Short History of Jazz

Jazz is sometimes referred to as “America’s classical music”. It has become a diverse genre with its roots in native American and African music; in particular, the blues, spirituals and rag time. Jazz first became a defined music form in the early 1920 springing from the US cities of New Orleans and later Chicago. Early Jazz was characterized by traditional rhythms and melodies being taken and improvised upon, giving a combination of swing and syncopation. Early Jazz performers of note included Jelly Roll Morton, Fats Domino, Bix Beiderbecke and Louis Armstrong. A good taste of this period can be gained by listening to recordings of Louis Armstrong’s Hot Fives and Hot Seven ensembles.

By the 1930 Jazz had spread out of its local bases in South American and became more mainstream attracting white musicians as well. One development of Jazz was the big bands such as Ben Goodman and Glen Miller. Glen Millers big band became very successful and popular, but offering little scope for improvisation. Jazz aficionados saw it as more of swing rather than real jazz. However other big bands such as Duke Ellington and Count Basie provided some of the all time great Jazz recordings.

Whilst the Big Band led jazz in a more conventional direction. The late 1930s and 1940s also saw jazz develop in another direction through the creation of the new “Be Bop” craze. Be Bop is epitomized by the great musicians such as Charlie “Bird” Parker, Dizzy Gillespie, and Sonny Rollins. These musicians took Jazz to new heights of improvisation, loosening the adherence to harmony’s and rigid chord structures.

Unlike previous forms of jazz, Be bop was not designed for dancing but was seen more like an opportunity to showcase the musical expertise of the performers. Some of the great be bop recordings came about as the performers played off each other, each striving for greater excellence and improvisation. One of the greatest recordings of this period was “Jazz at Masey Hall” 1953 featuring Dizzy Gillespie and Charlie Parker amongst others, it is a very good example of live jazz music. In the 1960s Be bop evolved into a form of “free jazz” with little if any adherence to conventional harmonies and chord structures. One of the best selling jazz recordings which characterized this new form was “A Kind of Blue” by Miles Davis.

Alas many of the great jazz performers led tragic lives, a seemingly very high percentage died prematurely, inevitably from drug and alcohol misuse. Unfortunately many young performers came to associate drugs with being a successful jazz performer so jazz developed a strong reputation for association with narcotics.

To play Jazz music successfully a classical background is definitely an advantage. To be a successful jazz player you need to be able to learn the chords and scales of the song. With this basic structure you can then improvise around these chords to give the improvised or jazz effect. However to be a great jazz musician a lot more is needed than formal training, successful improvisation is a difficult skill that appears to come easily to a rare few.

By Richard Pettinger (from http://www.philipharperjazz.com/302/short-history-of-jazz)

Exercises

1.Match words from the text with their definitions: 1) swing; 2) aficionado; 3) chord; 4) syncopation; 5) scale.

a) a group of notes sounded together, as a basis of harmony;

b) an arrangement of the notes in any system of music in ascending or descending order of pitch;

c) displacing the beats of accents in a passage so as strong beats become weak and vice versa;

d) a devotee of a sport or pastime;

e) move with a to-and-fro or curving motion, as an object attached at one end and hanging free at the other.

2. What other kinds of music do you now? Complete the mind map. Which is most interesting to you?

classical

chamber … folk

symphonic MUSIC pop

… … country

Listen to the soliloquy of Hamlet from the play by Shakespeare. Follow the text.

To Be, Or Not To Be (Spoken by Hamlet, Act 3 Scene 1)

To be, or not to be: that is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And by opposing end them? To die: to sleep;
No more; and by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to, 'tis a consummation
Devoutly to be wish'd. To die, to sleep;
To sleep: perchance to dream: ay, there's the rub;
For in that sleep of death what dreams may come
When we have shuffled off this mortal coil,
Must give us pause: there's the respect
That makes calamity of so long life;
For who would bear the whips and scorns of time,
The oppressor's wrong, the proud man's contumely,
The pangs of despised love, the law's delay,
The insolence of office and the spurns
That patient merit of the unworthy takes,
When he himself might his quietus make
With a bare bodkin? who would fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscover'd country from whose bourn
No traveller returns, puzzles the will
And makes us rather bear those ills we have
Than fly to others that we know not of?
Thus conscience does make cowards of us all;
And thus the native hue of resolution
Is sicklied o'er with the pale cast of thought,
And enterprises of great pith and moment
With this regard their currents turn awry,
And lose the name of action –

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Date: 2015-01-11; view: 1162