TABLE OF CONTENTS
Introduction…………………………………………………………………………....3
1 The origins of jazz…………………………………………………………………….4
2 Main currents………………………………………………………...…….6
2.1 Spiritual-s………………………………………………………………..……6
2.2 Work songs…………………………………………………………...… ...….8
2.3 Minstrels…………………………………………………………….……..9
2.4 Ragtime…………………………….…………………………………………….9
2.5 Boogie Woogie……………………………………………………………………….11
2.6 Traditional Jazz………………………………………………………...11
2.7 Chicago Style…………………………………………………………….… 12
2.8 Commercial Jazz………………………………………………………...13
2.9 Cool Jazz…………………………………………………………………….14
3 jazz in the modern world…………………………………………….………15
Conclusion……………………………………………………………………………17
List of used literature………………………………………………………………18

INTRODUCTION
Culture - (from Latin cultura - cultivation, upbringing, education, development, veneration), a historically determined level of development of society and man, expressed in the types and forms of organization of life and activities of people, as well as in the material and spiritual values ​​\u200b\u200bcreated by them. The concept of culture is used to characterize the material and spiritual level of development of certain historical epochs, socioeconomic formations, specific societies, nationalities, and nations (for example, ancient culture, socialist culture, and Maya culture), as well as specific spheres of activity or life ( K. labor, artistic K., K. life). In a narrower sense, the term "K." refer only to the sphere of the spiritual life of people.
This is how the term "culture" is revealed in the TSB. And, therefore, we can conclude that jazz is an integral part of musical culture, although many people, especially the older generation, do not recognize this, or recognize it very limitedly. This is a rather primitive approach, because jazz music, like any other music and culture, has its own brilliant people and brilliant works. Talents that have entered the history of music for centuries.
This form of musical art is becoming more widespread in our time. Due to the relevance of this style in the modern world, I chose this particular topic for my essay, the goals of which I set:

briefly describe the path traveled by jazz music;
highlight the main directions;
describe the brilliant musical experimenters and idols of many generations of this trend in music.

1 THE ORIGINS OF JAZZ
In the very name "jazz" in Arabic it is written "to be allowed". This music of the slaves eventually broke the totalitarian regimes, where classical orchestras reigned, wholly obeying the will of the conductor's baton. According to the research of professor of history and American culture Penny Van Eschen, the US State Department tried to use jazz as an ideological weapon against the USSR and the expansion of Soviet influence in the third world countries. Jazz arose as a combination of several musical cultures and national traditions. It originally arrived in its infancy from African lands. A very complex rhythm is characteristic of any African music, the music is always accompanied by dances, which are fast stomping and clapping (black musicians easily finger the banjo strings, tap on the tambourine and castanets, and at the same time perform incredible steps with their feet). On this basis, at the end of the 19th century, another musical genre, ragtime, was formed. Subsequently, the rhythms of ragtime, combined with elements of the blues, gave rise to a new musical direction - jazz.
The origins of jazz are connected with the blues. It arose at the end of the 19th century as a fusion of African rhythms and European harmony, but its origins should be sought from the moment slaves were brought from Africa to the territory of the New World. The brought slaves did not come from the same clan and usually did not even understand each other. The need for consolidation led to the unification of many cultures and, as a result, to the creation of a single culture (including music) of African Americans. The processes of mixing African musical culture, and European (which also underwent serious changes in the New World) took place starting from the 18th century and in the 19th century led to the emergence of "proto-jazz", and then jazz in the generally accepted sense.
The cradle of jazz was the American South and especially New Orleans. On February 26, 1917, five white musicians from New Orleans recorded the first jazz record in the New York studio of the Victor firm. It is difficult to overestimate the significance of this fact: before the release of this record, jazz remained a marginal phenomenon, musical folklore, and after that it stunned all of America for several weeks. The recording belonged to the legendary "Original Dixieland Jazz Band".
Improvisation plays a fundamental role in true jazz. Also, many areas of jazz are distinguished by a special technique of performance: “rocking” or swing. In addition, jazz is distinguished by syncopation (highlighting weak beats and unexpected accents) and a special drive. The last two components appear in ragtime, and then transferred to the playing of orchestras (bands), after which the word jazz appeared in the American lexicon on October 6, 1917, when an article in Literature Digest explained this word as "the desire of a person to shake, jump and grimace", first written as Jass, then as Jasz, and only since 1918 acquired its modern form.
Another feature of the jazz style is the unique individual performance of the jazz virtuoso. The key to the eternal youth of jazz is improvisation. After the appearance of a brilliant performer who lived his whole life in the rhythm of jazz and still remains a legend - Louis Armstrong, the art of jazz performance saw new unusual horizons: vocal or instrumental solo performance becomes the center of the whole performance, completely changing the idea of ​​jazz.
Jazz is not only a certain type of musical performance, but also a unique cheerful era.

2 MAIN CURRENTS
Currently, there are many jazz movements, among which the following groups can be distinguished:
- Spiritual-s
- Work songs
- Minstrels
- Ragtime
- Boogie Woogie
- Traditional Jazz
- Chicago style
- Commercial Jazz
- Swing
- "Modern jazz" be-bop
- cool jazz
- Hard bop
- Progressive
- Contemporary Jazz
- Jazz rock
Let's characterize some of them.
2.1 Spiritual-s
Spiritual s arose as a result of the initiation of blacks into the religion of whites. In the Protestant church, the most widespread in America, the Negroes first became acquainted with polyphonic choral hymns. This circumstance allowed them to quickly master the simple melody and harmony of such hymns, where from the very beginning they began to introduce elements of improvisation into choral singing.
Spirituals are examples of highly artistic folklore developed in the Southern states in the 19th century. The main attractive factor of such music is the high culture of choral performance, combining an expressive melody with a complex system of polyphonic echoes, imitations, sharp rhythms and fresh, unusual-sounding harmony.
Spiritual-s is one of the offshoots of the African-American folklore style, which largely determined the further development of jazz. Deep interpenetration of elements of European and African music synthesized and closely intertwined Anglo-Celtic and Negro musical harmonies. This is one of those first synthetic Afro-European cultures that acquired in America the role of national folklore, developing on the social and cultural soil of the country. The melodic and harmonic principles of constructing European church hymns were adopted by the Negroes and transferred into the mainstream of their own musical traditions. A different kind of hymns have arisen from this, which, along with a distinct environment with European forms, also differ in the use for the first time of the simplest step harmonies dating back to the ancient traditions of African choral singing (harmonic lineary, tape voicing, etc.) Often there are plagal turns, reduced seventh chords or non-chords, ellipsis (the expected tonic is replaced by a lowered VI degree), replacing triads with a quarter-sext chord, etc.
The significance of spiritual s in the development of jazz lies in the development of the principles of melodic arrangement of closed and open positions, in the introduction of harmonic parallelism, in the creation of polyphonic forms.
Thanks to the accompaniment of the singing of many spirituals, with the stamping of feet and clapping of hands, the division of the ensemble into melodic and rhythmic groups was established. Such concepts as "bit" and then "off bit" were firmly fixed in practice.
BIT (Beat) - the beating pulse of jazz. This is an absolutely regular, equally strong, elastic flow of uniform metrical accents that create internal movement. In Negro music-making, it is traditional to have equal accents on all four beats of the "four beat", or accentuation of the second and fourth beats. In contrast, whites lean more towards accentuating the first and third beats, while the second and fourth are considered light "two beat" beats.
OFF BIT (off beat) - an expression of the ecstatic character of jazz. This is a more complex concept than simple syncopation. This is a kind of rhythmic atmosphere of jazz. The essence of this concept is that melodic accents should fall between metric accents (between the main beats - a beat). The origin (off beat) is from African music. All African drum music consists of off beats. In traditional jazz, in solo or group improvisation, the off-beat technique is used by each performer in his own way. In the swing style (see below), due to the combination of instruments into groups, a variety of off beats is combined into a single type of movement for the entire group. Off beat becomes the main rhythmic principle in jazz.
2.2 Work songs
Work songs of Negroes "work songs" during the period of slavery were an important part of Negro folklore. Performed solo and in groups without accompaniment. On the musical side, work songs are a song form with an underdeveloped melody and are characterized by the structure of a short breath. The roll call between the soloist and the choir, which is still typical for Africans (the "call" and "answer" method), permeates such chants. The most important stylistic feature is also non-tempered melodic sounds, alternation of musical intonations with cries, sighs. For jazz, the most important aspect in working songs was intonation - the Shout effect. Shout (Shout) - shout, scream - refers to a style of singing that is "screaming". This style was directly transferred from African music-making to the African-American realm of performance. Shout effects can be found in all vocal and instrumental forms of jazz to this day.

2.3 Minstrels
They originate from ancient folk musical performances, which in turn originate from the performances of jugglers. Originated in North America in the 18th century.
Since the middle of the 19th century, they have been developing under the influence of African American folklore. Anglo-Celtic everyday songs were processed, modified, improvised.
In the thirties of the century before last, the banjo appeared in minstrel music, which gives it a specific flavor. Gradually Negro elements in minstrel music begin to prevail. Syncopation, an ostinato sequence of short, often pentatonic motifs, a downward movement of the melody, a characteristic chordal accompaniment associated with the banjo fingering (succession of parallel seventh chords), the use of various percussion instruments - all this gives minstrel music a bright originality.
The opposition of soloists, choir and instruments is given on a smaller scale, as a deliberate effect that breaks the smoothness of the melody. In the depths of minstrel comedy, the first harbingers of pop jazz or Dixieland were born. This resulted in instrumental music with a fast syncopated march. Separated later from the minstrel performance, these marches turned into the "cake walk" dance (salon version) or ragtime (variety version), which becomes one of the first constituent elements of a mature jazz style.
2.4 Ragtime
Rag Time - ragged rhythm. Originated at the end of the 19th century. Received sensational success and distribution at the beginning of the 20th century. Known mainly as a style of piano playing. It is characterized by a kind of syncopated melody, a clear rhythm and a "swinging" bass in the left hand.
Its immediate predecessors are "jig piano" and a mix of "cake walk" rhythms and "plantation banjo". But its general melodic, harmonic and formal qualities are of European origin.
etc.................

After Christopher Columbus discovered a new continent and Europeans settled there, ships of human traders increasingly followed the shores of America.

Exhausted by hard work, homesick and suffering from the cruel treatment of the guards, the slaves found solace in music. Gradually, Americans and Europeans became interested in unusual melodies and rhythms. This is how jazz was born. What is jazz, and what are its features, we will consider in this article.

Features of the musical direction

Jazz refers to music of African American origin, which is based on improvisation (swing) and a special rhythmic construction (syncope). Unlike other areas where one person writes music and another performs, jazz musicians are also composers.

The melody is created spontaneously, the periods of writing, performance are separated by a minimum period of time. This is how jazz comes about. orchestra? This is the ability of musicians to adapt to each other. At the same time, everyone improvises their own.

The results of spontaneous compositions are stored in musical notation (T. Cowler, G. Arlen "Happy all day long", D. Ellington "Don't you know what I love?" etc.).

Over time, African music was synthesized with European. Melodies appeared that combined plasticity, rhythm, melodiousness and harmony of sounds (CHEATHAM Doc, Blues In My Heart, CARTER James, Centerpiece, etc.).

Directions

There are more than thirty directions of jazz. Let's consider some of them.

1. Blues. Translated from English, the word means "sadness", "melancholy". Blues was originally a solo lyric song by African Americans. Jazz-blues is a twelve-bar period corresponding to a three-line verse form. Blues compositions are performed at a slow pace, some understatement can be traced in the texts. blues - Gertrude Ma Rainey, Bessie Smith and others.

2. Ragtime. The literal translation of the name of the style is broken time. In the language of musical terms, "reg" denotes sounds that are additional between the beats of the measure. The direction appeared in the USA, after they were carried away by the works of F. Schubert, F. Chopin and F. Liszt overseas. The music of European composers was performed in the style of jazz. Later original compositions appeared. Ragtime is characteristic of the work of S. Joplin, D. Scott, D. Lamb and others.

3. Boogie-woogie. The style appeared at the beginning of the last century. The owners of inexpensive cafes needed musicians to play jazz. What is musical accompaniment requires the presence of an orchestra, of course, but it was expensive to invite a large number of musicians. The sound of different instruments was compensated by pianists, creating numerous rhythmic compositions. Boogie features:

• improvisation;
• virtuoso technique;
• special accompaniment: the left hand performs a motor ostinant configuration, the interval between bass and melody is two or three octaves;
• continuous rhythm;
• pedal exclusion.

Boogie-woogie was played by Romeo Nelson, Arthur Montana Taylor, Charles Avery and others.

style legends

Jazz is popular in many countries around the world. Everywhere there are stars, which are surrounded by an army of fans, but some names have become a real legend. They are known and loved throughout. Such musicians, in particular, include Louis Armstrong.

It is not known how the fate of a boy from a poor Negro quarter would have developed if Louis had not ended up in a correctional camp. Here, the future star was recorded in a brass band, however, the team did not play jazz. and how it is performed, the young man discovered much later. Armstrong gained worldwide fame thanks to diligence and perseverance.

Billie Holiday (real name Eleanor Fagan) is considered the founder of jazz singing. The singer reached the peak of popularity in the 50s of the last century, when she changed the scenes of nightclubs to the stage.

Life was not easy for the owner of a range of three octaves, Ella Fitzgerald. After the death of her mother, the girl ran away from home and led a not too decent lifestyle. The start of the singer's career was the performance at the Amateur Nights music competition.

George Gershwin is world famous. The composer created jazz works based on classical music. The unexpected manner of performance captivated listeners and colleagues. Concerts were invariably accompanied by applause. The most famous works of D. Gershwin are "Rhapsody in Blues" (co-authored with Fred Grof), the operas "Porgy and Bess", "An American in Paris".

Also popular jazz performers were and remain Janis Joplin, Ray Charles, Sarah Vaughn, Miles Davis and others.

Jazz in the USSR

The emergence of this musical trend in the Soviet Union is associated with the name of the poet, translator and theatergoer Valentin Parnakh. The first concert of a jazz band led by a virtuoso took place in 1922. Later A. Tsfasman, L. Utyosov, Y. Skomorovsky formed the direction of theatrical jazz, combining instrumental performance and operetta. E. Rozner and O. Lundstrem did a lot to popularize jazz music.

In the 40s of the last century, jazz was widely criticized as a phenomenon of bourgeois culture. In the 1950s and 1960s, attacks on performers ceased. Jazz ensembles were created both in the RSFSR and in other Union republics.

Today, jazz is performed without hindrance at concert venues and in clubs.

Jazz - a form of musical art that arose at the end of the 19th - beginning of the 20th century in the USA, in New Orleans, as a result of the synthesis of African and European cultures and subsequently became widespread. The origins of jazz were the blues and other African American folk music. Characteristic features of the musical language of jazz initially became improvisation, polyrhythm based on syncopated rhythms, and a unique set of techniques for performing rhythmic texture - swing. Further development of jazz occurred due to the development of new rhythmic and harmonic models by jazz musicians and composers. Jazz sub-jazzes are: avant-garde jazz, bebop, classical jazz, cool, modal jazz, swing, smooth jazz, soul jazz, free jazz, fusion, hard bop and a number of others.

History of the development of jazz

Wilex College Jazz Band, Texas

Jazz arose as a combination of several musical cultures and national traditions. It originally came from Africa. Any African music is characterized by a very complex rhythm, music is always accompanied by dances, which are fast stomping and clapping. On this basis, at the end of the 19th century, another musical genre emerged - ragtime. Subsequently, the rhythms of ragtime, combined with elements of the blues, gave rise to a new musical direction - jazz.

The blues originated at the end of the 19th century as a fusion of African rhythms and European harmony, but its origins should be sought from the moment slaves were brought from Africa to the New World. The brought slaves did not come from the same clan and usually did not even understand each other. The need for consolidation led to the unification of many cultures and, as a result, to the creation of a single culture (including music) of African Americans. The processes of mixing African musical culture, and European (which also underwent serious changes in the New World) took place starting from the 18th century and in the 19th century led to the emergence of "proto-jazz", and then jazz in the generally accepted sense. The cradle of jazz was the American South, and especially New Orleans.
Pledge of eternal youth of jazz - improvisation
The peculiarity of the style is the unique individual performance of the jazz virtuoso. The key to the eternal youth of jazz is improvisation. After the emergence of a brilliant performer who lived his whole life in the rhythm of jazz and still remains a legend - Louis Armstrong, the art of jazz performance saw new unusual horizons for itself: vocal or instrumental solo performance becomes the center of the entire performance, completely changing the idea of ​​jazz. Jazz is not only a certain type of musical performance, but also a unique cheerful era.

new orleans jazz

The term New Orleans is commonly used to describe the style of musicians who played jazz in New Orleans between 1900 and 1917, as well as New Orleans musicians who played in Chicago and made records from about 1917 through the 1920s. This period of jazz history is also known as the Jazz Age. And the term is also used to describe the music played in different historical periods by New Orleans revivalists who sought to play jazz in the same style as New Orleans school musicians.

African-American folklore and jazz have parted ways since the opening of Storyville, New Orleans' red-light district famed for its entertainment venues. Those who wanted to have fun and have fun here were waiting for a lot of seductive opportunities that offered dance floors, cabaret, variety shows, circus, bars and eateries. And everywhere in these institutions music sounded and musicians who mastered the new syncopated music could find work. Gradually, with the growth of the number of musicians professionally working in the entertainment establishments of Storyville, the number of marching and street brass bands decreased, and instead of them, the so-called Storyville ensembles arose, the musical manifestation of which becomes more individual, in comparison with the playing of brass bands. These compositions, often called "combo orchestras" and became the founders of the style of classical New Orleans jazz. Between 1910 and 1917, Storyville's nightclubs became the ideal setting for jazz.
Between 1910 and 1917, Storyville's nightclubs became the ideal setting for jazz.
The development of jazz in the United States in the first quarter of the 20th century

After the closure of Storyville, jazz began to turn from a regional folk genre into a nationwide musical direction, spreading to the northern and northeastern provinces of the United States. But of course, only the closure of one entertainment quarter could not contribute to its wide distribution. Along with New Orleans, St. Louis, Kansas City, and Memphis played an important role in the development of jazz from the very beginning. Ragtime was born in Memphis in the 19th century, from where it then spread throughout the North American continent in the period 1890-1903.

On the other hand, minstrel performances, with their motley mosaic of African-American folklore of all kinds, from jig to ragtime, quickly spread everywhere and set the stage for the advent of jazz. Many future jazz celebrities began their journey in the minstrel show. Long before Storyville closed, New Orleans musicians were touring with so-called "vaudeville" troupes. Jelly Roll Morton from 1904 toured regularly in Alabama, Florida, Texas. From 1914 he had a contract to perform in Chicago. In 1915 he moved to Chicago and Tom Brown's White Dixieland Orchestra. Major vaudeville tours in Chicago were also made by the famous Creole Band, led by New Orleans cornet player Freddie Keppard. Having separated from the Olympia Band at one time, Freddie Keppard's artists already in 1914 successfully performed in the best theater in Chicago and received an offer to make a sound recording of their performances even before the Original Dixieland Jazz Band, which, however, Freddie Keppard short-sightedly rejected. Significantly expanded the territory covered by the influence of jazz, orchestras playing on pleasure steamers that sailed up the Mississippi.

Since the end of the 19th century, river trips from New Orleans to St. Paul have become popular, first for the weekend, and later for the whole week. Since 1900, New Orleans orchestras have been performing on these riverboats, the music of which has become the most attractive entertainment for passengers during river tours. In one of these orchestras, Suger Johnny, Louis Armstrong's future wife, the first jazz pianist Lil Hardin, began. The riverboat band of another pianist, Faiths Marable, featured many future New Orleans jazz stars.

Steamboats that traveled along the river often stopped at passing stations, where orchestras arranged concerts for the local public. It was these concerts that became creative debuts for Bix Beiderbeck, Jess Stacy and many others. Another famous route ran along the Missouri to Kansas City. In this city, where, thanks to the strong roots of African-American folklore, the blues developed and finally took shape, the virtuoso playing of New Orleans jazzmen found an exceptionally fertile environment. By the early 1920s, Chicago became the main center for the development of jazz music, in which, through the efforts of many musicians who gathered from different parts of the United States, a style was created that was nicknamed Chicago jazz.

Big bands

The classic, established form of big bands has been known in jazz since the early 1920s. This form retained its relevance until the end of the 1940s. The musicians who entered most big bands, as a rule, almost in their teens, played quite definite parts, either learned in rehearsals or from notes. Careful orchestrations, along with massive brass and woodwind sections, produced rich jazz harmonies and produced the sensationally loud sound that became known as "the big band sound".

The big band became the popular music of its day, reaching its peak in the mid-1930s. This music became the source of the swing dance craze. The leaders of the famous jazz bands Duke Ellington, Benny Goodman, Count Basie, Artie Shaw, Chick Webb, Glenn Miller, Tommy Dorsey, Jimmy Lunsford, Charlie Barnet composed or arranged and recorded on records a genuine hit parade of tunes that sounded not only on the radio but also everywhere in dance halls. Many big bands showed their solo improvisers, who brought the audience to a state close to hysteria during well-hyped "battles of the orchestras".
Many big bands demonstrated their solo improvisers, who brought the audience to a state close to hysteria.
Although big bands declined in popularity after World War II, orchestras led by Basie, Ellington, Woody Herman, Stan Kenton, Harry James, and many others toured and recorded frequently over the next few decades. Their music was gradually transformed under the influence of new trends. Groups such as ensembles led by Boyd Ryburn, Sun Ra, Oliver Nelson, Charles Mingus, Thad Jones-Mal Lewis explored new concepts in harmony, instrumentation and improvisational freedom. Today, big bands are the standard in jazz education. Repertory orchestras such as the Lincoln Center Jazz Orchestra, the Carnegie Hall Jazz Orchestra, the Smithsonian Jazz Masterpiece Orchestra, and the Chicago Jazz Ensemble regularly play original arrangements of big band compositions.

northeastern jazz

Although the history of jazz began in New Orleans with the advent of the 20th century, this music experienced a real rise in the early 1920s, when trumpeter Louis Armstrong left New Orleans to create new revolutionary music in Chicago. The migration of New Orleans jazz masters to New York that began shortly thereafter marked a trend of continuous movement of jazz musicians from the South to the North.

Louis Armstrong

Chicago embraced New Orleans music and made it hot, turning it up not just with Armstrong's famed Hot Five and Hot Seven ensembles, but others as well, including the likes of Eddie Condon and Jimmy McPartland, whose Austin High School crew helped revive the New Orleans schools. Other notable Chicagoans who have pushed the boundaries of classic New Orleans jazz include pianist Art Hodes, drummer Barrett Deems, and clarinetist Benny Goodman. Armstrong and Goodman, who eventually moved to New York, created a kind of critical mass there that helped this city turn into a real jazz capital of the world. And while Chicago remained primarily the center of sound recording in the first quarter of the 20th century, New York also emerged as the premier jazz venue, hosting such legendary clubs as the Minton Playhouse, Cotton Club, Savoy and Village Vengeward, and as well as arenas such as Carnegie Hall.

Kansas City Style

During the era of the Great Depression and Prohibition, the Kansas City jazz scene became a mecca for the newfangled sounds of the late 1920s and 1930s. The style that flourished in Kansas City is characterized by soulful pieces with a blues tinge, performed by both big bands and small swing ensembles, demonstrating very energetic solos, performed for patrons of taverns with illegally sold liquor. It was in these pubs that the style of the great Count Basie crystallized, starting in Kansas City with Walter Page's orchestra and later with Benny Moten. Both of these orchestras were typical representatives of the Kansas City style, which was based on a peculiar form of blues, called "urban blues" and formed in the playing of the above orchestras. The jazz scene of Kansas City was also distinguished by a whole galaxy of outstanding masters of the vocal blues, the recognized "king" among which was the longtime soloist of the Count Basie Orchestra, the famous blues singer Jimmy Rushing. The famous alto saxophonist Charlie Parker, born in Kansas City, upon his arrival in New York, made extensive use of the characteristic blues "chips" he had learned in the Kansas City orchestras and subsequently formed one of the starting points in the experiments of boppers in the 1940s.

West Coast Jazz

Artists captured by the cool jazz movement in the 1950s worked extensively in the Los Angeles recording studios. Largely influenced by nonet Miles Davis, these Los Angeles-based performers developed what is now known as West Coast Jazz. West Coast jazz was much softer than the furious bebop that had preceded it. Most West Coast jazz has been written out in great detail. The counterpoint lines often used in these compositions seemed to be part of the European influence that had penetrated into jazz. However, this music left a lot of space for long linear solo improvisations. Although West Coast Jazz was performed primarily in recording studios, clubs such as the Lighthouse on Hermosa Beach and the Haig in Los Angeles often featured its masters, which included trumpeter Shorty Rogers, saxophonists Art Pepper and Bud Shenk, drummer Shelley Mann and clarinetist Jimmy Giuffrey.

The Spread of Jazz

Jazz has always aroused interest among musicians and listeners around the world, regardless of their nationality. It suffices to trace the early work of trumpeter Dizzy Gillespie and his fusion of jazz traditions with the music of black Cubans in the 1940s or later, the combination of jazz with Japanese, Eurasian and Middle Eastern music, known in the work of pianist Dave Brubeck, as well as in the brilliant composer and leader of jazz - the Duke Ellington Orchestra, which combined the musical heritage of Africa, Latin America and the Far East.

Dave Brubeck

Jazz constantly absorbed and not only Western musical traditions. For example, when different artists began to try to work with the musical elements of India. An example of this effort can be heard in the recordings of flautist Paul Horn at the Taj Mahal, or in the stream of "world music" represented, for example, by the Oregon band or John McLaughlin's Shakti project. McLaughlin's music, formerly largely based on jazz, began to use new instruments of Indian origin, such as the khatam or tabla, during his work with Shakti, intricate rhythms sounded and the form of the Indian raga was widely used.
As the globalization of the world continues, jazz is constantly influenced by other musical traditions.
The Art Ensemble of Chicago was an early pioneer in the fusion of African and jazz forms. The world later came to know saxophonist/composer John Zorn and his exploration of Jewish musical culture, both within and outside the Masada Orchestra. These works have inspired entire groups of other jazz musicians, such as keyboardist John Medeski, who has recorded with African musician Salif Keita, guitarist Marc Ribot and bassist Anthony Coleman. Trumpeter Dave Douglas brings inspiration from the Balkans to his music, while the Asian-American Jazz Orchestra has emerged as a leading proponent of the convergence of jazz and Asian musical forms. As the globalization of the world continues, jazz is constantly being influenced by other musical traditions, providing mature food for future research and proving that jazz is truly world music.

Jazz in the USSR and Russia

The first in the RSFSR jazz band of Valentin Parnakh

The jazz scene originated in the USSR in the 1920s, simultaneously with its heyday in the USA. The first jazz orchestra in Soviet Russia was created in Moscow in 1922 by the poet, translator, dancer, theater figure Valentin Parnakh and was called "Valentin Parnakh's First Eccentric Jazz Band Orchestra in the RSFSR". The birthday of Russian jazz is traditionally considered October 1, 1922, when the first concert of this group took place. The orchestra of pianist and composer Alexander Tsfasman (Moscow) is considered to be the first professional jazz ensemble to perform on the air and record a disc.

Early Soviet jazz bands specialized in performing fashionable dances (foxtrot, Charleston). In the mass consciousness, jazz began to gain wide popularity in the 30s, largely due to the Leningrad ensemble led by actor and singer Leonid Utesov and trumpeter Ya. B. Skomorovsky. The popular film comedy with his participation "Merry Fellows" (1934) was dedicated to the history of a jazz musician and had a corresponding soundtrack (written by Isaac Dunayevsky). Utyosov and Skomorovsky formed the original style of "tea-jazz" (theatrical jazz), based on a mixture of music with theater, operetta, vocal numbers and an element of performance played a large role in it. A notable contribution to the development of Soviet jazz was made by Eddie Rosner, a composer, musician and leader of orchestras. Having started his career in Germany, Poland and other European countries, Rozner moved to the USSR and became one of the pioneers of swing in the USSR and the initiator of Belarusian jazz.
In the mass consciousness, jazz began to gain wide popularity in the USSR in the 1930s.
The attitude of the Soviet authorities to jazz was ambiguous: domestic jazz performers, as a rule, were not banned, but harsh criticism of jazz as such was widespread, in the context of criticism of Western culture in general. In the late 1940s, during the struggle against cosmopolitanism, jazz in the USSR experienced a particularly difficult period, when groups performing "Western" music were persecuted. With the onset of the "thaw", the repressions against the musicians were stopped, but the criticism continued. According to the research of professor of history and American culture Penny Van Eschen, the US State Department tried to use jazz as an ideological weapon against the USSR and against the expansion of Soviet influence in the third world countries. In the 50s and 60s. in Moscow, the orchestras of Eddie Rozner and Oleg Lundstrem resumed their activities, new compositions appeared, among which the orchestras of Iosif Weinstein (Leningrad) and Vadim Ludvikovsky (Moscow), as well as the Riga Variety Orchestra (REO), stood out.

Big bands brought up a whole galaxy of talented arrangers and solo improvisers, whose work brought Soviet jazz to a qualitatively new level and brought it closer to world standards. Among them are Georgy Garanyan, Boris Frumkin, Alexei Zubov, Vitaly Dolgov, Igor Kantyukov, Nikolai Kapustin, Boris Matveev, Konstantin Nosov, Boris Rychkov, Konstantin Bakholdin. The development of chamber and club jazz in all its diversity of style begins (Vyacheslav Ganelin, David Goloshchekin, Gennady Golshtein, Nikolai Gromin, Vladimir Danilin, Alexei Kozlov, Roman Kunsman, Nikolai Levinovsky, German Lukyanov, Alexander Pishchikov, Alexei Kuznetsov, Viktor Fridman, Andrey Tovmasyan , Igor Bril, Leonid Chizhik, etc.)

Jazz Club "Blue Bird"

Many of the above masters of Soviet jazz began their creative career on the stage of the legendary Moscow jazz club "Blue Bird", which existed from 1964 to 2009, discovering new names of representatives of the modern generation of Russian jazz stars (brothers Alexander and Dmitry Bril, Anna Buturlina, Yakov Okun, Roman Miroshnichenko and others). In the 70s, the jazz trio "Ganelin-Tarasov-Chekasin" (GTC) consisting of pianist Vyacheslav Ganelin, drummer Vladimir Tarasov and saxophonist Vladimir Chekasin, which existed until 1986, gained wide popularity. In the 70-80s, the jazz quartet from Azerbaijan "Gaya", the Georgian vocal and instrumental ensembles "Orera" and "Jazz-Khoral" were also known.

After the decline of interest in jazz in the 90s, it began to gain popularity again in youth culture. Jazz music festivals are held annually in Moscow, such as Usadba Jazz and Jazz in the Hermitage Garden. The most popular jazz club venue in Moscow is the Union of Composers jazz club, which invites world-famous jazz and blues performers.

Jazz in the modern world

The modern world of music is as diverse as the climate and geography that we learn through travel. And yet, today we are witnessing a mixture of an increasing number of world cultures, constantly bringing us closer to what, in essence, is already becoming “world music” (world music). Today's jazz cannot but be influenced by sounds penetrating into it from almost every corner of the globe. European experimentalism with classical overtones continues to influence the music of young pioneers such as Ken Vandermark, a frigid avant-garde saxophonist known for his work with renowned contemporaries such as saxophonists Mats Gustafsson, Evan Parker and Peter Brotzmann. Other more traditional young musicians who continue to search for their own identities include pianists Jackie Terrasson, Benny Green and Braid Meldoa, saxophonists Joshua Redman and David Sanchez, and drummers Jeff Watts and Billy Stewart.

The old tradition of sounding is being rapidly carried on by artists such as trumpeter Wynton Marsalis, who works with a team of assistants both in his own small bands and in the Lincoln Center Jazz Band, which he leads. Under his patronage, pianists Marcus Roberts and Eric Reed, saxophonist Wes "Warmdaddy" Anderson, trumpeter Markus Printup and vibraphonist Stefan Harris grew into great musicians. Bassist Dave Holland is also a great discoverer of young talent. Among his many discoveries are artists such as saxophonist/M-bassist Steve Coleman, saxophonist Steve Wilson, vibraphonist Steve Nelson and drummer Billy Kilson. Other great mentors of young talent include pianist Chick Corea and the late drummer Elvin Jones and singer Betty Carter. The potential for the further development of jazz is currently quite large, since the ways of developing talent and the means of its expression are unpredictable, multiplying by the combined efforts of various jazz genres encouraged today.

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

Jazz Message

What is Jazz?

Jazz is a form of musical art. The birthplace of jazz is the USA, where it originated in the 20th century in the process of synthesis of European and African cultures. Then this art spread throughout the planet.

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

Jazz was brought to the New World by slaves, the peoples of the African continent. They often belonged to different families and for a better understanding of each other created a new musical direction with blues motives. Jazz is believed to have originated in New Orleans. The first record was recorded on February 26, 1917 at Victor Studios, New York. With the composition of the group "Original Dixieland Jazz Band" his march around the world began.

Jazz features

The main characteristics of this musical direction are:

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

Several performers can improvise at the same time. Members of the ensemble interact with each other in an artistic way and "communicate" with the public.

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. Harmony, rhythm, meter, traditional structures, program music are inherent in it. Representatives - Sun Ra, Alice Coltrane, Archie Shepp.
• Acid Jazz. It's a funky style of music. 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. It consists of such 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 fast tempos, which are based not on a change in melody, but on a change in 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. Born in the 1920s. Representatives are 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 cool jazz improvisation. Representatives are Antonio Carlos Jobim, Stan Getz and Charlie Bird.
• classical jazz. Developed at the end of the nineteenth century. Representatives - Chris Barber, Acker Bilk, Kenny Ball, The Beatles.
• Swing. Formed at the turn of the 1920s - 30s. It is 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 rather new kind 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.
• northeastern jazz. Originated in the early twentieth century in New Orleans. The music is hot and fast. Northeastern jazz representatives - Art Hodes, drummer Barrett Deems and clarinetist Benny Goodman.
• Kansas City style. Newfangled style originated in the late 1920s in Kansas City. It is characterized by the penetration of a piece of blues coloring into live jazz music and an energetic solo. Representatives - Count Basie, Benny Moten, Charlie Parker, Jimmy Rushing.
• West Coast Jazz. Originated in the 1950s in Los Angeles. Representatives are Shorty Rogers, saxophonists Bud Shenk and Art Pepper, clarinetist Jimmy Giuffrey and drummer Shelly Mann.
• Cool. It began to develop in the 1940s. This is a less violent, smooth style of jazz. It is characterized by a detached, flat and homogeneous sound. Representatives - Chet Baker, George Shearing, Dave Brubeck, John Lewis, Leni Tristano, Lee Konitz, Tad Dameron, Zoot Sims, Gerry Mulligan.
• Progressive jazz. It was characterized by bold harmony, frequent seconds and blocks, polytonality, rhythmic pulsation, coloring.

Jazz today

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

As one of the most revered musical art forms in America, jazz laid the foundation for an entire industry, introducing numerous names of brilliant composers, instrumentalists and vocalists to the world and spawning a wide range of genres. The 15 most influential jazz musicians are responsible for a global phenomenon that has occurred over the last century in the history of the genre.

Jazz developed in the later years of the 19th century and early 20th century as a combination of classical European and American sounds with African folk motives. The songs were performed with a syncopated rhythm, giving impetus to the development, and later the formation of large orchestras to perform it. Music has taken a big step forward from ragtime to modern jazz.

The influence of West African musical culture is evident in the way music is written and how it is performed. Polyrhythm, improvisation and syncopation are what characterize jazz. Over the past century, this style has changed under the influence of contemporaries of the genre, who brought their own idea to the essence of improvisation. New directions began to appear - bebop, fusion, Latin American jazz, free jazz, funk, acid jazz, hard bop, smooth jazz, and so on.

15 Art Tatum

Art Tatum is a jazz pianist and virtuoso who was practically blind. He is known as one of the greatest pianists of all time who changed the role of the piano in the jazz ensemble. Tatum turned to the stride style to create his own unique style of playing, adding swing rhythms and fantastic improvisations to the rhythm. His attitude to jazz music fundamentally changed the importance of the piano in jazz as a musical instrument from its previous characteristics.

Tatum experimented with the harmonies of the melody, influencing the structure of the chord and expanding it. All this characterized the style of bebop, which, as you know, would become popular ten years later, when the first records in this genre appeared. Critics also noted his impeccable playing technique - Art Tatum was able to play the most difficult passages with such ease and speed that it seemed that his fingers barely touched the black and white keys.

14 Thelonious Monk

Some of the most complex and varied sounds can be found in the repertoire of the pianist and composer, one of the most important representatives of the era of bebop and its subsequent development. His very personality as an eccentric musician contributed to the popularization of jazz. Monk, always dressed in a suit, hat and sunglasses, openly expressed his free attitude to improvisational music. He did not accept strict rules and formed his own approach to creating compositions. Some of his most brilliant and famous works are Epistrophy, Blue Monk, Straight, No Chaser, I Mean You and Well, You Needn't.

Monk's playing style was based on an innovative approach to improvisation. His works are distinguished by percussive passages and sharp pauses. Quite often, right during his performances, he jumped up from the piano and danced while the other members of the band continued to play the melody. Thelonious Monk remains one of the most influential jazz musicians in the history of the genre.

13 Charles Mingus

A recognized double bass virtuoso, composer and band leader, he was one of the most extraordinary musicians on the jazz scene. He developed a new musical style, combining gospel, hard bop, free jazz and classical music. Contemporaries called Mingus "the heir to Duke Ellington" for his fantastic ability to write works for small jazz ensembles. In his compositions, all the members of the band demonstrated their playing skills, each of which was also not only talented, but was characterized by a unique playing style.

Mingus carefully selected the musicians who made up his band. The legendary double bass player was known for his temper, and once he even punched trombonist Jimmy Knepper in the face, knocking out his tooth. Mingus suffered from a depressive disorder, but was not ready to put up with the fact that this somehow affected his creative activity. Despite this affliction, Charles Mingus is one of the most influential figures in jazz history.

12 Art Blakey

Art Blakey was a famous American drummer and bandleader who made a splash in the style and technique of playing the drum kit. He combined swing, blues, funk and hard bop - a style that is heard today in every modern jazz composition. Together with Max Roach and Kenny Clarke, he invented a new way to play bebop on drums. For over 30 years, his band, The Jazz Messengers, has given jazz to many jazz artists: Benny Golson, Wayne Shorter, Clifford Brown, Curtis Fuller, Horace Silver, Freddie Hubbard, Keith Jarrett, and more.

The Jazz Messengers didn't just create phenomenal music - they were a kind of "musical testing ground" for young talented musicians, like the Miles Davis band. Art Blakey's style changed the very sound of jazz, becoming a new musical milestone.

11 Dizzy Gillespie (Dizzy Gillespie)

Jazz trumpeter, singer, songwriter and bandleader became a prominent figure in the days of bebop and modern jazz. His trumpet style influenced Miles Davis, Clifford Brown and Fats Navarro. After his time in Cuba, upon his return to the US, Gillespie was one of those musicians who actively promoted Afro-Cuban jazz. In addition to his inimitable performance on the characteristically curved trumpet, Gillespie was recognizable by his horn-rimmed glasses and impossibly large cheeks as he played.

The great jazz improviser Dizzy Gillespie, as well as Art Tatum, innovated in harmony. The compositions of Salt Peanuts and Goovin' High were rhythmically completely different from previous works. Faithful to bebop throughout his career, Gillespie is remembered as one of the most influential jazz trumpeters.

10 Max Roach

The top 15 most influential jazz musicians in the history of the genre include Max Roach, a drummer known as one of the pioneers of bebop. He, like few others, has influenced the modern style of playing the drum set. Roach was a civil rights activist and collaborated with Oscar Brown Jr. and Coleman Hawkins on the album We Insist! - Freedom Now ("We insist! - Freedom now"), dedicated to the 100th anniversary of the signing of the Emancipation Proclamation. Max Roach is a representative of an impeccable playing style, able to perform a long solo throughout the concert. Absolutely any audience was delighted with his unsurpassed skill.

9 Billie Holiday

Lady Day is the favorite of millions. Billie Holiday wrote only a few songs, but when she sang, she turned her voice from the first notes. Her performance is deep, personal and even intimate. Her style and intonation are inspired by the sound of musical instruments she has heard. Like almost all the musicians described above, she became the creator of a new, but already vocal style, based on long musical phrases and the tempo of singing them.

The famous Strange Fruit is the best not only in the career of Billie Holiday, but in the entire history of jazz because of the soulful performance of the singer. She was posthumously awarded prestigious awards and inducted into the Grammy Hall of Fame.

8 John Coltrane

The name of John Coltrane is associated with virtuoso playing technique, excellent talent for composing music and a passion for learning new facets of the genre. On the threshold of the origins of hard bop, the saxophonist achieved tremendous success and became one of the most influential musicians in the history of the genre. Coltrane's music had a sharp sound, and he played with high intensity and dedication. He was able to both play alone and improvise in an ensemble, creating solo parts of unthinkable duration. Playing the tenor and soprano saxophone, Coltrane was also able to create melodic smooth jazz compositions.

John Coltrane is the author of a kind of "bebop reboot", incorporating modal harmonies into it. Remaining the main active figure in the avant-garde, he was a very prolific composer and did not stop releasing discs, recording about 50 albums as a band leader throughout his career.

7 Count Basie

The revolutionary pianist, organist, composer and bandleader Count Basie led one of the most successful bands in jazz history. Over the course of 50 years, the Count Basie Orchestra, including incredibly popular musicians such as Sweets Edison, Buck Clayton and Joe Williams, has earned a reputation as one of America's most in-demand big bands. Nine-time Grammy Award winner Count Basie has instilled a love of orchestral sound into generations of listeners.

Basie wrote many songs that have become jazz standards, such as April in Paris and One O'Clock Jump. Colleagues spoke of him as a tactful, modest and enthusiastic person. Had it not been for the Count Basie Orchestra in jazz history, the big band era would have sounded different and certainly not as influential as it became with this outstanding bandleader.

6 Coleman Hawkins

The tenor saxophone is the symbol of bebop and all jazz music in general. And for that we can be grateful to be Coleman Hawkins. The innovations that Hawkins brought were vital to the development of bebop in the mid-forties. His contribution to the popularity of this instrument may have determined the future careers of John Coltrane, and Dexter Gordon.

The composition Body and Soul (1939) became the benchmark for playing the tenor saxophone for many saxophonists. Other instrumentalists were also influenced by Hawkins - pianist Thelonious Monk, trumpeter Miles Davis, drummer Max Roach. His ability for extraordinary improvisations led to the discovery of new jazz sides of the genre that were not touched by his contemporaries. This partly explains why the tenor saxophone has become an integral part of the modern jazz ensemble.

5 Benny Goodman

The top five 15 most influential jazz musicians in the history of the genre opens. The famous King of Swing led almost the most popular orchestra of the early 20th century. His concert at Carnegie Hall in 1938 is recognized as one of the most important live concerts in the history of American music. This show demonstrates the advent of the jazz era, the recognition of this genre as an independent art form.

Despite the fact that Benny Goodman was the lead singer of a major swing orchestra, he also participated in the development of bebop. His orchestra became one of the first, which united musicians of different races in its composition. Goodman was a vocal opponent of the Jim Crow Act. He even turned down a tour of the southern states in support of racial equality. Benny Goodman was an active figure and reformer not only in jazz, but also in popular music.

4 Miles Davis

One of the central jazz figures of the 20th century, Miles Davis, stood at the origins of many musical events and watched them develop. He is credited with pioneering the genres of bebop, hard bop, cool jazz, free jazz, fusion, funk and techno music. In his constant search for a new musical style, he was always successful and was surrounded by brilliant musicians including John Coltrane, Cannoball Adderley, Keith Jarrett, JJ Johnson, Wayne Shorter and Chick Corea. During his lifetime, Davis was awarded 8 Grammy Awards and was inducted into the Rock and Roll Hall of Fame. Miles Davis was one of the most active and influential jazz musicians of the last century.

3 Charlie Parker

When you think about jazz, you remember the name. Also known as Bird Parker, he was a jazz alto saxophone pioneer, bebop musician and composer. His fast playing, clear sound and talent as an improviser had a significant impact on the musicians of that time and our contemporaries. As a composer, he changed the standards of jazz music writing. Charlie Parker was the musician who cultivated the idea that jazzmen are artists and intellectuals, not just showmen. Many artists have tried to copy Parker's style. His famous playing techniques can also be traced in the manner of many current novice musicians, who take as a basis the composition Bird, consonant with the nickname of the alto-sakosophist.

2 Duke Ellington

He was a grandiose pianist, composer and one of the most outstanding orchestra leaders. Although he is known as a jazz pioneer, he excelled in other genres as well, including gospel, blues, classical and popular music. It is Ellington who is credited with establishing jazz as a distinct art form. With countless awards and prizes, the first great jazz composer never stopped improving. He was the inspiration for the next generation of musicians including Sonny Stitt, Oscar Peterson, Earl Hines, Joe Pass. Duke Ellington remains a recognized jazz piano genius - instrumentalist and composer.

1 Louis ArmstrongLouis Armstrong

Arguably the most influential jazz musician in the history of the genre, aka Satchmo is a trumpeter and singer from New Orleans. He is known as the creator of jazz, who played a key role in its development. The amazing abilities of this performer made it possible to build a trumpet into a solo jazz instrument. He is the first musician to sing and popularize the scat style. It was impossible not to recognize his low "thundering" timbre of voice.

Armstrong's commitment to his own ideals influenced the work of Frank Sinatra and Bing Crosby, Miles Davis and Dizzy Gillespie. Louis Armstrong influenced not only jazz, but the entire musical culture, giving the world a new genre, a unique manner of singing and playing the trumpet.