American jazz orchestras of the early 20th century. Great jazz orchestras

Jazz- a unique phenomenon in the world musical culture. This multifaceted art form was born at the turn of the century (XIX and XX) in the United States. Jazz music has become the brainchild of the cultures of Europe and Africa, a kind of fusion of trends and forms from two regions of the world. Subsequently, jazz moved outside the United States and became popular almost everywhere. This music is based on African folk songs, rhythms and styles. In the history of the development of this direction of jazz, many forms and types are known, which appeared as they mastered new patterns of rhythms and harmonics.

Characteristics of jazz

The synthesis of two musical cultures made jazz a radically new phenomenon in world art. The specific features of this new music are:

• Syncopated rhythms that generate polyrhythmia.
• The rhythmic pulsation of music is a beat.
• The beat deviation complex is a swing.
• Constant improvisation in compositions.
• A wealth of harmonics, rhythms and timbres.

The basis of jazz, especially in the early stages of development, was improvisation combined with a thoughtful form (while the form of the composition was not necessarily fixed somewhere). And from African music, this new style took the following characteristic features:

• Understanding each instrument as a drum.
• Popular colloquial intonations when performing compositions.
• A similar imitation of conversation when playing the instruments.

In general, all directions of jazz differ in their own local characteristics, therefore, it is logical to consider them in the context of historical development.

The emergence of jazz, ragtime (1880-1910s)

It is believed that jazz originated among black slaves brought from Africa to the United States of America in the 18th century. Since the captive Africans were not represented by a single tribe, they had to find a common language with their relatives in the New World. This consolidation led to the emergence of a unified African culture in America, which also included musical culture. It was only in the 1880s and 1890s that the first jazz music appeared as a result. This style was driven by the worldwide demand for popular dance music. Since African musical art abounded in such rhythmic dances, it was on its basis that a new direction was born. Thousands of middle-class Americans, unable to master aristocratic classical dances, began to dance to the piano in ragtime style. Ragtime brought some of the future foundations of jazz to music. So, the main representative of this style, Scott Joplin, is the author of the element "3 against 4" (cross sounding of rhythmic schemes with 3 and 4 units, respectively).

New Orleans (1910-1920s)

Classical jazz appeared at the beginning of the twentieth century in the southern states of America, and specifically in New Orleans (which is logical, because it was in the south that the slave trade was widespread).

African and Creole orchestras have played here, making their music influenced by ragtime, blues and black workers' songs. After the appearance in the city of many musical instruments from military bands, amateur groups began to appear. The legendary New Orleans musician, creator of his own orchestra, King Oliver was also self-taught. An important date in the history of jazz was February 26, 1917, when the Original Dixieland Jazz Band released their first gramophone record. In New Orleans, the main features of the style were also laid down: the beat of percussion instruments, a masterful solo, vocal improvisation with syllables - scat.

Chicago (1910-1920s)

In the 1920s, called the “Roaring Twenties” by the classics, jazz music gradually entered popular culture, losing its titles “shameful” and “indecent”. Orchestras are starting to perform in restaurants, moving from the southern states to other parts of the United States. Chicago is becoming the center of jazz in the north of the country, where free nightly performances by musicians are gaining popularity (during such shows, there were frequent improvisations and third-party soloists). More complex arrangements appear in the style of music. The jazz icon of this time was Louis Armstrong, who moved to Chicago from New Orleans. Subsequently, the styles of the two cities began to be combined into one genre of jazz music - Dixieland. The main feature of this style was collective mass improvisation, which elevated the main idea of ​​jazz to absolute.

Swing and big bands (1930-1940s)

The further rise in popularity of jazz caused a demand for large orchestras playing dance tunes. This is how swing appeared, representing characteristic deviations in both directions from the rhythm. Swing became the main style direction of that time, manifested in the work of orchestras. The execution of harmonious dance compositions required a more harmonious playing of the orchestra. Jazz musicians had to participate evenly, without much improvisation (except for the soloist), so the collective improvisation of Dixieland is a thing of the past. In the 1930s, such groups flourished, which were called big bands. A characteristic feature of the orchestras of that time was the competition of groups of instruments, sections. Traditionally, there were three of them: saxophones, trumpets, drums. The most famous are jazz musicians and their orchestras: Glenn Miller, Benny Goodman, Duke Ellington. The latter musician is famous for his devotion to Negro folklore.

Bebop (1940s)

Swing's departure from the traditions of early jazz and, in particular, classical African melodies and styles, has caused discontent among connoisseurs of history. Big bands and swing performers, increasingly working for the public, began to be contrasted with jazz music by small ensembles of black musicians. The experimenters introduced super-fast melodies, brought back a long improvisation, complex rhythms, and a virtuoso mastery of a solo instrument. The new style, which positioned itself as exclusive, began to be called bebop. Outrageous jazz musicians Charlie Parker and Dizzy Gillespie became the icons of this period. The revolt of black Americans against the commercialization of jazz, the desire to return this music to its intimacy and uniqueness became a key point. From this moment and from this style the countdown of the history of modern jazz begins. At the same time, big band leaders come to small orchestras, wishing to take a break from the big halls. In ensembles called combos, such musicians adhered to the swing style, but got the freedom to improvise.

Cool jazz, hard bop, soul jazz and jazz-funk (1940-1960s)

In the 1950s, a genre of music such as jazz began to develop in two opposite directions. The supporters of classical music "chilled" bebop, bringing academic music, polyphony, and arrangement back into fashion. Cool jazz became known for its restraint, dryness and melancholy. The main representatives of this direction of jazz were: Miles Davis, Chet Baker, Dave Brubeck. But the second direction, on the contrary, began to develop the ideas of bebop. The hard bop style preached the idea of ​​returning to the origins of black music. Traditional folk melodies, bright and aggressive rhythms, explosive soloing and improvisation have returned to fashion. Known in the hard bop style: Art Blakey, Sonny Rollins, John Coltrane. This style developed organically along with soul jazz and jazz-funk. These styles approached the blues, making rhythm a key aspect of performance. Jazz funk, in particular, was introduced by Richard Holmes and Shirley Scott.

Jazz- a kind of musical art that appeared in the late 19th and early 20th centuries as a result of the mixing of African musical culture of black slaves and European. From the first culture, this kind of music borrowed improvisation, rhythm, repeated repetition of the main motive, and from the second - harmony, sounding in minor and major. It is worth noting that such elements of the folklore of African slaves brought to America as ritual dances, workers' and church songs, and blues are also reflected in jazz melodies.

Disputes about the place of origin of jazz are still ongoing. It is known that it spread all over the world from the USA, and its classic direction originated in New Orleans, where on February 26, 1917, the "Original Dixieland Jazz Band" recorded the first jazz gramophone record.

In the first decade of the 20th century, musical ensembles that performed original improvisations on the themes of blues, ragtime, and European songs began to enjoy particular popularity in the southern states of the United States. They were called "jazz-band", which is why the word "jazz" originated. These groups included musicians playing a variety of instruments, including: trumpet, clarinet, trombone, banjo, tuba, double bass, drums and piano.

Jazz has several characteristic features that distinguish it from other musical genres:

• rhythm;
• swing;
• instruments that imitate human speech;
• a kind of "dialogue" between the instruments;
• specific vocals, intonationally reminiscent of a conversation.

Jazz has become an integral part of the music industry, spreading across the globe. The popularity of jazz melodies has led to the creation of a huge number of ensembles performing them, as well as to the emergence of new directions of this genre of music. Today, more than 30 such directions are known, among which the most popular are blues, soul, ragtime, swing, jazz-rock, symphonic jazz.

For those wishing to master the basics of this type of musical art, the decision to buy a clarinet, trumpet, banjo, trombone or any other jazz instrument will be a great start on the path of mastering this genre. Later, a saxophone was included in the composition of jazz orchestras and ensembles, which today can even be bought in the online store. In addition to those listed, ethnic musical instruments may also be part of a jazz group.

Jazz (English Jazz) is a form of musical art that arose at the beginning of the 20th century in the United States as a result of the synthesis of African and European cultures and subsequently became widespread.

Jazz is amazing music, live, constantly developing, absorbing the rhythmic genius of Africa, the treasures of the millennial art of drumming, ritual, ritual chants. Add choral and solo singing of Baptist, Protestant churches - the opposite things merge together, giving the world an amazing art! The history of jazz is unusual, dynamic, filled with amazing events that influenced the world musical process.

What is jazz?

Specific traits:

• polyrhythmia based on syncopated rhythms,
• bit - regular ripple,
• swing - a deviation from the beat, a set of techniques for performing a rhythmic texture,
• improvisation,
• colorful harmonic and timbre range.

This direction of music arose in the early twentieth century as a result of the synthesis of African and European cultures as an art based on improvisation in combination with a previously thought out, but not necessarily recorded form of composition. Several performers can improvise at the same time, even if the lead voice is clearly heard in the ensemble. The finished artistic image of the work depends on the interaction of the members of the ensemble with each other and with the audience.

Further development of the new musical direction occurred due to the development of new rhythmic and harmonic models by composers.

In addition to the special expressive role of rhythm, other features of African music were inherited - the interpretation of all instruments as percussion, rhythmic; the predominance of colloquial intonations in singing, imitation of colloquial speech when playing the guitar, piano, percussion instruments.

The history of jazz

The origins of jazz lie in the traditions of African music. Its founders can be considered the peoples of the African continent. The slaves brought to the New World from Africa did not come from the same clan, often did not understand each other. The need for interaction and communication led to unification, the creation of a single culture, including music. It is characterized by complex rhythms, dances with trampling, slapping. Together with blues motives, they gave a new musical direction.

The mixing of African and European musical culture, which has undergone major changes, has taken place since the eighteenth century, and in the nineteenth led to the emergence of a new musical direction. Therefore, the world history of jazz is inseparable from the history of American jazz.

The history of the development of jazz

The history of jazz originates in New Orleans, in the American South. This stage is characterized by the collective improvisation of several versions of the same melody by the trumpeter (main voice), clarinetist and trombonist against the background of marching accompaniment of brass bass and drums. A significant day - February 26, 1917 - then in the New York studio of the Victor company, five white musicians from New Orleans recorded the first gramophone record. Before the release of this disc, jazz remained a marginal phenomenon, musical folklore, and after - in a few weeks it stunned and shook the whole of America. The recording belonged to the legendary Original Dixieland Jazz Band. This is how American jazz began its proud march around the world.

In the 1920s, the main features of future styles were found: uniform pulsation of the double bass and percussion, which promoted swing, virtuoso soloing, a manner of vocal improvisation without words using separate syllables ("scat"). Blues took a significant place. Later, both stages - New Orleans, Chicago - are combined by the term "Dixieland".

In the American jazz of the 1920s, a harmonious system arose that was called "swing". Swing is characterized by the emergence of a new type of orchestra - the big band. With the increase in the orchestra, it was necessary to abandon collective improvisation, to switch to the performance of arrangements recorded on notes. The arrangement became one of the first manifestations of the composer's beginning.

The big band consists of three groups of instruments - sections, each can sound like one polyphonic instrument: saxophone sections (later with clarinets), "copper" section (trumpets and trombones), rhythmic section (piano, guitar, double bass, drums).

A solo improvisation based on the "square" ("chorus") appeared. "Square" is one variation equal in duration (number of measures) to the theme, performed against the background of the same chord accompaniment as the main theme, to which the improviser adjusts new melodic turns.

In the 1930s, the American blues became popular, the song form of 32 measures became widespread. In swing, the "riff" is widely used - a two-four-bar rhythmically flexible line. It is performed by the orchestra while the soloist improvises.

Among the first big bands were orchestras led by famous jazz musicians - Fletcher Henderson, Count Basie, Benny Goodman, Glen Miller, Duke Ellington. The latter, already in the 40s, turned to large cyclical forms based on Negro, Latin American folklore.

American jazz in the 1930s was commercialized. Therefore, among amateurs and connoisseurs of the history of the origin of jazz, a movement arose for the revival of earlier, authentic styles. The decisive role was played by small Negro ensembles of the 40s, who discarded everything designed for an external effect: pop, dance, song. The theme was played in unison and almost never sounded in its original form, the accompaniment no longer required dance regularity.

This style, which opens the modern era, is called "bop" or "bebop". The experiments of talented American musicians and jazz performers - Charlie Parker, Dizzy Gillespie, Thelonious Monk and others - actually laid the foundation for the development of an independent art form, only superficially related to the pop and dance genre.

From the late 40s to the mid 60s, development took place in two directions. The first included cool and west coast styles. They are characterized by extensive use of the experience of classical and modern serious music - developed concert forms, polyphony. The second direction included styles "hardbop" - "hot", "energetic" and close to him "soul-jazz" (translated from English "soul" - "soul"), combining the principles of old bebop with the traditions of Negro folklore, temperamental rhythms and intonations spiritualists.

Both of these directions have a lot in common in the desire to get rid of the division of improvisation into separate squares, as well as swing waltz and more complex sizes.

Attempts were made to create works of large form - symphonic jazz. For example, "Rhapsody in blues tones" by J. Gershwin, a number of works by I.F. Stravinsky. Since the mid-50s. experiments on combining the principles of jazz and modern music again became widespread, already under the name "third trend", also among Russian performers ("Concert for Orchestra" by A.Ya. Eshpai, works by M.M. Kazhlaev, 2nd piano concerto with the orchestra of R.K.Schedrin, 1st symphony by A.G. Schnittke). In general, the history of the emergence of jazz is rich in experiments, closely intertwined with the development of classical music, its innovative directions.

Since the beginning of the 60s. active experiments begin with spontaneous improvisation, not even limited to a specific musical theme - Freejazz. However, the modal principle is even more important: each time a number of sounds are selected anew - the mod, and not clearly distinguishable squares. In search of such modes, musicians turn to the cultures of Asia, Africa, Europe, etc. In the 70s. come the power tools and rhythms of youth rock music, based on a finer crushing of the beat than before. This style is first called "fusion", i.e. "alloy".

In short, the history of jazz is a story about search, unity, daring experiments, ardent love for music.

Russian musicians and music lovers are certainly curious about the history of the emergence of jazz in the Soviet Union.

In the pre-war period, jazz in our country developed within pop orchestras. In 1929, Leonid Utyosov organized a pop orchestra and named his team "Tea-Jazz". The Dixieland and Swing styles were practiced in the orchestras of A.V. Varlamova, N.G. Minha, A.N. Tsfasman and others. Since the mid-50s. small amateur collectives ("Eight Central House of Arts", "Leningrad Dixieland") begin to develop. Many prominent performers got a start in life in them.

In the 70s, training began at the variety departments of music schools, teaching aids, sheet music, and records were published.

Since 1973 pianist L.A. Chizhik began performing with "evenings of jazz improvisation". Ensembles under the direction of I. Bril, "Arsenal", "Allegro", "Kadans" (Moscow), D.S. Goloshchekina (Leningrad), groups of V. Ganelin and V. Chekasin (Vilnius), R. Raubishko (Riga), L. Vintskevich (Kursk), L. Saarsalu (Tallinn), A. Lyubchenko (Dnepropetrovsk), M. Yuldybaeva (Ufa ), orchestra O.L. Lundstrem, the collectives of K.A. Orbelyan, A.A. Kroll ("Contemporary").

Jazz in the modern world

Today's world of music is diverse, dynamically developing, new styles are emerging. In order to freely navigate in it, to understand the ongoing processes, you need to know at least a brief history of jazz! Today we are witnessing the mixing of an increasing number of world cultures, constantly bringing us closer to what is, in essence, already becoming "world music". Today's jazz incorporates sounds and traditions from almost every corner of the globe. Including rethinking and African culture, with which it all began. European experimentalism with classical overtones continues to influence the music of young pioneers such as Ken Vandermark, an avant-garde saxophonist known for his work with famous contemporaries such as saxophonists Mats Gustafsson, Evan Parker and Peter Brotzmann. Other young, more traditional musicians who continue to search for their own identity 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 continues and is actively supported by artists such as the trumpet player Winton Marsalis, who works with an entire team of assistants, plays in his own small bands and leads the Lincoln Center Orchestra. Under his auspices pianists Marcus Roberts and Eric Reed, saxophonist Wes "Warmdaddy" Anderson, trumpeter Markus Printup and vibraphonist Stephen Harris grew up as great masters.

Bassist Dave Holland is also a great discoverer of young talent. Among his many discoveries are saxophonists Steve Coleman, Steve Wilson, vibraphone player Steve Nelson and drummer Billy Kilson.

Other great mentors to young talent include legendary pianist Chick Corea, and late drummer Alvin Jones and singer Betty Carter. The potential for the further development of this music is now great and varied. For example, saxophonist Chris Potter is releasing a mainstream release under his own name and is simultaneously recording with another great avant-garde drummer, Paul Motian.

We have yet to enjoy hundreds of wonderful concerts and daring experiments, to witness the emergence of new directions and styles - this story has not yet been completed!

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As a kind of music developed at the turn of the 19th and 20th centuries. as a result of the synthesis of elements of two musical cultures - European and African. Of the African elements, one can note the polyrhythmicity, multiple repetition of the main motive, vocal expressiveness, improvisation, which penetrated into jazz along with the common forms of Negro musical folklore - ritual dances, work songs, spirituals and blues.

Word "Jazz", originally "Jazz-band", began to be used in the middle of the 1st decade of the 20th century. in the southern states to refer to music created by small New Orleans ensembles (trumpet, clarinet, trombone, banjo, tuba or double bass, drums and piano) in the process of collective improvisation on themes of blues, ragtime, and popular European songs and dances.

For acquaintance, you can listen and Cesaria Evora, and,, and many others.

So what is it Acid Jazz? This is a funky musical style with built-in elements of jazz, 70s funk, hip-hop, soul and other styles. It can be sampled, it can be "live", and it can be a mixture of the latter two.

Mostly, Acid Jazz focuses on music, not text / words. This is club music that aims to get you moving.

First single in style Acid Jazz was "Frederick Lies Still", author Galliano... It was a cover version of the piece Curtis Mayfield "Freddie" s Dead " from the movie "Superfly".

Great contribution to the promotion and support of the style Acid Jazz introduced Gilles peterson who was the DJ on KISS FM. He was one of the first to establish Acid Jazz label. In the late 80s - early 90s, many performers appeared Acid Jazz which were presented as "live" commands - , Galliano, Jamiroquai, Don Cherry and studio projects - PALm Skin Productions, Mondo GroSSO, Outside, and United future organization.

Of course, this is not a jazz style, but a type of jazz instrumental ensemble, but nevertheless it was included in the table, because any jazz performed by a "big band" stands out very strongly against the background of individual jazz performers and small groups.
The number of musicians in big bands usually ranges from ten to seventeen people.
Formed in the late 1920s, consists of three orchestral groups: saxophones - clarinets(Reels), brass instruments(Brass, later groups of trumpets and trombones were distinguished), rhythm section(Rhythm section - piano, double bass, guitar, percussion musical instruments). The flowering of music big bands, which began in the United States in the 1930s, is associated with a period of mass enthusiasm for swing.

Later, up to the present time, big bands performed and perform music of a wide variety of styles. However, in essence, the era of big bands begins much earlier and dates back to the times of American minstrel theaters of the second half of the 19th century, which often increased the number of actors to several hundred actors and musicians. Listen The Original Dixieland Jazz Band, King Oliver's Creole Jazz Band, The Glenn Miller Orchestra, And His Orchestra and you will appreciate all the beauty of jazz performed by big bands.

A jazz style that emerged in the early - mid 40s of the 20th century and opened the era of modern jazz. It is characterized by a fast pace and complex improvisations based on changing harmony, not melody.
The super-fast pace of performance was introduced by Parker and Gillespie to keep out non-professionals from their new improvisations. Among other things, an outrageous demeanor became a hallmark of all Bebop members. Gillespie's "Dizzy" curved trumpet, Parker and Gillespie's behavior, Monk's ridiculous hats, etc.
Having emerged as a reaction to the widespread spread of swing, bebop continued to develop its principles in the use of expressive means, but at the same time discovered a number of opposite tendencies.

Unlike swing, which is mostly the music of large commercial dance bands, bebop is an experimental creative movement in jazz, associated mainly with the practice of small ensembles (combos) and anti-commercial in its focus.
The bebop stage was a significant shift in emphasis in jazz from popular dance music to more highly artistic, intellectual, but less mainstream "music for musicians." Bop musicians preferred complex improvisations based on plucking chords instead of melodies.
The main instigators of birth were: saxophonist, trumpeter, pianists Bud Powell and Thelonious Monk, drummer Max Roach... If you want Be bop listen , Michel Legrand, Joshua Redman Elastic Band, Jan Garbarek, Modern Jazz Quartet.

One of the styles of modern jazz, formed at the turn of the 40s - 50s of the 20th century on the basis of the development of the achievements of swing and bop. The origin of this style is primarily associated with the name of the Negro swing saxophonist L. Young, who developed the “cold” manner of sound production, opposite to the sound ideal of hot jazz (the so-called Lester sound); he also introduced the term “kul” for the first time. In addition, the prerequisites for cool jazz are found in the work of many bebop musicians, such as, for example, C. Parker, T. Monk, M. Davis, J. Lewis, M. Jackson and others.

At the same time cool jazz has significant differences from bop... This manifested itself in a departure from the traditions of hot jazz followed by bop, in the rejection of excessive rhythmic expressiveness and intonation instability, from the deliberate emphasis of a specifically Negro flavor. This style was played by: , Stan Getz, Modern Jazz Quartet, Dave Brubeck, Zoot Sims, Paul Desmond.

With the gradual decline in rock music activity beginning in the early 70s, with the diminishing flow of ideas from the world of rock, fusion music became more straightforward. At the same time, many began to realize that electric jazz could become more commercial, producers and some musicians began to look for such combinations of styles to increase marketability. They have really successfully created a kind of jazz that is more accessible to the average listener. Over the past two decades, many different combinations have emerged, for which promoters and publicists like to use the expression "Contemporary Jazz", used to describe the "fusion" of jazz with elements of pop, rhythm and blues and "world music".

However, the word "crossover" more accurately denotes the essence of the matter. Crossover and fusion achieved their goal and increased the audience for jazz, especially thanks to those who were fed up with other styles. In some cases, this music deserves attention, although mostly the content of jazz in it is reduced to zero. Examples of crossover style range from (Al Jarreau) and vocals (George Benson) to (Kenny G), "Spyro Gyra" and " " ... There is a jazz influence in all of this, but, nevertheless, this music fits into the realm of pop art, which is represented by Gerald Albright, George Duke, saxophonist Bill Evans, Dave Grusin,.

Dixieland is the broadest designation for the musical style of the earliest New Orleans and Chicago jazz musicians who recorded records from 1917 to 1923. This concept also applies to the period of the subsequent development and revival of New Orleans jazz - New Orlean's Revival which continued after the 1930s. Some historians attribute Dixieland only to the music of white bands playing the New Orleans jazz style.

Unlike other forms of jazz, the musicians' repertoire of plays Dixieland remained quite limited, offering endless variations of themes within the same melodies composed during the first decade of the 20th century and included ragtime, blues, onestep, two-step, march and popular melodies. For performing style Dixieland characteristic was the complex interweaving of individual voices into the collective improvisation of the entire ensemble. The opening solo performer and the other soloists who continued his playing seemed to resist the "riffing" of the rest of the horns, right down to the final phrases, usually performed by drums in the form of four-beat refrains, which, in turn, were answered by the entire ensemble.

The main representatives of this era were The Original Dixieland Jazz Band, Joe King Oliver, and his Famous Orchestra, Sidney Bechet, Kid Ory, Johnny Dodds, Paul Mares, Nick LaRocca, Bix Beiderbecke and Jimmy McPartland... Dixieland's musicians were essentially looking for a revival of the classic New Orleans jazz of yesteryear. These attempts were very successful and, thanks to subsequent generations, continue to this day. The first revival of the Dixieland tradition took place in the 1940s.
Here are just a few of the jazzmen who have played Dixieland: Kenny Ball, Lu Watters Yerna Buena Jazz Band, Turk Murphys Jazz Band.

A separate niche in the community of jazz styles has been occupied by a German company since the early 70s. ECM (Edition of Contemporary Music- Contemporary Music Publishing House), which gradually became the center of unification of musicians who professed not so much an attachment to the African-American origin of jazz as the ability to solve a wide variety of artistic problems, not limiting themselves to a certain style, but in line with the creative improvisation process.

Over time, nevertheless, a certain face of the company developed, which led to the separation of the artists of this label in a large-scale and pronounced stylistic direction. The orientation of the label's creator, Manfred Eicher, to unite various jazz idioms, world folklore and new academic music into a single impressionistic sound, made it possible with the help of these means to claim depth and philosophical understanding of life values.

The Oslo-based firm's main recording studio clearly correlates with a leading role in the catalog of Scandinavian musicians. First of all, these are the Norwegians Jan Garbarek, Terje Rypdal, Nils Petter Molvaer, Arild Andersen, Jon Christensen... However, the geography of ECM spans the entire world. Here and Europeans Dave Holland, Tomasz Stanko, John Surman, Eberhard Weber, Rainer Bruninghaus, Mikhail Alperin and representatives of non-European cultures Egberto Gismonti, Flora Purim, Zakir Hussain, Trilok Gurtu, Nana Vasconcelos, Hariprasad Chaurasia, Anouar Brahem and many others. The American Legion is no less representative - Jack DeJohnette, Charles Lloyd, Ralph Towner, Redman Dewey, Bill Frisell, John Abercrombie, Leo Smith... The initial revolutionary impulse of the company's publications turned over time into a meditative-detached sound of open forms with carefully polished sound layers.

Some of the mainstream adherents deny the path chosen by the musicians of this direction; however, jazz, as a world culture, is developing in spite of these objections and yielding very impressive results.

In contrast to the refinement and coolness of the cool style, the rationality of the progressive on the East Coast of the United States, young musicians in the early 50s continued to develop the seemingly exhausted bebop style. The rise in the self-awareness of African Americans, characteristic of the 1950s, played a significant role in this trend. Attention was again drawn to staying true to African American improvisational traditions. At the same time, all the achievements of bebop were preserved, but many of the achievements of kul were added to them both in the field of harmony and in the field of rhythmic structures. Musicians of the new generation, as a rule, had a good musical education. This current, which received the name "hardbop" turned out to be quite numerous. Trumpeters joined in Miles Davis, Fats Navarro, Clifford Brown, Donald Byrd, pianists Thelonious Monk, Horace Silver, drummer Art blake, saxophonists Sonny Rollins, Hank Mobley, Cannonball Edderly, double bass player Paul Chambers and many others.

For the development of the new style, one more technical innovation turned out to be essential, consisting in the appearance of long-playing records. Now you can record long solos. For musicians, this became a temptation and a difficult test, since not everyone is able to fully and succinctly express themselves for a long time. The first of these advantages were taken advantage of by the trumpet players, who modified Dizzy Gillespie's style to a more calm but deep playing. The most influential were Fats Navarro and Clifford Brown... The main attention of these musicians was paid not to virtuoso high-speed passages in the upper register, but to thoughtful and logical melodic lines.

Hot jazz is considered to be the music of the New Orleans pioneers of the second wave, whose highest creative activity coincided with the mass exodus of New Orleans jazz musicians to the North, mainly to Chicago. This process, which began shortly after the closure of Storyville following the entry of the United States into World War I and the declaration of New Orleans as a naval port for this reason, marked the so-called Chicago era in jazz history. The main representative of this school was Louis Armstrong. While still performing in the King Oliver ensemble, Armstrong made revolutionary changes in the concept of jazz improvisation at that time, moving from traditional schemes of collective improvisation to performing individual solo parts.

The very name of this type of jazz is connected with the emotional intensity characteristic of the manner in which these solo parts are performed. The term Hot was originally synonymous with jazz solo improvisation to highlight the differences in approach to soloing that occurred in the early 1920s. Later, with the disappearance of collective improvisation, this concept began to be associated with the way of performing jazz material, in particular with a special sound that determines the instrumental and vocal style of performance, the so-called wanting or hot intonation: a set of special methods of rhythmization and specific intonation features.

Perhaps the most controversial movement in jazz history arose with the emergence of "free jazz." Although the elements "Free Jazz" existed long before the appearance of the term itself, in "experiments" Coleman Hawkins, Pee Wee Russell and Lenny Tristano, but only towards the end of the 1950s through the efforts of such pioneers as the saxophonist and pianist Cecil Taylor, this direction took shape as an independent style.

What these two musicians have done together with others, including John Coltrane, Albert Euler and communities like Sun ra orchestra and a group called The Revolutionary Ensemble consisted of various changes in the structure and feel of the music.
Among the innovations that were introduced with imagination and great musicality was the rejection of the chord progression, which allowed the music to move in any direction. Another fundamental change was found in the area of ​​rhythm, where "swing" was either revised or ignored altogether. In other words, pulsation, meter and groove were no longer essential to this reading of jazz. Another key component was atonality. Now the musical utterance was no longer based on the usual tonal system.

Shrill, barking, convulsive notes completely filled this new sound world. Free jazz continues to exist today as a viable form of expression, and in fact is no longer as controversial a style as it was adopted at the dawn of its inception.

Perhaps the most controversial movement in jazz history arose with the emergence of "free jazz."

A modern style trend that emerged in the 1970s on the basis of jazz-rock, a synthesis of elements of European academic music and non-European folklore.
The most interesting jazz-rock compositions are characterized by improvisation, combined with compositional solutions, the use of harmonic and rhythmic principles of rock music, the active embodiment of the melody and rhythm of the East, the introduction of electronic means of processing and synthesizing sound into music.

In this style, the range of application of the modal principles has expanded, the very set of various, including exotic, modes. In the 70s, jazz-rock became incredibly popular, the most active musicians were joining it. Jazz-rock, more developed in relation to the synthesis of various musical means, was called "fusion" (fusion, fusion). An additional impetus for the "fusion" was the next (not the first in the history of jazz) bow towards European academic music.

In many cases, fusion actually becomes a combination of jazz with regular pop and light rhythm and blues; crossover. Fusion music's ambitions for musical depth and empowerment have remained unfulfilled, although on rare occasions the search continues, for example in bands like Tribal Tech and Chick Corea ensembles. Listen: Weather Report, Brand X, Mahavishnu Orchestra, Miles Davis, Spyro Gyra, Tom Coster, Frank Zappa, Urban Knights, Bill Evans, from New Niacin, Tunnels, CAB.

Modern funky belongs to the popular styles of jazz of the 70s and 80s, in which the accompanists play in the style of black pop soul, while solo improvisations are more creative and jazz in nature. Most saxophonists of this style use their own set of simple phrases, which consist of blues shouts and groans. They build on a tradition taken from saxophone solos in rhythm and blues vocal recordings like King Curtis on Coasters. Junior Walker with vocal groups of the Motown label, David Sanborn with "Blues Band" by Paul Butterfield. A prominent figure in this genre - who often played solo in style Hank Crawford with funky accompaniment. Much of the music , and their students are using this approach. also work in the "modern funk" style.

The term has two meanings. Firstly, it is an expressive means in jazz. A characteristic type of pulsation based on constant rhythm deviations from the reference lobes. This creates the impression of a large internal energy in a state of unstable equilibrium. Secondly, the style of orchestral jazz that developed at the turn of the 1920s and 1930s as a result of the synthesis of Negro and European styles of jazz music.

Initial definition "jazz-rock" was the most clear: a combination of jazz improvisation with the energy and rhythms of rock music. Until 67, the worlds of jazz and rock existed almost separately. But by this time rock becomes more creative and complicated, psychedelic rock, soul music appears. At the same time, some jazz musicians began to get bored with pure hardbop, but they did not want to play hard-to-understand avant-garde music. As a result, two different idioms began to exchange ideas and join forces.

Since 1967, guitarist Larry Coryell, vibraphone player Gary Burton, in 1969 drummer Billy Cobham with the group "Dreams", in which the Brecker brothers played, they began to master new spaces of style.
By the late 1960s, Miles Davis had the potential to transition to jazz rock. He was one of the founders of modal jazz, on the basis of which, using 8/8 rhythm and electronic instruments, he takes a new step, recording the albums "Bitches Brew", "In a Silent Way". Together with him at this time there is a brilliant galaxy of musicians, many of whom later become the fundamental figures of this direction - (John McLaughlin), Joe Zawinul(Joe Zawinul), Herbie Hancock... Asceticism, laconicism, philosophical contemplation, characteristic of Davis, turned out to be very useful in the new style.

By the early 1970s jazz rock had its own distinct face as a creative jazz style, although it was ridiculed by many jazz purists. The main groups of the new direction were "Return To Forever", "Weather Report", "The Mahavishnu Orchestra", various ensembles Miles Davis... They played high quality jazz rock that combined a huge range of techniques from both jazz and rock. Asian Kung-Fu Generation, Ska - Jazz Foundation, John Scofield Uberjam, Gordian Knot, Miriodor, Trey Gunn, trio, Andy Summers, Erik Truffaz- you should definitely listen to understand how diverse progressive and jazz-rock music is.

Style jazz-rap was an attempt to fuse together the African American music of the past decades with a new dominant form of the present, which would pay tribute and instill new life in the first element of this - fusion - and also broaden the horizons of the second. The jazz-rap rhythms were completely borrowed from hip-hop, and the samples and sound texture mainly came from such styles of music as cool jazz, soul-jazz and hard bop.

This style was the coolest and most famous among other hip-hop styles, and many performers showed Afro-centrist political consciousness, adding historical accuracy to this style. Given the intellectual bias of this music, it's no surprise that jazz-rap has never become a favorite on the street; but then no one thought about it.

The representatives of jazz-rap themselves called themselves supporters of a more positive alternative to the hardcore / gangsta movement, which ousted rap from the leading positions in the early 90s. They aimed to spread hip-hop to listeners who cannot accept or understand the growing aggression of urban musical culture. Thus, jazz-rap found the bulk of its fans in student dormitories, and was also supported by a number of critics and white alternative rock fans.

Command Native Tongues (Afrika Bambaataa)- this New York-based African-American rap group has become a powerful force representing the style jazz-rap and includes such groups as A Tribe Called Quest, De La Soul and The Jungle Brothers... Those who soon began their work Digable Planets and Gang starr also gained notoriety. In the mid-late 90s, alternative rap began to break up into a large number of sub-styles, and jazz-rap has rarely become an element of a new sound.

As one of the most revered forms of musical art in America, jazz laid the foundation for an entire industry, revealing to the world numerous names of genius composers, instrumentalists, and vocalists, 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 late years of the 19th century and at the beginning of the 20th as a direction that combines classical European and American sounds with African folk motives. The songs were performed with a syncopated rhythm, giving impetus to the development, and subsequently the formation of large orchestras for its performance. Music has taken a big step forward from ragtime to modern jazz.

The influence of West African musical culture is evident in what music is written and how it is performed. Polyrhythm, improvisation and syncopation are what characterizes jazz. Over the past century, this style has changed under the influence of contemporaries of the genre, who contributed their performance 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 stride to create his own unique playing style, adding swing rhythm and fantastic improvisation. His attitude to jazz music radically changed the importance of the grand piano in jazz as a musical instrument compared to 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 is known to become popular ten years later, when the first recordings 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 the emergence of bebop and its subsequent development. His very personality as an eccentric musician helped popularize jazz. Monk, always dressed in a suit, hat and sunglasses, openly expressed his free attitude towards improvisational music. He did not accept strict rules and formed his own approach to writing essays. 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 style of play was based on an innovative approach to improvisation. His works are distinguished by percussive passages and abrupt pauses. Quite often, right during his performances, he jumped up from the piano and danced while the other band members continued to play the melody. Thelonious Monk remains one of the most influential jazz musicians in the history of the genre.

13 Charles Mingus

The acclaimed double bass virtuoso, composer and band leader 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 members of the team demonstrated the skill of playing, each of whom was also not only talented, but was characterized by a unique style of play.

Mingus carefully selected the musicians who made up his band. The legendary double bass player was notable for his irascibility, and once he even punched trombonist Jimmy Knepper in the face, knocking out a 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 ailment, Charles Mingus is one of the most influential figures in jazz history.

12 Art Blakey

Art Blakey was a renowned American drummer and band leader who made a splash in drum kit style and technique. 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 of playing bebop on drums. For more than 30 years, his band The Jazz Messengers has given a start in big jazz to many jazz artists: Benny Golson, Wayne Shorter, Clifford Brown, Curtis Fuller, Horace Silver, Freddie Hubbard, Keith Jarrett, etc.

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

11 Dizzy Gillespie

The jazz trumpet player, singer, composer and band leader became a prominent figure during the bebop and modern jazz era. His trumpet style influenced the style of Miles Davis, Clifford Brown and Fats Navarro. After spending time in Cuba, upon returning to the United States, Gillespie was one of the musicians who actively promoted Afro-Cuban jazz. In addition to his inimitable performance on a distinctively curved trumpet, Gillespie was recognizable by his horn-rimmed glasses and incredibly large cheeks while playing.

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

10 Max Roach

Among the top ten 15 most influential jazz musicians in the history of the genre is Max Roach, a drummer known as one of the pioneers of bebop. He, like few others, influenced modern drumming. 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 man of impeccable playing style, capable of playing long solos 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 wrapped 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 that 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 their singing.

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

8 John Coltrane

John Coltrane's name is associated with virtuoso playing technique, superb talent for composing music and a passion for exploring new facets of the genre. On the cusp 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 was harsh 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 able to create melodic compositions in the style of smooth jazz.

John Coltrane is the author of a kind of "reboot of bebop", incorporating modal harmonies. Remaining the main active figure in the vanguard, he was a very prolific composer and did not stop releasing CDs, having recorded about 50 albums as a band leader throughout his career.

7 Count Basie

Revolutionary pianist, organist, composer and band leader Count Basie led one of the most successful bands in jazz history. In 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 sought-after big bands. Winner of nine Grammy awards Count Basie has instilled a love of orchestral sound in more than one generation of listeners.

Basie has written many compositions that have become jazz standards, such as April in Paris and One O'Clock Jump. Colleagues spoke of him as tactful, modest and full of enthusiasm. Had it not been in the history of the count Basie orchestra jazz, the era of big bands would have sounded differently and probably would not have been as influential as it became with this outstanding band leader.

6 Coleman Hawkins

The tenor saxophone is a symbol of bebop and all jazz music in general. And thankful for that, we can be Coleman to Hawkins. Hawkins' innovation was vital to the development of bebop in the mid-forties. His contributions to the popularity of this instrument may have shaped the future careers of John Coltrane, and Dexter Gordon.

The composition Body and Soul (1939) became the standard of playing the tenor saxophone for many saxophonists. Other instrumentalists were influenced by Hawkins - pianist Thelonious Monk, trumpet player Miles Davis, drummer Max Roach. His ability for extraordinary improvisation led to the disclosure of new jazz sides of the genre, which 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

Opens five of the 15 most influential jazz musicians in the history of the genre. 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 onset of the era of jazz, the recognition of this genre as an independent art form.

Despite the fact that Benny Goodman was the lead singer of a large swing orchestra, he also participated in the development of bebop. His orchestra was one of the first to bring together musicians of different races. Goodman was a staunch opponent of the Jim Crow Law. He even turned down a southern tour in support of racial equality. Benny Goodman was an active activist 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, was at the origin of many musical events and oversaw their development. He is credited with pioneering the genres of bebop, hard bop, cool jazz, free jazz, fusion, funk and techno music. In constant search for a new musical style, he was always successful and was surrounded by brilliant musicians, including John Coltrane, Cannoball Adderly, Keith Jarrett, JJ Johnson, Wayne Shorter and Chick Corea. During his lifetime, Davis was awarded 8 Grammy awards and is 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 of jazz, you think of a name. Also known as Bird Parker, he was a pioneer of the jazz alto saxophone, 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 for jazz music writing. Charlie Parker became the musician who cultivated the idea that jazzmen were artists and intellectuals, not just showmen. Many artists have tried to copy Parker's style. His famous playing techniques can be traced in the manner of many of today's novice musicians, who take as a basis the composition Bird, which is consonant with the nickname of the alt-sacosophist.

2 Duke Ellington

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

1 Louis Armstrong

Undisputedly the most influential jazz musician in the history of the genre - known as Sachmo - a trumpet player and singer from New Orleans. He is known as the creator of jazz and played a key role in its development. The striking abilities of this performer made it possible to build the trumpet into a solo jazz instrument. He is the first musician to sing and popularize the scat style. His low "thundering" timbre of voice was impossible not to recognize.

Armstrong's adherence 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 style of singing and style of playing the trumpet.