Russian jazz performers. Jazz in Russia

Jazz is music filled with passion and ingenuity, music that does not know borders and limits. Make such a list is incredibly difficult. This list was written, rewritten, and then rewritten again. Ten is too limiting for such a musical direction as jazz. However, regardless of quantity, this music is able to breathe life and energy, awaken from the winter hibernation. What could be better bold, tireless, warming jazz!

1. Louis Armstrong

1901 - 1971

Trubuch Louis Armstrong is revered for its lively style, ingenuity, virtuosity, musical expressiveness and dynamic sight. Known by his creamy voice and career covering more than five decades. The influence of Armstrong on music is invaluable. As a rule, Louis Armstrong is considered the greatest jazz musician of all time.

Louis Armstrong With Velma Middleton & His All Stars - Saint Louis Blues

2. Duke Ellington

1899 - 1974

Duke Ellington is a pianist and composer, head of the jazz orchestra for almost 50 years. Ellington used his team as a music laboratory for his experiments in which he demonstrated the talents of the team participants, many of which remained with him for a long time. Ellington is an incredibly gifted and prolific musician. For his fifty-year-old career, he wrote thousands of compositions, including music for movies and musicals, as well as many well-known standards such as "Cotton Tail" and "IT DON'T Mean A Thing".

DUKE ELLINGTON AND JOHN COLTRANE - IN A SENTIMENTAL MOOD

3. Miles Davis

1926 - 1991

Miles Davis is one of the most influential musicians of the 20th century. Together with his musical teams, Davis was a central figure of jazz music from the mid-40s, including Bi-Bop, Kul Jazz, Hard Bop, Modal Jazz and Jazz Fusion. Davis tirelessly expanded the boundaries of the artistic expression, so that it is often determined as one of the most innovative and respected performers in the history of music.

Miles Davis Quintet - IT Never Entered My Mind

4. Charlie Parker

1920 - 1955

Charlie Parker's virtuoso-saxophonist was an influential jazz soloist and a leading figure in the development of bi-bob - a form of jazz, characterized by a rapid pace, virtuoso technique and improvisations. In its complex melodic lines, Parker combines jazz with other musical genres, including with blues, Latin and classical music. Parker was a sign figure for the subculture of Hipsters, however, he surpassed his generation and became the personification of an uncompromising, intellectual musician.

Charlie Parker - Blues for Alice

5. Nat King Cole

1919 - 1965

Known by his silky baritone, Nat King Cole brought the emotionality of jazz to popular American music. Cole was one of the first African Americans who became the leading television program that such jazz performers as Ella Fitzgerald and Erta Kitt visited. The phenomenal pianist and an outstanding improviser, Cole was one of the first jazz performers who became a pop icon.

Nat King Cole - Autumn Leaves

6. John Coltrine

1926 - 1967

Despite the relatively short career (for the first time accompanied at the age of 29 in 1955, officially began the solo career at 33 - in 1960, and died on 40 years of life in 1967), Saxophonist John Chtrianin is the most important and controversial figure in Jazz. Despite the short career, thanks to his glory, the koltrein had the opportunity to be written in abundance and many of his records were published posthumously. Coltreine radically changed his style during his career, nevertheless, he remains a lot of fans of both its early, traditional sound and more experimental. And no one, almost with religious commitment, does not doubt its significance in the history of music.

John Coltrane - My Favorite Things

7. Telonus Monk

1917 - 1982

Telonus Monk is a musician with a unique improvisational style, the second most recognizable jazz performer, after Duke Ellington. His style was characterized by energetic, shock batches in a mix with sharp, dramatic silence. During his speeches, while the rest of the musicians played, the Telephone got up because of the keyboard and danced within a few minutes. Having created the classic jazz compositions "Round Midnight", "Straight, No Chaser, Monk graduated from his days in relative obscurity, but his influence on modern jazz is noticeable to this day.

TheLonious Monk - "Round Midnight

8. Oscar Pieterson

1925 - 2007

Oscar Pieterson is an innovative musician who performed everything, including the classical ODU Baha and one of the first jazz ballets. St. Petersburg opened one of the first jazz schools in Canada. His "Hymn to Freedom" became a hymnote for civil rights. Oscar Peterson was one of the most talented and important jazz pianists of his generation.

Oscar Peterson - C Jam Blues

9. Billy Holiday

1915 - 1959

Billy Holiday is one of the most important figures in Jazz, although she never wrote her own music. Holiday turned "Embraceable You", I'll Be Seeing You "and" I Cover The Waterfront "in well-known jazz standards, and its execution" Strange Fruit "is considered one of the best in American musical history. Although her life was full of tragedy, the improvisational genius of Holiday, combined with her fragile, somewhat creaky voice, demonstrated an unprecedented depth of emotions, not finding analogues among other jazz singers.

BILLIE HOLIDAY - STRANGE FRUIT

10. Dizzy Gillespi

1917 - 1993

Trumpeters Dizzy Gillespi - Novator Bibopa and Master of Improvisation, as well as Pioneer Afro-Cuban and Latin Jazz. Gillespi collaborated with various musicians from South America and from the islands of the Caribbean. With a deep passion, he treated the traditional music of African countries. All this allowed him to bring unheard of innovations into modern jazz interpretations. Throughout his long career, Hillespi tiredly toured and fascinated the audience with his takes, glasses in horny frame, inflated cheeks, carelessness and their incredible music.

Dizzy Gillespie Feat. Charlie Parker - A Night In Tunisia

11. Dave Brubek

1920 – 2012

Dave Brubek is a composer and a pianist, a jazz popularizer, a wrestler for civil rights and a musical researcher. The iconocrocal performer, recognizable from one chord, a restless composer, spreading the borders of the genre, and the labeling bridge between the past and future music. Brubek collaborated with Louis Armstrong and many other well-known jazz musicians, and also influence the avant-gardeists: Pianist Cecil Taylor and Saxophonist Anthony Brackston.

Dave Brubeck - Take Five

12. Benny Hudmen.

1909 – 1986

Benny Goodman is a jazz musician, better known as the "King Sving". Became a popularizer of jazz among white youth. His appearance marked the beginning of the era. Goodman was an ambiguous person. He tirelessly sought perfection and was reflected in his approach to music. Goodman was not just a virtuoso performer - he was a creative clarinetist and innovator of the jazz epoch preceding the era of Bibopa.

Benny Goodman - Sing Sing Sing

13. Charles Mingus

1922 – 1979

Charles Mingus is an influential jazz counterbacrist, composer and a jazz orchestra leader. Music of Mingus is a mixture of hot and spiritual hard-bop, gospeling, classical music and free jazz. For their ambitious music and the formidable temperament, Mingus deserved the nickname "angry jazz man." If he was just a stringist, few people knew his name today. Most likely, he was the greatest double bassist, those who always kept their fingers on the pulse of the fierce expressive jazz power.

Charles Mingus - Moanin "

14. Herbie Hancock

1940 –

Herbian Hancock will always be one of the most revered and conflicting musicians in Jazz - just like his employer / Males Davis mentor. Unlike Davis, who was steadily moving forward and never looked back, Hancock zigzago-likes between almost electronic and acoustic jazz and even R "n" b. Despite its electronic experiments, Hancock's love to the piano does not weaken and his style of playing on the piano continues to develop in increasingly rigid and complex forms.

Herbie Hancock - CANTELope Island

15. Winton Marsalis

1961 –

The most famous jazz musician since 1980. In the early 80s, Winton Marsali became a discovery, since a young and very talented musician decided to make a living playing acoustic jazz, and not funk or r "n" b. Since the 70s, in Jazz, a huge deficit of new trumpeters was observed, but the unexpected fame of Marsali inspired a new interest in jazz music.

Wynton Marsalis - Rustiques (E. BOZZA)

The history of the Soviet (after 1991 - Russian) jazz is not deprived of the originality and is different from the periodization of American and European jazz.

Music historians share American jazz for three periods:

• traditional jazz, Including New Earlean Style (including Dixieland), Chicago style and swing - from the end of the XIX century. until the 1940s;
• modern (modern jazz), which includes the styles of the bobop, cooler, progressive and hard battles - from the beginning of the 40s. And until the end of the 50s. XX century;
• avangard (Fri-Jazz, modal style, fusion and free improvisation) - from the beginning of the 1960s.

It should be related that only the time limits of transformation of a style or direction are indicated above, although they all coexisted and continue to exist so far.

With all respects to the Soviet Jazz and his Matrah, it should be honest that Soviet jazz in Soviet years has always been secondary, based on those ideas that originally arose in the United States. And only after the Russian jazz passed a huge path, by the end of the XX century. You can talk about the originality of jazz, which is performed by Russian musicians. Using a century accumulated jazz wealth, they move their own way.

The birth of jazz in Russia occurred on a quarter of a century later than the overseas fellow, and the period of archaic jazz, who passed the Americans is not at all in the history of Russian jazz. At that time, when in young Russia only heard a musical novelty, America danced to jazz, and the orchestras were so much that it was not possible to calculate their number. Jazz music won an increasing audience, country and continents. It is much more lucky to the European public. Already in the 1910s, and especially during the First World War (1914-1918), American musicians struck the old world with their art, and the gramzazy industry also contributed to the spread of jazz music.

The birth of Soviet jazz is considered to be October 1, 1922, when in the Great Hall of the State Institute of Theatrical Art made a concert "First to RSFSR Eccentric Jazz Band." This is how this word wrote - jazz gang. Organized this orchestra poet, translator, geographer traveler and dancer Valentin Parns.(1891-1951). In 1921, he returned to Russia from Paris, where he lived since 1913 and was familiar with outstanding artists, writers, poets. It is in France that this outstanding and highly educated person, slightly mysterious, who loved all the avant-garde, met the first jazz tour from America and, carried away by this music, decided to acquaint Russian listeners with musical exotic. For the new orchestra, unusual tools were required, and the paranas brought Banjo to Moscow, Surdin sets for the pipe, tomTom with a foot pedal, plates and noise tools. For jazz music, Parns, who was not a musician, treated utilitarian. "He was attracted in this music unusual, broken rhythms and new, as he said," eccentric "dances," so recalled later a well-known writer, playwright, Writer Evgeny Gablovich, who worked for a pianist in the orchestra Valentine Parph.

Music, according to Parnach, was to be a accompaniment to plastic movements other than the classic ballet. From the very beginning of the existence of the orchestra, the conductor argued that the jazz team should be a "mimic orchestra", so that in the present value such an orchestra jazz to fully call it difficult. Most likely, it was a noise orchestra. Perhaps for this reason, initially jazz in Russia came across the theatrical environment, and for three years the Parnach orchestra performed in performances set by theatrical director Vsevolod Meyerhold. In addition, the orchestra sometimes participated in the carnival celebrations, played in the House of Print, where the Moscow intelligentsia was going. At the concert dedicated to the opening of the 5th Congress Comintern, the orchestrants performed fragments from the music of Darius Miyo to the ballet "Bull on the roof" - the essay is quite complex for execution. Jazz-gang Parnacha was the first team invited to the State Academic Drama Theater, however, the applied value of the orchestra after some time began to arrange a little manager, and Vsevolod Meyerhold annoyed that as soon as the orchestra began to play, all the attention of the audience was riveted to musicians, And not to the stage action. Despite the fact that in the press there was a successful use of music for the "manifestation of dramatic rhythm, a representation pulse", directed by Meyerhold to the orchestra cool, and the head of the first jazz gang in Russia after a big and noisy success returned to poetry. Valentin Parns was the first in Russia by the author of articles about new music, even wrote poems about Jazz. There are no records of the Parnah ensemble, as gramproof in the USSR appeared only in 1927, when the team was already broken. By this time, much more professional performers arose in the country than "the first in the RSFSR Eccentric Orchestra - Jazz Band Valentina Parnach. These were orchestras Teplitsky, Landsberg, Rockov, Thasman.

In the late 1920s. In the USSR there were enthusiasts, musicians appeared, who played what was "on hearing", which somehow came from Jazz Mecca, from America, where large sweer orchestras began to appear. In 1926, a graduate of the conservatory and a brilliant pianist virtuoso in Moscow Alexander Thasman(1906-1971) organized "AMA-Jazz" (with the cooperative music publishing house of the Association of Moscow authors). It was the first professional jazz orchestra in Soviet Russia. The musicians performed the composition of the leader himself, his arrangements of American plays and the first musical opuses of the Soviet composers who wrote music in the new genre for them. The orchestra successfully performed on pops of large restaurants, in the lobby of the largest cinemas. Next to the name Alexander Thasman, you can repeatedly repeat the word "first". In 1928, the orchestra spoke on the radio - for the first time Soviet jazz rang on the air, and then the first grams of jazz music appeared ("Alliluya" Vincent Yumans and Seminola, Harry Warren). Alexander Tsfasman was the author of the first jazz radio transmission in our country. In 1937, records of the Tsfas-Manov's works were made: "On the far way", "on the seashore", "unsuccessful date" (enough to remember the lines: "We both were: I'm at the pharmacy, and I was looking for you in the movie, So, then, tomorrow - in the same place, at the same time! "). The processing of the Polish Tango, the processing of the Polish Tango, which is known as "tired sun" in everyday life. In 1936, A. Orchestra A. Thasman was recognized as the best in the show of jazz orchestras. Essentially, this could be called a jazz festival, which organized the Moscow Club of Masters of Arts.

In 1939, the Tafasman orchestra was invited to work on the All-Union Radio, and during the Great Patriotic War, the orchestra musicians went to the front. Concerts were held in the front-line strip and on the front line, on forest glades and dugouts. At that time, Soviet songs were performed: "Dark night", "Zemlyanka", "My Favorite". The music helped the fighters for a short time to distract from the terrible military everyday life, helped remember their home, family, their loved ones. It was hard to work in military hospitals, however, the musicians carried the joy of meeting with real art. But the main work for the orchestra remained working on radio, performances at factories, factories and conscript points.

The wonderful Orchestra of the Thasman, consisting of talented jazz musicians, existed until 1946.

In 1947-1952 Tsfasman headed the symphodzhaz of the Ermitage Theater. In a difficult jazz time (these were the 1950s.), In the times of the Cold War with the United States and the West, when publishing, discrediting and discrediting jazz began to appear in the Soviet press, the head of the orchestra worked at the concert stage as a jazz pianist. Then Maestro collected the instrumental quartet for the studio work, whose hits were included in the Soviet music Foundation:

"Merry evening", "Waiting", "always with you". Famous romances and popular songs of Alexander Tafasman, music for performances and movies.

In 2000, the Album of the "Tired Sun" album was released in the Gazz Anthology series, recorded on a CD, which includes the best instrumental and vocal plays of the composer. About the Tafasman in the book "Star of Soviet pop" (1986) wrote G. Slornis. A. N. Batashev, the author of one of the most authoritative publications - Soviet Jazz (1972) - told in his book about the life and work of Alexander Thasman. In 2006, the book "Alexander Tsfasman: Korifey Soviet Jazz" of the doctor of philosophy, writer and musicologist A. N. Golubev.

Simultaneously with the "Ama-Jazz" of Tsfasman in Moscow, in 1927 there was a jazz team and in Leningrad. This was "First Concert Jazz Band"pianist Leopold Teplitsky(1890-1965). Even earlier, in 1926, Teplitsky visited New York and Philadelphia, where he was sent to the drug addict. The purpose of the trip was to study music for illustrations to sammon. For several months, the musician absorbed all the rhythms of the new music for himself, studied from American jazzmen. Returning to Russia, L. Teplitsky organized an orchestra from professional musicians (teachers of the conservatory, music schools), which, unfortunately, did not feel the jazz specifics of executable music. Musicians who played always only on notes, could not imagine that one and the same melody can be played every time in a new way, that is, about improvisation could not be a speech. The merit of Teplitsky can be considered that for the first time the musicians performed in concert halls, and although the sound of the orchestra was far from the true Jazz Band, this was no longer an eccentric art of the noise orchestra Valentine Parnach. The repertoire of the Orchestra Leopold Teplitsky was the plays of American authors (the conductor brought to his homeland. Baggaznny baggage - Kipa records with jazz and a whole folder of the orchestra arrangements. Paul Whiteman). Jazz Band Teplitsky existed for long, just a few months, but for this short time the musicians introduced listeners with modern American dance music, with beautiful Broadway melodies. After 1929, the fate of Leopold Teplitsky was dramatic: arrest on the false denunciation, condemnation of the Troika NKVD for ten years of the camps, the construction of the Belomorsko-Baltic Channel. After the conclusion, Leopold Yakovlevich was forced to settle in Petrozavodsk (they were not allowed to go to Leningrad). The musical past was not forgotten. The Teplitsky organized a symphony orchestra in Karelia, taught in the conservatory, wrote music, drove radio broadcasts. The international jazz festival "Stars and We" (organized in 1986 in Petrozavodsk) since 2004 was awarded the name of the pioneer of the Russian Jazz Leopold Teplitsky.

Music criticism of the late 1920s. Could not appreciate the new phenomenon of culture. Here is a passage of that time from the characteristic review of jazz: "As a means of cartoon and parody ... like a rough, but a whiskers and a spicy rhythmic and timber apparatus, suitable for dance music and for cheap" musical submarike "in theatrical use, - jazz gang It has its own reason. Behind these limits is an artistic meaning of it small. "

Oils in the fire poured the Russian Association of Proletar Musicians (RAPM), which claimed the "proletarian line" in the music, noted by all that did not correspond to them, often dogmatic, led on art. In 1928, an article appeared in the newspaper "Pravda" called "On the Music of Tolstaya" the famous Soviet writer Maxim Gorky. It was an angry pamphlet, implanting the "world of predators", "the power of thick". The proletarian writer lived at this time in Italy, on the island of Capri, and the sign was most likely with the so-called "restaurant music", far standing from genuine jazz. Some meticulous historians of Jazz claim that the writer is simply "sturdy" focus, who all the time twisted on the first floor of the Villa Non-wing Gorky steying. One way or another, but the statement of the proletarian writer was immediately picked up by the leaders of rapma. And for a long time, Jazz in our country was called "Tolstoy Music," without knowing who was the true author of the jazz music, in which displeasure layers of the American society she was born.

Despite the complex critical atmosphere, jazz in the USSR continued to evolve. There were many people belonging to jazz as art. They could be said about them that they had a "congenital sense of jazz", which can not work out with the exercises: it is or is there, or it is not. As composer said Gia Kancheli(born 1935), "imposing this feeling can not, it is useless to teach him, because something is laid out of the original, natural."

In Leningrad, in the apartment of a student of the agricultural institution Heinrich Terepilovsky(1908-1989) In the late 1920s. There was a home jazz club, where amateur musicians listened to Jazz, a lot and passionately argued about new music and sought to comprehend the complexity of jazz as an artistic phenomenon. Young musicians were so passionate about jazz ideas that the ensemble was soon formed, who first created a jazz repertoire. The ensemble was called "Leningrad Jazz-Capella", with the musical leaders of which became Georgy Landsberg(1904-1938) and Boris Kruzzhev.Landsberg back in the 1920s. He lived in Czechoslovakia, where his father Georgy worked in traded. The young man studied at Prague Polytechnic Institute, was engaged in sports, foreign languages \u200b\u200band music. It was in Prague that Landsberg heard American jazz - "Chocolate Guys" Sam Vuding.Prague has always been a musical city: jazz orchestras, ensembles have been already familiar with the overseas novelty. So George Landsberg, returned to his homeland, was already "armed" with not one dozen jazz standards and most arrangements wrote himself. Helped him N. Minh.and S. Kagan.The team reigned the atmosphere of creative competition: the musicians offered their own arrangements, each proposal was discussed. The rehearsal process, sometimes, was interested in young musicians even more than the speeches themselves. "Jazz-Kapella" performed works not only by foreign composers, but also the original plays of the Soviet authors: "Jazz Suite" A. Belotova, a lyrical play N. Minh "I am alone", "Jazz-Lichoradka" Terepilovsky. Even in the Leningrad Printing on the ensemble, approving reviews appeared, in which beautiful performers were celebrated, playing nicely, rhythmically firmly and dynamically. "Leningrad Jazz-Capella" successfully toured in Moscow, Murmansk, Petrozavodsk, satisfied the "viewing" concerts, acquaintances of listeners with "cultural jazz chamber type". The repertoire was selected very carefully, taking into account concert activities, but "Academism" did not bring commercial success, the audience was not ready to listen to difficult music. Administrators of theaters and clubs quickly walked to the ensemble, and the musicians began to go to other orchestras. Georgy Landsberg with several musicians worked at the Astoria restaurant, where Jam squeaks were arranged at the dawn of Russian jazz, who arrived in the city on cruise steamboats.

In 1930, many musicians of Landsberg moved to a more successful Orchestra Leonid Rockov, and Landsberg dismissed his orchestra and worked as an engineer for a while (the education received at the Polytechnic Institute) was useful. "Jazz-Kapella" as the concertar team re-revived with the arrival of a talented pianist and arranger Simon Kagan, and when in 1934, in the ensemble, G. Landsberg, "Capell" sounded in a new way. With brilliant fiction made arrangements for Bond pianist Leonid Andreevich Diderichs.(1907-?). He made instrumental arrangements of songs of Soviet composers, creatively enriching each score. Original instrumental plays L. Diderichs are known - "Puma" and "under the roofs of Paris". The team was greatly successful to tour from the entire Soviet Union, which lasted ten months. In 1935, the contract term was over with Leningrad Radio, whose regular orchestra was "Jazz-Capella". Musicians again scattered in other orchestras. In 1938, Landsberg was arrested, accused of espionage and shot (rehabilitated in 1956). Capella ceased to exist, but remained in the history of music by one of the first professional teams who contributed to the formation of Soviet jazz, fulfilling the work of domestic authors. George Landsberg was a wonderful teacher who attacked beautiful musicians, who then worked in pop and jazz orchestras.

Jazz, as you know, the music is improvisational. In Russia, the 20-30s. XX century There were few musicians owning spontaneous solo improvisation. The records of those years are represented mainly by large orchestras whose musicians played their parties on notes, including solo "improvisation". The instrumental plays were rare, the accompaniment of vocalists dominated. For example, "Tea-Jazz", organized in 1929 Leonid Rockov(1895-1982) and a small opera theater orchestra truck Yakov, Skomov, Skim(1889-1955) was a vivid example of such an orchestra. Yes, and in his title, he contained decoding: theatrical jazz. It is enough to remember the comedy Grigory Aleksandrov "Merry Guys", where the main roles were performed by the love of Orlova, Leonid Rockov and his famous orchestra. After 1934, when the jazz comedy (so at first the director determined the genre of his film) looked at the whole country, the popularity of Leonid Rockov-film actor became incredible. Leonid Osipovich and used to be filmed in the cinema, but in the "fun guys" a rustic main character - the shepherd Kostya Potekin - was clearly understood by the general public: he sang beautiful songs, inspired by the composer I. O. Dunaevsky, rudely joking, performed typically Hollywood tricks. All this admired the audience, although few people knew that such a style of films had long been invented in Hollywood. Director Gregory Alexandrov just left to transfer it to Soviet soil.

In the 1930s. The name "Tea-Jazz" became extremely popular. Enontending artists often assigned such name to their orchestras in purely commercial purposes, but they were far from the truly theatrical performances of the Orchestra Leonid Rockov, who sought to create musical revouzes bonded by a single stage action. Such theatricalization favorably distinguished the entertainment orchestra of the Rockov from the instrumental nature of the orchestras of L. Teplitsky and Landsberg, was clearer to the Soviet public. Moreover, for joint creativity, Leonid Rockov attracted famous and talented Soviet songwriters, such as Isaac Dunaevsky,brothers Dmitriyand Daniel Paints, Konstantin Sheets, Matvey Blanter, Evgeny Zharkovsky.Songs that sounded in the orchestra programs, perfectly arranged, became extremely popular and popularly loved ones.

In the Orchestra Leonid Rockov worked beautiful musicians who had to master a new musical genre. Subsequently, the artists of the Tea-Jazz created a domestic stage and jazz. Among them was Nikolai Minh(1912-1982). It was a wonderful pianist who had passed "his unforgettable universities," as the musician himself recalled, side by side with Isaac Dunaevsky. This experience was then helped by Minhu headed the orchestra at the Moskovsky Theater of the stage, and in the 1960s. To do composer's activities, create musical comedies and operetta.

A feature of the Soviet Jazz 1930-1940s. It can be considered that jazz at that time was a "song jazz" and was associated, rather, with the type of orchestra, in which there were saxophones and drums in addition to the main tools. About musicians such orchestras said that "they play in jazz", not jazz. A song form, which was given great importance, perhaps was the form, that way, which opened jazz music to millions of listeners. But still, this music is a song, dance, heterogeneous and hybrid - was far from real American jazz. Yes, and she could not fit in Russia in the "pure form". Even Leonid Osipovich Rockov himself argued that the authentic early American jazz for most Soviet public was alien and incomprehensible music. Leonid Rockov - Man Theater, Waterville, a fan of synthetic action - joined the theater with jazz, and jazz - with the theater. Thus appeared "Jazz on Turn", "Music Store" - Cheerful programs in which music and humor combined with an amazing way. Composer I. O. Dunaevsky Sometimes she was withered not only the folk and popular songs: so, in the Orchestra program appeared "scratched" song of the Indian Guest Song from the Opera "Sadko", "Duke Song" from "Rigoletto", Jazz Fantasy "Eugene Onegin. "

The famous historian of Jazza A. N. Batashev in his book "Soviet Jazz" writes: "By the mid-30s, the foundations of the genre built on the domestic musical and poetic material, which synthesized individual elements of foreign theatrical ideas was laid in the concert practice of L. Rockov, pop and jazz. This genre, called first "theatrical jazz", and later, after the war, simply "pop music", more and more developed and lived in its own laws. "

A special page of the life of the orchestra under the control of Rockov is the years of the Great Patriotic War. In the shortest possible time, the program "Bay Enemy!" Was prepared with which the musicians performed in the Hermitage garden, at the stations for the fighters left for the front, in the outback - in the Urals and Siberia, then the performances of artists took place in the current army, in the front-line zone . During the war, artists were both musicians and fighters. Many teams traveled to the front as part of large concert brigades. In many fronts, the popular jazz-orchestra of Alexander Thasman, Boris Karayshev, Claudia Shulzhenko, Boris Rensky, Alexander Varlamov, Dmitry Pokrass, Isaac Dunaevsky, were visited. Often, musicians at the front had to work on the construction of military fortifications, directly participate in combat operations and ... to die.

The famous Soviet composer Vano Muradel, who returned from the trip to the front, testified: "The interest of our fighters and commanders to culture, to art, to music in particular, is very large. The performers, ensembles, jaza "are enjoyed by their big love. Now, none of the critics, previously expressed doubts about the importance of jazz music, did not ask the question "Do we need jazz?". Artists not only supported their martial spirit, but also collected funds for the construction of aircraft and tanks. At the front, the Rocky aircraft "Funny guys" was known. Leonid Rockov was an outstanding master of Soviet pop, the favorite of many generations of Soviet listeners who melt "rush" themselves with the song. He called the autobiographical book - "With the song in life", released in 1961 and in 1982, Yu. A. Dmitriev wrote the book "Leonid Rockov," talking about the famous band leader, singer and actor.

Of course, it is possible to argue that the orchestras of the pore cannot be fully considered jazz, since, playing on notes, the musicians were deprived of the opportunity to improvise, which is a violation of the most important principle of jazz music. But jazz music can not always be improvisational, because every musician orchestra, neglecting its party, improvise. Orchestra Duke Ellington, for example, often played the plays, solo parts in which from the beginning and until the end were discharged by the author. But after all, the idea does not come to mind that it was not jazz! And such examples can be given a lot, because the affiliation to jazz is also determined by the peculiar character of the musical adoptive language, its intonational rhythmic features.

1930s. In the USSR, there were years of unprecedented rise in all areas of the life of the Soviet people. The years of the first five years, the enthusiasm of the people was great: new cities, plants, factories were built, railways were laid. This unknown world socialist optimism demanded its musical "clearance", new sentiment, new songs. Artistic life in the USSR has always been under the close attention of the country's party leadership. In 1932, it was decided to eliminate RAPM and form a unified Union of Soviet composers. The decision of the Central Committee of the CPSU (b) "On the restructuring of literary and art organizations" made it possible to take a number of organizational measures relating to mass genres, including jazz music. 1930s. The USSR played an important role in the development of Soviet jazz. Attempts to create their own and original repertoire, but the main task for them at that time was mastery of jazz execution: the ability to build elementary jazz phrases, allowing improvise, maintain rhythmic continuity in a group and solo game - to all that is real jazz, Even if it is recorded on notes.

In 1934, Moscow posters invited the audience to the concert jazz-orchestra Alexander Varlamov.

Alexander Vladimirovich Varlamovborn in 1904 in Simbirsk (now Ulyanovsk). Varlamov family was famous. The great-grandfather Alexander Vladimirovich was a composer, the classic of the Russian romance ("Red Sarafan", "along the street Metalitsa," "At the dawn, you are not boudes", "whites is a lonely sail"). The mother of the future leader of the orchestra was the famous opera singer, his father - a lawyer. Parents took care of the musical upbringing of the Son, especially since the young man was very capable, and the desire to become a professional musician did not leave the young talent of all the years of study: first in the music school, then in Gitis and in the famous Gnesinka. Already in the student years of Varlamov watched the revision "Chocolate guys" Sam Woodings, who made an indelible impression on the student. Varlamov, having received an excellent musical education, decided to organize an ensemble, similar to a friend on the record stamps and radio broadcasts ensemble "Hot Seven" Luis Armstrong."Guide Star" for Varlamov was a orchestra Duke Ellington,who admired the Russian musician. The young composer-conductor carefully pushed musicians and repertoire for his orchestra. Five years have passed since the end of Varlamov Gnesinka, and the jazz-orchestra under the central House of the Red Army was created. It was an instrumental orchestra, which did not like many orchestras of the pore, to theatrical jazz. The expressiveness of music was achieved at the expense of beautiful melodies and arrangements. So the plays were born: "On the carnival", Dixie Lee, "takes the evening", "happiness is full of life", "Blue Moon", "Svit Su". Some American jazz standards of Varlamov translated into Russian and sang himself. The musician did not possess outstanding vocal data, but sometimes allowed himself to sign on the records, performing songs melodically accurately and convincingly in content.

In 1937-1939. Career Varlamov was quite successful: the musician first led the semish ("Seven"), then he was the chief conductor of the jazz orchestra of All-Union Radiocomitte, in 1940-1941 gg - Chief conductor State jazz-orchestra of the USSR.However, when the war began, many orchestra musicians were called to the front. Varlamov did not put his hands. He organized from the number of musicians liberated from military service, and former wounded, unusual (can be said, strange) "Melody- orchestra":three violins, alto, cello, saxophone and two piano. Musicians performed with great success in the "Hermitage", Metropolis, in military units and hospitals. Varlamov was a patriot. The musician passed its own cash savings to the construction of a tank "Soviet composer".

Heavy times in the history of our country responded to the fate of millions of talented, successful and famous people. Did not escape the cruel fate and composer-conductor Alexander Varlamov, in 1943 g. When the musicians rehearsed the famous "Rhapsodia in blues tones" George Gershvin, the head of the "Melodi Orchestra" arrested. The reason for the cantos of the Cellist, who said that Varlamov often listens to foreign radio programs, allegedly awaits the arrival of the Germans, etc. The authorities believed this, and Varlamov was sent first to forestry, to the Northern Urals, where she worked for eight years. A big inventious for prisoners was an orchestra collected from the musicians and singers camp, the same slandered, which was the head of this team. Huge joy delivered to all nine camp points this extraordinary orchestra. Departing a term, Alexander Vladimirovich hoped to return to Moscow. But still a link to Kazakhstan, where the musician worked in small towns: he taught children and young people to music, composed works for the Russian Drama Theater. Only in 1956 , after rehabilitation, Varlamov was able to return to Moscow, and immediately turned on in an active creative life, writing music for movies (cartoon: "Wonderland", "Puck! Washer!", "Fox and Beaver", etc.), dramatic theaters, pop orchestras, television performances, in 1990 g., shortly before the death of Varlamov, the last record was published with records of jazz and symphoduza music of the wonderful composer and conductor.

But back in the pre-war years, when several jazz orchestras appeared in the Soviet republics, in 1939 g. was organized State Journal of the USSR.It was a presence of future pop-symphony orchestras, the repertoire of which was transferring classic works for large symphodzhaza. "Serious" repertoire created the head of the orchestra Viktor Knushevitsky (1906-1974).For State Jazz of the USSR,speaker, mostly on the radio, composers wrote I. O. Dunaevsky, Yu. Milyutin, M. Blanter, A. Tsfasmanand others on the Leningrad Radio in 1939 g. Nikolai Minh was organized jazz orchestra.

Other Union republics are also lagged. In Baku Tofik Kuliev created State Jazz Orchestra of the Azerbaijan SSR.A similar orchestra under management appeared in Armenia Artemia Aivazyan.His republican orchestras appeared in the Moldavian SSR, in Ukraine. One of the famous allied jazz orchestras was a team of Western Belarus under the control of a first-class trumpeter, a violinist, composer Eddie Rader.

Eddie (Adolf) Ignatievich Rosner(1910-1976) Born in Germany, in the Poles family, studied in the Berlin Conservatory in the class of violin. The pipe has mastered it yourself. His idols were famous Louis Armstrong, Harry James, Bannigen Bunigen.Having received a wonderful musical education, Eddie played one of the European orchestras for some time, then organized his band in Poland. When the Second World War began, the orchestra had to be saved from the fascist massacre, since most of the musicians were Jews, and Jazz in fascist Germany was banned as "Nariaska art." So they found the musicians asylum in the Soviet Belarus. The next two years, the Band was successfully toured in Moscow, Leningrad, and during the war - on the fronts and in the rear. Eddie Rosner, who else in his youth was called "White Armstrong," was a talented artist who can conquer the public with his skill, charm, smoothiness, cheerfulness. Rosner-musician, according to the Matra of the Russian pop Yuri Saulsky,"He possessed a true jazz base, taste." We used great success with the hits of the program: "Caravan" of Tizol - Ellington, Saint Louis Blues William Handy, "Serenada" Toselli, "Tales of the Vienna Forest" Johann Strauss, the song of the Rosner "Tiha Water", "Cowboy Song", "Mandolina, Guitar and Bass" Albert Harris. In the war years in the repertoire of the orchestras, the plays of allies were used more often: American and English authors. There were many records with records of domestic and foreign instrumental plates. Many orchestras performed music from the American film "Serenade of the Solar Valley", in which the famous Big Band Glenna Miller starred.

In 1946, when the persecution began to jazz when jazzmen were accused of cosmopolitanism and was blown by Band, Eddie Rinner decided to return to Poland. But he was incriminated to treason home and sent to Magadan. From 1946 to 1953, the Trumpeter Virtuoso Eddie Rinner was in Gulag. The local authorities instructed the musician to form an orchestra from prisoners. So went long eight years. After the liberation and rehabilitation, Rosner again headed the Big Band in Moscow, but he himself was less and less played on the pipe: the camp had affected the camp. But the popularity of the orchestra was great: the songs of the Rosner used the continued success, the musicians starred in 1957 in the popular movie "Carnival night". In the 1960s The orchestra played musicians, who then make up the color and glory of Russian jazz: multi-instrumentalist David Golobekin,trumpeter Konstantin nose,saxophonist Gennady Holstein.Magnificent arrangements for the band wrote Vitaly Dolgovand Alexey Masukov,

which, according to Rosner, arranged no worse than the Americans. Maestro himself was aware of what was going on in the world jazz, sought to include the best samples of this jazz in the Programs, for which Rosine was repeatedly reproached in the press for disregard for the Soviet repertoire. In 1973, Eddie Rinner was raised to his homeland, to West Berlin. But the career of the musician in Germany did not take shape: the artist was already a nice, he was not known to anyone, could not find work in the specialty. For a while he worked on an entertainer in the theater, the metallone in the hotel. In 1976, the musician did not. In memory of the beautiful trumpet, a band leader, composer and a talented director of its programs in 1993 in Moscow, in the Concert Hall "Russia", a wonderful show "In Eddie Rosner" was held. In the same 1993, the book of Yu. Zeitlin "Up. Rosner's Great Trumpeter" was published. About the jazz virtuoso, a real showman, a person with a complex adventurous character and a difficult fate tells the documentary novel Dmitry Dragilev, published in 2011, - "Eddie Rinner: Shmali Jazz, cholera clear!"

A good jazz orchestra is difficult to create, but even harder to preserve it for decades. The long-life of such an orchestra depends, above all, from the initiality of the head - a man and a musician, in love with music. The legendary jazzman can be called the composer, a band leader, the head of the world in the world of jazz orchestra listed in the Guinness Book of Records, Oleg Lundstrem.

Oleg Leonidovich Lundstrem(1916-2005) Born in Chita, in the family of teacher of Physics, Leonid Frances, Lundstrem, Russified Swedes. Parents of the future musician worked for the CERE (Sino-Eastern Railway, connecting the Chita and Vladivostok through China's territory). For a while, the family lived in Harbin, where he gathered a big and print in the composition of the Russian diaspora. Soviet citizens lived here, and Russian emigrants. In the Lundstrem family, the music was always loved: the father played the piano, and the mother sang. Children also joined music, but education decided to give children "strong": both sons studied in a commercial school. The first acquaintance with jazz in Oleg Lundstrema occurred in 1932, when the teenager bought a record with the record of the orchestra Duke Ellington "Dear Old South" (DEAR OLD SOUTHLAND). Oleg Leonidovich subsequently recalled: "This record played the role of a detonator. She literally turned the whole of my life. I discovered a stranger previously musical universe. "

In the Harbin Polytechnic Institute, where the future patriarch of Soviet Jazz received a higher education, there was a lot of other like-minded people who wanted to play loved music. So it was created a combo from nine Russian students who played in the evenings, on dance sites, festive balas, sometimes the team spoke on the local radio. The musicians learned to "shoot" from the plates. Popular jazz plays, made the arrangements of Soviet songs, first of all, I. Dunaevsky, although later, Oleg Lundstrem recalled that he was always unclear why George Gershvin's melodies are ideal for jazz, but there are no songs of Soviet composers. Most of the participants of the first Lundstrem orchestra were not professional musicians, they received technical education, but were so passionate about jazz, which firmly decided to engage only by this music. Gradually, the team became famous: He worked in Shanghai's dance halls, toured in Hong Kong, Indochita, on Ceylon. The head of the orchestra - Oleg Lundstrema - began to call the "king of Jazz Far East."

When the Great Patriotic War began, young people - Soviet citizens - filed a statement to the Red Army, but the consul announced that while the musicians needed more in China. It was a difficult time for the orchestrants: there was little work, the public did not seek to have fun and dance, the economy overtook inflation. Only in 1947, the musicians received permission to return to the USSR, but not to Moscow, as they wanted, and in Kazan (the Moscow authorities were afraid that "Shanghai" can be recruited by spies). Initially, it was a decision to make a jazz-orchestra of the Tatar ASSR, but in the following, 1948, the decree of the Central Committee of the CPSU (b) "On Opera" Great Friendship "Muradel", condemning formalism in music. In the ruling of the Opera, who did not like Stalin, was called a "vicious anti-grade work", "feeding the influence of falnical Western European and American music." And the musicians of the Lundstrem orchestra were offered "with jazz wait."

But it's never late to learn! And Oleg Lundstrem entered the Kazan Conservatory in the class of composition and conducting. During the period of study, the musicians managed to act in Kazan, sign up for the radio, acquiring the reputation of the best sweened orchestra. The twelve Tatar folk songs were especially evaluated, which Lundstrem with brilliance arranged "under jazz". About Lundstrem and his "Conducted Big Bennda" found out in Moscow. In 1956, jazzmen arrived in Moscow in the former "Chinese" composition and became the orchestra of Rosoncert. During the long years of existence, the composition of the orchestra changed. In the 1950s. "Blurred": tenor-saxophonist Igor Lundstrem,trubachi Alexey Kotikovand Innocent Gorbuntsov,double bass Alexander Gravis,drummer Zinovy \u200b\u200bKhazankin.Soloists in the 1960s. There were young Musicians improvisers: saxophonists Georgy Garananyanand Alexey teeth,trombonist Konstantin Bakholdin,pianist Nikolay Kapustin.Later, in the 1970s, the composition of the orchestra was replenished with saxophonists Gennady Halstein, Roman Kunsman, Stanislav Grigoriev.

Oleg Lundstrema orchestra led an active tour of the concert life, forced to reckon with the tastes of a wide audience, who perceived jazz as entertaining, song-dance art. Therefore, in the 1960-1970s. The team worked not only jazz musicians and singers, but also pop artists. Oleg Lundstrema Orchestra has always been preparing two programs: popular song-entertaining (for the inhabitants of the depthings) and instrumental jazz, which had a huge success in Moscow, Leningrad and the big cities of the Union, where the audience was already familiar with jazz art.

The instrumental program of the orchestra consisted of classic jazz plays (from the repertoire of Big Bendov County Beisi and Glenna Miller, Duke Ellington), as well as works written by the team members and Maestro Lundstrem himself. These were the "fantasy about Moscow", "Fantasy on the topics of the songs of Thasman", "Spring is coming" - a jazz miniature based on the songs of Isaac Dunaevsky. In music suits and fantasies - the works of a large form - the musicians could show their skills. It was a real instrumental jazz. And young jazzmen, which then make up the color of Russian jazz, - Igor Yakushenko, Anatoly Kroll, Georgy Garananyan- composed their works inventive and with great taste. Oleg Lundstrem "opened" and talented vocalists who performed pop songs. In the orchestra sang at different times Maya Kristalinskaya, Guli Chokheli, Valery Ozodzinsky, Irina Otiev.And although the song material was flawless, there was always a big band in the center of attention and his soloists-instrumentalists.

Music "University" of Oleg Lundstrema For several decades of the Orchestra's existence, many Russian musicians were held, the list of which would take not one page, but the band would not sound so professionally, if it were not for the work of one of the best arrangers - Vitaly Dolvana(1937-2007). The critic G. Dollasin wrote about the work of the Master: "Style V. Dolgova does not repeat the traditional interpretation of a large orchestra, divided into sections (pipes, trombones, saxophones), between which dialogs and roll calls are constantly underway. B. Debolov is peculiar to the principle of through material development. In each individual episode of the play, it finds a characteristic orchestral tissue, original timbre combinations. V. Dolgov often uses polyphony techniques, overlapping orchestral beasts. All this gives its arrangements of harness and integrity. "

By the end of the 1970s, when there was a steady jazz audience in Russia, festivals began to be held, Oleg Lundstrem refuses the pop numbers and was completely given to Jazz. Maestro himself composed for the orchestra music: "Mirage", "Interlude", "humorous", "Marsh Foxtrot", "Exprompt", "Flower Lilac", "Bukhara ornament", "in the mountains of Georgia". It should be noted that, to this day, the Oleg Lundstrema memorial orchestra performs the work of the work of the Russian jazz. In the 1970s. In the USSR, composers appeared, which took to jazz: Arno Babajanyan, Kara Karaev, Andrei Eshpai, Murad Khuchaev, Igor Yakushenko.Their works also performed the Lundstrem orchestra. Musicians often toured abroad, performed on domestic and foreign jazz festivals: "Tallinn-67", "Jazz Dzhambori-72" in Warsaw, Prague-78 and Prague-86, "Sofia-86", " Jazz in Duktauna-88 "in the Netherlands," Grenoble-90 "in France, at the festival of memory of Duke Ellington in Washington in 1991. Over the forty years of existence, Oleg Lundstrem's orchestra has visited more than three hundred cities of our country and in dozens of foreign countries. It is gratifying that the famous team was often recorded on the records: "Oleg Lundstrem Orchestra", two albums combined with one name "Memory of Musicians" (devoted to Glenn Miller and Duju Ellington), "In our time", "in juicy tones", etc.

Batashev A. N. Soviet jazz. Historical essay. P. 43.

Jazz's performers invented a special musical language, which was built on improvisation, complex rhythmic figures (swing) and unique harmonic models.

Jazz appeared at the end of the XIX - early XX in the United States of America and was a unique social phenomenon, namely the merger of African and American cultures. The further development and stratification of jazz on various styles and under-styles is due to the fact that jazz performers and composers continued to complicate their music, look for a new sound and master new harmonies and rhythms.

Thus, a huge jazz heritage accumulated, in which such basic schools and styles can be distinguished: Novoorlean (traditional) jazz, bobop, hard-bob, swing, kul jazz, progressive jazz, free jazz, modal jazz, fusion, etc. D. This article contains ten outstanding jazz performers, familiarized with whom, you will get the most complete picture of the era of free people and energetic music.

Miles Davis (Miles Davis)

Miles Davis was born on May 26, 1926 in Olton (USA). Known as a sign American trumpeter, whose music had a huge impact on the jazz and musical scene of the twentieth century as a whole. He experimented a lot and boldly with styles and, perhaps, that is why Davis's figure stands at the origins of such styles as Kul jazz, fusion and modal jazz. Miles began his musical career as a member of Quentte Charlie Parker, but in the future managed to find and develop his own musical sound. The most important and fundamental albums of Miles Davis can be considered "Birth of the Cool" (1949), "Kind of Bree" (1959), "Bitches Brew" (1969) and "In A Silent Way" (1969). The main feature of Miles Davis was that he was constantly in a creative search and showed the world new ideas, and that is why the story of modern jazz music is obliged to his exceptional talent so many.

Louis Armstrong (Louis Armstrong)

Louis Armstrong, a person whose name comes to mind by the majority of people when they hear the word "jazz", born on August 4, 1901, in New Orleans (USA). Armstrong possessed the dazzling talent of the game on the pipe and did a lot for the development and promotion of jazz music all over the world. In addition, he also conquered the public with his hoarse bass vocals. The path that Armstrong had to go from the Bosya to the title of King Jazz was a thorny. And he began in a colony for dark-skinned teenagers, where Louis got for an innocent prank - shooting from a gun on New Year's Eve. By the way, he stole a gun from a policeman, the client of his mother, who was a representative of the most ancient profession in the world. Thanks to this not too favorable coincidence, Louis Armstrong received his first musical experience in the camp spirit of the orchestra. There he mastered the cornet, Tambourin and Alto Horn. In short, Armstrong went away from marches to the colony and then episodic speeches in clubs to the musician of world importance, whose talent and contribution to the piggy bank of the jazz is difficult to overestimate. The influence of his sign albums "ELLA AND LOUIS" (1956), "Porgy and Bess" (1957), and "American Freedom" (1961) still can be heard in the game of modern performers of various styles.

Duke Ellington (Duke Ellington)

Duke Ellinon was born on April 29, 1899 in Washington. Pianist, orchestra leader, arranger and composer, whose music has become a real innovation in the world of jazz. His works played on all radio stations, and records rightly enter the Gold Jazz Foundation. Ellinon was recognized worldwide, received many awards, wrote a huge many ingenious works, which include the Caravan standard, which bypassed the whole globe. The most famous his releases include such records as "Ellington at Newport" (1956), "Ellington Uptown" (1953), "Far East Suite" (1967) and "Masterpieces by Ellington" (1951).

Herbie Hancock (Herbian Hancock)

Herby Hancock was born on April 12, in 1940, in Chicago (USA). Hancock is known as a pianist and composer, as well as the owner of 14 Grammy Awards, which he received for his works on a jazz Nive. His music is interesting to what combines the elements of rock, Funk and Sokula, along with Free Jazz. Also in his compositions you can find elements of modern classical music and blues motifs. In general, almost every sophisticated listener will be able to find something for himself in Hancock's music. If we talk about innovative creative solutions, then Harby Hancock is considered one of the first jazz performers who jointly jointly and Funk in the same musician stands at the sources of the newest jazz style - post-bibop. Despite the specificity of the music of some stages of Herby's creativity, most of his songs are melodic compositions that loved by the general public.

Among its albums, you can select the following: "Head Hunters" (1971), "Future Shock" (1983), "Maiden Voyage" (1966) and "TAKIN" OFF "(1962).

John Coltrane (John Coltrange)

John Coltrene, an outstanding jazz innovator and virtuoso, was born on September 23, 1926. Coltrine was a talented saxophonist and a composer, a band leader and one of the most influential musicians of the twentieth century. Coltrine is rightfully considered a significant figure in the history of the development of jazz, who inspired and influenced modern performers, as well as at the school of improvisation as a whole. Until 1955, John Coltrene remains relatively unknown until he joins the Miles Davis team. A few years later, Koltrein leaves the Quintet and starts close to their own creativity. In these years, he records the albums that accounted for the most important part of the jazz heritage.

This "Giant Steps" (1959), COLTrane Jazz (1960) and "A Love Supreme" (1965), plates that have become iconic improvisation icons.

Charlie Parker (Charlie Parker)

Charlie Parker was born on August 29, 1920 in Kansas City (USA). Love for music woke up in it rather early: he began to master the saxophone for 11 years. In the 1930s, Parker began to master the principles of improvisation and developed in his technique some techniques preceding the bobop. In the future, he became one of the founders of this style (along with Dizzy Gillespi) and, in general, had a very strong impact on jazz music. However, in adolescence, the musician was addicted to Morphia and in the future between Parker and the music was the problem of heroin addiction. Unfortunately, even after treatment in the clinic and recovery, Charlie Parker could not work as actively and write new music. Ultimately, heroin launched his life and a career for Suncheni and caused his death.

The most significant albums of Charlie Parker for jazz: "Bird and Diz" (1952), "Birth of the Bebop: Bird on Tenor" (1943), as well as "Charlie Parker with Strings" (1950).

Thelonious Monk Quartet (Telonius Monk)

Telonius Monk was born on October 10, 1917, in Rocky Mount (USA). The most famous as a jazz composer and a pianist, as well as one of the Bibop's hedlers. Its original "torn" manner of the game has absorbed various styles - from avant-gardium to primitivism. Such experiments made the sound of his music not quite characteristic of jazz, which, however, did not prevent many of his works to become the classics of this style of music. Being a very unusual person who since childhood did everything possible if not to be "normal" and such as everything, Monk became known not only thanks to its musical decisions, but also to his extremely difficult character. With his name, many anecdical stories are connected about how he was late for his own concerts, and one day he refused to play at the club of Detroit at all, since his wife did not appear to speak. And the Monk sat on a chair, folding his hands until his spouse had finally introduced into the hall - in her home slippers and a bathrobe. Before the eyes of her husband, a poor woman was delivered by an airplane urgently, if only a concert took place.

Among the most prominent albums, Monk can be allocated "Monk's Dream" (1963), "MONK" (1954) "Straight No Chaser" (1967), and "Misterioso" (1959).

Billie Holiday (Billy Holiday)

Billy Holiday, the famous American jazz vocalist, was born on April 7, 1917 in Philadelphia. Like many jazz musicians, Holiday started his musical career in nightclubs. Over time, she was lucky to get acquainted with the producer of Benny Gudman, who organized her first records in the studio. Glory came to the singer after participating in the big bands of such jazz Matrov as a Count Bassi and Arti Show (1937-1938). Lady Day (so-called her fans) had a unique execution manner, thanks to which she seemed to re-invented fresh and unique sound for the simplest compositions. Especially well she was given romantic, slow songs (such as "Don't Explain" and "Lover Man"). Career Billy Holiday was bright and brilliant, but not long, because after thirty years she was addicted to drinking and drugs, which had a negative impact on her health. Angelic voice lost its former strength and flexibility, and Holiday rapidly lost the favor of the public.

Billy Holiday enriched jazz art such outstanding albums as "Lady Sings The Blues" (1956), "Body and Soul" (1957), and "Lady In Satin" (1958).

BILL EVANS (Bill Evans)

Bill Evans, the legendary American jazz pianist and composer, was born on August 16, 1929 in New Jersey, USA. Evans is one of the most influential jazz performers of the twentieth century. His musical works are so sophisticated and unusual that few pianists are able to inherit and borrow his ideas. He could masterfully swing and improvise, like no other, at the same time melodiousness and simplicity was far from alien to him - his interpretations of famous ballads were gained popularity even at a non-jazz audience. Evans took the formation of an academic pianist, and after serving in the army began to appear in public with different little-known musicians as a jazz performer. Success came to him in 1958, when Evans began to play in the Seustet of Miles Davis, together with Cannonboll, and John Chtrins. Evans is considered the creator of the chamber genre of a jazz trio, which is characterized by the leading improvising piano, as well as the drums and double bass soling with it. His musical style has made a variety of paints into jazz music - from inventive elegant improvisations to lyric-painted tones.

The best Evans albums include its solo record "Alone" (1968), made in human-orchestra mode, "Waltz for Debby" (1961), "New Jazz Conceptions" (1956) and "Explorations" (1961).

DIZZY GILLESPIE (Dizzy Gillespi)

Dizzy Gillespi was born on October 21, 1917 in Chirou, USA. Dizzy has a lot of merit before the history of the development of jazz music: it is known as a trumpeter, vocalist, arranger, composer and head of the orchestras. Also, Gillespi, together with Charlie Parker, founded improvisational jazz. Like many jazz men, Gillespi began with speeches in clubs. Then he moved to live in New York and successfully entered the local orchestra. It was known for his original, if not to say the Schutsky, the behavior that successfully tuned the people who worked with him, against him. From the first orchestra, which is very talented, but a kind of trumpeter Dzes went to tour in England and France, he could hardly be kicked out. The musicians of his second orchestra also did not fully react to ridicule Gillespi over their game. In addition, his musical experiments were clearly understood - some called His Chinese music. Cooperation with the second orchestra has ended with a fight between Cabli Calloweem (his leader) and Dizzy during one of the concerts, after which Gillespi was a crack of the Band. After Hillespie creates its own team in which he and other musicians work to diversify the traditional jazz tongue. Thus, the style was born known as a bobop, over the stylistry of which Dizzy worked actively.

Sonny Side Up (1957), "Afro" (1954), Birk's Works (1957), "World Statesman" (1956) and "DIZZY AND STRINGS" (1954) can be attributed to the best albums of the brilliant trumpet.

For many decades, the music of freedom in the performance of dizzying jazz virtuosos was a huge part of the musical scene and just human life. The names of the musicians that you can see above are perpetuated in the memory of many generations and, most likely, still the same generations will inspire and amazing with their skill. It is possible that the secret is that the inventors of pipes, saxophones, doubles, piano and drums knew that some things could not be implemented on these tools, but forgot to say about this jazz musicians.

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

Jazz developed in the late years of the XIX century and at the beginning of the XX as a direction that combines the classic European and American sound with African folk motifs. Songs were performed with a syncoped rhythm, giving an impetus to development, and later the formation of large orchestras for its execution. Music made a big step forward from the time of Right to modern jazz.

Obviously the influence of West African musical culture in what music is written and how it is executed. Polhythmia, improvisation and syncoposition - what characterizes jazz. For the past century, this style has changed under the influence of contemporaries of the genre, which contributed their presentation to the essence of improvisation. New directions began to appear - Bibop, Fusion, Latin American Jazz, Free Jazz, Funk, Eisid Jazz, Hard BOP, Smus Jazz, and so on.

15 ART TATUM (Art Tatum)

Art Tatum is a jazz pianist and a virtuoso, which was practically blind. It is known as one of the greatest pianists of all time, which has changed the role of piano in the jazz ensemble. Tatum turned to Stud's style to create his own unique player of the game by adding swing and fantastic improvisation in rhythm. His attitude to jazz music in the root changed the value of the piano in jazz as a musical instrument compared to previous characteristics.

Tayteum experimented with the harmonies of the melody, affecting the structure of the chord and expanding it. All this characterized the style of a bobop, which, as is known, will become popular ten years later, when the first records in this genre will appear. Critics also celebrated his impeccable technique of the game - Art Taytum was able to play the most difficult passenger with such ease and speed, which seemed to his fingers barely touch the black and white keys.

14 Telonius Monk

Some of the most complex and variekteric sounds can be found in the repertoire of the pianist and the composer, one of the most important representatives of the era of the appearance of Bibopa and its subsequent development. His person herself 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 the music of improvisation. He did not take strict rules and formed his own approach to creating essays. Some of the most brilliant and well-known works by Epistrophy, Blue Monk, Straight, No Chaser, I Mean You and Well, You Needn't.

Monk's style of the game was based on an innovative approach to improvisation. His works are characterized by shock passages and sharp pauses. Quite often, right during his speeches, he threw out because of the piano and dance, while other band members continued to play a melody. The Telonus Monk remains one of the most influential jazz musicians in the history of the genre.

13 Charles Mingus (Charles Mingus)

The recognized virtuoso of double bass, the composer and the band leader was one of the most extraordinary musicians on the jazz scene. He developed a new musical style, uniting gospel, hard bob, fried jazz and classical music. Contemporaries called Mingus "Heirly Duke Ellington" for his fantastic ability to write works for small jazz ensembles. In his compositions demonstrated the skill of the game all the members of the team, each of which was also not just talented, but was characterized by a unique style of the game.

Mingus carefully chose the musicians who made up his band. The legendary double bassist was distinguished by quick-tempered, and once he even hit Trombonist Jimmy Nepper in his face, knocking him a tooth. Mingus suffered from depressive disorder, but was not ready to put up so that it somehow affects his creative activity. Despite this aless, Charles Mingus is one of the most influential figures in the history of jazz.

12 Art Blakey (Art Blakey)

Art Blake was a famous American drummer and a band leader, which produced a furyor in style and technique of playing a shock installation. He combined swing, blues, funk and hard-bob - this is a style that is heard today in each modern jazz composition. Together with Max Roach and Kenny Clark, he invented a new way of execution of the bibopa on the drums. For over 30 years, his Band The Jazz Messengers gave a ticket to a large jazz a variety of jazz artists: Benny Holson, Wayin Schorter, Clifford Brown, Curtisa Fuller, Khorasus Silvere, Freddie Hubbard, China Jarrett, etc.

"Jazz Messengers" did not just create phenomenal music - they were a kind of "musical polygon" for young talented musicians, like a group of Miles Davis. Art Blake's style changed the sound of jazz, becoming a new musical milestone.

11 Dizzy Gillespie (Dizzy Gillespie)

Jazz Trumpeter, Singer, Composer and Band Leader became a noticeable figure at the time of Bibopa and Modern Jazz. Its manner of the game on the pipe has influenced the style of Miles Davis, Clifford Brown and Fatza Navarro. After the time spent on Cuba, at return to the United States, Gillespi was one of those musicians who actively promoted Afro-Cuban jazz. In addition to the inimitable execution on a characteristic curved tube, Gillespi could be found on glasses in horny frame and incredibly large cheeks during the game.

The great jazz improviser Dizzy Gillespi, as well as Art Taytum, made an innovation in harmony. SALT PEANUTS and GOOVIN 'HIGH compositions rhythmically completely different from previous works. Staying a faithful bobope throughout his career, Gillespi was remembered as one of the most influential jazz trumpeters.

10 Max Roach (Max ROACH)

In the top ten, 15 most influential jazz musicians in the history of the genre include Max Roach - the drummer, known as one of the pioneers of the Bibopa. He, as soon as a few other, influenced the modern player of the game on the shock installation. Roach was a fighter for civil rights and together with Oscar Brown Jr. and Colemen Hawkins even recorded the album WE Insist! - Freedom Now ("We insist! - freedom now"), dedicated to the 100th anniversary of the signing of the proclamation on the liberation of slaves. Max Roach is a representative of an impeccable game style that can perform a long solo throughout the concert. Absolutely any audience was delighted with his unsurpassed skill.

9 Billy Holiday (Billie Holiday)

Lady Day is a favorite of millions. Billy Holiday wrote just a few songs, but when she sang, she wrapped her voice from the first notes. Her execution is deep, personal and even intimate. Her style and intonation are inspired by the sound of the musical instruments that she had heard. Like almost all the musicians described above, it became the creator of the new, but already a vocal style based on long musical phrases and the pace of their riding.

The famous Strange Fruit is the best not only in the career of Billy Holiday, but also in the entire history of Jazz because of the penetration of the singer. She possessedly awarded prestigious awards and entered into the Hall of Glory Gremmy Prize.

8 John Coltrane (John Coltrane)

The name of John Koltrein is associated with the virtuoso technique of the game, the excellent talent of the composition of music and passion for the knowledge of the new faces of the genre. On the threshold of the origins of Hard-Bop, the saxophonist achieved enormous success and became one of the most influential musicians in the history of the genre. Music Coltrine had a sharp sound, and he played with high intensity and self-dedication. It was able to play alone and improvise in the ensemble, creating a unthinkable duration of solo parties. Playing on the tenor and soprano-saxophone, Koltrein knew how to create melodic compositions in the style of Smus jazz.

John Coltrene is the author of a kind of "reboot of the Bibopa", including modal harmonies in it. Staying the main active figure in the forefront, he was a very prolific composer and never ceased to produce discs, writing about 50 albums as a band leader for the entire career.

7 Count Basie

A revolutionary pianist, an organist, composer and Band Leader Count Bassi headed one of the most successful groups in the history of jazz. For 50 years, Count Basie Orchestra, including incredibly popular musicians, such as Svits Edison, Claiton Bang and Joe Williams, earned a reputation as one of America's most demanded Big Bendov. The winner of the Nine Awards "Grammy" Count Baisi instilled the love of orchestral sounding not one generation of listeners.

Beisi wrote many compositions that have become jazz standards, for example, April in Paris and One O'Clock Jump. Colleagues responded about him as a tactful, modest and complete inspiration man. We will not be in the history of the Jazz Orchestra Count of Basy, the era of Big Bendov would have sounded otherwise and certainly would not be so influential what she began with this outstanding band leader.

6 Coleman Hawkins (Coleman Hawkins)

The tenor-saxophone is a symbol of bibopa and all jazz music in general. And grateful for it we can be Colemen Hawkins. The innovations that Hawkins brought were vital for the development of the Bibop in the middle of the forties. His contribution to the development of the popularity of this tool, perhaps identified the future career of John Koltrein, and Dexter Gordon.

Composition Body and Soul (1939) has become a standard game on a tenor-saxophone for many saxophonists. The influence of Hawkins was also subject to other instruments - Pianist Telonius Monk, Miles Davis trumpeter, drummer Max Roach. His ability to extradite improvisations led to the disclosure of the new jazzide sides of the genre, which were not affected by his contemporaries. This partly explains why the tenor-saxophone has become an integral part of the modern jazz ensemble.

5 Benny GOODMAN (Benny Goodman)

Five 15 of the most influential jazz musicians in the history of the genre opens. The famous King of Swing led almost the most popular orchestra of the beginning of the 20th century. His concert in Carnegie Hall in 1938 is recognized as one of the most important live concerts in the history of American music. This show demonstrates the offensive of the jazz era, recognizing this genre as an independent type of art.

Despite the fact that Benny Goodman was a soloist of a major sween orchestra, he also participated in the development of Bibopa. His orchestra has become one of the first, which combined in its composition musicians of different races. Goodman was an enemy of the law of Jim Crow. He even abandoned the tour in southern states in support of racial equality. Benny Hudman was an active figure and reformer not only in jazz, but also popular music.

4 Miles Davis (Miles Davis)

One of the central jazz figures of the XX century, Miles Davis, stood at the origins of many musical events and watched their development. He is ranked innovation in the genres of Bibopa, Hard-Bop, Kul Jazz, Free Jazz, Fusion, Funky and Techno Music. In constant search for a new musical style, he always achieved success and was surrounded by brilliant musicians, including John Koltrein, Cannobolla Edderley, China Jarrett, Jay Johnson, Wayne Schorter and Chika Coria. During the life of Davis, 8 Grammy Awards was awarded and included in the Rock and Roll Fame Hall. Miles Davis was one of the most active and influential jazz musicians of the last century.

3 Charlie Parker (Charlie Parker)

When you think about Jazz, you remember the name. Also known as the Parker bird was a jazz alt-saxophone pioneer, a bobop musician and a composer. His fast game, the net sound and the talent of the improviser had a significant impact on the musicians of that time and our contemporaries. As the composer, he changed the standards of writing jazz music. Charlie Parker became the musician who cultivated the idea that jazzmen are artists and intellectuals, and not just showmen. Many artists tried to copy Parker's style. His famous techniques of the game are traced in the manner of many current beginner musicians, which, as a basis, take a consonant nickname of an alt-saczophile composition Bird.

2 Duke Ellington (Duke Ellington)

He was a grand pianist, composer and one of the most prominent leaders of the orchestra. Although he is known as Jazz Pioneer, he was excellent in other genres, including gospel, blues, classic and popular music. It is Ellington that attribute the construction of jazz to a separate type of art. Possessing countless awards and premiums, the first great composer Jazz never stopped improving. He was an inspirer for the next generations of musicians, including Sonney Stitt, Oscar Pierçon, Earla Heins, Joe Pass. Duke Ellington remains a recognized genius of jazz piano - instrumentalist and composer.

1 Louis Armstrong (Louis Armstrong)

Undoubtedly, the most influential jazz musician in the history of the genre -, known as Sachmo - Trumpeter and Singer from New Orleans. He knows how the creator of Jazz, who played a key role in its development. The striking abilities of this artist allowed us to build a pipe into a solo jazz tool. He is the first musician who fused in the style of "SKET" and popularizing it. Its low "rattling" voice timbre was impossible not to know.

Armstrong's commitment to his own ideals influenced Frank Sinatra and Binga Crosby, Miles Davis and Dizzy Gillespi. Louis Armstrong influenced not only on jazz, but also on the whole musical culture, giving the world a new genre, a unique phenomenon of singing and the style of the game on the pipe.