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A Brief History of the Growth of Jazz

A Brief History of the Growth of Jazz This music, first practiced by African Americans and Creoles, before being adopted also by Euro-American musicians, probably akin to archaic Jazz. We do, however, no documentation about it, other than oral testimony to writing. There is Indeed a dimension of jazz that makes It both original and elusive In these crucial years between the last two centuries: Improvisation.

Before the record comes only burn the first work of Jazz in the wax, the music of Jazz could not hope to extend his fame ended a circle of first-hand observers, all died long ago. Not being written but improvised from some pre-text (a song, a typical chord progression from the Blues), the origins of Jazz has been transmitted to us otherwise than by the testimony of few observers. Ragtime, which Is also a mixed form of American music, gives us a good idea of what could these meetings between musical cultures and Afro-Euro-American at the turn of two centuries.

But It Is by no means any form of Jazz; Ragtime has since written music that leaves no room for improvisation. In the beginning was the BLUES: This musical style, which is also a way of ‘being – in-world’ was born in the southern States after the civil war. Singing the Blues and the melancholy of the uprooted blacks who will pile up in the ghettos of the North, the blues has a structure of particular measures cut Into a harmonic type ABA sequence more often organized around three chords (tonic, submissions, dominant).

Blue notes are alterations In the 3rd and 7th degrees of the diatonic-hesitation range the range between major and minor mode. The most famous blues singer is Bessie Smith (1898-1937). B. B. King (not to be confused with B. E. King singer from stand By Me) and his guitar Lucille are the precursors of Rock and Roll are a living myth and continue to release albums (and the duets with Carols Santa,… ) The golden age of SWING: If ragtime (Scott Joplin and his famous “The entertainer” the method rose) and boogie woozier are also black music, the most famous form of the jazz continue to swing and in particular those born in New Orleans.

In Louisiana, the slaves knew more flexible living conditions: the egalitarian ideas of the French evolution are circulating and the white masters allow blacks to sing and dance on Congo Square to channel their threats of rebellion. In 1917, the army commandeers the port area. The musicians are forced to flee to Chicago. For the first time the New Orleans (Creole and African mix) music Is recorded. When it Is played by whites, In a somewhat watered-down form, known as Dixieland.

The golden age of swing between 1935 and 1945: the tempo is regular, the pulse fundamental, especially on the “after-beat” or “setbacks” and paramount improvisation. Music causes a balancing effect and invited to dance (Glenn Miller in the Mood). Originally created by black musicians, the swing drew fast in musicals written by whites: George and Air Gershwin, Cole Porter, Richard Rogers. It is also the latest Goldman or Oasis today. The stars of the era include Cab Galloway (died in 1996), the creator of “Minnie the Moocher”, and song in the film the “Blues Brothers”. (Hi Ho) and the Nat King Cole Trio” before crooner Nat King Cole is a great feel (“Sweet Lorraine”). Two singers of the era of Swing: This is the time of the debut of Ella Fitzgerald who orators at the Savoy in the Chick Webb Orchestra, her husband, “A ticket a Tasked” and “Mr. Paginating. Chick Webb”, drummer hunchback and reaches bone tuberculosis died in 1939. At the age of 21, Ella decides to carry out one career culminating mid-sass label Verve (Norman Grant) (Ella in Borderline). It will record all the standards of American music and will remain the largest statuses.

If charged a certain coldness in his interpretation of ballads, she is recognized by all as one who knows how to make the most mundane words and turn them into hits (“Mack The Knife”). ” Lady Day’ is his exact opposite. It carries with it the quintessence of the Blues it serves beautifully: misery, drugs and rape. After war, it continued its success with a voice expert and injured by excess (“Lady in Satin”). She died in 1959. His tragic career is intertwined with that of the saxophonist Lester Young.

At the same time on the banks of the seine Dagon Reinhardt (guitar) (in spoken much in Woody Allen’s “agreements and disagreements”) and Stephan Grappler invent a good French swing (clouds) in the quintet of the Hot Club of France (1934). The bebop aesthetic: After the war, young musicians refuse the rigid framework of the swing and the heaviness of the orchestras. Harlem, in the 52nd Street, these innovators – “Charlie Parker said Bird-(“Kook”, “Laura”) – and Dizzy Gillespie-(“A night in Tunisia”)” they invent the Be Bop.

The rhythm is syncopated and cadence music tripled. Upset grates of agreements: agreements of passage delay waiting too expected an agreement: between Sibs and Mob superposing Simi and Mi. The poppers accumulate third superimposed above the octave. With this transformation, he old standards become unrecognizable and change names. The producer Norman Grant therefore organizes concerts JOTA Jazz At The Philharmonic) trying to regroup on the same stage by the musicians of the two generations (before and after the Bop).

They are born in the sass and are difficult to distinguish from the pure Bop: Cool ‘velvety and vaporous, sober and sound’ (Noel Baleen) is opposed to the hottest style of the poppers new York. Hard Bop is characterized by fewer complexes than those of the Bop rhythms and back to the Blues. It is an identity resurgence of blacks who insider that cool is a sanitized for white music. On the album “Something’s” Cannonball Dearly, is thus a Bop musician in the tradition of Parker (Dearly), a cool (Davis) and a hard Bop (Blakeley): actually, the stylistic antagonism is quite relative.

The confusion after 1970: These movements persist until the sass date where the Jazz broke out and merges with other music. Nothing will be really clear then. In the sass, colored groups develops and with free Jazz (created by Ornate Coleman): (regular swing) swing disappears, the theme is rejected in favor of Hitachi and sinuous melodies without links with each other, the sound effects appear and sound and Cree spurts are encouraged. Personally it is struggled to extreme limit. In 1969, branch this trumpet on electricity.

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