun kebelakangan ini. Antara yang dikenali untuk menulis dan melaksanakan lirik vocalese adalah Eddie Jefferson dan Jon Hendricks. Mainstream - Selepas berakhirnya era Big Band, kerana ini berkumpulan besar berlaku kepada kumpulan-kumpulan yang lebih kecil, muzik Swing terus dimainkan. Beberapa pemain yang terbaik Swing boleh didengar pada tahap terbaik dalam sesi jem tahun 1950-an di mana penambahbaikan chordal kini akan mengambil kepentingan lebih perhiasan melodi.

Muncul semula sebagai gaya Jazz longgar dalam 70-an dan 80-an, Jazz mainstream mengambil pengaruh dari Cool, Klasik dan Hardbop. Terma mainstream moden atau Post Bop digunakan untuk hampir mana-mana gaya Jazz yang tidak boleh berkait rapat dengan gaya sejarah muzik Jazz. Cool - Berkembang terus dari Bop pada lewat 1940-an dan 1950-an, terlicin Cool ini daripada campuran Bop dan Swing nada sekali lagi harmoni dan dinamik kini lembut. Susunan ensemble telah kembali kepentingan. Digelar "Coast Jazz West" kerana inovasi yang banyak yang datang dari Los Angeles, Cool menjadi seluruh negara menjelang akhir tahun 1950-an, dengan sumbangan besar daripada pemuzik Pantai Timur dan komposer. Bop Keras - Lanjutan daripada Bebop yang agak terganggu oleh bunyi Cool Coast Jazz West, melodi Bop keras cenderung untuk menjadi lebih "penuh perasaan" daripada Bebop, pinjaman pada masa-masa daripada Rhythm & Blues dan juga tema Injil. Bahagian irama adalah canggih dan lebih pelbagai daripada Bop daripada 1940-an. Piano Horace Perak terkenal dengan inovasi Bop keras beliau. Bossa Nova - A campuran Pantai Barat Cool, harmoni klasik Eropah dan menggoda irama samba Brazil, Bossa Nova atau lebih tepat "Jazz Brazil", tiba di Amerika c.1962 Syarikat (garis masa). Yang gitar akustik irama loghat melodi mudah halus tetapi hipnosis dinyanyikan dalam sama ada (atau kedua-duanya) Bahasa Portugis atau Bahasa Inggeris. Dipelopori oleh Brazil 'Joao Gilberto dan Antonio Carlos Jobim, alternatif ini untuk Bop Keras tahun 60-an dan gaya Jazz Percuma, mendapat pendedahan yang popular dengan Pantai Barat seperti pemain gitar Charlie Byrd & Saksofon Stan Getz. I'm having a hard time distinguishing between different styles of jazz. I have a test coming up, so I made a list of characteristics, instrumentations, and people. This is my review sheet, I'd like to know if I have these right, and if I've missed anything important. (I left symphonic jazz empty because I couldn't remember much about it) bebop - very fast and "hot", generally small bands, more syncopated? - base, drums, piano, trumpet, saxophone -Dizzy Gillespie, Charlie Parker, Max Roach and Thelonios Monk stride piano - characterized by the pianist's left hand's "oom-pah" feel, but faster and more complex? Has Blue notes, swing and improvisation, unlike ragtime? very fast -piano - James P Johnson, Willie "The Lion" Smith, Fats Waller, Art Tatum boogie-woogie - syncopated and fast, music made for dancing to, left hand ostinatos percussive and rugged - piano, often multiple pianos - people? big band swing - for dancing to, saxophone becomes leading voice - multiple trumpets, trombones, saxes, rhythm instruments. - upright base replaces tuba - Count Basie and Duke Ellington's bands. Coleman Hawkins, Benny carter, Johnny hodges, Roy Eldridge, Mary Lou Williams small group swing - same as big band, but with 5 or so players? symphonic jazz

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