Архивы Метки: modern jazz

Mainstream jazz

Mainstream jazz — just the main course

a term used in reference to a specific branch of the swing period in which the performers were able to avoid the well-established in this style of stamps and continued our tradition of Negro jazz, introducing elements of improvisation.

Also it applies to post-war jazz artists who remained faithful to these traditions and moderate used some means of expression inherent in modern jazz.Mainstream jazz

Term was coined in the 50s by music critic Dan Stanley. For Mainstream jazz is typical simple but expressive melodic line and a convex, traditional harmony and rhythm with a clear pronounced drive.

Mainstream jazz originated from the orchestras of Fletcher Henderson, Duke Ellington’s big bands and submitted Count Basie, Jimmie Lunsford, Lionel Hampton, Ernie Wilkins arrangers, Neil Hefti, and artists such as trumpeters — Louis Armstrong, Buck Clayton, Rex Stewart, Kutty Williams, Roy Eldridge, trombonists — Lorenz Brown, Vic Dickenson, Tommy Dorsey, Dickie Wells, Trammi Young, clarinetists — Barney Bigard, Benny Goodman, saxophonists — Paul Gonzalves, Illinois Jacket, Benny Carter, Ben Webster, Johnny Hodges, Coleman Hawkins; pianists — Eroll Garner, Nat King Cole, Oscar Peterson, Art Tatum, Teddy Wilson, Thomas Fet Waller, Earl Hines, guitarists — Freddie Green, Charlie Christian, percussion — Joe Jones, Gene Krupa (USA).

Modal jazz

Modal jazz — direction in modern jazz

developed in the 60s, which is characterized by free improvisation, which is based not on a melodic theme or chord sequence, but on arbitrary number of sounds, linked only to fret.

Modal expansion areas opened up possibilities for more flexible and diverse than in earlier jazz styles, the development of melodic material in improvisation.Modal jazz

The principle of Modal jazz was developed by George Russell in his theoretical work «The Lydian Concept of Tonal OrganizationВ» («Lydian concept of tonal organization»), published in1960 intheUnited States. Among the supporters of the John Russells concept are famous musicians of modern jazz — trumpeter Miles Davis and saxophonist John Coltrane. It is the same as the Modal jazz.

Modern jazz

Modern jazz

is definition, referring to the styles which developed from the early 40s and nowadays.Modern jazz

Modern jazz include: bebop, Afro-Cuban jazz, progressive, cool, West Coast jazz, East Coast jazz, hard bop, third stream, free jazz, bossa nova, modal jazz, jazz-rock and fusion.

Modern jazz characterized by a variety of experiments and the search for new means of expression, the complexity of melodic, harmonic language, rhythm, intonation and modal expansion of the sphere

Acoustic drum

Acoustic drum

Musical instruments in which sound is extracted by means of the blow.

Depending on the acoustic vibrator percussion share on membranophons, the sound source of which is a membrane, and idiophones make sound by itself.

Percussion are with a certain pitch (vibraphone, xylophone, timpani), and indeterminate pitch (drum, bongos, tambourine, maracas, cymbals, triangle). In contrast to using percussion in other musical genres, in jazz, it merged into a drum kit being played by one performer.



It usually includes: bass drum, snare drum, tom-toms, cymbals andcharleston. Depending on the nature of the executive music in drum kit can additionally be administered any other P. At percussion included in the drums, playing with sticks, brooms, and sometimes mallets striking the snare drum, tom-volumes, charlestonor plates.

Feet set in motion the pedals Charlestonand bass drum. Such a rational distribution of functions creates tremendous opportunities for the performer. Sometimes a band or orchestra invited another musician playing the tambourine, castanets, maracas, that is, those percussion that are not included in the drum kit.

Often, these responsibilities take on parties not involved in the performers. The introduction of additional P. typical for certain styles of modern jazz. Some like to use 50 different acoustic drum With rare exceptions, they are used in ensembles and orchestras of all styles, which operates mainly accompanying feature. For traditional jazz and swing technique is characterized fill out, based on a uniform accentuation. Carrier rate here is the big drum.

Acoustic drum

Acoustic drum

In modern jazz developed technique fill in, which is typical for the accentuation of individual sounds and phrases, improvised solo. For this purpose, tom-toms, large and small drums are used and basic rhythm-shock role belong to cymbals andcharleston.

In modern jazz, along with the accompaniment drum kit perform a solo. Great influence on development of P. had  New Orleansjazz musicians Baby Daudet and Zutti Singleton.

Acoustic drum

Acoustic drum

Among the most famous musicians period of swing are Jo Jones, Sid Ketlet, Cozy Cole, Gene Krupa, Chick Webb and Lionel Hemp playing technique on drum kit significantly advanced the Kenya Clark. Among the leading artists in today’s (Brazil), Stig Anderson, Ed Thigpen (Denmark), Valery Bulanov, Vladimir Tarasov (USSR), Louis Bel-Dzhonet, Philly Joe Jones, Elvin Jones, Jimmy Cobb, Mel Lewis, Shelly Menn, Airto Moreira Joe Morello, Buddy Rich, Max Roach, Art Taylor, Tony Williams (USA), Mattie Edward weight (Finland), Charlie Antolini, Pierre Favre (Switzerland), Rune Carlsson (Sweden).

Charlie Parker

Charlie Parker

Born: Aug 29, 1920 in Kansas City, KS
Died: Mar 12, 1955 in New York, NY

One of a handful of musicians who can be said to have permanently changed jazz, Charlie Parker was arguably the greatest saxophonist of all time. He could play remarkably fast lines that, if slowed down to half speed, would reveal that every note made sense. «Bird,» along with his contemporariesВ Dizzy GillespieВ andВ Bud Powell, is considered a founder of bebop; in reality he was an intuitive player who simply was expressing himself. Rather than basing his improvisations closely on the melody as was done in swing, he was a master of chordal improvising, creating new melodies that were based on the structure of a song.

charlie parker s

Charlie Parker

In fact, Bird wrote several future standards (such as «Anthropology,» «Ornithology,» «Scrapple From the Apple,» and «Ko Ko,» along with such blues numbers as «Now’s the Time» and «Parker’s Mood») that «borrowed» and modernized the chord structures of older tunes. Parker’s remarkable technique, fairly original sound, and ability to come up with harmonically advanced phrases that could be both logical and whimsical were highly influential. By 1950, it was impossible to play «modern jazz» with credibility without closely studying Charlie Parker.

Born in Kansas City, KS, Charlie Parker grew up in Kansas City, MO. He first played baritone horn before switching to alto. Parker was so enamored of the rich Kansas City music scene that he dropped out of school when he was 14, even though his musicianship at that point was questionable (with his ideas coming out faster than his fingers could play them). After a few humiliations at jam sessions, Bird worked hard woodshedding over one summer, building up his technique and mastery of the fundamentals. By 1937, when he first joinedВ Jay McShann’s Orchestra, he was already a long way toward becoming a major player.

Charlie Parker, who was early on influenced by Lester Young and the sound of Buster Smith, visited New York for the first time in 1939, working as a dishwasher at one point so he could hearВ Art Tatum play on a nightly basis.

He made his recording debut withJay McShannВ in 1940, creating remarkable solos with a small group from McShann’s orchestra on «Lady Be Good» and «Honeysuckle Rose.» When the McShann big band arrived in New York in 1941, Parker had short solos on a few of their studio blues records, and his broadcasts with the orchestra greatly impressed (and sometimes scared) other musicians who had never heard his ideas before.

Parker, who had met and jammed withВ Dizzy Gillespie for the first time in 1940, had a short stint with Noble Sissle’s band in 1942, played tenor withВ Earl Hines’ sadly unrecorded bop band of 1943, and spent a few months in 1944 withВ Billy Eckstine’s orchestra, leaving before that group made their first records. Gillespie was also in the Hines and Eckstine big bands, and the duo became a team starting in late 1944.

Charlie parker s

Charlie parker s

Although Charlie Parker recorded with Tiny Grimes’ combo in 1944, it was his collaborations withВ Dizzy GillespieВ in 1945 that startled the jazz world. To hear the two virtuosos play rapid unisons on such new songs as «Groovin’ High,» «Dizzy Atmosphere,» «Shaw ‘Nuff,» «Salt Peanuts,» and «Hot House,» and then launch into fiery and unpredictable solos could be an upsetting experience for listeners much more familiar withВ Glenn Miller and Benny Goodman. Although the new music was evolutionary rather than revolutionary, the recording strike of 1943-1944 resulted in bebop arriving fully formed on records, seemingly out of nowhere.

Unfortunately, Charlie Parker was a heroin addict ever since he was a teenager, and some other musicians who idolized Bird foolishly took up drugs in the hope that it would elevate their playing to his level. When Gillespie and Parker (known as «Diz & Bird») traveled to Los Angeles and were met with a mixture of hostility and indifference (except by younger musicians who listened closely), they decided to return to New York.

Impulsively, Parker cashed in his ticket, ended up staying in L.A., and, after some recordings and performances (including a classic version of «Lady Be Good» with Jazz at the Philharmonic), the lack of drugs (which he combated by drinking an excess of liquor) resulted in a mental breakdown and six months of confinement at the Camarillo State Hospital.

Released in January 1947, Parker soon headed back to New York and engaged in some of the most rewarding playing of his career, leading a quintet that included Miles Davis, Duke Jordan, Tommy Potter, and Max Roach. Parker, who recorded simultaneously for the Savoy and Dial labels, was in peak form during the 1947-1951 period, visiting Europe in 1949 and 1950, and realizing a lifelong dream to record with strings starting in 1949 when he switched to Norman Granz’s Verve label.

But Charlie Parker, due to his drug addiction and chance-taking personality, enjoyed playing with fire too much. In 1951, his cabaret license was revoked in New York (making it difficult for him to play in clubs) and he became increasingly unreliable. Although he could still play at his best when he was inspired (such as at the 1953 Massey Hall concert with Gillespie), Bird was heading downhill.

In 1954, he twice attempted suicide before spending time in Bellevue. His health, shaken by a very full if brief life of excesses, gradually declined, and when he died in March 1955 at the age of 34, he could have passed for 64.

Charlie Parker, who was a legendary figure during his lifetime, has if anything grown in stature since his death. Virtually all of his studio recordings are available on CD along with a countless number of radio broadcasts and club appearances. Clint Eastwood put together a well-intentioned if simplified movie about aspects of his life (Bird).

Parker’s influence, after the rise of John Coltrane, has become more indirect than direct, but jazz would sound a great deal different if Charlie Parker had not existed. The phrase «Bird Lives» (which was scrawled as graffiti after his death) is still very true.

Scott Yanow (All Music Guide)

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